7-string Sāz
This sāz appears to draw influence from the buzuq, yet another member of the Middle Eastern long-necked lute family. With seven metal strings and a 13” tekne, it closely resembles the sāz bağlama, the most ubiquitous sāz of Turkey. However, this instrument has a small soundhole similar to that of the buzuq or short-necked oud and also features fixed frets, which is neither a characteristic of the sāz nor the buzuq. Based on the marking around the neck, it appears as though the original wound frets were removed. Perhaps the most striking feature of this instrument is the addition of intricate pearl inlay along the neck and body, also uncommon in traditional sāz-s. Overall, the piece exhibits the artistic and functional liberties taken in Gibran’s instrument making approach.
Image front to back: 7-string buzuq and buzuq mold (1948?) probably derived from the buzuq as a model. (Note original buzuq has single-piece carved body, not stave construction).
Sāz
This sāz from 1947 features what appears to be a juniper wood body, spruce top and neck, and metal strings–typical materials of many Turkic sāz-s. The length of the tekne suggests that it is closely modeled after the bağlama. Out of the three Gibran sāz-s, this is the most traditional construction and design. The decorative use of different colored wood panels glued together resembles a common technique used in modern sāz and oud construction.
The smallest sāz of the three, made in 1952, features an ornate metal tekne, a leather top which is attached with small ties and notches. This particular piece is more difficult to categorize yet appears to combine the smaller tekne of the saz cura with the longer neck of the bağlama. A major idiosyncrasy of this piece is the use of nylon strings, not commonly used for sāz-s. Metal teknes with leather tops are quite a rare feature as well, more often found on a bowed sister instrument called the yayli tanbur.
Image front to back: sāz with metal body and skin face (1952); sāz with single-piece carved wood body and spruce wood face (1947).
Instruments in Collection
In addition to the three sāz instruments described above, the following items were donated to the Department of Music:
Vihuela (1954): maple pear wood, spruce holly, ebony, carved rose and mustache played in 1954 at MFA in Renaissance music concert. And case of pine with a leather handle also made by Gibran.
Pochette and bow in cylinder case (1987): birdseye maple, spruce top, decoraged with tortoise, ivory, ebony. Bow is of rosewood, decorated with ivory, silver, mother-of-pearl, brass. Case was also made by Gibran.
Gekkin (date unknown): of Japanese origin; not made by Gibran. Condition: damaged.
Spike fiddle (date unknown): of unknown origin; huquin instrument family bamboo(?) tube body, spruce(?) top. Condition: damaged.
