Bandora (instrument)

The Pandora, also bandora, Bandoerist, is a European plucked lute box from the 16th and 17th centuries.

Their name is derived from the ancient long-necked lute pandura and related ṭunbūr with the Arabic term that refers to the Orient a family of long- necked lutes. Related names include contemporary European pandurina and the Georgian Panduri. The Pandora belongs to the cittern family, and there is the larger bass type. In contrast to the cittern Pandora had a strong curly Zargenkorpus and crossbar string attachment. The pegbox was usually decorated with a head. The Pandora is like the smaller Orpheoreon under construction. She was strung with metal strings and was built in usually 6 to 7chörig, but are also Pandoren with up to 13 choirs known. The player tore at the strings with his fingers, but he could also scribe with a quill pen.

The fact that the Pandora can be sounded specifically assigned to the cittern because of their Metallbesaitung emphasizes a contemporary statement from the 17th century. Andreas Beyer wrote in his essay " The Christian Bergmann or the Mining Christe " (Leipzig 1681), " Pandor / which / how close it match 'll go with the shake / to etwan many more pages have / known / is than to do a lot of fuss about it ".

Pandora as a continuo

The Pandora became their most important functional significance as the foundation or continuo in the 16th and 17th centuries. it was one of the mandatory instruments "broken consort ". Michael Praetorius (1571-1621) she was one of the fundamental instruments "because they have to be built with a foundation voting and otherwise alone to sing it and to sound: When the organ, Shelf, Clavicymbel, virginal, lute, harp, double - cithara, Pandor, Penarcon, and the like " ( 1619). In his choral concerts " Polyhymnia caduceatrix et panegyrica " ( 1619) he mentioned several times in the occupation of the proposals Pandoren. He put his Pandoren even the moods that:

• Pandora 7 choirs G ' cea CDG and CDG cead '
• Penarcon 9 choirs G ' A' C D G c e a d '
• Orpheréon 8 choirs CFG cfaD 'g' and DGA dghe 'a'

Even with Heinrich Schütz (1585-1672) states that in 1623 in the preface to his " Historia of the resurrection of Jesus Christ ": " The evangelist, in an organ, or in an instrument sounds / Pandor ... sung by fallen ", and Gabriel Voigtländer (17th century) has in 1642 in his historically important collective work " All sorts of odes and songs, auff allerley addressed as Italian, French, English and other Teutsche good composers melodies and arias which " indicates that this is the circles " genteel Convivias and meetings bey clavi Cimbalen, Lute, Tiorben, Pandorn, violas the Sedentary to use Gamba gantz and sing " are.

In the end, 17th century, the Pandora was one of the Continuoinstrumenten the Hamburg Opera Orchestra. Still in the first half of the 18th century belonged to the royal court orchestra in Weissenfels two " chamber Pandoristen ".

England

In her native England, the Pandora also played an important role. So wrote Anthony Holborne († 1602) a " Cittharn School " (London 1597), and Thomas Morley ( 1557-1602? ) Used Cistern and Pandoren in his "The first booke of consort lessons" (London 1599 ) and continuo. Daniel Farrant developed at the beginning of the 17th century, special forms of Pandora and published a textbook for the instrument.

• Lute
• Historical musical instrument