İstanbul kemençesinde Derya Türkan’ın ev sahipliği yaptığı Circle of Resonance, Cemal Reşit Rey Konser Salonu’nda bir gecelik bir çember kuruyor. İnsan sesine yakın kemençe; sevinci ve hüznü aynı açıklıkla taşıyor.Circle of Resonance, hosted by Derya Türkan on Istanbul kemençe—an instrument he describes as “close to the human voice,” capable of carrying both joy and sorrow—brings together a one-night circle of musicians at Cemal Reşit Rey Concert Hall (CRR), Istanbul.
Michel Godard’ın ses gibi yakın serpent’i, Ali Bahrami Fard’ın geniş ses alanına sahip santuru, Efren Lopez’in erken dönem ve Akdeniz tellileri, Arto Tunçboyacıyan’ın tepkisel ritmi. Her biri, Derya’nın kemençesiyle derin dinleme ve doğaçlamanın ortak dilinde buluşuyor.In this ensemble, Michel Godard (serpent—an early ancestor of the tuba, chosen for its voice-like intimacy and microtonal flexibility), Ali Bahrami Fard (santur—expanded across registers and built for wide modulation and cross-cultural tuning), Efren Lopez (a roaming palette of early and Mediterranean strings, moving between timbres as a composer-creator), and Arto Tunçboyacıyan (percussion—“reactional” rhythm as lived philosophy) meet Derya’s kemençe in a shared language of deep listening and improvisation.
Ortaçağ Avrupa belleği, Osmanlı geleneği, Anadolu’nun makamsal düşüncesi ve çağdaş dokular. Gelenekler, dikkat, boşluk ve güvenin tuttuğu bir alanda birbirleriyle gerçek zamanlı konuşuyor.The music doesn’t “blend genres” so much as it lets traditions speak to each other in real time—medieval European memory, Ottoman lineage, Anatolian modal thinking, and contemporary textures—held together by attention, space, and trust.
Batu Akyol’un belgesel bakışı, pandemi dönemindeki konuşmalardan sahnedeki somut buluşmaya uzanan hikâyeyi izliyor.The first performance at CRR is also being documented by Batu Akyol, following the project’s origin story from pandemic-era conversations into a tangible, resonant gathering on stage.