2009
YBM Prodüksiyon
Üçdeniz
2008
Kültürevi konser kaydi
1 - A l'entrada del temps clar
[2:52]
2 - Raimbaut de VAQUEIRAS: Kalenda maya
[5:16]
3 - Richard COEUR-DE-LION: Ja nulhs hom pres non dira sa razon
[5: 08]
4 - Gaucelm FAIDIT: Fortz chausa es
[4:26]
5 - Bernard de VENTADORN: Quan vey la lauzeta
[3:17]
6 - MARCABRU: L'autrier just una sebissa
[2:52]
7 - Ich was ayn chint so wolgetan (CB 185)
[2:24]
8 - Ecce torpet (CB 3)
[2:31]
9 - Dulce solum natali patriae (CB 119)
[3:12]
10 - Virgen madre groriosa (CSM 340) – Como
poden (CSM 166)
[3:47]
11 - Oswald von WOLKENSTEIN: Do fragyg amors
[1:58]
12 - Regis regum civis ave
[2:31]
13 - Saginsamen bahasiz qanini
[4:40]
14 - Evvel benem ahir benem (Yunus Emre)
[3:57]
Kobzos Kiss Tamás • koboz
(#1, 2, 5, 6, 7, 9, 10, 11), tekerőlant (#3, 4, 8,
12, 13), saz (#14)
My
life, my music, my masters, my friends
I was born in Debrecen in 1950.
During my university education at chemistry department, 'folkdance
movement' has begun in Transylvania. By the encouragement of this and
the effect of memories, I've begun to play piano, guitar and then the
peculiar old instruments. The last hurdy-gurdy maker was still alive
and the koboz was in sale in the shops of Transylvania. These Mid
Europe instruments were very suitable with Middle Age music. The
presence of old-style playing technique and learning process of
Transylvanian style of singing were very important and educating (this
similarity in the case of Anatolian Turkish music was mentioned by
Bartók Béla).
Between 1974-1979 I worked in various museums of Budapest as
chemist-restorer and took my place in Kaláka music group. I could use
this knowledge and experience very productively in Kecskés Ensemble
(lead by L. Kecskés András, lute player) performing Hungarian and West
European music. In 1984 we made an album by Hungaroton with the title
'Ancient Turkish Music in Europe'. I have obtained the instrument 'saz'
whose voice was very familiar to me (I heard it many times on the radio
I had made in my youth), but I had no idea about its shape at all;
until I got one from the Turkish Ambassador in that time, Osman Başman.
I am grateful to him.
Since 1981 I have performed the music of the Middle Ages with the
Clemencic Consort from Vienna (troubadour music, Carmina Burana,
Cantigas de Santa Maria). I feel thankful to this group because they
keep the eastern and western music in a balance (in a harmony with the
will of René Clemencic, the 82 years old lad). I thank to René Zosso
and Eberhard Kummer for the marvelous hurdy-gurdy and vocal
performances and Esmail Vasseghi for his santur-tombak improvisations
which has always fascinated the audience. Since 1983 I have performed
with the contemporary music group of Szabados György.
Between 1982-1990 I worked with the Occitan musician Miquču Montanaro.
By him I discovered the world and language of troubadours. In 1986 we
made an album of songs of Gaucelm Faidit with Hungaroton. Our 'duo'
changed into a 'trio' with the participation of Maurizio Mingardi from
Venice. We made an album of Bernard de Ventadorn songs. I got a great
help from the linguist Miquela Stenta during my language education. I
have learned much listening the album records too, I am seriously
inspired by the voice and style of Martin Best.
Since 1986 I am a koboz teacher and since 1991 I am the director of
Óbudai Népzenei Iskola (Óbuda Folkmusic School) in Budapest.
In 1991 I met Erdal Şalikoğlu. He introduced detailed the Bektaşi songs
to me, that I have always listened with enthusiasm. The voices of Aşık
Veysel, Feyzullah Çınar, Talip Özkan and others have fascinated me the
first time I heard them in 1980. Recognizing this miraculously
conserved style has been very helpful for me to perform the European
Middle Age music more authentically. 'Authentic' of course a
complicated concept; but there is so little left from music and
especially rhythm, so 'intuition' is strongly necessary to make the
audience believe in that; this song, in some manner, could have been
sung in this way.
Between 1988-2008 I took part in more than 25 albums and made many solo
albums. Besides I have performances in favorite concert halls of
Europe, USA, Japan and Turkey (Royal Festival Hall, Lincoln Center,
Musicverein, Theatre de la Ville, Tokyo Gyosei Sygakko Hall, B.Ü.
Albert Hall etc.) and festivals.
Notable awards: Hungarian Republic Golden Medal
(1988), Tinódi Lute
Award (2005), Hungarian Heritage Award (2006), Prima Award (2006).
My instruments:
tekerőlant (hurdy-gurdy), Bársony Mihály – Tiszaújfalu, 1984
koboz (kobza), Ferencz Tamás – Sepsiszentgyörgy (Transylvania), 2005
bağlama (saz), Veli Yay – Istanbul, 2000
This is my short life story and I am very pleased to taste this flavour
with the Turkish audience too. I took out from the deep-freeze just
now, alive, I am defrosting slowly and serving freshly.
Troubadour
songs
Earliest trubadours flourished in the
eleventh century in Provence, today a region of southern France, in
Limousine and in Auvergne. The texts of troubadour songs deal mainly
with themes courtly love, known in medieval France as 'fine love' or
fin amour. The language of the troubadours was the local language
Occitan known also as langue d'oc of Provence. Troubadour means
'inventer' or 'composer' in Occitan language.
By the middle of the thirteenth century activities of the troubadours
choked up for a period of time due to the Crusades and aggression
towards Catharists. Alfonso el Sabio's (Alfonso the Wise) court became
a place of refuge for many troubadours. Eastern effects can also be
traced in troubadour music. A number of instruments played by the
troubadours had been introduced to Europe by the Arabs from Asia and
Northern Africa. Troubadour poetry influenced European culture for
centuries. Their style remained in the North (Trouvére in Northern
French), among Italians and Iberia. The Minnesäng – the German
counterpart – also took its roots from troubadour tradition. The
troubadours came from a variety of backgrounds, such as popes,
clergyman, aristocrats and rulers. Still many troubadours are described
in their vidas (a brief biography, literally
meaning 'life') or in razos (short piece of Occitan
prose detailing the circumstances of a particular composition) as
composers or
performers from lower classes. But both the vidas
and razors are historically doubtful since they are
not authentic. Some of the troubadours were either performers or poets
but most of them performed their own compositions and songs.
1. A l'entrada del temps clar
'Ballada' or 'dansa'. Dance song with refrain. It conserves the
memories of traditions about spring celebrations. It ridicules the
jealous husband and honors the fest queen.
2. Kalenda maya
Raimbaut de Vaqueiras (1155-60 – 1207) took part in the 4th Crusade.
Besides being one of the most important troubadours due to his personal
style and poetry technique, this piece of his heard here, the 'Kalenda
Maya' is one of the most well-known troubadour pieces. According to the
legend, a dance piece performed by two fidula players (fidula: a
stringed instrument of the Middle Ages) inspired the poet. It tells the
story of a desperate love ascribed to a lady named 'Beatriz'.
3. Ja nulhs hom pres non dira sa razon
Richard Coeur-de-Lion (1157 – 1199), King of England was one of the
war-lords of the 3rd Crusade and at the same time a 'troubadour'. This
song of complaint was written by him during his captive at Dürnstein
(Austria), and exists both in French and Occitan languages.
4. Fortz chausa es
Gaucelm Faidit, about whom we know very little, had written this lament
(planh)
after the death of his lord King Richard, and afterwards he travelled
to Hungary with the accompaniment of the troubadour Peire Vidal and
Constance of Aragon.
He lived in the court of King Imre for 6 years.
5. Quan vey la lauzeta
Bernard de Ventadorn is the most productive troubadour. We know 40
poems of his, 20 of these are in song form. He was born in the castle
of Ventadorn. We can follow his works between 1147 – 1170. The poem
'When I see the lark' is one of the most beautiful love poems of
European literature. It is the very song that had inspired Dante.
6. L'autrier just una sebissa
Marcabru (fl. 1129 – 1150) was from Gascony, born in the first decade
of the twelfth century. He had many patrons throughout France and
Spain, including Guillaume X of Aquitaine, the son of 'the first
troubadour', and Alfonso VII of Castile and Leon. The low birth and
noble patronage are reflected in his point of view and in the variety
of his style. From this moral urgency and highly idiomatic style arises
some of the most difficult poetry in the whole, troubadour canon. At
the other end are songs extolling true love; and other songs, such as
'A la fontana' and the pastorela, which dramatize a profoundly medieval
view of right order – they are among the most civilized utterances in
Provençal poetry. About fourty-two lyrics are extant. The most frequent
theme in his songs is the distinction between true love and false love.
Carmina Burana (7., 8. and 9.)
The manuscript which had taken the name 'Carmina Burana' from
Benediktbeuern near München (where it was first discovered); could have
been written in the middle of 13th century in Tirol or Karinthia.
Mainly in Latin language, it consists of songs from the end of 11th
century to the beginning of 13th century. However mostly written by
famous writers, e.g. Archipoëta or Hugo von Orleans and the others ;
yet there are Middle Age German or old-French texts too. The themes of
the songs are extremely variable. Besides the frequently used religious
songs of those times; parodies and obscene songs also exist in the
codex. These texts had been diffused by traveler-musicians,
Bohemian-students and Golliards (Golliard-songs: Middle Age European
secular music. The songs are telling about the beauty of nature, the
joy of love, drinking and student life). Probably due to this, they had
been obliged to hide the codex. This explains the very late discovery
(1803) of it. By the aid of some admonitory
and explanatory notes, it has been possible to reconstruct some of
these songs. The world-wide famous musician and music-historian René
Clemencic from Vienna has played main role in this field.
7. Ich was ayn chint so wolgetan (CB 185)
An atmosphere is made up using Latin and Middle Age German languages
respectively. This style attractively suits the erotic content. An old
lady recalls her youth and she accuses the linden trees for the lost of
her virginity... and tells the details.
8. Ecce torpet (CB 3)
A song condemning greedy and envy. This is not the one and only example
in this collection.
9. Dulce solum natali patriae (CB 119)
Farewell song of a pathetic love. Written by the influence of Ovidius.
10. Cantigas de Sancta Maria – Virgen madre groriosa (CSM 340)
– Como poden (CSM 166)
Saint Mary Songs had born by the request of Alfonso the Wise (Alfonso
el Sabio), the king of Leon and Castile. He had personally worked in
the literary procedure of 420 songs- praising Virgin Mary or telling
about her miracles. The notes of these songs are easily readable. Due
to this and the wonderful illustrations depicting the Christian, Arab
and Jew musicians, it is the most valuable and esteemed source of
Middle Age music.
11. Do fragyg amors
Oswald von Wolkenstein (1377 – 1445) is the most meaningful composer of
his time. We know 105 compositions of his and 40 of these are
poly-toned. During his adventurous life, respectively as a soldier,
merchant, then serving for Sigismund the Roman-German Emperor and King
of Hungary; he had been to all over Austria and Near- East. Plenty of
his songs had testified his journeys. He had been to Hungary very
frequently. So the Hungarian language took place in his song of 'seven
languages' (written for his wife).
12. Regis regum civis ave
Hymn of St. Ladislaus (1046 – 1095), King of Hungary (detail).
He had protected the borders of his homeland from the robber enemies
with permanent success, so he had been very popular during his life.
His appearance had reflected to our times by means of many legends. His
daughter, Piroska had been wife of John II Komnenos, the Emperor of
Byzantium (by the name Irene). Her appearance had been made immortal by
a mosaic in Hagia-Sophia Basilica.
13. Saginsamen bahasiz qanini
A hymn in Cumanian from the 'Codex Cumanicus' conserved in the San
Marco Library in Venice. In the first part one can find
Latin-Persian-Cumanian vocabulary, collected and written by Italian
emigrant merchants. In the 1340s , the German Fransiscan missionaries
had gathered the second part, so enriched the vocabulary by German and
immortalized the text translated to Cumanian. The translator had used
the old Turkish 'syllabic-meter rhythm', instead of the original
'time-measuring poetry' technique.
14. Evvel benem ahir benem
The poetry of Yunus Emre (who lived between 1238-1320) is a universal
worth of humanity. This piece heard here is a small appetizer from the
album that we have made with Erdal Şalikoğlu in 2006 with the title
'Gel gör beni aşk neyledi' (See, what the love made of me).
Kobzos Kiss Tamás
(Translation: Erdal Şalikoğlu)