Gazino

See also:  [Les Caberets]
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           [Contemporary Galleries]
           

Gazino

Actually (like much of DaDa and other movements/types/things) the 
boundary between musical form, art form, philosophy, or even 
bistro tend to disappear...

Wiki sez:  http://en.wikipedia.org/wiki/Kemani_Tatyos_Ekserciyan

which thanks to the nimnils there, can't be edit searched for 
"gazino" :(

Tatyos Ekserciyan (1858-March 13, 1913) or Tatyos Efendi was 
a famous composer of classical Turkish music, and his works 
continue to be among the best-remembered and often played 
pieces of the genre.

An Armenian from Istanbul, Tatyos Efendi was born in 1858 
in the Ortaköy district of Istanbul as the son of Monakyan 
(Manuti), a musician at the Ortaköy Armenian Church. Tatyos 
Efendi's family had a minor trading business and when he 
finished the Ortaköy Armenian Elementary School, he started 
an apprenticeship at a locksmith and later became an 
apprentice at a savat workshop (a traditional form 
of silver work). Due to his deep interest in music, Tatyos 
Efendi left his apprenticeship and bought a second hand 
kanun to receive his first music lessons from his uncle 
Movzes Papazyan. He played the kanun with amateur groups 
and musical meetings in a family setting. Later, he took 
violin lessons from Kemani Kör Sebuh and lessons in singing 
and theory from Andon and Civan brothers and singer Asdik Aga. 
He conducted many fasil concerts in various places including 
the Pirincci Gazino with artists like Karakas, Ovakim and 
Semsi. He composed many popular songs and instrumental works 
for fasil.



Links

Criticical Review

   http://www.muspe.unibo.it/period/ma/index/number8/gazino/bek_00.htm

   (extract follows)

    Münir Nurettin Beken
    Aesthetics and Artistic Criticism at the Turkish Gazino (1)

    Of all the modern phenomena, the most monstrous and ominous, 
    the most manifestly rotting with disease, the most grimly 
    prophetic of destruction, the most clearly and unmistakenly 
    inspired by evil spirits, the most instantly and awfully 
    overshadowed by the wrath of heaven, the most near to 
    madness and moral chaos, the most vivid with devilry and 
    despair, is the practice of having to listen to music 
    while eating a meal in a restaurant (G. K. Chesterton from 
    Avowals & Denials, 1935)

    While certain purist aficionados of Turkish Classical and 
    Western Music might find the above statement appropriate 
    and just, the majority of gazino audiences in Istanbul 
    would probably disagree with Chesterton’s distressing 
    yet colorful expression.  Gazino is a kind of nightclub 
    primarily found in Istanbul, Turkey, and mostly it is 
    a twentieth century phenomenon.  There are different 
    types of gazino and usually the physical space and the 
    show determine their designation, e.g., pavyon, taverna, 
    or saz.  Gazino reflects a large portion of music-making 
    in Istanbul, which, as the old Ottoman capital and the 
    current undisputed center of recording industry, 
    television, and cinema, still retains its role as the 
    disseminator of commercial music aesthetic for all of Turkey.

    The Turkish musical scene reveals three main cultural 
    avenues: Alaturka, Alafranga, and Arabesk. 

    While Alaturka and Alafranga refer, respectively, to 
    Turkish and Western socio-cultural practices, Arabesk 
    is a more recent term used to express the culture of 
    the peripheral urban migrant society.  Both historically 
    and culturally, the gazino has been an important component 
    of these domains.  While certain specializations occurred 
    in the recent decades of transformation, gazino always 
    reflected the taste of the paying customers.  Therefore, 
    the impact of changing demographics and aesthetics of 
    society have always been reflected on the gazino show 
    and its physical space.  

  Full text:  http://www.muspe.unibo.it/period/ma/index/number8/gazino/bek_00.htm  here
 
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Chronology

Important Works




young girl's head, etc -- link to primitivism