Journal of Education and Future, year 2012, issue 1, 173-185

Development of Flute Works in Turkey from

Turkish Republic to Present*

Ajda Şenol** Erol Demirbatır***

Abstract

Problem Statement: This study will giand briefly historical information of the
development of Turkish flute repertoire from the Turkish Republic to the
present Turkish flute works and their musical development and styles will be
examined.
Purpose of the Study: The purpose of the study is to mirroring the historical
development process of Turkish flute repertoire from the beginning of Turkish
Republic to present by analyzing important Turkish flute works.
Method: Methods of this study are literature review, interview with composers
and works analysis.
Findings and Results: In Turkish Republic the first Turkish flute works was
composed by talented young composers who were sent cultural centers of
Europe for education and after they turn back to Turkey. Solo flute, flute-piano,
flute and orchestral works were composed since Turkish Republic were found,
also contemporary composers composed works for different groups like for
flute-guitar-vibraphone-conga, pieces with accompaniment of electronic music.
Necil Kazım Akses‟s Sonata for Flute and Piano, composed in 1933, is
composed of three interconnected sections. It has a modal effect rather than
being tonal. Sayram Akdil‟s one of the most performed flute chamber music
piece Music for 3 Flutes and Piano was composed in 1981. Long flute sounds
that enter in regular turns give the movement an unmetered folk song effect.
The Mouldy Existence, composed in 1992 by Meliha Doğuduyal, starts with a
long flute solo in an improvised manner. There is no measurement in the atonal
part. Deformed Reflections was composed by Mesruh Savaş and he, thus, hopes
to have shown the audience the modern unusual skills of the flute and where
music stands today.
Conclusions and Recommendations: According to the study results it was
seen that at the beginning of Turkish flute repertoire composers aimed to place
polyphonic music in Turkey and then different style flute music was composed.
As an example contemporary composers used modern techniques and included
electronic sounds.
Keywords: Flute, Turkish flute repertoire, Turkish composers, pieces
analyzing.

*
This study was presented as papers at the International Conference on Social Sciences in İzmir, 2011.
**
Uludag University, Institution of Education Science, Department of Music Education, Bursa, Turkey.
E-mail: ajdasenol@uludag.edu.tr
***
Uludag University, Faculty of Education, Department of Music Education, Bursa, Turkey.
E-mail: redemir@uludag.edu.tr
174 Ajda Şenol, Erol Demirbatır

INTRODUCTION
Although western musical instruments were used in the 1700s by musicians who
came to Turkey from Europe, wide use of them started with the establishment of
Muzıka-i Humayun (The Ottoman Imperial Military Band) in order to form a
military band in western terms by Mahmut II. For example, according to Kösemihal
the well known French flutist Pierre Gabriel Buffardin (1690-1768) was in Istanbul
in 1713, and Johann Jakob Bach, J.S. Bach‟s elder brother, came to Istanbul in the
same year and studied flute with Buffardin (Kösemihal, 1939). Even though
prominent musicians came to Turkey, they did not stay in our country as they did not
earn enough to earn a living by making music, and thus western music instruments
did not manage to become widespread in our country until the establishment of
Muzıka-i Humayun.
The first conductor of Muzıka-i Humayun was Giuseppe Donizetti, who had
been a flutist in Napoleon Bonaparte‟s band, and when he came into office in the
palace, he started with teaching his students western style note, and he also reached
Muzıka-i Humayun instruments western standards (Özasker, 1997, p. 11).
In 1925, after the foundation of the Republic (1923), some talented youths were
sent to cultural centres of Europe for education. Upon coming back, these youths set
up the group who were the founders of the new Turkish Music and known as the
Turkish Five. The Turkish Five composers are Cemal Reşit Rey, Hasan Ferit Alnar,
Ulvi Cemal Erkin, Ahmet Adnan Saygun, Necil Kazım Akses (İlyasoğlu, 2009).
When they came back home, they started to form the modern Turkish composition
form. The youths who studied composition in Europe came back to Turkey as from
1930, and they started to create samples of modern music (Yuvarlar, 2008). The
Turkish Five primarily included melodic, mode, and rhythmical agents of Turkish
Folk Music and Traditional Turkish Classical Music in their works.
Methods of this study are literature review, interview with composers and works
analysis.

Flute Pieces and Composers in Turkey from Republic Period to Today1

The first Turkish flute pieces were composed of the flute pieces that The Turkish
Five, upon returning home, composed by virtue of the education they had obtained.

Table 1. Turkish five’s flute pieces

Composer Name Piece Name Date
Cemal Reşit Rey • Wind Quintet 1932
• Poeme – for flute and strings 1934
• Sazların Sohbeti – for flute, harp, two 1957
horn and strings
Necil Kazım Akses • Sonata – for flute and piano 1933
Ahmet Adnan Saygun • Wind Quintet 1968

1
Sources utilized for this list: Antep, E. (2006). Türk Bestecileri Eser Kataloğu (Turkish Composers Catalof of
Works). Ankara: Sevda-Cenap And Vakfı Yayınları, Yuvarlak, G. (2008). Çağdaş Türk Bestecilerinin Flüt
Repertuvarı ve Çağdaş Türk Flütistler. Unpublished Master Thesis. Kocaeli: Kocaeli Sosyal Bilimler Enstitüsü.
 Journal of Education and Future 175

When the flute pieces of the Turkish five are examined, it is seen that they
featured chamber music pieces and Necil Kazım Akses were composed by the first
flute sonata in that period. Three composers of the period have included the flute in
his five works.
Table 2. Same generation composers with Turkish five and their flute pieces
Composer Name Piece Name Date
Nuri Sami Koral • Quartet No.I – for flute and strings 1946
• Quartet No. 2- for flute and strings 1942
• Quartet No.3- for wind 1948
• Quartet with flute N.5 1969
Kemal İlerici • Benim Kırlarım – for flute 1967
Ekrem Zeki Ün • Yunus‟un Mezarında – for flute and piano 1933
• Sonata – for flute and piano
• Rhapsody – for flute and strings 1938
• Concerto – for flute and strings 1972
• Dinle Neyden. 1978
Faik Canselen • Oyun Havası – for flute 1939
• Little Suite – for two flutes 1967
• Yiğitleme “ Tamzara” – for flute, string quintet and 1939
piano
Ahmet Samim Bilgen • Kadınlar mı, Erkekler mi? – for flute, clarinet, 2 violins, 1932
cello, piano
Mithat Fenmen • Quartet – for flute, oboe, clarinet and bassoon 1938
• Trio – for soprano, clarinet, flute 1938

When these composers‟ works are examined, it can be seen that compositions of
flute pieces and flute concerto started in addition to chamber music pieces. Six
composers composed 16 pieces and most of these pieces for quartet.

Table 3. Turkish composers born between 1910-1950 and their flute pieces

Composer Name Piece Name Date

Sabahattin Kalender • Quintet - for piano, flute and strings 1983

İlhan Usmanbaş • Boşluğa Atlayış - for solo violin and flute, English horn, piano, 1965
contrabass,
• 12 Küçük Parça (12 Little Pieces)- for 3 flute, 2 oboe, violin, 1975
percussion,
• FL-75 – for flute 1938
• Bach‟ın Küçük Prelüdleri (Little Preludes of Bach)- for flute,
oboe, clarinet, horn, bassoon, org, violin
176 Ajda Şenol, Erol Demirbatır

Ertuğrul Oğuz Fırat • İneğe Övgü Op. 23 – for voice, piano, flute, oboe, bassoon, org 1965
and viola
• Tohumun Kıvılcımları Op. 60 – for contrabass and quintet for 1980
percussion and wind
• Uyumsuzluğun Uyum Odakları Op. 63 – for flute, oboe, clarinet, 1981
bassoon
• Devrici Ortamda Sazların Cumhuriyeti Op. 15 – for flute, violin, 1961
piano
• Kalabalık Beyin Sormakla Çoğalmış Op. 83 – Göynük/Sonata for 1991-92
flute and org
• Gerçek Simge Oyun Op. 53 – for flute, cello, two piano, yalkın ır 1977-78
( traditional instrument) and coro
• Yivcil Morun Seslenişi 3 Op. 74 – for flute and piano 1971-84
Necdet Levent • Beş Parça (Five Pieces) Op.13 – for flute and chamber orchestra 1978
• Suite Op. 21 – for solo flute and string orchestra 1988
• İkili ( Duet) Op. 24 – for flute and viola 1989
• Nostalji Op. 31 – for flute and piano 1983-92
• Pieces for Flute with Piano Accompaniment Op. 38 1993
İlhan Mimaroğlu • Triple Talk – for flute, violin, cello 1991
Cenan Akın • Yaylada – for flute 1988
Muammer Sun • Serpintiler – 16 pieces for woodwind quintet 1965-76
Cengiz Tanç • Lirik concerto – for flute, oboe and strings 1983
Kemal Sünder • Sonatin Op. 18 - for flute and piano 1977
İlhan Baran • Four Pieces for Two Flute 1971
• Demet Süiti – for flute, oboe, clarinet, horn, bassoon 1973
Yalçın Tura • Surname – for flute, oboe, viola, violin, cello, percussion 1959
• Trio – for flute, clarinet, bassoon.
Çetin Işıközlü • Prelude and Sing “Anlatamıyorum” – for soprano, tenor, flute, 1968
oboe, horn, viola, violin and piano
Turgut Aldemir • Düşünceler- Wind Quintet 1994
Necati Gedikli • Beşil – Wind Quintet 1971
Sayram Akdil • Müzik (Music) – for three flute and piano 1981
Ahmet Yürür • Fareli Köyün Kavalcısı (Pied Piper) – for flute, guitar, 1990
mandolin, cembalo, percussion, cello, contrabass
İstemihan • Suite Op. 9 – for flute, clarinet, string orchestra 1982
Taviloğlu

Examining the pieces of this period, we see that the composers frequently
included the flute. 17 composers composed flute pieces mostly for chamber music.
As well as there are some flute pieces for solo flute, flute and piano, flute and
orchestra.
 Journal of Education and Future 177

Table 4. Turkish composers born after 1950 and their flute pieces
Composer Name Piece Name Date

Selman Ada • Üç Avrasyalı (Three Eurasian) – for flute and piano 1994
• İki Konser Prelüdü (Two Prelude) – for flute, viola, harp 2002
• Der Eurhythmus – for flute and piano 2003
• Üç Erotik Dans (Three Erotic Dances) – for flute, viola, harp 2004
• Czardas – for flute, viola, harp 2005
• South America Suite – for flute, viola, harp 2005
Mete Sakpınar • Çığ – for flute, violin, viola, cello, piano and percussion 1994
• Delidolu – for flute 1993
• Fantezi (Fantasy) – for eight flute 1983
• Swingle Turtle – for flute, violin, trumpet, cello, piano, percussion 1994
• Hyperflute – Flute with electronic audio tape 1994
Turgay Erdener • Yeşil Düşler (Green Dreams) – for flute and strings 1995
Betin Güneş • Ayayva Op. 28 – for harp, flute, viola 1992
• Yunus Op. 27 – for flute and piano 1991
• Parameter Op. 23– for flute 1991
• Bahçe (Garden) Op. 49 – for flute and piano 1997
• Tona Op. 53 1998
• Adi Faun Op. 100 1991
Aydın Karlıbel • Hayal (Imagination)– for flute 1996
• Quintessence for flute and Bassoon 2000
Mehmet Aktuğ • Tetrakord – for flute, oboe, horn, bassoon 1982
• Dümteke – for flute, clarinet, bassoon, trombone, violin, contrabas 1985
and two percussion
• Bahçe (Garden) – for flute, guitar, vibraphone and percussion 1987
• Dümtektekdümtek- for flute, oboe, bass clarinet, bassoon, piano, 1992
violin, viola, cello and percussion
Meliha Doğuduyal • Quintet – for woodwind 1987
• The Mouldy Existence – for flute and Piano 1992
Nihan Atlığ • Sextet- for flute, oboe, clarinet, violin, viola and cello 1990
Perihan Önder • Dört Parça (Four Pieces) – for flute, percussion and piano 1989
Sıdıka Özdil • Anadolu‟dan Üç Görüntü - wind quintet 1987
• Resistance for a Dream- for wind 1990
Erdal Tuğcular • Yine Dertli Dertli – for clarinet, flute, horn, bağlama (folk 1998
instrument with three double strings), string orchestra
• Muğla Suite – 2 oboe, 2 flute and strings 2004
Kamran İnce • Talya‟nın Dalgaları – for flute, clarinet, percussion, piano, violin, 1989
cello
• Son Bir Dans (Last One Dance) – for flute, mib clarinet, bass 1991
clarinet, bassoon and percussion
• Kemerler – for flute, clarinet, trumpet, synthesizer, violin, cello 1994
• Bölünmüş – for flute, clarinet, percussion, piano, violin, cello 1998
Server Acim • Sextet Op.3 – for flute, oboe, clarinet, bassoon, horn, contrabas 1988
• Beş Çeşitleme (Five Variations) Op. 14 - for flute and piano.
Tevfik Akbaşlı • Aramızda – for flute, viola, harp 2004
Deniz İnci • Side‟de Gün Doğuşu (Sunrise in Side) – for flute, alto saxophone, 1988
piano, two percussion
• Bak! (Look)- for flute, oboe, clarinet, bassoon, percussion and 1991
piano
178 Ajda Şenol, Erol Demirbatır

Semih Koruyucu • Music for Flute and Piano 1991

Hasan Uçarsu • Monolog – for flute, clarinet, violin, cello, percussion, piano 1994
• “…zamansal çelişkilerle geçmişin özlendiği kent: İstanbul…” – for
flute and piano 2003
Mehmet Nemutlu • Dört Parça (Four Pieces) – for flute and piano 1989
• Parçalar (Pieces)- for flute and prepared piano 1989
• 12- Ses Parçaları; Duolar (12 Pieces; Duos) – for flute and bassoon 1989-90
Özkan Manav • Sinfonietta- for winds, tympani and xylophone 1990
Muhiddin • Contact – for flute and piano 1988-89
Dürrüoğlu-Demiriz
Fazıl Say: • Preludes – for flute and piano 1985
Burhan Önder • Söyleşi – for two flute 1984
Ebru Güner • Geyşanın Hüznü (The Grief of a Geisha ) – for flute and piano 1998
Nuriye Esra Kınıklı • Psikenin Öğütleri – for mezzosoprano, flute, kanun, tambourine, 2 2003
violin, viola, cello
• Yankılar – 2 flute, bass clarinet, 2 crystal cup, woodblocks 2004
Onur Türkmen • Smile and the Other Things – for flute, clarinet, bassoon, violin, 2002
cello, piano, percussion
• Yaz Yağmuru (Summer Rain) – for flute, clarinet, piano, violin,
viola, cello 2004
Selen Gülün • The Mechanism – for flute, clarinet, bassoon, percussion, piano, 2002
violin, cello
Atilla Kadri Şendil • Bis – for flute and Clarinet 1995
• Derbeder – for flute, oboe, clarinet and bassoon 1995
• 88 – for flute, clarinet, bassoon and piano 2003
Gökçe Altay • Dünya‟nın En Tuhaf Mahluku – for narrator, flute, oboe, horn,
piano, vibraphone, percussion, electronic type.
Sonat Mutver • Sonata for flute, oboe, harp and string quartet “Pastoral” 2002
• Baroque Concerto for flute, Violin, Cello, cloven and string
orchestra 2000
Can Aksel Akın • Four Pieces for Flute 1999
• Fantasy for St. Barbara – for flute and org 2002
• Suite for flute and cello 2003
• 3 Duets for flute and oboe 1998
• Aslı ile Kerem Üçlemesi – for mezzosoprano, flute, clarinet, oboe 2001
Mustafa Bor • Seven Discourses – for woodwind quintet 2002
Mesruh Savaş • Üç Japon Söylencesi (3 Japanese Myths) – Suite for flute and piano 2005
• Woodwind quintet – 2000
• Deformed Reflections for flute, piano and electronics 2009
• Hamsi in Chicago - for flute and piano 2010
Çiğdem Aytepe • Konuşmalar (Speeches) – for flute, trombone, cello and piano 2000
Ayşegül Kostak - • Flash – for flute, violin and cello,
Toksoy • Dedikodu (Gossip) – for flute, clarinet, bassoon, tympani,
suspended cymbal, 2 violin and 2 cello
• Yağmurda Sokakta… (Street in the Rain ...) – for flute, horn, violin
and piano.
Onur Dülger • Trio for woodwind Part 2 – for flute, clarinet, bassoon 2001
• Trio for woodwind Part 1 – for flute, clarinet, bassoon 2001
 Journal of Education and Future 179

Onur Özmen • Yalnız Bir Su Sineğinin Düşleri – for flute and piano 2000
• “P, R, S, L, and 7.4” – for flute, oboe, clarinet, trumpet, tympani 2000
and bassoon
• Düşçe - for two flute and piano 2000
Hasan Niyazi Tura • Variations for “Uzun İnce Bir Yoldayım” of Aşık Veysel Şatıroğlu 2004
– for flute and piano
Yiğit Kolat • Ninni (Lullaby) – for flute and celesta 2004

When the young generation composers who composed flute pieces after 1950
are examined, we see that they outnumber the previous generations and that the
number of flute pieces increased. Chamber music pieces predominate among the
flute pieces in this period. Composers chose to write pieces of minor forms in which
many instruments are used instead of writing in classical period forms such as sonata
and concerto. Chamber music pieces contain various instrument groups as well as
classical 5 wind instruments. In some pieces not only acoustic instruments were
used, but some electronic devices like Electronic Audiotapes were added.
Furthermore, our composers, too, started to use avant-garde flute techniques which
were widespread worldwide.
In order to study the development process of flute repertoire, the pieces Sonata
for Flute and Piano (1933) by Necil Kazım Akses (1908-1999), Music for 3 Flutes
and Piano (1981) by Sayram Akdil (1940), The Mouldly Existence (1992) by Meliha
Doğuduyal (1959) and Deformed Reflections (2009) by Mesruh Savaş (1978) were
chosen. As for the reasons for choosing these pieces; Sonata for Flute and Piano is
one of the first flute pieces composed in the Republic period. Music for 3 Flutes and
Piano was composed for chamber music, contains Turkish melodies and is one of the
most performed pieces. In her piece The Mouldy Existence, Meliha Doğuduyal used
avant-garde techniques in flute and piano. Mesruh Savaş used electronic records in
his piece Deformed Reflections, composed in 2009.

Flute Works Analyzing

Necil Kazım Akses and Sonata for Flute and Piano (1933)
The youngest among The Turkish Five, Necil Kazım Akses, was born in
Istanbul on May 6, 1908.
In his works he generally used grand forms and orchestral writing, but he also
produced very original works in small forms and for solo instruments. Modal pattern
in his works gradually developed towards techniques beyond tonality and modality
and expanded. The works Necil Kazım Akses wrote until the 1940s – mostly piano
accompanied solos and flute, piano sonata was composed in this period - were
indicators of the desire to create a new atonal style. Turkish composers brought up in
the 1930s chose to use „mode‟ as a suitable way to go beyond the regime of
harmony.
Necil Kazım Akses used mode element by some means or other as from his
early works; however, it was only after 1940 that he started to make the „Akses style‟
explicit, especially with his symphonic works (Başeğmezler, 1993).
His Sonata for Flute and Piano, composed in 1933, is composed of three
interconnected sections. The 5/4 time sonata starts with piano septuplets and flute
180 Ajda Şenol, Erol Demirbatır

enters with trill. The piece becomes 6/4 time after the 2. measurement and number of
scales changes frequently. It has a modal effect rather than being tonal. The first part,
“Allegro moderato” is followed by the second part, which is “Allegro ma non
troppo” beat of 7/8 clunky rhythm. The third part, “Allegro assai” clunky rhythm of
9/8 time at a very fast tempo and it is the part in which the flute can indicate its
technique.

Sayram Akdil and Music for 3 Flutes and Piano (1981)

Sayram Akdil was born in Nicosia (Cyprus) on May 7, 1940. From an early age,
he grew up in a polyphonic musical environment, and he obtained his first music
knowledge.
In his compositions, he used the mode and rhythmical elements of Turkish Folk
and Turkish traditional art music as basis for melodic and harmonic structure and
combines them with contemporary methods (İlyasoğlu, 2007:172).
Sayram Akdil‟s one of the most performed flute chamber music piece Music for
3 Flutes and Piano was composed in 1981. The tempo in the first movement is quite
slow. Long flute sounds that enter in regular turns give the movement an unmetered
folk song effect. The first movement, composed in canon style is in E minor tone.
The second movement begins attacca. The movement at a medium tempo starts with
the upbeat melody of the 3rd flute. Solos are equally distributed among flutes. There
is no piano in the third movement. The piece slows down and sounds like
improvisation. The fourth movement starts with the entry of the piano. After the
canonical opening, the tune in the second movement is heard f# key. The specialty of
the cadence in the fourth movement is that the composer offers three ways in which
the cadence can be played. Cadence can be played with only the second flute, the
first or the third flute or can be distributed among the three flutes alternately at
certain organ points.

Meliha Doğuduyal and The Mouldy Existence (1992)

Meliha Doğuduyal spent her childhood in an environment full of music, and she
started music at a very young age. Doğuduyal values the intellectual and aesthetic
integrity that a composer creates with his/her epoch. She uses data from varied
musical cultures and expressions of different styles such as folk, jazz and
improvisation all together in her experiments in free form and electronic field
(İlyasoğlu, 2007:230-231).
The Mouldy Existence, composed in 1992, starts with a long flute solo in an
improvised manner. There is no measurement in the atonal part. Afterwards, a
dialogue consisting of long sounds and clunky rhythms starts between the flute and
the piano. In the ¾ part where the piano plays the melody, tempo speeds, gets excited
with the triplets. After the passage of the piano, the flute plays a second cadence. The
composer uses avant-garde techniques in the rest of the piece. Towards the end, the
clunky rhythm dialogue between the piano and the flute at the beginning is repeated
in a similar fashion. Piano picks up the flute‟s triplets starting fff and ending p. It
ends with the fortissimo attack of the flute and piano.
 Journal of Education and Future 181

Mesruh Savaş and Deformed Reflections (2009)

Mesruh Savaş was born in Kırcaali in 1978. Assistant Prof. Mesruh Savaş, is
currently a faculty member at Uludağ University State Conservatory, and as well as
being a composer and conducting academic studies, he continues with his studies in
the fields of sound design, electronic and electro-acoustic music (Özgeçmiş, 2007).
Deformed Reflections was composed for Sibel Ayhan and Aylin Çakıcı in 2009.
The piece came out primarily as a result of the composer‟s desire to use new flute
sounds and advanced flute techniques that are not used very often. Composer, thus,
hopes to have shown the audience the modern unusual skills of the flute and where
music stands today. The piece was initially written for flute and piano; later,
however, because of aesthetic reasons and perhaps partly due to composer‟s
instinctive dissatisfaction with for new sounds and colours, electronic sounds were
also added. These electronic sounds are composed of flute sounds that the composer
recorded or obtained from other sources, or even cited from the recordings of well
known flute pieces. However, these sounds were either altered or completely turned
into different sounds by using digital sound processing methods. Thus, in most cases
resonances that are impossible to be played by the flute alone were obtained. Still,
the main purpose of the piece was to make these three sound sources sound like a
single intertwined instrument, a complementary body rather than presenting a trio of
flute, piano and electronic sounds (Savaş, 2011).
Performance notes are provided at the first page of the piece, which was
composed for flute, piano and electronic sounds. Explanations on the other
techniques are also displayed on the note. The piece starts at a slow calm tempo at 50
in a recitative tone. Tempo alters in itself, and it ends molto calmo e morendo. The
new flute techniques used in the piece are: flutterzunge, closed, semi open, open
mouthpiece positions; glissando, very slow to fast trill, gradually slowing trill, sing
while playing, “slap" with key sound, harmonic notes, "bisbigliando, tone colour
trill", hollow tones, key click trill, pizzicato, tongue ram.

CONCLUSION
In conclusion, flute was used in Turkey in Ottoman Period in the 1700s by
musicians from Europe. The earliest flute pieces were composed by the Turkish Five
only after the foundation of the Republic. These pieces are mostly chamber music
pieces. These composers were followed by composers of especially their own
generation, the next generation and young generation who composed many flute
pieces. Most of the pieces are chamber music pieces, yet along with the classical 5
wind instruments, they composed pieces for varied instrument groups such as flute, 2
guitar, vibraphone, Kongo.
As for the development process, Necil Kazım Akses‟s Sonata that was
composed is a classical form, but it consists of 3 parts that are connected to each
other. Themes are based on mode, and they are on an abstract level. Sayram Akdil‟s
piece Music for 3 Flute and Piano has a tonal structure. Turkish effect and melodies
are felt. The Mouldy Existence, composed in 1992, does not have a tonal structure. It
182 Ajda Şenol, Erol Demirbatır

has an improvisational tone rather than a certain melody, and avant-garde techniques
were used in it.
Today, the point Turkish flute pieces have reached is the same as those
worldwide. Electro-acoustic pieces are composed by using electronic sounds as well
as avant-garde techniques.

REFERENCES
Akdil, S. (1981). Score: 3 Flüt ve Piyano için Müzik (Music for 3 flute and piano).
Akses, N.K. (1933). Score: Sonat Flüt ve Piyano için ( Sonata for flute and piano).
İstanbul: Jord D. Papajorjiu Yayını.
Antep, E. (2006). Türk bestecileri eser kataloğu. Ankara: Sevda-Cenap And Vakfı
Yayınları.
Başeğmezler, N. (1993). Necil Kazın Akses cumhuriyetin özgün bestecisi. Ankara:
Sevda-Cenap And Vakfı Yayınları.
Doğuduyal, M. (1992). Score: The Mouldy Existence.
İlyasoğlu, E. (2007). 71 Turkish composers. İstanbul: Pan Yayıncılık.
Kösemihal, M. R. (1939). Türkiye- Avrupa musiki münasebetleri. İstanbul: Nümune
Matbaası.
Özasker, A. (1997). Muzıka-i Humayun'dan Cumhurbaşkanlığı Senfoni Orkestrasına.
İstanbul: Boyut Yayın Grubu.
Özgeçmiş (2010), Çağdaş Türk Bestecileri http://www.cagdasturkbestecileri.com/savas.html,
(Accessed: 23.05.2011)
Savaş, M. (2011, 07 29). Interview by researcher.
Savaş, M.(2009). Score: Deformed Reflections.
Yuvarlak, G. (2008). Çağdaş Türk Bestecilerinin Flüt Repertuvarı ve Çağdaş Türk
Flütistler. Unpublished Master Thesis. Kocaeli: Kocaeli Üniversitesi Sosyal
Bilimler Enstitüsü.
 Journal of Education and Future 183

Cumhuriyet’ten Günümüze Türkiye’de Flüt Eserlerinin Gelişimi

Özet

Problem Durumu: Çalışmanın problemi “Cumhuriyetten günümüze flüt eserleri

hangi besteciler tarafından bestelenmiş ve hangi özellikleri taşımaktadır?” şeklinde
belirlenmiştir.

Araştırmanın Amacı: Bu çalışmanın amacı tarihi gelişim sürecinde Türk

besteciler tarafından bestelenmiş flüt repertuarını belirlemek ve bu repertuar
içerisinden örneklem grubu oluşturarak analiz etmektir.

Yöntem: Çalışmada kaynak tarama, besteciler ile görüşme ve eser analizi

yöntemi kullanılmıştır. Eser analizi için Necil Kazım Akses (1908-1999)‟in Flüt ve
Piyano için Sonat (1933), Sayram Akdil (1940-)‟in 3 Flüt ve Piyano için Müzik
(1981), Meliha Doğuduyal (1959-)‟ın The Mouldly Existence(1992) ve Mesruh
Savaş (1978-)‟ın Biçimsiz Yansımalar (2009) eseri flüt repertuarının gelişimi
sürecine örnek olarak seçilmiştir.

Bulgular: Türkiye‟de batı müziği çalgılarının 1700‟lü yıllarda Avrupa‟dan

Osmanlı İmparatorluğu‟na gelmiş müzisyenler tarafından kullanıldığı görülse de
yaygın şekilde kullanımları Muzıka-i Humayun‟un kurulmasıyla başlamıştır.
Muzika-i Humayun‟da çoksesli Türk müziği çalışmaları sırasında geleneksel
çalgıların yanına keman, lavta, gitar, flüt ve viyolonsel gibi Batı çalgıları katılmıştır.
Buna karşın Cumhuriyet‟in kurulmasına kadar müzik eğitiminin yetersizliği önemli
flüt eserlerinin yeterince yazılamamasına neden olmuştur. İlk Türk flüt eserlerini,
Cumhuriyetin kurulmasından sonra yetenekli gençlerin Avrupa‟nın kültür
merkezlerine eğitim almak üzere gönderilmesi ve bu gençlerin aldıkları eğitimin
sonucu olarak ülkeye döndükten sonra besteledikleri flüt eserleri oluşturmuştur.
Türk Beşleri‟nin flüt eserlerine bakıldığında, o dönemde oda müziği eserlerine
ağırlık verdikleri ve Necil Kazım Akses‟in ilk flüt sonatını bestelediği görülmektedir.
Türk Beşleri ile aynı kuşak besteciler oda müziği eserlerinin yanı sıra solo flüt
eserlerinin ve flüt konçertosunun bestelenmeye başlamışlardır. 1910-1950 yılları
arasında doğan Türk bestecilerinin eserlerine bakıldığında bestecilerin ve flüt
eserlerinin sayısının arttığı, flüt eserlerine sıkça yer verdiği görülmektedir. Bu
dönemde çoğunlukla oda müziği eserleri bestelenmiştir. 1950 sonrası genç kuşak flüt
eseri yazan bestecilerimiz incelendiğinde sayısal olarak önceki kuşaklardan daha
fazla olduğu ve flüt eserlerinin sayısının arttığı görülmektedir. Bu dönem flüt
eserlerinde oda müziği eserleri çoğunluktadır. Besteciler sonat, konçerto gibi klasik
dönem formlarında eser yazmak yerine birçok enstrumanın kullanıldığı küçük
formlarda eser yazmayı tercih etmişlerdir. Dönemin oda müziği eserleri klasik
üflemeli çalgılar beşlisinin yanı sıra değişik çalgı gruplarını da içermektedir. Bazı


Bu çalışma 2011 yılında, İzmir‟de düzenlenen Uluslararası Sosyal Bilimler Konferansında sunulmuştur.
184 Ajda Şenol, Erol Demirbatır

eserlerde sadece akustik enstrumanlar kullanılmamış, bu enstrumanlara ek olarak

elektronik ses bantı gibi elektronik cihazlar eklenmiştir. Ayrıca dünyada yaygınlaşan
çağdaş flüt tekniklerini bestecilerimiz de eserlerinde kullanmaya başlamışlardır.
Cumhuriyetten günümüze solo flüt, flüt – piyano, solo flüt ve orkestra eserleri
bestelenmiş; günümüz bestecileri ise flüt-iki gitar-vibrafon-konga vb. gibi farklı çalgı
grupları ya da elektronik müzik eşlikli eserler de bestelemişlerdir.
Necil Kazım Akses‟in 1933 yılında bestelediği flüt ve piyano için sonatı
birbirine bağlı üç bölümden oluşmaktadır. 5/4‟lük ölçü sayısındaki sonat piyanonun
yedilemeleri ile başlar ve flüt triller ile girmektedir. Eser 2. Ölçüden sonra 6/4‟lük
olmakta ve sık sık ölçü sayısı değişmektedir. Tonal olmaktan çok makamsal
etkidedir. “Allegro moderato” hızda olan birinci bölümü “Allegro ma non troppo”
temposunda 7/8‟lik aksak ritimdeki ikinci bölüm izlemekte olup, “Allegro assai” çok
hızlı tempodaki üçüncü bölüm aksak ritimde 9/8‟lik ve flütün acelitesini
gösterebileceği bir bölümdür.
En çok seslendirilen flüt oda müziği eserlerinden olan Sayram Akdil‟in “3 Flüt
ve Piyano için Müzik” eseri 1981 yılında bestelenmiştir. Birinci bölüm oldukça
yavaş tempodadır. Sırayla giren flütlerin çaldıkları uzun sesler bölüme uzun hava
etkisi katmaktadır. Kanon stilinde bestelenmiş birinci bölüm mi minör tonundadır.
İkinci bölüme “attaca” ile başlanmaktadır. Orta hızdaki bölüm 3. flütün hareketli
ezgisi ile başlar. Sololar flütler arasında dengeli bir şekilde paylaştırılmıştır. Üçüncü
bölümde piyano yoktur. Eser ağırlaşır ve doğaçlama havasındadır. Piyanonun girişi
ile başlayan dördüncü bölüm kanonik yapıdadır. Dördüncü bölümdeki kadansın
özelliği besteci kadansın çalınış biçimi için seslendirenlere üç seçenek sunmaktadır.
Kadans yalnız ikinci flüt, birinci veya üçüncü flüt ya da belirgin durak yerlerinde
değişmeli olarak üç flüte dağıtılarak da çalınmaktadır.
1992 yılında Meliha Doğuduyal tarafından bestelenen “The Mouldy Existence”
flütün doğaçlama havasındaki uzun bir solosu ile başlamaktadır. Atonal olan
bölümde ölçü sayısı da yoktur. Daha sonra flüt ve piyano arasında uzun seslerden ve
aksak ritimlerden oluşan diyaloğu ile eser devam etmektedir. Piyanonun ezgiyi
duyurduğu ¾ lük bölümde tempo hızlanıp, üçlemeler ile heyecanlanmaktadır.
Piyanonun atlamalı pasajından sonra flüt ikinci bir kadansı seslendirmektedir. Eserin
devamında, besteci çağdaş teknikler kullanmıştır. Sona yaklaşıldığında piyano ve
flütün baştaki aksak ritimli diyaloğu benzer bir şekilde tekrarlanmaktadır.
Mesruh Savaş‟ın Biçimsiz Yansımaları, 2009 yılında Sibel Ayhan ve Aylin
Çakıcı için bestelenmiştir. Eser öncelikle bestecinin yeni flüt sesleri ve çok sık
kullanılmayan çağdaş flüt tekniklerini kullanma isteğiyle ortaya çıkmıştır. Böylece
besteci dinleyiciye de flütün alışılmışın dışında, modern becerilerini ve müziğin
geldiği son noktalardan birini göstermiş olmayı beklemektedir. İlk olarak flüt ve
piyano için yazdığı esere, daha sonra estetik sebeplerden ve belki biraz da
bestecilerin yeni seslere, renklere olan içgüdüsel doyumsuzluğundan elektronik
sesler de ilave etmiştir. Bu elektronik sesler, çoğunlukla bestecinin kaydettiği ya da
diğer kaynaklardan edindiği, hatta ünlü flüt eserlerinin kayıtlarından alıntıladığı flüt
seslerinden meydana gelmektedir. Ancak bu sesler dijital ses işleme yöntemleri ile
başkalaştırılmış ya da tamamen başka seslere dönüştürülmüştür. Böylece çoğu
durumda akış içinde flütün tek başına çalması imkânsız olan tınılar elde edilmiştir.
Yine de eserdeki temel amaç flüt, piyano ve elektronik seslerden oluşan bir trio
 Journal of Education and Future 185

sunmaktan çok, bu üç ses kaynağını, iç içe geçmiş tek bir çalgı, birbirini tamamlayan
bir bütün olarak duyurmaktır.

Sonuç ve Öneriler: Türkiye‟de ilk flüt eserlerini Cumhuriyet‟in kurulmasından

sonra Türk Beşleri bestelemiştir. Bu eserler çoğunlukla oda müziği eserleridir. Bu
bestecileri aynı kuşak besteciler başta olmak üzere sonraki kuşak ve genç kuşak
besteciler izlemiş ve pek çok flüt eseri bestelemişlerdir. Eserlerin çoğu oda müziği
eserleridir ancak klasik üflemeli çalgılar beşlisinin yanı sıra besteciler farklı çalgı
grupları için de eserler bestelemişlerdir.
Gelişim sürecine bakıldığında 1933 yılında bestelenen Necil Kazım Akses‟in
sonatı klasik bir formda olup eser birbirine bağlı 3 bölümden oluşmaktadır. Temalar
makama dayanır, bu temalar soyut düzeydedir. Sayram Akdil‟in “3 Flüt ve Piyano
için Müzik” eserinde tonal bir yapı vardır. Türk ezgileri etkisi hissedilmektedir. 1992
yılında bestelenen The Mouldy Existence eserinde tonal yapı yerini atonaliteye ve
serbest ritmik yapıya bırakmıştır. Belirli bir ezgiden çok doğaçlama havasındadır ve
çağdaş teknikler kullanılmıştır.
Araştırma sonucunda görülmektedir ki, çağdaş Türk flüt eserleri büyük ölçüde
dünya standartlarına ulaşmakta, ulusal ve uluslararası alanda dinleyicileri ile
buluşmaktadır. Bu eserlerin çoğalarak yaygınlaşmasında ise bestecilerimizin
desteklenmesinin önemi büyüktür.

Anahtar Sözcükler: Flüt, Türk flüt repertuarı, Türk besteciler, eser analizi.
186 Ajda Şenol, Erol Demirbatır