corpus zakhar i a khan end eh

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Zakharia Khanendeh

Worksof GreatMediterraneanComposers


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his document has been produced with the financial assistance of the European Community. The viewsexpressed herein are those of the publishers and can therefore in no way be taken to reflect the official opinionof the European Commission.


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Worksof GreatMediterraneanComposers

Zakharia Khanendeh

- edited by

Kyriakos Kalaitzides


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II MediMuses

:

:, Walter Feldman, Mahmoud Guettat, ,Toufic Kerbage, Kiya Tabassian

(18):

: : : :

: , : Hy Brazil

:

: : : , 2005

2154622 tel.: +30 2310253285/6fax: +30 2310257485

e-mail: [email protected]

, .


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European UnionProgramme Euromed Heritage IIMediMuses ProjectAction for the History of Music of the MediterraneanAnthologies with works of Great Mediterranean Composers

Artistic Director: Kyriakos Kalaitzides

Under the guidanceof the Workgroup for the History of Music: Thomas Apostolopoulos,Walter Feldman, Mahmoud Guettat, Kyriakos Kalaitzides, Toufic Kerbage, Kiya Tabassian

Zakharia Khanendeh (18th century)Edited by: Kyriakos Kalaitzides

Texts: Kyriakos KalaitzidesTranslation into English: Christos CarrasEditing of the Greek text: Despoina SarafeidouEditing of the English text: Efthimis Katsikas

Digital editing of scores: Dimitris Mistakides, Ioannis SoukisGraphic Design: Hy Brazil

Concept: Kyriakos KalaitzidesProduction coordination: Nikos TerpsiadesProduction assistant: Melina Pantazidou

Production: En Chordais, July 2005

EN CHORDAISMusical Traditions of the Mediterranean21 Pavlou Mela Street,54622 Thessaloniki, Greecetel.: +30 2310253285/6fax: +30 2310257485e-mail: [email protected]

Unauthorized republication or reproduction of the content of this publication in any medium isforbidden.


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9Prologue

Many significant masters have been creatively active in the Near East. Often the impact oftheir work has reached beyond the boundaries of the city or country where they lived andspread throughout the Mediterranean. Nonetheless, the lack of a complete and documented

presentation of this common cultural heritage is today making itself more and more acutelyfelt; a presentation of particular scientific and educational interest to teachers and studentsof music schools and academies, researchers and musicologists that would also create aninspiring backdrop for new musical creation by contemporary musicians.

Thanks to this series, interpreters, musical ensembles, orchestras and choirs around theworld will have the opportunity to globally study the particular musical idioms of greatcivilizations, as these have been expressed by great composers through the ages. At thesame time, the presentation to the general public of these works of great aesthetic value andimportance will be made possible.

In opposition to the contemporary trend towards conflict between nations, fed by ideologiesof cultural superiority or inferiority, the series hopes to contribute to the reconciliation andthe peaceful coexistence of the Mediterranean peoples, with their common musical heritageacting as an axis of cohesion.

The beginning of this effort is taking place as part of the MediMuses project that is fundedby European Union in the context of the Euromed Heritage II program and has also receivedfinancial support from the Hellenic Ministry of Culture. The MediMuses Workgroup forthe History of Mediterranean Music worked on the planning of the series and in the firstphase six collections of works will be published. Each collection contains the complete worksof the composer, a brief biography, interpretational notes and other related material whichwas collected and edited by established musicians and musicologists of the Mediterranean.


Artistic Director MediMuses


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0 MediMuses42 ( 2002 2005), ,

11

7 75 6 (CD) 6 (CD) 6 -2 / 10 - / 3 / 2

MediMuses project42 months (February 2002 July 2005)Research, study, re-composition and promotion of the elements of the commonMediterranean musical heritage

11 Concerts7 International Music Meetings75 Visiting Lecturers6 CDs in the Great Mediterranean Masters series6 CDs in the Great Mediterranean Composers series

6 Anthologies with works of Great Mediterranean Composers2 Workgroups / 10 Workshops / 3 Symposia / 2 Volumes for the History and Theory ofMediterranean Music


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1LEADER

EN CHORDAIS, Musical Traditions of the MediterraneanThessaloniki, GREECE

PARTNERS

- THE NATIONAL MUSIC CONSERVATORYOF THE NOOR AL HUSSEIN FOUNDATIONAmman, JORDAN

- THE LEBANESE NATIONAL HIGHER CONSERVATORY OF MUSICBeirut, LEBANON

- EL HEFNY CENTER FOR MUSIC STUDIESCairo, EGYPT

- ASSOCIAZIONE CULTURALE SCUOLA DI MUSICA ANTICA VENEZIAVenice, ITALY

- THE BYZANTINE FESTIVAL IN LONDONLondon, UNITED KINGDOM

- ECUME, Echanges Culturels en MditerraneMarseilles, FRANCE

- CENTRO FLAMENCO PACO PEACordoba, SPAIN

- ST. LAZARUS SCHOOL OF BYZANTINE MUSICLarnaca, CYPRUS

www.medimuses.gr


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BIOGRAPHY


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1ZAKHARIA KHANENDEH

Elements of a biographyZakharia Khanendeh1 was a leading melodist and one ofthe greatest figures of Classical Near Eastern Music. Turkishresearchers agree unanimously that he was the most important

composer of vocal works. In the Xeropotamou codex 277,before a composition of his, the Kalophonic Heirmos (a form ofhymn) Thine awesome judgment seat, one finds the followingcharacteristic comment: the melody being that of the pre-eminent exponent of Persian Musical Art, the most nobleZakharia, suggesting the predominant position of Zakhariain secular music.

The most immediate testimony regarding Zakharia is to befound in Xeropotamou 318 and Vatopediou 1427 manuscripts(written in 1818, a few years after Zakharias death). There,the Hierodeacon Nikephoros Kantouniares of Antioch, amongstbiographical elements of all those who at times excelled inmusic, characteristically states:Zakharia Khanendehat the beginning of the seventeenth century,student of many,being unfulfilled in spiritual musicsucceeded greatly in worldly music.

This mention is a reference point in the perusal of Zakharias

life and work, since it touches, albeit laconically, the issuesthat will concern us further on.

1. It confirms the Khanendeh status.2. It dates his presence to the beginning of the seventeenth

century, manifestly intending the eighteenth century2.3. It informs us that he was a student of many, which one

should read as meaning many teachers of ecclesiasticalmusic.

4. The phrase being unfulfilled in spiritual music that is,

of ecclesiastical music, aims to underline the contrastwith the phrase that follows, based, amongst otherthings, on the small number of works of Byzantinemusic, rather than to undermine the art of Zakharia insetting Byzantine texts to music

5. It ends with the phrase succeeded exceedingly inworldly music, in other words in secular music. Theword exceedingly indicates both the surpassingrange and skill of the compositions, and the fame thatsurrounded the composer.


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1Zakharia was born in (Constantinople) Istanbul, and sourcesindicate that he lived in a Yali3 in the Bosporus suburbs,between Bebeki and Therapeia4, where, far from the crowd,he lead a peaceful and solitary life, having music as hisconstant occupation. In the Turkish bibliography 1680 and1740 or 1750 are mentioned as the dates of his birth and death

respectively, with many question marks. However, evaluatingindirect information on this issue from various sources, wecan establish the following facts:

He was a singer at the seraat the time of Sultans Ahmet III(1703-1730) and Mahmout I (1730-1754)5. This means that hisperiod of activity coincides with the time of Lale Devri. Hewas a contemporary of Daniel Protopsaltis (precentor) 1740-17896, of whom he was a friend, a student but also a teacher.Daniel taught him ecclesiastical music whereas Zakharia inturn taught him secular music7. This means that Zakharia mostlikely died after 1760 at the least. It is unlikely that Danielwould have taught him a musical system that required morethan ten years to be mastered, at an age of under twenty yearsold. Furthermore, it is logical to assume that Zakharia was firsttaught ecclesiastical music and then went on to compose all thelessons that are listed analytically in his catalogue. Combiningthe Greek and Turkish sources and bearing in mind the averagelife expectancy of that time, we consider it more likely that hewas born at the beginning of the eighteenth century and thathe died after 1760, towards the end of the century. Indeed,

if Kyriakos Philoxenoss opinion concerning the authorship ofEuterpe8 is valid, as regards its date of creation (towards theend of the 1790s) then Zakharia would seem to have passedaway at a ripe old age To the above one should add that ifZakharia had indeed been alive during the years 1680-1740, itwould be logical for compositions of his to have been includedin the collection drawn up by Demetrios Cantemir (1673-1723)in which are saved over 350 works by contemporary but alsoolder composers.

Zakharia came from a very wealthy family that was involvedin the fur trade. In the various manuscripts of the time,one also finds him mentioned by the name of kurcu, whichmeans furrier. This is an indication that his origins werefrom Kastoria or Siatista, since in those days profession oftenbetrayed the place of origin. The esnaf (guild) of furriers, towhich Zakharia would have belonged, was one of the richestand most powerful and its leadership was always in the handsof Greek-speaking Christians, of Constantinople, who oftenassisted the various institutions that community. For example,


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1apart from the construction of the church of the local HolySepulcher dependency (the original building in 1640 and theone, that survives to this day, in 1728), the guild of furriers hadfinancially supported a large number of churches and monasticdependencies. Indeed, if a monastery or other holy institutionfaced financial problems, the Ecumenical Patriarch assigned

its financial management to the guild of furriers9

.

In periodicals of the time he is also referred to as Mir Jemil.This gave rise to misinterpretations by Turkish scholars whoconcluded that towards the end of his life he had become aMuslim10. This opinion cannot be correct, on the one handbecause the meaning of the phrase Mir Jemil is augustgentleman, which is a term of honour or a nickname, somethingvery frequent at that time. On the other hand, because in Greeksources he is always referred to as Zakharia, with or without thetitle Khanendeh, and it is unlikely that he could have convertedto Islam without any of the following persons commentingon this fact: one or other of the people who mention him inperson (Hierodeacon Nikephoros Kantouniares of Antioch,Chrysanthos Madytinos Metropolitan of Dyrrhachium,Kyriakos Philoxenes, Georgios I. Papadopoulos), the authorsof the codices in which his works have been preserved (tomention only those that are already known: DamaskenosAgraphorendiniotes, Athanasios Domesticos, Andreas - apriest from Chios, Petros Lambadarios the Peloponnesian,Dionysios Hieromonk, Balasios Vlittes, Olenites, and other

authors whose names are not yet known), of those who wereassociated with his work (Daniel Protopsaltis, AnastasiosRapsaniotes) and theprotopsaltes who included his works intheir collections (Theodoros Phokaeus, Stavrakis Byzantiosand Zographos Keiveles). All the more so at a time at whichreligious identity was synonymous with national identity andthe notion of race (genos) itself. Moreover, the scale, valueand dissemination of his ecclesiastical compositions reveal apersonality that had a deeply rooted relationship with to theart of chanting and its concomitant worship tradition and not

mere aesthetic preoccupations.

Not only the title Khanendeh but also his works allow us tounderstand that he was an exceptional singer11. Nevertheless,as Papadopoulos notes, and as is handed down by tradition, henever exercised the profession of chanter. Indeed, according toone source, he played the tanbur12.



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1 (Khanendeh) ( ).2 , .3Yali-, .4 B.S. Ediboglu, Unlu Turk Bestekari, Istanbul 1962 . 21.5 Selahi Efendi : 25 1738 (4 Sevval 1150), , -. . Dr Suphi Ezgi : ,

Veliyuddin Efendi Beste, Cenber,Isfahan, Zakharya, Segah Zakharya . Hafiz, -, , . (1703-730) ., (. Sadun Aksut: Turk Musikisin 100 Bestekari, Istanbul 1993, . 57-61 Istanbul Ansiklopedisi, Istanbul 1993, Zaharya-: Mehmet Guntekin).6 B..,,

(1453 - 1821),2 1969. ..., .7 B.,, 1832 , , 1890.8 B. .9 : ,, 1958., , 1862 ., ,1880.10 Yilmaz ztuna, Sadun Aksut, Mehmet Guntekin, B.S. Ediboglu. . , . (turku) .11. Yilmaz ztuna, Turk Musikisi Klasikleri, Istanbul 1972 . 32.12..


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ENDNOTES

1 Khanendeh: master singer.2 The writer in question commits the same error in all his datesconcerning the codex referred to here, recording the said dates ahundred years earlier.3Yali is the term for a characteristic wooden seaside residence of the

Ottoman nobility such as those one frequently encounters on thebanks of the Bosporus.4 B.S. Ediboglu, Unlu Turk Bestekari, Istanbul 1962, s. 21.5 The following entry was made in the diary of Selahi Efendi: Onthe 25th of January, 1738 (4 Sevval, 1150), Saturday, the Sultan in allhis magnificence, honoured The Topkap seraglio with his presence.Outside the palace, the learned singer Zakharia, together with othermusicians and singers, entertained and paid reverence to the Sultanby playing a selection of semai (finales) and other works composedby Zakharia himself. Dr. Suphi Ezgi writes: In the library of theuniversity, in historical volume and journal by Veliyuddin Efendi, a

reference is made with the titles Beste, Cenber, Isfahan, ZakhariaandSegah Zakharia. In an older hand-written journal of Hafiz, whichis to be found in the Topkap palace library, the name Zakharia isnowhere to be seen. In another journal of the same era by Ahmet thethird (1703 -1730), he is referred to as the furrier which means thatZakharia indeed flourished around that time.6 Daniel Protopsaltis (1740 - 1789), in Ch. Patrinelis Protopsaltae,Lampadarioi kai Domestikoi tes Megales Ekklesias (1453 -1821), Mnemosyne 2, 1969. Daniel attained the rank of ArchonPrecentor of the Church of Christ (the Oecumenical Patriarchate ofConstantinople).7

Chrysanthos of Madytos Theoretikon Mega tes Mousikes, Trieste,1832, and George Papadopoulos Contributions concerning thehistory of our own ecclesiastical music, Athens 1890.8 See below in general comments concerning his opus.9 Other material on the guilds (brotherhoods/esnaf) in GedeonManouels The ancient and revered establishment of Constantinople,1958, in A. Paspatess book Commentary on the Greek Hospital,1862; and in A. Paspates book with same title, 1880.10 Yilmaz Oztuna, Sadun Aksut, Mehmet Guntekin, B.S. Ediboglu.Confusion and insufficient validation of sources can be observed inother questions, as for example in the impartment that Zakharia isversed in Arabopersian music which is wrongly interpreted to meanthat he knew both Arab and Persian music. On the question of theEuterpe collection, it is understood that he has also written a bookof popular songs, etc.11 See Yilmaz Oztuna, Turk Musikisi Klasikerli, Istanbul 1972, s.32.12 ibid


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ERGOGRAPHY


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A

1. Hicz Beste, Devr-i kebr & Berefn, Yar Yne tabni gah hayrele

2. Hicz Beste, Berefn, Tab ruhsan ma dili suzanma

3. Hicz Beste Hmyn, Air enber, Ah dmesin miskin ()4. Uak Beste, enber, Ah camlalin sun peyapey

5. Uak Beste, Berefn

6. Hseyni Beste, Berefn, eb nem gibi salsn, Nafiz

7. Hseyni Beste, Air enber, Ah yar cemlin, Nafiz ()8. Isfahan Murabba, enber, Leylei zlfn, Kilari Halife Nafiz Bey ()9. Bselk Asirn Beste, Air enber, Ah Lalin emdir hikmetin

10. Rast Beste, enber, Ah ren mev ciab zm rtden, Nafiz

11. Sab Beste, Devr-i kebr, Gulsitan- naks hsnnden, Nafiz

12. Segh Beste, Air enber, Ah esmi meygnun, Ragip Pasa

13. Hseyni Beste, Air enber, Niaha rushat olmu

14. Hicz Air Sem, Aksak Sem, Ah cihani hsnne meftn

15. Hseyni Nakis Air Sem, Aksak Sem, Tla tn devr-i kamerde, Nafiz

16. Isfahan Nakis Air Sem, Aksak Sem, Ah karar itmez gnl mrgi, Baki

17. Hseyni Aksak Sem, Aksak Sem18. Uzzal Nakis Yrk Sem, Yrk Sem, Terkeyledi geri beni

19. Isfahan Nakis Yrk Sem

20. Sab Saz Semsi, Aksak Sem

21. Bestenigr Perev, Devr-i kebr

B

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List of works

The origin of Zakharias ecclesiastical music is indicated in the following list. His secular

compositions were found copied in various publications of Turkish music collections in the

archives of the Conservatoire at Istanbul, as well as in the Euterpe andMousikon Apanthisma

collections.

A SECULAR MUSIC

1. Hicz Beste, Devr-i kebr & Berefn, Yar Yne tabni gah hayrele

2. Hicz Beste, Berefn, Tab ruhsan ma dili suzanma

3. Hicz Beste Hmyn, Air enber, Ah dmesin miskin (version A & B)4. Uak Beste, enber, Ah camlalin sun peyapey

5. Uak Beste, Berefn

6. Hseyni Beste, Berefn, eb nem gibi salsn, lyrics by Nafiz

7. Hseyni Beste, Air enber, Ah yar cemlin, lyrics by Nafiz (version A & B)

8. Isfahan Murabba, enber, Leylei zlfn, lyrics by Kilari Halife Nafiz Bey (version A & B)9. Bselk Asirn Beste, Air enber, Ah Lalin emdir hikmetin

10. Rast Beste, enber, Ah ren mev ciab zm rtden, lyrics by Nafiz

11. Sab Beste, Devr-i kebr, Gulsitan- naks hsnnden, lyrics by Nafiz

12. Segh Beste, Air enber, Ah esmi meygnun, lyrics by Ragip Pasa

13. Hseyni Beste, Air enber, Niaha rushat olmu

14. Hicz Air Sem, Aksak Sem, Ah cihani hsnne meftn

15. Hseyni Nakis Air Sem, Aksak Sem, Tla tn devr-i kamerde, lyrics by Nafiz

16. Isfahan Nakis Air Sem, Aksak Sem, Ah karar itmez gnl mrgi, lyrics by Baki

17. Hseyni Aksak Sem, Aksak Sem

18. Uzzal Nakis Yrk Sem, Yrk Sem, Terkeyledi geri beni19. Isfahan Nakis Yrk Sem

20. Sab Saz Semsi, Aksak Sem

21. Bestenigr Perev, Devr-i kebr

B ECCLESIASTICAL MUSIC

Dogmatic hymns at the Glory, Vespers. Texts by St. John of Damascus.

1. Ten Pankosmion doxan (Let us praise the Virgin Mary, the Glory of the world),fi

rst ekhos.NLG 915.

2. Parelthen he skia tou nomou (The shadow of the law passed), second ekhos. NLG 915.

3. Pos me thaumasomen (How can we not wonder), third ekhos. NLG 915.

4. En te Erythra thalasse (In the Red Sea of old), ekhos plagal offirst. NLG 915.

5. Tis me makarisei se (Who will not bless you), ekhos plagal of second. NLG 915.

6. Meter men egnosthes (No tongue can speak of your wonderful childbearing...indeed, you

were revealed to be a mother above nature), grave ekhos. NLG 915.

7. Ho Basileus ton ouranon (The King of heaven), ekhos plagal of fourth. NLG 915.


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8. , . 19, 804.

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962, 804, 277, 305.10. , . 962, 804, 295, 977, 1000, 295, 3.

11. , . 295.


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Doxologies

8. Slow, grave ekhos, tetraphonos. Gritsanes 19, MPT 804.

Kalophonikoe Heirmoe

9. Phrikton to bema sou, (Thine awesome judgment seat), ekhos plagal of second.

Text by Parthenios, Patriarch of Jerusalem. NLG 962, MPT 804, Xeropotamou 277,Xeropotamou 305.

10. Ouranos polyphotos (The Church has revealed you as a many-lighted heaven), grave

ekhos. NLG 962, MPT 804, Patmos 295, Panteleemon 977, Panteleemon 1000, Meteora

295, Gritsanes 3.

11. Hoe tes Khaldaeas kaminou (The youths in the Chaldaean furnace), first ekhos. Patmos

295.


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