Category Archives: research

“…the fleshy part of the finger alone”

Today I was working on tunes collected by Edward Bunting from the 18th century Irish harper, Arthur Ó Néill, for my concert in St Andrews on 3rd August.

As I played through some of his settings of Carolan and other baroque Irish harp music, using a copy of an 18th century Irish harp, I started thinking about the whole issue of playing the harp with long fingernails.

Continue reading “…the fleshy part of the finger alone”

the first clarsach

On page 87 of his book Telenn: la harpe Bretonne, (Éditions Le Télégramme 2004), Alan Stivell writes about Heloise Russell-Fergusson:

depuis l’été 1932, elle possédait la première copie de clarsach fabriquée par le musicologue suisse Arnold Dolmetsch, installé à Haslemere en Grande-Bretagne: modèle en cerisier monté de 27 cordes en métal. La harpiste, l’instrument et les mélodies vont charmer le public (dont Gildas Jaffrennou), au point de faire une tournée en novembre de cette même année en Bretagne. L’année suivante, elle sera encore présente au Gorsedd de Quimperlé : à cette occasion, Gildas Jaffrennou prendra les mesures de cette clarsach et en réalisera une copie dans son atelier de Carhaix : selon les dires de l’intéressé lui-même, ce premier instrument n’était pas assez satisfaisant, cette première harpe aurait fini au feu ! (Rencontres avec Gildas Jaffrennou en juillet 1993 et 1997).

Continue reading the first clarsach

Restoration of the Brian Boru harp

On Thursday I was at the National Museum of Scotland store in Granton, a suburb north of Edinburgh. I went there with Karen Loomis, to look at the plaster-cast of the Trinity College harp which is kept in the store. We had a very productive hour, inspecting, measuring and photographing the cast, and discussing aspects of the cast and how it related to the real thing in the Long Room at Trinity College, and to later illustrations and depictions of the harp.

Continue reading Restoration of the Brian Boru harp

Trinity College harp neck decoration

I am halfway through preparing a sheet, laying out the decorative scheme of the neck of the Trinity College harp.

I thought of doing this two years ago, when I did my scheme for the pillar, but I never got round to it until now.

I will eventually put both the halves together in one sheet, and publish it on Early Gaelic Harp Info, but for now you can get a sneak preview of the left side.

Continue reading Trinity College harp neck decoration

Facts, speculation, and making things up

The study of the historical Gaelic harp traditions of Ireland and Scotland is unusual in its scope, materials and foundations. Of course it shares many aspects with other disciplines. As a combination of historical research and performance art, it does not fit easily into mainstream historical or artistic disciplines. In this, it shares a lot with other historically-informed performance (HIP) practice disciplines, such as harpsichord, lute, or baroque violin. However, historical Gaelic harp is different from other HIP areas because of its nature as an oral tradition. Other areas of HIP deal with dead or extinct literate traditions; one can get hold of an 18th century harpsichord instruction manual, and sit at an original or reproduction instrument, and do what the book tells you to. This is not possible for an extinct oral tradition.

Continue reading Facts, speculation, and making things up

Quill shim

In Karen Loomis’s PhD thesis (volume 3, p.379-380) she prints two photographs of a shim from tuning pin hole no.23 on the Queen Mary harp. One shows the shim extracted; it is made from a split section of a feather quill.

DSCF3965
This photo shows how pin no.29 was going into the neck far too far, because its hole was too big.

On my replica, pins 29 and 30 have needed shimming for some years now. I had originally tried paper, and subsequently sheet brass, but I was inspired by this discovery, to pull the pins and try quill shims.

Continue reading Quill shim

Ceòl Rí Innse Gall

I am preparing for Wednesday’s concert here in St Andrews. I am going to play a programme of “Ceòl Rígh Innse Gall”, my speculative re-imaginings of medieval West-Highland ceremonial music. This project is still very much a work-in-progress, and I am still thinking hard about how this music should work, and what sources of inspiration and musical material to raid.

Continue reading Ceòl Rí Innse Gall