In the Ottoman musical context, the excellent musician Kudsi Erguner (Turkey, 1952), master of flute ney, orchestra conductor and composer, is a “key” man and a poet who is indispensable for anyone who wants to go on a direct journey to the magnum sea of ​​music Turkish, whatever the declination you want to end.
Ottoman Turkish music is a dean of diversified sounds, in which it is possible to identify joints, specific characterizations and peculiarities. We also recall that Kudsi Erguner’s musical and musicological work has not only been applied to memory, but has found surprising strides in collaborations with foreign artists such as Peter Brook, Bob Wilson, Carolyn Caerson and many others. a couple of great “monographic” travels that the Turkish musician chose to publish with Nota – the label publishing house directed by Walter Colle – in the well-liked MUSICAL INTERSEZIUM necklace, promoted by the Intercultural Institute of Comparative Musical Studios.
In both cases Erguner is at the head of the remarkable Ensemble Bîrun, “a small orchestra”, where musicians of different nationalities are found, some Italian musicians, direct students and sound admirers of the master. The first title is MAFIRÎM and the works of Sephardic Jews in Ottoman classical music, a direct result of the fourth edition of the Bîrun annual seminary in Ottoman classical Ottoman music of April 2015. About two hundred years is the “photographic” period for the contributions of the Sephardic Jews, escaped the 1492 fury of the kings of the Iberian peninsula. Sephardic Jews were musicians collaborating, but for example, they brought a pinch of Spanishism into classical Ottoman music. It can therefore be deduced that “Turkish Ottoman music”, over time, encountering various cultures, for its strategic geographic position, was able to benefit from a wide variety of musicology, giving rise to two major apertures, the first linked to uses and costumes of multiethnic peoples, the second structured by its own musically incisive and well-identified identity, bringing the Ottoman Music to the majestic, rich in exotic sounds and metaphorical musical themes, Turkish Classical Music .

Turkey with a range of repertoires from folklore Anatolia, to classical national music, is represented by the most important composers who have created a new and interesting piano literature that while still being a modern evolution has retained the tonal and rhythmic authenticity inspired Turkish dances, ancient ancient melodic phrases linked to mythological, mystical and pianistically transcendental meanings, sometimes transforming into spiritual songs in connection with the lunar form and position following the intense reflection of the legendary light of legendary paths.
It is a very difficult pianist literature, which is rarely performed by solo pianists, Aysun Estefany thanks not only to the experience of its turkish studies but above all to the great love it has always brought for this land is getting closer to Turkey and to Turkish music.

AHMED ADNAN SAYGUN. Composer and ethnomusicologist, began his studies in his hometown Ismir, continued to Paris, then settled in Ankara; he is the author of essays on Turkish folk music, theatrical works, symphonies, choir pieces, piano compositions and a piano and orchestra concert.
HASAN FERID ALNAR. Much well-known for his instrumental compositions in general, especially for his piano compositions, it is worth remembering the Turkish suite composed of 8 pieces each of which are very different both technically and melodically.
Albums by Ferit Hilmi Atrek and other Turkish composers.
It is a volume of 100 pages in which Turkish singing and pianist musical phrases live in symbiosis, are to be remembered “Les beaux jours d’antan”, “Chanson d’amour” where a musical journey between romance and impressionism is interwoven. The pianist has interpreted the complete work of all 100 pages with a great sense of devotion and love for Turkey and for Turkish music. You can not avoid mentioning the album “Ghazi Ozman Pacha”, which is 177 pages with the old Ottoman writing perfected both in music and piano by Aysun Estefany.
This secular music is proof of the variety and avant-garde of the classical Anatolian musical style, from these works are the first steps of a “great music” taken with care and meticulousness by the pianist, performed in his recitals, bringing him proudly in the most disparate parts of the world.
◊ Turkish Music Aysun Estefany’s Amadeo Rodriguez “Tribute to the two great Turkish composers: Ahmed Adnan Saygun and Hasan Ferid Alnar”

◊ In your musical engagement, did you have moments of perplexity?
No, because I believe in what I love and what I feel.
◊ Is the anatolian music in general for the Occident sometimes complex, has not you ever been worried about this?
No, just because I can always transmit my music to the public.
◊ Why do you feel so tied to Turkey?
Because it’s a part of me and my life.
◊ How would you describe Turkey in a few words?
A nostalgic land that goes from mystery to mysticism. Unique, unique in the world.
◊ Did not you ever think about leaving Istanbul during the concerts?
Never.
Why Why?
Because even though pain has been the most real moments of my life since childhood in Hatay, the city of my paternal grandmother, in Istanbul many years ago and still today.
◊ Are you an interpreter of Andalusian music, cited as an excellent performer by Manuel De Falla, and often from Andalucia goes to Spanish Morocco, which of its two countries of origin loves more?
Many years ago, Spanish Morocco, but now Turkey.
What has pushed you to love Turkey more?
A strong need for spirituality, inner tranquility, peace in myself, trying to close the open wounds of my past.
◊ Many classical Turkish pianists have devoted exclusively to western music, some abandoning Turkey, what do you think about it?
It is generally a personal choice, sometimes influenced by the Western pianist mentality that it feels impossible to make career in the Anatolian territory; on the contrary, Turkey is full of festivals, musical events that give space to artists all over the world.