Töröksíp
Töröksíp ( Hungarian , "Turkish whistle"), also tárogató, more rarely tárogatósíp, is a historical double-reed instrument with a conical tube in Hungary . The short cone obo probably found its way into southeastern Europe and Hungary in the 16th century with the expansion of the Ottoman Empire . The shrill-sounding military musical instrument became a symbol of the Hungarian liberation struggle against the Habsburg monarchy at the beginning of the 18th century . After the töröksíp was officially banned for this reason, it could only be used occasionally in the villages until it disappeared in the first half of the 19th century.
After several unsuccessful attempts to revive the bowling oboe at the end of the 19th century, a completely different single reed instrument with a softer tone was introduced in 1897 under the historically significant name tárogató , which is also suitable for the concert hall.
origin
The töröksíp belongs to a large group of cone oboes, under the Arab-Persian name surnā with the Arab-Islamic expansion initially from the 7th century by its Western or Central Asian origin in many regions of Asia and northern Africa to the Sudan region reached . A characteristic feature of the surnā type is the pirouette (lip support), which facilitates circular breathing for the player , with which a flowing, quasi-endless melody line can be produced. The great pirouette, the one-piece design, the spread with Islamic culture and, as a musical characteristic, an artfully decorated melody are the connecting elements of this cone obo type. The Indian shehnai , the Iranian - Afghan sornā and the Turkish zurna , which occurs as far as Georgia, are similar in shape and with a related name .
The cone oboes reached south-east Europe after a certain time in the course of the Turkish wars during the Ottoman Empire. To date, the oriental cone oboes in are Northern Macedonia as zurla in Albania as surle in Romania as Surla and Bulgaria as Zournas known. Curt Sachs (1930) geographically distinguishes between “two import routes” for the spread of the bowling oboes used in folk music in Europe: the surnā types introduced by the Turks in the Balkans with a pirouette made of metal (“Eastern group”) and those through North Africa through the Arabs All wooden cone oboes imported into Andalusia and Italy. A copy of this "western group" is first documented on an ivory tablet from Sicily from the 12th century . The latter spread with Arab culture, which took place over North Africa a few centuries before the Turkish invasion, led to the development of the medieval shawm family in Europe , while the spread of the Turkish oboe remained limited to Eastern Europe. The North African algaita with its multi-part play tube appears as a model for the European pomeranian, which is also composed . The Western European shawm type, to which the musette , the Sorbian tarakawa and the northern Italian piffero belong, is represented in the Balkans with the sopila played in Croatia .
The name of the Hungarian töröksíp ("Turkish pipe") comes from the Turkish tradition. The word first appears in the late 17th century and more frequently in the early 18th century. The name tárogató has been recorded for much longer, since 1533 . A Latin vocabulary by Johannis Murmellius, published this year, explains tárogató as an instrument type "Schalmey" and in this general sense the name was used until the 18th century. According to one opinion, Tárogató goes back to the Hungarian verb tár ("open") and, as tarogat ("repeatedly opened"), refers to the alternating gripping of the finger holes. According to another view, tárogató comes from the onomatopoeic taratara , with the intermediate forms tara-gat ( gat is a frequent ) and taragató . As tárogató , reed instruments or all cone oboes were probably originally referred to.
The oldest type of Hungarian double-reed instrument has no finger holes and can be traced back to the 13th century. Some self-made double-reed instruments are or were used as village toys in Hungary, which are also used in other regions. These include the conical willow bark oboe fűzfabőgő (“ willow howler ”) or fűzfakürt (“willow horn ”, cf. fakürt ) made from a spirally wound strip of bark, the grain halo búzasíp (“wheat pipe ”) or the pumpkin leaf stem oboez törsklevéls . The tongues cut from the material at the upper end are completely inserted into the mouth when playing. No other traditional double reed instruments are known in Hungarian folk music. To the otherwise (earlier) common wind instruments, the core gap flute include furulya , the flute oldalfúvós furulya , the double flute kettősfurulya , the bagpipe Duda and the clarinet ( clarinet ), which up to the middle of the 20th century in the Plain a duet with the Drehleier tekerőlant formed .
Design
About a dozen töröksíp are preserved in museums. A slightly conical instrument with a length of 30 to 40 centimeters with a bore which is cylindrical in the upper part and widens conically downwards is described according to their common features. The tubes were mostly turned from maple , plum or cherry wood . The play tube has six to eight finger holes on the top and a thumb hole on the bottom. For instruments with seven finger holes, the thumb hole is in the middle opposite the sixth and seventh finger holes. There are also seven more holes of the same diameter that are drilled into the bell, which is offset by a bead. In the upper end there is an approximately 13 centimeter long wooden tube with a cylindrical thickening. The upper end of this wooden tube is used to hold a 6 to 7 centimeter long brass tube, in the tapered end of which the reeds were inserted. The reeds have disappeared from the museum specimens. On some instruments, round wooden or metal disks 3 to 4 centimeters in diameter have been preserved as pirouettes. This shows that the tárogató was blown in the oriental playing technique with reeds completely enclosed in the mouth. The sound was - as is usual with this group of wind instruments - loud, shrill and penetrating.
In the middle of the 19th century there were calls for a new Hungarian wind instrument. The composer István Fáy complained in a magazine article in 1853 that there was little precise knowledge about the missing but often mentioned tárogató . Then some citizens parted with their old instruments and left them to the National Museum. During the 1850s, more articles and commentaries appeared on how the tárogató could be reintroduced. In 1860 the wooden instrument maker Albert Skripsky († 1864) developed in Pest one tárogató called double reed with 13 valves , the sound but did not meet the listening habits of the 19th century. Towards the end of the 19th century, the musical instrument maker Josef Wenzel Schunda (1845–1923) made attempts over several years to construct a larger double reed instrument similar to the töröksíp , which should be suitable for use in a classical orchestra. This eventually resulted in a single reed instrument comparable to the soprano saxophone , for which he received a patent in 1897 and which has since been known as the tárogató . With its gentle, soft tone, this tárogató is one of the “national” Hungarian musical instruments today, but it is of no importance in peasant instrumental music.
Style of play
The most significant defeat of the Hungarians in the fight against the advancing Turks was the battle of Mohács in 1526. With the conquest of the imperial capital Buda in 1541, the approximately 150 years of domination of the Ottoman Empire over southern Hungary began. From the 16th to the 18th century, the töröksíp was mainly an instrument of military music under Turkish cultural influence. This is confirmed by the nicknames hadisíp ("war pipe") and Rákóczi-síp ("Rákóczi pipe"). The latter name refers to the revolt of Franz II Rákóczi from 1703 to 1711, in which the national-Hungarian Kurucs rebelled against the Habsburgs . Through its use in this uprising, the töröksíp became a national symbol of the Hungarians. Its shrill sound was an element of psychological warfare, which is why King Leopold I and his successor Joseph I forbade the use of the Hungarian bowling oboe on November 15, 1705 after defeating the Hungarians in the Battle of Zsibó and ordered the destruction of all instruments. Manufacturing plants were burned down as a show of imperial power, and few hidden specimens remained in the villages.
As in the Ottoman military music bands ( mehterhâne ), the interplay of töröksíp and cylinder drum was particularly popular - based on the Turkish example of the davul -zurna instrument pair , to which the combination tapan -zurla corresponds in the Balkans . This interaction was also popular with the Hungarian nobility, as can be seen in the historical work Metamorphosis Transsylvaniae by the Hungarian baron Péter Apor (1676–1752) published in 1736 . Little is known about the play repertoire, although the töröksíp was also used at weddings and funeral parades . This was the domain of the gypsy bands ( cigányzenekar ), whose core line-up had included two violins ( prím and contra ), a double bass and a dulcimer ( cimbalom ) since the end of the 18th century . Until the beginning of the 19th century, the only wind instrument that could be added was the töröksíp , which has since been replaced by the clarinet .
In the 19th century at the latest, the tower guards also blew on the töröksíp . A tower guard playing töröksíp was last heard in 1897 in Jászapáti County . However, the bowling oboe had become rare before the mid-19th century and soon disappeared from folk music - until it was attempted to revive it at the end of the century. The new development as a single reed instrument followed the national tradition under the legendary name tárogató .
literature
- Zoltán Falvy: “Tárogató” as a regional instrument. In: Studia Musicologica Academiae Scientiarum Hungaricae, Vol. 38, No. 3/4, 1997, pp. 361-370
- Eszter Fontana: Tárogató. In: Grove Music Online, 2001
- Milan Milosevic: The history and development of the tárogató.
- János Pap: The Tárogató and Central Eastern Europe. ( Memento from January 27, 2013 in the Internet Archive ) In: Bruno B. Reuer (Hrsg.): Musik im Umbruch. Verlag Südostdeutsches Kulturwerk, Munich 1999, pp. 341–352
- Bálint Sárosi: The folk musical instruments of Hungary . ( Ernst Emsheimer , Erich Stockmann (Hrsg.): Handbook of European folk music instruments. Series 1, Volume 1) German publishing house for music, Leipzig 1967
Web links
- Tárogató. Museum of Music History Budapest. Illustration of a tárogató by Albert Skripsky († 1864) with seven finger holes. The laterally offset lower grip hole is unusual for cone oboes.
Individual evidence
- ↑ Alfons Michael Duration : Tradition of African Wind Orchestras and the Origin of Jazz. (Contributions to jazz research, vol. 7) Akademische Druck- und Verlagsanstalt, Graz 1985, p. 75
- ↑ Christian Poché, Razia Sultanova: Nachbarāy. 1. Terms, distribution and history . In: Grove Music Online , 2001
- ^ Curt Sachs : Handbook of musical instrumentation . (1930) Georg Olms, Hildesheim 1967, p. 320
- ↑ Alfons Michael Dauer, 1985, p. 76
- ^ Zoltán Falvy, 1997, p. 361
- ↑ a b c Bálint Sárosi, 1967, p. 82
- ^ Sibyl Marcuse : Musical Instruments: A Comprehensive Dictionary. A complete, authoritative encyclopedia of instruments throughout the world. Country Life Limited, London 1966, p. 513, sv “Tárogató”
- ^ Bálint Sárosi, 1967, p. 81
- ^ Bálint Sárosi: Hungary. VII. Folk music. 4. Instrumental music. In: MGG Online , November 2016 ( Music in the past and present , 1998)
- ^ Zoltán Falvy, 1997, pp. 362-365
- ^ Eszter Fontana, 2001
- ^ Bálint Sárosi: bagpipers, gypsy musicians ... The instrumental Hungarian folk music. Corvina, Budapest 1999, p. 40
- ↑ János Pap, 1999
- ^ History . Stowasser J. Tárogató
- ↑ Milan Milosevic, p. 2
- ^ Bálint Sárosi, 1967, p. 106