Bell's Hill from the East

Andrew Bell

Andrew Bell was a traditional Irish harper in the middle of the 19th century. He had an excellent performing career, playing public concerts and being patronised by the gentry and aristocracy. This post is to try and gather everything together to start to tell the story of his life.

We will start with his birth and upbringing, his education, and his professional performing career, and then we will go into some more detail about his places and his repertory.

Anecdote

I first came across Bell’s name a few years ago, when I was fishing in the archives at the National Museum of Ireland. I found an interesting series of papers in the file associated with a harp said to have been Valentine Rennie’s. In about 1908, the Gaelic Revivalist William Savage had written down anecdotes from the reminiscence of harper and tradition-bearer George Jackson, who had learned the harp probably in the 1850s from Patrick Murney. In the list of harpers that Jackson describes, there is a very brief mention of Andrew Bell:

Bell. Died about Derry

National Museum of Ireland, Arts & Industry Division, Archive File AI.80.019

Now this doesn’t tell us very much; for a long time I used to wonder “who is Bell?” And then when I started my long 19th century project, trying to tell the stories of the traditional Irish harpers from 1792 through to 1909, I started finding Bell’s name in newspaper advertisements for his concerts. But I still didn’t know his first name, or when he was born, or died. But now finally I have found his death notice in the newspaper, which tells us his full name, place, and age.

Birth and early years

According to his death notice, Andrew Bell would have been born in 1815, or perhaps at the end of 1814. We are told in a concert announcement (see below) that he was “born and bred in Castledawson”. I assume that this is not actually in the village itself, but in Bell’s Hill, just south of Castledawson, where he is said to have lived and died. We will discuss this place later.

We are told that he was blind. At this time a likely cause of blindness would be catching smallpox as a child. But we have no information about this.

There were a few different people called Bell living at Bell’s Hill, so I assume he grew up in the countryside there surrounded by relatives in the eighteen-teens and eighteen-twenties. We can imagine that he became blind, which would be a problem for him to go on to make a living doing anything really, and so his family would likely have sent him the the Irish Harp Society school in Cromac Street, Belfast, to be educated to become a professional musician on the traditional wire strung Irish harp.

Learning to play the harp

We actually have no information about how or where Bell learned the harp. We don’t even have any explicit statements of what kind of harp he played; it is possible that he was a classical pedal harp player, and that he had learned from a classical teacher. But I think it is more likely that he was a traditional Irish harpist, playing on a traditional wire-strung Irish harp, for a number of reasons. The main reason is that George Jackson mentions him; I am fairly sure that Jackson only mentioned the traditional harpists and did not pay any attention to classical pedal harpists. Another reason is that Bell was blind; and another is the way that he is working, which is consistent with other harpers who we know were traditional players of the wire strung traditional Irish harp. So at this stage I am going to assume that Andrew Bell was one of the boys who learned at the Belfast Harp Society school. Hopefully in time new information will appear that can prove it one way or the other.

Unfortunately for us, we have virtually no records of the pupils who attended the harp school after 1826. You can see from my timeline of 19th century harpers how we know a lot about who was there from 1820 until 1826, and then after that we are guessing based on later mentions. If we guess that perhaps two new pupils entered each year from 1827 through to 1837, that suggests there may be perhaps 20 harpers going through the system that we don’t have records for. It seems likely that Bell was one of those twenty.

I think it was normal for boys to attend the harp school as full time boarding pupils, for a few years, starting at the age of perhaps 10 to 20 years old. So Bell’s apparent birth year (1815) fits perfectly with the idea that he went to the harp school for a few years some time between 1827 and 1840. Valentine Rennie was the teacher for most of this time, until he died in September 1837, and was replaced by Alex Jackson; the school moved I think at the end of 1838 to Talbot Street, so it is possible that Andrew Bell was a student then. But I think it is more likely that he was taught by Valentine Rennie in Cromac Street.

The school at Cromac Street was run from a nice town-house; Rennie and his wife lived in the house, and so did the boarding pupils. Often there were also a few day pupils who came in every day for their lessons. The school was run by a Management Committee of Gentlemen, who managed the money side of things, paid the rent on the house, and paid for the food and other housekeeping expenses of the pupils, and who purchased the harps which were used in the school and were presented to each pupil on completion of their education. I think sometimes the Gentlemen tried to interfere in the education of the boys, but I think also that the inherited traditional playing techniques and styles were strong enough that the teacher could assert the traditional norms and keep the Gentlemen’s fanciful ideas about classical improvements at arms length. At the end of the day the Gentlemen wanted to give these mostly poor, mostly blind pupils a practical education so that they could leave the school and go out to make a living playing the harp. Preserving the inherited tradition was a means to that end for the Gentlemen; but of course it was the top priority for the teachers and probably also for the pupils.

Andrew Bell’s harp

I have no information about Andrew Bell’s harp; I have no idea what happened to it after he died. But we have general information about the harps that were used at that time, and we can speculate a bit.

Wire-strung Irish harp by John Egan, mid 1820s. Photo © The Fitzwilliam Museum, used under a Creative Commons License CC-BY-NC
Egan wire-strung Irish harp number 2044. Nancy Hurrell suggests that this harp dates from after c.1825. Photo © The Fitzwilliam Museum, used under a Creative Commons License CC-BY-NC

Presuming that Andrew Bell attended the harp school, he would not have had his own harp while he was a pupil. He would have been taught orally by Valentine Rennie (and perhaps later also by Alex Jackson). The Harp Society owned harps which were kept in the House; these had been made for the Society by the Dublin harp-maker John Egan. They were made by Egan using up-to-date workshop methods and aesthetic styles, but they were designed from the ground up as traditional wire-strung Irish harps. They were fitted with 37 brass wire strings, and they did not have any of the semitone mechanisms that were used on classical style harps at the time. The traditional harpers knew what they wanted, and Egan knew what the traditional harpers wanted, and so this seems to have set a standard or norm for the wire strung traditional Irish harp through the 19th century.

Other makers copied Egan’s design; we have a reference that the Harp Society tried to source cheaper harps from a Belfast maker copying Egan’s design. And later, Egan’s nephew Hewson made very similar harps through the 1840s.

When each pupil in the harp school had finished their education, and reached a professional standard, they were examined by the Gentlemen, and were presented with a harp and with a certificate of good conduct, and then they were sent away to earn their living as a professional musician. My guess is that Andrew Bell would have been given one of these floor-standing, 37 wire string, traditional Irish harps, either one made by John Egan or one made by another maker copying Egan’s design.

Professional career

There is actually quite a gap here, because Bell must have left the harp school in the 1830s, and so he must have been earning a living as a harper all through the 1840s. It is not clear to me how the harpers would go about starting their professional career. I think they must have relied on networking between the Gentlemen of the Irish Harp Society committee, and potential patrons

Andrew Bell seems to have had an ongoing relationship with the Marquis and Marchioness of Waterford. The first hint of this is a testimonial that they wrote for him in 1845, which he printed a decade later in an newspaper advertisement:

Lord and Lady Waterford were much delighted with the masterly manner in which Mr. Bell played to them on the Irish harp
Curraghmore, 23d July, 1845

Coleraine Chronicle, Sat 1 Sep 1855 p3

Andrew Bell was 30 years old by this stage. Curraghmore House is the seat of the Marquis of Waterford, between Waterford town and Carrick-on-Suir. Henry Beresford, Lord Waterford was a wild character, the originator of the phrase “painting the town red”, and there are other amusing stories about his youthful excesses. However in 1842 he married and settled down at Curraghmore and lived an “exemplary” life until he died in 1859. His wife was Louisa Beresford, née Stuart, a pre-Raphaelite artist. After he died in 1859 she moved back to England. I did wonder if she might have used Andrew Bell and his harp as a model for one of her drawings or paintings but I have not found anything so far.

So perhaps we can imagine Henry and Louisa showing an interest in having a harper at the house following their marriage in 1842.

I don’t know if Andrew Bell might have lived at Curraghmore, as resident harper, or if he visited regularly. It is hard to know about how these patronage arrangements worked in practice.

Concerts with O’Connor

Andrew Bell seems to have got together with Mr O’Connor in 1850. I think it is possible that Bell and O’Connor may have been classmates together in Belfast in the late 1820s or early 1830s. I already wrote up Mr O’Connor; he had a long career playing public concerts, and he seems to have been a bit of a showman. O’Connor usually appeared with other harpers, and was usually the front man, with the other harper playing a supporting role in the shows.

Before getting together with Bell, O’Connor had been working with Mr. Rennie. In 1847 the partnership between O’Connor and Rennie had come to an end, and they were talking about going to America. I don’t know what happened, if they both went, and O’Connor came back. But anyway, by 1850 we find O’Connor back in Dublin and working with Bell.

I have already discussed these news clipping in my post on O’Connor, but we can look at them again focussing on Bell’s role.

IRISH HARP – CONCERT IN THE ROTUNDO.
On this evening the Irish harpists, Messrs. O’Connor and Bell, to whose admirable execution on the harp Miss Catherine Hayes has borne testimony, are to give a concert in the Rotundo. We trust our fellow-citizens will encourage this effort to revive our national music. We believe there is a growing taste for the harp; it is now to be seen in the most fashionable drawing-rooms of the city. The young ladies whose taste inclines them to cultivate this noble music will, consequently, do well to avail themselves of this opportunity of catching from these performers the spirit which made Irish music a thing of life and power in the days that are over.

Freeman’s Journal, Wed 10 April 1850 p2

I think the Dublin press are more off-beam than usual; they obviously have no idea of the different worlds occupied by the fashionable city ladies interested in classical pedal harp music, and our two boys trained in Belfast in the traditional music of the wire-strung Irish harp. I think Catherine Hayes’s endorsement was perhaps for O’Connor rather than Bell, since we see her endorsing him specifically in a later advert.

Anyway from this point on, O’Connor and Bell seem to be touring as a double-act, with O’Connor very much as the front man, and Bell as his assistant.

With O’Connor in Wexford, 1851

In the autumn of 1851, we find Andrew Bell performing in Wexford with Mr. O’Connor. I haven’t found the advert or information about their first concert in Wexford, but their second concert advertisement is superb, printing the full programme for their two performances on Wednesday 1st October 1851:

ASSEMBLY-ROOMS, WEXFORD.
—————-
By Permission of Robert Stafford, Esq., Mayor.
IRISH HARP CONCERTS.
Under the most Distinguished Patronage.
WITH AN ENTIRE NEW CHANGE
MESSRS. O’CONNOR & BELL,
Who have distinguished themselves as Performers upon
“THE NATIONAL INSTRUMENT,”
and have been received with much eclat in the first Families of Ireland, beg leave respectfully to inform the Nobility, Clergy, Gentry, and Inhabitants of Wexford and its Vicinity, that they will (by desire) give a Second
MORNING AND EVENING CONCERT,
In the ASSEMBLY-ROOMS,
ON WEDNESDAY, THE 1ST OCTOBER,
when they hope to be again honoured with the kind influence of all lovers of the Classical Art in Wexford and its Neighbourhood.
P R O G R A M M E :
PART I.
DUET – Harps, “Brian Boroughme.”
SOLO – Harp, “The Coolin.”
DUET – Harps, “Annen Polka.”
SOLO – Harp, “The Mountain’s Brow.”
DUET – Harps, “Captain Taylor’s March.”
SONG – “I saw from the beach.” – Mr. O’CONNOR.
SOLO – Harp, “Lord Moira’s Welcome to Scotland.”
DUET – Harps, “The Marquis of Huntley’s Farewell.”
SOLO – Harp, (by desire) “Ye Banks and Braes.”
DUET – Harps, “Garryowen” (varied).
SONG – King O’Toole’s Goose,” – Mr. O’CONNOR (Lover.)
PART II.
DUET – Harps, “Molly Carew.”
SOLO – Harp, (by desire) “My Lodging is on the Cold Cold Ground,” varied – Mr. BELL.
SONG – “The Blarney,” – Mr. O’CONNOR – (Lover.)
DUET – Harps, “Neel Gow’s Farewell to Whiskey.”
SOLO – Harp. (by particular desire) “Kate Kearney,” – Mr. O’CONNOR, in which he will imitate the Musical Snuff Box.
DUET – Harps, “Little Cupid’s Waltz.”
SOLO – Harp, “The rising of the Lark.” – Mr. BELL
SOLO – Harp, “Paddy O’Rafferty,” – Mr. O’CONNOR.
DUET – Harps, “O fly not yet.”
SONG – “To-morrow, Comrade, we,” – Mr. O’CONNOR.
FINALE – “Rule Brittania,” “Patrick’s Day,” and “God Save the Queen.”
______
Lord and Lady Waterford, Lord and Lady Courtown, Mr. and Mrs Grogan Morgan, Lord and Lady Milton (Coolattin Park), and Lord and Lady Milltown, were happy to certify Messrs. O’Connor and Bell’s wonderful ability on the Harp.
Miss Catherine Hayes (Queen of Song) is happy to bear testimony to Mr. O’Connor’s admirable taste and execution on the Harp.
The Professors of Maynooth College and the neighbouring gentry bear like testimony.
Admission to Morning Concert, 1s. 6d. each.
To Evening Concert – Front Seats, 1s; Back Seats, 6d.
Tickets to be had at the INDEPENDENT Office.
Doors open to Morning Concert at One o’clock – Performance to commence at half-past One. Doors open for Evening Concert at half-past Seven – to commence at Eight.

Wexford Independent, Wed 1 Oct 1851 p3

There is so much information in this advertisement. The list of nobility and gentry at the end is perhaps a combination of Bell’s patrons and O’Connor’s patrons. I assume that each of the two harpers had ongoing relationships with these aristocrats, visiting their houses to play for them. We see Bell’s patrons, Lord and Lady Waterford, listed first in the list of names giving testimony to the two harpers.

The list of tunes is very interesting. I already discussed some of these in my post about 19th century Irish harp tune lists. Part of our problem for discussing Andrew Bell is that O’Connor was in charge here, and so I kind of assume that anything not explicitly listed otherwise is most likely a solo by O’Connor. But we can nonetheless start already to say things about Andrew Bell’s repertory. We will come back to these tune lists later on in this post.

At Kilmacthomas, 1852

I have just one very short and almost illegible news clipping for 1852. Kilmacthomas is a town in County Waterford.

Messrs. O’Connor and Bell gave an ev[ening ???] on the Irish Harp in Kilmacthomas on W[ednesday] night.

Limerick Reporter, Tue 31 Aug 1852 p2

At Lismore, 1853

Andrew Bell and Mr O’Connor were in Lismore to play for a dinner on Tuesday 19th April 1853.

PUBLIC DINNER AT LISMORE.
——————-
On Tuesday evening, the 19th inst, the butter and provision merchants of Waterford who had come forward to aid in the opening of the new market at Lismore, were entertained at dinner by the inhabitants of that town.
The dinner, which took place in the Devonshire Arms Hotel, was a most substantial one and fully sustained the high character of the establishment for its good cheer.
Messrs. O’Connor and Bell, the celebrated Irish Harpers, were most appropriately present on the occasion, and played several national and popular airs during the evening.
At six o’clock the party, to the number of over 80, sat down to dinner.
…[long description of the different toasts and speeches]…
It being then about 11 o’clock, the party shortly after broke up with one feeling pervading the whole, namely, that they had spent a most delightful evening.

Cork Examiner, Mon 25 April 1853 p4

The hotel is still there, though it closed a few years ago.

At Villierstown, June 1853

A couple of months later, the lads were in Villierstown which is a village a few miles from Lismore. It looks like they were playing in the open air outside the old School house.

Friday last a scene of rural felicity presented itself in the village of Villierstown, owing to the liberality of Lord and Lady Stuart de Decies, who re[gale]d over two hundred of the children attending his lordship’s school, which he maintains at his private expense, to a sumptuous and substantial dinner. The tables were laid out in the open air, before the school-house; several of the neighbouring gentry were present on the gratifying occasion, and the youthful recipients of Lord de Decies’ bounty seemed highly gratified at the fete which had been so liberally afforded them. To add to the pleasures of the day, the celebrated blind Irish harpers, O’Connor and Bell, who were then in the village, united their stirring strains, and music and dancing were kept up with spirit for a considerable time, and thus the day closed most joyfully. it is gratifying to find such a nobleman as Lord Stuart de Decies resident among his people, and contributing all in his power to render them happy. – Waterford Mail.

Saunders’s News-Letter, Friday 3 Jun 1853 p2

I assume that the reason that Andrew Bell and Mr. O’Connor were in Villierstown, was that they may have been staying at Dromana with Henry Villiers-Stuart, 1st Baron de Decies.

Another testimony from Lady Waterford

In the Spring of 1854, Bell must have been back at Curraghmore, because he got another letter of recommendation from Louisa Beresford, which he used the following year in his newspaper advert:

The Marchioness of Waterford feels much pleasure in testifying her approbation of Mr. Bell’s wonderful performance on the harp, which she has heard with renewed satisfaction
Curraghmore, 6th March, 1854.

Coleraine Chronicle, Sat 1 Sep 1855 p3

I suppose it is possible that Bell spent some time at Curraghmore over the winter of 1853-4. If so, he got back together with O’Connor for more concerts.

Concerts in Waterford, 1854

In June 1854, O’Conner and Bell were in Waterford town. It seems that they spent a week or so probably doing private events, but they also gave an evening concert on Monday 12th June 1854.

THE HARPERS. – We learn that Messrs. O’Connor and Bell, who perform admirably on the Irish Harp, are to give a concert in the Town Hall on Monday evening, at which they will entertain the audience with “The wild [touc]hing strings of their dear native land” on the national instrument. The programme presents a vast variety of music.

Waterford Mail, Saturday 10 June 1854 p2

Unfortunately, on Monday evening it was raining, and it seems that the turnout was poor. Luckily for us a journalist went, and wrote a review of the concert which is one of the most extraordinary descriptions of a traditional Irish harper I have ever read. At the end of the concert, O’Connor basically harangued the people of Waterford for not coming out to support the concert, and the journalist transcribed it for us in his article.

THE IRISH HARP.
MESSRS. O’CONNOR and BELL, the Irish Harpists, have been stopping for the past week in our City, in order to favour the Citizens with their performances on the Irish Harp. The subject was one which should be at all times most grateful to an Irish breast, tending as it did to revive the glory of former days, when deeds of chivalry were performed in Ireland, and when peace and prosperity gladdened the land. We had imagined that the prestige of those gentlemen’s names was sufficient to bring crowded houses to meet them – not at all to speak of those patriotic feelings that should induce every true-hearted Irishman to give what support he could to the Minstrels of his Country. We regret much – very much, indeed – to say that from what we saw on Monday evening last, it was reserved for the inhabitants of Waterford – for the Citizens of the “Urbs Intacta” – to show to the world that all true Irish feeling was dead amongst them, and that they card nought for the glorious music of their Country. On the evening in question, Messrs. O’CONNOR and BELL had announced a Concert to take place in our Town-hall; and from the placards we saw, we were sure of a rich and varied treat from those truly gifted artistes. We repaired, at an early hour, to the Concert-room, under the full conviction that if we did not do so, we could not get even standing room among the crowds that would be present – but we were greivously, nay, sadly disappointed. At the commencement of the Concert, there were but a solitary few in the front seats – in the gallery was the majority; fully proving that the new-fangled desire for the light and effeminate music of foreign lands among our higher orders, has driven away all wish for their own fine old national music, the working classes alone excepted.
Mr. O’CONNOR, with beautiful effect, and in a most brilliant manner, in which he proved himself perfect master of his beautiful instrument, sang the “Harp that once through Tara’s Hall,” “King O’Toole’s Goose,” and “Terence and Cathleen” – during which, and at the conclusion, he was most rapturously applauded. Mr. O’C. fully sustained his well earned character as a perfect Harpist – his notes were drawn forth with truth, and given with effect, and were most efficiently accompanied by his voice, which is powerful, and seems to be under perfect command. At the finish, Mr. O’C. came forward, and said –

“Ladies and Gentlemen, I must apologise for thus venturing to detain you for a few moments; but I feel I would be very culpable, indeed, if I allowed you to depart without expressing to you my kind, my warm acknowledgements for your support this night. But I must say that, however influential may be the audience I now address; however great their taste for music – and, above all, for Irish music – and however widely spread their generosity in fostering and supporting Irish talent, yet still the present assemblage is not the one, in point of numbers, I was led to hope for, or expecting on my appearing in Waterford. Apart from myself, I had hoped that the very name of the Irish Harp was of itself sufficient to bring together large numbers of Ireland’s sons and daughters, to hear the strains of our country’s ancient instrument – and believe me, Ladies and Gentlemen, when I assure you that whatever talent I may possess, would be most freely, nay, most gladly brought to bear in affording pleasure, and reviving in the bosoms of my Countrymen, through the aid of our old Harp, those patriotic feelings and love of Country, for which Erin’s sons were so renowned in time of old. But I have been disappointed – sadly mistaken in my hopes – and I must only now come to the conclusion, that the love of Country is all but extinguished among the people of this City. The severity of the evening may, in some degree, account for the few numbers present – some there may be whose patriotic fire could not bear the effect of a slight shower – they feared it might be extinguished; and so for the good of their Country, they have remained at home, leaving us Harpers to play the music, and sing the songs of Ireland, to an almost empty room. I am inclined to think that their absence can be accounted for in another way besides this; and permit me to say not even so creditably. I have heard, and have been told, of the crowds that have filled this room, listening to the Italian Marionettes, the performance of Arthur Napoleon, and other prodigies – how highly they approved of what they saw, and how delighted they were at having gone to see them. These were Italians, Germans, and Frenchmen – they were signors and signoras – and, of course, should be followed and listened to by admiring crowds foremost amongst which must stand the sons of Ireland. Wherever the scraping of of the fiddle is heard, or the blowing of a bugle sounds, provided the performer is a foreigner, he is sure to be surrounded by numbers, while the Irish harper is left neglected and forgotten. I was given to understand that much support and countenance would be given us, on our appearing in Waterford. I was told that many were the lovers of music amongst you, and that those APOLLOS would lead us forth by the hand, and bring us a crowd of hearers. Whatever may be the claim of some of those gentlemen to a proficiency in Italian music, I do not know; but this I do know, that since my arrival here, I have had an opportunity of hearing them in Irish music, and I can say that I have heard one of those performers do nothing but BRAY, and another excel in BLEATING, while everything like the soul of true music was totally obliterated. Before I conclude, I would beg to pay a just debt of gratitude to one gentleman present; and in doing so, I trust he will not be offended. I have an Irish heart, and I must speak out my gratitude. I have been offered an asylum in this City at the hands of DR. JOSEPH MACKESY, whilst having myself cured of the effects of a severe injury I some time ago received; and although not quite decided whether or not I can accept this kind offer, I feel myself called on to tender my humble and truly sincere thanks in this public manner, to Dr. J. MACKESY, now present, for this most considerate act of benevolence.

Mr O’C, having intimated his intention of again appearing, in a few nights, in Waterford, in concluding, expressed his thanks to Dr. CARROLL and the Mayor, the former for procuring, and the latter for granting, the use of the Town-Hall on the occasion.

Waterford Chronicle, 17th June 1854

Poor Andrew Bell, having to sit there on stage listening to this!

They did another concert in Waterford a couple of weeks later, apparently on Sunday 25th June 1854. We can notice that rather than the town hall, they are doing their concert in the auction mart.

THE HARPISTS
The friends and admirers of the Messrs. O’Connor and Bell, the talented Irish Harpists, will be afforded a rich treat to-morrow evening by those gentlemen performing choice selections of Irish music on their beautiful and truly national instrument. Mr. Quinn has very kindly placed his Auction Mart, in George’s-street, at their disposal, for which he deserves many thanks; and we trust that an equally patriotic spirit will be evinced by the citizens of Waterford, who we hope to see attend in large numbers. It is a treat they may never again be afforded; and from what we ourselves have seen of those gentlemen, and heard of their performance, we can safely say that no-one, having an Irish heart in their breast, will regret paying them a visit. Their skill as Harpists is unquestioned – they have performed before the highest in the land; and from all have they received the most flattering encomiums. The voice of Mr. O’Connor is rich and harmonious, and a most effective accompaniment to his instrument; and to morrow evening he will sing several Irish Airs to the music of the Harp. The performance will commence at nine o’clock, p.m.

Waterford Chronicle, Sat 24 Jun 1854 p3

I am assuming that O’Connor’s bad behaviour, insulting the people of Waterford, had basically got the two harpers kicked out of the Town Hall. The advert for the auction mart concert says it is “a treat [the people of Waterford] may never again be afforded” – O’Connor knows he has basically ruined his career, I think. I have not seen any more information about O’Connor after this.

But Bell was not apparently harmed by O’Connor’s massive lapse of judgement and professional standards. Andrew Bell carried on and had a successful solo career. Actually these four years touring with O’Connor may have given Bell a useful experience in working the press and media to promote concerts. Bell went on to Wexford and advertised a solo concert, just one month after O’Connor’s disastrous speech.

Going solo: Wexford in 1854

THE HARP – THE THEATRE
We perceive by advertisements the celebrated Harpist, Mr. BELL, who on former occasions gave great satisfaction to our fellow townsmen by his excellent and soul-touching performance on the National Instrument, will give an entertainment on Monday evening in the Theatre. Some of our amateur singers have kindly promised to give a few admired songs on the occasion.

Wexford Independent, Sat 29 July 1854 p2

I checked the Wexford newspapers before and after the concert, and I am not finding any advertisements or reviews. I think this is interesting, as it implies that the adverts were loose printed handbills or flyers. Andrew Bell apparently chose not to place an advert in the paper (I don’t know how expensive an advertisement would be). I think that printing flyers would likely be a very common way of publicising a concert like this – but they don’t survive. I only know of one extant handbill, for Patrick Byrne’s concert in Dungannon in 1849. So we can be sure that we are missing many of these public concerts, and only seeing the ones that get picked up in the papers or that get a paid advert.

Anyway Andrew Bell’s concert was to be on Monday 31st July 1854, and then the next day he was playing background music at a dinner.

WEXFORD AND BAGNALSTOWN RAILWAY – PUBLIC DINNER
On Tuesday evening last, John E. Redmond Esq., and other gentlemen, promoters of the Act of Parliament recently obtained for the construction of a line of railway from Wexford to Bagnalstown, were entertained at dinner at the Assembly Rooms, Wexford. About one hundred and sixty gentlemen were present. At seven o’clock the chair was taken by THE MAYOR.
…[long list of all the important Gentlemen present]…
Mr. Bell, the Harpist, was present, with his instrument, and four professional singers from Dublin varied the entertainment of the evening by some of their richest and most beautiful notes. They sang in the intervals between the toasts…

Wexford People, Sat 5 Aug 1854 p3

And then there were the usual loyal toasts, and letters read out from gentlemen who could not be there, and long speeches by the Gentlemen in praise of each other. We are not told when or what Andrew Bell played.

You can read more about the history of the Wexford and Bagenalstown Railway at the Borris viaduct website.

Returning North: 1855

In 1855, Andrew Bell came back North. We have to imagine his personal life in between his public engagements. But over the autumn and winter of 1855 he gave a series of concerts in Coleraine, Derry, and Omagh. We can imagine him going back to his family just outside Castledawson at some point on this trip as well. We can imagine him using networks of Gentlemen patrons, with letters of introduction or recommendation sent ahead so that he would have work playing for private events along the way, as well as setting up the public concerts that we see him at.

We are actually missing some events; this next advert for his concert in Coleraine includes a brief review of a previous concert in Derry city, and the review says that this is his second Coleraine concert.

IRISH HARP PERFORMANCE.
UNDER THE SPECIAL PATRONAGE OF
Samuel Lawrence, Esq., J.P., Chairman of Commissioners; C J Knox, Esq., J.P., Jack[s]on-hall[;] Henry Kyle, Esq., T.C., Laurel-hill; Dr. Sharpe, T.C., S. W. Knox, Esq., Town Clerk; H. B. Mackay, Esq., T.C.; W. Warke, Esq., T.C.; James M‘Farland, Esq., Manager of the Belfast Bank; G. E. Newland, Esq., &c., &c.
MR. BELL,
The Blind Harpist,
Has much pleasure in intimating to the Nobility, Gentry, and Inhabitants of Coleraine and its vicinity, that,
BY PARTICULAR REQUEST,
he will give a performance on
THE NATIONAL INSTRUMENT,
in the TOWN-HALL, on MONDAY EVENING, the 3rd September, when he hopes to be honoured with the kind patronage of the public of this locality.
PROGRAMME.
PART I.
Brian Boroimhe’s March;
The Coolin;
Alexander Polka;
Caroline’s Receipt;
M‘Gregor’s Gathering, in which Mr. Bell will imitate the Bag-pipes;
The Meeting of the Waters;
The Marquis of Huntley’s Farewell;
Ye Banks and Braes;
Handel’s Musical Blacksmith.
PART II.
The Harp that once through Tara’s hall (by request);
Planxty O’Reilly;
My Lodging is on the Cold Ground, with variations;
Jenny Jones;
Nora Criena, with variations;
The Rising of the Lark;
Paddy O’Rafferty;
O fly not yet;
Patrick’s Day;
Bumper Squire Jones;
The National Anthem.
Mr. Bell has been received with eclat in the first towns in the kingdom; and has numerous flattering testimonials from many of the leading families of Ireland.
FROM THE MARQUIS AND MARCHIONESS OF WATERFORD.
Lord and Lady Waterford were much delighted with the masterly manner in which Mr. Bell played to them on the Irish harp
Curraghmore, 23d July, 1845
The Marchioness of Waterford feels much pleasure in testifying her approbation of Mr. Bell’s wonderful performance on the harp, which she has heard with renewed satisfaction
Curraghmore, 6th March, 1854.
FROM THE “DERRY SENTINEL”
On Monday Evening Mr. Bell, the famous Irish harper, gave a concert which was largely attended by the elite. He played with beautiful and touching effect several national airs. As his hand swept the speaking strings, to “The Meeting of the Waters,” and “Nora Creina,” one was led to fancy that
       “The harp that once through Tara’s halls
       The soul of music shed,”
had been restrung, and waked once more to life by one of our ancient bards. He was warmly applauded throughout.
TERMS OF ADMISSION:
Tickets for Reserved Seats to admit Two, 1s 6d; Front Seat Single Ticket, 1s; Second do., 6d; Back Seats, 3d. To be had of Mrs. WARD: Mr. M‘CORMICK; Mr. ECCLES; and at the Chronicle office.
Performance to commence at 8 o’clock precisely.

Coleraine Chronicle, Sat 1 Sep 1855 p3

We will come back to the tunes later. There is an interesting question here about the letters of recommendation or testimonials. Louisa Beresford had written her testimonial for Andrew Bell on 6th March, 1854; and then Bell’s companion O’Connor had screwed up big time with his career-destroying rant three months later on 12th June 1854. Was Bell seen as unscathed by O’Connor’s rant? Would an aristocratic patron be able to withdraw their letter? Was it a breach of protocol for Andrew Bell to print the letter like this?

I have not found any other example of a letter of recommendation or testimonial being printed like this. I have seen newspaper adverts which talk generically about the harpers having letters or certificates; and I have seen Patrick Byrne’s letters of recommendation and testimonials which are kept with his certificate in a bundle as part of his private papers (PRONI D3531.G.1)

We also see that Andrew Bell had performed in Derry before this date, but I have not been able to track down a copy of the Derry Sentinel and I don’t know what the date of this article quoted might be.

We have a review of this concert in Coleraine on Mon 3rd September 1855.

THE IRISH HARP PERFORMANCE. – On Monday evening Mr. Bell, the blind harpist, gave a second performance, in the Town-hall, to one of the largest audiences ever assembled within its walls. We are happy to state that the appeal to the sympathy of the people of Coleraine was not made in vain, and Mr. Bell had every reason to say, as he did at the conclusion, that the graceful remembrance of their liberal support should never be blotted from his heart.

Coleraine Chronicle, Sat 8 Sep 1855 p3

I became slightly anxious when I saw that Andrew Bell came forward to address the audience at the end of the concert. Maybe not all of Mr O’Connor’s examples of how to run a concert had been a good influence on him… but at least the turnout had been good and so Bell could praise them rather than slagging them off.

Moving on to Derry, October 1855

On Monday 8th October 1855, Andrew Bell was in Derry to give a concert there. The event was in the Corporation Hall which used to stand in the Diamond but was demolished in 1910.

THE IRISH HARP.
(By kind Permission of his Worship the Mayor)
M. BELL, the Celebrated Harpist,
HAS much pleasure in intimating to the Nobility, Gentry, and inhabitants of Londonderry, that he will give a performance on
THE NATIONAL INSTRUMENT,
In the CORPORATION-HALL, on MONDAY Evening, 8th OCTOBER next, when he hopes to be honoured with the kind patronage of the public of this locality.
Terms of admission – Reserved Seats, 1s 6d; Front ditto, 1s; Gallery, 6d. Performance to commence at Eight o’clock. Tickets to be had of the Booksellers, and at the several Newspaper Offices.

Derry Journal, Wed 3 Oct 1855 p2, and Londonderry Standard, Thur 4 Oct 1855 p2

I don’t quite get the way his name is given as “M. Bell” in both newspapers. Is this him trying to sound French and exotic, or is it a scribal error in the copy sent to both newspaper offices?

And we have a very brief review of the concert:

PERFORMANCE ON THE IRISH HARP. – On Monday night last, Mr. Bell gave one of his celebrated performances on the Irish Harp, in Corporation-Hall. The airs were well selected, and comprised some of the sweetest and most popular of the Irish melodies. We were sorry to find that the attendance was not more numerous, as the abilities of this clever performer on the national instrument fully entitle him to a large public patronage.

Derry Journal, Wed 10 Oct 1855 p2

Hopefully Andrew Bell remembered the O’Connor fiasco and kept his mouth shut at the end of this concert!

Moving on to Omagh, October to November 1855

It seems that Andrew Bell went on to Omagh, County Tyrone, where he gave two concerts. I have not found an advert for the first concert, on Monday 22nd October 1855, only this review:

THE HARP. – Mr. Bell, the Irish Harpist, gave an entertainment in the Court-house of this town on the evening of Monday last. The exquisitely plaintive tone which his touch produced in some of our most respected national airs reminded one of the power and beauty of the now neglected Irish Harp. The more lively airs drew forth repeated expressions of approval from the audience. The performance was attended by many of the most respectable families of the town, and the officers of the Donegal Artillery.

Tyrone Constitution, Fri 26 Oct 1855 p2

The second concert of this series was advertised:

THE LAST NIGHT.
———————
COURT-HOUSE, OMAGH.
———————
MR. BELL, THE IRISH HARPIST, will give a SECOND PERFORMANCE on TUESDAY EVENING, the 6th Inst., under the patronage of Major HARVEY and the OFFICERS of the DONEGAL ARTILLERY. By their permission, the BAND of the regiment will be present, under the superintendence of Mr. M‘Closkey
Performance to commence at EIGHT o’clock precisely
Terms of Admission – Reserved seats, 1s. 6d.; front seats, 1s.; back, &c., 6d.

Tyrone Constitution, Fri 2 Nov 1855 p3

The Patronage of Major Harvey and the Officers is interesting, as if Andrew Bell had started hanging around at the barracks as a kind of army harper. But it was not a full time thing, like James O’Neil; he was off on tour again by the end of the month.

Clogher, December 1855

Andrew Bell may have done all kinds of little events in between these ones we see – I think these ones that I have found in the newspapers are just snapshots of a much more extensive range of public and private events that he would have been playing.

A MUSICAL TREAT. – A few evenings ago Mr. Bell, the famous Irish Harpist, gave a concert in the Court-house, Clogher, which was largely attended by a respectable audience. The programme was well selected, and was performed in excellent style. Subsequently, Mr. Bell entertained a select party in Mr. Shepherd’s hotel, and gave the utmost satisfaction.

Armagh Guardian, Fri 7 Dec 1855 p5

This is great because it gives us a glimpse of the kind of private functions that Bell would do as well as the public concerts. Clogher Courthouse is now run as a cafe. George Shepherd is listed in the 1858 street directory as a “Hotel keeper and posting establishment”, the only hotel in Clogher.

With Pat Murney in Belfast, July 1856

On Tuesday 8th July 1856, Andrew Bell was in Belfast, and he performed a concert alongside another traditional harper, Patrick Murney. I think it is quite possible that Bell and Murney had been classmates together under Valentine Rennie in the mid to late 1830s.

Patrick Murney had a decent career performing mostly in Belfast; I find this event interesting because it is clearly promoted as Andrew Bell’s concert, with Patrick Murney assisting. Perhaps this is O’Connor’s influence rubbing off on Andrew Bell. Perhaps Murney graciously offered the limelight to Bell as the visitor. Perhaps Bell was just a more famous and better musician.

HARP PERFORMANCE – It will be seen, by a notification, in our advertising columns, to-day, that, on Tuesday evening next, Mr. Bell, the harpist, assisted by a Mr. Murney, and the band of the Antrim Rifles, will give a concert in the Corn Exchange Rooms. As the national instrument, and, moreover, as one whose compass and power, under the hands of a skilful performer, which, from his testimonials, we believe Mr. Bell to be, afford the widest scope for the production of “most excellent music.” The harp should always have attractions for those among us to whom ancient memories are dear, and to whom the “soul of music” can speak.

Northern Whig, Sat 5th July 1856 p2

This editorial is very hard to understand because it has too many commas, but the paid advert is clearer:

THE IRISH HARP
MR. BELL, THE CELEBRATED HARPIST,
has much pleasure in announcing to the Nobility, Gentry and Inhabitants of Belfast and its Vicinity that he will give a CONCERT, assisted by
MR. MURNEY,
on the National Instrument, in the CORN EXCHANGE ROOM, on TUESDAY Evening, 8th July 1856, under the distinguished Patronage of Lieutenant-Colonel FERGUSON and the Officers of the Queen’s Royal Antrim Rifles, whose splendid Band, Mr. Bell has the honour to intimate, will perform Select and Classic music on the occasion.

Northern Whig, Sat 5th July 1856 p3

Again we see Bell performing under the patronage of military officers, as if he had got himself into the network of gentlemen officers. And again we have this thing,, which seems to have been quite common, of the harpers performing a concert where the military band also plays sets inbetween or framing the harp tunes.

Coleraine, Sep 1856

Andrew Bell was back in Coleraine in the autumn of that year.

THE IRISH HARP. – It will be seen from our advertising columns that the county Derry blind Harpist has again favoured us with his presence, and intends to give a performance on the national instrument in the Town-hall, on Tuesday evening next. The kind manner in which he was received here some twelve months ago encourages him to hope that the people of Coleraine, proverbial for their generosity, will again extend their sympathies to him, and give him a bumper house. We most cordially join him in his hope, for we have found the true-hearted people of this town ever alive to deeds of charity and benevolence. Apart from the extraordinary power he has over his instrument, we appeal to them on the ground of his blindness, which incapacitates him from earning, in any other way, his daily bread.

Coleraine Chronicle, Sat 27 Sep 1856 p5

This is interesting how there is as much appeal to charity as there is to his art, though this is coming from the newspaper editorial and not necessarily from Bell himself. but it gives us an insight into how a musician like Bell was seen in the 1850s.

The advert in the same issue probably gives us more of an impression of how Bell wanted himself to be seen. It also includes a testimonial, though this is not signed or dated so we don’t know whose it might be. It may be a review from a newspaper – Keith Sanger noted a reference to Patrick Byrne keeping scrapbooks of news clippings. We also see the same stock text about him being “received with eclat…”:

THE IRISH HARP
——————
MR. BELL, the Blind HARPIST, has much pleasure in announcing to the Nobility, Gentry, and Inhabitants of Coleraine and its vicinity, that he will give a PERFORMANCE on the National Instrument, in the TOWN-HALL, on TUESDAY EVENING next, when he hopes to be honoured with a share of the kind Patronage which was so overwhelmingly bestowed on him when he last visited this Town, and which he will never forget. Mr. BELL has been received with eclat in the first towns in the Kingdom, and has numerous Flattering Testimonials from many of the Leading Families of Ireland.
——————
“Anything more exquisite than Mr. Bell’s performance on this magnificent old instrument, we have seldom if ever listened to. Some of the tunes were thrilling in the extreme. But apart altogether from the power which he has over the instrument, he has other and peculiar claims on the sympathy of the people of this locality, having been born and bred at Castledawson.”
——————
Doors open at half-past 7, Concert to commence precisely at 8 o’clock. Front Seats, 1s; Back Seats, 6d. Tickets may be had at the Booksellers’ Shops and at the Chronicle Office.

Coleraine Chronicle, Sat 27 Sep 1856 p4

The testimonial or review is obviously from someone local. It gives us the proof that he was born and raised near Castledawson.

Coleraine, 1857

One year later, on Wednesday 30th September 1857, Bell was again in Coleraine, hoping to repeat his success. The old town hall had been demolished, and the new one was being built, and so the concert was held in the Coleraine Academy. I can’t work out where this was; I think it is a different thing to the Coleraine Academical Institution which did not start until a few years later.

THE IRISH HARP. – We observe that Mr. Bell, the blind harpist, is to give an entertainment in the Coleraine Academy on Wednesday evening next. As it is the only way he has of earning a livelihood, and as he has peculiar claims on our sympathy, being a native of our own county, we hope the benevolent portion of the community will largely patronise him.

Coleraine Chronicle, Sat 26 Sep 1857 p5

I don’t at present have the advert or reviews for this concert.

Banbridge, August 1858

A year later, on Wednesday 4th and Thursday 5th August 1858, Andrew Bell played two concerts in Banbridge Town Hall. We have a brief notice from a Belfast newspaper:

THE IRISH HARP. – Mr. Bell, the Irish harper, performed in the Town Hall, Banbridge, on the evenings of Wednesday and Thursday, to a highly respectable audience. Mr. Bell is one of those blind bards who are still to be found amongst us. His performance was highly successful.

Northern Whig, Sat 7 Aug 1858 p3

This is a curious little comment, about how the harpers were “still to be found amongst us”. We can check my timeline to see that in 1858, we can easily name about 15 traditional harpers playing traditional wire-strung Irish harps, though perhaps if some of them were based in Belfast and Dublin there were fewer on the road that the people of Banbridge would come across. But because no-one seemed to have been teaching in the inherited tradition after Patrick Murney in the 1850s, there would be a slow but gradual attrition of the harpers through the second half of the 19th century as the ones that were alive and working gradually got older and died, and were not replaced by a younger generation.

Anyway we have a slightly fuller review of the same events from a different Belfast paper:

THE ANCIENT IRISH HARP. – Mr Bell, one of our now very few Irish harpers, gave a grand musical entertainment in the Town-hall, Banbridge, on the evenings of Wednesday and Thursday last. Mr Bell is no mean performer on this old and much-revered instrument of our country – the harp; indeed, the consummate skill, the exquisite taste, and delicate feeling with which he played some of the old favourite airs of the “Emerald Isle” assured us to the full that a master hand swept the “speaking chords.” Should any other country towns in Ulster be so very fortunate as to receive a visit from Mr Bell, we hope the inhabitants of such will patronize the venerable bard, and so foster a love for the sweet music of that national instrument of Ireland, whose deep, melodious tones oft, in the days of yore, soothed and gladdened the hearts of our forefathers. – Correspondent.

Belfast Mercury, Sat 7 Aug 1858 p2

Andrew Bell was aged 42 or 43 in 1858.

With Tom Hardy in Belfast, November 1858

Towards the end of that year, Andrew Bell was back in Belfast, and he organised a concert. Just like last time he had been in Belfast, he got a local Belfast harper to share the stage with him. This time it was the young Thomas Hardy, who I have suggested may have learned the harp from Patrick Murney in the 1850s, and therefore was the youngest generation of traditional harpers.

Public Amusements
——————-
IRISH HARP
MR. BELL, THE CELEBRATED IRISH HARPIST, has much pleasure in announcing to the Nobility, Gentry, and Inhabitants of this town and its vicinity, that he will give a
CONCERT,
Assisted by Mr. HARDY, in the CORN EXCHANGE, on TUESDAY next, 9th instant, at Two o’clock in the Afternoon, when he hopes to be honoured with the kind patronage of the public of this locality.
Front Seats, 1s.; Back do., 6d. Tickets may be had from Mr. HENDERSON, 13, Castle Place.

Belfast News Letter, Mon 8 Nov 1858 p1

If, as I suggested on my post about him, Tom Hardy may have been born in 1833-4, he would have been only 24 or 25 years old. Perhaps they saw it as a good chance for Hardy to get some experience, performing alongside an older and much more experienced harper like Andrew Bell.

Armagh, December 1858

Andrew Bell came to Armagh at the end of that year, to perform in the Market House. I only have this brief editorial notice of his concert here:

THE IRISH HARP. – We observe, by printed notices, that Mr. Bell, the celebrated Irish harpist will give a performance in the Market house this evening. Mr. Bell’s testimonials from the nobility and gentry, and the Press, are of the most flattering character; his programme embraces some very popular airs. We trust he may receive that patronage which he so fully deserves.

Armagh Guardian, Fri 3 Dec 1858 p5

Again we see what looks like a concert promoted only by printed posters and handbills. It looks like these ephemeral sheets included the full programme of tunes. What a shame we don’t have a copy!

Coleraine, 1860

The next mention I have of Andrew Bell is a bit over a year later, in the spring of 1860. He was back in Coleraine.

THE IRISH HARP. – We observe that Mr. Bell, the blind Harpist, is in town for a few days. We understand he purposes giving a performance on the national instrument some evening next week – place and date to be announced by handbills. We hope he will be liberally supported.

Coleraine Chronicle, Sat 7 April 1860 p4

Again we can read between the lines; it looks to me like Bell has arrived in Coleraine, presumably staying with a Gentleman patron, or playing private events for different Gentlemen and Ladies. He presumably has been distributing flyers or handbills, and word of mouth would pass news of his presence in the town around Gentlemanly circles.

He places a paid advert for his public concert the following week:

THE IRISH HARP.
———
Under the Patronage of the Chairman of Town Commissioners
———
MR. BELL, the Blind Harpist, has the honour to announce that, by special request, he will give a Performance on the IRISH HARP, under the Patronage of the Chairman of Town Commissioners, in
THE TOWN-HALL, COLERAINE,
On MONDAY Evening next, at 8 o’clock.
Tickets, for Front Seats, 1s; Back Seats, 6d; Gallery, 3d. To be had at the Booksellers’ Shops.
Programmes at the Door.

Coleraine Chronicle, Sat 14 April 1860 p4

“Programmes at the door” is interesting – he must have had printed programmes made up. I wonder what they said. Presumably they gave the tune list for the evening. Perhaps they also included some of his testimonials. I wonder if any copies of any printed programmes like this survive anywhere.

Anyway this is the last public notice I have seen so far of Andrew Bell performing.

Death

Andrew Bell died on Sunday 3rd November 1861. The death notice in the newspaper is a key source for working out his life story, since it gives us his first name, his age, and where he lived.

November 3, at his residence, Bell’s Hill, Castledawson, County Derry, Mr. Andrew Bell, Irish harper, aged 46 years.

Ballymena Observer, Sat 16 Nov 1861 p4

And that’s it as far as I can see.

Bell’s Hill

We are told that Andrew Bell was “born and bred in Castledawson”, and that he died “at his residence, Bell’s Hill, Castledawson”.

I thought I should go to Bell’s Hill to try and get a sense of the place, to see where Andrew Bell lived and died. At the moment I am assuming that Bell’s Hill is also where he was born and raised.

House at Bell's Hill
Derelict house at Bell’s Hill

Bell’s Hill is just to the south of Castledawson. It is in the townland of Annaghmore, on the West bank of the River Moyola. The river rises in Ballinascreen (where the harpmaker Cormac O’Kelly had lived and worked 150 years previously) and flows down around the North side of Slieve Gallion.

Seamus Heaney describes the approach to Bell’s Hill from the East:

The River Moyola flows southeast from a source in the Sperrin Mountains down through County Derry and enters Lough Neagh just a few miles from where I grew up. Over the years, the river has been deepened and straightened, but in the 1940s there was a ford at lower Broagh and a trail of big stepping stones that led across from one bank to to the other, linking the townland of Broagh to the townland of Bellshill. We used to paddle around the gravel bed on the Broagh side and I always loved venturing out from one stepping stone to the next, right into the middle of the stream…

Seamus Heaney, ‘Something to Write Home About’, The Princeton University Library Chronicle, Vol. 59, No. 3, Spring 1998, p621

The road from where I am pretty sure Seamus Heaney’s childhood ford and stepping stones were, runs West from the river Moyola, across the flood plain for about ¼ mile, past a couple of farms, and then climbs steeply up to the top of Bell’s Hill where there is a small cluster of houses.

Bell's Hill from the East
Bell’s Hill from the East, looking West up the hill towards the houses at the old road junction

The old houses at Bell’s Hill were clustered around the old road junction which is just east of the top of the hill, so it has amazing views to the east. One road runs east down to the crossing point. Another road runs North to Castledawson a bit over ½ mile away, though this road and the sites of the old houses on it has been obliterated by recent construction of a big roundabout and slip-roads feeding the new A6 dual carriageway from Belfast to Derry. The other road runs south across the countryside towards The Loup and Ballyronan.

Houses at Bell's Hill, looking East
Houses at Bell’s Hill, looking East from the old road junction down towards the old crossing-point on the Moyola River.

Touching the south east of the old road junction is a large circular field with a holly hedge running around about three quarters of its circumference (except where the field adjoins the roads). You can see the field on the 19th century Ordinance Survey maps. You can view the location, and the Sites and Monuments Record entry for the “enclosure”, on the PRONI Historical Map Viewer, and you can overlay the 19th century Ordinance Survey map as well.

View East across the circular field at Bell's Hill
View North-East across the circular field at Bell’s Hill

We have some information for Annaghmore townland in the 1831 census. There are four houses in Annaghmore with Bells in them; I don’t know how to work out where each house was. We are only given the name of one person for each house. House no.8 was Josh Bell, there were 6 males and 2 females in his family. House no.17 was Wm Bell, there were 3 males and 2 females in his family. House no.23 was Josh Bell, there were 5 males and 6 females in his family. And house no. 24 was Walter Bell, there were 3 males and 3 females in his family. All of these Bells were Church of Ireland. None of them had domestic servants. I think Andrew Bell would likely have been in Belfast at harp school at this date, but I imagine these would be his parents and other relatives living in these four houses.

I looked at the Griffiths Valuation for Annaghmore; the information for this area was printed in 1859 so presumably is current in the 1850s, when Andrew Bell was travelling playing concerts. You can see that there are a whole load of people named Bell living in Annaghmore; they occupy the houses all around the road junction.

Of the three buildings still standing on the old road junction, I think the derelict white house might be Griffiths site 46d, held in the 1850s by Joseph Bell, who leased it from John Bell; the house opposite, with a cast iron pump outside, looks like Griffiths site 46a, held in the 1850s by John Bell, who leased it from Gilliland; and the house higher up on the West side of the old junction looks to me like it may be 46b, held in the 1850s by James Bell, also held from Gilliland. I don’t know who Gilliland was.

There was also Jane and Dorothea Bell, who together held a house and land a few hundred yards further south, Griffiths site 44, held from Robert P. Dawson.

House occupied by Jane and Dorothea Bell in the 1850s
House occupied by Jane and Dorothea Bell in the 1850s (or perhaps a replacement house built on the same site)

Other houses at the old road junction that are now gone were held in the 1850s by James Bell and Gardner Bell. I assume that these people were all Andrew Bell’s relations, perhaps his parents, brothers, sisters and cousins.

I checked the 1901 and 1911 censuses and there were two households of Bells living in Annaghmore townland then. They are all listed as Church of Ireland, and none of them have Irish. I am sure that a genealogist could connect these people in to Andrew Bell’s family tree. All the houses are listed as being built of “stone, brick or concrete” with roofs of “thatch, wood or other perishable material”. I’m assuming they were stone or brick houses with thatched roofs.

I made a map showing all of Andrew Bell’s places. This view is zoomed in tight on Bell’s Hill; the red dots are the approximate locations of houses occupied by members of the Bell family in Bellshill in the 1850s. Touch a dot to see what it is; click a dot for a full caption.

If you zoom out (press the [-] button on the top left of the map) you can see the blue dots, which are places where Andrew Bell performed concerts all over Ireland. You can also open the map full screen.

Tune lists

We should discuss the tune list from the 1855 Coleraine concert, and compare it to the list of tunes that Bell performed with O’Connor in Wexford in 1851. The first thing we notice is that there are a lot of tunes that are common to both; and not only that but they are roughly in the same order.

I think that these tune lists are extremely important in helping us to begin to understand how the harp tradition was going during the 19th century. We have to bear in mind that the tune lists are published in the newspapers, for a wealthy middle class concert-going audience, and so I think that the selection of tunes will not be a fair reflection of what the harpers would necessarily choose to play for themselves, or for aristocratic patrons, or in traditional contexts. I am sure that there were commercial and social pressures on them to play certain things and skip certain other things. We see this most bluntly with the British national tunes that so often appear in these programmes; I think this is just a reflection of concert norms during the 19th century, and it can also give us a hint as to where the money and patronage was at this time.

The Wexford programme alternates between duets and solos, but we can assume that Bell’s concert in Coleraine in 1855 seems to be all solo. In this discussion I am pretty much going to ignore the unattributed harp solos and songs from Wexford, because I think it is most likely that they were O’Connor’s solo slots. I want to concentrate on Andrew Bell.

Both programmes open with Brian Boru’s March; in Wexford it is a duet with the two harps. Brian Boru’s March was a real standard of the 19th century traditional harpers, and was also picked up by the Gaelic revival harpists playing lever harps in classical style, and so it continues today.

The second item in both programmes is the Coolin. In Wexford it is a harp solo, so we don’t know if this was Bell or O’Connor playing it solo. But Bell played it in Coleraine. The Coolin was a standard of the traditional harpers through the 18th and 19th centuries and is still played by traditional musicians today.

Third on both programmes is a polka. The titles are different, and I don’t know if they are the same tune or not – I am not a polka expert! In Wexford in 1851, Bell and O’Connor play “Annen Polka” as a duet; in Coleraine, Bell plays “Alexander Polka”. Strauss composed his Annen-Polka in 1852 so it can’t be that.

After this the two programmes diverge. We can assume that the harp solos in Wexford would likely have been played by O’Connor, but we know that Bell would have played in the duets. The next Wexford duet is Captain Taylor’s March, and after that we have the Scottish fiddle tune The Marquis of Huntley’s Farewell, which Bell also played as a solo in Coleraine. You can listen to Hugh Borland playing it in 1976 at Tobar an Dualchais.

The two harpers also play the military march, Garryowen. You can listen to a wax cylinder performance by Patsy Touhey at ITMA

Bell played Ye Banks and Braes in Coleraine, and it was also played by one of the harpers as a solo in Wexford. Ye Banks and Braes of Bonny Doon is a well known Scottish song by Robert Burns, which he set to a traditional tune “The Caledonian Hunt’s Delight”.

Bell also played Carolan’s Receipt in the first half in Coleraine. This tune is also called Sir John Stafford. I am not finding a traditional version for you to listen to; it seems to only be played classical-style.

Next after that Bell played The Meeting of the Waters. This is the title of a Thomas Moore song; Moore said the tune he used is called “the old head of Denis” but I think that it is basically a version of Buachaill ón Éirne.

And then next up on Bell’s Coleraine programme is “Handel’s Musical Blacksmith”.

Perhaps the most curious entry in either tune list is “M‘Gregor’s Gathering, in which Mr. Bell will imitate the Bag-pipes”. McGregor’s Gathering is a “pìobaireacht” or “pibroch” tune from the Scottish bagpipe tradition, a formal air with a set of variations of increasing intensity. You can read about the pipe sources on pibroch.net. It became well-known outside of the piping scene in the 19th century because Walter Scott wrote English words to it which were published with a piano arrangement of the tune in Albyn’s Anthology vol.1 p.90 in 1816. You can listen to William Barry playing the traditional version of the tune on the pipes:

So what was Andrew Bell doing here? How did he “imitate the bagpipes” on the harp? Did he play a full set of pibroch variations? Did he sing the song, either Walter Scott’s English, or the traditional Gaelic words? And there are wider questions about where Andrew Bell got the tune from. Did he learn it from a piper, and make his own harp setting of it? Or had he learned it from another harper, perhaps Patrick Byrne who we know worked a lot in Scotland and played a lot of Scottish tunes? Or was Rennie teaching this kind of thing at the harp school? I haven’t found a mention of any of the other harpers playing this tune.

Bell opens the second half of his Coleraine concert with The Harp that Once through Tara’s Hall, which was a standard of the 19th century harpers. It is actually a traditional harp tune that the 18th century harpers played, and which I imagine Bell and the others got from Rennie and McBride who would have got it from Arthur O’Neill, but it has been give a new title by Thomas Moore. I’m not finding a traditional instrumental version for you to listen to but you can read my write-ups of the 18th century harp transcriptions.

The next tune in the Coleraine concert was played as a duet by the two harpers as the opening of the second half of the Wexford concert. Its title in Wexford was “Molly Carew” and its title in Coleraine was “Planxty Reilly”. The tune is DOSC 140 “Planxty Reilly”. It was published by Edward Bunting in both 1797 (no.46) and 1809 (p.19); he tells us that he got it from either Arthur O’Neill or Patrick Quin, but I have not found a live transcription from a harper of this tune. It is possible that Bunting didn’t get it from a harper but lifted it from John Carolan’s harpsichord book of c.1747/8. Molly Carew is a song by Lover written to this tune. I don’t have a traditional recording of this tune for you to listen to – it seems to have dropped out of the living tradition after the 19th century.

The next item on both programmes is a harp solo by Bell, My Lodging is on the Cold Cold Ground, with variations. This might originally have been an English tune, but it was firmly associated with Anglo-Irish songs by the 19th century. It has lots of titles, including “The Irish Mad Song” in Thompson’s Hibernian Muse (p28), and Thomas Moore wrote the song “Believe Me if all those endearing young charms” to it. This interesting video shows a very classical setting played on an 1810 guitar with a nice classical-style variation. I don’t think this is how Bell would have played it but it gives us a sense of what his concert audiences might have been used to elsewhere.

The next duet in Wexford is Neil Gow’s farewell to whisky, which is a standard in the Scottish fiddle repertory.

And then later we have another duet, Little Cupid’s Waltz. I don’t know what this is.

The next tune played by Bell in Coleraine, is Jenny Jones. According to Tunearch, this is the title of an interesting Welsh harp tune composed in 1804 by the Welsh harper John Parry, Bardd Alaw, and published by him in 1839 under the title Cadair Idris. It entered the English morris dance tradition which is where I know it from; I filmed this video in Oxford one May morning, though you probably have to know the tune already to be able to make it out amidst the cacophony.

After that in Coleraine Bell played Nora Criena, with variations.

The next item on both programmes is a harp solo played by Andrew Bell, The Rising of the Lark. This is by far the most common Welsh tune played by the Irish harpers.

The next item on both programmes is Paddy O’Rafferty. In Wexford this had been played as a harp solo by O’Connor, so it is interesting to see Bell playing it in Coleraine. I’s a well known tune in the tradition and there are lots of variants of it.

The next item on both programmes is “O fly not yet”. It is a harp duet by Bell and O’Connor in Wexford, and a solo by Bell in Coleraine. This is the title of a song by Thomas Moore, “Fly not yet, ’tis just the hour”, which Tom Moore wrote to a traditional old Irish harp tune by Carolan, DOSC71 Miss Kelly. But I think Andrew Bell is not singing here, he is just playing the traditional harp tune, though he is hiding it from us behind the Tom Moore song title. You can read my commentary on the 18th century harp transcription of DOSC71 Miss Kelly, but I haven’t found a good recording of this tune for you to listen to.

The end of both concerts is kind of similar as well. I think we have to understand the mid-19th century norms of upper class concert programmes, that the concert would be expected to finish with British patriotic music.

In Bell and O’Connor’s concert in Wexford, the finale is a set of three tunes: Rule Britannia, Patrick’s Day, and the National Anthem. Bell finishes his Coleraine concert with a slightly more Irish threesome: Patrick’s Day, Bumper Squire Jones, and finally the National Anthem at the end. In that aristocratic and loyal 19th century spirit we will finish this blog post with two videos: a traditional set-dance performance of Patrick’s Day, and finally my late grandfather’s 1920s shellac 78 of Rule Britannia and God Save the King.

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