In Ms 29 of the National and University Library in Ljubljana (Slovenia) — an early 13th-century copy of Dialogorum libri IV by Gregory the Great — there are two musical insertions: the sequence Celi solem imitantes and the hymn Jam lucis orto sidere. Written in Hungarian notation they were inserted onto blank pages in the completed manuscript in the span of time from the late 13th to the mid-14th century. Ms 29 bears a marginal inscription referring to Augustinus Cazottus (Kažotić), Bishop of Zagreb in the early 14th century. It was obviously in his possession. Presumably, the sequence and the hymn were inserted into Ms 29 somewhere in the Diocese of Zagreb, by someone skilled in Hungarian notation.
This essay tackles some aspects related to the attitude of the Romanian officials after George Enescu left his country definitively (in 1946). For example, recent research through the archives of the former secret police shows that Enescu was under the close supervision of Securitate during his last years in Paris. Enescu did not generate a compositional school during his lifetime, like for instance Arnold Schoenberg did. His contemporaries admired him, but each followed their own path and had to adapt differently to an inter-war, then to a post-war, Communist Romania. I will therefore sketch the approach of younger composers in relation to Enescu (after 1955): some of them attempted to complete unfinished manuscripts; others were influenced by ideas of Enescu's music. The posthumous reception of Enescu means also an intense debate in the Romanian milieu about his “national” and “universal” output.
During a tour of Austria-Hungary in December 1910, Debussy met a young Hungarian Francophile composer, Géza Vilmos Zágon (1889–1918). The latter sent him the manuscript of the Pierrot lunaire, a cycle of six melodies from the collection of the Belgian poet Albert Giraud. Debussy reviews the vocal line, emphasizing that the corrections he has made almost all concern “prosodic accents.” This rereading of a work by a young composer is a unique case for Debussy and testifies not only to his openness to young composers, but also to his interest in Giraud's poems, as André Schaeffner had so rightly anticipated in 1953 in his article “Variations Schoenberg.” It also reveals Debussy's deep sensitivity to the French language verse and rhythm.
The paper is a case-study discussing the role of imago and historia in the Istanbul Antiphonal, a Hungarian 14th-century illuminated manuscript recently discovered and published in a facsimile edition. On the one hand, the two types ipso facto play different roles in the codex: imagines are usually connected to saints (therefore they culminate in the sanctorale part) while historiae are to be found mainly in the temporale. On the other hand, examples of both of the image types can be found in both parts, sometimes mixing the two genres. There is a tendency to give more and more place to the narrative, still, keeping important positions for the imago(e.g. at the beginning and the end of the cycles). Finally, there are cases when both of them are used for the same feast in different size, revealing that (at least in some cases) imago is hierarchically lower than historia.
Authors:Federico Dragoni, Niels Schoubben, and Michaël Peyrot
Building on collaborative work with Stefan Baums, Ching Chao-jung, Hannes Fellner and Georges-Jean Pinault during a workshop at Leiden University in September 2019, tentative readings are presented from a manuscript folio (T II T 48) from the Northern Tarim Basin in Northwest China written in the thus far undeciphered Formal Kharoṣṭhī script. Unlike earlier scholarly proposals, the language of this folio cannot be Tocharian, nor can it be Sanskrit or Middle Indic (Gāndhārī). Instead, it is proposed that the folio is written in an Iranian language of the Khotanese-Tumšuqese type. Several readings are proposed, but a full transcription, let alone a full translation, is not possible at this point, and the results must consequently remain provisional.
This paper identifies three manuscript fragments from Turfan as an Old Uyghur version of the story of Shunzi 舜子, a medieval Chinese narrative about Emperor Shun acting as a filial son. In China, the story was part of the lore of filial sons (xiaozi 孝子), popular throughout most of the dynastic period. Early versions of the Chinese story survive in Japan and Dunhuang, and these display obvious parallels with the Uyghur text. While this allows a positive identification of the content of the three Turfan fragments, the differences reveal that none of the known Chinese versions could have served as the source text for the translation. The Old Uyghur version, therefore, represents an otherwise unattested version of the story, which may have developed among the Uyghurs.
The CANTUS database provides indices of chant manuscripts for the Office in both electronic and printed formats. The database was developed in the 1980s at the Catholic University of America under the leadership of Ruth Steiner. The goals and basic structure of the project remain true to the vision of its founder; however, since the move to Canada there have been some changes in format and presentation of the data. This progress report is the first official presentation of these alterations. Seventy-one liturgical books have been indexed. The centre of distribution is the project's website at http://publish.uwo.ca/~cantus/. The database consists of indices that indicate the actual contents of individual sources. The project has proven useful in a variety of fields including liturgical chant, early music, medieval liturgy, hagiography, and ecclesiastical history.
The reform of the Council of Trent made great influence on the liturgical development of all Europe. That was also the fact in Hungary: in 1630 the local synod of Nagyszombat accepted the introduction of the Tridentine rite into the Hungarian Church. Nevertheless some of dioceses - existed more independently - protested against this decision and insisted on the continuation of their own medieval traditions. Among these dioceses Zagreb was the greatest “Protestant”. The cathedral itself guarded his medieval tradition till 1788. Through this largely documented processional practise of Zagreb Cathedral (ten manuscripts and one printed processional from the 14th up to the 18th centuries) one can follow the particularities of a liturgy preserved isolated: the basically remained liturgical chants were influenced by some new practise, mainly simplifications but additions as well.
manuscript in German, 1-3. Words of introduction at the Kodály centenary concert of the Conservatory of Lucerne. Delivered on 7 January 1983, read by the author. Manuscript. Budapesst, Institute for Musicology of the Hungarian Academy of Sciences, Veress