The Highland bagpipe : $b its history, literature, and music: with some account of the traditions, superstitions, and anecdotes relating to the instrument and its tunesManson, W. L. (William Laird)
History
The Highland bagpipe : $b its history, literature, and music: with some account of the traditions, superstitions, and anecdotes relating to the instrument and its tunes
Manson, W. L. (William Laird)
Bagpipe
Scottish music as it now exists has been derived largely from the
Highlands. No man did more to acclimatise Celtic music in the Lowlands
than Burns. By wedding Highland airs to his own incomparable poetry he
gave them a new lease of life, albeit he helped to destroy them under
their old names while preserving them under the new. The music of “Scots
Wha Hae,” “Boy’s Wife,” “Auld Lang Syne,” “Of a’ the Airts,” and “Ye
Banks and Braes,” has no counterpart across the Border or among the
Saxon race. It is the ancient inheritance of the Celt, made national by
the genius of a national poet.
The age of Highland music is another guarantee of its excellence. It has
stood the test of time, the severest of all ordeals. We have not much
English poetry which can, with any certainty, be ascribed to a date
earlier than the time of Chaucer, but the Scots were celebrated for
musical genius since the beginning of history, genius which, an early
historian says, could not be found elsewhere on this side of the Alps.
We have, for instance, a “Song of the Druids,” though, to tell the
truth, we cannot prove its Druidical origin; we have “Somerled’s
Lament,” composed on an event which took place in 1164, though not
necessarily at that date; we have a piece of pipe music composed in the
middle of the battle of Inverlochy in 1427; the “Rout of Glenfruin,”
which refers to a desperate engagement between the Mac Gregors and the
Colquhouns in 1602; and a “March to the Battle of Inverlochy,” and “The
Clans’ Gathering;” both composed on the battle fought at Inverlochy in
1645. These do not prove that the pipes themselves were capable at that
time of rendering such music, but they prove that the music existed.
There are some pipe tunes—_Cogadh na Sith_ and _A Ghlas Mheur_—for
instance, so ancient that their origin cannot be traced, but they have,
by means of their own merits, and in spite of the want of the printing
press, lived all through the centuries. In the beginning of the twelfth
century, Giraldus Cambrensis said of the music of the Irish Celts that
it was above that of any nation he had ever known, and in the opinion of
many, Scotland at that time far surpassed Ireland, even while her people
were sunk in misery and barbarism.
Public-domain text, read in full here on John Shaqi.
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