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Mevlevi music's European journey

Mevlevi music found its way to Europe through a combination of historical events, cultural exchange and the global fascination with Sufism and mysticism

colour illustration of two whirling dervishes, with yellow, orange and green clothing
by
Özgür Önal (opens in new window)

Mevlevi music is a form of music which accompanies the Whirling Dance ceremony of the Mevlevi Dervishes, a school of the Sufism branch of Islam.

Originating more than 700 years ago, Mevlevi music has gradually become more known across Europe due to historical events and cultural exchange. In this blog, Özgür Önal looks at how Mevlevi music found its way to Europe.

Beginnings of the Mevlevi Order

Sufi mystic Mevlana Celaleddin Rumi inspired and planted the seeds of the Mevlevi order which was established after him in Konya, Turkey in the 13th century. The Mevlevi Order emphasises the pursuit of divine love, spiritual transformation through a disciplined and ritualistic approach to Sufism.

colour illustration of Rumi who is kneeling, wearing black and dark green robes and a red hat with a white scarf
black and white photograph of two men, one sitting, one standing, they were long robes, chains and cylindrical hats

The Mevlevi Order cherishes music in their rituals. Whirling dervish rituals, which is the fundamental ritual of this order, may be described as a form of worship. Music is one of the main elements of the ritual.

colour illustration of a whirling dervish, with yellow, green, red and brown clothing

The Ottoman Empire had a significant presence in the European continent for several centuries.

As a result of the Ottoman Empire's diplomatic relations and cultural exchanges, elements of Turkish and Ottoman culture, including Mevlevi traditions, began to leave their own legacy in Europe.

Many Mevlevi Lodges were founded in Balkan cities during the Ottoman era. The most important are in İsa Bey (Sarajevo, Bosnia and Herzegovina), Filibe (Plovdiv, Bulgaria), Peçoy (Pécs, Hungary), Gözleve (Yevpatoria, Ukraine), Üsküp (Skopje, Macedonia), Atina (Athens, Greece) and Hanya (Crete, Greece).

black and white postcard, buildings on a hill beside a river, the word Sarajevo is printed in the top left corner

Sarajevo, one of the first Mevlevi lodges in Europe

The İsa Bey Zâviyesi in Sarajevo, one of the first Mevlevi lodges in Europe, was established in the 13th century.

The lodge was built in 1462 or 1463 by Isa Bey Ishaković and was one of the first Islamic places of worship in Sarajevo. The lodge was destroyed and rebuilt several times in different periods.

colour photograph of a cream coloured two-storey building

The lodge restoration was financed by donations from the Municipality of Selçuklu in Konya (Turkey) and the lodge was officially reopened in the spring of 2013.

Many important musicians were trained in Mevlevi lodge education as part of the Mevlevi tradition. Ismail Dede Efendi was one of those remarkable Mevlevi musicians.

Ismail Dede Efendi

Ismail Dede Efendi was a prominent Turkish composer and musician known for his contributions to Turkish classical music during the Ottoman Empire.

black and white illustration, portrait of an older man, he has a small white beard and a long hat

He composed more than 500 masterpieces in different forms as well as Mevlevi ritual music. Ismail Dede Efendi's compositions continue to be celebrated and performed today, making him a significant figure in the history of Turkish classical music.

Ismail Dede Efendi composed Gülnihal as a response to the influence of Western music and the changing musical landscape in the Ottoman Empire during the 19th century. This composition is a testament to his desire to express how rich and inclusive Turkish music is, marking it as the first waltz in Turkish music.

Ismail Dede Efendi composed Ferahfeza Ayin using all the subtleties and possibilities of musical tradition. It is considered as a symbol of modernisation in a period of Turkish music where westernisation began to influence musical norms.

Maximilian Stadler

Austrian composer, organist and priest Maximilian Stadler is an important figure who bridges Mevlevi music with European tradition in the 1820s.

black and white illustration, portrait of Maximilian Stadler who wears a large cross around his neck

In 1821, Stadler was introduced to Mevlevi music by Herr von Hussard, the translator at the German embassy in Istanbul.

During his years in Istanbul, Hussard had translated Mevlana Celaleddin Rumi's Mesnevi into German. He listened to and watched many Mevlevi rituals, and memorised the melodies of some rituals. Stadler transcribed these melodies of 7 Mevlevi Ayins and authored the book Original Chöre Der Derwische Mewlewi in Arabischer, Persischer ve Türkischer Sprache. This book was published as Pietro Mechetti qui Carlo edition in 1825.

The Mevlevi Sema ceremony as intangible heritage

colour photograph of three people performing a whirling dervish ritual

Mevlevi music is an integral part of the Mevlevi Sema ceremony, a religious ritual performed by dervishes.

The ceremony involves music, rhythm and belief, and aims to act as a bridge between God and humankind through the practice of 'sema'. In 2005, UNESCO declared the Mevlevi sema ceremony a Masterpiece of the Oral and Intangible Heritage of Humanity.

Those recognitions have helped to increase the visibility of Mevlevi music and the Mevlevi Order around the world. The first Mevlevi lodge in Germany was founded in 1990. Today there are two different Mevlevi groups, which are located in Nurnberg and Trebbus.

Mevlevi music today

In Europe today, Mevlevi music has emerged with both contemporary interpretations and original representations, highlighting its relevance and influence in the modern era.

black and white photograph, three seated men on stage playing musical instruments

Modern-day cultural exchanges, international festivals, and academic research have further promoted Mevlevi music in Europe. Musicians and scholars from both Turkey and Europe have collaborated to preserve and share this rich musical tradition.

Today, Mevlevi music and the Sema ceremony can be experienced in various European cities, where they continue to captivate audiences with their spiritual depth and artistic beauty. The journey of Mevlevi music to Europe underscores the power of cultural exchange and the universal appeal of mysticism and music.

  • Feyzioğlu, N. (2017). Türk Mûsıkîsinin Modernleşmesi Bağlamında Hammamîzâde İsmail Dede Efendi ve Ferahfezâ Makamı . Atatürk Üniversitesi Sosyal Bilimler Enstitüsü Dergisi , 21 (2) , 625-646 . Retrieved from [https://dergipark.org.tr/tr/pub/ataunisosbil/issue/34503/425092]

  • Öksüzoğlu, O. (2019). Music and Ritual in Trebbus Mevlevi Tekke (Lodge) in Germany . Musicologist , 3 (1) , 77-102 . DOI: 10.33906/musicologist.551058

  • Gencer, A. Y. (2017). "Ottoman influences on European music". In Christian-Muslim Relations A Bibliographical History. Leiden, The Netherlands: Brill. https://doi.org/10.1163/9789004346048_005

  • Tan, A. (2016). “Maxi̇mi̇lli̇an Stadler’i̇n mevlevi̇ melodi̇leri̇, ney sazında -açkı temelli̇- klasi̇k söylem özeli̇nde oryantali̇zmi̇n ve self oryantali̇zmi̇n türk mûsi̇kîsi̇ne yansımaları” in MÜZİK = BİLİM + SANAT 1. 117-138 , Yayın Evi.

  • Aksoy, B. (1994). Avrupalı Gezginlerin Gözüyle Osmanlılarda Mûsikî. İstanbul: Pan Yayıncılık.

  • Lelic, E. (2006). Reading Rumi In Sarajevo: The Mevlevi Tradition in the Balkans, Babagan Books.

  • Ösen, S. (2015) Balkanlarda Mevleviliğin Yayılması ve Kurulan Mevlevîhâneler, Yeni Türkiye, sayı: 67, s. 1799-1814

This blog was made possible through Europeana's editorial grants programme which provides funding for writing that put a spotlight on underrepresented communities, voices and lived experiences. Learn more about the editorial grants programme and how to apply.

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