Music:
Como Ponden – Cantiga 166 – Alfonso X el sabio (Espagne)
Rast nakis beste – Dimitri Cantemir (Empire Ottoman)
Morenica - Romance séfarades (Turquie)
Dar Dâmané Sharâ – Khaled Arman (Afghanistan)
Sareri hovin mernem – Inspiration de la tradition arménienne
Der makam-i “Uzzäl Sakil Turna” –Dimitri Cantemir (Empire Ottoman)
Yo Era Nina De Casa Alta – Romance Séfarades – Esmirna, Nor tsaghik – Arménie XIIème siècle
Bugün benim efkârim var – Traditionelle Turquie
La Comida de la manana – Romance séfarade (Turquie)
Khan delawar khan – Khaled Arman (Afghanistan)
Durme, hermoza donzella – Romance séfarade (Balkans)
Säqi ba khoda – Khaled Arman (Iran), Sirto – Instrumentale (Turquie)
Offondo do mar tan chao – Cantiga 383 (Espagne)

Under the reign of Suleiman the Magnificent, the Ottoman Empire was at its peak: its army and its janissaries were feared throughout Europe and Istanbul amazed the Western world. For Soliman, the “Sublime Porte” not only has a privileged strategic position for trade or war but a vocation to bring together the cultures of East and West. At first indifferent, the two worlds became curious about each other, seduced, even fascinated, finally open to mutual influences.

Aashenayi (Meeting, in Persian) bears witness to this cultural swarming and invites you on a journey to the borders of ancient and traditional music. Echoes of Persia, Turkey and Europe mingle with the music of the singers and instrumentalists who make up the Canticum Novum ensemble. Each plays with the colors of their musical tradition through the filters of our time to create a common expression.

Direction: Emmanuel Bardon (Music Conductor)
Cast: Canticum Novum, Gülay Hacer Toruk, Mashal Arman, Emmanuel Bardon (Vocals), Khaled Arman (Rubab), Aliocha Regnard (Nyckelharpa & Fidula), Emmanuelle Guigues (Kamensheh & Vièle), Arussiak Guevorgian (Kanun), Gwénaël Bihan (Recorder), Philippe Roche (Oud), Henri-Charles Caget, Ismaïl Mesbahi (Percussion)