EVERYTHING CHANGED FOR ME WHEN I DISCOVERED THAT ALL PATHS ULTIMATELY LEAD TO YUNUS EMRE

We spoke with musician and lecturer İsmet Aydın about Anatolian music and the minstrelsy tradition

His interest in music began when he started playing the baglama at a young age. He was the first person that came to mind when music was mentioned during his school years. Afterward, he pursued his studies at Istanbul University State Conservatory, Singing Department. The concert he performed with his band at the Royal Albert Hall in London was the turning point in his career. We embarked on a brief journey with İsmet Aydın, who represented Türkiye with the concert he performed in Varanasi on August 26, accompanied by the G20 Orchestra of the Ministry of Culture of India, discussing his career.

1- HOW DID YOUR INTEREST IN MUSIC SPARK? HOW COULD YOU CONVEY THE PLACE OF MUSIC IN YOUR LIFE?

I developed an interest in music from an early age. My father played baglama. I believe my interest in music stemmed from him. Later, as I explored the instrument that I saw my father play and attempted to comprehend it, I began to refine my skills, sometimes learning from him and sometimes through my own efforts. I was the first person that came to mind when music was mentioned during my school years. I aspired to pursue this profession as a career. I was admitted to the Istanbul University State Conservatory, Singing Department. There, I received voice and instrument performance training from my esteemed teachers and delved into opera. I completed both my master’s degree and doctorate. Currently, I continue to pursue my music career and also provide education in the field.

2- HAS THERE BEEN A TIME IN YOUR LIFE THAT YOU CAN SAY IS THE “MILESTONE OF YOUR CAREER”?

My first professional project was participating in festivals in Russia and England with our music group, Mesel. The turning point of my career was performing a concert at the Royal Albert Hall in London. This holds significant importance for me. This concert had a significant impact because both Zeki Müren and Sezen Aksu had performed there before us. As a Turkish band, it is a great honour for us to perform such a concert in London. Of course, it was not just about that. Thanks to these concerts, I developed an interest in world music. Of course, the concept of “world music” also encompasses elements of jazz music to some extent.

I became curious about how I could understand and learn jazz music. I also pursued my master’s degree in jazz music. I had a band named Arfana. We also collaborated with Türkiye’s leading musicians to work on an album. The turning point of my career was the Royal Albert Hall concert, and afterwards, I received an invitation from India and went there. I believe the experience I had there surpassed all others.

3- YOU ATTENDED THE G20 SUMMIT UPON THE INVITATION OF THE MINISTRY OF CULTURE OF INDIA, RIGHT? WHAT DID YOU EXPERIENCE? COULD YOU TELL US ABOUT YOUR EXPERIENCES?

During the G20 Summit in September 2023, a cultural series was organized by the G-20 Culture Working Group (CWG) in New Delhi, India’s capital. Artists from 29 different countries convened, joined by the Ministers of Culture from 20 countries. Concerts were held under the title “Sur Vasudha” with the slogan “One World, One Family, One Future”. As part of these events, I performed a concert in Varanasi on August 26, representing our country. Upon another invitation, I performed two separate concerts at the Ruhaniyat Mystic Music Festival in Delhi and Ahmedabad. At the concert, I presented a repertoire spanning from Mevlana Celaleddin Rumi to Yunus Emre to Ministerels (Âşık) of Anatolia.

It was incredibly valuable to participate in such an event alongside artists from various parts of the world and diverse cultures. The event featured grand and unique compositions incorporating traditional instruments, world music, and instruments from various cultures including Indian and Western instruments. It was undeniably an incredible experience for me. What also intrigues me is the distinct interest in the Anatolian tradition of minstrelsy. They are deeply familiar with Turkish culture. They also have a profound affection for their own culture and immerse themselves in it at every opportunity. Concerts draw substantial crowds. They seek out older and original elements there. It was fascinating to observe and hear similar aspects of Anatolian traditions mirrored in musicians from Northern India and Taiwan. These are indeed common aspects of the human experience.

4- HOW DOES ANATOLIAN MUSIC MAKE YOU FEEL? DO YOU THINK THE TRADITION OF MINSTRELSY IS STILL KEPT ALIVE?

Folk music and Anatolian music are integral parts of all musical traditions in Türkiye. In fact, music is classified by various sectors. Erkan Oğur, my long-time mentor, always said, “The most widely listened-to music in Türkiye is folk music.” Not everyone may know every folk song, but everyone has at least one folk song they are familiar with. Everything changed for me when I delved into the minstrelsy tradition and discovered that all paths ultimately lead to Yunus Emre. Especially Yunus Emre, Karacaoğlan, Dadaloğlu, Âşık Veysel, Âşık Mahsuni Şerif, Âşık Davut Süvari, and many other minstrels, whose names I cannot list, hold immense value for me.

In fact, the minstrels are interconnected… You can certainly observe the echoes of Yunus Emre in the poems of Âşık Veysel. The minstrelsy tradition stands as one of the most crucial elements in Anatolian music. I believe this tradition is far from over, and I am dedicated to preserving its legacy to the best of my abilities.