Amgueddfa Cymru is fortunate enough to house one of only three surviving authentic Welsh crwths in Britain. Does the discovery of a hidden aperture make the crwth unique amongst bowed instruments by having two soundboxes?
An early stringed instrument first referred to in writing in the 12th century Laws of Hywel Dda (Hywel the Good), the crwth was popular in Wales throughout the Middle Ages, when it was enjoyed in aristocratic circles. The Laws of Hywel Dda mention the crwth, along with the harp and pipes, as instruments of status, played by noblemen and frequently providing musical entertainment.
Crwth competitions were contested in the first recorded eisteddfod, held by Lord Rhys at Cardigan Castle in 1176, while a cywydd poem by Rhys Goch Eryri c.1436, delights in the magicians, acrobats and musicians (crwth players included), who were welcomed into the households of wealthy patrons.
The emergence of the fiddle
The social role of the crwth altered significantly from around 1600 onwards however, when it became more associated with the folk music tradition. The emergence of the fiddle during the 18th century effectively brought crwth playing and crwth making to an end in Wales, closing over a thousand years of practice and development.
When an increase of interest in traditional music eventually took place during the late 20th century, the once common art of constructing a crwth, along with the most appropriate playing methods and performance techniques, had all but become a mystery.
The last remaining crwths
Of the three remaining historical examples in existence, each comprise a six-stringed instrument, oblong in shape and possessing a flat back, sides and soundboard, with the body and soundbox, as well as the main frame, being fashioned from a single piece of wood. A fingerboard divides a rectangular opening at one end while two holes can be seen in the soundboard.
The St Fagans crwth
The crwth in the Museums collection is inscribed 1742 and was made by Richard Evans of Llanfihangel Bachellaeth, Caernarfonshire. It was originally loaned to the museum by Colonel J.C.Wynne Finch of Y Foelas, Caernarfonshire, in 1935; the family of whom retains ownership of the instrument to this day. Although complete there is a line of blocked off tuning pin holes slightly offset from the current set.
The Aberystwyth crwth
The National Library of Wales, Aberystwyth, houses a second crwth, which was donated on the library's opening in 1907 by its principal founder Sir John Williams. This instrument was possibly owned by the Reverend John Jenkins (1770-1829) of Ceri, Montgomeryshire. Although it is complete (with the exception of two missing drone strings), it has undergone restoration/repair at some point to the main framework.
The Warrington crwth
The final example is kept at Warrington Museum and Art Gallery, and although its date is unknown, it bears a likeness to an instrument described and drawn in the 1775 edition of the journal Archaeologia (volume III, plate vii). This crwth was bought in Wales in 1843 by Dr James Kendrick, one of Warrington's first local historians and a noted antiquarian. Kendrick donated the artefact to the town that same year and it became one of the earliest exhibits at the local museum.
The Warrington crwth is less complete than the other two, with missing tailpiece, strings, fingerboard and nut.
