ANILAR
We have special moments
in life and special people to always remember. I met her in the mid 90s. She was there with the late Selahattin İçli for the concert organized by the Teachers Choir. I had a solo performance for the song, Güneşin Battığı Yerde. After the concert, I went to them and kissed their hand. They unanimously advised me to carry on with what
I was doing, adding that they loved my voice. After many years when I signed up for TRT singing contest, I saw Serap Mutlu Akbulut
amongst the jurors. She stressed to the rest of the
jurors that she liked my voice. After having listened
to me singing the piece, 'Istanbul Radio has just found a great voice for the national finale.' they said. It was both motivating and a strong feeling of responsibility simultaneously. I did not let them down as I came in first
in the national finale.
Serap Mutlu Akbulut has that magic about her that you literally feel. She is a guide and a mentor to her young students, she motivates them. She is gifted with gaining admiration and discovering talents. She participated in the establishment of TRT Youth Choir and contributed to the grow-up of young musicians at İTU Conservatory, and at Halic Conservatory.
We are lucky enough to have a chat with the artist, who made contributions to the grow up of many music enthusiasts, one of them being myself, and bestowed nearly half a century of services to Istanbul Radio and also to our music.
When did you start with your music education?
I was only sixteen, my elder brother Dr. Ümit Mutlu gave me a hand and took me to the conservatory. I sat for the exam and I passed. I studied at the first conservatory of Turkey. I was lucky to have very special teachers, namely, Melahat Pars, Nevzat Atlığ, Şefik Gürmeriç. Istanbul Municipality Conservatory was assigned to Istanbul University during the office of Bedrettin Dalan just to make sure students who completed studies at the conservatory were counted as university graduates. I express my resentment and remark 'It would be much better only if the municipal conservatory had remained as is' whenever I happen to see Bedrettin Bey.
How were you transferred to Istanbul Radio?
I was admitted to Istanbul Radio when I was studying at my second year at the conservatory in 1962. My studies at the conservatory and the radio carried on simultaneously for a while. People showed me affection, and kind interest. I have nice memories. I worked for the radio for over forty years.
The years of music hall witnessed striking events that changed lives of many artists. Why did you not choose to work at a music hall?
Correct, I never worked at a music hall despite the offers that I received. My family's value judgments and my way of life disallowed.
What is the milestone of your career?
The most important thing in my music career is when I met Avni Anıl. He was a very nice and self-sacrificing man. He would ask me to sing his first compositions. When he composed Biraz Kül Biraz Duman O Benim İşte, I was the first to sing it at his office. He was my marriage witness, too. We would go to his office with my brother on Fridays. Mr. Anıl would make his compositions sharply, so I would express my resentment and remark 'You make it sharp and I almost crack here when singing'. That would be a good laugh. Mr. Anıl was very good at picking the best lyrics.
Who were the leading composers in Istanbul when you started with the radio?
In my time, we would call them a four-leaf clover, namely Avni Anıl, Şekip Ayhan Özışık, Yusuf Nalkesen, and may god give him a long life, Erol Sayan. They had a sweet and kind contest going on amongst them. The seventies were the times when they were the top. They made excellent compositions.
They would bring their compositions to the radio where we would record and play to the audience.
Having heard that I turned down the offers from the music halls, Ercüment Batanay came to me at the radio and asked me smiling: 'Either you must have a heap of money or shortage of reason? Tell me which one?" Back in the time those that went on the stage were considered as if more talented compared to those that did not. You see this is not at all the case actually if you look at Alâeddin Yavaşça, or Necdet Yaşar.
If we are to ask you for the names of your favorite top three composers...
Sadettin Kaynak. It is beyond comparison. He is utterly unique. Diversity of melodies and switching to and from the modes in a single piece are just perfect. He is resourceful in all means. My second favorite would be Avni An, and then Selahattin İçli…
Who were your favorite artists on the radio?
We would be sitting in three rows at the radio. The seniors would be in the front and we would be at the back. I would often say to my friend, Safiye 'May god give Emin Bey (Ongan), and Cevdet Bey (Çağla) a longer life'. They were so nice people... My teacher Nevzat Atlığ invited me to Istanbul State Conservatory, which was associated with the Ministry of culture. I worked as a soloist and chorist with him for ten years.
You took part in the establishment of TRT Youth Choir. Why did you assume the position?
When Faruk Salgar came to me with that idea of establishing a youth choir, I had five years to go until my retirement. TRT Youth Choir was established in 2007. We need to accept the fact that each student is an individual, so we have to treat them like one. This is my perspective in education. I dedicated the last five years of my career to the youth. The newcomers had a strong background actually. We had a great time.
What is the key to your forty years of uninterrupted success?
It is not by chance, it took hard work. When you have a piece, the first thing you need to do is to see whether or not it suits your tone. We need to listen to good ones and listen to them a lot. The key to my success is the hard work and not giving much thought to material benefits.