Ann Heymann was probably the first person to spot the lyrics “Here lies Lappin” associated with Burns’s March, including them in her book Secrets of the Gaelic Harp (1988). Continue reading Here lies Lappin, harper’s king
I first became aware of Edith Taylor many years ago, from reading Frances Collinson’s book The traditional and national music of Scotland. After describing briefly the wire-strung clarsachs made by Arnold Dolmetsch, he writes:
Miss Edith Taylor, the first Honorary Secretary of Comunn na Clàrsaich, has one of these on which she once played for the writer at a B.B.C. ‘Country Magazine’ programme from Lochaline, Morvern.
I knew about my Great Uncle Victor, because I have long had a photograph of my grandmother with her siblings as children. Victor is the wee boy front right.
Usually, the classical Anglo-European pedal harp is framed as the exact opposite of the Irish harp. But my recent visits to Hospitalfield house to see their 1830s Erard pedal harp have got me thinking about how these instruments fit in to the native traditions.
I found this project proposal I had written back in the Autumn of last year, but had never followed up on. Continue reading “Archæological” copies of old Gaelic harps
On Saturday I was at Hospitalfield house, near Arbroath. This amazing 19th century country house is now conserved and run as an arts centre. A recent project was to restore the Erard Grecian double-action pedal harp that has been at the house since about 1830.
Saturday’s event was an inaugural concert for the newly-restored harp, and I was asked to give the pre-concert talk on the harp and its place in Scottish music. Continue reading Erard Grecian harp
Today I was at Verdant Works in Dundee. The High Mill of this 19th century jute factory is an interesting space for music events.
The video camera malfunctioned so there’s no video of the event for you. But here’s the complete audio: Continue reading Verdant Works
The Museum of the University of St Andrews has an exhibition currently called “Victorian Visions”, looking at 19th century items in their collections, and with a focus on the rediscovery and restoration of the medieval heritage of St Andrews.
When they asked me if I could come in and do a concert of medieval harp music to tie in with the exhibition, I started thinking of musical parallels to this rediscovery. Continue reading Victorian Visions