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
That the piper was a principal character at weddings in old times is
certain. The wedding morn was ushered in by the music of the pipers, who
followed the bridegroom and his friends on a round of early calls
intended to warn the guests of their engagements. These joined the
party, and before the circuit, which sometimes occupied several hours,
had ended, some hundreds perhaps had gathered. The bride made a similar
tour round her friends, and thus the complete company was collected.
After the wedding a procession was formed, and with flags flying and
pipers playing, and all kinds of demonstrations of joy, passed through
the neighbourhood. Festivities were generally prolonged to a late hour,
the pipers never ceasing their playing. The company danced either
outside to the music of the pipes or inside to that of the fiddle. The
Irish bagpipe was long used at festivities in Erin, and at a wedding the
hat was sent round three times, the first twice for the priest and the
third time for the piper. The piper did not always, however, lead to
peace and goodwill at weddings, for at one time the ecclesiastical
ordinances of Scotland interposed to prohibit the presence of above
“fifteine persons on both sydes” at marriage feasts, among whom there
were to be “no pypers.” These ordinances were frequently made, and in
connection with one it is on record that “still their chief delight at
marriages was bagpipes, and home they go with loud bagpipes and dance
upon the green.”
The bagpipe joined in the sorrow as well as the mirth of the people. The
coronach, a wailing recitation which recapitulated the good deeds of the
deceased, came most immediately after death, and corresponded to the old
ecclesiastical dirge and the Irish “keen” of the present day. The
laments on the pipes were performed after the coronach, and accompanied
the progress of the obsequies, a number of pipers attending the funeral
of any eminent person. The coronach and the lament existed
contemporaneously for some time, but gradually the coronach died out.
The use of the pipes continued for many years later, more especially in
the Lochaber district and also in Aberdeenshire. At a funeral in Skye of
a notable chief the procession was two miles in length, six men walking
abreast. Seven pipers were in attendance, and, placed at different
positions in the procession, played the lament all the way from the
residence of the deceased to the cemetery, and “upwards of three hundred
imperial gallons of whisky were provided for the occasion, with every
other necessary refreshment.” In these days a funeral was a funeral.
Public-domain text, read in full here on John Shaqi.
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