Hurdy Gurdy

The Bagpipes & Hurdy Gurdy Conference Oxford 1984 Jun 2012 in Chanter 2012 Summer

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Blowout 2011 – a hurdy-gurdy player's perspective Sep 2011 in Chanter 2011 Autumn

Ruth Bramley: I always look forward to the Blowout, and this year was certainly no exception, especially because I knew that the hurdy-gurdy workshops would be extremely good. This was my first year of running the box office, although I have assisted Robert for several years, so I wanted to get to Polesworth quite early on Friday, armed with all my paperwork, tickets for collection, etc. Almost as soon as we arrived, people started asking me for tickets, or wanting to pay for previously booked tickets.

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Uk Hurdy Gurdy Festival Lancaster Jun 2008 in Chanter 2008 Summer

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The UK Hurdy Gurdy Festival Lancaster 2007 Jun 2007 in Chanter 2007 Summer

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The Hurdy Gurdy Man Sep 2006 in Chanter 2006 Autumn

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Possible amalgamation with The Hurdy Gurdy Society? Dec 2005 in Chanter 2005 Winter

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This edition is from our archives, so it is presented as scanned pages rather than text. You may need to scroll to find the article you’re looking for.

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Hurdy Gurdy Mandrohne by Drohne Jun 2005 in Chanter 2005 Summer

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Bagpipe & Hurdy Gurdy concert at St Aust Sep 1999 in Newsletter 1999 Autumn

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Blowout 2016 Mar 2016 in Chanter 2016 Spring

3rd to 5th June Savage Prunes (concerts, Saturday, Sunday) In 2015, the Savage Prunes won the ‘Petites Formations’ competition at ‘Le Son Continu’ music festival, since when they have expanded into a trio. The group is particularly influenced by European folk, as well as baroque, Celtic, jazz, techno, and classical music. Callum Armstrong is an innovative piper whose questing approach to the hitherto unexplored acoustic possibilities of the smallpipe is taking the instrument into areas most of us have never encountered.

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Strakonice, where the Pipes Play Mar 2016 in Chanter 2016 Spring

Despite centuries of proliferation and cultural adaptation, Europe’s bagpiping traditions have seldom been appreciated collectively as a pan- European cultural asset. Nor are they widely seen, and usually only in isolation. I blame the Renaissance. That was when aristocratic patronage began installing a “classical” musical style based on costly, pitch-perfect, fragile and non-portable instruments, courtly ensembles and salon aesthetics. Composed scores and musical theory ousted oral tradition. Drones were dropped and music became a showcase of prosperity.

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Bagpipe Gallery Jan 0001

Estonian Torupill played by Sandra Sillamaa Matt Seattle, playing the border pipes Gaita, Valencia, Spain zampogna, Italy zampogna Marco Cignitti Cabrette players - Auvergne, France Yan Cozian et Martin Lassouque Lefteris Grigoriou Denise Quail “I was playing at the RSPCA Pirate Day in Derby!

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