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Marco Beasley|La porta d'oriente

La porta d'oriente

Kiya Tabassian, Constantinople, Marco Beasley

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Langue disponible : anglais

It is the military conflicts between the Ottomans and the West that get all the ink in the history books, but peace reigned longer than war did, and there was a good deal of musical interaction between the cultures during peaceful periods. The Turkish influence on Western music, from Beethoven's Symphony No. 9 in D minor, Op. 125, on down, was long the main subject of investigation, but it has become apparent that a good deal of Western music, mostly from Italy via Venice, was played at the Sultan's court as well. At least twice, this music was notated by Europeans in the court's service. The 18th century figure known as Dede the European has been recorded before, but this release by the Montreal early music group Constantinople, which has specialized in this repertory and been at it for some years, investigates someone new: the Ottoman court musician Ali Ufki (ca. 1610-1675), who was born Wojciech Bobowski in Poland and was captured by Tatars in a raid. He described the music of the Turks in detail and notated a good deal of it in combinations represented presently by Constantinople. What makes this fascinating is that the two traditions, although they seem distant from each other today, may have been less so in 1650 when Europeans still learned the modes that had come from the Middle Eastern world, and traders from the eastern Mediterranean heard orchestral music in Venice. Constantinople brings this out, with vigorously rhythmic performances of the Italian pieces. These include popular genres such as the frottola and the tarantella, the latter ably dispatched by tenor Marco Beasley in the anonymous La campana sona! The Turkish pieces are modal improvisations, performed by group founder Kiya Tabassian and kanun player Didem Basar. Overall, the music emerges as unified in a way that is both entertaining and encouraging at a time when the divisions between the Western and Eastern worlds are being stressed, and the arrangement of Monteverdi's Il combattimento di Tancredi e Clorinda, which any listener of the time would have found relevant to the theme, makes an extremely satisfying conclusion. It is indeed encouraging to see musicians beyond the circle of Jordi Savall continuing to explore the meeting places between East and West.
© James Manheim /TiVo

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La porta d'oriente

Marco Beasley

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Nuove musiche e nuova maniera di scriverle (Giulio Caccini)

1
No. 35, Dalla porta d'oriente
Marco Beasley
00:05:01

Giulio Caccini, Composer - Marco Beasley, Artist, MainArtist - Constantinople, Ensemble - Kiya Tabassian, Conductor

(C) 2020 Glossa (P) 2020 Glossa

Zarb-e fath (Ali Ufki)

2
Zarb-e fath
Constantinople
00:03:57

Ali Ufki, Composer - Constantinople, Ensemble, MainArtist - Kiya Tabassian, Conductor

(C) 2020 Glossa (P) 2020 Glossa

Le seconde musiche, No. 8, Quest'amore, quest'arsura (Claudio Saracini)

3
Le seconde musiche, No. 8, Quest'amore, quest'arsura
Marco Beasley
00:04:55

Marco Beasley, Artist, MainArtist - Constantinople, Ensemble - Claudio Saracini, Composer - Kiya Tabassian, Conductor

(C) 2020 Glossa (P) 2020 Glossa

Che si può fare? (Barbara Strozzi)

4
Che si può fare?
Marco Beasley
00:08:11

Barbara Strozzi, Composer - Marco Beasley, Artist, MainArtist - Constantinople, Ensemble - Kiya Tabassian, Conductor

(C) 2020 Glossa (P) 2020 Glossa

Uyan ey gözlerim (Ali Ufki)

5
Uyan ey gözlerim
Marco Beasley
00:05:38

Ali Ufki, Composer - Marco Beasley, Artist, MainArtist - Constantinople, Ensemble - Kiya Tabassian, Conductor

(C) 2020 Glossa (P) 2020 Glossa

Prologo alla notte (Torquato Tasso)

6
Prologo alla notte
Marco Beasley
00:01:21

Torquato Tasso, Composer - Marco Beasley, Artist, MainArtist

(C) 2020 Glossa (P) 2020 Glossa

Combattimento di Tancredi e Clorinda, SV 153 (Arr. for Chamber Ensemble) (Claudio Monteverdi)

7
Notte, che nel profondo
Marco Beasley
00:03:16

Claudio Monteverdi, Composer - Marco Beasley, Artist, MainArtist - Constantinople, Ensemble - Kiya Tabassian, Conductor

(C) 2020 Glossa (P) 2020 Glossa

Fath-e bâb (Ali Ufki)

8
Fath-e bâb
Constantinople
00:03:22

Ali Ufki, Composer - Constantinople, Ensemble, MainArtist - Kiya Tabassian, Conductor

(C) 2020 Glossa (P) 2020 Glossa

Fronni d'alia - Ey Sareban (Kiya Tabassian)

9
Fronni d'alia - Ey Sareban
Marco Beasley
00:07:52

Marco Beasley, Artist, MainArtist - Constantinople, Artist - Kiya Tabassian, Composer, Conductor

(C) 2020 Glossa (P) 2020 Glossa

Versi (Torquato Tasso)

10
Versi
Marco Beasley
00:00:51

Torquato Tasso, Composer - Marco Beasley, Artist, MainArtist - Kiya Tabassian, Artist

(C) 2020 Glossa (P) 2020 Glossa

Combattimento di Tancredi e Clorinda, SV 153 (Arr. for Chamber Ensemble) (Claudio Monteverdi)

11
Così tacendo e rimirando
Marco Beasley
00:01:45

Claudio Monteverdi, Composer - Marco Beasley, Artist, MainArtist - Constantinople, Artist - Kiya Tabassian, Conductor

(C) 2020 Glossa (P) 2020 Glossa

La canella (Pietro Paolo Borrono)

12
La canella
Constantinople
00:02:49

Pietro Paolo Borrono, Composer - Constantinople, Artist, MainArtist - Kiya Tabassian, Conductor

(C) 2020 Glossa (P) 2020 Glossa

La campana sona!

13
La campana sona!
Marco Beasley
00:03:14

Marco Beasley, Artist, MainArtist - Constantinople, Artist - Kiya Tabassian, Conductor

(C) 2020 Glossa (P) 2020 Glossa

Samai frenci (Ali Ufki)

14
Samai frenci
Marco Beasley
00:01:44

Ali Ufki, Composer - Marco Beasley, Artist, MainArtist - Constantinople, Artist - Kiya Tabassian, Conductor

(C) 2020 Glossa (P) 2020 Glossa

Samai nishaburak (Ali Ufki)

15
Samai nishaburak
Constantinople
00:03:23

Ali Ufki, Composer - Constantinople, Artist, MainArtist - Kiya Tabassian, Conductor

(C) 2020 Glossa (P) 2020 Glossa

Como sencza la vita

16
Como sencza la vita
Marco Beasley
00:03:11

Marco Beasley, Artist, MainArtist - Constantinople, Artist - Kiya Tabassian, Conductor

(C) 2020 Glossa (P) 2020 Glossa

Kürdi pishrow (Sultan Korkut)

17
Kürdi pishrow
Constantinople
00:06:58

Constantinople, Artist, MainArtist - Sultan Korkut, Composer - Kiya Tabassian, Conductor

(C) 2020 Glossa (P) 2020 Glossa

Compendium tarantulae (Athanasius Kircher)

18
Compendium tarantulae
Constantinople
00:04:13

Constantinople, Artist, MainArtist - Athanasius Kircher, Composer - Kiya Tabassian, Conductor

(C) 2020 Glossa (P) 2020 Glossa

Combattimento di Tancredi e Clorinda, SV 153 (Arr. for Chamber Ensemble) (Claudio Monteverdi)

19
Ma ecco omai l'ora fatale è giunta
Marco Beasley
00:06:03

Claudio Monteverdi, Composer - Marco Beasley, Artist, MainArtist - Constantinople, Artist - Kiya Tabassian, Conductor

(C) 2020 Glossa (P) 2020 Glossa

Chronique

It is the military conflicts between the Ottomans and the West that get all the ink in the history books, but peace reigned longer than war did, and there was a good deal of musical interaction between the cultures during peaceful periods. The Turkish influence on Western music, from Beethoven's Symphony No. 9 in D minor, Op. 125, on down, was long the main subject of investigation, but it has become apparent that a good deal of Western music, mostly from Italy via Venice, was played at the Sultan's court as well. At least twice, this music was notated by Europeans in the court's service. The 18th century figure known as Dede the European has been recorded before, but this release by the Montreal early music group Constantinople, which has specialized in this repertory and been at it for some years, investigates someone new: the Ottoman court musician Ali Ufki (ca. 1610-1675), who was born Wojciech Bobowski in Poland and was captured by Tatars in a raid. He described the music of the Turks in detail and notated a good deal of it in combinations represented presently by Constantinople. What makes this fascinating is that the two traditions, although they seem distant from each other today, may have been less so in 1650 when Europeans still learned the modes that had come from the Middle Eastern world, and traders from the eastern Mediterranean heard orchestral music in Venice. Constantinople brings this out, with vigorously rhythmic performances of the Italian pieces. These include popular genres such as the frottola and the tarantella, the latter ably dispatched by tenor Marco Beasley in the anonymous La campana sona! The Turkish pieces are modal improvisations, performed by group founder Kiya Tabassian and kanun player Didem Basar. Overall, the music emerges as unified in a way that is both entertaining and encouraging at a time when the divisions between the Western and Eastern worlds are being stressed, and the arrangement of Monteverdi's Il combattimento di Tancredi e Clorinda, which any listener of the time would have found relevant to the theme, makes an extremely satisfying conclusion. It is indeed encouraging to see musicians beyond the circle of Jordi Savall continuing to explore the meeting places between East and West.
© James Manheim /TiVo

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