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Turquie
MUSIQUE SOUFIE
Nezih Uzel et Kudsi Erguner

Turkey
SUFI MUSIC
Nezih Uzel and Kudsi Erguner

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[1] Taksim Makam Nihavend, ney

[2] Nihavend Ilh (Seyyid Seyfullah)
Nihavend Ilh (Pir Sultan Abdal)
Neveser Nefes (Kemter)
[3] Nihavend Nefes (Munir Baba)
[4] Taksim Makam Nihavend, ney
Nihavend Sark (Munir N. Seluk)

[5] Taksim Makam Ussak, ney

Ussak Ilh (Seyh Himmet)
[6] Ussak Ilh (Zekai Dede)
Ussak Ilh (Nafiz Efendi/Suleyman Erguner)
Ussak Ilh (Dervis Muammer)
Taksim Makam argh, ney
[7] argh Tevsih (Aziz Mahmud Hda)
argh Ilh (Yunus Emre)
[8] Dgh Nefes (S. Erguner)
argh Ilh (Yunus Emre)
Taksim Makam Sab, ney
Sab llh (Hilm Dede)

Kudsi Erguner
flte ney / ney flute
Nezih Uzel
chant & bendir
singing & bendir

Collection fonde par Franoise Grnd et dirige par Pierre Bois

Enregistrements numriques raliss le 26 novembre 1990 au Studio Antenna (Paris). Textes et
traductions, Kudsi Erguner. Traduction anglaise, Judith Crews. Illustration de couverture, Franoise
Grnd. Photos (DR) : Marie-Nolle Robert, Habib Hassan Touma, Alain Dugas. Prmastrisation,
Frdric Marin / Translab. Ralisation, Pierre Bois.
P 1991-2006 Maison des Cultures du Monde.
et O

INEDIT est une marque dpose de la Maison des Cultures du Monde (direction, Chrif Khaznadar).

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TURQUIE MUSIQUE SOUFIE

Ilh et Nefes

regroupement des fidles autour des premiers

matres soufis : Bayazid Bistami, Junayd alBaghdadi, Hasn Basri, Dhn-nun Misr, Seri
as-Sakati
Le succs de ces confrries fut tel quelles se
rpandirent bientt travers tout le monde
musulman, portant chacune le nom du matre
auquel elles se rattachaient. leur tour, elles
donnrent naissance dautres confrries
parmi lesquelles, en Turquie, il convient de
citer la Kadiriyya fonde par Abd al-Qdr alJilni (XIIe sicle), la Mevleviyya (derviches
tourneurs) cre par Mawlan Jall ed-Din
Rmi (XIIIe sicle), la Bektashiyya fonde par
Hajji Bektsh Wali (XIIIe sicle) et la Halvetiyya
de Omar al-Halveti (XIVe sicle). Au dbut du
XIXe sicle la ville dIstanbul comptait elle
seule 770 couvents (tekke) o les derviches se
runissaient pour le rituel du zikr.
Fond sur linvocation des noms divins, le zikr
se droule en plusieurs tapes et conduit
chaque adepte vers une communion extatique
avec Dieu. Scandes par le jeu des tambours, les
invocations tout dabord clairement nonces
se transforment peu peu en un flot de syllabes
tour tour aspires et souffles et ponctues par
le balancement des fidles. Cette matire
sonore devient alors la trame sur laquelle les
chantres tissent leurs litanies ou ilh.

e soufisme est le nom donn la mystique

de lislam. Le mot drive vraisemblablement de larabe suf (laine), matire dans
laquelle taient tailles les robes des soufis.
Le soufisme naquit vers le VIIe sicle alors que
la srnit et les certitudes religieuses des premiers musulmans qui entouraient le Prophte
Mohammed taient branles par les bouleversements politiques et sociaux rsultant de
lexpansion conqurante de la communaut
musulmane et de son enrichissement au
contact dautres civilisations et courants de
pense. De surcrot, lassassinat du gendre du
Prophte, Ali, et de ses petits-fils, Hassan et
Hussen, provoqua au sein de la communaut
une dchirure concrtise par la rupture entre
sunnites et shiites.
En cette re trouble, les soufis offraient par
leur manire de vivre un retour une foi profonde et pure, fonde sur la fusion de lindividu en Dieu par la force de lamour mystique.
Cette force tait guide dans le cadre dune
voie (tariqa) ou confrrie rsultant du
Lalphabet turc en usage depuis novembre 1928 offre
quelques particularits quil convient dindiquer ici
pour une meilleure lecture des lignes qui suivent :
s = sh
g- = h aspir
=

= tsh
h = kh
u = ou

c=j
=u
= eu
3

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Parmi les arts proches de la sensibilit soufie,

la musique et la posie sont sans doute les plus
apprcis car ils font appel loue, sens privilgi par lequel passe lacquisition de la
connaissance. Chez les Mevlevi, grce la pratique rituelle du zikr et du sem (concert spirituel), lart potico-musical soufi a atteint un
tel degr de dveloppement que bon nombre
de potes musiciens mevlevi appartiennent
depuis le XVIe sicle au panthon de la
musique savante turque. Citons pour mmoire
Mevlevi Yusuf Dede, Mustafa Utrig- Dede, Hafiz
Post, Nayi Osman Dede, Ismal Dede
De mme que la musique savante, la musique
soufie turque se caractrise par un langage
monodique et lutilisation de modes ou
makam. Le makam est un itinraire mlodique
bas sur une chelle musicale spcifique dont
les degrs et les intervalles sont rgis par une
hirarchie propre chaque mode.
Si toute la musique turque, y compris la
musique compose vocale ou instrumentale,
respecte le principe de la modalit, cest nanmoins dans limprovisation instrumentale
non mesure taksim que se ralise lexpression
idale de litinraire modal propre chaque
makam. Traditionnellement, le taksim jouait
le rle de prlude ou dinterlude dans une
suite de pices vocales ou instrumentales, sa
fonction tant de prparer lauditoire au
contenu expressif du makam choisi. Mais de
nos jours cette forme musicale a pris une telle
importance, du fait de lengouement occidental pour les musiques improvises dOrient,

quelle est devenue peu peu le pivot de tout

rcital instrumental, un moment privilgi o
lartiste peut communiquer ses tats dme
son auditoire.
Les pomes des ilh sont pour la plupart les
uvres des fondateurs des diffrentes confrries et de leurs successeurs. Destins tre
chants lors des runions et des crmonies,
ils permettent de transmettre aux fidles lenseignement de leur matre.
Le terme ilh ( sacr ) est le nom gnrique
donn ces chants ; on peut toutefois les rencontrer chez les Mevlevi sous le nom de ayin
( rituel ) et chez les Bektachi sous celui de
nefes (souffle ). Enfin, lorsquil sagit de
chants de louanges au Prophte, ils prennent
le nom de naat ( louange ) ou encore de
tevsih ( ornementation ).
Le ney, instrument privilgi de la musique
soufie, est une flte en roseau dont lembouchure est simplement constitue par lextrmit biseaute du tuyau. Immortalis dans les
vers de Jall ed-Din Rmi, le ney reprsente
pour le soufi le symbole de lme spare du
monde divin et aspirant lunion. Image de
lHomme Parfait, il incarne prcisment ce que
le mystique souhaite devenir, une corce transparente anime par le seul souffle divin.
Le bendir ou mazhar (litt. celui qui manifeste ) est un grand tambour sur cadre dont la
forme circulaire symbolise la reprsentation
de lunivers. En soutenant lexpiration et linspiration alternes des fidles pendant le zikr, il
invoque sa manire les noms divins.
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LES ENREGISTREMENTS
[1] Taksim Makam Nihavend, ney

[4] Taksim Makam Nihavend, ney

Nihavend Sark
Gezerken lemde
de Munir Nureddin Seluk (XXe sicle)
Que je me promne sous la neige, la pluie
[ou dans le vent,
Jallume le soleil qui est en moi.
Si le destin ne me sourit pas,
Cest moi qui lui souris.

[2] Nihavend Ilh

Bu ask bir bahr-i ummndir
de Seyyid Seyfullah (XVIe sicle)
Cet amour est un ocan,
Sans limite ni rivage.
Je suis guid par le secret du Coran,
Qui le connat nencourt aucune disgrce.
Nihavend Ilh
Gzel ask cevrimizi
ekemezsin demedimmi
de Pir Sultan Abdal (XVe sicle)
O amoureux, ne tavais-je dit
Que tu ne pourrais supporter nos preuves ?
Notre nourriture est la Grce,
Ne tavais-je dit que tu ne pourrais la recevoir ?
Neveser Nefes
Alem yzne sald ziya
de Kemter (XIXe sicle)
La famille de Mohammed* a illumin le
[visage de lunivers.
La reconnaissance de la famille de
[Mohammed est la condition de la foi.

[5] Taksim Makam Ussak, ney

Ussak Ilh
Sivdan kalbini pk et gnl mirat
rahmndr
de Seyh Himmet (XVIIIe siecle)
Vide ton cur de ce monde, car il est
[le miroir du Clment.
Sache que ce monde nest quune poussire
Qui reflte lunivers de la Vrit.
[6] Ussak Ilh
Sehin Sah
de Zekai Dede (XVIIIe sicle)
Le Roi des Rois, le jardin des fleurs de lunivers,
Le Roi des Messagers, cest Mohammed.
Il revivifie les quatre Livres de Dieu,
Le Bien-aim de Dieu, cest Mohammed.
Ussak Ilh
Sen br Adem og-lumusun
pome, Nafiz Efendi
musique, Suleyman Erguner (XXe sicle)
Es-tu fils dAdam ?

* Martyrs de la tradition shiite : Ali, Hassan et Hussen.

[3] Nihavend Nefes

Hakdr Allahm Mohammed Mahm
de Munir Baba (XVIIIe sicle)
Mon Dieu est la Vrit,
Mohammed est mon bien-aim,
Ali est mon roi.
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Et je voudrais mallonger sous son ombre.

Derviche Yunus, pse tes paroles,
Car le mollah Kassem pourrait te blmer.

Es-tu serviteur du Crateur ?

Es-tu fou, n as-tu point de raison ?
Quattends-tu pour te joindre nous ?
Ussak Ilh
Ey rislet tahtnn hursidi, mh enveri
de Dervis Muammer (XXe sicle)
lumire, soleil et lune de la prophtie !
dernier Messager du jardin de la prophtie !
Mustafa, en Toi Dieu a manifest Ses
[attributs divins !
Messager de Dieu, tu es le seul intercesseur !
Taksim Makam argh, ney

*Le pont qui mne au Paradis.

[8] Dgh Nefes

Amenn syledik ikrr eyledik
de Suleyman Erguner (XXe sicle)
Nous avons solennellement donn notre parole,
Et nous sommes soumis aux hommes de Dieu.
Les bigots sont ttus comme des nes, nous,
Nous nous promenons dans cet univers
[comme des hommes.
argh Ilh
Gelin ey asklar gelin
de Yunus Emre (XIIIe sicle)
Venez, les amoureux, venez !
Ce voyage semble long.
Jai observ ce monde,
Ce nest quun pige.
Taksim Makam Sab, ney
Sab llh
Seyreyleyip yandim mahcemlini
de Hilm Dede (XIXe sicle)
Je me suis brl contempler ton visage
Mohammed tu es lme de mon me.

[7] argh Tevsih

Kudmn rahmeti zevki safdr y
resullallah
de Aziz Mahmud Hda (XVIIe sicle)
Messager de Dieu, la bndiction de ta venue
[est une joie !
Ton apparition, Messager de Dieu, est un
[baume au chagrin des amoureux.
argh Ilh
Ben dervisem diyene bir n idesim gelir
de Yunus Emre (XIIIe sicle)
Je madresse ceux qui se disent derviches.
Le pont de Sirat* est comme le fil dune pe.
[Pourtant] je voudrais y btir des maisons.
On dit quil surplombe les flammes de lEnfer

KUDSI ERGUNER

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NEZIH UZEL est n en 1939 Mudanya. Cest

la Tekke des Ouzbeks devenue partir de 1925
(date de linterdiction du soufisme en Turquie)
le seul lieu de rencontre de toutes les confrries
Istanbul, quil dcouvre lge de 18 ans lart
du chant des ilh. Cest dans ce cadre quil se
formera auprs des grands matres de lpoque,
le joueur de ney Ulvi Erguner, le chanteur
Cevdet Soydanses et surtout Dervis Muammer,
chanteur dilh et joueur de bendir. Par la suite,
il prend une part active dans les crmonies

mevlevi, notamment lors des festivals annuels

de Konya. Engag en 1960 par Ulvi Erguner,
alors directeur de la musique la Maison de la
Radio dlstanbul, il y introduit le jeu du bendir
En participant la fois comme chanteur, musicien et organisateur, maintes tournes internationales ainsi qu ldition de plusieurs
disques et cassettes, il a largement contribu
une meilleure connaissance de la musique soufie turque ltranger. Nezih Uzel est galement
crivain et journaliste.

KUDSI ERGUNER, n en 1952 Diyarbakr, est le

reprsentant dune longue tradition familiale.
Son grand-pre Suleyman Erguner, joueur de
ney, a fond lun des premiers ensembles instrumentaux de musique mevlevi, peu aprs interdit
par les autorits. Son pre, Ulvi Erguner, galement joueur de ney, est nomm en 1959 directeur de la musique la Maison de la Radio
dlstanbul. Faute de conservatoire, Kudsi
Erguner apprend le ney de manire traditionnelle auprs de son pre. En mme temps, il frquente la Tekke des Ouzbeks o il sinitie lart
musical soufi. Engag en 1970 la Maison de la
Radio, il participe galement plusieurs tournes de musique mevlevi en Europe et aux EtatsUnis. Etabli Paris en 1973 pour suivre des

tudes darchitecture et de musicologie, il donne

des concerts travers toute lEurope, produit et
anime des missions de radio sur France
Musique et France Culture, enregistre plusieurs
disques et publie galement des documents
sonores collects en Turquie et au Pakistan.
Dans le cadre de ses recherches, il traduit plusieurs ouvrages de Jall ed-Din Rmi, ainsi
quune Hagiographie de Hajji Bektsh Wali. Il collabore comme compositeur la musique de
scne du Mahbhrata de Peter Brook et travaille
occasionnellement pour les cinastes Martin
Scorsese et Marco Ferreri. En 1980, il cre
lAssociation Mevln o il enseigne la musique
savante turque. La mme anne, il recre avec
Nezih Uzel lEnsemble Mevlevi dlstanbul.

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Derviches tourneurs mevlevi / Mevlevi whirling dervishes (Festival des Arts Traditionnels, Rennes 1982).

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Derviches kadiri dans leur tekke dIstanbul / Kadiri dervishes in their tekke in Istanbul.
Derviches halveti / Halveti dervishes (Festival des Arts Traditionnels, Rennes 1978).

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TURKEY SUFI MUSIC

Ilh and Nefes

ufism is the name given to Islamic wisdom and mysticism. The word most likely
derives from the arabic word suf (wool), from
the woolen garments worn by the Sufis.
Sufism arose sometime around the 7th century,
at the same time that the serenity and religious convictions of the earliest Moslems surrounding the Prophet Muhammad were being
subjected to attack in the form of various political and social upheavals. These were the
result of conquests expanding the Moslem
community, and its subsequent enrichment
through contact with other civilizations and
currents of thought. In addition, the assassination of the Prophets son-in-law, Ali, together with his grandsons Hassan and Hussein,
provoked a schism within the community
itself manifested in the rupture between
Sunnites and Shiites.
It was during these troubled times that the
Sufis by their way of life, provided a way back
to a deep, pure faith founded on the fusion of
the individual with God through the force of
mystical love. This force was guided in the
The Turkish alphabet in use since 1928 is characterized by several features which are indicated below:
s = sh
= ch
=
g- = h
h = kh
= German
=
c=j

context of a way (tariqa). Each way or

brotherhood resulted from the gathering
together of the faithful around the earliest
Sufi masters: Bayazid Bistami, Junayd alBaghdadi, Hasn Basri, Dhn-nun Misr, Seri
as-Sakati, and so forth.
The success of these brotherhoods was such
they soon spread throughout the entire
Moslem world, each bearing the name of the
master to whom they were attached. In turn,
they gave rise to other brotherhoods, among
which in Turkey should be noted the Kadiriyya
founded by Abd al-Qdr al-Jilni (12th century), the Mevleviwa (whirling dervishes) created
by Mawlan Jall ed-Din Rmi (13th century),
the Bektashiyya founded by Hajji Bektsh Wali
(13th century) and the Halvetiyya of Omar alHalveti (14th century). At the beginning of the
19th century the city of Istanbul alone numbered 770 convents (tekke) where the dervishes
gathered for the rites of zikr.
Based on the invocation of divine names, the
zikr takes place in several steps and leads each
adept towards ecstatic communion with God.
Chanted in rhythm with drum-beats, the invocations which are initially clearly enunciated
become transformed little by little into a torrent of inhaled and exhaled syllables, punctuated by the swaying of the followers. This

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sonorous matter then becomes the web upon

which the cantors weave their litanies, or ilh.
Among those arts closest to the sensitivity of
the Sufis, music and poetry are undoubtedly
the most widely appreciated because they rely
on hearing, the privileged sense through which
knowledge is acquired. Among the Mevlevi, the
Sufi poetic and musical art has attained such a
high degree of development, thanks to the
ritual practice of zikr and sem (spiritual
concert), that a large number of the Mevlevi
poet-musicians since the 16th century have their
rightful place in the pantheon of Turkish classical music. Mevlevi Yusuf Dede, Mustafa UtrigDede, Hafiz Post, Nayi Osman Dede and Ismail
Dede, among others, can be cited here.
Like its classical counterpart, Turkish Sufi music
is characterized by monodic language and the
use of modes or makam. A makam is a melodic
itinerary based on a specific musical scale, the
pitches and intervals of which are governed by
a hierarchy belonging to each mode. While all
Turkish music, including composed vocal and
instrumental music, respects the modal principle, it is nevertheless instrumental improvisation without meter, the taksim, which is the
ideal expression for the modal itinerary characterizing each makam. Traditionally, the taksim
played the role of prelude or interlude in a suite
of vocal and instrumental pieces; its role was to
prepare the audience for the expressive content
of the chosen makam. But today, this particular
musical form has become much more important due to the Western fascination with

Oriental improvisational music, and it has little

by little become the highlight of all instrumental recitals, a privileged moment during which
the artist communicates the state of his soul to
his listeners. The poems of the ilh are for the
most part the works of the founders of the different brotherhoods and their successors.
Intended to be sung during meetings and ceremonies, they allow the teachings of the Master
to be transmitted to the faithful.
Ilh (sacred) is the generic name given to
these chants; among the Mevlevi they can be
recognized under the name ayin (ritual) and
among the Bektashi under the name of nefes
(breath). And when the songs concern praises
for the Prophet, they are given the name naat
(praise) as well as tevsih (ornament).
The ney, privileged instrument of Sufi music, is
a reed flute, the mouthpiece of which is constituted simply by the fluted edge of the reed.
Immortalized in the verses of Jall ed-Din
Rmi, the ney represents for the Sufi a symbol
of the soul separated from the Divine and yearning for union. As such it is an image of the
Perfect Man, and demonstrates exactly what
the mystic hopes to become, a transparent
shell animated by the breath of the Divine.
The bendir or mazhar (literally, he who
demonstrates) is a large frame-drum in the
form of a circle symbolizing the representation
of the universe. By sustaining the alternating
inhalation and exhalation of the breathing of
the faithful during the zikr, in its own fashion
it too invokes the divine names.

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THE RECORDINGS
[1] Taksim Makam Nihavend, ney
[2] Nihavend Ilh
Bu ask bir bahr-i ummndir
by Seyyid Seyfullah (16th century)
This love is an ocean,
With neither limit nor shore.
I am guided by the secret of the Koran,
Those who know it undergo no disgrace.
Nihavend Ilh
Gzel ask cevrimizi
ekemezsin demedimmi
by Pir Sultan Abdal (15th century)
O lover, didnt I tell you
That you wouldnt be able to bear our trials?
Our food is Grace,
Didnt I tell you that you couldnt receive it?
Neveser Nefes
Alem yzne sald ziya
by Kemter (19th century)
The family of Muhammad* lights up the
[face of the universe.
Acknowledgement of the family of
[Muhammad is the conditon for faith.
*Martyrs of the Shiite tradition: Ali, Hassan, Hussein.

[3] Nihavend Nefes

Hakdr Allahm Mohammed Mahm
by Munir Baba (18th century)
My God is truth,
Muhammad is my beloved
Ali is my king.

[4] Taksim Makam Nihavend, ney

Nihavend Sark
Gezerken lemde
by Munir Nureddin Seluk (20th century)
When I walk In the snow, the rain, or the
[wind,
I light up the sun within me.
If destiny doesnt smile at me,
I do smile at him.
[5] Taksim Makam Ussak, ney
Ussak Ilh
Sivdan kalbini pk et gnl mirat
rahmndr
by Seyh Himmet (18th century)
Empty your heart of this world, because it is
[the mirror of the Merciful One
Know that thls world is but dust
Reflecting the universe of Truth.
[6] Ussak Ilh
Sehin Sah
by Zekai Dede (18th century)
The King of Kings, the garden of flowers of
[the universe,
The King of Messengers, this is Muhammad.
He enlivens the four Books of God
The Beloved of God, this is Muhammad.
Ussak Ilh
Sen br Adem og-lumusun
poem, Nafiz Efendi
music, Suleyman Erguner (20th century)

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Are you a son of Adam?

Are you a servant of the Creator?
Are you crazy, cant you be reasonable?
What are you waiting for to join us?
Ussak Ilh
Ey rislet tahtnn hursidi, mh enveri
by Dervis Muammer (20th century)
O light, sun and moon of prophecy!
O last Messenger from the garden of prophecy!
O Mustafa, In You God has shown his divine
[attributes!
O Messenger of God, you are the sole
[Intercessor!
Taksim Makam argh, ney
[7] argh Tevsih
Kudmn rahmeti zevki safdr y
resullallah
by Aziz Mahmud Hda (17th century)
O Messenger of God, the blessing of your
[coming is a joy!
Your apparition, O Messenger of God, is
[balm for the aching of the beloved.
argh Ilh
Ben dervisem diyene bir n idesim gelir
by Yunus Emre (13th century)
I address myself to those who are called
[dervishes.
The bridge of Sirat* is like the cutting edge of
[a sword,

[But] I would like to build houses on it.

They say it hangs over the fires of hell,
[But] I would like to lie down in its shadow.
Dervishe Yunus, weigh your words,
For perhaps the mullah Kassem is going to
rebuke you.
*The bridge leading to Paradise.

[8] Dgh Nefes

Amenn syledik ikrr eyledik
by Suleyman Erguner (20th century)
We have solemnly given our word,
And we have submitted to the men of God.
The bigoted are stubborn as mules but as for us
We walk in this universe like men.
argh Ilh
Gelin ey asklar gelin
by Yunus Emre (13th century)
Come, all you lovers, come!
This journey seems long.
I have observed this world,
Its only a trap.
Taksim Makam Sab, ney
Sab llh
Seyreyleyip yandim mahcemlini
by Hilm Dede (19th century)
I was burned contemplating your face
O Muhammad, you are the soul of my soul.

14

KUDSI ERGUNER

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NEZIH UZEL was born in 1939 in Mudanya.

At the age of 18 he discovered the art of singing the ilh while attending the Tekke of the
Uzbeks which after 1925 (date when Sufism
was outlawed in Turkey) became the sole meeting place for the Istanbul brotherhoods. It
was in this context that he studied with the
important masters of the era, the ney player
Ulvi Erguner, the cantor Cevdet Soydanses
and especially Dervis Muammer, ilh cantor
and bendir player. Afterwards, he played an

active role in Mevlevi ceremonies, especially

during the annual festivals of Konya. In 1960,
he was engaged by Ulvi Erguner, the music
director at the Istanbul Radio Station, where
he introduced the bendir. Through his participation as cantor, musician, and organizer of
numerous international tours, as well as in his
work producing numerous records and tapes,
he has contributed widely to a better knowledge of Turkish Sufi music abroad. Nezih
Uzel is also a writer and journalist.

KUDSI ERGUNER born in 1952 in Diyarbakr, is

the representative of a long family tradition.
His grandfather, Suleyman Erguner, ney player,
founded one of the first instrumental ensembles of Mevlevi music, which was repressed not
long after by the authorities. His father, Ulvi
Erguner, who also played the ney was named
music director at the Istanbul Radio Station in
1959. For lack of a conservatory, Kudsi Erguner
learned to play the ney with his father. At the
same time, he frequented the Tekke of the
Uzbeks where he was initiated into the Sufi
musical arts. In 1970 he took a job with the
Radio Station, and also participated in numerous tours of Mevlevi music in Europe and the
United States. He moved to Paris in 1973 to

study architecture and musicology, and from

there gave concerts throughout Europe. He
produced and directed radio programs for
France Musique and France Culture, made
several record albums and also published tape
recordings collected in Turkey and Pakistan. As
part of his research, he has translated works by
Jall ed-Din Rmi, as well as a Holy life of Hajji
Bektsh Wali. He also collaborated on the
music for Peter Brooks Mahbhrata and occasionally worked for the film-makers Martin
Scorsese and Marco Ferreri.
In 1980, he created the Mevlan Association,
where he teaches Turkish classical music. The
same year, along with Nezih Uzel, he
recreated the Mevlevi Ensemble of Istanbul.

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INEDIT/Maison des Cultures du Monde 101, Bd Raspail 75006 Paris France tl. 01 45 44 72 30 fax 01 45 44 76 60 www.mcm.asso.fr

Jaquette CD

1/06/06

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Ilh & Nefes

Collection fonde par

Series founded by
Franoise Grnd
dirige par / headed by
Pierre Bois

W 260021

AD 090

distribution Nave

INEDIT W 260021

P 1991/2006
O

INEDIT / MCM
Made in France

3 298492 600212 >

[1] Taksim Makam Nihavend, ney........................................................456

[2] Nihavend Ilh (Seyyid Seyfullah)
Nihavend Ilh (Pir Sultan Abdal)
Neveser Nefes (Kemter) ................................................................ 1343
[3] Nihavend Nefes (Munir Baba) ........................................................ 530
[4] Taksim Makam Nihavend, ney
Nihavend Sark (Munir Nureddin Seluk) ...................................... 444
[5] Taksim Makam Ussak, ney
Ussak Ilh (Seyh Himmet) .............................................................. 422
[6] Ussak Ilh (Zekai Dede)
Ussak Ilh (Nafiz Efendi/Suleyman Erguner)
Ussak Ilh (Dervis Muammer) ...................................................... 1129
Taksim Makam argh, ney
[7] argh Tevsih (Aziz Mahmud Hda)
argh Ilh (Yunus Emre) .............................................................. 827
[8] Dgh Nefes (Suleyman Erguner)
argh Ilh (Yunus Emre)
Taksim Makam Sab, ney
Sab llh (Hilm Dede) ................................................................. 1132
dure totale / total time ..................................................................6458
Nezih Uzel, chant et bendir / vocals and bendir
Kudsi Erguner, flte ney / ney flute

Catalogue disponible sur demande / Ask for the catalogue

Maison des Cultures du Monde 101 Bd Raspail, 75006 Paris France
tl. +33 (0)1 45 44 72 30 fax +33 (0)1 45 44 76 60
et sur internet / and on internet : www.mcm.asso.fr
e-mail : inedit@mcm.asso.fr

TURQUIE MUSIQUE SOUFIE

TURQUIE MUSIQUE SOUFIE

Maison des Cultures du Monde

Turquie MUSIQUE SOUFIE

Turkey SUFI MUSIC

INEDIT W 260021

INEDIT

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