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Italian bagpipe. History of name and origin

Italian bagpipe. History of name and origin

15.03.2019

Bagpipes… Sounds of it unique instrument invariably evoke images of the green slopes of Scotland, plaid skirts and fairytale castles. Most assume that this polyphonic instrument has native Scottish roots. However, historians are arguing about where this unique instrument originated.

Where is the sound from?

It is difficult to determine the time and place of origin of the musical instrument - the progenitor of the modern bagpipe. Historians talk about China Ancient Greece and Rome. Mentions of the instrument can be found on stone slabs several centuries before the birth of Jesus Christ. The bagpipe is a mysterious instrument that can be found in the history of the countries of Europe and Asia. No one can determine exactly when the instrument became traditional for Scotland.

Presumably, the Romans brought bagpipes with them, who had pipers in their troops. According to available historical data, he loved the sounds of bagpipes and knew how to play the instrument himself. But even before the emperor Nero, the bagpipe was mentioned in the poems of Virgil. At present, it is impossible to determine reliably whether it was brought or the Romans used the tool available in the country. The bagpipe is a musical instrument with multinational roots, each of which has left its mark on its sound. Whatever way she got to Scotland, there she was somewhat modified and became exactly the instrument we are used to seeing her.

Tool making

Traditionally, bagpipes are handmade instruments. The use of traditional materials is still very common, the modernization of the production of bagpipes has only led to an improvement in the way the instrument is made, and not to the deterioration or loss of any important quality.

The Scottish bagpipe was made from swamp oak from the early days, but then hardwoods from exotic countries began to be used. The tone of a bagpipe depends on the quality and type of wood used. Interestingly, different parts of the bagpipe can be made from different types wood. In the production of the tool, the humidity of the climate of the country where it will be used is also taken into account.

For example, bourdons can be made from ebony ebony, which is very suitable for humid and not suitable for dry regions of the United States. Therefore, in most cases, plastic is used for the production of pipes in order to avoid climate influences.

The bag of bagpipes is the most important part of the instrument, which is traditionally made of sheepskin, but in different countries world material varies. Moose in the US and kangaroo in Australia.

A good bagpipe always has not only parts that are responsible for the sound, but also decorations. In the old days, the Scottish bagpipe was decorated with elements of ivory or walrus tusks. But to preserve these species of animals, jewelry is made from horns or artificial materials.

The bagpipe is a multi-part instrument, so it will never be mass-produced. Traditional methods of production will always prevail.

Bagpipe music

The bagpipe is a historically very important instrument for Great Britain. The sounds of the bagpipes reflected all the events taking place in the clans of Scotland. Pipers composed music about joys and sorrows, battles and victories.

The creation of the bagpipe, as well as playing it, has long been considered the prerogative of men, since some models are heavy. Bagpipes can be small and big size, but each has a fur bag and five pipes for various purposes. There is through which the piper supplies air to the bag. Three more tubes, called bourdons, create a unique sound. The musician can move them, change the height. All this allows you to enjoy different tones and overflows of bagpipes. The melody is created by a pipe chanter. It is on it that there are holes, clamping which receive the motive of music.

The sound of the bagpipe is loud, sonorous. It was used in the Middle Ages as signals between clans. And now its sound is well combined with electronic and rock music. The bagpipe is a national instrument that sounds harmoniously in the modern world.

Ancient sounds in modern processing

There are many bagpipe bands in the UK, such as the British Military Band. And even the queen herself listens to delightful, unforgettable sounds every morning.

A variety of sounds that the bagpipe is capable of making are used by musicians in contemporary music. One of the best combinations is drumming and playing the bagpipes. Performances in this combination make their way to shiver. The concerts of the combined orchestras of Scotland, which perform all over the world, win hearts with their musical masterpieces.

Bagpipers are in demand for wedding celebrations, banquets and dinner parties.

Once heard, it is impossible to forget the music of bagpipes. You may like it or not, but it will not leave anyone indifferent.

Duda, Gaelic. Pìob, Pol. Dudy, irl. Piobai, Scots. Bagpipe, Ukrainian Goat, Bulgarian Hyde.

Technical extraction of sound

One of the tubes (chanter) has side holes and is used to play a melody, and the other two (bourdons) are bass, which are tuned to a clean fifth. Bourdon emphasizes the skeleton of the octave mode (modal scale), on the basis of which the melody is composed. The pitch of the bourdon pipes can be changed by means of the pistons in them.

Typology and differences

Some bagpipes are designed so that they are inflated not by the mouth, but by the bellows for pumping air, which is set in motion. right hand. These bagpipes include the Uilleann Bagpipe, an Irish bagpipe.

Kazakh bagpipe

The Kazakh national instrument is called Zhelbuaz, outwardly it resembles a leather waterskin, it is made from goat skin. The neck of the zhelbuaz is closed with a special plug. In order for the instrument to be worn around the neck, a strong leather cord is attached to it. IN Lately the instrument is used in concerts of Kazakh national orchestras and folklore ensembles. Found during archaeological excavations, kept in the Museum of National Musical Instruments named after Ykylas Dukenov. A stable temperature is maintained. To prevent the moth from eating the exhibit, dust is regularly wiped off with special gauze. famous composer Nurgisa Tlendiev used zhelbuaz for the first time in the concerts of the Otrar Sazy orchestra.

Armenian bagpipe

Irish bagpipe

It consists of a double reed chanter like the oboe, one or two bass bourdons with single reeds like the clarinet. The chanter has an internal conical channel, seven holes for fingers and a hole for thumb left hand. In addition, it is equipped with three non-closable holes located in its lower part on the bell.

Italian bagpipe

The bagpipes of this region can be divided into 2 types - northern Italian, similar in design to French and Spanish instruments, and southern Italian, known as common name zamponia(Italian zampogna) and distinguished by two melodic pipes in a common drain with two bourdon pipes. Traditionally, zamponya is used as an accompaniment. chiaramelle(ital. ciaramella) - a small oboe-like instrument.

Mari bagpipe

Mari bagpipe ( shuvyr, shuvyr, shuvyur, shuvyur, shubber). It consists of fur (animal bladder) and 3 tubes - 1 for air injection and 2 play, melodic, located in a wooden box and having a common cow horn bell. Their range is third and fifth, the number of playing holes: 2 and 4 (it is possible to perform 2-voice melodies). The sound range is diatonic. The sound is strong, sharp, buzzing timbre. Known since antiquity. It is used as an accompaniment to folk songs, dance melodies. Often used with the Mari drum (tumyr).

Mordovian bagpipe

Russian bagpipe

The bagpipe was once a very popular folk musical instrument in Rus'. It was made of raw sheepskin or cowhide, on top there was a tube for pumping air, on the bottom - two bass pipes, creating a monotonous background, and a third small pipe with holes, with which they played the main melody. The bagpipe was ignored by the upper circles of society, since its melody was considered inharmonious, inexpressive and monotonous, it was usually considered "low", just folk instrument. Therefore, during the 19th century, the bagpipe was gradually replaced by more complex wind instruments such as accordion and button accordion.

Information about it musical instrument there are quite extensive in the iconographic and written monuments of the culture of the Russian people, the period from the 16th century to the 19th century. The earliest image is in the Radzivilov Chronicle (XV century) on the miniature “Game of the Vyatichi Slavs”.

Ukrainian bagpipe

In Ukraine, the bagpipe has the name "goat" - apparently, for the characteristic sound and the production of goat skin. Moreover, the instrument is also given an external resemblance to an animal: they are covered with a goat skin, a clay goat head is attached, and the pipes are stylized under legs with hooves. The goat was, in particular, an invariable attribute of festivities and carols. There are bagpipes with a goat's head, in almost all Carpathian regions - Slovak, Polish, Czech, Lemko, Bukovina - there is traditionally a goat's head, wooden, with horns.

french bagpipes

In France, there are many types of bagpipes - this is due to the wide variety of musical traditions of the regions of the country. Here are just a few of them:

Central French bagpipe ( musette du center, Cornemuse du Berry), common in the areas of Berry and Bourbonnais. It is a two-burdon instrument. Bourdons - large and small, the small one is located from the bottom, near the chanter, tuned to each other in an octave. The cane of the chanter is double, the bourdon ones are single; air is forced through the blower. The scale is chromatic, the range is 1.5 octaves, the fingering is semi-closed. There are later versions of this instrument with 3 bourdons and bellows for blowing air. Traditionally used in duet with a lyre.
Cabretta (French: chabrette, Auversk. occitane. : cabreta) - a single-bourdon elbow-type bagpipe that appeared in the 19th century among the Parisian Auvergne and quickly spread in the province of Auvergne itself and in the surrounding regions of the Center of France, practically displacing local, more archaic types of instrument, for example, the Limousin chabrette ( chabreta limousina).
Bodega (Occitan: bodega) - bagpipes with goatskin fur, a blower and one bourdon, common in the southern Occitan-speaking departments of France.
Musette de Cours musette de cour) is a "salon" bagpipe, widely used in the 17th-18th centuries in baroque court music. This type of bagpipe is distinguished by two playing pipes, a bourdon barrel and a bellows for blowing air.

Chuvash bagpipe

Shapar(scrape, shybyr, bubble). It consists of a bag (bulb of a bull or a cow), a bone or metal tube for air injection and 2 tin melodic tubes mounted on a wooden bed. They put on a bell made of cow horn and sometimes an additional one made of birch bark. The left tube has 2-3, the right tube has 3-4 playing holes (it has 3-7 small tuning holes at the bottom). Canes are usually single, although in the Tetyush region (Tatarstan) double ones are also used. The scales are very different using both chromatic and diatonic intervals.

Sarnay. Unlike the shapar, the bag is not made from a bladder, but from calf or goat skin. It has a blower, 2 bourdons (most often tuned in fifths) and one melody tube with 6 playing holes and finger grooves. All tubes are wooden. Single reeds, made of goose feather or reed. The scale is usually diatonic, but there are also omissions of steps, increased or decreased octaves, etc. They usually play while sitting, loudly beating the rhythm with their feet.

Scottish bagpipe

The Scottish bagpipe has taken part in all the military campaigns of the British Army over the past 300 years. In the Battle of Waterloo in Belgium, which took place on June 18, 1815, during a counter-attack on the corps of the French Imperial Marshal Davout, the Scottish bagpipes performed for the first time the patriotic march of the 52nd Infantry Brigade of the Scottish Riflemen "Scotland The Brave" (English "Scotland The Bra") ve" , Scottish (Gaelic) "Alba an Aigh"), which later became unofficial anthem Scotland.

Estonian bagpipe

Estonian bagpipe (Est. torupill) made from the stomach or bladder of a large animal such as a fur seal, has one, two or (rarely) three bourdon pipes, a flute as a voice pipe, and an additional pipe for blowing air.

Service and Consumables

A special composition (bag seasoning, bagpipe seasoning) is placed in the bag, the purpose of which is not only to prevent air leakage from the bag. It serves as a covering that retains air but releases water. A bag of solid rubber (found on unplayable bagpipes, wall souvenirs that deceive tourists) would completely fill with water in half an hour of play

Duda, Gaelic. Pìob, Pol. Dudy, irl. Píobaí, Scots Bagpipe, Ukrainian Goat, Bulgarian Hyde.

Technical extraction of sound

Irish bagpipe

Irish bagpipe(English) uilleann pipes [ˈɪlən paɪps]) - Illyan pipes, translated from Irish - elbow bagpipes - the Irish version of the bagpipe, which finally took shape by the end of the 18th century. Air is pumped into the bag with bellows rather than a blowpipe. The Irish bagpipe, unlike all other bagpipes, has a range of two full octaves, and in its full version it can also play accompaniment with the help of regulators in addition to the melody.

Spanish bagpipe

Also called "gaita" (La gaita), comes from Galicia, as well as Asturias and the eastern part of the province of León.

Russian bagpipe

The bagpipe was once a very popular folk instrument in Rus'. It was made of raw sheepskin or cowhide, on top there was a tube for pumping air, on the bottom - two bass pipes, creating a monotonous background, and a third small pipe with holes, with which they played the main melody. The bagpipe was ignored by the upper circles of society, since its melody was considered inharmonious, inexpressive and monotonous, it was usually considered a "low", folk instrument. Therefore, during the 19th century, the bagpipe was gradually replaced by more complex wind instruments such as accordion and button accordion.

Ukrainian bagpipe

french bagpipes

In France, there are many types of bagpipes - this is due to the wide variety of musical traditions of the regions of the country. Here are just a few of them:

Central French bagpipe ( musette du center, Cornemuse du Berry), common in the areas of Berry and Bourbonnais. It is a two-burdon instrument. Bourdons - large and small, the small one is located from the bottom, near the chanter, tuned to each other in an octave. The cane of the chanter is double, the bourdon ones are single; air is forced through the blower. The scale is chromatic, the range is 1.5 octaves, the fingering is semi-closed. There are later versions of this instrument with 3 bourdons and bellows for blowing air. Traditionally used in duet with the hurdy gurdy.
Cabretta (French: chabrette, Auversk. occitane. : cabreta) - a single-bourdon elbow-type bagpipe that appeared in the 19th century among the Parisian Auvergne and quickly spread in the province of Auvergne itself and in the surrounding regions of the Center of France, practically displacing local, more archaic types of instrument, for example, the Limousin chabrette ( chabreta limousina).
Bodega (Occitan: bodega) - bagpipes with goatskin fur, a blower and one bourdon, common in the southern Occitan-speaking departments of France.
Musette de Cours musette de cour) is a "salon" bagpipe, widely used in the 17th-18th centuries in baroque court music. This type of bagpipe is distinguished by two playing pipes, a bourdon barrel and a bellows for blowing air.

Chuvash bagpipe

Scottish bagpipe

Bagpipe (English) Great Highland Bagpipes) is an old Scottish instrument. It is a tank made of sheep or goat skin, turned inside out (goose), to which three bourdon tubes (drones), one tube with eight game holes (chanter) and a special short tube for blowing air are attached (tied). It has a simplified air supply - through an inflating tube - provides freedom to the right hand.

When playing, the piper fills the tank with air and, pressing it with the elbow of his left hand, makes the bourdon and playing pipes sound, which in turn are equipped with special reeds (reeds), moreover, single reeds are used in bourdon pipes, and double reeds made of reeds are used in the playing pipe .

Estonian bagpipe

Service and Consumables

A special composition (bag seasoning, bagpipe seasoning) is placed in the bag, the purpose of which is not only to prevent air leakage from the bag. It serves as a covering that retains air but releases water. A bag made of solid rubber (found on unplayable bagpipes, wall souvenirs that deceive tourists) would completely fill with water in half an hour of play. The water from the bagpipe comes out through the wetting skin of the bag.

Reeds (both bourdon and chanter) can be made of cane or plastic. Plastic reeds are easier to play, but natural reeds sound better. The behavior of natural reeds is very dependent on the humidity of the air, reeds work better in humid air. If the natural cane is dry, in some cases it helps to put it in water (or lick it), pull it out and wait for a while, and you can’t soak it either. (It is often advised in beginner's manuals to try to play bagpipes with dry reeds for an hour or more, until the reeds get moisture from the exhaled air. Perhaps this recipe was once invented as a joke or a punishment for the irregularity of practice.) With the help of certain mechanical manipulations, the reed can be made "lighter" or "heavier", adapt it to more or less pressure. Regardless of the material, each individual reed has its own "character", the player must adapt to it.

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Notes

Bagpipes / K. A. Vertkov // Great Soviet Encyclopedia: [in 30 volumes] / ch. ed. A. M. Prokhorov. - 3rd ed. - M. : Soviet Encyclopedia, 1969-1978.
breizh.ru:
Mordva: Historical and cultural essays / Ed. coll.: V. A. Balashov (editor-in-chief), V. S. Bryzhinsky, I. A. Efremov; Ruk. ed. team academician N. P. Makarkin. - Saransk: Mordov. book. publishing house, 1995. - S. 462-463. - 624 p. - 2000 copies. - ISBN 5-7595-1049-5.
(port.). Associação Gaita de Foles. Retrieved 24 September 2016.
Tereshenko A.. - St. Petersburg. , 1848. - T. 1. - S. 485.
Urve Lippus and Ingrid Ruutel. Estonia // . - Oxford University Press.

Literature

// Encyclopedic Dictionary of Brockhaus and Efron: in 86 volumes (82 volumes and 4 additional). - St. Petersburg. , 1890-1907.
- article from the encyclopedia "Round the World"
Kashkurevich T. A.
Nikiforov P. N., Mari folk musical instruments, Yoshkar-Ola, 1959, p. 48-58
Remishevsky K. I., Kalatsei V. V.
Eshpay Ya. A., National musical instruments of the Mari, Yoshkar-Ola, 1940, p. 23-28
Anthony Baines. bagpipes. - Oxford: Oxford University Press, 1960.
Joshua Dickson. The Highland Bagpipe: Music, History, Traditon. - Ashgate Publishing, Ltd, 2009.
Angus Cameron Robertson. The Bagpipes: History and Traditions. - McBeath & Company, 1930.

Links

(Russian) (Retrieved August 6, 2011)
(Russian) (Retrieved August 6, 2011)
(Russian) (Retrieved August 6, 2011)
(Russian) (Retrieved August 6, 2011)



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An excerpt characterizing the Bagpipes

“Well, my dear,” Prince Vasily said jokingly, “tell me yes, and I will write to her on my own, and we will kill the fat calf. - But Prince Vasily did not have time to finish his joke, when Pierre, with a fury in his face, which resembled his father, without looking into the eyes of his interlocutor, said in a whisper:
- Prince, I did not call you to my place, go, please, go! He jumped up and opened the door for him.
“Go on,” he repeated, not believing himself and rejoicing at the expression of embarrassment and fear that appeared on the face of Prince Vasily.
- What happened to you? You are sick?
– Go! the trembling voice said again. And Prince Vasily had to leave without receiving any explanation.
A week later, Pierre, having said goodbye to his new friends the Masons and left them large sums in alms, left for his estates. His new brothers gave him letters to Kyiv and Odessa, to the Freemasons there, and promised to write to him and guide him in his new work.

The case between Pierre and Dolokhov was hushed up, and, despite the then severity of the sovereign regarding duels, neither both opponents nor their seconds were injured. But the story of the duel, confirmed by Pierre's break with his wife, was made public. Pierre, who was looked upon condescendingly, patronizingly, when he was an illegitimate son, who was caressed and glorified, when he was the best bridegroom of the Russian Empire, after his marriage, when brides and mothers had nothing to expect from him, he greatly lost in the opinion of society, all the more that he did not know how and did not want to curry favor with the public. Now he alone was accused of what had happened, they said that he was a stupid jealous man, subject to the same fits of bloodthirsty rage as his father. And when, after Pierre's departure, Helen returned to St. Petersburg, she was not only cordially, but with a touch of reverence, referring to her misfortune, was received by all her acquaintances. When the conversation turned to her husband, Helen adopted a dignified expression, which she, although not understanding its meaning, by her usual tact, adopted for herself. This expression said that she had decided to endure her misfortune without complaint, and that her husband was the cross sent to her by God. Prince Vasily expressed his opinion more frankly. He shrugged his shoulders when the conversation turned to Pierre, and, pointing to his forehead, said:
- Un cerveau fele - je le disais toujours. [Half crazy - I always said that.]
“I said ahead of time,” Anna Pavlovna said about Pierre, “I just said then, and before everyone else (she insisted on her primacy), that this is a crazy young man, spoiled by the depraved ideas of the century. I said this back then when everyone admired him and he had just arrived from abroad, and remember, one evening I had some kind of Marat. What ended? I did not yet want this wedding and predicted everything that would happen.
Anna Pavlovna, as before, gave such evenings in her free days as before, and such as she alone had the gift to arrange, evenings at which she gathered, firstly, la creme de la veritable bonne societe, la fine fleur de l " essence intellectuelle de la societe de Petersbourg, [the cream of the real good company, the color of the intellectual essence of St. Petersburg society,] as Anna Pavlovna herself said. In addition to this refined choice of society, Anna Pavlovna's evenings were also distinguished by the fact that every time at her evening Anna Pavlovna served her society some new, interesting face, and that nowhere, as at these evenings, was the degree of the political thermometer, on which the mood of the court legitimist Petersburg society stood, expressed so clearly and firmly.
At the end of 1806, when all the sad details about the destruction of the Prussian army by Napoleon near Jena and Auerstet and about the surrender of most of the Prussian fortresses had already been received, when our troops had already entered Prussia, and our second war with Napoleon had begun, Anna Pavlovna gathered evening. La creme de la veritable bonne societe [Cream of a real good society] consisted of a charming and unhappy, abandoned by her husband, Helen, from Morte Mariet "a, charming Prince Hippolyte, who had just arrived from Vienna, two diplomats, an aunt, one young man, who used the name simply d "un homme de beaucoup de merite in the living room, [very worthy person,] one newly granted maid of honor with her mother and some other less prominent persons.
The person with whom, as a novelty, Anna Pavlovna treated her guests that evening, was Boris Drubetskoy, who had just arrived by courier from the Prussian army and was adjutant to a very important person.
The degree of the political thermometer pointed out to the society at that evening was the following: no matter how much all European sovereigns and generals try to pander to Bonaparte in order to make me and us in general these troubles and sorrows, our opinion about Bonaparte cannot change. We will not stop expressing our unfeigned way of thinking on this matter, and we can only say to the Prussian king and others: so much the worse for you. Tu l "as voulu, George Dandin, [You wanted it, Georges Dandin,] that's all we can say. That's what the political thermometer indicated at Anna Pavlovna's evening. When Boris, who was supposed to be brought to the guests, entered the living room, almost the entire society was already assembled, and the conversation, led by Anna Pavlovna, was about our diplomatic relations with Austria and about the hope of an alliance with her.
Boris, dressed in a smart, adjutant's uniform, matured, fresh and ruddy, freely entered the living room and was taken, as he should, to greet his aunt and was again attached to the general circle.
Anna Pavlovna gave him her dry hand to kiss, introduced him to certain faces he did not know, and identified each one to him in a whisper.
– Le Prince Hyppolite Kouraguine – charmant jeune homme. M r Kroug charge d "affaires de Kopenhague - un esprit profond, and simply: M r Shittoff un homme de beaucoup de merite [Prince Ippolit Kuragin, a dear young man. G. Krug, Copenhagen chargé d'affaires, deep mind. G. Shitov , a very worthy person] about the one who bore this name.
Boris during this time of his service, thanks to the cares of Anna Mikhailovna, his own tastes and the properties of his restrained character, managed to put himself in the most advantageous position in the service. He was adjutant to a very important person, had a very important mission to Prussia, and had just returned from there by courier. He fully assimilated to himself that unwritten subordination that he liked in Olmutz, according to which the ensign could stand incomparably higher than the general, and according to which, for success in the service, not efforts in the service, not labor, not courage, not constancy, were needed, but it was necessary only the ability to deal with those who reward service - and he himself was often surprised at his rapid success and how others could not understand this. As a result of this discovery, his whole way of life, all relations with former acquaintances, all his plans for the future, have completely changed. He was not rich, but he used the last of his money to be better dressed than others; he would rather deprive himself of many pleasures than allow himself to ride in a bad carriage or appear in an old uniform on the streets of Petersburg. He approached and sought acquaintance only with people who were taller than him, and therefore could be useful to him. He loved Petersburg and despised Moscow. The memory of the Rostovs' house and his childhood love for Natasha was unpleasant for him, and since his departure for the army he had never been to the Rostovs. In Anna Pavlovna's drawing room, in which he considered being present an important promotion, he now immediately understood his role and left Anna Pavlovna to take advantage of the interest that lay in it, carefully observing each person and evaluating the benefits and opportunities for rapprochement with each of them. . He sat down in the place indicated to him near the beautiful Helen, and listened to the general conversation.
- Vienne trouve les bases du traite propose tellement hors d "atteinte, qu" on ne saurait y parvenir meme par une continuite de succes les plus brillants, et elle met en doute les moyens qui pourraient nous les procurer. C "est la phrase authentique du cabinet de Vienne," said the Danish charge d "affaires. [Vienna finds the foundations of the proposed treaty so impossible that they cannot be achieved even by a series of the most brilliant successes: and she doubts the means that can deliver them to us. This is a genuine phrase of the Vienna Cabinet,” said the Danish chargé d’affaires.]
- C "est le doute qui est flatteur!" - said l "homme a l" esprit profond, with a thin smile. [Doubt is flattering! - said a deep mind,]
- Il faut distinguer entre le cabinet de Vienne et l "Empereur d" Autriche, said Morte Mariet. - L "Empereur d" Autriche n "a jamais pu penser a une chose pareille, ce n" est que le cabinet qui le dit. [It is necessary to distinguish between the Vienna Cabinet and the Austrian Emperor. The Austrian Emperor could never think this, only the cabinet says it.]
- Eh, mon cher vicomte, - Anna Pavlovna intervened, - l "Urope (for some reason she pronounced l" Urope, as a special subtlety of the French language that she could afford when speaking with a Frenchman) l "Urope ne sera jamais notre alliee sincere [Ah, my dear Viscount, Europe will never be our sincere ally.]
Following this, Anna Pavlovna brought the conversation to the courage and firmness of the Prussian king in order to bring Boris into the business.
Boris listened attentively to the one who spoke, waiting for his turn, but at the same time he managed to look several times at his neighbor, the beautiful Helen, who several times met her eyes with a handsome young adjutant with a smile.
Quite naturally, speaking of the situation in Prussia, Anna Pavlovna asked Boris to tell about his journey to Glogau and the position in which he found the Prussian army. Boris, slowly, clean and correct French, told a lot of interesting details about the troops, about the court, during the whole time of his story he carefully avoided expressing his opinion about the facts that he conveyed. For some time Boris captured everyone's attention, and Anna Pavlovna felt that her refreshment with a novelty was accepted with pleasure by all the guests. Helen showed the most attention to Boris's story. She asked him several times about some details of his trip and seemed to be very interested in the position of the Prussian army. As soon as he had finished, she turned to him with her usual smile:
“Il faut absolument que vous veniez me voir, [It is necessary that you come to see me,” she said to him in such a tone, as if for some reason that he could not know, it was absolutely necessary.
- Mariedi entre les 8 et 9 heures. Vous me ferez grand plaisir. [On Tuesday, between 8 and 9 o'clock. Will you make me great pleasure.] - Boris promised to fulfill her desire and wanted to enter into a conversation with her, when Anna Pavlovna recalled him under the pretext of her aunt, who wanted to hear him.
"You know her husband, don't you?" said Anna Pavlovna, closing her eyes and pointing sadly at Helen. “Ah, this is such an unfortunate and lovely woman! Don't talk about him in front of her, please don't. She's too hard!

When Boris and Anna Pavlovna returned to the common circle, Prince Ippolit took over the conversation.
He moved forward in his chair and said: Le Roi de Prusse! [King of Prussia!] and saying this, he laughed. Everyone turned to him: Le Roi de Prusse? asked Hippolyte, laughed again, and again calmly and seriously sat down in the back of his armchair. Anna Pavlovna waited for him a little, but since Hippolyte resolutely did not seem to want to talk any more, she began to talk about how the godless Bonaparte stole the sword of Frederick the Great in Potsdam.
- C "est l" epee de Frederic le Grand, que je ... [This is the sword of Frederick the Great, which I ...] - she began, but Hippolytus interrupted her with the words:
- Le Roi de Prusse ... - and again, as soon as he was addressed, he apologized and fell silent. Anna Pavlovna grimaced. Morte Mariet, a friend of Hippolyte, turned to him resolutely:
Voyons a qui en avez vous avec votre Roi de Prusse? [Well, what about the Prussian king?]
Hippolyte laughed, as if he were ashamed of his own laughter.
- Non, ce n "est rien, je voulais dire seulement ... [No, nothing, I just wanted to say ...] (He intended to repeat the joke that he heard in Vienna, and which he was going to post all evening.) Je voulais dire seulement, que nous avons tort de faire la guerre pour le roi de Prusse [I just wanted to say that we are fighting in vain pour le roi de Prusse.
Boris smiled cautiously, in a way that could be regarded as mockery or approval of the joke, depending on how it was received. Everyone laughed.
“Il est tres mauvais, votre jeu de mot, tres spirituel, mais injuste,” said Anna Pavlovna, shaking her wrinkled finger. - Nous ne faisons pas la guerre pour le Roi de Prusse, mais pour les bons principes. Ah, le mechant, ce prince Hippolytel [Your pun is not good, very clever, but unfair; we do not fight pour le roi de Prusse (i.e., over trifles), but for good beginnings. Oh, how evil he is, this Prince Ippolit!] - she said.
The conversation did not subside all evening, turning mainly around political news. At the end of the evening, he became especially animated when it came to the awards granted by the sovereign.
“After all, last year NN received a snuffbox with a portrait,” said l "homme a l" esprit profond, [a man of deep mind,] - why can't SS receive the same award?
- Je vous demande pardon, une tabatiere avec le portrait de l "Empereur est une recompense, mais point une distinction," said the diplomat, un cadeau plutot. [Sorry, the snuffbox with the portrait of the Emperor is an award, not a distinction; rather a gift.]
– Il y eu plutot des antecedents, je vous citerai Schwarzenberg. [There were examples - Schwarzenberg.]
- C "est impossible, [It's impossible,]" another objected.
- Pari. Le grand cordon, c "est different ... [The ribbon is another matter ...]
When everyone got up to leave, Helen, who had spoken very little all evening, again turned to Boris with a request and an affectionate, significant order that he be with her on Tuesday.
“I really need this,” she said with a smile, looking back at Anna Pavlovna, and Anna Pavlovna, with that sad smile that accompanied her words when she spoke about her high patroness, confirmed Helen’s desire. It seemed that that evening, from some words spoken by Boris about the Prussian army, Helen suddenly discovered the need to see him. She seemed to promise him that when he arrived on Tuesday, she would explain this necessity to him.
Arriving on Tuesday evening at Helen's magnificent salon, Boris did not receive a clear explanation why he needed to come. There were other guests, the countess spoke little to him, and only saying goodbye, when he kissed her hand, she, with a strange lack of a smile, unexpectedly, in a whisper, said to him: Venez demain diner ... le soir. Il faut que vous veniez… Venez. [Come tomorrow for dinner… in the evening. You need to come… Come.]
On this visit to St. Petersburg, Boris became a close friend in the house of Countess Bezukhova.

The war flared up, and its theater was approaching the Russian borders. Everywhere curses were heard to the enemy of the human race Bonaparte; warriors and recruits gathered in the villages, and contradictory news came from the theater of war, as always false and therefore differently interpreted.
The life of the old Prince Bolkonsky, Prince Andrei and Princess Marya has changed in many ways since 1805.
In 1806 old prince was appointed one of the eight commanders-in-chief of the militia, then appointed throughout Russia. The old prince, despite his senile weakness, which became especially noticeable at that period of time when he considered his son killed, did not consider himself entitled to refuse the position to which he had been appointed by the sovereign himself, and this newly revealed activity aroused and strengthened him. He constantly traveled around the three provinces entrusted to him; he was dutiful to the point of pedantry in his duties, strict to the point of cruelty with his subordinates, and he himself went to the smallest details of the case. Princess Mary had already stopped taking mathematical lessons from her father, and only in the mornings, accompanied by a nurse, with the little prince Nikolai (as his grandfather called) would enter her father's study when he was at home. The infant Prince Nikolai lived with his nurse and nanny Savishna in the half of the late princess, and Princess Mary spent most of the day in the nursery, replacing, as best she could, the mother of her little nephew. M lle Bourienne also, it seemed, passionately loved the boy, and Princess Mary, often depriving herself, conceded to her friend the pleasure of nursing the little angel (as she called her nephew) and playing with him.
At the altar of the Lysogorsk church there was a chapel over the grave of the little princess, and a marble monument brought from Italy was erected in the chapel, depicting an angel spreading its wings and preparing to ascend to heaven. The angel had a slightly raised upper lip, as if he was about to smile, and once Prince Andrei and Princess Marya, leaving the chapel, admitted to each other that it was strange, the face of this angel reminded them of the face of the deceased. But what was even stranger, and what Prince Andrei did not say to his sister, was that in the expression that the artist accidentally gave to the face of an angel, Prince Andrei read the same words of meek reproach that he had read then on the face of his dead wife: “Ah, why did you do this to me?…”
Shortly after the return of Prince Andrei, the old prince separated his son and gave him Bogucharovo, a large estate located 40 versts from Lysy Gory. Partly because of the difficult memories associated with the Bald Mountains, partly because Prince Andrei did not always feel able to bear the character of his father, and partly because he needed solitude, Prince Andrei took advantage of Bogucharov, built there and spent most of time.
Prince Andrew, after the Austerlitz campaign, firmly decided never to serve in military service; and when the war broke out, and everyone had to serve, he, in order to get rid of active service, accepted a position under the command of his father in collecting the militia. The old prince and his son seemed to change roles after the campaign of 1805. The old prince, excited by activity, expected all the best from a real campaign; Prince Andrei, on the contrary, not participating in the war and in the secret of his soul regretting that, saw one bad thing.
On February 26, 1807, the old prince left for the district. Prince Andrew, like for the most part during his father's absences, he remained in the Bald Mountains. Little Nikolushka was unwell for the 4th day. The coachmen who carried the old prince returned from the city and brought papers and letters to Prince Andrei.
The valet with letters, not finding the young prince in his office, went to Princess Mary's half; but he wasn't there either. The valet was told that the prince went to the nursery.
“Please, Your Excellency, Petrusha has come with the papers,” said one of the girls of the nurse’s assistant, turning to Prince Andrei, who was sitting on a small children’s chair and with trembling hands, frowning, was dripping medicine from a glass into a glass filled halfway with water.
- What's happened? - he said angrily, and with a careless trembling of his hand, he poured an extra amount of drops from the glass into a glass. He poured the medicine out of the glass onto the floor and again asked for water. The girl gave it to him.
In the room there was a crib, two chests, two armchairs, a table and a children's table and chair, the one on which Prince Andrei was sitting. The windows were hung, and a single candle burned on the table, covered with a bound music book, so that the light would not fall on the crib.

Bagpipes- folk wind reed musical instrument. It consists of a reservoir (a bag made of skin or animal bladder) into which an air injection tube is inserted, several bourdon tubes equipped with a single or double reed to extract sound, and a melodic tube with holes (the range of the bagpipe depends on the number of holes). The number of bourdon pipes can be from one to four.

Bourdon (French Bourdon, lit. - thick bass) - a continuous sound when playing 1-2 bass pipes An organ point is a sound sustained in the bass, against which other voices move freely. The tonic organ point contributes to sound stability. Bourdon tubes are tuned in fourth, fifth, sixth, octave in relation to the melodic tube.

The bagpipe is one of the oldest musical instruments. According to researchers, this is an instrument of ancient Asian origin. The bagpipe sounded in the military bands of Ancient Rome, in the instrumental ensembles of France (XVIII century), in the solemn processions of musicians in Scotland.

It was played and is still played in the villages of Romania, Poland, and the Czech Republic. Since the 11th century, the bagpipe (“gaida”) has become widespread among the southern Slavs in Yugoslavia, Bulgaria, and Albania. It was used mainly to accompany dances.

In different countries, the instrument has different names: "goat" - in Ukraine, "duda" - in Belarus, "bagpipe" - in Russia. The image of a bagpipe on the miniature "Playing of the Slavs of the Vyatichi" in the Radzivilov Chronicle (XV century) suggests that, along with snots and pipes, buffoons Kievan Rus used in their musical work and bagpipes.

"It is difficult to decide which musical instruments primarily existed among the Slavs. One can only guess that, first of all, they used wooden canes and also the horns of domestic animals. Therefore, we can probably assume that the fife and the horn were the very first instruments among the Slavs. Then came the pity, the horn and the flute; finally, bagpipes, whistle, balalaika, spoons and psaltery."(M. Zabylin. "The Russian people, their customs, rituals, superstitions and poetry"). The book gives the following description of the bagpipe:

« It represents a very peculiar instrument in character, resembling an harmonica or fur in shafts; here the air is encased in ramskin, to which three pipes and a tube are attached. The tube attached to the top is filled with air from two opposite sides, two different sizes of tubes are defined, through which the air, passing through, gives bass voices, and the third small tube has several holes on the side, which allows the player to produce different voices and sounds with his fingers».

Tool varieties

In addition to the skin of an animal, a bull bladder was used as a reservoir for air. The way to process it is as follows:

the walls of the bovine bladder are washed in water;
so that the bubble acquires a large volume when inflated, it is treated with wood ash sifted through a sieve;
multiple treatment of the bladder walls is carried out with ash from both sides (external and internal) and washed again in water, while the walls of the bullish bladder become thinner and become soft and elastic;
subsequent processing is carried out with crushed chalk, which removes fat and moisture. In this case, the bubble acquires viscosity;
the dried bubble is inflated with air using a tube inserted into its opening.

Then, tubes are installed on the air tank (bubble): one for supplying air into the bag, one for playing (melodic), from one to four for bourdon and placed in a bag sewn from animal skin or fabric.

An oxygen cushion used in medicine can be used as a material. Quite large dimensions (660 x 500 mm) and volume, elastic and durable rubber pads are suitable for such work.

In bagpipes, as a rule, they used a playing pipe like a flute, only with a squeaker. In Russia, the playing pipe also has a bell (cow horn) to amplify the sound.

Air tank manufacturing

Cut one side of the oxygen cushion along its entire length so that a small strip remains for subsequent gluing. Holes for attaching melodic and bourdon pipes on the pillow are cut out in the following way: draw a circle into segments and cut from the center so that eight petals are obtained; apply a thin layer of glue on the segments and hold for 5-10 minutes, and then tightly attach to the base of the sleeve and tie it with a strong cord, the ends of which are also glued. The bourdon tube in relation to the air reservoir can be located on the side of the performer's arm, or on the shoulder, or at the bottom of the air bag. When fixing all the parts on the body of the bagpipe, the air bag itself is glued together in last turn, maintaining a certain time under load. To check the tightness of the gluing, you need to close the hole for the bourdon tube with a cork and make a sound on the melodic tube. If an air leak is detected, re-glue the air outlets.

The main details of the bagpipe.

Final stage of work: place the pillow in a case made of animal skin or fabric, fasten the straps or ribbons that support the instrument on the performer's shoulder or neck, and install the tubes. A valve (thin kid or rubber) half-glued to the end side of the air injection tube helps to keep the air in the air reservoir (bag). The valve closes the return air outlet from the bag at the moment when the musician releases the air blowing tube from his mouth. The tubes are fastened with threads wound around the tubes.

The principle of extracting sound in a bagpipe is to vibrate the reed located on the mouthpiece, which in turn is inserted into the melodic and bourdon pipes. Inflating the bag, the musician squeezes it with both hands or one hand, presses it to the side of the body and vibrates the tongues in the tubes located in the body of the instrument. Periodic blowing of air into the bag maintains a constant air pressure. It is necessary for the oscillation of the reeds. When installing additional bourdon tubes, the air consumption increases, so the size of the instrument and its volume also increase.

When tuning the instrument, it is necessary to establish an overall balanced sound - bright and loud or quiet, soft, muffled. The bourdon (bass) tube when sounding should not overlap the sound power of the melodic one. To increase the sound, resonators are put on melodic playing and bourdon pipes. The tuning of the tubes is carried out in the same way as when setting up the pits by moving the tongue up - the sound is increased, and vice versa, down - the sound is lowered. In old times great attention paid to the external design of the instrument. Bagpipe pipes were made in various configurations and decorated with carvings, inlays, and paintings. The leather bag was sheathed with colorful fabrics and tied with fringe with tassels. Figures and heads of animals were cut out of wood, then fixed on the instrument. In Belarus and Ukraine, the bagpipe was decorated with a wooden goat's head. Hence, apparently, dialect name bagpipes - "goat", "goat".

Tube for supplying air to the instrument.

Bourdon tube. General view of the connection of tubes with a sleeve.

Tool setup

In a two-part bagpipe, in this case in G major, the melodic and bourdon pipes are tuned in unison. The melodic pipe has a scale from the salt of the 1st octave to the salt of the 2nd, and the bourdon pipe sounds below the salt of the small octave. In a bagpipe with three playing pipes - a melodic pipe from sol 1st, the second - re 1st, the third - small sol. The system of a bagpipe, which has four pipes, is the 1st - salt of the 1st octave, the 2nd - re of the 1st octave, the 3rd - small salt, 4th - large salt. The most common and most used bagpipe in musical creativity has two additional tubes. It is enough to have one body and several pipes tuned in different keys, and you can change the system of the bagpipe. See the dimensions of the tubes above - "Zhaleyka".

Bagpipe types:

Scottish highland bagpipe
Irish
Galician gaita
Bulgarian guide
Czech goat
Russian bagpipe
Lithuanian labanora duda, dudmaishis
French "musette"
Georgian "stviri" (gudastviri)
Estonian "torupill"
Adjarian bagpipe "chiboni"
Moldovan and Romanian bagpipe chimpoi
Shabr (shapar) - Chuvash bagpipes

Mari varieties - shuvyr, shuvyr, shubber

Bagpipe, arm. Պարկապզուկ , Bret. Biniou, Belarusian Duda, Gaelic. Pìob, Pol. Dudy, irl. Piobai, Scots. Bagpipe, Ukrainian Goat, Bulgarian Hyde.

Bagpipe device

Technical extraction of sound

One of the tubes (melodic tube, chanter) has side holes and serves to play a melody, and the other two (bourdons) are bass ones, which are tuned to a pure fifth. Bourdon emphasizes the skeleton of the octave mode (modal scale), on the basis of which the melody is composed. The pitch of the bourdon pipes can be changed by means of the pistons in them.

History of the bagpipe

The bagpipe is one of the oldest musical instruments known to mankind. Its history spans more than one millennium. The reason for this is its simple and affordable device. A leather waterskin and a wooden pipe are all that is needed for the simplest sound extraction. The history of the instrument is based on extensive historical material, including chronicles, frescoes, bas-reliefs, figurines, ancient manuscripts, up to popular prints depicting bagpipes at various periods of their development.

The remains of the first musical instrument identified as a bagpipe were not found during excavations of the ancient city of Ur in the territory of the kingdom of Sumer, and date back to 3000 BC. e.

One of the first found images of bagpipes dates back to 1300 BC. e. It was discovered on the walls of the ruins of the Eyuk Palace in the Hittite city of Sakchagyozyu in 1908. On the territory of Persia, an image of the first ensemble of musicians was also found - a quartet among which bagpipers are clearly visible. On the territory of the city of Susa, two terracotta figurines depicting pipers, whose age is more than 3000 years old, were found. A thousand-year history is also counted by other musical instruments - the prototypes of the modern bagpipe, found in India, Syria, Egypt and a number of other African countries.

The first mention of bagpipes in written sources are found in ancient Greek sources, starting from 400 BC. e. So Aristophanes mentions the bagpipe in two of his comedies. In "Lysistrata" the bagpipe (bag) is necessary for the Spartan dance, and in "Aharnians", it is present as a musical instrument for singing Phoebus and it is noted that they blow the bag through a bone tube.

The bagpipe was popular in Ancient Rome. Her mention can be found both in written sources and in preserved images in the form of frescoes and statuettes. Judging by the mass nature of such sources, the bagpipe was available to all strata of society from the aristocracy to the poor. Wormwood was especially popular during the reign of Emperor Nero. The reason for this is the Roman emperor himself - a lover of music and theater. He himself was not opposed to practicing the bagpipes. Dia Chrysostom in the 1st century mentions Nero playing the tibia utricularius hands, as if with lips and adds that she saves flutists from their curse - red cheeks and bulging eyes. Suetonius in the 2nd century claimed Nero as a talented bagpipe player.

Together with the Roman conquests, the bagpipe spread to Scandinavia, the Baltic states, the countries of Western and Eastern Europe, the Balkans, the Volga region, the Caucasus, the countries North Africa. It also spreads to England, Scotland and Ireland. It was in Scotland that she received greatest development and popularity, especially in the 16th-19th centuries in the north-west of the country, becoming a truly folk instrument - a symbol of the country. The bagpipe has become an integral element providing sound accompaniment to all important events in the life of the Scots - from ritual and solemn dates to various everyday signals. In England, the bagpipe was recognized as a kind of weapon that served to raise morale.

At the same time, in Rome itself, with its decline, the mention of the bagpipe itself gradually disappears until the 9th century. One of the first printed images of the bagpipe was created by Dürer in 1494. The woodcut he created showed a piper neglecting the lute and harp. The woodcut was intended for Brant's edition. ship of fools, and then placed in the book by Johann Geiler "" Navicula, sive Speculum fatuorum 1511.

Since the 14th century, references to the bagpipe in Europe have become widespread, and its images become close to modern ones.

Typology and differences

Some bagpipes are designed in such a way that they are not inflated by the mouth, but by a bellows for pumping air, which is set in motion by the right hand. These bagpipes include the Uilleann Bagpipe, an Irish bagpipe.

Kazakh bagpipe

The Kazakh national instrument is called Zhelbuaz, looks like a leather waterskin, and is made from goat skin. The neck of the zhelbuaz is closed with a special blockage. In order for the instrument to be worn around the neck, a strong leather cord is attached to it. Recently, the instrument has been used in concerts of Kazakh national orchestras and folklore ensembles. Found during archaeological excavations, kept in the Museum of National Musical Instruments named after Ykylas Dukenov. A stable temperature is maintained. So that the moth does not eat the exhibit, dust is regularly removed from it with special gauze. The famous composer Nurgisa Tlendiev used zhelbuaz for the first time in the concerts of the Otrar Sazy orchestra.

Armenian bagpipe

Irish bagpipe

Cillian Vallely plays a "full set" of Irish bagpipes

Russian bagpipe

The bagpipe was ignored by the upper circles of society, since its melody was considered inharmonious, inexpressive and monotonous, it was usually considered a "low", folk instrument. Therefore, during the 19th century, the bagpipe was gradually replaced by more complex wind instruments such as accordion and button accordion.

Information about this musical instrument is quite extensive in the iconographic and written monuments of the culture of the Russian people, from the 16th century to the 19th century. The earliest image is in the Radzivilovskaya chronicle (XV century) on the miniature "Game of the Vyatichi Slavs".

In 2015, during excavations at the Pyatnitsky excavation site in Staraya Russa, a part of a bagpipe - a chantr (melodic pipe) was found. The find dates back to the end of the 14th century and is the oldest and the only one on the territory of the Russian principalities.

Ukrainian bagpipe

french bagpipes

In France, there are many types of bagpipes - this is due to the wide variety of musical traditions of the regions of the country. Here are just a few of them:

Jean Rascalou - Auvergne cabrette player

Central French bagpipe ( musette du center, Cornemuse du Berry), common in the areas of Berry and Bourbonnais. It is a two-burdon instrument. Bourdons - large and small, the small one is located from the bottom, near the chanter, tuned to each other in an octave. The cane of the chanter is double, the bourdon ones are single; air is forced through the blower. The scale is chromatic, the range is 1.5 octaves, the fingering is semi-closed. There are later versions of this instrument with 3 bourdons and bellows for blowing air. Traditionally used in duet with the hurdy gurdy.
Cabretta (French: chabrette, Auversk. occitane. : cabreta) - a single-bourdon elbow-type bagpipe that appeared in the 19th century among the Parisian Auvergne and quickly spread in the province of Auvergne itself and in the surrounding regions of the Center of France, practically displacing local, more archaic types of instrument, for example, the Limousin chabrette ( chabreta limousina).
Bodega (Occitan: bodega) - bagpipes with goatskin fur, a blower and one bourdon, common in the southern Occitan-speaking departments of France.
Musette de Cours musette de cour) is a "salon" bagpipe, widely used in the 17th-18th centuries in baroque court music. This type of bagpipe is distinguished by two playing pipes, a bourdon barrel and a bellows for blowing air.

Chuvash bagpipe

Scottish bagpipe

Bagpipe playing

The Scottish bagpipe has taken part in all the military campaigns of the British Army over the past 300 years. At the Battle of Waterloo in Belgium, which took place on June 18, 1815, during a counter-attack on the corps of the French Imperial Marshal Davout, a patriotic march was performed for the first time on a Scottish bagpipe 52nd Infantry Brigade, Scottish Fusiliers Scotland the Brave