I have been browsing Tobar an Dualchais – an impressive selection of songs, anecdotes and other material newly online.
My favourite so far is the stallion driver
Using his decorated replica of the medieval Scottish ‘Queen Mary’ harp with gold and silver wire strings, Simon will play music from medieval manuscripts from Fife and beyond.
The programme will include repertory from the ‘St Andrews Music Book’ – a medieval manuscript compiled and written in St Andrews in the 13th century, which is now preserved in a library in Germany, as well as tunes from the priory on the Isle of Inchcolm in the Firth of Forth.
This event is part of Simon’s summer series of medieval harp concerts in the cathedral. Performed in the Priors House, a medieval vaulted chamber set within the ruins of the Cathedral in St Andrews, the concerts are every month until September.
Also featuring examples of religious music from Ireland and Wales, this series brings to life different aspects of ancient and historical Scottish music.
The harp Simon uses is a unique replica of the clarsach of Mary Queen of Scots. The 500-year-old original is preserved in a glass case in the National Museum in Edinburgh. Simon commissioned his replica from Irish harp maker Davy Patton in 2006-7. With its amazing soundbox carved out of a single huge willow log, and its intricate carved and painted decoration, the replica harp is a precious medieval art object that fits very well into the ancient ambience of the cathedral.
Admission is free. Tickets can be reserved in advance by calling the Cathedral visitor centre on 01334 472563.
More information at www.simonchadwick.net/cathedral
A set of three variants of this famous tune. Composed by Irish harper Miles O’Reilly, it was taken to Scotland by Thomas Connellan. Celebrating (or lamenting) the defeat of the Jacobites in Ireland in 1691-2, the first section (King James March to Irland) is from a Scottish viol manuscript of 1693. The middle section (Lochaber, or Limerick’s Lamentation) and the third section (the Wild Geese, or Ireland’s lamentation) are from Edward Bunting’s field notebook, c. 1800 (ms33(1)), noted down from the performance of Partick Quin in South Armagh.
On Sunday I was at the Fife Traditional Singing Weekend, in a fine, airy windowed building in the Fife countryside by Collessie. It was very interesting to see and hear so many different traditional singers, many from the East of Scotland but a number from further afield. So many different styles of vocal delivery, and types of song.
There was little really ancient, to connect with my work here (in a direct form anyway), but I have a lot to think about and it was great to see people like Sheila Stewart there.
My favourite moment was an anecdote from Phyllis Martin, of visiting an old lady in Galloway to collect songs. The lady said “I’ll get some tea”, and came back with a tray with 2 cups of tea and a large sponge cake, cut neatly in 2 down the middle. Phyllis said, she asked if they should have a knife. The lady replied, no, this half is for you, and this half is for me.
It was also a lovely day, sunny and quite warm.
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