VA - The Ottoman Military Music in 78 rpm Records (2000)

Military Music Among the Turks:

It was the Turks who early on discovered the power of military bands to excite fighters while encouraging their warrior spirit, and to maintain discipline in unity during marches in times of peace. While the roots of this tradition reach back to the Hun Empire, Turks used music on the military field in an active and functional way. In particular, the morale of the army was boosted by the incessant beating of the large drum, "kos" (a large kettle drum) and by playing inarches.

A Chinese historian described a Chinese general who had come to the region of Balasagun to Central Asia while on duty. The general had brought an ensemble of Hun (Turkish) instruments to China upon his return and had them played at the palace. This proves that Central Asian Turks used military bands in centuries previous to the advent of Islam. Central Europe was introduced to the Ottoman military ensemble, known as mehterhane, in the processions of Turkish envoys. Due to the fact that this ensemble first appeared at German battle fronts, the name, "Yeniçeri mızıkası" (Janissary band) was adopted into the German language. German and various Central European rulers and princes had an incessant desire to have their own mehterhane, and attempted many imitations. Eventually this new kind of military band ensemble came as far as Istanbul. A French style banda (band) was first shown to Selim HI in Istanbul. The French diplomat Raymond de Verninac came to Istanbul in April 1795, The new things that he displayed as soon as he arrived attracted a great deal of interest. Upon his first visit to the Ottoman Sultan, his car was preceded by a band and a squad of French soldiers. The French soldiers had attached bayonets to the ends of their rifles, and the diplomat proceeded to the palace among this ostentatious crowd.

Marches on 78 rpm Recordings…(1903-1923):

The American record company, G.C.R. (Gramophone Concert. Record, which was later to take the name "His Master's Voice"), began to make recordings in Istanbul in 1900. The company's first recordings became available in 1903. At approximately the same time. the German company, Favorite, entered production- While Turkish musicians were hesitant to lend their voices to recordings during these years, minority artists of Greek, Jewish, Armenian and Roma (Gypsy) origins entered the studios and made the first 78 rpm recordings- Among the features which are striking in the early period of 78 rpm record catalogues and collections are the presence of works such as polkas, waltzes, and marches, and the ensembles that played them. The ensemble entitled Garde de S.M.I. Ie Sultan which is presented to music lovers is the "Mızıkay-ı Hümayun" ensemble. There were 33 single-sided records made between the years of 1904-1911. Of these, 24 were marches with the remainder consisting of popular music of the day such as waltzes and polkas. Upon the agreement between the Mızıkay-ı Humayun and G.C.R. and its subsidiary, Disc Pour Zonophone (D.P.Z.) to separate, Favorite made an agreement with Ertuğrul Yatı Orkestrası (L. Orch. du Yacht Imperiale Ertuğrul) and recorded 28 single-sided records with this ensemble. These recordings consist of a total of 19 marches and 9 popular musical works. Another important artist of Favorite was Hafız Yaşar Bey, a member of the Mızıka-ı Hümayun. He sang 10 marches, accompanied by Turkish Instruments. This firm also recorded 7 additional records with various singing artists.

The American firm G.C.R. continued their Istanbul activities under the label Disc Pour Zonophone. These D.P.Z. recordings have made it possible to hear the sounds of the Mızıkay-ı Humayun today. Unfortunately, it is not possible to know for certain how many marches were recorded by the Mizikay-i Humayun because no example of a published catalogue from D.P.Z. can be found. After the influence of D.P.Z. waned, G-C.R. record company increased in popularity after 1908 and made 18 single-sided recordings of the Sultan's band. under the name of 'Musique de la Garde Imperiale'- This series consists of 7 marches with the remainder consisting of popular dance music.

In those years, the Odeon Record company recorded its marches under the label of 'Orchestres Odeon'. It is extremely likely that the Odeon orchestra was a studio orchestra, comprised of members of Istanbul band and orchestras. The orchestra recorded 12 marches. The firm also had marches played by Turkish classical instrument ensembles. Hafiz Ahmet Bey sang these marches, accompanied by a Turkish classical instrumental ensemble.

Orfeon Records was the first company to produce and manufacture records locally. This company began production after 1912 and followed Odeon's example by creating a large ensemble with the company's name and had the orchestra play marches. Artists such as Hafız Yaşar and Hanende İbrahim began to work with this company. The Grand Orchestra Orfeon recorded 12 marches. In addition, marches were recorded by artists such as Hafız Yaşar (8), Hanende İbrahim (7), Haim Efendi (12), Udi Selanikli Ahmet Efendi (3) and Pianist Madame Angel (2).