Alla turca

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Alla turca (Italian; “in the Turkish way”) is a compositional style and a musical performance designation that is usually used as a title addition and requires that a piece of music should be played based on the model of Turkish Janissary music. Around 1800 it was supposed to suggest the idea of ​​oriental music. Janissary music is a military music style introduced in the 14th century in the Ottoman Empire , which became known in Central and Western Europe in the following centuries through the Turkish wars and the stay of French and Turkish diplomats in the respective host countries from the 1540s. Instruments from Turkish military bands such as drums, cymbals, tambourines, triangles and bells made their way into military music in Poland, Austria and Prussia in the 17th and 18th centuries.

A well-known example of alla turca is Mozart's Rondo alla turca from Piano Sonata No. 11 KV331. Further Alla-turca compositions can be found in Gluck's Iphigénie en Tauride , Mozart's The Abduction from the Seraglio , Haydn's Military Symphony , Beethoven's Wellington's Victory as well as in Wenzel Matiegka (in his Opus 3), Louis Berger ( Alla Turca per il Piano-Forte op. 8), Frederik Foersom (1805–1854; Rondo à la turca , 1825) and Andreas Romberg ( Sinfonia alla turca op. 51 ). Further examples of music in the “Turkish style” include Rossini's opera Il turco in Italia (premiered in Milan in 1814).

In Turkish art music , alafranga and alaturca stand for a pair of opposites with which music was classified according to its origin until the beginning of the 20th century. Alafranga (from Italian alla franca , "in the style of Europeans") describes the styles of playing based on western music and alaturca the styles of Turkish folk music .

In Hungary, the preference for music understood as “Turkish” has been preserved in the old folk dance törökös (Hungarian for alla turca ). Törökös is a mask dance based on rhythms and melodies from compositions from the 18th century. The oldest known musical notation of a törökos piece dates from 1786 and bears the title Turcie .

literature

  • Peter Gradenwitz : Music between Orient and Occident. A cultural history of interrelationships. Heinrichhofen's Verlag, Wilhelmshaven 1977, pp. 177–242
  • Wilibald Gurlitt , Hans Heinrich Eggebrecht (Hrsg.): Riemann Musiklexikon . Material part . 12th edition. B. Schott's Sons, Mainz 1967, p. 26 .
  • Jürgen Libbert : An unknown work by the Bohemian guitarist Wenzel Matiegka. With a historical-biographical outline and a catalog raisonné. In: Guitar & Laute 1 (1979), 5, ISSN  0172-9683 , pp. 14-24; here: p. 22 f.

Individual evidence

  1. ↑ Jürgen Libbert (Ed.): Wenzel Matiegka, 12 easy pieces op. 3 for guitar. Adapted from the original text [from the chemical printing works in Vienna from around 1814]. Edition Preißler, 1979 (= studio series guitar. Volume 3), p. 16.
  2. ↑ > Jürgen Libbert (Ed.): Wenzel Matiegka, 12 easy pieces op. 3 for guitar. P. 16.
  3. ↑ Jürgen Libbert (Ed.): Wenzel Matiegka, 12 easy pieces op. 3 for guitar. Adapted from the original text [from the chemical printing works in Vienna from around 1814]. Edition Preißler, 1979 (= studio series guitar. Volume 3), p. 6 f. ( Alla Turca ).
  4. ↑ See Svanibor Pettan: The alaturka-alafranga Continuum in the Balkans: Ethnomusicological Perspectives. In: Božidar Jezernik: Imagining 'the Turk'. Cambridge Scholars, Newcastle upon Tyne 2010, pp. 179-194, ISBN 978-1-443-81663-2
  5. ↑ Peter Gradenwitz, 1977, p. 233