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CODEX CAIOI\X

Edited by SAVIANA DIAMANDI

Introductory Studies by
S^AVIANA DIAMANDI, AGNES PAPP

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Bucureti, 1993

lng srreg
 I

Redactor: MICHAELA ROSU SUMAR / TARTALOM / CONTENT

Tehnoredactor: GEORGE MAGUREANU
Traductori limba englez: LIANA PETRESCU, ,.GNES SCOTT
Traductori limba maghiar: CSIRE JZSEF, CSILLA ZSK
-

Prcfa! | F'lsz / Preface 5

Cuvnt nainte al ngrijitorului cle edilie / A kzread elszava / The editor's foretvord i,

Prescurtri/ Rvidtsek / Abbreviations 13

Prezentarea manuscrisului ,,Codex Caiotri" / A ,,I(joni Kdex" lersa / The descliption of
the "Codex Caioni" matrusct'ipt 15i3S/61
Date introductive f Bevezet / Introduction (gnes Papp) 15/g8/61
-
Descriereacodicologic / Kodikolgiai lers / Codicological description (gnes Papp) 15/3S/61
-
- Redactanlii Codicelui / A kdex leri / The notators of the Codex (Saviana Diarnandi) 15147164
- Numerotarea pieselor / A darabok szrnozsa / The numbering of the settings
Diamandi)
(Saviana ................ 15142165
- Titlul i autorii pieselor muzicale / A zenemvek cmei s szerzi / The heaclings and
authors of the music works (Saviana iamancli) ............... 2214516s
Segmentarea Codicelui / A kdex felosztsa / The parts of the Codex (Saviana
- Diamandi) ............... 2Sl4Bl72
Istoricul cercetrii Codicelui Cianu / A I{joni I(clex kutatstrtnete / The research
- history of the Codex Caioni (gnes Papp)
@ Saviana Diamancli, gnes Papp, 1993 Zglb2l76
- Date biografice ale ledactantilor / A kdex leri letrajzi adatok / Biogra-
phical dats of the notators (gnes Ppp) - .......,.... ... 3t lS4l7S
Indice / Mutatk / Indexes Bs
- Ordinea pieselor n Codice / Mutat a darabok sorszma szerint / Order of items in ilre
Codex (,,gnes Papp) 8b
- Lista pieselor dup genuri muz-icale / l{utat a zenei mttfajok szerint List of items
/
according to music genres (i\gnes Papp) g0
- Indice cu nsemnri- i datri / Mutat a bejegyzsekhez s heltezsekhez / Index of
inscriptions and dates (Saviana Diamandi) ........ 96
- Lista localitlilor / Helysgnvmutat / List of place names (,{gnes pupp) 99
Bibliografie / Irodatom / Bibtiography 100
Ilustralii rrat / Figures 105
Explicalia facsimilelor/Magyarzatok a frkszimilkhez/Facsimile caption (Saviana Diamandi) ... l!,l

ISBN 973-42-0133-6

rl
 PREFAT,

Publicareu culegerii n notalie de tabulatur. pentru org din secolul XV II, cunoscttt. sub denumirea
d CODICELE CIANU ,,este rezultalul unor aspiralii nobile i legitime. Cele dou uolume (facsimil i tan-
scriei) se realizeazL prin colaborarea dintre Uniunea Compozitorilor i Muzicologilor ,din Bucute;ti
lnslitutnl de Muzicologie aI Academiei Ungare de $tiinle din Budapesta, conform nlelegerii dintr
L7inisterele Culturii din Romnia i Ungaria.
. SfeTacolecIieiMUSICALIADANUBIANAselrgetenmotlmlttcurlor,cuprinzndi o lucrare de
referin! romneasc, scopttl ei fiind publicarea tlocttmentelor cu caracler muzical, ce aparlin lrilor
ilttnrene. Succes/ acliunii noastre ne ndeamnd. Ia continttarea colaborrii, prin coeditarea ;i a altor
Iuuri tle referinlit pentrtt istoria muzicii.
Culegerebogat, CODEX CAIONI-CODICELE CIANU - KJONI KDEX cuprinclerepertofiul
trsnsilonean n uz de Ia mijlocttl secolului ctl XVlI-lea. AfIm aici att piese uocale,ct ;i instrumen-
tale, religioase ;i laice, ale unu compozitori cunosculi sau ononimi, iar pe lngd major.itatea peselor
aparlinnd uealiei culte, ntilnim unele care amintesc de ueatorii populari.
Dinlre redactanlii manttscrisultti se remarc personalitatea ltti Ioan Cianu (Joannes Caoni),
de Ia care ;i-a primit Codicele numele. Piesele notate de eI reflectit att o practic intrat n contiinla
publicului, ct ;i o personalitate muzical marcant: manuscrisul ne ofer o imagine reuelqtoare despre
cultura lui Ctianu, despre diferitele sale preocupri, despre dorinla lui d.e -;i fnsusi ualorile eur:opne,
despre rigurozitatea lui ;tiinlifict i gustul lui muzcal. Ioan Cdianu, cIugdrul franciscan de originc
romn, reprezint tipul intelectualului umanist al epocii sale. Cu lucrri teologice, muzicale, islorice,
Iilerare, Iotanice, geografice a contrbuit Ia dezuol.area i matutizarea culturii transilunene o. secolului
XVII. Dinlrecrlilecucaracler educatiu ;i tinlific, religios ;i lac, un loc aparte I ocup o.celea care
ilttslreazt uallareo. i impoanla artei sunetelor pentru citif.orul epocii.
Manuscrisul de fal ns. reprezint nu numai preocupd.rile muzicale, stilistice ;i estelice ale
Iui CiLianu, ci;i caraclerul culturii muzicale cate s-aformat nsec. XVIIn aceastd. parte a Europei,
Pe tarcursul studierii munuscrisului obserudm att caracterislici specifice Transiluaniei acelei epoci,
ct;i trdsrturi care reflect concorilanla cu dezuoltarea uielii muzicale i tendinlelor europene ale acelei
uremi.
Conlinutttl manttscrisului este iliu,ers: cuprind.e attt piese ale cdror tr.sdturi amintesc d.e polifoia bqroc
timpue, de praclicarea lasului cifrat, de concertul religios, ct ;i ite stilul instrumenlal d.in acea epocd
i de dansurile stilizate. Astfel, documentul atest. lntreptrunderea muzicii religioase cu cea laicd. Ceea
ce face s creasc ualoarea manuscrisului este faptul c loan Cd.anu, fidel autenticitdlii n redarea muzical.
a cules un numr .nsemnat de dansuri i cntcce populare romneti, uhgureti si slouace.
Codicele a avut un destin dramati" n secilui nostru. f i^p a, decenii a fost linut
scuns, ;i numai de cufind., printr-un miracol, a ^oi ^"U,
fosf scos Ia iueald tntr-o stre bun, putnil fi ;i res-
taurat. Acum, cind" colsborared rcm.no-ungar face posibit eilitarea lui, acei:st d"ocument intrd d.in nou
n circuitul natural aI bunurilor spirituale, aa cuin este i firesc pentru o coleclie a epocii renascentiste
ttizii care mboglete i reprezintd. o regiurte i n acela ti'^p nt Europa. Doar acim, d.up aprcope
peste 300 de ani d.e Ia reilacta"rea manuscrisului, auem nlr-ud.eudr posibIitatea s-I cunoatem, s.-I stuiliem
tn tnttegime, s-I aezdm Ia locul lui cuuenit, n istoriq muzici.i i prn aceasta s(r iunoatem mai ilc
aploape att culturu muzical. a epocii, c.t
i personalitqtea lui Cdianu. Prin urmare, lot ceea ce editorii
sciu in stLtdiile care-Insolesc nu replezint. rezultatul
final aI unei peoade ile cercetare, ci nceputttl ei
Dr. OCTAVIAN LAZ,R COSMA :' Nr.. I,,SZIO''DONSZIY
:

'profesor universitar profesor universitar

Bucureti Budapesba

5
 ELSZ
Nenres .s jogos lrekusek eredmnyeknl Il most napuilgot az a 17. szzatli orgonalabulutru-
gyirjtemng, melyet haggomngosnn li.lOiliiDEX nek neueznk. Aktktet (fuksrimile s trasak)
liiarlrsa Romtiniu s Xlugyarorszg trlueld.si ll'Iinisztrumainal: megIlapodsa llelmiett, u Rottttiniai
Zeneszer;k s ZetetudsoJ. S.zuefsgnek, ualamint a trlaggar Tudomnyos Akad,mia Zenetttdomngi
Inlzettinek /:s munjuaI ua|sult meg. E koletek publikdlsauaI ruendetesen kibutil a kzp'kelel-
eurpai Duna-menti orszagok zenei dokumentunTainek kzzttelt cIz I\TUSICALIA DANUBIANA
sorozat 'ore, s immr romniai forrtist is magtiba IeL A /to:os mnfru. siltert biztcttsttalt tekintik a
toubli egyttmkdsre, toulli zenetrtneli forrsok kzs Iiadsra.
.4 CODEX CAiONI - Ii.JONI I{DE\- CODICELtr CAIANTJ nuuel szmontartott gazdag tultu-
Iattiragyjtem.ny a 17. sztizad l::eprtek kcduelt erdIgi repertorjt lartalmazza. Benne ueglJesen uoklis
s henqszeres, egghtizi .s uilgi miuek ualtakoznal:, neues s ismerellen s:erzk miuei, st a klet znt
kitev nzenei alkotsol mellett a npzenei ggal;orlathcz kt)zelt darabok is.
A k,zirat leri lfi| I;iemelledik I{joni Jtinos (.Ioannes Caioti) szemluisge, I;irI a \iode,r
nea.t kapttr. Az Italq lerl n'tiuek eg1l:,erre tkr;nek egy kzggakorle.lot s ey zenei egg.nis'get: Itpet
arlaa Ii(tjorti mueltsgr1, sz,les trtir rdelild.s.r1, a: eurpai rl,l;ek elsaju!ttist c,lz trekuesr!,
luilontnyos ntegbzhatsgtirol s muszi :Isr\. I{joni Jattos, a romn szrtta:sti ferettces szer:etes
a kor jellegzetes huntanis!(l rtelmisgi tpusa. Teolgiai, zenei, trtttelmi, irodalmi, lotutikai, fltlrai=i
trgyti mueiuel hozz(tjtirult a 17. szriratli Erdty mueld.sltez, ntiueltsgnek nagykorsodshoz. Iiioni
oktat s turlom(nyo.s, uallcisos s uilgi targy linyuei lzlt kientell;ed jelents.7ieli ttzoli, melyek ct
hangok musretnek rlkt, ielentsg.t trtak fel a kor oluasja eltt.
Az itt pttltlil:ult l;.:irat a:onban nemcsa I{joni zenei uiltigrt, stilisztilai s eszt.likai horizonlit,
mtttatja be, hanem annali u zenekulltirnak jelleg.t is, melg Eurxrnak eblten a rsz.bet a 77. szti;tttlru
irlaftll. A k:irat tanulntngozsa scran lcitnunk kell azokut a uon(tsoliat, melyek Erdly sailsagait
kpuiselik, ualamitt ozolat, melgek az akkori Eurpa zenei fcjldsuel, sllusirnyzataival ual sszhang-
rI tantisliodnok. A (idzirat ueglJcs laltalma ugyanis lehetu tette, hogy az sszedllitk a kora-barokk
polifnia, a sz(tmozott assus gyal;orlat, az eghuzi ccncerto sflrrssajrilsrigait mutat darabokat belefog-
IaIjanalt, d.e a korabeli hangszeras sl1usok, stilizIt Iancok is helget kapjanak benne. Ez eggben az egyhtiri
s uilgi zene slilciris rintlez.seit is dokumentlja. A k:irat rlkt naggban emeli az a tny, hogg I{joni
a korabeli rom(rn, magyar, szloult npi t.ncokbI s dalokbI is szp szdmmal bert a gyilem.ngbe, az
16 gyal;orlathoz h, megbzhat zenei lejegyzssel.
,{ kdexnel< rlrcimai sorsa uoll szzadunkban. utizedekig lappangoff, s csolc a kzelmulIban
kerIteI,mghozz-csodual hatros md,on - p, restattrIhat Ilapotban. Most ugre, hogg a romcin-
magar eggttmkds lehetu teszi liadsl., e dokumentumot jbl beuezeti a szellenti iauak termszetes
krforg(ts(a - gU, ahogy cz i/lil i.s egy rgit s egyben egsz Eurpt kpuisel s gazdagt ks-te-
nesz,nsz gyjtemnghez. Csak most, a k:irat ss:eIlitdsa uln tbb mint h.omszz uuel lesz igaztln
Iehetsgnk aa, hogy azt a mago. teljessgben megismerjk, elemezzl, zenelrtneti sszefggsbe he-
Igezzk, s ezIlal mitd. a kor zenei kultrjt, mind Kjoni Jqnos szemIyisgt teliesebben megismerhesstik.
Ezrt mind.az, amit a kziratrI s angagrI a kzreadk a ksrtanulmdngokbanl lernak, egy ku'
lattisi korszak kezdett, s nem sszegezst ielenti.
Dr. OCTAYI.AN LAZ,R COSMA D. DOBSZAY LASZL
egyotemi tanr egyetemi tanr
Bukarest Budapest
6
PREF ACE
As q resttlt of noble uttd jttstified efforts, o colleclion of 17th cenlurg oryan tablatures is being
puhlished, rrrfticl is tratlitionally cqlledthe CODEXCAIONI. The publicalion of lhe lwo uolumes (facsimile
'(rnd
lranscriptions) was tlte result of the joint work by the Union of Composers and Musicologisls in
Ramania and tlte Instilttte for Musicologll ol the llunQarian Academg of Sciences, based on the agreement
of lhe ltuo r'llinisfries of Cullure of llomania and Hungarg. The publication of lhese uolumes fortu-
iately et'tenrls lhe sphere of lhe series I\IUSICALIA DANUBIAN L, aimed at the publicalion of musical d.ocu-
menls of the Central-East Europeun Danule countries, which nou also include lhe Romanian slurce.
The success of the joint uorlt is cotsidered as an encoLlragemenl for further co-operation and the joint
of furlher music historicel sorces.
'nullication
'l'hc rich lablatttrecollectionrecorded asItTeCODEXCAIONI
- CODICELE CIANU - KJONI
KDEX contains the popular Transgluanian repertoire of the mid-17th century. It contains allernatelg
uocal ancl ittstrumental, church und secular works, compositions lty reputed and anln7mous q.ulhors,
nloteluet, it also contains pieces approaching foII; music practice, in addition to the art music
composilions, which constilttle the majorily of the uolttme.
From among the conlritlos of the manuscript, lhe personality of Joannes Caioni excels, tuho
Iecame lhe epongm of the Coder. The ruorls tlescribed by hint, simullqneously reflect public practice and
lhe musicttl intliuidual: prouiding a picture alottt Caioni's etlucation, broad seqle interest, his efforts to
incorporate luropean ualues, his scientific reliability unrl urtislic taste. Joennes Caioni, a Franciscqn
lnonl: of Romanian background, was a type of lhe characteristic humanist intelleclual of his period. With
lris tuol.'s on lheology, mtisic, history, Iiterature, botanies end qeoqruphy, he conlributed to the culturul
Ieuel of 17th century Trunsyluania and the emancipation of its culture. From among the instrttctiue and
scientific, reliious attd secular tuorlts of Caioni, lhose are of parlicular significance, tuhich reueal
the ualtte anrl intportance of the urt of sounds to lhe periorl reader.
However, the currenlly published manuscrpt does not onlg introduce Caion's musical world, stg-
Iistical ond aesthetic horizon, but also lhe character of lhe musieal cul.ttre, which euolued bg the 17th
century in /lris part of Iiurope. During tlte studying of the manttsript, ue haue to see the fealures, which
reptesent lhe particularities of Transyluania and tltose which indicate the harmony with the musical de-
uelopment and trends of stgle of period Europe. In fact, the mired content of the manuscript enabled.
tlte assemllers Io include pieces, which reflect the polgplnng of the eurlg baroque and. the paicularities
of stgle in the thorough bass practice und the ecclesiustic concerto, at the same time, instrumenlal s1yles
of lhe period and stylized dances are also included. At the same time, it also documents the encounters
in lhe stgle of the church and secular music. The ualue of the manuscript is highlg raised. bg the fact
tltat Cuoni a.Iso wrole a fair number of period. Romaniun, Iunarian anil Slouuk folk d"ances anrl
tunes into the collcclion, noreouer, with reliable musical notetion true to liue practice.
The Codet had u dramatic fate in our centurg. For decades, it was hidden and onlg emerged in
the tecent pctst, in fact in a miraculottslg intact, restoralIe cond.ition. Now at last, when Romanian-
Hungarian co-operation enables its publication, it again introd.uces ltris d.ocument into the natural
circulatiorl of intellectttul ussels, in sch ualJ befitting a late-rena.issance collection, which represents
anl enriches a region and at the same time,the whole of Europe. OnIg now, more than 300 gears after
the compilation of the ntanuscript, we haue the opportunity to become acquanted,with it, in its entirety,
t.o,analyzeit, and place it intoitsmusicalhistoricconnection,and.throughths,become morcfully
ted with the musical cullttre of the period. and with the personality of Joannes
acquain-
Caioni. Therefore, euerlJ-
thingwritten qbout the manuscript and its material, bg the asseml)Iers in thesupportingsludis,
consti-
ttle the beginning of a research period qnd not its summarizaton.
DT. OCTAYIAN LAZR COSIVI, DL L,SZLO NONSZV
University professor University professor
Bucharest Budapest
7
 CUVA,T{T INAINTE
AL INGRIJITORULUI DE EDITIE

Primul contact cu manuscrisul ICODBX CAIONI l-am avut in aprilie 1g86, la scurt timp dup
restaurarea sa, in depozitul de carte veche al Muzeului judelean de istorie al judefului Harghita
din Miercurea-Ciuc, care adpostea i biblioteca Mnstirii franciscane de la $umuleu.
La recomandarea arheologului dr. Petre Roman, care in colaborare cu muzeul harghitean
cercetase timp ndelungat stalitrni arheologice din depresiunea Ciucului, am avut att accesul nein-
grdit la manuscris cit i sprijiuul a numeroi intelectuali din ora i jude!. Se detaeaz n primul
rnd colaborarea de mai mulli ani cu redescoperitoarea manuscrisului, Elisabeta Muckenhaupt de
la Muzeul din Miercurea-Ciuc. lmpreun cu d-sa am descifrat inilial titlurile, textele i nsemnrile
din codice. De altfel, i datorm o bun parte din traducerile din limba maghiar a unor studii i ar-
ticole din literatura de specialitate. n aceeai msur subliniem sprijinul i generos i clduros al
dJor Szcs Jnos de la Biblioteca judelean i Barabssi Lszl, in acea vreme director al Muzeului
judelean, cre u contribuit substanlial la traducerile textelor maghiare ale stucliilor cercetate.
Sintem ndatorali ajutorului deschis pe car e l-am primit din partea unor reprezentanti 'ai Bise-
ricilor protestante i catolice, prin persoanele pr eolilor i organitilor Christian i Ilse Maria Reich,
iregre[atului Josef Gerstenengst din Bucureti i a preotului franciscan P. Gurzo dini6dorheiul Secuiesc.
Accesul n bibliotecile din Trgu Mures, n special Teleki, l datorm istoricului dr. Grigore plo-
ieteanu i soliei sale.
Reanalizarea amnunlit i traducerea titlurilor, textelor i insemnrilor din limba latin apar-
lin asistentului universitar Marian Ciuc, de la Universitatea din Bucureti.
Transcrierea integral a codicelui am efectuat-o clirect de pe manuscris i fotografii la
Miercurea-Ciuc i Bucureti n intervalul septembrie 1986-martie 1987. Studiul manuscrisului
i par-
curgerea ntregii bibliografii le-am incheiat la nceputul anului 1g8g.

Desenele au fost fcute n cadrul Institutului Romn de Tracologie de ctre Elisabeta putere,
iar fotografierea manuscrisului de r:bre Panait, Dumitru !n laboratorul Bibliotecii Centrale
de Stat din
Bucureti.

tucrarea de fa!, conceput n clou volume, reproduce n facsimile i analizeaz strict conlinu-
tul codicelui. Ea este tiprit ca urmare a colaborrii rtintre Uniunea Compozitorilor Muzicologilor
i
din Romnia i Institutul de Muzicologie al Academiei de ungar.
$tiinfe
Concluziile, aprecierile, punctele de vedere ale autorilor, dei apropiate, nu coincid in toate
privinfele, uneori fiind chiar diferite, dal clreptul Ia opinie a fost riguros
respectat.
Datorm mullumiri colectivului Muzeului judefean farghita, conducerii Institutului Romn
de Tracologie, conducerii Uniunii Compozitoritor
i Muzicologilor din Romnia i, in primul rlnd,
d-lor prof. dr. O. L. Cosma
i clr. Gh. Firca, precum i conclucerii Institutului de Muzicologie
de la Budapesta.

SAVIANA DIAMATI}I

I
 A KUZREA, EL6SZAVA
A I(joni Kdex l.rziratval els zben 1986 pritisban tallkoztaln, nern sokkal restaurlsa
utu, a Hargita Megyei Tr'tnelmi l,rzeum (Cshszerecla) rgitrnyv-raktrrban, amely a cs<somlyi
ferences kolostor knyvtrt is magba foglalja'
Dr. petre Roman rgsz tmogal.sval, alii a hargitai mzeurnmal liarltve jideje l<utatta
a Cski-meclence rgszeti lelhelyeit, jutottam hazz a kzirathoz, e a r'ros s a megye szmos
rtelmisgijnek a segtsgb is lve:rtem. Elssoiban a Cshszeredai Mzeum munkatrsval, a kziratot
rljrafelfcdez i\Iuckenhaupt Erzsbettel kollaborItarn tbb ven t. Vele egytt fejtettem meg a
hexbeli crneket, szvegeket s bejegyzseliet. Egybknt a nag)ar nyelr' szalitanulmnyok s
cikkek jelents rsznek a lefordtsa is neki lsznhet. Ezzel egyidejleg nagylelk hathats tmo-
gatsban rszestett.a megyei knyvtr r.szr(il Szcs Jnos s a megyei mzeum akkori igazgatja
Barabssi Lszl, a kutatsi terletemre vonatkoz magyar nyelv szvegek tolmcsolsa rvn.
Ksznettel tartozunk az szinte tmogatsrt, melyet a protestns s a katolikus egyhzak
kpviselitl kaptunk, papjaikon s orgonistikon keresztI. HIval gondolunl< az az|,a elhunyt
Josef Gerstenengstre, tovbbr ChrisLiarr s Ilse I\{alia Reichra (Buharest), valamint P. Gurzo ferenc-
rendi papra (SzkelYudvarhelY).
Amarosvsrhelyi knyvtrakban s klnsen a Teleki-tkban vgzett kutatmunkban
dr. Grigore Ploieteanu trtnsz s felesge uyjtott segtkezet.
A latin nyelv cmek, szvegek s bejegyzsek pontos rtelmezsre s fordtsr Marian Ciuc.
a Bukaresti Bgyetem tanrsegd vllall<ozott.
A kclex teljes tmsolst (kzvetlerrl a kziratbl s a fnykpek alapjn) i986 szeptembere
s 1g87 mrciusa kztt vgeztem Cskszeredban s Buharestben. A kzirat s az egsz linyvszeti
anyag tanulmnyozst 1989 elejn fejeztem be.
A rajzokat Elisabeta Putere ksztette, a Romn 'i'rakolgiai Int,zet keretben. A liziratot
Paait Dumitru fnyhpezte, a Bukaresti Kzponti llani I{nyvtr laboratriumbatr.
A kt ktete tervezett kiaclvny jeen eis htele fakszirnilkben mutatja be a kdexet s
lrimondottan tartalrni ismertetsre szorbkozik. I{iadst a Romniai Zeneszerz'(tk s lr{uzil<olgusol<
Szvetsge s a l\[agyar Tudomnyos Akadrnia Zenetudomnyi IntzeLe kztti egyttmkds
lehet6v.
Aszerzk kvetheztetsei, rthelsei, szernpontjeri, br sok esetben l<zeltenek egymshoz,
nern mindig egyeznck, nha teljesen ellentmonclanali egyrnsnak, de a l'emnykimondshoz val
jogot szigoran tiszteletben tartottuk.
Ezton mondunk hsznetet a Hargita l\{egyei l\fzeum munkakzssgneh, a Romn Trako-
lgiai Intzet vezetsgnek, a Romniai Zeneszerzk s l\{uzikolgusok Szvetsge vezetsgnek,
elssorban O. L. Cosma s dr. Gh. Firca egyeterni tanroknak, valarnint a Budapesti Zenetudomnyi
I ntzetnek.
S.IIITAINA DIA]IIANDI
10
THE EDITOR'S FOREV/ORD
WecameintocontactwiththeCodexCaioti manuscriptforthefirsttimoin April 1g86, a short
time after its restauration, in the old booh stacks of the District History l\,Iuseum oI the l{argita
District in I\liercurea-Ciuc, which sheltered also tho library cf the $umuleu Franciscan Monastery.
On the amiable recomanclation of the archaeologist, Dr. Petre Roman, who hacl been sbuclying
for a long time the archaeolocical sites in the Ciucului-depressiou in cooperation .with the District
Museum of Hargita, rve enjoyccl a free acces to the mannscript as well as a kincl asssitance from the
part of tho representatives of the tor'vn and district intelligentia. A special emphasis should bc laid o
the long lasting cooperation with the rediscoverer of the manuscript, Miss Elisabeta Muckenhaupt
from the h{iercurea-Ciuc Museum. Initially rve descriphered together the headings, texts and inscrip-
tions in the Codex. Likervise rve would like to emphasize the warm ancl generous help of I\{r. Jnos
Szcs frorn the Districl Librarv and VIr. Lszl Barabssi, aL that time warden of the District Museum,
that have made a substantive contribution to the translations of the Magyar versions of the con-
sulted studies.
We feel rnrrch indcbtecl to the open help Irorn thc part of some of the representatives of the
Potestant and Catholic Churches in the person of the priests and organists Christian and IIse l\{aria
Reich and of the late Josef Gerstenengst from Bucharest as wcll as the Franciscan priesb p. Gurzo
from Oclorheiul Secuiesc.
We owe the access to the libraris of Tg. Mure, especially the Teleki Library, to the kind_
ness of the historian, Dr. Grigore Ploieteanu and his amiable rvife.
The detailed reanalysis and translation of the I-atin heaclings, texts and inscriptions belong
to Mr. Marian ciuc,assistant lecturer at the university of Bucharest.
'i'he rvholc transcription of the Coder rvas carried out directlv on the rnanuscript
ancl the
photographs at Miercurea-Ciuc and Bucharest during the periocl September 1986 March lgBZ.
-
The study of the manuscripL and running through the rvhole bibliography were fineshecl at re beginning
of 1989.
The drawings lvere carried out rvibhin the Romanian Institute of Thracology by Elisabeta putere
and the photographs of the manuscript were tahen by Panait Dumitru from the laboratory of the
National Central Library of Bucharest.
The present rvork, the first part of the trvo plannecl volumes, reproduces under the form of
facsimiles and strictly analyses the conteul of the Cod.er.It is published as a result of the co-operation
tette between the Union of the Composers ancl Musicologists of Romania and the Irstitute
of Musicology of the
Hungarian Academy of Sciences.
Though generally close relatetl, r'ernarks, viewpoints and conclusions driven out by the authors
do not ahvays emerge to the same point, beeing sometimes, completely
<iifferent, but one can realise
as a fact ttrat the ,,right to opinion" has been strictly observed.
We olve our gratitude to the staff of District Museum of Hargita, the management of the
Romanian Institute of 'lhracology, to the management of the
Union of the Composers aid Musicolo-
gists of Romania and particularly,
to Professor Dr. O. L. Cosma and Dr. Gh. Firca as well as to the
Academv marrageneirt. of the Institute of Musicology
from Buclapest.
SAVTANA DIAITANDI
11
 Prescurtri / Rvidtsek/Abbreviations

stg. : stnga/b. : balfl. : left-hand

dr. : dreapta/i. : jobb/r. : right-hand
f. : fil/|. : lap/f. : folio
v.. : vezi indice/.rn. : lsd a mutatt/s.i. : see index
b.e. : bas continuu/b.e. : szmozott basszus/f.b. : figured bass
fs. : figur/. : bra/Fig. : figure
nl. : numr/sz,. : szitmlno. : number
ex. : exemplu lpl" : pldul, pldk/cx. : example
f.a. : fr an/.n. : v nlkliw.y. : rvithout year
() - explicitarea unei abrevieri/az egyik rvidts tisztzsa/eplicitness
of an abreviation
() : completarea pierderilor prin deteriorarea manuscrisului/a kzirat
megrongldsa miatti vesztessgek ptlsa/filling in the missing
parts due to the deterioration of the manuscript
o : nesigurant n citirea unui semn/bizcnytaan olvasat jel/uncer-
tainty in reading a signe
: litere rmase nedescifrate/megfejtetlen bet{ift/letters that were
left undesciphred
 PREZENIIIREA MANUSCRTSULUT
,,coDEx caIoNI"
!

Date introductivo

printre pulinele documente ale istoriei muzicii transilvnene din secolul al XVII-lea CoilicIc
Cinu este apreciat de literatura de specialitate ca fiind poate cel mai
prelios. Astfel, s-a realizat
o veche speran! a muzicologilor din Romnia gi Ungaria, cnd ln 1986 s-a redescoperit manuscrisul,
lscuns mai multe decenii. n sfrit, a venit timpul s-l cunoatem n ntregime, sr clarificm lmpre-
jurrile ln care a fost creat gi s-i apreciem valoarea ntr-un context mai larg.
Redactat lntre anii 1634-1671, manuscrisul - cunoscut pn la nceputul sec. XX drept
,o mare culegere mu.zical" - a fost denumit de Jnos Seprdi dup numele cIugrului franciscan
Ioan Cianu (1629/30-1687),1 i de atunci istoria muzicii l recunoate drept Coden Caioni.z Din
respect fa! de tradilie nici noi nu-i schimbm titlul, cu toate c prin termenul de ,,codex", astzi,
inlelegem manuscrise medievale. Trebuie s explicm i utilizarea numelui propriu: pe de o tarte
Cianu nu este autorul tuturor pieselor, iar pe de alt palte la constituirea manuscrisului au con-
tribuit i atlii. Partea final a redactrii este totui opera lui.
lncepnd cu secolul al XVIIlea, i probabil fr ntrerupere, manuscrisul a fost pstrat in
biblioteca Mnstirii franciscane din $umuleu-Ciuc.3 La nceputul secolului nostru a fost dus la
Cluj-Napoca, unde se presupune c s-a aflat pin n 1944.4 Dup al lllea Rzboi l\londial a dis-
prut i numai dup 1985 am putut lua cunotin! de soarta dispariliei sale misteriose: n vra
anului 1944 (sau cel tirziu n 1948) clugrii franciscani din $umuleu l-au ascunri mpreun cu alte
I20 manuscrise i incunabule n peretele trapezei Mustirii.,El a fost redescoperit la 11 aprilie
1985 de ctre Elisabeta Muckenhaupt (muzeograf) i Jnos PI, fostul director al Muzeului Judelean
Harghita din Miercurea-Ciuc.5 lmpreun cu alte manuscrise ale lui Cianu:f Organo-IlIissale i Sacri
Concenlus
- din fericire pstrate n bune condilii -, Cotlicele a fost estaurat n laboratorul Bi-
bliotecii Centrale de Stat din Bucureti, ntre anii 1985-1986.

Descrierea codicologic

Codicele Cianu, care a aparlinut cndva bibliotecii I\{nstirii franciscane din Sumuleu-Ciuc,
se afl n posesia Muzeului Judefean Harghita din l\{iercurea-Cluc,0 cu numrul de nregistrare:6199
(Cod 35). Pe mai rnulte pagini a fost imprimat tampila Mnstirii ordinului Sfntului Franeisc,
$umuleu-Ciuc, 1g18.
r Kroly urmtoarea
.Scpr6di 3, 132-1:;3. Seprdi I gsit In adnotrile profesorului universitar clujcan Szchy spo-
crlrcare referitaare la Ct tc: ,,mare antologie muzical' (Seprdi 3, 145).
2 Numai
Domokos P. P. 3, 104 a propusun titlu nou:.Ma:rscrisul Scregly-Cianu'. incluztntl astfel inumeleprirnutul
cedactant.
3 Vezi rlenunlirile oraelor ln lista localitf,ilcr.
romneit,, slovace germar,e sau lat.ne ale
{ Nu-exist nicr o
referire !n tn-.cnlniriltr rui Fejrpatal+y din 1tor din $umrrleu Ciuc, Szabolcsi Bence a stucial manucrisul
tn 1925 \ln Moten|'e(t Szabolcsi, Arhivele fvif, saeaa, xVIIl, dosrul .Transilvania'.; Szalolcsi 3, 2S6) yi Papr Gza
In 1942 tn Mrstirea frnciscan rtin Cluj-n*apoca iiuformalie verbal).
-
Vezi Foio.
3 Pe
tanpil: Complexul lr{uzcst Jude'}ean Harghita - Miecurea-Ciuc.

15
 recent nu-
Formatul are llimea ca bazir; mrimea n quro, 190 x150 mm'7 Conline 211 file I\{aterialui muzical al culegerii -- Iresocotind. citeva mici completri - a fost notat de douI
Numerotarea inilial a
merotate cu creionul n timpul resbaurrii, i o ulLim pagin uenumerotat'E
se refer la cuplul Irersoane cu
scrierea n tabulatur nou german Arnmerbach.ls Piesa cu nr. 233, Lepus
liletor provine cle ta cianu. Nurnerotarea - conform scrierii n tabulatur - ^inlra
1 la nceputul sato qniescil consLitrtie singura excep!.ie, una clin transcrierile ei fiind n sistemul modern clin zilels
paginilor uerso i recto cate snt fa!-n fa!. Exceplie este pagina purbnd numrul 'I

codicelui i 2r n*merotat 2. incep*cl cu paginile 2v-3r nsemnate

3' n'merotarea este continuat noastr'e.

pn ta 211, dar ins filele 43 i 44 fila numerotat originar 45 lipsete' I{anuscl'isul este rezultatul legrii ullerioare a mai multor fascicole. Orclinea initial pni-
.
Cuplul de pagini 1OBv--10gr a rmas ns nenumerotat. Fila 18 cile
incomplet, fragmentul
tlilor i cronologia rotrii fi Cotlice pot fi reconstitrite (r,ezi capitolul privind reclactanlii Co-
paginii lips s-a aflat n posesia lui Domokos Pl PLer'o n baza diferenlelor de scriere gi a nsemnrilor care se gsesc rsfilate.pe tot
dicel'rlf" parcursul
n
In 1g0g Seprdi descrie codicele astfel: ,,Cotorul n piele veche, cele dou coperi legabe manuscrisului (confinntl inlormatii despre loc, tirnp gi identilatea redactanlilor).
pergament, plin cu note gregoriene i iniliale loii, folosite de obicei
n vechile manuscrise Anbi-
pergamenl, fiind tegat din nou n La prima vecleie se poate clistinge - pe baza difercnlei cie culoare i a distanlei margiuii -
fonarii.1o. In urma resbaurrii s-a ndeprtat legbura originat de
cle la un codice cu notaie ptrat mai veclie i mai trou fotosit cle cei cloi redacta|i, Matthias Seregly i lan Cianr"r. Despre
semi-piele. Pagina de pergament, care se presupune c provine
hr'tia

din secotrele XV-XVI, este pstrat separatll' hrLia rhai veche presupunern .cloar c aparline acelniai sortiment de hr'tie;16 n partea scris de
Deja n timpul lui Sepriti fila de titlu era partea cea mai deleriorat a Codetuluitz'
Pe : '
Cianu nu se poaLe stabili ns oliginea
,c^L:l: a--^y ^-.:,-:---^ tuturor, sortimentelor
--r----^ J: ,, r
de hrt,ie.
pagin, care astzi este mulb mai debcriorat, se poL observa dou scrieri
cleosebiters:
Dcoarece manusctisul poate fi clatat i fr' cunoaterea exact a filigranului, identificarea
1652 tipulilol de hr'l.ie poate avea importan! n cel mai bun caz pentru cunoaterea, locului de 'pro-
l---r
cluciel?. Separarea hrtiei cu diferite fitigrane ire permite ns s privin ncleaproape procesul ela-
Ac[t ] Die. 17 N{artf borrii. volurnrilui n trecut. Ar'ncl n r,edeie abt tipurile de scriere, cL i fotosir.ea hr'tiei, carac-
Oblal Fralfti Patri Joanni
(ott )il OrganistaeClaustri Csikiensis 1652 teristica cea mai revelatoare a manusclisului este c asamblarea lui nu reflect orclinea cronologic
lKai
Incipiuntur scribendj. In. a constituirii sale: prlile lnai vechi si mai noi se nbletaie, sugernd aclugarea ulterioar. Deoarece
.i
Gloriam Dej. Tritinia nurncrotarea inilial a filelor provine probabil cle la Cianu i paginile din partea lui Seregely slnt
die I Apprit
tiate de jur rnprejur .-. ntr-att nct clin cauza aceasta unele nsemnri snt ntrerupte i devin
In jurul inscripliei, ca un caclru, snt desenali stlpi stilizali, cu frunze i flori in
virf' ln afar
ilizihile - , putem presrtpune c volumul a fost adus n forma sa final n perioada n care a fost
presupus a fi acolo unde am
de cele de mai sus, Seprdi a mai citit un cuvnt-fragmenb ,,iko" -
drept ,,Miko"'14 Astzi' nu ln posesia lui Cianu.
indicat locul printr-un d[eptunghi gol -, interpretab de Rduly arbitrar
pentru literele-fragment nu ' ll{anuscrisul cuirrinde cel pulin 23 de coli conlinnd pagini de diferite numere. Reconstituirea
considerm ntemeiat descifrarea, clar nici alt interpretare acceptabil
de mult s-au deplasat ordinii acestora ar fi astzi foatte clilicil perrtru c, pe cle o parte n perioada ct a stat In trapez
putem da. se pare c partea dreapt i stng a paginii din care lipsete atb
primelor trei rnduri se
(poate la resLaurare) i astfel ne ndoim de faptrrl c cele dou prli ale s-a cleLeriorat n special cotoml crfii, pe cte alt parte la restanarea din 1986 iru s-a avut in rre-
potrivesc. Descilrarea lui Seprdi i fapbul c rndurile au fost scrise de du
persoane diferite dere'pstrara formei ini{.ale, legncn-se cartea prea strns.ls
risipesc orice dubiu n ceea ce privete continuitatea rndurilor.

t Sprdi 3, 130 iudic 20x16 cm'

16 Difclcnladirtro celc 2 scristri pl'incipalc ar prrtea consta ln lolosieacursivelorgoticeilatie g,I77-175
I arc 213 filc' - veziJali
Seprdi a numrat 21L l\e; iar dnp Simonrs' 13' volumul I-a Cianu esto cotsccvcnt scricrea gotic, excepilnd litera mic . Caracteristice pentru Seregly ln 1634 slnt litercle
r p. p. a primit fragmentul de- lr D.onnff y Pter,- pl":t9t de mrzic la Institutul
Domokos p, p. 4, 123: Domokos originalului, negativu i fotocopia sc afl ln Arhivele
gotice d, c i /, drrpil care ln 1630 sc poatc observa ln scicrea acestor litere
treccrea la cursivele latine., ca apoi, pln
peaagogic di' $umuleu-Ciuc- Nu se cunont r"""r "T.""nienJ. al aultimalnscrrlnalc rlin 1642, sse colstate o ezitare lntre cole dou tipuri, Distanfa cronologic dintre primeletnscmnri
[rte] itti*ot'avtnd. nr. d invertariere MS 1223 (,,Relicve cianu').
din 1634 i ,,telrtarea" din 1036 poaie explica deoselirca tle caacteristici, care ne dau senzalia c at fi dou scrlsurl
r Seprdi 3, 130. difcitc. Schimbarea folosilii tiprrrilor de literc
u Tot la Mrrzeul .Itrd,etear Harghita, rlin aprilie 1392. cu acelai nr' de irvcntar cs' i codcete'
cizarer <latci lnscmlr:t'ii. 1n anumite locuri (f.
- lntr-un cadru limitat - ln cazrl primului ;edactnt ajut la pre-
1r Seprdi 3, 130. 75-76; 10g-110) ale manuscrisului lntllnirn 2 sc,isur.i neidentilicate.
etrile fcute de Seprdi'
' Prirnul, plobabil tlin 1639, are inii mari, viguroase; al doilea poate provcni
rs Am notat cu parantez rlreapt prlilc cerc nu sc vd, cu parlntez rotunrl comp din perioada 1642-1660 i este deoserit
cursivc snt cele scrise de Cianu, iar cele de caligrafiat' Celc 2 scr'isuri de pc paginrle 108
i 109 (lntre f, 109 i 110) pot fi cu grcu puse ln legtur unele cn
cu un crdru gol un fraglnent dintr-un cuvlnt car nu se vcd.e. Rfntlulite altelc i cu ccl al lui Sercgely, dar ln olice caz apar[in prfii mai
nesubliniat sint cele scrise lnaintea lui' ale lui Il' Muckenhaupt, rcferitoae le fila de titlu'
vechi. ($i anume, pe 108 v este text cursiv, iar
Srviana Diamardi a confruntt observaliile sale cu^cele cu carr slnt numerotatc
celor
pe 109 r o scrieLc ln tabulatul'. La scr,erea
ln tabulatur doar rnajuscula ,4. difer n mod substantial de scrisul lui
ln drepta,.este ssris anul f 659 (cifrele-slnt asemntoare
Redm de,;cifirile sale: .sus, un Itt.s' ll, p care Seregly, cclelalte litere fac parte din setul lui din 1634).
ctr!--ri
lilele codicetu, de -trrz- ceian, tn jumitrtea inferoait,,tot creapta sus' pte s' fie .^
lq Nesigutatt[a
al primului rcdctant. Tot el scrie: ... Dtc 1l Martii | | Ac(t) "' ploviue din faptul c filiglanul nu se vccle pe fiecare pagiu. De multe ori
ll vom relntilni mai la f. 36. scisur eite
(Fra)tr. Pai Jottnn. / /, urmez foarte ters: ola (?), apoi' tlar mai ales hr aceast par.te - 1n generel i toat cartea
Dup fragmentul rterioi citim scrisul r"i ciu"ui .^.. 16521 /. Se continu cu ssrisul lui Seregly: Incpuntttt
-_
rz i' - cu greu se pot vedea urmele firelor tncruciatc.
dup pata e acterioraiet ijinxtat. Ckusfr Csl&ensis) (i. A,strel, $! obeerv nrlifici fa| de dtele o cal le thlrtic folosit dc Seregly) Braunau (Austria <le sus), ln jurul anului 160 (Eineder nr. 94); 2. (htrtie folosit de
*ribend in || Glorrairi frmio | | D_e. s-Apprt
;;;i;; n seproai Janos (sepr6di 3' 188)"' !Uti":') St. Plten (Austlia de Jos), moar de hlrtie tip supelior 1642 (Eineder nr.279,281); Spiiska Teptica (Slo-
pct fi infirmrt:, d'rp anrliz llccruir ln partc' Ondlcj Larrg jr., 1631
r. Scpr6iB, l3C. Astfel s-au nscut ipotez: (Boros 4), care asti ,,
.ln"i"), -57 (Dcctrcr lr.. 1104a, 1109a sau 1120n; p. 35).
''ftr vs cu[o;tin! sir se fi fcut o descliere sau fotografie de acest fel dcspre Codice, lnainte de estaur.are,

16 2 * coDEx cAroNr
r7

Redactanfii Codicelui
Principalul redactant, legtor i ultim deliutor al manuscrisului, a fosl muzicianul-organist
i compozitor Joannes Kaioni,reromn de origine, din prinli ortodoci, devenit clugr franciscan20
i cunoscut n muzicologia romneasc drept Ioan Cianu,2l iar n cea maghiar Kjoni Jnos.22
Codicele const din 212 file numerotate de cel de la care a mprumutat numele manuscri-
sul i reprezint o partitur, antologie de compozilii cu caracter sacru i profan, lntocmit n folosul
organistului clelintor, cu o notalie specific manuscriselor muzicale ale secolului XVII: tabulaiur
nou german pentru org.23
le in Codic lnttlnin numele organistului scis llofont la filelc C0, 17',136, 156, 15?, 168, 1?8, 181, 1E2, 185, 189,
199, iar Ikjont la lllelc 205, 208, 209.
i mrrejurrile ln care Joannes Itaioni adar.rg lsclituii salc -Valachus' slnt redatc cu mutt claritatc rle Ncgrea,
9,1. Fr s intrm tn amnuntele biografit lui loan Cianu, creia ii acordm un capitol spccial, redaclat de ,gnes
Papp, indicm cele dou suse cre se regsesc tn literatura de spcclalitate: Simon J. (apud Seprdi 3, 192, nota 5)
i Seprddi 3. Astfel, apartenenfa clugrulul la ordinul franciscan, data i locul naterii (1029, Cianul l\{are), data
intrrii ln odinul mai sus amintit (1647), aptitudinile lui de bun muzician, organist i constructor de orgi (la $umnleu,
Lzarea, Clugreni, Odorheiul Secuiesc), reconstluclia orgii <le la $umuleu (1661), relacerea lcaurilor de cult de la
Clugreni (1666) i Lzarea (1609), preluarea luncliei de conductor al provinciel odinului franciscan (custode, 1675),
lnfiinTarea tlpografiei i tiprirea a dou lucrri importantc (Canllonale Catholicum, 1t76 i Calendar,1678), relcvalea,
dc asemenea, a funcfiei de vicar apostolic, poi prefcct al misiunilor din Transilvania i rcfuzului luncliei dc epis:cop
- prin epitaful scris dc clugri la moartea lui Cianu -, amnuntelor
clre se lntilnesc aprope idcntic (Ia Dnnk, 65-69, ln afara
locul i data morlii (Lzarca. 23 aprilie 16S7) slnt date
releritoare la ordin i provincic, este menfio-
net i data - 1681 - prelurii functiei de stare| - guerdian - la $umueu) !n toat literatura sflritului de secol
XIX preocupat de acest subiect (Dank i rccenziilc la aceast lucrarc, ln MIiszI i n Szzadok; Ngyesy;Rupp;
Szinnyei), IIe provln - dei nu se indic sursa - din elatrile preotului franciscan Simon Jucundian, redcscoperi-
torul portretului lui Cinu, la 200 ani dc h mortea acestuia (cvcnimentul redescopcririi fiind elatat pentru prima
dat de Rupp, 66; vezl i Seprdi 3, 192-193). Prin publicarea ln 1909 dc ctrtre Scprdi J. a datelor cxtrtse aproape
ln lntregime din teza de doctorat a franciscamrlui Rduly Simon, a crui documentare Sepr6di 3, 193 o presupune
nu numai din arhlva ordinului, dar i din datele culesc de Simon Jucundian, litcratura prcia ln lntregimc (vezi i
l)omokos Mria ln Moztrt II: 509), cu fiecare ocazie tematic lcget de C.ianu, informa{iile detaliatc provenito astfel
dc la franciscani: Iocul naterii sc schimb, argumcntat doa in zona deduc[iilor, tn Lcghia, judetul Cluj, iar anul
dcvine incert (120/1630); originea romn este lns pentru prirna oar dovedit, atit pl'in lnscmnarea din lucrarea lui
Cianu ce poart titlul lortuhrs Deuotons, clt i printr-un rmnunt lcgat de menfionarea jurmlntului accstuia tn
cadrul ordinului franciscan, pcntru amrl de stagiu; de altfel, arhiva rcler' i intrarca propriu-zis ln ordiu (17 scptembric
1649) i ungerca lui Cianu c preot (5 septcmbrie 15, la Nagyszombat astzi Trnava, Slovacla); alte noi de-
tal slnt l preluarea funcliel dc consilier al ordinului (1661), de custodc (25- august 16?5), a vicariatului (probabil 20
decembrie 1676), lndcmnul la episcopat (20 deccmbric 1678), irrvestirea in frncfia de pater cuslodlec (29 ianuarie 1086)
gi de stare! la Lzarca (15 aprilie 1687). Iiarcsonyi 1, 64-06, red prczumtiv amnuntc despre pfuin{ii lui CIanu i
pune sub semnul lndoielii originea hri romn. Tot aici cste dctaliat inscrip{ia (16?4) de pe orga din umuleu. Mai
lncllcit i nefundamentat ti'n|ific este prcsupunerea lui Boros 4 dedus (?) din tnsemnirilc Cotllcclut - referitoac
la lnsugirea cunotintelor muzicalc de ctre Cianu ! iezuilii din- Alba Iulia i l\lntur. Presupunerea dcviue lns
surs pentru llteratura deceniilor urmtoarc, chiar ptn la cea mai recent lucrare (trfoZtrt II: 18:l-18.f). De altfcl,
chiar delinerea inilinl a Codcelul de ctrc Tasndi Blint i tansmitcrea lui prin Fencsi lrfihly la ScregIy i de
aici prin Mik Istvn Ia Cianu, este mai degrab ipotetic, dac lnccrcm s gsim ln filcle Codcclul docunrcntalia
la care se face trimitere (Boros 4).
Literatura romneasc estc i ea tributnr, in problenra biografiei lui Ciamr, lucrrii lui Simon Rduly i
studiului lui Scpr6di J. Dintre tipriturilc cele mai bogte tn date menlionm Simonis; Ncgrca; Ghircoiaiu 2t O.L-
Cosma 2,291 -305; N{ocanu 1; Ciobanu,49-51 ; nenkl 1;'Iomescu; V. Cosnr 4. Slnt i cazuri cind elementc, odt
publicatc, slnt omise (Szabolcsi 2, 291, nu menlioneaz originca romn a orgenistului franciscan) sau altcle' ampli-
ficate, fr trimitci explicative (lbtilem, aici slnt prezentate perioadele in care i-a excrcitat funclir de stareJ, in.lntre-
gimea lor: Clugr'eni 166-1669; Lzarea 1669-1675; $umuleu-Ciuc, 1675-1578; infra dilerenla de opinie
la . Papp -) sau cel pu[in insuficient ergumentate (l\focanu 7,745-746, construiefte - vezio lntreag istorie privitoare
la o eventual a lui Cianu pin in 1608, la Bacul). De-atia tn 19?8 &parc un clement nou, legat
de activitatca de "supraviefuire'
constructor de instrunrente muzicale a lu Cianu, adus de I\iiklssy b, prin publicarca lnsemnrii lui
Cianu, referit<are Ia vremurilc clnd construia virginale, gsit pe o copie din 1?00 a ierbrului lui Cianu.
31 Vezi, ln ccst sens, V. Cosma 4, 280, 282-283.
2 Vezi lucrri rccente de istoria muzoicii din (Jngaria, MoZtrt II.
s Dup Johann Christoph i David Stssel (vezi Chlistoph), tabulatura cste o notaie artistic prcscurtat prin litere
i 9
i cifre, a melodiilor i cinturilor, notalie folosit ln muzica instrumental
Aprut sporaclic inc din secolul al lX-lea, tabulatura german pentru org prezint, cel pulin pentu o voce a
rnateriaului muzical, notarca sunetelor prin litere. Despre gcneralizarca unei astfel dc notalii se poate vorbi de-abia
din secolele XV-XVIL Scrierca cu litere, lnllorind ln nordul Germaniei - de unde i tenr:mirea - ajunge, pt'in
extinderea ei, pln in sud-estul Transilvaniei, dup cum se vede, lntreptrunzlndu-se cu lte sisteme dc notaiie, mai
vechi sau mai noi. La inceput, scrierea sunetelor cu ajutorul literelor se altur nota{ici mensu,.ale cu neurnc ptrate sau ro-
tunde, pe portativ lntre 6, 7 i B linii, folosit la redarea firului melodic. Coexistenfa cclor dou notafii pcart denu-
mirea de tabulatur veche gcrman i reprczint un moment dc evoluJie, carcterizt printr-o puternic instabilitate in
fxrea unui sistem unic de scmne muzicale. Se observ fie pleluarea unor elemcnte clin scrierea cu neume in cea cu
litere (menfionarea cromatismului ln dcsenul notei), fie o indecizie in mrcarea octavci a 2-a (1460 -l;113 - cc;
7514 - ) seu a sunetclor din octava mare (1512 -linii oizontale sub literc; dup 1512
- folosirea majuscuelor,
are se lnulnesc inilial doar la lnceputul pieselor), fie o apariiic tirzie a unui desen special pentrn pauz: (1512) sau o
1B
Iledactarea culegerii este fcut de ase mini,z dintre care dou scrisrri predomin partitura.
Datrile, nsemnrilc i
isclirile,25 plasate din loc n loc de-a lungul partiturii, dovedesc c minuirea
si ntocnirc a Codicelui s-au fcut n mae parte de ctre doi de!,intori, 1n perioade diferite, culegerea
irecntl clin posesia lui l\{atthias Seregely (dc la 1634 pn la 1642) n aceea a lui Joannes Kaioni
lntre 1652 i 1671) - \ezi fig' 1 i inclice'
Dintre celc 346 de piese muzicale ale culegerii, 213 snt notate de Cianu, 130 de Seregely
iar 3 piese muzicale i 2 subiectc de teorie muzical sint datorate celor patru mini necunoscute,
(fig. 1).
Nurnerotarea Pieselor
19
Am atribuit pieselor, n urma numerotrii feute intregului Coilce, un numr, iar in paran-
tezi atit fila (f), cit i pozilia piesei in cadrul filei (f./1, 2, 3 etc.). Exemplu nr. 1.16 (1.7712) - \ezi
fig. 2 a.26
Numrul de piese, existente n Coder Co.ioni, nu eorespunde numrului de file,2? Sint situalii
in care pe o fii se gsesc una sau mai multe piese. Alteori, o pies se ntinde pe mai multe file.
Nu am numerotaL textele sub form strofic n mod special, pentru c ele sint legate de muzic.
Singur, versul latin de la fila 109 nu pare s fie ln legtur cu Paduan-ul dup care se afl. Nu a
primit nici el numr, pentru c numerotarea s-a aplicat doar pieselor muzicale.
Prfilor constitutive ale unei mise sau ale unui magnificat, fiind redactate asemeni unor
piese ,singulare, trecute cu titluri clare n Codice, le-am rezervat, n ordinea numerotrii, un nunr
propr;iu (exenrplu: Ilagnificat-ul, care ncepe de la fila 160 i se termin la jumtatea fitei 163,
nsumcaz numerele de la 283 la 288). Exceplie fac, la fila 148, Lgtaniae Lauretanae, unde subsec-
liunite snt scurte motive muzicale, de cle dou msuri, asemntoare unor cadene care, cntte
succesiv, dup cum snt i scrise, capt nleles cle fraz muzical.
Notalia in tabulatur pe care o folosete Cianu n Cotlice,zE asemeni lui Seregety i celorlalte
miini necunoscute, prezint o scriere ce corespunde treptei evolutive n care se gsesc manuscrisele
anticipare a larclor de msur, plin spafiul lsat liber lntre msui (tot 1512), fie valori de note redntc printr-un clesen
(asemntor ruror zbrele) specific urmtoarei trepte tlc cvolulie, dar fntllnit i la vechca tabulatur gcnan, fic, sub
influcnla b.c., o o'dine neateptat a vocilor in partitur (disclnt, bns, alt, tenor). Nu ne mir, dcci, aselnnarer
tlescuului literelor dirtr-un manuscris al vechii tabulaturi gcrrnsnc (Orgeltal)Ltlqlu al lui klebcr: 7520-t524) cu cel a,
unui manuscris al noii tabul:rtri gcmane (chiar Codec Catoni). Se vorbetc de o nou tabulatnr gerrnan pentru org,
atunci clnd se rcnun! la portativ i toate vocilc slnt notatc prin litere. La prirna vodere, par.e sir fic un egres, tac
nu |inern seatna, c pcntru acclc vremuri cra mai uoar scrierea numai cu litere, clin motive de cconolnisirc a }irtici.
Influen!a tiparului se face sinrfit i ln cadrul marruscrisclor, carc preiau modificrile adusc de aeesta asupra desnelo
de notc sau valori (linia octavci comun pentru un rntrcg grup dc note, aparifia,,zbrelekrr" sar n literei .c" ca un -r'
mic dc tipar). Dar manuscisele sccolului X\/II, etaprl dc lnflorit'e a scierii dc tabulnturl pcntru org, prczint atlt
descne ale valorilor comune, clt *si 1 anumit dcsen al literci, carc relcv fixarca clelinitiv a sennelor acestei
notalli rnuzicale (apud Wolf; i Apel).
r Vezi srpre diferen1a de opinic la r{gnes Papp.
1 Pentlu lnsenrrri,
clatri i iscliri vezi indicc (v.i.) <le la siiritul lucrrii.
s6 n prczentarea
i a pieselor von irdica rloar nulnrul, iar pentlu filelc tlc cxcep{ie sau lr alte eazuri,
Codiceld
pr0scurtrile stg, (sttnga) i dr. (clreapta) vor ajuta la specificarea pagnilor, Excmplu: n..-141 (f. ?5 stg.il)
- ezi
ric. 2b.
2? Eioarea
lui Vasile il{ocanu (vczi l'Iocanu 1,5S) ln lBtur cu numrul de piese i numrul clc fie cste lrreluat de al[i
muzicologi romni, dintrc carc celc mai reccnte rnenlionr'i greite (dupir redescoperirca i rcstaurarca Coitccltzi) snt
lui V. Cosrna 5; dem.1, 280 i Tomescu, 41.
a alc
-^ In biblioteca flanciscn de lc gumulcu, pstrat ln muzeul de la }fiercurea Ciuc, mr arn lntilnit alte na-
"onvetulr,i
nrrscrise seu tiprituri cu scrierc de tabulatur pcntru org, ln afara celor dou atlibuitc tot lui Cianu: Organo ItiIssare
'oci Concenlus (pentru alc cro file de titlu vczi Scprdi 3,202-203 i Negrea, 20-21). Celelalte manscrise
exstcntc irr billiotec se integreaz pcrfect ln grl celot care au rmas ln Transilvania <tin scolelc X\ i XVI, cint
no,taliile aptlsenc slnt cu neume gotice sau iranconiene (O. L. Cosma 2, 1?8): manuscrisul pe pergarnent, fornat in
1o-tto,9oni1! de Frater Pctrus dc Stepes, este rtn Anttfonar de la luccputul secolului XVI, ln care se folosesc portative
S^u.q3t.o_ linii cu neurnc negre (asernnttor cu r/fssol 1 din 1430, pstrat la Sibiu, IIssaIe i llsttlterium, pstrate
faAlb lulia $i Psaleium de la Braov
i Anlfonarul lui Matci Corvin, pstrat la Viena - ibident) i dou lnaiuscrise,
'ul,onai, alc secolului XVII, copiate lns dup ccva mai vechi, probbil secolul XV snu XVI (nforrnaiii E. Mucken-
oaupt). In biblioteca franciscan slnt urmtoarele tiprituri muzicale din secolele XV-XVII, ioate cu portativc re
tru linii de culoare roie i cu neume ptrate de- culoare neagr: 1, Atttphonarium Romaum, Vencli, 16b2, inr,.
l?1; Z' Psalfeium Romanunt, Gencva, t650, inv. 3736;3. Antiponarium Romanum, Venelia, 163.I, inv. B?4I;4. psal-
ltljlt. rqglurn, Venetia, 16?2, inv. 3742;5. Atttiphonarium, Crcovia, 1600, inr,. 3753; 6. Graduate Rontanm, Venefia,
flYY, nv. 3926 (informatii .D. Ilucl(cnhaupt),
t
19
vremii.20 Coexistenf a elementelor clin notalia guiclonic30 situeaz ns CodicIe dup momerlul cle vrfll
al tabulaluriigerrnane. $g. 3 d) ntr este eficient tleoarece lucarcir cit.irca real a muzicianului. Cu toate acesLea, nevoia .spe-
Citilea Cotlicelui se face orizontrl cle la stnga la dreapba, ncepnd cle la pagina clin sLnga cificrii paginilol unei file cu ,,stg." gi cu ,,dr." csLe impus i de cele cinci erceplii descriere. r,er-
tical. Astfel, fila 63 cere Pe pagina din s1.uga o ciLire ','ertical, cleoarece le pagina clin -eapta
i terminncl la captul rndului urmLoarei pagini, celei din dreapLa.32 De aceea, n ntregul
Cotlice, Cianu a numetotab doar pagina ilin stnga (fig. 3 a). Exceptie face prima fil, clup nraterialul rntlzical nu se contitluir, ci apare nn elernent nou: porlativul cu cinci linii (fig. a a).
O alt exceplie o reprezint fila 75, a crei pagin clreapt nu este scris cle miJa tui Cianu.
cea cle tiLlu, care poart pe pgina din,stnga nr. 1 i pe pagina tlin dreapta nr. 2, n aa fel ncL
vom vorbi cle fila 1-2 (fig. 3 b). Presupunem, n acest c^2, o inclecizie iniial.es Scrisul lui se I'etle pe pagina diir stnga, care se citete vertical (fig. a b).
:
Fila cale se cii"ete pag.in cu pagirl, tot iie vertical, dar apare n ntt'cgire cu scrisul
Neatenlia lui Cianu sau alte motive, necunoscute nou, au clus la omit.erea uuinerotr.ii filelor unei mini necrtnoscute, esbe i cea nurerobab ntre f. 109 gi 110. D alLlel, ea esie na cli. cele
129 i 167, fr s fie vorba de o cleteriorare ca la filele 3-7.
care conlin explicalii teoretice: I'eguli ce contrapuncl. i exemplificri (?) dinl-r-o rnis.
O all situalie tle exceplie este i cea a lilei care iese clin caclml numerotirr.ii, ntre filele l0g Fila 117 este scris de Ciantt n dou perioade cliferite i cu cerneluri cliferite. Citirea se face
i 110. lrr legtur cu aceasta putem presupune c a fost lipit cle Cirianu i apoi clesplins cu verlical, pagin cu pagin (fig. 4 c).
ocazia restaur'rii din 1986. Deoarece lrei sfertrui clin pagina ch'eapt a filei 138 erau acoperite ce scrisul lui Seregely, Cianu
lntre filele 44 si 46 constatm lipsa fitei 45, fapt care, la citirea materialului m'zical clin folose;te spaliul r'rnas liber, scriincl pe pagina din stnga veltical i pe ull.imul sfert al tegii file,
paltitur34, ne conclttce spre urmtoarea concluzie: fila 45, cu pagina ei stng oiizontalss (tig' 4 d).
i n acelai tirnp
pagina din clreapta lilei 44, a fost clistrus ntr-o perioad i mprejurare necuuoscbe nou.35 Probiema spaliului lezult a fi tlecisiv n redactarea Cotlice/ui.' cle la nsemnrea nor. piese
Chiar legat sub form de carte, Codicele este o partitur, iar consiclerarea paginii, fie cu de ctre Cianu n locurile rmase nescrise de Seregely, pn la unele trimiteri muzicale, fcute
termenii ,,verso" i ,,recto" ca la seprdi J.36 (fig. 3 cr-r), fie cn ,,a,. tot de Ioan Cianu n propriile sale piese.
i ,,b,, ca la Nfar.1ial Negrea3?
' La Seregely, majoritalea pieselor (nr. 1, 2,7,8, r2,20,24,27-2), 31, 34-39, 46, 47,
selte elemcnte cle cotcspoDdetr! cu manuscisele lnuzicalc ale secolului XVII, criar din Ttansilr,:rnia, se manifest
atlt hr linba litcrar Codiceli, scris doar p_arlial.ln latin i roprezentat ln titluri (alo piesclor instrurnetnle 57-63,66-70, 74, 156-160, i63, 164,177,208,20-212,2t6,234,235,260, 263)ocupo singur
vocal-insttuurcutalc, la.ice^ i religioase), ln textt mrzicii al iniernnirilor, ct si i men!ionar.ea
i cornpozior.ilor ln cazul
i fil. Desigur, principiul este nclcat n sit,ualia pieselor ce mari climensiuni, care acoper do
anumitor picsc. r\semn{91 pote facc ctt Canlionale cir FIolnor.od, 1651 (o. L. Cosrna 2, 272 rote5tc clcspr.e file, de genul: l[aqnificat (nr. 40-44), ll[isiL (nr. 105-109), Te Deum (nr. 111-125), alte piese
Senntlorlet Canlionale, 1649;"ein schimb Constantinescu, lST, prezint anul 165
loctrl lIr cal'c a fost alctuit a.cest CarIionn1e, adus in 1939 dc la Honoro ta Sibiu,;i i localitatea Jolna, drept, anrrl gi leligioase (nr. 64; 154) i instmrnentale, ca Fanlasii (nr. 152;178-214) i Balet cu uarialiLrne (nr.
cercetat in 1g.1i de Gcol.g
Bandsch) sau cu rrlltri penlru as, pstrate ln Ahivele Statului la Sibiu (O. L. Cosnra 2, 2-it); 239-240). Lin alt A'Iagnificut, piesa nr. 151, se ntincle aproape pe trei file, iar o mis cle Viadana
vezi 9i Constan]
178). Tlcmento cle colespondcnf.iu nrtnai cu paltiturilc transilvnrrrrc, da. ;i cu celj i''vcst'l Iuropci avcnr i
lincscu,
Iu lonnelc roi alc piesclor nuzicalc dintre c mai irnportant estc concertul religios c voci soliste i b.c. (nr' 12.3-139), cle la fila 69/2 pn la fila 73. Exist i piese de climensiuni mici, la Seregely, cae
Estc folna cnle evoluea_z_sprc cantat - si cxist "a.e
Gesang la
iir secolul XVII in paralol cu mr.tetul i cu"evotulia co"l;iJ"" g.;, 'i" faccapeofilsnceapircloupieseclistincte:f.6-nr.9, 10; f.8-nr. 16,fi;f.g-nr. 1g,
- Clntalbuch._De-altfel, o pies care se apropie vidit si c or:rtorirr este nrinrr'u 2g0, un tlialog, ce irnintete
do lcgelrda biblic din lirc)rcngesnge ale copistului ihorna. \\iicara 19; f. 11 -nr' 22,23;f. 17 nr. 32, 33; f.09 nr. 127 nceputul Officium viadanae,
i alc lui Jonnrcs Ba.tir (O. L. osnla 2, 2i7)
i dc vocile din Palimi aleCanlionahtli din Flolnorod (ibirtem,273; vezi si Constantinescu, carc nu nrc lr vedere accste
- -
128-139 (ambcle piese snt cntate cu ocazia Crciunului); f.98
nr.
Italin)' trIcn[iotralea itlstlnrnerltclor tlc coardc t'eprczint ur at eleurent cle corespotiden[ cu partitrtrile vreruii s - nr. 175, 126; f. 130
- nr.
23{-238,239;f. 131
-nr.241,242tf.1J2- nr'.243,244tf.138 _nr.245,246; I. 134_ nr.247,248.
fce l1 Cotlce at\t' in piese notatc de Sclcgt'ly, ct i in ccle rle Cianu, iar pcnim Tlaiisilvania asernnarea i
se afla
7n Patlilur penlru bas (vezi supra). Totui, tt Cotlice se reflect n plirmrl 'irr< ce rnai irnpor.tat cncel.irc clin Dac rrnn spalii din cauza pieselor de climensiuni mari, ele snt ocpate fie cu scrisul lui
cvolufie
tnuzicii instlunrentale:
_trecctea de la trrnsclipfiite lcutc din rnuz-icr vocal (secolul XI) la cor'pozifii pr.opri.-zis. Sercgely, ca n cazul filelor 30 (sfr'itul nr. 55 i nr. 56), 39 (sfritul nr. 64
dc muzic ilsttulentalir. (secolul XVIi). iIr acest sens, pcntm Transilvania, 'tipriturilc .cactatc-e
'Uo"iu.
1O. J-, i nr. 65), g0 (sfiritul
Cosrna 2, 222) snt tlcp;itc ca rnoncut de matrusctisele
s0 Pcnttu prinra datir poltativul de cinci linii apale in liri Cianu. i nr. 152),83 (sfritul nr. 154 i nr. 155), 101 (sfritul nr. 178 si nr. 129), 1t5 (sfh'itul
Cotlice la f. 63 dr. Pc toat pagina stut tr{satc astfel <le opt "l
n;. 151
214 i nr. 215), fie cu cel al lui Cianu.
pot'tative, ca i cind redactantul iar fi ptegtit hiltia pcrrtlu notarca r:rteriarlui mirzi"cat, Cu toate cestca, m'zica
cstc.lrccut, ci doa_r'un titlu ln trtijlocul paginii, din calc rczult intcnlia lui Ciriarn (v. i., g)), intcnlie la care pipti
3} sflr;it \cest. ultim redactant nu reuete ntotcleauna s se plieze perfect pe spaliul lsat cle Seregely.
!a rerrunl. Pp la jurntatca Cotlcckti (f. 126) ntilninr intr-o prim valiantii o pcsir'"i,'ttul I-epus intra-sata
qiiiescit... (Iepclc printre senldniltrti....) in notalie rno<le'r: trei pr'tative cu dou cihci o so rra Astfel, nr. 81 relev nna din situaliile in care piesa are proporlii mai mari dect spaliul pe care it are ia
i c fas (spe"i-
tlispozilie. 1n accst caz, se renun! la sistemulse folosit anterior, spaliul submprlinclu-se prin ngustare.
ficntc pt'iu canttts , c:rntlrtrl Z lr, ): ), cu note, ale cror lnllimi ;i vatori sint olositc i astzi, dnr fhrit bar
$ $ Tot clin ips de spaliu snt fcute anumite corecturi: la nna din ultimele msuri ale nr. Jl2
m11t., ci tloal', spol'adic, lilriu!c sau vilgule, i cu text sub fiecarc por.tativ, care sc coutiruapoi (pe dreapta) snt trecute cteva note muzicale care, apoi, snt
f.c
tie apar.t. Altc porta-
inthlil la piesole t,-. 27.1,275 i 289, care vin cr o noutate: lnrntc de titlu e.u. 274,27j sau'dup t".rrrirrn,"" terse i rescr-ise pe stnga (n sis-
iesci (nr'. 289), fie rc un mic poltaliv,- fie pe trci mici poltativc sint trecute creili vocilor, car.e
temul urmtor'), astfel nct msura apare n ntregime, evitndu-se scindarea ei; n alt situalie,
rrrtiip, cu chcic ase-
dc as.pentm bas;i b.c., cu cheir tle rlo pe linia a patr peltm tenor.(nr. 225), cu cheia ci" ao p rf^'i"tii-p""1.i trntoare, la nr'. 330, Cianu face o trimitere (la att msur) care continn materialul
soptani (nr'. 27'1 2 Canltts ) si cu clon chci dc rlo -pe.linia nti (chiar clacri piesa n. 28g c:;te muzical
- ient.* oi teirori i n spaliul superior liber. Nici la nr. 281 spaliul nu permite continuarea se folosete tr.imiterea.
-. tr_.c.)
3t il cu srccificarcs l)isceIttlrs, dnd sir se infelcagi c se poato nt:r piesa cu tloi soprarri. i
CoL,cele.Cttinrttrpoatcli socotitcrept puncL dinarnical fenomenul.^ui nota{ici mirzicalc, incorporn tablatrr elcrnente
ale Unele din filele (f' 96 i 202-203) cu piese neterminate (nl.. 169 i 33g) prezint mult spaliu
rroului sistcnr: guidonic. Il dcvine puntc dc lcgtur intle celc douir iilnite alo folosirii --sclierii rle tabnlrtur pentnr
Pclltm lirnita infeioar'-t aveln in vcdce ntltuscrisul pe pcrgarncnt <lin 1{48, culcgerc de pclutlii, a cirr.ui matetialorg. liber. Accstea snt situalii vizibile. Exist ns cazuri cnd spaliul este complet acoperit,
mu- i ao, pi*.utu
zical este sclis peutrtt mannalul olgii in lntlegirnc tn notali" rrrensuralir, iar: pen.u
rcdal':i noLclc slnt retiato in litcrc.
rmn neterminate: la Seregely nr. 159 la nr.77 (vociie,
f ,alirnita supclioar' mauusctisulluiJohann Scbastian Badr- orgelbclleitprczint - i Cianu - i 305 pe rnd, npo, ,ru"o*-
ta . fZ i. lipsir de spali', ir locul tl'etate). n schimb, piesele nr. 97 i 278, cu toate c pal s fie terminate (spafiu liber nu rmne,
sistemelor cu polt.ative, o notalie de tabulatur (vezi i Wolf,-11; apet, O).
32 Pclttrtt rnuziciau secolrtiui XX citit'ca talulatulii pcntlu ia|vocile ajung la o caden! final), prezint clup aceast caclen! specificarea unei
org ii gsegte coresponclet il for.latl caictelor clc rnuzic, schimbri de msur,
folosite in cadt'rtl nvfmntului mrzical sau al. partitui'iloi actuale pcntlu r.gi, arnbole avncl clrcpt baz tungime
i rttt lJirnca' Eficicula acestui folmat vinc dcsigur din rrcccsltatea d a nu iitr.erupe la citir.c nrterinlul rnrLical, "("girespectiv,,l3".
timp cit mai nclelungat,
3t Sept'di 3, 188, nu olserr' trutncrotate primci file, ci vorbe;te dc o necla'itatc
3t Ibidcnt. I nrerotririi plnir la fila g. r8 Sop!.di
3.5 l.klem;189, rlu lneutioneaz
3, 22j.
niuric ln legtur cu lipsa filci 45, cu care lncepe un lntreg lan! de piese notate tlc mlna 3e hr iilclc
Corlicelu linii lu.lrgi orrzontrle tlcspalt ccea_ce ar fi. colaspondertul sistemelor m'rzicale
lui Cianu. Srrrpt'ittztol este ci Sopr'cli atribuie lui Cianu fila 45 o, fapf o situalie confuz,. cci .- a tou, tlei sart patt'u poltativc,_portativul corispunznrl vocii, \colnda, propric notaliei pianisticc, de astzi,
g.rpri cle
nll avc cum sir apar'lin: lui Cianu" ". "r""o"i pentl'u allsxtnbltti itrst.t'umcntalc, lu cxislir. ,\r plchrat tclmcrul dc,,listm", linii cor.Ie sau pnrtiturilor

:l {1.',1,i:""' ,
linlitalea color dou, trei sart patru voci, accst rrru, rr nl.rnlite caznii,
vezi fig. 3c, "orn
lu;g orizorital sugerin, pr.in de-
-orbi, cleci, rle sistemnl 1, 2... al filei
-
9n
27
 ta piesa nr. 97 s-ar putea presupune c schimbarea msurii la sfritul piesei se face penLru cr mai important pare s fie cel al compozito-
Se constat cteva seturi de piose, dintre care cel
eventual repetare (ceea ce la nr. 278 nu este cazul). La fila 199 se termin piesa nr. 335, lsnd 156 - identic cu nr. 158 -, nr. 157, 160 i 163). Piesele prezint de altfel
mult spaliu nescris. Situalia i permite lui Cianu s se iscleascir cu litere mari i caligrafiate, rutui Jacob H()nd(e)la1(nr.
c este vorba de extragerea lor dintr-o alt culegere, situatie semnalat i la' dou
ca i cind ar fi terminat ntregul opus, cu toate c revine pe urmtoarele, i ultirncle, 12 file ale un nu*. care arat
Cianu (nr. 337, 338). Cifre arabe legate de titlu se ntlnesc i la cele patru litanii
Codicelui. redactate de
(nr. 329-332), numerotate de Cianu de la 1 la 4. Bine reprezentali in piesele notate
e la t. 1g1
e Seregety snt i Giovanni Valentiniaz
(nr. 66, 68, 210) i Alexandro Grandias (nr. 176, 177, 178,
Zt4).Un BenerlicamDominum...al lui Jacob Finetiaa (nr.65), dou Reginc coelilaeta(relalcluiJoa(nnes)
Deschampsa6 (nr. 70, 159),
o pies de Joa(nnes) Stadlmayrao (nr. 164) ntregesc lista compozitorilor
itlul i autorii pieselor muzicale alei de Seregely. Dintre toate aceste piese, la nr. 66, 160 i 163 compozitorul este trecut deasupra ti-
ctre Seregely este culeas o pies de Hans Leo Haslera? (nr. 235), alta de Floratio Tar-
tlului. Tot de
ditias (nr. 62), o Fantasia (nr. 152) a unui compozitor; al crui nume a pus probleme la descifrare
Cum scrierea secolului XX presupune aezarea tittului iraiirtea sau deasupra piesei pe care o
si alte dou Pft/Fantasia (nr. 175 i 179), purtnd una numele lui Wolfgang Gotzmann,ae organist
anun! i ilustreaz, nu ne surprinde cncl ntlnim n manuscris numeroasele exemple, n care titlul
in Frantrfurt, cealalt a lui Adriano Banchieri'so
lucrrii muzicale apare la nceputul piesei respective. Ele snt n mare parte bitluri latine, care. repre-
Unele dansuri instrumentale au titluri, ca acelea de la nr. 236 -238, in legtur cu care ne intrebm
zint de cele mai multe ori nceputul textului de sub muzic. Exist i titturi germne, franceze, cu varialiuni este ntr-adevr compus de Almo, cum pare s fie cel de la nr. 247 de
dac baletul
italiene i maghiare atit la Seregely (nr. 62, 235, 236-238, 247, 242, 244-248, 260?) i Cianu (nr. legate de specificarea compozitorului avem i la nr. 248 (f. 13412)z Courante
Bijgot? Incertitudini
14,21,30, 83, 85-87, 89*92, 96, g7?, 104, 126, l4l, lg7, 1gg, 190-196, 199,204,207,250_25t, de Pticlwn.
du teslament
267,262,264-269,272,344> ct i la celelalte dou mini necunoscute, dintre care una uoteaz textul
n limba figneascir. Titlurile pieselor notate de Cianu urmresc acelai principiu ca la piesele lui Seregely:
n afara textului semnalat in titlu se observ i specificarea numrului de voci participante numele compozitorului urmeai fie dup specificarea vocilor, fie imediat dup titlul propriu-zis. Ciliva
fie prin sublinierea vocilor soliste i a b.c. - exemplu nr. 31 (f. 16) Non turletttr cor ueslrum ll a P dintre compozitorii existenli la primul redactant sint intilnifi i la Cianu: Jacob H()nd(e)I, lanr. 77
tenori el baso -, fie prin sublinierea tuturor vocilor parl,icipante - exernplu nr. 18 (f. 9/1) Jesu, (pies identic cu nr. 79) i Jacob Fineti la nr. 270. Pentru unele nume de compozitori - C. Thurzon
quam cs laudabilis lla.8.u(ocibus) ll 2 tenori cum basso ll Ludovici Viudunae. La nr. 66 (f. 40) men- (nr. 83), Ambro(sius) Gu()th/Grioth5l Org(anist) (nr.89), A.c.V. (nr. 91), Hasleri (nr. 94), Unimona
lionarea A doi sopran i fcut de mna lui Nfatthias Sergely, nu pare s fie o scpare n limba romn"
ci o formulare uzual pentru secolul XVII. La sflritul piesei 277 exist o aten!.ionare a lui Cialu r Jacobus Handl/Hndl (1550-1591). Cunoscrtt tn istoria muzicii Gallus (adcvratul su nume fiind de fapt Petelin),
cantoul de la Ohntz (astzi Olomouc-Moravia), apoi de la Sf. Ioan din I'raga, lmbin ln lucrr'ile sale stilul venelian
sau poate o simpl spcificare n limba maghiar, referitoare la vocile folosite n piesa respectiv r cu cel llauand (Kftl, 295). Pentru detalii, bibliogralia l Constantinescu, 169, rota 150 (desprc prezcnla compozitorului
Harom Bassus (trei bai), o menlionare suplimentar justificat: i de aparilia textului sub b.c.: piesa gl ln timcle de Ia Apoldu de Sus din 196),
a Istoria muzicii semnaleaz date sunalc din tinrpul vicl,ii lui Giovanni Valentini (1611, 161S, 16{9), dar tl considcr,
poate fi cintat cu doi bai cu acompaniament (2 bq.ssi el General) sau cu trei bai soliti (?). e
alturi de J. Stadlmayr, unul din reprezcntantrii muzicii rcligioase a primei jumt|i a sccohlui XVII, attt prin stilul
altfcl, asemeni notrii n titlu a b.c. prin et General, lntilnim i la piesele nr.2l4 i 328: Generol i obligat, clt i prin cel concertant; tot hi Giovanni Valentini i se datoreaz lncet|enirea unei forme premergtoare
cum Generali. La nr. 277 se poate citi cifra 43 deasupra sunetului mi i deasupra sunetului sol, fr
' sonatei da chicsa: canzor (Orel, 512, 515, 548),
{ Alessandro (Alcxandro ln Coilice) Grandi (15??-1630). Printre prirnii compozitori ai cantatci, capelmaistrul de la
ndoial cifraj de b.c. Acesta este folosiL nai frccvent la nr. 320 unde de-a lungul sistemului 6 F'ctrra, Venelia i, mai tlrziu, Bcrgamo, cste nu numai prin publicarea compozifiilor sale, dar i prin prezenta tn cu-
citirn: 43, 56, 6, 43, 43, 65, 43. legcrile germnc, unul dintre muzicienii importanJi ai secolului XYII (KMl, 323).
{ tn Ricorcli, 469; Giaconro F'inctti (nscut la Ancona, seclul XVI) este prezentat drept un compozitor tipic al stilului
Se afl in Codice i specificri ale instrumentelor cu coarde la nr. 216 i la nr. 344, unde concertant, cu numcrose publicatii (1605, 1606, 1609, 111, 1613, 1617-1$22, 1628, 1631) dintre cre ne atrag atcnfia:
Cianu face o nsemnare bilingv, legat de interpretarea cu dou viori. Pe aceeai penultim fil scris Sacra canlones a 2o. con otg. libro 3'; Concel ecclestaslci d 2-4u,con.org.; )llotctt, concert ct salmt a2,3,1 e I v.
de mina lui Cianu, este i nr. 345, tn Ballelha Iialica a Z uoc(iltus) dup al crui tiilu, imediat, llbro 1'-", Francofortc, Schnwetter 1631; vezi i lista bibliogratic ln La Musica, 662.
a5 Joan(nes) Dcschamps/des
Champs (compozitor?/poet?).
snt nsemnate, n dreptul vocilor respecLive, uiolinalvio!(ina) . Titturi bilingve se mai lntilnesc r Johnnn Stadhnayr'(1570-164S). Sublinicm, c pentru compozifiile (excusiv muzic religioas) capehnaistrului de curte
atit cu cele dou limbi scrise una sub alta, cum este nr. 146 llourics Nofa Smidt Curanta (Couranta ce--la Salzburg i Innsbruck, istoria muzicii lnrcgistreaz evolufia tehnicii b.c. spre forne instrumentale emancipate
(Kr\n, 730).
fierarului), cit i n combinalie de elemente latine cu maghiare (ex. Nagg Patrem), cum sint rr. rt Leo Hasslcr (1504-1612), Legat lnc de tradifia polifonic a seco]ului XVI, compozitoul se lnrleprteaz
340, 341 i 343. .FI-an
totusi de modrtrilc biscriceti, adcrind la sistemul major-minor i contribuie la ilustrarca textului latin prin muzic,
n cadrul titlului, locul compozitorului piesei muzicale este bine stabilit: dup titlul propriu-zis asemeni lui ilIelchior lranck (I(Ml, B4l).
{8 Canzonettc,
eventualele eferiri asupra vocilor discursului muzical se citete numele compozitorului. Dintre cele madrigalc, misc, psalmi, motote concertante, litanii i antifonii de O. Tarditi sint publicate ln 42 volume
i tntre 1022-1670 (Ricordi; 1038; pentlu bihliografie: La Musica, 12??). Specificarea, c lnsemnare adiacent ln titlu,
51 depiesescrisedeminalui Seregelv, cu numele compozitorului specificat, 13(nr.7,16,23,24, 27, 29, a pc-rsoanelor (posibile pcrsonalitli ale vrernii sau vieJ.ii muzicale), de la care copitii Codcclui defin anumite piese,
aat
31, 32,34, 35, 37, 46,48) poart numele Ludovico Viadanaao nsemnat de Cianu ulterior. Ca ultim .modul ln cae cilculau inforrnatiile i materialele rnuzicale ln secolul XVII. Astfel, la piesa lui Horatio (in
, ,(].1of9/ Tarditi (nr. 62), Seregely Matthias arat c o are dc la Sebastian Wildener (v.i., V), iar la piesele sclise de mlna
delintor al Coilicelui, el intervine i cu alte menliuni n scrierite lui Seregely: la nr. 8 trece srbtoarea u uarant se intilncsc astfel dc specificfui la nr. 82, 233 i 273. Chiar i cei doi organiti mentionati, unul la Seregcly
(Lo.tzmann' la nr. 1?5), altul la C:tianu (la nr. 89) slnt cventrtale surse ln copierea materialului muzical i nu numai
religioas la care se cnt piesa, la nr. 57 insereaz o forrnul literar de ncheiere sau poate tot speci- posibili
'{0 comozitori.
ficare legat de slujb, iar la nr. 60 textul de sub notele lui Seregely este scris de Cianu. Exist ns nota 48. Avlnd ln vedere intensitate legturilor pe care saii din Transilvania le aveau cu vita cultural
-Vezl.5p
i alte dou compozitii ale lui Viadana, unde numele lui a fost consemnat chiar de Seregely (nr. si univesitar din Frankfurt/Oder (vezi Constantineu, 153, i55) este
de pc Odcr', [osibil ca organistul citat s fi activt tn oraul
I'app cst pentru o descifrare diferit: .Getzrnann".
39, 128-139). "^ ^{,ncs
"u Adriano Banchicli (1568-1634). Clugrul-organist, olivetan din Bologna, se remarc la lnceputul sccolului XVII atlt

a0 Lodovico (Ludovico inCodice) Viadana (160-1627). Atriluirea invcntii tehnicii do cornpozi[ie cu b.c, considerat ..
H:i:iil'ffii,::i#;.;::.:trtuor'iii.ff 't, cit si ca teoretician at teinicii b'c', pubriclnd L'rsano suon,rino' 1605, i
este urmarea iinpactului pe cre l-au avut concrtele religioase ale acestui capelmaistru- al domlrilor
or l\'locanu 1,61
astzi greit - nu numai cll ,G. Guotz' i nu 1l ia ln consi-
corectcazpe Simonis, 54, care descifreaz de pc original
i biscricilor din lvlantua, Fano i Venelia asupra lumii muzicale i in mod special asupra lui Sch{itz (KMt, 805). care rrescifrcaz.Ambro. Guot or. (?)1 uar corectaz chiar ortografia
ft,e,'"t;f,i:,"9t.;l#t:lJtt.t;t,
99
23
 scris de Cianu
-- se vede titlul respectiv la sfritul prlii sau partidei precedente, chiar dac la
(nr.201),Jutyl\fangonis(nr.207)'nua.i/emirrcsiguran}adescifrriilordincartzascrisuluilui in""prt este prezentat un sistem ordonat, asemntor celui din grafica orchestraliei, folosit aici da-
Cianu. inriti atternanleis8 dintre org i cor. Acest procedeu este prezent i la alte apte piese (nr. 79,"doar
167,
iZ, gO-t43), toate cu scrisul lui Cianu. Nu am dat numerespeciale subsecliunilor, eventual
Atlii,cumsintJoannesSpielenberger(nr't??"'94)'clesprecareaflmtintrsemnrealui cassabi (nr'
instrumentirt i"-i""a, Melchior Francksz (ur' 93)' Gasparo tere (a, b, c, d, ...). Pentru partida orgii, poate fi lntlnit termenul ,,organista" n loc de ,,organo'
cianu c este m*zicia' (nr' 314)'
Iovetta inr, ias, o**", sirnralii (nr' 283)' Francisco Ma'ia l\'fatini compozr- lnr. 167). Iar n cadrul misei lui Spielenberger (nr. 292-300) alternanla dintre,,Chorus" i ,,Organo'
2g1), Joannes cu orga'iti,
(nr. 344f3 *usl.reaz nn tabro. cle epoc in secliunea notat cu nr. 297 vine cu elemente noi: toate subsecliunile ,,Chotus" nu au subtitluri i
l\rathias Apelli ('r. 26g) san Gesner sall nu clerului' dar muzlclelll
gernani, slovaci, tr"rrrilvn*eni, unii aparlinnc - - slnt scrise pentru o singur voce, ir partida ,,Organo" pentru 2 tenori i b.c., pentru care este con-
tori itaiieni, sau ajuni n paginile cocliceltti
prin circula!ia compczai;
cu tolii. cuuosculi linutului transilvnean ceput do altfel ntreaga pies, prezint de fiecare dat un subtitlu. Semnalm i situalia apariliei
momentul cle evolulie al muzicii
cie la un orgnist ia alt,.], ei reflect ceiinlele tirnpuiui, neteptate a termenului ,,org(ano)" la nr. 325, f r s fi fost u prealabil sau s urmeze o alternan!
liilor organisL' lntre org i cor. S-ar putea presupune o preluare exclusiv instrumental a materialului sonor. Sub-
gusturile 9i necesitlile muzicianului
t"""ii cr'rprini in Codce' autori cle lucrri
ii religioase'
"ntui'ln ceea ce-i privete pe compor,aotlii alb*rud pro- titluri latine att pentru ,,Chorus", ct i pentru ,,Org(ano)" sint i la gruparea aparte, pe care o fac
fie el seregely sau l(aioni, le qulege i i'terp.eteaz com-pozifiile' oiesele nr.340-342, scrise pentru o singur voce' cu text maghiar.
clugrul fra'ciscan, l{einricr Schteoo
testanli ca IIans l"
go.t", 1rr.. zaf, Ui"'o"y"ttts Praeloriu'un i"r' 220.-226) i |n Codicesnttrei titluri,laf. 164, 210 i 272, lr.piesamuzical ce ar trebui s Ie urmeze.
Nu le-am numerotat, cci primul reapare ulterior la alt fil (f. 188), cu material muzical i titlu,
(nr.2I?)rtrruireprezentarrtalmuziciicortrareformeiJacoblf()nct(e)I. otuto'm"i prin traclucerea cli'latin iar urmtoarele nu exist ca muzic, ci doar ca intenlie'
De alb{el, Ciriar* 'lelege i o"rlo fri*ciileinaintate p'oprii
pop*lare de infruen! .aisionr irr- zg'i 233) 9i a te-'rturui celor patr* cornpozilii Avem i titluri sau fragmente din titluri greu descifrabile: la nr. 30 (prescurtarea), 85-87 (ti-
a pieseror. ne ltn*resc asup'a pa-
t;r*;;;i;:orlicIui.56 ou cint'e aceste compoziii, ca'e tluri germane).
nr. (340-343), de (n,-' 340 cu 7g '1i 16r' Reconstituirea titlului deteriorat al piesei nr. 75 s-a fcut din pulinele elemente rmase i din
nc arte varia'te n f'ere cot,celui
ter.nitfii prin nsemnr'e,ror, prezint, pentru voce solo i textul de sub muzic.
311' n forn " "ot""'t leligios'
nr' 342 cu 167' 276 Ei 2g7)j7 I-" pi"'n nt" O situalie special se ntlnete la nr. 326, al crui titlu este desprlit cu o linie orizontal
b.c.,sLscris,acolo..,'.1",",-"'1io,,.n,4'..*"locompoz,itortrlui,,,Joannesliaioni... de a exploata de prezentarea cuvintelor sub form strofic, text al piesei muzicale respective. Tot n titlu. pot
, uneori titl,rla riirit.rr piesei prececente, poate din obiriuinla
ln manuscris citim i cle Cia'u' fiinsemnriledefacturmuzical(ex. nr. 249t Peccaui en I uocibus ecerptum Altus, SoIa uoce -
273' 287' S1t' tZ' 315' 310 scrise
fiecareloc liber. aceast sit.alie snt nr' ' tS' ZtZ' nr' 81'
*tlfi ale picsei nr' 55' notat cle Seregely' si piesei din I voci am scos alto - voce solist). Scrierea unui titlu (nr. 327) de dou ori n acelai loc,
Uneori i n cazul'nsubtitlurilor, cum ""t" a doua oar mai mare, provine din dorinla de a face titlul mai vizibil.
-*jc rtu Irr' 9l tlin cotlicc)
rnc ]11,b:l:rti)";"i^t* rricc r*'i,rt"ii".."r (rcgnr-' c'c.Lrrnl'
e2Corrpoziliilcpl.otestxnttlluiIt.lchiorlrrnn,t.k(158c-1639)nrr'scsptijittpetclrrric'ab.c.;altrrridclllss]cril)l.netorit
(Iil\f' 287: I'czi ;i (lotr-
forosc$tc i' picselc rcrigioesc Ittl'ratlen
cRIc Yolr[nttl'iu' fAO, lieue ]'aua-ncn"';'1;;;;;t'r;'-J
. dansrrr.ilc instr.umenteldintre
Segmentarea Codicelui
.,
:ii,,i..iit j1j:i,!'.:^Ut1;'":"1:,1i",, ca Jacob*s.r.rnhf,ri",1j:,,',(' 16'13),
sn* Gcsrre'sittL
- .roan'dsfciio-
ttrjnittc: ;t I
i

lnnrri p.ovettn 1r-icos, .rohanncs si,,',or.]"I,.ir""t".".r".i","li"ttit"apcttict si l\Iatltins '\pclcs Lt'c- Privit ca un ntreg, Codicele apare segmentat n nou mari compartimente (fig. 1). De la
i "", ,.'"'ii";.;;.";ii. to,rult"n'ittt"tt*ti';i; iirertl.ionrt a.ricottrlri p.csttptttrc
ll
(crrlcgcre astezi pier:<tirt
_
figrrr.ri<
strrdet,.;;p; r.r"nr.ru.td.i.t'-';i'p* ""r. u,iro'r'l
rr'liertlrrl' I' (lotsla.t- I f. 1 la f. 44 se distiuge un prim compartiment (fig. 5), n care predomin scrisul lui Seregely (nr.
r,errstcrn (159f_roisl, ""...." r*"r;i',;;.iJ;i-,{ir',;;,: diu Jirrii', ra lon<rur
facc t'it'it.ri I
1,2,7-10,73,1"6-20,22-24,27-29,3l-44,46-48, 50-70), cu 54 piese religioase i nr. 62,
rcspcctivc;,]]rir Ia o0 200 .il

ct" accastir aat cu o."'.,rir.ii it*,'r"t

a. arcr*itor.rrl crrrcgcr.ii riotclc i i
.cscu r:'n'c.ri pe celai r\pcjre.1,."cris ;;';;"k;i t"^nuscis ,,cc ... c'p.irrlc stirne <leptt'sn .l;'s t La Romana de Tarditi. ln spaliul lsat liber de Seregely, Ioan Cianu a inserat B piese religioase
' iE"*i:ir.i eteriate. ur.rp-.o:-ii.rri "o,r-,pozitur;
n."ti* il^;;";;';rir,1,,i^,-l'ro.'",.,1"-iil'.-, rzsi,'ri'pt.i.'i,i,'i.p" J,oi1a]"cs st'ltirtrracli' retrrtu t
bibliografice i' r7 il t''ttrrtt'r (nr. 3-6, 11, 12,25,26),2 laice de influen! religioas (nr. 14, cu text maghiar i nr. 21, fr
n.iii''",,u'"ut cir alL culcge'isza'olcsi
11

pe'tru 7 " l,,,"nii',

sccotit,* te;rt, dar cu til"lu maghiar) i alte 4 laice, instrumentale (trei balete i o courant nr. 15, 45, 49
nr. J5 (xragnt cai',,tcutscrt-i, ""
(106-i670)
^..,i1,,ii"i,i,i
,rcv-ir'n i pe Gcssncr' : foloscsc i'cii Iirrrlla Lititrlr
i
-
p.i't.e a.tor.i, o-rr,ra.".i'-"nu...i*,rt
LlliJ;;"';riion'r.r: '/cr,o. i 30). Dac cele B piese religioase scrise de cel de al doilea i principal redactant al Codicelui, s-ar
',
Ti1,,i),ilti:il*[-,**:;iu*''*,*":';;\:""'l:*i"liri.;i,
crii,'So.,:ot si:tlgrtical-1t{ntl'90ll^-^ r-.erntte pcrtru colrr!iir r'uzicii euroPe'c, prin inr-
putea s aib legtur cu siera tematic datorat lui Seregely, piesele laice ies din acest cadru tematic,
deurt-Gesangbttl,.
" 'i:'',ffJii;iii:"'"'rliril'lt"::l,l:l'[1,1T";:ii]',,,irlli'';iirl',:;
ocupnd doar spaliul rmas liber.
seistticlte l{on=erte
I' It (163(;'
l;;;i:::l;1,;Ji.';:f.r,i:ii,ii:'" Primul compartiment conline i cele mai multe din nsemnrile lui Matthias Seregely, ca
svr,,,i,ni,'i;s';;;;; i"li' lrr rro:' iri'
iooi' 't{Lcn'c
ligioase pe texrc ,ti" .ii's.r,r"r,". cot'trt'i' cotslantitrcscu'
iri"['n-1rozr pc.t'''r.dott
_ ru"."r".r.rii"r,r l.i Locro'ic. ri.fliiir,-
ocs)
--.oi .iiiirrii'i"r^"1; i;lriiicri tlc .e'rrnc (irrirrcnr' .or:r prim redactant al Codicelui. Doar prima (f. 4) nu prezint consemnarea anului, la celelalte, naintarea
, 1639) i"cnrrrr i\:r, " in filele Codicelui se face proporJ.ional cu anul nscris (f. 12 1634; f. 19 - 1634; f. 33 1684;
155 ineu[ion."rl "ni."u n T.urrsirr.ori",.ii,"i'ir, r,'u11if iipi.=lro.ii" colice
ctt c^r'ot\il.?lilil]tr,"rj:i:1,i,:"iiil'u
67 cu risrn bibliograricr), c.ea
ce sus{i'e
",1r.*"
dcrea ror.. cr,ia. o v"iuar cu'o,rrcr'*(.110)'
"r"':"
:l;"1:,J:lii.l'iilirl'i'1",1,;:';i;.;iii,crorric cu r. c. f. 36 - 1636; f. 37 - 1638; f. 40 - 1639), v.i. II-VII. - -
apoi Ia p:'lt'rt locl or
",;;;i'";*i;-'t,;i1.;.'1111
orczentat iltii la p"il;;;;i ornofonc Al doilea compartiment se ntinde de la f. 45 dr. la 63 stg., n el intlnindu-se exclusivscrisul
(v.i., :1, :2, :n) $i ca ir.st'lcaz,intru
,. '$'.ili:iiiT,i"fJljffiiil*fl5li.ll:#:l"".ilT:illillscnur,iritc sarc
"r'-nt" scrise',- s-irualia lui Cianu (fig. 6). De-a lungul f. 45-54 gsim 7 piese religioase (nr. 71, 75, 77, 79
"
in ,"JI.ir-i;i.'ir*tnnti'.,r-'il:il;,"pr'.riite, int'c've'(iei Rero''ei i contra- -82),4instru-
rot.l emanciparea intelctuarului i.ii""1, "r"ii""i"t*l'r-"i:-n mentale (nr.72-74, 76) i una vocal instrumental de influen! religioas (nr. 78, cu o parte a
oscilant u t"xt". muzicii reigioase,
"lrr''i,"ir^ textului latin in form strofic pe f.. 47, iar restul pe f. 60).
refolrnei. ^ .. , ^,.-.,, ,.i^.o aro - 1 t accleai carnctelistici cu
,, ;!lulJ.1J"j""i#i,: .;;;r"'tc cinnrr' t-otrr$i Existenla pieselor laice la lnceputul compartimentului, aituri de altele strict religioase, ar
,::it:f{,1:iiffiJ elJ":',"ii:-";.::'il111i::J,[#
.rin'uj'elvi Gza Papp (IYDT
i,i c',:1,kril.ii",ir"r sr.-poi,r ;isopro'briirralva'
(ibittttn' 26/r)' figu'caz putea fi datorat, eventual, i unei indecizii in rerlactarea pieselor de un anumit gen. De altfel. pe par-
accreai picsc sc ld"rli'"ii"i.il'i"ir, u".l,"iu *iiei""'', t"''i"ij''i"s'i"'''! ti.'ry' 166' ale ltti
tr, 442) orot "-"i.,r"" r.,, pop',la.
r-nanus"rril","i;gni;;i;.;''"
-",,
-iuu"1i" 2oe ,si oroano;'lrisscle' inr forma
, '";; ito'rit. strofice,
cursul f. 48-54 se observ c reciactantul s-a hotr't s scrie rumai piese religioase (nr. 79
-82).
rrr vech'c canu;;ai; cc..nc i
tip. gr"sori"ii patr r'or.irc i.;;i;; i
_"r. de sc.'irribr'ire
cian.), rn rorma.unu - cieao_ctc tB Reamintim originea scrierii alternative, aflat ln magnificatele pentru orgii (versetele se schimb
inte cor i org),
:,,'l,:f:;:;*l *,'1"::t:',f'''i:iJii;d#i{t'****ii'*i'":'Tf;:T'"*nl:*'I!i
tt"i''Cti''"-t*tral' nlt'ri <le e Ileata Yirgine oonstituirea aeestui procedeu ln perioada prereformei i inflorirea lui la sftritul.secolului XVI.
pau, rtepozi,.-rto*i"-nilrliote"; .nive'sitaii. ai,t e,iOnp"'t",.o I)ominicalc'
Cltnclipocns' Solcmt:';;;;;t' )!itus
st'ucmrc'
[aLio, l'olonicaltl'
25

24
 n schimb, de la f.55-60t0 reapar piesele laice, instrumentale (nr. 83-94, 96, 97), compact
grupate. E,xceplia, nr. 95, pies religioasr, se inlegreraz prin scriituia instlumelt*iir. Piesele l,rice de
pe aceste ase file sint dansuri de curte (nr. 83, 89, 91, 92, 96, 97), balete (irr. 90), piese introduc-
tive(nr.84, 88 - pe o melodie popular, 93) i lucrri omofone, cu tit,luri gei'rnauc (nr. 85-87).
La f. 60, dup picsa nr. 97, apare un ,,Finis" si o nsemnare a lui Cirianu, care ne face s pre-
supunem c toate piesele, ntre filele 55-60 sau de la f. 45-60 (?), au fost tcrmilate la acea datare
consemnat de organistul Cianu (v.i., e).
Pe ultimele trei file ale compartimentului 2 avem clin nou o ries reiigicas: o mis (rr. 98 102),
scris pentru 2 tenori cu b.c., n form cle concert religios.
-
La terminarea misei, pe pagina stng a f. 63, se afl 2 piese laice, una introcluctiv (nr.
103) i alla folcloric de influen! religioas (nr. 104, cu til"lu i text maghiar). Ambele piese laice par
s fi fost inserate n spaliul liber existent, crci pe pagina dreapt a f. 63 snt desenate cele 8 portative
de 5 linii.
CeI de-al treilea compartiment al Cod.icelri, ntre f. 64-90, este o nou mare suplafa! cu scrisui
lui Seregely (fig. 7). Aici snt scrise piesele de mari proporlii (nr. 105-109, 111-125, 128-139,
151,154), n urma crora rmn spalii libere folosite nti de ctre Seregely, prin introducelea nr. 727,
140 i 155, i apoi de Cianu. Acesta insereaz nr. 110, pentru care disculia rmne deschisir, dac are
sau nu legtur cu piesele lui Seregely de la f; 64-74, i nr. 126
la srbtoarea Crciunului de ctre primul redactant.
- legat de piesele notate i folosite
De la f. 84, Seregely incepe setul compoziliilor lui Handel (nr. 156-158, 160 i 163), printre
ele reia Regina coeli laeta(rel
- ultima pies (nr. 70) cu scrisul lui Sercgely din compartimentul 1 -
a lui des Champs/Deschamps, creia i revine nr. 159 i le ncadreaz pe toate ntre o Fantesia, cu com-
pozitor (?) specificat (nr. 152) i piesa lui Stadlmayr (nr. 164).
n cadlul acestui compartiment apar pe f.75-77 dou scrisuri ale unor mini necunoscute.
Spaliul liber, rmas pe pagina stng a f..75 i pe trei sferturi din f..77, ii permite lui Cianu
s insereze 3 dansuli de curte i o mis (nr. 141, 142, 146, 147-150). $i ntre f. 78-90, Cianu
completeaz spaliile rmase libere de la pieselo religioase ale lui Seregely cu piese fr legtur te-
matic (nr. 153 - pies religioas i nr. 161, 162, 165
- clou balete i un dans).
lnaintea numrului 165 se ntllnete una din situaliite n care pe pagina clin stnga filei (90) se
citegte scrisul lui Seregely (nr. 164), iar po pagina din clreapta, n continuarea scrisului i a materia-
Iului muzical, cel al lui Cianu. Surprinztor este faptul c pe pagina clin dreapta snt pstrate caracte-
risticile primei mini (desenul valorilor scurte asemntor unor ,,2brele"), ca la o reconstituire sarr
recopiere, care tine s arate c redactantul e altul clecit cel cale a refcut matelialul, probabil cu ocazia
unei noi legri0o a manuscrisului.
n nsemnri ale lui Seregely, fcute dup trei din piesele de proporlii mari (nr. 1ll -125,
12B-139, 151) i dupFcnfasia (ur. 152) se citesc din nou anii 1634 (f. 68 i 73), 163S (f. 80) i 1639
(f. 81), v.i, VIII-Xf. Ultima datare poalt i semntura lui Matthias Seregely.
Redactantul dansurilortigneti face i el, la f. 75, nsemnarea anului 1639, n datarea i men-
lionarea localitlii (Cluj) n oglind. Alturat, Cianu recopiaz nsemnarea, ca s poat fi citit
normal (v.i., /.
Cel de-al patrulea compartiment al Codicelui este cuprins ntre f. 91 i 109 (tig. 8). n cadrul
acestei suprafete citim scrisul lui Seregely doar pe ptru file (f. 98-101). Piesele culese cte el (nr.
175-179) par s fie n continuareacelor de la sfritulcompartimentului precedeut, ar'nd i ele compo-
zitori specificati (nr. 175 - \Y. Gotzmann, nr. 176 i 178 - A. Grandi, nr. 179 - A. Banchieri) i
asemnlndu-se, cagen, cu nr. 152 (nr. 175, 177-179:Fantasii, iar nr. 176: Sinfonicr/. De altfel, ultima
pies a lui Seregely din acest compartiment este ln aceeai situalie cu rrltima pies, scris de Seregely,
din compartimentul trei: scrisul i materialul muzical al lui Seregely snt continuate de pe pagira
din stnga pe cea din dreapta de ctre Cianu. Acestui din urm delintor al Codicelui i aparliire
i restul materialului muzical din compartimentul patru.
ls l-ila 57 a fost transcris i de ctrc Negrea, 63-65.
60 Date referitoare la cercrea lui Cianu ds a avea un legior ln srdr'ul tipogleiici se g.sesc la
26
lui Cianu se poate face dup gen: piese religioase
,Astfel, o lrupre a pieselor scrise de mlla
lnr. 166-169, 1,71,-774), ntre care exceplie face un balet (ur'. 170), formeaz prima grup; piese
iaice instrumentaie, fie
introcluctive (nr'. 181, 186, 2t0-202), fie dansuri de curte (nr. 180, lB?-198,
20,L, 207) sau balete (ur. 199) formeaz grupa a doua. Dar nici aceast grup nu este complet
onrogen, cci la extfeme se gsesc totui liiese religioase (nr. 182-185, 203,2A5,206). Cert este
c cele dou grupe (prirna constituit. diir picse cu prectlere religioase, cea de-a doua din piese cu
precdere laice) se pliazir perfect n
jurul pieselor ilrsti'umenLaIc, cu funclic iutroduct,iv, scrise anterior
de Seregell"
tlrrntoarea sccliune a Corlicelui compartirnertul cinci (ig. 9) se desoar te ia f. 110- 127,
ntref. 109i1l0fiincl o fil voit nenumerotat. $i aici se pot dcosebi dou grupe de piese : la prima
preclonril scrisul liii Scregcly (f. 110-116), iar la cea de-a doua citim numai sclisul lui Cianu (f.
lt7 -127). De alLfei, mna cclui de-al doilea retlactant insereaz i dou balclc (nr. 209 i 213) printre
piesele reiigioase ale lui Seregely (nr. 208, 210_212,214,215,) dintre care dou au compozitorul
specificat: Gio(v.rnni) ValenLini (nr. 210) i Alexandro Gi'aiidi (nr. 2l,L). Piesa de grani! dintre
scrisul lui Sci'egelv i cel al lui Cianu (nr. 216) poart, i dc aceast dat grafica ambelor niini,
cca de-a doua pstrind caracterele scrisului mai vechi. De altfel, piesa este un dialog intre dou vio-
Iine cu b.c. i urt soio de bas gi ilustreaz foarte bine nbrepbruntlerea clintre mrzica vocal i
cea instrtlmtntal .
I.a f. 112 se descifreaz cu greu o nsemnare a lui Sei'egely, unde nu a cxistat sau nu se mai
poate citi anul (r'.i., XIy). ln schimb, la fita 115 citim o nou datare:1642 (v.i., XV).
Cu scrisui lui Cianu snt, n afara piesei instrumentalc, cu modul bisericesc m:af.iona!
- nr.
219 -, a nr. 229 i a piesei cu subiect saiiric, popular de influen! religioas - nr. 233, numai
picse religioase (nr. 2I7,218,220-226,227,228,230-232). Dintre acestea, nr. 218 are la origine
o melodie popular.
up trei din piesele lui Cianu (nr. 218, 231, 233) snt nsemnri: la f. 117 dr. ntlnim angl
1666 (v.i., j/,' iar la f. 127 anul 1664 (v.i., 1). t,a f. 126 nsernnarea este strict muzical (v.i., /.
1n cel de-al aselea compartimettt alCod.icelui (fig. i0), ntre f. 128-140, dup pieselelaice
balete (nr. 236-238, 239-240,244, 247), dansuri de cur''.e (nr. 243, 245, 248), fug (nr. 234), piese
instrumetrtale cu titluri franceze (nr. 241, 242, 246) i unelc cn compozitorii specificali (nr. 235, 247 ?,
248 ?), ntre care Flans Leo Hasler (rir. 235) este figura cca mai cuncscut,
- notate de mna lui
Seregely, se consiat un grup compact cle picse folcloricc (clansuri populare: nr.249-259) cu scrisul
lui Cianu, clintre care nr. 252,254-257, 261,266, 268 snt romneti. Ele au fost transcrise i
conerttate pn n 1948, nainte cle disparilia ternporar a Codicelui de Fab 8.,61 Seprdi J.,62 I\,f.
Irlegiea-.03 Tlanscrie'ile publicate n perioada postbclic pn n 1985, par s fie copii ale celor trei
autori mai sus menlionaf.i.6a
1n afar de acest glup, Cianu noleaz i o pies religioas (nr. 249), clup care face insemnarea
anrtlui 1663 (f. 13)
- v.i., m -, i o pies instruureutal cu funclie introcluctiv (nr. 265).
La f. 138 i 139 se regsete scrisitl lui Seicgeiy pentru o ultim dab n filele Codicelui (nr.
20, 263
- dansuri instrumentale).
1n compartirnentarea filelor urntoare din manuscris, unde am nblnit nunai scrisul lui
Cianu (penti'u f. 203 vezi compartirnentul lou) s-a
linut seama de tematica i forma pieselor,
iar ln delimitarea urmtomlui colupartimenb, al nsemnarea i datarea lui Cianu de la
f i27 au fost cecisive (v.i., t/. Acolo, el ne vorbete deaptelca,
un ,,aproximativ sfrit de carte", care ar fi trebuit
seprdi 3' 222-225' 227' 228 i nota 22'
i i"l"ir"g1t{,-r"t1z'3un'1 '',i
".iljrtiil|!tl .. 1-r, 8, 1z-s3, 62, e1 10s, piesete transc.isc din codi, care par i la sepr'di J., au rlele nume-
ststern Sept'di(l'n-(n{1)o), iar cele patru Cftorec (a cincea, Chorea poloiicd, nu a publicat-o,
;:,'-"t"'n nefiind clntec
iiT,tii-u,t:ll"ali,nciiltcg|lndu-se astfel"problenticii lucrrii), pe cre rSzabolcsi B. le-a publicat i tn anul 1927, tnanexa
;;iri::j1:l lui.S-ztnnk Bla ln Zenei Szenle, XI (vezi Sztank), shrt. localizate pe fiie numertate dup un sistenr ase-
ni lui lfarfian t'sgre (frtc-le),i artumc: {'r1-r,, Seridicproblrnadacnu cumvatrenscieileaufot
;iljj*i"",."91
arrcrnev-a' Oarc dc Sztrnk llla? Fab, 20?, tler:irrr c la transcrieri, in 1906,a lostajutat
Gyrgy, 190. D;;.:," de Sztank Bla,
de ceee ce vedem n corrr'ce, apare, ra pieser
,.;"ir.,,;
iiH"i :"li,t1":""-,'-'";'i|ii'tf;;jliferent
z'./,
s fie la l. trimite s gsim scrierea ln tabulatur (numerotat 281) a piesei 233. Piesa
157, unde ne fstoricul cercetrii Codicelui Cianu
nr. 281 este urmat totui de un Benetlicam (nr. 282), dup care nu vine amintitul sflrit al crtii,
ci un ir de alte piese (nr. 283-288, w dtagnificaf al lui Joan(nes) Simrakii nr.289 - compozitor
Joannes Rovetta; nr. 290; nr. 291 - compozilie a lui Gasparo Cassati), scrise una dup alta, toate Literatura <le specialitate asnpra Codicelui Citiunu ire ofer' o imagirre destul de inegal, ntruct
de acelai tip (concerte religioase). ,,Sfiritul" cutat - un ,,Finis" i o datare (1664) - v.i., I -
orima geeralie cle cercettori, care a avut posibilit,atea s studiezc lnanuscrisrrl n origina, nu a putut
careseleaSdeceadelmf.727,icarenedposibilitateas delimitm ln modulcelmai firesc posibil
iace fa! problemclor riclicate de manuscris. Primelc infolinafii tlcspre Cotlice i conlinutul su provin
compartimentul al aptelea, f.. l4|-168 (fig. 11) - apare abia Ia f. 168, la terminarea piesei nr. 291.
mai ales cle la nespecialiti. O mare parte a acestor.studii sau transcrieri n-au fost niciodat consultate
O prim grupare ar fi un numr de patru piese: nr.269 i 272, dou lucrri mari, omofone,
de specialiti. Din momeutnl n care a risptut manuscrisul, cercettorii s-a'-r rutut reieli doar la
cu titluri germane, scrise de Matthias Apelli i respectiv cle Heinrich Schtz pentru cte dou coruri;
izyoare secunclare, la lucrri aprute nainte de cel de-al Il-lca Rzloi l\dondia, repei.nd doar afir-
lntre ele un Erultate (nr.27l), pies ampl coral omofon, care pare s aparlin tot unui compo-
maliile predecesorilor. Exigenla crcscnrl privind cercetarea izvoarclor i realizarea de scrile istoricc
zitor german i care vine dup singura pies (nr. 270) din acest grup, scris sub form de concert
s-a limitat la informafiile, apropiate snrsei, dar exirem de laconice,0s dobndite in lrimele decenii.
religios, compozilie a lui Jacobus Fineti.
Astfel cle interpretri, de multe ori netiinfiiice, au cgtigat forfat un rol mai marc cect analizele
La sfritul piesei lui Schtz (1. 148), Cianu uoteaz ,,Lgtanice Luuretanae", nr. 2'73, sub forma
efective. Aceste denaturri din litelatura de specialitate s-au bazat n mod rcgretabil pe seleclia
uneischeme,cepoartospecificarelegatdecelcareaadttsaceastmuzicdelaPraga,n1661 (v.i.'n,).
unilateral a materialului muzical publical p atnci clin Codic.
Un al doilea grup l reprezint concertele religioase (nr.274,275, 277-279, 282-251), clintre
Primul care a atras abenlia asupra activitlii muzicale a lui Cianu a fost Bartalus; cnd a
care unele (nr.274, 275,277,279) cu b.c. specificat, altele (nr.282-291) doar cu vocile soiste.
publicat cteva piese din Organo-Missale.Bs n urma tipririi lucrrilor'o7 lui Cianu i a cntuziasmului
Printre aceste zece concerte snt ns i trei piese, care ies clin grup: nr' 276 - variant a pieselor
frafilor clugi'i franciscanis, interesul literaturii s-a concentrab asttpra organistului franciscan. In
nr. 167 (vezi compartimentul patru), 297 (din cadrul misei nr. 292-300) s,i 342 - toate avnd ca
18g4 Rupp IioruI a fcut investigalii la Miercurea-Ciuc asupra activitlii lui Ioan Cianu pentru
tem aceeai melodie popular, dei snt piese religioase; nr. 280 - o fug, cu o nsemnare deosebit
Ilarele Lericot PaIIus8e i a scris urmtoarele despre Codice: ,,Exist n afar' de acestea un volum n
i o datare legat de anul 1663(v.i., Q);n,-.281 - amintitndisculia delimitrii compartimentului. manuscris, care este plin de note ce nu pot fi nlelese i care a fost realizab ntre"1652-1671 ; mise,
Datarea pieselor nu apare nici aici, la Cianu, direct proporlional cu naintarea n filele
antifonarii i acompaniament de org penbru innuri."70
Codicelui: 1.. 152-1664, f. 75711 -1663, f. 15712 (menliunea de la f. 127) - 1664, f. 168 - 1664
Novicele Rduly Sirnon a scris n 1903 la Cluj o tez"a despre acbivilabea lui Ioan Cianu,
(v.i., o, q, I, r). Probabil unele din concertele religioase, pn la f,. t57,la nsemnarea din 1663 -
februarie, au fost scrise n acel an. Apoi, Cianu a coutinuat cu scrierea fugii datnd tot 1663.
dar dup cunotinlele noastre nu a iclentificat descrierea lui Rupp IlornI cu nici un rnanuscris
revzut.?r Fab Bcrtalan, it cartea sa intitulat. ezuoltureq. muziculi a cntecului popular naqhiar
Nr.276 i 281 au fost inserate, probabil, ulterior. Dac tot grupul (nr.283-291), care urmeaz
(1908) a publicat linia melodic a ctorva dansnri din Coder.l2 Seprdi J nos, ca profesor cle rnaghiar
numrului 282, sau numai piesa nr. 291 au fost trecute n Codice n toamna anului 1664 nu ne pntein
pronunla. n schimb, aceast ultim consemnare a anului 1664 ne-a permis s sesizln n Codice i latin la Colegiul Reformat din Cluj, a luat n mn Coderul pentru plirna oar n 1903.?3 n
1909 a tinut o prelegere academic?a si a scris un ung studin?5 rlespre el. Aceast lucrare, care este
un nou compartiment. Este vorba de compartimentul al optulea (fig. 12) ntre f. 16S-199' care citat drept o ucrare funclameutal, aclucnd aiirmalii vericlice privind viala i opera lui Cianu,
conline n ntregime numai scrisul lui Cianu. Delimitarea pn la f. 199 am stabilit-o dup genul
face relerili la Rduly Sirnon. Meritul ei cel mai de searn este c, prin pierderea lucrr'ii lui Rduly,
majoritar (concerte religioase), dup nsemnrile i dabrile (f. 173-1659, f. 181 - 1664' f. 182 -
a salvat pentm posteritate ditele legate dc viala i operele lui Cianu. 1n ceea ce privete istoricul
1664, f. 185 - 1664, f. 189 - 1664, f. 195 - 1669) rlin file (v.i., s-/, dar mai ales dup ultima
Codicelui, Seprdi nu s-a inspirat de la Rduly, ci l-a schi!at ire raza cxperienlei sale cle cercettori
semntur i dat uscris (169) la f. 199 (v.i., V).
i-a fcut descrierea filologicr i i-a stabiiit notalia muzical. A eviclenliat redacbanlii i a dat datc
Compartimentul incepe cu piese ale lui Joannes Spiclenberger (nr. 292-304): o mis 9i precise legate de ei, a emis presupunerile sale despre procesul de constituire al culegerii.T6 A vzut
patru concerte religioase, care au specificate doar vocile soliste - aceleagi pentru toate piesele importanla nianusclisului n faptul c prin caracteml lui de uz personal i conlinutul divers esbe o
acestui compozitor - doi tenori. Dup lucrrile lui Spieleuberger ntlrrim, ntre f' 174-199, douzeci-
surs de referin! care ofer o imagine nuanlat despre istolia muzicii transilvnene clin sec. al XVIl-lea
itrei de concerte religioase pentru una, dou sau trei voci soliste i b.c. (nr. 305-328' 333-335). i care umple petele albe.?? f)in punct de vetlere al conlinutului a cleosebit 3 categorii: muzica
Doar doupiese au autolul specificat: nr. 311 - la care se vede chiar numele lui Cianu: Fr(ater) religioas, muzica de clans la mod a epocii i rnuzica folcloric maghiar. A publicat 25 de piese-
J(oannes) Kaioni - i nr. 314, avndu-l compozitor pe Francisco Maria Marini. lnsemnrile ne fac
dansuri, cntece cu texte latire, maghiare i ligneti -- concentrntlu.-se as'rrpra materialului maghiar,
s presupunem, c i alte piese sint, eventual, compozilii proprii ale lui Cianu' Forma' scriitura,
i a atras atenlia asupla compozi!.iilor autorilor maghiari.
existenia sau lipsa textului, conceplia componistic asemntoare cu cea e piesei despre care avem
certitudinea c aparline lui Cianu ne sprijin presupunerile.
lntre nr. 329-332 gsim cele patru liianii, numerotate i de redactant de la 1 la 4.
85 trIoZtiilt lI: 182, 402, 5oB-J09.

Ultimul compartiment al Codiclui, cel de-al noulea, incepe ta f. 200 i se termin la f' 211
66
Baltlu,c. 10S - 11 0.
87
Szab R;]II(/ I: 1188, 1320, 2084, 2035; II: i Szab r'rllisz.
(fig. 13), nsumnd piese i texte cu scrisul lui Cianu. Exceplie face la f' 208 un scris strin, al unei
1,119
(6
Sinon J., S97.
mini necunoscute, ce pare s fie o ncercare de explicalie, f r claritate, a scrierii de tabulatur. Com- a0
Nryesy, 17.
partimentul prezint i la f. 200 i 211 dou texte maghiaLe, 'r'ariante ale textelor latine, ce apartin
?0
Frpp, 62,
71
pieselor nr. 7B i 233' Sepr<ii 3, 12-q-1g0, 145, Toza lui Irirluly ijimon s-a picrctut.
I.-ab, 202
Ca piese muzicale, snt scrise n Codice un concerb reigios ncl.erminat (nr. 339), cinci piese instru- ?3 -211.
Sepr.ti l, 118,
mctale (nr. 337, 338, 344-346), o pies laic apartinind folclorului, dar cu influenle religioase ?4
Textul conferinfci: Seprdi 2.
(nr. 336 - varianti a piesei nr. 78) 9i patru compozilii proprii (nr. 340-343) i clou titlu-r'i de piese, Seprdi S,
fr material nruzic,ali una fiirrt n rnod cert r intenlia lui Ciauu de a fi trecut in Codice, cealalt Scfrrdi g, 130 _1gS.
?0

Seprddi g, 4t0_424.
fiind, poate, doat o lnsemriate: Mislouski, 2 uiolinis fi O I)amine I)eus agnus.

28 29
 Literatura de specialitate filologie, care s-a dezvoltat 1n urma Iui Seprdi, rle-a tsat puline
informalii noi' ln 1929 Domokos Pl Pter situa Cod.icele Cianu printre izvoarele documentare ale
unei singure regiuni, prilrtre crfitc qle cntece clin Ciuc. Firr s-i rrezirrte continutul, a sbliniat
c rolul iniliator n lntocmirea culegerii nll a fost al lui Cianu.?0 Faptul c 11 istoria Orcliului
franciscan din Transivania, publicat de Gyrgy Jzsef n 1$30, s-a fcut o analiz sunerficial a
manrtscrisului, ar putca s explice cie ce Domokos a citat date perimate dup Seprcli, n ceea ce
privete anul rcclactr Codicehri i redactanfii.?eocumentul nostru este sit.uat de Szab T. Attila
prinlre crlile de cutece (manusclise) cu irrformatiile cele mai necesare preluate cle la Sepr-i
i
f)omokos Pl Pter.8o
Fa!ir de cele mcn,t.iouate tnai sus exirt o diferen[ i::bitoare la Boros Fortuuat, care, pornind
de la nscrnnrile ciir Cotlice, a fircub investigalii asupra iclentitlii redactaniilor precaionieni, c-
utndu-i de fapt printle iezuili.El Dei confruntarea clescifrrilor apriori incerte i laconice cu cele
mai recelltc informaf.ii uu pntea s cluc la rczultate acceptabile, afirmaliile ;'sale :, au cirptat o
importarr!ir.exagclat i i-au aclus prestigiul, prin iaptul c mai trziu literatralegat tle Corlicele
Cdianu le-a preluat neolitic. Snt tle comparat ipotczcle sale cu fapte care se justific pcptpr istoria
veacului al XVIIlea a manuscrisului.
Dup Seprdi, Szabolcsi Bence a scris pi'irna prezentare tiinlific axat pe conlingt. Szabolcsi
a cornpletat publicrile lui Seprdi cu transcrislea a patru Cltoreusz i mai trziu a ui Dies iae.ss
n studiul su clin 1928 a definit conlinutul prlii deja cuuoscute a mrnuscrisului integr'nd-o
n dezvoltarea muzicii instrumentale autonome -
prin cntece religioase, laice i tralsc.ipfii pentru
-
virginal ale melodiilor de claus populare sau de influen! popular.8a |n 1938,
.n culegere a Cntecele
Iaice din secolul aI XV II-Iee, a publicat matcrial rnuzical in care, pe baza unor exemple clin repertoriul
a cinci manuscrise, a ncercat s ara.te at.l dierenla dintre armonizarea instrumental i si.ill
meloclic, cL i conexiunile dintre izvoare i melodii.ss Tot aici a remarcat i ptrnderea ruzicii
laice vest-etlrole1e. Parcurgnd Codcele a notat aproape exclusiv denuinirile dansurilor i nsemn-
rile fran!trze1i,86 iar t Lericonul muzicul din 1930 la vocea ,,Ciann', a delinit Corlicele ca fiincl
o antologie ,,4 unor piese de provenien! striri, a unor dansuri populare maghiare, cptece reli-
gioase i laice, muzic n gerrul suilei franceze."87
O alt categorie a Codiceltti, cntecele religioai;e de influen! popular, a devenit cunoscut
prin Papp Gza
- ca rezultat al cercetr'ilor clin 1942, publicate_.doar dup cel de-at II-lea Rzboi
Mondial - r volumul su care cuprinde melodiile cntate clin sec. al XVII-lea.tu $i Domokos
Pl Pter s-a axat pe experienla sa tic jumtate cle veac i pe unele fotografii, cud s-a inspirat
din Codice pentru date importaute muzicale, referiloare la Cuntionale Catholicum al lui Cianu.se
nainl"e de cel de-al Il-lea Rzboi Mondial an fost scrise primele 2 studii romneti cle an-
vergur despre Cianu. Primul, realizat de George Simonis in 1934, prezint viala i activitatea lui
Cianu i apoi Codicele. Fa! da Seprdi observn la el o oarecre independen!i se poale sirnli c pe
tot parcursul studiului nainteaz n cercetare, cunoscnd manuscrisul.eo A ncercat s redacteze
confinutul- Catlicelu Cianu, ns a clat gre clin cauza descifrrii laconice i greite a nsemnrilor.e1
78 Domolos P.P. 3, 104.
?t. Dateaz Cotlcele iutre 1634-66
9i nu consider prima parte fiinti
60 Szal T, 2, lI: ltir. 143, p. 149. - f.1-116 - ca scis- "Je Cianu. G'rgy, 523.
81 Boros 4.
6t Sztank, Anexa suplirnentului partitur, p, 11-12.
13
-
Szabolcsi 6b, 175.
a Szabolcsi 7, 254-263.
66 Szabolcsi 3.
E8 Cf. Motenrect Szabolcs ln arhivele ITA.
6? Szabolcsi 2, 529,
88,RII{DT II:.nr. ?,15, 50iII, i4lt, i5,82, 131, 161, 169, t7411t,247,359.
E3 f)omokos P. P.'4,
898-912 (nr. 602-610).
Clteva-!:comPtgi, valo'oase prin unicitatea lor referitoare
i la alte manuscise ale lui Ciarru, slnt adugate la ob.
scrvafiile lui Rtluly.
81 Simonlo, 10-10,
30
Studiul din 1940 al lui l\Iarlian Negrea - deseori citat ln deceniile urmtoare - l-a urrnrit
intr.u totul, chiar i n
finprlirca pe ca:itole, pe Seprdi, dar dir manuscrisele publicate ip apenclice,
descoperim c a vzut manuscrisul i a atras atenlia asupla unor prli, chiar grupuri de pr[i ne-
citate pn atunci din Coder: dansurile de provenienl r'est-europen, un motet de Schtz i iVIarele
Patrem,e2
Muzicologia romreasc de dup 1945 a tratat problema Codicelui Cianu n mo diferenliat.
Dar neputnd fi studiat manusctisul, interpretrile informaliilor predecesorilor au avut cale liber.
lntr-un articol din 1958 Sigisnrund Todu! s-a ocupat d.e Corlice, 'prezentnd destinul acestuia n sec.
XX i a apreciat stacliul cercetrii, rezumndu-i concluziile n ase puncte: (1) tlup prerea lui,
manuscrisul lui Cianu conine, printre altele, 10 melodii populare romneti i astfel, fiind unul
dintre primele documente ale culturii romneti scrise, a dovedib c (2) o convieluire a tliferitelor
culturi nalionale poate rodi n ambele sensuri; (3) Cianu este purttorul culturii baroce, n dezvol-
tarei itotodat (4)o punte ntre vest i esti (5)fiind un muzician foarte bine informat; (6) clup cum
muzica occidental notat in Codice se afl alturi de muzica popular romneasc tot aa cul-
tura nalional nu este un fenomen izolat.es Luc,rrile lui Romeo Ghircoiaiu,ea se ocup n primul
rnd cu cele zece dansuri romneti citate mai sus n comraratie cu exemple din muzica popular
i muzica cult occidental. Pornind de la cele mai sus menfionate, au urmat alticole ale muzicolo-
giei romnegti, care au considerat Codicele Cdianu drept izvor scris al muzicii populare, subli'iiud
specificul nalional al melodiilor respective.9s
Deoarece n ultimele decenii scrierea istoriei muzicii se putea axa d.oar pe ,,vechea,, litera-
tur, aspiralia pentru cunoaterea de noi amnunte a intmpinat dificultli obiective i a fost
aproape inevitabil ca unii autori, bizuindu-se mai mult pe fantezie dect pe fapte, s cornbine rr con-
tinuare datele necontrolate, referitoare la redactanli i conlinutul Coi1icelui LiLeratura de spe-
cialitate, forlat s repete vechile afirmalii greite, are doar acum posibilitatea s reconsidere toate
afirmaliile privitoare la manuscrise, redactanfi, notalie i conlinut
ilicelui ciantt i pe baza acesteia s ncerce s formeze o nou imagine. - legate de problematica Co-
Date biografice ale redactanfilor Codicelui
Despre condi[iile getrezei Codicelui, despre tlelinirtori
i redactan]i ne ofer cele mai rnulte
date revelatoare chiar maruscrisul. ferit s ne sprijinim pe lnsemnrile observaliile privind
i
structura crtii, chiar dac sntem contienli de faptul c acesLea nu ne ofer rspuns
Ia toate
tntrebrile. Dintre studiile precedente trebuie s
|inem seama de cel al lui Seprctig? i al lui Boros
Fortunat, intitulat ,,Primii redactanli ai Codicelui C.ianu".Cteva clintre constatrile
lui Sepri pot fi
valabile i astzi, clar toate observaliile lui lloros uecesit o judecat
aprofundat.
Fila de titlu i alte lnsemnri ne ofer ln primul rtnd urmoarele informalii: (1) prirnul
delintor al culegerii, Matthias Seregly a lnceput redactarea manuscrisului
prin conceperea filei de titlu, scriind plirnele note muzicale
la 17 martie 1634
la 8 aprilie 1634; (2) ln acelagian, de
Ptu.'u,.Sereglv se afla la Hghig, upi tn
sfiritul lui mai la Alba-Iulia, iar in d.ecembrie la,,Mo-
n-o.stor"; (3) tn cursul
anului 1639 cuiegerea sa a fost dus i la Cluj, unde i alfii au scris !n eai
(4) el nsui a continuat s noteze in manuscris pn ln
1642.0s
lffi*****:' y::;yi*t:T,Wx:
3t
 Alte precizri despre persoana primului delintor, Matthias Seregly, exist doar la nivel de Chiar dac lum n consiclerare toate a.cestea, putem face formulr'i doar ln mod precaut despro
teorie, pllnirtd cle la faptul c u manuscris apare redactarrtul prfii mai vechi a Codieelui Cienu. Posiil ca Seregely s fi studiat ln regiunea supe-
itresuytune'i. Boros l.'trtunat a alctuit o ntreag
numele celor dou orae, Alba-Iuiia gi l{ngtur, rfirmnd c priurii redactanli ai culegerii au fost
n
rioar a Ungariei de Norcl. Probabil c n Transilvania i-a clesfurat activibatea ca orga4ist i
mod cert iezili.es 1n furtunile istorice din secolul al XVII-lea, iezui[ii, alungafi de mai mrilte ori din cantot'de biseric. i inv!tor. lns orga era caracteristic ir aceast perioacl n Transilvania],In
voievodat'l transilvnean, s-au stabilit n final, n numr mic, numai n 3 orage: Cluj-Mntur' oraele sseti i n bisericie iezuifilor.111 S-ar pntea, deci, presupune - pe raza contactelor sale
AIba-Iulia i Carascbe.loo I)efinem ciate exacte despre activitatea multora dintre ei, clar iu varr cutm clin regiunca snpelioal' a Ungariei de Nord - c Seregely tra cle religie evanghelic. Dac dorim
ilumele lui illatthias Selegely.lor Nici cntarea cercurile franciscane nu d vreun rezultat. Buuim, s legm activitatea redactantului de vreo institulie catolic, ne aflim n fala unei probleme aproape
deci, c nu era clugr i cci, altfel, ne-ar fi dat de t.ile priu semntura lui' de nerezolvat, deoarece catolicismul transilvnean se afla, n prima jumtate a sec. XVII - i
Ultimete cercetirri ne araL c nici ceilalli iezui!i, amintili de Boros, nu pot avea vreo legtur in special n anii 30 -, rrtr-o situalie tleplorabil.112 Poaie singurul rrurct de sprijin ar fi faptul c n
cu Codicele, 1 special cu secvenla dintre 1634 - 42152. Fr ndoial, partea premergtoare lui timpul domnitorului Ikoczi Gyrgy I - chiar n perioatla arnintit (1630-1648) -, la Cluj
uianu din man'scris este opera unui singur redactant identificabil; fac exceplie n acest sens acele funcliona coala iezuit.113 Faptul c n van cutm o institufie, care ar fi avut nevoie cle manuscrise
file (75-701ntre 10g i 110), care nu pot fi legate cle nici un nume, chiar dac mai apar altfel de rellectnd foarte mali exigenle muzicale, nu tlebuie socotil ca o contradicfie. Culegerea lui Seregely
nume i n alt parte a Coderulu. Ipotezele lui Boros pornesc de la bun nceput de Ia informalii, aro un caracter pur personal. Culegtorul a notaL motetele i piesele instrumentale aflate n cir-
penlru noi 'doielnice. Asupra iezuitului Tasndi Btint ne-a atras atenlia doal cii.irea fragmentar culafie, doar pentru a-i satisface plcerea. Cu greu gsirn inclicii privitoare la faptul c cineva
a observaliei cte pe fila 33.102 IDciuclerea lui l\{ih Istvn n istoria cercetrii s-a bazat pe descifrarea ar fi interpretat - mcar ulterior - piesele notate n manuscris. Prezenla uuot' studenli sau at-
iicert a filei de tittu de ctre llduly (,,Miko".toa NIen!ionarea iezuibului Fenesi Mihly, existent mosfera de coal este indicat cel rnult de o not strin - clujeanir din 1639. -
n nsemnarea cie pe lng Sf acl Mater, provine de la Crianu, redactat mulb rnai trziu, probabil *
in 1660 i arat c aceast pies a fost acius de Fenesi de la ctuj.loa Dei clelinem incomparalil mai multe clate despre biografia celui cle-al doilea redactant al
N*mee localitlilor rnenlionaLe itt Codice nu snL atL de caracterisLi ce incib s ne ofere date re-
manusclisului, Ioan Cianu, i aici apar incertituclini, absenle de date. Despre anumite biografii,
Ieva'te despre sfea ce activitate a redactantului. Boros ntr a gsit uici o explicalie pentru folosilea
legate cle persortalitatea sa, se poate spune c autorii lor au preluat afirmaliile unui bioglaf precedent,
numelui ,,I{icivigh,, i nu I-a putut folosi pentru argumentarea dovezilor sale.105 Nici acum nu cunoa-
fr a le judeca n prealabil, adugnd cteoclat propriile lor itlei nentemeiate. Doal Simon Juhun-
ter' importan!:r acestei localit!i, ba ciriar ne gntlim la dou posibilitli: poate fi vorba fie de loca- din,r1 Rupp l{orn1,115 Rcluly Simon i clugrii franciscaui Boros Fortunt,uo Karcsonyi Jnos11?
Iitatea Heg,igtoo de lng Braov, fie cle l\'IeriLe.10? S-ar putea ca terrnenul ,,in Monostorf Mona-
ci la mai multe lo- i Gyrgy Jzsef au ncelcat s caute date clt mai veridice. O alt problern este c autorii se refer la
stur./l\lonoster./tr,Ionaster" s nu se refere numai la localitatca cle lng Cluj,10E
zvoare diferite n legtur cu unele date biografice, care n literatula (cle specialitate) snt contra-
calitfi, care erau n eviden! sub nurnele cle Monostor ir sec. XVI-XVIII.1oe dictorii sau au fost modificate de mai multe ori. n ceea ce privete unole fragmente clin viala lui
Cu att mai rnrlt ne atrag atenlia acele observalii, pe cale Seregly le fcea pe marginea
Cianu, cauza inceltitudinii este lipsa docunentelor corespunztoare. f)e exemplu, nici pln acum uu
pieselor copiate i care se reler la persoanele de la care a prirnit sau plin care a cuuoscut
piesa
cle origine silezian, iar Sebastian Wildener s-a clarificat unde i-a fcut studiile primaro i superioare, de unde i-a dobndit eclucatia muzical.
respectiv. Amintitul Valentirurs Zelinus era, pesernne,
n absenla clovezilor, cercetarea nu a ajuns nc s pnu sub semnul lntrebr'ii sau s confirme
poutu fi ientificat cu acel rnzicant cin regi.rrnea superioar a Ungariei cle Norcl, despl'e care vagile supozi!ii.
scriu i registrele oreneti dill Levoa'110 Exist numai fragmente din documentele pe care biograiii cei mai de ncredere le citeaz.
a luceput s-l scrie la La nsemnrile din registrele franciscane i la dai;ele din cronici, gsite n arhivele Conventului din
!g, Boros 4, 262. Tcxtul preluat de iteratra de specialitate- este urntittolnl: "[...] Tasntli Rlint mai 1639. Selcgly l-a tinut
M'tur., de aici la ia Iutia i l-a dus iczuitul^Fencssy I\tihly- lui Selcgly nlt's in_ 31 $urnnleu-Ciuc, s-a referit Karcsonyi Jnos118 - acestea snt: Registrum litteratum, nsemnrile
16,12. 6t,-rnci ;;; ia calc l-a rno;tcnit Cianu ln 1t52 i al crui nume a
;""t" ta-iczuitul Mili tstvn, do ciatolit
;
pe fila e iitt.,': Outo rlc 31 rnri 1G39 a apirmt citirii gle;ite a aluui. 134' iui Ujfalvy Albert (1670-1699) i Balsffi Nfihly (-1748), Annq.Ies i Cronologia de Losteiner
iosi eternizat
t.u ^1s1g exp.lzi'itor: lr:tlz, ioro i 153
-Vezi i;
Bir,255-266; IroE XI: 23,27,151 -155; Velics' 71' l,nrd. Mult mai valoroas este aa-nurnita ,,Carte neagr" (Liber niger') a lui Cianu, de fapt,
1(1 \/czi Catalogus 2; Catalogi; Acta Jesuitalum'
r{: Ifo*rs 1, 2,()2, nota 4 cu luuriter.ca ln 33r in Cotlice: ,,r\cccpi a Yalcntino Zcliro silezi [cnsi]"; de fapt lnsemnarea se ,,Istoricul custodiei franciscane transilvuene", ce constituie punct de plecare pentru toate cronicilo
r.efe a piesa sa. piescle notatr, ;i nu Ia culegcrc.
persoana estc chiar' 'luslrdi llint, i pcliorda iL clte :r ecti- ulterioare ale Ordinului franciscan; cartea poate fi citit astzi n eclilie clitic i traducere.llg O ima-
^tui,rtit
vat, poate ti *orrriocr"tl Arip,i'f olO. (Cata-Iogus lll: 77-12; EOE XV: 5!9; ,,Ctalogus Olaudir-rpolitana{r SJ'
inscrip-
gine asupra activitlii lui Cianu, ncepnd cu anii 1650 i pn la moartea sa, ne este oferit fle pro-
torum", OtUt. ttt,t'' Pray. 'fom. i' 44, 181v)' (Eol \I: 10; la aceasta se efci' priile sale nsemnri: alturi de,,Cartea neagr", clocumentul fcut pcntru org din $umuleu-Ciuc,
10 Numele I.i lratcr mil.o i.itle" aprrc lntr-o sclioare cltat la trIni;tur'-Cluj n 1653
Boros 4), lofei'itoaro la Fenesi (I:327)' preculn i prelile personale emise ici-colo n manuscrisele i crlile lui. 1n documentele franciscane
1cd S se cortprre cotrstatar.ea lui Boros 4 cu itrsemnarea de pe 52v i cu tltrtoc din C:rtalogus
Vezi Bil.I. tlniv. FIev. 'l'orn. LXIX. 9, 30-31'
ale arhivei de la Vatican, ,,Congregatio de Propagancta Fide", Cianu apare n special ca o personalitate
1,,[...]tlci l, p.inrur,,'iidl+lrlost scr.is_ln Hideg(sicl), putemconsidelalocrlitatea th'cpt tranzitolie, pentt'uciezuilii binecunoscut Orcliuului n anii 1670.120 O informalie ncurajatoare este aceea privind faptul c o bun
tr-a avut ,rii o a;eza^' ptunancnt"' (lloros 4, 22)'
1oc y""1 suciu l: 2s:1. orir;r ^eote"" p.."i""z ci satul seuiesc a fost hr sec. l{vl-XVII (ptni in 1602) locelitate unitarian,
unde r.oricta"r,t, famitia lfii<, ir lnfiinlat ln sec. XVII o coal modie rtuitaliau (III: 25)' ltr {cZtrt II: 4b7.
1r, !;;iu'i. isl..'ir'"ir".itatc a iost locuii tie romni si ave-a numai biseric oltotloxi. 11
Vezi Bir,
10s Mngtur ar fi putut fi "r,r,urr.nt i ,Colos.l\{onostor", ,,I{oloz Monostr.rr", su htr-o latin nai corcct la locativ .Mo- rr
nostorini.., cum, tle ofir.f, r" orri*i. Vezi coleciia manuscrise^Ior- tsiliotocii f.lltiversitalo tlin udapesta: CoIl' Pray' l\Iszros, 2g3.
Tom II. 44, 1g1r, 184i.; Coll. II,:r,. '.lltr. LXIX. 9, 30-31; Coll. I(apr. 'I'on. XXVI. 1 (,,Fragrncnta
anrurrum SJ' 1
j1,1sf!-a. gsit pcltletul tui Cianu ,,pictat pe pelgament" (vezi Simon J.), considerat autoportretul lui, cu toate c
Claudiopolitaui", de la 1t56).
plnt astzi nirneni nu a adus argumente convingtoare n susfinerea acestei idei.
-
100 Kpolnokmonostor (f;i;;. Szolrok. rle- nrijloc, locuit de- romui); Szamosmonosto (satu Mnre); Bgrrnoltostor' lrs lupp gi Ngvcsv.
(nri sus tle Caransebe;). Vezi: Suciu, I,.158, 1'1, 3$1' 385' us tr{ai ot."
rr0 Vezi j, r Sebastiano Wilenclo". S, Wildenr:r ,,nrusicns" se alla la lnceputul alului 163'1 la no.. i.
de p. p"g-irr* fost decoltte eheltu-
r7 l(arcsonyi
'ota "habeo
-iti.-
oi'terr"r" ,1" coltalilitate din 1634 se refer rumai lr faptul c i-au 1 si 2.
Levoa; nota in .,rgirtr,rl us
ielile de drurn, ,lar.""'.,, u..le e venit si incotro s-a indreptat. Nu este ln.egistrat lntre muzica'tii olagulrti (inlor- Karcsonvi 2.
malie rlatorit arn"1iiii-i.ri-Frantiset Matri!, cruia ii mulluinesc preeizri, ptrtttlu njutor 9i pe aceast cale)' Pe de alt parte' ilcr nijer, edilie tngrijir de
rtn fl'agment dint-o scl'isoare rmas de ].rj hradns Edit.
F., Maff public ln prefl[a
-!i sa la talulatura l\iarckfelner, f alte
orenesc i bas din Levoa"
'- ^t
dintre aceste <locumente au fost prrblicate dc Gyrgy (775-71),Dornokos p.p. d
la Sebastian wiloen-er conceput eventual tntre 16<f-1652: .clntfuc[ profeaionist fri'fr"Lt:,rt* (129-13a)r
(Mats, 12).
I- cgDE.y cA.roNr
Q' o
parte a materialului din vechea bibliotec franciscan din $umuleu-Ciuc a fost salvat ln ultmii ani,
oferindu-ne posibilitatea de a studia i celelalte lucrr'i ale lui Cianu i fondul de carte achizilionat ln
timpul vielii sale.r21
Toate acestea dovedesc limpede de ce nu ne asumm mai mult cleclt realizarea unei biografii
cu caracter critic, ln care s separm informaliile importante i certe de cele neconfirmate, faptele
docurnentate de teorii i problemele solu!.ionate de cele rmase nc deschise. Aceast abordare pre-
supune ntoarcerea la sursele documentare.
Ioan Cianu s-a nscut fie la sfritul anului 1629, fie in 1630. ln stabilirea datei naterii ne
putem baza pe trei documente: (1)o nsemnare ntr-un registru franciscan, care indic mbrcarea
hainei monahale a lui Cianu la 17 septembrie 148 i care l consider ln jur de 18 ani;122 (2)
textul care inconjoar portretul su i care spune: ,,P. Joannes Kajoni, aotatis suae annor.
44. t673";t,t (3) formula de ncheiere a istoricului custodiei transilvnene: ,,Anno Salutis 1684. Die
8. Martij. Frater Joannes Kajoni Guardianus Csikiensis eL Custodiae Pater Aetatis 54. Religionis
36.1124 Trebuie s respingem prerea lui Mocanu publicat in 1976, conform creia Cianu s-a nscut
1n 1627,126 cleoarece documentul citat de el se exprim univoci eI poate defiui exact vrsta lui Cianu
cnd acesta se alla n delegalie la Roma: ,,1670-VII-3. P. Fr. Joannes Kaioni, Annorum circa 43, con-
fessorius et concionator Valachus Transilvanus.r'128
Locul naterii este Leghea (jud. Cluj), clac interpretrn n acest sens ,,quae me in lucem hanc
edidit"lz? i dac considerm numele tocatitlii Cianu Mic, tlin expresia,,Joannes Kjoni de kis
kjon" doar o referire la provenierrla titlului nobiliar aI familiei.l28 Dei Cianu a folosit numai
limba latin i maghiar n lucrrile pe care le delinern, chiar el se cousicler ,,1'alachus", deci de
origine romn: in Herbarium-ul su, pe fila de titlu de la l{orftlus deuotionis i pe inscrip}ia orgii
din $umuleu-Ciuc. Exist i alte documente care atest originea sa romn: documentul clin 1648,
care certific intrarea lui n Orclinul franciscan (,,natione Valachtts ex parentibus Schismaticis")
i nota deja citat a arhivei d,e Propagandu lticle. Probabil prinlii lui au fost de religie ortodox
(greco-oriental) i pt'oveneau din rnica nobilime. Despre sora lui mai mare, Kjoni Judit, tim c
s-a cstorit cu nobilul Rcz Istvn clin Miercurea-Ciuc.l2e AIte date despre conjunctura familial
nu delinem.
A lmbrcat haina monahal la 17 seplembrie 1648 i cu un an mai trziu, n aceeai zi,
a depus jurmntul.l3o
ru. De e se ocup Elisabetha I\{uckenhaupt, ca muzcogl'af al l\{uzeului Jude}ean Harghita.
ls.Facsimilul i interpretarea fragrnentului din registm (rnatrico:r frarciscan diu Cluj-Napoca (?), ,,Rcgistrum Il Ton.
II. Art. I") la Negroa, 9.
rrs. Simon J. olnetJ de la accast iclee i stabilc$te anul natelii lui Ciamr drept 1629: Ngyesy; Rupp, 65; Szinnyei,
col. 802; Dank4 65; cu mut mai tirziu Crciun 7' 237.
rr. Liber niger, 54. Plimul care face rofeliri este Reuly i modific data uaterii lui Cianu: sflritul anuui 1629
- ln'
ceputul anului 1830 (Seprdi 3, 136). Din accast fnsemnatc mr reiese lns clar, c s-ar fi nscut la 8 trartie 1630, aa ctttn
Ilresupu Mocanu 2, 11, preluat de V. Cosma 3.
t3t llfocanu 2, urmat de V. Cosma 2 i V. Cosma 3.
rto Archivo Propaganda Fide. Scriiture originali Congregationi Generali 1671 vol' 428, imaginea 543, fol.353: Nomina
Iralrwn Mioncriorum Ordinis l\Iitontm Obserun!.iurn in Transiluanir, apud lVlocallu 2, 10.
12? Liber niger, 39.
r, pe lila deolionis i ln lnsernnarea tlin rcgistru (vezi nota 122), Rduly a fost primul care a
d; tigu a lucrrii Hotllus
susfinut cA Ioan Cianu s-a nscut la Leghea. lnaintca lui, biografii au Inentionat Ciamr I'Iare ca loc de natere, dar
acest localitate nu este atestat de nici un document. Negre, 10, 11 a apreciat c problema nu poate fi solufionat,
deoarece, bazlndu-se pe Boros 1, s-a ivit ideea c locul de natere ar fi Cianu \lic, ial Leghea cel al renaterii ln cre-
<lint, locul otezuluilvezi i Dornokos P. P. 4, 103). Teoria se lntemeiaz pc cteva llnduri, in -cre Cianu li aminteto
ae Lghea: ,,(quae me in lucem hanc edidit) [...] Haec a matre me.a accepi, qu&e per talem Ministrum ante annos 84.
baptizri me (qui haec scribo) in ea Ecclesia fecit [...i" - Liber niger, 39.
r:c. lrilucrare^ Hg^norium,'antologie de versuli latino-maghiare, deplinge moartea cumnatului (p. 813) lu lng,,Tulrea
"l 66; Scprdi 3,737; Domohos P. P. 4, 103-104).
tn versuri" (Rupp,
lso-"Ano 1648: di-l? Septembris in Conventu Csil<iensi ab eodem P. Mariano Religionis habitu anictus estpro Clerico
jo"r,n.. Kjoni de kis jon, annorum circiter 1B natione Valachus ex parentibus Schismaticis, intacto nomine vocatus
cst constanter Joannes. / i Subsequente an[o, et die in eodern Conveutu, et in rnanibus P. Nicolai Somlyai p.t' Gvar-
diani Solemnem emisit piofessionem, Vir praeclarissimorum talentorum, laloriosissitnus, ct perpetua memoria dignus. "(vezl
supra nota 122). Dup interpretarea lul Moeanu, tn textul latin ar fi vorba de convertirea lui Cianu la credinla ca-
toliic (Mocanu't, 2i - 22, preluat de V. Cosma 3), Probabit din cauza presupusului an de prob, lnaintea lui 1848'
Rupp kornl (Rupp i Ngyey), Rduty/Seprdi (Seprdi 3, 137) i Jnki (10.) indicir drept an al intrrii ln Ordin
anuitO2, tn cntiast'cu l;c;;nyi, 228.' n propoitria ,intacto nornine vocatus est constantcr Joarres" rlai descopelim
i c a iost botczat Joannes i-nu - sau nu numai - Gbor, Originii numelui Kjoni Gbor la Szinnyel, col.
03 t naaoty (ln titlul manuseriiului sliu; Seprdi 3, 136), Kdr, 182, nu-i gscte nici o explicaJle' Aceasta a foat prc-
luat i de Moztrt trI: 184.
34
problema cea mai obscur din cercetarea biografiei Cianu este cea rcferitoare la c se n-
jurmintului: ce educalie a primit pln la hiroto-
tlmpla crr el imediat naint.e i dup depunerea
presupus c, ajutal de curnnatul su, Cianu ar fi-fcut
nirir"u lui ca proot. Rduly i Seprdi au
,ro*f" primar la Miercurea-Ciuc.lar n opinia lui Boros Fortunt educatorii lui Cianu au fost
iezuifi; ei au lnfiinlat o coal aproape de oraul su natal, la Mntur-Cluj i erau cunosculi
pentru nivelul foarte nalt al culturii lor nuzicale.rs Se pare c aceast opinie este n concordan!
,o ""u" prosupunere a hri Boros, tltrp care itrima parte a Codicelui, a fost scris eventual de
iezuilii de la Mntur i nrninat lui Cianu chiar de ctre proesorii si dup 1642.133 lns anii de
lui timpurii (intre 1642-1648) cu iezuilii nu pot fi dovedite cu nimic, cum nu
coal i legturile
poate fi dovedit nici faptul c preolii iezuili ar fi avut vreo legtu,".cu Coderul. $i totui, n lips de
tle specialitate maghiar desemneaz localitlile $umuleu-Ciuc i Mntur, ca fiiud
ovezi, liteatura
locul studiilor elernentale ale lui Cianu,13a n timp ce Negrea - i pe urmele lui literatura de spc-
cialitate romn - citeaz i o a treia localitate: Sebe'135
Nu numai despre stucliile primare nu delinem informalii, dar nici despre cele superioare. Este
doar o presupunere faptul c, fiind hirotonisit preot la Trnava la 5 septembrie 1655,13
ar fi urmat tob aici ,,filolcgia i theologia"'13?
|n ceea ce privete localibatea Trnava, nu trebuie s ne gndim u primul rnd la universitatea
lnfiinlat de Pzmn)' Pter ri 1635 cu o facultate de filologie i de teologie, ci la colegiul teologic
infiintat, tot aici, n 1641 de cbre Provin:ia Mariau a Ordinului franc.iscan. La acest colegiu ar fi
putut stuclia Cianu.l38 Presupunerile pot continua i in legLur cu faptul c la Trnava a avut
prilejul s cunoascit mai ndeaproape muzica religioas a epocii, construirea instrumentelor i muzica
de org.130 1n definirea izvoarelor culturii muzicale a lui Cianu ne putem sprijini - n lipsa datelor
certe despre coli i rrofesori,lao - doar pe viala spiritual de atunci a centrului iezuit arhiepiscopal
i universitar, :e legturile culturale dintre Transilvania i regiunea superioar a Ungariei de Nord
i pe interesul manifestat fa! de cultura european, relevat n nsemnrile sale. Ideea unei ,,pe-
rioacle Trnava" n viala lui Cianu nu poate fi respins pe deplin din cauza lipsei de dovezi, argu-
mentnl principal fiird chiar Codicele, cu repertoliul su i interpretarea cercetrii.
Cert cste c se pricepea la instrumentele cu claviatur, din vremurile cnd nc era ,,frate"
i de tinr a fost numit organistul mnstirii din l\{iercurea-Ciuc.10 ln I'Ierburium face referiri chiar
la el, cnd spune: ,,Si eu arn confeclionat din acest sortiment de lemn 75 tangente pentru virginal,
pe vrernea cnd erarn constructor de virginale." Ierbarul i aceast nsemnare dateaz din 1656: deci,
Cianu construise irstmrnente chiar nainte de aceast dat.142 O contribulie important la achi-
1r Seprdi 3, 137.
rE, Boros 4.
rfs Mocanu li considela pc Tasncli
lllint i Fenesi l,Iihlr profcsorii lui Cianu (l\'focarru 1, 25-31; V. Cosrna 3).
rg MoZtt II: 184.
1 Negrea, 13.
r80 Gl'r'{y,
519. Datorit Irti Boros, plobabil confornr lnsernnrilor din flegislrunr litlerarttnt ($umuleu-Ciuc), pl'iminr infor-
nalii precise despre datele conr'inute 1n documentul hiotonisilii (10 septcrnbrie 1655), a arobrii (21 ieptembrie) i a
plecrii nou inveJtitului tie la Colegiul din Sebc (14 octornbrie),
afim totodat, c lr 17 noiemblie 1650 mai era lnci
Ia $umuleu Ciuc, i doar clup a""o o plecat l i.r,avu i riZnSebastov (- clin pcate aceste date nu slnt cup.inse
ln Boros 6). Vezi."i l\{ocnur j, BS.
1s7 Seprdi
3, 138. Aceast presupunere a fost exprirnat pentlu piima ret, de Rduly, urmat de Seprdi, Szab T,
Attila, cale ii atribuie tui Cirnu ,,Clntecul dspi'e decdelca ioievodului Lupu", afirmr c ln 1654 Cianu trebuia
s se alle ca urarior ocular a rnnstire, prin ulmale ,,s-ar putea s fi invlat'la rnnstirea tlin
la cea din Tu:rva, unde a fost cloar hilotonisit,, $urnuleu-Ciuc i nu
- Siab i. t, S2.
-
136
.I-{afc9nvi-2, l: 2ll. n dosarul clugrilor frauciscani }Il'iani (Acta capitularia [1610-1666], cu losernuul D VII 21
tl-,*l"li:l Slovensl<a {artinl) nu e:rist nici o urrn refelitoare la Cianu, pentr.u c informajiile despre funclionarea
te_ologiei la Tmava inai ales ln ani - snt foartu laconice. (De exiertplu, ru exist Ii.t studenfilor, ln
sc'himb sint refcrit'i -asupra faptului.rr.imii
c coala a fost frecventat i de studenlli'din alte rrovincii, mai ales iir fran-
srvanla' * 1.di'csez rnul{unili Iui Ladisla.r' Iiaic penLru infolrna{ia r.erbal),
--
t3 Klr.csonyi 2, II: 26J.
""
ii*rii"l;'*1...o,t.tn*. - dup Rduy - c, proirabil, Cianu,a fost un autodirlact ln lnsuirea lnaltelor cuno-
lft
fy,9L8^v,,.s.20. Pe lila de tith a lrrcrr'ii Hortuls deuotiottis Cianu se numegte doar ,,frater'i cle asemenea: ,in lt(onas-
uzll(ell' Ot'ganista". Conform Szab T.2, I: Nr. ?1, p. B0 mrnuscrisul a fost competat tn 1652,
,.o i"l
--' lextQl original ln linr'a mr3hlar; rnri
vzi llklrsy a i D;nriios p. p, 1, 10g.
!.
s5
zitionarea orgii clin $umuleu-Ciuc a avnt n anii 1650 i, amintindu-i de acest eveniment, scrie: al mnstirii de
la $umuleu-Ciuc a avut o contribulie major n reconstmclia i renovrea mnstirii
,,Anno 1659. Die 15. Auguste. Aceast org a fost cumprat ca s mpodobeasc binecuvlntata bi- ]ia iseLicii, apoi in 1682 a sfiniit biserica.r6s 1n 1686 a primit rangul de ,,pater custodiae", iar n annl
seric. Sf. Maria n mnstirea de la Ciuc i spre slava Dumnezeului lmprtesc de ctre Rev. P. urmtor a fost ales din nou stare! al mnstii'ii din Lzalea.154 Dup zece
zile de la numire. sa la
Mikls Somlyai Guarclianus eiusdem Conventus i Pater Casimirus Damokos Custos Provincialis, Z5 apritie 1687, a decedat acolo unde a fosb numit.155 La sfi';itul manuscrisulnr Orgtno - Missale
Patres et fundatores, basesque Custodiae S, Stephani Regis in Transylvania: Icumprat] din do- citim irsemrlarea unui contemporan al su: ,.Fr. Pater Jnos Iiajoni, cle o onest i binecuvnl,atr
nalia rmas de la respectabila solie, rposat, a lui Haller Istvan, pentru 1050 forinti ungureti ducere aninte a murit Anno a IPartu Virgines (sic!)] 1087 [clik. Jesu] 25 aplilie n ziua Sl. evanghe-
de la Jnos, fabricantul de orgi din Eperies, [i] construit pentnr saii din Prejmer tle lng Braov, list Iarcu, la ora 6 climineala. Requiescat in pace. ln acel moneit eu, Stelthanus Benedekfi reram
dar care au gsit-o prea scump, [i] au refuzat-o, [iar] noi am cumirrat-o i am adus-o de la Braov I cantor n parohia Lzarei etc' etc.''156
pe dou care pro fl. 10. [...] Am fost prezent att la tocmeal, la cumprare, clL i la transport,
i am fcut eforturi mari [...]rr143 Astfel, nu fr motiv, obinuia n numeroase ocazii s specifice
I

I
pe lng numele su ,,organista et organifaber", deoarece el a reconstituit n 1664 orga din $umuleu-
Ciuc, distrus ln timpul invaziei ttarilo. ,,I-am fcub deasupra un nou positiv n mnstirile dir !

Clugreni i Gheorgheni, i Ia Patribus Jesuitis din Odorheirrl Secuiesc, et alia multa Instrumenta
i
)

x
etc., i pe Fraters Steph. Atfalvi et Nicol. Fclenci clericos i-am nr'lat s-o cute sub presiune [...1"u i'

n tot timpul vieii sale s-a ocupat activ tle problemele Custocliei Stefanite transilvnene,
care i-a ctigat o indepenclenf. parial fa! de provincia Sabatorianir din Ungaria. lnc la 10
decembrie 1660 a fost tlesemnat consilicr al Ordinuhii pe lugir custoclele pror,inciei dar desernnarea
a primit-o cn cloi ani mai 1r'ziu, psl.rndu-i aceast funclie (,.definitor") pentru mulli ani.1a Numirea
pentru prima dat ca stare! u 1663 la Clugreni,l'o a fost mai clegrab nominal, deoarece c-
lugrii ,,bosnieni", aderncl la ramura observant a Ordinuiui franciscan, au putut fi constrni s
prseasc mnstirea din Clugreni cloar n 1666.147 Din acest moment Ciauu a fost primul stale!
transilvnean al mnstirii (1666-1669) i totodat iniliatorul construirii cldirii ei de piatr.
lntre 1669 -1675 a fost stale! la Lzarea, pe locul oferiL r 1665 franciscanilor de ctre
Istvn Lzl, judector ef al scaunelor Ciuc, Gheorgheni i Pliegi.laE $i aici, Cianu a reconsLruil
capela i mnstirea.lao
Din 1675 pn n 1678 el este custodele provinciei franciscane transilvnene, iar Ia 13 ianuarie
1 677, conform unei bule papale, este numit locliitor cu drept de motenire, al vicatnlui episcopal,
franciscanul Kzmr Domokos.l5o Dup moartea lui l(zmr Dornokos, n septembrie 1678, Cianu a
acceptat numirea ca episcop, cu toate c avea anumite rezerve. N{ai trziu ns - vzncl protestul
nobililor qi preolilor catolici lransilvneui mpotriva numirii repetate a nnui clugr franciscan ca
vicar episcopal - i-a clat demisia.151
lnc de la sfiitul anului 1674, nceputul anului 1675 s-a adresat Romei cu ceterea de a
cumpra o tipografie, primind un rspuns favolabil n iunie 1676.152 Cu ajutorul acesLeia prima rea-
lizare a fost tiprilea n 1676 a crlii sale de cntece Cantionale Ca\holicum,lntre 1681-1684, ca stare!
13 Trrei documente atest acrizifionarea orgii, cu tote c data estc incert: inscriplia ln latina-maghiari citat supra, f- ;s3
cut pentru orga de mai trziu (cu anul 1650 la Orbn II: 17, nota 13 i Domokos P. P. 4, 727 -128, dal cu anul 1659 Karcsonyi2,Il 265 se refer. la Cronologa lui Losteiner (Liber niger, 59, 62).
Ia Karcsonyi 2, II:244 i Geyel II: 13?-138); o lnsemnalc din Cartea neagr' (Libcr niger,58) i Cronologia lui 15 La Gyr'gy, 320 data este 1086, clup Seprtli 3, 138, i Karcsonyi2,II:20,2?8, adunarea rlin 15 aprilie 1687 l-a
Losteiner, care a folosit descrierea lui Ciamr (p. a3a). numit la Lzarea.
1a n aetul emis pentru org, citat mai sus (Geyer II: 138). Dupir Mocanu, Ciauu hr 1665 a repalat o org i la biserica din tt j1 nlimSte^riograli gsirn 23 aprilic (Simon J., Dank, Rupp, Seprdi), 1n Letconttl Pallas (Ngycsy) i la Szinnyel
Bacu (Mocanu 1, 4). Igureaz.20 aprilie. Data de 2.3 aprilie plovine <iin pretinsuf neciolog'(locul descopelirii necrnout)'icut
1r5Karcsonyi2, ll:233; Boros 5,82. n 1664 pe inscriplia de pe org: ,,Diffinitor Actualis"; ln 1665 mai apare lntr-un oe rratrii
::"n"^t:"11'.neclolog pe care Simon J.l-a inclus u biografie lui despre Cianu (Scprdi 3, 138), i pe carc Dank:
act ln functia de consilier'. oD-b/..11 crtcz drept epital al lui Cianu. Data morlii salc estc modificat pentru pr.ima oar de Jnki, 10-11,
u0 Gyrgy, 284, 520. Inscriplia de pe org,,Nunc pro ternp: Gunld. Szalhegyicns" contrazice oricae alt informafie
,." I? ll.ili.,conform Insernnrii din Oryano-tu|ssale; Gyigy, 323,525, corccteaz data n- lucrarea sa.
Vezi i biclem, 377 -378, 92. '-- -leIt \rlsuresc Citirea rca comparat i completat cu informa{ia lui Jnki, 11
14t Boros 5, 82-83; Gyrgy, 85-88, 281. icudatele hri Szabolcsi, mai bogate
.:J. de astzi (lllolenirea szaolcs, Arhivte trl'tlA 5653/4), Conform opiniei nejutificate
u8 Libel niger, 29. Karcsonyi 2, Ili 277. ^d^t:l,.ln limbi de cilcula-tie.de
a lui Vasile lVlocanu (priu-
cat \riorcl Cosma), Cirianu s-ar fi ailai in delegati oficial la. Bacr:, liincl lntre 1684 -86,,cistode
lae Karcsonyi 2, II: 278; Gytgy, 3I7. alrecdinledinBcr'ru",<tin1687 pn n Si simultan staret Ia" Lror"u, Estclnic i Bacr.r. Mocanu 1,745- 746;
150 Dup Seprdi devine custode la.25 august 1675 la Adunalea clericilor din Ciuc, i este numit vicar apostolic la 20 citrt de Brncui 2, 207. I{ocanu, "to preluat de V. Cosma, confund
dec. 1676 (Seprdi 3, 138) - porte c la aceast d,at. Congregatio de Propagan(Ia Fde a acceptat numirea lui (Ka- /:--Yolta liind
(custodele
2..
- st,arciul func{ia de stare} cu cea rle,custode"
plovinciei). Ei se refcr la o ,,Tabula Capitularcs", care ,,este datat cu anirl 16g8, cilid Cianu
rcsonyi Il:247). Vezi textul complet al Bulei pnpale Ie Veszely, 353-354, su Gyrgy, 715-776. La Karcsonyi este numit custode ai contentului d la Lzalea, apoi
tot ln acelagi an custode al onventului de la Estelnic" (Mocanu 1,
izvorul datelol referitore la aceasta este Regislrum llterarum. Mocanu, Cianu a mruit ln tOOS, c pn la aceast dat pe crlile bibliotecii din mnstilea de
161 Scrisoarea lui Cianu din 25 rnartie 16?8 adresat Rornei o public Domokos 4, 130. Vezi i I(arcsonyi 2, II: 248. Dup laJ:-..D",p "rg.,,,rentlnd
li^l}-Tlt"l:_t|tc_se poate cili semntura lui.Dar: (1) lnregisirr'ilc de,,inventariei.e" al crfilor din Sumlleu-Ciuc din
demisie, la 20 dec. 10?B a plirnit de la Roma instlucfiuni de preluare a scaunului episcopal (Seprdi 3, 138). Suc- XVII-lea pot.fi compr.rate cu scl'isul lui iinnu-rloar prin caacterul lor cursiv;(d) mr cste'exclus s fi fost
cesorul lui Domokos K'rzmr, capelanul de la Slnzieni, Szcbelldi Bertalalr a fost conlirnat ln rtnclie doar de voievod "t"Sl1t,?l
ra acau, dar nici ttuui
ln 10 iunie 1678 (Veszely, 355-356). Deci, Ciam a lespins denumilea nu dill umilin! - cum se crcdea mai devreme
vica sau stare[. nu-i era pennis s rmn aolo ln permanen!
ten|, i numai ln mod prolizoriu, - ei pitna oferi cel mult o asis-
(Zech, Sirnon J.) - ci mai aes forfat de tnrprejur'ri. Aceast situa{ie este redat de Cianu, tnsui, ln Cartea neagr - tlat fiincl faptul, c pln la urm stefanililor nu le-a fost repartizat mns-
tirea II:2$2); (3) franciscanii au ccupat Estelnicul ln anii 1070-1680, iar viafa rnonarhal s-ar fi-putut
(Liber niger, 55). -(Karcsonyi2,
r Karcsonyi 2, lf:245:. consolida din 1$84, rlar
Domokos 4, 129-130. Cianu nu-i ascunde mndria cnd scrie despre acest eveiment in l-iber lrumele lui Cianu nu cste anrintit de nici un document pstrat (Boros 5, g0);(a) doeumentul
niger, 60. menlionat rn,ti sus
- nota ttnui rnartor oculai despre rnorrtea Iui Cianu - face incont,:stabile locul i data morfii sale.
36 37
 A folils a tabulatrars szoksnak megfelel6en mindig az egymssal szemben lev
A, K.JCINI KDEX I,EIBASA srrmazik.
,rso s recto ldalakra vonatkozik. I{ivtel a kclex elejn az 1 szmot hordoz 1 v s a 2 szmot
hordoz 2r. A 3 szmmrl
jellt 2v-3r oldalaktl kezdve a szmozs folyamatos 211-ig, de hinyzik
a 43. s 44, f.li6 kztt az eredeti szmozs szerinti 45., mg viszont szmozatlan a 108v-109r
oldalpr. A 18. fli csonka, a hinyz laptredk Domokos Pl Pter tulajclonban volt.e
Bevezet Sepr6di 1909-ben gy lrja le a kdex klsejt: ,,Sarkn cska br, kt tbljn pergamenbo-
rltk, tele Gergely-fle hangjegyekl<el s vrs kezdbetkkel, min felhasznlsval a rgi kziratos
A. 17. szzadi Erdly zenetrtnetnek ker's dokumentuma kztt taln a legbecsesebrknt antiphonariumoknl gyakran tallltozunk".10 A restaurrls sorn az eredeti pelgamenktst lefejbettk,
tartja szmon a szakirodalom a K.iotti Kdexel, ezrt a magyarorszgi s lomrniai zenetudsok rgi a kzirat rij flbrktst kapott. A pergamenlapot, amely egy - felteheten 15-16. szzadi - qua-
remnye vlt valra 1986-ban az r'Lizeclekig lappang kzilab elkerlsvel. Vgre elrl<ezett az id,
drt kottarsir kdex tredhe, kln troljk'11
hogy teljessgben megisrnerjh, keletkezsi krlmnyeit tiszbzzuk s anyagrt tgabb sszeigg-
seiben.rtkeljk. Mr Sepr'6di idejben is a cmlap volt a lttlex legjobban megrongldott rszelz. A ma sem
Az 1634 s 1671 kztt keletkezebt hziratot, arnelyet a 20. szzacl eleiig ,,nagy zenegyjtemny"- sokkal hinyosabb oldalon ktfle kzrssal a kvetkezk olvashatk:13
knt emltettek, Seprcli Jnos nevezte el I(joni Juos fereuces szetzctesrl (1629/30-1087)1, s azta
a zenetrtnet Ktijoni I{der nr'en tartja szmon2. A hagyomny ir'nLi tiszteletbl mi sem r'toz-
I 652
tatjuk meg a nevet, holott a ,,kdex" elnevezst ma mr csak kzpkori k.ziratokra szoktuk alkal-
mazni. A szemlynv hasznlatt is rtelmeznnk kell: egyrszL alejegyzetb rnr'ek tbbsgnek nem t-j
Kjoni a szerzje, msrszt a kzirat ltrejttben msohnal< is rsze volt - habirr a kzirai vgs
Ac[t ] Die. 17 lfartj
sszelltsa valban az munkja.
Oblal Fraltri Putri Joanni
A ktetet a 17. szzad ta - mindeir bizonnyal folyamatosan - a csksomlyi ferences lKaj (on)i) Organistae Claustrj Csikiensis 16 52
Incipiuntur scribendj. In.
rendhz knyvtrban riztk. Onnan kerlt a sztzad elejn I(olozsr'rra, s feltoheien ott volt eg-
Gloriam Dej. Tritinia
szen 1944-ig.3 A IL vilghborr utn nyoma veszett, s titokzatos solshr'l csak 1985 utn szerezhet-
clie 8 Appril
tnk tudomst: 1944 nyarn (vagy legksbb 1948-ban) a csksornlyi felcncesek rendrzuh ebtl-
ljnek falba rejtettk mintegy 120 egyb l<zirattal s snyorntatvirnnyal egyiitt. E;i a leletet 1985.
prilis 11-n trta fel I,Iucl<enhaupt Erzsbet rnuzeolgus s Jnos PI, a I-Ialgita l\{egyei Nlirzeum Keretknt kr rajzolva stilizlt oszlopok, tetejkn ler'l s virg. A fentieken kvl Seprdi
(Cskszereclaa) nyugalmazott igazgatja.5 1985-86-ban a Bukalesti l(zponti llami I(iryvtr labora- mg egy ,,iko" tredkszt is olvasott
- felteheten az res kerettel jelzett helyen -, amelyet Rduly
triumban restaurltk a tbbi
- szerencsre j rllapotbau maradt - I(joni-lizilattal, az 0- nknyesen ,,Miko"-nak rtelmezett.la E megfejtst ma nem tartjuli megalapozottnak, de a bett-
gano - Missalval s a Saci Concenlus-szal egytt.
redkekre ms elfogadhat rtellnezst sem tudunk aclni. Ugy ltszik, mirtha az ersen hinyos lap
bal- s jobbfele (taln restaurlskor) fggleges ir'nyban egymstl elmozdulb volna, s ezrb az els
Kodikolgiai lers hrom sorkt rsznek sszetartozsa ktsges lenne. A Seprcli-fle olvasat azonban s az, hogy a
sorok kt k,ztl szrmaznalc, minden htsget eloszlat a sorok lolytonossgt illeten.
lt Kjoni Kdex,et, mely egykor a csksomlyi ferencrcudi kolostor hnyvtrhoz tart.ozott,
jelenleg a Hargita Mcgyei llzeurn (Cskszereda / l\fiercurea-Ciuc) r'2i.6 Jelzete: Cod. 35, nyilvntartsi ' Domokos P. P. 4, 123: Domokos P. P. a tredket Dornnffy Ptertl,a csfkcsomlyi tanftkpz zcnetanrtI kapta.
Az eedeti lelhelye nen ismeretes, negatfv film s fotokpia a IITA Kzirattrlan, utbbi Ms 1228 jelzet alatt (.K-
szma 6199. Tbb oldaln megtallhat,,a csksomlyi Szt. Ferencrendi zirrda pecslje 1913" feli-
joni-reliquik.).
ratrl pecst. ro Seprddi g, 190.
Formtuma ll, mrete negyedrt, 190 xi50 nm.? 211, jabban (a restaurlskor) ce.ruzval tr 1992 prilisa ta szintn a Hargita legyel Mzeurnban, a kitervel azonos nyilvntart.sl szmon.
megszmozott flib1, tovbb egy szmoza[lan utols lapfoszluybl ll.E Az eredeti folits I(jonitl u Seprdi B, 130.
13 Szgletes
zrjellel Jeli;ttem a nem lthat rszeket, kerek zrjellel a mg Seprdi ltal kiegszftetteket, ihes keret-
1 Seprdi 3, 132-133, Sepr6di Szchy I{roly kolozsvriri egyeterni tanr jegyzetei kztt tallt zcnegyijternny' tel egy nem olvashat sztredket. Dlt ltkkel klnbztettem meg Kjoni flta sookat a korbbiaktI.
"nagy Savlan Dia-
nven rrtalst a Kdere (Seprdi 3, 145). mudi a cfmlapra vonatkoz szrevteleit sszevetette Muckenhaupt Erzsbet megfigyelseivet is. A kvetkez6 meg-
I Csak Domokos P. P. tett rlj javaslatot az ehrevezsre: ,Seregly Kjoni kzirat" formbun, belevve az els nottor fejtst adta: .Fent, jobb oldalt az 1d52-es vszm szerepel (a szmjegyek frsmdja hasonlft a
- Kjoni szmozta lapokon
nevt is (Dornokos P. P, 3, 104). lth,at szmokival); az oldal als rsznek jobbra es fels rszben valszlnteg
Fejrpataky M,S. ll betk lthatk; ezekkel a
1908-as csksonrlyi jegyzctei kztt nincsen nyonx. Szabolcsi Bence 1925-beu l5:oo/cs.-haggalk, \l-1A betkkel ksbb, a 36. tapon ismt tallkozunk. Az frs az ets kdexfr'tl szrmazik.
Kzirattr, 5653/4, XVIII. -Erdly" lelirat{r kziratkiiteg; Szbolcsi 3, 286), Papr Gza 1942-bon a lolozsvltri ferenc- Ugyncsak frja: ... ie r,l
I{artij
ll Ac():... A megrongIdott rsz utn Kjoni frst olvashatjuk:,.. (Fto,)t patr Joannt//, ezutn igen
rendi zrdban tanulmnyozta (szbeli kzls alapjn),
. elmosdottan: obla(?), majd egy Icivehetetlen fott utn: Organislae
A vrosok romn, szlovk, ntlmct, esetlcg latin elnevezseit Id. a heysgrrvmutatban, Claustr Csf/tiens(is) 1652 ll. Vgl SeregIy kzl-
t Ld. Fodor. rsval fejezdik bei Ineptuntur scribendl in
llGlortan el Trtn.a ll Die E Apprt(s). Eszerint mdosftsok szlel-
3 Pecstjn: Compexul Muzeal Judefean Harghita het6k Seprdi adataival szemben (ld. Seprdi B, 18S)".
- liercurea-Ciuc. ,.
r Seprdi
? epr6di 3, (p. 130) m 20x10 cm-be adja meg a mrett. 3, 130. Ebbl messzire vezet hipotzisek szlcttck (Boros 4), amclyek na
8 Seprdi 2Lt tliL szmllt, Simonis (p. 130) szerint a kzirat terjedelme 213 lap. 8lta utn - hivatkozsaik egyenknti vizs.
- rnegcfolhatk.
3B 39
 A gyjtem'y zenei anyagt - nhny kisebb kiegsztst nem szmtYa -
kt kz jegyezte
A kdex leri
le, mgpeclig az Amrnerbach - fe. j nmet orgonatabulatra-rssalls' Egyetten
kivtel a 23il' szm
darab, a Leptts intret sctta quescit egyik lersa mai tvonalas szisztmban. ;\
kzir'rt utols tulajdonosa, knyvtrltje s kdexra az ortcrdo:r szlktt czrmaz), rmn
A kzirat tbb ktegbl utlag sszefztt kolligtum. Az egysgek eredeti sorrendjL s a eredet. orgtista s zeneszelz Joannes l(aionile ferencrendi szerzetes volt,zo akit a romn zenetudo-
lerhs kronolgijt a kzrrsok elernzse s az cgsz kziraton elszrva vgigfut
(a lers helyrl' mny Ioan Cianu,2l a magyar zenetrtnet-rs lijoni Jnoszz nven tart szmor.
(ld. a kder rirl A kdex 212, nvadja ltal szmozott kzira'"iaptrt ll; az orgonistatulajdonos hasznla-
idejr1, a ler szemlyrl trjhoztat) bejegyzsek alapjn lehet re<onstrulni tra sszeIltott vallsos s vilgi hottagytjtemnyb tartalmaz, a XV{L szzadi zenei kziiatokra
szl fejezetct). jellemz(5 sajtos hangjegyrssal, az j nnet orgonatabulatrra jelrendszervel.23
papr els ltsra
A kt ler, Seregly Mtys s Kjoni Jnos Ital hasznLL rgebbi s irjabb
is k.nyen elkInret a szn s a szlvonalzs klnbzsge
alapjn. A rgebbi papranyagrl csah ts kde.ben az orgonista rreve -Ifaionknt szercpel a kvetcez lapokon: 60, 777, 136, 156, 15?, 168, 1'lB, 757, lB2,
^ 189, 195, 199; -Injoniknt van fcltntetve a kvetkez lapokon: 205, 208, 209.
185,
pedig nem hatrozhat meg
felttelezhet, hogy azonos paprlajth oz tattozik;16 a I{joni-rszbl o A krlmnyeket, _amikor Joanties liaioni nevnek alfr'rsakol' hozz{{lzi, hogy ,,Yalr.clius": Negrca, 9, 74. nagyatuza
rneg vilgosan, Anlk, hogy rszleteser ismertetnrrit Kjoni Jnos letiajz1, mclyet kln {ejezei:e trgyi parp
valamennyi PaPrfajta eredote' .gncs, arra _a _ kt forrsmre hlvjul< fel a figyehnet, melyekle a szakilodalonr hivtkozik: Sim J.(S"p-
rdi 3, 192, 5. jegyzet) s Seprdi 3. Eszerint Kjoni Jnos lclrajzi adatai - a fconqeclickhez val tartoza, a
papr[pusok azonosltsnak
I\{ivel a kziratot a vzjelek pontos ismerete nlhl is datIni lehet, a szletsi v s hely (1629, Nagykjon), az cmlltctt lendbe val belps idpontja (1647), ki.,'l muzsihusra, orgoiristra
s orgonakszltr'e vall kpessgei (Csfksomlyn, Gyergyszrhegyen, Mihhzn, Szliclyudvarhelyen tevl<eny1<edik), a
jelentsge.1? A tbbfle vlzjell paplr
legfeljebb szrmaztrsi hetytik megismerse szempontjbt leheb csfksomlyi orgona jjpltsc (1661), a tiirhzai (16t6) s a szrhegyi (1t69) egyh/izi pletel< hrlyretltlsa, a iecncntli
vezcttisztsgbe val bevlasztsa (h;.rsztosz lesz) (1675), a nyornda alapltsa s kt jelcnts m liinyomtatisa (Cantonale
folvarnatba' Mind
elklnftse viszont kzelebbi bctekintst enged a htet egykori kialaktsnak Caholicunt,1676 s Calendar, 1678), kinevezse ltalnos pspki helynkk, majtl az erdlyi misszik pr.efektusa lesz,
a piispki szk visszautisltsa (ei'rl az epitliurn is megcmlkezik, melyet irallra h'tak a szerzctesck), allnak reiye
legszembettn6bb sajtsga ugyanis'
az rsfajtk.t, mind a papifelhasznlst figyelembe vve a kzirat s idpontja (Gyergyszrirhegy, 1G87. pt'ilis 23) - szinte tcljesen azoirosak a XiX. szzaclvgi e tr'ggyal fogir.lko
egsz irodllotnban (a r'szlet'ket kivve, ameyek a szetzetesrencle s vidki tevhenysgre vonatkozuak; eszerit
rgebbi s ksbbi rszek
hogy trbeli elrtrnclezettsge nem tkrzi elkszlsnek idbeli rendit: a CslksomlybaIi 1681-ben vette t a hzfnki tisztsget. Lsd: l)anli, 65-69). h'odalom: l)ank s e m{iI h't e-
cenzil< (l\Ilisz I. s Szzadok); Ngyesy; Rupp; Szinnyei. Ezek az adatok
folils valszn{lleg - a for'hs rnegjcllse nlkl a 1erences
papt, Sinon ftcu-ndiautl elcdnek, aki Kjoni hallnali 200. vfodtljn megtallta ennsk alchpt (ezt-az esernyt
egymst keresztezik, azt sugallva, hogy sszelltsuk utlagos. Mivel az eredeLi elszr Rupp, 66.: lsd Seprdi 3 is, 192-193). A Seprdi Jnos ltal 1909-ben t<zztett adatokat
- a feences Rd.rly
annyira, hogy
Kjonitl szlrmazik s a Sereglyrfle rsz lapjai alaposan hr'l vannah vgva - Simondisszertcijblszinteteljcsegszbenkivontaclatokrlvansz -,melyeketsepr'cii3,193felttetezscszer.ini
a fiatal szczetes nelncSak a rtnd archlvutnb], hanern a Sinon Jilcundian sszegyjttte emlkekbl szeclett ssze
felttelezhetjk, hogy - az
emiatt a lapszIen nhny bejegyzs megszakad, olvashatatlann vilt -, azrl irotlalom teljes cgszben tveszi (lsd mg Domokos }{ria in MoZtr't II, 509); ilyenformn minden Kjonihoz ftizd
tma esetbcn a rszlelcs tj koztats a fcenccsehtl eled: a szietsi hey l'Itozik csupn l<veiloztetsin alapszik
iclejben hoztk vgleges formjirba' s ez a Kolozs megyei Jegcnye, a szlctsi v bizonytalann vIik (1629/1630); a romn- szr.mazs viszont elr lrLr"n -,
a ktetet I{joni rrycr.bizonytst, a Kjoni llorlulus Deuoionis clm mvben tallhat mcgjegyzs, valamint a ferencesek rendjben,
ma re-
A kzirat legkevesebb 23, vll.oz szrm lapot tartatmaz vfzetb6l ll. Ezek rendjt a pr'bav lctclte utn tctt fogadaomban fllelhet apr r'szlet alapjn; az arcirfvuin egybknt fnr.rtatja a rendbe
val tnyleges bcpsnek (149. szeptcurbcr 1?.) s papp szentisnek pontos idcjt is (1655. szeptembir 5, Nagy-
konstrulni renckvl nehz felaclat, egyrszt nert a lappangs icleje alatt leginkbb
a knyv gerince -a
szornbat; ma: Trnava, Szlovkia). Ms j rszletel: rendi tancsoss vIasztjk (16ti1), a custodia 1'v vlasztj-a
liptalani gylsen (1675. augusztus 25), ltalnos pspki helynkk nevczik t<i (1t76. december 20), utasltst ap a
volt krosodsnal kitve, msrszt mert az 1986-os restaurlskor az eredeti llapot megrzsre pspki szk elfoglafu'rsra. (1678. december 20), pater custodiae lesz (1686. janur 29), majd szr'iregyi hzfni{k
vlasztjk(1687. prilis 15). Karcsonyi1,64-65,felttslezcttr'szletchetnyjtKjoniszleirismegkrjeleziromn
sz{rnazst; itt tallkozunk clszr a cslksomlyi oigona felilatnak (1674) rszlctes ismetcisvel.'iudornnyos szern-
lthatan nem is trekecvc a hnyvet igen szot'osl'a trtttk.18 pontbl mg pontatlanabb s negalapozatlnnabb a Boros, 4 felttelezse meiy szeliirt
sekbl kvetkezik (?) - a kileben tallhat bejegyz-
a gyulalehrvri s a lonostoii jezsuitziknl tett szcrt zenci isrnereteire.
- Ez a felttelezi on-
brn az ekvetkez vtizcdek szmftr*., napjinkig, rrz ilodalom forshv lesz (lt{oZtrt II, 1SS-184). Ha a kdic
lapjairrlieressknztlltst.altmasztrveket(Boros 4), az ishipottikusnaktckinthct,hogya ItderezdemnyezOje,
megtervczjc Tasndi Blint, akitl az Fenesi Mihlyon keresztl jutott Selcglyhez, tle paig nnitO Istvnon t"t"ir-
tl Kjonihoz.
A romn szakirodaom is ads mg a Kjoni letrajzt illeten Rduly Simon munkjval s Seprdi Jnos
tattulm-nyval. Az adatolban leggazdagabb kiadvnyok szerzi kzl kiemeli<edik Sirnonis; "g.."; Ghicoiaiu 2;
meg-v' 0. 1,. Cosma 2, 291 1; Ciobanu, 49-51 ; Benl< 1; Tomescu; V. Cosroa 4. Az is elfordul, hogy'a mr
r A kt l frs kzti ktitnbsg a gtikris s a humanista kurzfv bethasznlatltan ragadhat
Jak 3, L77 -178' -3O5: Mocanu
publiklt elemeket elhagyjk (Szabolcsi 2, 297.
f a - nem ernllti a ferences organista romn szrmaaaset), masorii i"dtg
Kjoniakvetkczetescn gtikusr's,l<ivvcal<iseletilt. sereglylrsra 1634-benagtikus tI, es legjellemzbb,
kibvitenek, hivatkozsok nlkl iden, itt teljes egszben feltntetik aiidszakoka! m_elyel<ben naoni hzfnk
illetve a kt alak hzti - 1642-ig' az utol-
rnely betilk hasznltatnI 1638-tl a hr rnanista kurzfvr'a val ttr's, Mikhz-a 1666-1689; Gyergyszrhegy 1669-16?5; Csfksomly 1675-7678;.
vagy legkevesebb hinyos rvekkel tmasztjli_al ezeket*(Mocanu 1,- 145-146,^ eg5i egsz
lst n^pp gi"" eltr ernnyt
s befrsig ta't ingatlozs figyelhet me.r. Az 1634-es els bejegyzsek
s az 1636-os ,,rijrakezds" kztti idbeli t-
Iijoni .esetleges tovbbi letre nzve 1698-i, Bacu-banl). 'elcrn csal. 19?B-ban uLn ft, amety tortOnetflpi -, to
amelyek azt a l/rtszatot keltik, mintha kt kz frsval lenne dol' Itjoni hang-
volsggal magyarzhatk tcht az e\t.r vonsok, szeltszltri ter'kenysgre -
Miklssy b, kzli I(j;i jgyzetet herbriumnak .gyit 1ZOO-IOI val msolata
hizonyos korltok kztt az els belr esctben a lejegyzs idr'endjnek pon- -vonatkozik.
g'nk. A betilhasznlat c vlto:sa - - -, apJn azokrl az idkr6l, amikor virginlokat pftett.
'r l-sd: V. Cosma 4, 2g0, 2g2_2g3.
tosltstsegftheti.Akziatosktetegy-egypontjn(75_76.1.;109's110.1.kztt)kt-ktazonosftatlanlrssal
az 1642 s1660 kzttiidszakra' ezellenben ii* Ld: " teghjabb nragyar zencttneti sszefoglalst, MoZtrt II.
tallkozunk. Az els1039-re tehet, durva, nagyvonahl; a msodiltaln
kivtelesen j.kalligrafikus. A 109. s l. kztt elirelyezkecl kt lrs eg)'nssl is s Seregly lrsva
110.
Christop-h s David Stssel (isd: Christoph) szerint a taulat{ra a }rangsz':r'es ze}cn hasznlatos, a dallamokat
cs ene(eket bctilk s szmok segltsgvel r,vidft nrvszi hangjegylrs.
"'^"Tl,l
108v-n ugyanis folylrsrl szveg,
is nehczcn hozhat kapcsolatba, de mindenkppen a rgebbi rteghez tattozik. (4. A IX. szzartl szrvnyosan magjelen nmet orgonatbulati'a
_,a zenci nygt legl<evesebb egy hangra
beti kzI csak a ngy tr-el luyegesen Selegly frst],
a 10gr-n pedig tabulatrafrs olvashat. A tabulatrlrafrs i,tlu, a. hangoliat betfrt-keleltli. Ez a taiia hangjeg,iis csak a XV-XVI1. szzadban vlt ltelnoss. A betiikkcl
Eszak-Nmetorszgban virgzott fcl
a tbbi belefr az 1634-es betkszlctbe') J',ii,'* i_i:q{.9}:11|t,. iy.tv
";|:,:.lrdely dlkeleti rszbe is, s amint lrtjuk, ms rgt'bbi vagy - inren ced a.z ctn,-.vrzs ii -, Eurpa-szerte elterjcd,
ttalban az egsz knyvben' jai.b kottal:..;i :irdszerekkel lie.il lilcsnht;b:
10 A bizonytalansg abbI addik, hogy vfzjel nem nrindegyik lapon lthat. Sokszor - u]"gigyek bet{1kkel val jellse a d:illnvcrrl rgzltsr a , 7, {.-asvor,.',tlcndszercn ettrelyczked ngyszg-
de leginkbb .ebben a rszben. - mg a keresztdrtok nyomai
is alig vchetk ki a paplron' ;l:,:t:."^:
Erus v8y kerek nertmliat hasznl mcnzttr'lis hngjcgyfrshoz thrsult. ,{ kt hingjegyhsi rnd egymasmeticsgt
1? 1. (SeregIy lta t*sznIt paplr) Braunau (Fcts-Ausztria), 1600 krl (Eineder No. 94); 2.
(Kjoni ltal hasznlt paplr- nevezik rgi nmet tabulat{rnak, a hangiegyc}i-cgysoges rendszencii a ki,i.i:riliil tern nagy bizcnytalansggrl
cuemezhett fejldsi pillanatra utal. lnely
tajtk) st. Piten(Als-Arrrttiu, "fels"paplrmalom, 1642 (Eineder
No' 279,281); SpisskaTeplica(Szlovkia)'ili' ondrej Megfigyelixd-lizonys lcrnlc.tvtclo a ncrrr:ir,iial val lrsnrclbl a brt{lvel r;;rl
p' 35)' rajzolat:r jclzi a kronrQtikt is); a modiii ci*iv ;.i. iriren (1460-?;151t-iu ; t5:"{-,
Lang,1631-5?(Decker No. 1104a, 1109a vagy 1120a; ijla:11:t:,.(a.hangjcgy
'4l tr rrg)'rl(tti't hangjainak a jellsj;cn bizonytal:iisg mutatkozik (1512-brn.rir:i::gjcgyek.al-rtti
rs Nincsen tudomsunk arrI, hogy restaurls eltt llycn jelleg lelrs vagy nykpfclvtel ksztllt volna a kiletrl' vfzszirtes-voua,_ii

40 47

A gyjtemnyen hatfle kzvons fedezhet fel,zd kzlk kett dominI. Az egsz gyjtem-
nyen mindvgig nyomon kvethet kcltezsek, bejegyzsek s alrsok26 tansga szerint a kdetet
nagyrszt kt - klnb26 idszakban tevkenyked - tulajdonosrtas hasznIta; a gyifjternny
Seregly Mtystl (1634-1642) Kjoni Jnoshoz (1652 s 1671 kztt) kerlt. Lsd: 1. bra
s mutat.
A gy{jtemnyt alkot 346 zenedarabbl 213 rzi a I(joni kzvonst, 130 a Sereglyt, a tbbi,
szmunkra ismereLlen ngy kz rst hrom zenedarab s kt elmleti nunka (1. bra) rzi.
A darabok szrmozsa
Minden egyes darabot szmmal jelltern, zrjelben adtam meg a fliszmot (1.) s a darab
helyt a lapon bell (1/1, 2, 3 stb.). Pl. 146. sz. (7712). Lsd: 2a bra'2
A Kjoni Kderben fIlelhet darabok szma nem egyezik a lapolc szmval.z7 Elfordul,
hogy a kziratlapon egy vagy tbb darab is szerepel. Ms esetben tbb lapnyira terjed egyetlen darab.
A hossz strfikus szvegek azrt kaptak csak egyetlen szmot, mert a versszakok a zenhez kapcsold-
nak. A 109. lapon tallhat latin versike kivtel, nem ktdik az eltte 16 Pad.uqnhoz. Azrt nem
szmoztam meg, mivel a sorszrnok kimondottan a zenedarabokra vonatkoznak.
IvIiveI valamely mise vagy Magnilicat rszei szinte mr nll daraboknak tekinthetk s a
kdesben kln feliratokhal vairnak elltva, ezeket kln sorszmoztam (pl. a 160. lapon kezdd
s a 163. l. felnl zrul Magnificat szmozsa 283-tl 288-ig terjed). Kivtelt kpez a 148. lapon
tallhat Lgtantae Lauretanae; itt az alszakaszok rvid, kttemes - kadencikhoz hasonl - zenei
motvumok, melyeket, ha folyamatosan egyms utn nekelnek - ahogyan lejegyeztk ket -,
hosszabb zenei mondatt llnak ssze.
A Kjoni-fIe hangjegyrs s tabulatra,z8 akrcsak Seregly s az ismeretlen kezektl
szrmazk, a k'derben annak a fejtdsi foknak felelnek meg, amelyen a korabeli zenei kziratok
anagybetflkhasznlata,melyekeredetilegcsakadarabokkezdetnjelentekmcg);aszinjelrajzolataks6bb
1512utn
jelenik meg- (1512), vagy az temvonalakat -az
temek kztti szabadon hagyott spclgry rvn mintegy elre jelzik
ifffZ); a hangjegyrtkeket (rcsokhoz hasonl) rajzban adjk vissza, a kvetkez fejldsi fokra jellemz m6don, ez az
Irs azonban a rgi nmet tabulatrban is fllelhet; a basso continuo hatsra a szlamok vratlanul kialakul
rend* a partitrlrban (discant, basszus, alt, tenor).-Nem csodlkozhatunk teht a rgi nmet tabulatrira (Kleber Orgel-
tabuiatu,-L121-1524) s az rlj nmet tabulatra (mint ppen a l{tjoni Kde) betinek a rajzolata kztti hasonlsgon,
a kziratok sszevetsekor. IJj nmet tabulatrirrl beszlnk, amikor lemondanak a vonalrendszerrl s minden hangot
betkkel jellnek. Els ltsra, gy t{tnik, hogy visszalpsrl van sz, ha elfeledkeznk arrl, hogy azokban az idkben
a papfrral val takarkoskods miatt ajnlatosabb vot bet{ivel lrni. A_ nyomtats . megjelense a kziratokra is
nngy- ftuta.t gyakorolt, amelyek tvettk a hangok rajzolatt s a hangrtkeket rint mdosftsokat (az oktv
kOs vonala egy eg,sz csoport hang szmra, a,,rcsok" megjelense vagy a ,,c" bet{l nyomtatott kis,,r" bettihz hasonl
jellse). De ai orgona-tabulathra lsnak virgkorbl, a XVII. szirzadbl val kziratokban pprlgy tallunk hangjegy-
rtkeket kifejez rajzokat, mint ahogy a betk bizonyos rajzval is tallkozunk, amely a hangjegyft's jcgyeinek vgleges
rgzftsre utal (apud'Wolf ; s Apel).
t V. Papp .{gnes fenti eltr nzetvel'
A bejeg-y'zselkre, keltezsekre s alfrsokra vonatkoz tudnivalkat ]sd a m vgn tallhat mutatnl (1.m.)'
6 A kd;i s a darabok ismertetsekor csak a sorszmot adjuk meg, a kivtelt kpez lapoknl vagy ms esetekben
rvidttsek - b(bal) s j(jobb) - knnyftik meg z oldalak jellst. Pl. 141'sz' (75 l. b/1)' Lsd a 2b brt.
Vasile Mocanu -(Mocanu
1, 59) tvedse a darabok s a lapok szmval kapcsolatosan egyes romn muzikolgusokat
flrevezetett; m a leghjabb kzlsekben is tovbbgyrznek a tves adatok, kztk (a Kiler jrafelfedezse s res-
taurlsa utn) iiorel-Csmnl (V. Cosma 5i idem 4,28O) s Vasile_Tomescunl (Tomescu, 41) is.
r A csfksomlyi ferencrendi szerzel knyvtrban - am9ly, a csfks_zeredai mrlzeumhoz tartozik - nem talltam ms or-
gonatabuladtirs kziratot vagy nyomtatvnyt-a Kjoninak tulajdonltott Organo MissIn s Sacr-i-Concenlusonrfvl (a
hlapjaikra vonatkoz adatoat lsd: Seprdi 3,202-203 s Negrea,.20-21). A knyltrban fllelhet tbbi kzirat
tkltesen beilteszkedik a rnk maradt XV, s XVI. szzadi erdlyi kziratok fajtjba: jellemzjk a gtikus vagy fran-
cis neumkat hasznl nyugati hangjegyfrs (O. L. Cosma 2, 178): az n folo formtum{r pergamen-kzirat, melyet
Frater petrus de Stepes msolt, XVL szzad eleji antifnia; fekete neutns ngyes vonalrendszert hasznl (ehhez hasonl
a Szebenben tallhat, 1430-bl val Missale .f, valamint a Gyulafehrvron negrztl Missale ,s Psalletium, akrcsak a
brssi psaltqlm s Korvin Mtys Bcsben troll Antifondiuma - ibdem, vaanint \t Anfonrum-kzirat a XVII.
szzaat, melyeket valszlnleg XV. vagy XVI. szzadi kziratokrl msoltak (MuckenhalPt.Erzsbet tjkoztatsa).
A ierence"rendiek knyvtrban a kvetkez XV-XVII. szzadi zenei -nyomtatvnyok talIbatk - kzs vonsuk a
piros szfn ngyes vonhendszer s a ngyszgletes fekete neumk hasznlata: t. Antiphonatum Romanum, Velence, 1652,
ettrt szam gZll; Z. Ptaltem,Romanum, Genf, 1656, lelt. sz, 373; 3. Antiphonar,um Romanum, Velence, 1634, lelt.
iZlI: 1. pcdltcrtum Romanm, Yelence, 16?2, lelt. s2,3712;5. Antl.phonarium,. Krakk, 1600, lelt sz. 3753; 6.
"r.
G'1ituslc omanm, Vcleuce, 1499, lelt. sz. 3920 (Muckenhaupt Erzsbet tJkoztatsa).
u
llnak.zo A,kdex azonbn a umet tabulatra virgkora utn keletkezett; benne ugyanis a guidi
ielrendszers0 elemei is jelen valnak.31
' Al;deret vlzszintes irnyban olvssuk, batrl jobbra; a lap bal oldatn kezdve az olvasst s
lev utols sor vgn fejezve be.32 lEzzel magyarzhat, hogy l{joni a kder szmozsa-
jobb oldalon
kor csah a bal oldalt ltta el szmmal (3a bra). I{ivtelt kpez a cmlap utn kvetkez els6 lap: a bal
oldal 1-es szmmal van jellve, a jobb oldal perlig 2-tessel. Ez esetben 1-2. laprl beszlnk (3 b
bra). Valsznfileg kezdeti bizonytalansgrl vn sz.33
I{joni figyelmetlensge vagy mrs, szmlnkra ismeretlen ok miaft maradt el a 129. s a 167. l.
szmoz.sa. Nincs sz a kzirat megronglclsrI, mint a 3-7.1. esetben. Kivteles a 109. s a
110. l. kOzOtti lap helyzete, amely nem illeszliedih be a szrnozsi keretbe. Felttelezhet, hogy
Kjoni ragasz.totta be, s az 1986-os restaurls all<almval vlt le.
A 44. s 46. 1. hztti 45. l. hin-vziki a partitra olvassa folyamn megllaptha'u,3r ho.gy
a 45. bal oldala s ugyanakkor a 44. L jobb oldala rnegsemrnislt, szmunkra ismeretlen id-
L
szakban'36
A, kdes, annali cllenre, hogv formjt bekintvc knyr'. tulajdonl<ppen kottatr, s:tz oldalak
kln jellse - legyeneli br Seprcli Jnos rneghatrozsa3 szerint (3c 1-2. bra) ,,verso", illet6-
leg ,,recto", vagy ,,a" s ,,b" jcllssel elltva, rnint Marlian NegreuI3? (3d bra) - nem segti,
tt XVII. szitzadi erdlyi zenei kziratokkal sszhangban lcv6 elemeknek tckinthctjk rng a litlcr. nyelvezett
- csak
rszbcn fltlt latinul, ami vonatkozih a cfmckre is (a hangszeres, a voklis-hangszeres, a vilgi s az egyhzzenei
rlarabok cfrneire) -; zene szvegt s jegyzseit, bizonyos darabok esetben peclig a zenesz.crz feltntetst. Ossze-
hasonlftsi aapul szolglhat a hornor'di Canlonale, 1654 (O. L. Cosma 2,272 sz.l a Senndorfer Cantonale-r, 1649;
ellenben Constantincscu, 157 a Canlionale keletkezst 1654-re teszi I(is-Zsolna helysgben; 1939-bcn Homodl Sze-
benbc vittk, ahol 19.tr5-bcn Gcorg Brantlsch tanulmnyozta), vagy a szebeni llarni lr:vltiu'ban tailhat bassztts-szlamok
(O. L, Cosma 2,276: lsd mg Constantincscu, 1?8). Megfelelsekct nemcs:rl az eldlyi partitrk mutatnak fel, hanem
a nyugt-eurpaiak is, akrcsak a zcnctn{ivcl rlj miiformi - kzliil( a legjclentsebb az egyhzi koncertzcne ncksz-
lkra s szmozott llasszusta. Ez a tnfiforrna a kantta fel rnutal s rrr a XVII. szzadban mcgelenik, prhuza-
rlrosan a moterttval s a liorlis ntlaji fejldsvel - a Gesangti a Choralbuchig. Egybknt a 290. sz. darab az,
arnely nyilvnvalan kzclft az oratriumhozis; ez tulajdonkppcn pr'bcszd, amely Thomas Wieara urhsol s Johanncs
Bartlr Kiclengesttgc-jtl val bibliai lcgcndjr'a cmlkeztct (O. L. Cosna 2,277) s a hornordi Cantionale Pas-
siibarr ellrt szlamokhoz (Ibidcn,273: lsd rng Constantinescu, aki ctekint ezektl a Passrjktl). A vonshangszerek
szercpeltetse is olyan cletn, amely mcgcgyezik a kor'ibeli partitlikkal. .s a l;der.ben Screglynl pprlgy tallkozunk
vele, mint a Iljoni lejegyczte daralok csetbeni Iirdlyre vonatkoztrtva, a basszs-szlnmo (lsd fentebb) vall erre
a lrasonlsgra. A kjtler rngis rnindenekcltt a hangszcles zene fejldsnck legjelentsebb vlvmny{t tkrzi; a vo-
k]is zenbl val tfrsokrl (xVI, szzad) a tuhjdonkppeni hangszer.es zenenvekre (XVII. szzad) trtn ttrst.
Eldlyi vonatkozsban a Bnkfark Blint (O.L. Cosma 2, 222) nevhez fzd nyomtatvnyokat jval trllhaladtk l(joni
kziratai.
3 ,{z aits vonalrcndszcr a /tdrlcbeuelsztjra63. lapjobboldalrr jclcnikrncg. A.z eg,sz oldalt rigyvonalaztkbe,rnintha
csak a kdcxfr elkszltette volna a papflt a zcnei anyag iejegyzshcz. lfirnek ellene a zenei anyag hinyzik, csak egyetlen
cfnret tallunk az oldal kzepn, amelybl kidert Iijoni sz:inclka, de vgI lemond err'l. (1.m., g). A kd.er lelnl
(126' ') talll<ozunli a Lepus inlra so.ta qu iscf . . . ( A n gtit a uetentn yek k ztt . . . ) cim darab cgyik els vltozatval guidi
urccsal(cantus 2t)
$,""n1trr), $*
hangjegyekke, rnelyeknek rnagassga s rtkc ma is hasznlntos, de tenvonal nIkl s csak szrvnyosan vonalkval
vagy vcsszvel elltva, miirden vonalrendszer alatt sz\'eggei, arnely zutn kln folytatdik. trfs vonalrendszerekkel
trllkozurrk a kvetkez daraboknl: 274., 2i3., 289. sz., arnelyek jttonsgot tartogatnak: a clm eltt (274,,275. sz\
vagy a darab befejezse utu (289. sz.) cgy kis l'onalrcndszeren vagy hrom kis vonalrendszeren vannak feltntetve
a szlamokhulcsai; a oss:uslnlcsabasszusszlarniroz s a szmozoti basszushoz;C-kulcsokathasznl atenorszlamhoz
(275. sz.), a s;oprrin-szlamhoz (274.s2. Cantus) s kt szoprn-kulcsot (akkor is, ha a 289. sz. darabot kt
- 2jellssel,
tenorra s sznrozott basszusra li'tk) Dsccnlus arnikor a daiabot kt szopin is nekelheti.
'r AKdjon Kder, a hngjegylrsjelensgnek dinarnikus pontja, tebnlatrja magba foglalja az rlj, guidi rendszer ele-
neit, s hidat kpez. az orgonatabultrlra jeh'endszernek-kt vglete ko"ott, Als htinak 2l+A-Ail val, per-
ganlenre fu't, preldium-gyjternnyt tartalmaz kziratot, melynek orgona-manulra lrt zenei anyag teljes egszben
menznrdlis, a peCt sznrra pedig betkkel jelzi a hangjegyekct. Fels hatrnak Johann Sebastian Biaet' Orgelbchlein
clm kziratt tckintjli, amely halyszke rniatt, a 17. lapon, vonalrendszeren alapul hangjegylrs helyett tabuathrs
Jelrendszert hasznl (lsd mg \\olf, 11; Ape, 3E).
3e A.
XX' szzadi nruzsikus szma az orgonatabulatra megfelel a zenei oktats keetben hasznlt nekftizetek formtu-
|11.""k_"iq a jelunlegi orgona-partitl'knak, mindkett alapja a vlzszintes elhelyezsi md. E formtumot az a gyakor-
ratr szndli laliftottt ki, hogy amennyire csak lchet, milll ritkbbln kelljen megszatftani a kottaolvasst,
llr -Senrdi 3, 188. - nem veszi t:szre az els lap szmozst, ezrt a szmozst a 8. lapig tisztzatlannak tartja,
Ibidem.
'u _rl-io.,r, 189, nem jelez semmit a 45.I. hinyval kapcsolatosan, amellyel a Kjoni kzvorist rz darabok egsz f-
zee kezddik' Ilegiep, hogy Seprdi Iijoninak tulajdonftja a +5a
lat'ot, s ezzI bizonytalansgot hint eI, mivell a l5
." rupnoz Iijoninak nerr lchet kzc.
"" tdem, Dassitn.
" Lsd: Ngrea.
43
hanem ppen ellenkezIe4, flslegeser terheli a muzsikust a kottaolvassban. A fli ,,bal" s ,,jobb"
oldalnak rnrgnevezse nellett szl viszont t - telert oldal. Iiyenforrnn
kir'Lelesen vertiklisan
a 63. L bal oldala fggleges olvasst igoyel, mivel a zenei anyag a jobb oldalon nem folytatdik,
hanem ott irj elem - tvonalas vonalrendszer - jelelik meg (4a. bra). Tovbbi kivtel a 75. 1..
melynek jobb oldatra rem I(joni rt. Az l<zvonsa a lap bal olclaln ismerhet fel; ezl a kottt
viszont fgglegesen olvassuk (4b bra). Az oldalanrnt ugyancsak igglegeseu olvasand, a 109. s
a 11C. kztt eihelyezked lapot teljes egszben ismeletlen lcz rta. Szmozatlan s egyike azoknak a
lapoknak, amely clmlel.i ma.gyarrzr.t.o1<at, ellenpontlairi szatrlyol<at s szemlltet pldkat (?) tar-
talrnaz egy misbil. A 117. lapot t{joni rta kt }rlnbzi id6szakban s ms-ms tintval. Oldalrl
oldaha olvassuk, fgglegesen (4c bra). {ivcl a 138. l. jobb oldalnak hrornnegyed rszt Seregly
lrta tele, I{joni a szabadon hagyoLt rszt }rasznIta kii a lap bal oldalra rt fgglegesen, az egsz
lap megmaradl negyedre pedig vzszinteseil38 (4d bra).
A. kder sszelltsban clntrel< bizonyull a mg be nein tlttt helyck u[lagc; hi-
haszrlsa: a Ser:egly lta1 szabaclon hagyc'rt helyek I{jonitl elecl kitltsig s bizonyos, ugyan-
csak Kjonitl szr'maz, sajht ciarabjaira vonatkoz zenei utalsolcig mindeli a kdexr rendel-
kezsre 11 hellyet fgg ssze. Sereglynl a clarabol< tbbsge (1,2,7,8, 13, 2,24,27-29,
31, 34-39, 46,47,57-63,66-70, 74, t5$-180, 163, 164,r77,208,210-212,276,234,235,26t,
263 sz.) egy-egy lapot fcglal el. Termszetesen ;ragy terjedelmi, kb lapot ifog darabol< esetben
nem rvnyesl ez a szerkesztsi elv, mint pl. a Magnificat (40-44. sz.), a Mise (105-109. sz.),
a Te l)eum (111-125. sz.)s rns egyhzi zenemvek (64., 154.s2,) s hangszercs darabck, mint
a Fanttizik (152., 178-214. sz.) s a Balett uaricikkal (239-240. sz.) esetben. Egy msik Mag-
nificct, a 151. sz. dalal matcinem hrom lapot foglal el, egy Viaclana-mise (i28-139. sz,) pedig a
69/2 laptl a 73. iapig terjed. SereglynI riebb terjedelmi clarabok is eiforduirak, gy ht, h-
lnb26 darab is helyet kaphaL egyetlen lapon: 6. l. - 9., 10. sz.l 8. l. - 16., 1.7. sz.; 9. l. - 18.,
19. sz.; 11. l. -22.,23. sz.;17.1. -32.,33. sz.;69. l. -127. sz.sa128-139. sz.AfficiuntViadanae
kezclete (mindkettt Karcsonykor neklik); 98. l. - I75., 1.76. sz.i 130. l. - 23$-238., 239. sz.l
131. l. -241., 242. sz.; 132.1.
-243., 244. sz.; 133. l. -245., 246.s2.; 134.1. -247., 248.s2.
Amennyiben a nagy teljedelm{i clarabol< melictt mg rnaradt hely, figy ezl vagy Kjoni
vagy Seregly rsla val clarabok tltttk ki; ez utbbi kzvonsra vallanak a kvelkez la-
pok: 30. (az 55. sz. vge s 56. sz.),39. (a 64. sz. r'ge s 65. sz.),80. (a 151. sz. \'ge s 152. sz.),
83. (a 754. sz. vge s 155. r2.), 101. (a178. sz.vges 179. sz.),115. (a 214. nz. vge s a 215. sz.).
Kjonrnak nm minriig sikerlt tklete:en kitltelie a SeregIy utn rnegmaradt helyet. A
81. sz. darabbal szemlltetre.th az ilyen eietek, arnilcr a darab nretei nagyobbak, minl a relclel-
hezsre ll hely. trlyenkor I(jcni lemondott a sznksos ehcndez;i mdrl.3e s a helyci rjra fel-
osztotta, hogy tmrthessen.
IJgyancsa.k helyszknoh t.udhath be bizonyo:r javitsok. A 312. sz. darab (a lap jobb oltlaln)
utols tornnel egyil<:e nhny hangjcgyeb iktattal< bei ezeket, utbb hitrltk, s ir'ttik a lap
bal oldalra (a kvetkez elrencezsi mdba); il,venformn elkeiltl az tem rszeire bontst,
egysgirek raegtrst. Mrsik hasonl helvzet: a 330. sz. darab utols temirl l(joni a fenti
szabadon rnai'adt helyen folytatd zenei auyaghoz kld. A 281. sz. darab esetben is ez trtnik,
helysz{il<e miatt nem lehet folytatni, ezrt a klci:ihcz folyarnodik.
Bizonyos lapokon (96. t. s 202, 203. l.), melyeken befejezellen da:'abok vantak (169. sz.
s 339. sz.), feltnen soi< szabad hely rnarad. Olyan e;etell<el is tallkozutrk azonban, amikor az,
res hely teijesen be van tltve, m a darabok befejezel.cnel - Sereglyirl a 159. sz., I{joninl
a 77. z a 305. sz. (i:efejozetlen szlamoh kvetik egymrist). A 97. s 278. s.. darabok is ltszlag
befejezettei (lem naradL heille'ulc:r hely, a szlamoh katencikl<a zrulnal<), ugyanakkor a l<aderr-
cia utn megr'.ltoztatott temmel f,lyta1.clnak: ,,C", iletleg: ,,", nritva maladnk.
58 Seprdi 3, 225.
2 A, Iidex lapjaln vgigrrztl hossz r'Izszintcs vonilp.li killnva:ztjl< a mai zcrci szi:;ztrn1 szsrint alkotott kclLs,
hl.mas vagy-nOgyes lcnali'cl<:zer vezrkrryvet; a vonalienclszclek megfelclncl a szrilamohnrli. A zongola-, nekkari
vagy hang:;z,eregyiittes partitr'a-jeicgzetessge, a kapcsolel nem ltezik. tvcttcn a,,szisztine" (vezrknyv) rncghat-
rozst, rrivel a hosszl vlzszintes vonal k-t, hiom vagy ngy egymshoz tartoz szlalnot hatr'ol eI. Bizonyos esetekben
tcht a iap f.,2... sziszinrjrl icgu::< bol:i -- lsr a 3e l-;t.
^ 45
97. sz' clarabnl felttelezhet, hogy a elarab vgn mutatkoz temvltoztatsra eset-
leges ismtls miatt keriit sor (ami a 278. sz. esetben nern rv.nyes). A 335. sz. clarab a 1gg.
lapon fejezdil bei soh szabad hely maladt ut,ira, arni lehetv tette I(joni szmra, hogy nagy
s olvashat beilikkel kanyarftsa al a nevt, niutha mr az egsz m vg(rre rt volna, peclig
munkjt rng folytalta a ktln hvetkcz s cg5rsl utols 12 lapjn.
,4 zenernrvek crmei s sserzi
Mivel a XX. szzadi lrsmd felttclezi, hcgy a cm a dalab clij't vagy fltt legyen, melyet
mintegy bevezet s szemlltet, nemigen lepdnli meg, amilior a kzilatban sok olyan pklra buk-
kanunk, amikor a zeuem cme a darab keztetn trlhlliat. A cmek jr'sze latin lvelvi, s l.g*
gyakrabban a zent lsi s;zveg kezdsort tartalmazza. Nmet, Irancia, olasz s magyar cmeh ppitgy
elfordulnak Sereglynl (62, 235, 236-238, 241, 242, 244-248, 260 ? sz.), nint liioninl (14,
21, 30, 83, 85-87, 89-92, 96, 97?, 104, 128, 141, 187, 18S, 190-196, 198, 204, 207,250-259,
26I, 262, 264-289, 272, 344. sz.), de a kL ismerellen rnsolnl is. Ez utbbial< kzl az egyik
cigny nyelven jegyzi le a szveget.
A jeizett szve.gen kvl tallkozunl< a cnben r\z sszehll|"s jellsvel is, amely \agy
szl- s a basso continuo-szlamokat emetri hi (pl. Nol turbetur cor uesbum ll n 2 tenori et baso,
31. sz., 16. l.), vagy pedig a.z sszer rsztvevij szlainok szrmt aCja rneg (pl. Jesu, quant es lflu-
dabilis ll o.3.u(ocibus) ll 2 tenori cum basso llLudouici Viadanue, 18. sz., 9/1. l.). A 66. sz. (40. l.)
eetben a Seregly Mtys keztl sz^rmaz A doi soprutti bejegyzs nen romnbl ered elsz-
ls, lranem XVII. szzacli szoksos zenei jells. A.277. sz. dalab vgn I(joni magyar nyelvli
figyelmeztetst, pontostsi olvassuk, anelv a szban folg darabban fellp szlarnokra
om Basss - vonatkozik; a l<iegszt( megjegyzst indokolja a szveg alatt rnegjelen basso con-
- H-
tinno i: a darabot eladhatja kt basszus, rangszerksrct,t-el (2 bassi et General), vagy lirom bas-
sznsszlista (?). Egybl<nt a 214. s 328. sz. darabnl is jetli a szmozott basszust a cimben
I etGeneral, General s cum Generali l. A277. sz. ala{.t a ni ; a soi rang lLiLt olvashai 43-as szirm
ktsgteleul a basszus szmozsra vall. Bz a ic,ggyakrahban a 326. sz, darabban fordul el i a
Itatodik sziszlma folyamn olvassuk: 43, 56, 6, 43, 43, G5, 43.
t I{detberr a lejegyz gyakran fell"ntet voir.shangszerekel is (210. sz. ,s 3,tr1. sz.), kztk
olvashat Kjoni ktnyelv bejegyzse a kt hegedi.,'el trtn cladsra.
Ugyanazon az utols eltti lapon a Kjoni kzvoust rzi a 345. sz. darab, a Brilletha
I.talica o-2 uae(ibus), rnelynek cme tn a szlamoh mell van bejegyezve: uiolna 1 uol(ina) 2.
A ktnyelvli cmelet a kvetkezkppen acljl< meg a nottorok: vagy egyms alatb vannah fel-
tntetve (mint pl. Koucics Nta) Sntirlt Curranta (I40. sz.), vagy lat,in s magyar nyelvelemek hom-
binldnal< (pl. Nagy Patrem) mint a 340., 341. s 843. sz.
A crnben meghatrozott helye van a zencm szerzjnek: a bulajdonkppeni cm s a sz-
lamokra vonathoz esetleges utastisok utir kvetlcezik a zeneszerz neve. A Seregly kzvonst
hz rl darabbl 13 a Ludovico Viadana4o szerzennye (7, 16, 23, 24, 27, zg, J7, 32, g4,3s, 32,
46' 48. sz.); e helyeken Iijoni tntette fel utlag a zoneszetz ner't. i{joni mint a /rrider utols
tuiajdonosa, olykor msrol is kiegszti Seregly bejegyzseit: a 8. sz. darabnl plclul berja,
hogy milyen egyhzi nnepc;r arJ!k el i az 57 . sz. clarabho z egy lezftr jcllcgt irodahni forrnul1.
vagy
taln a vallisos szertaltssal ssze!gg szveget illeszti a 60. sz. dalab szr,egt I{joni rta
a Se-
regly kotija al. I{t Viadana-hompozci esetben viszout
Seregly maga tntetle fel a zereszerz
nevt (39. sz.i 12g_130. sz.).
t'l,:f^",1:tldovico
(a iidderben) Vlada:ra, 1b60 -16?7. A trrsso continuo zencszerzsi techrika Viadannak trrlajdonfLott
a tveds annak a hatsnak tdhat be, melyet e karnagy mantuai, fari q velencci
:'::1"^i:l:.tvcsneh.bizonyut;
tcruptoinrl<b.rtr s dmoi<ban
tartott egyrzi konccrtzcnje gynkorolt a zenii htrc s k,'l-rsen Schtzre (Kul, B0S).
 Beszlhettink nhny sorozatrl is i kztk a legjelentsebbnek ltszik Jacob Hnd(e)l{l
zeneszerz (156. sz. - azonos a 158. sz. : vat - 157., 160. s 163. sz.). A sorozatot alkot
darabok felett egy-egy sorszm ll, ami ms gyjternnybl trtnt tvtelre vall. Kt alkalommal
Kjoni is gyangy utal bizonyos sorozatokra (337. s 338. sz.). A 191. lapon tallhat ngy litnia
(329-332. sz.) cme mellett feltntetett arab szmok - 1-tl 4-ig - is I(joni kezL(l szrmaznak.
A Seregly msolta darabok kztt jelents helyet foglalnak el Giovanni Valentinia2 (66', 6S., 210. sz.)
s Alexandro Grandias (176., 177., 178., 274. sz.) szerzemnyei. A Seregly vlogatta zeneszerzk
nvsort lacob Finet\ar (Benedicam I)ominvm ..., 65. sz.), Joa(nnes) Deschampsas (kt Regina coeli laeta-
(re); 70., 159. sz.) s Joa(nnes) Stadtmayrou ("gy darab; 164. sz.) egszti ki. Az emltett darabok
kzI a 66., a 160. s a it3. sz.-nl a zeneszetz neve a cm fltt szerepel. I-Jgyancsak Seregiy
vlogatott a gyjtemnybe egy darabot Hans Leo Haslertlaz (235. sz.), egyet Horatio TardititIaE
(62. sz.); egy kiolvashatatlan nevr zeneszerztil egy Fanfasit (152. sz.) s kt. ms Ph(Fantasit)
(175. s 179. sz.), rnelyek kzl az egyik Wolfgang Gotzmann4e frankfurti olgonista, a msik pedig
Adriano Banchieriso revhez f{zdik.
Egyes tncok cmmel is szerepelnek, ilyenek a 236-238. szmrak, melyekkel kapcsolatban
felmerl a klds, hogy pl. a BaIIet uariacikka| tnyleg Almrr szerzemnye. 4,21,7. sz. eietbeu
viszont felttelezhet, hogy Bijgot kompozcija. A 24S. sz. CourdtTte du |eslunent de Prichcn (1341
2. l.) szerzje is megkrdjelezhet.
cmrs tekintetben I{joni is ugyanazt az elvet kveLte, mint Seregly: a zeneszerz neve
A A kziratban a cm olykor az elz darabot kveti, ami minden bizonnyal a szabad hely tel-
a szlamok jellse utn vagy nyomban a cm utn kr'ethezik. Az els kclexrnl szerepl komponis-
tk kzl a kvetkezkkel tallkozunk l{joninl is: Jacob Hnd(e)l - 77. sz. (azonos a 78. sz'
darabbal) s Jacob Fineti (270. sz.). Bizonyos zeteszerz|k nevben, mivel I(joni kzrst nehezen
tudjuk megfejteni, nem lehetnk biztosak. A kvebkezkrtl van sz: C. Thurzon (83. sz.), Ambro
(sius), Guth/Grioth51, Org(anist) (89. sz.), A,G.V. (91. sz.), Haslcli (94. sz.), Unimona (201. sz'),
July vlangonis (207. sz.).
.1 Jacobus Handl/Hndl, 1550-1591, A gall zenetrtnet ismert alakja (valdi ncvn Petein) kntor Ohntzben (ml,
Olonouc-Moravia), majd a prgai Szcut Jnos kpolnban. trftiveiben a velcncei s a flatnand stflus egyosl (Kl\{a
2gb). A rszletesbb tudnivalkat lsd R. Constantinescu bibliogtijban (Constantinescu, 169., 150. jegyzet - a ze-
neszerz neve az 1596-os nagyapoldi stimrnekben is rnegtallhat).
rt A zenetrtnet csak nhny vszmot ismer Giovanni Valentini letnek idejbl (161'1, 1619, 1619)' de J. Stadlmayr
mellett a XVIL szzadi egytrzl muzsika egyik kpviseljnel< tekinti, nitrd obligt, mind pedig.konceltl stllrtsa miatt'
Ugyancsak Giovanni Valentininek tulajdonftjk a tcrnplomi szontaformt (sonata da chiesa) megclz m{lforma, a
canzon meghonosftst (Orel, 512, 515, 548).
. Alessandro/Alexandro (a' kilerben) Grandi, 7577-11)30. A kantta els rnrveli kz tartoz lerrarai, vclcncei, I<sbb
pedig bergmi karnagy zenemveinek kiadsa s a nmet gyjtemnyckben val jclenltc rvtr egyike a XVII. szhzad
legjelentsebb muzsikusainak (KMl, 323).
.r Gcomo Finetti (szletett a XVI. szzdban, Anconban) a Ricordi, 469, szerint a koncentr'i stllus tipikus kpviselje;
szmos mhve maradt lcnn (a mcgjelcns vei: 1605, 1606, 1609, 1611, 1613, 7617 -7622, 1628' 1631); kzlk leginkbb
figyelemre mttk: Sacrae cantiones a 2u. con. org, libro 3"; Concerli ecclesiaslic a 2-1 u. con. org.; trIolelti, concert
et-almi a 2, 3, 4e 8u, libro l"-7o, Fancoforte, Schnwetter, 1631 ; lsd mg a knyvszeti jegyzkct is: La Musicn, 602.
r Joan(nes) Deschamps / des Champs (zeneszerz?/klt?)'
.6 Johan Stadl-"yrlrfzO-fola.-Hangs{rlyozzuk, hogy a salzburgi s innsbrucki udvari karnagykornpozlciiban (egy'
hzi muzsikjt is lertve) a enetOrfnei a basso contimro-technil<nak az nl hangszeres zenci rnfolmk irnyba Becker-Psalter-(0ZSt Sgmphoniae Scre, I., tI., III. (7629,1647,1650)
val fejlesztst ri tetten (KMl, 730)'
.? lfans ieo Hassler (7564-7672). A XVI. szzadi tbbszlamrisg hagyomnyhoz ktd zcneszerz mgiscsak elt-
voldik az egyhitzzenei modusoktl: a drlr-moll rend.szer mellett tr lndzst, s hozzjrul a latin szveg zcnei illusz-
trlshoz, Melchior Franckhoz hasonlan (KMl, 341).
{8 O. Tarditi canzionette-jei, madligtjai, rnisi, zsoltrai, koncertl motetti, litnii s antilnii 1622-1670 kztt
jelenLek meg 42 ktetbn (Ricordi, i03S; biliog.fia: La Musica, 7277). Az 1 md, th_og{al a cmben feltntettk a
szemlyek nvt (a korszak vagy a zenci let lehetsges szemlyisgei), akik rvn a kdexrk hozzjutottak bizonyos
zenedaiabokhoz, arta utal, hogn kerltek kr'Iorgsbe a zenei anyagok s inforncil a XVII. szzad folyamn. Pl.
Horatio(a iidderben)'farditi-darabjnt (62. sz.) Seregly Mtys feltn_t9ti, hogy Sebastian_Wildeneltl kapta (l'm'' V),'
a Kjoni kzvonstrzdarabokesetben pedig a kvetkezknltallkozunkilyenjellegrlbej.egyzsekke: 82, 233. s
27g. sz, Mg a kt orgonista is - az egyiket Seregly emllti (Gotzmrnn, 175. sz.), a msikat ped_ig Kjoni (89' sz.)
bizonyr a msolf zenei anyaggal ellt forsknt, nemcsak (valszfn) zeneszerzknt -szerepel.
.e -Lsd a fenti 48. jegyzetet, Mivl az erclyi szszok intenzlv kapcsolatot tartottak fenn a Odera-fankfuti mveldsi
s egyetemi lettel- (lsd Constartinescu, 153, 155), lelttelezhet, hogy az emlltett orgonista oderai vrosban mlkdtt'
Papp gnes a .Getzmann" olvasat mellett foglalt llst.
!c Adano*Banchieri (1568-1634). A Bologna melletti kolostorban tcvkenyked olivetnus orgonista-szerzctes a XVII.
volt;
szzad kezdetn a szontalorm els mveli kz tartozott, s a szmozott basszus-teehnika teoretikusa elmleti
76O-c, Moilerna ptaflca muscale, 1613 (KM, 60).
munki: L'organo sonatino,
n Mocanu l,6inemcsakhelyesbftiSimonist(Simonis,54),akiazeredetialapjnkzlimeglejtst:"G'Guotz',dencmveszi
ligyclembj Negret r"m I 63. p. az 5?. i, lnykpvel -, melynek meglejtse: ,Ambo' Guoto Corg. (?)', st ng
a
e-Koni helyeslrst is koniglja, ogy kierszakolja'
'Guyot'megoldst
{6
Msok, mint Joannes Spielenberger (192-304. sz.), akirl Kjoni feljegyzseibl tudjuk, hogy
lcsei hangszeres zensz volt; Melchior Franchsz (93. sz.), Gasparo Cassati (291. sz.), Joannes Rovetta
(289. sz.), Joannes Simraki (238. sz.), Francesco llfaria Marini (314. sz.), Mathias Apelli (269. sz.)
vagy Gesner (344. sz.)53 az olasz, nmet, szlovk s erdlyi orgonista-zeneszerzk sorba tartoztaki
kzlk egyesek egyhzi enberek voltak, de mindannyian muzsikusok. Azrt lehettek kzismertek
Erdlyben, vagy kerlhettek be a kderbe, mert szerzemnyeiket az orgonistk egyms kztt terjesz-
tettk, adtk tovbbi nevk felmerlse mindenkppen a kor ignyeit, a zenei fejlds szintjt s az
orgonista-muzsikus zlst, ignyt tkrzi.
Ami a kderbe foglalt neves zeneszetzket, az egyhzi zene mifvelit illeti, a ferencrendi szer-
zetesek - Seregly is s Kjoni is - pprgy beveszik a gyjtemnybe s interpretljk a protestns
Hans Leo Hasler (235. sz.), Hieronymus Praetorius
5^ (220-226. sz.) s Heinrich Scht255 (272)
szr-
zemnyeit, mint az ellenreformci kpviseljnek, Jacob Hnd(e)lnek a mveit.
Kjoni, aki a reformci halad elveit vallotta, leforditotta latinbl az egyhzi npnekek (78.
e 233. sz.), valamint ah(deret zr ngy sajt kompozcijnak a szvegt (340-343. sz.).5 Ezek
kzl kt darab * melyeknek szerzjt ktsgtelenn teszik a bejegyzsek - ms vltozatokban is
megtallhat a kderben: a 79. s a 166. sz. darabok a 340. sz. vItozatai; a 167., 276. .s 297.
darabok pedig a 342. sz, varinsai.5? A szmozott basszussal elltott, szlhangra rt concerto-mo-
tettnl (311. sz.) fel van tntetve ,,Joannes Kaioni", a zerLeszerz neve,
jes kihasznlsnak beidegzett szoksval magyarzhat. Ezt tapasztaljuk a i(joni kzvonst visel
kvetkez darabok esetben: 15., 213., 273.,287,,311., 312., 315., 316. sz. Nha
- mint pl. a Sere-
gly ltal lejegyzett 55. sz. darab s a Kjoni ttal msolt 81. sz. darab esetben -- az alcmek is
A protestns Melchior Franck (1580-1639) szerzemnyei nem tnaszkodnak a basso continuo-technikra; akrcsak
Hassler s Praetorius, vallsos darabjaiban mg latin nyelvet hasznl; vilgi szerzemnyei kzl bennnket (a Kd.ex
93. sz. darabjItoz ktd) hangszeres tncok rdekelnek, kzlk is az 1603-bl val ktet, a Nerae Pauenen,Gallard.enunil
Iylrgden (I{Ml, 287; lsd mg Constantinescu, 178,.amely Brass rgi gmnazmnak 7630-as Kalatgnsban feltntet egy
-rancken*-t, elhallozsi vvel (1634) s ,,Grillenvertreiber" cfm{l darabjval).
!s "lllelchior
Seprdi 3, 241, nagyon kevs tjkoztatst nyjt olyan zeneszerzkr, mint Jacobus Fineti, Gasparo Cassati (? 164g),
Joannes/Giovanni Rovctta (? - 1668),.Johannes Simraki, Francesco Maria l{arini, lllathias Apelli/es vagy- Gesne;
Constantinescu, 159, 178: az,,azonoslthat" szerzk kzl egy 1658-bl szrrnaz gyjtemny volt Zimrnermann-gyj-
temny ( j elenleg az elveszett gyj temnyt csak a Brukenthal-alap rgi j elzete taltj a szmol)
- f aeltnteti
- Mathias apetts
Loewenstern (1594-1648) is,,,aki Odera-Frankfurt-ban vgez.te tanulmnyait s itt kompontt"; a cikk szerzje ftltte-
lesen neki tulajdonftja a szban forg gyjtemnyt; a szcbeni levltr msik Brukenthal-alaphoz tartoz kziratbl R.
Constantinescu elsorolja ugyanazt az Apellest, ezttal a keresztnevvel egytt Matthias, 90. s 200. jegyzete pedig
rszletekbe men felvilgosftst nyrljt a zeneszerzre nzve, knyvszct utalsaiban; ugyanabban a kziratbali,,,ameiy ...
57 darab lasszus-szIamt tartalmazza a 30 ves hbor idejbdl (ibidem, 178), Johannes Schimrackot is bemuttja
a 35.- sz. danb (IVIagnlicat ,deutsch") kapcsn, mivel a cikk szerzje rigy vlte, hogy a zeneszerzt ms gyitjtemnyekb-l
nem ismerhettk, Szabolcsi 7, 57 Gessnet a Nagy-Ivn (1665-1670) kziratban szerepl tncok szezi kOz sortja.
' llieronymus Praetorius (1560-1629). Iassler s Franck mellett azok kz tartozik, akik mg a latin nyelvet haszrueljk
szerzemnyeikben; kiernelked jelentsg az a }j,t nagy ktet, rnelyet 1599-1625 kztt publiklt; kzlk val a
Mellodegn-Gesangbuch, Cantones Sacra s Magnfict (I{Ml, 609).
Heinrich Schtz (1585
- 7672) az eurpai zene lejldsben nagy fontossgrl letmve jelents hetyet biztosft a koncertl
mformnak s a szmozott basszus gyakorlatnak; mvei kzl bennnket klnskppen kvetkezk rdekelek:
koncertzene; Klene geistlclrc l{onzerle, I., II. (1636, 1639) - latin s nniet szveggel elltottegyhzi
Lodovico Viadannak dediklt mU-(KUt, 698) d- lr9.
-
Zsoltar (7671)
- ketts krusra. Constantinescu, 155. utal arra,.hogy mr a XVI. szzadban eljutotiak Erdlybe a hfr-
neves zeneszerzk nvei (bidem, 67, jegyzet a knyvszeti jegyzkkel), ami altmasztja a kd.ebeli darabok kpviselte
stilusok fejldsre s klcsnhatsra vonatkoz szrevtelt. Ha csak a Becker-psalle hrom kiadvnynak esetges is_
mcretre gondolunk (lsd Valentin, 55), a ngyszlam hornofn zenei anyagla (1640), majd a szmozott basszussal elttott
negy szlarnra (1661), vgl a szmozott basszussal klsrt dallamvonalra (1676), mris megrtjk, mirt tanrisftott rdekl-
dst Schtz irnt az erdlyi muzsikus.
66 Az utols
darabok szvegfordltsai, amint feljegyzseibl kiderl (1,m,,21, 22, z:!), a XVII. szzadi rtelmisg teljes e-
m.1nc-incijt tanrlsftjk. Constantinescu, 154-155, lrott dokumentumok alapjn mutatja be az egyhzi zene szvegeinek
_ vltakoz helyzett, amely hol anyanyelv, hol latin nyelv, a reformci s az ellenreformci egyeis kvetkezmny-eknt
?
Szabolcsi 6a, 24 rmutat, hogy z Kdjoni Rd.esben tallhat Cedo-darabok
- hrom Paftem - ugyanazokat a saj-
tossgokat viselik magukon, mint nhny,,rdekes mgyar kompozfci" az organo Mssatb\, s ha Kjoi is r *.gn.rr""tt
zeneszetz, mgis ugyanazok a darabok, latin szveggel elltva az rljhetyi s a sopronbnfalvai plos graduIekban
ts^megtallhatk. Papp Gza (RMDT ll,442) rmutat, hogy egy egyhzi npnek, a Hsznk mi egg At[a Isteben (ibilem,
cseh Cantionalkban s a magyar kziratokban (kztk: Kdjoni-Kder,209. I. s Kjni Organo Mtssale,
:o^|p,1 rgi
l.J gregorin tfpusrl Credo formt lt, a strfk vltakozsnak megfelel ngy motfvum varilsval,-a npi forma
-tlo-.
vrszont az ,,a, b, c, d' motfvumokbl csak a .b, c, d'-t 6rzi meg. Gupcs .A,gnes, a budapesti Zenetudomnyi Intzet
muzikolgusnak trijkoztatsa szerint Szigeti, 30. jegyzete a plos rend nekiskdnyveine a ltezsrI szl] ezeicet e
:|$ane1t Egyetemi Knyvtr rzi a menzurlis Credk, a De Bcala Viryine .Marta, Polonicam, Cunctipotcns, Solemnc
nqius, Minus sollemne, Dominicale mellett.
4l

mindig az el6z6 szakasz vC:gre !<eriiltek, mg kkor is, ha a rentlez elv, a hangszerelsi utasts
(ez esetberi z or.gna s a krus vltakoztatsnak el(irsa8) kijvetkezetcsen a sor.rk eltljrr, a bal
lapszlen olvashat.
Ilz a;r eljrirs tovi:bi hirl- - I{joni tLaI lert - darabnl is tapasztal}rat (79., 167.,297.,340-
343. sz.). Az alszalilszokat nem Ltnm el iilr szmokkal, csali - arol szhsg volt erre - betfikkel
(a, b, c, t...stb). Az orgona szlamban ,,organo" helvett ,,ofgonista" hifejezst lhtunh a 167' sz. da-
rabnirl. A Spielenl-rcrger-misben (292-300. sz.) a ,,Chorus" s az ,,Organo" vltakozsa a 297. sza-
kaszban j elcmet roz: a ,,Croms" alszahaszai csak egy szlamra vannak rva, alcmek nl'-l' a kt
tenorra s basso continura rt ,,Organo" - szlam pedig - erre pl egybtnt az egsz m - minden
esetben el van ltva alcmmel. Brclemes felfigyelni a 325. sz. ciatabnrl az ,,org(ano)" kifejezs vrat-
lan felbukkansra is: elizmny nlkl jelenik meg, s anlliI, hogy az orgona s a krus vIta-
kozrsa hvetn. Ez esetben az nehhangrl a hangszerre brtn tvil"elt ttelezhetjk fet. A ,,Chorus",
alircsak az ,,Org(ano)" iatin alcmeivcl egy saiitos rntcsoport, az egy szlamra rt magyar szveg
elara]ok esetbe:r is tallkozunh (340-342. sz.).
A l<ciex 164'' 210'' s 212' lapjn hrom cmet tallunk'' neJ'et nem kvetnek zenedarabok'
Ezc<et ner. szlimoztar rneg, mivcl az els cm ismt jelentkezii< egy msik lapon (188' l.)' itt mr
zenei anyaggat eg1.'l"ti a msili ht cmet nern lir'eti liotta.
Akaciak eheze ftibetzhct cmek s cmtreciliek is: ilyen a 30. sz. (rviclds), a 85-87. sz.) tlttte be ms clarabokkal. Vitathat, hogy a 110. sz. esetben I(joni a.ikalmazkodni akart
sz. (nmet crncli). A,75. ::.2. clarab megrongldott cnnek reltonstrurlrsa nhny Irlcgmaradt elein
s a kotta s;:regc aapjrin vlt lehetsgess'
SajLgs a 326. sz. cLarab helyzete: a cmel vzszintes voual I'irlasztja el a dai'ab szakaszokba
szcclett szr,egl1. A cmben zenei jellcg bejegyzser is felbuliliannak (pl' Peccaui er 8 uocibus er'
cerpto.n'r Altus. Scla uocc (2,49. sz.), r'agyis: ,,a nyolc sz;lambl szllirt kieucltem az. altot"). Ha ktszer
rja a cmet g1,rtor'." a helyre, azr't teszi, hogy mg jobban liier'ielje (p1.327. sz).
, kdex felosztsa
A 1t1erkiienc nagy rszre oszthat (1. bra). Az els rsz (l-44.1. - 5' bra)' tnelyeL Sere-
gly risa jelleinez (1,2, 7 -'1, 13, 16-20, 22-24,2i -29,31-44, 46-48,50-70' szm) 54 egyhz-
zerrei rlarabot s'l'ardili la Ilonrrna crn kornpozcijirt tarLahnazza ((t2. sz.) A Seregly rltal sza-
badon hagyoti ;eiyet l(r:rjoni Jrnos nyolc egyhzi tr,irabbal (3-6, 11-12,25-26. sz.), kt egyhrz\
npnekkel (14. sz. - magya szveggeli 27. sz. - szveg rlktit, dc magyar ctrmel) s ngy vilgi
lrar,gszeres miivel (rlorn batctt s egy courante: l-'r, 45, 49, 30. sz.) tlbtte ki. A' kode f s-qzel-
ltja, Kjoni Jnos ltal bejegyzett nyolc egyhzi clarab kapcsolatl:a hozhat Seregly tmal:i'vel,
a vilgi darabr.,li viszcnt ellenltesek e r'sz Seregly ltal meghatrrozott tmjval, s csak a szaba-
don hagyoi.t tertlelet hasznostjk'
Ez az els rsz t.i.talmazza Seregly hltyrs legtbb s legkor bbi bejegyzsi' Csak a 4. lap
bejegyzse rnelle. nincs vszm, a tovbbiakban folytatlagosan kvetik egyrnst a keltezsel
(12,
i9,33. t. - 1t34; 38. l. - 163i1; 37' l. - 1638; 40. l. - 1ti39), 1' n', f/-V//'
. msodik rsz a 45. lap jobb ottlaltt a 63. lap bal olclalig terjed. Ebben kizrlag Kjoni
lersaivat r-alkozunl< ({. bra). A 45-5.4. lapon lit egyhzi claral olvashat (71, 75' 77,79-82'
sz.), ngy irangszeres carab (72 -74,76. sz.), valamint egy egyirhzi hallst muLat voklis-hangszeres
liompozci (?8. sz., a latin n.velv{l szyeg egy rsze a 4?. lapon, versszalcolra osztva, a tbbi t'sz a
60. lapon).
Fl rsz elejn a vilgi darabak jelenlte kifejezetten egyhrizi mvek nrcllclt valsznleg az
sszer kezdeti bionvtalankoclsnak tudhat be. A 48-54. lapoli rnr egysges kpet mr.rtatnak:
a kdexr. eldntttc, hogy csak egyhzi darabokat vrlogat a ktetbe ('79 -82. sz.).
6s Emlkeztetnk ara, hogy az nitcrnatfv lrsmd z orgonamSilicatokbl ered (a str\ a krus s az orgona hztt
viltat<oznat<; a rcformricit rnegelz idizakban alakult ki, virgkorn n XVI. szz::r1 vgre esik'
"" ""'"ifu
48
Ennek ellenre az 55-60. laponss ismt megjelennek, ezttal egy tmbben a vilgi hangszeres
tirat illeszhedik
darabok (83-94, 96, 9?. sz.). I{ivtel a 95. sz. egyhei darab, mely mint hangszeres
Az emltett hat lapon vilgi darabok: udvari tncoli (83, 89' gL, 92,96, 97. sz.),
szornszdai iri\z..
clallamra;93. sz.) nmet cm{i honrcfn mvek
balettek (90. sz.), prelrriuinok (84,88. sz. - npies s
(85-87. sz.) tallhatk.
A 60. laporr (a g7. darab uthn) egy ,,Finis" s egy Kjoni-bejegyzs arra enged kvetkeztetni,
hogy az 55-60. (st a 45-60. ?) lapi'a kerll valamennyi clarab lerst abban az idpontban fe-
jezll< be, melyre az olgonista Kijoni heltezse utal (1. m., e)'
A nsoclik rsz utols hrom lerpjn ismb egvhzi darabot olvasunlt: az ,,egyh'zi koncert" stl-
lusiban megrt mist kt tenorra s basso continura (98-102. sz). A mise utn a 63. lap bal olda-
ln mg kt vilgi clarab talltrat. Az egyilc preldiurn-jellegti (103.), a msik vallsos tematikjri
(de nem templomi) nek, rnagyar cmmel s szveggel (i04.), irgy ltszik, a kt darabbal ismt csak
negmaradt szabad tertiletet akarta l<irasznlni a lcr, rnert a 63. tap
jobb oldalr'a mr nyolc tvo-
nalas vonalrenclszert rajzolt be.
d.m harmadik rsze (64-90. lap) ismt Seregiy kzrsa (7. bra). Seregly itt nagy
terjedelmt darabohat jegyzett le (105-109, 111-125,128-139, 151, 154. sz'), melyek utn a meg-
mar.adt nagyobb szabad helyeket elbb mg maga (127, 140, 155), rnajdlisbb Kioni (110, 126.
vr:lna a Seregly ltal bejegyzett clarabolc tmakrhez (64-74. tup), ahogy azL a 126' sz. kar-
csonyi tematikj darab esetben tette.
Seregly a 84. laron indtja a Hantll-l<ompozeik sorozatt (156-158., 160, 163. sz.), s e
szakaszba ismt beikt aTja az es rszben 70. sz. alatt mr ltott es Champs / Dechamps mllvet Regina
Coelilaeta(re)(159. sz.), mgpedig egy Fantasia (152. sz.) - amelynek szetzie fel van tntetve(?) -
s Stadlmayr (164. sz.) daratrjakz kelve. A 70. sz. darab az utols az els r'szben, mely mg Seregly
kezersa.
krjder erszben (75-77.l.), kt ismeretlen kz rsa is megjelenil(. A 75. Iapszabadon ma-
radt baloldala s a 77. lap res hromnegyed rsze lehetv tette, hogy Kjoni hrorn udvari tuc-
cal s egy misvel (141, 142, 146, 147-150.s2.)gazdagtsa a gy{ijtemuyt. A 78-90. lapok l<zt
is l(joni tlti be a fennmaradt hetyet, tematikailag az el6z6khz - a Seregly ltal lert egyhzi
ttelekhez
- nem kapcsolcl darabokhal (egyhzi kornpozci: 153. sz.i h[ balelb s egy tnc:
161, 162, 165. sz.). A 165. sz. ellt az ecldigi rsfotymattl eltr'en a 90. lap baloldaln Seregly
lejegyzse olvashat, a jobboldalon peclig annak folytatsatrnt a Kjoni (164. sz.). Meglep, hogy
a lap jobboldala is negtartja az els kz jellemz rsszoksaib (a rvid hangrtkek rcsozatos
rajzolata), mintha csak hangslyozni akarn - a kdexr s a kiegszt szemlynek klnbsge
ellenre
- a folytonossgot. A kiegsztsre bizonyra a kdde trjraktsekor kerlt sor.80
A Seregty l<zrst rz hrom nagy terjedelm darab (111-125., 128-139., 151. sz.) s a
Fentasia(152.s2.) utn ismt megjelennek azvszrnok:1634 (68. s 73. t.), 1638 (80. l.), 1639 (81' l.),
l. m., VIfl-XI. Lz utols keltezst,,Matthias Seregly" alrs hitelesti. A cigny tncok msolja
is megjelli a 75. lapon az vszmot (1639) s helysget (,,Clautliopolis"). Kjoni jramsolja a bejegy-
zst, hogy olvashatv tegye (1. m., h).
lrkder negyedikrszben(91-109.1.;8.rbra)csak ngylaponlthatSereglykzrsa(98-
101.1.). Az ltata vlogatott darabok (175-179. sz.) az elz(i rsz vgn fllelhetk folytatsnak
ltszanal<. Ezttal is eltnteti a szerzk nevt (175. sz. : W. Gotzmann, 176. s 778. sz.: A. Grandi,
179. sz.: A. Banchieri). E szerzemnyek m{ifaji szernpont}rl is megegyezirek a L52. sz. darabbal (Fcn-
tasiaei175,l77-179. sz,, Sinfonia: 176. sz.). Egybknt az e rszben szerepl utols Seregly--kotta
ttgyanazt a l<petmutatja, mint a harmadik rszbenlthat utols Scregly-darab: az ltala rt szveg
s zene a baloklalon helyezkedili el, azt I(joni fotytatja a lap jobboldain. A negysli1 rszben tallhat
minden ms anyag Kjoni rsa.
rt'.{,2 5?. lapot Negrea, 63-6b is tftn.
0u'Gyrgy,
190: Kjoninal< arra a krsre nzvc nyjt adalkokat, hogy nyomdjba knyvktt alkalmazzan:rk.
1 _ CODEX CAIOMT
49
 Itz tJ l.2rst rztl darabok a kvetkezhpperr csoportosibhatk: egyhzi darabok (166-169.
sz., 17l-174. sz.), l<ozbh ll kivtel gyannt a 170. sz. balett; vilgi hangszeres dalabok - prehldiu-
mok (181, 186, 200-202. sz.), udvari tncok (180, 187-198, 204,2A7. sz.) s balett (199. sz.). Ez
a irangszercs csoport sem teljesen egysges, mert elejn s vgtin egyhzi darabokat is magba fog-
lal (182-185,203,205,206. sz). Annyi azonban bizonyos, hogy a kt csoport tlarabjaib (az els tril-
nyomrirszt egyhzzenci, a msodik elssorban vilgi darabohbl ptkezik) tkleteseir heretezik a
hangszeres mtivek, amelyek mind Sereglytl - tehiit korrbbrl - szrrnaz bevezet funkcij ze-
nem{ivel(.
l:der tciikrsze (110-127.1.,9. bra) egy szrndl(osan szmozatlanul hagyott lap utn
lt
kvetliezik. E rszben is ht csoportot lchcl mcgklubztetni: az elsben Seregly kzrsa dominl
(110-116. 1.), a msodikban csak I{joni lcjcgyzseivel talhlkozunk (117-1.27.1.). De I{joni beil-
leszt Seregly egyhzi clarabjai (208, 210 -272, 214, 215. sz. - kett a ze\eszeL-z: Gio(vanni) Va-
lentini [210] s Alexandro Graudi [214. sz.] rneguevczsvel) kz is kt balettet (209, 213. sz.). A Sere-
gly s Kjoni rsa kzti hatr, a 216. sz. darab isml mindkettejk rst magba foglalja, I{joni
itt a rgebbi rsmd sajtsgaih oz alkalmazkodik. Egyblint a darab continuval ksrt kt heged{l
s egy bassusszl kztbi prbeszd, amely jl szemllteti a voklis s a hangszeres zene egybefon-
dst.
A 112. lapon Seregly nehezen olvashat alrsL ltjuk, az vszrm itt nincs feltntetve,
vagy ia mr olvashatatlan (t. m. X-tl/.). A 115. lapon viszont j vszm jelenik meg: 1642 (l' m'
Xy.). A 219. sz. clarabon, amelynek cnbeu a szerz feltntebi a templomi moclust, a 229. sz. dara
bon s a szatilikus l, egyhzi hat s 223. sz. npi darabon kvI, I{joni kzr'sa csak egyhzi dara-
bolron ismerhet fel (217, 218, 220-22(). 227, 228, 230-232. sz.). Ezek kzl a 218.
npi clatlamra pI. A hrom l{hjoni-lersl" (218,231,233.) kveti bejegyzsek: az 1666vszm(117. l',
jobbotdala, 1.m., j); 1664 (127,1.,l. m., /) s zenei bejegyzs a 126. lapon (1. m., /t).
(123-140. 1., 10. bra) Seregly ltal lejegyzett viigi darabok tall-
Akd"e hatodil< rszben
hatlr:baletteh(236-238,239-240,244,247. sz.), udvaritncolc (243,245,248.), firga (234,),tovbb
francia cmekkel clltott hangszeres darabol< (241,242.,246. sz.) s ms darabok (235.,247 (?).,248(? ). sz')
amelyeknek szerzje fel van tntetve, kzlk Hans Leo Hassler (235. sz.) a legismertebb. Ezutn
I(joni rsval cgy trnbben npies darabok kvelkeznek: npi tncok (249-259., kzth a252,254-
257, majd a 261,266, 268. sz. romn tnc). Ezcket akder eltfnse eltt trta s magyarzatokkal
ltta el Fab Bertalan,ol Seprdi Jnos 62 s Marlian Negrea.63 A hbor utni korszakbl1985-ig kzlt
trsok valsznleg az emltett hrom szerz munhja alapjn kszitett msolatok.6a
E rszbe Kjoni (136.t.) egy egytrzi darabot (249. sz., 163 vszmmal,l.m., m) s hangszeres
prel{rdiumot (265. sz.) is lejegyzett. A 138. s 139. lapon (260., 263. sz.) utoljra ltjuk Seregly
kzrst (hangszeres tncok).
A kvetkez, csak Kjoni rst tartalmaz rszel elklntsben a daraboh tematil<ja s
formja volt a meghatroz (a 208. laphoz lsd a kilencedih rszt). A hebedik rsz elhatrolsban
a 127.lapon lthat, Kjonitl ered bejegyzs s vszm volt a dnt (l.m.,l). Itt I(joni mr a
kder befejezsrl is szI, mely a 157. lapra esett volna: ugyanis ide utal minket, hogy a 233. sz.
rlarab tabulatrban lejegyzett vltozatt megkeressk (281. sz.). A 281. darabot mgis kveti egy
Bened.icam (282.), mely utn a megjegyzs ellenre sem zrul le a kzirat, hanem egy i sorozat
kvetkezik, valamennyi darab az egyintzi koncertek stlusban: Joan(ues) Simraki Magnificatja (283-
cr Fab, 205*2lL; lsd mg: Seprdi 3,222-225,227,228 ,s 22. jegyzel.
c Seprdi 3, 210-239.
68 Negrea, 46-58.
cf Szabolcsi Bencnl (Szabotcsi 3, no. 1 2, 8, 17 - 33, 62, 91 - a Itd.erbl tlrt darabok, amelyek Seprdinl
- varrnak szmozva (f.n-(n*1),). A ngy Chorea pedig (az tdiket, a
is megtallhatk, a'Seprdi rerdszere szerirt
Chore poloncd, nem kzlte, mivel az nem tartozik magyar vitgi nekek kz, s ilyenformn nem illcszkedik be a m
tmkibe), melyeket Szabolcsi 192?-ben is publiklt, Sztank Bta cihknek mellhleteknt (lsd Sztank), a
Negrea rendszerhz hasonl szmozssal jelenik meg (f .n,-n), spedig: fno-n. Flmerl a krds, vajon nem
mitl erednek-e az tfrsok?Vajon nemsztank Bltl?Fab,207,kijelenti, hogy az tlrsban,1906-bansegltsgre
volt Sztank Bla. Egybknt az temek jellse Szabolcsi tfrsban, fggetenl attI, hogy nit ltunk a ltderbe,
mr eldbb is megtrinik, a Seprdi tfrsban; a ngy Ciorea esetben viszont nem tallkozunk az temek iel-
lsveI.
50
288.), Joannes Rovetta szerzemnye (289.), a 290. sz. darab, Gasparo Casati clarabjai (291. sz.). A
,,keresett" befejezs (az 1664-es vszmmal - 1.m., r) csak a 168. lapon jelenik meg jra, a 297.
darab vgn (i'"t a 127. lapon elkczcletthez ltapcsold ,,Finis"), ezr't iclc tesszl< a hclex hetedik
rsznek a vgt (141-168.1,, - 11. bra).
E tiirnb ngy darabbl ll: elbb kl homofn nmet m ketts krusra
rszen bell az els
Q69,272. sz., l\{atthias Apelli, illetve Heinrich Schtz szerzemnye), a lielt kzbb a 271. sz. Er-
ullafe, lromofn nelil<ari mtl, felteheten szintn nmet, ze.neszerz kompozcija. E tmbben az
egyetlen mli az egyhz,i konccrteli mfajban a 270. sz., Jacobus Finetti allcotrsa utn. Schtz
m{fvt (1,48. l.) egy Lgtcmiae Lauretanae kveti (273. sz.), mcly 161-es dtumot visel, s a megjegyzs
szerint Prgbl szrmazik (.rn., n).
Itz egyhzi l<oncertek alkotjk a msik csoportot (274,275, 277-275,282-291. sz.), kzlk
nlrny basszus-ksrettel (274, 275, 277, 275. sr,.), msoh csak szlhangol<ra (282-291. sz.). A
koncertek kztt hrom olyar darabot is tallunk, mely elb a csoporLtl: a 276. sz. a 167.-nek (lsd
a IV. rszt), a 297. sz. misetLeluel< (a 292-300. sz. misbl), s a 342. sz. darabnak a varinsa
(br egyhzi darabohrl van sz, mindegyik ugyaarra a npi tmra pl); a 280. sz. egy 1663-bl
(1.m., c{) val, kelbezssel elltott, klnleges bejegyzssel ell!obt frga; a 281. sz. a szakasz el-
killntsekor mr megemtett dalab.
A darabol< vszmmal val rnegjellse nem folyamatos hronolgiai szempontbl:152.l. - 1664;
15711. - 1663; 15712. - 1664 (v. a 127. oldalra vonatkoz megjegyzssel!), 168.1. - 1664 (1.m., o,
q, I, r). Valszn, rogy a 157, lapon olvashat 1663 februr 3-i kelbezsig az egyhzi honcerteh egy
sz. rszl ugyanabban az esz.tendben rtk. Kjoni czutn az 1663-as l<cltezs igval folytathatta mun-
kjt, mg a 276. s 281. darabok ksbbiek lehetnek. Eldntetlen, hogy a 282. darab utnkvethez6
csoportot (283 -291.), vagy csupn a 291. darabl vcttli be 166.4 szn a ltrlerbe. Nfivel azonbau
itt jelenik rneg utoljr'a az 1664-es vszm, a ltlet. lapjait innen l<ezdden a kvebkez{i rszbe
soroljuh.
A nyolcadik rsz (169-199.1., 12. bra) teljes egszben I(joni l<zrsa. E rszl az uralkod
m{ifaj (egyhzi concerto) jelentte, a bcjegyzseli s heltezseh (173.1. 1659; 181.1. 1664; 182.1.
- -
- 1664;185.1.
- 1664;189.1. 1664;195.1. 1669 Lm., s-c), fknt pectig a 199. lapra es{J utols
- - -
alrs s keltezs (1669) miatt zrjuh a 199. lapon (1.m., y). A szahaszt Joannes Spielenberger
clarabjai nyitjk (292-304. sz.): egy mise s ngy cgyhzi lionccrt, arnelyeh cmeiben csak a sz-
lhangol< (2 tenor) szelepehrek, minL azeneszerz tbbi miiveiben is. Spielenberger darabjai utn (a
174-1{)9. lapok hztt) cgy, l<t, vagy hrom szlra s continura r't 23 egyhzi concerto kvet-
kezilr (305-328, 333-335. sz.). Csk lil darabnl \ar megncvezve a z.eneszerzl a 311. darab
maga I{joni * Fr(aLer) J(oanncs) Kaioni, a 314. rarab Francesco I\,Iaria I'farini. Abejcgyzsek alap-
jn felttelezhet, hogy esetleg rns kompozcil< is Kjoui alkotrsai e rszben. E felttelezst
altmasztja a forma, az rsmd, a szvegrsz jelenlte vagy hiirnya, a koncepci hasonlsga
olyan clarabol<lial, melyel<rl bizonyosar:r tudjul<, hogy I(rjoni mvei. A 329-332. kztt kap helyet
a ngy litnia. Ezeket a kclexi' maga is egysghnt l<czclve 1-tiil 4-ig szmozta.
A'kde.r rrtols, l<ilencetlih rsze (200--211. 1,, 13. bra) ug5r.rut, I(joni munkja, az isme-
retlen kzt6l szrmazr 208. lai-. (rajta a tahulaLrra vonatloz, meglehetsen homlyos magyarzat)
kivtelvel. A 200. s 211. lalron lil magyar nyel.ri szveg is olvashat: a ?8. s 233. sz,,latin
darabok forrtsai. A zenem{ivel< sorban tallunk egy befejezetlen egyhzi concertl (339. sz.), t
hangszeres clarabot (337, 338, 344-346.
sz.), cgy npi crc.lctf, vilgi jellcgi, de egyhziihats alatt
M. ll szcrzemnyt (336., a 8. sz. r,li,ozata), a kdexr ngy
sajt kompozcijt (340-343. sz.) s
k[ cmet zeuoi anyag nlhI. Az cgyik crn lctrglelenl arra vall, hogy l(joni a je]zett darabot
tel akarta venni a kdexbe, mg a msik csupn
bejegyzsnck tnik (Mislouski, 2 uiolinis, illetve:
0,Domine Deus gnus).
5l
 r
A Kjon Kdex kutatstrtnete ismertets nlkl a Kioni kdexet, hangstllyozva, hogy sszellitsban nem I(joni v<lt a kez-
demnyez szerep.?8 Gyrgy Jzsef 1930-ban hiadott erdlyi fereuces rondtrtnetben a !<zilat
felletes vizsglatval magyarzhat, liogy Seprdi utn mr elavult adalokat idzett a kclex ke-
A Kjoni Kdexr'lszl szakirodalom igen egyenetlen kpet mutat. Az els6 kutat nemzedk lethezsi idejre s lrira vonatkozan.?0 Seab T. Attila kiratos nel<esknyveink lczbt a Sep-
ugyanis, mely a kziratot mg ei'edetiben tanulmnyozhatta, korntsem oldotta meg a vele kap- rditl s Domokos Pl Ptertl tvett legszk.;gesebb infoi'mcil<kat jetcrnzi forrsunkal.sc
csolatos hrdseket. A kdexrI s anyagrl szl els hradsok tbbnyire hozz, nern rtk tollbl Az emltettektl leltnen eltr{l ksrlet volt Boros Fortunht, ahi a kdex bcj,:gyzseib{lliiiin-
szrmaztak, s a mflvek nagyrsze sohasem kerlt trsban, vagy legalbb tartalomjegyzk formjban ulva a Kjoni ettti nottorok szemlyc utn nyornozott, mirgpetlig jrlzsuita l<irben keresve l<et.El
a szakmai nyilvnossg el. fgy azLint, amita a kzil'atnak nyoma veszett, a liutatk csak a msod- Btr az eieve bizonytalan s hinyos olvasatohnar rljabb arlatokhal val szeinbestse eliogachat
lagos forrsokra, a IL vilghborl eltt megjelent murhkra hivatkozhattak, azoh megllaptsait eredmnyeket nem hozhatotb, lltsai rdemkn felli tekinblyi szeieztek azllal, hogy a Kjoni
ismtelhetth. A forrskutatsokra s trtneti sszefoglalsokra val egyre ersebb ignynek meg I(dexr6l szl ksbbi irodalom kritila n1hl tvette let. Fslter'ieil a ]<zirat i7. sz:hzadi tr-
kellett llnia a korbbi vtizedekben br mg forrskzelben megszerzett, de szerfltt hzagos isme- tnett trgyal rszben kell majd egybevetniinh az igazolirat tnychl.rr:.
reteknI,o s ezzel a sohszor nem is tudomruyos cr interpretciknak knyszer{fen nagyobb szerep Seprdi utn Szabolcsi Berce rla az els6 tuclomnron ignyft, a laltalomra horcentrl is-
jutott, mint a tnyleges elemzseknek. A szairirodalom e ferdlsre sajnos alapot adott a kdexbl mertetst. Szabolcsi Sepr6di kzlseit n:gy Chcrec,B2 majd ksbb eg.y ies irae83 brsval eg-
eddig pubtiklt zeuei anyag egyoldal vlogatsa. szltette ki. 1928-as tanulmnyban a kzirat, akkor mr ismelb rszeineh taltahnl - egy nll
Kjoni zenei munkssgra elszr Bartalu hvta fel a figyelmet, amikor nhny ttelt hangszeres zenekultrra kitontakozsnak vhzlatba illcsztve - egyrzi npneheli, viigi nekel< s
kzztett az Organo - MissalbL 6s Kjoiri kinyomtatott munki,6? illetve rencltrsai buzglkodsao3 npi vagy neil npies tncnrt,k virginrltirataiknt hatrozta rneg.B4 tr938-ban A XV I I. szzurl. vilgi
nyomn az irodalomtudomny rdekldse is Kjonira irnyult. 1894-ben a Pallas Nagy Lexikona dallamai c. pldatrban adott kzre zenei anyagot, amikorL kzilat lepciioirjbl r'rlogatotl p$ldk
szmra Flupp Kornl nyomozolt Csksomlyn X(joni Jnos munkssga utn.6t A kdexrl a alapjn igyehezelt megmutatri a lettck s dallamstilusok kzti klubsgel<cl pprgy, mint a ior-
kvetkezket rta:,,Van ezeken kvl egy kziratban lv ktet, mely rthetetlen hang- rsok s a dallamok kzti sszefggsehet.85 Felfigyelt. a nyugat-eurpai vilgi zene beszlrdsre
jegyekkel van tele, s lizlsneh ideje 1652
-1671 i mish, antiphonh s himnusok orgona isl a kdex tanulmnyozsakor szinte kizi'lag a francia tncreveket, felilaf-ohal jcg5,sa ki mag-
ksrete".7o nak,86 s az 1930-as Zenei lerikon ,,Kjoli" cmszavban a l<dexet ,,ktilildi erecleb{l egyhzi nft'ck.
Rduly Simon papnr'endk 1903-ban l(olozsvron Kjoni Jnos mkdsrl kszl"ettszah- magyar npi bncdallamok, egyhzi s vilgi nehek, franciaszvilmuzsiha" gy{ijternnyneh uevezte.B?
dolgozatot, cle gy tudjuk, hogy Rupp Iiornl lerst nem azonostotta egyik tn.zeLt kzirattal
A kclex anyagnak ms rtegt, az egyhzi npnekeket Papp Gza tetie ismertl - rng
sem.?l Fab Bertalan A maggar npdal zenei fejl1rls crn{l knyvben (190S) kzlte a kdex nhny
1942-es kutatsainak eredmnyeknt, de mr a II. vilghhorrl utn
tncnak fels szlamt.?z Seprdi Jnos a I(olozsr'ri Reformtus l{ollgium magyar s latin szakos - a 17. tz.tzacl nekelt dallarnait
tartalmaz ktetber.88 Domokos Pl Pter is mintegy fl vszhzaddal kor'ibbi tapaszteiataira s
tanraknt 1903-ban vet{-c kezbe elszr a kdexeL.?3 1909-ben akadmiai eladsttartott,?{s ter-
fnykpfelvtelekre trmaszkotlott, amikor Kjoni Cantonale Catllolicumhoz mertett fontos zenei
jedelmes tanulmnyt ksztett rla.?5 E mig alapvet munkaknt id.zett s sok lltsban helyt-
adalkokat a kdexbI.8e
ll dolgozatrKjoni lett s munkssgt, illeten Rduty Simonra hivatkozik. Nagy rtleure, hogy
. II. vilhghborir cl6tt kszlt a kt legliorbbi, romn ::zerzil sznnaz hosszabb llegzclif
Rduly elveszett dolgczatnak I{joni letre s a vele kapcsolatos dol<umentnmokra vonatkoz
adatait megmentette az utirkr..' szrnra. A kiiex trtuelL azonban nern orlnan vette, hanem sajt
I(joni-tanulmny is. Az elst George Simonis hsztette 1$34-ben, rnelyben Kjoni letner s
mveinek bemutalsa trt.n a kdexel ismerteti. Seprdihez kpest nrni nllsiiot mr.rtal.i rezhet,
kutatsi tapasztalatai alapjn vzoltai rnegadta filolgiai lersrt s hangjegyrst is me.ghatrozta.
hogy mindvgig az eredeti tlohumeutnrnok ismei'etben fog)al rllst.e0 Megl<sr'eli sszerlltani a I{joni-
Megnevezbe s ponios dtumol<hoz lcttte a kclex sszerit, rnr:glogalmazta feltevseit a gylijte-
Kdex tartalomjegyzk.t, ez azonban a felilatok liiliyos s tves olrrasatai lrriatt nem sikerlhetctt.el
mny szszellitsnak nenetr1.76 A ki:irat jeientsgb aban litta, hogy mint, magnjelleg s
I\{arfian Negrea 1940-es
vegyes tartalm sszellts, a 17. sz'zadi eldlyi zenetrtretri niyalt kpet nyjt, a fehr - a hr.etkez ,vLizedekben gyakolta idzett - tanulmhnya minclcnben
a fejezetelsben is- Seprdit kr'eti, f iiggelkben kzlt tiral.aibl azouban hiceliil, hogy ltta az ere-
foltokat kitlt forrs.?? Tarbalmilag hrom rtegct klnbztetett meg benne: az egyhi,zi zent, a -
kor divatos tnczenjt s a magyar npi zent. A ruagyar s magyar vonatkozs anyagra kon- deti kdexet, s itt felhvta a figyehnet, a kdexben rejl, addig nem emlt;ett ttelelire, st ttel-
centrlva kzlt 25 clarabot tncokat, latin, mgyar s cigny szveg{i neheket csoportokra: anyugab-eurpaieredet{i tncokra, egy Schtz-moteltra s a Nagy Pafcnr-re.o?
- -, s felhvta
a figyelmet a magyar szerzk hompozciira.
A Seprdi nyomrban tmadt filolgiai szakirodalom kevs j informcival szolglt. Domokos 7B Domokos P. P, 3, 10,1,
Pl Pter i929-ben egyetlen vidk forrsainak, a cslii nekesknyvehnek sorban trgyalta tartalmi 7 A' Kd frst 1634-66-ra teszi, s az els rszt 1-116. levlig rrem Kjoni lsnak tartjn. Gyrg5',523.
80 Szab T. 2, lI: No. 143, (p. ldS).
81 Boros 4.
05 MoZtrt II:
182, 402, 508-509. 82 Sztank, kottametlhlet
06 Bartalus, 108 ftiggelke, p. 11-12.
-11S,
7 Szab RMI{I I: 1188, 1329, 2084, 2085;
et Szabolesi 6 b, l7b.
II: 1419 s Szab ilfllsz.
8{ Szabolcsi 7, 254-263,.
e Simon J., 397,
35 Szabolcsi
ee Ngyesy, 17. 3,
8r Ld.: Szbatcs-hagga!k
?o Rupp, 67. a MTA kzirattrban.
t; 2,
?r Seprdi 3, 129-130, 145. Rduly Simon dolgozatnak nyoma veszett.
Szal.olcsi 52g.
t6 RMDT II:
?3 Fab, 207 -217. no. ?, 75,501il, ?41t, ?5,82, 1.31, i6t, 169, 77411t,247,35C.
$ Domokos p. p.
?s Seprdi 1, 118. 4, Ag8-912 (No. 607-610).
?a Az elads szvcge: Scpr'di 2. '' :zilte cgyediilllan rtkcs nhny adalka - mciyekke Rduly rnogfigycltseit" egszfti ki -- Kjoni egyb kz-
:lq{
rratnival kapcsolatban.
?!
,,Seprdi 3. jimonis,
to Seprdi 3, 130-133. 16 __ I g,
er Negrca, _?1.
63
?7 Seprdi 3, 410-424,.

52 53
 A'z 1945 utni romniai zenetrtnet-frs megklnbztetett mdon fordult a Kjoni
Kdex fel. Mivel azonban mag a kzirat ekkor mr nem volt tanulmnyozhat, csali a korbban
szerzett informcik rtelmczsnel< nyilhatott tere. Sigisrnund Toclu! 1958-as cikl<nek kzp-
pontjban is a kdex ll, amelyne< 20. szzacli sorst ismerteti s iroclalnt mttatja. A tanulsgo-
kat a livetkez hat pontban foglalja ssze: (1) I{joni kzirata szerinte tbbek l<ztt tz romn
npi clallamot tartalmaz, s gy az {rotL romn l<ultirra korai dokurnentuma, mely (2) azl is bizo-
nytja, hogy a klnbz nemzeti <ultrk cgyiittlse klcsniisen megtermkeny|" leheti (3) Kjoni
a kibontakoz barokli kultrra <zvettje, (4) kapocs nyugat s liclet, hztt, (5, uaprakszen tj-
kozott muzsikus; (6) ahogyan a ryugati zcrre lizvetlenl a romn npzene trsasgban kerlt
bejegyzsre a kdexben, ann\,ira kevss izollt jelensg lnaga a nemzeLi liulbirra is.es Romeo Ghircoiaiu
tlolgozatai0a elssorban az ernltctt tz romn trncot vizsgljli mcg kzelebbrl rornn npzenei
s nyugati m{lzenci prrhuzamaiklial cgl,lit. A hsbbi romn zenetrtneti sszegzsek ennek alap-
jn tekintih a l(hjoni I{clexct a rornn npzerte rott forrsnak, s gy trgyaljk, hogy kiemelik
a benne iellelhct dallamok romn jellegzctessgeit.e6
It{ivel az utbbi vtizerlei zenctrtnet-rsa csak a ,,mgttcs" irodalomra tmaszl<orhrtott,
trehvse a tovbbi rszleteh negisDrcrsre trrgyi nehzsgcltbe iitl<ztt, s aligha volt ell<crhet,
hogy egyes szerzli inkbb a fantzirjukra, miut tnyisrncletle bzva rnaguhat, kombinljh tovbb
a kdex rira .s a tartalomra vonaLlioz, irnmr ellenrizhel.eLlen adatohat 00. A rgi tves lltsok
ismtlsre knyszerteLl. szaliirodalomnah csah rnost nyilih lehetsge arra, hogy a I(joni-I(dex
problmalirvel foglall<oz vaamennyi
- a liziratra, a ierhla, a lers menel.re, a tart,alomra
vonatkoz
- rnegllaplst revzi al vcgye, s ennek alapjn prbljon majd meg rij sszkpet
alkotni.
A, kdex leri letrajzi adatok
- felvidki muzsikussal lehet azonos, akirl a lcsei vrosi jegyzknyvek szlnak.uo
A Kjoni Kdex keletkezsnek krlmnyeirI, tulajdonosairl, sszerirl maga a kzirat
nyjtja a legtbb tinpontot. rdemes a bejegyzselire, a l<nyv szelkezetre vonathoz meg-
figyelsek|e hagyatkozni, rng anna< tudat.ban is, hogy ezcli nem achatnak minclen krdsnkre
vlaszt. A korbbi publikcili kzl $eprdi tanuhnnyts? liell szem el[l tartanunk, s Boros
Fortuntnak ,,4 Kjoni kclcx els ri" crni cikht. Seprdi nhny megllaptsa ma is iga-
zolclhat, ellcnben Boros minden eg)'es illtsa alapos rnr'legelsr.e szor.ul.
A cmlapra rottakbl s egyb bejcgyzsekbl clssolban a kvetl<ez informcil bontakoz-
nak ki: (1) Az els tulaj<onos, Scregly Mtys a gyjtemnyt [1634] mrcius 17-n nyiLotta meg
a cmlap ell<sztsvel, s liotLt rni bele [16341 prilis 8-r ]<ezclett. (2) Bz v Flrsvbjn Seregly
Hclvgen, mjus vgn rnr Gyulafchrvrott, decembelben peclig ,,Monostor"-on tartzkodott.
(3) 1639 folyamn gyjtemnye Kolozsvrott is megforclult, msoli is jegyeztek bele. (4) maga
1642-ig b6vtette jabb ttelel<l<el.08
Az els6 tulajclonos, Seregly ftys kiltrl tovbbi adatokat mr csak a feltevsek szint-
jn mondhatunk. A kziratba bejegyzett Gyulafehrvr s l\fonostor helysgnevekbl kiindulva Boros
Fortunt egsz elmletet ptett fel arra, hogy a gyjtemny mcgkezdi mindon bizonnyal jezsuitk
s Todul.
r ^
Ghircoiaiu, 1-3.
s6 Popovici 7, 1l-72;
Br'ncui l, 64-67; Brncu'i 2,202-206; O. L. Cosma 2, 294*J}-o; Ciobanu,38-39, 49-51.
ts lgy Mocanu 1g?3-as monogrlijn.(11:"1t.1) is nz elrhet6 korbbi informcik k.itika nlkiili tisszegezse,
mint addig legl<orszerbb sszefoglalst idz V. Cosna 3 s Tomescu; Magyarorszgou Dobszay. sak -a vilgi
t
tncokat s dalokat idzi (p.191 -193).
Sepr6di 3.
r8 4.115r-n a lapszlen megcsonkult datlsbl az
,1642"-es vszmon kfvl sajnos ms inform4ci nem olvashat ki:
,A' 1642 die 25. jam in ste[ j'.
54
voltali.o0 A17. szzad trtnelmi viharaiban az erdlyi fejedelemsgb6l tbb lzben is kiutasltott
jezsitk Erdlyben csak hrom helyen telepedtek meg minimlis ltszmban: Iiolozsmonostoron,
Gyulafehrvrott s Karnsebesen.l00 Valamennyik tevkenysgrl pontos feljegyzsek mar,adtak
rnk, de ezeh kztt hiba keressk Seregly Mtys nevt,ror Nem vczet eredmnyre az sem, ha
ferences krkben hutatunk utna. Azt gyanthatjuk teht,hogy nem papi ember volb; ha az lett
volna, jclezte volna az alrsban.
afl vizsgldsaink azt mutatjk, hogy a Boros F. ltal megnevezeLt tovbbi jezsuita
szerzetesek sem hozhatk kapcsolatba a kdex-szel, klnsen nem kzirat 1634-42152 l<ztti
rtegvel. A kzirat I{joni eltti rsze miuden ktsget kizran egyetlen, azonosthal nottor
m{ive, eltekintvc azolctl az oldalal<tl (75-76;109 s 110 kzLt), amelyek viszont nem kthetk
nevehhez - mg a kdexben egybknt msutt elfordul szemlyekhez sern. Boros hipotzisei
cleve meghrdjelezhet aclatokbl indulnak lii. Tasndi Blint jezsuitra pusztn a 33. oldal bejegy-
zsnek trecihes olvasata nyomn tereltltt a figyelem.r02 Mik Istvn bevonsa a trtnetbe
Rcluly bizonytalan cmlap-megfejtsn (,,Miko") alapult.ros Fenesi illihly jezsuiLa emltse pedig jval
ksbbrl, Kjonitl szrmazih - r'alsznleg 1660-bl - , s csal< annyit rul el, hogy az a
Sfaaf Mater-clallamot, amelynek felirathoz van hozzfizve, 6 hozta l(olozsvrrI.loa
A kdexben jelzett helysgnevek nem annyira jellegzetesel(, hogy tanrlskodhatnnak az
sszer m{i<dsi terletrI. ,,Flidvigh"-re Boros nem tallb magyarzatot, s azt nem is tudta
felhasznlni bizonytkai altmasztsra.r05 Ma sincs tudomsunk a telepls nevezetessgrI, st
ktfle lehetsgre is gondolhatunk: a Brass mellebti (Frstenburg)lou s a I(raszna megyei Hd-
vgre.ro? Az ,,in N[onostor (l\'Ionastur, lVlonoster, Monaster)" kifejezs sem kizrlag csak a I{olozsvr
kzvetlen kzelben fekv l{olozsmonostorra utalhat,roe hanem ms helysgekre is, amelyeknek
mindegyikt szmontartottk Monostor nven a 16-18. szzadban.roe
Annl inlcbb felkeltik a figyelmet azok a megjegyzsek, amelyehet Seregly a lemsolt m-
vekhez flJztt, s amelyek arra vonatkoznak, kitl kapta vagy kinek a rvn ismerte meg az adott
darabot. A mr emltett Valentinus Zelinus taln szilziai volt, Sebastian Wildener pedig azzal a
Mindezeket ttehintve is csak vatos elkpzelseket fogalmazhatunk meg a Kjoni Kdex
rgebbi rsznek lerjt illeten. Seregly'taln a Felvidken vgczte tanulmnyait. Legvalsz
et Boos 4, 262; a szakirodalotn ltal tvett rekonstrult ttnet a kvetkez:
,,[...J fonostoron Tasncli Blint kezdte
frni, Monostolrl Gyulafehvt'ra Fcressy Nfihly jezsuita vitte el S9_re-S_e]V Mtysnak 1639. mjus r-". S.r"iv
kezbcn 1642-ig volt. Ekkor kerlhetett l\{ik Istvn jczsuithoz, akitl Kjoni 16s2-ben rklte s akinek ,r.rrt
Kdex cfrnlapjn rnegrkftette", Az 1639. mjus 31-i dtum az l$34 flreolvassbl addott. "
1N0 ,4. kiutasftsok vei: 1607, 1610 s 1653.
v. Bfr, 25-266; EoE XI: 28,27,151-lbb; velics, ?1.
r')l Ld. Catalogus 2; Catalogi; Acta Jesuitanim.
r'rr Boros 4, 262, 4. lbjegyzett v a I{tIn 33r-jn lvashat bcjegyzsscl:
,,Acccpi a Ualentino Zelino, silezi[ensi]., ti.
az ppen lelrt dalabot vagy darabokat, de nyilvn nem a ma is elttnk ll gyjtemnyt. A szla r""gi ,rmei;
valjban Tusndi Blint, s nilkdse az 1630-as veknl ksbbre tehct (Catalogus III:- 1742; g,OE XV: ZS;
,,Cta_
logus Claudiopolitanae gJ. inscriptorum", BIiK Coll. Pray. Tom. II. 44, 181v).
rot PaterMilt Istvnnevcegy1653-as,Kolozsmon0storonkeltlevlben bukkan
fel (EOE XI: 160; errehivatkozik Boros4).
tot
Yji._.Bo^tg:4-mcgllapftsltaz52v bejegyzsvelsFenesirla Catalogus-banolvashatadatokl<al (l:327).Ld. tovbb
BER Coll. lIev. Ton. LXIX. 9, p.30-31.
ttg
."['.'] jllehet az els vszm (1634) Hidcgben [sicl] fdott bele, de ezt egsz nyugodtan tmenetinek vchetjk, mert a
jezsuitknak itt lland tartzkodsi helyk nm volt." (Boros 4, 262).
106 Ld.
Suciu I: 283. Orbn Balzsnl azt olvassuk rla, hogy a_szkely falu a 16-12. szzadban (1662-ig) unitrius tele-
pls volt, ahol a birtokos l\{ik-csald alapftott a 17. szzadban uiritri,'s kzpiskott
tIii,-Z'Ol.
r0? Suciu I: 382. Ezt azonban trilnyomrszt ronrnok laktk, s ortodox temploma volt
ttt csak.
jellhetth olna ,,Colos lonostor", ,,Koloz Monostor. nvvel is, vagy helyesebb latinsggal locativusban
T"o^t:1:Tulostort
omonostorini"-knt, ahogyan az inkbb szoksos volt. Ld. a BEK kziratait: Coll. ray. Tom. IL AE,-IA1", filbi.
Hev. Tom. LXlx. s, p.-so-sr; Coll. Kapr. Tom. XXVL l (,,Fragmenta nnuarum-sJ. Ciaudiopoiiturri;,
165d-i;it:
't'511"_:Ii"l::l (volt Bels-Szolnok megye, romnok lakta); Szmosmonostor (Szatmrmegye); Bgamonostor
(arnsebes fItt). A korabeli nvalakokat ld. SuciunI, I: 158, 164, 391 3gb.
rr0
rnelyet
r bejegyzst: ,,habeo a Sebastiano Wildenero". S. Wildenel ,musicus. 1634 elejn tatzkodott Lcsn;
az
^L-d'"11 -36
1634. vi vt'osi szmvitcli knyvben tallhat bejcgyzs csak arra vorrai.kozik, rtogv
-.gitettk frtikltss;; ;
liljltL,|9nnau jtt, s ishova tvozott. A vrosi zenszek kzttnincsen nyilvani*viirriti*r Mats szfves kzlse,
ksznm.) Ellenben F.l\latrlSa l\{arckfelner-tabulatrhoz frott et6szavban
:i:::I^::91i.gt-ezriton
Yarost enekes s ldcsei }asszista" Sebastian \Mildenert6l fennmaradt levlrszletet vaie.o"
"a kztti
kzt, felteheten az1643 s'1652
tdszalibl, kzelebbl informcik nlkilt (Matu$, l2).
55
nbb, hogy egyhzi zenszknt, kntorknt, tantknt levkenykectett Erdlyben. Az orgona hasz-
nlata viszgnt ]irdly tertiletn el^koriban a szsz vrosokra s a jeesuitllk templomaira jeliernz,Ill s
fgy Sereglyt - r.alsznll felvir<i hapcsolat.ai alapjn - alii' rng evanglikus vallsrlnal< is fslt-
telez[etnirk. IJa ugyanis a noltort valamilyen katolikus intzmnyhcz akarjuk ktni, szinte meg-
olrllratal"lai 1l'oblmr'al llunk szern-reii, nivel az eldlyi kntolicizmus a 17. szzatl elsiJ felben -
s kiilseu a 30-as vekben - igen siralnas helyzetben volt.u2 Egyetleir tmpontuuk az lehet taln,
hogy I. Rrkczi G5'rgv idejben - ppen a szban forg.r korszakban (1630-1648) -- iiolozsmonos-
toron mkcttt a jez.suitk rlt.al fenntartott iskola.1l3 Nent kell azonban felttlenl elentnonclist
ltnuuk abban, ra hiilta lieresnk olyan inl"zmnyt, mely1s] a magas zenei ignyeket tkrz
kziratra ignye lett volna. Seregly gyjtemuye l<iiejezetten rnagnjelleg; az sszer inkbb a
sajt maga kedvrre rgztctte a korbban megismert motettrkat s hangszeres darabokat. Alig
talijuk a kziratban nyomrt annali, hogy a benne lertaliat valaki - akr csak utlag - meg-
szlaltattavolna. Dikoh jclenltre, il'"olai krnyezetre is legfeljebb az 1639-ben vratlanul Seregly
rnunkjba keld idegen kolozsvri - bejegyzs emlkeztet.
- Szletsi helye a l(olozs megyei Jegenye, ha a quae rne in lucem hanc edidit" utalstlz? gy
* rtelmezzk, s a ,,Joarnes l(joni de liis kjon" megjellsben a Kiskjon helysgnevet csupn a csald
Br ssze[asonll]ratatlaiurl tbb, amit a msodik ler, Kjoni Jnos letrl tudunk, bizony-
talansgok, hinyok itt is al..adnak. A rla szl letrajzok egsz sorrl elmondhat, hogy szetz6-
jk[ritil<tlanul tvettevalamelyikkorbbi biogrfusa lltrsait, s azt nha a maga megalapozatlan
elkpzelseivel lvitette ki. Csak Simon Jukunclin,l1a Rupp liornI,us Rduly Simon s a feren-
cesek: Boros Fortunt,1l0 Karcsonyi Jnos,ll? Gyrgy Jzsef prbltak utrnajrni a minl meg-
bzhatbt infrmciknak. Problmt okoz z is, hogy ms-rnirs szetz,lt ms-ms forrsokra hivat-
kozt.alr az h:t.rajz egyes aclatainI, s ezek az irodalomban ellentmondsosak vagy tbbszr m-
dosultrk. I(joni lebneh lhny rszlett illeten a bizonytalansg oha a megfelel dokumen-
tumolr liilruya. fgy pldul miig nem tisztzdoil, vajon hol vgezte als-s felsfokr tanulmnyait,
s logyan 't ett szert zenei mveltsgre. A bizonytalan {eiLevsek igazolsra, vagy - bizonythok
hjn - megtrr'cljelezsr'e azonllan sosem kert sor.
A legin<bb szavahihet letrajzrk ltal idzett dokumenturnol<nak ma mr csak tredke
rhet el. A csl<somlyi konveut ler,ltrban tallhat ferences anyaknyvek bejegyzseire s kr-
nilrk lrraclsaira tmaszkoclott szinte mincler adatul liarcsonyi Jri.os:11E a Regisf rum litletarumta,
IJjfalvy Atbert (1670-1699) s Balsffi {ihly (-1748) feljegyzseire, Losteiner Lnrd Annalesre
s Cronalogirjra. Annl i'tkesebb Kjoni r. ,,Fehete knyve", ,,Az erdlyi ferences kuszbdia tr-
tnete", miirclen tira kvethez ferences rendtrtnet kiindulpontja, amely ma liritikai kiaclsban
s forcltrisban is lizbe vehet.l1e Sajt lcez{ feljegyzscibI, a ,,Fel<cte knyvn" tl pldul a csk-
somlyi otgonho?: hsztett iratirb1, valamint kzirataiban s knyveiben elszrtan tallhat szemlyes
megnyilatozsaib1, dathlsaibl alkothatunk kpet I(joni tevkenysgrI az 1650-es vektl
hallig. A ,,Congregatio de Propaganrla Fide" vatikni archvumnah ferences dokumentumaibl
Kjonit elssorlar mint az 1670-es vek rcndi ,,kzleti" szemlyisgt ismerhctjirmeg'120 Az utb-
bi vek biztat hre, hogy a felencesek rgi csksomlyi ktinyvtrnak anyaga nagyrszt megmene-
klt, gy mtl nylik Kjoni fennrnaradt munkinak ,s az letben beszerzett knyvllomnynak
a tanulmnyozsra.121
111 Moztrt Il: 457.
r" Lti. Bir.
1r3 l\fszros, 293.
li 1g?B-bar-megtalIta Kirjoni,,per.ganrenc festett alckpt" (td. Simon J.), amit narchpnet tart:,n:rk, petiig errl ahkor
s azta sem rvelt meggyzen senki.
11 Rupp s Ngyesy,
1J6
Legfkppen Borcs 1.
117 l(arcsotyi 1 s 2.
ilB K3^sonyi 2.
1r0 Liber niger, Madas Edit gondozsban.
1o E dokumentumok leglontosabbjait Gyrgy (?15-?18), f)ornokos P.P. (Domokos P. P. 4, 1?9-133.) s focanu (Mo-
canu 2, 11.) tct?e ltzr,
11 A IIe.it l'!L:gyei l\I(rztum (Csfkszercrtr) muzeolgusskllt Muckenhauit El':rsbet foglarlkorik vele.
56
Az elmondottak vilgoss teszik, mirb nem vllalkozhatunl< ma mg tbbre, mint egy kritikai
jelleg letrajz felvzolsra, amelyben sztvlnah a megbzhat, alapvet arlatoh s az igazolhatatlanok,
a dokumentlb tnyel< s az elmletek, a lezrbnak tekinthet s a mg nyitott krdsek. Ez a
meglizelts felttelezi az elsdleges dokurnenturnokloz val visszatrst.
I(joni Jnos 1629 vgn vagy 1630-ban szletett. Szlebsi vnek meghatrozsalior hrom
forrsratmaszkorlhatunk: (1) egy fei:ences anyaknyvi bejegyzsre, amely Kjoni beltzstregisz-
trlja 16,18. szcptember 17-n, s t kb. 18 vesnekmondja;t"(2)az t ibrzol festmny krira-
tra, mely gy szI: ,,P. Joannes Iiajoni, aetatis suae annor. 44. 1673";1t3(3)Azercllyi ferences kuszt-
dia ttnethez ftt zrackra: ,,i\nno Salutis 1684. Die 8. Martij. Frater Joannes Kajoni Guardi-
ans Csikiensis et Custodiae Paler Aetatis 54. Religionis 36.r(124 trl kell vetnnk l\,Iocanu 1976-ban
publiklt vlemnyt, amely szerinb I(joni 1627-ben szletett.1z6 Az ttala idzelt dol<urnentum u-
gyanis egyrtelmenfogalmaz; aRmban kldttsgben jr Kjoni letkor't nem tudja pontosan:
,,1670-VII-3. P. Fr. Ioannes l(aioni, Annorum circa 43, confessorius eb concionator Valachus Tran-
silvanus. "126
szrmazsra vonatkoz elnvneli tartjuk.lzs Br l(joni rnkmaradt mveiben kizrlag a latin
s a magyar nyelveb hasznlta, Llgyanal(kor ismtelien. ,,valachusnak", teht romn szrmazsnak
vallja magrL: igy Herbimban, a Iortttlus deuotionis cmlapjn s a csksomlyi orgonhoz ksztett
feliratban. Ms dokumentumok is emltik romn szrmazst; gv az 7648-as, beltzsr6l szl
irat (,,natione Valachus ex parentibus Schismaticis") s a cle Propaganda Fide levltrnak mr id-
zeLl bejegyzse. Szlei valsznleg ortodox grglieleti vallsak s kisnemesi csaldbl valr voltak.
Kjoni Jucit ner' nvrrl rgy tudjuk, hogy nernes Rcz Istvnhoz ment frjhez Cskszeredba.12e
Csaldjr1, letkrlmnyeirl tbb adattal nem renclelkeznk.
A fcrences rendbe 1648. szeptember 17-n ltztt be Csksomlyn, s egy v mrilva ugyanezen
a napon tette le az nneplyes fogadalmat.lso
A Kjoni-l<utats leghomlyosatrb pontja,mitrtnhetett lijonivalkzvetlenl fogadalomt-
telei eltt s utni mskppen fogalmazva: vajon papp szentelsig milyen iskolzottsgra tcttszert.
Rduly s Seprdi azt gyantotta, hogy i(joni sgora rvn elemi iskolit Csksomlyn vgezte.131
!?e'Az anyahnyvi rszlet (Kclozsvri[?] felences rntiikula, ,,Registmrn II. Tom. Ii. Art. I.) fakszimilje s rtelmezse
Negrenl, p. 9.
r23 Simon .1. Ebbl indult hi s 1629-re tettc Kjoni szletst: Ngyesy Rupp (6.), Szinnyci (col, 802), Dank
65. de jval
ksbb Creiun 1 (237.)
121 Libar niger, 54. Rduly hivatkozik r elszr, s mdositja Kjoni sztetsi.idejt 1629
vge - 1630 elejre(Seprddi
3,. 13). Ebbl a bejegyzstrl az azonban nem olvashat ki, hogy 1630. mrcius 8-n szletett volna, mint aogy Moanu
vli: Mocanu 2, It;' tvette V. Cosma 3.
r25 Mocanu 2, nyornban V. Cosma 2 s V. Cosma 3.
126 \rclrivio Propaganda Fide Scritture originali Congregat.ioni Generali 171.
voi. 42B. imaginea 543, fol. B5B: NomtnaFra-
lttlm lltissona.riorttm Ordnis Mnorum Obsctdnt.m in TransiluLnia, id'zi Nlocanu 2, 10.
r27r Liber niger, 3g.
129'I:Iortulus deuoti.onis cn mn'nek cmlapjn s a 122. lbjegyzetbcn cnrltett
anyaknyvi bejegyzsben. Legel6szr
_i{dyly foglalt llst arnellett, rogy Kjoni Jegenyn szletett. Ellte az lctrajzrlrNagytaonfitiltk meg iletri
Itelyl, arnelyrI viszont semmilyen dolcumentum nern szI. Negrea(10,-11)Boros 1 nyoinn tovbbra is elonthetet-
lennek ltlte a krdst, mivei felvetdtt, hogy Kiskjon a szlets, Jegcnye pe{ig a hilben val jjsztlets, .rugyi" u
megkeresztelkeds hclye lenne. (Ugyangy Dornckos
f.P. 4, I03). z elmlet alapjt Kjoninal< Jcgenyrl frottvisem-
lkcz sorai kpezik: ,]iquae me'in-Iuc*-ra.r" eclidit) [...] iu" o rnatre mca a""ei, q.,al per talem lVlinistrum nte annos
64. baptizari me (qui lraec scribo) in ea Ecclesia fecit [...]"
lac Kjorri latin-magyar -Liber niger, 39.
versgyjtemnyrlben, a Hgntnariumban olvashat sgornak haotti brlcsztatja, Kjoni szerzem-
-130 nye (p. 813): ,,Siralmas Vesek' (Rupp 6p, Seprdi 3, 137; Domokos P.P. 4, 103-104.)
,Anno 1648. clic 1? Septembris in Conventu Csikiensi ab eodem P. lVlariano Religionis habitu amictus est pro Clerico
Joannes Kjoni de kis kjon, annorum circiter 18 natione Valachus cx parentibui Schismaticis, intaeto ooioio.-lno.^-
ts est constanter
Joannes. / / Subsequente anno, et die in eoclem Conventu, et in manibus p. Nicolai S;it"i il.
Gvardiani Solemncm emisit prfessionem, Vir praeclarissimorurn talcntorum, laoriosissimus, et perpetua memoria ign'us.
(!-d' a 122. lbjcgyzetet.) Mcanu a latin szfeget rlgy rtehnezi, mintha Kjoni katolikus-hiti.e val ttrsrI silna
!":".Tq 7,27-22; tveszi V. Cosma 3). Valszlnleg csak az 1648 eltt felttelezett pr'bav miatt teszi 164?-re
alelcpst.Rupp I(ornl (Rupp s Ngyesy), Rduly/Seprdi (Seprdi 3,13?.) s Jnki(10.)szemben Karcsonyivat
\228). Az.intacto nomine vocatus est constanter ioannes" mondatbl az is kiderI, hogy kjonit a Jnos, s nein
vgy nem csak -
- a Gbor
ratos mvnek cimben;
nvre kcreszteltk. A Kjoni Gbor nv eredete Szinnyeinl 1cot. AOe, Rduiynl (kzi-
3, 136.)s
--
rrr Scprdi 3, 13?. Seprdi Kt1rnl ilsz.;.ocgmagyarzhatatlan. Ugyanezi vette i Moztrt Ii:1g4
57

Boros Fortunt Kjoni neveliknt a szlfld kzelben, Kolozsmonostoron iskolt tart s taln
magas szlnvonal{r zenei mveltsget meghonost jezsuitkat kpzelte el.13t E gondolat sszhangban
llna Boros azon feltevsvel, hogy a kdex korbbi rsze esetlegl a kolozsmonostori jezsuitk krben
kszlt, s Kjoni azt ttk - tanraitl - kapta 1642 utn.133 Kjoni kolozsmonostori iskolavei s a
jezsuitkkal val korai (1642-48 kztti) kapcsolata azonban semmivel nem bizonylthat, miknt
az sem, hogy a kdexhez kzk lett volna a jezsuita atyknak. A magyar szakirodalom mindenesetre -
bizonytkok nlkl - Csksomlyt s l(olozsmonostort jelli meg I{joni alapfok tanulmnyainak
helyszneknt,l3a mg Negrea s nyomban a romn szakirodalom
- harmadikknt Sebes nevt
- sagomban Annak nyomasara."144
emlti.135
Nemcsak alapfok tanulmnyairI, de felsfok iskolirl sincsen semmi adatunk. Pusztn
felttelezsen alapszik, hogy ha Nagyszombatban szenteltk papp 155 szeptember 5-n,138
akkor ,,a blcsszetet s a theotgit [is] itt vgezte."r3? Nagyszombatrl szlva elssorban nem
a Pzmny Pter alaptotta, blcsszeti s hittudomnyi fakultssal 1635 ta mkd egyetemre
kell gondolnunk, hanem inkbb a ferencesek marlnus rendtartomnya ttal 1641-ben ugyanitt
fellltott teolgiai fiskolra. Ennek lehetett hallgatja Kjoni.l3E A feltevsek sort mg azzal
lehet folytatni, hogy taln Nagyszombatban ismerkedett meg kzelebbrl a kor egyhzi zenjvel, a
hangszerksztssel s az orgonajtkhal.13e IskolirI, mestereirI szl adatok,l{0 megfoghat bizony-
tkok hinyban zenei mveltsge forrsainal< meglatrozsakor csak az rseki, egyetomi s je-
zsuita szkhely akkori szellemi letre, az Erdly s a Felvidk kztti kulturlis kapcsolatokra, a
Kjoni fetjegyzseibl kiolvashat eurpai rdekldsre utalhatunk. Egy ,,nagyszombati korszak"
elkpzelse Kjoni letben (1651-55, esetleg megszaktsokkal) gy a kzvetlen bizonyitkok hi-
nyban sem vethet el teljesen, s itt maga a kdex, annak repertorja, rtelmezse is megerst rv-
knt hasznIhat.
Biztosra vehet, hogy mr ,,frater" korban rtett a billentyils hangszerekhez, s fiatalon kine-
veztk a csksomlyi klastrom orgonistjv.tal Herbariumban vall nmagrI, amikor elmondja:,, Enis
illyen fabol csinaltam az Virginaban maid 75. tangentakot, mikor az virginat csinal ual[k]." 4f{ivsz-
knyv s e bejegyzs 1656-bl val, I(joni teht mr ennl korbban is ksztett hangszereket.l{z
Tevkenyen rszt vett a rgi csksomlyi orgona beszerzsben az 1650-es vekben, amire ksbb gy
emlkezett: ,,Anno 1659. Die 15. Augusti. Ezt az Orgonat a Boldogsagos Sz' Maria Templomanak
kessgre a Csiki kalastromban es a Fetsges Istennek tisztessgre vette rk emlekezetre melto
Tiszt. P. Miklos Somtyai Guardianus eiusdem Conventus s Pater Casimirus Damokos Custos Pro-
vincialis, Patres et fundatores, basesque Custodiae S. Stephani Regis in Transylvania: Istenben el
nyugo[dot]t Tekintetes s Nagsos Haller Istuanne ide hagyot Alamisnajabol, ezer tven magyar forin-
13t Boros 4.
133Mocanu Tasndi Blintot s Fenesi }lihlyt Kjoni tanrainak nevezte (llfocamr 7,25-37; V. Cosma 3).
13. Moztrt II: 184.
18 Negrea, 13.
a egisfrunt lilterarum (Cslksomly) bejegyzsei nyomn pontosan rtesnk
136 Gyrgy, 519. Boos rvn, sejthcten
a ielsntelsi okmny (1655. szept, engedIy (szept. 21,) s az rijmissnek a sebesi. kollgiumbl val elindu-
t0), az
lsa (okt. 14.) dtumri, tovbb arr, hogy 1650. november 17-n mg Cslksomlyn tartzkodott, s csak ezutn in'
dult agyszombatbasAlssebesre. (Fzek az adatok Boros 6-ban sajnos nincsenek jegyzetelve.) Ld. tovbb Mocanu 1,
39.
137 Seprdi B, 138. E felttelczst Rduiy, s nyomban Seprdi fogalmazta meg elszr. Szab T. ttila, mivel Kjoninak
tuljdonitja egy vajdnak romlsrl val nek'sze'zsgt, azt llltja, hogy szemtanknt I{joninak 1654-ben
"Lupulj keUett tartzkodnia, kvetkezskpp
a csiksomiyiolostoibn hogy nem Nagyszombatban, hanem a cslksom'
lyi zrdban tanult s amott csak felszenteltk." (Szab T. 1,"valszln,
357-)
r! Karcsonyi 2, l: 211. A marinus ferencesek iratanyagban (Acta capitularia [1610-1666J, D VII 21 jelzettel a
Matica Slvenskban [Martin]) semmi Kjonira vonatkoz nyomot nem lehet talni, mert ngyszombati teolgia
mkdsrl - klnsen ezkbl a korai vekbl - igen szkszavak a hlradsok. (Dikok nvsort pl. egyltaln
nem tartalmazzk, arra val utalst azonban igen, hogy a fiskolt ms provincikbl valk, lleg erdlyiek isltogttk.
- Ladislav Kaicnak kszijnm szbeli tjkoztatst.)
lrr l({gseyi 2, II: 263.
e Seprdi Rduly nyomn valszfnbbnek tartja, hogy Kjoni .a magasabb zenei ismeretek megszerzsben autodidakta
volt' (Seprdi 3, 138).
1.1 Gyrgy, 520. .{ Hortuls deoolons clmlapjn l(joni csak ,frater1ne.k, ugyankkor ,,in llfonasterio Czikien. Organista'-
na'k nezi magt. Szab f'. e kzirat elkszltt 1652-re teszi. (Szab T.2, l: No. 71, p. 80.)
1s Ld. mg Miktssy s Domokos P.P. 4' 108.
5B
F
ton Eperjesi Orgona csinalo Janostol, melyet Brassoba a Prsmari Szszok Szamara csinalt volt de
neg dragalvan bel hattk, mi megvettk, hoztak ki Brassobol ket Szekeren pro fl. 10. [...] az el alku-
vasban, meg vcteleben es ki hozatasabanis jelen leven eszkz voltam, es sokat faradtam [...]"tot
Nem ok nlkl lrta neve mell szmos alkalommal, hogy ,,organista et organifaber', hiszen a tatrok
betrsekor elpusztult csksomlyi orgont ptette fel trjra 1664-ben. ,,Annak felette uj Positivumot
Mikhazi es Gyergyoi kalastromokban csinaltam, es Udvarhelyre Patribus Jesuitis, et alia multa Instru-
menta, etc. es Fratres Steph. Alfalvi et Nicol. Ferenci Clericos mcg is tanitottam llfikhasi Gargyan-
A magyarorszgi salvatorinus provincitl rszben nllsult erdlyi stefanita 6rsg gyeinek
intzsben Kjoni egsz letn t tevkeny szcrepet vllalt. Mr 1660. december 10-n kineveztk
az rsgi biztos mell kormnysegdnek, cle a kinevezst csakkt vvel ksbb kapta k,z};.ez,setiszt-
sgben (,,definitor") tbb r'en keresztl megmarad.t.l' Els hzfnki megbzatsa - Mik-
hzra, 1663-ban1{6 - meglehetsennvleges volt, mert a ferencesek obszervns ghozragaszkod
,,bosnyk" szerzeteseket csak 166 - ban tudtk ervel a mikhzi kolostor elhagysra knyszerteni.1?
A rendhznak azutn 1666-1669 kztt Kjoni volt az els erdlyi gvrdinja s kpletnek meg-
plttetje.
1669-tl 1675-ig Szrhegyen m{ikdtt hzfnkknt; azon a helyen, amelyet L2fu Istvn
-
Csfk, Gyergy s Kszon szkek fkirlybrja - 1665-ben vgleg a ferenceseknek ajndkozott.laE
Kjoni itt is jjptette a kpolnt s a rendhrzat.Le
1675-tl 1678-ig az erdlyi ferences rendtartomny kusztosza, egy 1677. janur 13-n
kelt ppai bulla rtelmben pedig a pspki helynk, a ferences Domokos l{zmr segdje utdlsi
joggat.lso Dornokos Kzmr 1678. szeptemberben bekvetkezett tralta utn Kjoni nmi aggodalom-
m.al, de tudomsul vette pspki kireveZst. Ksbb azonban
- ltva az erdlyi katolikus furak
s papok tiltakozst az ellen, hogy jbl a ferencesek kziil keriiljn ki a pspki heynk
- lernon-
dott.151
l\fr 1674 vgn, 1675 elejn nyomdavsrlsi engedlyrt fordult Rmhoz, amire kedvez
vlaszt kapott 1676 jniusban.152 A knyvsajt segtsgvel legelszr megvalsult terve nekes-
knyve, aCantionaleCatholcumkinyomtatsa volt 1676-ban. 1681 s 1684 kztt csksomlyi hzf.-
nkknt sokat tett a rendhz s a templom helyrelltsrt, feljtsrt, majd 1682-ben felszentel-
tette a templomot.l53 1686-ban a ,,pater custodiae" megtisztel cmet kapta, a kvetkez vben
ro llrom dokumentum is szl az
orgonhoz kszftett
orgonavsrlsrI, idpontja ennek ellenre bizonytalan. Az els6 Kjoninak a ksdbbi
fent idzett felirata; 1650-es vszmolvasattal Orbnnl(Il:77,13. lbjegyzet) s Domokos P,
P. 4-ben (127-L28),
-
de 1659-es vszmmal KarcsonyinI(II: 244) s Geyernl II: 13?-138.1r msodika Feketeknyv
ieljegyzse (Liber niger, 58), a harmadik l-osteiner Cronologija, amely l(joni lefrst hasznlta . a3a).
1' .\mr idzett, orgonhoz kszlt iratban (Geyer II: 138). Mocanu szerint Kjoni 1665-ben mg a b,ki templombau
is javltott orgont (Mocanu 1, rt5).
s Karcsonyi 2, II:233; Boros 5,82.1664-ben, z orgon feliatban.DiffinitorActualis';1665-ben okmnyon szerepel
mg mint kormnysegd.
' Gyrgy,
284, 520. z orgona feliratban olvashat ,Nunc pro temp: Guard. Szarhegyiens.' megjellsnek viszont minden
ms adat ellentmond. Ld. ibidem, g1Z-31S, 92.
1r? Boros
5, g2_g3; Gyrgy, g5_gg, 2g1.
rr8 Liber
niger, 2g; I{,arcsonyi Il 277.
le
Karcsonyi 2, lI: 278: Gyrgy 31?.
1e Seprdi szerint
167. aug. 25-n lesz a kusztdia re a cslki kptalani gylsen, s 176. dec. 20-n nevezik ki ltalnos
p.t:p_"!i hclynkk (Seprdi 3, 138) a Hitterjesztsi Bizottsg (Congiegatto de Propaganila Fde) taln ekkor fogdt
er Jelest (Karcsonyi 2,lI: 247). A- ppai Breve teljes szvegt ld. Veszely, 353-354, ill. Gyrgy, 715-716. I{.arc-
sonyrnl az ere vonatkoz adatok forrsa a Regisljum litterarum.
151
$oni 1678. mcius 25-n Rmba frt levelt kzli Domokos rf, 130. Ld. mgKarcsonyi 2,fI:24l,Lemondsautn,
178. dec. 20-n Rmbl utasftsokat kapott a pspki szk elfoglalsra
lSepidi 3, 13d). Domokos Kzmr utdt,
Szebetldi Bertalan kzdiszentlleki plbnost ellenben csak a fejedelem ersltette meg hivatalban 16?8. jrin. 10-n (Ve-
szely, 355-356). Kjoni teht nem annyira alzatossgbl ahogyan azt korbban vltk (Zerich, Simon J.) mint
inkbb a krlmnyckt6l knyszerltve hrltotta el magtl -a kinevezst. Sajt maga fogalmazsban mindez a-,Fekete
knyvben olvashat (Liber niger, 5S).
__
152
Karcsonyi 2, lI:245; Domokos P.P. 4, 129-130. Kjoni leplezetlen bszkesggel fr en6l az esemnyr6l a Fekete
__ knyvben (Liber niger, 60).
r8r
Karcsonyi 2, Il: 285, a Losteiner-fle cronologira hivatkozik. Liber niger,.sg, 62.
59
 pedig {rjra a szrhegyi zrda fnkv vlasztottk.l54 Tz nappal kinevezse utn, 1687. prilis 25-n
azon a helyen hunyt el, ahova rendeltk.l5' Organo-Missale cm{l kziratnak vgu fgy emlkezett
meg rla egy kortrsa:,,Anno a [Partu Virgines (sic!)] 1687 [dik. Jesu] 25 Aprilis Mult ki bl(do)-
gul az bcslletes e(s) bldogh emlkezet Kajoni Fr. Pter Jnos Sz. Mrk Evang(elista) napin
reggel 6 rakor, Requiescat in pace Melly dben n Stephanus Benedekfi volta(m) Kntor az Sztr-
hegyi Parochib(an) etc. etc."156
16r Gyrgy J.-nl 1686-ban (320), Seprdi (Seprdi 3, 13S,) s l{arcsonyi (Kar'csonyi, 2, Il: 25A,278,) szcrint az 1687. prilis
15-i kOzgyls kldte Szrhegyre.
ls A legels letrajzokban prilis 23-t tallunk (Simon J., Dank, Rupp, Sepr'di), a PaIIas Le.ikonban (Ngyery') s
Szinrryeinl prilis 20-t. Az pr. 23-i dl"um forrsa a lencltrsak Ita kszltett Illtlagos nekrolg (lelhelye ismelet-
len), ametyet Simon Jukundin betesztt a maga sszellltctta Kjoni-letrajzba (Seprdi 3' 138), s amelyet Dank
(66-6?,) Kjoni epitaphiumaknt id2. Hallnak idpontjt Jnki (10-11,), mdosltja elszr pr. 2-'&e az Organo
Mssale bejegyzsealapjn; Gyrgy, aknyvn bell helyesblt (323, 525).
15s Sajt olvasatom sszevetvcs kiegszltve Jnki (1.1,)kzlsvel s Szabolcsinak a nrainl teljesebb oivasatval'(Sza-
bolisJnggatk, MTA Kzirattr' bt:5314), - Vasile lVlocanunak, Viorel Cosma ltal a nemzetkzi nyilvnossg eltt is
megjelen tetett de al nem tmasztott vlekcdse szelint Kjcnij1682-ben hivatalos kldttsgbenlBkban jrt volna,
1684-86 kztt volt a,,bki rezidcncia rc",1687-tl 1698-ig pedig egyszene mkdtt Szrhegyen' Esztelneken.s
BIban - mindenttmintarcn<lhzfnke(Mocanul, 145-14{);V.Cosma2 - LiclziBrncui2,207). hlocanus
nyomban V. Cosma a hzfnti tisztsget szhasznlatban minduntalan sszekeveri az,,r"-rel (:.r'endtartomny
f-nke). Egy .Tabul Capitulares"-re hivatkozi<, ,,mely 1698-as dtummal van elltva, amikor Kjonit a szrhegyi kcnvent
kusztozv-, majd ugyanebben az vben az eszteincki konvent kusztoszv nevezik ki' (Mocanu T' 74(r). Kjoni hallt
Mocanu 1698-ra !eszl,-azzal az rvelssel, hog' addig az id6pontig az alrsai olvashatk a cslksomlyi zarda knyvt-
rnak knyvein...m ezzcl szemben: (1) A csksomlyi linyvel< 17. szzadi ,,leltri" bejcgyzsei csak a folyrs jeilege
miatt hasonlfthatk ssze Kjoni kezersval. (2) Nem zr'hat lti, hogy Kjoni megfordult Bkban, de mivel az ottani
kolostort a stefanita rsg vgUl irem liapta eg, ott tlnd apostoi heytart vagy hzfnk nem tartzkodhattt, leg-
feljebbtmenetikisegft(Karcsonyi2,II:262).(3)Esztelnekenazl6T0-80-asvekbenvetettkmeglbukt a Ierencesek,
s holostori let ott 1684-t6l szilrdulhatott meg, cie I(joni rrevt vele l:apcsolatban nem emlltik a fennmaradt iratol<
(Boros 5, 90). (4) A fent idzett dokumentum - a szenrtan feljegyzse Kjoni halll - ktsgtelenn.teszi halrak
trclyt s ideji.
60
THE DESCRTPTTON OF TIIE
''COEX CAIONT" MANUSCRTPT
Introdrction
Among the few docrments of 17th-century Transylvanian musicl history, professional litera-
ture considers the Codex Caioni perhaps as the most valuable, therefore, the old hope of musicolo-
gists in l-Iungary and Romania came true, when the manuscript hidden for decades emerged in 1986.
The time has come at last to become fully acquainted with the Codex, to clarify the circumstances
of its oligin, and evaluate its material in its broader connections.
The manuscript, written between 1634-1671, was mentioned as the,.grand musical collection"
up to the beginning of the 20th centruy, and then it was named by Jnos Seprdi after the Fran-
ciscan monk Joannes Caioni (1629/1630-1687),1 and since then it has been recorded by musical his-
tory as the Codex Caioni.z For respect torvards traditions, \re do not change the name, although
the term ,,codex" is today usually only applied to medieval manuscripts. The use of the proper
name also needs an interpretation: partly Caioni was not the author of the najority of the descri-
bed works, and on the other hancl, other people also played a role in the composition of the manu-
script - although the final compilation of the manuscript was his work.
Since the 17th century, most probably without interruption, the volume was safeguarded in
thelibrary of the Franciscar monastery in Csksomly ($umuleu-Ciuc).3 From there, at the beginning
of the century it r'as taken to Cluj-Napoca and presumably it n'as trere until 1,944.4 {t disap-
peared from viervafterthe Seconcl World IIar, and \','e only found out its mysterious fate after 1985:
in the surnmer of 1944 (or latest in 1948) the Franciscans of Cslisomly hid it in the wall of the
relectory in their monastery, together witr 120 olher manuscripts and incunabula. These
Iilere found on April 11, 1985 by musiologist Erzsbet I\Iuckenhaupt and Pl Jnos the retirccl cura-
tor of the Flarghita County Museum (Miercurea-Ciuc).5 The Codex was restored in the laboratory
of theI Bucharest Central State Laboratory, in the period 1985-1986, together with the other
-
fortunately good condition Caioni mnuscripts: the Organo-I\fissale ancL the Sac'i Concenltts.
-
Codicological description
The Codex Caioni, which in the past belonged to the library oI the Franciscan monastery
in Csksomly ($umuleu-Ciuc) is now hept in the Museum of Flarghita County (Miercurea-Ciuc).6 trts
reference mark is: nr. 6199 (Cod. 35). On several pages, \\e can see the ,,Sr.amp of the St. Francis-
can Monastery of Csksomly 1913."
I
I Seprdi 3, 132-133. In thc rrotes by Kroly Szchy, a university teacher of Kolozsrr, Seprdi fountl a reference to
the Codex uncler tire titlc,,Great music coection" (Seprdi 3,745),
2 Only
P. P. Domokos made a recommendation concerning thc title: in the Iclm of ,,Seregly-Kjoni nianuscript", also
- inclucling the name of the first nottor (P. P. Domokos 3, 104).
' For the Hungarian, Slovak, German or Latin designation of the towns see the List of place names.
' -No tt*"" can bc found among the 1908 notes in Csfksomlyri of Fejrpataky. Bence Szabolcsi in 1925 (Szabolci
heti.tage, l\{T Archivc,56fill, XvIiI. \Iolume of manuscriits ertitlc Szaholcsi 3, 286), Gza Papp
in 1942, studied it in tirc Fraciscan monastcry at Ciuj-Napoca (bascd on"Traniy\,ania";
velLiai informr'.tion).
t. See s-
6 On the
seal: Complexul l'luzeal Judelean H:irghita - Nliercurea-Ciuc.
61
 Its format is upright, its size is quarto, 190x150 mm,? and it consists of 211 folios, reeent- The musical material of the collection - notwithstanding a few minor supplements - was
ly n'mbered lduring its estoration), by pencil, and of an unnumbered last shred of a page't The noted down by two hands, namely, with the Ammerbach type of nert German organ tablature
writing
original fotioing originatett from Caioni. The folioing, according to the customs of tablature the .Lcpus intra sald qui'
always referred to the facing, verso and recto pages. The exception is the sheet, bearing No' I notation.rs The only exception is the notation of the piece number 233,
at te beginning of the Codex, and 2r, numbered 2. From the pages, 2v-3r, numbered the 3'
scif in the up-to-date staff notation.
numbering is continuous to 211, but between folios 43 ancl 44, the fotio 45 according to
the origi-
108v and 109r remained unnumbered' The manuscript is a subsequently composite volume consisting of several fascicles. The origi-
nal numbering is missing, rvhile thc coupie of pages marked
Folio 1B remained incomplete, the missing fragment of the page was in the possession of Pl
Pter nal order of the units and the chronology of the notation will be reconstructed on the basis of the
Domolios.e handwriting's analysis, and the remarks scattered all along the manuscript (providing inforrnation
In 1g0g, Seprdi described the appearance of the Codex in the following manner: ,,Its spine, about the place, time, and the identity of the notator)'
made ol worn leather, its two covers in parchment bincling, full of Gregorian notes and
red ini-
tials, the use of which we frequently meet in old manuscript antiphoners."lo During the restoration The older and newer paper used by the two notators, Mtys Seregly and Joannes Caioni,
the original parchment binding was removed, and the manuscript rvas newly bound in half-leather' can be easily distinguished at first sight, based on the difference in colour and side ruling' We can
The parchment page, which - presumably originates frorn the 15th-16th centuries - containing ony presurne that the older paper material belongs to an identical paper typeilo in the Caioni part
a fragment of a codex with square notation, is separately stored.ll
During the time ol Sepr6di, the cover page was the most damaged part of the Codex'r2 On the origin of some paper types cannot be determined.
the page, which is today not much more defective, the fotlowing can be read in two hands:13 As the manuscript can be dated, even rvithout precise know ledge ol the watermarks, the
1652 dentification of the paper types may only have a signilicance from the viewpoint of their place
of origin.l? Flowever, the separation of paper with various watermarks allows us to gain a closer in-
Ac[t ] Die. 17 Martli sight into the process of the compilation of the volume in the past. Taking into consideration, both
Obla I Fra\tri Patri Joanni the types of writing and the use of the rtse paper, the most conspicuous particularity of the manuscript
IKaj(on)i] Organistae Claustri Csikensis 1652 is the fact that its arrangement in space does not reflect the chronological order of its completion:
Incipiuntur scribendi. In.
Gloriam. Dej. Tritinia older and later parts cross each other, suggesting that they were subsequently compiled' As the
die 8 Appril original foliation most probably originates from Caioni, the pages of the Seregly part are thor-
Stylized pillars with leaves and florvers on their top are drawn around it, as a frame'
In oughly trimmed. - so much so that because of this a few remarks on the margin are interrupted
presumatrly in the empty space indieated by
addition, seprdi read a fragment of a word: ,,iko" - and became indecipherable therefore, .rl,'e can presume that the volume was made into its final form
the blank frame - rvhich was arbitrarily interpreted by Rduly as ,,Miko."la Today, we do not con-
-
during Caioni's time.
sider this solution as reliable, but cannot give any other acceptable interpretation for the fragmented
letters and it seems as if the highly defective left and right hatf of the page moved from each oth- The manuscript consists of a minimum of 23 sheet books, containing different numbers of pages.
er (perhaps during the restoration) in a vertical direction, and therefore
the connection between it was hidden
the reading by Seprdi and the It is extremely[ difficult to reconstruct their order today, partly because when
the two parts of the first three lines may be doubtful. However,
to the continuity of the mostly the spine of the book was demaged and on the other hand, during the restoration in 1986'
fact that the lines originate from two hands lift all doubts with regarded
lines. obviously no effort was made to preserve the original cond.ition, and the book was very tightly
bound.lE
? Sepr6di 3, 130 quotes the size as 20 x 16 cm'
8 Seprdi counted 211 folios, accordingtoSimonis(p.13)the manuscript consists of 213 pages. 15 The differences bet\ryeen the two main handwritings consist of the use of gothic and irumanist italics. (Cl. Jak 3,
e Domokos p. p, 4,128: p. p. Domokos received the fragment from Pter Domnffy,.the music teacher of the Teachers' 177
-7?8). Caioni persistently used the gothic wrting, rvith the exception of the ninuscule
e. In 1634, Scregly's
and photocopy available in tbe
Training College or Cs*somtyO. The original provenance is not known, the film negative writing was mostl! characteized by the gothic d, e and f from the use of which he tuned to the humanist italics from
TA acniver, th" lutt", un-der referene No. Ms. 1228 (,,I(joni relics'). 1636, and a hesitaiion can be observed letwcen the two forns up to 1642, thc lnst notation. 'I'he differing features can
10 Seprdi 3, 130. be explained with the chr.onological tlistance between thc first notes of 1634 and thc -.,rcstart'in 1636, which present the
appeaiance as if we were clcaling with trvo different handrvritings. 1'his changc of the usc of letters - l'ithin certain limi-
11 Since April 1gg2, also in the county Muscum of Harghita under the same reference No. as the cod. tations - may promote the prcise definition of thc chonology of notation in thc case of thc first notator. In certain
rz $eprdi 3, 130' points of the mascripl(75_76; betwcen 109 and 11O) wc rnect tlo unidentified rvlitings. The fit'st may havc originated
ra I indicated tbe invisible parts .lvith square brackets, those supplcmented by Seprdi 'lvith ro^und b-rackets, and an unciphe- fom 1639 and it is rgih and gran<liosc; the second may hve originated in the period betrvecn 142 and 1666' but
ealieronesbyitalics.
rableword lragment widha btank fiame. I disinguish.d th" line.'written by caionifrom.the this is exceptionally callgraphic. The tlvo writings on pge 108v and 109r (br:trveclr 109 and 110) can harclly be linked
Saviana Diamandi has compred her own resulis to those obtainert by E. Muckenhaup.t concerning the title-folio.
righlhand top (the figures resemble those used
vitheachotircr ard-.rrith ihe wlitingof Scrcgly, but undoubteclly belong to the earlier layt:r. (On pagc 108v the text is
She gives below her deciphering: ,,The yea.-1652 is written on the cusive ald on 109 we cn observe tablature writing. Irom among the l'ttcrs of thc tabulature rvriting, only the
iror"rirrg tue Coe l-oiii ,1" in Cioni's hancl); an M._S., agnarently' to be also found.later on folio 36' runs also .- capital .4, differs esscntialiy from the writing of Scregly, the other fit into hs set of lctters of 1634). generally
on the right frana tcp usf "*""" tfr* bottom half o the folio. The handwriting is due to t-he _first copYt who wrote 16 The eason for the hesitation is thc fact that watermaiks ,e not visiblc on evey page. Frequently - in
,i."... i, 1T Mdrtiill Ac(i) ... Following the deteriorated fragment,.we may read in Caioni's hand: ..' (Fra)tr Palr ._ the cntirc book, but foremost in this part - even the trnces of the cross wires can hardly be perccived on the paper.
spot: organstaecteus,tr.cskiens(s) 1652 ll. Thelast rt (1) (used by Seiegly) Braunau (Uppei Austria), about 1600(Eineder n*o. 9.1); (2) (useci by Caini) St. Plten.(Lower
Joannll,folrowedvirr-r"oilarzj,uidnft""thedeterioratd D^e Trtnta De s Appril(s). So several changes Arrstria), upper papei-milt, 7642 (Eineder No. 279, 281); Spiska Tcplica (Slovakia), Ondrej Lang, Jr. 1631-57 (Dccker
i"r*ipii, in s".r"gaty'"hund; Incipiuntur.scrbendn n llGloram ll
;;t il thus noticed-vrsus the data given by Sepr6di (Sepr6di 3' 188)'' lr
o. 1104a, 1109a or f120a; p. 3S).
1 Seprdi 3, 130. This led. to far rsching hlrotbeses (Boros 4), however, today - alter tleir individual referenccs - .\ffe have no knowledge that any informative description or photgraph of such purpose would have been made about
t,lte Codex, prior to the restoration.
these can be refuted.

62 63
The nctators of the Codex The manttscript contains six hands,2d t$'o ol which prevail in the score. The dating, inscriptions

and signaturesE placed hel'e and there in the score indicate that the Cotler has been largely handled
The main notator, bincler and linal person to whom the manuscript belonged was Jo aunes Ka- and written by two possessors at tlilferert periods, the anthology belonging first to Matthias Sere-
ioni,le hirnself an organist and a composer, tromanian try birth, of Orthodox parents, turned Francis- gely (from 1634 through to 1642) and then to Joannes Kaioni (flom 1652 to 1671) - see Fig. 1 and
Kjoni
can mcnk,2o iinown in Romanian inusicology as Ioan Cianu2l ancl in the l-Iungalian one .as index. From the 346 settings in the anthology, 213 are in Caioni's hand, 130 in Seregely's, other
-"
J r I10 s.
3 settings and two subjects of musical theory (Fig. 1) are due to the fonr unknorvn hancls.
Tire Corler conists oI 2I2 folios lvilh gathering signatures marked out by Caioni and repre-
sents an anthology of coinpositions having a saciecl ancl secular characler meant to be used
by the
organist to rvhorn ihe manuscript belonged. The no'alion i.: perlinent to 17th century nota|ed man-
uscri:ts: the new German organ tablature'z3
The numbering of the settings
re Tlic rrarne o[ the orlanist is .rvlit-ten in th,e Code: -I{aioni on folios 60, 117,13t,75,757,158, 178, 181, 182' 185,
11J9, 195, 199, and Iiajott on folios 205, 28, 209'
ro 1l.he circulnstanccs ilr trhich Joannes .I{aioni tlclcd ,,\a]achus" to his signature lvcrc clcarly descibed by Negrea, 9'-14, 'We
\\riflrout ditating upon Caioni's biography,'rvhich i thc object of a special chaptcr rvlilden-lV 'gncs Papp, we shall have attributed a setting number, the folio (f.) and the place of the sebting in the fotio
quote tro sorrccs in tiris lespect: Srnn . also Scprdi 3, 192,_nte 5) and Sepr'di 3. Trus' the Franciscan order
1r."
to rririch the monk belongect,'his bith rhtc rnd ptece (1?9, C:iianul l\{nrc), t}re date-he entcledthe above-recalled order (i.,ll, 2, 3 etc.) within brackets, according to the numbering of the whole Coiler. Thus, for instance,
Secuiesc), the
(1647), his gifts as o *1ri"t.r, organist orrA o.inn-t ulder (at $umuleu,'Lzarea, Ctilugreni, Odorireiul no. 146 (r. 7212) - Fig. 2 a.26
econstructior of tho;;tr; ;t'uirrrc,r (1scltho restauritioirr ttrc ccclesiasticrl abodes
at clugr'cni (16) and
Lzrrer (1069), his nomnaticn s head of the provincc of.the Franciscan
order (custod.ian, 1675), the ioundation of The number of settings in Coder Caioni does not correspond to the number of folios.z? In
a pr.inting; hcr:sc anr thr: pi.intig cf tro ncta'ble 'wolis (Cantoanele Catholcun, 16?6 and Calendarium, 1678)' his
ild ns'Piete ct of tire rnissions in llransylvania, his rej ection of the titlc of Bishop seYeral cases, one or more settings may be found on a folio, whereas a setting may run over sever.al
f uncfio' es Apostolic \ricar. suts,:ctruently
(Lzerea, April 23 1687)
(as see' i' re cpitaph.,"rtt"n by rnonks rrpo., Cnioriii. ac"th), the place and cate of his death folios in other cases. 1'exts styled in stanza form have not been numbered in a distinct manner,
identicnlly tono Denl,'65-6-9, in, addition to the cleteils relelring to the religious
- all ilrcse {ixta may be almost 1in
ordcr and the province, mgntion is rnad ot thc yci1681, rihene took ovel the
guardian function at umuleu) th-ro-ugh--
antl the reviews on trat work in xfl(szl given that they are related to the music. Only the short Latin line on folio l0g appears to be
out tire litelature of the lte lgtb century totusing on tht topic (Dank colne from the tidings
anC ir Szz,dok; Ngy.sy: "npt Szinnycii, These d"ata, rvhose actual soures is not mentiond' years alter unrelated to the Paduan preceding it. However, this line was likervise left unnumbered, because only
given by ilre Fanciscirn plicst, Sinon Jucundian, wro le-cliscovered a portrai,t-of-C{9ri, -lryo hunded the
Caio'i,s cleatir (ris.*li.;;";,t-b"ing first t.L.t.'ry nupp, 65;.see-alsd Seprcti 3, 192-193)''With Seprdi's musical settings have been assigned figures.
publicatioD in 1909 oI ra det tahn aimost entiiely do^ctot'al thesis of tre linciscan Rduly Simon, \Yhose
""q ill 3, 193, both in the archives of the Franciscan otder and As the constittttive parts of a mass or of a magnificat are drarvn up as self-consistent pieces,
evitlcnce sources **r* .irpp"u"o i" ., accol'ding to" Sepr'di
in re data gthcr by Simol JucunCi:rn, trr"-it,rrnt"i* trkcs ovci (see also Domokos Mria iu IoZtrt II: 509)' on
almost cve.y occasion ieleted to Caioni, the detailcd information o{ r:rnciscan provennce:
his birth place changes marked out as neat headings in the Codet, they have been assignecl numbers in the order of num-
(1629/1630)' the Ro'
to Leghia, Cluj county; ir or iar as deduction ailorvs, antl his bi::th year beom-es-uncertain entited as Iorlultts l)euotionis and by bering (for iDstance, the Magnifcat begirrning on folio 160 and ending on the mid-folio 163, sums
marriarr origin is hc\vever {irst proved both ly re inscripiion in Csioni's ivork,
a detail relatctl to this kecpinj up his oath io the Faniscan order for the training year; additionlly, the evidcnc-e up tlre numbers from 283 through to 288). An exception to this rule are the Lgtaniae Lauretanae
order 1?, 164s) and Ceioni's anointment as priest (September, 5,
in the archive shows irin "t"."s're ts"pi"*.r to taking ovcr the funclion of Corn-
165b, at Nagy Szcrnbt - toray's Trnavia - So,rakia), furthcl etails refcl his on folio 148, where the sub-sections are brief musical motives of two bars each and similar to some
selor o the Odr (161), of Custodian 1,f"go.f , iO'1, ot tn" Vica|iate fmql_t l-lk9ly
iu .Deccmbe!' 20, 1676), his
being urgcd to acccpt bishopic office (Decernb*i, 167Si, his being vested wLtJn Paler Custodiae
(January 2?, 1686) closes rvhich, if successively sung and played, as they are actually notated, acquire the meaning
and guarttian authoiity at Lzerer (Aplil 1' 1687') Rornanian origin' He of a mnsical phrase.
Karesony 1,64-6t, glves presunrptive ttJtaits on Caioni's palents and questions his is the assumption
also clilates upon th inscription (167.1) on tht organ in $umuleu..i:ss clear an rlngrounded
the Jesuits
maclebyBoros 4 - bascclon(?)theinscrrptions irtneCotier- rcfcrringtoCaioni's instluctioninrnusicwith tepresents an evolution stage, defined by a nrarked instability in fixing a unique system of musical
in Atba-Iuiia and l\lntur. iu o.uo-pfion became, however, a sotrce for the literature of the following decades' signs. During thi-
that the c.od stage, several items of thc neumatic rotatin lvere employed in the letter systern (cfiromatism
even down to trc 1uts rvork (MoZtrt^I: rs:1ij. aitio"ou),-it is more likely an.assumption i, *u"ti"" i" i ;
ftIihty, and then transmitted tule of the note);
had initiaty irclong.rd to Tasndi Blint, thai it iv,, "onveyed to Sereg.ily.tia Fen-si to by Boros 4'.
likervisc. an i.ndeterminancy.was ngti-cc-$ in marking the sccond eighr (1460- rsrs-;
the sounds in thc augmcnted eighth (1512 horizontal lines placed elo.rv the lctter; 1524-f or
to Caioni ui ilIili Isiv:r, especialy i le try to tina in tlie CoIe_ the evidence refercd to Simon R- - tr* "1it"r
The Romanian litelat,-rrcs i:;, as'lvcll,utri,,t"*V, as fer as Caioni's biography is concerned, lctters, which lvere first crnployed at the beginrring- of_picces-alone), let us also not "rtd"1siz'-
te lat-e occurence"J"of "ta special
duly,s work and J. Sepicli,s study. Among th" *"i comprehensive plinted wi:tl it is rvorth mentioning those of sign for rests (1512) or atr anticipation of thc bars. by tle bank spces lert etrven
"i lrniz too), the note values
1;Tomescu;\'Cosma 4'
Simonis; Negren; Ghircoiaiu2; O.L. Co.*o Z,-li-gOS;{"uttu 1; Ciobrnu, 49-51 ;Benl< not mention the Romanian
appearccl also as a lattice notation, which was pertinent to the folllving stage of
evolution'but could be also lound in
Thei.e are cases rviren already puoriruJta ar' omitted (Szabolcsi 2, 291, does
1l]: old Ger'uan keyboard notation; under thc influence of the f.l., n uncxpccted order of the voices i the score
the periods during
origin of the Iirancicrn organist) or are ext.J *itL no explatorv reference (ibdem, where (disant, bass, alto, tenor) may have come up. so, it is no wonder tirat the shping
of letters in a musical manuscript
which he was a guarctiirr are dcscrib:a: cr"l."ni, i-rooq,Lera 1069-1675;1,'14--746, $umuleu Ciuc, 1675-178; - of the old Gclman keyboard notation orgiltabulatur .ry I(leber: 1520-1b24irci"mter
itra used in a manuscript
makes up a whole of the Nerv Gerurarl keyboard system (even Codec Ccion: uncler exarnination rr.*, W" rprr*ot
iL'lr-. -;;; ; diffcrenr oppinion - oi at tast with weak grounds (Mocanu boad notation of orglr in case of the staffless letter notation. At first sight, this'app"ur a Nelv German key-
histoi'y on aioni's"pssible ,,survival" dc'n tr: 1698 in Bacu!)'- ., to'" a step back.ward, un-
It was as late as 1g7g th.rt a ngw .il;;;, ."r"t"J t"'Caioni's activity as an instrument-maker, was brought less we think that letter lotation was more convcrient at that time
lor reasons of paper saving. The influencc ofprint-
forth by n{iklssy b, ,rith the p::blicatio" c"l""i inscription referring to the times when he lvas building virginals' ing extends also on nanuscripts, lvhich bcgan to talie over the attcraiions n r,ae t
"r ],- i,:iri**;" the note or value
The inicription ivas founcl on copy of 1?00 of Caioni's herbarirtrn' signs (the eiglrth liuc becomes common for a rvhole group of notes, the littice
ol l*i.r:,";,-.liuied like a set,- lower-case
al See, in this lespect, V. Cosrna 4' 280' 232-283. ,r", carne into use). Flowcver, the 1?th century nusicl nranuscripts, the acrne of the keyboard notation for organ, contain
tr As in lccent ll^ungarian {usic Flistolical Rsum, l\IoZtrt lI' both signs for ttic cornmon values arrl a ertain shping ot'th; let;r, rvhich show's
tt ; sigs ol this notation
r3 According to Johann Chr.istoph and D:rvid st*.i'tcitrt"prtl, thc kcyboard notation is an artistic notation, sbbreviat- __
systcm got defiritsly fixed (see also Wolf ; and Apel).-
?{
ed by ltters ancl figres, olf tre turs and cirant, aud used in instumental music'
the gih centqry'
See supra .{gnes papp,s tlifferent opinion.
In the Geima'keybrard notatio for organ, which was -spalsely practiseC _already during largely employed
2 For
inscriptions, datcs and signatures, see the index (s.i,) appcnded at ilre eucl of
sounds were denoted by letters for at lcast o" in th* rnuti"ut materia[ This notation became rt fn,discussing ure book. .

"oi"i
Ictter which tlourished in the northcrn part of Gcrmany' codex ancl the picces wc shall only use the associatetl numlers as a reference, whereas
only as late as ilre 15u,-1?, cnt-uLi:. Th: nofaticn,
as we have already seen'- and
.t-lrc
lolros o in other cases, the abbreviated l. anrl r. ivill be userl to inaicate therageof interest,'Thus,
for particular
whence the denomination, splontl th:rn in n".op" ". f. u" ."tflJastern Transylvani;r-, 141 (r. ?5 l./r) for example, no.
,r"'noor, notaticn systetns. At iirst, the letter notation lvs used to-
there it was con;oiniiy usei rvitll ot:r-"r, olcler .-lvirich ? - Fig. 2b.
see
neumes on a six-, seven' V'
'is or round-shapgd
gether rvith the mensural (plop:ition:r.l) sysem, on"i.ted of squale l\'Iocantt'. in Mocanu 1, 59, conccrning the. numler of pieces and of Iolios, is taken over by other Romanian
and eight-lines stave. The'o-ristcnc" of thc tlvo notation systems rcferred to as tle old German keyboard and musicolegists. "r.or'
Thus. for itrstance, the most iecent nristakrn-at" 1ut.. l}re cade was found) are furnished by v.
Cosma 5; idem 4,280; and Tomescu, .ll.

64 I * cotx caioxr
65
 The organ tablature notation employed by Caioni,2E Seregely and the other rrnknown hands
in the Codec is defined by a script compliant with the evoXution stage of the manuscripts at that time.ze
However, the coexisting elements of the Guidonian notationso show that t};^e Coder care after the
climaxsl of the German keyboard notation.
The Coder must be read along the horizontal from left to right, beginning on the left-hand
page and encling at the encl of the line on the next right-hand page.82 This explains rvhy in num-
ts In trc library of the Franciscan lr{onr.stery at $urnuleu. rvhich is \larded off by the Tls9uni cotnplex at }licrcurea-
Ciuc, o otrr rnanuscripts or printed materials v,ith keyborird notatior lor organ coud l:e forttitl, save for the tv<l
rnanirsci.ipts attributed to Caioni: Orgarut lllissale nnd Saci Concetlus (for the title-pages of these, see Sepltli 3, 202-
2l, and Negrea, 20-21). The other manusclipts iu the libraly suit the renne' of the 151r' rlld 16rh century Tran-
sy:r,nian mn'.rsclipts tat have come tlorrn to us, whele thc Western notation is in Gottlic or Franconial neumes
i. f.. Cururn 2, 1Z), The manuscript on palchrnent-pper, irt folio, copied by Frater Petrus tle Stepes, is an-.nfipftoa
i tt,* 1ti, ceitury, in whichlhe lch full nctation is usetl on a four-line stave-(similer to lfissal I ol 1430,
"rrtyiir Sibiu, lllissale ard Psallefrn, prcserved in Alba Iutic nd Psa/fiunt in lraov, and An|phon by
p.e.crveA
ifatciCorvir,prescrvedinYienna - seebidem),andtr,r.o1?tr'centurymanuscripts, Artliphons, copiedhoveveraftetsome
older ones, daiing most likely flom the 15th/l$th century (the iniorrnation is lrom E. Muckcnhaupt). Tre Irranciscar
librarl contains the follorving musical printed materials of the 15i-17tr' centuries, all of 'lvhich havc fortr-lire staves
d.awi ir recl and black-ull square-shapd neumes: I) Atttiphonarium Romanttm, Venicc, 1652, catalcgue nunlber 3734;
2) psalterium lomanum, Geneva, 1656, catalogue numbcr 3736; 3) Antiphonarlum Romanunt, Venicc, 1634, catalogue
J747; 4) Psalteium Ramanum, Venice, 16?2, catalogue number 3742; 5) Antphonurum, Kla.kw, 1600, ca-
talogne numl:er"B?bg; 6) Graduale Romanum, Vcnice, 1499, catalogue number 3926 (the information is from E. Illu-
"r..
ckenhaupt).
:0 Furilre cr'respcudcnce items with the 1?th centurynotated mamrsclipt, even with those in'Irartsylvarlia, rele-r to the
literary languige it te Code (which is only partially Latin and is used in thc headings of vocal-iustlumental, iay or
r"tti""gr,ri, to th" tcxt of the music antl of the inscriptions, and to the mentioned names of the conrposes of
"o"i.
certain pieces. Relerence may be made to Cant.onale of Homorod, 1654 (O. L. Cosma 2,212, spealis abot S-enndorlet
Canton1e,164g, ririle Consiantinescu 15? mentions 1654 and Jehra as tle year and the place in which this Cantionale
was .rvritten. In lg3g, l\1e Cantional was bought to Sibiu lrom llomorod, and Gcorg Brandsch examined ir' dtu'ing
1g4b), or. to ,attilri pentru bas, pleserved at the State Archives, Sibiu (O.L. Cosma 2, 270; see also Constantinescu,
7',,.
' A reference element for both Transylvanian scoes and those throughout Europe may be also found in the new
forms ol the msical pieces - among whicbthe ecclesiastical concerto rvith solo voices and f.b. is the most important.
.fhis lorm develops twards the caniata form and during the 1?tL century it runs side by-side with the notet and the
evolving chorale as a genre, from Gesang-to Choralbuch, Actually, a piece oI obvious similarity to the olatorium form
is no. 2-90, a dialogue ieminiscent of the bibtical legend in l{irchengesdnge due to copyst_1'homas Wierara nd to Jo-
hannes Llarth (O. L. Cosma 2, 2?7) and ol the voices in Pfimi (Passions) oI Cnlionale of Homorod (ib{dem' 273;
see also Constantinescu, rvhere these Pcssions are overlooked).
Mentio oi th string instruments is another relerence elements for the scores at tlrat time, The strirlg ele-
nents are indicated in the Cde in both the picccs rotated by Seregely and those due to Caioni. For Transylvania,
similar, elements may be found in Pdtlilui penlru bas (see above)'
Additionaltj, ttre Codex bears witnss of the p'incipal gain in the evolution of instrumental music: transition
lrom the transcriptins made from vocal music (the 16tl century) to. compositions of _ instrumental music in their
right- (ilie liro century). To this elfcct for l'ransylvania, the printed materials \Yritten in Bacfarc's hand (O. L.
Cosma 2, ZZ) are by far excelled by the manuscripts due to Caioul
"**
s0 The five-line stave occurs for the fisi tine in the CJrfc on f. 63. r. Eight staves ol this kind ale dr'rrn on the entire
jog", if the copyst had preparcd the paer for notated music in advance. Ilowever, the rnusical notation is not
"" the olyeading tittilttg about-the mid page shows Caionis. intention ("t i., g), which he finally gives up.
ila"rfeA,
About the midle ol te Codo (f. 126), we cone across a first-variant piece, headed as Lepus inta sdla
quescit..., set inthemodernnotation: threestavcs with two treble clefs and a bass clef (mentioned as cantus
$
ll
cant(us) Z anA ): :), with notes whose pitch and value are still employed nowadays, but having no brs, only
$ tu'o distinct pieces aregiven or only ore folio: f. 6 nos. 9. 10; f. 8
dashes and commas being sparsely used. The text runs below each stave and then goes on separately. This kind of
'stave is found at pieces nos. 2ll, ZIS and 289, which exhibit a new clement: the clefs ol the voices involved are men-
tioned before the Leading (nos,274,275) or after the end of the piece_(no. 289), either on a small stave or on three
small staves. Thus the js clef is for the bass and for the f.b., the C clef on the fourth line is for the tenor (no.
Z7b), te C clef on the filst line is for sopranos (n9. 27.4 -_2 Cantus) and two C clefs on the first line (even- if
pie no. 28g is for two tenors and f.b.) and the indication Discanlus, from which one may infer that the piecc might
be interpreted with tilo soprno voices too.
aL Caonl Code may be regarded as a dynamical event in the development of the musical notation, in as much as
it brings elemeits of the modern system into the keyboard notation. Thtts, the Codeis appears as a bridge bet-
ween re two limits of te notation syltem in the keyboard for organ. The lower limit given by the manuscrt
written on parchment in 1448, a colleciion of preludes whose musical stulf for organ text book is entirely cast in the
mensural prporlional system, while the pedal notcs are indicated by letters. The upper limit is identified in the manu-
rcriptOrgtAd?httnpy JhannSebastianBach, which, because of lack of space on p. 17, iswritteninkeyboardnotation
lnstad f the staffed system (see'Wolf, 11; and Apel' 36).
a For the 20tb century musician, the keyboard notation for organ is read according to the fotmat of the musical co-
pybooks used in tealhing present-day and the scores for organ, both o which have, length, rather than with' as
se. tfre efficiency of this iormat sprlngs no doubt from the need to avoid a break in lcading the musical notation for
as long as posslble,
66
bering the rvhole Codex, Caiori numbered only the left-hand page (fig. 3 e, {.n exception is the first
Iolio, following the title-page, bearing number I on the left-hand page and number 2 on the right-
hand page, so that we shall refer to folio 1-2 (Fig. 3 b). We suspect an initial indeterminacy must
have been at PIaY in this case.sg
Caioni's absent-mindedness or other unknoun causes are responsible for omitting numbering
of folios 129 and 167. Physical deterioration, as in the case of folios 3-7, is however out of the
question.
.
Another exception is the folio coming off the numbering order between files 109 and 110. It
may be assumed that this page has been stuck by Caioni and made loose during the mending works
in 1986.
Folio no. 45, between ff. 44 and 46, is missing .Upon reading the notated material,sa we come
to the conclusion that folio 45 with its left-hand page and the right-hand page of folio 44 must havo
been destroyed at a time unknown to us.36
Even if bound as a book ,the Coder is a score, and refering to a page as ,,verso" and,,recto" as
Seprdi J.30 cloes (Fig.'3 c, 1-2),^Ior as ,,a" and',0,,b" as Marlian Negreas? does (Fig. 3 d) is inef-
ficient since it overcharges actual reading by musicians. The lef t (1.) or right (r.) indications on a folio
are actually dictated by the five exceptions of script along the verticI. Thus, folio 63 requires a
reading of the left-hand page along the vertical, given that the notated text does not run on the
right-l-rand page. Insteatl, another new element, the live-line stave (Fig. 4 a) may be found.
Furbher exception is folio 75, whose right-hand page is not in Caioni's hand. His style
may be observed on the left-hand page, which is read along tho vei'tical (Fig. a b).
A folio to be reacl page by page, also along the vertical, but due to an unknown hand, is
that left unnumbered (between ff. 109 and 110). This is actually one of those containing theo-
retical explanations: counterpoint rules with illustrations(?) from a mass.
Folio 117 is written by Caioni during two distinct periods and in differentinkcolours.Theread-
ing goes along the vertical, page by page (Fig. 4 c).
Given that there quarters on the right-hand page of folio 138 are written in Seregely's hand
Caioni used the available trlank space writing the left page along bhe verlical and on the last quar-
ter of the whole folio (Fig. 4. d) along the horizontal.ss
The question of space turns out to be decisive in wribing lhe Coderz frorn Caioni's inserting
some pieces in places lefb blank by Seregely, to several musical references made by Caioni himself
in his olven pieces, everythirg depends on the place available to the scribes.
With Seregely, most of the settings (uos. 1, 2,7, B, 13,20,24,27 -29, 31, 34-39, 46, 47, 57 -
63, 66-70,74, 156-160, 163, 164, t77, 208,210-212,216,234,235,260 and 263) cover onefo-
lio alone. This principle is naturally violated in case of long settings covering two folios : Il(agttificat
(ros. 40-44), hlass (nos. 105-109), Te Deum (nos. 111-125), other sacred (nos. 64; 154) and in-
, strnmental pieces like Fanfasias (nos. l52t 1,78-214) and BaIIet with Varafion (nos. 239-240).
A furtlrer Magnificat, piece no. 151, extentls o\er almost there folios, and a mass by Viadana (nos.
129-139) runs from folio 69/2 to folio 73. Small pieces may likewise be found rvibh seregely. Thus,
nos. 76, 1,7t f. 9- nos. 1B, 19;
f. 11 nos.22, 23tf..17_ nos. 32, 33; f. 69 no. - -
- - 127 and the incipit of. Officium Viadanae, nos,
128-139 (both pieces are irerformed on Christmas day); f.98
238, 239; f.131
- nos. 175, 176, f. 130 - nos. 236-
-nos. 241,242i f.132-nos. 243, 244t f..133 -nos. 245, 246;f.134-r1os.247,
248.
33
-Seprdi
f.8.
3, 188 does not rrotice the keysignature on ttre first folio and hence speaks of an obscure numbering up to
sa 1iriem.
'6 lbtdcn, 1Bg does not rnention anything i connection with the missing l.it5, which is Ure beginning of a whole se-
quence of settingswritten in Caioni's hand. It is surprising that Seprdi assings 1, 45 a to Caioni, which renders the casg
moe involved, given that this folio could not be clue to Caioni.
a-t IbliLem,
passim,
" see Negrca
" Seprddi B, 22b.
it
67
 The blank spaces left because of lengthy pieces are filled in Seregely's iaird. 'Ihig is the case
of folios 30 (end no. 55 and no. 5{i),39 (end no. 64 and no. 65), 80 (end no. 151 an.l no. 152), 83
(end no. 154 ancl no. 155), 101 (end ro. 178 and no. 179), 115 (end no. 2l4 and no. 215). Other
blank spaces are filled in Caioni's hand.
This last scribe does not ahvays manage to accomoclate to the blank space lef t by Seregely. 'Ihus,
no. 81 is one of the situations in rvhich the piece is longer Lhan the available space. In this case, the
eallier used devicese is superseded by a srib-diiision into narrower systerns.
The lack of space is also the cause of certain corrections. 'fhus, for instance, in the final bar
of no. 312 (on the right) several musical notes are erasecl ancl re-written on the lef t (in the next sys-
tem), so that the bar appears iil full length and its splittirg is avoicled. In no. 330, which is anoth-
er similar case, Caioni makes a reference (to the another bar), which couiiuue; thg mliic in the
rpper available space. Nor does the blank space in no. 281 allow contiuuation and so a reference
is employed.
Some of the folios (f.96 ancl 202,203) containing unfinished pieces (nos. 169 and 339) are
largely blank. Of course, these ale mostly visible cases. However, there are cases rvl.ren the space
is entierely covered, yct the pieces are left unfinishecl: with Seregely no. 159 and rvith Caioni nos.
77 and 305 (the voices are ore by one incomplete). Unlike these cases, picces nos. 97 and 278 con-
tain an inclication to change the time signature, " arxl ,,f",
,, C
1' respectively, after the final close in
the voices, although the pieces seern to be finished (there is no blank space left and the voices
come to a final close).
The change in the tirne-signature at the end of piece no.97 may be assumed to be mrde
for a certain repetition (that in no. 278 is not srlch a case). Piece no. 335 ends on folio 199, lea-
ving much blank space. This allorvs Caioni to sign in capital, neat letters as if he had finished thc
whole wcrk, though he goes on over the next final 12 folios of the Coder.
The heaclings and auttrrors of tlee music works
As according to 20th century canors, the heading is placed ahead or above the piece it
names and illustrates, we are not surrrised to find ttrat the Codex contaius many cases in which
the heading of the piece comes at the beginning of that piece.
IVIost of the headiugs are Latin and usually represent the beginning of the text beneath the
musical rotation. German, French, Italian and Hungarian headings mai also be found rvith both
Seregely (nos. 62,235,236-238,241,242,244-248,260?) and Caioni (nos. 14,21,30,83,85-87,
89-92, 96, 97?, 704, 126, 141, 187, 1gg, 190-196, 1gg, 204, 207, 250-259, 261, 262, 264-269
272, 344) and with tlie two other book-hands, one of which is styling the text in the gipsy tongue.
Let aside the text making the heading, we may lil<ewise find an indication of the number o
voices at play, either by emphasising the solo voices and the figured bass (f. b.)
- see no. 31 (f .
16) Non turbetur cor uestrum l l a 2 tenori et buso either by stressing all the voices involved in the
- of both the obtigato ancl concertato styles. it is to him that'tve orre the first foregoing form ol Sonata rie Chiesa:
piece
- see no. 18 (f.9/1) Jesu, qua.m es laudabilis ll.3.u (ociltus)ll2 tenori curtt bassof lLuitouici
Viadanae. The mention of ,..4. doi soprani" in no. 66 (f. 40) made in Seregely's hancl cloes not appea
to be a misspelling clue to haste in Romanian, but an usual rvorcling of the lTth century.
The end of piece 277 bears a note or..a mere indication in Hungarian as to the voices usecl
in that piece: Harom Basss (three bassei), additional mention alsc justifieC by the text below the
te Long horizontal lines drawn on the Code foiios arg ment to.-nake dislirct what rvould correspond to present-day mu-
iisical systems, i.e. gloups of two, three ol four stavgs,..the stave corresponding to.tlre voice..The accolade perilnent
to the notation for piano. lor chorus o' to scores lor instrmental ensambles is never employed. We havc taken ove {
the term ,system" fol the long horizonta line, rvhich suggests this by delirnitig thc two, three o[ four voices. In other
case6, we shall therelore speak of system .l, 2 ... on folio ...
- see !'ig. 3 e.
6B
f.b.:tlrepiecemaybeperformedbytrvo basses atrcl accompanicnreut (2bassietGerwral)or by three
solo basses (?). Notation of l General for f. b. in the heading is lihewise fouud in pieces nos. 214
and 328; General and cm Generali. At no. 277, one may read ligure 43 above the notes c and g
rvliicr is no doubt a cypher for f. b. Tliis is mole frequently employed at no. 326, rvhere oue rnay
reac the follorving figures aloug system 6: 43, 56, 6, 43, 43, 65, 43.
Inscriptious for the string instmments may be found iu the Ccderc, at nos. 216 aud 344, rvhere
Caioni rvrote a bilingual note concerning the t'wo-vioiin pay. On the same lasi-but-one folio, writ-
ten also in Caioni's hand, rve also fiud no. 345, a Balletha Italica a 2 Voc(iltus), wrose heacling is
immediately followed by the inscription uiolina l uiol(ina)9 in front of therespectivevoice:. Bilin-
gual headings appear also in the bwo languages, u'r'itten one bclorv the other, as in the case of
no. 146 Kouacs Nola Smidl Currqnla (bhe Blachsrnith's Coulante), and also as a concocbiorol l{unga-
rian and Latin eiements (e. g. NagV Patrem),lil<e nos. 340, 341 and 343.
The place of the composer of the setting is well established in the frame of the heading. Thus,
the composcr's name comes after the heading proper and the occasional reference to tre voices in the
musical discourse. Of the 51 settings wril.ten iu Seregely's hand rvith mentiou of the comlto:;er's
name,13 (nos.7, 16,23,24,27,29,31,32,34,35,37,46 ald 48) beal the narne of Ludovico Viada-
nA,40 sulrsequently wlit,teu by Caioni. Given thab Caioni wa; the last person to rvhom Llte Codex
belongetl, he made further mention in the parb rvritten by Selegely: at no.8, he mentioned the
sacred fcast to which the setbing was devo'ed, and al. no. 57 he inserted a concluding liberary fignre,
or maybe an inscription related to the rcligious service, 'ivhile at no. 60 the texb belorv S:iegely's mnsic
is rvritten by Caioni. There exist, horvever. two other cornpositions by Viaclrna, in which his rame
rvas rvlitten by Seregely himself (nos. 39, 128-139).
We mau righteously speak of several sets of musical pieces, the rnost irnportant ol rvhich
appears to be that, tlue to composer Jacob H(lncl(e)l{1 (no. 156
- whichis identical with no. 158-,
nos. 157, 160 ancl 163). The pieces bearafigure, which shorvs thaL they have been tahen frorn ano-
ther anthology. This is likewise the case of trvo of the seLtings rvit[eir in Caioni's hand (nos. 337
and 338). Arab figules running with the heading appear also with the four libanies on . f. 191 (nos.
329-332), and are numbered by Caioni from 1 through to 4. Among the sel"t.ings noLated by Sere-
gely, Giovanni Valentinia2 (nos. 66,68,210) ancl AlexaniL'o Graudi{3 (nos. 176, 177, 178,21,{) arc
wcll illustrated too. A, Benediccrn Dctnnun.. by Jacob Filebiaa (no.65), trvo llcAinc coeli laeta(re)
by Joa(nnes) Descharnps{s (nos. 70 and 159) and a piece b)' Joa(nne;) SbadlmayL'a8 (no. 164) adcl
to tire list of composers chosen by Seregely. Of all these pieces, the comltoser's narne is rvlitten
abot'e the reading at nos.66, 160 aucl 163. It rvas also Seregely rvho strurg togeLher a piece (no.
r0 Loclovico (Ludovico in trc Corlc:r) \'irrlana (1560-1627).'Itrat the f.b. composition tecruirc'was asclibetl to
rvlriclr is norvtdays a discaldetl assump{.ion, was t}rt: outcome of thc influcnce cxel'ted bv thc Concerti ecclesiaslci of
Viarana,
this choit'-naster of thc tlones and chrirches in i\,Iantuir, Iano, and Venicc on trc lnusicrl n'oild in gcner';rl ant on Schtitz
in palticular (KIII, 805).
{r J.acobusHandt/Hndl (1550-1591), I(norvn also as Gallus (iris tr.ue narne beiug actually petelin), lhe choir-master to ilrc
bishop of Olmiitz (today's Olmouc-lforavia) and subsequently to St. John's in Prague, bluds the Tcuctian and the -lenrish
manners (I{i\'l, 295). For details, sec the biblioglaphy mcntioncd by Constantinescu, 1{ig, note 150 (arout the composer's
picccs on the pats of Apotctu de Sus of 1596).
x 'Ihc
histoly of mtrsic furnishes bricf data on the life of Giovani Valentini (1614, 1619, 1645), but ranks him, togetirer rvith
.I. Standhnayr as one of thc representativcs of the ecclesiastical music of the lirst half of the 1?th centur.y, in terns
Cat:ot (Orel, b12, 515, 54S),
{3 Alessndro (Alexnndrc in
the Cotle:u) Graudi (15?7-1630). Of the lirst cantatr composers, the <lirector of music in
l'tl'11'i.1, \enice alld latel on in Bergarno is onc of thc main 17th ccnturr conlposers if rve consider his own conlpo-
sitions ard the fact that (ict'rnan anthologics included gis rrorks (I{Il, B3).
'i4 Iicordi,469:
Giacoro Finetti (born in Ancona in the 16th centur') is clescriberi RS a composer typical for t.he con-
cttato style, and arthor of nlny pulrisrcd rrorhs (1605, 1606. 16-t9, 1611, 161:1, 1617
-1()22, 16t8-, 1681), oI rvhich
spccirl tnention dcserve: Sctcrae cdnliolrcs e ? u, can o1g. Iibro 3'; Concerti ccclesiaslci a 2-4 D, con org.; ilolett, con.
eerli. et salmi a 2, 3, l, e I D., Iibto 1"-'1",. I;r.ancofoi'te, Schnwetter, 1631; sec also ilre ttiblioglaphical list in
La
:ttusrca. 662.
t5
,Ioa(nues) I)eschanrps/des Chanrps (conrposer?/poct?).
'Iohann Stadlrnayt'(1570-1648). Let us note that the compositionr
ot tnusic irr - church mr,rsic alone - of the Court direstor
Salz.burg and Innsbruck are recalled iu thc history of music particularly in ternrs of the evolutiolr of re
Itgut'ed bass tchlilqu,.r totr-rrds moie d;velop:d instr.umcrrtai folmr (K\il, 7J0). -
69
235) by Hans Leo Haslor,r? another (no. 62) by Horatio Tarditi,a8 a Fantasia (no. 152) by a com-
poser whose name has raised much difficulty in decyphering, and two other Ph/Fantasia (nos. 175-
and 179), one of which bears the name of Wolfgarg Gotzmann,{o an organist of Franhfurt, and the
other is due to Adriano Banchieri.60
Among the instrumental tlances, thereareheadings, lihe that at nos. 236-238, for rvhich we
rvondel if the ballet with variations is composed by Almor, and il no. 247 by Bijgot? trVe fee
also doubtftrl aout the composer's narne ab no. 248 $. 13412): Courante du teslament de Prichon.
'Ihe headings of the settings wribten in Caioni's haud follorv a principle similar to that gover-
ning the settings written by Seregely: the name of the composer follow either aftet tho mentioa
of the voices, or imrneliabely atter the heading proper. Srme of the comrorer'; illu;traleC by the
first scribe are found also wibh Caioni: Jacob H()nd(e) I at no. 77 (a setting idenbical rvibh no. 79)
and JacobFinetiatno.2T0. Forseveralnamesof composers - C. Thurzon(no.83) Ambro(sius) Gu(rth/
Griothsl Org(anist) (no. 89), A. G. V. (no. 91), Hasleri (no. 94), Unimona (no. 201), July h{angonir
(no.207)
- decyphering is still unsafe because of Caioni's script.
Obhers, like Joannes Spielenberger (nos. 192-304), who, according to Caioni's inscription,
wasanintrumentalist of Levoa, Melchior Franck62 (no.93), Gasparo Caisati (no.291), Joanaes Ro-
vetta (no. 283), Joannes Sirnralci (no. 238), Francesco Maria Marini (no. 314), Mathias Apelli (no.
269) or Gesner' (no. 344) illustrate the age with ltalian, German, Slovak ancl Transylvatian orga-
nisLs and composers, some of which belonged to the clergy, but all ol them rnrrsicians. 'Ihey got
known in Transylvania, or figured on the Codex pages, by the vehiculaticn of their piece: from
one organist to another, nd furnish a faithful image of the requirements of the age, of the devel-
opment-stage of music and even of the organist-musician's taste and exigencies.
Concerning the authoritative composers included in the Ctdet, aulhors of sacred pieces, the
Franciscan monk, be hirn Seregely or Kaioni, gathered and interpleLed their cornpositions in such
t? Flans f,co }lassler (1564-1612). Refet'ing to the 16th century polyphonic tladitior, the composer breaks awry from
the chur.ch motles and adopts the major-minor systern, illustrating the Latin text by music, in a tnanner similar to
Melchior Ifranck (I{l\{1, 311),
{s Oazio Tarditi's canzon:ts, madligals, motets in the ccncertato fashion, litanies and antiphonies rvre publiched in
42 volurnes between 1622 an<t 1670 (Ricordi, 1038; for bibliograpry see also I-a Musica, 1277).That the pcrsons (li-
Ircly to lrs outstanding figurss at tht time or authorities irr rnrrsic) lrom which the seribes ol Lhe Codet had taken
ccrtain pieccs are mentioned as an ancillary inscriptiou to the heading shorvs the manner in 'which inforrnation and
mrrsical materials wcrc being vehiculatetl during the 1?tb century. Thus, fol'the piece dtrc to Hoatio (in thc Codex) Tar-
diti (no. 62), Seregety Nlrtthias shows that hc gct it from Sebestiar Wildener (s.i., V), nd for the rieces written it
Caiotri's hancl, this kind of inscriptions may be found at nos. 82, 233, and 273. Evet thc trvo organists mentioncd, one
by Seregely (Gotzmann, at no. i?5) and ihe other by Caioni (at no. 89), are possible sorlces used in transcribing the
tmrsic, and not just possible composers.
6e See footnote 43 bovc. Taking into account the intcnsive ties of thc Saxons in Transylvania rvith the cultural and uni'
versity activities in !-rrnhfru't an der Oder'(sce Constantinescu, 153, 155), the trentioned organist is liliely to have been
active in the totrn on t|e Oder. .gncs Papp is for anothel clcciphering; ,,Getzrnann".
60 Adrano Banchieri (156S-1634). An Olivetan abbot-organist. in Bologna gains pre-eminetrce at the beginning of the. 17th
century lloth amog thc first composers of sonata forms, and as a theolist of thorougt-rass technique. His published
rvork ounts, among others, L'organo sttonarino (1505) and Moderna ptattcd niltsco,le (1613) (KMl, 60).
5r Mocanu 1, 61, cloes not only bring corrections to Simonis, 5.1, who has deciphered the ,,G. Goutz" original, and dis-
regards Negrca, 63 with his siapshot oI folio 57 and his deciphering,,Anrblo. Guoto Cotg. (?)", but corrects also Caioni's
spclling in an attelnpt to gct an ai'tistic personality, ,,Guyot".
3 The cornpositions of thc Pl'otestant l\'lclchior Franck (1580-1639) do uot employ tlte figured-bass technique. Like Has-
sler and raetorius, c still used Latin in his sacred pieces, Of his secular pieccs, lve ale interested in thc instrumenta
dances - rcferring to o. 93 in the Code;r- among wfuich, the volume Neue Pauaten,Galliardenwtd Intraden, publisred
in 1603 (I{I,I1,287). See also Constantineseu, 1?8, where in tlne Catalogue of the oIiI Gymnasunt n BraSov, for the yar
1630, mntion is madc of a,,llfelchior Francken" rvith his death year 1634 and the piece,,Grillenvertrcibcl").
rs With Scprrirti 3,241, Urc irformation fulnished there on composers like Jacobus Fineti, Gasparo Cassati (?-1643),
Johanncs/Giovanni F.ovctta (?-166S), Johannes Sinlaki, Francesco l\Iaia l\'Iarini, Matthies Apelli/es or Gesner is poor.
'With Constatinescu, 159, 178: among the,,idcntifiable authols" in an anthoogy of 1658' oi the former Zilnmelmann
Collection (notvadavs lost antl mentionctl only bclorv an old catalogue number in the l}'ukentral fonds), mention is
also made of }fathias pellcs Loervenstei'n (1594-16'{8),,,1'ho has studied and composed iu Irankfurt an der Oder"'
nnd whom trc author of the abovc-quotecl article assumes, to be tre editor of the anthology of interest; in another
manuscript at the Archivcs in Sibiu, Elukcnthal fonds, R, Constantjnescu lound thc same Appelles nalne, rvlitten this
time as l\{atthias, and at notes 90 and 200 gavc ltibliographical references for detailed information on the composer;
on the same page 17E, referring to the sanre lnanu-.cript ,,rvhich contains bass parts for 57 picccs, dating from the Thirty-
Years'War", the authoi focusses also on.Iohannes Schimack - itt connectiou to piece no, 35 (Ililagnfcat ,,ileulach') -
vhich he considers to be unknown lrom other anthologies. Szabolcsi 7, 57, enumerates Gessner among the authors of tire
dances lrom the manuscript Nagy-Ivn (1665-1670)'
70
a manner that Protestants like Hans Leo Hasler (no.235), Hieronymus Praetoriuss (nos' 220_
226) and Fleinr-ich Scht256 (tto. 272) appear next to a representative of the Counter-Reformation
music like Jacob H(nd(e)I.
Actually ,Caioni seized and adhered to the advanced principles of the Reformation, by tran-
slating into Latin the popular pieces of sacred influence (nos. 78 and 233) nd the text of his own
four compositions (nos.340-343) at the end of the Codex,66 Two of these composibions, lvhoso
inscriptions cast light on the authorship, appear in further variants on the Coclex folios (no. 340 with
Zg and 166, and no.342 with 167, 276,297).57 At piece n0.311, an ecclesiastical concerto for soloist
and f. b., ,,Joannes Kaioni" is mentioned in the piace ordinariiy filled rvith the composet's ltame.
Sometimes the heading reads at the end of the foregoing setting, most likely because of the
habit of filliug in every btank space. This is the case of nos. 75,213,273,287,311, 312, 315 and
316, written in Caioni's hand. At other times, iu the case of sub-headings too, like those in set-
tings no. 55, notated by Seregely, and no. 81, written n Caioni's hand, the sub-heading appears
at the end ol the foregoing over-all or individual part, even if an ordered system, lihe that in the
orchestration signs, is illustrated on the left-hand margin and is here employed because of the organ-
choir alternance.6E This procedure is likewise used in seven other pieces (nos. 79, 167,297 and 340-
343), all of which are in Caioni's hand. No special numbers have been assigned to the sub-sections,
only letters being occasioually attributed (a, b, c, d...). For the orgau part, ,,organista" may be found
instead of ,,organo" (no. 167). In the mass (no. 292-300) by Spieienberger the ,,Chorus" -,,Orgauo"
alternance in the section denoted by no.297 introduces new elements: all the ,,chorus" sub-sections
bear no sub-headings and ale written for a single voibe, and bhe ,,Organo" part for tlvo tenor voices
nd f. b., for which the whole piece rvas corceived, has each time a sub-heading. Let us mention
the unexpected occurrence of the term ,,org(ano)" at no. 325 with no prior or subsequent organ-
choir alternance. An exclusive instrumental take-over of the sound material may be assumecl. The
Latin suh-headings for both ,,Chorus" and ,,Olgano" are likervise found in the special group consis-
ting of settings uos. 340-342, written for only one voice rvith the text in Flungarian.
Three headings, on folios 164,2t0 and 212 respectively, are rvlitteu in the Coder, though the
settings that should be next to thern are missing. 'fhe headings have left unnumbered, because
the first appears later on another folio (f. 188) rvith nusical notation and heading, and
the other two express only an intention for the notated mnsic is missing.
5{ Hieronymus Praetorius (1560-1629). Lihe Flassler and Flanck, he uscd Latin in his compositions; let us note his seven
big volumes of compositions, published betlveen 1599 and 1625, ol which spccial rnention deserve X[ellodeyn-Gesangbuch,
Cantiones sccrs and lllagntl'icat (KMl, 609).
55 Heinlich Schtz (1585-1672). Of his rvork, rvhich n'as fairly important lor the evolution ol European leaned music
by tire prcvailing role he assigned to concerto fonr and thc figured-bass technique, we are particularly interested in:
Becker-Psalter (1628); the sacred conccrtos with Latin and German text, Symponia Sacrae I, II, and III (1629, -
17, - 5O); Klene geLstliche Konzeile I, II (1636, - 39), dedicated to Lodovico Viadana(KI,698) and Psalm 110 (L()71)
for two chois. Constantinescu, 155 mentions the an'ival of some composil"ions by reputed composers in Transylvania
already during the 16rb century (ibdem, note 67 with a list of rcferences), uhich rvould support the idea of the connec-
tion between the pieces in the Codai nd the evolution of musical styles and their interpretation. The interest of the Tran-
sylvanian musician for Schtz is justified even if he knew only the thlee cditions of Becker-Psalfer (see Valentin, 55), where
the natelial is first given for lour hornophonic voices (1640), then for four homophonic voices lvith figured bass (1661)
ud finlly, the melodic thread with figured bass (1676).
The translation
from the last pieces is given special meution in his inscriptions (s.i., zr, zr, zr), and this illustrates
the emancipation of the 17ih century inteilectual. Constantinescu, 154-155 brings written evidence to show the oscilla-
ting condition of sacred-music tcxts- either in the vernacular or in Latin-following the Reformation and the Counter-
refoi.nttion.
37 Szabolcsi
6a, 24 shows that in Caioni's Codcn, tlne pieces Credo - thrce Patrem - exhibit characteristics similar to
several pieces, ,,interesting Magyar compositions" n Organo lllissale, ancl even if Caioni is mentioned as a composer, the
same pieces are found with tex{ in Latin in tre Grcduals of St. Paul's order in t3irelyi end Sopronbnflvai. Gza Papp
(IMDT Il, 442), shows that a popular song of sacred influencc, -Flis:iin/c n eg1 AtVa Islenben (ibtdem, 26/a), appears
ir the OId Czech canticles and n the lllagyar manusclipts (among rvhich: Coder Caoni, 1. 209 and Organo Mssalc,
166 due to Caionl) as a Credo of Gregorian type, with four motives varying lvith rhyrled changes, whil-e the popular
fornr. preserves orrly the ,,b, c, d" motives o tL ,,a, b, c, d" oncs. Additionally, according musicologist gnes Gupcs,
at the Institute of i\Iusicology, Budapest, Szigeti, note 30, puints to some mensuralCredos next to - D Beata Vryine,
Maria, - Poloncam, Solemne maius, - trIinus sollemn, and - Domiticale in tle chantbooks
of St. Paul's orcler, - Cinctpotens, -
are
which at the
now University Library in Rudapest.
s We rccall
the origits of the ltlrnating script found in the mag4ificats for olgn (the verses are chirnged between ehours
antl organ), thc ernergence oI this pl'ocedule duriug the prc-leforrnation period and its flourisrnent t the end of the 1rh
ccntr: ry.
7L

Haldly legible heaclings or heading portions are also found t no. 30 (abridged formulation),
35 87 (German heaclings).
- 154), with blank siraces subsequently filted in by Seregely himselt, who inserted nos. 127, 140 and
Reconstitution of the 'worn-out headirrg of setting no. 75 was nade upon the few still le-
gible elements 'with the aid of the text belorv the notated music,
A sptrcial case is no. 326, lvhose heading is separated by a ttash from the rhymed form of
the wolds, l'hich ale tlie text of the musical piece. Sometimes, the heading contains inscriptions
of mtrsical type (e. g. no. 249 : Peccaui er. I uocibus ercerptum Allus. SoIa uoce of the I voices I
-
have extracted the alto-solo voice). That the headings are occasionally wlitten two times (no. 327),
tre second time in larger-sized letters, at the same rlace, aprings from the desire to make the head-
ng more easily legible.
The parts of the Codex
If regardecl as a rvholc, the Coder seems to be segmented. iuto nine large sect.ions (Fig. l)
Iron f. I through to 44 rve find a first secLion (Fig. 5), in which selegely's hand prevails (nos.
7,2,7-70, 13, 16-20,22-24,27-29,37*44,46-48,50-70). 'fris section consists of 54 sacred
mnsical pieces ancl no. t2, La lantana by Tarciti. In the blank space left by Ser.egcly, Caioni
irrsertecl 8 sacrreti pieccs (nos. 3, 4,5, 6, 17, 12,25,26), 2 lay settings of sacrecl stamp (no. 14, 'rvith
Hungarial tex.[, and no. 21 which is textless and bcals only a reading i Flunga.ian) a*d 4 other
lay, instmrnetttal settings (three ballels ancl a courante nos. 15, 45, 4g and 30). The eight sa-
-
cretl lieces rvritteu by the scconcl main scribe of the Cotlm rnight be related to re thernatic scope
due to Seregely, wheleas Lhe lay settilg are outsicle this thernatic frame ancl rnn on the rcmainder
of the available space.
'Ihe fil'sb section colttaine most. of the inscriptions clte to lvfatLhias Scregely as the first scribe
of the Codet. SaYc for the fii'st lotio (f. 4), rvhicr beurs no lirention of the year, tlie other folios
run iu the orcler of the year inscribecl (f. 12-16:i4; f. 19-1634; f. 33-1634; f. 96-1636; l. 37-163g
f. 40-1639), s. i., II-VIL
The seconcl seclion oes lrom the right-hancl f.4i1 to the left-hand f. 63 and is u''itten in
Caioni's hancl alone (trig. ti). froios 45_.54 contain severr sacred settings (nos. 71, 75, 77, 79-BZ),
four instrumental ;ieces (nos. 72-74 and 70) ancl one r,'ocal-instrurnental picece ol sacred. stamp
(no. 78' a palt of the Latin text being in rhyrnecl forrir or f. 47, and the rernainder on f. 60).
1'hat the lay rieces are at the beginning of thc seciion, next to other strictly sacred set-
tings migitt be also clue to an indel.erminaircy in rvrit.ting rieces of a certain type. 1'l:r'oLrgro't ff.
48-54 the sclibe actually clecided to 'r'r'riic only sacrccl scttings (nos.7g-82), rvheleas ff.5b-0058
contair lav irstrutnental pieces (nos.83-94, 9, 97) in a self-consistent section, ercepting no. g5,
\1'hich is a sacrer setting, matching the over-all instrunental scrirt. 'l'he lay pieces urning on these 204, 207), or ballets (no. 199) from the second group. Ho'rvever, the second group is also partialty
six folios ale cout't clances (nos. 83, 89, 91, 92, 96, 97), batlets (no. 90), introductoly sebtings (nos. 84,
88 set on a populttr tune, 93), and hornophonic pieces rvith Gerrnan heaclings (nos. g5-87).
A ,,Finis" ancl an iuscliption in Caioni's hand, af Ler piece no. 97, on f. 60, eutitles the assump-
tion thtt rll the pieces betn'een ff. 55 and 60 or even bctrveen ff. .15 and 60 (?) had been fin-
ished by the date insclibed by organist Caioni (s. i., c).
1'hroughout the trree folios of section 2 runs again a sacrecl piece: a mass (nos. gB-102),
u'iitten for 2 tenors with f. b., set as an ecclesiastical conceLto.
Upon the end of tre nass, on the left-hanct page of f.63, rr'e find two lay pieces, one of
rvrich is introductory (no. 103) anrt the other popular r.f sacred starnp (no. 104, with headi*g and
text in Flungariau). Both lay pieces appear to have been inserted in the available blank space,
giverr that the eight five-line staves are tlra.lvn on the right-hantl page of f. 3.
e Folio o' hs also been trausciled by Neg'ea, 63-05.
72
'fhe thilcl section of the Codex, ruuning over ff.64-90, is a further broad space writter
irr Seregely's hancl (Fig. 7). It contains lengthy pieces (nos. 105-109, 111-125, 128-139, 151,
155, ancl then by Caioni. The latter inserted no. 110, folvhich the question ol whether it is re-
lated to the pieces written in Seregely's hand on ff. 64-74 is stitl open, and no. 126, related to
the settings notated ancl usetl upon Christmas feast by the first scribe.
F'roln f.84 onrvards, Seregely rvrote the set of compositions by Handel (nos. 156-158, 160
anel 163). Among these, he re-rvrote Regina coel laeta(rr) - the last setting (no. 70) in Seregely's
hand in scctior 1 - by des Champs/Deschamps, which is number 159. This entire body of con-
positions langc beLweer a Fcnlcsic (no. 152), by a mentioned composer(?) and Standlmayr piece
(no. 164).
'I'rvo sclipt st5'les tlue to unknown hands appear in this section on 11. 75-77. The available
blarrk space on the left-hand page of f. 75 and over three quarters ol f. 77 permitted Caioni to
insei't three conrt dances and one mass (nos. 147, 142, 146 and 147 -150). The available blank space
of Seregely's sacred pieces between ff.78 and g0 is fitted in by Caiori rvith settingsofthematic
cornection (no. 153 - a religious piece, and nos. 161, 162 and 165
- two ballets and a dance).
Before no. 165, rve find one of the cases in which the left-hand page of folio (90) contains
Seregely's hancl (no. 164), whereas the right-hand page is rvritten in Caioni's hand, carrying
on the notated music and the associated text. It is somewhat surprinsing to find that the right-
hancl page pleserves the characteristics of the first hand (the brief-value notation similar to a
,,lattice"), as if upon a reconstitution or a re-copying, which is ment to show that the scribe i-
dislinct fron the one who re-strung the material most likely upon the re-bindingoo of the mas
nuscript.
Seregely's inscriptions after three of the comprehensive pieces (nos. 111-125, 128-139, 151)
alrcl after Fanlasie (no. 152) mentiontheyears 1634 (ff. 68 and 73), 1638 (f. 80) and 1639 (f. Sl),
s.i., V'III-Xf. The final dating bears the signaturo of il{atilrias Seregely.
The scribe of the Gipsy dances wrote himself the year 1639 on f. 75, next to the place (Cluj)
on the face. cianu re-wrote the inscription to be more easily logible (s.i., h).
The fourth section in the Coder spans over ff. 91 through to 109 (Fig. 8). Only four folios
in this section are in Seregely's hand (ff. 98-101). The pieces he picked out (nos. 175-17g) seem
to be a continuation of those in the foregoing section, and bear the mention of the composers (nos.
175- W. Gotzmann, 176 and 178 - A. Grandi, 179-4. Banchieri), being similar in genre to no.
152 (nos. 175, 177-179: Fantasias, and no. 176: Sinfonio). The last setting in Seregely's hand in
this section is in a similar situation, to the last piece written by Seregely in section three: Seregely's
script and musical stuff is carried on from the left-hand to the right-hand page by Caioni. The
remainder of the notated music in ttris section is likewise due to Caioni.
The settings written in Caioni's hand may be also grouped according to genre: the sacred
settings (nos' 166-169, 771-174), excepting a ballet o.170), are the first group; the instru,
mental lay pieces, either introductory (nos. 181, 186, 200-202), court dances (nos. 180, 187-198,
inhomogeneous, for sacrecl settings may be likewise found at the extremes (nos. 182-185,203, 205,
206). The two groups (the first consisting of prevailingly sacred settings, the second containing
prevailingly lay pieces) thoroughly matcir the instrumental pieces with an introductory function,
written earlier by Seregely.
The next section in the Code, i.e. section five (Fig. 9), runs over ff. 110 through to 127, the
lolio between ff. 109 and 110 being purposely left unnumbered. Two groups may also be distin-
guished in this section: Seregely's hand prevails over the first group (f. itO-tt6), whereas the
second group (ff. 117-127) is only written in Caioni's hand. However, the seeond scribe inserted
tc'o ballets (nos.209 and 213) among the sacred settings written by Seregely (nos.20B, 210,217,
212,214,215), two of which bear the mention of the composers'names: Gio(vanni) Valentini (no.
Data rcferring
to Caioui' request to have a linder in te priniing-house may he found in Gyrgy, 1g0.
73

210) and Alexandro Grandi (no. 214). The border setting (no. 216) betrveen Serege r's and Caioni's
script bears also the stamp of both hands, the second preserving the style of the earlier script.
Actually, the setting is a dialogue between two violins 'with f.b. and a bass solo, and illustrates
the intermingling of vocal and instrumental music.
A hardly legible inscriptiou in Seregely's hand is found on f. 112, rvhere the year has either
been omitted o has meanrvhile faded (s.i., XfV). Unlike this, a new dating may be reacl on f.
ll5 1642 (s.i., XV). Save for the instrumental pieces rvith the church mocle alreacly mentionecl
(no' 219), no.229 and the setting of satirical, popular subject of sacrecl tinge (no. 233), the remain-
der pieces in Caioni's hand ale sacred (nos. 217, 218, 220-226, 227, 228, 230-232). Of ilrese sacred
settings no. 218 is rooted in a popular tune.
Three of t he settings written in Caioni's hand (nos. 218, 231 and 233) are followed by
inscriptions: the year 1666 on the right-hancl page ol f. 117 (s.i., j) and the year 1604 ott f. 127
(s.i., I). On f. 126, the inscription is strictly musical (s.i., /c).
The sixth section in the Coden (Fig. 10), spanning ovel ff. 128 through to 140, consists of
lay pieces - ballets (nos. 236-238, 239-240, 244, 247), court clances (nos. 243, 245, 248), a fugue
(no. 234), instrumental pieces with French headings (nos. 241, 242, 246) ancl rvith rnention of gre
composers'names (nos.235,247?,248?), among which Hans Leo Hasler (no. 235) is the best knorvn-
notated in Seregely's hand, followed by a self-consistentgroup of folk settings (popular dauces: nos.
249-259, of which nos. 252,254-257,261, 266 and 268 are Romanian) in Caioni's hand. Those
pieces had been transcribed and commented before the Cotler was temporarilv lost by Fab 8.,61
Seprdi J.B2 and M. Negrea.63 The transcriptions published after World War II clown to 1g85 seem
to be copies due to he three authors mentioned above.6a
In adclition to this group, Caioni notated a sacred piece (no. 249), hearing the inscription of the
yearl663attheend(f. 136) s.i., m
- -, andaninstrumental piece of introductory function (n.265).
Seregely's hand is to be finally found, in the Coder on ff. 138 and 13g (nos. 260, 263
instrumental dances). - final signature and date (1669) on f. 199 (s.i., y).
In defining the subsequent sections in the manuscript, rvritten entirely in Caioni's hancl (for
f' 208, see section nine), account rvas taken of the theme and form of the pieces, and in establishing
the seventh section, the inscription and date 'writteu by Caioni on f. 127 ltave been decisive (s.i.,
/'). In this inscription he speaks of ,,an approximate end of the book", which shoulcl have been
on f. 157, to which reference is made to find the keyboarcl notation (denoted by 281) of setting
233. Setting no. 281 is however followecl by a Benedicam (no. 282) after whictr, instead of the above-
recalled end of the book, we find another sequence of pieces (nos. 283
-288 : a Magnificat by Joan(nes)
Simrahi; no. 289 by Joannes Rovettai no.290i ancl no.291 by Gasparo Cassati), rvritten one
after the other in the same fashion (ccclesiastical concertos). The above mentioned ,,End" a ,,Finis,,
and a date (1664) s.i., , which relates to thab on f.. 127 and allow us to establish in a nat-
- -
ural manner the seventh section, i.e. ff. 141-168 (Fig. 11) is only found on f. 168, at the end
of setting no. 291. - Inbetlveen nos. 329 and, 332 we find the four litanies, numbered by the scribe tco, from I
The first group would consist of four pieces i nos. 269 and. 272, two long homophonic works
rvith German headings, written by Mathias Apelli and Heinrich Schtz, respectively, for two choirs
eachi in-between is an .&\ultate (no. 271), a large-scope homophonic piece for choir, wich is appar-
ently due to a German composer too, and comes after the only piece (no. 270) in this g.oop to
be witten as a sacred concerto, by Jacobus Fineti.
1 Fab. 209-2lL; see also Seprdi 3, note 22 and,222-225,227,228,
62 Seprdi 3,270-239,
o Ncgrea,46-58.
6a \Yitlr Szabolcsi 3, Nos. 1 2, 8, 17 33, 62 91 the pieces transcribecl from ilre Cotle, ttltic: are also found
with Seprdi J., are on folios -numbered in- Sepr4di system (f.n-(n*1)"), and the lotr Clrea (the filr, Chorea polonica,
was leJt .unpublished as it was not a secular lVragyar songi and so it ll outside gre topic o tfru .ruoit
Szabolcsi Bence also in 7927 in the appendix to an artile by Sztanl< Bla, in Zcnei'Szemle XI (sel , published by
written on folios numbered- ac_cording a system similar to tht used by Martian Negrea (f.n"-nr),namely: r-"*
Szhnk), ar
'Ihe immcdiate question is-rvhether the transcriptions were not made by someone elie, We woncler if not-by Sztnk
Bla?
Fab' 207 states in 1906, he had been assisted by Sztank Bla in the transcriptions. Additionally] the time-signa-
ture mentioned "hat
hy Szabolcsi B. in his transcriptions, irrespective of what go"s o-n in ilre Codr, o""rr. also in the
pieces copied earlier by Seprdi, but is absent in the four C/ora.
74
At tlre end of this piece by Schiitz (f. 148), Caioni tvroLe Lgtattiae Laurelanae, no. 2ZJ, rvhich
consists of a scheme bearing an inscription related to the one lvho had brought ilris music from
Prague in 1661 (s'i., n).
Tire secontl group appeat's to consist of the ten ecclesiastical concertos (nos. 274, 275, 227
-
279, 282-291), some of 'which (nas.274,275,277,279) have f.b., others (nos. 282-2g1) with
solo r.oices alone. Flolvever, three pieces range outside these ten concertos : no. 276
- a variartb of
pieces nos' 167 (see section four),297 (rvithin the mass no. 292-300) and 342
- all of rvhich have
the satne popular tune as a theme, though they are sacred pieces I no. 280 a fugue rvith a peculiar
-
inscrirtion aud a clating related to the year 1663 (s.i., q)i and no. 281 rvhich has been recalled in
discussing the sect on limits.
Nor is the dating of the pieces in Caioni's hand in d.irect proportion with the progression
over the Coder folios: ff. 152-1664; f. 157/1-1663; L l5712 (ilre mention on f. 127)
- 1664 and
f. 168-1664 (s.i., o, q,l, r). The ecclesiastical concertos running dorvn to f. 157 inscription 1668
-
February B, rvere notated most lihely during that year. Then Caioni went on notating the fugue,
putl.ing dorvn the clate 1663 here too. Nos. 276 and 281 were most likely notatedlater on. Wheflr-
er tlre entire group (nos. 283-291), subsequent to no. 282, or just piece no. 291, have been
transclibed in the Coder in the aLrtumn of 1664 is still an open question. I{owever, this last men-
tion of 1664 entitled us to regard the folios consequent to this inscription as a further section.
This is the eighth section (Fig. 12) running from f. 169 through to f. 199 and is entirely
rvritten in Caioni's hand. In establisliing the end-section folio 199, we have considered theprevail.
ing genre (ecclesiastical concerto), the inscriptiors and the dates (f. 173
-1659; f. 181 -1664t f.
182-1664; f. 185-1664; f. 189-1664; f. 195-1669) on the folios (s.i., s-n), and particularly the
The section begins with pieces by Joannes Spielenberger (nos. 292-304): a mass and four
ecclesiastical concertos, for which only solo voices are mentioned, the same for all the pieces by
this composers, i.e. two tenors. After Spielenberger's pieces rve find, between ff. 174 and 1gg,
trventy-three ecclesiastical concertos for one, two or three solo voices and f.b. (nos. 305-328, 333-
335). For only trvo of these pieces are the composers mentioned: no. 311, which bears the name of
Caioni
- Fr(ater) J(oanenes) Kqoni - and no. 314, which is due to Francesco Maria Marini. The
inscriptions entitle us to assume that other pieces may be Caioni's own compositions. The form,
the script style, the existence or the lack of a text, the composing outlook similar to that of the
piece rvhich is safely due to the rnain person to rvhic,h tihe Coder belonged validate our assumptions.
through to 4.
The final ninth section in the Coder begins on f.200 and ends on f. 211 (Fig. 13), and con-
sists of pieces and texts in Caioni's hand, save for f. 208, which is writben in an unknown hand
and appears to be a tentative, dim explanation of the keyboard notation. On ff. 200 and 211, the
sectior gives tlvo Hungarian texts, variants of the Latin texts, rvhich are associated. to pieces nos.
78 and 233.
The musical pieces rvritten in the Coder correr an unfinished ecclesiastical concerto (no. 339)
5 instrumental settings (nos. 337, 338, 344-346), a lay piece of folk source but of sacred stamp
(no.336-a variant of piece no.78) and 4 compositions by Caioni himself (n0s.340-343), and
two piece headings having no notated music, one of which was certainly meant by Caioni to be
transcribed in the Corler, rvhile the other lvas apparently only an inscription (Mislouski, 2 violinis
and O Dsmine Ders arns).
75
 The nesearch history of the Codex Caioni
The special literaturo of the Codex Caioni shorvs a very uneven picture. In fact, the first
researcher generation, which could study the manuscript in its original form, was unable to solve
the connected questions. The first reports about the Codex and its material were mostly written
lt by inexperienced pens, thus a large part of the rvorks rilere never revealed to the professional public,
neither in transcription nor in at least the form of bibliography. Since the rnanuscript was lost, the
researchers could only refer to seconclary sources, works published before the Second World War,
il
and could only repeat their statements. The increasing demand for source research and historical
summaries, had to stop at the extremely sketchy knowledgeos acquired in earlier decades, although
in the proximity of the source, and with this the interpretations uot always with scientific aim
received a larger role than the actual analyses. 'fhe distortion of the professional literature was
regrettably based on the unilateral selection of the already published musical material of the Codex.
It was Bartalus, who first drew atterrtion to Caioni's musical activity when he published a few
pieces from the Organo - Missale.gs Based on the printed rvorks of Caioni,0? and the enthusiasm of
his fellorv members of the brotherhood,oE the interest of literary seience also turned to Caioni. In
1894, Kornt Rupp investigated Joannes Caioni's work in Csiksomly for the Grand Palac Lericon.6l
He wrote the following about the Codex: ,,In addition, there is a manuseript volume, full with inco-
herent notes and the date of its origin is 1652-1671 ; masses, antiphones and the organ accompani-
rnent of hymn5".zo
The novice Simon Rduly rvrote his thesis in 1903 in l{olozsvr about the work of Joannes
Caioni, but as far as we know, he did not identify the description of I(ornl Rupp with any of
tlre perused manuscripts.?l In his book: The musical tleuelopmenl of Hungarian folk songs (1908),
Bertalan Fab published th upper part of a few dances of the Codex.?2 Jnos Seprdi, the tea-
cher of Hungarian and Latin in the Reformed College of I(olozsvr, first handled the Codex in
1903.7s In 1909, he delivered an academic lecbure?4 and rvrote a comprehensive study about it.?6 The
treatise, which is still mentioned as a basic work and is correct in many of its statements, refers
to Simon Rduly, when it comes to the life and oeuvre of Caioni. Its major merit is that the
data included in Rduly's lost treatise, referring to Caioni's life and connected documents, was
saved by him for posterity. However, he did not take the story of the Codex from it, but out-
lined it according to his own research experiencei he provided the philological description and also
defined the notation. FIe named the assemblers of the Codex and gave precise dates, and formulated
his presumptions about the procedure of how the collection rvas compiled.?B Ife considered the
significance of the manuscript in the fact that, as a private and miscellaneous compilation, it is
a source that provides a varied picture about 17bh century Transylvanian music history and fills
in the white spots.?? With regard to its content, he distinguished three strata: churchmusic,fash-
ionable dance music of the period, and Hungarian folk music. Concentrating on Hungarian ma-
terial, and those with Hungarian connections, he published 25 pieces - dances, and songs with
Latin, Hungarian and Gypsy text - aud drew attention to the compositions of Flungarian authors.
6 MoZtrt II: 182, 402, 508-509.
$8 Bartalus, 108-119.
07 Szab RXIIit l: 1188, 1329, 2084, 2085; II: 1419 and Szab ll4lisz.
08 Simon .1., 397.
oo N('gycsy, 17.
? lupp, 67.
?1 Seprdi 3, 129-130, 145. The trcatise try Simon Rdtrly was lost.
z2 Fab, 207
-211.
?3 Seprdi, 1, 118.
?r The text of thc lccturc: Seprdi 2,
75 Seprdi 3.
?o Scprdi 3, 130-133.
?? Seprdi 3, 410-424.
Itr
The philological special literature following in the lootsteps of Sepr6di provided very littlc
new information. In 1929, Pl Pter Domokos discussed the Codex Caioni among the sources of a
single area, among the Cski song books, without providiag inlormation on the content, but em-
phasizing that the initiative role in the compilation was not that of Caioni.?t The superficial analysis
of the manusoipt in the history of the 1'ransylvanian Franciscan Order by Jzsef Gyrgy, published
in1930,mayexplainthathe quoted outdated data afterSeprdi, concerning the date of lorigin, and
the writers of the Codex.Te T. Attila Szab characterizes our source among our manuscript song
books with the most necessary information taken from Seprdi and Pt Pter Domokos.to
The attempt by Fortunt Boros was conspicuously different from the above mentioned ones,
who starting out from the notes of the Codex, investigated the identity of the pre-Caioni . notators,
in fact looking for them in Jesuit circles.sl Although the initially uncertain and sketchy readings could
not produce acceptable results, not even in confrontation with further data, his statements acquired
more than rvorthy merit for him, as later literature about the Codex Caioni repeated them wigrout
ariticism. We have to compare his presumptions with the justifiable facts in the part whore the
17th-century history ol the manuscript is discussed
After Seprdi, Bence Szabolcsi rvas the first to write an analysis of scientific level concen-
trating on the content. Szabolcsi supplemented Seprdi's conveyances wibh the transcription of four
Choreassz and then later with a Dis irce.ss In his study of 1928, he described the content of the
hy then known parts of the manuscript - fitting it into the outline of a developing autonomous
instrumental musical culture - as sacred songs, secular songs and the virginal arrangements of
folk or non-folksy dance tunes.E4 He published musical material in his thesaurus Secular Tunes
of lhe 17th centurg published in 1938, when based on examples selected from the repertoire of five
manuscripts, he strove to demonstrate the differences between scorings and melody styles, as well
as the connections between the sources and the melodios.s He also noticed the infiltration of West-
ern European secular musici when studying the Codex he noted down almost exclusively French
dance names and inscriptions,Eo and under the title ,Caioni" of the 1930 Music Lexicon, he de-
scribed the Codex as the collection of ,,Sacred works of foreign origin, Hungarian folk dance tunes,
church and secular songs, and of French suite music".E?
Gza Papp published another layer of the Codex material, namely the sacred songs
as a resulb of his research in 1942, but published after the Second World War
- - containing the
meloclies of the 17th century, which were sung.Eo Pl Pter Domokos also relied on experiences
and photographs of about half a century earlier, when he drerv important musical data from the
Codex for the Cantionale Catholicum of Caioni.se
The two earliest and lengthy Caioni studies by Romanian authors were made before the
Second \Morld War. The first was written by George Simonis in 1934, in which he first introduced
the life and works of Caioni, and then he describec the Codex. Compared with Seprd, he showecl some in-
dependencei.one couldfeelthat all along he took a stand, being aware of the original documents.eo
He made an attempt to compile the content of the Codex Caioni, but because of the incomplete
?8 Domokos
P. P. g, 104.
?t He.dates_the otigin of the
Codex as 1634-166t and does not consider the first part
writing. Gyrgy, 528. -ff. 1-116 - to bc Caioni,s
80 Szab
T.2, II: No. 148 (p. lag).
8r Boros 4.
8a Sztank,
the Appcndix of flrc scorc supplcment, p. 11-12.
8r Szabolcsi 6b, 1Zb.
8{ Szabolcsi l, 254-26g.
85 Szabolcsi
3.
86 Cf.
the Szabolcsi hcritage in the MTA archive.
It Szabolcsi 2, 52g.
88
RMDT Ir: No. 7,75, b01fi,7a1r,75,82, 1Bt, 161, 169, t74lrr,247, J-og.
,o*ol.o. P. P. 4, nos. 60?_610, p. 898_912.
^-
c .few almost uniqucly valuablc additions
scripts by Caioni. ' - supplementing Rduly's observatious
- in connection wigr o{her rnau-
7T
and en'oneors reading ol the inscriptions' he could not succeecl.0l A study by MarIian Ncgrea lrorn
1940
- frequently quoted in the follorving clecades - followed Seprdi in everybhirlg, even in the
order of chapters, however, his transcriptions publishecl in tre appendix, revealed that he hacl
seen the original Codex, andhere"hedrewabbentionontheearlierunmenLioned items, mcrecvef, groLtp
of pieces, included in the Codexi dances of West Enlopean origin, a Schtz motelta and the Grund
Pqtretn.e2
Post-1945 Romanian music history paid distinguished attention to the
Codex Caioni.
Holvever, because at that time the manuscript rvas ouL of reach, only earlier obbained information
coulcl be interpreted. The 1958 article by Sigismund Todu! was centred on the Codexi he de-
scribecl its fate in the 20th cenbury and evaluated its literature. He summarized the lessons in the
following six points: (1) accorcling to hirn, the Caioni manuscript contained, among others, ten Ro-
manian folk tunes, thus it is an early document of tvlitten Romanian culture, which (2) also in-
dicates that the cohabitation of various national cultures can be mutually fertilei (3) Caioni was
the transmitter of enfolding baroque culture, (4) a link bet'ween the West and East, (5) he was
an up-to-clate informed rnusician; (6) clue to the rvay Western music was noted down in the direct com-
pany of Romanian folk music in the Codex, national culture itself was similarly a less isolated
phenomenon.e3 'fhe rvorks by Romeo Ghircoiaiu,ea primarily anall'sed the mentionecl ten Romanian
tdances, together n'ith their parallels with Romanian folk music and Western art music. On this
basis, later Romanian musicology sumrnaries considered the Codex Caioni as the souree of 'written
Romanian folli ntusic, enphasizing the Romanian characteristics of the included tunes.es
As music history of recent clecacles could only refer to a ,,back atea" literature, its al.tempt
to fincl out further cletails was plevented by objective clilficutties and ib was hardly avoiclecl that
certain authors should rely more on their imagination than the knowledge ol facts, and further
combine uncontrollable data concerning the notators of the Codex and its contenb.e6 The professiona
literature compelled the repetition of the old mistaken statements, only norv it has the opportunity
to revise all the staternents concerning theproblems of theCodexCaioni - the manuscript, the
notators, the process of notation and content- and try to outline a new total picture on this basis.
Biographical dates of the notators
The manuscript itself offers the most proof about the circumstances in which the Codex
Caioni rvas compiled, ahout its orvners and notators. It is rvorthwhile relying on the remark and
on the observations concerning the structure of the bool<, even being arvare of the fact that they
cannot answer all our questions. From among the earlier publications, we should keep Seprdi's studye?
in mind, and the article ,,The first notators of the Codex Caioni" by Foltunt Boros. Some of Seprdi's ttt
statements can be confirmed toclay, but aII Boros's statements require thorough evaluation.
'Whab rvas rvritten on the cover page and other remarks primarily provide the follorving
information: (1) the first owner, Mtys Seregly began the collection on March 17, [1634], com-
pleting the cover page, and he started to write the scores into il, on April 8, [1634]. (2) Seregly
spent the Easter period of that year in Hidr'g, at the end of l\{ay he sojourned in Alba Iulia and
sl Simonis, 16
-19.
o2 Negrea, 63
-71.
e3 Todutr
ea Ghilcoiaiu 1-3.
85 Popovici 7, Brncui 1, 64-67; Brncui 2, 2O2-206; O' L' Cosma 2, 291-3O-c; Ciobanu, 38-39, 49-51.
77-72;
co In a similar manncr, the 1973 monography by l\{ocanu (Iocanu 1) is atso a surnmary of the available earlier infor-
mations rvitl'rout criticism, which is quoted by V. Cosma 3 and lfonescu as the rnost up-to-datc sumrnary. Dobszay
in Hungary only qnotes secular dances and songs (pp. 191-193).
07 Seprdi 3'
7B
inDecember in ,,lVlonostor". (3) During 1639, his collection also occurecl in Cluj-Napoca and other.
people also macle notes in it. (4) Ile expancled it up to 1642 rvith fur-ther items.es
More debailecl data aboub the person of Mtys Seregty, the first owner, can only be,as-
sessed on the level of presumption. Starting out from the place names, Alba Iulia and Monostor,
recordecl in the manuscript, Fortunt tsoros built an entire theory on his idea that the initiat
notators of the collection were most probably Jesuits.se The Jesuits several times expellecl from
the Transylvanian principality during the historic storms of the lTth century, onty settled in three
places in 'fransylvania, in a smal number in Cluj-Mntur, Alba Iulia ancl Caransebe.loo Precise
chronicles about their activity rvere preserved, but we in vain look for the name of l\{tys Seregly
among them.101 We are not more successful if we search for him in Franciscan circles. 'We may
guess that he was not a member of the clergy; if he had been one he would have inclicated this
in his signature.
Recent investigations shorv that other Jesuit monks named by F. Boros cannot be linked
witlr tlre Codex, particularly not rvith the 1634-42152layer of the manuscript. The pre-Caioni part
of the manuscript is undoubtedly the work of a single, identifiabte notator, with the exception of
those pages (75-76i between 109 and 110), which however cannot be linked with names not
-
even rvith persons rvho occur in other parts of the Codex. The hypotheses of Boros start out from
initially questionable data. Attention was only drawn to the Jesuit Blint 'fasndi, upon the frag-
mentary reading of the remark on page 33.102 The involvement of Istvn l\{ik into the story relied
on the vague solution of the cover page (,,Miko').r03 The mentioning of the Jesuit Mihly Fenesi,
which is aded to the inscription of a S/alal Mal.er melody, originates from much later, from Caioni
- most probably from 1660 - and only reveals that the piece in question rvas brought by hirn
from Cluj-Napoca.loa
The place ltames indicated in the Codex are not so characteristic that they may be con-
sidered as evidence about the operational area of the notator. Boros did not find an explanation
for ,,IJidvigh" and coulcl not use it to support his evidence.105 'We still have no knowledge about
the repute of the settlement, moreover, we may think of two different possibilities: Hghig next
to Braor'106 or Merigte.loz The expression ,,in llfonostor (Monastur, i\{onoster, Monaster).. may not
exclusively refer to Cluj-Mntur in the direct vicinity of Cluj-Napoca,loe but also other settlemeuts,
each of which were kept in evidence in the 16th-18th centuries under the name of Monostor.loe
08' Witll the exception of the date: 742, a mutilated date on the edge of folio 115r, regrettably no other information
can be read: ,,^ 7642 die 25, jam in sta I j".
ee Boros 4, 282; the reconstmcted
story applied by professional literature is the following:" [...J Blint Tasndi started
to rvrite it in Monostor, from Monostor the Jeiuit l\fihly Fenessy took it to Gyuhfhrvar an handed it over to
1\'Itys_Seregly on May 31, 1639, It was held by Sercgly-untit 162. Then it
-"! h"ln" moved to the Jesuit Istvn
Mik, frorn 'whom Caioni inherited it in 1652 an wtrose name \{s noted down on the cover of flre Codex." The
,,," tt" May 31, 1639 may have resultcd from the misreading of 1634.
ili Th" vears of expulsion: 160?, 1610 and. 1653. Cf. Blr, ZSS-ZOO; EOE XI: 28,27,151
'"' ee Uatalogrrs 2; Catalogi; r\cta Jcsuitarum. -1bb; Vetics, ?1.
p.262,
!"t: P^".::t,, noted footnote
the_ actually
4 r,ith the remark on 33rof the Codcx: ,,Accepi a Valentino Zelino, silezi[ensi],., namely,
piece or pieces, but obviously not the collection now in front of us. The person in l"".tin *". l
fact Blint Tusndi III: ti+z; non xv:
_qnd ! active period can be considered later than the 1630s (Catalogus
,- 529;,,catalogus claudiopolitanae sJ. inscriptorum", ULB coll. pray- Tom. II.44, 81v). "
rm The name
of Pate Istvn Mik lirst on a letter dated 1653 in Cluj-Mntur (EOE Xr: 160; Boros 4 re-
fers to this). "pp.".,
--.
roa Com,pare
the statements of Boros 4 rrith the remark on 52v and the data about Fenesi appearing in the Catalogus
I:32?. Seealso ULB Coil. Hcv. Tom. LXIX.9., pp. 80-81.
tot
the first date (1634) was written into itin Hideg can safely be considered as transitory, because
the Jesuits did not have a permnent domicile lere." (Boros'4[sicl],.it
?'["']Although
26).
tou Su_u_
Suciu I: 283. 'We read from Orbn, III: 25, t]nat in the 16th-1?th centuries (until
a unitarian settlement, rhere the land owner ttiit tamity set up a unitarian seondary1662), the Sekler village was
r07 Suciu scol in tn. iztn
I: 382. However, it is mainly inhabited by Romanians and it only had an Orthodox Chruch. "nt""y.
tut name:
1n" Xolozsmonostor may have been indicated as .Colos Monostor", or ,,Koloz Monostor. or in more correct Latin
in locativus as ,,Monostorini*, the way it was more customary, (See the
manuscripts in ULB Coll. pray. Tom. II. .14,
181r, 184r; Cotl Hev. Torn. LXIX. 9, pp. g0-g1;
Coll. Kapr. Tom. XXVI. 1 (,Fragmenta annuarum SJ. Claudiog
.-- Politan from 1656.)
"'#:#:1*lgi9.-tl;(ancient Inner Szolnok County, inrabired by Romanians);. Szamosmonosror (Szatmr); Bgam-
'vruSrol (above Caransebe, ). See period names in Suciu, I: 1b9,164,13g and 3g5.
79
 Rernarks added by Seregly to the copiecl works atlract even greater attention, which indicato
who named the corcerned niece ol through rvhorn he came to know it. 'Ihe earlier nentioned Ze-
linus Valentinus rnay have been a Silesian, and SebasLian Wildener may have been identical with
the musician from Upper Northern Hungary, who l'as mentiorecl in the recorcls of the town of
Levoa.rro
After sur\eyillg all this, we can only formulate cautious ideas about the nobator of the
older part of the Codex Caioni. Seregly may have studied in Upper Northern l{ungary. i\'fost pro-
bably, he rvorked in Transylvania as a church musician, a cantor and teacher. I-Iowever, the use
of the organ in period Transylvania rvas characteristic of the Saxon torvns and the church of the
Jesuits,lrr thus, Seregly coulcl be presumecl - most probably on the basis of his links in the Urper-
Iand - to be a follower of the Lutheran faith. If 'we wanb to link the notator to some Catholic
institutior, we find oulsclves facing an insolvable problem, as Catholicism in Trausylvania, in the
first half of the 17bh century - and particularly iu the thirties - \rys in a very poor situation.rlz
Our only supporting point may be that during the time of Gyrgy Rkczi I - exactl), during the
concer'red period (1630-1638) - a school rvas maintainetl by the Jesuits in Cluj-1!fntur.r13
Flowever, rve clo not have to consider it be of absolute contracliction if we futilely search for atr
institution, rvhich rvoulcl have felt the need for a mannscript reflecting high musical requirements.
Seregly's collection is explicitly of privatc character I it seems that the notator recorded the earlier
knolvn motettas and instmmental pieces for his orvn pleasure. We hardly find any trace in the
manuscript that the notated music rvould have been played on an instrument by anytrodt, not
even subsequently. The presence of students and the school milieu is only recalled by a note from
an alien - "ex Claucliapoli" hanc, unexpectedly inclucled in the work of Sercgly in 1639.
- Die 8. l\{artij. Frater Joannes Kajoni Guardianus Csikiensis et Custodiae Pater Aetatis 54. Reli-
Although rve hnorv incomparably more the lile of Joannes Caioni, the seconcl notator,
"0J",
there ale uncertainties and gaps here too. It can be said about a number of his biographies that
their author acceptecl the statements of an earlier biographer without any criticistn, and occasiol-
ally extencled them rvith his own unfouncled ideas. Orly Jukundin Simon,11a I{ornl Rupp,115 Simon
Rduly and the Flanciscans: Fortunt Boros,116 Jnos Karcsonyi,ll? and Jzsef Gyrgy tried to
follow up the more reliable information. It is also a problem that different authors refelrod to
different sources, with regard to the various data of the biography and these rvere contradictory
in the literature, or more often 'were amended. The reason for this uncertainty rvith regard to some
parts of Caioni's life rvas the lack of appropriate documents. For example it has not been cla-
rified rvhere Caioni attended primary and higli level studies, and how he acquired a musical education.
The confirmation of the vague presumption or in the absonco of proof - their questioning never
- ex parentibus Schismaticis") and the already quoted nobe in the archive of the de Potaganda Fide.
took place.
The documents quoted by the most reliable biographels are only available in fragments. Jnos
Karcsonyil18 relied on the notes in the Franciscan register available in the archives of the $urnu-
leu-Ciuc monastery, and on the reports of the chroniclers rvith regard to almost all his data: the
110 See rcnark on p. 36: ,,habeo a Scl:astiano \Vilclenoro". S, Wildctrcr ,musicus" sojourned in Levoa at the beginning
of 1614; thc notc in the 1634 urban rccords of accounts otry referred to thc lact that his fare was rcimbursed, but
it does not reveal from rvhere he calne and rvhcle hc went. I{c rvas not rccorded among the urban rnusicians. (Kind
information from Frantisek Mat3, lor rvhose support I exprcss rny gratitude in this way.) On thc other hand, in
his preface to the Markfelner tablature, F. I\{tri3 published a fragrnent of the letter originating from ,,the profcssional
urbn singer and bass from Levoa", Scbastian Wildencr, plcsulnably lrom the pet'iod betwcen 1643 and 1652, without
any particular information (Ilatu, 12).
lu {oztrt II: 457.
u2 Sce Bfr.
r Mszros, 293.
11r In 1828, he found Caioni's .portrait painted on parchment" (See J. Sirnon), which is considered to be a self-portraitn
atthough neither then nor since then has there been any convincing argtrrnentation about this.
rr Rupp and Ngyesy.
11. lllainly Boros 1.
lrt Karcsonyi 1 and 2.
tl! Karcsonyi 2.
BO
the notes of Albert Ujfalvy (1670-1699) and Mihty Balsffi (
Registrum litterarum, -1748), as
rvell as the Annales and the Cronolagia by Lnrd Losteiner. More valuable is Caioni's so-called
niger", the ,,Chronicle of the Transylvanian Franciscan custody", the starting poinb. of att
"l,iber chronicles of the Franciscan Order, which is today accessible, both in critical publicabion
following
and in translation.rre Informabion about Caioni's activity between the 1650s to his death is providetl
by tris own notes and in addition to the ,,Liber niger' from the writing prepared for the organ in
$rrmuleu-Ciuc, as well as the sporadically appearing personal manifestations and dates in his ma-
iluscripfu and books. From the Franciscan documents in the ,,Congregatio de Propagancla Fide",
tho archives of the Vatican, we primarily see Caioni as a ,public" personality of the Orcler in the
1670s.120 It is a promising item of use of recent years that the material of the old Franciscau li-
brary in $urnulcu-Ciuc was mostly saved, thus, the opportunity opens to study the extant works
by Caioni and tho stock of books acquired during his lifetime.l2r
All the above makes it obvious rvhy we cannot yet undertake more than to outline a biography
of critical character, in which the reliable and basic data are separated from those rvhich are un-
confirmable, the docttmented facts from the theories, and questions which can be regarcled as closed
from those rvhich are still open. This approach presumes the return to the primary documents.
Joannes Caioni was born ab the end of 1629 or in 1630. The ascertainment of his date of birth
could rely on three sources: (1) a note in the Franciscan register which indicates that Caioni toolr
the lrabit on September 17, 1648 and describes him as cca. 18 years old;122 (2) the circular in-
scription of a painting depicting him, which reads:,,P. Joannes Kajoni, aetatis suae annor.44.
t673r'tzs (3) the closure rvritten to the history of the Transylvanian custody: ,,Anno Salutis 1684.
gionis 36(.124 We have to reject Mocanu's opinion published in 1976, according to which Caioni
was born in 1627.12t In fact, the document he quoted formulated unambiguously; the age of Caioni,
amember of the delegationtoRome, rvas notpreciselyknown: ,,1670-VII-3,P. Fr. Joannesl(aioni,
Annorum circa 43, confessorius et concionator Valachus Transilvanus.1126
His birthplacewasLeghiaintheCluj County,if weinterpretthereference,,quae me in lucem hanc
sdidilttrzT in this rvay and in the denotation ,,Joannes Kjoni de kis kjon" the place name Cianu Mic
is only considered a reference to the family's title of oligin.lz8 Although in the known works of Caioni,
he exclusively used the Latin and Hungarian languages, he repeatedly declared himself to be a ,,va-
lachus", namely, of Romanian origin: he did this in his Herbarium, on the cover page of the llorfulus
deuotionis and in the inscription made for the organ in $umuleu-Ciuc. Other documents also mentionecl
his Romanian background;thus, the document about his taking the habit in 1648 (,,natione Valachus
Most probably his parents followed the Orthodox Greek faibh and oliginated from a family of ths
r10
Libcr niger, published by Edit llfadas,
trt Thenrostirnportantof thesedocumentswerepublishedby Gyrgy, 775-7lE; P. P. Domokos 4, 129-133
2, 77,
ard l\{oeanu
rzr As a museologist of
tre Harghita Country l\'Iuseurn (Miercurea-Ciuc), Erzsbet Muckenhaupt deals .with it.
122 Thc facsirile and interpretation of tire fragment of the register (Franciscan matricula from Cluj-Napoca [?]), ,,Re.
gistlum II. Tom. II. Art. 1", see Ncgrea, 9.
12$
Slmor J. This was his strting point and he considercd Caioni's birth date as 1629: Ngyesy; Rupp, 65; Szinnyei,
col. 802; Dank, 65; but muclt later Crciun 1, 237.
12a
Libcr niger, 54. Rduly vas the first to refer to it, and he amended Caioni's birth date as the end of 1629 or. the
beginning of 1630 (Seprdi 3, 136). Ilowever, this note does not allow us to read as if he rvas born o l\{arch B, 1630,
as presumed by l\{ocanu 2, 11; adapted by V. Cosma B.
125 Mocanu
2, adapted by V. Cosrna 2 and V. Cosma 3.
126
Achivo Propaganda Fide Scriiture originali Congregationi Generali 1671. vol. 428. imaginea 543, iol, BbB: Nominr
,.- Ftqttum Missonarorum O.ins Mnorum Obseruantum tn Trunsiluand, quoted by Mocanu 2, 10.
tt7
Lller niger, Bg.
"" pn the cover of his work llotttllus ileuotionis and. in the note of the register mentioned in footnote 122. Rduly lvas
the ftrst to insist that Caioni was born in Leghia. Prior to that, biograp'hers indicated Cianu l\{are as his birtiplace,
but this is not confirmed on any doeument] Negrea,10,11, iolloing Boros 1, considered the question undecsive,
ast.emerged.that Cianu Mic was the place ot birilr and Leghia, th place of rebirth in faitll, namely, that oI
3_3P.ti..: (Similarly by Domokos P. P. 4, 103). The basis for this theory is provided by the lines of reiiniscences
'\vr,tten
by Caioni about Leghia: me in lucem hanc edidit) [...] Haec a matre mea accepi, quae per talem Mi-
nrstum ante annos 04. baptizari,,(quae
me (qui haec scribo) in ea Ecclsi fecit (Liberniger,-39).'
[...]"
6
- coD!( cAroNr BI
 lower nobility. We know that his sister, Judit Kjoni married the nobleman, Istvn Rcz in Miercurea-
Ciuc.12e We do not know any more details about his family and circumstances.
He took the habit of the F'ranciscan Order on September 17, 1648 in $umuleu-Ciuc, and a year
later he professed festively on the same day.130
The most obscure point of the Caioni research is, rvhat could have happened with Caioni
directly before and after he professed; in other words, what schooling had he acquired before he was
ordained? Rduly and Seprdi guessed that through his brother-in-law, Caioni attended primary
school at Csiksomly.l3r Fortunt Boros supposed that the Jesuits were Caioni's tutors, who maintained
a school at Cluj-Mnstur, next to his birthplace, and perhaps set up high level musical education.rss
This thought was in harmony with the presumption of Boros that an earlier part of the Codex was
perhaps made in the circle of the Jesuits in Cluj-Mntur, and Caioni received it from them
- from
his tutors after 1642.Lss However, the relationship betrveen Caioni's school years in Cluj-Mntur
- the old organ of Csksomly in the 1650s, which he later reclled: ,,Anno 1659. Die l5 Augusti.
and his early link with the Jesuits (between 1642 and 1648) cannot be confirmed in any way, together
with the fact that the Jesuit fathers may have had anything to do with the Codex. Nevertheless,
Hungarian special literature - without any proof - indicates Csksomly and I(olozsmonostor
as the sites of Caioni's primary studies,lsa rvhile Negrea arld, in his footprint, Romanian studies
mention the name of Sebes in the third place.135
There is no data, not only about his primary studies, but also about his high level studies.
It is only a mere presurnption that if he was ordained in Trnava (in Slovakia) on September 5,
1655136 he also read ,,philosophy and theology here."137 Speaking about T'rnava, we should not
primarily think about the university, founded by Pter Pzmny in 1635, with a phitosophy and
theology faculty, but more about the theological college set up in the same place in 1641, by the Marian
province of the Franciscan Order. Caioni may have been a student of the college.rss We could con-
tinue the line of presumption, saying that perhaps it rvas exactly Trnava, where he made closer
acquaintance with the period church ntusic, 'with manufacturing instruments, and with playing the
organ.130 In the absence of palpable proof about his schools and tutors,14o reference can only bemacleto
lre In Caioni's Latin-Hungarian collcction of verses, in the llymnam, his larnent on the occasion ol his brother-in-
law's death, writtcn by Caioni, can be read (p. 813): ,,Lament verses" (Rupp,66; Seprdi 3, 137; Domokos P. P. 4,
103
130 -104).
,,nno 1648. die 17 Septembris in Conventu Csikiensi ab eodem P. l\Iariano Religionis habitu amictus est pro Clerico
Joannes Kjoni de kis kjon, annorum ciciter 18 natione Valachus ex prentibus Schismaticis, intacto nomine vo-
ctus est constanter Joannes. // Subsequente anno, et die in eodem Conventu, et in manibus P. Nicolai Somlyai p.t.
Gvardiani Solemnem emisit professionem, Vir praeclarissimorum talentorum, laboriosissimus, et perpetua memoria
dignus." (Cf. footnote 122.) Mocanu interprets the Latin text as if it concened Caioni's conversion to the the Catholic
faith (Mocanu l, 2l-22; adapted by V. Cosma 3). Most probably, because ol the year of probation preceding 1648,
Kornl Rupp (Rttpp and Ngyesy), Rduly/Seprdi (Seprdi 3, 137) and Jnki, 10, indicated the entry as 1647,
in contrast to Karcsonyi 2, II:228, The sentence ,,intacto nomine vocatus est constanter Joannes' also reveals that Caioni
rvas baptised as Joannes and not not only - as Gbor. The origin ol the name Gbor Kjoni is incxplicable
in Szinnyei, col. 803; Rduly (in the- or
title of his manuscript;
Seprdi 3, 136) and Kdr, 182, The sane ws adapted
by MoZtrt II: 184.
r3r Seprdi 3, 737.
r32 Boros 4.
rsi Mocanu described Bilint Tasndi and Mihly Irenesi as Caioni's tutors (Mocanu 1, 25-31 ; V, Cosma 3),
rr MoZtrt II: 184.
135 Negrea, 13,
136 Gyrgy,519.Through Boros, presumablyfollowingthenotesof the.RgslumlIletdrm (Cstksomly), we have precise
information abortt thc dates of the document of ordainment (September 10, 1655), the permit (September 21), and the
sttt of the newly ordained mass celebrant from the College in Sebe (October 14), and about the fact that on November
L7,1650 he still sojourned in Cslksomly and only afterwards started out to Trnava and NiZn Sebastov. (Regret-
tably, there are no concerning notes about these dates in Boros 6.) Furthermore, see l\{ocanu 1, 39.
13? Seprdi 3, 138. This hypothesis was lirst formulated by Rduly, followed by Seprddi. As according to Attila
T. Szab,
Cioni was thc author of thc ,,Song about the parish of the Voivod Lupul", therefore, hc stated that as n eye
witness, Caiori had to stay in the monastery of Csfksomly in 1654, consequently ,,it is probable that he did not stuily
in Trnava, but in the monastery of Csfksomly and was only ordained in the previous placc' (Szab T. 1, 357).
138 Karcsonyi 2, l: 271. Among the documents of the Marian Franciscans (Acta. captulq.rfa
[1610-1666, D. VII 21
reference nutnber in the Matica Slovenska [Martin]), not trace of Caioni can be found, because reports about the operation
of the theology faculty in Trnava particularly from these early years are very sparse. (The list of studnts is
not contained at all, except a hint- that thc college was also visited by -students from other provinces, mainly from
Transylvania. - I express my gratitude to Ladislav Kaic for his verbal information.)
r3e Karcsonyi 2, II: 263.
1r0 Following Rduly, Seprtli considers it more probable that Caioni
,,ilas an autodidact in acqrriring higher musici know-
ledge." (Sepr6di 3, 138.)
B2
the period intellectual life in the archiepiscopal, university and Jesuit seat, when defining the sources
of his musical education, and mention could be made of the cultural relations between Transylvania
and Upper Northern Hungary, as well as a European interest gathered from Caioni's notes. Thus,
the envisaged ,,Trnava era' in Caioni's life (1651 - 1655 with posible interruptions) cannot bo
completely rejected, not even in the absence of direct proof, and in this the Codex itsel, its reper-
toire and interpretation, ean be used as a confirming argument.
We may be assured that already as a ,,brother" he had skill in the use of key instruments,
young man he was appointed to be the organist of the $umuleu-Ciuc monastery.l{l In his
and as
Herbarium, he spoke about himself when he said: ,,I also made from this type of tood 75 tangents
for the virginal, when I was a virginal maker.' The herbal and the note originates from 1656,
which means that Caioni made instruments already earlier.l{2 He was active in the acquisition of
This organ ws bought to ornament the blessed Saint Mary Church in the monastery of Cslk and
in honour of the Kingly Lord, by Rev. P. Miklos Somlyai Guardianus eiusdem Conventus and Pator
Casimirus Damokos Custos Provineialis, Patres et fundatores, basesque Custodiae S.Stephani Regis
in Transylvania: from the donation left by the late respected Mrs. Istvan Haller, for 1,050 Hunga-
rian Forints from Jnos, the organ-maker in Eperjes, which he made for the Prasmar Saxons in
Brasso, but they found it too expensive, they refused it, we bought it, and brought it out from Brasso
on t\ryo carts pro fl. 10 [..,] I was present both in the bargaining, the purchase and the transpor-
tation, and I mado great efforts [...1."tra It was not unfounded when he frequently wrote next to
his name ,,organista et organifaber", for he was the one who reconstructed the organ of $umuleu-Ciuc
in 1664, which was destroyed by the invading Tartars. ,,I made a new Positive above it, in the
convents of Mikhaza and Gyergyo, and for Udvarhely Patribus Jesuitis, et alia multa Instrumenta
etc., and Fratres Steph. Alfalvi et Nicol. Ferenci Clericos leant to play it upon the pressurel...]."ton
All throughout his life, Caioni played an active role in handting the affairs of the Transylvanian
Stephenite guard, which was partly independent from the Salvatorian province in Hungary. On De-
cember 10, 1660 he was appointed government aide next to the guard commissioner, but he only re-
ceived the appointment two years later to hand, and ho remained in this post (,,definitor") for
several years.145 His first appointment as a prior
- to Clugreni in 16631a0 - was rather nominal,
because the ,,Bosnian" monks adhering to the observant branch of the Franciscans could only be
compelled with force to leave the monastery of Clugreni in 1666.14? Between 1666 and 1669, Caioni was
the first Transylvanian guardian of the monastery, and the builder of the stone building.
Between 1669 and 1675, he acted as a prior in Lzarea, on the spot which in 1665 was finally
presented to the Franciscans by Istvn Lzr, the Chief Judge of tho seats of Cslk, Gyergy and
Kszon.148 Here again, Caioni had the chapel and the monastery rebuilt.le
Between 1675 and 1678, he was the custodian of the Transylvanian Franciscan province and
according to a papal bull dated January 13, 1677 he was the assistant of the episcopal vicar, the
1rr Gyrgy, 520. On the cover ol Hortulus d.euotiont, Caioni only describes himsell as.frater', while ,in Monasterio Czi-
kien. Olganista" he names himself as an organist. According to T. Szab, the manuscript was completed in 1652
(Szab -
T. 2, I: No. ?1, p. B0).
1r See also Miklssy
and Domokos p. p. 4, 108.
ro Three documents speak about the purchase of the organ, nevertheless, the date is still unclear. The first is the above
quoted inscription by Caioni, made fo a later organ; rcading the date as 1650 by Orbn(II: 17, footnotc 13,) and in Do-
-128), but the date isisnoted as 1659 in Karcsonyi(Il:244)and Geyer(II:137-138.)The second
mokos P. P.4,(127
rs a note of the Libe niger 58, the third t};.e Cronologia by Losteiner, which used the description by Caioni (p. 3n).
r'{
Jn lhe earliel mentionccl document made for the organ (Geyer, II: 138). According to Mocanu, Caioni repaired the organ
in 1665, ir the church of Bacu (l\{ocanu l, 4:
rr5 Karcsonyi
2,II: 233; Boros 5, 82. In 1664, in the inscription of the organ.Diffinitor ctualis"; in 1665, he appears
on the document as a government aide.
ttt
-o20.
,O"9.*t, 2s4, The inscription of the organ reads ,Nunc pro tem: uard, Szarhegyiens'. Iowever, every other dta
contradicts this note. See GyOrgy,31?-318, 92.
--
1'7
Boros 5, 82-83; Gyrgy 85-88, 281.
'f Liber niger, 2g; Karcsonyi II: 2ti,
rle
Kacsonyi 2, II: 2?g, Gyrgy,31Z.
6'
BB
 F
Franciscan l{.zmr Domokos, with the right of succession.rso After the death of Kzmr Domokoe
INDICE _ MUTATK _ INDEXES
in September 1678, Caioni accepted the appointment as bishop, although he had some reservations.
However, later - experiencing the protest of the Transylvanian Catholic aristocracy and priests
against appointing an episcopal vicar from among the Franciscans
-. he resigned.16l
At the end of 1674, al the beginning of 1675 he appealed to Rome for granting the right to
purchase a printing press, which received a favourable answer in June 1676.152 His first accomplished
plan with the help of the book printing was the rublication of his hymnal, Ihe Cantionale Catholicum
in 1676' Betwoen 1681 and 1684, as a prior in Csksomly he did a great deal for the recon-
struction and renovation of the monastery and the church, and in 1682 he had the church eon-
secrated.l53 In 1686, he rvas awarcled. the honorable title of ,,pater custodiae" and the next year
ORDTNEA PIESELCIR TN COICE
he was again elected prior of the monastery at Lzarea.15a Ten days after his appointment, he died MUTATO A DARABOK SORSZI,IA SZERINT
on April 25, 1687 on the spot where he was ordered to serve.l5 At the end of his manuscript Organo, ORDER OF ITEMS IN HE CODEX"
Missaleoneof hiscontemporariesrecalledhismemoryas follows: ,,Fr. Pater Jnos I(ajoni of blessed
and honest memory died Anno a [Partu Virgines (sic!)] 1687 [Jesu] 25 April on the day of the
Evangelist St. Mark, at six o'clock in the morning. Requiescat in pace. At that time, I Stephanus
Benedekfi was the cantor in the Parish of Lzarea, etc. etc.,,156 Nr, Titlu Compozitor f.nr.
Sorszm Cm Szerz6 Eredeti fIisz.
Nos. Title Composer Orig. f. nos.

1 Spiritus meus lsuper mel dulcis] 7-2

, Augusta civitas Dei t3l
t
J O gloriosa Domina l3l
4 I\,Iaria mater gratiae t3l
5 Sanc[tissima], san[ctissima] t3l
6 Virgo Dei t3l
n Duo Seraphim clamabant Viadana, Lodovico t4l
8 Decantabat populus Israel t5l
r50. According to Seprdi, he becamc a custodian on August 25, 175: appointcd at the meeting of the Csik chapter,
I Amoris vis me penetret 6
on December 20, 1676 he was appointed Vicar-General (Seprdi 3, 138)
and l0 Delicta mea horreo 6
- pcrhaps this was the date when the Con-
$egato de Propaganda .Fldc acceptcd his nomination (Karcsonyi 2,(II: 247). See the complcte tcxt of the papal Breve 11 Nitida stella 6
in Veszely 353-354, or Gyrgy,71-0-718. As with rcgard to Karcsonyi, the source of the dta is the t2 Jesu dulcis memor[ia] 6
Registrum llllerarum. "oncerning 13 Jesu te solum sentiam
1t1. CaioRi's letter to Rome, dated lVfarch 25, 1678
t7l
is published by Domokos 4, 130. See also Karcsonyi 2,II: 24g. After t4 Boczasd meg Ur Isten lffiusago[mnakl 17l
his resignation, he received instructions from Rome on I)cccmber 20, 1678 to take the chair of the bishop (Sepr6dl 15 Balletha 71
9'1q. llolvever, the successor of Kzmr Domokos, Bertalan Szebelldi, thc chaplain of Sinzieni wu" otfy'otttiim"A l{ Veni Domine Jesu Clrriste Viadana, Lodovico B
in his office by the prince on June 10, 1678, (Veszely, 35-356). Thus, it was not so mur:h piety as it was earlier
presumed (Z9ri9!, Simon J.) - t7 Domine clamavi ad te
- butinthe
can be read in his own formulation
circumstanccs, which compelled. Caioni to refusc tlie appointment.
the Libel. niger, 55,
All this 8
o
18 Jesu quam es laudabilis
15!. Karcsonyi 2,Ill. 245; Domokos P. P. 4, 129-130. Caioni
niger, 60.
describes this event with unconcealed pide in the Libcr 19 Vita salus fiducia I
I53, Karcsonyi 2,11: 26'o, he refers to the Cronologa o1 Losteiner. Liber nigcr, SS, 62,
20 ChrisLus rcsurgens [Viadana, Lodovico] 10
9t Tegnap groff halala 10
15{. In Gyr9y,320 thedate is 1686, according to Seprdi (Scprdi 3, 138) an<I Iiaricsonyi (I(arcsorryi 2,II: 250 2zg) ,, Cuncta fac nos despicere 11
the assembly meetingon April 15, 1687 sent. him to Lzarea. 23 Fili mi Absalom Viadana, Lodovico 11
.In the first biographies, we find ,A.pril 23 (J. Simon, Da1!, Rupp nd Seprdi), in the palio Le*ikon (Ngyesy) and
166.
in 24 Jubilate Deo omnis tcrra Viadana, Lodovico t2
Szinnyei it is April 20. The s.rurce ol the clate: Apri 23 rvas the alleged .iecrology made by is tnis iri tn"
Order (its p'ovenalrce is unknowl), which was then includcd in the Caioni.biography compiled by iukundin Simon (Se- 25 Ave maris stella T2
prdi 3, 138) and was quoted l:y Dank as Caioni's epitaphium (6-67). Jnki-first mena thc date oI his deth tJ Vcni Creator Spiritus t2
as April 25, based on the note in the Orgarzo-Mssale (10-11); Gyrgy, corrected it in his book (323, 52b). ,1 O quam pulchra es amica mea Viadana, Lodovico 13
r50, fy own reading, compared and supplemented
with the informrtion by JnriLki, 11, anC with Szabolcsi's more com- 28 Ego autem ad Deum clamavi [Viadana, Lodovico] t4
plete reading than the present one ('lzcoics nlrcritance, hfT\ Arcrivs 565:l/4). According to the opinion of Vasil to Illumina Domine faciem tuam Viadana, Lodovico 15
Mo_c-anu (publishcd for the internationrl public br Vigrel Cosrna)" which was not justified, Caioni wcit to Bacu in
1682, as a nember of an official delegation: between 1684-1686hews the.custdian oi the llacu residence.,from 30 Curanta 15
3l Non turbetur cor vcstmm Viadana, Lodovico
- everywhere as the prior ol thc monastery
1687-1698 he simultaneously operated in Lzalca, Estelnic and Bacu [16]
(Mocnu l, 145 32 Non potest ar[bor] bona t7
-746:' V. Cosma 2 - he is guoted by Brncui 2,207). Mocanu and iollowing him, V .Cosna uses the thor Viadana, Lodovico
of Prior, confusing it with. the .custodian'-(Prior of the province). [Ie refes to a oTabula Capitular.es., which ,,is dated 169S;
when Caioni was appointed custodian of the Lzarea monastery and in the satne year custodiar ol gre Estelnic mo-
QO
Benedicam Dominum in omni tcmpore t7
nastery" ([focanu 1, 146). Mocanu gives the dte of Caioni's death as 198, argring that until rat date, Caioni,s 34 Paratum cor meum Viadana, Lodovico 18
signatures can be read in the books of the monastery-library in Csfl<somly. Hcv, (1) thc ,,inventory" 'notes of
the books in Cslksomly from the 17th century ca only be comrared witli Caioni's hanwriting, becausdof thc char-
35 Beneclicam Dominurn in omni tempore Viadana, Lodovico 19
cter of the cusive handwriting. (2) It is not unlikely that Caioni also went to Bacu, but as the Stefanites did
not receive thc rnonastery, no perment papal governor or prior, could stay in it, mostly in transitory assistant ca- ' Cuvintele de lrrceput ale textelor latine numele compozitorilor cunoscuti snt redate n ortografia actual.
pacity (I(arcsonyi 2,II:262),(3) TheFlanciscans gained a foothold in Estetiric in the 16?bs and 1880s, and monastlc l\ Iatin szvegkezdeteket et s az ismerti szerz6\< neveit normalizlt helyesrssal k21m.
ife may have Leen consolidated from 1684, but the preserved docurnents did not mcntion Caioni's name in thls connec- The opening r,vords of the Latin texts and the name of well-known authors are given according to present-
tion (Boros 5, 90). (4) The above quoted document
and time of his death irrefutable, - the cye witness' note about Caioni's deth - makes tho placo day orthography.

B] B5
 36 Nos autem gloriari oportet [l![ortaro, Antonio] 20 Euge serve bone
37 O bona crux Viadana, Lodovico tl0 65

Alleluja. Gaudeamus omnes [Moro, Giacomo da Viadana]

21
t, tlt *125 Te Deum laudamus 66
38
.)? 126 Wen[n] gleich dein Sindt 68
39 Veni, sponsa Christi, accipe coronam 127 Angelus ad pastores ait 69
40
-44 Magnificat [Viadana, Lodovico] 24
128 -130 Kyrie. Officium Viadanae Viadana, Lodovico 69
45 Balletha 25 Gloria. Officium Viadanae
46 Judica Domine Viadana, Lodovico 26
l3l -132 Viadana, Lodovico 70
133 Credo. Officium Viadanae Viadana, Lodovico 7T
47 Caeli enarrant [Finetti, Giacomo] 27 -135 Sanctus. Officium Viadanae Viadana, Lodovico 72
136 -137
48 Confitebor [tibi, Domine quoniam] Viadana, Lodovico 5
138 Benedictus. Officium Viadanae Viadana, Lodovico 73
49 Balleth 28
139 Agnus Dei. Officium Viadanae Viadana, Lodovico 73
50
-55 Magnificat I. toni [Lasso, Orlando di] 2S
140 Quem vidistis pastores 74
56 Servite Domino in timore [Finetti, Giacomo 30
l4t Curranta 75
57 In omnem terrarn exivit sonus eorum [Finetti, Giacomo 31
r42 [Curranta], Aliud Exemplar 75
58 Domine duo talenta tradidisti mihi [Finetti, Giacomo 32
143 Datle Zingaricum. Ex oraculo Palfico I tit
59 Sit nomen Domini [Finetti, Giacomo 33
144 Dade Zingaricum. Tikha vgordonaczka 2 IJ
60 Benedicite omnia opera Domini [Finetti, Giacomo 34 145 Canzon a 5 76
61 Vox dilecti mei ecce iste venit [Finetti, Giacomo 35 146 Smidt Curranta
62 La Romana Tarcliti, Orazio 36 147 -1.49 Kyrie magne Deus
63 Salve Regina 37 150 Gloria
64 Salve Regina, Alliud 38 151 Ilfagnificat VIII. toni 78
65 Beneclicam Dominum in omni tempore Finetti, Giacomo 39 152 Fantasia Li[ lbt ], H. t?l 80
66 Regina caeli, laetare ' Valentini, Giovanni 40 153 Fiant Domine 81
67 Surge 4t r54 Hi sunt quos habuimus 82
68 O bcine Jesu [Monteverdi, Claudio] 42 155 Vos amici mei estis IGallus Handl, Jacob] 83
69 O bone Jesu, Aliud .13
156 Tollite jugum meum Gallus Handl, Jacob 84
70 Regina caeli, laetare Deschamps, Joannes 44 t57 Deus qui nos per beatos Gallus Handl, Jacob 85
7t [Regina caeli, laetare] 45 158 Tollite jugum meum Gallus Handl, Jacob 86
1' 45
[Resurgente Domino]
73 rl 45
159
160
Regina caeli, laetare
Mulierem fortem quis inveniet
Deschamps, Johannes
Gallus Handl, Jacob
87
88
74 t1
A[ve verum]
45 161 Balle tha 88
75 lViadana, Lodovicol 46 162 Chorea polonica 88
76 Chorea 46 163 l\tisit Herodes rex manus Gallus Handl, Jacob 89
77 Isti sunt triumphatores Gallus Handl, Jacob 47 164 Alma Redemptoris Stadlmayr, Joannes 90
78 Messias venit 47 r65 Balletha 91
79 Patrem Maius 48 166 Patrem 9t
80 Isti sunt [tri]umph[atores] Gallus Handl, Jacob 49 t67 Patrem Cunctipotens ot
81 Te Deum laudamus 50 r68 \reni, veni, sponsa Christi 93
82 Stabat Mater Dolorosa 54 r69 Laudate pueri Dominum 94
83 Currenta C. Thurzon[is] 55 170 Balleta I. Variatio 97
84 Praeambulum in C 55 t7t -t73 I(yrie super Casta noveqrum g7
85 Ein A/Edeliches Baddelein [?] 55 174 Gloria 97
86 Beji mir armen herttz 56 175 Phantasia Getzmann, Wolfgang 98
87 Ileines hertzen trost 56 176 Sinfonia Grandi, Alessandro 98
88 Exordium 56 t77 Fantasia Grandi, Alessandro 9g
89 Currenta Gu[ ]oth, Ambro. Org. 57 178 Phantasia Grandi, Alessandro 100
90 Ballet English 57 179 Fantasia Banchieri, Adriano 101
91 Galliarda A.G.V. 57 180 Chorea l0l
o Lauf 57 181 Octaui Toni 102
93 Intrada Franck, Melchior 58 182 taudate Dominum omnes gentes t02
94 IIntrada], Aliud Hofer [?l 59 r83 _185 Judaea et Jerusalem 102
95 Hymnus 59 186 Fuga II. toni 103
96 Padvan 60 187 Curranta 103
97 Ey fayr fax 60 188 Curranta 103
98
-100 Kyrie.Missaa2vocibus 61 189 Chorea 103
101 Gloria. Missa a 2 vocibus 61
-102 190 Curranta
103 Symphonia 63 191 Cnrranta
[1041
104 z gazd,ag siralma 63 uo4l
192 Curranta [1041
105
-107 Kyrie 64 193 Curranta [104]
64
108
-109 Gloria 194 CurraIn]ta [1041

86
B7
 Curranta Polonica r.05 259 Valtozo Tancz 138
195
196 Curranta 105r 260 tlTancz. Mikes l{elemen. 138
107 Curranta 105 261 138
198 Chorea. 1'ancz 105 262 Mas Tancz. Apor Istuan 138
199 Balletha 15 263 Uolta ad imitationem Gallicam 139
20 Intrada i CfG 264 Lupul Vaidane eneke 139
2l Iantasia lJnimona [?] 10$ 265 Ricercare VIIL toni 140
2A2 Praeambulum VIII. toni \t7 266 Apor Lazar Tancza 140
203 Clausula 107 267 Tancz 140
2.84 Curranta 108 268 Tancz 140
205 In nomine Jesu 18 269 Jauchzet dem Herren alle Apelles, Matthias 141
20 llagnus Doninus 18 270 Verbum caro factum est Finetti, Giacomo 143
207 Paduan .Iuly mangonis. 109 271 Exultate iusti in Domino [Viadaua, Lodovico] 143
[?]
Regole del Contrapunto 272 Lobe den Herren meine Seele Schtz, Heinrich 1,45
? 273 Litaniae Lauretanae Flartman, Melchior P. Fr 148
Credo 274 Benedictus es Domine Grandi, Alessandro] 1,49
208 Petre amas ne. 110 275 Benedicam Dominum [in omni tempore] Finetti, Giacomol 150
209 Rallctha IHammerschmidt, Andreas] 110 276 Patrem Cunctipotens more Polonico 752
214 Judica Domine Valentini, Giovanni 111 277 Fontes ct omnia IGerardus, Blasius?] 153
211 Ecce tu pulchra es 112 278 Domine quinque talenta 154
212 Assumpta es l{aria in caeluln IFinetti, Giacorno] 113 279 Vanitas vanitatum 155
qtl
Balletha 113 280 Fuga VIII. toni 156
214 surge propera amica nea Grandi, Alessandro 114 281 Lepus intra sata quiescit 157
21.5 En dilectris mcus 115 282 Benedicam Dominum in omni tempore [Hammelschmidt, Andreas] 157
216 I\,f isericcrclias omini 116 283
-288 Magnificat VI. toni Simbracki, Joannes 160
,11 Ardens cst cor meum 117 289 Da pacem Rovetta, Giovanni 163
290 Dialogus (Daemon- Angelus Homo) ICasati, Gasparo]
218 Alle Domine 717
Venite gentes
- 165
219 Canzon VIII. toni 118 291 Casati, Gasparo 166
220 l{agnificat VIII. toni Praetorius, Flyeronimus 119 292-294 Kyrie. Officium missae Spielenberger, Joannes 169
nrFl -226 Peccavi super numerum l^?
I \J 295
-296 Gloria. Officium missae Spielenberger, Joannes 169
297 Credo. Officium missae Spielenberger, Joannes
228 Ecce quomodo moritur justus [Gallus Handl, Jacob] 123 170
.)9(
Aliurl 124 298 Sanctus cum tremula. Officium missae Spielenberger, Joannes 171
Cantatc Domino Giacomo] 299 Benedictus. Officium missae Spielenberger, Joannes 771
230 IFinetti, 12-5
300 Agnus Dei. Officium missae
231 Dies irae 126 Spielenberger, Joannes 771
232 Gloria 128 301 Salve Sancte Pater Spielenberger, Joannes 172
233 Lepus intra sata quiescit 126 302 Oratio S. Francisci. Adoramus te Spielenberger, Joannes 172
234 Fuga 128 303 O Patriarcha pauperum Spielenberger, Joannes 1,73
235 I\'ir traumt in einer nacht FIassler, FIans Leo 129 304 Coelorum candor splenduit Spielenberger, Joannes 773
236 Bon iour de almor 130 305 Surgamus ergo [Rovetta, Giovanni] 774
-238 306 Protector in te sperantium
239
-240 Ballet, Alia 130 1.75
241 Puis que tuesi Belle 131 307 Ego sum panis vivus 175
242 Lumen renent [?] De Saint Nicolas 131
308 Audite sancti 1.75
243 Allia Uolte 732 309 Aperi soror mea 776
310 O bone Jesu
244 Ballet des Allemands ad 177
imitationem Gallicam 132 311 O anima mea suspira Kajoni, Joannes 178
aaa 312 Ecce panis Angel[orum]
245 Passomcze I Jr) [Kajoni, Joannes] 179
246 Premier Branole de Ia Rovne 133
313 O quales flores habet Paradysus [Kajoni, Joannes] 180
247 Ballet De Bygot 134
314 Factum est silentium in coelo Marini, Francesco Maria 181
248 Courante Du 'festament de Perichon 134
315 O Jesu nomen ISchtz, Heinrichl 181
316 Diligam te Domine 782
245 Peccavi [Hammerschmidt, Andreas] 135
250 'lancz tJo
317 Iratus sum 183
318 Recordare Domine testamenti tui
251 Paikos Tancz 137 184
252 Ola Tancz 137
319 Isti sunt triumph[atores] 184
320 O me miserum
253 Tancz. Az en agyam czak 737
321 *323
186
254 It{as ola ketts 737 Kyrie 187
324 Gloria
255 toih Tancz hatodon r37 -325 187
-lancz 326 Panis candidissime
258 737 188
327 Pater noster
257 NyiriTancz 1.37
328
189
258 Lapoczkas Tancz 138 Cantantibus organis 190

BB 89
 329 Lytaniae lacrymosae 1. 191 Coelorum candor splenduit Spielenberger, Joannes 304 173
330 Lytaniae B.V. dulcorosae 2. 191 Confitebor [tibi' Domine quoniam] Viadana, Lodovico 48 28
331 Lytaniae B.V. gaudiosae 3. 191 Cuncta fac nos desPicere t, 1t
332 Lytaniae S.P. Francisci 4. 191 Pa ltacem Rovetta, Giovanni 289 163
333 Quemadmodum desiderat tg2 Decantabat PoPulus Israel 8 t5l
334 Laudate pueri Dominum 195 Delicta mea horreo 10 6
335 Ab aeterno ordinata sum [Monteverdi, Claudio] 197 Deus qui nos Per beatos Gallus Handl, Jacob 757 85
336 A nyul a vetemny[ek kztt] 200 ialogus (Daemon- Angelus- Homo) ICasati, Gasparo] 290 165
337 Ailemande sola voce 201 Diligam te Domine 316 182
338 Balleta No. 35. 201 Domine clamavi ad te t7 I
339 Plagae tuae Domine ISances, G.F.] 202 Domine duo talenLa tradidisti mihi [Finetti, Giacomo] 58 32
340 Nagy Patrem 204 Donine quinque talenta 278 154
341 Petsi Patrem 205 Duo Seraphim clamabant Viadana, Lodovico 4I
t4l
342 Cunctipotens Patrem 207 Bcce panis Angelorum IKajoni, Joannes] 312 179
343 Adventi Rvid Patrem 209 Ecce quomodo moritur justus [Gallus Handl, Jacob] 228 723
344 Sarabanda Gesncr [?] 210 Ecce tu Pulchra es 211 712
345 Balletha Italica 210 Ego autem ad Deum clamavi [Viadana, Lodovico] 28 14
346 Sarabanda 2to Ego sum panis vivus 307 175
[\{islouski] 2IO En dilectus meus 215 115
Messias jam venit 2tt Euge serve bone 110 65
Bxultate iusti in Domino [Viadana, Lodovic ol 271 143
Factum est silentium in coelo Marini, Francesco Maria 314 181
Fiant omine 153 81
LISTA PIESEI,OR DUP, GENURI MUZICALE Fili ni Absalom Viadana, Lodovico 23 11
Fontes et
omnia IGerardus, Blasius?] 277 153
MUTAT A ZENEI MFAJOK SZERINT Hi sunt quos habuimus 154 82
LIST OF ITEMS AOCORDING TO MUSIC GENRES Illumina Domine faciem tuam Viadana, Lodovico 2S 15
In nornine Jesu 205 108
In omnem terram exivit sonus eorum IFinetti, Giacomo] 57 31
Motete Motettk Motets* Iral.us sum
- - Isti sunt [tri]umph[atores] Gallus Handl, Jacob
317
77
183
47
f.nr. Isti sunt triumphatores Gallus Handl, Jacob 80 49
Compozitor Nr. Eredeti Isti sunt triumphatores 319 184
Titlu-Cm-Title Szerz6 Sorsrm
Nos
filisz Jauchzet dem Herren alle Apelles, I\{atthias 269 741
Composer Orig.
f. nos. Jesu quam es laudabilis 1b I
Jesu te solum sentiam 13 17l
Ab aeterno ordinata sum fl\{onteverdi, .Claudio] 335 197 Jubilate Deo omnis terra Viadana, Lodovico 2t t2
Alteluja. Gaudeamus omnes [Moro, Giacomo da Viadana] 38 ,, Judaea et Jerusalem 183 102
Alma Redemptoris Stadlmayr, Joannes 164 90 Judica Domine Valentini, Giovanni -185
2t0 111
Amoris vis me penetret I 6 Judica Domine Viadana, Lodovico 42 26
Angelus ad pastores ait 127 6g Laudate Dominum omnes gentes 182 102
Aperi soror mea 309 17tj Laudate pueri Dominum 169 94
Ardens est cor mellm 217 1,17 Laudate pueri Dominum 334 195
Assumpta es Maria in caelum [Finetti, Giacomo] 212 113 Lobe den Herren meine Seele Schtz, Heinrich 272 145
Audite sancti 308 175 Magnificat [Viadana, Lodovico] 40 24
A[ve verum] [Viadana, Lodovico] 75 46 Magnificat L toni -46
[Lasso, Orlando di] 50
-55 2S
Augusta civitas Dei 2 I3I Magnificat VI. toni Simbracki, Joannes 283 160
Benedicam Dominum [in omni tempore] [Finetti, Giacomo] 275 150 Magnificat VIII. toni -288
151 7B
Benedicam Dominum in omni tempore aa t7 Magnificat VIIL toni Prae[orius, Hyeronimus 220-226 119
Benedicam Dominum in omni tempore Viadana, Lodovico 35 l9 Magnus Dominus 206 108
Benedicam Dominum in omni tempore Finetti, Giacomo 65 39 Misericordias Domini 21b 116
Benedicam Dominum in omni tempore IHammerschmidt, Andreas] 282 r57 [M]isit Herodes rex manus Gallus Handl, Jacob 163 89
Benedicite omnia opera Domini [Finetti, Giacomo] 60 34 Mulierem fortem cruis inveniet Gallus Handl, Jacob 160 88
Benedictus es Domine IGrandi, Alessandro] 274 149 Non potest ar[bori bona Viadana, Lodovico eo t7
Caeli enarrant [Finetti, Giacomo] 47 27 Non turbetur or vestrum Viadana, Lodovico
Cantatibus organis 328 190 Nos autem gloriari oportet
31 u6l
[Mortaro, Antonio] 36 2
Cantate Domino [Fineti, Giacomo] 230 125 O anima mea suspira Kajoni, Joannes 311 178
Christus resurgens [Viadana, Lodovico] 20 10 O bona crux Viadana, Lodovico q4
JI 21
O bone Jesu
' Indicele include i rnoteteie concertante. Cf. Roche 2. [Monteverdi, Claudiol 68 42
A mutat a concertato-motettkat is magban foglalJa. V. Roche 2 O bone Jesu 310 t77
The index includes the concertato motets as well, Cf. Roche 2.

90 gl
O bone Jesu, Aliud 69 43 108 64
O Jesu nomen Gloria
ISchtz, Heinrich] 315 181
Gloria 150 lt
O me miserum 320 186 t74
O Patriarcha pauperum Spielenberger, Joannes 303 173 Gloria ,. 97
Gloria 232 126
O quales flores habet Paradysus [Kajoni, Joannes] 313 180 324-325 t87
O quam pulchra es amica mea Viadana, todovico 27 13
Gloria
Gloria. Missa a 2 vocibus 101--102 61
Oratio S. Francisci. Adoramus te Spielenberger, Joannes 302 172 Viadana, Lodovico 131-132
Panis candidissime Gloria. Ofiicium Viadanae 7A
326 188 Spielenberger, Joannes
Paratum cor meum Viadana, Lodovico 34 1B
Gloria. Olficium missae 295
-296 169
Kyrie 105 64
Pater noster 327 189 -107 187
Peccavi
I(vrie 321
-332
IHammerschmidt, Andreasl 249 135
Kirie magne Deus 147
Peccavi super numerum 227 123 -149
Petre amas me 208
Krie super Casta novenarum 17t
-173 97
Plagae tuae Domine
110
Krie. It{issa a 2 vocibus 98
-100 6_1
ISances, G.F.] 339 202
Kyrie. Otficium Viadanae Viadana, Lodovico 128 69
Protector in te sperantium 306 175 -130
292-254
J(vrie. Officium rnissae Spielenberger, Joannes 169
Quem vidistis pastores 170 74 Snctus cum tremula. Officium missae Spielenberger, Joannes 298 171
Quemadmodum desiderat .f JJ 792 Sanctus. Officium Viadanae Viadana, Lodovico 136 72
Recordare Domine testamenti tui 318 184 -137
Regina caeli, laetare Valentini, Giovanni 66 40
Regina caeli, laetare Deschamps, Joannes 71. 44
Regina caeli, laetare Deschamps, Johannes 87 Muzic religioas din practica curent Uzulis egyhzzene
IRegina caeli, laetare]
159
71 45 Practical church music
-
Salve Regina
Salve Regina, Atliud
63 37 -
64 38
Salve Sancte Pater Spielenberger, Joannes 301 172 Adventi Rvid Patrem 343 209
Servite Domino in timore
,
AIle Domine 218 117
IFinetti, Giacomo 56 30
Ave maris stelia 25 12
Sit nomen Domini IFinetti, Giacomo 59 33
Spiritus meus [super mel dulcis] 1 t-2 Cunclipotens Patrem 342 207
Surgamus ergo Dies irae 231 1,26
[Rovetta, Giovannil 305 t74
Hymnus 95 59
Surge 67 4t Jesu dulcis memor[ia] ,6
Surge propera amica mea 12
Grandi, Alessandro 2t4 114
Litaniae Lauretanae ,.1,
Te Deum laudarnus ttt t)o
Hartman, Melchior P, Fr. ,14S
Totlite [j]ugum meum -125 Lytaniae B.V. dulcorosae 2. 330 191
Gallus Handl, Ja cob 15C 84
Tollite jugum meum Lytaniae B.V. gaudiosae 3. 331 191
Gallus Handl, Ja cob 158 86
Lytaniae S.P. F'rancisci 4.
Vanitas vanitatum 275 332 191
155
Veni Domine Jesu Christe Lytaniae lacrymosae 1. 329 191
Viadana, Lodovico 16 8
Maria mater gratiae
Veni, sponsa Christi, accipe coronam 39 23
1 t3l
Veni, veni, sponsa Christi Nagy Patrem 340 204
168 93 Nitida stella
Venite gentes Casati, Gasparo 291
11 6
166 O gloriosa Domina 3 t3l
Verbum caro factum est Finetti, Giacomo 270 143 Patrem 166
Vita salus fiducia 19 I Pat.rem Cunctipotens 167
91
92
Vos amici mei estis [Gallus Handl, Jacob] 155 83 Patrem Cunctipotens more Polonico
Vox dilecti mei ecce iste venit 276 152
[Finetti, Giacomo] 61 35
II 73, 45
Patrem Maius 79 48
II 74 45
Petsi Patrem
[Resurgente Dominol
341
72
205
45
Sanc[tissima], san[ciissima] 5 t3I
Stabat Mater Dolbrosa 82 54
Te Deum Iaudamus 81 50
Veni Creator Sniritus 26 12
Virgo Dei 6 ' [3]
Pr{i ale miselor Misettelek Mass iterns
- -
Piese instrumentale aparfinnd barocului Barokk hangszeres
Agnus Dei. Officium
Agnus Dei. Officium
Viadanae Viadana, todovico 139 73 ttelek Baroque instrumental pieces -
Benedictus. Officium
missae
Viadanae
Spielenberger, Joannes
Viadana, Lodovico
300
138
171
73
-
Benedictus. Officium missae Spielenberger, Joannes 299 771 Aliud 229 l:24
Credo t Canzon VIII. toni 219 118
Credo. Officium Viadanae Viadana, Lodovico 133 7l Canzon a b 145 7et
Credo. Officium missae Spielenberger, Joannes
-135
297 Clausula
170 203 107

92 93
Exordium 8B 56
Currenta C. Thurzon[is] 83 55
Fantasia Li[]bt I,H.t?l 152 80
Ein AiEdeliches Baddelein [?] 85 55
Fantasia Grancli, Alessandro 777 99
By fayr fax 9"t. '60
Fantasia Banchieri, Adriano 179 101
Glliarda A.G'V' 91 57
Fantasia Unimona 201 1 Cr(
Franck, Melchior 93 58
Intrada
Fuga 234 12 200 106
Intrada
Fuga IL toni 186 108
IIntrada], Aiud FIofer[?l 94 59
Fuga VIII. toni 280 153
Latrf 92 t
La Romana Tarditi, Orazio 62 366
Lumen renent [?] De Saint Nicolas 242 131
Octaui 'foni 181 102
Meines hertzen trost 87 56
Phantasia Getzmann, \!ollgang I lJ 980
Paduan JulY mangonis. [?] 207 109
Phantasia Grandi, Alessandro 178 10
Padvan 96 60
Praeambulum VIII. toni 202 107
Passomeze 245 133
Praeambulum in C B4 55
Premier Branole de la RoYne 246 133
Ricercare VIIL toni 265 1/0
Puis que tuesi Belle 241 131
Sinf onia Grandi, Alessandro 776 98 Gesner [?l 344 210
Sarabanda
Symphonia 103 IJ
346 210
Sarabanda
Srnidt Curranta 146 77
Uolta ad imitationem Gallicam 263 139
IMislouski] 210
Ilansurri instrumentale n stilul Europei de Vest Nyugat-Eurpai
trne telek Dances in Western European style
-
-
Dansuri regionale Regionlis tncttelek ances of the region
Allemande sola voce 337 20't, - -
Allia Uolte 243 132
Ballet De Bygot 247 134
.1 Apor Lazar Tancza 266 140
Ballet English 81
Chorea 76 46
Ballet des Allemands ad imitationem Gallicam 244 132
Chorea 180 101
Ballet, Alia 239
-240 130
Chorea 189 103
Balleta 1. Variatio 170 97
Chorea polonica
2t1 162 88
Balleta No. 35. 338
Chorea. ^lancz
49 198 105
Balleth. 2B
Lapoczkas Tancz
15 258 138
Balletha 71 Tancz. Apor Istvan
IVIas
45 25 262 138
Balletha Mas ola ketts
88 254 t37
Balletha 161 NyiriTancz
165 257 L37
Balletha 91
Ola Tancz
199 105 252 137
Balletha tOit Tancz hatodon
1r0 255 t37
Balletha [Hammerschmidt, Andreas] 209 Pail<os Tancz 251 t37
Balletha 2t3 113 Tancz
345 2lo 250 136
Balletha ltalica Tancz 256 L37
Bey mir armen hertz 86 56 Tancz 267 140
Bon iour de almor 236
-238 t30 Tancz 268 140
Courante Du Testament de Perichon 2/18 134 Tancz. Az en agyam czak 253 137
Curanta 30 15 Tancz. Mikes l{elemen. 260 138
Curranta t4t 4l
l.) Valtozo Tancz 259 138
Curranta 187 103
Curranta 188 103
Curranta 190 t 1041
Curranta 191 t 1041
192 I 1041 Cntece laice Vitgi nekek Secular songs
Curranta
Curranta 193 I 1041 - -
Curranta 194 t 1041
Curranta 196 105 A nyul a vetemny[ek kztt] 336
Az gazdag siralma" 200
Curranta ts7 r05
104 63
Curranta 204 10E
Ho.:nrg meg Ur Isten lliiusago[mnak] l4
Curranta Polonica 195 105 uade Zingaricum. Ex oraculottico't 17l
t42 uade Zingaricum. Tikha vgordonaczka 2 t43 75
[Curranta], Aliud Exemplar 75
t44 75
Currenta Gul loth, Ambro. Org 89 57 Lepus inbra sata quiescit
233 126

94 95
Lepus intra sata quiescit 281
264
757
139
Indice cu nsernnri i datri scrise de mlna lui Joannes Kaioni/
Lupul Vaidane eneke Kajoni (conform cu manuscrisul)/ Mutat a Joannes lfuioni/
Messias jam venit 211.
Messias [jam] venit 78 47 Kajoni klezve rt bejegyzsekhez s keltezsekhez (a kzirat
Mir traumt in einer nacht Hassler, Hans Leo 235 1,29 szeritll Index of inscriptions and dates written in Joannes
Tegnap groff halala ,1 10 Kaioni/Kajoni's hand (in conformity with the manuscript)

. la nr. 8 (f. ,5) dup^titlu. { dg_Matthias Seregely / 8.s2. (5: l.) - a Seregly Mtys
MUTA,TO A ltal adott cm ut-n,/_at.no.^8 (f. 5) after the heading written by l{atthias Seregely Domintca-Sl.
INDICE CU NSEMNAII $I DATARI Rr. VIII' itt 3. nocturno.
BEJEGYZSEKHEZ
-
S TNITEZSEKHF,Z INDEX OF 'oost Puscha
b. dup nr. 57 (f. 31) laz 57. sz. (31. l.) utn / after no. 57 (f. 31): Iinis, od lauilem Ss.
INSCRIPTIONS AND DATES
- Anostolorum.
c. f . 47147.l.lf. 47: Cetera vide. 60
d. la nr. *2 ({. 54P) la 82. sz. - nl (5412.1.) / at no. 32 (f. 5412): Rr P(ater) Michael
Fenesi tulit Colosvarino-
Indice cu nsernnri i datri scrise de mna lui Matthias ' Sere- e. dup nr. 97 (f. 6012)lag7. sz. (60/2. l.) utn / after no. 97 $. 6012): Finis Feria 4. Cnerum
gely (conform cu manuscrisul) / Mutat a Seregly Mtys in Claustro Csiliens(is) Anno 1660. Fr(ater) Jaannes Kioni Organista.
kezvel rt bejegyz,sekhez s keltezsekhez (a kzirat szerint)/ f. f. 60/60. l./f. 60: Hunc Cantttm inuenies Ungarice. fol<tiov qZtll.
9. f._63 clr. (ntre lele B portative) / 63. L j. (o 9 r'onalrendszer kztt) / f. 63 r. (among the
lndex of inscriptions and dates written in Matthias * Seregely's 8 staves) : Sic Cantqntur Epistolae in Para.sceue. et feria 5. Er tractaf Sancf i Augustini Episcopi supe,
psalmos.
hand (in conformity with the manuscript) h. f. 75 dr. (sclierea corect a datei n oglincl) I 75. l. j. (a helyes vszm a lap tkrben) /
f. 75. t.(the corre-ct data in the format):.Iilest. 1639. 6. Febr(uarij), Claud(iopoti).
/. clup nr. 7(f. )la 7.s2. (41.) utniafter no. 7 (f. 4): Sil laus Deo sem(per>> In Ildwegh i. la nr. 166 (f...91) atenlionarea / figyelmezteti:s a 166. sz. (91.'t.) darabhoZ / t no. 166 (. 91)
die tt9 aprilis ( ? ) > ante Pcscha 76 <3'>
tlre mention: Non uald lene est hic. uide 48.
fi. auie 'nr. 249. tzll)la 24.s2. (1217.l.) utn/after no. 24 (f. l2l1)'. Laus Deo sempet, . nainte de piesa nr. 218 (r: 117 {1.) I " 218. s!. (117. j.) darab eltt / before no. 218 (f.
et Gloria Fer tertia, paschalis acta in flidwegh A(nn)o 1634. 117 r.): Pgst-R.eging-coeli. tempor.e Pasch(a/i/ dup n.218 (f.. 117 dr.) / a 218. sz. (117. l. j.) utn
I/f. dup.tr. 5 (f. 19):ia 35 sz. (19.1.) utn/after no. 35 (f.19); Sif lau.s Deo in secula secttlo' after no. 218 (f. 117 r.): Finis in Conuenlu Czikiensi Fr(atr)um Min(orum) Fr(ater) Jodn(nes)
rum, Amen, lS, IOSE. Kaioni Org (anista ) et Organfab (er ) 1666, 25 . Julij.
IV. dup nr. 59 (f. 33)/ a 59. sz. (33. l.) utn/after no. 59 (f. 33): SoIi D-eo Gloriu in aeternum /c. la nr. 231 (f. 12612) aten{,ionarea / figyehneztets a 273. sz. (12612. l.) darabhoz at no.
I
Accepi a \rulintino, Zelino, silezo Allba JuIIiae Die Ultimu l-..ta!i e(nn)o !ffi_a'
' V. deasupra titlului piesei nr. 62 (f. 36)/ a 62. sz. (36. l.) {arab cme fltt/above_the heading 231 (f. 12612) the mention: Poteris etiam lud.ere er G. in canttt d.nro ,.nm.
of piece no. 62'(f. 36): M'(atthiasl S (ereelg) A(nn)o 1636, i nsemnarea-n_ titlu/s a cimbe l. duptextul latin.de.la-,,/-cp-rrs inlra sata...", nr.233 (1. 127) l233.lsz. (127. t.) a,,Lepus intra
val bejegyzs / and the inscriptin in the heading: Habeo a. Sebastiano Wildenero sala..." c. latin szveg utn /-after the Latin text under ,Lepus intra sata...", no. 233 (f. iZZ fa-
VfI"A"p nr. 63 (f. 37) /-a 63. sz. (37.l.) utn/after no.63 f: 32: A(nn)o 1638 Die 18,7bris ltulaturam huiis habs Circa finem libri, uttle Benedicant fol(io) 157. Habeo Iich(aeie) Drschero
V/1. dup nr. 66' (f. 40) / a 66. sz. (40. l.) utn/after no. 66 (f. 40); Repetitttr ab A (nn )o Org(anista ) Stqes (uariensi ) 1664. 13. Felt (ruurij ) .Iinis.
1639. die 28. Sbris Matthiqs Seregelg m. dup nr. 249 (f. 136/1) l 1-Z+5. sz. (136/1. l.) ut.n / aiter no. 249 (f. 136/1): Finis Laus
VLII. dup nr. 125 (f. 68/)-l a 125. sz. (6812.1.) utn / after no. 125 (f. 68i2)t SoIi Deo Deo. in nlonaslerio Csikien (si ) 1663. 17. Junuarj. Fr(ater ) Joqnnes I{aioi Organista. scribebat.
gloria in ueternum---A(nn)o I63L D(ie) 20 Xlris In A[onoster tjftyt plesei nr. 273 (f. 148/2) I.a 273. sz. (t481'>,1.) darab cmben / heading of piece
' IX. dup nr. 139 (f. iS+ 1a 139. s2. ltS+.I.) utn iafter no. 139 (f. 7314)|: Laus sit Deo ^_.{t..in
(f. 148/2): Lytaniae Lauretsnae .P(.at.ri.s). lrltrys_ Melchiors Hartman S(:anctaelalrae'Theo-
1o.,J73,
in MonostelMonaste die Nouem(b)ris ante Natiuitate chrisli 1634 Iog(iae) Leclo(ris) OrtI(irtis) Mirtor(um) S|rict(ioris) Obs(eruantiae) Prao misiae l6dI.
X. riup nr. 151 (f. Bo/i)'l a 151. sz. (80/1. t.) utn /after no. 151 (f. 80/1): Finis A(nn)o rlup nr. 27ri (T. 152) I a 27tt. sz. (152. l.) utn/aftr no. 276 (f. 152) : Anno 166 4. Fr (ot.er )
1638 die, 22, Xbris Joan(ne) tlfrg Ordlinyy)-S(ancti.) P(atri) Itrancisci In Monast(eri'o) E gva(r)d(ianatu'arrt-
X1. dup nr. 152 (f. 81/1) I a 752. sz. (81/1. l.) utniafter no. 152 (f. 81/1): Die, 13. Febr(ua- (si)e S.s. Pefi el Pquli, /n csi/r Somlyo.
ris) A(nn)o, 1639 Matth(ias) Ser(egeltJ ) . . Dup E. X{uckenhaupt, din nsemnare ar rezulta c Ioan Cianu a dedicat aces t cntec bi-
sericii de la Cioboteni (localitate contopit cu oraul Miercurea-Ciuc) Muckenhaupt Erzsbet szerint
XIL n tittul piesei nr. 155 (f. 83/2) /a 155. sz. (83/2. l.) darab cmben / in the heading of I
piece no. 155 (f. 8312): de Apostolis et Eu<unlelislqs,>r |-fejegyzs arra enge<l kvetkezletni, irogy I(joni .Ihnos ezt az ne'tt a csobotfaivi lCsit<szereaavai
(XII/. easua titlului piesei nr. 157 (f. 85) /a 1_57,s7. (85. l.) clarab cme fltt / above the
.
helysg) templomnak ajnlotta / After E. Muckenhaupt, from the inscription, it appears
:gy*"l."ogl
that Caiori has dedicated this song to the churcl "Cio.
heading of piece no.-157 (f. 85): De (Sanctis) Sirnone et luda.) of-Cioboteni (a plqc taken in by Miercur"n idwn.
XfV. deasupra titlului piesei nr. 211 (f. 112) la 21L. sz. (112. l.) darab qlry* fltt i above ta ,.,3.,,1o nr. .279 (!. tSS atenlionarea / figyelmeztel,s a 279. sz. (155. l)'darabhoz I at rc.279
S' tycl the metion: Repele vanitas ul supra, ti signo usque ad signum.' Nota ben.
the heacling of piece no.2ll (f. i12) : De BEATA Vir:gine i n continuarea nsemnrii / s. a bejegyzs D.upnr.279$. 156/1)]-??79. sz._(156/1. l.)_utnlaftr tto.27"9 (f. 156/1):
folytatsant / aftel the inicription ,,2 Ten(ores) et Basso": Die, 8,1O btis iar dup^Piet3. nr. 211 usque signum . 1663. 8. Feb (uarij I;rat (er 'Joan RepeteVunitossigno
(f."112) la 211'. sz. (112.l.) darab utn pedig /and at the end of piece no. 211 (f' 112): Finis ) ) (ies ) Kaioni.
XV. dup nr. 214 (f. 115/1) la2l4. sz. (115/1.) utn / after no. 214 $. 115/1); SoIi Deo ,.-^_^,,9..*ltpnr.-280
t'eogti. $. I57ll) / a 280. s2. ltSli. t.)'utn / after no. 280 G. l57lt): Irt festo S (ancri t
1663. In Monast (erio ) Ilr (ater ) Joan (nes ) Kaioni'Org (anista ) scibebat.' otute' uerba'signa
Gloria In honorem B(eatae) M(ariae) V(irginis) A(nn)o 1642 die. 25. iam in sl - - ' mysferia.
XVr. isclitursau nsernnare (?) dup nr.22 (f. 11/1), 23 (f. 1112),60 (f. 34), 175 (1. 98/1), n-, ^, r'. dup nr. 291 (f. 16S) / a 29L. sz. (168. l.) utn / after no. 291 (f. 163): tr'inis. ad trIaorem
t77 (f. ssl2) lalrs vagy megjegyz,s (2)-a 22' (11/1.. l.), 23. (tl-l?..!.),,.69: G^4. 1')' 775' (e8/1. l.), i^:^W:.!ry'
c.onrs
Frq.ter P(ater)-Joan.(ne_s) Kaioni Orga(nista)'Anno 1664. die'2. Octb(ris) Ih d.ie Trans-
177.'(9912.1.)'sz.darabot tansigntureorinscription(?)afternos.22(f. 11/1),23(f. 1112), 60 (f.34), s(anctae) clrae'virginis In' Monqsteri csikie(nsis,) ad candelam.
fi5 (r.98ll), 1.77 (f. 99/2): M(atthias)l(anu propria) ^-^l',.dyp .^304
(f. ry313) | a 304, sz. (17313. l.) ritn i after no. 304 (f. 173i3) : Officium Mis-
"., ptaedictum,
tue et Quatuor Concertus de Sancto Francisc;o In gioriam Dei, et usim ueneali[is Conuents
96 ?
- coDtx cAroNr gT
 Csikiens(is) Composttit: ac Ad. R(eueren)dis PP. in Christo, Casimiro llomokos Cttslodi, el Ni-
colao Somlyai Guardiano dedicalum est: Joatvte Spielenbergero Lautshouiettse Xl.ttsico Instrur4enlali. I,ISTA LOC^ALTTATILOR/ HELYSEGNVMUTAT /
165 9.
LIST OF PLACE NAMES
f. ctup nr. 313 (f. 181) / a 313. sz. (181. l.) utn / after no. 313 (f. 181): P(ater) Fr(atcr)
Joannei I{qioniOrganistaetOrganifaber seribelat in Conu(enttt) Csiltien(si) 6a. 14. 'Iaii. In hoiorem Numele rmanesc Slovac, polonez IJnguresc Gerrnan Latin
S (anclis,)s ( i)mae
Trinitqtis Amen. romn nv szlovk, lengyel magyar nmet latin
rr. dup nr. 316 (f. 182/2) /a 316. sz. (18212. t.) utn /after no.316 G. lS2l2): Fr(ater) Jorm. the Rornanian Slovah, Hungarian Gerrnan tr atin
(nes ) Kaioni suibebaL 1664. In oct (obris ) S (ancti ) Bernarrlini ' name Folish
u. clup nr. 319 (f. 185) / a 319. sz. (185. l.) utn /aftel no. 319 (I. 185): P(rer) Frttter Alba lulia ulafehn'r Iiarlshurg Alba-.Iulia
Joan(nes) Kaioni Organista et Organifalter suibebat. 1664. Feria Qttcu'Itr Tetnporum Pe,ntecostis.
Bkr
w. dup nr. 326 (f. 1Sg) / a 326. sz. (189. l.) utn / after no. 326 (f. 189): ltr(aler) P(ater) Bacirtt
Joqnnes Kaion suibebat sat magn6 iu!ore pridie S(ancti) Ladislai Reg(is) Uttg(ariae) 1664, In Cot- Barclejor. ljartl artlel cl
IJ

uent(u) Csikien (si ). Braov Brass Kronstadt Corona

r. clup nr. 333 (f. 195/1) / a 333. sz. (195/1. l.) utn / afl-er no. 333 (f. 195/1): Fr(ater) aransebe Iiar' nsebes
Joannes Kaioni scrilelat. 1669. Organista, et Organifaber, p(to) t(einporc)Guardanus tr4ikhaziert(sis).
C

', A.clup nr. 335 (f. 199) / a 335. sz. (199. l.) ul"n / after no. 335 (f. 199): Fr (aer) Jocrrres Ciaur Marc Nagvkion
Kaionl 1669. Cianu hfic Iiiskion
z. nr. 336 (f. 200) /336. sz, (200. l.) / no.336 (f.200): Notia: Rgi halulmu Eaztlag iroal(masl Clugreni nf iihrza
mu ) Messias uenit. 47.
Cl uj-h[n;tur Iiclozs- Colos-
z.l. clupnr.340(f.205/1)/a340.s2.(205/1.1.)utn/afternc.340(f.205/1):P(ater.)Joann(es) rnonositot mrnostor
Kajoni Composttit, Transuertit. 1671 XX (attu) p(ropria).
Chij-Napoca I{olozsvr Klausenburg Claudiopolis
2.2. dupi nr. 341 (f.20711) | a 341. sz. (207 1. l.) utn / aft.er n<i. 341 $.20711): Autlwr idem
scrips ( it ). Copalnic- Iipolnok-
2..i. dup nr. 342 (f. 208) | a 342. sz. (208. l.) utrn / aft-er no. 342 (f. 208): Fr(ater) Joqnnes trI ir rr tur monostor
Kajoni Organista, et organifalter, Composnit, *transuertit et primrts inuenit. Guard (iarttts) In Szarhegg Esl.elnic Esztelnek
Anno 1671. 25. Maij. Scripsit idem.
I-Ighig IIich'g F'rstenburg
2.4. dup nr. 343 (f. 209) | a343. sz. (209. l.) utu / afbel no. 3-,r3 (f. 209) : E<2, I negy Pulremet
P(ater) Joannes Ikjoni fordit<atta, MagtJarr, azon Deal; Notajaa. O(mnia) A(d) X/I(aiorem) D(ei) I- rzarea Szrhegv
G(loriam) 1671. Leghia .Iegenye
2.5. dup textul n limba maghiaral piesci Messias atn uenil (f. 211 dr.) / a Messias iam uenit I-e vo a cse
c.'darab mgyar szvege utn (211. l. j.) /aftel the text in l\{agyar of the piece Messias iam uenil
(f. 211 r.): hac cantilena non tam ungarica quam Slolaac est. l{erite i{idvg
(Krasznahdr'g)
l{irntiur Bgamonostor
l\Ielior Szamos-.
monostor
lliercurea-C iuc Cskszereda
Alssebes
Sebastovir
Oclorheiu Szkely- Oderhellen/
Secuiesc udvarh.elv Flofmarht
Prejmer Prrzsmr Tartlau
Preov E,perjes
$umuleu-Ciuc Csksomly
Snzieni Iizdiszentllek
Sibiu NagvszeJren Hermannstadt Cibinium
Sighioara Segesr,r Schssburg
Spi5sk Szepes- Teplicz
'IenIica taoolca
SpiSsk Szepes- K dorf

'frnava Nagyszombat au
l,
aw

I
99
I

I
 BIBLIOGRAFIE _ IRODALM _ BIBLIOGRAPI{Y - CaIaIog. Personurum eI Officiotum Provrciae Austae S.1., f.' 1601-1640, coll. et ed.
Catalogl
Ladislaus Lukcs S.I. (Romac, 1982) : Monumenta Historica Societatis Jesu, vol. 125.
1 - Calalogtts Claudopolllanae SJ inscriptorum, usque ad, a. I'108, University Library, Budapest coll.
Cat:rlogus
Pray. Tom. II. 44 (181r-189v)
Catalogus 2 - Ladislaus Lukcs 5.1., Calalogus su Nomnclalor blo$aphlcus pcrsonarum Poutnctae ALt/rac
Socielals lestt (1551-1773) (Romae, 1988),3 vols.
ClristoPh - Johann Christoph, Davld Stssel , Ilurzgcfasdes Muscalischet Lcxtkon, Chemnttz, 17!9 (Leipzlg,
1975)
Cobnu - Gheorghe Ciobamt, Izuoare le muzlcil rcmnell [Sources of Romanian music], II. (Bucuretl, 1978)
Acta Jesuitarum - AcIa Jesultarm ln Ilungaria ab Anno 1590 usqlte 1647, Pars f, I'If l\{e 8-1 jelzett mikrrofilrn a Constantinescu - Radu Constantincscu,.Muzica l Transilvania 1438-1648'[Music in Transylvania 1438-16{8],
Budapesti Igyetemi l(nyvtr [BEK] kzirattrban, ill. C 20/3-8. jelzettel az Orszgos Studi| de muzicologe 17 (1983.)
Levltrban. [Budapcst, University Librry, [UI-R] Manuscript Collection, rnicrofihn trIe 84;Nntional Crclun 1 - Joachirn Crciun, ,,Cronica rimt a lui Joan Caioni din 165.1 despre sf ritul lui Vasile Lupu'[Joannes
/\rchives, microfilnr C 205/3-8]. Cioni's chronicle in verscs forn 1654, about tlc rout of Voievod Lupull, in: z{nuarul Inlltlululul
Adrio Adam Adrio, Die Anfnge des geistlichen lionzerls (Bcllin, 1935) de lstote din Clttj IV (1961), 237 -244.
- Joachim Cliciur, Reperloriul manususelor cle cronici lntetnc sec. XV-XVIII priotnd lttoilr Ro.
Antal - Imre Antal, ,4 cskszereda. liceun ntonogrdfidja 1068-1968 [A monograptry of the Collcge in Cslksze- Crciun 2 - mti [Thc repcrtory of manusclipt chronicles from the 15th-18th-century, rcferrng to Romania's
rcda 1668-19681 (Csikszereda, 1968)
historyl (Bucurcti, 1903)
Apel - Willi Apel, De Nolaton der polgplrcnen lltlttsk (Leipzig, 1062) Jzsef Dank, Yelus Ilgmnarlm Ecclesdstum llungarae (Budapcst, 1893)
Arnold Il.T, Arnold, 'Ihe Arl of Accompanlment from a Thorottgh-Rass (L<-rndon, 1031 ;repr. 1965) Dark -
- Dcckcr - Viliam Decker, Dejnll runej Dilrobll pdplcla nd Socensftu [History ol the ppcr-mills in Slovakla
Arnold 1
- Denis Arnold,,,Giovanni Croce and tl:^e Concerlato Style", trlttsical Quarlerly 39 (1953), 3l-48. (Matica Slovcnska, 1982)
Arnold 2
- Donis Arnold,,,Alcssandro Grandi, a Disciplc ol Montcvcldi', 43 (1957),171 Lszl Dobszay, hlaggar zenelrlnel [Flistory of I{ungarin music] (Budapest, 1984)
Arnold f)enis Arnold, ,l\{onteverdi: Some Cotlengucs and Pupils', 'Ilrc ^[usicalQuarterln
-186.
ll,Ionleucrdi Contpanotr, cd. Nigel
DobszaY -
3
- f)omokos - }lr'ia Domokos, .Dic Tnze der Barkczy-Ilandschrift", Studa MustcologicalT (1975),215-217,
Fortune - Denis Arnold (N.Y., 1972), 110-130.
f)omokos P.P.1 - Pl Pter Dornokos,,,A csfkcsobotfalvi Kjoni-kzfrat" [The Caioni manuscript of Csfhcsobotlalva],
Arnold 4
- Dcnis Arnold, Gooanr Gabrtel, Oxford Studics ol Composcrs 12 (Oxford, 1974) Zenel S:emle 1929, 25-30,
B. _F. _FI. Burlas-Fi3er-Flocj3, Iludba na Slouens/iu u XYIL sforoii [1?th-ccntuly music in iloverkial
- (Bratislava, 1954). Domokos P.P.2 - Pl Ptcr Domokos,,,A cslkcsobotfalvi kzirat" [Thc rnanuscript of Csfkcsobotlalva], Irodalomllncll
I{zlemngek 1925, 209 -214,
Bndl - Vazul Bndi,,,A csil<sornlyi rm. kath. fgynrnasiurn tr'trctc" ['l'hc histoly of thc Rornan.Ctholic Dorirokos P.P.3 - Pl Pter Dornohos, ,,4 csfki nckesknyvck' [Song-books in Cslk], Stkely Nemzct Mtir.urn Em-
Grammar School of Csiksomly], A csiksomlgi rn. kath. fgymnasium Ertesitje az 1893- 96, Ikl;ngue (1929), 102-112.
lanuI [The chroniclc of thc Ronan Catholic (iamrnar School of Csiksomly for the schoolycars
1895 (Csik-Szcrcrda, 1896) Dornokos P.P,4 - Pl Pter Domokos, ,,des Hazmnalt akarlam siolg\ni..." {I wanted to scrve my dear homeland,..
-18961 (Budapest, 1979) - I(joni Jnos: Cantionale Catholicum {Within this the complete cdition ol thE
Baron - John H. Baron,,,Monody: A Study in'Icmrinology", M.lsical Qatrlerly 5.1 (1968), +62-474, Cantionale Catholicum 1676 of Caionil.
Bartalus Istvn Bartans, A maggar egyhdzak szerlartsos nelel a XVI. s XYII. szzadban [Litulgicl songs
- of DDT I\lolchior Franck, Attsgewhlte Inslrumentalwer'e, hg. v. Frarz Blsche (Leipzlg, 1904), Denkrntiler
the Hungarian churches in the 10th ancl 17th ccnturies] (Pcst, 1869)
16 - Deutscher Tonkunst, Bd, 16.
Bartk 1 - Brlla Bartk, Ium,inisce Yolksleder aus dem l{omlal Bilor (Bucureti, 191l) DTB IV/l Ehbach-I{assler, l4erllc fr Orgel, hg. v. Ernst von Werra (Braunscrweig, 1g03), Dcnkmliler Tonkunst
Bartk 2 Bla Bartlc, I/o/rsmusi der Rminen oon llaramurep (Nlnchcn, 1923)
- Bayern IV/1.
-
Bumker - Wilhclm.Bumkcr, Das katholisclrc dettlsclrc l(irchenled in seinet Sirrgrrreisen (Ifreiburg, 1886-1911; Bincder - Gcorg Eineder, Tlrc Ancicnt Paper-Mllls ol IIrc Former Attstro-Iungarfan Empire snd. Thelr Wqle"
rcpr. Hildesheim, 1962) rnars (Hilversum, 1960)
Bcncdck - Fidl Bcncdek P., T'atdrl:etrs Cskla 7661-bn [-Iartar invasion of Csk in 166f] (I(olozsvrr, 1945) Eitner QrrI - Robelt Eitner, Quellen-Lekon d.er l\Ittsker und. llluskgelehrlen (Gra2,211959)
Benkd 1
- Andrs Bcnk, -Elcrnente structualc 1r uncle dansuri dir 'Codicele Caioni"' IStructulal elcmcnts IroE - ErdlgiOrszdgggls Enlkel: [Transylvaniar Parliamentary Relics], ed. Sndor Szil.gyi, I-XXI.
in some dances of the Codex Caioni], Lucr de muzicologie (t1)79),23-28. i
)(II-XIII (Budapest, 1875-1898): Monumenta Hungariac Historica III/b.
Benk 2 Andrs Benk, ,Kjoni Jnos,
- I(ounk (l(oloszvlu, 1981), 819 a humanista muzsikus" [Joanncs Caioni, tho humanist musicinn], Estcrhzy - PdI Estezg, Ilarmonia caelcstts (111), etl. ..gnes Sas, Musicalia Danubiana 10. (Budapcst,, 19Sg).
-623. Fb
- Bertalan Fab, A m(tglJar npdal zenel fejldse [Musical devclopment ol the Hungarian lolk song]
Bir - Vcnccl lllr, ,,Bethlon Gbor s az crdlyl katolicizmus" [Gbor Bethlen and the 'I'ransylvanian Ca-
tlrolicisml, ErdIg Irodalnti Szemle.6 (1929),
(Budapest, 1908)
253 -2?3, Fejrpataky
- Lszl Fejrpataky, Csiksomlgl jcg1zelek 7908. jnitts 11-18., Orszgos Szchnyi l(nyvtr [Notes
Blume
- Friedrich Blume, I)as monodische Prtnzp in der protestanlisclen Kirclcnrnrsi/c (Lcipzig, 1$25). from Cslksomly 1908, June 14-18, National Szchnyi Libraryl, Fol. Hung. 1525.
Boga
- Alajos Boga, lIolkus isltol:tis mltja lrdlyen ['fhc past of Catholic schooling in 'flansylvanir] Flotzinger
- Iudolf Flotzinger, ,,Dic liirchliche Monodie un die Wende des 16./17. Jhhunderts", Gcschlchtc
(Kolozsvr, 1940) der katholischen Iiirchenmusik, ltg. v. Karl Grstav Fellerer (Kasse, 1976), II:78-87,
Boros 1
- lrotunt Boros, ,,Szljegyzetck a I(joni-krdshez" Ffarginalia for the Caioni issuel, A .Ilrnlc
(r021),159.
I:'odor
- Sndor Fodor', -A csflisomlyi ferences knyvtr kincseirI" [The treasures of the Franciscan library
in Csl<somlyl I-IV, I{eresztng Sz 7lI7 -14 (1990)
P. A Ilrnk (iaras
Boros 2 - lrortunt Boros, ,,P. I(ajoni
(1s22),437.
Jnos Hcrbaiuma' [The lJcrbarium of Joannes C:rionij, - KIra Galas, ,,Az olasz mcsterch s a magyarorszgi barokk trhdftsa (I\tvszvndorls, mvsz.
kapcsolatok)" ['fhe Italian rnaesttos nd the spread oI the Baroque in Hungary (Wandering artists
'A Fckctcknyv " [Jonnes Caioni: 'Ihe 'I-iber nigcr"], A Ilrnk and artist conncctions)1, Mgggrorszgl renesznsz s barokk - llluszettrt.neft lanulmdngok lThe
Boros 3 - lorturrt Boros, ,,I{joni Jnos:
(1923),405-407. Renaissance and the Baroquc in Hrrngary
lgic),201-229. - Studies on history of artj, ed. Gza Galavics (Budapest,
Boros 4 - Irortunt Boros, ,,4 Kjoni-kdex els lri" [Thc first nottors of the Codex Caioni], ErrIIg' liorlalm Geyer Jzsef Geyer, ,4.2 orgona fThe organ], 3 vols. (Budapest-Szeged, 1933)
Szemle 7924, 267-262.
Ghircoiaiu
-
Boros 5 Fortnnt Boros, ".: erd-Igi ferencrendiclc [The Transylvanian Franciscans] (I(olozsvr, 1027) 1
- Romeo Ghircoiaiu, ,,Codex Caioni i unele probleme de istoria muzicii romneti" [The Codex Caioni
- and a few problems of Romanian music hstot'yl, Steaua I (1958), 92-95.
Boros 6
- l,'orttrnt Boros,,,I(ajoui Jnos (1630--1687)",Itrd,tyi katoll;us nagyol; IGreat 1'ransylrarian Catho- Ghircoiaiu 2
licsl, ed. Vcncel Bir - Fortunt Boros (Kolozsvr, 1941), 69-73. - Romeo Ghircoiaiu, Contribuli Ia stora mzicii romneli [Contributions to the history of Romanian
musicl, L (Buculetl, 7963), 2O2-2O7,
Brandsch
- G. Braudsch, ,,Die Musikaliensammlung. der Baron Bmkcnthalischcn Bibliothck in Flelmannstadt", Qhilcoiaiu !
Milteilttngen aus dem Baron Bttlcenthalisclien Illuseum VIII (Lcipzig, 1941), 32-47. - Romeo Ghircoiaiu, ,,Les mlodiis roumaines du XVI" -XVIIIo sicles', Musica Antqua Europae
Orientalis I (Warszarva, 1966), 431 -439.
Brncui 1
- Petre Brncui, Isl;a muzicit romneti [History of Rom:rnian rnusic] (l3ucureti, 1969), 64-67. Gygy Jzsef Gyrgy, A ferencrendek Iete s mkilse Erdlgben [The life and activity of Franciscns in
- Transylvanial (Kolozsvr, 1930)
Brncui 2
- Pctre Br'ncui, Mzica romtuteascd $i marile ci primeniri lRomanian music ancl thc cxtent o1 its de-
velopnentl, I. (Bucurcti, 1978) l{aack II. Haack, Anfnge des Generalba-salzes (Tutzing, 1974), 2 Brde.
-
BThV - Rbert rptt Iurnyi, Thcmatisches Ver:ecltnis der lVlusillsantmlung on llarlfcttl (Brtla), Deutscre I{aas Robert Haas, Die Musk des Barocks, Handbuch der Musikrvissenschaft, ed. Iirnst Bcken (Potsdam,
l\Iusik irn Ostcn, Bd. 2, hg, v. Helmut Loos (tsonn, 1991) -. 1 e2e)
Caldwell - Jolrr Caldwcll, ,,Canzona", The New Groue's Dclionarg of lllttsic and rJlusi:ians, cd. St:'.nley Sadie Hajr|i Andrs Hajd, ,,4 Kjoni-kdex egyik.cignyrryelv{i dalal Gypsy-language song.of ths,Codex
(Londorr, 1980), III: 742-745. - [A
Caionil, Elhnogrdfa (1955), 482-486.

100
10r
Flerepci Jnas Hcrepei,,,I(atolik'.rs vonatkozsir rd:.rtok a XVII. sizrcll>I" [Data of C*trolic lcfcrence froin
- thc Bazs Orbhn, .rl Szkelgfkl lcrsa lrtrlelnt;., rgs:cli s npisrnc szentpontbl [The descriptiorr of
l?th centur5'1, dallr X\tII. s:.d:adi s:ellcm nrczralnrtirtlc lrlnclltcz fi)ocumcntalion to t|c Orbn - Seklelancl flonr ristoric, alchcological aud ethnoglaphical viorvpoiltt] (Pest, 199)
history of our 17tr-crntuly intellectual rnovemen[s], IIL (Budapest-Sze;td, 7971), 560-569.
Oel - Alfled Orel, ,,Die liatholischc liirclcnmrsik urn 1S00-1750", Ilanrlbttch der trIusikgeschcle, hg.v.
I Iudson - Iliclrard FIttc.son, 7'le ,4-llcnwndc, hc llallclto, anrl lhe Tan:.,2 \'ols. (C{ml)r'idgc, 1986) Guido r\dler (lInchen, 19?5 [19:i0])
Hulkovi 1
- l{arta Hulkov, Lcuotski zbicrl:a lutdobtrin [\Iusic colgction from l-cvoa] (Ilanditltsha prca, Brit - ltp - liercnc Pap, ,,Iijoni Jnos s a csl:sornlyi nyomda mriveldstrtneti jelentsgc" IJoannes Caioni
tislava,1985) and the cuitrr-historica signi{icance of the printiug olcss in Csiksoml;], I(orunl: G97212)
I{ulhov 2 Ilarta Flullior', ,,\Ior dcr Forschung dcl lfusikgescrichte in der Slorval<ci", Ilusaica (Zbornil< Filo
- zoficlicj Gza Papp, ,,Kjoni Jnos orgonalctinyl'e" [1'he oigan booli of Joannes Caioni], llagyar Zenci Sremle
Pedagociclcj Fakuit' Unir.ezity l(orn,:nskrho) 18 (FJlatislava, 1S85), 57 -ig. PaPP 1 - 2/J (1e.12), 1-23.
Flullior'/r 3 Fhrllior', ,,Das l'Iusililcl;cn in StCten von Zirs am lindc dcs 1. rurd im 17. .lahrhundcrt". ,4f-
- nlarta (Zbornlk Gtza Papp, ,,ljgy clveszettnek hitt lizitalos ncliesknyv" [,\ hymnal in nanuscript, bclieved to
saca Iilozolicktrj a Pcdagogicliej Fakulty l.l'niyci'zity Korncnsliho) 21 (Blatislava, 1988), Prpp 2 -
oi aa\t) lrc lostl, t\Ictgyar Zcnc 29 (1988), 379-39 l.
Popovici 1 - l)orrr Popovici, lIn:'ica coral romnecscri [Rornanian .zocal music] (Bucuregti, 1966), 77-72.
Jak 1
-Zsigm<rnd Jak<l, .4 ggalui ud.rlarontng ttrbrumnf ['lirc ulbalir of thc Gyalu countly] (I(olozsvr, I)ou Popovici, lncepulLtrile mtici eulle ramner|i [Tirc bcginnings of Rolnanian litulgical rnusic]
104+r) Popovici 2 - (Br!crr'csij, 1967, 12-1J.
Jalt 2 - Zsigmond.Irr.,,2\z erdlyi prprmalmoli leudaliznrlrslioli tit.netnc:.|< vzata [r\n outlinc of the oru Popovici, ,,Cercctind vcchi codice rnuzicale romneti" [In lracing of olcl Romanian rnusical
history oi paper-rnills in ferttia '1'ransylvania] 1 -2", Siuir Uniuersilcttis llabc-llolgi, Series IIistoq. Popovici 3 - codicesJ, ,4s1r'a, I 98/7 , I$ -77 .
(Clttj, 1962-64), Fasc. 1 (1${i2): 59-81; }'asc. 2 (19{,1): 55-92.
Irc.rfctyc - Andrcas Porf^tye, ,,Danicl Crotrer urd dic Orgalmusik in Sicbenbrgen vom 15. bis zum 18. Jahlhun-
Jali 3
- 1Zsigrnoncl Jak - Iadu Minolescu, rl /clin irs Ir\ttete ['fhe history of thc L.tin rvliting] (Budapcst delt", Ilusica .niiqua Europae Orienialis, r\cta Scientifica III (Bydgoszcz, 19i2',551-583.
$87)
Ilicordi - ziono"io Rcortl dello musica di nslcfsli (Ililano, 1959)
Jnki - Ferenc Jn1hi, Iirijoni Jnos rclcsltttyue s forrtisai Ilhc hyrnnal of Joannes Caioni and its sources]
(Iiolozsvr, 1914) Ri\fT I - Itlmiin Csornasz Tth, XYf. sz.:atl maglJa. dellamdi {16th-century Flungalian melodicsl, Rgi
rnagyar dallamok tr'r-r I (udapest, 1070)
Kaic - Ladislav Iiaic, ,,llissa flanciscaua de l\Irrrianischen Plovinz im 17. und 18. Jahrhundelt", Slrrdfa
llttsicologca 33 (1991), 5-107. r,[D'l II C6za Papp, ,4 XYII. s:tizaiL nekelt dallamai [The snng mclodies of thc l7th ccntuly], fgi rnagyar
- rl:rllamok tr'a tI (Brrdnpest, 1970)
Kidrir - Jzsef Itlrdr, Szolnok-Dobol:a urntelgetnotngrtifija [A rnonograpiry of Szolrrrik-Dobcka county] RIIE G'z Papp, .Iligi mdgllar egghzi ne'eli (kzirat) [Early Iungarian slcred songs (rnanuscript)]
(Ds, 1900-1905) -
I{rrricsonyi 1 Jncs I{arcsonyi, ,,I(joni Jnos s a cslksomlyai linyvsnjt" [.Ioaunes Caioli ancl thc plin[ing nochc 1 - 16{0s", ,lfusic Lcllcrs 7Antonio
Jcone Rcche,,,Giovanui Rigatti ancl thc evelopment oi Vcnetian Chulch l\Iusic in the
- prcss of CsflisomlS.], l llrni)k (1921), 6.1, 93. ft (1S76), 25-207.
I(ar:lcsonyi 2
- Jrnos I(arcsonyi, S:t. Ierencz retttljrek tr|rrcle trlaguarors:cigon 1'11-g ['Ihe history oI the Frar- Rochc 2 - .jr:romr Roche, Ncr/l-Ilalian Clutrch ifuslc in lhe Age of Ionleuer<Ii, Oxford Monographs on Music
(Oxford, 198)
ciscarr Oldcr in Hnngary rrp to 17111, I-iI. (Iludapcst, 1923)
Klvll Reinel Moritz E., I(nauls }lusi.lilexikon (tr{tincrcn/Zr'icr 1082) RttPP - Xornl Rupp,,,Adalkok l{joni Jnos cthcz" [:\dditions to the biography of .Ioannes Caicni],
- trlagyar Iinyt:s:emle 189, {i5 -6?.
Iloclly - Zoltlrn l(od13', A nwtyar t.p:ene [Hungnrian folk rnusic] (Bndapost, 1937; ?/1076)
Rybari - Richad Rybali, ,,I)ic Hauptqitcllcn uld Pobleme dcl slorvakischen n'lusiligeschichte bis zurr Ende
La llIusica - La Iusica I l\artc Seconda I Di:onttrio (Unione 'I'ipoglalico-iditrico 'folinr:sc, 1908) Li\-Ii. 1
dcsXVIII. fuIusca Antqtta Ettropue Orenlals, Acta Scicntifica I (Walszalva, 1966),
Jahlhundcrts",
Lszl - lercrrc Lszl, ,,i100", Ilargila Iialcntlrutn 197G, 60-61. 97 -714.
Liber nigcr - ltckcte littyu. A: erdlyt fereitces hus:Idia lrltrcle. Iittjcn,itrcs k:rolct. 16l Ii-il;cr'igcr.'.l'hc Rybari 2 Richard R}'bari, ,,Jn Simr'acliy Spi3sliy poilonik 17. storoia" [Joanncs Schimbracy
hi:;toly of tho ''nus.l'lvnnirr l:.r'ancisc:ur (lustod'r', . nranuscript li' .Ioarrnes Cnionil, pul-. lrlit - polyphony in the Szepes area of thc 17ttr centuryl, I'Ittsicologca Slouaca IV (1973), 7-84.
trfarlas (Szegrd, 1991): Illint I{eser'(i (cd.), <atl,r XVI-XVIIL szzadi szcllemi ruozgahnrrink
trtncthcz [I)ocurncntltion to thr: history of our 10th-18th-ccntury intcllectual tnovenrclrts] li1.
Rybari 3
- Sirrrbracky, Apera cmtta L cd. llichar'<I lybali, Fontes Musicac in Slovacia VII (Bratislava, 19B2)
'I-alttlalrn zbornilt St14 !Iarcl;felrrcra (vltor') [Tho tablaturo collection of Stnrttcl flalcl<Icilcr llybari 4 Richard Rybari, Dejny httrlobnej kultry nr ,S/ours' [History of nusic culture in Slovakia[ I,
- (Bratislavn,1984)
l\Iati - (sclcction)], c<1. lr'urtisck lrlat, Stu' hudll nr Slovcrsku 4 (Bratislava, 1$81)
Srrosi Blint Srosi, ,,A. hngszeres rnagyr npzcne ternphros rtege" [The twin-bar layer oI Hungarian
- instluncntal
Il{asscnkcil Grrtlrer [rssculieil, ,,Die konzcrtit:rcnde Kircl.r'rnrnusik", Gesc]ticltlc tler liallrclischctt I{ircltentnusik,
- Irs. v. Iiarl (iustav lrcllcrcr folk musioj, Iagyar Zene 28 (1987), 335-378,
(I(asscl, 197{), II: 92-707.
trf sr.'os Istvin trIszros, Az iskolaii1t trlnele Xlaggarors;rigon 996-177'i /c:ll IThe ltistor5'of cducation
- irr
Schneidrr
- lVI. Schneidcr, De Anfnge r1s Bsso contnuo und scne Be:fferung (I-eipzig, 1918)
Hrrrrgary bct'wccn gg()-17771 (Budapost, 1981) Sclflidge-Field
- Ii. Selfridge-Iield, Venelian InstrmentI L[usic lrom Gabrel to Yualtli (Oxford, 1975)
Scpr'di 1 Jnos Seprdi, ,,4 rnagyar npdal zenci fejkidse" ['fhe nusical devclopmcnt of the l{ungarian folk
trIil<lssy a - Yilrrros trtiklssy V., ,,trfikor virginht csirl valh" ['Whcn I ruade virginal'], -11:s/ir (1978),44. - songl (1908),[in: Seprdi Janos vdlogafott zenei bsai s n'pzenei l|i.itse. [The selected rvitings and
l\Iikt1ssy b - \rilmos fililssy \I. - .Icn Zcpcczrncr, ,,llilior az \,irgint c:;inl vall...", Ilargila Iiuletularium
(1978), 8?.
folk music collcctions of Jnos Seprdil (Bucnreti, 7C74), 82-142.
Soprdi 2 Jnos Seprdi,,,A I(joni-kdex dallamai" [lIclodics of the Codex Caioni], Akadmai Ertes!20
- (1909),
\II(sz I - I(ollnyi Fcrcncz, Illaggar knguszcmle (IJudapest, 1893), :150-353. 1
-70.
I\focanr 1
- Yasile trfocanu, Iottn Ciutttt (Bucurcti, 1$7ll) S.rpr'di 3
- Jnos Seprdi, ,,4 I(joni-codex irodalom-s zenetr'tneti adalhai" [Litcrary and music his-
l\Iocanu 2 \asilc {ocanu, ,,Un rou tlocuncrrt ln lcgritulr'r cu L Ciriutr" [.4. ncrv documcnt coneelning J. Caioni]
- l[ttzica toric aclditions to the Codex Caionil, irodalomlrtnet l{zlemngek (L909), 129-746,282-307,
5 (1976), 10-11. 385-424.[In: Seprcli Jnos udlogatott tene. bsa s npzenei ggjlse (Bucureti, Ig74),187-252,1
l\fol<ry, ,,Pcstry zlonfk" [A rnisccllancous collectionl, Ilttrlobnouerlt sltide 2 (Bratislava, Silva rcrum * Itluzyczne sla terum z XVII ll'eku. Rekops 12';'156 Biblolek. Jagiellonsltej [Musical silva terum
Mokry - I-adislav
r97),100-16. in the 17th century. l\{anuscript sign. 12?/56 in the Jagello Libraryl, ed, Jerzy Golos - Jan Ste-
\{ornpclllo - Ii'cdelico fompellio, Latiouicol:iadatrc - llsc.std/rarlue secol (X\/-Xl/1I) (Filcnzc, 1967)
szcrvski
- Zofia Stcszewska (PWM, 1970)
Sinon J. IJj lagga Sion 10 (1879), 397.
Moser - I'I. J. ]!Iose, l)ie 'lfusi/i n friihcuangeliscltut slereich (Kassel 195if) Sinronis
-
George Simonis,,,I)in inceputurile musicii romneti, Ioan Cianu (1629-1687)" [About the begin-
l\{oT - Iagyarorszg ti)rtnete 126-1686 [I{rrngary's histoly 1526-16861, erl. gncsl, Vr'kon'i (Budapest, - nirrgs of Ronanian music.
I 9s) Joannes Caioni (1629-1687)]' ln: Arltuele Olteniei (Craiova, 1936)
Smither FIoward E. Smither, ,,Thc Latin Dramatic Dialogue and the Nascent Oratorio", Joatnal of Amer.can
MoZtrt II - )llagyarorszdg zeneli)rtnclc II: 1541-/68d IHungry's nuslc bistory II: 1541 -16861, crl. I(orr] - Ilttsicologcal Socelg 20 (1967), 403-433.
Ilrdos (Iludapcst, 1990)
Suciu Coriolan Suciu, Diclionat storc aI localildltlor dn TransIuand [The historic dietionary of Transyl-
Ncgrea - Ilarlian Negrea,,,Un cornpozitor rorlt ar'<Itrican din sccolul aI XVII-Ioa. Ionn Caioli (1629-1687)" - vanian place nmesl, vol. I-IL (Editura Academiei Rcpublicii Socialistc Romnia,)
[A Romanian Trausylvanian cornposer in the 17th ccntury] (Craiova' [19401) Szab ltflsz Kroly Szab, ,,Igi magyar knyvszeti adalkok, III-dik kzlemny" [EarlyFlungarian biblio-
Ngyesy - Lszl Ngyesy, "Kjoni Jnos", Pallas Nagy Lexkona X. (8p., 1895), 17. - graplrical
data, 3r'd publictionl, )llaggar l(nguszemle 4 (1879), 183.
Nejedty Nejedly, Dejn1 ftusffsklo zpuu lHistory of thc Hussite song] (Nkladatelstvf Ceskoslc-
- Zdenek akadernie Szrb njU(
vensk ved,
1954) - Kroly Szab, .Rig Maggar I{ngot.r [Early l{ungarian Library] (Budapest, 1879), I-II.
Szab T. 1
- Attila Szab T.,,,Lupul vajda trtnetnek ismcretlen vltozata'[The unknown version o the chro-
Nmcth Gellrt Nmeth P., ,,I(joni Jnos, a rgi Erdly kultrnunksa" [Joannes Caioni, a cultural worker
- of old 'I'ransylvanial, Pdsztorltlt, (192(r), 320-323, nicle of Voivod Lupull, Irodalomtrtnel. I{zlemngelc 40 (1930), 353-359.
Szab T.
O. L. Cosma 1
- Octavian Laz?lr Cosma, ,,Crealia muzical din Transilvania ln secolul XVII" [Contpositional activity 2
- ttila Szab T., Iiziralos nekesknp1ueitrlc s uses kziataink a XVI XIX. szrizadl'on [Hand
in l?ttr-ccntury Transylvania[, Muzica 2213 (lS?2), 72-73, written song-books and manuscripts rvith poems in the 16th-19th centuries] (Ziah, 1934)
Szabolcsi Bence Szabolcsi, XVII. szzad. magyar f6ri zenje" [The music of the aristocracy in the 17th
O. 1,, Cosma 2 - Octavian Lazr Cosma, I:Ironicul muzict rorndnetl. ['fhe chronicle ol Ronanian muslc], Vol. I (Bu- 1
- century], "A Szemle
cureti, 1973) Budapesti (1928); In: . maggar zene usz(tzadai [Ccntulies of Hungarian music]
(Budapcst, 1959), I: 200-280.

702
103
 llznbolcsl 2 - Zene Lerlton,2 ktet, ed. Szabocsi Ilcnce -'f<ith .A.ladr (Budapcst-;, f930: 2i1965).
Szabolcsi 3
- .,4 XViI. szz:rd tnagyar vitligi d:rllaurai" II'Irngu'ian sccular melodics of ths 1?th cetury]
(Buclapest., 1050); In: A ntaggcr zene ius:tizadai (Bu<Iapest, IObg), I: 281-372,
*
'i )

'oF
;

;',9I
Szabolcsi 4 Bercc Szabolosi, ,,r\datok a XVI-XVIl. szaz.ad nragyar iroclalont- s zcnelrtncthcz" [Data {o gS
- tlre lJungalian liternry and rnusic hist.or' of th 16th-17th ccnturies] , rj Zenci i:cnr 1S1, iII/g, q ''
3 -g
11-13. o .i*
1 <) ,') t
Sznbolesi 5 Ilelce Szabolcsi, ,, XVI. sz1zad Inagyar tr'rnczcnje" [Ilungalian dancc ntnsic ol the l6th ccnturyJ,
- (Budapcst,195.1); \
. ,!'
,Y
In: A magyar rute etszzadai (Budnpcst, 1050), I: 757-ZOS.

I
1j bD-
^
Szlolcsi 6a tsencc Szlllocsi. A moguar :etrctrlnet kziknyoe [A concisc histoly of Flungalian music] (]uda- =
Er
- !.H
pest, 1947) 'nd In

Szrbolcsi 6b - llcncc Szabolesi, A maggar :enclrtrct kzknguc (Ludepest, S/1079) ,
1.,
.
d^ -:J
E

Szabolcsi )d
=
7
- Bclrctr Szabolcsi, T'ttt:ttttsil; aus Ungarn irt 76. ttntl 17. .Iahrhunderl (Buclapcst, 19?0) -;
19
Szz:rdok
- Por Antal,,,r\ llagyar llymualiuru" [ Hungarian ll'rnnariunr], Sztizarlol; (luclapest, 1893), 341-348 I o..: =:
Szigeti
- Iiilin Szigeti, ,, tizcnttyolcndik szizadi szerzrtcsi triblszlmsg' [lfonlstic polyphony ot the
18th. century] (Panlronhalma, 1080). kzirat a lfT.A. Zcnctudomnyi Intzetben [manrscript in the F I
:: I'"
: r ',

Institute for llusicology, Budnpestl ..

/ 9_: G
>.d\ r' 4: ^,^
.- .c J v H o
Szirrnyci
- Jzsef Szinnyei. lIagyar rk Icle is n:.:.n];tii Ii-ifc anrl s'orlis ofIlnngalian rvlitcls] (Budapest,18g7),
Y: col. 802-803. 3q.rdq
Szirnray-I{eczcr De
- in Santmlllng l)on Tt:en rtnd Licrlert der Anna Szirntag-Iicc:cr, ccl, Joz.ef Iircsnck, lotes lllsiene d .q -j cj
j:-
Slovacia 1 (Blatislava, l967)
i:'-
I
i
O-! C 6
Sztank
- Bla Sztank,,,.4.(192
lcsei tabulatttl'hs knyv chorci" [Choreas of thc ta]rLrlrtrrrc book fom Levoa, e Y^! '- d.^ - -
,d i'l'. = - , .Y ii =X
Zcttei Szentle S.I -27), l(tri-172. .! b '' .3ES '?
Todulir Sigismuntl Toclu[ir, ,,udctnnul ].ri Joan Crioni'II'lic example givcn by Joanucs Caioui], Triluna 2
- (1e58/6),10.
r rI ?':: 3 ,'^, .ad )
)d J aJ ':-
' .- .
Tomescu
- Vasile Tomescu, ,Ioatr Cirianu". .\'ouI!es :'t.lrsicales de Rountane (Bulle t.in d'lnlorurations {c l'Unioll I
I I . '-':; :q "''-r t.-
des Cotnpositenrs de lir Rpubliquc Socialistc dc Roumanic)
- JItt:ictt 3717 (1987),39-41. LL l! =-
'5 r | .d =^
Torchi III in llalia, III: Cotttposi:ior per ollJarro e centbalo, sccoli -YI/1, X\rII e XV111, eqt.
- I"arte muscale(\Iilano c,.i: - |
Luigi Torchi =,+ -i
Tuczi - Iorna) .- "^ - d : E
- Jzsef Ttrczi-'Irostler,,,:\ n'l s a farlirs panasza" Ilhe cornplaint of tlo l'ubbiL ancl thc rvoll], 'A 2"d t: .^-! .-
--'
Irodalomtrttel Iil'lemertge. 18 (1038), 2I7 N 9 Q..!o I t=.4
-227.
Y. S-3-'F'i'o
Cosnla 1
- Viorel Cosma,,,Ciianu (Caioni), Ioan",:'lfu:icreni romni. Cotupozilori
10l 109.
i nt:icologi (Bucurc;ti, 1970), / 9 5 . o .X ;,"!
5
- /-!* /1

V, Cosma 2 - \'iorepublisherl
Costna, ,,300 ani de la aparitia antologiei de cintcco a lui Ioan Cianu" [.]eracs Caionis h]'nrnal ;'"! r .i, I'i*o
V. Cosma 3
rvas
\'iocl
- (Loudou, 1980),
300 ycar.s ago], llu;dca nr. 1 (Bucur.cti, 1077)
Costna,,,Cirianu, Ioau", 'IIe Neu Groue's Dictionary of Ittsc antl )Ittsicans, ed. Stanley Satlic
3: 606. W 9!."=t
"' -.F >'.7
:1 !
= i1 ') t
;---:
=
!
.2

tN g5 ld'. i-.:
"c.:H"--
V. Cosla 4 Yiocl Costna, jluzicieni din lomtia. Leicon biobibtiografic [Ilusicians of Rornania. Iiobibliogra-
- phical '
'E
lexiconl, I, A-C (Bucurcati, 1989) '; jj. -b,
ud-!-
.::: E
V. Cosmn 5 Yiorel Cosma,,Ioau Cianu: tln mrc umanist romu dilt secolul al \VII-lca'[.Ioaunes Caioni: a
- glcat ,c - >, ' ! -
Romanian humanist of thc lTth centuryJ, 'fribuna lomanie xvl (19g2/z), 4. .i C O o i
I-:-
1^"'
-bn
Valentin - Ericlr Valentin, Iricdrich Ilofmann, De eungelische l{irchenmusi.( (Regensburg, 1967) \t lf) r!
'rJ.9
l-?
=!
-
r
Bro--- G .iv
ED
Vargyns Lnjos Var1yas, ,,Romn-nragyar kapcsolatok a npzcrnben" [Romanian-Huugariau connections x-,''
- in
r!= ;i,^
1
lolk rnusic] , trIaggarok s romtinok 9, Magyar 'Iiirtncttudomnyi Intzcrt l'ivktryve 7g44, szerk,
Der Jzsel - cldi LszI (Bu<Iapest, 1944), 530-584. = :?"?EE
.:
"=:
lP.- F
Yargyas 2
- Lajos \argyas, ,,Szabolcsi Bence: magyar zenetrtnet kzihnyve" reccnzi) [Bence Szabolcsi: A .:L >.1q 4.
v-J Ul_:?
corrcisc history ol Flungarian nusic (revicw)1, Ethnographia 58 (1947),293-306. d o.=
9CJ
Yelics - Velics Lszlt, Ydzlalok a magllar jc:suitk nItjtibI ISketches fr.orn the past of ]Iungar.ian Jcsuits], -i!O
'.: L u.
I-IIl. (Budaprrst, 1912-14) :l k" c
Veszcly \cszely llroly,
- (Cluj, Erd.lg eggh:lrlnelm adatok [)ata fi'our the ccclesiastic history ol Trans'lvania] c "i
r d
*.!
: g
;.i
.: (!
--:5 o J(-)
1860) e ;'! \'fi cJ

Vietoris -'Iabulaturaltielos,ed.FercncziIlona - fartaFlulkov!,MusicaliaDamrbiana5.(Bratislava, 19S6) .- *o 2

'Williarns
rolf
- Petcr Williarr^s, ,,Basso Continuo on thc Organ', fusi .t Lclters 50 (1969), 136-152;23O-245. o<:
a * 'f
- Johannes Wolf, IIanIbuch d.er Notatlonskunde, II (Leipzig, 101g) o :.-
Zerich - )lfaggar Sdon 7 (1869), 497. r
J o
l-1
'6.'
. o
'9 . ') ;:S! .:

r ro

i [r5
 f.* 77 f.--+ 77
scrisul uneio din The writing of
piesa 1
minile neculroscute setting i ---
<_- uhl<norin ha,nd
an

Nr n sirul r aclo ri n0_-__,

'J
pieset dh codlce
4 6 Kouo.s Notc N u nrbe
to the numberlng
i
146 Kovacs l'.lota
2 + -s.nrtidt crronta
of the whole^^codex chmidt Curranta
Piesc seltlng 2 _

I
piesete 3,{!6 seftings 3,4,5,6 {
t misso )
(missa) l'
G a
f. ----' 5
f.- --
Nr. in irul + Cuncnts
pieselor din codice Number acccrding
to'the numbering Curranta
oea 1 + scrisul uneio din
of . the vhoie codex The writing ,of
minile necunoscute setling 1-=> <__ unknown hanC
an

pleso 2
selling 2 --

I fi I
at-A
trt$glno stg. pa4na .
left-hanC
lol
page right-hand page
Ftg. 2, Desene pentru exenrpiiicarea nn;nerotiu'li gi pr'lscut'lrr'ilo folosite.
2. abra. Szmozsokat s 'vi<ltsckct szcrulltctti rrjzok.
Fig, 2. Drawings illusiruting thc rulrr.cring and ilrbre\i:rtioirs errrpoyctl.

A isnreretler
' ,j,:iCh -___lF
kzirsok eyike

A dorcib so-
l(ovccs Notr:
rendjt j:lt szm--+ Schmldt Currontc
2 ejera:l
3y',5,e' clorcb -
( nrissc )
{1

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A deiab C ur rn lo
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34o 34b 1117 138

c-
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f.+ zix)
( Tit'tu )(Cml(Tttel *sistemy'l sisz t morlsrst e rn I d
*--sisle m 2/ 2 szisz l nn Fig, 1. Ccle patlu cazuri de citire cxceplional a filci de codice.
/ sy s lem 2
*sistem 3 !t, bta, A ngy, szokvnyostl elt olvasst ignyl kdexlap.
fszivtmo/system F9. 4, The four cases in whlch codex-folio reading is distinct,
* dF,lem I,/ t szi sz tmo/sy s tem /,
* sistem Sfszisztrru/system 5
s'ste m 6/6 szsz t rrn/sys te in 6

Linie de deiintore obliptore e

ln screreodB tohilgtr
Ktetez vsztvonql o
tabdotrq -rs bon
The obtigotory detimitotlon tine
in the tobulqturc-writirg
It9, 3. Dcscrc rentlu citilea filclor.
3. tilra. Rajzok a lapok olvasshoz.
Fig. 3. Dlal.rings illustrating holv to lcad thc folics

JOB t09
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10

6x
cic Sci'egcly; Z SerreIrl,:; E - sc'isul lui Cirnu;9 - nr. iili este detelio:at; I0 - fila 44 drcapta inc:cisteirt.
- srisu'.hii

Ir.joni frsc.: 9 - a megrongl(id.tt lp; 10 - a 44. l. nc ltez jobb oldala.

Frg. J. Tire irst section o the Codc. I - foti0 number; I - picce n'.lmber in Cal'oni's hrnd; 3 -- piece nrrmber in Sercgcl3"s hand; 4- insertiol of composet l-odovico
Tidrnu's ;rmc into Scrcgcly''s hcxdings by Caioni: - Caioni's irrscliptions to S*re8ely's scttings; 6 - tcxt addcd latr:r by Caioni t th t setling rritten in Seregely's
hnd; 7 - lircgx-i' han<;3 - Cairni's irancl; 9 - folio numbe is f.dcd; Ir : right-hand folio'1'l is nli:;sillg'

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t, t IeYt/Szbveg/'text I
tt
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5
E
6

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Fig.6.Comrartimentul 2atCodlcIu. I-nr.defil;2-rlr.depiescuscrisulluiCianu;3-stofelatine;'
I - cele cpt portative ale filei 63 dreapta cu titlul latin; 5 - fila 45 stnga inexistent; 6 - indic acelai material
muzical i continuare de text n cadrui compar"iimentului 2; 7 - variante de muzic i tcxt n cornpartimente diferite.
6. brc, AktJdcr 2.rsze.7 - alapokszmz;2 - ztnesznKjouilrsvni;3 - ltinstrfh,4 - anynlr:r.onal-
:endszera ll. l. jol:r oltl:rln, Itin szr*eggel; 5 45. 1. nem ltezi b:rl olclela; 6. rrgyanaz-t e zcnei rrygot s
a srreg folyt:r'ist j,:lzi a 2. rszen bciiil; 7 -- zcnei s szveg-vlLu^ztok a liderx-lilr"rb(iz r'szcin bel1.
Fig.6.SectionLloftheCodet, 1--folior:umlier'; 9-piecenrmberinCaioni'shand; J-Lntinstanzas; 4-the
eight staves on tire right-hand folio 6ll, r,.lith Latin heading; 5 - lclt-hancl folio 45 is missing; 5 - the srme inusical
notrtion and text. continued in scclion 2; 'l - valirnts of music and text in i'rrious scctions.
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73 74 75 ffi 76 79 BO
67 69 70 7?
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nza t1it5l ffi] (ta
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fl6-r TMIDS
8l 84. 86 87 38r-' 89
rl55-l 11581 rEg. @. 6n.-

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6EllE
ffi ni'depiescu
Fg. r - CompartirncntSalc'odicclu. 1- nr. defil;9 - nr.depiescuscrisulluiCianu;3 -
(stinga); 5 - sus scrisul lui
scrisul.lui Seregely; - scisul lui Criamr (dreapt) cu caractcrelc scrisului lui Seregely unor mlini necunoscute'
S"*g"fy,-s-: jor, scr.isul lui Cianu; 6 - scrisul unr mlini necunoscute; 7 - n. de piese ale
r.d:ba.Akiler3.rsze.r-alapokszma;2-zeneszmal{jonilrsval; 3-zcneszmaSereglyfrsval;
lrsa (a r"p'oll oloain), a seregty saja"os betfajtival (a lap balldaln); 5.- fent: Sereglylrsa'
r - Kjoni
frsa; ismereten liezckti szrmaz lrsk; z zccdarabok ismeretlen kezek lrsval'
5 - lent: kjoni - -
Ftg. 7. section3 of the code. 7 folio number; I
- picce number in caioni's hand; 3 - picce number in seregely's
-
hand; 4 Caioni,s r,"rra l.igilt-ir"nd).nith Seregeiy's stye (tcft hanti); 5 * Seregely's hand - top, Caioni's hand-bottom;
-
o -'unidentificd. hands; 7 - picce number due to unkown hands'

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2 @ --'--
I rext/Szoveg/rext
3 rn6l

Fig. e.Compartimentullal]oilcelu. I - nr. de fil; 2 - 1. depies cu scrisullui Cianu; 3 - nr. depiescu scrisul
lui-seregelyil - filcuscrisulluiCianu;5 - filcuscrisullui Seregely; - scrisul lui Cianu (dreapta) cu_caracterele
scrisului liri Seregely (stlnga); 7 - indic variante ale aceluiai material muzical la alte piese; 8 - versule! latin.
8.dbra-A l<dea 4.rsze.
I alapokszma;2 - zeesz^mKjonilrsval;3 - zeneszmSereglyfrsval;a -: k9-
dexlap Kjoni frsval; 5 - -kdexlap Seregly frsval; 6 - Kjoni lrsa (a lap joh! oldaln)-a Seregly sajtos bet- '
fajtial ( hp bal oldaln); 7 - ugyananna a zenei anyagnak ms darabokban fllelhet vltozatait jelzi; 8 - latin
versike.
Fig.
-- 8. Section 4 of the Coiles 7 - folio number; 2 - piece number in Caioni's hand; piece number in.Seregely's hand;
lg j folio written in Caioni's hand; 5 - folio written in-Seregely's hand; 6 - Caioni's hnd (right-hand) with Seregely's
gt script (left-hand); ? - variants of the same notated materal in other settings; E - Latin versicle.

r14 118 1'd{J
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i)1 aet, 124 125 I 126 1?7
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7 Szveg
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9 renfgzveg/rext
L

f 200

Ft'g.,9Compartimentul SalCodicelu' t - nr.defil; I nr.depiescuscrisullui Cianu; J - nr.depiescuscrisul

lui Sercg-ely;4 fit ctt sclsul lui Cianu; 5 (dreaptafcu
-
caracterele scrisului lui Seregely (sttnga); 7 -
fi cu- scrisul lui Seregly; 6 - fil cu scrisultuiCiaiu
- scrisul uei mlini necunoscute pe fil nenumerotat; s - indi vrinte
ale aceluiai material muzical sau text; 9 - text latin.
9. btd.A liler 5. rsze. I alapokszma;2 - zeneszm,Kjonirsval; 3 zeneszm Seregtylrsval;4 k-
delap Kjoni frsval; 5 - -kdexlap Seregly rsval; 6 - Kjoni fi'sa (a lap -jobb otdaln), a Serigly sajtos -bet-
fajtival (a lap bal oldaln); 7 - ismeretlen kz lrsa, szmozatlan lapon; b
vegnek a vltozatait jelzi; I --ugyanannak zenei ".r-ya!tt"ti vagy sz-
- latin szveg.
Fig.9- Section5of the Coder, 1- folionumber;9 - piecenumbeinCaioni'shand; J piecenumberin Seregely's
hand: 4 - folio'written in Caioni's hand; 5 folio _lvritten in Seregely's hand; d -
folio writien in Caioni,s hand (iight-
hand) with Seregely's script(lcft-hand); 7 - script due to an unidentilied hand on- a folio left unnumbered; 8
of thc same notated material and text; 9 - - vaiants
- Latin text.

130.. 13r 132 133 134 135 136 r37 138 140
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5

F!0. 10. Compartimentul 6 at Codcelu. I

- nr. de fil, scris i nescris; 9 - nr. de pies scris de Cianu; J - r. de
pies scris de Seregely; 4
- fil cu scrisul lui cianu; 5 - fil cu scrisul lui seregely.
10. bra.Aktlex 6.rsze. f zenesz5Lm Sereglylrsval;
I - - telelrts
kdexlap Kjoni frsval;
megfratlanlap;2 - zeneszmKjonirsval;
5 kdexlap Scregly lrsval.
3-
-
Fig. 10. Section6of theCodea.T piece
number witten in Seregely's hand;
- 4tvittcnandblankfolionumber;9 - piecenumbcrwritteninCaioni'shand; J -
- folio written in Caioni's hancl; 5 - folio written in Seregely,s had.
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F9. 13.Compartimenttl 9alCodelu.7-nr.defil;2-nr.depies;3-fitcuscrisulluiCianu;4-scrisulunei

mlini necunoscute; 5 - indic variante ale aceluiai material sau text; 6 - text maghiar sub fom strofic.
13.bra.Akrter 9.rsze. I - alapokszma;2. zcneszhm; 3 kciexlapKjonikzrsval;4 - ismeretlen kzfrsa;
5 - ugynannak a zenei anyagnak vagy szvcgnck a varinsait - jelzi; 6 str'fiba szedett nagyr
- szveg.
Fig. lS.Seetion9oftheCoder.T-folionumber;,2-piecenumber';3-folio'n'ritteninCaioni'shand:.I-uniclenti-
fied hand; 5 - vaiants of the same musical material and text; 6 - Mngrar text in rhymecl form.

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