Reconstruction
Southern France (approx. 70 B.C.). The tribe of the Cadurci were settled along the riverbanks of the Lot (Northern Provence), the bulk of the tribe being resident in Divona (known nowadays as Cahors). They minted bronze coins following the example set by the Romans. One of these coins depicts a five-string lyre which had as its `corpus´ an upright oval ring without any resonance covering. Typical of the Celtic features of this slim instrument with its long strings are the ball joints for yoke and arms.
Design:
oval ring made of solid maplewood, hollowed out. Yoke, arms und ball joints
made of beechwood. Approximate size of oval 30x20x4 cm, thickness approx.
3 mm, overall height 49 cm, weight approx. 440 g.
Five strings made of sheepgut.
Tuning : pentatonic or free choice
Reconstruction from the Anglo-Saxon
King´s grave at Sutton Hoo (early 7th. Century). We can assume that these
instruments reflect the contemporary custom since they were anchored for
a long time within the iconographic tradition.
One example worth mentioning is the Vespasian psalter, a manuscript from
Canterbury from the early 8th century. Moreover, there is archaeological
evidence testifying to the use of the lyre. Well-preserved remains of
such an instrument were found in the Anglo-Saxon King´s grave at Sutton
Hoo in south-east England.
Minstrel harp reconstructed after contemporary illustrations from the 12th and 13th centuries.
Poetry from the Middle Ages indicates that the harp is closely attributed to the upper class. Music played on the harp at court served, above all, formal occasions. Time and again one can read how ceremonies are adorned with the playing of the harp.
The sound of the harp can be heard both
at a jousting tournament and at table, where the nobility was also denoted
by way of strict ceremony by the sound of the harp. The epic poem `Diu
Crône´ written by Heinrich von dem Türlîn during the period between 1215
and 1230 shows an example of the above. One occasion celebrated at King
Arthur´s court was given a very precisely described musical setting, in
which the music from the harp added significantly to the delight of those
present.
"...Manec süeze nôte unde guot von der harpfen ze hant erklanc". (Many
a sweet and noble melody could be heard when the harp was plucked). An
instrument carrying the name harp is also mentioned time and again in
central parts of the epic poem `Beowulf´ when recited in the King´s Hall.
The chapter depicting the dragon fight demonstrates an example of the
above: "...Nis hearpan wyn, gomen gleóbeámes". (Beowulf, line 2263, original
Anglo-Saxon version). (...the harp became silent, that splendid sound
from the wooden instrument).
Design:
22 gut strings
Sound box, pillar and neck: pear wood
height 75 cm
weight approx. 1,35 kg
Welsh for David´s Harp
Iconography from the Middle Ages very often depicts King David with the harp. Musicians played these simple instruments over several centuries. And today this light-weight instrument still fascinates us with its gentle but nevertheless clearly audible tone, and opens up new dimensions in sound (besides the modern concert harp). These harps had between 24 and 30 strings, however semitone levers were still missing. The instrument was tuned to every key required for the recital in question. Tuning done by ear therefore resulted in pure key intervals. At this point we also recall the `Laws of Wales´ from the 12th century. According to these laws, three things were indispensible for a man of social standing, namely " his harp, his coat and his chessboard", while, at the same time, it was essential as a matter of principle for each and every man to have at home "a virtuous wife, a cushion on the chair and a tuned harp".
Design:
30 gut strings, ranging from F to g3
resonance board: maple
pillar, neck and sound box: walnut
height 105 cm
weight approx. 3 kg
Made after the original in the Museum
of Fine Arts,
Boston, USA.
Slightly revised reconstruction
Historical designs offer an immense richness in sound.
By means of lighter stringing, lighter construction and longer strings,
a multitude of sounds is unfolded which differs clearly from the sound
of the modern harp. An additional feature were the bray pins, the type
of construction typical for that period which rendered the harp its impressive
and peculiar, but nevertheless clearly audible sound. "What kind of magic
did you use to make this harp sound as beautifully as it does?". Christina
Pluhar, ensemble `La Fenice´, Paris.
Design: 30
gut strings, ranging from F to g3
complete set of semitone hooks
pillar and neck: walnut
sound box: maple
height 118 cm
weight approx. 4,20 kg
30 bray pins made of pear wood
