Pedro Ferreira has made a very interesting and nice new harp which he is offering for sale brand new. This is an unusual opportunity to acquire a new instrument from a respected maker of Irish harps, because normally instruments like this are only available as special commissions, with a waiting list.
Here is what Pedro has to say about it:
Continue reading New harp for saleDennis Hampson (also known as Denis, Hempson, O’Hampsey, and other variants) was a traditional Irish harper in the 18th century. He lived through into the early 19th century and so he has a place in my “Long 19th Century” project.
Continue reading Dennis HampsonI don’t know of any historical information about Cormac Ó Ceallaigh the harpmaker. Perhaps that’s not surprising for a Catholic at the times of the penal laws, living and working in a wooded valley up in the mountains, and working in an old oral tradition.
But there is a fair amount of traditionary information referring to him. By its nature this information may be wrong, but I thought I could try lining up what I have found so far, to collate all the different information, look for patterns, and maybe get ideas for future research or clues for other places to look.
Continue reading Cormac Ó Ceallaigh“Nathaniel Gow’s Dance Band Concert” last night at the Edinburgh Assembly rooms was far, far more exciting, beautiful and moving than I had expected. The venue was just stunning, the band was amazing, the dancers were elegant and alluring, the programming was just perfect and the audience was almost full and really engaged with the entire project.
For my 10-minute set in next Friday’s 1817 bicentenary concert, I have been thinking about what tunes to play, and how to approach them.
I’ve been playing almost every day now for a week and a half, using the tips of my fingers, with my nails trimmed short. Here are a few preliminary observations.
Continue reading Some observations on playing with finger-tips
Today I was working on tunes collected by Edward Bunting from the 18th century Irish harper, Arthur Ó Néill, for my concert in St Andrews on 3rd August.
As I played through some of his settings of Carolan and other baroque Irish harp music, using a copy of an 18th century Irish harp, I started thinking about the whole issue of playing the harp with long fingernails.
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.
Practicing for my Carolan concert this coming Thursday lunchtime, I have got the Downhill harp back from my student who usually has it and I was reminded of how I often talk about the importance of using an appropriate instrument for different repertory. Continue reading An cruit bheag ‘s an cruit mhor
Today I performed my Lament for the Union concert in St Andrews. I played the programme of music from my CD-single of the same name, and I used my Downhill harp for the event. The big growly voice of this harp worked very well for this pungent 18th century music, and suited well the airy acoustic of All Saints Church hall.
As well as the candles lit, we also had a big vase full of red and purple roses. At the end audience members each took a rose away “to remember the Union”.
