Fig. 15.—a. Kemángeii, Sitâra or Fiddle. Persian. About 1800. No. 939-’73.
L. 36½ in.; diam. 8 in.
b. Nuy (Flute). Persian. 19th century.
L. 17⅜ in. No. 959-’86.
c. Santir (Dulcimer) Case. Persian.
L. 33 in.; W. 11½ in. No. 779-’76.
Victoria and Albert Museum.
Al-Farabi, one of the earliest Arabian musical theorists known, who lived in the beginning of the tenth century, does not allude to the fiddle-bow. This is noteworthy inasmuch as it seems in some measure to support the opinion maintained by some historians that the bow originated in England or Wales. Unfortunately we possess no exact descriptions of the Persian and Arabian instruments between the tenth and fourteenth centuries, otherwise we should probably have earlier accounts of some instrument of the violin kind in Persia. Ash-shakandi, who lived in Spain about A.D. 1200, mentions the rabôb, which may have been in use for centuries without having been thought worthy of notice on account of its rudeness. Persian writers of the fourteenth century speak of two instruments of the violin class, viz., the rabôb and the kemángeh. As regards the kemángeh, the Arabs themselves assert that they obtained it from Persia, and their statement appears all the more worthy of belief from the fact that both names, rabôb and kemángeh, are originally Persian.
The nuy, a flute ([Fig. 15b]), and the surnai, a species of oboe, are still popular in the East.
The sitâra is a Persian three stringed instrument with a wooden body and a parchment belly ([Fig. 15a]).
The Arabs must have been indefatigable constructors of musical instruments. Kiesewetter gives a list of above two hundred names of Arabian instruments, and this does not include many known to us through Spanish historians.
A careful investigation of the musical instruments of the Arabs during their sojourn in Spain is particularly interesting to the student of mediæval music, inasmuch as it reveals the Eastern origin of many instruments which are generally regarded as European inventions. Introduced into Spain by the Saracens and the Moors they were gradually diffused towards northern Europe. The English, for instance, adopted not only the Moorish dance (morris dance) but also the kuitra (gittern), the el-ood (lute), the rabôb (rebec), the naḳḳárah (naker), and several others. In an old Cornish sacred drama, supposed to date from the fourteenth century, we have in an enumeration of musical instruments the nakrys, designating “kettle-drums.” It must be remembered that the Cornish language, which has now become obsolete, was nearly akin to the Welsh. Indeed, names of musical instruments derived from the Moors in Spain occur in almost every European language.
Not a few fanciful stories are traditionally preserved among the Arabs testifying to the wonderful effects they ascribed to the power of their instrumental performances. One example will suffice. Al-Farabi had acquired his proficiency in Spain, in one of the schools at Cordova which flourished as early as towards the end of the ninth century, and his reputation became so great that ultimately it extended to Asia. The mighty Caliph of Bagdad himself desired to hear the celebrated musician, and sent messengers to Spain with instructions to offer rich presents to him and to convey him to the court. But Al-Farabi feared that if he went he should be retained in Asia, and should never again see the home to which he felt deeply attached. At last he resolved to disguise himself, and ventured to undertake the journey which promised him a rich harvest. Dressed in a mean costume, he made his appearance at the court
just at the time when the caliph was being entertained with his daily concert. Al-Farabi, unknown to everyone, was permitted to exhibit his skill on the lute. Scarcely had he commenced his performance in a certain musical mode when he set all his audience laughing aloud, notwithstanding the efforts of the courtiers to suppress so unbecoming an exhibition of mirth in the royal presence. In truth, even the caliph himself was compelled to burst out into a fit of laughter. Presently the performer changed to another mode, and the effect was that immediately all his hearers began to sigh, and soon tears of sadness replaced the previous tears of mirth. Again he played in another mode, which excited his audience to such a rage that they would have fought each other if he, seeing the danger, had not directly gone over to an appeasing mode. After this wonderful exhibition of his skill Al-Farabi concluded in a mode which had the effect of making his listeners fall into a profound sleep, during which he took his departure.