{"id":3578,"date":"2020-08-13T17:16:02","date_gmt":"2020-08-13T14:16:02","guid":{"rendered":"http:\/\/www.tangoturkradio.com\/?page_id=3578"},"modified":"2024-06-13T16:06:43","modified_gmt":"2024-06-13T13:06:43","slug":"carlos-di-sarli","status":"publish","type":"page","link":"https:\/\/www.tangoturkradio.com\/index.php\/carlos-di-sarli\/","title":{"rendered":"Carlos Di Sarli"},"content":{"rendered":"
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Yazar: Emrah Alt\u0131kula\u00e7<\/span><\/em><\/strong>
Tango M\u00fczi\u011fi’nin \u0130lahlar\u0131-1 “CARLOS DI SARLI’
https:\/\/www.istanbultango.com\/<\/strong><\/span><\/span><\/h4>\n

CARLOS D\u0130 SARL\u0130 “<\/strong>El se\u00f1or del tango<\/em><\/span><\/h3>\n
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Hayat\u0131<\/em><\/strong><\/span><\/p>\n<\/div>\n

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Hi\u00e7 ku\u015fkusuz, kendine has tarz\u0131yla tango camias\u0131n\u0131n en b\u00fcy\u00fck ustalar\u0131ndan biridir Carlos Di Sarli. Besteci, piyanist, orkestra \u015fefi, aranj\u00f6r, El Se\u00f1or del Tango.
<\/span>Di Sarli, 7 Ocak 1903\u2019te Arjantin\u2019in g\u00fcneyinde bulunan Bahia Blanca\u2019da \u0130talyan g\u00f6\u00e7meni bir ailenin sekizinci \u00e7ocu\u011fu olarak d\u00fcnyaya gelir.<\/p>\n

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Ailesi kat\u0131 Katolik geleneklere ba\u011fl\u0131d\u0131r, Cayetano olarak vaftiz edilir, Di Sarli ismini daha sonra Carlos olarak de\u011fi\u015ftirir.
<\/span>Di Sarli m\u00fczisyen bir aileye do\u011far, bu durum onun m\u00fczik kariyerine \u00f6nemli etkilerde bulunur. Annesi tenor Tito Rusomano\u2019nun k\u0131z\u0131d\u0131r. Onun b\u00fcy\u00fck karde\u015flerinden biri Domingo Williams\u2019ta \u2013Bahia Blanca\u2019da bir konservatuvar- m\u00fczik \u00f6\u011fretmenidir. Di\u011fer b\u00fcy\u00fck karde\u015flerinden biri Nicholas \u00fclkenin \u00f6nemli baritonlar\u0131ndand\u0131r, yine k\u00fc\u00e7\u00fck karde\u015fi Roque \u00f6nemli bir piyanisttir.<\/p>\n<\/div>\n

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Di Sarli bir s\u00fcre b\u00fcy\u00fck karde\u015fi Domingo\u2019nun e\u011fitim verdi\u011fi konservatuvarda klasik m\u00fczik e\u011fitimi al\u0131r. Klasik m\u00fczik e\u011fitimi s\u00fcrecinde m\u00fczi\u011fe getirdikleriyle d\u00fcnyay\u0131 etkileyen Chopin, Listz, Debussy gibi klasik m\u00fczi\u011fin ustalar\u0131n\u0131n izini s\u00fcrer. Belki de bu aray\u0131\u015f onun gelecekte m\u00fczikte kendi tarz\u0131n\u0131 ortaya \u00e7\u0131karaca\u011f\u0131n\u0131n en \u00f6nemli g\u00f6stergelerinden biridir.<\/p>\n

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Di Sarli\u2019yi internet ortamlar\u0131nda g\u00f6rd\u00fc\u011f\u00fcm\u00fcz siyah g\u00f6zl\u00fckl\u00fc foto\u011fraflar\u0131yla biliriz. Oysa bu foto\u011fraflar\u0131n arkas\u0131nda ac\u0131 bir hik\u00e2ye yatar. Babas\u0131 bir silah d\u00fckk\u00e2n\u0131 sahibidir. Di Sarli 13 ya\u015flar\u0131nda babas\u0131n\u0131n d\u00fckk\u00e2n\u0131nda \u00e7al\u0131\u015f\u0131rken silahlardan birinin ate\u015f almas\u0131yla g\u00f6zlerinden birini kaybeder ve bu olaydan sonra \u00f6mr\u00fcn\u00fcn sonuna kadar g\u00f6zl\u00fck takmak zorunda kal\u0131r.
<\/span>1916 y\u0131l\u0131 Di Sarli m\u00fczikal tarihinin ba\u015flang\u0131\u00e7 y\u0131l\u0131d\u0131r. Bu tarihten sonra \u00f6l\u00fcm\u00fcne dek devam eden ya\u015fam\u0131 \u201cDi Sarli\u2019nin M\u00fczikal Tarihi\u201d<\/strong> ba\u015fl\u0131\u011f\u0131 alt\u0131nda incelenmi\u015ftir.
1958 y\u0131l\u0131ndan itibaren Di Sarli\u2019nin sa\u011fl\u0131k durumu k\u00f6t\u00fcye gitmeye ba\u015flar ve 1960 y\u0131l\u0131nda Di Sarli hayat\u0131n\u0131 kaybeder.<\/p>\n

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Di Sarli\u2019nin M\u00fczikal Tarihi<\/em><\/strong><\/span><\/p>\n

Di Sarli\u2019nin m\u00fczikle ili\u015fkisi erken ya\u015flarda ba\u015flar. 1916 y\u0131l\u0131<\/strong> dolaylar\u0131ndan daha 13 ya\u015f\u0131nda<\/strong>yken \u00f6\u011fretmenlerinin ve babas\u0131n\u0131n ho\u015f kar\u015f\u0131lamamas\u0131na ra\u011fmen gezici bir m\u00fczik grubuna kat\u0131larak Arjantin\u2019in \u00e7e\u015fitli \u015fehirlerinde bulunur, bu grupla tango \u015fark\u0131lar\u0131 ve pop\u00fcler m\u00fczi\u011fe ait \u015fark\u0131lar \u00e7alar. Bu s\u00fcre\u00e7 sonunda La Pampa eyaletine ba\u011fl\u0131 Santa Rosa \u015fehrine ta\u015f\u0131n\u0131r. Burada yine bir \u0130talyan g\u00f6\u00e7meni ve babas\u0131n\u0131n arkada\u015f\u0131 olan Mario Manara<\/strong>\u2019n\u0131n yan\u0131nda iki y\u0131l piyano \u00e7alar.<\/p>\n<\/div>\n

1919<\/strong> y\u0131l\u0131 Di Sarli tarihinin d\u00f6n\u00fcm noktalar\u0131ndan biridir. Di Sarli bu y\u0131l Santa Rosa\u2019dan Bahia Blanca\u2019ya d\u00f6ner ve ilk orkestra<\/strong>s\u0131n\u0131 kurar. Bu orkestra ile Arjantin\u2019in \u00e7e\u015fitli \u015fehirlerini dola\u015f\u0131r, Buenos Aires\u2019in Kafe Express, Kafe Moka \u00f6nemli noktalar\u0131nda konserler verir.<\/div>\n
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Di Sarli 1923-1927<\/strong> y\u0131llar\u0131 aras\u0131nda bandoneonist Anselmo Aieta<\/strong>, Juan Pedro Castillo (The King of Pizzicato)<\/strong> \u2013pizzicato kemanda k\u0131sa dokunu\u015flar-. gibi sanat\u00e7\u0131larla \u00e7al\u0131\u015f\u0131r, bunun yan\u0131nda tangonun en \u00fcnl\u00fc par\u00e7alar\u0131ndan biri olan \u201cCanaro en Paris<\/strong>\u201din yazar\u0131 Alejandro Scarpino <\/strong>\u00fc\u00e7l\u00fcs\u00fcne d\u00e2hil olur.<\/p>\n

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Yine bu d\u00f6nemde ilk \u00e7\u0131k\u0131\u015f\u0131n\u0131 bir sextetle Chantecler kabaresinde ger\u00e7ekle\u015ftirir. Bir s\u00fcre sonra kabarenin sahibiyle sorunlar ya\u015far. Bu d\u00f6nem \u00e7ok zorlu bir d\u00f6nemdir, i\u015f bulmak \u00e7ok zordur. 1927 y\u0131l\u0131nda viyolonist Jos\u00e9 P\u00e9cora<\/strong> arac\u0131l\u0131\u011f\u0131yla Osvaldo Fresedo<\/strong> ile tan\u0131\u015f\u0131r.<\/span><\/p>\n<\/div>\n

1928<\/strong>\u2019de ilk tangolar<\/strong>\u0131n\u0131 T.B.C ve LA Guitarrita isimleri ve RCA Victor etiketiyle kaydeder. Bu kay\u0131tlar\u0131 yapt\u0131\u011f\u0131 orkestra ile 1931 y\u0131l\u0131na kadar b\u00fcy\u00fck ba\u015far\u0131lar kazan\u0131r. Yine bu s\u00fcre\u00e7te Bergere, Fenix ve Astral tiyatrolar\u0131nda \u00e7e\u015fitli g\u00f6steriler yapar.<\/div>\n
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Di Sarli, 1934<\/strong> y\u0131l\u0131nda orkestras\u0131 \u201cSexteto Di Sarli\u201d<\/strong> ismiyle m\u00fczikal yolculu\u011funa devam eder. Bu y\u0131l orkestras\u0131yla birlikte Kafe Germinal\u2019de konserler verir. Bu g\u00f6steri g\u00fcnlerinin birinde kafe sahibi Di Sarli\u2019den g\u00f6zl\u00fc\u011f\u00fcn\u00fc \u00e7\u0131karmas\u0131n\u0131 ister, oysa Di Sarli g\u00f6zl\u00fc\u011f\u00fc keyfi takmamaktad\u0131r. Di Sarli, kafe sahibiyle tart\u0131\u015f\u0131r ve Buenos Aires\u2019ten ayr\u0131l\u0131r. Sonra orkestra \u201cOrquesta Tipica Novel\u201d<\/strong> ismini al\u0131r. 1936 y\u0131l\u0131nda tekrar orkestras\u0131na d\u00f6ner, bu d\u00f6nemde herhangi bir kay\u0131t yapmaz.<\/p>\n

Y\u0131l 1939<\/strong>. Tango \u201cGolden Age\u201d<\/strong> alt\u0131n \u00e7a\u011f\u0131nda. Elbette ki bu d\u00f6nemde Di Sarli ad\u0131 an\u0131lmadan<\/p>\n

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1940-1941<\/strong> y\u0131llar\u0131 aras\u0131 Di Sarli\u2019nin ba\u015far\u0131s\u0131n\u0131n art\u0131k doru\u011fa ula\u015ft\u0131\u011f\u0131 y\u0131llard\u0131r. Bu d\u00f6nemde Di Sarli orkestras\u0131na Rodriguez Lesenda, Agust\u00edn Volpe ve ard\u0131ndan Carlos Acu\u00f1a e\u015flik eder. Bu d\u00f6nem \u015fark\u0131lar\u0131nda kendi tarz\u0131na d\u00f6n\u00fc\u015f izleri g\u00f6r\u00fcl\u00fcr.<\/span><\/p>\n<\/div>\n

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1941- 1942<\/strong> y\u0131llar\u0131ndaki \u015fark\u0131larda Di Sarli tempoyu yava\u015flat\u0131r, \u00f6ze d\u00f6n\u00fc\u015f\u00fcn bir ba\u015fka i\u015fareti de budur. \u015eark\u0131larda c\u00fcmleler uzar, duygular \u00f6n plana \u00e7\u0131kar. Duygulara sesiyle Alberto Podesta beden olur.<\/p>\n<\/div>\n

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1944<\/strong>\u2019te Di Sarli orkestras\u0131n\u0131n tarz\u0131n\u0131n melankolikle\u015fti\u011fi g\u00f6r\u00fcl\u00fcr. Bu d\u00f6nem bu melankolikli\u011fe Jorge Dur\u00e1n\u2019\u0131n s\u0131cak sesi e\u015flik eder. Sonras\u0131nda 1948 y\u0131l\u0131na kadar orkestraya Alberto Podesta ve 1948<\/strong>\u2019de Oscar Serpa e\u015flik eder. 1948\u2019de Di Sarli orkestradan ayr\u0131l\u0131r.<\/p>\n

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1951 <\/strong>y\u0131l\u0131 Di Sarli \u015fark\u0131lar\u0131nda seyirci co\u015fkusunun en \u00fcst seviyede oldu\u011fu y\u0131llardand\u0131r. Di Sarli bu y\u0131l Radyo El Mundo\u2019da \u201cBienvenida a Carlos Di Sarli\u201d<\/strong> ismiyle yeniden program yapmaya ba\u015flar. Bu d\u00f6nemde orkestras\u0131 iyice b\u00fcy\u00fcm\u00fc\u015ft\u00fcr, orkestrada 6 keman, 5 bandoneon ve vokalde Oscar Serpa ve Maria Pomar yer al\u0131r.<\/span><\/p>\n<\/div>\n

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1956<\/strong>\u2019da Di Sarli orkestras\u0131n\u0131n m\u00fczisyenleri \u201cLos Se\u00f1ores del Tango\u201d<\/strong> ismiyle Di Sarli <\/span>tarz\u0131na \u00e7ok benzer bir orkestra olu\u015fturmak i\u00e7in ayr\u0131l\u0131rlar. Di Sarli orkestras\u0131n\u0131 neredeyse s\u0131f\u0131rdan yeniden olu\u015fturur. Bu d\u00f6nemde orkestraya Argentino Ledesma<\/strong> ve Rodolfo Gal\u00e9<\/strong> e\u015flik eder. D\u0130 Sarli bu \u015fark\u0131c\u0131larla birlikte RCA Victor\u2019a kay\u0131t yapmaya devam eder.<\/p>\n

Di Sarli 1958<\/strong>\u2019de RCA Victor\u2019dan ayr\u0131l\u0131p son kay\u0131tlar\u0131n\u0131 Philips ile yapar.<\/div>\n
\u00a0<\/div>\n
Golden Age D\u00f6nemi ve Di Sarli Tarz\u0131<\/em><\/strong><\/div>\n
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Di Sarli tarz\u0131n\u0131n ger\u00e7ek anlamda ortaya \u00e7\u0131kt\u0131\u011f\u0131 d\u00f6nem tangonun \u201cGolden Age\u201d d\u00f6nemine denk gelir. Golden Age d\u00f6nemi \u201cAlt\u0131n \u00c7a\u011f Keskin Ritmler, Alt\u0131n \u00c7a\u011f Yumu\u015fak Ritmler, Alt\u0131n \u00c7a\u011f P\u00fcr\u00fczs\u00fcz\/Kaygan\/Ak\u0131c\u0131, Alt\u0131n \u00c7a\u011f Lirik, Alt\u0131n \u00c7a\u011f Dramatik\/\u00c7arp\u0131c\u0131\/Etkileyici\u201d <\/strong>gibi tarzlar\u0131 i\u00e7erir.<\/div>\n
Di Sarli\u2019nin ilk zamanlar\u0131<\/strong> \u201cAlt\u0131n \u00c7a\u011f Yumu\u015fak Ritmler\u201d tarz\u0131ndad\u0131r. Yumu\u015fak ritimli tangolarda \u201crik-tik-tik\u201d ritimleri vard\u0131r ancak \u00f6n plana \u00e7\u0131kmaz. Vokallerin e\u015flik etti\u011fi bu tarzdaki tangolarda \u015fark\u0131c\u0131 orkestran\u0131n ritmine yak\u0131n durur. \u00d6ne \u00e7\u0131kan ya da \u00e7\u0131kmayan \u201crik-tik\u201d ritimleri tarzlar aras\u0131ndaki farklar\u0131n en belirleyici \u00f6zelliklerindendir.<\/div>\n
Di Sarli\u2019nin \u00e7o\u011fu enstr\u00fcmantalleri<\/strong> \u201cAlt\u0131n \u00c7a\u011f P\u00fcr\u00fczs\u00fcz\/Kaygan\/Ak\u0131c\u0131\u201d tarzdad\u0131r. Bu tarz; p\u00fcr\u00fczs\u00fcz, kaygan, ak\u0131c\u0131 tango m\u00fczi\u011fi kategorisinde yer alan tangolar genellikle \u201c\u201crik-tik-tik\u201d\u201d aksan\u0131 olmayan ve belirgin kre\u015fendo (gittik\u00e7e y\u00fckselen sesler), \u00e7arp\u0131c\u0131 duraklamalar, a\u011f\u0131rla\u015ft\u0131r\u0131lm\u0131\u015f vuru\u015flar gibi dramatik tango m\u00fczi\u011fi \u00f6gelerine de rastlanmayan enstr\u00fcmantal m\u00fczi\u011fi i\u00e7erir. Ritm melodinin alt\u0131nda \u00e7ok k\u0131s\u0131k bir \u015fekilde melodiyi takip eder.<\/div>\n
Di Sarli\/Rufino, Di Sarli\/Duran \u015fark\u0131lar\u0131<\/strong> \u201cAlt\u0131n \u00c7a\u011f Lirik\u201d tarzdad\u0131r. Alt\u0131n \u00c7a\u011f boyunca \u015fark\u0131c\u0131 kimi zaman orkestra ile birlikte s\u00f6ylemi\u015f kimi zaman da orkestra \u015fark\u0131c\u0131 i\u00e7in \u00e7alm\u0131\u015ft\u0131r. Lirik tangolarda \u015fark\u0131c\u0131 ritme ba\u011fl\u0131 kalmaz, m\u00fczi\u011fin lirik yap\u0131s\u0131n\u0131 vurgular.<\/div>\n<\/div>\n
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Onu Etkileyen Sanat\u00e7\u0131lar<\/em><\/strong> <\/span><\/p>\n<\/div>\n

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1927<\/strong> y\u0131l\u0131 Di Sarli tarihinin d\u00f6n\u00fcm noktalar\u0131ndan biri olur. Di Sarli, 1927 y\u0131l\u0131nda viyolonist Jos\u00e9 P\u00e9cora<\/strong> arac\u0131l\u0131\u011f\u0131yla Osvaldo Fresedo<\/strong> ile tan\u0131\u015f\u0131r. Fresedo o tarihte temiz, narin ve melodik<\/p>\n

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tarz\u0131yla Buenos Aires\u2019te tango m\u00fczi\u011finin \u00f6nemli isimlerinden biridir. \u00d6yle ki \u015fehrin \u015f\u0131k ve \u00f6nemli mek\u00e2nlar\u0131nda birden fazla orkestray\u0131 y\u00f6netir. Fresedo ile bulu\u015fma gelece\u011fin b\u00fcy\u00fck maestrosu i\u00e7in b\u00fcy\u00fck bir f\u0131rsatt\u0131r. Di Sarli, Fresedo\u2019nun orkestras\u0131na d\u00e2hil olur. Fresedo Di Sarli tarihinin \u00f6nemli simalar\u0131ndan biri ve onun idol\u00fc olur. Di Sarli tarz\u0131nda Fresedo kokusu duyumsan\u0131r. Tango tarihinin bu \u00f6nemli bulu\u015fmas\u0131 s\u0131k\u0131 bir dostlu\u011fu beraberinde getirir.<\/span><\/p>\n<\/div>\n

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Birlikte \u00c7al\u0131\u015ft\u0131\u011f\u0131 \u015eark\u0131c\u0131lar<\/em><\/strong><\/span><\/p>\n<\/div>\n

1929 y\u0131l\u0131nda Roberto Deinere<\/strong> Di Sarli orkestras\u0131na d\u00e2hil olur ve Di Sarli onunla birlikte ilk vokalli alb\u00fcm\u00fc olan Sos Una Fiera<\/strong>\u2019y\u0131 kaydeder. Daha sonra 1934 y\u0131l\u0131na kadar orkestraya Santiago Davincenzi, Fernando Diaz <\/strong>ve Ernesto Fama<\/strong> kat\u0131l\u0131r.<\/div>\n
1939\u2019dan itibaren Di Sarli orkestras\u0131na \u2013bu d\u00f6nem Alt\u0131n \u00c7a\u011f\u2019a denk gelmektedir- Roberto Rufino<\/strong>, 1940-1941 y\u0131llar\u0131nda Rodriguez Lesenda, Agust\u00edn Volpe<\/strong> ve ard\u0131ndan Carlos Acu\u00f1a<\/strong>, 1941-1942 y\u0131llar\u0131nda Alberto Podesta<\/strong> e\u015flik eder.<\/div>\n
1944-1946 y\u0131llar\u0131nda Di Sarli kendi tarz\u0131na d\u00f6nm\u00fc\u015f ve dahas\u0131 m\u00fczi\u011finde melankolikler izler g\u00f6r\u00fclmeye ba\u015flanm\u0131\u015ft\u0131r. Bu d\u00f6nemde Di Sarli orkestras\u0131na Jorge Dur\u00e1n<\/strong>, 1947\u2019de yeniden Alberto Podesta <\/strong>ve 1948\u2019de Oscar Serpa, <\/strong>1951\u2019de Di Sarli orkestras\u0131na Oscar Serpa ve Maria Pomar <\/strong>e\u015flik eder.<\/div>\n
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Di Sarli 1956 \u2018da orkestras\u0131n\u0131n da\u011f\u0131lmas\u0131ndan sonra s\u0131f\u0131rdan yeni bir orkestra kurar, bu orkestrada ona Argentino Ledesma<\/strong> ve Rodolfo Gal\u00e9<\/strong> e\u015flik eder.<\/span><\/p>\n<\/div>\n

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Di Sarli 1958 y\u0131l\u0131nda RCA Victor\u2019dan ayr\u0131l\u0131p son kay\u0131tlar\u0131n\u0131 yaparken ona \u015fark\u0131c\u0131lar Jorge Dur\u00e1n<\/strong> ve Horacio Casares<\/strong> e\u015flik eder.<\/span><\/p>\n<\/div>\n

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Di Sarli Tarz\u0131na M\u00fczikal Bir Bak\u0131\u015f ve Di Sarli Tarz\u0131n\u0131n Ayr\u0131m Noktalar\u0131<\/em><\/strong><\/span><\/p>\n<\/div>\n

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Tangonun m\u00fczikal tarihine bakt\u0131\u011f\u0131m\u0131zda d\u00f6nemine g\u00f6re \u00e7\u0131\u011f\u0131r a\u00e7an yahut ekol yaratan bir\u00e7ok sanat\u00e7\u0131 g\u00f6r\u00fcl\u00fcr. Di Sarli tango m\u00fczi\u011fine giri\u015f yapt\u0131\u011f\u0131nda Roberto Firpo ve Francisco Canaro gelene\u011fi takip eden orkestralard\u0131r.<\/span><\/p>\n<\/div>\n

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Ayn\u0131 zaman dilimde Julio De Caro yenilik\u00e7ili\u011fin sembol\u00fc olmu\u015f, ekol yaratm\u0131\u015ft\u0131r. Di Sarli bu iki tarz\u0131 benimsememi\u015f, kendi tarz\u0131n\u0131 yaratm\u0131\u015ft\u0131r.<\/div>\n
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Di Sarli\u2019nin m\u00fczik tarz\u0131n\u0131 \u00e7\u00f6z\u00fcmlemeye onun tango m\u00fczi\u011findeki lirik\/romantik tarz\u0131n en b\u00fcy\u00fck temsilcisi oldu\u011funu ifade ederek ba\u015flanmal\u0131d\u0131r. Onun \u015fark\u0131lar\u0131n\u0131 tek kelimeyle ifade etmek gerekirse bu kelime hi\u00e7 ku\u015fkusuz \u201cgizem\u201d olur. Di Sarli m\u00fczi\u011findeki gizem dans edenleri yahut onun \u015fark\u0131lar\u0131n\u0131 dinleyenleri \u015fark\u0131n\u0131n i\u00e7inde kaybolmaya y\u00f6neltir. Peki, onu di\u011fer sanat\u00e7\u0131lardan ay\u0131ran m\u00fczikal \u00f6zellikler nelerdir?<\/span><\/p>\n<\/div>\n

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Lirik tarzda esas olan\u0131n melodi oldu\u011funu d\u00fc\u015f\u00fcn\u00fcrsek yayl\u0131lar onun m\u00fczi\u011finde b\u00fcy\u00fck \u00f6nem ta\u015f\u0131r, melodiler genel olarak kemanlar taraf\u0131ndan \u00e7al\u0131n\u0131r. Kimi zaman melodilerin ifade edili\u015finde kemanlara bandoneonlar kimi zaman piyano e\u015flik eder. Bandoneonlar genel olarak ritm verirken kimi \u015fark\u0131lar\u0131n baz\u0131 c\u00fcmlelerinde ba\u011f\u0131ms\u0131z olarak melodiyi \u00e7ald\u0131\u011f\u0131 da olur. Bandoneonla keman\u0131n melodiyi birlikte \u00e7ald\u0131\u011f\u0131 anlar bizi b\u00fcy\u00fcler.<\/span><\/p>\n

Di Sarli b\u00fcy\u00fck bir piyanisttir. Onun en \u00f6nemli \u00f6zelliklerinden biri orkestrada piyanoyu kendisinin \u00e7almas\u0131d\u0131r. \u00d6l\u00e7\u00fc sonlar\u0131 ve c\u00fcmle ge\u00e7i\u015flerindeki piyano t\u0131n\u0131lar\u0131yla \u015fark\u0131n\u0131n armonisi tamamlan\u0131rken Di Sarli burada \u015fark\u0131n\u0131n ak\u0131\u015f\u0131n\u0131 sa\u011flay\u0131p \u015fark\u0131y\u0131 y\u00f6netir. Bunun yan\u0131nda piyanonun bandoneonla birlikte ritm verdi\u011fi de g\u00f6r\u00fcl\u00fcr.<\/p>\n<\/div>\n

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Di Sarli tarz\u0131n\u0131 di\u011fer tarzlardan ay\u0131ran en \u00f6nemli noktalardan biri de onun \u015fark\u0131lar\u0131n\u0131n tempolar\u0131d\u0131r. Lirik\/romantik \u015fark\u0131lar genellikle yava\u015f tempodad\u0131r (Adagio). Bu \u015fark\u0131larda \u00f6l\u00e7\u00fc ba\u015f\u0131na iki vuru\u015f (1 ve 3. vuru\u015flar) belirgindir. Bu durum onun m\u00fczikal tarihinin tamam\u0131n\u0131 ifade etmemekle birlikte geneli ifade eder. Onun 1940\u2019lar\u0131n ba\u015f\u0131ndaki kimi \u015fark\u0131lar\u0131 daha ritmik, \u00f6l\u00e7\u00fclerdeki her bir vuru\u015f keskin ve belirgindir. Bu \u015fark\u0131larda bandoneonun \u00f6n planda oldu\u011fu g\u00f6r\u00fcl\u00fcr.<\/span><\/p>\n<\/div>\n

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Di Sarli \u015fark\u0131lar\u0131nda genel olarak sololar bulunmaz, enstr\u00fcmanlardan biri di\u011ferine muhakkak e\u015flik eder.<\/span><\/p>\n<\/div>\n

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Di Sarli tarz\u0131n\u0131n \u00f6nemli ayr\u0131m noktalar\u0131n\u0131 ifade ederken m\u00fczikteki \u201cKadans\/Muhte\u015fem Bitiri\u015f)\u201d <\/strong>kavram\u0131na de\u011finmek gerekir. Kadans m\u00fczikal olarak \u201cbir m\u00fczik c\u00fcmlesinin akorlar\u0131n durucu\/y\u00fcr\u00fcy\u00fcc\u00fc \u00f6zelliklerden yararlan\u0131larak durgu (karar, kal\u0131\u015f, biti\u015f) etkisi vermek i\u00e7in birbirine ba\u011flanmas\u0131\u201d \u015feklinde ifade edilmektedir.<\/span><\/p>\n<\/div>\n

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Kadanslar tango bestecilerinin imzas\u0131 haline gelmi\u015ftir. Bir \u015fark\u0131n\u0131n Di Sarli \u015fark\u0131s\u0131 oldu\u011funu son iki vuru\u015ftan anlamak gayet m\u00fcmk\u00fcnd\u00fcr. Tango \u015fark\u0131lar\u0131 genel olarak 1-3-1 yar\u0131 zaman (double time) ritminde, m\u00fczikal olarak 1-5-1 aral\u0131\u011f\u0131nda biter. 1 rakam\u0131 \u015fark\u0131n\u0131n tonunun ilk notas\u0131n\u0131 ifade eder. Bunu \u015f\u00f6yle \u00f6rneklendirebiliriz. \u015eark\u0131n\u0131n tonunun do maj\u00f6r oldu\u011funu d\u00fc\u015f\u00fcnelim. Bitiri\u015f genel olarak do-sol-do \u015feklinde ger\u00e7ekle\u015fir. Di Sarli ikinci vuru\u015fu (5) t\u00fcm orkestra ile g\u00fc\u00e7l\u00fc, son vuru\u015fu piyano ile daha g\u00fc\u00e7s\u00fcz ama parlak \u00e7alar.<\/span><\/p>\n<\/div>\n

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Baz\u0131 Di Sarli \u015eark\u0131lar\u0131n\u0131n \u00d6zellikleri ve Hik\u00e2yeleri<\/em><\/strong><\/span><\/p>\n<\/div>\n

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Sarli 1919\u2019da ilk tango par\u00e7as\u0131 olan Meditaci\u00f3n<\/strong>\u2019u yazar ama bu par\u00e7ay\u0131 hi\u00e7bir alb\u00fcm\u00fcnde kaydetmez. Bu par\u00e7a Juan (Pacho) Maglio<\/strong> ve Francisco Canaro <\/strong>gibi sanat\u00e7\u0131lar taraf\u0131ndan kaydedilir.<\/span><\/p>\n<\/div>\n

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Di Sarli, en \u00f6nemli bestelerinden biri olan Milonguero Viejo<\/strong>\u2019yu 1927 y\u0131l\u0131nda besteler ve en yak\u0131n dostlar\u0131ndan biri olan Fresedo\u2019ya ithaf eder.<\/span><\/p>\n<\/div>\n

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1939 y\u0131l\u0131 \u201cGolden Age\u201d d\u00f6nemi Di Sarli tarz\u0131 \u201cTango Milonguero\u201d <\/strong>tarz\u0131na g\u00f6z k\u0131rpar, bu d\u00f6nemi Lo Pasao Pas\u00f3<\/strong> ve En Un Beso La Vida <\/strong>gibi \u015fark\u0131lar Di Sarli\u2019nin bu d\u00f6neminin simge \u015fark\u0131lar\u0131ndand\u0131r.<\/span><\/p>\n<\/div>\n

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1941-1942 y\u0131llar\u0131 Di Sarli\u2019nin kendi lirik\/melodik tarz\u0131na d\u00f6n\u00fc\u015f yapt\u0131\u011f\u0131 y\u0131llard\u0131r. Junto A Tu Coraz\u00f3n, Nido Gaucho, Otra Vez Carnaval, La Capilla Blanca, T\u00fa El Cielo Y T\u00fa <\/strong>gibi \u015fark\u0131lar bu d\u00f6neminin simge \u015fark\u0131lar\u0131d\u0131r.<\/span><\/p>\n<\/div>\n

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1944 y\u0131l\u0131nda Di Sarli \u015fark\u0131lar\u0131nda zengin lirizmin yan\u0131nda melankoli duyumsan\u0131r. Vieja Luna<\/strong> ve Tu Intimo Secreto<\/strong> Di Sarli\u2019nin bu d\u00f6nemini simgeler.<\/span><\/p>\n<\/div>\n

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Di Sarli\u2019nin tango derslerinde ve milongalarda en \u00e7ok \u00e7al\u0131nan \u015fark\u0131lar\u0131ndan biri \u201cBahia Blanca\u201d<\/strong>d\u0131r. Bu \u015fark\u0131, Di Sarli taraf\u0131ndan 1958\u2019de \u00f6l\u00fcm\u00fcnden k\u0131sa bir s\u00fcre \u00f6nce kaydedilen son \u015fark\u0131d\u0131r. Di Sarli bu \u015fark\u0131y\u0131 do\u011fdu\u011fu kent Bahia Blanca\u2019ya adar.

Yazar: Emrah Alt\u0131kula\u00e7<\/span><\/em><\/strong>
Tango M\u00fczi\u011fi’nin \u0130lahlar\u0131-1 “CARLOS DI SARLI’
https:\/\/www.istanbultango.com\/<\/strong><\/span>
<\/span><\/p>\n<\/div>\n

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KAYNAK\u00c7A<\/strong><\/span><\/p>\n<\/div>\n

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Kaynak Kitaplar<\/em><\/strong><\/span><\/p>\n<\/div>\n

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Narter, Ye\u015fim, Tango B\u00f6yle bir \u015eey, Ayr\u0131nt\u0131 Yay\u0131nlar\u0131, Sanat ve Kuram Dizisi, \u0130stanbul, Kas\u0131m 2016 <\/span>Hess, Remi, Tango, Dost Yay\u0131nlar\u0131, Ankara, Nisan 2017<\/p>\n<\/div>\n

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\u0130nternet Sayfalar\u0131<\/em><\/strong><\/span><\/p>\n<\/div>\n

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https:\/\/en.wikipedia.org\/wiki\/Carlos_di_Sarli<\/a>
<\/span>https:\/\/www.el-recodo.com\/carlosdisarli-en?lang=en<\/a>
https:\/\/www.todotango.com\/english\/artists\/biography\/36\/Carlos-Di-Sarli\/<\/a>
https:\/\/www.tanguito.co.uk\/tang<\/a>o-culture\/<\/a>
https:\/\/www.caminitoart.com\/tango-kaynakca-resources\/<\/a>
https:\/\/www.tejastango.com\/tango_music_collection.html#introduction<\/a><\/p>\n<\/div>\n<\/div>\n

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