Ahmed Adnan Saygun’un op.31 ‘viyolonsel için solo partitası ve eserin 1955 Türkiye’si sanat hayatındaki yeri
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Dosyalar
Tarih
2015
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
İnönü Üniversitesi
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Türkiye’de Cumhuriyet dönemi çoksesli müzik tarihinin gelişiminde öncü olan birinci kuşak Türk bestecileri
arasında, eserleri ve akademik çalışmalarıyla çağdaşları arasından en çok analiz edilme şansı bulmuş olan
bestecinin Ahmed Adnan Saygun olduğu görülmektedir. Saygun’un 1955 yılında tamamladığı ve bestecilik
çizgisinin ikinci dönemine yerleşen ‘Solo Viyolonsel için Partita’ adlı yapıtı, bir birinci dönem yapıtı olan
‘Viyolonsel sonatı’ ve son dönemi içindeki ‘Viyolonsel konçertosu’ arasından, en çok icra edileni olmakla
birlikte, günümüze kadar hakkında yazılı bir analitik çalışmanın yapılmadığı belirlenmiştir.
1955 yılı tüm dünyada filozofa, şair ve dram yazarı F.Schiller, ölümünün 150. yıldönümü sebebiyle bir dizi
etkinlikle anılmış ve Türkiye’de, başta İstanbul ve Ankara’daki Fen Edebiyat fakültelerinde gerçekleşen
konferans ve bildirilerle akademik dünyadaki yansımalarını bulmuştur. Sanat hayatında ise, İstanbul Şehir
Tiyatroları başyönetmeni Max Meinecke, Schiller’in ‘Hile ve Sevgi’ adlı oyununu programa almış, Saygun’dan
oyunun başında çalınacak, eşliksiz viyolonsel için bir müzik istemiş ve Schiller’e ithaf edilen bu müzik
yazılmasından kısa bir süre sonra ‘Partita’ adını alarak literatürdeki yerine almıştır.
İlk çalınışın, Ankara Konservatuvarı viyolonsel hocası Martin Bochmann tarafından gerçekleştirildiği bu eser,
hem icracısını, hem de bestecisini ‘Schiller Hatıra Madalyası’na taşımış, ayrıca iki ülke arasındaki diplomatik
bağların üzerinde bir çıkarım sağlamıştır. ‘Hile ve Sevgi’ yazıldığı 1783 görselinde bir dramaturji ile
oynanırken, Saygun yazı dilinde Schiller’in dönemi bir klasizm üslubunun yansımalarını partitasına
aktarmadığı görüşmüş, kritikler bu zıtlığın üzerinde durmuşlardır. Saygun’un çocukluğundan gelen mistizm
ile ilişkisi onu ileriki yaşlarda tasavvuf felsefesine yaklaştırmış, taşıdığı insan sevgisi, yüksek manevi
değerlerle örtüşerek, Schiller’le de bu bağlam üzerinen yakınlık duyarak, partitadaki müzikal oluşumun bu
çerçeveden işlediği belirlenmiştir.
Eser, günümüzde konservatuvar ve lisans/lisansüstü düzeyinde eğitim veren akademik müzik kurumlarında
viyolonsel sınıf müfredatına girebilmiş sayılı Türk bestecisi eserlerinden biri olarak yerini korumuş, bunun
yanında 20. yy. solo viyolonsel yapıtları arasında uluslararası tanınırlığa ulaşmıştır.
Among Turkish Republic’s first generation of composers, Ahmed Adnan Saygun is a prominent one, who’s work has been broadly analysed and was made the subject of many academical studies. ‘Partita for Unaccpompanied Cello’ is one of his second period compositions. Compared to his early period Cello Sonata and his late period Cello Concerto, this Partita has been performed much more frequently, albeit lacking analitic and written studies.The piece was composed in 1955 as a part of a series of events including lectures and seminars, that were held in the Arts and Sciences Faculties of the universities in Istanbul and Ankara in commemoration of the famous philosopher, poet and playwrite Friedrich Schiller’s 150th aniversary of his death, which was celebrated throughout the World. Max Meinecke, who then was the executive director of Istanbul City Theatre had put Schiller’s ‘Kabale un Liebe’ (Intrigue and Love) on the theatre’s program. He commitioned Saygun to write a short solo piece for cello to be performed before the play. Shortly after finishing the final version of his composition, Saygun titled it ‘Partita’ and dedicated it to the memory of Schiller. The first public performance of Saygun’s Partita was given by Martin Bochmann who was the cello professor at Ankara State Conservatory during that time. This performance resulted in Turkey and Germany streghthening their diplomatic ties, as well as earning both the composer and the performer the Schiller Commemorative Medal. While Meinecke chose to have a late 18th century style of staging for the play, the very period ‘Kabale und Liebe’ was written in, Saygun chose not to use elements of classicism in his musical language. This polarity has often been emphasized by critics. Saygun’s strong connection with mysticism starting in his childhood moved him toward sufism later in life, which overlapped with the moral qualities of humanism. It is the playwrite’s humanism, Saygun says, that made him feel kinship with Schiller and allowed him to find the right musical frame he was looking for, for his compostions. Today, Saygun’s Partita is of the few works by a Turkish composer, that has a firm place in Bachelor, Graduate and Post Graduate curricula for music performance and music education in Turkey. It has worldwide recognition among 20th century unaccompanied cello works.
Among Turkish Republic’s first generation of composers, Ahmed Adnan Saygun is a prominent one, who’s work has been broadly analysed and was made the subject of many academical studies. ‘Partita for Unaccpompanied Cello’ is one of his second period compositions. Compared to his early period Cello Sonata and his late period Cello Concerto, this Partita has been performed much more frequently, albeit lacking analitic and written studies.The piece was composed in 1955 as a part of a series of events including lectures and seminars, that were held in the Arts and Sciences Faculties of the universities in Istanbul and Ankara in commemoration of the famous philosopher, poet and playwrite Friedrich Schiller’s 150th aniversary of his death, which was celebrated throughout the World. Max Meinecke, who then was the executive director of Istanbul City Theatre had put Schiller’s ‘Kabale un Liebe’ (Intrigue and Love) on the theatre’s program. He commitioned Saygun to write a short solo piece for cello to be performed before the play. Shortly after finishing the final version of his composition, Saygun titled it ‘Partita’ and dedicated it to the memory of Schiller. The first public performance of Saygun’s Partita was given by Martin Bochmann who was the cello professor at Ankara State Conservatory during that time. This performance resulted in Turkey and Germany streghthening their diplomatic ties, as well as earning both the composer and the performer the Schiller Commemorative Medal. While Meinecke chose to have a late 18th century style of staging for the play, the very period ‘Kabale und Liebe’ was written in, Saygun chose not to use elements of classicism in his musical language. This polarity has often been emphasized by critics. Saygun’s strong connection with mysticism starting in his childhood moved him toward sufism later in life, which overlapped with the moral qualities of humanism. It is the playwrite’s humanism, Saygun says, that made him feel kinship with Schiller and allowed him to find the right musical frame he was looking for, for his compostions. Today, Saygun’s Partita is of the few works by a Turkish composer, that has a firm place in Bachelor, Graduate and Post Graduate curricula for music performance and music education in Turkey. It has worldwide recognition among 20th century unaccompanied cello works.
Açıklama
İnönü Üniversitesi Kültür ve Sanat Dergisi. (2015). Cilt:1, Sayı:1, 61-69 ss.
Anahtar Kelimeler
Saygun, Cello, Partita, City theater, F. Schiller, Viyolonsel, Partita, Şehir tiyatrosu
Kaynak
İnönü Üniversitesi Kültür ve Sanat Dergisi
WoS Q Değeri
Scopus Q Değeri
Cilt
1
Sayı
1
Künye
Doğangün, D. (2015). Ahmed Adnan Saygun’un op.31 ‘viyolonsel için solo partitası ve eserin 1955 Türkiye’si sanat hayatındaki yeri. İnönü Üniversitesi Kültür ve Sanat Dergisi. Cilt:1, Sayı:1, 61-69 ss.
