Occupation(s) composer, tanburi Died 1885, Istanbul, Turkey Role Composer | Name Tanburi Osman Instruments tanbur Genres Ottoman classical music | |
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Compositions Nihavend Pesrev, Nihavend Pesrev, Huzzam Pesrev, Huzzam Pesrev, Nisaburek Pesrev, Nisaburek Pesrev, Segah, Segah, Huzzam Sazsemaisi, Huzzam Sazsemaisi, Ussak Pesrevi, Ussak Pesrevi, Saba Pesrev, Saba Pesrev, Rast Sazsemaisi, Rast Sazsemaisi, Yegah Pesrev, Yegah Pesrev, Ferahfeza Saz Semaisi, Ferahfeza Saz Semaisi, Revnaknuma Pesrev, Revnaknuma Pesrev, Hicazkar Pesrev, Hicazkar Pesrev, Nuhuft Pesrev, Nuhuft Pesrev Similar People Cemil Bey, Refik Fersan, Kemani Tatyos Ekserciyan, Tamburi Ali Efendi, Necdet Yasar | ||
Nihavend Peşrevi - Tanburi Büyük Osman Bey
Tanburi Büyük Osman Bey or Tamburi Büyük Osman Bey (1816–1885) was an Ottoman composer and Turkish tambur player. He is considered one of the most outstanding peşrev compositors in Ottoman classical music.
Contents
H zzam saz semai tanburi b y k osman bey with notes
Life
Tanburi Büyük Osman Bey was born in 1816 in the Tophane district of Istanbul. Most of the information we have on him originates from an oral tradition amongst his pupils and the pupils of those who knew him. His father, Zeki Mehmed Ağa as well as his grandfather Tanburi Numan Ağa were musicians of renown. At the age of eight, he was accepted to the Imperial School of Enderun, where he began his education among the foregoing masters of Turkish classical music, from whom he required a firm theoretical basis. His acquaintance with the tanbur also dates back to those years.
As his father Zeki Mehmed Ağa is said to have refused to pass on to his son his knowledge of the tambur, most of the work must have come to be incumbent on Osman Bey himself. He is also said to have participated in fasıls with prominent vocal musicians of his time such as Rifat Bey and Haşim Bey, improving mostly his vocal technique. With the death of his father, he gave up singing and concentrated solely on his instrument and took part in "incesaz fasılları" performed at the court of Sultan Abdülaziz Han. He is said to have made most of his compositions at this period. As he was enthusiastic about Mevlana Djelaleddin Rumi, he frequented many mevlevihanes, especially the Kulekapısı Mevlevihanesi on Fridays.
He is also said to have had an obsessive temperament, known for attempting to beat a kanuni who played a false note while playing the transition to the final part of his uşşak peşrevi.
In 1885, he succumbed to a pulmonary disorder from which he had been suffering for a long time, and is now buried in the cemetery of the Yahya Efendi Dergâhı in Istanbul. He had three sons and a daughter.
Compositions
As a composer, he excelled mostly in peşrevs which make up an important part of the current repertoire. His style displays a certain minimalism, avoiding rapid changes from one uslub to the other, thus lightening the peşrev form and conferring it a balanced structure. Most of his peşrevs use devr-i kebir as their rhythmical basis and are easily distinguishable from the earlier works of his precedents. The only former peşrev composer he is said to have cherished is Gazi Giray Han, of whose "Hüzzam Peşrevi" he had much appreciation (he designated the work as "sehl-i mümtenî", meaning "a simple work done with great skill", a "piece of jewel"). After having refused for a long time to compose a peşrev in this maqam (hüzzam) for the musical rites of the Mevlevi order, he finally composed the famous hüzzam peşrevi on the instigation of the sheikh of the Galata Mevlevi Monastery Atâullah Efendi. This piece is still widely heard during Mevlevi rites.
He has bequeathed the following compositions: