Kirly Pter

(16 találat)
# Cím Abstract Folyóirat Oldalszám
16-17. szzadi udvari zennk kutatsnak problematikjrl abs.
Some Problems in 16-17th Century Hungarian Court Music Research
Peter Kirly

This study underlines the need for extensive research an the court music of Hungary. In particular there is a need for further research on the court music of the high nobility, which (with the exception of the famous Esterhzy family) has not yet become a subject of thorough musicological research. In this short general survey, based on the present state of knowledge, the author draws attention to some features of musical life in residences of the Hungarian aristocracy, first of all to the notably frequent employment of foreign musicians. They came mainly from southern Germanic lands (Vienna here played a noteworthy transmitting role), others were from Italy or Poland. A few musicians from other neighbouring countries or territories are also documented. Their role and influence is briefly discussed. Difficulties concerning their identification are also observed, as well as problems caused by the sparseness of available data on their earlier or later careers abroad. The mixed international make-up of court music ensembles contradicts previous views about the solely Hungarian character of the music in residences of the high nobility in Hungary.
2003., 41. évf. 1. szám 75. - 84.o
A zene Jnos kirly udvarban - 1991., 32. évf. 3. szám 284. - 288.o
A zene Jnos kirly udvarban II. - 1991., 32. évf. 4. szám 386. - 391.o
Adalkok Bakfark lethez s munkssghoz - 1990., 31. évf. 4. szám 339. - 346.o
Bakfark Blint adomnylevele - 1987., 28. évf. 1. szám 88. - 100.o
Egykor beszmolk Hunyadi Mtys s Aragniai Beatrix eskvőjről : forrskapcsolatok s ezekből add zenetudomnyi kvetkezmnyek abs.
Contemporary Reports of the Wedding of Mathias Corvinus, King of Hungary, and Beatrice of Aragon
Unrecognized dependences among the sources and their musicological consequences
Pter Kirly

The contemporary German reports of the Hungarian royal wedding of 1476 are well known to historians. Scholars specializing in different fields of cultural history have frequently used and analysed these documents. But since their research has been focused on what the sources tell about the wedding, about the artefacts etc., and, at the same time, not much interest has been devoted to the sources themselves, it has remained unrecognised that three of the four reports from Germanic lands have a common origin. In fact these three (two of them in German and one in Latin) derive from an unknown common source, probably a Latin description of the festivities. Between the three versions there are significant differences, due to the translation as well as resulting from the rewriting and reorganizing of the text. The differences are not without importance for any kind of research, including musicology.
The present philological study shows that the differences in the sources concerning the music of the wedding celebrations, which until now have been considered as differences due to the personal observations of different eyewitnesses, should in fact be reclassified as the result of reworkings by unknown scribes, although it is impossible to decide which version best follows the unknown original.
2009., 47. évf. 1. szám 73. - 83.o
Ismeretlen vagy kevss ismert billentys-forrsok a 16-17. szzadbl abs.
Unknown or Negleted Keyboard-Music Sources from the 17th Century
Pter Kirly

This article presents a survey of neglected as well as recently discovered sources from the territory of historical Hungary, mostly notated in so called new German organ tablature: - Transcription of a lute piece into organ tablature (Budapest, National Library) – A fragment of tablature, consisting of three pieces: a fragmentary anonymous piece as well as intabulations of works by Orlando di Lasso and Annibale Padovano (Budapest, Hungarian Academy of Sciences) – A magnificent Italian keyboard and guitar manuscript, every page written with a different combination of colours. This source originated in Italy, and arrived in Hungary probably through the modern antiques trade. (Budapest, Hungarian Academy of Sciences) – Fragment of an organ tablature with 14 pieces: dances (one based on a piece by Valintin Hausmann, others showing concordances with some Eastern European sources), an intabulation of a song by Hans Leo Haler, a Fuga and three German choral[e]s. (Romania, Braov, Black Church) – A letter by a Transylvanian organist to his colleague consisting of a piece without title (Romania, Cluj, State Archives) – Printed music editions, which also have a handwritten transcription of some of the parts into organ tablature.
The tablatures presented in this study, together with the ones already better known listed at the beginning of the article, help us to obtain a better balanced picture regarding the dissemination of organ tablature in historical Hungary during the 17th century. Now we have not only the several tablatures from the former Upper-Hungary (today Slovakia) to rely on, but also an increased number of sources from Transylvania (today part of Romania). It seems that organ tablature was much more in use in Hungary among musicians and musical amateurs, than was supposed by earlier musicological research.
2000., 38. évf. 1. szám 67. - 96.o
Mikor szletett Bakfark? - 1989., 30. évf. 1. szám 41. - 54.o
Paul Charl Durant : egy valsznleg Pozsonybl szrmaz nmetorszgi lantos s csaldja abs.
Paul Charl Durant - An 18th Century German Lutenist Probably Originating from Pressburg / Hungary, and His Family
Pter Kirly

Some kind of family relationship has already been suggested between the German lutenist, Paul Charl Durant (documented ca. 1736-1746 in Mannheim, 1747 in Frankfurt and 1756-1759 in Bayreuth) and Anton Aloys Durant, Esterhzy court musician, singer and lutenist, in Hungary. This study shows, that on 28 June 1712 a son of Anton Aloys Durant and his wife Maria Elisabetha Langier, called Paul Karl, was baptized in Pressburg (Hung. Pozsony, today Bratislava, Slovakia). This son Paul Karl (sometimes called Karl Paul or only Paul) was employed 1724-1727 as a boy singer at the church of St. Martin in Pressburg, and may be the later German lutenist. This assumption is based on three facts: 1. The name is identical. 2. Paul Karl Durant's musical activity is documented from an early age. 3. His father was also a lute player.
The study, based on earlier publications as well as the author's own researches, but first of all on unpublished archival research by the late Kornl Brdos, outlines the life of Anton Aloys Durant (ca. 1702-ca. 1709 church musician, tenor at St. Martin of Pressburg; ca. 1709-1721 court musician, tenor and lutenist in the services of the Esterhzys; ca. 1724-1733 again church musician in Pressburg), as well as presenting the few known facts about the early musical activities of his sons.
Furthermore the study also gives a picture of what is known about Paul Charl Durant's life and works in Germany. The author also states, that there no historical evidence for the present day use of his first name in the form "Paul Charles".
2007., 45. évf. 4. szám 439. - 448.o
Sostakovicz Albert zbori orgonista folyamodvnya II. Rkczi Ferenc fejedelemhez - 2007., 45. évf. 1. szám 93. - 98.o
Udvari trombitsok a 16-17. szzadi Magyarorszgon abs.
The Court Trumpeter in 16th and 17th Century Hungary
Peter Kirly

In spite of the huge quantity of data from the 16th and 17th centuries on court trumpeters in Hungary not much attention has been devoted in the past to their tasks by musicologists. In particular, the question remained unanswered whether they were only military trumpeters, as suggested by the authors of historical studies, or were they at least partly “real” musicians. This study – based on previously-published documents as well as on archival research – attempts to give an overview of the work and different tasks of court trumpeters in Hungary. Although most of the sources provide little detail on the trumpeters, scattered data helps us to establish a firm picture of their role in court life. As a final result it is possible to state that many of the court trumpeters – in substantial part (but not solely) foreigners, mainly from the Germanic lands – acted as competent musicians, playing not only trumpet and other related brass instruments, but also other kinds of instruments.
Some musical sources with trumpet parts from the territory of historical Hungary are also referenced. These originate mainly not from courts, but from cities and churches or monasteries.
In this study the available 16th and 17th century data from Hungary on the teaching of young trumpeters-within the country or (sometimes) abroad is also presented. Another part deals with the sparse information about the instruments (also on their parts and repairs), and also with the (heraldic) standards attached to trumpets and the trumpeters’ special clothing that was worn during festivities.
The author considers the present study as a first step in establishing a trustworthy picture of the role of Hungarian court trumpeters. For a better and more detailed overview much future research is needed.
2004., 42. évf. 2. szám 121. - 148.o
jabb adatok s nhny korrekci Bakfark Blint lengyelorszgi mkdsvel kapcsolatban - 1985., 26. évf. 4. szám 406. - 430.o
Vallsi ldzs vagy egyb knyszer miatt Magyarorszgra kerlt 16-17. szzadi zenszek abs.
16th-17th Century Refugee Musicians Who Found Asylum and Employment in Hungary
Pter Kirly

Historical documents show that among the musicians active in Hungary during the 16th-17th centuries a significant number had been forced for one or another reason to leave their former places of work in other countries and had found asylum in Hungary or Transylvania. These refugees were mainly Protestants, fleeing from the Counter-Reformation in other Habsburg lands (e.g. Andreas Rauch, Samuel Capricornus and probably Johannes Thesselius), but there are documents in which financial debts are given as the reason for immigration (e.g. the Spanish dancing master and organizer of court ceremonies, Don Diego de Estrada). Also hints of criminal acts can be traced (as in the case of the organist Antonio Romanini) as well as unfortunate involvement in higher politics (the lutenist Valentin Bakfark). One case shows how a former Habsburg court musician (the castrato singer Angelo Maria Marchesini) joined a western Hungarian aristocratic family, just in order to remain close to the Vienna court, in the hope of rejoining the Emperor’s musicians.
Data on the life and work of these refugees show that Hungary gained some excellent musicians by way of this immigration. There were some who probably would not have chosen the country if they had not been forced to leave their former places of work. Although it seems that not all of them could use all their skill and talent, some (like Andreas Rauch) found not only security but also a good working environment in the country.
2005., 43. évf. 2. szám 179. - 192.o
Wolfgang Ebner s Wendelin Hueber levele Esterhzy Lszlnak : adalkok az Esterhzy-zenetrtnet egy kevsb ismert idszakhoz abs.
A Letter by Wolfgang Ebner and Wendelin Hueber to Lszl Esterhzy
some Data for a Lesser Known Period of the Music of the Esterhzys
Pter Kirly

His study presents a letter written on 22. October 1651 by the Vienna court organist, W. Ebner, and W. Hueber, organist at St. Stephen’s Cathedral, to the Hungarian aristocrat Lszl Esterhzy. In their short reply they promised Esterhzy, who had summoned them, to appear at a given date, exactly as Esterhzy requested. The author also outlines in the article the available data on Lszl Esterhzy’s musicians during the years 1645-1652, while he was head of the Esterhzy-family.
2001., 39. évf. 4. szám 375. - 381.o
Wolfgang Ebner levelei Batthyny dmnak (1643-1650) abs.
The Letters of Wolfgang Ebner to dm Batthyny (1643-1650)
Pter Kirly

This article presents nine letters from the imperial court organist Wolfgang Ebner (1612-1665) to the Hungarian Count, dm Batthyny (1610-1659). The letters, written between 1643-1650 (already briefly referred in Magyarorszg zenetrtnete, vol. II. Ed. Kornl Brdos, Budapest: 1990, p. 116-117.) show that Ebner became well acquainted with Batthyny. They obviously knew each other prior to Spring 1643. Ebner acted in Vienna as a kind of musical agent for the Count: he helped him to get a spinet repaired as well as to acquire a portative organ and he also acted as an intermediary in an unsuccessful attempt to engage an organist who had previously served General Missling (= Myslk?). Ebner also played for Batthyny during the Count’s stay in Vienna in February 1644. The surviving letters obviously represent only part of their correspondence. According to the letters the musician regularly received wine (as payment?), which Ebner always asked for in his German letters with a few words in broken Hungarian.
2001., 39. évf. 1. szám 85. - 99.o
Rec. 16-17. szzadi felvidki kottajegyzkek : Hudobn inventre a repertor viachlasnej hudby na Slovensku v 16.-17. Storo - 1999., 37. évf. 2. szám 185. - 188.o