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| Classification | Bowed string instrument |
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Thecrwth (/kruːθ/KROOTH,Welsh:[kruːθ]), also called acrowd orrote orcrotta, is a bowedlyre, a type ofstringed instrument, associated particularly withWelsh music, now archaic but once widely played in Europe. Four historical examples have survived and are to be found inSt Fagans National Museum of History (Cardiff);National Library of Wales (Aberystwyth);Warrington Museum & Art Gallery; and theMuseum of Fine Arts, Boston (US).[1][2][3]
The namecrwth is Welsh, derived from aProto-Celtic noun*krutto- ("round object"[4]) which refers to a swelling or bulging out, a pregnant appearance or a protuberance, and it is speculated that it came to be used for the instrument because of its bulging shape. OtherCeltic words forviolin also have meanings referring to rounded appearance. In Gaelic, for example, "cruit" can mean "hump" or "hunch" as well asharp orviolin.[5] Like several other English loanwords from Welsh, the name is among the few words in the English language in which the letter W alone is used to indicate avowel.
The traditionalEnglish name iscrowd (orrote), and the variantscrwd,crout andcrouth are little-used today. InMedieval Latin it is called thechorus orcrotta. The Welsh wordcrythor means a performer on the crwth. TheIrish word iscruit, although it also was used on occasion to designate certain smallharps. The Englishsurnames Crewther, Crowder, Crother and Crowther denote a player of the crowd, as do theScottish names MacWhirter and MacWhorter.
For this article's purposes,crwth denotes the modern, or most recent, form of the instrument (see picture).
The crwth is a very old instrument, which Aenantius Fortunatus, as early as about 609 A.D, specifies as British (chrotta Britanna canit). The chrotta was originally strung with three, later with six, strings, and was played with a bow. It is quite possible that the chrotta is the oldest bowed instrument and the antecessor to the violin.[8]
A variety of string instruments so designated are thought to have been played in Wales since at leastRoman times. Continuous, clear records of the use ofcrwth to denote an instrument of thelyre (or theByzantine bowed lyre) class date from the 11th century.[citation needed] Medieval instruments somewhat resembling the crwth appear in pictures (first in Continental Europe) as far back as the 11th century, shortly after bowing was first known in the West. In Wales, the crwth long took second place to theharp in the musical hierarchy.[9]
Schlesinger in the1911 Encyclopædia Britannica mentioned the crwth in an article about transition of instruments from the lyre to plucked and bowed instruments:
...The rotta represents the first step in the evolution of the cithara, when arms and cross-bar were replaced by a frame joined to the body, the strings being usually restricted to eight or less...The next step was the addition of a finger-board and the consequent reduction of the strings to three or four, since each string was now capable of producing several notes...As soon as the neck was added to the guitar-shaped body, the instrument ceased to be a rotta and became aguitar (q.v.), or aguitar-fiddle (q.v.) if played with the bow."[10]
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The crwth consists of a fairly simple box construction with a flat,fretlessfingerboard and six gut strings, purportedly tuned gg´c´c´´d´d´´. The original report of that tuning (Edward Jones,Musical and Poetical Relicks of the Welsh Bards; London: 1784), from which most subsequent others appear to draw their information, uses arbitrary pitch designations for illustrative purposes. Jones also states that the tuning procedure began by tightening the highest string as much as possible without breaking it, subsequently tuning the others to itintervallically. Such was not an uncommon practice in the days beforestandardized pitch and was, in fact, mentioned in other manuals on string instrument playing.
While Jones's report was widely read and used as the basis of a number of subsequent accounts, and therefore today is often considered to be evidence of a standard tuning, it is more likely that a variety of tunings were experimented with and in some cases employed, as was and still is the case with many other string instruments, particularly those withinfolk cultures. A second tuning, reported by William Bingley (A Tour Round North Wales; London: 1800), features the drones tuned in octaves, with the strings over the fingerboard tuned in paired fifths rather than seconds. However this tuning is almost certainly derived from later violin playing and is impractical given that the crwth is equipped with a flat bridge and therefore designed to play all six strings simultaneously.
Traditionally thesoundbox, or resonator, and a surmounting yoke in the shape of an inverted U (see picture of player), were carved as a single unit from a block ofmaple orsycamore. Thesoundboard, orbelly, a separate piece (the upper surface, nearest the strings), was most often made ofdeal or some other soft wood, and thebridge was usually made ofcherry or some other fruitwood. Twosoundholes, or circular openings about an inch to an inch and a quarter in diameter, were cut into the soundboard to allow pulsating air from the soundbox to escape and strengthen the tone. The two G strings (to use Jones's terminology – see above) ran parallel to the fingerboard, but not over it, so those strings were used as fixed-pitch drones which could be plucked by the player's left thumb. The remaining strings, which were tightened and loosened with metalharp wrest-pins and a tuning key orwrench, were usually bowed with ahorsehair and wood bow. One characteristic feature of the crwth is that one leg of thebridge goes through a soundhole (see picture of player) and rests on the back of the instrument (the bottom of the soundbox). Although it has been conjectured that this is a primitive attempt at asound post, oranima, something the instrument lacks, it is equally likely that it is designed to take some of the downward pressure of the tightened strings off the soundboard. Since that piece is flat, unbraced, and usually made of soft wood, it is much weaker than the belly of a violin.
All surviving pictures of crwth players show a playing position with the lower end of the crwth braced against the chest, supported with a strap around the player's neck (see picture). The sound of the crwth was described by medieval poet Gruffydd ap Dafydd ap Hywel as 'in the hand a hundred voices' (yn y llaw yn gan llais'), referring to the rich sound of six strings sounded simultaneously in harmony. Along with the harp andtimpan, the six-stringed crwth was one of the three main string instruments of the Welsh according to the medieval Triads, and an instrument of the aristocracy with its own native repertoire and a strict examination system though which a master crwth player had to pass. A three-stringed version also existed which required less skill and was played by minstrels.
The tone of the crwth is softer and rougher than the modern violin, and has a comfortable melody range of an octave by the use of third position, although it is possible to reach an octave and a half by the use of higher positions. It's sound that goes well with thetimbres of theharp andpibgorn (hornpipe). For all its technical limitations, the crwth has great charm, and is much more than a historical curiosity. Research over about the last thirty-five years, and particularly experimentation with tunings, have shown it to have been much more versatile and facile than was once assumed, although it definitely was not a prototype of modern orchestral bowed string instruments, which emerged from an altogether different branch of the complex string family tree. Historically, it represents the logical end of a line of development, not an early stage of another.
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There are a number of legends in Wales related toCrythor Du or "The Black (Haired) Crwth Player", the most notable of which is "Y Crythor Du a'r Bleiddiaid" or "The Black (Haired) Crwth Player and the Wolves", where the main character escapes attack from a pack of hungry wolves by playing in turn forcefully, melodiously and gently. Another legend has a player and his servant dying of cold inBeddgelert, noted by Welsh antiquarianEdward Lhuyd. There is also the "Cave of the black crwth player" nearCriccieth, which is said to have been the inspiration for the tuneFfarwél Ned Puw or 'Farewell Dick the Piper'.
A number of modern reconstructions of the crwth have been made; makers include Guy Flockhart, Nial Cain, Michael J. King, Hank Taylor and Gerard Kilbride. A handful of folk musicians are reviving the tradition of playing this instrument, among them Cass Meurig, who is the best-known modern player and who in 2004 released the albumCrwth, the world's second CD of crwth music, in 2004 on the Fflach:tradd label.[11][12] (Meurig also plays with the groupsFernhill andPigyn Clust.) Other musicians include Bob Evans (Bragod), Dan Morris (Cilmeri), and Sedayne. The repertoire of surviving crwth tunes is very small, although many other traditional tunes can be adapted for the instrument and new tunes are being written for it. It is also used by several early music groups, including Cancionero.
