Lamia Yared, Ensemble Oraciones - Ottoman Splendours (2022) [Hi-Res]
![Lamia Yared, Ensemble Oraciones - Ottoman Splendours (2022) [Hi-Res]](https://www.dibpic.com/uploads/posts/2022-05/1652973711_g8skw1xd4mspb_600.jpg)
BAND/ARTIST: Lamia Yared, Ensemble Oraciones
- Title: Ottoman Splendours
- Year Of Release: 2022
- Label: Groupe Analekta, Inc
- Genre: World
- Quality: MP3 320 kbps; 16-bit/44.1kHz FLAC; 24-bit/96kHz FLAC
- Total Time: 50:54
- Total Size: 121; 263; 1010 MB
- WebSite: Album Preview
Ottoman Splendours explores the music shared along an axis that stretches through time and space, linking Asia Minor and the modern-day Balkans to the Medieval Iberian Peninsula. Constantinople/Istanbul, Smyrna/ Izmir, Andrinople/Edirne, Thessaloniki/Selanik, Monastir/Bitola, Sarajevo/Saraybosna… these are the principal sources that connect the music of the Ottoman era to Toledo, Cordoba, Granada, and Seville, which the Sephardim were forced to flee following the Reconquista, but whose legacy is preserved through Judeo-Spanish (spoken vernacular), Ladino (semi-sacred language), and related anonymous poetic repertoires or sacred texts.
While wedding songs such as “Juego de Siempre,” romanceros such as “Landarico,” and paraliturgical songs such as “Yeoru Libbi U-Sefathay” retain the essence of their poetic material, the same cannot be said of the music. Contact with the various urban music styles of the Ottoman Empire left an imprint on the Sephardim, who gradually adopted the makam system, common to both the “savant” and “popular” repertoires of their Greek and Turkish neighbours.
Transmission channels were thus established between the cantors of the Greek Orthodox church, heirs to the so-called Byzantine tradition, the various Muslim mystical brotherhoods of Sufism, and the hazzanim and paytanim – equivalent to Sephardic cantors, who sometimes formed ensembles called maftirîm, the most famous of which was created in Andrinople in the 17th century. In addition to attending the religious assemblies and services of communities other than those to which they belonged, Greek, Turkish, and Sephardic musicians also gathered in the Ottoman seraglio, where they jointly developed the savant secular repertoire of the Enderûn.
Petros Peloponnesios (Petros Lambadarios, 1730–1778) and Isaac Fresco Romano (Tanbûrî İsak Efendi, 1745–1814) embody the quintessence of this phenomenon. Most likely initiated into Mevlevi Sufism, Peloponnesios enjoyed a dual career as a cantor at the Ecumenical Patriarchate of Constantinople and as a composer of Phanariot secular songs, including “Einai ston kosmon.” Romano, hazzan of the Ortaköy synagogue and music teacher to Sultan Selim III (r. 1789–1807) and to the Mevlevi sheikh of Galata, was a composer of both Sephardic paraliturgical works and traditional pieces typical of the Ottoman court, such as “Bir Hos Hırâm.”
But the repertoire brilliantly performed on this recording by Lamia Yared and the Ensemble Oraciones also reveals another influence in the shared Ottoman musical heritage, one shaped by the daily coexistence of the Greek, Turkish, and Sephardic communities, which, unlike the scholarly repertoires, was essentially transmitted by women. The Judeo-Spanish adaptation of the rebetiko “Kouklaki mou,” such as “Mi Chika Flor” and of the sharkı “Niçin gördüm seni,” such as “Ven, Chika Nazlia” are fine examples. (https://www.analekta.com/wp-content/uploads/2022/05/9176-_digital_booklet.pdf)
1.01 - Lamia Yared - Juego de Siempre (2:36)
1.02 - Lamia Yared - Landarico (Arr. By Didem Başar) (3:06)
1.03 - Lamia Yared - Ay Mancevo (Arr. By Didem Başar) (3:46)
1.04 - Lamia Yared - Tres Morillas (4:07)
1.05 - Lamia Yared - Dicho Me Habian Dicho (Arr. By Didem Başar) (3:14)
1.06 - Lamia Yared - Akav Birhateha (Arr. by Didem Başar) (3:10)
1.07 - Lamia Yared - Tres Hermanicas Eran (Arr. By Didem Başar) (2:08)
1.08 - Ensemble Oraciones - Instrumental Improvisationon Kanun (2:04)
1.09 - Lamia Yared - Bir Hoş Hırâm Tâze Civan Aldı Gönlümüz (Arr. by Didem Başar) (3:59)
1.10 - Lamia Yared - Bulbul Ussaki (Arr. by Didem Başar) (1:47)
1.11 - Lamia Yared - Yeoru Libbi U Sefathay (Arr. by Didem Başar) (5:10)
1.12 - Ensemble Oraciones - Kouklaki Mou - Mi Chika Flor (Arr. by Didem Başar) (4:30)
1.13 - Ensemble Oraciones - Instrumental Improvisation on Kemence (1:54)
1.14 - Lamia Yared - Einai Ston Kosmon Kai Alla Kali (Arr. by Didem Başar) (3:48)
1.15 - Lamia Yared - Niçin Gördüm Seni - Ven Chika Nazlia (5:35)
While wedding songs such as “Juego de Siempre,” romanceros such as “Landarico,” and paraliturgical songs such as “Yeoru Libbi U-Sefathay” retain the essence of their poetic material, the same cannot be said of the music. Contact with the various urban music styles of the Ottoman Empire left an imprint on the Sephardim, who gradually adopted the makam system, common to both the “savant” and “popular” repertoires of their Greek and Turkish neighbours.
Transmission channels were thus established between the cantors of the Greek Orthodox church, heirs to the so-called Byzantine tradition, the various Muslim mystical brotherhoods of Sufism, and the hazzanim and paytanim – equivalent to Sephardic cantors, who sometimes formed ensembles called maftirîm, the most famous of which was created in Andrinople in the 17th century. In addition to attending the religious assemblies and services of communities other than those to which they belonged, Greek, Turkish, and Sephardic musicians also gathered in the Ottoman seraglio, where they jointly developed the savant secular repertoire of the Enderûn.
Petros Peloponnesios (Petros Lambadarios, 1730–1778) and Isaac Fresco Romano (Tanbûrî İsak Efendi, 1745–1814) embody the quintessence of this phenomenon. Most likely initiated into Mevlevi Sufism, Peloponnesios enjoyed a dual career as a cantor at the Ecumenical Patriarchate of Constantinople and as a composer of Phanariot secular songs, including “Einai ston kosmon.” Romano, hazzan of the Ortaköy synagogue and music teacher to Sultan Selim III (r. 1789–1807) and to the Mevlevi sheikh of Galata, was a composer of both Sephardic paraliturgical works and traditional pieces typical of the Ottoman court, such as “Bir Hos Hırâm.”
But the repertoire brilliantly performed on this recording by Lamia Yared and the Ensemble Oraciones also reveals another influence in the shared Ottoman musical heritage, one shaped by the daily coexistence of the Greek, Turkish, and Sephardic communities, which, unlike the scholarly repertoires, was essentially transmitted by women. The Judeo-Spanish adaptation of the rebetiko “Kouklaki mou,” such as “Mi Chika Flor” and of the sharkı “Niçin gördüm seni,” such as “Ven, Chika Nazlia” are fine examples. (https://www.analekta.com/wp-content/uploads/2022/05/9176-_digital_booklet.pdf)
1.01 - Lamia Yared - Juego de Siempre (2:36)
1.02 - Lamia Yared - Landarico (Arr. By Didem Başar) (3:06)
1.03 - Lamia Yared - Ay Mancevo (Arr. By Didem Başar) (3:46)
1.04 - Lamia Yared - Tres Morillas (4:07)
1.05 - Lamia Yared - Dicho Me Habian Dicho (Arr. By Didem Başar) (3:14)
1.06 - Lamia Yared - Akav Birhateha (Arr. by Didem Başar) (3:10)
1.07 - Lamia Yared - Tres Hermanicas Eran (Arr. By Didem Başar) (2:08)
1.08 - Ensemble Oraciones - Instrumental Improvisationon Kanun (2:04)
1.09 - Lamia Yared - Bir Hoş Hırâm Tâze Civan Aldı Gönlümüz (Arr. by Didem Başar) (3:59)
1.10 - Lamia Yared - Bulbul Ussaki (Arr. by Didem Başar) (1:47)
1.11 - Lamia Yared - Yeoru Libbi U Sefathay (Arr. by Didem Başar) (5:10)
1.12 - Ensemble Oraciones - Kouklaki Mou - Mi Chika Flor (Arr. by Didem Başar) (4:30)
1.13 - Ensemble Oraciones - Instrumental Improvisation on Kemence (1:54)
1.14 - Lamia Yared - Einai Ston Kosmon Kai Alla Kali (Arr. by Didem Başar) (3:48)
1.15 - Lamia Yared - Niçin Gördüm Seni - Ven Chika Nazlia (5:35)
Year 2022 | World | FLAC / APE | HD & Vinyl
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