PROJECTS
Istanbulin

During the modernization efforts of the 19th century, known as the Tanzimat (reforms) , an article of clothing that changed the appearance of the people was the İstanbulin. The İstanbulin was type of long buttoned coat with a collar that reached the chin. It expressed the mood of the people, who were caught between the conservatism of the past and the uncertainty of the future. Dressed in this high-collared jacket, the "Istanbul Gentlemen" of the Tanzimat period were practically elevated to a new status. This section of society, who spoke French at home and spent their evenings at the theatre, was heavily and visibly influenced by French fashion. As the influence of the Tanzimat spread increasingly throughout society, it opened an ever-wider gap between the conservatives and the modernists. Describing some of its clearest examples, Edmond de Amicis writes: "Every year thousands of kaftans are being discarded, to be replaced by İstanbulins; every day an old Turk dies and a new Reformist Turk is born. The worry beads are being replaced by a newspaper, the long çubuk pipe by cigarettes, good water by wine, horse carts by carriages with springs, drums by pianos, Arab grammar and syntax by French, and wooden houses by brick. Everything is being disrupted, everything is changing. Perhaps by the end of the century one will have to travel to the farthest provinces of Anatolia to find old Turkey; just as old Spain is now to be found only in the most remote Anadalusian villages." (Istanbul 1874, Turkish Historical Association Press, 1993.) Yakup Kadri Karaosmanoğlu considers the İstanbulin more a symbol than an article of clothing, and says that Istanbul underwent two important periods: that of the İstanbulin and of the Redingot. He says that during the time of the İstanbulin, people were quite decent, polite and elegant. From a cultural perspective the İstanbulin , which gave its name to this period, actually reflected a state of mind. Facing these reform movements, the people were open to innovation and were attempting to experience all the beauty and joy of worldly life. However they had not truly abandoned their traditions and fearing their loss, were attempting to maintain a tight grasp on their spiritual values.

The oyun havaları or "dance tunes," were typical of the period. In "İstanbulin ," my goal was to take typical examples from that period along with their 20th-century extensions, and bring them into the 21st century within a completely new arrangement. In this album, the major works of Turkish instrumental music have entered the violin repertoire, and I present them with the hope that the audience will enjoy them. (Translated by Bob Beer)

18 January 2008 Cemal Resit Rey Concert Hall / Istanbul Mustafa Ozdemir, Cihat Askin, Askin Ensemble, Serkan Cagri, Hasan Gozetlik, Tahir Aydogdu, Yurdal Tokcan, Ferruh Yarkin

18 January 2008 Cemal Resit Rey Concert Hall / Istanbul Cihat Askin, Askin Ensemble, Serkan Cagri, Hasan Gozetlik, Tahir Aydogdu, Yurdal Tokcan, Ferruh Yarkin, Buzuki Orhan (Orhan Osman)