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DIASPORA
Isfahân-Kürdî Peşrev

We are about to re-issue a Dutch book on Turkish art music that the late Wouter Swets wrote as background material to a series of radio lectures he gave on that topic in the mid-1980s. Swets (1930-2016) was a reputed ethnomusicologist and musician from The Hague, who specialised in the related musical traditions from the Balkans and Asia Minor, and is considered by many the godfather of World Music in the Netherlands (even though he disapproved of the term). I added a section to his book that complements the original chapter on the history of Turkish art music with the thirty years of development that had passed since the first edition’s release in 1986, as well as a selection of scores that illustrate Swets’ composing and arrangement work. When making that selection, I studied his Isfahân-Zemzeme İlahî² «Ben yürürüm yane yane», as well as the saz semâî and peşrev compositions³ by which the Greek-Ottoman composer Lavtacı Andon (?-1915?) introduced and defined this particular makam⁴. Isfahân-Zemzeme is makam Isfahân making a conclusion by modulating to Kürdî through Sabâ Zemzeme. Swets, however, does not use Andon’s progression, but made a concluding modulation resembling that of makam Hüseynî-Zemzeme instead, without Sabâ flavours. When playing with these ingredients, a new makam appeared that moves from Isfahân to Kürdî, in a way that sets it apart from both Andon’s blueprint of Isfahân-Zemzeme and Swets’ interpretation of it. Tradition dictates that a new makam is introduced with (at least) a peşrev and a saz semâî; both are included here (see also [10+11]).
In geographic terms, Isfahân-Kürdî, corresponds to a western trajectory of the Silk Road network, which to me symbolizes the very interaction between western and eastern musical idioms that the compositions on Európe drew from. In a less strict sense geographically, a westward route could also symbolize the current refugee drama resulting from the wars in the Middle-East. With all of that in mind, the Isfahân-Kürdî peşrev and saz semâî are titled Diaspora and Yol (road), respectively.

________
² İlahî: religious vocal form in Turkish art music.
³ Saz semâî and peşrev: instrumental forms in Turkish art music.
⁴ Makam: mode in Turkish art music.

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from Eur​ó​pe, released April 19, 2019

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Kairos Collective Utrecht, Netherlands

Kairos Collective is the occasional ensemble that Michiel van der Meulen assembles to record or perform his contemporary modal music. Kairos is the personification of the right moment, the time to act or an opportunity to be seized, perfectly encapsulating the spirit and atmosphere of the collective's sessions. ... more

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