Cansu Turan, a ney (reed flute) virtuoso from Eskişehir, began her journey with the ney at the age of 14. Inspired by the instrument’s haunting sound she heard as a child, Turan took her first lessons at the Eskişehir Mevlevi longe under the guidance of ney master Yavuz Kenarda. After years of dedicated practice and mentorship, she successfully passed conservatory entrance exams in 2021, ranking first at both Istanbul Technical University and Haliç University.
Turan completed her formal education this year at Haliç University’s Faculty of Fine Arts, Department of Turkish Music, on a full scholarship. This academic training allowed her to refine her ney technique and deepen her theoretical understanding of classical Turkish music. Now 23, she actively performs at various concerts and events, continuing her music career in her hometown of Eskişehir after graduation.
Speaking to Anadolu Agency (AA), Turan highlighted the unique challenges of mastering the ney, particularly in terms of its tuning. Unlike other instruments, the ney’s internal tuning system and its harmony with other instruments present ongoing challenges during performance.
“There is a distinct challenge in playing the ney compared to other instruments,” Turan explained. “The more you progress and blow into the instrument, the more you realize its complexity. Many people say it’s tough to produce sound from the ney; some struggle for months. But the real difficulty begins once you professionalize. Tuning is especially crucial in both solo performances and ensemble playing.”
Turan described how playing the ney completely absorbs her attention, making her lose track of time. “When I play, I feel disconnected from the world. I merge with the instrument, and it transports me somewhere else. But as you become more professional, that feeling shifts toward focusing on producing clearer and more effective sounds. You start to craft better musical sentences and convey emotions more precisely.”
Emphasizing the importance of quality instruments, Turan prefers ney flutes crafted from reeds harvested in the Samandağ district of Hatay, which are made with a specialized joint system that enhances their tonal quality.
Throughout her studies, Turan performed at prestigious venues, including the Rami Library in Istanbul, as well as concerts in cities such as Malatya and Kayseri, under the guidance of her instructors. Although no one in her family is involved in music, her passion for the ney and interest in Sufism have driven her forward and onto the stage.
Turan also touched on the gender imbalance in the ney world, where women players are still rare and men traditionally dominate the instrument. Reflecting on her early conservatory years in Istanbul, she recalled hearing discouraging remarks such as, “Women cannot be ney players.”
“Initially, this was disappointing,” she admitted. “But rather than deterring me, it fueled my determination. It made me hold onto the ney even tighter.”
She noted that female audience members often feel joy seeing women perform on the ney and she hopes to inspire other women who wish to play but have not yet found the opportunity.
Turan stressed the importance of promoting the ney in a way that respects its traditions and sound quality, while advocating for greater inclusion of women neyzen (ney players) in the artistic community.
Looking ahead, Cansu Turan aspires to perform internationally, sharing the beauty of Classical Turkish Music with the world.
