Századok – 2012
KÖZLEMÉNYEK II. RÁKÓCZI GYÖRGYRŐL - Király Péter: Az erdélyi fejedelmi udvar zeneélete a két Rákóczi György korában V/1227
ZENEÉLET A KÉT RÁKÓCZI GYÖRGY KORÁBAN 1249 mondó német zenész, Andreas Veckenstadius vágta a városatyák szemébe125 -, mindez kérdéses. Az, hogy 1642-ben majd 1643-ban a fejedelmi udvar szükségesnek látta a külföldi zenészekkel való erősítést, szemléletesen jelzi, hogy a fejedelem és környezetének megítélése szerint a zenészeik által produkáltak akkoriban már aligha feleltek meg a külvilág elvárásainak. COURT MUSIC IN THE PRINCIPALITY OF TRANSYLVANIA DURING THE REIGNS OF GYÖRGY RÁKÓCZI I AND II Péter Király Abstract Research has hitherto paid little attention to music in the courts of the two Rákóczi princes. According to the common view, the puritan Calvinist György Rákóczi I (1630-1648) did not tolerate dance and music in his court, and his household was free of excessive pomp. Yet the sources show quite a different picture. György Rákóczi I employed throughout his reign, and in not insignificant numbers, court musicians, local persons and „Germans" alike. Several among them served for a long period, sometimes for decades. With both the size of this musical group and the continued employment of musicians inherited from the preceding regime Rákóczi built on the example offerred by the court of his predecessor, Gábor Bethlen. Yet by the second half of his reign the number of musicians fell considerably. By the 1640s the foreign musicians had almost entirely disappeared, with the exception of some Germans and, presumably, Poles. In the 1640s there were certainly not enough court musicians for great occasions demanding princely representation, and thus the prince resorted to inviting outsiders. Foreign musicians, presumably whole ensembles, were hired in June 1642 from Silesia and in 1643 from Vienna. No sign of change can be detected during the reign of György Rákóczi II (1648-1660) either. At that time the princely court had fallen completely behind the leading regions of Europe. While the Hungarian aristocracy (such as the Esterházy, Nádasdy, Batthyány, Pálffy etc. families) maintained close and manifold connections with the musical life of Vienna, the princes of Transylvania only very rarely employed other than local musicians from the 1640s on. In the absence of direct sources the nature of the music played in the court of the Rákóczi princes can only be guessed, There are some hints that music of local and foreign origins was equally played, and in general a strong retardation must have been dominant. 125 „türkisch, scytisch oder Wallachisch weiß zugeigen, welches leider der meiste Theil in dieser beschwerlichen Zeit an diesem Ort villieber hört alß eine geistliche Harmónia" - idézi Hans Peter Türk. Gabriel Reilich Geistlich Musikalischer Blum- und Rosen-Wald. Ed. Hans Peter Türk. Bucure§ti 1984. 22.: 31. jegyz. - téves Veckenstadig névolvasattal; Veckenstadius levelét és erdélyi működését részletesen tárgyalja Király Péter: Andreas Veckenstadius, besztercei toronyzenész felmondólevele 1663-ból — Adalékok egy erdélyi város 17. századi zeneéletéhez. Előadás 2005 októberében a Magyar Zenetudományi és Zenekritikai Társaság Sárosi Bálintot és Papp Gézát köszöntő konferenciáján. (Közöletlen.)
