Panna Czinka

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Panna Czinka, Fantasy Portrait by an Unknown Painter (around 1890)
Aranka Hegyi in the role of Panna Czinka.
Photograph by Sándor Strelisky (1896)
Imre Greguss : Cinka Panna (1910)

Panna Czinka , also Panna Cinka (* 1711 in Sajógömör, Kingdom of Hungary , today Gemer , Slovakia ; † 1772 , buried February 5 there), was a Hungarian violinist . She was a Roma musician and the "first famous Hungarian gypsy prímás , at the same time the only female".

Life

Roma traveling musicians have been recorded in Hungary since the 15th century. In the 18th century the news about her musical successes piled up. They were not settled for a long time and were repeatedly employed by princes and noble families.

"You are naturally inclined to music like almost every Hungarian nobleman holds a Ziegainer [...]"

- Daniel Speer : Hungarian or Dacian Simplicissimus , 1623

The violin became her most important instrument .

As the daughter of a Roma musician in the service of Francis II. Rácóczi (?), Panna Czinka became known as a child through her violin playing. According to research by the cultural historian Heinrich Moritz Gottlieb Grellmann, who was appointed full professor in 1794 , Panna Czinka was an "extraordinarily musically gifted" Hungarian Roma girl who was coveted by society as an artist at the age of 14.

The "landlord Janos Lanyi from Gömör County in Rozsnyó (today Rožňava, Slovakia )" had them taught music by "the best teachers". He married her around the age of 14 or 15 to a "bassist" ( double bass player ) who was also a blacksmith. Two of her husband's brothers were "counterplayers" (accompanying violin) and cimbalom players . This is how the first real Hungarian gypsy band known by name came into being , whose “ Prímás ” among four musicians was Panna Czinka. Her performances have taken her to Poland and Romania .

With her husband she had four sons and a daughter who later also belonged to her chapel. In summer they went to the country and gave concerts, in winter they stayed on the estate of their patron Janos Lanyi on the banks of the Sajó River . The numerous traditions from the late 18th and early 19th centuries also include the fact that Hungarian admirers (whose language she spoke) built her splendid house, but that she preferred to live in a tent with her family.

A portrait from the end of the 19th century, the painter and model of which is unknown, shows Panna Czinka sitting on a tree stump and smoking a pipe. She wears a (male) Prímás uniform ( hussar uniform ?) With a coat, a feather-adorned fur hat and star-shaped boots, holding the violin and violin bow on crossed legs. Nothing is known about the musical repertoire of Panna Czinka, which coincided with the emergence and early period of the popular Hungarian verbunko . Her appearance in the picture suggests that she was out on horseback to make Verbunkos music with her band, among other things; this was a typical Hungarian Advertising dance to recruit soldiers for the Habsburg regiment by its instrumental and artistic development (Advertising / Verbunk) Roma musicians to the Viennese classics is to follow.

Her last wish was to be buried in her man's clothes with her favorite violin and pipe. According to the church register of Sajógömör ( Gemer , Slovakia ), she was buried there on February 5, 1772 in the Protestant cemetery.

Appreciation and reception

After her death, the personality of the Panna Czinka became a frequently used motif for various artists who, in their own way, honored her in their works and highlight their special significance within Hungarian musical history . In the 1880s, Bálint Ökröss wrote Czinka Panna , a play with music in four acts. In 1897 Sándor Endrődi wrote a famous poem about her. Endre Dózsa published a novel in 1913 with the title Czinka Panna , György Temeshy in 1929 also a novel with the same title. Zoltán Kodály composed the Singspiel Czinka Panna balladája to a text by Béla Balázs , which was premiered in 1948 at the Hungarian State Opera . In 1996 Géza Csemer wrote a play about Panna Czinka. The Slovak director Dušan Rapoš made a film about her life, which was shown in cinemas from 2008. In a sequence from the Hungarian documentary film Budapest Bár - A pesti dal története from 2014, her important role as a musician of the Hungarian Roma is discussed.

In the Slovak community of Gemer there is a monument to the musician opposite the baroque castle. A music festival named after her , the Panna Czinka Prímás Competition (Czinka Panna Prímásverseny), has also been held here for several years .

  • Monument in Gemer

  • Bust on the monument

Streets have been named after her in a number of Hungarian cities, including Budapest , Győr and Miskolc .

literature

Web links

Commons : Panna Cinka  - collection of pictures, videos and audio files

Individual evidence

  1. ^ Bálint Sárosi: The beginnings of the Hungarian gypsy bands . In: Anita Awosusi, Franz Maciejewski (ed.): The music of the Sinti and Roma . Vol. 1, Heidelberg 1996, pp. 27/28.
  2. ↑ Sárosi p. 25.
  3. ↑ On the history of the Roma and Sinti (Federal Agency for Civic Education).
  4. ↑ New edition 1923, p. 330. Quoted from Sárosi p. 27.
  5. ↑ Heinrich Moritz Gottlieb Grellmann: The Gypsies. A historical experiment about the way of life and constitution, customs and fate of this people in Europe, together with their origins. Dessau / Leipzig 1783, p. 76. Even with a cursory reading, however, in many other passages of this text the Roma tone of voice that is extremely discriminatory is noticeable. Digitized
  6. ↑ Sarosi: The Beginnings of the Hungarian Gypsy Bands, p. 28.
  7. ^ Anna G. Piotrowska: Gypsy Music in European Culture: From the Late Eighteenth to the Early Twentieth Centuries . Northeastern University Press, Dec 3, 2013, p. 21.
  8. ↑ Sárosi pp. 28/29.
  9. ↑ Anna G. Piotrowska: Gypsy Music in European Culture: From the Late Eighteenth to the Early Twentieth Centuries 2013, p. 21.
  10. ↑ Illustration: Sárosi p. 28. In Commons
  11. ↑ See Anita Awosusi (Ed.): Die Musik der Sinti und Roma 1996, p. 37 u. 161 (among others).
  12. ^ Bálint Sárosi: The beginnings of the Hungarian gypsy bands ; Lujza Tari: Basics and structure of the early and late Verbunkos . In: Anita Awosusi (ed.): The music of the Sinti and Roma . Vol. 1: The Hungarian ›Gypsy Music‹ . (Part I: The era of Verbunkos ). Tibor Istvánffy: On the reception of Hungarian (gypsy) music by Haydn, Mozart and Beethoven . (Part II: Roma music and (Viennese) classical music) . (Series of publications by the Documentation and Cultural Center of German Sinti and Roma. 1996).
personal data
SURNAME Czinka, Panna
ALTERNATIVE NAMES Panna Cinca, Czinka Panna
BRIEF DESCRIPTION Gypsy musician
DATE OF BIRTH 1711
PLACE OF BIRTH Sajógömör
DATE OF DEATH between January 1, 1772 and February 5, 1772
Place of death Sajógömör