This article presents eighteen glosses and emendations borrowed from Turkic dialects into the Slavonic-Russian Pentateuch edited according to the Hebrew Masoretic Text (in manuscripts from the 15th–16th centuries). The first group of these words — including proper names — has Arabic or Persian origins; they came into East Slavonic with obvious Turkic mediation (Skandryja ‘Alexandria’, Bagadad ‘Baghdad’, Misurʹ ‘Egypt’, Šam ‘Damascus’, Isup ‘Joseph’, sturlabʹ ‘astrolabe’, soltan ‘sultan’, olmas ‘diamond’, ambar ‘ambergris’, and brynec ‘rice’). The second group is proper Turkic: saigak ‘saiga antelope’, ošak ‘donkey’, katyrʹ ‘mule’, kirpič ‘brick’, talmač ‘interpreter’, čalma ‘turban’, and saranča ‘locust’. The author agrees with the hypothesis that this glossing/emendation was made for the East Slavonic Judaizers. Furthermore, the author suggests that there was participation of a group of merchants interested in a new and mysterious knowledge promulgated by learned rabbis.
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.
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 manuscript Ms. 2372 of the Jagiellonian Library in Kraków contains a notated fragment of an early 12th-century Hungarian antiphoner as a flyleaf. The text written with late Caroline Minuscule is accompanied by two types of music notation. The recitative and formulaic chants appearing in the rubrics (responsoria brevia and versicles of the horae minores) are notated with diastematic neumes. The main text containing the antiphons and responsoria prolixa is written with what is probably the earliest example of the medieval Hungarian (Strigonian) chant notation. The fragment is also remarkable because of its unique content. While the recto contains the standard repertory of the office for St Michael, the verso includes chants from the historia Perennis patrie regis of St Demetrius of Thessaloniki venerated in medieval Hungary as one of its patron-saints. The Cracovian fragment represents the oldest testimonial of the historia discovered so far.
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.
ortodoxia története Magyarországon a XVIII. századig . Szeged, 1995. 77–83.
Кочиш 1999–2001 = The Szeged Minea . A Cyrillic Manuscript from the Late 16th Century . A text edition by Mihály Kocsis. (Bibliotheca Slavica Savariensis
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