Keith Sanger - Tree of strings = Crann nan teud : a history of the harp in Scotland

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ROUTLEDGE LIBRARY EDITIONS: FOLK MUSIC

Volume 8

TREE OF STRINGS

TREE OF STRINGS

Crann nan teud: a history of the harp in Scotland

KEITH SANGER & ALISON KINNAIRD

First published in 1992 by Kinmor Music. Re-setting 2015 by John Slavin,

Designfolk.

This edition first published in 2016

by Routledge

2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN

and by Routledge

711 Third Avenue, New York, NY 10017

Routledge is an imprint of the Taylor & Francis Group, an informa business

1992 Kinmor Music

All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.

Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe.

British Library Cataloguing in Publication Data

A catalogue record for this book is available from the British Library

ISBN: 978-1-138-94398-8 (Set)

ISBN: 978-1-315-66734-8 (Set) (ebk)

ISBN: 978-1-138-12405-9 (Volume 8) (hbk)

ISBN: 978-1-315-64840-8 (Volume 8) (ebk)

Publishers Note

The publisher has gone to great lengths to ensure the quality of this reprint but points out that some imperfections in the original copies may be apparent.

Disclaimer

The publisher has made every effort to trace copyright holders and would welcome correspondence from those they have been unable to trace.

tree of strings

crann nan teud

a history of the harp in Scotland

KEITH SANGER
&
ALISON KINNAIRD

Strange that a harp of thousand strings
Should keep in tune so long.

Dr. Isaac Watts Hymns and Spiritual Songs

The publisher acknowledges subsidy from the Scottish Arts Council towards the publication of this volume

Published by	Kinmor Music
Shillinghill
Temple,
Midlothian EH23 4SH Scotland

Kinmor Music 1992

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publishers.

British Library Cataloguing in Publication Data

A catalogue record for this book is available from the British Library.

ISBN 0-9511204-3-3 Hardback

ISBN 0-9511204-4-1 Paperback

Cover painting Harp by John Haxby

Cover design by Graham Ogilvie

Typeset from disk by Alphaset Graphics, Edinburgh

Printed in Scotland by Scotprint, Musselburgh

CONTENTS

The Harp in Legend and Song

The earliest archaeological evidence

Early literary references and nomenclature in Gaelic areas

Early literary references in non-Gaelic areas

Descriptions of surviving instruments

The history of the three old harps examined

The harp at the Royal Court of Scotland

The harp in non-Gaelic areas

Irish travelling harpers and musical connections

Highland clans and their harping connections

Three harpers of the mid 17th and 18th centuries

Perthshire as a centre of harping activity

The decline of the harp in the Highlands

The music of the harps

The harp in 19th-century Scotland

The harp in the 20th century

PHOTO ACKNOWLEDGMENTS

Chapter 2

Stone at Dupplin. By permission, Royal Museums of Scotland

Stone at Aldbar. By kind permission of T.E. Gray (F.S.A. Scot)

Stone at Lethendy. By kind permission of T.E. Gray (F.S.A. Scot)

Stone at Ardchattan. Photo: Keith Sanger

Stone at Kilchoan. Photo: Keith Sanger

Chapter 4

Iona Psalter. By permission. National Library of Scotland

Kinloss Psalter. By permission, the Conway Library, Courtauld Institute of Art

King David, Dean House Ceiling. By permission, Royal Museums of Scotland

Music, Dean House Ceiling. By permission, Royal Museums of Scotland

Muses Ceiling, Crathes Castle. By permission, National Trust for Scotland

Chapter 5

Lamont Harp. By permission, Royal Museums of Scotland

Queen Mary Harp. By permission. Royal Museums of Scotland

Chapter 7

Extract from the Treasurers Accounts. By permission, Scottish Record Office

Chapter 8

Detail of woman harper, Crathes Castle. By permission. National Trust for Scotland

Musica Garden at Edzell Castle. Photo: Keith Sanger

Hill House. Photo: Keith Sanger

Chapter 10

Urquhart. By permission. Royal Museums of Scotland

Cawdor. Photo: Keith Sanger. By kind permission, Lord Cawdor

Chapter 13

William McMurchys M.S. By permission, National Library of Scotland

Chapter 14

Ap Huw M.S. By permission of the British Library

Port Robart. By kind permission, Lord Strathnaver. Transcription, Courtesy Bill Samson

Detail of Fireplace, Castle Huntly. By permission, Royal Commission on Ancient Monuments, Scotland

Air by Fingal. John Bowie Collection

Lament for the Bishop of Argyll MacFarlane M.S. By permission, National Library of Scotland

Clarsach Salute MacLean Clephane Manuscript By kind permission, Capt. A.C. Farquharson of Invercauld

Many individuals have given us their knowledge, support and encouragement throughout this project. The authors would like to record their warm appreciation for this help. We also wish to thank the staff of the national organisations whose assistance made possible the research and production of this book.

Thanks to	John Bannerman
Mike Billinge
Ronald Black
David Caldwell
Robert Evans
Ann & Charlie Heymann
Morag MacLeod
William Matheson
Colm O Baoill
Father J. M. Senes
Bill Samson
and to Joyce McMillan
Staff of	Scottish Record Office
National Library of Scotland
Edinburgh Central Library, Scottish Room
Edinburgh University Library
Royal Museums of Scotland
National Trust for Scotland
and to An Comunn Gaidhealach

Most histories of music in Scotland tell us that little is known about the harp in that country. We have been led to believe that the names of only one or two native harpers can be found, and that virtually none of the music has survived. It seemed extraordinary that so little trace was left of instruments which had been played in Scotland for a thousand years or more. In the course of around thirty years of research it became obvious to us that a great deal of material relating to the harp did exist in sources which previously had not been examined. A number of long-accepted traditions do not survive objective evaluation, or have been mis-quoted. It is also important to look at the facts critically from a background of practical knowledge of the instrument, and of Scottish music. Gradually it became clear that the harp had played an important part in the nations cultural life over many centuries. So much material was uncovered, indeed, that it was necessary to confine the objectives of this study.

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