Almagor, Dan (translated to English by Jay Shir). "Musical Plays on the Hebrew Stage", All About Jewish Theater, Ariel 103 (1996), pp. 19–25 The first recorded reference to the bowed lira was in the 9th century by the Persian geographer Ibn Khurradadhbih (d. 911); in his lexicographical discussion of instruments he cited the lira (lūrā) as a typical instrument of the Byzantines and equivalent to the rabāb played in the Islamic Empires. [7] Months later, Perchik tells Hodel he must return to Kyiv to work for the revolution. He proposes marriage, admitting that he loves her, and says that he will send for her. She agrees ("Now I Have Everything"). They tell Tevye that they are engaged, and he is appalled that they are flouting tradition by making their own match, especially as Perchik is leaving. When he forbids the marriage, Perchik and Hodel inform him that they do not seek his permission, only his blessing. After more soul searching, Tevye relents – the world is changing, and he must change with it ("Tevye's Rebuttal"). He informs the young couple that he gives them his blessing and his permission. The etymology of fiddle is uncertain: it probably derives from the Latin fidula, which is the early word for violin, or it may be natively Germanic. [10] Lira spread widely westward to Europe; in the 11th and 12th centuries European writers use the terms fiddle and lira interchangeably when referring to bowed instruments. [5]

Kim, Wook. "Music Review: Knitting on the Roof", Entertainment Weekly, January 7, 2000, accessed March 30, 2012Margaret J. Kartomi: On Concepts and Classifications of Musical Instruments. Chicago Studies in Ethnomusicology, University of Chicago Press, 1990 p. 124. Dora Chamberlain / Ira and Rita Katzenberg / Jules Leventhal / Burns Mantle / P. A. MacDonald / Vincent Sardi Sr. (1947) Alison Krauss - The bluegrass rose blooms | No Depression". 29 December 2016. Archived from the original on 2016-12-29 . Retrieved 21 April 2021. Maritimes, Acadian or Downeast style of fiddling, which has many similarities to Cape Breton fiddling Cheryl Crawford / Equity Liberty Theatre / Barry Manilow / National Theatre of the Deaf / Diana Ross / Lily Tomlin (1977)

His best friend turns out to be an amiable and diffident Sean Connery who just cheerfully accepts life as it comes. He and Lynch become quite a team in their business enterprises and in their skillful avoidance of where the fighting is until almost the end of the war. In the film version, the character of Yente is reduced, and Perchik's song to Hodel "Now I Have Everything" is cut and replaced by a scene in Kyiv. The "Chagall color palette" of the original Broadway production was exchanged for a grittier, more realistic depiction of the village of Anatevka. [81] [82] The film was adapted by Harold Buchman from the 1961 novel Stop at a Winner by R. F. Delderfield who served in the RAF during World War II.Mexico [ edit ] Silvestre Vargas (1901-1985), fiddler of the Mariachi Vargas from 1921 to 1975, director from 1931 to 1955 Kantor, Michael; Laurence Maslon (2004). Broadway: the American musical. New York, New York: Bulfinch Press. ISBN 0-8212-2905-2. In performance, a solo fiddler, or one or two with a group of other instrumentalists, is the norm, though twin fiddling is represented in some North American, Scandinavian, Scottish and Irish styles. Following the folk revivals of the second half of the 20th century, it became common for less formal situations to find large groups of fiddlers playing together—see for example the Calgary Fiddlers, Swedish Spelmanslag folk-musician clubs, and the worldwide phenomenon of Irish sessions. [14] [15] Find sources: "On the Fiddle"record label– news · newspapers · books · scholar · JSTOR ( May 2020) ( Learn how and when to remove this template message)

The medieval fiddle emerged in 10th-century Europe, deriving from the Byzantine lira ( Ancient Greek: λύρα, Latin: lira, English: lyre), a bowed string instrument of the Byzantine Empire and ancestor of most European bowed instruments. [5] [6] Swedish fiddling (including Låtfiol playing; see also Spelmanslag and Gammaldans), including traditions from: Hungarian, Slovenian, and Romanian fiddle players are often accompanied by a three-stringed variant of the viola—known as the kontra—and by double bass, with cimbalom and clarinet being less standard yet still common additions to a band. In Hungary, a three-stringed viola variant with a flat bridge, called the kontra or háromhúros brácsa makes up part of a traditional rhythm section in Hungarian folk music. The flat bridge lets the musician play three-string chords. A three-stringed double bass variant is also used.In the very late 20th century, a few artists have successfully attempted a reconstruction of the Scottish tradition of violin and "big fiddle", or cello. Notable recorded examples include Iain Fraser and Christine Hanson, Amelia Kaminski and Christine Hanson's Bonnie Lasses, [16] Alasdair Fraser and Natalie Haas' Fire and Grace, [17] and Tim Macdonald and Jeremy Ward's The Wilds. [18] Balkan, with kontra [ edit ]