Broadside Records, BRO 127
1978
The Recording •
Goliard •
The Music •
The Instruments
THE RECORDING
SIDE 1
Band 1 [2:20]
ANONYMOUS 13th CENTURY DANCE
pibcorn and reed-pipe
A L'ENTRADA DEL TEMS CLAR — anonymous, 13th Century, Provençal
vocals, tambourine, goblet-drum
Band 2 [4:18]
DULCE SOLUM — anonymous, 12th Century, from the Carmina Burana,
CB 119
vocals, tanbura, fiddle
[uncredited: Como poden per sas culpas
CSM 166]
Band 3 [2:23]
WINDER, WIE IST NU DIN KRAFT — Neidhart von REUENTHAL (1180- 1240)
vocals, psaltery, flute
Band 4 [1:32]
EL MOIS DE MAI / DE SE DEBENT BIGAMI / KYRIE — anonymous, 13th Century, motet
vocals, tanbura, psaltery
Band 5 [1:49]
ESTAMPIE ROYALE — anonymous, 13th Century, French
tanbura, goblet-drum
Band 6 [3:07]
DER KUNINC RUDOLP — "Der Unvurzaghete", 13th Century
vocals, hurdy-gurdy, citole
SIDE 2
Band 1 [2:13]
CHOSE TASSIN — 13th Century, French
hurdy-gurdy, pair of six-holed pipes
CHRAMER GIP DIU VARWE MIER — anonymous, 12th Century, from the Carmina Burana,
CB 107
vocals, hurdy-gurdy, six-holed pipe
Band 2 [3:05]
VITE PERDITE — PETER of BLOIS (1135- 1212), from the Carmina Burana,
CB 31
vocals, tanbura, goblet-drum
Band 3 [2:27]
REX IMMENSE — 12th Century, Spanish troped Kyrie [Codex Calixtinus]
cc 108
vocals, finger-cymbals
VINUM BONUM CUM SAPORE — anonymous, 12th Century, drinking song
vocals, goblet-drum, tambourine, cymbal, jingle-stick
Band 4 [2:26]
ESTAMPIE — anonymous, 13th Century, English
parchment covered tanbura, fiddle
Band 5 [2:42]
IN TABERNA QUANDO SUMUS — anonymous, 12th Century, drinking song from the Carmina Burana,
CB 196
melody: Neidhart von REUENTHAL
vocals (multi-tracked)
Band 6 [2:42]
EXUL EGO CLERICUS — anonymous, 12th Century, begging song from the Carmina Burana,
CB 129
vocals, spike-fiddle, goblet-drum
Band 7 [2:41]
A SOLIS ORTU — 9th Century, lament on the death of Charlemagne
bagpipe, shawm
DANSE ROYALE — anonymous, 13th Century, French
bagpipe, goblet-drum
CHRIS BROWN — vocals, flute, pibcorn, shawm, tanburas, spike-fiddle, hurdy-gurdy, percussion
ANDREW GEUTER — vocals, six-holed pipes, reed-pipe, bagpipe, citole, psaltery, fiddle, percussion
Engineer: Johnny Haynes
Producer: Jon Raven
Studio: Zella Recording Studios, Birmingham
Booklet & Illustrations: Chris Brown
Sleeve Design: Chris Brown
GOLIARD
CHRIS BROWN and ANDREW GEUTER joined together to form the
group GOLIARD in 1975. Both young men had been to Art College in
Stourbridge and had graduated in the Glass and Ceramic course, but until
their interest in Mediaeval music brought them together they had
separately pursued their own careers in Art teaching.
Finding a
scarcity of authentic reconstructions of mediaeval musical instruments,
Andrew and Chris began to research and make the instruments themselves,
acquiring a knowledge of woodworking techniques as they went along.
Without any formal musical training they taught themselves how to play
their ever increasing collection of instruments, and gathered together a
large anthology of mediaeval secular music.
After some
successful performances of mediaeval music to various music societies in
the Midlands, Chris and Andrew decided to make music their full-time
profession, playing in such varied places as Folk-clubs, schools,
churches and shopping precincts. For over two years GOLIARD has been
entertaining guests at the mediaeval banquets held regularly at Warwick
Castle.
The prime objective of GOLIARD's performances is to
achieve as authentic a sound as possible, removing the instruments from
the hallowed atmosphere of the museum showcase to present their strange
voices to as wide an audience as possible. Because they themselves
started from scratch in both the fields of music and instrument-making, a
great sympathy has grown between GOLIARD and mediaeval music, for they
are following exactly the same pattern set by 12th and 13th Century
wandering musicians who had to construct their own instruments and
develop their own styles of performance.
A lot of beautiful
recordings of mediaeval music have been made in the last ten years by
many skilled people, but GOLIARD hope to add some correct perspective to
the mediaeval sound by giving to their performance a vitality and
understanding which they feel cannot be created by classically trained
musicians, nor approached by a large group of specialist musicians
brought together on the concert platform.
PROVENANCE OF THE MUSICAL INSTRUMENTS USED IN THIS RECORDING
Constructed by CHRIS BROWN:
Pibcorn, tanbura, tanbura with parchment belly, spike-fiddle, hurdy-gurdy, jingle-stick
Constructed by ANDREW GEUTER:
Reed-pipe, citole, psaltery, fiddle.
Shawm made by Gunter Korber
flute - modern Chinese
six-holed pipes - modern Indian
bagpipe - modern Spanish
goblet-drum - modern Arabic
tambourine, finger-cymbals, cymbal - modem British.
THE MUSIC
Taking
their theme from the title of a later English song, "Fortune my foe", a
little ditty popularly sung at public hangings, GOLIARD present a
selection of 12th and 13th century song and dance-music from the vagrant
repertoire, performed as authentically as possible on accurate
reconstructions of the instruments of the day.
The life of a
vagrant musician in this period was far from secure, and generally
unrewarding. His status was no higher than scum: he was classed with,
and frequently lived like, a beggar. Unlike the gentry who had entered
the music field as Troubadours in 11th century Provence (Trouveres in
England and Northern France), performing their own poetry not for
financial gain but rather for the acclamation of their peers or the
favours of their ladies, the vagabond musicians were professionals,
scratching a living from their art. They seldom wrote their own songs,
increasing their repertoire and learning skills like juggling, conjuring
and acrobatics at special "schools" held during Lent when they were not
allowed to perform in public.
Unless he had a noble patron who
commissioned him to perform his poems throughout the castles of Europe,
the vagabond's repertoire consisted of popular dance tunes and long epic
ballads of heroic deeds. He would also take news from district to
district.
In England the name for such a vagrant was "gleeman",
in Germany "gaukler", in Spain "joglar", in Italy "jogliar" and in
France "jongleur". Bruno Latini, in the 13th Century, made the following
entry in his encyclopedia:
"A jongleur is a man who laughs and jokes in public, ridiculing himself, wife, children and everyone else."
For
the lucky jongleur there might be a permanent place in some feudal
household. Then his status would change to that of the slightly more
respectable "Minstrel".
The jongleurs and their counterparts were
uneducated, most certainly could not read music, and sang their songs
only in the vernacular. But there was another class of person tramping
the roads from town to town, sometimes writing songs, and performing for
enjoyment and occasionally for alms.
These people were abusively
called "goliards", probably a corruption of "jogliar", although some
claimed that they inherited the name from a mythical prelate, Golias,
whose notorious dissipation they emulated. They were mostly middle-class
drop-outs who had gained a church education, taken some minor religious
orders, but had not taken monastic or priestly vows, although some
there were who had absconded from monasteries, preferring the life of
the road.
Having been taught in the Latin tongue, Goliards wrote
their verse in Latin, setting them either to popular tunes or composing
new ones often based on familiar liturgical music. Their wanderings,
generally under the pretext of studying, took them the length and
breadth of Europe, seeking refuge in any willing household or
unsuspecting monastery. They lived life to the full. Their town haunts
were taverns, brothels and the cathedral schools, and a lot of their
songs mirror the licentious behaviour in these institutions.
Unlike
the formalised love-lyrics of the gentry, Goliards' songs reveal a more
honest lust for the flesh, a raw passion without the restraints of fine
sentiment. But besides this aptitude for writing bawdy verse and
drinking songs, Goliards were well equipped to parody the church
liturgy, and lost no time in making a farce of the Mass and a
boozing-song of many a venerated hymn; and when their luck was down they
could neatly turn their pens to begging songs, asking help from the
very ecclesiastics they had slandered in an earlier satire.
Suffice
it to say, the church authorities fought a long running battle with the
Goliards, trying to put a stop to these vagabond clerics by condemning
them at Ecclesiastical Councils from the 5th to the 14th Century, with
apparently little success.
A large collection of Goliards songs
was discovered in the early 19th Century at a Bavarian monastery and
subsequently called the "Carmina Burana" . Most of the Goliards songs in
this recording come from that manuscript.
SIDE 1
Band 1:
The journey around the Wheel of Fortune starts in Springtime with
expectations of a good Summer, with the joy of rebirth and the flush of
new love. An instrumental dance leads into a dance-song, "A l'entrada
del tems clar". Sung in Provençal it tells of the Queen of April (an
obvious fertility symbol) as she frolics about the meadows with her
minions.
Band 2: This Goliard song, "Dulce solum", is a
lament about being in love; about how miserable it is to have ones head
turned by a girl, to be dying of love for her; and what's more
important, how wretched life will be without those evenings out with the
boys. The singer ends with "where there is love there is misery".
Although this could be a serious song, I prefer to see it as written
with tongue-in-cheek, a warning rather than an experience.
Band 3:
"Winder, wie ist nu din kraft" is set to a tune by the Minnesinger
Neidhart von Ruenthal (1180- 1240). The words tell how May has smashed
the power of Winter and allowed lovers to make full use of the
countryside. In the final lines the singer encourages young girls to
remain unattached, not giving themselves to any man in particular but
always being available.
Band 4: "El mois de mai / De se
debent bigami / kyrie" is a three-part motet combining the Kyrie from
the Mass, a Goliard ditty and a French love-lyric. This mixture of
sacred and profane music was not uncommon in the 13th Century ...
perhaps it was in some way a reaction to the Church's futile attempt to
turn popular bawdy songs into respectable hymns by providing new words
of a devotional character. Just imagine the immeasurable joy in a 20th
Century Rugby Club as the revellers are instructed to sing a twenty-five
verse epic, "Love me O my Saviour", to the tune of "Four and twenty
Virgins"! Far more to their liking would be the exploits of a certain
Eskimo lady chanted to a well-known psalm tune.
"El mois de mai"
tells of a man's springtime fancy for 'the loveliest girl in the world',
while the Goliard song, 'De se debent bigami', gives comfort to any
priest who may have committed bigamy. The singer reassures him that he
needn't ask the Pope for a dispensation since Ovid makes it clear that
Man's foremost duty is to take in and protect his fellow creatures. A
fine excuse!
Band 5: We now move to the fringe of the
courtly circle for the performance of an "Estampie Royale". Although the
term 'estampie' was used fairly indiscriminately for dances of the
nobility in the 13th Century, the 'estampie royale' is thought by some
scholars to have been a solo instrumental piece, not intended for the
dance but rather for the player's improvisations to be appreciated. The
'estampie royale' comprises a number of verses punctuated by a refrain.
Band 6:
Remaining at court, we hear a song in the form of the Provençal
'Sirventes', a poem extolling the qualities and virtues of a noble
patron. However, this particular song, "Der Kuninc Rudolp", composed by
the Minnesinger 'Der Unvurzaghete' (The dauntless One), does not aim to
merely flatter Rudolf, King of Germany from 1273 to 1291. After praising
the king's upstanding nature ... his bravery, his virtue, his courtesy,
etc. ... the singer adds that he hopes King Rudolf will get a just
reward for his fine work; unlike the minstrels who play and sing all day
for the king, getting no reward but his thanks.
SIDE 2
Band 1:
Now we start the fall from grace; the long slide from court to beggary,
via the taproom. The dance, "Tassin's choice", introduces the song
"Chramer, gip diu varwe mier". This song may be seen as the last attempt
by an ageing woman to captivate the young men. She asks a shopkeeper to
sell her some rouge for her cheeks. Thus adorned, she launches her
campaign with the optimistic slogan .... "Look at me, lovely boys, I'm
here to make you happy".
Band 2: "Vite perdite" is a fine
poem by Peter of Blois (1135- 1212), an extremely learned man,
Archdeacon of Bath and later of London, and a one-time profligate. Peter
looks back on his mis-spent life, lamenting that in his youth he
couldn't distinguish right from wrong, and led such a debauched
existence that "even a trough of pigswill couldn't satisfy his lewd
appetite". He is not blind to the dangers involved in such behaviour,
citing Genesis for the retribution brought by the brothers of Dinah upon
the man who had raped her. Towards the end of the poem he realises that
whilst he has so far escaped any retribution for his sins, all the time
he has been blotting his copy-book, and even if he changes his ways
divine judgement awaits him.
Band 3: Here we have part of a
12th Century parody of the entire Mass. "Vinum bonum" exactly
reproduces the form of "Verbum bonum", a hymn on the Annunciation, which
tells how the Virgin's offspring, the Good Word, brings comfort and
warmth to the world. "Vinum bonum", however, tells of the Grape's
offspring, the Good Wine, and what comfort and warmth it brings into the
world. The song also deplores the fact that while the Abbot and Prior
gulp down their choice vintage, the rest of the monks have to make do
with the dregs. It ends with a prayer: "May the devout community of
monks, the clergy and the whole world drink the same good wine now and
forever".
Band 4: This English estampie of the 13th
Century is one of the most extended dance-melodies of the period,
comprising twelve distinct sections. Nothing more can be said of it but
the obvious, that it possesses all the necessary vitality of a good
dance-tune and has enough variations to eliminate any monotony.
Band 5:
"In taberna quando sumus" must surely rank as one of the greatest
drinking-songs of all time, providing the 20th Century with a vivid
tableau of tavern-life eight centuries earlier. The verses are found in
the Carmina Burana manuscript and have been freely set to a melody of
Neidhart von Ruenthal. Here follows my own English translation of the
complete Latin text, written to the same metre and rhyme-scheme as the
original.
Band 6: We are now reduced to beggary. "Exul ego
clericus" was written by a student-cleric who had probably squandered
what little money he possessed. Penniless in a strange land he begs alms
from some rich churchman, leaving a gap in the fifth verse to insert
the relevant town where the wealthy ecclesiastic lived. This obviously
suggests that while bewailing his ruined studies, cut short by poverty;
and while lamenting that illness keeps him away from church ... the
student made a habit of begging, preferring a life on the road to his
religious calling.
Band 7: To conclude, we hear a funeral lament,
written at the death of Charlemagne, an apt tune for the bottom slot of
the Wheel of Fortune. However, to signify the wheel's perpetual
rotation, GOLIARD wind up the sequence with a rousing "Danse Royale",
looking forward to a new Springtime.
THE INSTRUMENTS
In the Middle Ages, the most important
instrument, and of course the most common, was the human voice.
Unfortunately, although we can reconstruct every other instrument from
manuscript illustrations and a knowledge of the materials used by the
mediaeval makers, it is no such easy task to reproduce the mediaeval
voice; that is if there was such a distinct thing. There have been
suggestions that the Middle-Eastern nasal type of singing was inherited
by Europeans with the Middle-Eastern instruments. Certainly it is known
that Arabic rhyme forms and verse structures were adapted by Troubadours
and other poets; but does this necessarily follow for the voice timbre?
The
problem remains unresolved. However, considering that the prime
requisite of a vagrant musician is to attract and hold the attention of a
far from captive audience, in the hope of raking in as much as
possible; and considering the absence of voice-training for such
musicians; GOLIARD perform this music in their natural untutored singing
styles, making no pretence of possessing well-trained classical voices
in the modern sense, and imposing no false style of intonation to create
a bogus "Mediaeval voice".
PERCUSSION
In an age when
manufactured musical instruments were scarce, the most common
accompaniment to the human voice must have been percussion, ranging from
hand-clapping and foot-stamping, through the whole gamut of domestic
utensils, to actual drums and cymbals.
The jingle-stick (2) is
really a sophisticated rattle. Rattles were used in ancient
civilisations as an aid to worship and mystical rites, but by the
Middle-Ages they were merely easily-constructed rhythm-instruments,
fashioned from any articles that lay to hand.
Three of the
percussion instruments, the finger-cymbals (3), cymbal (4), and
tambourine (5), need no introduction for they are more plentiful today
than they were in 13th Century Europe. These instruments originated
somewhere in the East and were introduced into Europe by the Ancient
Greeks. In Roman times, the tambourine was associated with Bacchic
rites, and the cymbals were used by some Barbarian tribes to induce
battle-ardour. In the Middle-Ages, these instruments seem to have had
indiscriminate associations, being depicted in the hands of all and
sundry.
The only drum used in this recording is the goblet-drum
(1), sometimes called the hourglass drum. It is fashioned from a pot,
open at both ends, to which a single skin has been tied. It is played
with the fingertips. The goblet-drum was obviously introduced into
Europe by the Muslims, but such pottery drums could well have been made
independently by vagrant players, using pottery jars or beakers as their
base. This type of drum is capable of producing a great variety of tone
contrast; and indeed, the "Zarb", the modern Iranian version of this
drum, is used by virtuoso drummers in magnificent solo performances.
WIND INSTRUMENTS
Distinct
varieties of wind instruments seem to have been few and far between in
Mediaeval Europe, and it was not until the Renaissance that the complex
families of reed-instruments increased the selection.
The flute
(1) is basically a logical extension of the panpipe principle where the
player blows across the opening of a cylindrical tube. Rather than
having a separate pipe for each note, the flute possesses six
finger-holes which produce a scale on the single tube. The flute has
been a classical instrument in India and China since antiquity, but in
Europe it emerges in 11th Century, probably imported through Byzantium.
Its use spread into southern France, Spain, and most importantly,
Germany, where in the 13th Century it was one of the favourite
instruments of the Minnesingers.
Despite its seemingly more
complex construction, the six-holed pipe (2) with its whistle mouthpiece
has an ancestry stretching into pre-history. Originally having perhaps
only one finger-hole, it was probably used by Paleolithic Man to imitate
birdsong. By the Middle-Ages it had acquired six holes which could,
like the flute, comfortably produce a range of two octaves with
over-blowing. The most common British counterpart nowadays is the
tin-whistle, but in many countries as far apart as Peru and Thailand,
the six-holed pipe fashioned from cane, reed or bamboo, is still a
popular folk-instrument.
Typically an instrument for shepherds
and wandering musicians, the six-holed pipe acquired in the 13th Century
a pastoral image, transferred today to the recorder.
The two
instruments mentioned above fall into the class of "soft" instruments;
i.e. suitable for indoor performance: The mediaeval reed-instruments are
definitely in the loud class; i.e. more suitable for outdoor playing.
This does not mean that the instruments of the loud class were banned
from indoor use, or vice-versa, but anyone living next door to an
enthusiastic bagpiper will get the point.
The reed-instruments
fall into two categories, depending upon their method of
sound-production: a) single reed, similar to that used on a clarinet;
and b) double reed, as used on an oboe. The single reed variety
generally had a cylindrical bore and the double reed a conical one.
Pipes
with a single reed were once made from a length of cane into which both
the tongue and finger-holes were cut. When the reed wore out or became
damaged, the player would merely discard the complete instrument and
make another. This disposable version was later improved by the more
sensible practice of making the reed separately and fitting into the
body. This instrument's ancestors are abundantly figured on Assyrian
statuettes and Greek pottery. The aulos, used by the Greeks in their
Dionysian orgies, were two such pipes played simultaneously, a practice
common with such reed-pipes.
The reed-pipe (4) used in the
recording, is made from a length of cane, fitted at one end with a
copper bell and at the other with a single reed of cane. Four
finger-holes with a ...
...
...
...
STRINGED INSTRUMENTS (Plucked)
The
Middle Ages in Europe was a period of great experimentation in the use
of stringed musical instruments. The two "native" instruments, the harp
and the lyre, were joined by a whole new range of finger-board
instruments, making their way slowly from the East via Byzantium, and
from the Mediterranean via Spain and Italy. The varieties are numerous
and the names often superfluous, being frequently localised terms for
the same instrument. To simplify the matter might injure local or
national pride, but essentially the ingredients for many stringed
instruments were the same, but the quantities and mixtures varied with
taste.
The citole (1) appears in many disguises, but basically it
is a plucked stringed instrument with a rounded body, a short neck and
flat back. (The shape of the peg-board is immaterial; the number of
strings is optional; and the tuning suits the individual musician). The
citole is carved from a single plank of wood, its belly being glued onto
the body. This instrument, with its round-backed counterpart the
mandora, was very common amongst travelling musicians. It was sturdy,
relatively easy to make and string, and was small enough to be easily
portable. It should be mentioned that the lute, that star of many a
Hollywood Epic, was extremely uncommon in 12th and 13th century Europe,
possessing all the qualities opposite to those of the citole.
The
two tanburs (2 and 3) are basically long-necked lutes. I use the
Islamic name "Tanbur" to characterize a type of instrument, ignoring
variations. The tanbur is a small-bodied, dome-backed, long-necked,
stringed instrument which is plucked. Tanburs are hollowed from a log
and the belly added. The long neck, sometimes having gut frets tied
around it, extended the compass of the instrument in an age when
suitable gut strings of varying thickness were not very plentiful. (With
a long neck on his instrument a musician can readily produce a range of
an octave and more on a single string).
In the recording there
are two varieties of tanbur; the one with a wooden belly, the other with
a belly of parchment. Skin was more readily available and easier to
prepare and attach to an instrument than a thin plank of wood. Its use
must have been very common in the Middle Ages. The sound of a
skin-covered instrument is far more percussive than that of a
wooden-bellied one, (compare the banjo and guitar), and has a greater
carrying-power, very useful for the solo performer before the advent of
the microphone. The gut strings on the tanbur are tuned 'ad libitum',
although a common tuning for three strings was an open mixture, e.g., G d
g.
The tanbur, inherited by Mediaeval Europe from the Islamic
Empire where tanburists were highly paid, was most common in Spain and
Southern Italy being called respectively "chitarra saracenica" and
"colascione". Variants are still found in the Balkans, U.S.S.R., and of
course Greece where it is called the "bousouki".
It is from the
Greeks that we get the name "psaltery" (4). The psaltery is a flat box
varying in shape and size. Across this box are stretched gut, or, more
rarity in the Middle Ages, metal strings. These are. plucked with
plectrums or finger tips. The psaltery was introduced into Europe by the
Muslims, who today still use the "santur" in their classical music. The
decorative soundholes in the psaltery retained for a long time their
links with traditional Islamic patterns. The simplicity of this
instrument where all the notes are displayed in front of the player made
its popularity immediate. Besides being capable of great things in the
hands of a virtuoso, the psaltery was the diletante instrument "par
excellence". In mediaeval manuscripts it is found in the hands of
minstrels, kings, angels, and even God at times.
The psaltery used in this recording has sixteen pairs of strings, each pair being tuned an octave apart.
STRINGED INSTRUMENTS (Bowed)
The
advent of the bow into Europe, probably in the 10th or 11th Century,
started a slow and long-lasting revolution amongst the players and
makers of stringed instruments. Spreading across the Byzantine Empire
into Northern Europe, and up from North Africa into Spain and Italy, the
use of the bow must have been one of the most exciting innovations in
the production of Western European music. By the 13th Century almost
every type of stringed instrument had been tried with a bow. In
manuscript illustrations we see the citole being played with a bow and
called the "lira"; the mandora becoming the bowed "rebec". Even the lyre
was bowed and existed in that form amongst the Welsh until about 1800
as the "cnvth". If the grand-piano had existed in the Middle Ages
someone probably would have tried to play it with a bow, as indeed one
man did with the harpsichord in the 16th Century, calling the resulting
freak the "Nuremberg Geigenwerk".
With the passing of time many
instruments, for as many reasons, were found unsuitable for use with the
bow, and in Western Europe it was the figure-of-eight shape with its
sharp waist that was chosen as the model for succeeding bowed
instruments.
The popularity of the bow is obvious. The reason is
that it alone can give a long sustained note on a stringed instrument,
enabling a singer to follow and mimic his voice to perfection, however
slow the song.
The spike-fiddle (1) and the fiddle (2) show
respectively the most primitive and most developed stages of mediaeval
bowed instruments. The spike-fiddle (kemange) is copied from a modern
Arabic model. Nothing seems to have been mentioned of this specific type
of instrument in the Middle Ages, but it is of such a rudimentary
construction that I feel it, or something very similar, must have been
used by beggars and such other low-caste musicians.
The neck of
the spike-fiddle is merely a pole with holes bored for the pegs. The
body is half a coconut-shell (a wooden, pottery or metal bowl would do
just as well) covered with a skin belly. A metal spike pierces the
coconut shell and is embedded in the wooden pole. Strings of gut or
twisted horse-hair are fastened to the spike and taken up to the pegs.
The bridge is a little slip of wood. The bow, unlike the modern version,
is convex. Tying bells to the bow adds another dimension to the music
as they jingle to the rhythm of the bow-strokes. With the materials
already collected I have made a spike-fiddle and bow in one day; this is
one of the best references possible for an instrument made by a vagrant
musician, especially in an age when specialist shops were few and far
between, and travelling was a rough and gruelling business.
The
fiddle was the favourite of the jongleurs in France, where it was called
a "vielle". It was considered a prime accomplishment of a jongleur to
be able to accompany his own singing on the fiddle. Minnesingers also
considered this art a mark of distinction. Although
most fiddles in
the Middle Ages were hollowed from one piece of wood with the belly
added. some were made in the modern way by assembling back, sides, front
and neck from separate pieces. This method is only suitable for a
musician who is not continually on the road, for it necessitates a
fairly well-equipped workshop. The most likely place to find such
pre-fabricated instruments being played would be in the larger feudal
households where minstrels and instrument makers might be permanently
retained.
Unlike the violin, the fiddle has a flat back and belly
and a flat peg-board. The incurve of the sides is usually more gradual
than that in the violin, and the characteristic "f"-shaped soundholes
were not adopted in the Middle Ages; an abundance of different
soundholes existed. The number of gut strings varied from one to five;
but generally, if more than three were used, some strings were paired so
that only three different notes were actually present on the open
strings.
Nothing was standard about the playing position either.
The oriental method of holding the fiddle on the knees in 'cello.fashion
was as common as the conventional method, and there were numerous
styles somewhere in between. In Germany the minnesingers preferred to
hang the fiddle around the neck on a strap in the guitar position and
bow it from below.
While the fiddle and its various successors
remained a medium for producing art-music from the Middle Ages onwards,
the hurdy-gurdy (3) had its ups and downs. In the 12th Century a large
version of the instrument called an "organistrum" was used in the church
to support the chanting of the choir. This two-man-operated instrument
was gradually superseded by a one-man model, called the "symphony"
because of the continuous harmony produced by it. (Here let us pause to
reflect upon the improbability of a mediaeval "symphony" orchestra.) In
13th Century manuscripts it is shown in the hands of clowns and kings;
but by the 15th Century it was relegated to travelling players and by
the 16th Century it was frowned upon as being only suitable for beggars.
Here it has remained until the present day with only a brief excursion
into the Royal Court of 17th and 18th Century France.
The
hurdy-gurdy is really a fiddle where the bowing and fingering have been
mechanised. The bowing is done by a rosined wheel, turned by the player,
which rubs all the strings at once; the fingering is done by wooden
keys, each bearing small teeth called tangents. These keys are located
in the tangent-box. When released, the key drops away by force of
gravity.
In the Middle Ages, hurdy-gurdies employed from one to
four strings. One, or sometimes two, of these were used for the melody;
the remainder were drones. The compass of the mediaeval hurdy-gurdy was
generally about one octave and four notes in a diatonic scale.