Sometimes one piece isn’t quite enough; it’s fun to compare, especially within a given time frame. I arbitrarily chose the year 1927 to focus on five particularly graceful taksims and instrumental improvisations within the modal framework of Turkish classical music. Many such discs were recorded and there are others I could have grabbed off of the shelf. This is just a representative drop in a bucket and are performances that I believe have not been reissued…or reissued with decent sound quality. I would de
Mesut Cemil had the distinction of being the son of the great Tanburi Cemil Bey (1873-1916), whom many consider to be the most important Ottoman classical performer and composer during the early recorded era. The sometimes irascible and occasionally alcoholic Tanburi Cemil Bey was not only a multi-instrumentalist, but he also revitalized the Turkish art-music solo, or taksim. He also recorded an abundance of discs in the earliest era of recording, well-circulated and revered for years (though very difficult
Could Mesut ever live up to his father’s revered position? Born in 1902, he studied Western classical music in Turkey as well as in Germany, while also studying tanbur first with his father and Refik Fersan (aka “Refik Bey”), a tanbur composer and student of his father. Eventually he ended up at the Darülelhan conservatory. In 1927, he’d begun working for Istanbul Radio and around October of that year, he made his first records for Columbia, including this one. This piece is a sirto – a dance piece that is
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