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Kemânî Corci

Name VariantsCMOKemânî Corci
TMKliUsta Corci[ TMKli (1), p. 5 ]
TMAS-otherKemânî Âmâ
TMAS-mainCorci
MAÂmâ Corci[ MA/III, p. 710 ]
- Georges[ BN4023, p. 123 ]
Cōrcī[ NE205 ] [ NE211 ] [ NE214 ] [ NE215 ] [ TA107 ]
cōṙci[ TA110 ]
Jōjī[ TA108 ]
Jōrjī[ TA108 ]
GND1116722399
Life Data
died on:
Note Precise date of death unknown.
Öztuna states that there were two kemân players named Corci who lived during the eighteenth century, but (as Ekinci also argues) this is highly unlikely. (Türk mûsikîsi akademik klasik Türk san'at mûsikîsi'nin ansiklopedik..., TMAS/I, pp. 193–4)
Corci was employed at the court of Mahmûd I (r. 1730–1754) and is mentioned in court records in 1753. (Osmanlılar Zamanında Saraylarda Musiki Hayatı, Uzunçarşılı 1977, p. 94)
According to Fonton (writing in 1751), Corci was the most celebrated musician at court, and introduced the kemân (viola d’amore) to the Ottomans. (BN4023, BN4023, pp. 123–4)
An incident involving Corci and Sultân Mustafâ III (r. 1757–1774) is described in a letter sent from Istanbul to Venice by the Mxit‘arist scholar Mkrtič‘ Ananean, dated 20 February 1758. Ananean describes Corci as follows: ‘K‘ēmani Čōṙči, an eminent, elderly instrumentalist, and blind in both eyes’ («Քէմանի Ճօռճին նուագածու գերահռչակ՝ ծեր, եւ յերկուց աչացն կոյր»). Contrary to Öztuna’s assertion that this must refer to another individual, there can be no doubt that Ananean is referring to the same person, and thus that Corci was already an old man in 1758. (Mayr Diwan: Mxit‘areanc‘ Venetkoy i S. Łazar, 1707–1773 : I cagmanē uxtis..., Tayean 1930, p. 190)
In ca. 1834, Süleymân Fâik Efendi wrote that the most well-known non-Muslim players of the kemân were Corci, Miron and Todori, who ‘succeeded one another between 12[00] and 12[50] [4.11.1785 and 10.05.1834 CE]’ (‘iki yüzden elli tārīḫine dek birbirini müteʿāḳib ẓuhūr etmiş’). This suggests that Corci may have died in around 1785. (NE3472, NE3472, f. 92v)
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