Lute: interesting facts, video, history, photos. Lute - Musical Instrument - History, Photo, Video Remove Red Eyes and Whiten Your Teeth

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The word "lute" probably comes from the Arabic word "al'ud" ("Tree"), although the recent studies of Eckhard Neubauer prove that the UD is simply an Arabized version of the Persian word RUD, which has string values, string tools, or lute. At the same time, Gianfranco Lotty believes that in the early Islam "Tree" was a term with a dismissive connotation due to the ban existing on it for any instrumental music. The artist on Lithe is called a butterfly, and the master manufacturer is a lieier.

Manufacture

Lute is made almost entirely of wood. The deck made from a thin sheet of wood (as a rule ate) has an oval shape. In all types, the hute deck contains a single or sometimes a triple outlet instead of a sound hole. Rosettes are usually richly decorated.

The hull of the lute is going out of individual hardwood edges (male, cherry, black tree, rosewood, etc.). Unlike most modern string tools, the neck of the ridge is mounted on the same level and does not hang over it. Shek lute is usually made of a light tree with a black tree coated.

History, origin

The origin of Luten is unknown. Various tool options were used since ancient times in the cultures of Egypt, the Hittite kingdom, Greece, Rome, Bulgaria, Turkey, China, Kilicia. At the beginning of the VII century, similar in the form of the Options of Lutni appeared in Persia, Armenia, Byzantium and Arab Khalifat. In the 6th century, thanks to Bulgarians, a lute with a short neck spread throughout the Balkan Peninsula, and in the VIII century, it was brought in the culture of Spain and Catalonia, thus supplanted to the dominant to it in the Mediterranean of Luteu with a long neck, a ramp and. The story of the latter on this, however, did not end: the Italian guitar, Kolasone and Khaitarron arose based on them.

At the junction of the XV and XVI centuries, many Spanish, Catalan and Portuguese rutnists, along with Lutni, began to use de Mano ("Manual Viuela"), a tool that in the form of close to and whose stroke corresponds to the rank of lute. Under the name "Viola and Mano", in the future, it was distributed in the regions of Italy under the authority of Spain, especially in Sicily, the Neapolitan kingdom and the Papen State in Pope Alexander VI.

Perhaps the most important "transshipment point" between Muslim and European Christian cultures in this case should be considered precisely Sicily, where the lute was brought by Byzantine or, later, the Saratsyntic musicians. Due to the fact that these Singers-butt served by the court musicians in the period following the revival on the island of Christianity, Lute more often than any other musical instruments, depicted on the paintings of the ceilings built in 1140 Kappella Palatina Church (Palermo, Italy) founded by the Norman King Roger II. By the XIV century, a lute was distributed throughout Italy and was able to penetrate the German-speaking countries from Palermo, due to the influence of the neighboring states of the Gajenstaufnes dynasty.

Medieval lute had four or five paired strings. Sound recovery was carried out using a plector. Little size varied: There is a documentary confirmation that by the end of the Renaissance era, there were up to seven sizes (including bass lute). Apparently, in the Middle Ages, a lute was mainly used for accompaniment. The number of music wrappers preserved to this day, written before the beginning of the XVI century, which, with a large share of confidence, can be attributed to those who are specifically for lute, is extremely few. Most likely, this is explained by the fact that in the Middle Ages and at the beginning of the Renalesass Age, the lute accompaniment was carried by an improvisational improvisational record.

In recent decades of the XV century, the butterfesters gradually abandoned the use of the plector in favor of the finger method of the game more suitable for the performance of polyphonic music. The number of paired strings increased to six or more. In the XVI century, a lute became the main solo tool of his time, but continued to be used for the accompaniment to singers.

By the end of the revival, the number of paired strings increased to ten, and the baroque reached fourteen in the era (sometimes reaching nineteen). The tools consisted of up to 26-35 strings demanded the changes in the structure of Lute. At the time of completion, the history of the development of the archful tool, theoreb and were equipped with extension cords built into the main chaff head, which created an additional resonant length of the bass strings. Human palm is unable to cover fourteen strings for the clamp, and therefore the bass strings were inspired outside the griff and never clamped with her left hand.

In the era of Baroque, the functions of the lute were largely reduced to the accompaniment of Basso Continuo, and gradually it turned out to be displaced in this hypostability with keyboard tools. Starting from the XIX century, Luty practically came out of use, but a few of its species continued to exist in Germany, Sweden and Ukraine.

The most outstanding composers

The most outstanding composers writing for lute to different era:

Composers of the Renaissance Age:

Italy: Vincenzo Kapirola, Francesco Canova and Milano;
Central Europe: Balinte Bakfark, Domed Kato, Wojaci Dlugaray, Kshyshtof Clabon, Melchior Nezidler, Yakub Polika;
England: John Dauland, John Johnson, Philip Rosser, Thomas Campion;

Baroque era composers:

Italy: Alessandro Piccinini, Antonio Vivaldi, Johann Jeronim Kapsberger;
France: Robert de Vie, Denis Gauthier;
Germany: Johann Sebastian Bach, Silvius Leopold Weiss, Wolf Jacob Laoffensteiner, Bernard Joachim Hagen, Adam Falkenhagen, Karl Kikhat;

Modern composers:

Johann Nepomuk David (Germany), Vladimir Vavilov (Russia), Sandor Kalloos (Hungary and Russia), Stefan Lundgren (Germany and Sweden), Tyokhiko Sato (Japan and Holland), Ronn Macfarlen (USA), Paulo Galvao (Portugal), Rob McKirlop (Scotland), Joseph Van Vissers (Holland), Alexander Danilevsky (France and Russia), Roman Turgovsky-Savchuk (USA and Ukraine), Maxim Zvonarev (Ukraine).

Video: Lute on video + sound

Thanks to this video, you can familiarize yourself with the tool, watch the real game on it, listen to his sound, feel the specifics of the technique:

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Musical instrument: Lute

In the age of supersonic velocities and nanotechnologies sometimes I really want to relax, will deduct from the whole world of fuss and find yourself in some other world where there is no modern turmoil, for example, in the romantic era of the Renaissance. At the present time, this is not to be inventing the time car, and it is enough just to visit the concert of authentic music somewhere in the Izmailovsky Kremlin or Sheremetyevsky Palace. There you will not only hear beautiful melodies that mentally carry in past times, but also get acquainted with interesting musical instruments, which for several centuries ago, our distant ancestors were musical. Interest in old music today increasingly increases, modern performers with enthusiasm departing the tools of the past epochs to which the traverse flute belongs, viola da gamba, demanded Viola, baroque doublebasque viron, harpsichord And, undoubtedly, a lute is a tool of privileged classes and deserving special attention. Her Arabs in the Middle Ages rightly called the queen of musical instruments.

Sound

A lute belongs to the family of string-pin tools, according to the nature of his sound, a little resembles a guitar, nevertheless, its voice is much softer and more tender, and the timbre is velvety and trembling, as it is more saturated with obhrothons. The source of the sound on the lute - paired and single strings, which the performer with the right hand is protected, and the left presses to the lads, changing their length, thereby changing soundness.

The musical text for the tool was recorded using the letters on a six-year-old line, and the duration of sounds was designated by notes set above the letters. Range Tool about 3 octave. There is no definite standard tool.

Photo:

Interesting Facts

• In many nations, the image of Luten served as a symbol of harmony, youth and love. The Chinese, she meant wisdom, as well as consistency in the family and society. Buddhists - harmony in the world of the gods, from Christians - a lute in the hands of angels marked the beauty of heaven and reconciling natural forces. In the art of the Renaissance, she symbolized music, and the tool with torn strings pointed out disagreement and disorder.
• Litchi was the emblem - a symbolic image of lovers.
• Lute in the Renaissance Epoch was very often displayed on the picturesque canvases, even Orpheus and Apollo artists of that time did not paint with Lear, but with a lute. A more harmonious composition than a girl or a young man with this romantic tool cannot be submitted.
• At one time, the lute, which was very popular, was considered a privileged tool of a secular circle, nobility and principals of royal blood. In the east, she was called the Sultan tools, and in European countries there was a statement that the body "King of all tools", and a lute "tool of all kings."
• Great English Poet and playwright W. Shakespeare very often mentioned Litua in his works. He admired her sound, attributing to her the ability to bring listeners to an ecstatic state.
• The greatest Italian sculptor, artist, poet and thinker Michelangelo Buonaroti, admiring the fulfillment of the famous busher Francesco and Milano said that he was divinely inspired by music and all his thoughts at that time were facing heaven.
• The artist on Lithe call the butterist, and the master who manufactures the tools - Tortey.
• Tools of Bologna Masters - Triaj L. Maler and G. Freya, as well as representatives of the master family of Tiffenbruffers from Venice and Padua, created in the 17-18 centuries, were worth the standards of astronomical money.
• On the lute to learn how to play was not as difficult, but to configure the tool that had a lot of strings made from natural materials, but poorly holding a system due to temperature and humidity differences, was problematic. There was a very famous joke: a musician playing in Lutné, two thirds of time is engaged in what sets up a tool, and one-third is musitis on a non-configured tool.

Design

A very elegant design of the lute includes a housing and a neck, ending with a siled block. The hull having a pear shape includes a deck and a body that performs the role of the resonator.

• The body is manufactured from the curved, forming a hemispherical shape, segments produced from solid wood: black wood, rosewood, cherry or maple.
• Deca is the facial part of the body closing the body. It is flat, has the form of oval and is usually made from a resonator fir. On the deck at the bottom there is a stand, and in the middle there is a sound hole in the form of an elegant intricate pattern or a beautiful flower.

Comparatively wide, but short neck lute is attached to the housing on the same level. It is glued with a lining from black wood, and Ketgutovy Ladvitors are tied. In the upper part of the grid is the threshold, affecting the height of the string tension.

The rolling block of the lute, which contains the adjusting pins for string tension, also has its own distinctive feature. It lies in the fact that the block is located in relation to the neck of the grid under a fairly large, almost direct angle.

The number of paired strings at different lutes varies very much: 5 to 16, and sometimes 24.

Weight The tool is very small and is approximately 400 gr., length The tool is about 80 cm.

Varieties

Lute at one time, using great popularity, evolved very intensively. Music masters were constantly experimenting with its shape, the number of strings and setting. As a result, a rather significant number of tool varieties occurred. For example, Renaissance lute except traditional tools that include tools with various pair strings - choirs, borrowed types of various sizes that were similar to the registers of a human voice: a small octave, a small distant, discount, altay, tenor, bass and octave bass. In addition, the lute family includes baroque lute, al-ud, architude, Torban, Cobz, Theorba, Kittaron, Citra, Bandor, Lute Cantabil, Orpharion, Lute Vanderfogel, Mandor, Mandola.

Application

Art historians consider Litu not only one of the most interesting, but also a fundamentally important tool in the history of European music of 16-17 centuries. She received recognition from representatives of various layers of society, from commoners to the royal arts, and was used as an accompanying, solurating and ensemble tool. The rapidly growing popularity of Lutni constantly demanded replenishment and updates of the repertoire. Very often, works of works were simultaneously performers, so in European countries there was a whole pleiad of wonderful composers-butt. In Italy - F. Spinachino, F. Milano, V. Galilee, A. Rippe, Morney, V. Kapirla, A. Piccinini. In Spain - L. Milan, M. Fuengland. In Germany - H. Neizidler, M. Neuzidler, I. Kapsberger, S. Wece, V. Laoffensteiner. In England - D. Dauland, D. Johnson, F. Cattle, F. Rosser, T. Campion. In Poland - V. Dlugoray, Ya. Reis, D. Kato, K. Clubon. In France - E. Gautier, D. Gautier, F. Dufau, R. Visa. It should also be noted that even the greatest masters like I.S. Bach, A. Vivaldi, Genthend, J. Gaidn Attached the lute of attention enriching her repertoire with their works.

At this time, interest in old music, and at the same time to Lutné, does not weaken. Its sound is increasingly you can hear on the scenes of concert halls. Among the modern composers, which today are composed for the tool, many interesting works should be noted by I. David, V. Vavilova, Sh. Kallosh, Sh. Lundgrena, T. Sato, R. Makfarlen, P. Galvao, R. McKillopa, Y. Vissess , A. Danilevsky, R. Torovsky-Savchuk, M. Zvonareva.

Famous performers

Unusually fashionable in the Renaissance and Baroque era, but displaced by other tools and unfairly forgotten, lute today is a great interest, and not only among authentic musicians. Its sound is now increasingly you can hear on different concert venues, and not only solo, but also in the ensemble with other beautiful old musical instruments. In the XXI century, the most famous virtualized performers who are doing a lot to popularize the instrument are V. Kaminik (Russia), P. O "Children (USA), O. Timofeev (Russia), A. Krylov (Russia, Canada), and . Suetin (Russia), B. Yang (China), Ya. Imamura (Japan), R. Lislevand (Norway), E. Karamazov (Croatia), J. Held (Germany), L. Kirchhof (Germany), E. EGUEZ (Argentina), H. Smith (USA), Ya. Lindberg (Sweden), R. Barto (USA), M. Law (England), N. North (England), Y. Wang Lennep (Netherlands) and many others .

History

The whole story of the arms of Lute, who in Eastern countries was considered one of the most advanced tools, it is impossible to trace. Similar tools have been widely distributed in many countries around the world. They were musiced in Egypt, Mesopotamia, China, India, Persia, Assyria, Ancient Greece and Rome. Nevertheless, scholars-art historians suggest that the lute had an immediate predecessor - this is the tool to which in the Middle East still belongs to special reverence, arguing that it is the result of the creation of the grandson of the prophet. CD had a pear-shaped case, which was made of walnut or pear, deck made of pine, short neck and curved head back. The sound was removed using a plector.

Europe's conquest of Europe began in the 8th century from Spain and Catalonia, after the Maurov won the Pyrenean Peninsula. The tool not only moved very quickly in the culture of these countries, but also, due to crusades, it became rapidly distributed to other European countries: Italy. France, Germany, crowding out other tools at that time, such as a cista and ramp. Lutage gaining popularity is constantly subjected to various improvements. The masters made changes to the design of the tool, modified the housing and neck, added strings. If he originally had from 4 - 5 paired strings - choirs, then later the number gradually increased. By the 14th century, a lute in Europe was not only fully formed, but also became one of the most popular tools not only in court, but also homely musication. It was not only used as accompanied, but also as a soloing tool. For lute, there were many differently music music, they made theres not only popular songs and dances, but also spiritual music. In the 15th century, the popularity of the tool increases even more, painters often depict it on their artistic canvases. Composers continue to intensively enrich the repertoire. The performers refuse the plector, giving preference to the finger method of extracting, which significantly expanded the technical capabilities, allowing execution, both harmonic accompaniment and polyphonic music. Lute continued to be improved, and the most popular tools with six paired strings were most popular.

In the 16th century, the popularity of lute reached its apogee. She dominated both professional musicians and lovers. The tool sounded in the palaces of kings and the highest nobility, as well as in the houses of ordinary citizens. It was performed by solo and ensemble works, accompanied vocalists and choras and, besides, were introduced into the orchestras. Schools for the production of lute instruments were created in different countries, the most famous of them was in Italy in Bologna. The tools were constantly modified, the number of paired strings increased: first ten, then fourteen, and subsequently their number reached 36, which correspondively required changes to the tool design. The varieties of Luten were a lot, among them were seven, which corresponded to the tessure of the human voice, from the discount to Bass.

By the end of the 17th century, the popularity of Lute was noticeably falling, since it gradually supposed to have such tools like guitar, harpsichord, and a few later piano. In the 18th century, it was actually no longer used, with the exception of several varieties that were extended in Sweden, Ukraine and Germany. And only at the turn of the 19ths and 20th centuries, due to the newest interest in the ancient instruments of English enthusiasts, headed by the instrumental master, a professional musician and musicologist Arnold Dolmich, attention to Litua again increased.