E-Book, Englisch, Band 3, 736 Seiten
Reihe: Ottomania
The Time of Joseph Haydn: From Sultan Mahmud I to Mahmud II (r.1730-1839)
E-Book, Englisch, Band 3, 736 Seiten
Reihe: Ottomania
ISBN: 978-3-99012-069-9
Verlag: Hollitzer Wissenschaftsverlag
Format: PDF
Kopierschutz: 1 - PDF Watermark
Contributions by: Emre Araci, Annemarie Bönsch, Reinhard Buchberger, Bertrand Michael Buchmann, Necla Çikigil, Caryl Clark, Matthew Head, Caroline Herfert, Bent Holm, Michael Hüttler, Hans-Peter Kellner, Adam Mestyan, Isabelle Moindrot, Walter Puchner, Günsel Renda, Geoffrey Roper, Orlin Sabev, Çetin Sarikartal, Käthe Springer-Dissmann, Suna Suner, Frances Trollope, Hans Ernst Weidinger, Daniel Winkler, Larry Wolff, Mehmet Alaaddin Yalçinkaya, Netice Yildiz, Clemens Zoidl.
Autoren/Hrsg.
Weitere Infos & Material
Ouverture
M. Hüttler and H. E. Weidinger: Editorial
Forewords
Prologue: Politics
M. A. Yalçinkaya: The Recruitment of European Experts for Service in the Ottoman Empire (1732-1808)
B. M. Buchmann: Austria and the Ottoman Empire between 1765 and 1815
Act I: Fashion and Diplomacy
A. Bönsch: From Aristocratic to Bourgeois Fashion in the Second Half of the Eighteenth Century
S. Suner: Of Messengers, Messages and Memoirs: Opera and the Eighteenth-Century Ottoman Envoys and Their Sefâretnâmes
Ç. Sarikartal: Two Turkish-Language Plays Written by Europeans at the Academy of Oriental Languages in Vienna During the Age of Haydn
Intermezzo I
W. Puchner: Karagöz and the History of Ottoman Shadow Theatre in the Balkans from the Seventeenth to the Twentieth Centuries: Diffusion, Functions and Assimilations
Act II: Books in and about the Ottoman Empire
O. Sabev: European Printers in Istanbul During Joseph Haydns's Era: Ibrahim Müteferrika and Others
G. Roper: Music, Drama and Orientalism in Print: Joseph von Kurzböck (1736-1792), His Predecessors and Contemporaries
R. Buchberger: The Austro-Turkish War of 1788-1791 as Reflected in the Library of the Viennese Bibliophile Max von Portheim
Intermezzo II
K. Springer-Dissmann: Did Mozart Drive a 'Haydn'? Cartwrights, Carriages and the Postal System in the Austrian-Hungarian Border Area up to the Eighteenth Century
Act III: The Esterház Stage
L. Wolff: Turkish Travesty in European Opera: Haydn's Lo speziale (1768)
C. Clark: Encountering 'Others' in Haydn's Lo speziale (1768)
N. Çikigil: Haydn's Humour Reflected in Lo speziale (1768) and L'incontro improvviso (1775)
M. Head: Interpreting 'Abduction' Opera: Haydn's L'incontro improvvisos, Sovereignty and the Esterház Festival of 1775
Intermezzo III
C. Zoidl: A Royals' Journey in 1775: The Vienna Official Press Review
Act IV: The French Influence
D. Winkler: Crusaders, Love and Tolerance: Tragic and Operatic Taste in and Around Voltaire's Zaïre (1732)
H.-P. Kellner: The Sultan of Denmark: Voltaire's Zaïre and King Christian VII (r.1766-1808) - Madness and Enlightenment
B. Holm: Occidental Portraits in Oriental Mirrors: The Ruler Image in the Eighteenth-Century Türkenoper and Gluck's iLa Rencontre Imprévue
I. Moindrot:Tamerlan: A 'Turkish' Opera by Peter von Winter for the Paris Opera (1802)
Intermezzo IV
N. Yildiz: Turkish Britons and Ottoman Turks in England During the Eighteenth Century
Act V: The Ottoman Stage
G. Renda: Westernisms and Ottoman Visual Culture: Wall Paintings
C. Herfert: Selim III and Mahmud II in the Limelight: Imparting Knowledge on the Ottoman Empire from the Perspective of the 'Viennese Turk' Murad Efendi (1836-1881)
E. Araci: “Each Villa on the Bosphorus Looks a Screen | New Painted, Or a Pretty Opera Scene": Mahmud II (r.1808-1839) Setting the Ottoman Stage for Italian Opera and Viennese Music
A. Mestyan: Sound, Military Music, and Opera in Egypt during the Rule of Mehmet Ali Pasha (r.1805-1848)
Epilogue
“The Ladies of Vienna En Masse Waited Upon the Turkish Ambassador to Compliment Him ...": Excerpts From Frances Trollope's Vienna and the Austrians (1838)
Appendix
Index
Curricula Vitae
EDITORIAL
MICHAEL HÜTTLER (VIENNA) AND HANS ERNST WEIDINGER (VIENNA/FLORENCE)
The Time of Joseph Haydn: From Sultan Mahmud I to Sultan Mahmud II (r.1730–1839), the second volume of Ottoman Empire and European Theatre, explores the relationship between Western playwrights, composers and visual artists of the eighteenth-century and Turkish-Ottoman culture, as well as the interest of Ottoman artists in European culture. Twenty-seven contributions by renowned experts shed light on the mutual influences that affected society and art for both Europeans and Ottomans. Successor to the first volume of the series, The Age of Mozart and Selim III (1756–1808),1 this book examines the compositions of Joseph Haydn (1732–1809) and his contemporaries along with events in the Ottoman political era during the time span from Sultan Mahmud I (b.1696, r.1730–1754) to Sultan Mahmud II (b.1785, r.1808–1839). Taking Haydn’s Türkenopern (‘Turkish operas’) Lo speziale (‘The apothecary’, 1768) and L’incontro improvviso (‘The unexpected encounter’, 1775) as the departure point, the articles collected in this publication reflect the growth of research in the area of cultural transfers between the Ottoman Empire and non-Ottoman Europe, as expressed in theatre, music and the visual arts. The cultural transfer ran both ways between the Ottoman Empire and such European states as the Holy Roman Empire and the Habsburg Monarchy and the Kingdoms of Spain, France, Great Britain and Denmark.2 At numerous European courts, art and music inspired by a ‘Turkish’ style became fashionable, be it more or less original or, as was the case in most matters, invented. Imitating aspects of Turkish life and culture was a sign of savoir-vivre for artists, businessmen and diplomats who preferred to show off as well-informed men. By the same token, Ottoman culture was influenced by European models. The first European-style reforms in the military system and technology were implemented during the reigns of Sultan Ahmed III (1673–1736, r.1703–1730) and Mahmud I. A book market also started to flourish, not least through the first Ottoman printing press installed by ?brahim Müteferrika (c.1670–1745) in 1727. Under Abdülhamid I (b.1725, r.1774–1789) and Selim III (1761–1808, r.1789–1807) many European experts – engineers, architects, military and naval officers, physicians, surgeons, and technicians – were recruited to serve in the Ottoman administration and army and help implement further reform efforts.3 Mahmud II, the last sultan born during Haydn’s lifetime, and Sultan Abdülmecid I (b.1823, r.1839–1861) commissioned European composers and invited French and Italian experts to run music conservatories and theatre houses shortly before and during the Tanzimat reform. Thus, Western ideas were shaping Ottoman culture even as the Orient was informing European culture. THE ESTERHÁZY FAMILY, THEIR RISE AND THEIR EXPERIENCE WITH THE OTTOMANS
The Esterházy family traces itself back to the thirteenth century. They were called Zerház, after the name of their land possessions in Hungary, until 1584 when Ferenc (Franz, Francis) Zerház (c.1532–1604) took the name Esterházy, and as nobiliary particle “de Galántha”.4 According to family member and contemporary Hungarian writer Péter Esterházy, it stems – in a more poetical perspective – from the Hungarian word for the evening star, Venus: esthajnal.5 Galanta, since 1421 in the family’s domain, is located east of Bratislava (German Preßburg, Hung. Pozsony), the city that served, after Buda and Pest had become part of the Ottoman Empire, as the Apostolic Kingdom of Hungary’s capital from 1536 to 1783 and again in 1848. The Esterházys soon distinguished themselves as most loyal to the Habsburgs, who had ruled as kings of Hungary since they were elected by the Hungarian Diet of Pozsony on 17 December 1526. They rose in rank, becoming barons in 1613 and, only nine years later, in 1622, Counts of the Holy Roman Empire, endowed with the dominions of Frákno (today Forchtenstein in Austria) and Eisenstadt (Hung. Kismarton), both castles being property of the family until today. Honouring their service in the many wars against the Turks and their help in transforming the Hungarian constitution from an elective kingdom to a hereditary one, Emperor Leopold I (b.1640, r.1658–1705) made the head of the family hereditary Prince of the Holy Roman Empire in 1687 and established the Esterházys as the first under all Hungarian Magnates. Over the centuries, many high-ranking members of the House of Esterházy had participated actively in battles against the Ottomans. The progenitor of the Esterházy family, Ferenc Esterházy de Galántha, took part in a battle with the Turks in 1596 during the so-called Long War (1591–1606), in which he lost his son István (German Stephan, Engl. Stephen, 1572–1596). Nikolaus (Hung. Miklós, Engl. Nicholas) Esterházy de Galántha (1583–1645), Palatine of Hungary (the highest ranking official and representative of the Hungarian king), fought personally against the Turks at Neutra (now Nitra, Slovakia) in 1623. Paul (Hung. Pál, 1635–1713), also Palatine of Hungary, participated in both the Fourth Austro-Turkish War in 1664 as the commander of the militia and the Battle of Vienna in 1683.6 Finally, Anton Karl (Hung. Antal Károly, Engl. Anthony Charles, 1767–1790), a son of Haydn’s last employer Prince Anton I (Hung. Antal, Engl. Anthony, 1738–1794), died of wounds he received during the Siege of Belgrade (1789) in the course the Sixth and last Austro-Turkish War (1787–1791). HAYDN’S ANCESTORS AND THE TURKS
For Joseph Haydn and many of his contemporaries, including his long-time employer, Prince Nikolaus I Esterházy (Hung. Miklós, 1714–1790) and the latter’s family and relatives,7 the Turks were not some distant people, but rather part of their family history. Joseph Haydn’s family originates from Hainburg on the Danube, a city forty-five kilometres to the east of Vienna, the capital of the Habsburg Empire, and ten kilometres east of Preßburg, then capital of the Apostolic Kingdom of Hungary. Haydn’s grandfather, Thomas Haydn (after 1657–1701) was one of the allegedly less than ten survivors of the sack of Hainburg, seized by the Ottoman army on its way to Vienna in July 1683. More than 8,000 people were trapped inside the city walls and killed or captured. In 1687 Thomas married the sixteen-year-old Katharina Bleinninger (1671–1739), another lucky survivor of the Hainburg Siege. Thomas and Katharina had four children, Mat(t)hias (1699–1763), Joseph Haydn’s future father, Joseph Gregor (d. before 1739), Johannes (d. 1751), and Antonius (d. after 1739). In 1717 Matthias, the oldest son, moved from Hainburg to nearby Rohrau (both in Lower Austria) at the Leitha River, which formed the border between Austria and Hungary from the eleventh to the twentieth centuries. Since 1524, five years before the first siege of Vienna by the Ottoman army, the village and castle of Rohrau belonged to the Counts of Harrach, and it was the then ruling Count Karl Anton (1692–1758), with whom Matthias found employment and where he met his future wife, Anna Maria Koller (1707–1754). Matthias and Anna Maria married in 1728 in Rohrau; they had twelve children, only six of whom survived – three daughters and three sons.8 Among them was (Franz) Joseph Haydn, who was born on 31 March 1732. All three sons were successfully involved with music: Joseph as one of the most celebrated composers in Europe, Johann Michael (1737–1806) as Konzertmeister (‘concert master’) in Salzburg, and Johann Evangelist (1743–1805) as a tenor at the court of Prince Nikolaus I Esterházy (1740–1790) in Eisenstadt. HAYDN AND ESTERHÁZY
Joseph Haydn worked most of his life as a court musician for the Esterházy family, serving four of their princes, either at their castle in Eisenstadt, or during the summer months at their marvellous palace Esterház (Eszterháza, Eszterház, Eszterhaz, Esterháß, Estoras, Esdraß),9 often compared with Versailles, with an opera house for 400 people10 (which opened with Haydn’s Lo speziale in 1768, containing a fake Turkish scene)11 and a marionette theatre. Haydn was first employed in 1761 by Prince Paul Anton (Hung. Pál Antal) Esterházy (1711–1762), who resided in summer in the castle of Eisenstadt, as vice-Kapellmeister; with his successor Prince Nikolaus I Esterházy from 1762 to 1790, Haydn became First Kapellmeister from 1766 onwards and achieved wide renown. His most creative years were spent in the service of the House of Esterházy, at their castle in Eisenstadt or, in the summer months, at the palace Esterház, and the winter, like his Princes, in Vienna close to the Imperial court. Haydn was also held in respect by the third of his princely patrons, Anton I. Although the prince cut back on expenditures for music and dismissed almost all of his musicians, he kept Haydn and thus enabled his two travels to London (1791–1792 and 1794–1795), which made the composer world famous. Haydn stayed attached to the Esterházy court even after buying a house in Vienna in 1793 and received a pension from Prince Nikolaus II (Hung. Miklós, 1755–1833) until his death in 1809. Today called the “father” of the classical symphony and the string...
