Maxim Vengerov and Ulucan Brothers / BSF 2018
At first glance, the program seemed to have been chosen somewhat by mistake. Maxim Vengerov and his students performed the April 3 concert of the festival accompanied by Liszt Ferenc Chamberorchestra. Later it turned out that each piece was deliberately chosen, and in the end the public left in complete satisfaction.
Written by János Malina.
In the first part of the concert that took place in Pesti Vigadó, we listened to Brahms' invaluable piano quintet in F minor (op 34). After the break, only transcriptions came: first Mozart's Concerto in C major, rarely played for two violins, then three romantic solo works accompanied by Liszt Ferenc Chamberorchestra, working as chamber or symphonic orchestra.
After reading the title of the concert - “Maxim Vengerov and the Ulucan brothers” - we can understand why the program is so convoluted. The great Russian violinist is also a committed teacher. Two of the three Turkish Ulucan brothers of Bulgarian origin - violinist-violist Özcan and pianist Birsen, were Vengerov's former students at the Saarbrücken Music Academy. In the piece Brahms, all three played with Vengerov and cellist Richard Rozsa. In this piece, Özcan played the viola, which presented the second violin section to his older sister Ayşen. In Mozart they - Ayşen and Özcan were soloists. After that, we can enjoy the game of their masters.
The Brahms quintet's performance looked confusing at first. Vigadó's church-like acoustics are far from perfect, and the sound of the five instruments is somewhat rough and atomized. In the first episode, the artists didn't seem to know how to handle the acoustic conditions. Although his interpretations are exciting, convincing and powerful, and we can sense individual characteristics such as the extraordinary fluency of Vengerov's playing or the intensity of Özcan Ulucan's voice; however, the overall effect was rather unreal and shadowy. The second move was a turning point - I still can't understand how they got over the physical barriers. I think it was a kind of inner power mobilization. For example, Richard Rozsa, who previously seemed less audible, turned out to be a master of subtle tones; and Birsen Ulucan, a first-class pianist whose rich colors and playful singing are a great source of interpretation. After the impressive, even outward slow motion, the supple Scherzo was a breakthrough, followed by the monumental final act played in all its glory.
One of Vigadó's secrets is that acoustic problems disappear when Liszt Ferenc Chamberorchestra is on stage. The most interesting thing about the Mozart Concertone was the perfect integration of Ayşen and Özcan Ulucan's two completely different musical and vocal characters. Ayşen's crystal clear voice combines with the subtlety and lightness of musical expression (which does not mean insignificance). She is a typical female character - if this category exists. In addition, her acting, appearance and character are very similar to Alina Pogosztkina, who is well known in Hungary. Özcan uses a masculine, dark and full voice; it is also sensitive to fine details and has excellent musical and technical control. The duo is a rare example of constructive dialogue, a perfect match. Let me just say that the orchestra played lightly, well-balanced, flawlessly and thoughtfully on the tracks below, it was a huge advantage of the whole experience. In the Concertone, oboist Béla Horváth and cellist Ottó Kertész played a secondary solo role, but their performance was on par with that of the main solo actors.
Then we listened to the famous Méditation (with Ágnes Polónyi's important harp solo) from Massnet's opera Thais. The next two pieces were from Saint-Saëns, Havanaise op 83 and Entrance and Rondo capriccioso op 28. Both are inspiring, full of humor, but this music doesn't match the musical level of the whole show. Unlike Vengerov's performance, who was able to do magic as a truly great artist: his deep virtuosity and contemplation to elevate pieces, we listened to him in awe. Thanks to him, we were taken to the temple of art.
Ulucan Trio 'Manav/Sonmez/Genckal/Ravel: Piano Trios (Çagsav Music)
December 4, 2021
Ulucan Siblings, who grew up in a family with a strong love of art in Bulgaria, started their classical music studies in Shumen. The brothers, who migrated to Turkey with their families in 1989, continued their studies first here, then in England, America and Germany. Continuing their soloist careers both together and separately, the three brothers worked with famous musicians, gave concerts, and won awards in international competitions.
The advantage of being siblings is always felt in their music. They get along as if there is a secret communication network between them. The family albums that they created as solo, duo and trio are the comments that reflect the generation well, but they also carry clues that they have a good future. Each talented and colorful characters; as well as passionate and exploratory...
The album released in 2020 by Ulucan Trio, formed by Özcan and Birsen brothers with cellist Ozan Evrim Tunca, is a masterful move for contemporary music works that include Eastern colors. The album “Trios with Piano” adapts the works of three Turkish (Özkan Manav, Özcan Sönmez and Berkant Gençkal) composers and a French (Maurice Ravel) composer into trio format.
Ulucan Duo - MOZART / DEBUSSY / STRAUSS (Çagsav Music)
December 4, 2021
Ulucan Siblings, one of the first names that come to mind in chamber music in our country; Birsen, Özcan and Ayşen Ulucan. In February 2008, the siblings recorded their first album, "Bir Ağaç Gibi" in trio format, consisting of works by Franz Schubert, Franz Liszt, Fazıl Say, Zeynep Gedizlioğlu and İnci Yakar. Standing out with their dynamic and enthusiastic interpretations, the siblings worked with different combinations over time, produced works that would become the voice of the new generation, and gave successful concerts at home and abroad.
Two of the siblings, pianist Birsen and violinist Özcan Ulucan, are crowning 2021 with a beautiful work they did under the name Ulucan Duo.
Approaching the unforgettable works of great composers with a new spirit (which we do not mind to call young work because they reflect the spirit of their generation) with a new spirit, the latest recordings of Ulucan Siblings focus on three composers of the classical, romantic and impressionist periods. Wolfgang Amadeus Mozart, Claude Debussy and Richard Strauss... One of the features of the album, which includes three important sonatas by three great composers, is that Strauss' violin-piano sonata was recorded for the first time in our country.
A poetic narrative; artistically brilliant, spiritually deep and sincere... The records are brilliant...
Ulucan Trio and Towards New Horizons
2 December 2020 / Reflections from Art
As I write this article, I feel a bit like a kitten taking its first steps. First of all, for addressing you, my readers, for the first time. But I'm a little excited, not just because it's the first time I'm addressing you, but because it's the first time I've run my fingers over the keyboard as a music critic. There is also this: although my name and half of my family are Turkish, my mother tongue is not Turkish, I learned Turkish later. So, I am starting this article as an innovation, an experimental study in a few ways.
Fortunately, such an approach suits the new album Ulucan, Trio "Piano Trios" which I will cover in this article. Although this album is Ulucan Trio's first album, it is intertwined with innovation in almost every aspect. There are four piano trios in the album: three of them are works composed in the last twenty years by composers Özkan Manav, Özcan Sönmez and Berkant Gençkal, who are quite young working in Turkey. The fourth trio is by French composer Maurice Ravel, who I don't know if it's because of his brilliant orchestration ability or because of their refined melodies, but it always has a certain freshness in my mind. In other words, Ulucan Trio musicians display their skills by dealing with various musical materials by placing an existing but still harmonious piece next to three fairly new works, and presenting a new album that is variable but unified at the same time.
While I was spending time with the Piano Trios album, I was accidentally reading a book on aesthetic theories by the twentieth century German philosopher, sociologist, and musicologist Theodor Adorno. As it is known, Adorno considers dealing with objective forms within the framework of aesthetic autonomy as a source of resistance and innovation that can be applied against the capitalist "culture industry" that is gradually conquering all parts of the world. I can say that I have shaped this article with an almost telescopic approach, inspired by Adorno, but without going too far into Adorno's rather complex ideas and starting from the layout of the album.
In the first part of the article, I focus on the works themselves rather than the performance quality, because Ulucan Trio offers us the opportunity to compare three different approaches to aesthetic objects by composers by putting three contemporary works side by side. By adding Ravel's trio, which is a well-known work, to the album, he demonstrates his own interpretation skills. Therefore, in the second part of the article, I expand the perspective a little and look at how they deal with the Ravel trio rather than the piece.
In this article, the perspectives of composers and performers are of course also filtered through me, dealing with both the works and their interpretations, as well as their objective form, which I have not dealt with before by taking a new style of writing in a language I am learning as an adult (I have not yet determined whether I have taken a step against the culture industry). In all of these, my aim is to create a deeper and more tiring experience for the audience by sharing some of my ideas and impressions about this extremely enjoyable album, rather than judging like an expert by saying this is good and this is bad.
Three Different Views of Contemporary Turkish Chamber Music and Objective Form
In this album, it's like a small tour of contemporary Turkish chamber music. The enjoyment of the album can be deduced by comparing three different approaches to the materials by three different composers on the album. If we evaluate the body of Özkan Manav's one-part work called Laçin as a folk song named Laçin, which is fragmented and embellished and put in a new frame, then the “pastiche” approach of Özcan Sönmez's three-part work, including a folk song, is included in the neoclassical framework. We can see that it consists of various elements such as Russian melody understanding, impressionist French harmony approach, sonata form. Berkant Gençkal's “Earrings and Child” is inspired by the 19th century German writer Karl Georg Büchner's play “Wozzeck” and tries to draw an original picture in two very different parts with notes. In short, we can evaluate the three different approaches in these three works as “integrity,” “pastiche,” and “reflection”.
When I first listened to the album, the piece that I liked the most was definitely Sönmez's trio. Sönmez presents a very attractive music by putting various elements into plain classical forms in the form of pastiche. For example, he satisfactorily distributes the energetic, chirpy, but slightly allusive melody of the first theme of the first movement, which immediately reminds us of 20th-century Russian composers, among three instruments in sequence. In repetition, he subtly changes this theme, keeping the listener's attention. The more chromatic harmony language in the third part also breathes new life into it. Yavaş creates a completely different atmosphere by taking the theme of the second part from a folk song, but still exhibits an approach suitable for the piece with its thematic economy. In fact, the piece has a bit of a savings: the three parts of the piece take about eight minutes in total. Couldn't Sönmez have used the satisfying themes and potential classical forms a little more efficiently?
While Sönmez uses various elements in a simple and sequential manner, Manav creates a rich and intertwined unity from a single folk song. After listening to a few more traditional versions of the Azeri folk song called Laçin on Youtube, I understood Manav's approach to his object better. Manav actually creates a new wholeness by putting an “atmosphere” consisting of the sounds of celestial, down-sliding string instruments on the enigmatic piano chords at the beginning and end of the piece. In other words, Laçin takes the folk song as an object and puts it in a framework he has created. Within that framework, he opens the traditional theme like Picasso by stretching and distributing the Laçin theme, and with an almost pointistic technique, providing new perspectives and creating a new integrity.
If I had to talk about one of my less favorite works in the album, I would probably choose Gençkal's “Earrings and Child”. At first glance, it caught my attention that Büchner was inspired by the play “Wozzeck” full of deception and death, but Gençkal's claim that it has nothing to do with Alban Berg's opera of the same name, which is one of the important works of the twentieth century and which is included in the serial techniques movement, seems to make him angry. pushing into dangerous waters. In summary, Gençkal's version seems a bit banal.
Gençkal says in the CD booklet that he tries to create a contrast by dividing the work into two very different parts. On the one hand, he excels at this: in the first section he hovers over the sinuous, enigmatic long melodies performed unisono by the violin and the cello, the slightly chromatic, piano-played harmonies arranged in arpeggio, while in the second section, repetitive, percussive melodies are used with faltering rhythms to show the “child” in the title. Certainly, the long melodies in the first part and the rhythms in the second part have their joys, but I sensed a directionlessness, a purposelessness in both parts of the piece—as if the Wozzeck story, whose events were so clear, was filtered through a clear glass.
Ravel Interpretation of Ulucan Trio
and Reflections from Other Worlds
In the first part, the three contemporary Turkish works in the album
are used. We compared three different approaches. Now, let's take
some perspective expanding your attention to the interpretation of the
fourth piece on the album. I want to draw. Ulucan Trio's Maurice Ravel's
A MinorWhen we look at the trio interpretation, the musicians are
seriously confused. It is quite obvious that he is tired. Ulucan Trio
musicians with their diversity by analyzing this music of Ravel, which
exhibits almost a pastiche and by interpreting, to create integrity both
in terms of form. He succeeded in making different images very refined
by focusing on the details somehow reflected.
For example, to understand how Ulucan Trio creates unity in Ravel, we can turn to the third part of the work. This slow episode is a passacaglia: that is, the whole episode is built on a single recurring theme (in this sense, a link can be made with the second part of Sönmez's trio, which uses the folk song). After a piano introduction, cellist Ozan Evrim Tunca presents the theme with a velvety, soft voice. Next, this theme is shared between violin and piano. What I want to describe is that they control the musical tension and create a great architecture. For example, from around 3:30 on the recording, a crescendo with a sudden piano dynamic begins and continues until the climax of the section. Because they control the dynamic and tension in this way, they allow the listener to perceive the episode as an arc, and the climax of the episode is so dramatic. I passed out while listening.
But the finer details can also be ecstatic. In order to return from form and integrity to detail and image, let's turn our perspective to the first part. In the hands of Ulucan Trio, the first theme of this episode projects an image of graceful but slightly hesitant. This is due to dividing the melody into one-measure pieces and controlling the dynamics, making them into small arc-shaped chants and exhaling lightly before the final note of these short chants. For some reason, while listening to the Ulucan Trio interpretation of this theme, an image of a ballerina dancing alone in a baroque style decorated hall comes to my mind. However, with the exciting transition that comes after the first theme, this image is erased, the tempo slows down as we approach the second theme with extraordinary detail, a great, deep breath is taken before the second theme comes out at around 2:05. The musicians allow this breath to be given by paying attention to ritardando in such a way that when the second theme started with Özcan Ulucan's refined violin voice, I felt as if I had opened my eyes again to a different world, maybe a garden in the middle of a slightly misty forest. Culture industry aside, details like this are important during this pandemic.
When we say garden, of course, everything is not rosy. For example, in the second part, the spiccato technique of the violin seemed a bit exaggerated and pointed to me. Or, in the coda part that comes at the end of the fourth part, which already creates a heavier, orchestra-like atmosphere, it seems like there could have been a lighter, more suitable result with a slightly quicker tempo. But such things cannot be called "flaws", they are also subjects that can be discussed over a carefully prepared performance.
Towards New Horizons…
It can and should be discussed. Although briefly, in this article, I shared some of my thoughts on Ulucan Trio's debut album. I also dealt with how contemporary Turkish composers approached various objective forms and produced new works, how Ulucan Trio revived the forms created by Ravel, and I shaped my first article in Sanatdan Reflections by dealing with those various forms. Dealing with these forms was eye-opening for me. Now you're in the telescopic line. I leave the object I have shaped to you, my readers. I hope you will also deal with the form I created here, listen to Ulucan Trio's new album and share your ideas with me and your friends. Let's listen to new horizons with new perspectives together.
They will represent Turkey in Ohrid
Birsen and Özcan Ulucan will take the stage tomorrow at the festival in North Macedonia.
Artist siblings, pianist Birsen Ulucan and violinist Özcan Ulucan, who were invited to the Ohrid International Music Festival held in Ohrid, North Macedonia, will give a concert on 6 August at 21.00 at the Hagia Sophia (St. Sophia) Church.
The artists will perform the works of WA Mozart, A. Adnan Saygun, I. Debussy and R. Strauss at the concert. Ohrid Summer Festival was celebrated on August 4, 1961 by opera singer Ana Lipsha Tofovic's 11th-century ancient church St. It started with a concert at Sophia. The music section of the festival, which has been organized since the first years, also attracted attention from world musicians.
The festival gained an international appearance with the performance of Russian violinist Leonid Kogan and French cellist Andre Navarra. In the following years, choir and theater sections were added to the festival.
The festival hosted world-famous classical music artists such as Jose Carreras, Henryk Szeryng, Mstislav Rostropovich, Aldo Ciccolini, Elena Obraztsova, Victoria de los Angeles.
Six choirs from Turkey participated in last year's festival. Ohrid 60th Jubilee Year Festival, organized by taking all precautions in the context of social distance and hygiene, will be held between 4 and 20 August.
Brilliant concert from Ulucanlar for the whole family...
Şefik Kahramankaptan / Reflections from Art
24 March 2019
Conductor Ender Sakpınar has been saying for a long time that he was thinking of doing a project on musical families. İKSV acted quickly and chose this theme as the theme for last year's Istanbul Festival. As the first step of his project, Sakpınar put Ulucan Brothers on stage with the Eskişehir Metropolitan Municipality Orchestra on the evening of March 23, 2019.
Ulucan Siblings; Birsen Ulucan (b. 1970, piano), Özcan Ulucan (b. 1973, violin), Ayşen Ulucan (b. 1985, violin) are not the children of a musician family. Encouraging them and directing them to music, their father, Dr. Mehmet Ulucan (b.1942) is a medical doctor... His stories begin in Shumen, Bulgaria. Nazım Hikmet, a lover of art and literature, who knows the poems of many of our poets by heart, in turn directs his children to music, and this adventure continues when they are found to be talented. So much so that Özcan becomes the first violin teacher of the youngest Ayşen.
The adventure continues in Istanbul, where the family migrated in 1989, during Todor Jivkov's period, during intense pressure on Bulgarian Turks, especially to change their name. Over the years, I have closely followed some of the events of Birsen and Özcan, who made their names known in a short time, especially in the field of chamber music. When I learned that the family would take part in the same concert, I took the "fast" train called YHT and came to Eskişehir.
SURPRISE ON THE STAGE: TINY ULUCANS
The surprise I encountered was that Ayşen's son Balkan (b. 2013) and daughter Ayla (b. 2015), who lives in England, also came to Eskişehir with their mother, with small violin boxes in their hands. It turns out, "We will definitely come with you, we will steal", they said!
What can he do, conductor Sakpınar explained the situation at the beginning of the concert and took the children to the stage. They also won the audience's sympathy and applause by showing what they learned in the first lessons their mother gave on the violin. Especially isn't there that little Ayla, she had a sweet smile on her face and bowing to the audience with her genie-like eyes, which was really the scene to see. Naturally, 3-year-old Ayla, named after Ayla Erduran, received the biggest applause. Their grandparents got up from the front row and handed them a small bouquet.
Eskişehir Municipality Art and Culture Palace was so packed that there were even people sitting on the stairs of the passage corridors. Among the audience, I also saw mothers in conservative clothes, holding their children by the hand. This was one of the achievements of President Yılmaz Büyükerşen, who laid the foundations of this orchestra, made music and theater popular, brought them to the feet of the districts, and brought the audience from the districts to the center with special services... had gained.
A HEARTY PROGRAM
Siblings, they were ranked from "small to big" in the concert program. Aysen Ulucan, L. v. She sang Nos. 1 and 2 (Opus 40 and 50) from Beethoven's Romances for Violin and Orchestra. Being in the violinist pool of the London Philharmonic Orchestra, Ayşen showed what a great player she is in the cadence and trills of both romances.
Continuing to be the partner of the famous Russian violinist Maxim Vengerov in two violin works for many years, Özcan, who almost never left a concert hall in Europe, played Russian composer Sergey Prokofief's D major (Opus 19), which requires both technical capacity and soul. ) He had chosen his 1st Concerto.
From the very first measurements, the timbres he obtained from the luthier in his hand and the old violin with an unknown date were an indication of how much he knew and internalized the piece. Özcan, who perfectly reflects the composer's "like a dream" approach in the first part, showed his superior technique and virtuoso approach in the acrobatics of the playful second part and throughout the piece. I heard this concerto from Russian violinists Viktor Pikayzen and Sergey Kravchenko, as well as various soloists. Pikayzen was already Özcan Ulucan's master teacher at Ankara State Conservatory.
Özcan Ulucan also teaches at the Mimar Sinan State Conservatory as a faculty member. There is no doubt that he will be a master trainer and consultant for young violinists who want to study this piece.
In the second half of the concert, Birsen Ulucan took over the piano for Peter İliç Tchaikovsky's Piano Concerto 1 in B flat minor. After the last rehearsal, he dealt with the stool whose height adjustment was distorted, and when the orchestra started the piece, he turned to the keyboard and entered. Birsen Ulucan, a soloist who has proven himself with the training he received, individually and with his success in competitions with his brother Özcan, successfully reflected the brilliance and impressiveness of the concerto to the audience and received the applause he deserved.
After working as a lecturer at the Istanbul University State Conservatory for four years, Birsen Ulucan decided to continue her education outside the conservatory and started giving concerts with them by creating the "Hot Chocolate" class attended by children between the ages of 6-14 and without a talent test. There were also some of these children who achieved success in competitions at home and abroad.
At the end of the concert, the three brothers saluted together, meanwhile, little Ayla, who loved the stage, slipped onto the stage and took her place. The brothers sang Adnan Saygun's Horon as a bis. They split the violin party into two without improvisation, it was an interesting vocalization.
Look, even before he immigrated to Turkey, Abdurrahman wrote a children's poem for his grandfathers, Birsen and Özcan. These poems also show how much the family embraces the children's upbringing as musicians:
Piano (to my grandson Birsen)
I have a piano
I like to play
As you hit the keys
"How happy I am!" i say
Gives a nice sound
I would like to play
"Bravo!" say everyone!
Everyone who listens to Birsen Ulucan today says "Bravo".
Violin (to my grandson Özcan)
I'm like a lion, Ozcan
My violin is my life
I play in the morning
never get bored.
I'll take the notes in front of me
I want to kneel on my head
The burning sound of my violin
I like it very much
I'm working non stop
I don't go out without asking
go like this
Of course I will be big man!
Well, Özcan was also a great man, a great violinist, and is celebrating the soul of his grandfather.
Happy musician families...
Let's see who will take the stage as the musician family of the next season, conductor Ender Sakpınar?
Eric Taver, "Classica" Magazine, Paris
"The deep driving force combined with the clear lines of Birsen Ulucan's pianism makes this album unique, unpredictable and magical."
David Denton, "The Strad" magazine, the London
" Uncomonly fine chamber music player, confirmed by the most exciting Liszt "Dante" readings I have encountered."
An Evening Full of Music with Birsen Ulucan
April 22, 2011 - Life on the Blog
Our pianist Birsen Ulucan gave a pleasant concert last night (April 21, 2011) at Borusan Music House. Birsen Ulucan's brother, violin soloist Özcan Ulucan, their mother Necmiye Ulucan and students from Birsen Ulucan's “Hot Chocolate Piano Class” were among the audience who watched the concert, which started at 19.30. The concert at Borusan Music House was a very successful concert that drew attention with the friendly atmosphere it created. Özcan Ulucan took on the role of the "narrator" of this beautiful evening. He decorated Birsen Ulucan's performances with beautiful poems and anecdotes.
Özcan Ulucan made a brief statement when Birsen Ulucan took the piano to sing Medtner's “Tales” (Op. 26, No. 1, 2, 3), which he first included in his last album, for his program at Borusan Music House. . He said that when they were together as a family, they played music and recited poetry. These words, in a sense, carried the clues that we, the audience, would also travel towards that musical and literary togetherness of the Ulucan family. Özcan Ulucan effectively recited Nazım Hikmet's poem “Tale of Tales”:
We stood by the water,
Our image emerges in the water,
the plane tree is mine.
The spark of water hits us,
sycamore to me.
We stood by the water,
sycamore and me, and a cat.
Our image emerges in the water,
the plane tree and mine and your cat.
The spark of water hits us,
sycamore to me and a cat.
We stood by the water,
sycamore, me, the cat, and the sun.
Our image emerges in the water,
the plane tree, me, the cat, and the sun.
The spark of water hits us,
to the plane tree, to me, to the cat, and to the sun.
We stood by the water,
sycamore, me, cat, sun, and our life.
Our image emerges in the water,
the plane tree, me, the cat, the sun, and our life.
The spark of water hits us,
to the plane tree, to me, to the cat, to the sun, and to our life.
We stood by the water.
The cat will go first,
its form in the water to be lost.
Then I will go
My image will disappear in the water.
Then the plane tree will go,
its form in the water to be lost.
Then the water will go
the sun will remain;
then he will go too.
We stood by the water.
the water is cool,
I am writing poetry.
cat is napping
The sun is hot.
Thank goodness we are alive.
The spark of water hits us
To me, to the cat, to the sun, and to our life.
This poem, which is met with applause, then Birsen Ulucan started to perform Medtner's Tales. I was enjoying being a listener of this different concert when the sounds coming from the piano met the lines of Nazım Hikmet. [Let me make a quick note; Russian composer Nikolai Karlovich Medtner (1880-1951) was also called “Russian Brahms” and Rachmaninov said of this composer “No one can tell stories like him.”]
After Medtner, it was Chopin's turn. First of all, Özcan Ulucan said that we can hear the murmurs of the Sein River in Chopin's works and shared with us some of the poems written by his mother. Then Chopin Nocturn, No.1, Op. 9 and Chopin Nocturn, No.1, Op. We listened to 27. Birsen Ulucan made us partners in Chopin's dream world. And after the applause, the part that I describe as a Homage to Liszt's 200th Birth Anniversary began. In this episode, our pianist Liszt's Petrarch Sonnets No. 104 and No. He played 123 with very impressive beauty. The small hall of Borusan Art House gave us the chance to understand the focus of the artist by following his body language.
After Liszt, Özcan Ulucan gave information about the composer and highlighted the differences between Chopin and Liszt. Emphasizing that Chopin, unlike Liszt, has an introverted and shy personality, but expresses his feelings very well with his music, he brought the word to Chopin Scherzo No.2, which will be played by Birsen Ulucan. He talked about Chopin's patriotism and sense of honor felt in the work, and concluded his words with a very impressive "peace" poem written by their mother Necmiye Ulucan (endocronologist pediatrician). The first part of the concert was completed with Chopin's “Scherzo”.
My readers who have listened to Birsen Ulucan's albums titled “Like a Tree” [here] and “Tales, Dreams, Whispers” [here] know; Our artist always gives importance to Turkish composers in his works. Birsen Uluucan showed the same care in her program at Borusan Music House and after the break she reserved the second part of the program for Turkish composers. Ulucan first performed "Nasreddin Hodja Dances" by Fazıl Say (1970). This piece, which also contains jazz elements and requires virtuosity, flowed like water. If Fazil Say was there, I'm sure he would have been very happy. Say's “Nasreddin Hodja Dances” was composed in 1990 and performed for the first time in 1991 in Berlin. This work played a large part in the "Best Contemporary Music Interpreter" award, which our artist received at the European Union Piano Competition held in 1991, and Say entered the competition as a "pianist" and exited as a "composer". award is evaluated. [If you want to listen to this piece of Fazıl Say from Birsen Ulucan, you can buy the artist's album titled “Tales, Dreams, Whispers”]
After Fazıl Say, the next Turkish composer was Evrim Demirel. For “Four Folk Songs from Anatolia”, Birsen Ulucan came to the stage as a member of the “Istanbul Contemporary Music Ensemble” this time: Özer Özel (vocal-kemençe), Esra Berkman (law), Merve Nuvasil (clarinet), Dilbağ Tokay ( cello), Ceren Akçalı (double bass), Seçil Kuran (percussion instruments). This was the first concert of the "Istanbul Contemporary Music Ensemble", which gathered different instruments from different disciplines under the same roof. The composer of the piece, Evrim Demirel, took his place on the stage as a conductor and gave information about the piece to the audience. Evrim Demirel's work, who especially emphasized that his aim is not to make polyphonic music but to make contemporary music, was highly appreciated by the audience and was applauded for a long time. I had listened to this piece many times before in Birsen Ulucan's album titled “Tales, Rüyalar, Fıslıları”. However, it was very impressive to listen to it live. It was not possible to remain indifferent especially to Özer Özel's vocals. In the face of the audience's applause, the ensemble sang the last part of the work, consisting of folk songs "Rain Rain", "Ferayi", "Yayla Yolları" and "Batum", as a piece of encore.
And so unfortunately the concert is over. I saw the Ulucan Brothers at the concert [here] they gave with the Liszt Chamber Orchestra at Cemal Reşit Rey on February 16, 2011. Later, I listened to Özcan Ulucan in Birsen Ulucan's “Hot Chocolate Piano Class Concert”. The point that caught my attention in both concerts and last night's concert is that Ulucans attach great importance to the concept of family and their roots, and that they feed off of them as artists. These features make their concerts very friendly and warm; make you feel the feeling that they love the music. After leaving Borusan Music House and walking in Beyoğlu after the concert, I felt the same feelings again. When would the next concert be?
German Musicologist Martin Greve's article on Pianist Birsen Ulucan's "Tales, Dreams, Whispers"
In Birsen Ulucan's Tales, Dreams, Whispers, there is a one-hundred-year time difference between the music of Sergei Prokofiev and Nikolai Medtner on the one hand, and Fazıl Say, İnci Yakar and Evrim Demirel on the other. The works on this CD were composed at the end of a century and the beginning of a new century, as seen in Medtner's late romantic harmony, or folk songs by Evrim Demirel and İnci Yakar, leaning back on the past century and moving towards a new unknown.
In all the works, we can feel that the hesitations of personal life are added to the uncertainty of the period. All the composers here were travelers returning to their hometowns after years of exile or education. Prokofiev emigrated to America and France, and Medtner to Germany, France and England.
İnci Yakar and Fazıl Say composed the first version of the piano pieces in Germany, and Evrim Demirel composed the first version of Four Folk Songs from Anatolia in the Netherlands. Birsen Ulucan, who was born in Bulgaria and studied in England and Germany for a long time and lives in Istanbul today, is no stranger to the traveler's life. We can hear an uprooting while listening to Him.
Each piece on this CD showcases a quest, playful, fragmented, distracted music. Some of the works are based on folk songs and fairy tales; and this like irony and doing it with abstraction. Aşık Daimi's folk songs "This too shall pass" or "Rain Rain" from the Kütahya region seem to have been transported to an indefinite time and an unknown place.
Birsen Ulucan says about his CD, "The fact that the language of music, in which different dialects are in question, actually comes from a single source...". Yes, it really is: despite all the disappointments and biographical differences, all the pieces have the same atmosphere. As a matter of fact, the composers here have another thing in common: They are all pianists. Medtner, who was close friends with Rachmaninov, was a piano teacher at the Moscow Conservatory, and Prokofiev was a piano virtuoso like Fazil Say, who lived a century after him. İnci Yakar studied piano in Istanbul and Germany and Evrim Demirel is a very good jazz pianist.
All "Tales, Dreams and Whispers" on this CD were designed from the piano and composed directly at the piano. Therefore, in the resulting music, all the tonal possibilities of the piano are known and used skillfully. Composers - which is clearly heard - developed their feelings and dreams directly at the piano.
Birsen Ulucan's extraordinarily colorful playing brings these shattered dreams to life, because he knows the fragmentation of life as well as he knows the piano. And he is also a great piano virtuoso like composers. Even pieces that are technically difficult are heard as if they are very natural and spontaneous with his playing.
While listening to this CD, one feels like forgetting which composition is being played at that moment and just listening to the music. The boundaries between composers and their time are blurred, and music is entangled in a strange world of 'piano tales'.
Playing the piano is child's work!
February 13, 2010 - Morning
Pianist Birsen Ulucan's six students, who were accepted without a talent test and gave private lessons, will give their first professional exams at their concert at Kadıköy Süreyya Opera.
Six little pianists on stage
Pianist Birsen Ulucan, four years ago, moreover, started to give private lessons without being subjected to a talent and ear exam, that the children will be like a family with their parents, they will spend pleasant hours with warm conversations while giving a concert at home, and even their little students will give a concert one day. He must have dreamed of it... Because today, Ulucan and his six students and their parents have become a big family at the point where they have reached. During this period, we will listen to the children who gave concerts in some schools on Monday, February 15, at Kadıköy Süreyya Opera House as part of the foyer concerts. In this free concert that will start at 18.00, students will play the works of many classical music composers from Bach to Chopin, from Tchaikovsky to Mendelsshon. Ege Narter (10), İdil Eker (11), İzem Gürer (10), İlayda Piyale (13), Bilge (11) and Ceren (13) Ekşi students of the 'Piano Class' will give the final concert with the concept of 'Hot Chocolate'. In the section, Birsen Ulucan's brother, violinist Özcan Ulucan, will be performing works such as Hungarian Dance, Mazurkas, Sarı Gelin with small pianists.
TALENT IS NOT REQUIRED
Pianist Birsen Ulucan, who has been giving concerts all over the world for years, explains why she did not put children through a talent and ear test while creating this very special 'Piano Class'; "A talent test is held at the conservatories. Then 10 people out of 200 are selected. But I didn't make such a choice. Because I think that even children who don't have much talent or ear at the beginning of music can improve if they are educated. I think all children should be given this opportunity. The 'Piano Class' I teach. "Each of the children in the year now enjoys making music together according to their own personality. Moreover, they also get together with their friends and family." According to Ulucan, who also teaches piano in the Güher- Süher Pekinel class at İnanç Türkeş School for Gifted Students in Gebze, the support of parents is very important for children to develop in their musical lives. For this, he invites them to the private lessons he gives at his home.
PARENT SUPPORT IS IMPORTANT
Thus, he says that progress has been made in the musical knowledge of not only children, but also parents; "The families of my students give great support to their children. Some of them absolutely follow the lessons. Because the parents have to be my successor in order for the child to progress. Their musical ears develop along with the children. They listen to concerts in a different way. The families of the children have become like my relatives now." For children, sometimes it is enough to love the teacher in order to love the instrument they play. Birsen Ulucan also explains that although he is a disciplined teacher, he observes that the students also improve on the piano because they love him; "Actually, I think I'm a tough teacher, but they feel it because I love them so much, and the fact that they love me is an important factor in their love of the piano. Sometimes I'm like, 'Do they like me or the piano?' I doubt. We always chat before class. 'Did you have anything interesting to tell me this week? What did you read? Which movie did you go to?' I ask questions such as. In this way, I also get information about their personalities."
THEY LEARN LIFE FROM BACH
Birsen Ulucan says that music and especially piano education gives children a perspective on the world above all; "We know that qualified music lovers are needed to create an art-loving society. It is early to say which of them will be professional musicians. But at least they will become art-loving adults for the society. Music affects their imagination and way of thinking. All of the children are successful students. Their perspective on life and art. I try to advance them this much because the angle is important. Polyphonic music gives a polyphonic perspective. Also, the piano develops their analytical thinking skills. They learn to ask the question 'why, why' that music or any branch of art is not just emotion. From Bach, polyphonic and they learn that they need to be in harmony. A democratic environment is created when they play together.''
PIANO DAYS ARE MADE AT HOME
"All families have a piano in their house. From time to time, we gather in different houses; we both chat and work together. We worked in three or four different houses for this concert. This is an excellent experience for children. It is a very enjoyable environment. Even last summer, my brother Özcan" We had a masterclass study in Cyprus. The families of three students also came there."
STUDENTS SELECT THE WORKS
"When I choose the works, I pay attention to both appealing to them and pushing them. I want them to play with love and difficulty. Because everything in life requires effort, it is not enough to just love them. For example, I choose a piece that they have never heard of. I try to make them recognize these feelings. "I play the pieces myself from start to finish. I choose the piece that the student says, 'This is beautiful.' Because the aptitude and feeling to the piece are important. Children are afraid when they are preparing for the concert, but even I still experience this fear at every concert. Even if it is feared, it is necessary to experience this pleasure."
Classical Music in the Industrial District
17 March 2010 - Hürriyet
The Bosch Young Classicists Festival, whose first concert will be held on March 21, brings classical music to the Industrial District. All of the concerts will be held in schools in Kağıthane at the festival, which includes important names in classical music.
Bosch Young Classicists Festival, prepared in collaboration with Bosch, YOYO Dreams, brings classical music to the Industrial District, unlike its usual halls. The opening concert of the festival, which started with the idea of bringing different concepts of Istanbul side by side, will be held on March 21 at 19.00 at StudYOYO in Seyrantepe Sanayi Mahallesi.
The Bosch Young Classicists Festival, whose aim is to reach different parts of the city with classical music, to connect the city with artistic activities and to bring people closer; It will reach people on the street with specially dressed wagons on the Istanbul Metro, the conference and gymnasiums of six state schools in Seyrantepe, and the concerts to be given at StudYOYO.
Distant duos The Bosch Young Classicists Festival, which will take place with the participation of 116 artists, brings together such distant duos such as 'art and Seyrantepe', 'youth and classical music', 'classical music and everyday life' on the same platform. The honored guests of the festival, which will host 25 young Greek artists; Burçin Büke, Birsen & Özcan Ulucan, Cem Mansur, Fazıl Say, Gülsin Onay and Şirin Pancaroğlu. Focusing on professional artists as well as Turkish and foreign young talents and children, the festival is highlighted as a special event gifted to Istanbul.
The festival will end on March 29. The concert program of the Bosch Young Classicists Festival, which will continue until March 29, is as follows: Burçin Büke (piano) 22 March 15.00-16.30 Faruk Verimer Primary School, Birsen Ulucan-Özcan Ulucan 23 March 15.00-16.30 Faruk Verimer Primary School, Semplice Quartet 24 March 13.00-14.30 Atatürk Primary School, Gülsin Onay 25 March 13.00-14.30 Hasbahçe Primary School, Cem Mansur 'Lives Touched by Orchestra' 26 March 13.00-14.30 FA Çağdaş Yaşam Primary School, Fazıl Say 29 March 13-00-14.30 Hasbahçe Primary School. (Art and culture)
Sincere, Passionate and Rebellious Journey
Pianist Birsen Ulucan's new album is called "Tales, Dreams, Whispers". This is his first solo album.
Birsen Ulucan's album "Tales, Dreams, Whispers", which combines classical music, jazz and folk music elements, contains compositions by Russian composers Medtner, Prokofiev, İnci Yakar, Fazıl Say and Evrim Demirel. According to Ulucan, the basis of classical music is folk music. Jazz, on the other hand, is heavily influenced by classical music, especially Bach. That's why the belief that the language of music, in which different "dialects" exist, is actually a single language, on the basis of "Tales, Dreams, Whispers".
This album is your first solo work. What was the experience like for you?
I think the artist should feel ready, especially intellectually, to make an album. In other words, the desire to express what you feel as a thought and the effort to present it in the most correct way. Of course, positive feedback always makes us happy. It is a nice feeling to know that criticism will not make us question our faith in the work done. For this reason, it has been a very enjoyable work for me. I learned new works and laid the foundation of new friendships. For example, I am happy to have the opportunity to meet with the Istanbul Contemporary Music Ensemble, which was recently founded by composer Evrim Demirel and which is included in the CD voluntarily. Also, the participation of my percussionist friend Engin Gürkey was important and inspiring for me.
Classical music now goes beyond its standards and includes jazz and folk music. Your new album is also privileged in this sense. What kind of adventure was "Tales, Dreams, Whispers"?
The music we call "classical" music is actually "universal" and basically contains folk music. Folk songs, dances and legends, in short, folk culture has always been a source of inspiration in the works of the greatest composers for centuries. Jazz, on the other hand, is a genre inspired by classical music, especially Bach, and attracted the attention of many classical music composers as a different and special color. For example, George Gershwin's "Rhapsody in Blue" for solo piano and jazz orchestra was written in 1924. Almost a hundred years ago! On the basis of "Tales, Dreams, Whispers" lies the belief that the language of music, in which there are different "dialects", is actually a single language. What I describe as "dialectic" is the classical, folk and jazz elements in it.
The album includes compositions by Sergei Prokofiev, Nikolai Medtner, Fazıl Say, İnci Yakar and Evrim Demirel. All of them are a different world, but this album is a whole. How did you set this up?
As exciting as it is to dive into the depths of a single world, it is just as exciting for me to wander around different worlds. Actually, we are talking about a bird's-eye tour. Medtner's sincere music, Prokofiev's passionate and rebellious expression, Evrim Demirel's search for a bridge between mode, jazz and classical, Fazıl Say's folk melodies and musical humor mixed with jazz, İnci Yakar's dream world. It was a very enjoyable journey for me.
Classical music CDs often have a certain visual approach. What did you think about while designing the cover and booklet of the CD and creating an image? How did you go about this?
While we are a part of this vast world we call "classical music", while our inner pursuits take over our selves, the visual part of the work may not be really appealing. Therefore, this approach can be reflected in CD covers as well. But we commentators are actually actors. And that's why we can appear before the audience with some of the characters we take on. So a CD cover that can be seen as a kind of mask. So I trusted three people for the visual part of my recording: Gözde Oral, my designer friend, who can accurately describe me as a personality and a musician; Master photographer Tamer Yılmaz, who realizes that most of us cannot see; fashion designer Jale Hurdogan, who is our sponsor for this CD.
Tales and Dreams seem to complement each other, but why Whispers?
Because the most contradictory features in our personalities are actually the features that best define us. Do we not represent the harmony or incompatibility of opposites? And who said that our most "disturbing" feature isn't actually at the root of our most "beautiful" feature? The "dissonance" element on the CD is represented by the last part of Prokofiev's "4 parts", "Satanic Suggestions".
Ali Deniz USLU (23.01.2011)
Two fellow musicians of different generations. Violin virtuoso Ayla Erduran and young pianist Birsen Ulucan will give a joint concert at the weekend. When Ayla Erduran looks back on her long music career, she says, 'If I had lost my sense of humor, life would have been more difficult for me'.
ERAY AYTİMUR 17/06/2010 - Radikal
Ayla Erduran says of the young pianist Birsen Ulucan, "I admire her work. She is a great pianist."
It's been a long time since I had the chance to know and work with Ayla Erduran. I'm a fan of not only his relationship with his violin, but all kinds of 'temperaman'. Pianist Birsen Ulucan, one of the leading performers of her generation, is one of the artists I trust most in terms of her relationship with music and life, despite our friendship dating back to recent past, and she is like a fairy girl. When I heard that Erduran was going to give his first concert as a duo after his illness on the Topkapı Palace stage, I took action. Before the concert that will take place at The Seed inside the Sakıp Sabancı Museum on June 19, Erduran and Ulucan tossed the tape recorder on and off, between the past and the present, with and without music. He swung between the past and the present.
How did Ayla Erduran and Birsen Ulucan come together?
Ayla Erduran: Our friendship dates back to 1991. It has been of great help to me in some of my concerts. I admire your work. I'm not saying we're playing together, I've been to his concerts. A great pianist, a great artist. Birsen's character is not only his work, but also. It is a great pleasure for me to play with Birsen.
Birsen Ulucan: Then can I explain it too? I have a memory that I remember very well. I was going through a bad time, feeling inadequate. Supposedly, I was going to help Ms. Ayla by accompanying the Elgar concerto. But he was helpful, both emotionally and as a musician. He was the only person who could impress me. We worked and worked and then at 11.30 am he said; "You play me the concerto that you will play at the concert..." I was playing the themes and he was guiding me by talking about the basics. It went on like that until the concert, and as far as I know, it turned out to be a good concert. So I needed affection, attention, and direction. Because the things I remember at the concert were the last words said and they always belonged to Ms. Ayla. A great soul, a great musician.
And with that, the thing that binds you two so tightly is actually the respect and love you have for music.
Ayla Erduran: Music is a sublime event. A language that speaks to the whole world that does not need words. That voice either enters the heart or does not. If we have the ability, we must fulfill our responsibility. I'm not going to lie, of course, I want to be applauded too. But if I play so badly and get applauded, I can't sleep that night. There is something to be respected in everything in the world, but on the one hand, we have passed through such terrible evils as Hiroshima, Auschwitz and now. Like the black and white balance, maybe we need this ugliness for beauty to exist. Because the world is not over yet. The most important thing is; music cannot be misunderstood!
You will be performing Handel, Grieg, Albeniz, Sarasate and Tchaikovsky in the concert. How did you determine this repertoire? Do you mostly prefer preludes, sonatas and small pieces over symphonic works?
Birsen Ulucan: Actually, Ms. Ayla determined this. For example, I had never played the Grieg sonata in G major before. Nobody plays it, but it's such a beautiful piece. There is always something to be discovered in Ms. Ayla. It's a novelty for me too, I'm learning, and my violinist brothers benefit.
Ayla Erduran: There is no such thing as small pieces, there are pieces. I don't know, listeners like it even more. Short short. I already like Handel and Albeniz very much. Then Sarasate and Tchaikovsky on behalf of Moscow and my memories with my teacher David Oistrakh... I played them first with him.
What are the first things you remember from the quirk of being on stage, the unpleasant accidents?
Ayla Erduran: I won an award in the Wieniawski Competition in 1957. When the Polish Radio TV Symphony Orchestra came to the first Istanbul Festival in 1973, they wanted us to play the piece I played in the competition together. Anyway, we came to the end of the concert in a nice atmosphere. There's only one cadence left, it's a short concerto. But before the cadence there is a page called recaputilation. You're playing the same as the beginning, a very powerful, evil passage. Still, I have no fear as I succeeded at first, but while playing quickly, there is a gap where the orchestra is not playing. I'm making an eight-note descent into it. There is a tape measure. While he was descending the eight notes -if I had practiced acrobatics, I wouldn't have been able to do this much- my arch flew into the air and eight points could not be played, of course, but I was so blown up that I caught it with a hop and dived into the remaining passage like that. Such a disaster happened to Ferdi Štatzer. Great pianist. A man who came from Austria and founded the school here with my first teacher, Karl Berger. He is the teacher of me, Verda (Erman), the youth and all of us, a sweet person from the world. Now he plays the piano at a concert. When making such a large arpeggio from left to right. He is going... He is going to say; skate you, with the notes: On the floor! Why am I telling this? Our excitement, love, respect are all there, but there are also such accidents. Such things happen, but you have to know how to be surprised. You disrupt the passage, but you show the last sound as I played it great. This is also an artistic side. Life would be more difficult if I lost my sense of humor.
Ayla Erduran (violin) & Birsen Ulucan (piano) concert will be at Sabancı Museum The Seed on Saturday, 19 June at 20.00.
A soul that has no power with chains and closed ends Birsen Ulucan Just like violin virtuoso Ayla Erduran, whom she refers to as 'free and spontaneous'. Three years after the album 'Bir Ağaç Gibi', which he recorded with his brothers Ayşen and Özcan Ulucan in 2008, he composed his first album, which he prefers to call personally, on a repertoire consisting of compositions by Medtner, Prokofiev, İnci Yakar and Fazıl Say and an adaptation of Evrim Demirel. He named the album 'Tales Dreams Whispers' and released it under the Lila Music label. Time passed quickly with Birsen Ulucan, who told the tales that I could not get enough of from my childhood, whispering the sweetest words and reminding me of all of them even when there was none, and the end of the conversation was tied to my Oscar Wilde's 'The Nightingale and the Rose'.
The album is very good, but it can be considered a little brave. Are the repertoire and arrangements too eclectic?
I don't even realize it, I did my best. I knew what I wanted. At first, I was only thinking of young Turkish composers. But because I believe in cultures, I wanted to be alone and share it with others with the same principle. My aunt used to sing folk music, especially Rumelian folk songs, I love it. When it comes to classical music, there is always a classification, but a lifetime is not enough for it. I wanted to combine all of these as an idea. I should have given it to someone who knows the folk songs very well. For example, Evrim Demirel. And frankly, I don't want this album to be called a solo CD. This is my first personal album. I like to share as much as I am alone. Some instruments impress me a lot. For example, I understand you better now because of the kemençe. A sad human voice, as if calling out only to me. Same goes for other instruments. My father is a surgeon, but he directed us by saying 'Classical music is a universe'. In this car, Shostakovich would whistle and sing a song at the same time. Or when he comes from abroad, he takes his saz and we play pianos on one side, the house turns into a madhouse.
The first piece, Medtner's Tales, of course, suggested Leaf (Sadala), right?
Leaf is my friend of 20 years. I always play him before concerts, because he always says something. We reviewers can miss it while concentrating on the comments. Yaprak is also a pianist, but her researcher side is very strong. One day, he said to me that there is a composer named Medtner, adding a note to the beginning of the notes and sending it: "To my dear friend, fairy tales should never be missing from our lives." I loved fairy tales.
So what is the main idea of taking Prokofiev for the concept album, so to speak, apart from the fact that he wrote it for piano?
I love contrasts. While going in the same direction, I like to take a bend in one place, turn around and take it to other places. When I say tales and dreams, I find the whispers with Prokofiev. And of course the sequencing was very important, Memories, inspiration, later despair and finally demonic indoctrination impressed me a lot. This is about Prokofiev's personality. rebellion. War. There is also Beethoven.
Now that we have resolved the rebellion, what is Fani Say's Nasreddin Hodja Dances?
Jazz elements are always present in Fazıl Say. He also has knowledge of folk culture. And by the way, he uses the piano very percussive. Clear and firm. His compositions are not physically comfortable, he wants strength. He is a living and world-class composer, and very provocative. I also like to be provoked.
By the way, your photos on this album sticker are provocative.
I gave my consent here because the syntheses are different, it's like a kind of carnival. So is the CD cover. It could be a classical music CD or something else. You can be deceived and buy it, let's see if you'll be disappointed. I am in favor of seeing music as a whole, I only trust those who perceive music in this way. Otherwise, it is incomplete, I do not find it healthy to reject a person completely when I like some features and dislike others. So I did what I wanted. I didn't do it because I had to and to be interesting.
Can you tell us your favorite fairy tale?
He betrays me at work, he gives a lot. Don't tell him. But look, Oscar Wilde has a fairy tale where he talks about a poet, He's in love with a rich girl, He wants a red rose in the middle of winter because she's so capricious. The poet can't find it either. There is a nightingale who hears him when he falls asleep crying. Nightingale also loves him. The other says he has to find a rose by morning. The nightingale wanders around and finally sees a white rose. The white rose says there is only one remedy but you must pay with your life. You must pierce my thorn in your heart. With your blood I can turn into a red rose. At the same time, you should sing your most beautiful songs, Nightingale sings her most beautiful song for hours. He dies in the end, but before he dies, he also carries the red rose to the poet. When he wakes up, the poet sees the red rose. He takes it to the rich girl, but the rich girl says that she has already accepted the offer of a rich person like herself and turns her back on the poet. Oscar Wilde of course tells this well, but after all, there are many elements behind it.