Huszár Gál: A keresztyéni gyülekezetben való isteni dicséretek és imádságok. III.
1052 PART II. 1. Divine praises after sermon (la—31b); 2. Psalms (32a-98b); 3. Divine praises in the Holy Church (99a—123b); Divine praises for funerals (123b— -126b). 5. The service ritual. The secondary morning (prima), afternoon (vespers) and (only on Christmas) dawn services follow the structure of the respective Catholic prima, vespers and laudes matutinae. The principal service with a sermon for Communion was set up according to Luther's Formula Missae and Deutsche Messe. Uniquely at the period, the Gradual-and-Songbook also contains many collecta and prayers based on psalms. The sources of these prayers are works of Luther, of Ditrich Dietrich Veit, and the ritual of Mansfeld (1546). One of the prayers comes from the Oratio contra Turcam by Johann Habermann Avenarius, translated by Gál Huszár for the Hungarian prisoners of Turkish-occupied Buda. His prayers were taken over by his son, Dávid Huszár, in the second part of the Cathechism of Heidelberg (RMNy 395). 6. Community songs. Until today, all the songbooks of Hungarian Protestantism have been based on Gál Huszár's earlier Songbook of 1560—61. In 1574 he re-edited his earlier work not only in terms of the division of volumes by giving it a new structure, but also, withing each group, he rearranged the order of songs (see Tables 3-7). His innovations are all the more important because it was during the printing of Part II that he became acquainted with the Songbooks of 1566 (RMNy 222) and 1569 (RMNy 264), and with the manuscripts related thereto (cf. II. 93b). In comparing these we can conclude that the 1560-61 Songbook displays more affinity with the so-called Songbooks of Debrecen than with the one from 1574. Unlike other contemporary editors, Gál Huszár often indicates the authors of the poems. The last pages of the volume are missing. They probably contained two funeral songs (cf. Table 8) and a Table of Contents. 7. Melodies. Gál Huszár had had musical training. In addition to the indication of tunes to be used, his Songbook contains many (often incorrect) scores. Three musical styles are represented in his work: Gregorian liturgical chanting, metric melodies of the humanists and contemporary community songs. 8. Copies. Three copies of the Songbook are known today: (1) the one of Epeijes (Presov) consisting of all of Part I; (2) the incomplete copy found in 1841 in Felső-Őr (Oberwart), kept in the National Széchényi Library, Hungary; (3) the Songbook that constitutes the source of our facsimile edition (kept in the National Széchényi Library, Hungary, too), it is the relatively most complete text surviving, though a few pages are missing at the end. According to the owner's inscription, it was first acquired by Tamás Kis (Thomas Kys) for about 2 Florins. The second owner is revealed by the wording „Ex libris Sigismundi Syrmiensis". List of abbreviations RMNy = Régi Magyarországi Nyomtatványok (Early Hungarian Printings)
