Pandora (musical instrument)
The Pandora , also Bandora and Bandoer , English bandora, bandore, pandora, French pandore, bandore , is a European plucked box- neck lute from the 16th and 17th centuries.
description
The name Pandora is derived from the ancient long-necked lute pandura after the musical instrument expert Curt Sachs (1930) and is related to the Arabic term ṭunbūr , which describes a family of long-necked lutes in the Orient. Related names include the contemporary European pandurina and the Georgian panduri . The Pandora belongs to the Cister family and is the larger bass type there. In contrast to the Cister, the Pandora had a strongly curved frame body and crossbar fastening . The pegbox was usually decorated with a head. The Pandora is similar in structure to the smaller Orpheoreon . It was strung with metal strings and was usually built with 6 to 7 courses , but pandors with up to 13 courses are also known. The player plucked the strings with his fingers, but he could also pluck them with a quill pen.
A contemporary statement from the 17th century underscores the fact that the Pandora can be assigned to the cister for a specific sound due to its metal strings. Andreas Beyer writes in his treatise “Der Christliche Bergmann or der Bergmänne Christe” (Leipzig 1681): “Pandor / which / how close it comes with the tremor / about several pages more / is more well known / than that one makes much of it " .
Pandora as a continuo instrument
The Pandora attained its most important functional significance as a fundamental or continuo instrument in the 16th and 17th centuries. it became one of the mandatory instruments in the "broken consort ". Michael Praetorius (1571–1621) counted them as one of the fundamental instruments, "because they have to be built with one voice as a foundation, and otherwise singing and sounding in it alone: when the organ , shelf , clavicymbals , virginal , lute , harp , Cither, Pandor, Penarcon, and the like " (1619). In his choral concerts "Polyhymnia caduceatrix et panegyrica" (1619) he mentioned the Pandors several times in the cast suggestions. He even set the moods for his Pandors:
- Pandora 7 choirs G 'CDG cea and CDG cea d'
- Penarcon 9 choirs G 'A' CDG cead '
- Orpheréon 8 choirs CFG cfad 'g' and DGA dghe 'a'
Even with Heinrich Schütz (1585-1672) states that in 1623 in the preface to his "Historia of the resurrection of Jesus Christ": "The evangelist, in an organ, or in one instrument sounds / Pandor ... sung by fallen" , and also Gabriel Voigtländer (17th century) in 1642 in his historically important compilation "All hand odes and songs, which directed melodies and arias all over the world as Italian, French, English and other German composers" , that these are in Circles "of distinguished convivias and gatherings with clavi cimbals, lutes, tiorbes , pandorns, violas that gamba are very comfortable to use and sing" .
At the end of the 17th century, the Pandora was one of the continuo instruments of the Hamburg Opera Orchestra. In the first half of the 18th century, two "Chamber Pandorists" belonged to the royal court chapel in Weißenfels .
England
In her native England , the Pandora also played an important role. So wrote Anthony Holborne († 1602) a Cittharn School , (London 1597), and Thomas Morley (1557-1602) used Cistern and Pandoren in his The first booke of consort lessons (London 1599) as continuo instruments. Daniel Farrant developed special forms of Pandora at the beginning of the 17th century and published a textbook for the instrument.
literature
- Ian Harwood, Lyle Nordstrom: Bandora. In: Grove Music Online , 2001
Individual evidence
- ^ Curt Sachs : Handbook of musical instrumentation. (1930) Georg Olms, Hildesheim 1967, pp. 180, 218; Kurt Reinhard : Mandola, Mandora. In: Friedrich Blume (Ed.): Music in the past and present . 1st edition, 1949-1986, Volume 8, Col. 1574