The Irish Harp
O'Carolan's Concerto below
THE HARP
The word "harp" comes from Anglo-Saxon, Old German, and Old Norse words whose root means "to pluck". By the 13th century the term was being applied specifically to the triangular harp. The earliest Gaelic term for a wire-strung instrument was cruit. The harp isn't peculiar to Ireland but it has existed here for over 1000 years and is our national emblem. Evidence from the 12th Century of a Harp engraved on the wall of Ardmore Cathedral, Co. Waterford, confirm how long the instrument has been here, but little is known of the music that was played at that time. The earliest surviving harp from Ireland, the Brian Boru Harp, is on display in Trinity College is one of Ireland's national treasures and is the harp from which the national symbol of Ireland is copied.
In the Middle ages (up to the 15th Century), the Harper was an important person in Irish society. No Gaelic monarch or high noble of the period would venture far outside the castle walls without his entourage. This entourage included an entertainment committee, consisting of a bard (known as a file) who composed elaborate Gaelic verse, a vocalist (reacaire) who read or sang the poems, and a harper (cruitire) who provided musical accompaniment. Tunes that they composed in honour of their patrons were called Planxties. These times were truly a Golden Age for harpers; they were viewed as indispensable by their lords and patrons, and treated as highly valued members of the household. Some harps were magnificently carved, and studded with precious gems.
In the 16th century, Queen Elizabeth I issued a proclamation to hang Irish harpists and destroy their instruments to prevent insurrection. In the 17th Century, the period of the Penal laws, where Irish culture in general was oppressed, the Harp went into further decline. Oliver Cromwell took the persecution of harpers to new extremes. In the 1650s, Cromwell ordered all harps and organs throughout Ireland to be destroyed. In Dublin alone, the authorities seized 500 harps and burned them. Harpers in cities large and small were forbidden to congregate. By the late 18th century it was clear that traditional Irish harpers were nearly extinct. Because harp music had always been handed down orally, very little of it has been preserved. The most important attempt to save the music was made in 1792. In order to encourage and preserve the old harping tradition, a festival was held in Belfast and newspaper advertisements invited all Irish harpers to come and play for cash prizes. Only ten harpers, ranging in age from fifteen to ninety seven, could be found.
A nineteen year old Armagh church organist named Edward Bunting was hired to notate the music. Though much music has been lost we owe Denis Hempson one of the old Harpers, and Edward Bunting a debt of gratitude for preserving for us the last remnants of this once proud tradition. Bunting became the first archivist of Irish folk tunes, and he made it his life's work to travel the length and breadth of Ireland collecting old traditional tunes that were on the verge of disappearing forever. In 1840, the publication of his landmark book The Ancient Music of Ireland saved hundreds of classic Irish airs from extinction. Bunting had so much enthusiasm during the festival that he continued to collect traditional tunes throughout his life, publishing three collections, in 1797, 1809, and 1840. Bunting collected not only the music, but much lore and technical information from the harpers. All of the surviving O'Carolan melodies date to these works.
Little is known of the old style of playing. It is known players used long fingernails wheras today they use the pads of the fingers. The old Irish Harp had wire strings and the players had to use a complicated system of damping because of the long lasting resonance.
Listen to what the old wire strung harp would have sounded like
Today, Harps have gut strings which give them a much warmer tone. The harp was traditionally held against the left shoulder, the left hand playing the upper strings and the right hand, the lower strings. Today, harps are held against the right shoulder and the hands playing positions are reversed. Modern Harps are also fitted with blades or levers which allow enable semitones and tunes are accompanied with broken chords.
The best known harpist is probably, Turlough O’Carolan, from the 17th Century. Many of his tunes are still being played today, including Planxty Irwin, Planxty O'Connor, Eleanor Plunkett and O'Carolan's Concerto. His music is often played on instruments other that the Harp today, most notably the classical guitar and Piano.
The most popular harpists of the modern age include the late Derek Bell of the Chieftains, Gráinne Yeats and Moire Ní Chathasaigh. In the 1970s, the time of the Irish music revival, a small group of Bunting scholars and Irish musicians conducted in-depth research, becoming versed in the playing techniques, instruments and tunes common to Irish harpers of the late 18th and early 19th centuries.The Harp is becoming more and more popular today and many young people attend Harp classes, undertake grade exams, compete in competitions etc.
The best known harpist is probably, Turlough O’Carolan, from the 17th Century. Many of his tunes are still being played today, including Planxty Irwin, Planxty O'Connor, Eleanor Plunkett and O'Carolan's Concerto. His music is often played on instruments other that the Harp today, most notably the classical guitar and Piano.
The most popular harpists of the modern age include the late Derek Bell of the Chieftains, Gráinne Yeats and Moire Ní Chathasaigh. In the 1970s, the time of the Irish music revival, a small group of Bunting scholars and Irish musicians conducted in-depth research, becoming versed in the playing techniques, instruments and tunes common to Irish harpers of the late 18th and early 19th centuries.The Harp is becoming more and more popular today and many young people attend Harp classes, undertake grade exams, compete in competitions etc.