The Musical Myths and Facts (Vol. 1&2). Engel Carl

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СКАЧАТЬ strings of thin brass wire, which run through little holes in the ivory bridge, are placed under the catgut-strings to serve as sympathetic strings. The performer on the sarungi does not press the catgut-strings down upon the finger-board, but touches them at the side with his fingers to produce the tones which he desires. He places the instrument before his breast in a nearly perpendicular direction. Whatever may be thought of this method of playing, the sarungi is certainly considered a very effective instrument, not only by the Hindus, but even by some European listeners. For instance, Colonel Meadows Taylor ('Proceedings of the Royal Irish Academy, Dublin, 1865,' p. 115) remarks: "Its tones are nearer, perhaps, in quality to the human voice than any other instrument with which I am acquainted." However, he does not appear to be acquainted with many instruments. Sarinda, a Hindu violin, with three strings. It is made of a single block of wood, hollowed, and carved. The upper part of the body is left partially open, and is partially covered with skin resembling bladder, generally from a species of gazelle. Sarod, with bow; a Hindu instrument with four catgut-strings, and underneath them five thin strings of brass. On the neck are three catgut-frets. The instrument is painted with designs in various colours. It came from Gwalior. Rabab, a kind of guitar of the Hindus, played with a plectrum. It resembles the saruda. Toontoonee: this curious Hindu instrument, with one wire-string, is used by mendicants and ballad-singers in the Dekhan. Santir, a dulcimer, from Cashmere. Sarmundal, from Kattyawar, Hindustan; a kind of dulcimer in a case. This scarce instrument is tastefully ornamented with painted flowers and fanciful designs. Its wire-strings are twanged with a plectrum made of wood and glass. Murchang, Jew's harp; two specimens of a peculiar shape, from Cashmere. Shank, conch trumpet, from Kattyawar, Hindustan, beautifully ornamented with brasswork. The shank is a sacred instrument blown by the Brahmin priests. Tootooree, a horn of metal, from Hindustan. Kombu, a horn of the Hindus, resembling in its semicircular shape the tootooree, but being smaller and heavier; from Madras. Bhangull, a very thin and long metal trumpet, from Kattyawar, in Hindustan. Kurna, a metal trumpet, straight and large, from Hindustan. Seeng, a large brass trumpet, from Hindustan. Poongee (also called magoudi and toomeree), the snake-charmer's double pipe, from Hindustan. Each tube contains a single reed. There are three specimens of the poongee in the collection, one of which is painted with various designs. The tubes of the poongee are inserted in a gourd. Mukha, a kind of oboe, from Madras. Mukhavinai, a small kind of oboe, Hindustan. Ottu, a species of oboe, somewhat resembling the Arabic zourna, from Janpore, in Hindustan. Zourna, from Hindustan; made of a dark brown wood, with nine finger-holes. Buguri, a very peculiar reed wind-instrument, having finger-holes like a flute, and being at its lower end provided with a bell like a trumpet, from Madras. Bansee, flute, Hindustan. Double flageolet, from Hindustan. Nagarah, a drum, from Surat, Hindustan. The body is of red earthenware, and the parchment is affixed to it by means of a leathern network, which is tastefully adjusted over the back of the drum; diameter at the top, 16 inches; height, 6–½ inches. Banyan, a small hand-drum, Hindustan. Davandai, a kind of double drum, or rather a double darabouka, Hindustan. Kudu Kuduppai, a very diminutive double darabouka of brass and fish bladder, Hindustan. Ghunta, a small bell with a handle, used by the Brahmin priests of Hindustan in religious ceremonies. Jalar, a pair of large castanets of metal, resembling small cymbals, from Hindustan. The sound of them is remarkably pure and sustained.

      Rebab; a three-stringed fiddle from Persia. The body, cut out of a single piece of wood, is rudely ornamented with a pattern which is burnt on it. The strings are of catgut. They run at the top of the neck through holes, and are fastened at the back to the tuning-pegs. This rebab is an exact counterpart of the rebec formerly popular in Western Europe. Kemângeh a'gouz, with bow; from Egypt; a species of Eastern violoncello, with two strings made of horsehair. The body consists of the shell of a cocoa-nut, covered at the top with a bladder and perforated at the back with a number of sound-holes. Tanbour Baghlama; the eastern mandoline, strung with four thin wire-strings. Two specimens from Egypt. Gunibry; a rather primitive two-stringed instrument of the guitar kind, from Morocco; two specimens. Kuitra, a kind of guitar from the Barbary States. The body is made of a tortoise. The kuitra, or kitar, an instrument of the Persians and Arabs, is evidently the prototype of our guitar. The present specimen is one of the small kinds of kuitra; the larger kind has eight strings of sheep's gut arranged in four pairs.

      Three English flageolets, made in the beginning of the present century. An ivory flûte à bec, made by Stanesby, junior, London, 1740. An ivory flauto piccolo with a silver key; English, eighteenth century. An ivory flauto traverso with one silver key; English, eighteenth century. This ivory flute and the two preceding ones are handsome instruments. A flûte à bec; English, about 1700; of box-wood and ivory; length, 18 inches; eight finger-holes, and without any key. An English recorder, of wood stained black; length, 26 inches; it probably dates from the seventeenth century. Two tenor flutes, German, made about the year 1600. Length, 2 ft. 9 in. Seven finger-holes and one key. These scarce instruments were formerly in Signor Mario's museum. An English bass flute, made about the year 1650. Wood and ivory; with a brass tube for blowing the instrument. Six finger-holes, and one brass key at the upper side, and one finger-hole for the thumb at the opposite side. Length, 3 ft. 8 in. Three double flageolets dating from the beginning of the present century, two of which are made by Bainbridge in London, and the third is inscribed "Simpson." A triple flageolet, on which harmony in three parts can be played; made by Bainbridge in London, in the beginning of the present century. An English horn (oboe da caccia) made of red cedar, by Thomas Stanesby, junior, in London, about 1740. An English horn (oboe da caccia), eighteenth century; probably made in England. Wood, stained black, and ivory. This is the kind of oboe which J. S. Bach has employed in his 'Passion of St. Matthew.' A dolciano, a small bassoon. Inscription: "Wood and Ivy, late Ger^d Wood, London." A basset horn (corno di bassetto), probably English. A border bagpipe, from Northumberland. With bellows, and four drones. A French bagpipe (cornemuse). An English trumpet in case; made probably in the eighteenth or in the beginning of the nineteenth century. A small trombone, English, made by Allen and Pace. A horn, of brass; the bell terminating in the head of a serpent; English, eighteenth century. A serpent, by "Gerrock Wolf, in London;" beginning of the present century. Two alphorns, made by M. von Euw in Bürgy, Rigi Kulm, Canton Swyz, Switzerland, of birchwood neatly covered with birch-bark. Length, 8 ft. 1 in. A cither, a specimen of the kind which was commonly found in England, some centuries ago, in barbers' shops; English, about 1700.[6] A German cither; end of the seventeenth century. Ornamented with marquetry. A small English cither, made about the year 1700. The open strings produce only five tones instead of six. Specimens of this kind are very scarce. An English cither of the eighteenth century. An English cither made by Remerus Liessem, London, 1756. The body is of a very old-fashioned form, having several incurvations at the sides. A small English cither of the eighteenth century. The sound-hole is ornamented with a rose made of wood. The rose of the English cither is more usually made of bronze. Cetera; an Italian cither, made about the year 1680. This is the most beautiful cither in the collection. The entire instrument, except the belly, is inlaid with tasteful designs in ivory and ebony. Also the tone is remarkably fine. A Scotch cither neatly inlaid with wood ornamentation. At the back is a plate of mother-of-pearl with the inscription "Rudiman, ABD^N, DG." Perhaps this cither belonged to the well-known Latin grammarian Rudiman, who, about the year 1700, was at King's College in Aberdeen. An Irish cither with an ivory finger-board and with ten tuning-screws of brass. A large specimen. Made by Perry in Dublin; eighteenth century. Cithara; a Portuguese cither with six pairs of wire-strings, inlaid with tortoise-shell and ivory. Made by Joan Vieira da Silva at Lisbon, about 1700. Cithara; a Portuguese cither, probably dating from the beginning of the eighteenth century. Mounted with twelve strings in pairs. A very fine-toned instrument. Inscription: "Cyprianio Antonio a fez em Lisboa, ao Largo da Esperança." A keyed cither; English, eighteenth century. It has six ivory keys. The idea of applying keys like those of the pianoforte to the cither, and thus striking the wire-strings with hammers instead of twanging them with a quill originated in Germany, but proved to be of no practical advantage. Bijuga cither (i.e. a cither with a double neck, like the theorbo). Two French specimens, dating from about the middle of the eighteenth century. Bijuga cither, made by Renault in Paris, anno 1779. This handsome species of cither, constructed like the theorbo, but having a flat back, was evidently often strung in France with catgut instead of wire, and played with the fingers like the theorbo. It is probably the instrument which in some old French books is called pandore. It has СКАЧАТЬ