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‘blown’. Since God has blown his own Soul only into
mankind, since that moment, mankind is endeavoring
to find and reach and merge the owner of that blow
so as to extinguish in it. Just as the mankind’s search,
ney is also searching the reed field it has been cut off,
burning inside with despair and is ‘blown’ by a human
being sharing the same grief.
Ney Passing from Hand to Hand
Grandfather, Suleyman Erguner, was a ney player
'neyzen', who served Istanbul Radio and different ensembles.
He strived to revitalize ney and the Sufi Music…
He was a master who was followed by Ulvi Erguner,
Niyazi Sayın, Ahmet Yakuboğlu, Selami Bertuğ,
Nevzad Atlığ, Alaeddin Yavaşça, Ercumend Berker
and many more musicians… Father, Ulvi Erguner…
by the whirling dervishes) at Istanbul Topkapı Sport and
Exhibition Centre. At seventeen, he joined the commemorative
Mevlana ceremony in Konya. He executed
Bestenigar Mevlevi Mass by Ismail Dede Efendi.
As he is continuing to follow the Erguners tradition
of being a neyzen, he is also producing neys. At his
workshop in Çamlıca, we talked with Mr. Erguner
about the adventure of ney which start from the reed
field and end in a musical instrument in the hands
and lips of the neyzen.
The First Stop Hatay Samandağ
He started to produce ney in 1975. He says, “For a perfect
ney, the reed should be from Hatay, Samandağ.
Samandağ’s water and weather is good for the soil
He practiced music with Halil Can, Nuri Halil Poyraz,
Ilyas Tonguç, Fahri Kopuz, Hulusi Gökmenli, Sadeddin
Heper. He was heard in TRT Istanbul and Ankara
Radio programs. He was the head of Turkish Classical
and Folklore Music groups. He was a master of ney…
And Grandson Suleyman Erguner… He was born in a
house where music was played and practiced. Since
his grandfather and father were neyzens, he was introduced
to ney as soon as he was born. When he
was five years old, he blew his father’s neys and started
to be trained by his father. When he was sixteen,
he participated the Mevlevi Sema (The execution of
religious text with music and with enthusiastic dance
of reed.” By these words he emphasizes the quality
of Hatay reed. “There’s reed in Aegean Region,
even in Marseille, but the reed of those areas isn’t
quite good.” He has a lot of reeds, stocked neatly in
his workshop. These are the reeds that are left from
the 25 reeds he had chosen out of the 500 that he
had ordered from Samandağ last Ramadan. He had
thrown away the 16 that he eliminated out of the 25
when coming to Istanbul. This shows the amount of
attention he gives to his work.
Time is also important for the reed as well as place. If
they aren’t cut off at the proper time, they may not
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