Edward Bunting wrote a song with a full piano arrangement into one of his collecting pamphlets, probably in the summer of 1792. I was going to silently pass over these pages as part of my Old Irish Harp Transcriptions Project, but I thought that actually this is an interesting enough thing to do a post about it.Continue reading The Weaver’s Lamentation
One reason it has taken me a long time to get to my next tune is that there are a lot of pages in Queen’s University Belfast, Special Collections, MS4.29 which I have skipped. There is a big section of mostly or entirely Denis O’Hampsey material from pages 164 to 172, which I am skipping because I am concentrating on the other harpers. Then there are two sections which don’t seem to be harp transcriptions. I am less certain about identifying what these are, since my focus has been on spotting the harp style and idiom.Continue reading Two difficult sections
Edward Bunting made what looks like a live transcription of a harp performance of Bob Jordan, apparently in 1792. You can see the transcription notation at Queen’s University Belfast, Special Collections, MS4.29 page 162/160/169/f79v.
This notation seems to me to be a fairly competent live transcription. It is obviously developed from a first run through of dots; there are a few places where dots have been cancelled by big smeary lines through them obliterating them. Bunting has developed the dots notation with note stems, beams, barlines and bar numbers. He has also written a number of “B” notations indicating bass notes.
The repeat bar in the centre of the score might indicate that the harper played each part twice. However there is no corresponding repeat mark at the end and I am getting more and more confused about the significance of this :||: mark inbetween sections of a tune. The flow of the tune suggests to me that it runs all the way through without repeats but what do I know?
Bunting’s classical piano development of this tune
Bunting made a classical piano arrangement of Bob Jordan, and he included it in the proof sheets he submitted in London in May 1796 (see Peter Downey, …publication history…, 2017).
Bunting’s printed title is “Bob isordan – Bob Jordan – Carolan”. There don’t seem to be other versions of this tune.
Attribution to a harper
In his annotated copy of the 1797 print (BL ms add.41508), Bunting writes “Fanning Harp” suggesting that by the early 1840s, almost 50 years later, he thought that Charles Fanning was the source for this tune. It is quite possible that the transcription was made from Fanning’s playing; it is also possible that Denis O’Hampsey was Bunting’s source for this transcription, since the following 10 pages appear to form one of the O’Hampsey transcription groups. You can see what I mean if you look at my transcription project tune list spreadsheet.
In any case this must be a 1792 transcription, because it had already been arranged and printed for the Spring 1796 proof sheet, before Bunting went out collecting more tunes in the summer of 1796.
I have general questions about why some transcriptions, like this one, seem so clear and complete, while others are utterly corrupt. Did Bunting go from useless to competent over the course of Summer 1792? Were some of his informants patient and careful, showing the naive young Anglo-Classical urban pianist how the tune went, while others flew through their repertory not wanting him to follow too closely?
I tried to play through the transcription, following Bunting’s transcription notation. I don’t believe this notation captures all the nuances of the original harp performance by any means, and I am sure that there is a lot of subtle rhythm, expression and idiomatic handling of treble and bass notes that Bunting has missed or straightened out in his notation. But this will do as a tentative beginning to understanding this tune.
This transcription has a lot of old Irish harp style and idiom in it. However it is clear that Bunting’s transcription notation is either incomplete, or corrupt, or both, because there seem to be odd bits of the notation that don’t hang together or flow smoothly on the harp. We should expect that really, since It is impossible to capture every nuance of a live performance in notation transcription, and Bunting was an outsider without the conceptual tools to be doing ethnographic transcription and anaylsis.
One of the problems with doing the video demonstrations is that it crystallises these questionable areas. In this tune I am especially questioning of the B markings and the swapping up and down of the tune between the hands. There is obviously a lot of technique I am missing out on in both hands – the right hand bass notes obviously relate to the left hand fingering of the surrounding passages. My playing is very awkward and not convincing. But I think that trying to play through the transcription without interpreting it or changing it raises exactly these questions: by trying to get to grips with what the transcription is not showing us, we can come to a more nuanced understanding of what the transcription does show.
Many thanks to Queen’s University Belfast Special Collections for the digitised pages from MS4 (the Bunting Collection), and for letting me use them here.
Some of the equipment used to create this blog post was funded by the Arts Council of Northern Ireland.
Edward Bunting wrote down the sequence for tuning the harp, into one of his collecting pamphlets. I have previously used the neatest clearest copy from Queen’s University Belfast, Special Collections, MS4.29 page 156/153/162/f76r, and I published a copy in my Progressive Lessons source book along with a video demonstration of the neat copy. However, in the context of this Old Irish Harp Transcriptions Project, I thought it might be useful to look closely at the initial “dots” version on page 150/147/156/f73r.Continue reading Tuning the harp
I was going to make a video demonstration of Edward Bunting’s live transcription of the tune of Betty O’Brian, but I didn’t because it is too corrupt.Continue reading Betty O’Brian
I made a demonstration video of a version of the tune Peigí Ní Shléibhín, based on a live transcription from a harper in the 1790s.Continue reading Peigí Ní Shléibhín
I made a video demonstration of the song air “did you see my valentine”. I am trying to follow what I think is a live transcription made by Edward Bunting from a traditional harp performance, in the summer of 1792.Continue reading An bhfaca tú mo valentine?
I made a demonstration video of the song air, Cúileann fín (fine, fair-haired one), from Edward Bunting’s transcription apparently made in in the summer of 1792 from the harper Hugh Higgins.Continue reading Cúileann fín
I made a video demonstration of the first half of Miss Dillon and Jigg, by Carolan (DOSC 35).Continue reading Miss Dillon
I made a video demonstration of Thugamar féin an samhradh linn, based on Edward Bunting’s live transcription most likely from the playing of the harper Hugh Higgins, in the summer of 1792:Continue reading Thugamar féin an samhradh linn