Fluier

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Fluier ( Romanian , plural fluiere ), also fluieră, floieră, fluer, fluir , is the general name used in Romania and the Republic of Moldova for flutes , of which about 17 types are known. These include end-blown core gap flutes such as the shepherd's flute caval and the long tilincă without finger holes, longitudinal flutes without a mouthpiece, the flutes flaut and piculină and the pan flute nai . Most of the flutes are played in rural areas by amateurs - farmers and cattle herders - in folk music, only the pan flute is an instrument used by professional folk musicians ( lăutari ).

Painted magnetic split flute

Classification

Most flutes are longitudinal flutes open at both ends, which are divided into core gap flutes with a mouthpiece ( dop ), in which the air flow is set in vibration at an opening on the side with a cutting edge, and end-edge flutes without a mouthpiece. With the latter, the player blows against the angled upper end and directs the airflow through a certain position of the lips. There are also two flutes. Flutes up to 35 centimeters long are considered short, up to 50 centimeters long and longer than 50 centimeters.

Flutes are mostly made by hand. The village of Hodac in Mureș County is known for the production of flutes by part-time flute makers. The number of 100,000 flutes per year is given for the beginning of the 1960s; in the 1980s these craftsmen, who generally played the flute themselves, made around 200,000 flutes annually. Many wooden flutes have an ornamental design with applied metal sheets, wrapped with strips of cherry tree bark or painted in multiple colors.

Core gap flutes

Flutes from Moldova

The fluier cu dop (also fluier drept cu dop ) is a longitudinally blown core gap flute with six finger holes. The bore is slightly conical and tapers towards the lower end. Alternatively, the lower end can be partially closed by a plug made of wood or cork with a narrow central hole. The player can also vary the pitch by closing the lower end with his finger. In western Transylvania and the Banat this flute is also called fluieră . In the northern region of Moldova , in northern Bukovina on the border with Ukraine and in the rest of Transylvania, the small and medium version is known as trișcă and the long version as fluieroi ( fluieroni ). With the small shepherd flutes, the finger holes are at the same distance from each other in the lower area of ​​the playing tube, with the medium and long flutes there is a larger distance between the two finger holes in the middle. The fluier mare or fluieroi has seven finger holes.

The fluier gemănat (also fluier ingemănat ) is a double flute whose playing tubes are made from a piece of wood. Occasionally it consists of two wooden tubes glued together in parallel. There are several variants depending on the number of finger holes: One shape has a play tube (right) with six finger holes and a drone tube (left) without or rarely with a finger hole. With a finger hole which is located opposite the bottom of the six finger holes which can drone be adjusted. Another rarer variant consists of two identical play tubes with six finger holes each. Both play tubes are blown at the same time. Corresponding to the fluier gemănat in the southern Slavs are the more or less rare double flutes dwojanka in Bulgaria , dvojnice in Serbia (also dvojka , "double", corresponding to diple ), kettös furulya in Hungary and the dvoykinye in Croatia and Slovenia .

In Romania, caval is usually understood to be a long shepherd's flute with five finger holes, of which there is a greater distance between the upper three and the lower two. The caval is related to the name of kaval ( qaval ), a group of long shepherd flutes in the Balkans and Asia Minor; the word is either of Turkish origin with the comprehensive meaning “cylindrical hollow body” or it goes back to the Arabic root q – w – l , “to speak”, “language”, as well as qawwali . In contrast to the kaval , which is completely open at both ends , the Romanian flute has a simple mouthpiece. Its distribution region Oltenia (Little Wallachia), Muntenia (Great Wallachia) and southern Moldavia borders on that of the Bulgarian kaval .

End edge flutes

End-edge flutes ( fluier fără dop , "without mouthpiece") are held diagonally downwards and a little sideways when playing. The fluier dobrogean , also caval dobrogean , " Dobruja flute", which is common in the region of the same name, consists of a plant tube with six finger holes at the top and a thumb hole at the bottom. A variant consisting of three parts like the Bulgarian kaval has eight finger holes in the middle and four air holes in the lower section.

The fluier moldovenesc occurs in the north of Transylvania, in Bukovina, in the north of the Moldova region and in Moldova. The counterpart of the fluier moldovenesc among Hungarians living in Bucovina and their home country is the short szélfurulya , which has six finger holes and a range of two octaves and is occasionally made of metal. The length of the fluier moldovenesc is 35 to over 50 centimeters. The six finger holes are divided into two groups of three each.

The small "Moldovan flute", fluieraș moldovenesc , also has six finger holes that are equally spaced. The big flute in Moldova is called fluier mare ("big flute") or simply fluier .

A special wind instrument is the tilincă , one of the overtone flutes , which is 60 to 80 centimeters long , has no finger holes and with which over a dozen tones of the natural tone series can be produced by varying the blowing pressure and opening or closing the lower end . The tilincă comes in two variants with a mouthpiece ( tilincă cu dop ) and without a mouthpiece ( tilincă fără dop ) in an area between northern Transylvania and northern Moldova.

The very short fifă (" pipe "), which is usually played by women in Oltenia to complement the singing voice, is closed at the lower end, with a semicircular notch and beveled at the upper end. It only produces one tone. This forms a kind of basic tone around which the yodelling singing voice creates a simple melody. The fifă is historically close to the Stone Age bone flutes. The combination of such single-tone flutes is considered to be the starting point for the invention of pan flutes, which were initially unconnected tubes in a row. Later these tubes were tied flat next to each other like the Russian kugikli .

The most famous Romanian flute is the panpipe nai . At least 20 to over 30 pipes, closed at the bottom, are connected to each other in a slight arc. The word nai comes from the Persian , older names were in the 16th century Tevita and in the 17th century Muscal : as Persian origin, suggesting the association with the Ottoman music points from that time.

Flutes

The only two flutes ( fluier traversier ) are the longer flaut and the shorter piculină , a common piccolo flute that is tuned an octave higher and is used in classical music.

Origin and style of play

The Romanian word fluier was tentatively derived from the Greek floarion , “tree bark” and from the Latin verb flare , “to blow”, but no reliable etymology is known. In the context of shepherds and always with the meaning of “flute” there are numerous linguistic words in Eastern Europe and the Balkans: Albanian flojere, floere, floer, Greek floyera , Serbian and Croatian frula, Hungarian furulya , Slovak fujara , also Polish fujara and Ukrainian floyara .

A Romanian creation myth explains the creation of the flute and violin: When God was on earth and tending sheep, he invented the flute and hid it in the thick skin of a sheep. When the shepherds sheared this sheep, the flute came out. The devil wanted to imitate God and also create a musical instrument. He made a violin and hid it in a goat so that no one would find it. When the goat raised its tail, a țigani (gypsy) discovered the neck of the fiddle and pulled it out. Since then the flute has been a beneficial instrument blessed by God, while the devilish violin can harm its player. The connection to the devil, which is widespread in the myths about goats , is adopted here, as is the fact that the sheep belong to the divine. The relationship between the flute and the sphere of the gods and shepherds has been in cultural memory since ancient Greece. The pan flute made of reed is the work of the shepherd god Hermes or - better known - Pan . A comparable dualistic myth of origin is known from Estonia . There the box zither ("harp") canel is created by God, while the bagpipes and ultimately all other musical instruments go back to the devil. According to a story from Latvia , the zither ( kokle ) was introduced by God, the fiddle by the devil and the flute by a shepherd.

What flutes and other musical instruments that were used to play in royal houses and villages looked like can be seen on many of the murals on churches that show musical performances in religious and secular surroundings. In the biblical scene of the birth of Jesus, a shepherd playing the flute often appears, for example at the Church of the Humor Monastery (1530) and at the Doamnei Church (1683) in Bucharest . In the Colțea Church in Bucharest (1702), one of the two round dances shown is presumably accompanied by a long flute and a double-headed drum (today tobă ), the other by a short transverse flute, a double-headed drum and two small kettle drums . In the Bălceşti Church, a wooden church from 1751 in the Căpuşu Mare parish , the sacrifice of Isaac is illustrated with a flute player, because as Psalm 150 prescribes, God should be praised with stringed instruments and flutes.

Like almost all musical instruments in traditional Romanian music, flutes are usually only played by men. Women only blow the long trumpet tulnic (also trâmbiţă according to the Ukrainian trembita ) in the Apuseni Mountains and the small length flute fifă in Oltenia . It is said that a woman who plays the flute neglects her household chores. Flutes were often used as a practice instrument for singing training and were therefore found in many households.

Traditional Romanian light music is played either by amateurs, who are farmers or shepherds in rural areas, or by professional folk musicians ( lăutari ), the majority of whom are Roma . Women often form singing groups in ritual music, which is cultivated in seasonal celebrations (fertility rites) and transitional ceremonies such as weddings ( nunta ) and burials ( înmormântarea ) and which in most cases works without instruments. The dance music at the Sunday village assemblies ( horă satului ) - wherever it still takes place - is contributed by local or wandering lăutari instead of the village musicians , who are paid for their performances.

Flute music has its own melody forms, which differ from those of violins ( vioară ). The musical spectrum ranges from the lyric, improvised singing style doina , which is free rhythmic (called parlando - rubato ) and which is practically only practiced today without interruption of tradition in the Gorj district , to the fast asymmetrical ( aksak ) rhythms in the Dance music. An instrumental version of the doina , the “shepherd doina”, is played with flutes. Each region and each village has its own distinctive dance and music tradition. Improvisation is not only a large part of the doina , it is also an essential part of the dance songs that amateurs play on the flute or bagpipes and lăutari on the violin ( vioară ). In traditional instrumentation, these melody instruments are often accompanied rhythmically by the buckle- necked lute cobsă . The interplay of flute and violin is also popular.

Traditional music is usually monodic - even with unison choir singing; with approaches to simple polyphony ( heterophony ), for example when a melody instrument and a vocal part play the same melody. A form of polyphony that emerged in the 18th and 19th centuries is the combination of the melody with a drone on the bagpipe and the double flute fluier gemănat .

literature

  • Tiberiu Alexandru: Fluier. In: Laurence Libin (Ed.): The Grove Dictionary of Musical Instruments . Vol. 2, Oxford University Press, Oxford / New York 2014, pp. 322f
  • Corneliu Dan Georgescu: Romania . In: Ludwig Finscher (Hrsg.): The music in past and present . (MGG) Volume 8, Kassel / Stuttgart 2002, Sp. 587-605

Web links

Individual evidence

  1. ↑ Rumanian Review . Europolis Publisher, Bucharest 1961, p. 149
  2. ^ Sibyl Marcuse : Musical Instruments: A Comprehensive Dictionary . Doubleday, New York 1964, key words Dvoykinye and Dvoynice , p. 163
  3. ↑ See Marek Stachowski: How to Combine Bark, Fibula, and Chasm (if one Speaks Proto-Turkic)? In: Studia Linguistica Universitatis Iagellonicae Cracoviensis , Vol. 127, 2010, pp. 179-186
  4. ^ Romanian Traditional Instruments . Education and Culture, Lifelong learning programs, GRUNDTVIG
  5. ↑ Peremfúvós hangszerek nyomában . sipmuhely.lapunk.hu (Hungarian)
  6. ↑ Tiberiu Alexandru: FIFA. In: Laurence Libin (Ed.): The Grove Dictionary of Musical Instruments . Vol. 2, Oxford University Press, Oxford / New York 2014, p. 278
  7. ↑ Ilija Casule: Burushaski shepherd vocabulary of Indo-European origin . ( Memento of the original from September 12, 2015 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. In: Acta Orientalia, Vol. 70, 2009 @1@ 2Template: Webachiv / IABot / www.biomedsearch.com
  8. ↑ Stephen Reynolds: The Baltic Psaltery and Musical Instruments of Gods and Devils . In: Journal of Baltic Studies , Vol. 14, No. 1 ( Baltic Musicology ) Spring 1983, pp. 5–23, here pp. 6, 12, 14
  9. ^ Anca Florea: Wind and Percussion Instruments in Romanian Mural Painting . In: RIdIM / RCMI Newsletter , Vol. 22, No. 1, Spring 1997, pp. 23–30, here pp. 24, 29
  10. ^ Corneliu Dan Georgescu: Romania . In: MGG, Sp. 594
  11. ^ Constantin Zamfir: The Instrumental Basis of Vocal Style in Năsăud. In: Journal of the International Folk Music Council , Vol. 12, 1960, p. 62
  12. ↑ See Folk Musicians and Ensembles from Gorj County . Ethnophonie ( Collection of Traditional Musics, 22 ) double CD, 2012; Speranță Rădulescu: Text booklet
  13. ^ Corneliu Dan Georgescu: Romania . In: MGG, Sp. 595, 597
  14. ↑ Speranta Tadulescu: Romania. III. Traditional music. 1st general . In: Stanley Sadie (Ed.): The New Grove Dictionary of Music and Musicians . 2001, p. 585f