Search - Saygun, Ucbasaran :: Ahmet Adnan Saygun: Piano Music

Turkish Delight

Dean R. Brierly | Studio City, CA | 05/19/2008

(5 out of 5 stars)

"The piano music of Ahmet Saygun achieves the rare distinction of appealing equally to the intellect and the emotions. The Turkish composer, one of the most important and influential in his country's history, combined Western and Turkish musical elements to produce fresh, compelling and original sounds. He could probably be described as a neoclassicist, but one who ventured often and effectively into an accessible modernism. There is perhaps no clearer expression of his aesthetic than in his utterly beguiling solo piano music. The five works on this Naxos disc encompass a wide chronological, stylistic and emotional span. "From Anatolia," written in 1945, is a relatively brief three-movement piece that strongly evokes the composer's Turkish roots, yet its impressionistic, otherworldly atmosphere transcends temporal associations. A similar sense of simplicity and poignancy is conjured in "Inci's Book." Most of the movements in this piece are a minute or less in length, and their brevity only enhances their gossamer charm. Also included are two longer suites based on traditional Turkish rhythms--"12 Preludes on Aksak Rhythms" and "10 Sketches on Aksak Rhythms." These sound utterly contemporary with their lyrical yet angular melodies, halting rhythmic progression and vibrant percussive effects. Yet the structural innovations never overpower the mesmeric mood and emotional coloration. Last and certainly not least is the composer's 1938 "Sonatina," which features a strong spiritual flavor and engaging tempo changes. Although cast in a more traditional form, it nevertheless hints at the more adventuresome direction Saygun would eventually take. The Turkish pianist Zeynep Ucbasaran proves herself a capable and sensitive interpreter of Saygun's music. Her touch and tone are faultless, and her performance elicits all of the clarity, insight and emotion of these wonderful pieces."

Turkey's Own Bartókian Composer

J Scott Morrison | Middlebury VT, USA | 04/29/2008

(4 out of 5 stars)

"Ahmet Adnan Saygun (1907-1991) was a Turkish composer and ethnomusicologist who was educated in Turkey, Hungary and France. He early on became a friend and colleague of Béla Bartók and particularly shared with him an interest in collecting folk music from eastern Europe and both European and Asian Turkey. In the West he is principally known, if he is known at all, as a composer of orchestral music; there is a fine series of recordings of some of that music on the cpo label.



This disc is devoted to piano music inspired by Turkish folk music. 'Anadolu'dan' ('From Anatolia') is a three movement suite containing music whose highlight is strongly marked irregular rhythms. The first, 'Meseli', for instance, has a 2+2+2+3 9/8 meter. The second, 'Zeybek', is also in 9/8 which is irregularly divided. The third, a men's round dance called 'Halay', also has irregularly irregular rhythms. (One wonders how anyone could dance to them without falling down or breaking a leg.)



'Aksak Tartdar Üzerine 12 Prelüd' ('12 Preludes on Aksak Rhythms') are short works whose rhythmic complexities are astounding and yet immediately attractive. 'Aksak' means 'limping' and an 'aksak rhythm' is one that uses binary and ternary rhythms in combination. This set was written in 1967 and dedicated to the well-known Turkish pianist, Idil Biret. 'Aksak Tartdar Üzerine 10 Tastak' ('10 Sketches on Aksak Rhythms') are similar in effect to the aforementioned Preludes. Sketch No. 25 sounds downright jazzy.



'Inci'nin Kitabi' ('Inci's Book') from 1934 contains seven little characteristic pieces with titles like 'Inci', 'Playful Kitten', 'A Joke', 'A Tale', and 'A Dream'. They are delightful miniatures.



The 'Sonatina', Op. 15 (1938) is in the usual three movements and like its discmates uses various irregular Turkish rhythms including, in the last movement, one that is in 7/8 which is divided variously.



Harmonic language for all this music is tonal and/or modal with nothing objectionable for the music lover who dislikes atonality. There are similarities of feeling to much of the music in Bartók's 'Mikrokosmos' music or his Bulgarian piano pieces.



Pianist Zeynep Ucbasaran is a Turkish pianist long resident in the US; she lives in Santa Barbara, California, where the recording was made (with, one notes, a Turkish producer). One can presume that her performances are definitive; I am unaware of any other recordings of this music. The piano sound is excellent.



Scott Morrison

"

Turkish classical

Jim Shine | Dublin, Ireland | 04/29/2008

(4 out of 5 stars)

"I hadn't heard of Turkish composer Ahmet Saygun (1907-91) until recently when I noticed a few reviews of CPO releases of his orchestral music. According to information on the web site of Bilkent University, where there is a music research center in his name, his opus numbers go up to 78 and he composed in all genres. This new Naxos disc gives us 5 of his 13 piano works, stretching from 1934 to 1976. A quick glance at the titles immediately suggests an inspiration from Turkish folk music, and if you suspect that Saygun was a Turkish Bartok then you're partly right.

The 3 pieces "From Anatolia" are the most obviously folk-like, with unusual rhythms and a strong bass sound. They're dances so they're entertainments first and foremost, and very enjoyable they are.

The 12 Preludes on Aksak Rhythms are a different kettle of fish. 'Aksak' means 'limping', and the booklet notes provide some information on the various metres used, although that makes them sound a little drier than they are. The rhythms occasionally give them a folk-like character but they can be called modern music. There's little 'tune' as such but there's plenty going on. I found the music to be somewhat arbitrary - at times it sounds like someone just noodling away, improvising, and I suspect they may be more enjoyable to play than to listen to. But they are worth hearing, certainly.

Inci's Book, the earliest work here, is basically a children's album and not unexpectedly is much more simple and charming. Some of the pieces seem quite melancholy, including a rather sad lullaby. They would grace any "music for children" collection.

Then it's back to more aksak rhythms. I enjoyed these Sketches more than the earlier Preludes. A few have the motoric quality that you get in Ligeti, and the 7th especially is quite impressionistic. They have a tendency to begin one way and then meander off into something else - I suppose that's the nature of a sketch - but your attention is always held.

Finally the very likeable Sonatina, whose formal structure is welcome after the preceding music. This again seems to have some impressionistic elements, well integrated with its Turkish ones. It includes a very nice slow movement and a storming finale that clatters to an abrupt end.

My overall impression of the disc is a favourable one. Some pieces were more enjoyable than others but the disc is well programmed for variety and as usual Naxos must be praised for giving exposure to a lesser-known composer. I think it's reasonable to assume that Zeynep Ucbasaran, who has recorded some of this music before for Eroica, is as fine an exponent of the music as it needs, and the recorded piano sound is great."