Tarota

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Modern three-part tarota with two keys

The tarota (plural tarotes ) is a Catalan wind instrument from the family of double reed instruments .

Modern versions of the Tarota have a conically drilled wooden body and a double reed that is attached to a metal connecting tube ( tudell ). The approximately 60 centimeter long wooden body usually consists of three parts (sometimes two). The simplest and most common version is called tarota seca . It has six finger holes on the front and one on the back (there are also versions without a rear handle hole). However, up to eight keys can be added to make it easier to grasp the low notes or to play semitones. The tarota is usually just simply overblown .

The name tarota is onomatopoeic and was used on the Iberian Peninsula in various forms (including torlote , torloroto , turutot , trota ) for various wind instruments. In Roussillon (Catalan. Rosselló) the tarota is called Prima .

The instrument, which was forgotten in the mid-19th century, was revived in the 80s and 90s of the 20th century and is becoming increasingly popular today as numerous groups of Catalan and Mediterranean folk music include it in their programs.

The current form of the tarota was developed by Xavier Orriols, an instrument maker who specialized in the gralla . Since then she has seen various changes. The objection to this form was that it was not based sufficiently on historical models. The Ministrils del Rosselló group is based on studies by the Center Internacional de Música Popular in Céret , where tarotes were reconstructed from historical points of view.

history

While the gralla goes back to a pre-form of the mizmar , i.e. it came to the Iberian Peninsula in Arab times and is played almost unchanged in some areas up to the present day, the tarota comes from the Central European shawms . These in turn go back to the oriental double reed instruments, but had been further developed (especially enlarged) since the 14th century.

Shawms are mentioned at the Iberian royal courts as early as the 13th century. John I of Aragon sent two musicians to Germany in 1391 to recruit shawms, pomeranian and bagpipes players . Michael Praetorius ( Syntagma musicum ) and Marin Mersenne ( Harmonie universelle ) provide information about the shape of the Renaissance shawls.

Five tarotes from the 18th and 19th centuries have been preserved, which conspicuously match the Renaissance instruments: They are made from one piece (with the exception of one late instrument), have seven (or six) finger holes on the front, one or two sound holes below the finger holes, and four sound holes in the area of ​​the funnel (two on the front and back, two on the side). Two instruments have preserved tudells and wooden pirouettes , as they are known from the high voices of the renaissance bowls . They frame the lower part of the reed and serve as lip support. Four of the preserved instruments are around 60 cm long, which corresponds to the treble position of the shawms. One is 71.5 cm long, which corresponds to the old location. This last instrument has a fontanel like those used on larger Renaissance instruments to protect the keys. Here, however, it only serves as an ornament, as there is neither a flap nor a hole.

This finding suggests that in Catalonia the shawm was preserved as a folk instrument during the Baroque period (and beyond), while it was supplanted by the oboe at court and in church music . Instead of the name Cheremía / Xeremia (shawm), the name tarota, which was occasionally used earlier, was used. It was used as a pastoral instrument and in the dance of the common people. It is documented for an instrument that it was in the possession of a soldier.

In the 19th century the tarota was an integral part of the Cobla de Tres Quartans ("three-quarter chapel") together with the Sac de gemecs (bagpipe), Flabiol (one-handed flute) and Tamborí (hand drum). From 1849 it was further developed by Andreu Toron in Perpignan . It was lengthened to about 80 cm and made up of three parts, with a metal bell and 13 flaps. This new instrument became the solo instrument of the newly created cobla of the Sardanas . In connection with the historical forerunners, it was called Xeremia tenora (tenor shalmei), which is usually shortened to tenora . The (Xeremia) Tible is also derived from the Tenora , a smaller instrument with a wooden funnel for the treble register.

Manufacturer

Instrument makers who build tarotes include:

  • Xavier Orriols
  • Cesc Sans
  • Jordi Aixalà i Basora
  • Txema Morales
  • Jordi Macaya

Individual evidence

  1. ^ Gabriel Ferré i Puig: La tarota, una xeremia d'ús popular a Catalunya . In: Recerca Musicològica . No. 4 , 1984, pp. 81-125 . , here: p. 86
  2. ↑ Ferré i Puig: Tarota, p. 116
  3. ↑ Ferré i Puig: Tarota, p. 110 u. 123
  4. ↑ Ferré i Puig: Tarota, pp. 108-109
  5. ↑ Ferré i Puig: Tarota, p. 109
  6. ^ Instruments, Capella de la Torre. (No longer available online.) Archived from the original on August 8, 2016 ; Retrieved January 16, 2010 .
  7. ↑ Ferré i Puig: Tarota, pp. 110-113
  8. ↑ Ferré i Puig: Tarota, pp. 87-108
  9. ↑ Ferré i Puig: Tarota, pp. 114-115
  10. ↑ Ferré i Puig: Tarota, p. 117
  11. ↑ Ferré i Puig: Tarota, p. 93
  12. ↑ Ferré i Puig: Tarota, p. 120
  13. ↑ Ferré i Puig: Tarota, p. 116

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