Description
The harp is a plucked chordophone.
Description of the instrument
It has a triangular structure with the tip pointing downwards and strings of different sizes stretched in this structure.
Way of playing
The player holds the instrument the arms, vertically and against the body, and plays with the fingers of both hands, plucking the strings to give chords and melodies.
Iconography
The presence of the harp is important in the iconography of the Basque Country. It appears, for example, in the following places:
In Álava, in the old cathedral of Vitoria, in the basilica of San Prudencio in Armentia, in Santa María of Laguardia and in the parish of Tuesta.
In Bizkaia, in the parish of Lekeitio.
In Gipuzkoa, on the coat of arms of the Arpirenea house in Lezo, the Arpidenia house in Oiartzun and the coat of arms of the Arpide house in Tolosa.
In Lapurdi, in the cathedral of Baiona (2).
In Navarra, in the church of Santa María de Arce, in the church of Artaiz, in the cathedral of Pamplona, in the monastery of Leire, in the church of San Miguel in Estella and in the Palace of the Kings of Navarra, in the Tudela Cathedral (3), in the church of Santo Cristo de Catalain of Baldorba and in the church of Santa María in Viana.
The presence in the houses of the Arpidenia family is remarkable: in the main square of Oiartzun we can see a harp carved into a beam of the facade of the Arpidenia house. The coexistence of the of the house Arpidenia and the image of the harp on the facade suggest that Arpidenia could be the harpist's house and that the image of the harp that appears could be similar to the instrument that the harpist used. As can be seen in the previous list, we can also see harps on the facades of the houses that the same family has in Lezo and Tolosa.
Historical mentions
We know that this instrument was used in our culture, but we do not know what kind of music was made with it.
Higinio Angles (1970) collected mentions to the minstrels of Carlos III of Navarra. The presence of harpists stands out:
“Minstrels and minstrels in the house of the Noble King [Carlos III of Navarra] during the years 1387-1396:
In Pamplona, August 26 of the aforementioned year [1392] the king ordered García Lópiz de Lizasoáin, treasurer of the kingdom, to pay Pierre de Bar, his harp minstrel, 119 pounds, 11 salaries and 6 money… ” (p. 295 )
“From Pamplona, on November 3, 1392, the king ordered that Perot, a jubonero, be paid 12 florins for a hopalanda, a doublet, ... which were given to Jean, a harp minstrel. [...] Pierre de Bar himself refers to an order from Carlos III signed in Pamplona, October 17, 1394 by which he orders «to deliver to Pierres de Bar, harp minstrel, 30 cahices of wheat, from or that may be owed to him for his pension… The of Pierre de Bare is again presented on a delivery note dated January 3, 1395, with the royal order of payment of 60 florins «to the three minstrels of the king, to the trumpet, to Pere Dubart (from Bar) and his son, harp minstrels, each paid 10 salaries»… ” (p. 296)
"What minstrels and minstrels the Noble King has in 1396-1397, on the vigils of his trip to France: [...] We see the same in 1397, when on February 12 and 3, from Olite, the king ordered the payment to be paid « to Peret de la Cruz, 50 florins, price of a nag that was taken from him and given to Jaquet de Bar, harp minstrel, on his order to go with the king to France » (p. 302)… 31 of March of the same year 1398, ordered to give « to Jaquet de Bar, his harp minstrel, 10 francs,… ”(p. 305)
“Minstrels and minstrels who served King Carlos [III of Navarra, called the Nobleman] during the years 1399-1408: Pierres de Carriere eta Juanón de Ezpeleta,“ harp minstrels ”, presented theirselves in 1407 at the Court of the King of Navarra... ” (p. 310)
“Peyre Carreras (Carrieres) valet and harp player, on September 22 of the aforementioned year (1407)” (p. 310)
“The minstrels who served the Noble King during the years 1410-1424: Queen Eleanor of Navarra and Infanta of Castile, from Olite, December 22, 1410 ordered to be given « to Johan Çalua, merchant, for 10 cubits of cloth green of Bristol that were given to Peyretón, harper of the first-born infanta, to make a holpalanda [...] ” (p. 311)
Father Donostia (1951) also came across some references to the harp:
“Of this Prince (Principe de Viana) (1421-1461) we know that among his servants there were clergymen and chapel singers, harp player or minstrel, and that he gave dances to the knights.” (p. 12)
“In 1634, in addition to the organist, Aránzazu had at least: a bassoon, a cornet, and 10 singing children; in 1664: a violin, a bassoon, a bajoncillo, 3 chirimfas, a harp and a harpsichord; in 1824 there were 18 to 20 musicians who made up the chapel, of which 12 were instrumental musicians. ” (p. 38)
“Let us also mention in passing Father Juan de Bolívar, Augustinian, a native of Lequeitio, who was 18 years Vicar Major of the Choir of S. Felipe el Real. …, He arrived in Philipinas in 1759. He sang many times in Manila and people came from far away in troops to hear him sing, for his exquisite skill and incomparable metal voice. He played the organ, the harp, the rabel, the recorder and other instruments beautifully. ” (p. 77)
“Among the chapel masters who claimed the position in the Cathedral…; in 1771 Juan Joseph de Arce harpist (there is a chapter agreement that the Organist knows how to play the harp) from Pamplona, a native of Tafalla, born on 29-V-1748, ordered his first tonsure on 12-XII-1767, in Zaragoza. ” (p. 82)
Father Donostia (1951) collected mentions of the harp in the Courts of Navarra in the 14th and 15th centuries:
“In the life of Carlos II (1349-1387) minstrels appear rarely. However, there are payments made to some who were passing through his court:…; (payments) to an English "harp minstrel"; in Vitoria some of the trade (minstrels), musicians who belonged to the entourage of Don Tello, the brother of King Carlos II; to harp, viela and guitar players, whose s are not specified. In these accounts the of Juan de San Lauranis, harpist, is quoted, perhaps the same as Johanin de Larpa, minstrel of Mossen Carlos, probably the future Carlos Ill. ” (p. 9)
A Basque term for the harp, maniura, was found by Father Donostia. It was used by Tristán de Apheze in 1635, in the following verses dedicated to Joanes de Etcheberri (A. Donostia, 1952, 301):
Munduz mundu cebillana,
Dauid maniura iotcen
eta besta hau
Hala Saulenac, cituen
Dauid berac eguiten,
Maniurez cioela
Aiciñean cantatcen.
SOURCES
Bibliography
ANGLES, Higinio. (1970). Historia de la Música medieval en Navarra. Pamplona: Institución Principe de Viana.
DONOSTIA, Aita. (1951). Música y Músicos en el País Vasco. Biblioteca Vascongada de los Amigos del País. San Sebastián. Obras Completas del P. Donostia. (II. alea, 5-112) Bilbo: Ed. La Gran Enciclopedia Vasca.
DONOSTIA, Aita. (1952). Instrumentos Musicales Populares Vascos. Obras Completas del P. Donostia. (II. Vol., 257-309). Bilbo: Ed. La Gran Enciclopedia Vasca, 1983.
Discography
ZUGASTI, Olatz. (1999). Bulun bulunka. Elkar.
Filmography
LARRUKERT, Fernando. (1978). Euskal herri-musika. Euskadiko Filmategia.
