Eylem Aktaş - ikrar (Öyle Bir Geçer Zaman ki 79.Bölüm Sezon Finali Müziği)

Ikrar -Öyle Bir Geçer Zaman ki - على مر الزمان

Oyle Bir Gecer Zaman Ki - Soundtrack Aglaya Aglaya

Ezel - Unutamiyorum - Ramiz Dayi Siir

Mazhar Alanson - Ah Bu Ben

Berguzar Korel-Senden Öğrendim

Ben bal arısı gibiydim senden önce 
Bak pervanelere döndum seni görünce

Yana yana kül olsam her an
Yine de senden ayrılamam
Yoluna adadım ömrümü ben
Sensiz olamam 
Yana yana kül olsam her an
Yine de senden ayrılamam
Bin yıl yaşasam yine sana doyamam

Sana gönlümü verdim nazlı güzel 
Seni almazsam gözlerim açık gider 

Bana ellerini ver 
Hayat seni sevince güzel 
Yoluna adadım ömrümü ben 
Gel kaçma güzel

Bana ellerini ver
Hayat seni sevince güzel 
Sana gönlümü verdim nazlı güzel...

Zuhal Olcay - Pervane ( Bana Ellerini Ver )

Video: https://youtu.be/AfVQB4Bo_v8
First, a confession.
I don’t play Etude No.1 as fast as Mr. Glass indicated in his score. The honest truth? It’s a little too fast for me—and for Mme Bechstein, as I call my piano. But perhaps that’s part of the charm of this version: it’s a bit slower, more grounded. And in that space, something opens up. The dynamic expression has room to breathe. The tempo becomes a gently rising tide, like waking up slowly, aligning fingers, mind, and breath into harmony.

Admittedly, this is a rather personal interpretation. I’m not entirely sure Mr. Glass would give it his blessing. But then again, it is an etude—and I find this piece simply wonderful.

Over the past weeks, it has become something of a quiet companion in the early hours of the day. I’ve worked from the published score, gradually sketching my own notation to help understand how the sections interlock, how the pulse shifts and evolves. This slow discovery revealed a surprising depth—a kind of secret logic running beneath the surface.

There’s something endlessly captivating about Glass’s harmonic language. It’s modern, never cloying, and crafted with quiet intelligence. His use of subtle shifts—almost imperceptible at first—creates patterns that, through repetition, become almost meditative.

This recording isn’t about perfection or polish and not meant to compete with the many beautiful renditions already out there, performed on the most luxurious grand pianos. It’s my personal take—played honestly, on my own instrument, at my own pace. A moment captured in sound, without the pressure to impress.

If you’re a pianist—especially one still finding their way, as I am—I warmly encourage you to spend time with this piece. It has a way of revealing itself slowly, like light unfolding across a morning room. And perhaps, in its simplicity, you’ll find something of yourself reflected there.

I’d love to hear how this piece resonates with you. Leave a comment if you’d like to share your thoughts or your own experience with Glass’s music.

Yours truly,
Sebastian Morawietz

Ezel - Eyşan Unutamıyorum(Uzun Versiyon - Piyano)

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