Ali Ufki

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Ali Ufki on a steel engraving by Antoni Oleszczyński (1794–1879)

Ali Ufki ( Ali Ufkî - or Ufukî - Bey , Albert - or Wojciech Bobowski , Albertus Bobovius Leopolitanus , Alberto Bobovio , * around 1610 in Lwów as Wojciech Bobowski ; † 1675 in Constantinople ) was an Ottoman musician, composer and music collector of Polish origin. He also worked in Constantinople at the Ottoman court and in the vicinity of European diplomats, clergy and travelers as an interpreter, translator, language teacher, mediator and consultant. He combined a wide range of skills and knowledge from the Islamic-Ottoman and Christian-European cultures and thus became a valued mediator between the two worlds during his lifetime. His works are regarded as important sources for modern research into multicultural references in the Ottoman Empire in the 17th century.

Variety of names

Ali Ufki's own transcription of Ottoman, according to which the name form Ali Ufukî is chosen by some scientists .
  • Wojciech Bobowski is the presumed Polish baptismal name.
  • Albert Bobowski : The first name Albert is the shortened form of Albertus, synonymous with Wojciech, and goes back to Saint Adalbert of Prague , who gave up his maiden name Vojtěch at his confirmation and took the name of his tutor, Saint Adalbert of Magdeburg .
  • Albertus Bobovius called himself Bobowski as the author of his texts written in Latin. Sometimes the u in Bobovius was replaced by a v in the print set .
  • Alberto Bobovio called himself Bobowski as the author of his texts written in Italian.
  • Alibei, Ali bei, Ali Bey, Ali Beg, Ali Begh, Hali-Beigh, Hulis Bey and the like come as transcriptions from Ottoman علی بك in front.
  • Santuri Ali Bey ( Ali Bey es-Santuri ) was called Bobowski in the service of the seraglio.
  • Ali Ufki or Ali Ufkî he was called by contemporaries and later authors. The nickname ufkî  /افقیderives from ufuk  /افق / 'Horizon' and alludes to Ali Ufkî's wide-ranging knowledge and skills.
  • Ali Ufukî is used as a name form by authors who refer to Bobowski himself, who used the form Vfuki , his transcription of Ottoman, so in his Grammatica Turcicolatina and also in the loose-leaf collection (BnF Turc 292 , see figure on the right).
  • For Bobowski, Bobovius and Bobovio there are other similar spellings, e.g. B. Bobowsky, Bobrowski, Bobonius, Bohonius, Bozonius and Robovius .

Life

A page ( Icolan in the caption ) from Claes Rålambs' costume book, which Ali Ufki served as a consultant and translator. Characteristic of a page are the braids hanging down to the side.

Bobowski probably came from a noble family and received a comprehensive upbringing that also included musical knowledge and skills. At a young age he was captured by Kantemir Mirza's Tatars during an attack on his homeland in 1632 or 1633/1634 and sold as a slave to the Sultan's court in Constantinople. There he converted to Islam and took the name Ali. For many years he was raised in the seraglio. His musical training there as a page (Ottoman içoğlan ) for the service as a musician of the Inner Seraglio he described in detail in his work SERAI EN DERUM , published in 1665 […] . Under the sultans Murad IV. , Ibrahim and Mehmed IV. He served as a page and musician ( Santoor player, referred to as Santuri Ali Bey , and composer), also as an interpreter and translator. He is said to have spent a total of 19 years in the seraglio as a slave. Two manuscripts have survived from this period in which he recorded Ottoman music - unaffected by older and simultaneous forms of notation used by Arabic and Ottoman theorists - in a European notation that was initially developed for his own use. These two collections also contain Italian lute tablatures, which suggest that Bobowski learned to play the lute while in Poland.

After completing his training and employment in the seraglio, from which he is said to have been dismissed because of excessive drunkenness, he traveled with an Ottoman officer to Egypt and - back in Constantinople - was probably able to work as a free man in the service of the English ambassador Sir Thomas from 1651 Kicking Bendish. He then also worked for his successor Heneage Finch, Lord Winchilsea, who was ambassador from 1660 to 1668. He served these two diplomats as well as European scholars and travelers as an interpreter, language teacher, mediator and advisor.

In 1669 Bobowski, who spoke Turkish, Arabic, Persian, Polish, Italian, French, German, Latin as well as ancient and modern Greek, became an interpreter at the court of Sultan Mehmed IV, initially in the Chancellery and a few years later in the position of chief interpreter at the grandeur Divan. Furthermore he cultivated his connections with European intellectuals and diplomats. Through Antoine Galland , who was in contact with the French embassy, ​​he came into contact with the well-educated Islamic scholar and historian Hezarfen Hüseyin, whom he helped with the development of Latin and Greek sources. During this time he had to give up his long-cherished plan to travel to England. He stayed in Constantinople and died there in 1675.

Works

From the loose-leaf collection: the song Uyan ey Gözlerim , text by Murad III. , Composer unknown, written down by Ali Ufki.
Ali Ufki: Sketch-like version of his most famous composition Nikrîz Peşrev from the loose-leaf collection, entitled peşrev feth-i bâb der makam nigris usul Düyek teʾlif Ali over fuad-ı diyar-ı frengistan . The notes are to be read from right to left.
Anonymous: [nevâ] Ceng-i harb-î , a characteristic example of Ottoman field music, written down by Ali Ufki in Mecmua-i Sâz ü Söz . The original notes are to be read from right to left; the transcription is in the French treble clef for easier comparison
  • A loose-leaf collection without a title, which was later bound and started by Ali Ufki in his time as Ottoman court musician around 1640, in which diverse musical content of European and Ottoman, vocal and instrumental, sacred and secular, courtly, urban and rural types as well as a compendium of poems, medical , culinary, linguistic and religious texts in many languages ​​are combined. The collection has long been considered the earlier version of Mecmua-i Sâz ü Söz and was referred to as Mecmua-i Sâz ü Söz'ün Müsveddeleri , i.e. a draft, but is to be regarded as an independent work. The collection came to France through Antoine Galland and is in the French National Library with the signature Turc 292 . It is occasionally referred to in the literature as the Paris manuscript .
  • Mecmua-i Sâz ü Söz  /مجموعهٔ ساز و سوز / Mecmūʿa-i Sāz ü Söz : was probably started a little later than the loose-leaf collection, around 1650 and is considered the earliest known, systematic collection ( mecmua ) of Turkish music with instrumental and vocal pieces ( sâz ü söz ) in European, but from right to bottom Notation written on the left. It also contains compositions by Ali Ufki. Some of the musical notations are broadly in agreement with Cantemir 's records , indicating that both are reliable sources for the pieces listed. The collection was acquired by John Covel and so came to the Sloane Collection and later to the British Library , where it is kept under the shelf mark Sloane 3114 . In the literature, Mecmua-i Sâz ü Söz is therefore occasionally referred to as a London manuscript .
  • 15 songs of secular and religious content of the genres Türkü , Beste, Varsağı, İlâhi and Tevhid as well as 7 instrumental compositions of the genres Peşrev and Semaî from the two collections mentioned above are attributed to Ali Ufki himself.
  • Ottoman and Latin versions of the Anglican Catechism: تعليم اورتودكسين / taʿlīm-i o rt o doksīn  / 'Doctrine of the Orthodox' - DOCTRINA CHRISTIANA (1654)
  • Turkish – Latin Dictionary (1658)
  • Tractatus Alberti Bobovii Turcarum Imp. Mohammedis IVti olim interpretis primarii De Turcarum liturgia: peregrinatione Meccana, circumcisione, aegrotorum visitatione & c / nonnullas annotatiunculas, pro ut occasio se obtulit passim adjecit Thomas Hyde; subjungitur castigatio in Angelum à Sancto Joseph . A treatise on Islam (1658–1661) edited by Thomas Hyde (1690).
  • Bible translation into Ottoman (1662–1664), based on the translation by the Jewish interpreter Yaḥyā bin Isḥāḳ of 1659. Bobowski's translation includes the Old Testament , the New Testament and Apocrypha and is still used in a modernized version.
  • Psalms 1 to 14 of the Geneva Psalter (1665), untitled , called Mezâmir : The text was translated into Ottoman, the melodies were adapted to the Ottoman Makam system.
  • Under the name Alberto Bobovio, Bobowski wrote a comprehensive description in Italian in 1665 of the seraglio of the sultans Murad IV, Ibrahim and Mehmed IV with the title SERAI EN DERUM, cioè, Penetrale dell 'Seraglio detto nuovo die GS e Re Ottomani, la descittione del loro vivere e costumi, et altri essercitii, […]. In particular, it contains descriptions of music-making and training in the palace and is therefore, together with the two collections mentioned above ( Mecmualar ), an important source for the history of Ottoman music. As early as 1667 this work appeared in German in a translation by Nicolaus Brenner as Serai Enderum. That is: The interior of the Turkish Kayserl: Residentz to Constantinopoli the newe Burgk called / sampt dero order and usage [...] . 1679 followed an Italian publication of the work by the travel writer Cornelio Magni within his QVANTO Di più Curioso e vago hà potuto raccore / CORNELIO MAGNI / Nel primo biennio da esse consumato i viaggi, e di more per la / TVRCHIA […] and 1686 one French translation entitled Description du Sérail du Grand Seigneur, par M. DE GIRARDIN, ambassadeur de France à la Porte .
  • Grammatica Turcicolatina (1666), developed for and with his pupil Henry Denton, an English chaplain in the European district of Pera .

literature

Biographies

  • Franz Babinger: Bobowski Wojciech. In: Polski Słownik Biograficzny . Kraków 1936, vol. 2, p. 156 f.
  • Alfred Baumgärtner: Propylaea world of music. The Composers , Volume 5, 1989, ISBN 3549078358 , p. 379
  • Cem Behar: Wojciech Bobowski (Ali Ufkî): Hayatı ve Eseleri (1610? –1675). In Cem Behar: Musıkiden müziğe. Osmanlı-Türk müziği: gelenek ve modernlik . İstanbul: Yapı Kredi Yayınları, 2005. pp. 17–55.

Individual aspects

  • M. Hakan Cevher: Ali Ufkî Bey ve Hâzâ Mecmû'ai Sâz ü Söz (Transkripsiyon, inceleme). (Doktora tezi, İzmir 1995, PDF as a scan online. )
  • Mehmet Uğur Ekinci, Judith Irmela Haug: Alî Ufukî's Notational Technique: Its Development, Systematization and Practices . In: Jürgen Eisner and others: Maqam Traditions between Theory and Contemporary Music Making . Pan Yayıncılık, 2016.
  • Judith Irmela Haug: Being more than the sum of one's parts: Acculturation and biculturality in the life and works of Ali Ufukî. In: György Hazai et al. (Ed.): Archicum Ottomanicum . 33 (2016). Wiesbaden: Harrassowitz Verlag 2016.
  • Judith Irmela Haug: Surmounting religious, musical and linguistic frontiers: 'Alī Ufḳī's translation of the Genevan Psalter (c. 1665) as a transcultural achievement . In: Bernard Heyberger, Albrecht Fuess and Philippe Vendrix (eds.): La frontière méditerranéenne du XVe au XVIIe siècle. Changes, circulations et affrontements . Turnhout 2013, pp. 375-392.
  • Hannah Neudecker: Wojciech Bobowski and his Turkish Grammar (1666). A Dragoman and Musician at the Court of Sultan Mehmed IV . In: Dutch Studies in Near Eastern Languages ​​and Literatures 2 (1996).
  • Mahir Mak: Hâzâ Mecmûa-i Sâz ü Söz'de Yer Alan 'Türki̇'leri̇n, Günümüz Türküleri̇yle Karşilaştirilmasi. İnönü Üniversitesi Kültür ve Sanat Dergisi, Cilt / Vol. 3 Sayı / No. 2 (2017): 104-113 ( PDF online )
  • Hannah Neudecker: From Istanbul to London? Albertus Bobovius' Appeal to Isaac Basire . In: Alastair Hamilton et al: The Republic of Letters and the Levant. Leiden, Boston: Brill 2005.
  • Hannah Neudecker: Ordinal numbers in Bobowski's Turkish Bible translation (1662–1664) . In: Folia Orientalia 36, Kraków 2000, pp. 219–225.
  • Fikret Türkmen, Hande Devrim Küçükebe: Turkish Folk Poetry and Folk Music in Mecmua-i Sâz ü Söz by Ali Ufkî Bey (Albert Bobowski). ( PDF online. )

Individual evidence

  1. ↑ a b c Judith Irmela Haug: Being more than the sum of one's parts: Acculturation and biculturality in the life and works of Ali Ufukî. In: György Hazai et al. (Ed.): Archicum Ottomanicum . 33 (2016). Wiesbaden: Harrassowitz Verlag 2016. P. 180 f.
  2. ^ Judith Irmela Haug: Being more than the sum of one's parts: Acculturation and biculturality in the life and works of Ali Ufukî. In: György Hazai et al. (Ed.): Archicum Ottomanicum . 33 (2016). Wiesbaden: Harrassowitz Verlag 2016. S. 190.
  3. ^ Judith Irmela Haug: Being more than the sum of one's parts: Acculturation and biculturality in the life and works of Ali Ufukî. In: György Hazai et al. (Ed.): Archicum Ottomanicum . 33 (2016). Wiesbaden: Harrassowitz Verlag 2016. S. 180 u. 183.
  4. ^ Franz Babinger: Bobowski Wojciech . In: Polski Słownik Biograficzny . Kraków 1936, vol. 2, p. 156 f.
  5. ↑ a b c d e Cem Behar: Musıkiden müziğe. Osmanlı-Türk müziği: gelenek ve modernlik . İstanbul: Yapı Kredi Yayınları, 2005. p. 17.
  6. ↑ a b Full Latin title : DOCTRINA | CHRISTIANA Paulus plantat, Apollos rigat, | DEVS dat incrementum. NOBILISSIMO ORNATISSIMOQVE IVVENI VIRO DOMINO, DOMINO, | JOANNI BENDYSHE, ARMIGERO ANGLICANO. AL: | BERTVS BOBOVIVS SPD and ends: CON = | = STANTINOPOLI, ANNO Partæ, Per | JESUM CHRIST, Verum Mes = | siam, Salutis AETERNAE. | CIC ICC LIIII. Retrieved January 20, 2017.
  7. ↑ a b Cem Behar: Musıkiden müziğe. Osmanlı-Türk müziği: gelenek ve modernlik . İstanbul: Yapı Kredi Yayınları, 2005. p. 18.
  8. ↑ a b Cem Behar: Musıkiden müziğe. Osmanlı-Türk müziği: gelenek ve modernlik . İstanbul: Yapı Kredi Yayınları, 2005. p. 19.
  9. ↑ a b So he also served the head of the Swedish embassy, ​​Claes Rålamb, who in his report of a trip to Constantinople highlighted Albertus Bobovius as a detailed reporter on the Inner Seraglio, and in his diary a Pålniske Turcken as a helper in setting up his Mentioned costume book , by which he probably meant Albertus Bobovius. See Karin Ådahl: Claes Brorson Rålamb's embassy to the Sublime Porte in 1657–1658. In: Karin Ådahl (Ed.): The Sultan's Procession: The Swedish Embassy to Sultan Mehmed IV in 1657-1658 and the Rålamb Paintings. Swedish Research Institute in Istanbul 2006, p. 16.
  10. ↑ On this in Serai Enderum. That is: The interior of the Turkish Kayserl: Residentz to Constantinopoli the newe Burgk called […] . P. 14: “Paggy / (each of whom has a long braid hanging down over their ears) […]. And this custom of the braids is about / with the Paggyen / that they are to be constantly reminded of the Emperor's eternal slaves. They try to the greatest possible extent / that Joseph / when he was the King Pharaoh of Paggy in Egypt / wore such a braid. That is why the Paggy consider and recognize Josephum as their pirate or saint and patrons ”.
  11. ↑ a b c d e f Description of the research on the manuscript F-Pbn Turc 292 on the page of the DFG project Ottoman and European Music in the compendium of 'Alī Ufuḳī (around 1640): indexing, analysis and (trans) cultural context below directed by Judith Irmela Haug (Institute for Musicology at the Westphalian Wilhelms University of Münster) . Retrieved January 8, 2017.
  12. ^ Martin Opitz : Correspondence and life testimonies: critical edition with translation. Edited by Klaus Conermann. Volume 1, Berlin, New York: Walter de Gruyter, 2009, p. 1092, note 12.
  13. ↑ Nicolae Jorga : History of the Ottoman Empire according to the sources presented by Nicolae Jorga . 3rd vol., Gotha: Perthes 1910, p. 387. Online. Retrieved January 22, 2017.
  14. ^ Anna Contadini, Claire Norton: The Renaissance and the Ottoman World. Ashgate Publishing Company, 2013, ISBN 1472409914 , p. 162.
  15. ^ A b Hannah Neudecker: From Istanbul to London? Albertus Bobovius' Appeal to Isaac Basire . In: Alastair Hamilton et al: The Republic of Letters and the Levant. Leiden, Boston: Brill 2005. pp. 173 f. ( Online .)
  16. ^ Judith Irmela Haug: Being more than the sum of one's parts: Acculturation and biculturality in the life and works of Ali Ufukî. In: György Hazai et al. (Ed.): Archicum Ottomanicum . 33 (2016). Wiesbaden: Harrassowitz Verlag 2016. P. 180.
  17. ↑ a b c The authorship of some compositions is controversial, however, as the original composer names have been crossed out in some vocal works and replaced by Ali Ufki's name. See Judith Irmela Haug: Being more than the sum of one's parts: Acculturation and biculturality in the life and works of Ali Ufukî. In: György Hazai et al. (Ed.): Archicum Ottomanicum . 33 (2016). Wiesbaden: Harrassowitz Verlag 2016. S. 183.
  18. ↑ Paul Rycard: The Epistle to the Reader . In: The History of the Present State of the Ottoman Empire […] . London 1666. Without page number.
  19. ^ Judith Irmela Haug: Being more than the sum of one's parts: Acculturation and biculturality in the life and works of Ali Ufukî. In: György Hazai et al. (Ed.): Archicum Ottomanicum . 33 (2016). Wiesbaden: Harrassowitz Verlag 2016. S. 184.
  20. ↑ On this in Serai Enderum. That is: The interior of the Turkish Kayserl: Residentz to Constantinopoli the newe Burgk called […] . P. 76: "Then when I took my lessons from the master / I wrote them down in the distress / and really taught them. Since, on the other hand, the others / such a science had not / had to teach everything with great effort from the outside. "
  21. ↑ Ralf Martin Jäger: 2. Ottoman forms of notation. In: Music in the past and present . 2. rework. Edition, Sachteil 7, Kassel et al. 1997, Sp. 386.
  22. ^ Mehmet Uğur Ekinci, Judith Irmela Haug: Alî Ufukî's Notational Technique: Its Development, Systematization and Practices . In: Jürgen Eisner and others: Maqam Traditions between Theory and Contemporary Music Making . Pan Yayıncılık, 2016, p. 82.
  23. ↑ "[...] mà per la souerchia vbriachezza fù cacciato senza dargli impiego: [...] e certo, che se vino non l'auesse reso quasi stupido [...]." In: Cornelio Magni: Quanto di più curioso, e vago hà potuto raccorre Cornelio Magni nel primo biennio da esso consumato in viaggi, e dimore per la Turchia […] . Parma 1679, p. 500, lines 10-12 and 16 f. On-line. accessed on January 24, 2017.
  24. ↑ Cem Behar: müziğe Musıkiden. Osmanlı-Türk müziği: gelenek ve modernlik . İstanbul: Yapı Kredi Yayınları, 2005. p. 25.
  25. ^ Hannah Neudecker: From Istanbul to London? Albertus Bobovius' Appeal to Isaac Basire . In: Alastair Hamilton et al: The Republic of Letters and the Levant. Leiden, Boston: Brill 2005. p. 194. ( Online .)
  26. ↑ According to a Ferman of 12 şaban 1079 (January 5, 1669). See Hannah Neudecker: Wojciech Bobowski and his Turkish Grammar (1666). A Dragoman and Musician at the Court of Sultan Mehmed IV . In: Dutch Studies in Near Eastern Languages ​​and Literatures 2 (1996), p. 171.
  27. ↑ Hezarfen is an epithet, meaning all-trades or trades , here in the sense of polymath .
  28. ↑ Cem Behar: müziğe Musıkiden. Osmanlı-Türk müziği: gelenek ve modernlik . İstanbul: Yapı Kredi Yayınları, 2005. p. 32.
  29. ^ Victor Louis Ménage: Ḥusayn (Ḥuseyn) Efendi, known as Hezārfenn . In P. Bearman et al. (Ed.): Encyclopaedia of Islam, Second Edition . Leiden: Brill 1960-2007.
  30. ^ Hannah Neudecker: From Istanbul to London? Albertus Bobovius' Appeal to Isaac Basire . In: Alastair Hamilton et al: The Republic of Letters and the Levant. Leiden, Boston: Brill 2005, p. 188. ( Online .)
  31. ↑ Cem Behar: müziğe Musıkiden. Osmanlı-Türk müziği: gelenek ve modernlik . İstanbul: Yapı Kredi Yayınları, 2005. P. 17 u. 22-24.
  32. ^ Discussion of the year of death with corresponding references in Cem Behar: Musıkiden müziğe. Osmanlı-Türk müziği: gelenek ve modernlik . İstanbul: Yapı Kredi Yayınları, 2005. P. 17 u. 50-52. Also with Hannah Neudecker: Wojciech Bobowski and his Turkish Grammar (1666). A Dragoman and Musician at the Court of Sultan Mehmed IV . In: Dutch Studies in Near Eastern Languages ​​and Literatures 2 (1996), p. 171.
  33. ^ Transcription in Cem Behar: Musıkiden müziğe. Osmanlı-Türk müziği: gelenek ve modernlik . İstanbul: Yapı Kredi Yayınları, 2005. p. 226.
  34. ↑ Cem Behar: müziğe Musıkiden. Osmanlı-Türk müziği: gelenek ve modernlik . İstanbul: Yapı Kredi Yayınları, 2005. p. 226.
  35. ^ In the Bibliothèque nationale de France, Département des manuscrits as Turc 292 online . Retrieved January 10, 2017.
  36. ↑ a b For the relative dating see Judith Irmela Haug: Representations of Usûl in the Manuscripts of 'Alī Ufuḳī (17th c.) . PDF 87 KB . Retrieved January 10, 2017.
  37. ↑ Richard Widdess (ed.): Musica Asiatica. Vol. 5, Cambridge: Cambridge University Press 1988, p. 3, ISBN 9780521340717 .
  38. ↑ a b c d e Cem Behar: Musıkiden müziğe. Osmanlı-Türk müziği: gelenek ve modernlik . İstanbul: Yapı Kredi Yayınları, 2005. p. 43.
  39. ↑ Cem Behar: müziğe Musıkiden. Osmanlı-Türk müziği: gelenek ve modernlik . İstanbul: Yapı Kredi Yayınları, 2005. pp. 224–226.
  40. ↑ See the first detailed analysis by Cem Behar: Saklı Mecmua: Ali Ufki'nin Bibliothèque Nationale de France'taki [Turc 292] Yazması İstanbul: Yapı Kredi Yayınları, 2008.
  41. ↑ See also the research project Ottoman and European Music in the Compendium of 'Alī Ufuḳī (around 1640): Development, analysis and (trans) cultural context . Retrieved January 18, 2017.
  42. ↑ ALİ UFKÎ BEY In: TDV İslâm Ansiklopedisi.
  43. ↑ Richard Widdess (ed.): Musica Asiatica. Vol. 5, Cambridge: Cambridge University Press 1988, pp. 9-10, ISBN 9780521340717 .
  44. ^ Owen Wright: Turning a Deaf Ear. In: Anna Contadini, Claire Norton (Eds.): The Renaissance and the Ottoman World. Ashgate, 2013, ISBN 9781472409911 , p. 162, ( PDF online .)
  45. ↑ Cem Behar: müziğe Musıkiden. Osmanlı-Türk müziği: gelenek ve modernlik . İstanbul: Yapı Kredi Yayınları, 2005. P. 54 f.
  46. ↑ interpretations of Ali Ufkis Nekrîz Peşrev on youtube. Retrieved January 18, 2017
  47. ↑ Title page :تعليم اورتودكسين / taʿlīm-i o rt o doksīn  / 'Doctrine of the Orthodox' - DOCTRINA CHRISTIANA . Retrieved January 20, 2017
  48. ^ Hannah Neudecker: Wojciech Bobowski and his Turkish Grammar (1666). A Dragoman and Musician at the Court of Sultan Mehmed IV . In: Dutch Studies in Near Eastern Languages ​​and Literatures 2 (1996), p. 173 f.
  49. ↑ Cem Behar: müziğe Musıkiden. Osmanlı-Türk müziği: gelenek ve modernlik . İstanbul: Yapı Kredi Yayınları, 2005. P. 43 u. 52.
  50. ↑ Suraiya Faroqhi : Culture and everyday life in the Ottoman Empire: from the Middle Ages to the beginning of the 20th century. Munich: CH Beck, 1995, ISBN 3406396607 , pp. 109-110.
  51. ↑ Cem Behar: müziğe Musıkiden. Osmanlı-Türk müziği: gelenek ve modernlik . İstanbul: Yapı Kredi Yayınları, 2005. p. 228.
  52. ↑ Judith Haug: The Geneva Psalter in the Netherlands, Germany, England and the Ottoman Empire (16th-18th century) . Tutzing: Schneider 2010.
  53. ↑ See: Bibliothèque nationale de France, Département des manuscrits, Supplément turc 472 . On-line. Retrieved January 16, 2017.
  54. ↑ The full title is SERAI EN DERUM, cioè, Penetrale dell 'Seraglio detto nuovo die GS e Re Ottomani, la descittione del loro vivere e costumi, et altri essercitii, da me ALBERTO BOBOVIO, Sequolitano Polaccho. Fatta al qual tempo di Sultan Ibrahim stragolato, et nel tempo del presente GS Sultan Memetto, Figliolo del predetto Sultan Ibrahim, ha qui con ufficio di Paggi di musica parecchi anni habitato . See No. 3409 in the British Museum's Catalog of Harleian Manuscripts . Retrieved January 8, 2017.
  55. ^ Gábor Ágoston, Bruce Alan Masters: Encyclopedia of the Ottoman Empire. P. 408, ( online at archive.org).
  56. ↑ Online at the Austrian National Library . Retrieved January 23, 2017.
  57. ↑ In the foreword to Serai Enderum , Nicolaus Brenner mentions that he translated the book by candlelight during his 42-month imprisonment in Yedikule .
  58. ↑ With the subtitle Aggiontaui la relazione del Seraglio del Gran Signore, e delle parte più recondite di esso, distesa dà Alberto Bobouio Leopolitano, trattenuto con nome Ali Bei, in qualità di Paggio di Musica. Online , accessed January 24, 2017.
  59. ↑ Cem Behar: müziğe Musıkiden. Osmanlı-Türk müziği: gelenek ve modernlik . İstanbul: Yapı Kredi Yayınları, 2005. P. 50 f.
  60. ↑ Original title: GRAMMATICa. | TVRCICOLAT [i] NA | ALBERTI BOBOVY. | LEOPOLITANI | LINGVÆ TVRCicæ | Professoris. | Incepta, pro Adm [odum] R [evere] ndo amico. et Patre Henr. Denton An = | glicanæ nationis Capellano ac Hierophantæ. | IN PERA CONSTANTINOPOLIS. | Initio | ANNO [i] a partu Virginis | 1666. mo. (GB-Ob Hyde 43.) See: Judith Irmela Haug: Being more than the sum of one's parts: Acculturation and biculturality in the life and works of Ali Ufukî. In: György Hazai et al. (Ed.): Archicum Ottomanicum . 33 (2016). Wiesbaden: Harrassowitz Verlag 2016. S. 188.
  61. ^ Hannah Neudecker: Wojciech Bobowski and his Turkish Grammar (1666). A Dragoman and Musician at the Court of Sultan Mehmed IV . In: Dutch Studies in Near Eastern Languages ​​and Literatures 2 (1996), pp. 169-192.

Web links

Commons : Ali Ufki  - Collection of images, videos and audio files
personal data
SURNAME Ali Ufki
ALTERNATIVE NAMES Bobowski, Wojciech; Bobowski, Albert; Bobovius, Albertus; Bobovius Leopolitanus, Albertus; Bobovio, Alberto; Bobouio, Alberto; Ali Ufqi; Ali Ufkî Bey; Ali Ufukî Bey
BRIEF DESCRIPTION Ottoman composer of Polish origin
DATE OF BIRTH around 1610
PLACE OF BIRTH Lwów
DATE OF DEATH 1675
Place of death Constantinople