ВЕНЕЦИЯЛЫК ЭЛЧИЛЕРДИН БАЙКООЛОРУНАН АЗЫРКЫ BÎRÛN ОСМАНЛЫ ИСКУССТВО МУЗЫКА ДОЛБООРУНА ЧЕЙИН: ВЕНЕЦИЯДАГЫ МАКАМДЫН БЕШ КЫЛЫМЫ
Ключевые слова:
Макам; Венеция; Gianbattista Donà; Джанбаттиста Донадо; Джамбаттиста Тодерини; Бирун; Кудси Эргунер; Giorgio Cini Foundation; Салыштырмалуу музыка изилдөө институту.Аннотация
Константинополь менен Венециянын ортосундагы маданий мамилелердин узак тарыхында Осмон музыкасына болгон кызыгууну белгилей алабыз, муну Венеция элчиси (байло) Джованбаттиста Донадо (1627-1699) өзүнүн «Делла Леттература де’ Турчи» (1688) китебинде жазган байкоолорунан айкын көрүүгө болот. Иезуит аббаты Джамбаттиста Тодерини (1728-1799) өзүнүн Letteratura Turchesca (1787) китебинде. Бул кызыкчылык 2012-жылы Джорджио Сини Фондунун Салыштырмалуу Музыка Изилдөө Институтунда (IISMC) башталган Осмон классикалык музыкасы боюнча жогорку билим берүү семинары үчүн идеалдуу эстетикалык фон катары белгилениши мүмкүн. Foscari’. Келген арыздардын көптүгү жана дүйнөнүн төрт бурчунан көптөгөн жаш жана таланттуу музыканттардын болушу Осмон классикалык музыкасынын жандуулугун көрсөтүүдө.
Библиографические ссылки
Maria Pia Pedani, ‘Le carte del sultano nell’Archivio di Stato di Venezia’ in Le carte del sultano nell’Archivio di Stato di Venezia. Catalogo della mostra / Venedik Devlet Arşivi’nde Bulunan Padişah Belgeleri. Sergi Kataloğu, ed. Maria Pia Pedani and Patrizia Bortolozzo (Venezia: Archivio di Stato di Venezia, 2010), 18.
This term, coined by Venetians, influenced the French ‘jeunes de langue’.
Giovanni Agop, Rudimento della lingua turchesca (Venezia: Michiel’Angelo Barboni, 1685).
Antonio Benetti, Osservazioni fatte dal fu dottor Antonio Benetti nel viaggio a Costantinopoli dell’illustriss. et eccellent. Sig. Gio. Battista Donado (Venezia: Andrea Poletti, 1688).
See their collective, Raccolta curiosisssima di adagi turcheschi trasportati dal proprio idioma nell’italiano e latino dalli giovani di lingua sotto il bailaggio in Costantinopoli dell’illustr. ed eccell. Gio. Battista Donado, e indirizzata dai medesimi all’illustriss. Sig. Pietro, di lui figlio (Venezia: Poletti, 1688).
Now collected in Luigi Firpo (ed.) Relazioni di ambasciatori veneti al senato, volume XIII: Costantinopoli. (1590-1793), (Torino: Bottega d’Erasmo-Aldo Ausilio Editore, 1984) and in Maria Pia Pedani-Fabris (ed.) Relazioni di ambasciatori veneti al senato, Costantinopoli, volume XIV: Relazioni inedite (1512-1789), (Padova: Bottega d’Erasmo-Aldo Ausilio Editore, 1996).
Elsewhere in the Orient, in Persia, in Mughal India, Afghanistan and Xinjiang, similar ensembles were placed in specific part of palaces called naqqara khāna (‘the house of drums’).
Confused for a century with Ottoman arms, the instruments came to light during the entire re-cataloguing of the Museo Correr in the second half of the 1990s. Described ex-novo by Franco Rossi, (“Gli strumenti musicali dei Musei Civici Veneziani”. Bollettino dei Musei Civici Veneziani 3/1. Venice, Marsilio/Musei Civici Veneziani d’Arte e di Storia, 2006: 11-69), they have since undergone a renaissance of interest: they were first displayed in a major exhibition held between 18 November 2009 and 28 February 2010 at the Sabancı Museum in Istanbul. On that occasion, a rich and well-argued bilingual catalogue was published in which the instruments are described by Franco Rossi and contextualised by myself, entitled Venice and Istanbul in the Ottoman Era. Venedik ve İstanbul Osmanlı Döneminde, edited by Giampiero Bellingeri and Nilufar Ölçer, Milan, Electa, 2009. Later, in 2013, the instruments were displayed in an exhibition entitled ‘The Pageant of Venice: Art and Music in the Golden Age of the Serenissima’ held at the Museum of Fine Arts in Montreal and, a year later, in
, at the Portland Art Museum. On 12 April 2013, a study day was held in Paris, at the Musée de la Musique, all about them, the proceedings of which have recently been published: Music of Power, Power of Music, A Seventeenth-Century Venetian Trophy: an Ottoman Military Band, edited by Philippe Bruguière, Cité de la Musique, 2017. Four hundred years after his birth, I summarised the whole history and described the musical instruments stolen, see: Giovanni De Zorzi, ‘Il mehter di Morosini’ in Francesco Morosini 1619-1694. L’uomo, il doge, il condottiero, Venezia, Poligrafico e Zecca dello Stato Italiano, 2019: pp. 397-399.
Giovanni Battista Donado, Della Letteratura de’ Turchi, Venezia: Andrea Poletti, 1688: p. 131.
Recently a selection from the Paris manuscript has been recorded by our Ensemble Marâghî in a Cd entitled Sounds form the Saray. The Young Bobowski at the Ottoman Court in 17th century, Turin: Felmay, 2021, fy 8278.
For the complete catalogue of the entire series, see: https://www.nota.it/categoria-prodotto/intersezioni-musicali/
See: Ottoman Classical Music | Kudsi Erguner and Bîrûn Ensemble 2019 | Sacred Songs from Istanbul https://www.youtube.com/watch?v=lFw3fJf-JcI&list=PLfxAcbSlhgNYvHRve7P5s11NY-eu-tHneo Filming: Simone Tarsitani and Carlo Mezzalira. Editing: Simone Tarsitani.
See: Ottoman classical music | Kudsi Erguner and Bîrûn Ensemble 2022 | Pençgâh Saz Semâî in: https://youtu.be/ktCedFJBfog?si=VaeHXRt2xgQFfl2d. Ottoman classical music | Kudsi Erguner and Bîrûn Ensemble 2022 | Peşrev + Cantemir Havası in:
https://youtu.be/le1lgOCLDls?si=ArHKCu3mI9h1TTaY. Ottoman classical music | Kudsi Erguner and Bîrûn Ensemble 2022 | Description of the project in: https://youtu.be/gsPoTi2eZIM?si=qq24YlbhRGTN_SdJ.
