Hornpipe (wind instrument)

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Hornpipe ( English ), horn pipe , is in the narrower sense a historical woodwind instrument that was widespread in the British Isles from the Middle Ages to the 18th century . Its sound was created by an idioglottic single reed . The hornpipe had a cylindrical sound tube made of wood, stake pipe or bone, in which finger holes were drilled. At the lower end of the sound tube there was a bell made of animal horn, after which the instrument takes its name. The reed at the top could be covered by a horn (or wood) wind capsule . The sound was stronger and somewhat rounder than with single-reed instruments without a bell.

The hornpipe is named after the instrument , probably because it was originally accompanied by hornpipes.

In a broader sense, all single-reed instruments with a horn bell are referred to as a hornpipe or horn whistle. This type was not only common in Great Britain, but in much of Europe and from the Maghreb to India . Since the early modern period, the distribution area has decreased significantly. Two pipes connected in parallel with two separate or one common bell are also known.

distribution

Rishok from Ukraine, wooden wind capsule

Since the instruments of the British hornpipes have survived the longest in Scotland and Wales (see Pibgorn ), the hornpipe is considered by many to be typically Celtic . In fact, horn pipes were and are common in many regions and cultures. The following instruments have survived to the present day:

The Welsh pibgorn was not revived until the 20th century, the Lithuanian birbynė is a further development of the traditional ragelis.

history

The horn pipes belong to the single reed instruments, the history of which can be traced back to ancient Egypt .

The oldest representation of a horn pipe comes from the Minoan period (middle of the 2nd millennium BC) in Crete . On a sarcophagus in Hagia Triada , a player with a double aaulos is depicted, with one of the game tubes having a horn funnel. The two pipes, about arm's length, are held at the same height, almost horizontally.

A representation of the Hallstatt period comes from Százhalombatta (Hungary), which belongs to the eastern Hallstatt district. A figurine (6th century BC) depicts a person playing two horn pipes in a V position. Here, too, the play tubes are held almost horizontally. The left tube of this "Hallstatt Aulos " is about a quarter longer than the right one. The right pipe is at least arm's length. The play tubes are inserted into the hollow curve of the horns, about a third of the horn length in front of the horn tip.

No horn attachments are known of the Greek and Etruscan reed instruments of the classical period. During the Roman Empire , the tibia was further developed at great expense (among other things with silver rings for opening and closing handle holes, sound tubes made of metal or ivory). In the Phrygian tibia, the two play tubes are of different lengths and have different numbers of finger holes. One of the tubes (usually the left one) is provided with a horn funnel called elymos . Sometimes the end of the pipe is bent upwards and ends in a small wooden funnel.

Reconstruction of the play tube from Falster (2nd half of the 11th century), with horn made of horn and wind cap made of wood

There is no evidence from the early Middle Ages , but preforms of the horn pipes that are still preserved today have been tangible since the high Middle Ages . The earliest literary mention of the Pibgorn is found in the Howell's Laws , which were written between 940 and 950 AD. The name albogue is first found in the Libro de Alexandre from the 13th century.

The archaeological finds often only contain game tubes or fragments of them. The distinction to simple chalumeaux (without horn funnels) or to bagpipes (with a horn pipe as a play pipe) is often not to be made with certainty. Also, no reed has survived or is visible on a picture, so that the single reeds can be derived from a comparison with recent instruments and from attempts at playing on reconstructed instruments.

Almost a dozen finds of game tubes with a flattened or rectangular cross-section from the North and Baltic Sea region (11th century to the beginning of the 13th century) are to be mentioned in detail. They have three to seven finger holes, which are often placed in square recesses. In between there are webs or square surfaces that are decorated with notches (crossed or parallel patterns). Horn funnels have been preserved on three finds. Most of the finds have pegs at one or both ends, to which the bell and wind capsules could be attached (made of horn / wood, possibly as a connection piece to the airbag of a bagpipe).

Horn pipes from the Cantigas de Santa Maria , on the left an alboka , on the right a simple albogue with a slim bell (presumably without a wind capsule).

The best known are finds from Achlum (undated), Lund (undated) and Falster (2nd half of the 11th century - "Falsterpiben"). Representations in the Spanish Cantigas de Santa Maria (around 1300 AD), a wall painting in Pouzauges from the 12th century, and a sculpture with a double instrument from Jugazan (12th century) show that the type was also widespread in southern Europe . These instruments are very similar to the Caremera from Gascony and Pibgorn . Mention should also be made of depictions with a horn wind capsule and without a bell ( Champvoux , 12th century; Sainte-Engrace , 12th century).

In the early modern period, the single reed instruments were initially not accepted in the emerging court orchestras or orchestras ( chalumeau and clarinet only since the 18th / 19th century). As a result, their prevalence in most areas of Europe decreased significantly. The Scottish national poet Robert Burns (1759–1796) had to search a long time for a copy of the Scottish horn pipe. This instrument called “Stock and Horn” was played with a loose reed that was held with the lips inside the sound tube, cf. Chifla de Campoo . The pibgorn was only played on the Welsh island of Anglesey at the beginning of the 19th century and was extinct in the late 19th century.

Today the horn pipes, where they were cared for or revived, have become a symbol of regional awareness (Basque Country, Wales, Lithuania). In the course of experimental archeology, making music on reconstructed ancient instruments also became important.

See also

literature

  • Sibyl Marcuse : Musical Instruments: A Comprehensive Dictionary. A complete, authoritative encyclopedia of instruments throughout the world . Country Life, London 1966, pp. 247f

Web links

Individual evidence

  1. ^ Helmut Brand: Ancient Greek Music . accessed March 1, 2009
  2. ↑ Bronze statuette from Százhalombatta. (No longer available online.) Archived from the original on September 13, 2016 ; accessed on September 4, 2016 . 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. @1@ 2Template: Webachiv / IABot / www.albinpaulus.folx.org
  3. ↑ A sketch of the bronze statuette from Százhalombatta: Os Instrumentos Musicais na Tradición Galega »Gaita (Vilariño de Conso). Retrieved September 4, 2016 .
  4. ^ Hallstatt-Aulos (Albin Paulus 2003). (No longer available online.) Archived from the original on September 13, 2016 ; accessed on September 4, 2016 . 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. @1@ 2Template: Webachiv / IABot / www.albinpaulus.folx.org
  5. ↑ Heinz Becker: On the history of the development of ancient and medieval reed instruments . Hamburg 1966, p. 135 f.
  6. ↑ Serviuszitat at Heinz Becker: For the development history of ancient and medieval reed instruments . Hamburg 1966, p. 146
  7. ↑ G. Wille: Musica Romana - the meaning of music in the life of the Romans , Amsterdam 1967, p. 171
  8. ↑ Merit Zloch: reed instruments with a rectangular to flat-round cross-section - archaic regional form or "European" . In: E. Hickmann u. a. (Ed.): Studies on Music Archeology , V. Rahden / Westfalen 2006, pp. 49–58
  9. ↑ Merit Zloch: reed instruments with a rectangular to flat-round cross-section - archaic regional form or "European" . In: E. Hickmann u. a. (Ed.): Studies on Music Archeology , V. Rahden / Westfalen 2006, pp. 52–54
  10. ↑ For an overview with reconstructions of most instruments, see muses. Retrieved September 4, 2016 .
  11. ↑ On the whole cf. Pierre-Alexis Cabiran, Lionel Dieu: Avant et après les muses de Charavines - Hypothèses sur l'évolution des instruments à anches simples , p. 5 f. cabdieumuses. (PDF; 651 kB) Retrieved September 4, 2016 .
  12. ^ The bone sound tube is preserved: National Museums of Scotland , (accessed February 2, 2009)