205

THE TAESCHNER COLLECTION (Or. 12.402, cont., 12.403)

normally, four leaves (eight folios) between ff. 43a-49b; f. 47 has been partly tom off; 247x145 mm and 215x115 mm, varying; without catchwords; nesta'lik mostly written slantwise in three columns; headings and rubrics in read; additions in a different hand on ff. 68b and 69b; written/copied by Beslm (cf. above); without a date of copying; owners’ markings on f. la: a tailed signature with a seal containing the name of Selim and the year [1J167 (1753-4); inscriptions of Hafiz ‘AbdulhadI with the date 15 Receb 1206 (9 March 1792) and Franz Taeschner (‘Ms. Nr. 83’); a pencil note in Taeschner’s hand stating that the MS was bought from Nasnillah in 1927 is found on the inner front cover.

Cod.Or. 12.403 A collection of songs

The songs found in the manuscript, which dates from the late 18th century (cf. below), are accompanied by indications of form, genre, musical mode (makam), rhythmic patterns (usü[) and, occasionally, the name of the composer. A few of these compositions are in Persian. Forms and genres indicated are beste, semd‘1, Sarki, muhammes, nak$, miifred, zinclr, genber, nazm, taksim, tiirkl, tiirkmani, and msfi. Among the most frequently mentioned makdms are: rast, beydtl ‘irök penggah, Isfahan, sigah, 'a$iran, nühüft, ‘acem, hüseynf, eve, saba, and muhayyer. The concluding musical passages, often conisting of endlessly repeated invocations, in which the name of Allah figures prominently, are written in red Composers mentioned are: isma'il ‘Itrï (4a, 9a, 15a-b, 35a), Bekir Cavu§ (4b, 7b), Racib Aga (4b), Hafiz Celebi (5a, 15a, 41a), Es‘ad Efendi (5a 7b)’ Mu’ezzin (6b), Faslhl (lO'a-b), Kiirk ? i Zahin (10*a-b, 19b), Hasan Aga’(11a’ 33a), Receb Aga (16b, 18b), Nahïfï (18a), Murad Sultan' and his vizier (27a),‘Omer (28b), §akir (36b), Ibrahim Celebi (37b), imamzade (43b), ‘Abdl (47a), and Gevhen (72b, 73a). A song in Arabic, headed ‘qawl-i natik' and with the pattern ‘düyek’, characterizing various makams (written in red), is found in f. 34b. A series of concluding musical passages, with indications of mode, is found on ff. 22b-25a (see plate). A list of rhythmic patterns, indicated by vary ing combinations of the syllables ‘düm’ and ‘ tek’, is found on f. 46a. Notable, finally is a tiirkmdnl of the nak S form by ‘Ömer, each line of which contains the name of a beloved boy (written in red) (60b-61a). The work is preceded (2b-3a) by a table of sixty-four makams, with additional numbers, headed 'der beydn-i makdmdt'.