History and Development of the Lira da Braccio
The Lira da braccio (also known as lyra de bracio) was a European bowed string instrument that became very popular during the Renaissance, particularly in Italy in the 15th and 16th centuries. This instrument, which was typically held under the chin like the violin, evolved from earlier instruments such as the vielle and lira da gamba, and its development was part of a broader trend where string instruments began to evolve for various purposes from the 9th century onward. The lira da braccio had a specific role in the music and culture of the time, especially in connection with recitations of lyric and narrative poetry, as well as in accompaniment to vocal performances.
1. Origins and Early Development (14th – 15th Century)
The lira da braccio was based on the medieval instrument vielle, which was popular for its rich sound and its ability to accompany singing. The lira da braccio differed from its predecessor in how it was held – it was played on the arm, which is reflected in its name (“braccio” means “arm” in Italian). This new way of holding the instrument allowed for greater mobility and easier handling, which proved advantageous for its later use.
The lira da braccio developed in Italy, where it became a favorite instrument among court and city musicians. It was often used to accompany recitatives, which was characteristic of Renaissance music. During this period, its construction was similar to modern violins, but with a wider fingerboard and a flatter bridge. This design allowed for chordal playing and simple melodic lines, which were important for its use in an accompaniment role.
2. Construction and Characteristics
The lira da braccio typically had 7 strings, 5 of which were tuned like the violin (d–g–d’–a’–e’’), with two additional drone strings that were tuned outside the fingerboard to provide a sound foundation. This range and tuning allowed the instrument to not only accompany melodies but also provide harmonic support. The drone strings were tuned in octaves, offering a stable base for the melody.
The instrument had a long, relatively wide fingerboard and a flat bridge, making it easier for the player to play chords and create a broader sound palette. It used a long bow with a large curve, which allowed for larger chords and was ideal for producing harmonic and polyphonic textures. These characteristics made the lira da braccio highly effective for accompanying singing or dancing.
3. Use in Music and Courtly Life (15th – 16th Century)
Humanist and Lyric Music
The lira da braccio was a favored instrument for accompanying lyric poetry and recitation. During this period, its primary use was linked to humanist verses sung by poets like Petrarch and his followers. It was particularly popular in the northern Italian city-states, such as Florence, Ferrara, Mantua, and Venice, where it became an integral part of court and intellectual life.
The lira was used not only in chamber music but also at public festivals and events, where it played an important role in musical ensembles. This instrument enjoyed a special status among courtly instruments and was associated with prestigious cultural events, helping to ensure its popularity within artistic circles. Artists such as Leonardo da Vinci were known for their support and interest in this instrument, not only from a musical but also from an artistic perspective.
Composers and Court Music
The lira da braccio was used not only to accompany singing but also in instrumental ensembles. In the 16th century, compositions began to feature the lira for chordal playing and harmonizing vocal parts. At the same time, as the madrigal genre rose in popularity, the importance of the lira da braccio in the courtly setting began to wane, as newer and more dynamic instruments, such as the violin, gained favor.
4. Decline in Popularity and Transition to New Forms (Late 16th – 17th Century)
By the end of the 16th century, the lira da braccio was pushed off the main stage, mainly due to the rising popularity of violins and cellos, which offered broader technical and tonal possibilities. During the Baroque and Classical periods, string instruments like violins and violas were preferred for their ability to execute fast, technically demanding passages. The lira da braccio gradually fell into obscurity and became part of the historical and museum context.
Development of the Lira da Gamba and Lirone
During the 17th century, a larger related instrument was developed – the lirone, also known as the lira da gamba, which was played between the knees, much like the double bass. This instrument had a wider range and stronger sound, making it more suitable for Baroque orchestral music.
5. Preserved Examples and Modern Reconstructions
Although the lira da braccio gradually faded into obscurity, it remains a subject of study and reconstruction today. Several preserved examples of the instrument, particularly paintings and drawings by Renaissance artists like Leonardo da Vinci, Raphael, and Giovanni Bellini, provide valuable insights into its appearance and construction. The Pesaro Manuscript from the mid-16th century also contains several musical notations for the lira da braccio, suggesting it was used in dance and instrumental ensembles.
Modern musicologists and historians of music, such as Disertori, have attempted to reconstruct the instrument using historical images and period descriptions, leading to several successful attempts to make copies and reconstruct the musical techniques associated with the lira da braccio.
Conclusion
The lira da braccio was an important instrument in Renaissance music, playing a key role in accompanying both song and dance. Its history illustrates how musical instruments evolved over time to meet the specific needs and demands of musicians and artists. Today, while no longer in common use, the lira da braccio continues to fascinate historians and musicologists and remains an important part of the cultural heritage of Renaissance music.