Long-forgotten musical instruments get new life in the hands of Bezmara

Bezmara, which is known for its previous albums -- “Mecmua’dan Saz ve Söz” and “Yitik Sesin Peşinde” -- has now signed off on a new CD called “Ali Ufki Bey’in Tanıklığıyla 17. Yüzyıl İstanbul’unda Musiki” (Music in 17th Century İstanbul as Witnessed by Ali Ufki Bey).

Sunday’s Zaman had a chance to speak with this unique ensemble’s founder, Fikret Karakaya, about both the group and their new album.

What feelings and thoughts led you to start remaking previously forgotten instruments about 15 years ago?

There were two reasons for this direction we started to take: the first was the desire to create musical works using the instruments from the time they originated, as was done in the past. The second is the desire to bring back lost culture to today’s world.

Why do you think these particular instruments were forgotten? What reasons are behind this forgetting?

Some instruments fall out of favor, just as clothing and styles do sometimes. Some instruments that fall into this category are the oud (lute) and the kopuz. These instruments were replaced by the tambur (a long-necked Turkish stringed instrument). Some instruments were abandoned simply because they didn’t fulfill some of the changing needs and approaches to music. Both the çeng and the santur (a kind of dulcimer) fit into this category.

Does the fact that we lack a national museum of music or archive of music have any effect on all this?

If we possessed the level of awareness necessary to bring about a museum of music or archive, then these instruments never would have disappeared without leaving a trace. Thanks to Allah that miniatures and written sources containing all sorts of bits of information did not disappear altogether.

Which instruments have you remade so far?

Well, Bezmara has remade the saz, the çeng, the şehrud, the kopuz, the kemânçe, the mıskal, the old oud, the old kanun, the old santur and the old tambur, as well as the ney, daire and nakkareden (kudüm), all of which are still played today.

We should also add to this list the şeştar (a type of saz) and the şeşhaneyi. I plan to remake those instruments the first chance I get.

How did you decide to form Bezmara? What vacuums in Turkey’s music did this group manage to fill?

At the start, my real intent was not to form a concert-giving ensemble, but more of a recording and studio ensemble because old instruments such as the çeng, the old kanun and the old santur need to be retuned when they change melodies. And I thought that concert audiences simply would not stand for that. But that’s not how it happened. In fact, in our first concert that we gave as an introduction to our group, we saw that in fact the audience was very tolerant when it came to the need to retune the instruments. Bezmara’s first and foremost act was to introduce and get people to like a repertoire that had not been done before. Its second act was to show that old instruments could be remade and used in today’s times.

This group has met with great interest in Turkey and abroad. To what do you attribute this interest?

We cannot just explain away this interest as being rooted simply in nostalgia. What lies behind Bezmara is a serious wealth of musicology experience, as well as the beauty of the pieces, which affects people.

You have set yourself the goal of playing 1,000 different pieces. How far have you gotten on this goal?

These 1,000 pieces are from the pieces of Ali Ufki Bey’s Mecmûa-i Sâz ü Söz’ü and Kantemir Instrumental works. We have only been able to record one-fifth of them so far. We are constantly trying to develop and widen our repertoire. Inshallah we will achieve our goal in coming years.

There is also the risk that after you, these instruments will be forgotten again. What sort of interest do youth show in these instruments? Are there new masters being trained in this area?

From the very start, I did have the idea of forming a school where our instruments could be taught. But actually, this is way beyond my personal means. Such a school could however come into being with some meaningful financial support. Inshallah one day we will see this happen.

Your newest album is an offering to those interested in the music of 17th century İstanbul. What are the interesting dimensions and the special characteristics inherent in music from that particular century?

Well, I could sum up some of the musicology details regarding this century like this: The music of the elites and the music of the Turkmeni saz artists were at that period played in the inner quarters of the Ottoman palace.

How did İstanbul wind up losing this music? Why doesn’t such a rich musical tradition still continue?

İstanbul did not actually completely lose this music. By taking note of the sounds they heard, Ali Ufki Bey and Kantemir saw that at least one measure of that heritage did make it through to today. Our musical traditions were very lively until around 60 years ago. Of course, the golden age is left far behind, but still, there were successful efforts to train experts who could represent the tradition.

This album came about through the observations and comments of Ali Ufki Bey. You yourself have researched Ali Ufki Bey for years. In a sense, it is as though you are his patron. What lies at the basis of your love for him?

Since he took note of and recorded a very important section of our musical history, I feel great gratitude and affection for him.

Taking a look at your repertoire, one cannot help but wonder whether some of the works might be boring to younger generation music listeners. Why did you not choose more potentially popular pieces to play?

I explained the following in the piece of writing that accompanies the album: It was always the most important for me that these pieces be representative. In other words, if there are some which are more outwardly enticing, it is not right to just listen to them and not the others. But personally, many of the pieces which I thought at first listening were blander actually became more appealing after I got used to them.

What do you have in mind for the future for Bezmara?

We need to remake a few more old instruments and include them in our group’s work. We really want to turn out and record as many of the musical works, starting with Ali Ufki Bey and Kantemir’s, but then also works from other old collections, as we can in the style and manner of the times in which they were first created.

Wild apricot wood for çeng

What sort of difficulties did you encounter when you were trying to make these instruments?

The most significant difficulty emerged when I was trying to obtain materials as specified in certain historical sources that were necessary to make these instruments. For example, I was not able to find a large log of apricot wood for the çeng. In the same way, I wasn’t able to obtain any gazelle leather. With some instruments, it was only after a series of trial and error that I was able to figure out which frets were tuned. And as for measurements, I had to turn to both miniatures for examples, as well as keeping functionality in mind.

No classical music as deep as Ottoman music

You have attended many music conferences, especially abroad. What do foreigners think about this sort of music?

In my travels abroad I have introduced not just the early Ottoman music that Bezmara represents, but in general Turkish music from the Ottoman period. As long as there are no preconceptions in their minds, foreigners are very interested in and feel admiration for Turkish music. I have met people from both the West and the East who all agree that “there can be no classical music as deep and grand as Ottoman music.”