"Another great title is for Edward J. Hines's piece Hommage: Saygun et Bartok en Turquie, subtitled "Chanson de Hatice Deklioglu." The piece refers to the visit in 1936 by the two composers Bartok and Saygun to a Turkish village, where the 13-year-old Hatice Deklioglu sang a folksong for them. The two players at one point intone the words of the song "I came to this World from Istanbul / My affection is for the daughter of the Armenian / Don't eat, don't drink, but look at the eyes of the young one / Take me to the saddle, oh son of the Kurd, and let us go." Hines's piece is a set of variations on the original recording, but it is also a tribute to the two composer--especially Saygun, perhaps, as Hines studied composition and ethnomusicology with him on a Fulbright scholarship in the mid-1980s. Towards the end, we hear the original recording above sustained notes on sax and bassoon; the instruments react to the sound, too. It is an unbearably touching moment when one is aware of the basis of the piece."
-Colin Clark, Fanfare Magazine, Nov/Dec 2019, Review of Donut Robot
The most unique offering is probably the piece by Hines, whose full title is "Hommage: Saygun et Bartok en Turquie 1936 (Chanson de Hatice Deklioglu)." Deklioglu was a thirteen-year-old girl when Bela Bartok and Ahmet Adnan Saygun recorded her singing an Armenian folk song in 1936 on an ethnomusicological field trip in Turkey. During their performance, both Fredenburg and Rodriguez recite the English translation of the text of the song Bartok and Saygun recorded; and the source recording is played as part of the coda of Hines' composition.-Stephen Smoliar, The Rehearsal Studio, February, 2019, Review of Donut Robot
For Hines' Hommage: Saygun et Bartok en Turquie 1936 (Chanson de Hatice Deklioglu), the listener time-travels to 1936 when Bartok and fellow composer A. Adnan Saygun recorded thirteen-year-old Hatice Deklioglu singing a folk song at a village in Turkey (over time, Bartok and Saygun collected nearly 100 folk tunes and melodies using wax cylinder recording machines and notating the material by hand). In this moving piece, Hines created a set of variations from the theme in the original recording, and towards the end the grainy recording of Deklioglu's voice appears accompanied by soprano sax and bassoon (in a daring turn, translated text of the words sung by her are recited by the duo in the middle of the work).- Textura Magazine, Ontario, Canada, April, 2019 Review of Donut Robot DESCRIPTION In November, 1936, the Hungarian composer Bela Bartok traveled throughout southeastern Anatolia collecting indigenous folk music of nomadic Turkish tribes. Bartok's objective was to establish the first formal ethnomusicological research in Turkey, but also to prove a connection between the Turks and the Magyars. Bartok hoped to prove this connection through the discovery of common ancient folk tunes or melodies, which ultimately he was able to accomplish.
Bartok was accompanied on this journey by the thirty year old composer A. Adnan Saygun. A native of Izmir, Turkey, Saygun was trained in the traditions of Ottoman court music when he was growing up. His father, a teacher of mathematics, taught Saygun both French and English. In the early 1920's, Saygun won a national scholarship to attend the Schola Cantorum de Paris where he studied composition with Vincent d'Indy. After four years in Paris, Saygun returned to Turkey where by 1936, he was a leading composer in the nationalist movement of the young Turkish republic under the leadership of Mustrafa Kemal Ataturk.
Together, Bartok and Saygun collected nearly 100 folk tunes and melodies, documenting works on wax cylinder recording machines and notating melodies by hand. Bartok, who did not speak Turkish, relied on Saygun to act as both translator and guide. From their research, both Bartok and Saygun authored books on their findings.
One of the first songs collected was sung by a thirteen year old girl named Hatice Deklioglu (HAH-tee-jay DEK-lee-oh-loo) who was illiterate. The first of four verses inspired Hommage, translated from the original Turkish:
I came to this world from Istanbul
My affection is for the daughter of the Armenian
Don't eat. don't drink, but look into the eyes of the young one.
Take me to the saddle, oh son of the Kurd, and let us go.
Edward Hines' Hommage Bartok et Saygun en Turquie, 1936: Chanson de Hatice Deklioglu is a work which functions at several levels. The music which Hines composed is a set of variations on the theme of the original recording. This theme is presented in the opening of Hommage, and also at the end in an audio clip that features Ms. Deklioglu's actual voice; she joins the ensemble in a haunting and poignant moment where past and present are united. At another level, Hommage is a personal tribute to Bela Bartok and Adnan Saygun, two artists from very different worlds who joined together to discover their common bond.
Edward J. Hines studied composition and ethnomusicology with Adnan Saygun as part of a year long Fulbright research scholarship during 1985 and 1986.
AVAILABLE BY REQUEST, FOR MORE INFORMATION CONTACT EDWARD HINES MUSIC CONTACT EHM