I have never done this, or seen it done, or even heard it done. But here is a video on Youtube showing the ringers at Blackburn firing! Thanks to the Ringing World letters page for this link! Continue reading Firing the bells
As I have been practicing the Fairy Queen for tomorrow’s concert, and I have the Downhill harp here this week, I thought I would do a quick Youtube of it as a record of where I am at the moment.
On a whim, I went to the cave, and recorded a video of the pìobaireachd, Uamh an Òir (the Cave of Gold). Continue reading Uamh an Òir
I have been practicing my jouhikko tunes in preparation for Northern Streams in Edinburgh, (24-25 April 2015). These are the very first jouhikko tunes I learned, as they were on the ‘Reel’ demo tape with Alexander Leonov’s jouhikko playing, which I was given as a gift many years ago, brought back from Petrozavodsk Folk Festival by a friend. Continue reading Karelian jouhikko tunes
Earlier this year the Historical Harp Society of Ireland acquired an interesting harp, made by James McFall in Belfast.
I don’t know the exact date of manufacture, but it must be between about 1900 and 1950. We know that McFall adverised the availability of harps withe wire strings as well as the more usual gut-strung revival instruments.
Here’s a quick film of Da Mihi Manum, based on Lady Margaret Weymss’ version from 1640s Fife:
I am wearied ma lane, pu’in breckens early. Tha mi sgith ’s mi leam fhìn, buain na rainich, daonnan. Cùl an tomain, bràigh an tomain, an tomain bhoidhich; h-uile la n’am onar.
I am tired, I am alone, pulling bracken, all the time. The back of the hill, the side of the hill. The pretty hill; every day I am alone.
This is a song we have been working on at my harp class in Dundee.
Ronald Smith in Perth suggested I compose a tune with this title. There are ancient histories that tell how Irish monks associated with St Columba founded two monastic sites, at Rigmonadh and Bellathor. The former place name is now Kilrymont, better known as St Andrews where I live. The latter, also Kinbellachoir, is not really known but Ronald suggests it refers to modern day Perth. I have seen suggestions it is Scone – in any case somewhere in the area of Perth seems likely.
For this tune I have picked up on these themes, and also on the history of a Beltane fair that Ronald tells me was celebrated in the area before the Reformation.
I had hoped that my tune might come out in a form that fitted harp, fiddle and pipes. Unfortunately it twisted and turned and ended up being useless for Highland pipes, however Patrick Molard has played it on Uillean pipes and it sounds delicious! Here’s Patrick’s MP3 for you to listen to.
I was contacted recently by a descendent of Alexander Grant of Shewglie, the early 18th century poet, piper, harper and fiddler. Alex Grant was a very interesting character, heavily involved in the Jacobite risings. He is said to have been a good poet or songwriter, but as far as I can see none of his poems survive. We know some details about two of them, but we dont have the text of either.
Grant composed a song in welcome to Charles Edward Stewart; it begins
Do bheatha Thearlaich Stiubhart,
Do bheatha do ar duthaich
which means basically, “welcome, Charles Stuart, welcome to our place”. Keith Sanger (West Highland Notes & Queries 20, March 1983) suggests it may be in a manuscript belonging the National Library of Scotland (no. 6 of the MacNicol collection, MS Acc2152), but this manuscript appears to be missing from the library.
Grant also composed a song, a “contest betwixt his Violin, Pipe and Harp”. The tune of this, and also an English paraphrase of the words, was published in Simon Fraser’s book in 1816. We are told that the fiddle is addressed as “Mairi nighean Dheorsa” (Mary the daughter of George), and this seems to have been also a title of the tune.
I think the tune is an older traditional song air; Allan MacDonald in his Thesis connects it to the pipe “March for a Beginner” in Joseph MacDonald’s Complete Theory. Perhaps more intriguingly, the tune is said to have been used for other songs in the 18th century, a poem by Ardnabi in praise of a fiddle, Mairi nighean Dheorsa, and another famous poem in praise of MacCrimmon’s bagpipes. What is the connection between this tune and the name Mairi nighean Dheorsa given to a fiddle? The later Ardnabi poem not only uses the name for the fiddle but also says that the air to be used when singing the poem is “Mairi nighean Dheorsa”. Did both Ardnabi and Grant pick up an older tune called Mairi nighean Dheorsa and use it to praise their fiddles, or did Grant pick up an older generic song air and attach it to the Mairi nighean Dheorsa name and theme?
Here’s my version of it. I decided to pick up on the themes of Fraser’s paraphrase of Grant’s song, so the first and fourth of my verses are fairly straight from Fraser’s fiddle score; for verses two and three I have improvised a pipe-style and a harp-style interpretation of the melody.
It’s also interesting to think that Alexander Grant, of Shewglie in Glen Urquhart, was a contemporary of Raghnall Mac Ailein Óig, of Morar; both are said to have played pipes, fiddle and clarsach.