“But Cambridge forty-eight, for many years, was the greatest peal that was rang or invented” (Tintinnalogia p.2)
In Duckworth’s Tintinnalogia, published in 1668, he gives the full text of “three old peals on five bells, which (though rejected in these days yet) in former times were much in use” (p.15-17). I am interested in these three as rare testimony of the state of change ringing in its true infancy in the early to mid 17th century.
Continue reading The Cambridge 48 – an early 17th century composition
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
Back in 2013, I did my talk “Harps and Tunes: Matching instruments to repertory” at Scoil na gCláirseach in Kilkenny, and one of the harpers I talked about was Rose Mooney (from 39:24 in the video).
Continue reading Rose Mooney & Carolan
I was discussing Burns’s March with one of my students, saying how it was the most important model for old Gaelic harp (Irish harp, clarsach) technique and style. They said that there was a need for written-out versions fully marked up with fingering and damping.
Continue reading Quin’s Burns’s March
Looking through the books from the Jimmy Shand Collection in Dundee library for a tune to play on Saturday week at the free community concert in Dundee, I noticed “Carlione a Favourite Irish Tune” in Neil Gow’s third collection (1792). It is Dr John Stafford, or Carolan’s Receipt (no. 161 in Donal O’Sullivan’s index).
Whether or not I’lI get it up and running to play in two weeks time, it got me thinking about tunes titled with strange variants of Carolan’s name.
Continue reading Carlione
I have been working with a student on Rory Dall’s Port from James Oswald’s Caledonian Pocket Companion. I have written on this blog before about how I think this tune was composed by Oswald as a pastiche of old Gaelic harp style.
Continue reading The Highland Lamentation
For my 10-minute set in next Friday’s 1817 bicentenary concert, I have been thinking about what tunes to play, and how to approach them.
Continue reading early 19th century Irish harp music
Reviewing my version of Carolan’s Concerto which I played at Wednesday’s concert, it struck me that this old setting of mine (which I learned many years ago) was pretty clunky and crude. I was reminded of John Lynch’s 1662 assessment of fingernail playing:
Continue reading ruder performers only
Edward Bunting‘s first field notebook, which he used to take down live transcriptions from the old harpers in 1792 and later, is kept at Queens University Belfast, Special Collections, MS4/29.
Usually known as ms29, it is a small oblong notebook stuffed full of sketchy drafts and scribbled transcriptions from the playing of the last tradition bearers.
On page 1 of the book is a two-staff arrangement of “The Banks of Claudy”.
Continue reading The Banks of Claudy
Speaking on 10th July, 1849, the Irish harper Patrick Byrne explained to the antiquarian John Bell, the system for tuning the early Irish harp. After starting at na comhluighe, and using a cycle of 5ths to set the middle octave of the harp, he says
Then you sound the G on the violin & B & D, and the octave above which is G which makes a common chord
Continue reading a common chord