BY JANE BLOODWORTH ROWE
COURTHOUSE — People throughout time and all over the world seem to have craved music, and for centuries they’ve turned to the dulcimer to provide it.
That was true in the medieval Middle East as well as in 18th century Virginia.
It’s still true in the contemporary world when Bob Clark’s hammered dulcimer performances enchant visitors at the Whitehurst-Buffington House.
Clark entertained visitors at a recent holiday open house at that historic home near the Virginia Beach Municipal Center, where he played tunes that were reminiscent of 18th century England and Virginia.
It’s possible that the dulcimer, which was used for dance music or just for listening, was played in the Whitehurst-Buffington House, which was built in 1793, and some of the same melodies that Clark played may have been heard there.
The hammered dulcimer probably originated in the Middle East during the 10th century, according to the Smithsonian Institute, but it’s related to the psaltery, an ancient stringed instrument. It spread to Europe and eventually to England, where the 17th century diarist Samuel Pepys mentioned hearing dulcimer music in taverns in London, Clark said.
The hammered dulcimer is unlike the mountain dulcimer, a string instrument that was developed by early settlers in the Appalachian Mountains. While the mountain dulcimer somewhat resembles a guitar and is played by plucking the strings with the fingers, the hammered dulcimer’s strings – which extend across a sound board – are played by hitting them with small mallets.
Clark became fascinated by the dulcimer when folk musician Bob Zentz, a friend of his, brought one back from a tour of New England in 1976. Clark, a guitar player, taught himself to play the dulcimer by researching historic music books – or, in some cases, by tape recording someone else playing the instrument.
“I was always interested in music,” Clark said. “And the dulcimer looks like nothing else, plays like nothing else, and feels like nothing else. It fascinated me, and it became my voice.”
Now, the digital age has made it easier to learn, Clark said, because he can get recordings online.
Clark enjoys researching popular songs from different periods of time, and at his recent performance he enlightened Whitehurst-Buffington guests about 18th century popular musical tastes.
Some of the songs that Clark played on the dulcimer were lively dance tunes. Others were plaintive and whimsical. Many melodies that our Colonial ancestors loved actually had ancient roots, he said, and sometimes a familiar melody was recycled into different songs.
So what’s Clark’s favorite dulcimer song?
“That’s like picking your favorite child,” Clark said.
He mentioned, however, that he particularly enjoyed “Planxty George Brabazon,” an Irish song that’s attributed to 17th century songwriter Turlough O’Carolan and that has been recorded in more modern times by The Chieftans.
“It’s one of the most beautiful tunes that I’ve ever heard,” Clark said.
Clark’s interest in local history and his creativity have enabled him to make other contributions to the Whitehurst-Buffington House.
A retired city of Norfolk draftsman, he became interested in making maps and eventually began drafting maps of Virginia Beach that highlighted the historical locations. He drew three maps that represented Virginia Beach in the 17th, 18th and 19th centuries. Copies of these maps hang in the Whitehurst-Buffington House, and they were published and distributed to schools and libraries.
“I’ve always liked history,” Clark said.
The author is a contributor to The Independent News. Her journalism has also appeared in The Virginian-Pilot.
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