I came across Jonathan Basile’s Library of Babel a while back. This online project has created (in virtual form) the “universal library” imagined by Borges, containing in this case, every possible page of 26 letters. Of course, that means that it does indeed contain this blog post – at least the beginning of it.
My idea is that this grand geometrical composition can stand as a kind of proxy for the lost medieval Gaelic harp repertory, which would have been played on the Queen Mary harp in the great hall at Finlaggan in the 15th Century for the Lords of the Isles.
I have been reading The other classical musics edited by Michael Church (Boydell 2015). When I first saw this book, in Blackwell’s bookshop in Oxford, I thought I wouldn’t like it; I thought the idea of “classical music” as a general concept was too problematical. I kept thinking about the issues though, and later I had another look in Topping’s bookshop here. So I realised I had to get it and read it.
When Iris Nevins gave me the Arnold Dolmetsch harp no.10, it had a bad soundboard crack. Closer inspection showed that the entire area where the neck attached to the soundbox was also loose.
I had promised Iris that I would get the harp up and running and do a video of it being played, so first I had to repair it.
Yesterday I drove out from Oxford to the Uffington white horse. On the way I stopped at the Blowing Stone, and blew it. Continue reading The Blowing Stone
I realised it would be somewhat hypocritical of me to recommend my new Trinity College & Queen Mary harp stringing and tuning schedule, with na comhluighe (the sisters) at middle c, if I didn’t put it onto my replica of the Queen Mary harp.
So, last Sunday’s work was to remove all of the old silver trebles and gold basses, and put on the new brass trebles and silver basses according to the new scheme.
Today I took a saw and sliced a section off of my HHSI Student Trinity harp.
I designed the stringing and tuning regime for the HHSI Student Trinity harps back in 2005, based on how I had previously set up my old copy of the Queen Mary harp. My aim then was to present what we knew of the 18th century Irish harp tradition – to have na comhluighe at g below middle c’, and to have a complete octave below na comhluige down to cronan G.