Hasretim – Journey to Anatolia
Marc Sinan music, guitars, idea, concept and production
Traditional musicians from Turkey
Mustafa Boztüy darbuka, framedrum
Güç Başar Gülle oud
Ömer Can Satır kaval
Onur Şentürk kemençe
Erdem Şimşek bağlama
Traditional musicians from Armenia
Araik Bartikian duduk, zurna
Vazgen Makaryan duduk, zurna
Andrea Molino arrangement, conductor (DVD only)
Jonathan Stockhammer conductor
Markus Rindt idea, concept and production
CD recorded live July 2011 at Schleswig Holstein Musikfestival by Volker Greve and Holger Schwark
“Prolog” recorded December 2012 at MIAM Istanbul by Can Karadogan
Mastering: Volker Greve
DVD recorded Ocobter 2010 at Festspielhaus Hellerau
An ECM Production
Classical guitarist Marc Sinan, born in 1976 to a Turkish-Armenian mother and a German father, has over the past two decades attracted increasing demand as a soloist and collaborator, and dedicates his output to softening divides between genres, eras, and cultures. Hasretim represents the most significant evolutionary leap in his career as a composer. The result of a commission by Hellerau – European Center for the Arts Dresden and the Dresdner Sinfoniker, this video-musical journey traces Sinan’s heritage along the Black Sea coast to the Armenian border. More than that, it’s an invaluable archive of life and song on the Anatolian plateau, which he explored together with Dresdner Sinfoniker artistic director Markus Rindt in 2010. During the trip, Sinan was saddened to find that the preservation of folk music so prevalent elsewhere (viz: the Baltic states, Hungary, and Greece) was lacking in Turkey. Consequently, he took Hellerau’s commission as an opportunity to address the discrepancy, pooling a storehouse of traditional musicians and incorporating their art into a large-scale, contemporary piece of his own design. “I was quite nervous,” writes Sinan of the recording process. “Unlike musical field research, our project demanded much more than simply documenting the current state of the Turkish musical tradition regardless of its artistic merit. We were on a treasure hunt and would only rest once we stumbled upon something truly special.” As connections grew, so too did the availability of choice musical talent and the opportunity to capture it for posterity. Once satisfied with his bank of original recordings, to them Sinan introduced what he calls “decisive, subjective elaborations” in the form of both through-composed and improvised material.
Hasretim was originally conceived as an installation piece, with videos of these unrecognized Turkish troubadours (many of whom must balance their musical lives with working ones) projected onto five towering vertical screens at stage rear. Before them plays an assembly of European classical musicians augmented by traditional specialists from Turkey and Armenia. The latter bring their expertise to a veritable portrait of Asia Minor in sound as the oud, kaval, kemençe, bağlama, duduk, zurna, and frame drum hold their own alongside strings and winds. It is to ECM’s credit that its release should encompass both the audio on CD and the visual on an accompanying DVD. For while the music stands alone as a welcoming experience, to see the musicians (live and recorded) in their element, along with segues of candid scenes from Istanbul and beyond, brings out the project’s reach in most immediate terms. Both versions feature essentially the same personnel, with the notable exception of conductors: Jonathan Stockhammer directs the CD version, recorded live at the Schleswig Holstein Musikfestival, while Andrea Molino, also the project’s musical arranger, handles the DVD performance, recorded at Festspielhaus Hellerau.
As indicated by the title, which means “I’m yearning” or “My desire,” Hasretim is a search for roots. Yet it’s also a spray of new foliage in the towering branches, nourished by Sinan’s unique ear for montage. The album is bookended by a “Prolog” and “Epilog.” One is a menagerie of harmonics, blips, and whispers that tightens like a spring, while the other pieces together footage of nearly all the recorded musicians in a chain of reprisals, ending as it began: with an attunement that spans multiple geographies.
Within this frame are five distinct “Tableaux,” each named after a Turkish city or, in the case of “Tableau II – Yayla,” for the mountain pastures where an old man (Haci Ömer Elibol) plays the end-blown kaval while his sheep animate the background. His call, for that is what it becomes in Sinan’s contextualization, inspires some upbeat interweaving. In contrast to the dark fiddling of “Tableau I – Ordu,” which details the face of singer Asiye Göl across all five screens, it more fully includes itself in the musical goings on.
Indeed, voices resound clearest throughout the program, even if certain instrumentalists do stand out for their charisma. There is Hüsseyin Altay on the tulum (Turkish bagpipe), joined by droning brass; the unforgettable Ismail Küçük, who sings and bows his kemençe in “Tableau III – Trabzon” from the back seat of a car, thus underscoring the film’s road movie feel; the duet of Ömer Parlak on kaval and Mesut Kurt (along with Göl, the youngest of those featured) on kemençe; and in “Tableau IV – Erzurum” the rhythmically savvy Aşik Eminoglu accompanying himself on the bağlama to invigorating effect. This same Tableau also cradles “In Memory of Vahide,” a 10-minute duduk duet that interpolates shadows into light. All of this buoys “Tableau V – Kars” as the most compositionally unified vision of live elements (especially in the percussion) and descriptive archival work.
In absence of any background information, one might never know that Sinan witnessed firsthand a loss of connection among contemporary Turkish musicians to their rich heritage, or that their art needed recovery in this regard. Neither was the counterpoint lost on him between the boisterous people and their peaceful, sometimes dreary, settings. Such contrast of medium and message informs every frame and staff of this multimedia treasure trove. Although awarded a special prize by the German Commission for UNESCO for its “inspiring and experimental confrontation between different cultures,” Hasretim is less about experiment than experience and anything but a confrontation. Rather, it is a book to which each new witness adds a page.
(See the article as it originally appeared in RootsWorld online magazine, where you may also hear samples.)