Santuri Ethem Efendi (read Turkish version here)
Introduction
Deep within the history of Turkish Art Music, Santuri Ethem Efendi appears as a special virtuoso who speaks through the strings of the santur; he is remembered not only as a musician but also as a figure who showed resistance against the harsh trials of fate. The artist, who opened his eyes to the world in the Beyazıt district of Istanbul, had the opportunity to grow up in the Ottoman Palace Enderun at the age of 13 and made the sound of his instrument heard for many years at the Kasımpaşa Mevlevihane. On this path where the Enderun tradition met Mevlevi mysticism, Efendi, who gave lessons to the dynasty, built his musical identity on instrumental mastery.
His life was shaped not only by his instrument and compositions but also by the tragic turning points he experienced. The paralysis he suffered after his eldest son was martyred in 1913 became a turning point in his musical life; however, his attempt to preserve his legacy by rewriting the lost sheet music collection with his single hand after the paralysis reveals his determination and loyalty to music. However, the great fire that occurred in Istanbul on September 14, 1926, caused him to be unable to escape his home where he was alone due to a spark jumping from the brazier, leading to his death. His grave in Küçüksu Cemetery and the collection "Longa ve Sirtolar" published by Monitor Records in 1995 have reached our days as the most important sound traces remaining after him. Santuri Ethem Efendi, who has taken his place in the memory of Turkish music with compositions such as "Şehnaz Longa", "Ben perışanım perışan zülfünün mecnunuyum" and "Geldi dem-i zevk u safa", pushed the boundaries of music throughout his life both as a performer and as a composer.
Biography
Born in the Beyazıt district of Istanbul, Santurî Ethem Efendi is known as one of the most famous santur virtuosos in the history of Turkish Art Music. Although some sources mention 1885 as his birth year, the statement that the artist was "fifty-eight years old" during the paralysis he experienced in 1913 is the strongest evidence confirming the 1855 birth year. The artist, who started his music career at the age of 13 in the Ottoman Palace Enderun, had the opportunity to give lessons to members of the dynasty thanks to his talent and became known for the santur instrument he performed at the Kasımpaşa Mevlevihane for many years, acquiring the nickname "Santuri".
Ethem Efendi, who also stood out with his composer identity, has a repertoire that includes not only Turkish Art Music forms but also Longa, Şarkı, Ağır Semai, and influences of Western Music. Works such as "Şehnaz Longa", "Ben perışanım perışan zülfünün mecnunuyum", "Bir nigehle aklım aldın" and "Eşk-i çeşmim hasretinle çağlar" are among the pieces reflecting the artist's musical identity dealing with themes of love pain and longing. The compilation album published by Monitor Records in 1995 under the name "Longa ve Sirtolar" has become the basic source allowing access to his works today.
The artist's life also contained difficult processes shaped by personal tragedies. The death of his eldest son in the Dyala War in 1913 deeply affected Ethem Efendi and caused him to suffer paralysis. Although he retired from his official post after this process, he showed the determination to rewrite the lost sheet music collection to preserve the musical legacy with his affected single hand. Towards the end of his life, the fire that occurred on September 14, 1926, wrote the tragic end of his story. The artist, who could not save his property that caught fire due to a spark jumping from the brazier while he was alone in the house, lost his life by burning. Although only seven people could attend his funeral, he was buried in Istanbul Küçüksu Cemetery. Today, details such as the artist's full surname, the names of his teachers from whom he learned in music education, and the time of his death are not included in the sources; however, the notes he wrote with his single hand and the legacy in his home that he could not save at that disaster moment in 1926 have become the most important factors determining his place in Turkish music history.
Art and Style
Santurî Ethem Efendi's musical world was shaped around the santur instrument, which is the most distinct mirror of his artistic identity. Being a musician raised in the Enderun-u Hümayun and a long-time performer of the Kasımpaşa Mevlevihane, he blends the fine craftsmanship of Ottoman palace music with the depth of the Mevlevi tradition in his understanding of composition and performance. However, current sources do not leave a clear impression about his vocal character or vocal performances; his musical legacy is shaped through instrumental mastery and compositions.
Upon examining his repertoire, it is seen that he gave weight to the classical forms of Turkish Art Music and especially to Longa and Sırtola types. In addition to his works known under the title "Şehnaz Longa"; he dealt with the themes of love and longing with song forms such as "Ben perışanım perışan zülfünün mecnunuyum" and "Bir nigehle aklım aldın". His composition "Eşk-i çeşmim hasretinle çağlar" is a strong example reflecting the transformation of longing in his emotional world into music. In contrast, works such as "Geldi dem-i zevk u safa" show that the joyous and cheerful moments in his life were also a source of inspiration for his compositions.
His composer personality is not limited to composing his works only, but is also decisive in efforts to preserve the musical legacy. After suffering paralysis following the martyrdom of his son in 1913, the resistance he showed to not lose his works by rewriting the lost sheet music collection with his single hand is the most concrete proof of his sense of responsibility towards art. In this respect, Ethem Efendi's style is defined not only by technical perfection but also by the will to keep the music legacy alive despite difficult conditions. As a result, Santurî Ethem Efendi is among the rare composers who left a mark in the sound and feeling world of Ottoman period Turkish Art Music with his santur virtuosity and compositions, despite the lack of vocal records or detailed vocal character information in the sources.
Songs and Works
Although it was not possible to reach the momentary sound recordings of Santurî Ethem Efendi during his lifetime, his musical legacy has reached our days thanks to the "Longa ve Sirtolar" compilation published by Monitor Records in 1995. This publication is the only source where the artist's sheet music collection, which he rewrote and put under protection with his single hand after suffering paralysis, is conveyed to the listener, and it simultaneously brings his instrumental mastery and composer personality to the fore.
Among the works included in the compilation, "Şehnaz Longa", an instrumental title, stands out in terms of reflecting his dominance over the santur and the rhythmic language of Ottoman palace music. The composer's emphasis on these song forms highlights the emotional depth. Compositions such as "Ben perışanım perışan zülfünün mecnunuyum", "Bir nigehle aklım aldın" and "Eşk-i çeşmim hasretinle çağlar" carry the traces of love pain and longing, which are among the basic themes used by the artist. While these pieces offer a tone where the Mevlevi tradition of that period and palace music aesthetics intertwine, they also show that they preserve the technical intricacy of the "Ağır Semai" and "Şarkı" forms.
However, there is also an approach that does not focus only on sorrow. Titles such as "Bu gülzarın yine bir nev-baharı" and "Geldi dem-i zevk u safa" offer an optimistic outlook on the joy of life and the renewal of spring, while also reflecting the composer's approach of blending "Western Music" and traditional forms. The artist did not have any albums published while alive; therefore, the "Longa ve Sirtolar" compilation is the most reliable and essential source at hand to access the works defining Santurî Ethem Efendi's musical identity.
Historical Context and Musical Legacy
Santurî Ethem Efendi is one of the names active in the late Ottoman period of Turkish Art Music history, known for his instrumental virtuosity and composition. The musician, who is accepted to have been born in Istanbul Beyazıt in 1855, was taken into the Ottoman Palace Enderun at the age of 13 and grew up within the palace music education system. His life intertwined with the Mevlevi tradition is documented by his performing the santur at the Kasımpaşa Mevlevihane for many years and giving lessons to members of the Ottoman dynasty. In this context, he is considered a living representative of the transition between the palace music and dervish music of the period.
Ethem Efendi's musical productions are spread across Longa, Şarkı, Ağır Semai, and composition forms. Works such as "Şehnaz Longa", "Ben perışanım perışan zülfünün mecnunuyum" and "Geldi dem-i zevk u safa" reflect the musical aesthetics of the period within the framework of themes such as love pain, longing, and pleasure. Most of his works were not reached as an album published while the musician was alive, but reached our days with the "Longa ve Sirtolar" compilation published by Monitor Records long after his death, in 1995. This compilation stands out as one of the most important works that preserved the artist's musical legacy.
The artist's life story was shaped not only by musical successes but also by the political and social events of his time. Ethem Efendi, who suffered a severe paralysis as a result of his son's martyrdom in 1913, made intense efforts to ensure his works were not lost by rewriting the lost sheet music collection with his healthy hand. This resistant attitude allowed him to go down in history with the reflex of preserving the musical legacy despite the physical disabilities he experienced. Losing his life due to a spark jumping from the brazier because he was alone at home during the great fire that occurred in Istanbul on September 14, 1926, points to a tragic end coinciding with the beginning of the period. His final stop at Küçüksu Cemetery, starting with the participation of seven people at his funeral, also contains some gaps such as the fact that the artist's full surname and the names of the teachers he received education from cannot be determined exactly in today's sources.
Legacy
Santurî Ethem Efendi's artistic legacy materializes not only beyond his compositions but in his not losing faith in music even in the darkest moments of his life and in his resistance in saving his works from physical loss. Despite suffering paralysis after his son's martyrdom in 1913, his effort to preserve his musical memory by rewriting the lost sheet music collection with his single hand is the most striking proof of his artistic will. As a musician raised in Enderun, his lessons given to the palace dynasty and his santur performances spanning many years at Kasımpaşa Mevlevihane constitute important parts of the sound history of the late Ottoman period.
However, the widespread knowledge of his works was made possible long after the artist's death. The "Longa ve Sirtolar" compilation published by Monitor Records in 1995 brought his compositions, especially "Şehnaz Longa", to light. Although the artist had no records published while alive, the limited sources regarding his biographical details (full surname, teachers he received education from, etc.) and the tragic 1926 fire events behind his death show that some parts of his place in history are not yet illuminated, but preserving the notes in his hand and transferring them to future generations made him a name that resisted oblivion. Today, the memory of Santurî Ethem Efendi, who lies in Küçüksu Cemetery, maintains his place in the history of Turkish Art Music not only with his musical legacy but also with his attitude that does not compromise his artistic integrity despite difficult conditions.
Frequently Asked Questions
What information is available about Santuri Ethem Efendi's birth year and educational background? The artist was born in Istanbul Beyazıt. Although some sources mention 1885 regarding his birth year, the statement that the artist was "fifty-eight years old" during the paralysis he experienced in 1913 confirms the 1855 birth year. He started his music career at the age of 13 in the Ottoman Palace Enderun and performed at Kasımpaşa Mevlevihane.
How can his compositions be accessed today? The artist does not have any albums published while alive. The basic and most reliable source allowing access to his works is the "Longa ve Sirtolar" compilation published by Monitor Records in 1995.
How did the paralysis process affect the artist's musical legacy? Ethem Efendi, who suffered a severe paralysis as a result of his eldest son's martyrdom in 1913, made intense efforts to ensure his works were not lost by rewriting the lost sheet music collection with his affected single hand. This situation is the most concrete proof of his sense of responsibility towards art.
What is known about his death and funeral? The artist could not escape the fire caused by a spark jumping from the brazier while he was alone at home in Istanbul on September 14, 1926, and lost his life. Although only seven people could attend his funeral, he was buried in Istanbul Küçüksu Cemetery.
Are there missing details in Ethem Efendi's biography? Yes. Some biographical details such as the artist's full surname, the names of his teachers from whom he learned in music education, and the time of his death are not included in the sources.
Is there information about the artist's vocal performances or vocal character? Current sources do not leave a clear impression about his vocal character or vocal performances. His musical legacy is shaped through instrumental mastery and compositions.