I found this project proposal I had written back in the Autumn of last year, but had never followed up on. Continue reading “Archæological” copies of old Gaelic harps
After I finished the Trinity College harp neck decoration sheet, I thought again about the issues surrounding this type of art, considering the sketchy and approximate versions of this scheme that we have seen up to now even on the best copies of the harp.
I made this key yesterday, for a colleague who has been waiting too long for it! Continue reading Gilded tuning key
I am looking forward to the eclipse a week today!
Last night Ealasaid and I were in Edinburgh for the exhibition and announcement of the winners of the poster competition organised by Bella Caledonia with other groups.
We had a great time looking at and discussing all of the entries. Of course, my entry did not win – far too oddball I think!
I got a copy of the winning poster, signed by the artist Ciaran Murphy
You can also see the shortlist of 20 designs, including mine. I think they are all excellent!
Thanks to Karen Loomis for this nice photo!
I was quite suprised to be shortlisted for the Bella Caledonia poster design competition! Ealasaid and I will be at the Hemma Bar in Edinburgh a week today to see the exhibition and find out who will win.
Two years ago to the week, I had my HHSI Student Downhill harp here in preparation for using it for a concert – my Carolan, Connellan and Lyons programme which I played outside in the Botanic Garden. While the harp was here I carved the lettering on the forepillar, and gilded the carved letters.
This week the harp is again at my house, as I am going to use it for my Lament for the Union concert next week. And so how could I resist continuing my very protracted programme of decorating the instrument?
As well as some subtle painted highlights, today I carved the lettering for the poem on the soundbox. I traced my photograph of Cormick O’Kelly’s original 18th century poem, but I changed the lettering to be relevant to me and to this particular instrument. I like the idea of changing the poem – like how a modern harpsichord maker puts a replica Ruckers or Blanchard rose in the soundboard of their replica harpsichord, but replaces the old master’s initials with their own.
I was originally planning to gild this lettering but now that it is finished, because the letters are significantly smaller than the gilded forepillar ones, and because there are so many more of them, I decided I liked them natural wood. The poem is quite hard to read with all the ligatures and the crowded capital letters with few word spaces. I think it gives a subtle lift to the whole instrument.
I love it when ancient things have inscriptions on them, it is a kind of literature, and it is also a kind of direct communiaction between the thing and ourselves, more direct than we usually get with archaeological objects where the comminication has to be inferred or reconstructed. I am very pleased to have captured a little of that atmosphere and ambience on my harp now, even though it is not actually an ancient harp or even an ancient text – nonetheless it is like the harp is speaking directly to us.
I was also struck by the final 2 words of the poem: “call me”, like the monster in The Forest.
At tomorrow’s concert, we will have two of Ealasaid’s artworks on display. I’ll play a couple of the tunes from my Tarbh CD, and so today I looked out the original artworks from the CD booklet for these two tunes, and framed them, so we can put one on each of the little shelves behind me in the hall. I have often thought before of exhibiting the artwork at a performance of the music, but I have never actually organised to do it before. We’ll see how it goes!