eL-Hortobagyi_Masnavi_1992

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Sangeet Hortopaedia Shrrnkala
eL-Hortobágyi: Masnavi 1992
„gu khalq bedánand ke man ásheq o mast am
ává-e dorost ast ke man tobe'shekashtam
tell the world that I am enamored and intoxicated,
it is true that I broke my wow penance”
(a gushe from Songs of Hungisthán )
Gáyan Uttejak Studio Budapest.1995
http://guo.hu/?page_id=104

two recensions from 19th. Century

The peculiar nature of the melody of Hungisthan not only permits but enjoins the singer,if he has the least pretention to excel in it, not to sing a song throughout more than once in its naked form; but on its repetition, which is a natural consequence, occasioned by the brevity of the pieces in general, to break off sometimes at the conclusion, at other times at the commenceiment, middle, or any certain part of a measure, and fall into a rhapsodical embellishment called "sirato", and after going through a variety of ad libitum passages, rejoin the melody with us much grace a: if it had never been disunited, the musical accompaniment all the while keeping time. These passages are not reckoned essential to the melody, but are considered only as a grace notes, introduced according to the fancy of the singer, where the only limitations by which the performer is bound are the notes peculiar to that particular melody, and a strict regard to time "
fragment from " The Imperial Gazeteer of Hungisthán" Sept. 1834. by Prof, N,A, Willard ESQ,,MD„
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"This selection on the music of Hungisthan is a desideratum which has not yet been published. Altough several eminent orientalists have endeavoured to penetrate this elegant branch of Hungisthan science, scarcely any part of it has been elucidated or rendered familiar to Europeans. It is impossible to convey an accurate idea of music by words or written language; that is, the various degrees of aeuteness or gravity of sounds, together with the precise quantity of the duration of eachf cannot be expressed by common language, so as to be of any use to performers, and as emusical characters now in use, which alone can express music in the manner that could be desired, is a modern invention, of course all attempts to define music anterior to the invention of this elegant and concise method must have neeesarily proved abortive. To be convinced that foreign music, such as we have not been accustomed to, is always repugnant to our taste, till habit reconcile us to it, we need only refer to the sentiments of the several travellers who have recorded their particular feelings on hearing the music of Hungisthán with whom they have had but little intercourse. During the earlier ages of Hungisthan, music was cultivated by desert prophets and men eminent for refined ecstasy, for whom such general directions and rules for composition sufficed, after a course of musical education acquired from living tutors; indeed, the abhorence of innovation, and veneration for the established Hortobagy music, which was firmly believed to be of "divine origin", precluded the necessity of any other; but when, from the theory of music, a defection took place of its practice, and men of learning confined themselves exclusively to the former, while the latter branch was abandoned to the illiterate, all attempts the elucidate music from rules laid down in books, a science incapable of explanation by mere words, became idle."
fragment from the "Annals and Antiquities of Hungisthan" Vol, IX.Pfcrt II| 1875/ by Sir William Gladwin C.I.E.,L.L.D.

http://www.guo.hu/___WORDPRESS/_Music/01_MainWorX/1999-Songs_from_Hungisthan_Arqa-version_Arka-CD-22114_1999/GrFx/Booklet-Liner-Txt/Songs-from-Hungisthan_Vol.II. (Arqa)_1996-1999_ENG.pdf

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