The Bagpipe Society

Festival of International Piping, Edinburgh

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The second king received Jack politely and, as he had given his word, his daughter consented to be married to Jack My Hedgehog despite his appearance. After the ceremonies were over they went up stairs to bed. Jack had a big fire made up in the grate and instructed four men to wait till he was about to lie down, when he would creep out of his hedgehog skin and they were to rush in and fling it on the fire. This they did, whereupon Jack became a handsome young man, much to his wife’s surprise and delight.

D.C.

The illustration above is from the forthcoming Channel 4 series on European Fairy Tales (due later this year). In the series the story is called “Hans My Hedgehog”. Whether he plays the bagpipes or not remains to be seen. Knowing the way these TV people think, he’ll not be given bagpipes unless he comes from Scotland. No hum. . . Still, y’never know! If anyone knows any other fairy tales or legends that involve pipes or pipers, send them in and we’ll print them.

(Ed.)

THE DRONES CLUB

THE
BAGPIPE SOCIETY

11 TH NEWSLETTER
NOV 1987

MUSINGS

Well, it looks like it’s been a good year again for bagpipes. Things seem to be getting better all the time with pipes in evidence at most, if not all, the major British folk festivals — not to mention those abroad. Especially good to see special piping events beginning to take off: the Edinburgh Bagpipe Festival, Stockton Bagpipe Festival, our own Chestnuts concert, Blonzabella at Aldershot (okay, so it wasn’t exclusively bagpipes — but there were times when you could have been forgiven for thinking otherwise!). And of course the regulars of St Chartier and Lorient. And these are just the ones we get to hear about.

What we need now is for some one to organise an event for next year that will take pipers out onto the streets. Yes, we know that all you Highland pipers have been joining just that since Bonnie Prince Charlie — and keep it up I say. But what about all you others? How about a piping day at Covent Garden for instance — any takers for organisation?

And whatever happened to the giant Hurdy-Gurdy/Bagpipe Marching Band from the summer of last year? I thought it sounded pretty good, even if the bagpipes were a bit short in number — just what we need to take the drones onto the streets. Any carnival organisers out there among you need something a bit different?

Yah Boo to Folk on Two! Despite an otherwise excellent coverage of the Blonzabella Aldershot Workshop Weekend, BBC Radio 5 TV didn’t even mention the grand Bagpipe Band organised and coached by our illustrious President. Chicken, that’s what I reckon!

And now for something completely different: congratulations to pipers Anne and Bob Cross of Cheshire Waits on the birth of their daughter Emily — 5lb 12oz, Saturday 19th September. May her lungs be sound and her elbows always have plenty of squeeze.

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We continue to abstract memories from all around the world — but why are you a shy about letting us know about piping in your countries (tell us about any exceptions to this Issue’s letters columns)? Please write. Don’t worry if your English isn’t too good; we can easily put it right. If you like, write in French or Spanish (for instance), we’re supposed to have international organizations so why not give us something to print in your own language? And perhaps, mightn’t you get it translated and print it in English — well? Doesn’t have to be a full scale article — through the medium of letters. A simple ‘where will we,’ tell us about the state of piping in your country. What’s the revival like? How healthy is the local tradition? What’s known about older forms of bagpipes in your country that may not exist? What’s the weather like? The world thirsts for knowledge (well! to anyway) — so how about it?

Roy Stinn of __ writes to say that on receipt of Geordie languishing in Hastings he would be inclined to hear from other pipers in the area. He would also be handy to teach northumbrian pipes free of charge. Roy also makes pipes, but due to other pressures and the fact that he has a backlog of pipes he wants to make for himself, he can only undertake repairs at the moment.

Still losing members in the C-section of the Membership List, at time it’s still Coleman who has, according to the Post Office, “Piping Away”. Any of you Iommi members, where where he’s gone? Ohmigned! Roy’s bagpiping to all you C&T and when the Phantom Piper appear, has finished with them, what letter will he start on next? Meanwhile, what form of you remain under C, lost your door and windows next time you get the old pipes out for a practice — even New Year’s not too far away to except the outside.

Couple of juicy records we hear off: Hamish Moore’s “Open Friday” (Isle of Skye) not currently getting airtime on Folk on Two but eagerly awaiting 1980’s 2030. Hamilton features lots of great musicians on the disc such as Nigel Eaton on hurdy-gurdy.

Blue Wren records up hear of (via Julian Goodacre) of “Italian Piper in Milan”. Another (Toronto?) Julian tells of there’s a couple of nifty “works of music playing on it “ well he would say wouldn’t he? Any more of those working why be there said not make it noisy! Phil, where? Our man says he interested in news to pass pictures one of their number had on argument with a tree while doing a bit of lumberjacking; he tree won.

Ian Smith would like it to be known that, due, ill health, he is neither up nor just not able to rolling business. But please don’t believe if you have an aper in the pipetring Ian will be fulfilling all existing orders first.

Couple of important changes for you: to get you Filers on special Bagpipe Society edition not seen — only sixty guides; your own scrapbook has grabbed the money and run; all the way to Bali! I (with Nia and Phyllis’s safety net).

The letter flurry is low at present. Cripes who, heard it recently of it which at 17 year old history man was chased by a modern name of Rockefeller. Also, when you get the full text, are two

dives of the country, we are pleased to report that she has at last been tracked down to her new address,

So if you have any publicity matters you want to discuss, or help to offer, get in touch with her under her new name at her new home (and she might even play you a tune on her new pipes).

Judy would like to hear from any of you interested in attending a French bagpipe workshop which she hopes to get together with Jean-Pierre Rasle. I spoke to Jean-Pierre recently about this myself and he was very keen. Judy says not to worry if you don’t have French pipes. So long as you can more or less achieve the same fingerings and vibratos things should be okay — after all, there is a very wide variety of pipes played in France as it is.

Now Chi has gone and deserted all us Londoners, is there anyone else who would be willing to host/organise some sort of equal or London meeting? Don’t worry if you haven’t got any ideas — we’re full of ’em — all we need is a willingness.

Whatever happened to Milton Keynes? It seemed that everyone and his dog I spoke to was going to be there, yet no weeks form the event poor old John Ross had 50 few takers he had to cancel all but the David Wind course, where did we go wrong (please note: this is not a rhetorical question)? Answers — even if they hurt — urgently required

Flying Camel present a Day of French Dance, from Brittany to Berry on November 22th, noon – midnight at the Chesterfield Arts Centre — dance workshops, music, food and a bar till late. Music will include bagpipes and hurdy-gurdy as well as other traditional French instruments. For tickets, phone __ (Ian Smith).

For the first time since the Society was formed, by your old fingers have been given something of a rest from the chore of typing this News-letter. Pete Stewart (of Goodacre Brothers fame) is now sharing the load with is why the eagle-eyed among you may detect a subtle difference in type faces throughout this issue. But the cunning devil has taken advantage of his privileged position to write letters, commenting on stuff in this issue (see letter from Uncle Pete) — crafty sod! Seriously, many thanks to you Pete; perhaps I can now get down to some bagpipe practice.

ANNUAL GENERAL MEETING

As announced in the last Newsletter, this will be at Moulton on December 5th. By now you should all have had formal notice with your issue of ‘Chanter’ (you did all get ‘Chanter’ this time didn’t you?). But just to remind you, here are the details again (yes, I know it’s a bore, but we are determined to get you to this one. If you’re one of the many thousands who have already put the date in your diary with a firm resolve to be there at all costs, please accept our apologies and skip on to the more interesting bits of the Newsletter).

Events start at 11.30 on the morn of Sat. Dec. 5th in the town

square where there will be Morris dancing around the town with Martin Browne, Morris, Eileen Bent, Jenny and Simon Monk. Trading will finish in the Square at 1.30. Don’t worry if you arrive late - just fetch out for the bells and the pipes to find where everyone is. And bring your instruments, for from 12 noon onwards (says there all afternoon) there will be sessions at the Bowling Green and “The Talbot”. Also at noon there will be a craft fair at Normandy Civic Hall. From 3 till 5 there will be workshops at the Methodist Church. Hall (folk Cent.) with demonstrations and discussion, on a variety of pipes and styles with Bob, Jon Arne Cross, Jean Pierre Rasle, Jean Seymore, Martin Moore, Dave Shaw and Peter Stacey. This is all absolutely FREE to members (quid to nonmembers).

Meet somewhere in the centre of all this festivity we shall be squeezing in an (all day - ring!) but the actual timing you will have to find by how that we have only allowed an hour for it so they’re just squeezing in somewhere - we’re wondering (and we have made more bed air then anyone last year). Having said that, there is a bit of free time between 6 in case of pressingly urgent items crop up (ho-hum. Food, sold ground and 20? Oh yes, will I suppose we’ve got to make time for it somewhere. But just to ensure you don’t all go sneaking off to Richmond’s just as the MG1 is getting really exciting, we’ve allowed an hour and a half at the evening for you to partake of some excellent wholefood with all sensible prices, also at the Full Centre.

By now, in fonding anticipation you will all have mentally filed your seats for the last item of the day: Ta-raah - The Grand Concert from 6 till 10 featuring (in order of appearance) Dave Shaw, Jon Seymour, Martin Moore and Jean-Pierre Rasle + Peter Stacey. Once again this will be entirely FREE! To members (3 quid to non-members).

Bob Ovress, to whom we are indebted for organising all this, can arrange a certain amount of accommodation. But you must contact him quickly unless you want to end up sleeping under the town bridge. You can contact Bob on for accomodation, advice or advance tickets for the concert (how was that Bob? Do you think that’ll get the buggers along?).

Even if you can’t make it (you mean there are some who won’t be there??), you can still send in nominations for the Committee. All posts are up for grabs (as per our constitution) but in particular we will need a new Treasurer as Chi feels his new home is a bit remote for the job (nearest Post Office is about 5 miles away). You may nominate yourself if you wish - don’t be shy about this as that’s the way most people do it.

DIRECTORY OF MAKERS AND TEACHERS

This task is now being coordinated by new member Bob Ashton (that’s the one from Toseley); we’ve got two you see who is sending out questionnaires to all who have expressed an interest in being included. If you want to by included but think we might not be aware of that fact, please contact Bob at the ………………………..

Bob is also trying to gather enough information to start producing proper plans, for the Society or use by amateur pipe makers. If you have any drawings, measurements etc for non-copyright

instruments you have encountered or produced that you would like to share with other members, please let Bob know so he has got something he can let his draughting talents loose on.

BIBLIOGRAPHY & DISCOGRAPHY

Another new member raring to go is Ross Campbell (only got one of these at the moment). Ross has a pretty hefty collection of bagpipe related books and articles plus a chunky record collection, he is cataloguing these for the Society and would like to know if the existence of anything you might have that is a bit unusual i.e. anything other than the Baines and Collinson books. Recordwise he is hoping to get together with Stefan Hannigan who has already begun work on a bagpipe discography. Perhaps we might see something in the not too distant future chaps?

On the subject of the great St. Stefan would like everyone to know that he is still alive and pumping art. He’s been very busy lately with Student Union business but can be contacted at his new address (see Membership List update) or the London College of Furniture (old address).

PIPES FOR HIRE

not just pipes but all sorts of folk music instruments. This is Stefan Hannigan’s (yes, him again) aim for “burly” next year. If anyone has any instruments they would like to send out to work to earn their keep, get in touch with Stefan. He will either handle it all on a 10% commission or will put you in touch with the punter for 5% and you do the rest.

FUNDRAISING OFFICER

It has been suggested that a new post be created of Fundraising Officer. This would involve dreaming up ideas for raising a few bob for the Society (thus keeping subs down). Is there anyone out there who’d like to take it on? You won’t necessarily have to do a lot of work, just arrange others to do it. Quite a lot of you ticked the “willing to help” boxes on the Membership Form: now’s your chance to help, either at a national (international?) or local level. The “sort of things” we’re thinking about are organising concerts, busking, sponsorship, piping, things for sale etc. At least, these are the sort of things we have thought of so far. Even if you’re not willing to all do all the jobs, perhaps you might have ideas as to how we could raise some money. Get in touch with any committee member.

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PIPES IN THE PRESS

The following item in the French Folk magazine “Tradition Vivante” was sent in by J. Goddard of Sevenoaks, I’ve forgotten which one?

“Le premier numero de chanter, le journal du “Bagpipe Society” d’Angleterre est, pour 40 pages convoye aux cornemuses, c’est un amestre pour les amateurs anglo-ecossais de Pipe. l’interview du flonzobal, l’amateur reparei les cornemuses,… Letterstriching: small-pipes, partitions, copies de stripes, 104 cornemuses italiennes et une etude du repartuire possible pour la cornemuse du sud de l’Angleterre, instrument disparu depuis plusieurs siecles, mais qui jouit d’un regain d’interet depuis quelques annees.”

No. 11 Jan-Mars 1987

Fame at last! The particularly astute among you will notice that the above extract is not in English. This is not because I’m too lazy to translate it (well… partly) but because I’ve seen why we shouldn’t have the old article in another language. You will have noticed in my Musings (what? You never read them?) that I have invited articles in languages other than English. The above is to prove my business! We are supposed to be an international organisation after all. The translation bits are theirs not mine by the way (wouldn’t dream of it!).

The following item was noticed by Judy in the Western Daily Press (she thinks):

“A judge yesterday summoned the leader of a band of Scottish pipers to appear before him when the whistling of bagpipes drowned out proceedings. The band, who had been tuning up outside Cambridge Crown Court in preparation for their concert in the City, were told to move out of ear shot.”

Oh well, at least it’s something when the press actually admit that pipers do turn up. Whether than being told to move out of ear shot I suppose, which some of us canz mighty close to a few weeks back.

For further ramblings from the press, see the Lorient Festival item complete with picture (caption also in French, note). Keep your eyes on the papers and magazines folks for suitable items for us to print, bagpinist or otherwise.

The following article does not strictly speaking fall into the above category if for no other reason than it’s 12 years late! However, we thought it worth reprinting in its entirety, including barely recognisable photos. If you want to get at the original it comes from the Journal of the English Folk Song and Dance Society, Autumn 1975. I don’t know who the author is (R.A. Schofield). If you’re still around and reading this R.A., how about getting in touch with a possible update?

BILLY BOLTON, PIPER OF THE DALES
by R. A. Schofield

Not many realize that the pipes is only recently extinct, if that, as a traditional instrument in Yorkshire and Lancashire. A recently in 1960, Julia Filling visited an old lady in Barrowford who said her father had played the bagpipe when used if he was Scottish, she replied “No, certainly not, he played the Union Pipe.” What sort of tunes did he play? “Hymns,” she replied. The union pipes have often been thought of as solely Irish, but this, and other evidence shows that not to be the case. For instance K.A. of “Yates Dictionary is the following only “A Stradella: A man who plays the Union Pipes is called a tweedier.” To receive an article in this book throws how popular the pipes have been. Of all pipes, however, none have been as cherished as Billy Bolton, often called the Dales Minstrel. Born in the village of Gilling (about three miles north of Richmond in Yorkshire), he was brought up at Askrigg, on the estate of Lord Dundas. He was apprenticed as a whimsical to John Alcull of Richmond, but by the age of 26 he had left that trade and became an insolent hardware salesman and knife grinder based on Whitelie Mill about a mile West of Richmond. Into travels took him all over the North and West Ridings and it appears he was very popular, well known in pub, but also for the stories he told, the songs he sang, and the conjuring tricks he performed. Country parsons appear to have been his special fans, rather oddly perhaps since he was a staunch Catholic, ever eager to put forward his own views.

Billy’s obituary I does not say when he heard to play the pipes but claims other evidence is put forward is is probable that he was taught while living in the Richmond area, since by the of his own family, or by a friend during his youth. The fact mention of his piping comes is 1846 when Dr. J. H. Dixon wrote of a ballad called “The Garden Gate” that he collected from Billy. “We first heard it sung in Malhamdale, Yorkshire, by Billy Bolton, an old Dales minstrel, who accompanied himself on the Union Pipes.”

An appreciation of Billy was written the year before he died. Two very interesting passages are given here in full. “His favourite resort, when it is okays,” was daily visiting Malhamdale and the ally and jolly surroundings, was one day to be by the famous Gordale and another by the clear slipping source of the Aire and there sit high the massive grandeur of The Cove, with pigs and chickens playing idle full pitch, and thus in the grand and romantic silence of Craven was spent many of the happiest days of the old Dales Minstrel.”

“When press of hours began to tell upon the old piper, the machine slackened its revolutions, the fingers became less active on the pipes and the tone faired rather of mechanical because sound. It was about this time that the old minstrel had the misfortune to wish the like handle of Halton East, where, after having done certain work for the corsager and farmers and the chief magistrate of that place, he unfortunately left his pipes with the magistrate’s servants who promised the old minstrel that the pipes of care should be taken of them until his return on the following day. Great, however, was the sad man’s grief, when, on his return, the pipes, which he valued at three pounds were smashed, burst, and certainly spoiled. However, after a household a family council, in which the old minstrel for the first time in his life made threats of law, we proved was paid to the old man - a third of the damage done. The poor minstrel tried many ways to “raise the wind” and get that repaired, but failing to do so, ultimately sold the pipes for few shillings.”

I would put the above event as happening in about 1870, since Billy eventually settled down in retirement in the village of Barnald, in Whalesdale, after nearly sixty years of travelling. In some ways he was lucky, since he was due for the workhouse as a destitute when a London merchant whose father, the Rev. W. J. Parkinson, late Rector of Barnald, came to Scotland, had befriended him, gained Billy a weekly allowance of six shillings.

Billy died on September 1st, 1884, and after his death a subscription was made to raise a headstone over his grave, which can be seen in Barnald Churchyard.

What happened to Billy’s pipes? There are two sets of Union pipes in Yorkshire museums. One set, mentioned by R. D. Cannon in the 1971 edition

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REFERENCES

• Brierley B. “Ab ot ‘Yates Dictionary’” Craven Pioneer, 17th September 1881.
• Dixon, J. H. " Ancient Poems, Ballads, and Songs of the Peasantry of England." London 1846.

Also quoted is Forshaw C. F. (ed.) " Holroyd’s Collection of Yorkshire Ballads," London, 1892. Craven Pioneer, 18th December, 1880. Cannon, F. D. " The Bagpipe in Northern England," Folk Music Journal, London, 1971.

of The Folk Music Journal, is in The Castle Museum, York,1 and the other is displayed at Cliffe Castle, Keighley. The York pipes were made by M. Egan of Liverpool in about 1850, but nothing-whosoever is known of the Keighley set, except that they date from the nineteenth century and appear to be of a later manufacture than those in York. Records to where either set were acquired are also missing, but since both museums have generally collected local material, I would guess that both have been played in Yorkshire. The possibility that the players were Irish, or that they were donated by local collectors of instruments, is agreed, however, that their origin can be no more than conjecture.

Whoever else owned them, I do not think that they belonged to Billy Bolland. While minor repairs have been done there is nothing to suggest that either set has been “remade, burst and utterly spoiled.” Also when the York pipes were made Billy was over 50 years of age, an old man for those days. Where the are Billy’s pipes today? Probably in some Whartcliffe attic or hanging on a Dales’ pub wall. Much more research (especially in Dales’ pubs) is necessary before an answer can be given to this and other intriguing questions about piping in Yorkshire during the last hundred years.

Picture above shows Billy Bolland’s grave in Burnsell. The epitaph reads:

 In memory of William Bolland
 The Dales Pifferel
 who died September 15, 1881
 Aged 83 years.
 " The tribute of respect was erected by some of the midwives' many friends in the dales of North, East and West Yorkshire."

The picture at the head of this article shows the Union Pipes in Cliffe Castle Museum, Keighley. No records as to the maker or where purchased by museum. Museum dates pipes as nineteenth century.

The Union Pipes shown at the top of this page were made by M. Egan of Liverpool about 1850, and are in the Castle Museum, York.

FOR SALE

McIsa (North Italian bagpipes) by Julian Goodacre. Almost new, perfect condition. Single drone, high D pitch. Only £100. Ian Smith,

Flemish pipes in D by Jon Swayne (formerly belonging to Paul James). Overhauled by Jon only last year. £370. Jack Humphreys,

Set of Bill Headworth Northumbrian Smallpipes about 15 years old (one of his best sets). £195. Julie Bell,

Chris Daley says he has now sold most of his stock of ready-made pipes (though is still taking orders of customers) but has a few secondhand sets in the process of restoration; namely a set of Irish pipes and a set of smallpipes if anyone is interested.

Calfskin Bodhran and beater. As new, £20. Duncan Ross,

Still for Sale: Dulcibro (Pulciner/Dulcroi) by Homer Ledford of Kentucky. As there are no takers yet for this superb example of pug Dulcibro maker’s art, I am forced to drop the price to a final £100. Includes lined case, books, tutors, plectrums, notes, steel etc. all cost over £300. Julian Watson,

MEMBERSHIP SECRETARY

By the time you read this we should have a new Membership Secretary as I am hanging up that particular hat to concentrate on editing the Newsletter. Your new Membership Sec. will be Val Woolcott and all enquiries regarding membership, new membership applications and changes to Membership List details should be addressed to her at

As will be helpful an email on typesetting, I am extremely grateful to Val for her help and will try well with the job (you may still notify changes directly to the former of the Society’s Editor, Don Ward, if you prefer, for him to put straight onto his name computer).

BAGPIPE SOCIETY CASSETTE

Chi has had quite a good response for his plea for material/performers for a Society cassette. He has asked me to tell everyone who has replied and to ask you all to be patient with him for a little while yet. As no total earlier, he is in the throes of moving house

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rd lifestyle. As soon as he has settled in, he will be giving his every attention to the project. The other problem, at the moment is funds. As always, the Society is operating from hand to mouth with leaves little or no project cash at this. Any philanthropists among you? In the meantime, Ca would still live to hear from anyone who would like to contribute material.

MEMBERSHIP RATES & ALL THAT JAZZ

As you’ve probably gathered from the above, we could always do with a bit more cash. We feel we have managed your money well (well would, wouldn’t we?), our main aim being to provide lots of good quality publications (recently 1 of not always printing wise). Small print runs are expensive as is postage; so we built up your subscription money gross not just this. Now, hands up all those who thought I was going to announce an increase in subs! Well, you’re wrong - at least I hope so.

At the time of writing this, the proposal for the AGM is that the subs should remain the same for the coming year. Things would be a tops! at least for us though if everyone paid up promptly! It’s the old one about careful even as I write I’m not sure we can afford to get paid and mail out this newsletter because so many of you haven’t answered who should have done so in the summer (with apologies to those who’ve paid up promptly.)

I hate having to moan like this, particularly when so many of the offenders I have done so myself over for the Society in other ways, but we simply can’t go on without money. So watch this page of collecting dues like magazines, places like here of tax expedients which I’m blacklisted in my book for anyway. Let’s just do the one managed fortnightly Society.

Unfortunately, although we hope to keep going static, minimal has got to go if we just didn’t get anticipate. Our publications being so thick and heavy when we put the post and airmail is almost expensive. The good news (for some) is that it would appear that surface mail from every where but the Far East and Oz/AZ is pretty well as quiet as airmail I think; it all goes by plane anyway; anyone know for sure?), so those of you in North America might like to try surface mail when you renew. You can always bring us a few quids more later to go over to Airmail.

The Highland Gathering
London’s Centre for Everything Scottish

Highland Outfitting, Dance Wear, Pipe Band Uniforms, Bagpipes, Bagpipe Repairs, Drums, Band Accessories, Shortshead, Confederacy, Badges, … etc. etc.
Jewellery Gifts

The other big problem at this moment is the date of renewals. Like a lot of collectors, we tried to make it so that everyone renewed at a date after joining; it just didn’t that easy! Remember we’ve got to go over a year for every period of renewal. This means that subs will be shortchanged while others get - but of trade for nothing. These just doesn’t show to be any other way. The present proposal for the date of writing, though it could change by then) is that everyone should renew in April 1988 and every April thereafter. We haven’t hammered out the details yet but it probably means that those of you who joined within the six months prior to April 88 will not be asked to renew until 1989. If we do adopt this policy and you think this is unfair or will cause you undue hardship, just write when you get your renewal notice for April and we’ll see if we can’t come to some sort of agreement.

That’s about all on the boring side of Bagpipe Society matters (except to remind you that you each have a vote and can make proposals at the AGM even if you can’t be there in person. If you don’t take any of the above, make sure your voice is heard! It’s your society volunteer.

MEET YOUR MAKER

People often ask me where they can get French pipes. Well this issue we feature a maker of all sorts of fine French bagpipes, Dominique Rubaux of Montpelier in France. As well as French pipes, Dominique also offers Uilleann pipes ranging from a practice set at 2500F to a full set at 11900F; a Bulgarian Kaba Gaidia (that’s the sheep one) at 3500F in blackwood or 3700F in blackwood; Swedish pipes in fruitwood at 2500F; and southdown student pipes (14 or 16 pouches) in fruitwood at 2700F.

But he is best known for his traditional French pipes. The southdown Bourbonnais/Derrichaux pipes come in two sizes: 14 pouches (La/Re) A/D and 16 pouches (Sol/Do; G/C) in fruitwood or blackwood with mounts of pewter or bone with prices ranging from 4000F to 6000F depending on size and material.

( It occurs to me at this point that a brief explanation of the French system of designation for pipes forth. the centre of the mouth would not go amiss while we’re all madly going metric, the French also invented it all, still use the inch (16 pouches) to character their pipes. So a 14 pouches bagpipe has a 14 inch chanter. This is obviously just a convention and I’m not sure which stubs they used to arrive at the inch - it probably doesn’t correspond exactly to our imperial inch anyway. I.E. convention, the bag pipe pipes are pitched in 3-finger D - three finger giving the proper keynote for French pipes - but they usually quote it 6-finger note as well (first). To make matters more difficult, the usually quote the pitch using the Ionic Sol-fa, with C being Sol. So, you can see that the smaller of Dominique’s Bourbonnais/Derrichaux pipes has a 14 inch chanter (approximatly); 16-finger/3-fingers), otherwise known as A/D. Drones are always tuned to the 6-finger note and/or small tubes. Gottit?). To continue:

In addition to the smaller southdown Bourbonnais pipes, Dominique also makes the Grande Ceronneuse du Nivernais & Bourbonnais - one with the smaller pipes from the region. (they have two drones but are available only in fruitwood with mounts of pewter or horn. They come in three sizes: 20 pouches (Re/Sol 10/6); 22 pouches (Do/Fa 6/F); and 24 pouches (Te/Mi 8/VE) - to complicate matters further, this latter…

S. rowers (in French) as a S/M: pitch. Prices range from 6200F to 7300F depending on size.

  And so on to the bellows-known. The Musette Bechonnet is

well-known in lovers of French bagpipes. Unlike most French pipes, it takes its name from its inventor, not a region. It was quite difficult developed these pipes, towards the end of the last century and they were widely played in question The overall region of France during and after his lifetime. A number of makers, including Dominic Dulong, continue the tradition with pipes modeled after the style of the old master. Dominique’s are in full wood or bellwood with bone mounts. The pipes may be ordered with the “poor man” French ornament - a tenon drop in parallel with the chanter one octave below its 6-finger note plus a bass drone one octave below that; alternatively, Bechonnet pipes can be had with a tenor and a bass drone supported by a small treble drone, pipe in the chanter/tenor drone (rottier), which is tuned in unison with the “flunjee” note. This tiny drone gives an unexpected lift to the sound of the pipes. It is brought into play. The Bechonnet pipes are available in A pipes (4.2R2 /NO) and 16 pouces (Sb/Do). Pipes of small range for ca 50ccr to 150ccr (depending on size and material. Drumming, of course, 14 pouces (La/Re) ADD hollow-bloom Bechonnets will two drones made entirely from boxwood for 5600F. The hemp pipe not very well known outside its native Brittany is the Veeuze. It is a larger bagpipe than the Uutter known Bretou Biniau, being more akin in style and sound to the Gaitas of northern Spain and Portugal. Dominique offering the Veeuze with one or two drones in Do (C) and La (A) or fruitwood 12,500 F or boxwood 3300F.

  In addition to bagpipes, M. Bougé also makes excellent oboes

from 1250F, musettes (a small oboe in G) from 1300F and serpents in C from 1300F.

  Most of his pipes have around a 6 to 8 month waiting period

with 9 months to a year for all out of filliemn. All instruments come fully corked and plenty spares are available upon request. A 50% deposit is required, the balance payable before delivery. Contact: Denis Bouge.

BAYPIPE FESTIVAL, PRESTON HALL MUSEUM, STOCKTON by Dave McQuade This year, held on the August bank Holiday, turned out to be surprisingly successful and approximately 9,500 visitors to the museum entertained by members of the Society and other local folk dancers and musicians. I was surprisingly as I didn’t expect to give away last the Society and the Museum administration did not quite get their act together. Problems with organization meant that we did not test people’s bags so badly, as we should have done and contacting folk during the holiday period proved exceptionally difficult. In fact, we were not very precisely who was going to turn up until the actual weekend itself.

  As you can imagine, well problems made proper advertising

almost impossible and the curator decided to relay safe by cutting the original programme. Apologies to those who were squeezed out at the last minute. We noticed a surprising very warmofand connect to the visitors by playing in a concourse, visited Victorian street within the museum on Sunday and Monday afternoons. To add to the atmosphere, most of the performers were presented in costume or traditional dress. Although this more

no difference to the music, it always surprises me how much more interest the public show when they see someone ‘dressed up’.

  On Sunday evening we had a pub session at one of the local

and this to me was the highlight of the weekend. It was quite an experience to hear Hamish Moor 2 and Jean-Pierre Rasle + folk evening really heartwarming when Jon Swayne led the pipers who could play together. I don’t think I’ve ever heard so many different types of bagpipe playing in tune and sounding so harmonious.

  On Monday morning, Hamish held a workshop for the piping society.

Again, it was a pity that advertising was so sparse as a lot of local pipers would have appreciated this.

  Throughout the weekend, piping was provided by Peter Stevens

and Jean-Pierre Rasle, Hamish Moore, Jon Swayne, the Cuadcare Folk James Merryweather, Colin Ross, MacElen Eilios, Judy Roncliffe, Joe Hines and Mary Cannon. Folk groups featuring pipes were Northumbirl Folk and Blackwater Folk.

  Ray Fisher acted as compere for the occasion and managed to

keep things running smoothly.

  Everyone who took part seemed to thoroughly enjoy themselves.

One certainly must have done as he sent his cheque back cancelled!

THE SOCIETY OF IRISH PIPERS - NA PIPOBAIRI UILLEANN

  As promised in an earlier Newsletter, we are continuing with

our feature on other piping societies with Na Píobairí Uilleann.

  The Society caters for Uilleann pipers and was founded in

1968 (from modest beginnings, it now boasts a worldwide membership 400 with active clubs in London, Sheffield, Paris, Holland, Toronto, Francisco and Seattle with many members in continental Europe, America and New Zealand. The majority of members, as may be expected, reside live in Ireland with many in the Dublin area where tuition is given on a weekly basis at the Society’s headquarters Street headquarters is free to all and encompasses differing levels of expertise. In addition courses in reedmaking and general maintenance are run at intervals as required.

  The Society co-operates with the Irish Arts Council in holding

regional gatherings throughout Ireland with demonstrations of piping classes and workshops, thus reaching members outside Dublin from all also cooperates with pipers in England and further afield in producing similar functions abroad. The most important event in the annual Society calendar is the annual Willie Clancy Summer School held at Miltown, Co. Clare in July. Na Píobairí Uilleann runs the piping section of the school, providing teachers, organising the classes, with solo piping concerts, daily recitals by competent players for students, an exhibition of pipes and piping.

  The growth in the number of members of Uilleann piping

throughout the world since the foundation of the society is a reflection of indication of the increased interest in Irish piping being translated into a demand for pipes. This increased interest is due in large part to the singular work of Na Píobairí Uilleann in promoting the playing and making of pipes. Contact: Na Píobairí Uilleann.

HURDY-GURDIES AND PUBLIC SAFETY—THE ALARMING FACTS EMERGE
by Julian Goodacre

Just how safe are hurdy-gurdies? For some time this question has worried the building and medical professions, but it appears that no research in Britain has been carried out in this field. In the light of the disaster at Aldershot, 14th September I feel it is time to press the government into settling a well-funded enquiry.

The disaster to which I refer occurred at the Blowsabella woking on Sunday 6th in the foyer of the Aldershot West End Arts Centre at approximately 2.15pm a large portion of the bar collapsed. Fortunately the bar was closed, as its floor became a mass of broken glasses and bottles mixed with several gallons of spirits. It would be crazy to dismiss this incident as unforeseeable—an Act of God—but I believe it was boiler-size. For the previous forty hours there had been a variety of sessions in front of the bar—some of them involving up to fourteen hurdy-gurdies all playing simultaneously. Shortly before this disaster there was a session with three hurdy-gurdies.

I am of the opinion that when they are more hurdy-gurdies employ their trumpettes simultaneously it can cause molecular realignment which can seriously weaken masonry and other building materials. The greater the number of trumpettes, the greater the structural damage they can cause.

The French are looking this problem far more seriously than the British. Anyone who has been to the festival at St. Chartier will see evidence of this. It must be the largest gathering of hurdy-gurdies in the world and the organizers have had the wisdom to run it as an outdoor event taking place in the grounds of an old Chateau. Even though it takes place outdoors the Chateau and its surrounding buildings have suffered considerably from the annual throng of molecular bombardment they receive from the hideous buzzing of several hundred hurdy-gurdies. During the last twelve months a portion of one of the towers collapsed and some segments of a parapet became so unsafe that they had to be removed. Portions of the outbuildings are now little more than ruins.

In the village square where much music and dancing takes place from midnight to sunrise the organisers have taken sensible precautions. Two of the dance floors have no walls and thus there is no fear of collapse. The third dance floor has a roof but no solid walls. To ensure that the roof and supports are under as little stress from molecular bombardment as possible the musicians’ platform is placed outside of the covered area.

I shall be pressing my local MP to take up this worrying matter In the House. An enquiry must be begun immediately. Interim guidelines should be issued to all players. Meanwhile I would beg all hurdy-gurdy players to be very sparing in their use of the trumpette and to take all sensible precautions.

Aside from the collapsing Bar Disaster the Blowsabella weekend was extremely enjoyable. Much praise must go to Paul James for personalising the whole event. The only suggestion I have for next

year is that on the door of one of the rooms assigned for sleeping be placed a large sign reading ‘THANKYOU FOR NOT SNORING’.

I came across a fascinating item in an American catalogue recently. It’s called The Reedual and it appears to be an expensive but valuable alternative to the Milton Keynes weekend. It all sounds too good to be true. The catalogue states ‘The Reedual makes and repairs all Oboe, English Horn, Bassoon and Bagpipe reeds. Reedual repairs all sizes of single reeds up to 7 reeds/ing. Reedual cuts reeds out of blank or semi finished reed stock. Reedual duplicates a model reed in all its exact proportions and playing qualities. Reedual makes a reed softer or harder as desired. (Making a reed harder is done by trimming the reed tip till it is very lively hard and then putting a heavier cut on the slightly shortened reed.)’

Does anyone in the society have ‘hands-on’ experience of the Reedual?

Many readers have been staggered that I have made no mention of Goodacre’s Eaze Pipe since February. Actually the whole matter has been sub-judice for the past seven months pending the outcome of an enquiry. It would appear that there is a police informer among the newsletter readership who guessed to Edinburgh Police Drugs Dept. that I was manufacturing hallucinogenic substances. On a fateful evening in March I answered a loud knock on my door and 15 swarthy Peace Officers burst into the kitchen and removed a large portion of its contents including half a bowl-full of Sharon’s finest Tapioca pudding. All the materials I had been using in my Eaze Pipe experiments were similarly confiscated after being placed in self-seal polyethylene bags.

I was fortunate that I had previously solved the mystery of the hallucinogenic side effects. It appears that the rye malt extract I had been using had been infected with ergot. This produces effects similar to Lysergic Acid. I had disposed of the entire infected batch shortly before the police raid.

I have written nine letters to the Times about this—none of which have been published. I am waiting for a police apology and the return of all Eaze Pipe ingredients, tapioca pudding, etc.

J.G

The illustration to the right was sent in by anonymous donors (not quite anon.; they call themselves Cornamussements Inc.). Didn’t know where to put it so I thought I’d stick it here.

For those of you sick and tired of this Newsletter’s ‘in’ jokes, an examination of ‘Chance’ and Julian’s catalogue will reveal all.

Whoever you are Cornamussements Inc., please send more! It would make a great regular spot.

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FESTIVAL OF EUROPEAN PIPING IN EDINBURGH
by John Goodacre

Although the bagpipe is the national instrument of Scotland and the Edinburgh museums together contain a magnificent collection of bagpipes, it is only recently that efforts have been made to develop the Edinburgh International Folk Festival at Easter into a European Piping Festival. The work has already for some years included a Harp Festival. Last year Hamish Moore contributed his first week of ‘could wind’ piping classes and there was a varied piping concert at the end. This year these were repeated and the whole programme broadened to cover many aspects of piping and pipe making.

Traditional Scottish piping was represented by two striking bands, the Shotts and Dykehead Caledonia Band and the Monkton Hill Band, and by two promising young soloists, Martyn Bennett and Stuart Reid. Anyone who thinks that such players are committing themselves to a hidebound tradition should listen to some of the more progressive music being played by both soloists and bands. Jim Sutherland, though not a piper himself, has contributed some smashing new-style tunes to the ‘Scottish rhythm and swing’ played by his group the Easy Club at their concert. They were not the only ones to be playing this jaunty piping reggae. The Easy Club Reel, in another direction Mark Duff, who plays recorder and whistles in the young group Capercaillie, slipped in a line on the Leicestershire small pipe to effect in one song.

Another departure from the main Scottish tradition is the revival of the solo Lowland tradition of border and small pipes. In his recitals Hamish Moore has the advantage of being able to draw on his experience as a Highland piper and to select techniques and music from the Highland tradition that suit his bellows pipes. He also has the gift of being able to explain to his pupils the minute details of what exactly he is aiming at, at each point in a tune and to give them precise comment even though their individual techniques may never be in the copies of his own. For many pipers interested in this tradition the work began with the annual competition of the Lowland and Border Pipers’ Society, although this was not mentioned in the Festival programme. This is intentionally a relaxed event, to dispel any idea of a formal championship, and many styles of playing are welcomed, from border pipes played as if they were Highland pipes to smallpipes sounding more like Northumbrian ones and with an overlapping repertoire. This year the range was extended in more ways than one by Jonathan Swann’s entry, playing his own developed half-long pipes. If Scottish pipers had difficulty in accepting these as border pipes rather than as a French chanter with common stock drones, they might welcome them instead as a new form of the pastoral pipes of the eighteenth century.

The Northumbrian tradition was represented by Chris Miller, who is pushing his technique to the limits, especially concentrating on high speed repeated notes with the left thumb, like the Scottish doubling and trebling on the top A. Irish pipes were played by Peter Smith from Dublin and Eugene Lamb from the west coast of Ireland, who is also a distinguished maker. They both can produce that sparkling trickle of tiny notes that dance on the edges of the drones without counting themselves to plunge into harmony with them. The Glasgow group Setanta, who play Scottish and Irish music, were playing for the last time with their Irish pipes player David Munro, who is moving south.

A Hungarian group, Makirag, played exciting string music and also a couple of tunes using a bagpipe. One aim seems to have been to obtain some western currency by selling the instrument between returning home. The central French tradition was represented by André Kieross, the virtuoso cabrette player from the Auvergne, accompanied on diatonic accordion by Jacques Laveigre. Arresting Spanish music was contributed by Los Raperings, a group from Galicia who play gaitas, whistles and percussion.

An innovation this year was an exhibition or trade stand event of two days, ‘Meet the Pipemakers’, an opportunity to browse, ask questions, and even try out pipes of different kinds. It was also a chance for interchange between the various makers there, but there was never a sufficient crowd of visitors at any one time to justify the popular sequence of lectures and demonstrations by makers.

Another innovation was the series of Piping Festival lectures given on the last day. Hamish Moore sketched in some of the historical background to present day Lowland piping, the transition from pibroch tuning to modern chromatic tuning, the hunt but repertoire and hopes for the future of ‘breaking down the barriers’ between border piping and construction of Irish pipes and Peter Brown spoke about their music. He maintained that while there were distinct regional styles of fiddle playing, piping styles were more personal. This might be because until recently there were so few players playing in Ireland. He prefers jigs and reels to hornpipes, which are ‘more European than Irish’ and have ‘no sadness’.

Ian Silver, with Los Raperings, gave an expert introduction and demonstration of their music, starting from simple percussion instruments and the gaita as a solo instrument and concluding with ‘composed’ music and ‘classical arrangements’, sometimes using three gaitas in harmony.

The principal theme for the piping festival was signed by Hugh Cheape in his talk ‘The European Roots of Scottish Piping’, illustrated with lots (instead of the musical) examples in the other talks. He is assistant Keeper at the Royal Scottish Museum and is actively campaigning to win for the bagpipe collections in the Edinburgh national Museums the recognition of their International Importances and the public display that they deserve. In sorting and cataloguing the pipes he has been struck by the variety of types represented and the fact that few of them conform to what we know as the standard Highland pipes. This is not just because pipes to museums are often cast-offs and the ‘real’ pipes remained in use. His researches Into old illustrations and publications, types of music and tune names all confirm the pattern: the development of the Scottish pipes must be accounted a nineteenth century movement, part of the adoption of a Highland Identity for the whole of Scotland. Before then the Scottish pipe music was responsibly part of the European song and dance tradition.

The foundations have been laid for a British piping festival of European scope, in the most appropriate venue in the world. This year It was supported by Scottish, Irish, English, French and Spanish cultural bodies and pipers’ societies. Now if it hoped that EEC support can be obtained via the EEC Cultural Co-operation Committee (bilingual). Much has been achieved by the Festival Administrator, Marion Ramsay, under the off-beat festival directorship of Robin Morton and with the enthusiasm of Hamish Henderson. What is needed is a presiding genius to pursue energetically the ideas that have been thrown around so far. Hamish can hardly be expected to undertake this in addition to the classes and his concert commitments. The whole project is so much in the wild then art of our bagpipe society that the least we can do is to wish success to the new director, Archie Fisher. But there must also be some way in which we can actively show our support; and help him and Marian Ramsay continue and develop such good work. Next year the festival will be from March 25th to April 3rd and the Festival of European Piping will be concentrated on the second weekend, April 1st-3rd. Write for fuller details, which should be ready around Christmas.

RECORD REVIEW
by Simon Owen

NORMA-KORMAN
Edgel Bell 70007 (c6.95)

This is the first and only record by this young Galician group Xorima, but one hopes that they make more and very soon. They are a five-piece band who compose most of their own material, which is very strongly routed in the traditional idiom. The influences of Breton and Scottish music makes itself plain in some of their wholly instrumental items, but it is the Galician traditional influences that shape most of the tunes. In these days of increasing cultural homogenization it is most refreshing to find a group that respects the traditions of its own culture while still being responsive to cultures of others. To me, this is the only way to put a cultural heritage to good use, without a continuous evolutionary process, any culture becomes fossilized and its practitioners risk becoming intolerant of differing philosophies or traditions with consequent disastrous results at either personal or national level. End of digression.

While always retaining a keen sense of dynamics and textures, Xorima are a very high-energy group which has a great fondness for playing very fast. In the hands of technically uncompromised group this approach can result in a chaotic thrash that is infinitely more fun for the player than the listener. Here, however, the excellent arrangements and playing skills keep such excursions under a tight rein.

The band features two gaitas, bombarde, recorders, bouzouk, guitar, accordion, bass, piano/synthesiser and assorted percussion. The use of piano as an upfront instrument is a salutory reminder of how effective it can be when played thoughtfully (all too rare in most folk bands). The gaita playing is deadly accurate even at high speed (which is not to say that the playing is antirhythmically steady, but only where it is most effective). The bombarde playing is also excellent, and really lifts some of the tunes with its clarion tone.

Nearly every tune on this record is a strong one which leaves you whistling it for long afterwards, and the arrangements all leave room for exploration of dynamics and texture. Thankfully a lot of folk bands are moving away from the all start, all play, all finish approach to tune playing, and Xorima’s arrangements are exemplary in bringing out the most in the material. Of all the tracks I could single out the closing one for special mention. In two parts, the first is a panderada (named after the dance named after the drum - the pandereta - used to provide the rhythm which actors along very smartly with the two gaitas taking the main part). Following this, the second part is the well-known 11p of Sibiu which is taken up by the piano and whistle at a pace which makes you wonder how long they can keep it up until the bagpipes make a reappearance at Warp Factor Nine, leaving you (me anyway) breathless by the time it’s over. The articulation used by the gaitas on this difficult tune is razor sharp, giving clarity to the melody while bundling it along in a way that makes your average jig sound like a slow air. Brilliant!

File under essential purchase.

This record is available from Collatt’s; or if not by mail order (along with all other Galician and other Spanish records) from ARPAFOLK,

S.B.

IN SEARCH OF THE 100 BAGPIPERS by Paul Miller

Most of you will have received a circular a month or two back inviting you to join the British-Bulgarian Friendship society on their trip to the Rozen folkore festival in Bulgaria for something less than a bargain price (£35B&extrs? must be a joke). Being a seasoned traveller of the Balkans but having made only one trip to Bulgaria, which was somewhat limited due to having acquired a plastered leg on the way, I decided to make my own way there. So, armed with a cheap charter ticket to Yugoslavia, a visa for Bulgaria (£20?) must have been another joke) and against the advice of Bulgargphile friends who warned that events like this have a habit of getting cancelled at the last minute, I set off for Rozen.

Looks like I should have heeded their advice. Because when I got there all the posters had been overprinted with a new date - the festival had been postponed for a week!

So what happened? Were the promised 100 bagpipers too busy like I was, queuing for bread? Was it because long-standing party leader Todor Zhivkov was being ousted from power because he doesn’t get on with Gorbacev (The order to take his portraits down came while I was there.) Local officials were not to be found and those not in authority were as clueless as any Bulgarian is about what is happening in the country.

Anyway, your intrepid Bagpipe Society member had to miss the festival as my charter flight left from Yugoslavia while the festival was on. I wasn’t too sorry to miss the 100 bagpipers, except for the fact that they would have been playing the local instrument, the Kaba Gaida which has a beautiful deep tone distinct from most other bagpipes. The idea of playing 100 together is probably not traditional but more probably the idea of some official or committee; still, I was curious to know what they would have sounded like. In certain villages in Macedonia there is a tradition of playing large numbers of Gajdas (or Gajdi in the plural), together and in the village of Dolenitza they can still manage an ensemble of 10 players and pretty amazing they sound too, but Pece Atanasovski, Macedonia’s most famous Gaida player who comes from that village tells me that it once was able to muster 100 players. So it looks like the Bulgarians stole the idea from the Macedonians!

Anyway this was supposed to have been a report on the festival. Instead I have to ask if any members did actually make it to the festival on the presumably rescheduled BBFS trip? Or did they turn up the wrong weekend as well?

P.M.

LORIENT THROUGH THE DRINKING GLASS by Simon Owen

For the bagpiper, the Lorient Inter-celtic festival in Brittany is like a course of aversion therapy. If nine days of continuous bagpiping can’t cure you of being involved with them, nothing will! For most people, of course, nothing will. Imagine some four thousand participants, a large percentage of whom play bagpipes (generally Highland or Galitas), playing virtually continuously from afternoon till dawn; music of the spheres to some, souls in torment to others.

Each Celtic nation sends a delegation to the Lorient Festival, and it is easy to lose track of who is currently claiming to be Celtic. It took several years for Galica to be accepted into the Celtic fold, and now their neighbours and fellow Gaelgueros, Asturias, are claiming Celtic nationhood. Although neither has been accepted into the League of Celtic Nations, such distinctions count for very little when you have such exuberant people and wonderful music.

The Welsh contingent was a massive ten musicians (seven of PENCERDD and three of CRONLECU), although we did manage a good showing on the bagpipe front, with myself and Richard Bramh from Pencerdd and Peter Davies of Cronlech using various beasts of burdon. Welsh music has never had the highest of reputations in the past, being either unbearably polite and bland Episcopal-type parlour music or chorle singing excerpts from Gilbert and Sullivan (as I heard when I was on the festival a few years previously!). We were determined, therefore, to keep a high profile and continue the trend started in the last few years of the more progressive Welsh groups such as Aberjaber.

On arrival at two in the afternoon, we passed the main marquee which had a sign saying that Pencerdd would be playing at four o’clock. This left very little time for any apprehension and no time at all to gauge the standard of the other groups or the mood of the audience! I wondered how, in such a short time, they could manage to do sound checks, but in the field of chacking and settling up, I feel that the Lorient organization has hit on an excellent arrangement. Each group is given an hour-long slot in which to set up and perform. If they tinker with microphones for most of that hour and play for only a few minutes, that is up to them. To my mind, nothing is more frustrating than endless and often self-indulgent sound checks which can last longer than the actual performance. In addition, the sound crews were excellent and really understood what the groups were doing, following the music and mixing accordingly.

Our first performance went tolerably well, and we finished with a set of Welsh tunes played by myself and Richard on two pipes. Having hung a large Welsh flag from the drone of mine to indicate that it was a Welsh bagpipe (gaita gallega!), we were closely questioned afterwards by a newspaper reporter on why we used gaitas, and what had happened to Welsh bagpipes. The result of this conversation was the following newspaper paragraph which demonstrates that, he took my answers for less than gospel truth!

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Cherchez l’intrus…

Surprise pour les festivaliers assemblés samedi après-midi, sous le chapiteau des arts : un jour de gala figurait au nombre des musiciens de groupe gallois

Penercrd, « La gatte, m’a-t-il expliqué, ressemble à la cornemuse galloise au Moyen Age. » (?)

Having settled into the routine fairly quickly, certain things became obvious. Primarily among these was the enthusiasm of the Lorient and welstling public for informal playing. Setting up in a bar inevitably resulted in many free drinks and a lot of interest. As with a lot of festivals, this was the best part of the proceedings, especially for meeting and playing with other musicians. Most nights we would play, usually in the same bar, until four or five in the morning. Fortunately, concerts did not resume until the afternoon, the morning’s only activity being a parade by a different pipe band every day.

Although a group’s concert schedule is by no means arduous, we hardly got to see half of the other concerts that were on. However, there were several outstanding groups: a Galician Luan la Lubre; whose gaitero had a deeply wonderful three-drone gaita: also from Galicia, Armegún, who feature more vocal music than is usually associated with bands having two gaiteros. Although Asturian music is not so immediately memorable or exciting as Galician, I enjoyed the young Asturian group Lian de Cubel, who featured an excellent gaitero. Not to everyone’s taste were the Galician Rock group Brath, who integrated the gaita very well into rock numbers with firm traditional feeling, but were less successful at rocking up actual traditional tunes, which were a bit too simple for such elaborate treatment and-ended up a little over-dressed.

Although Irish music is not exactly my favourite to listen to (rather than play), I could not help but be impressed by the absurdly young and extremely talented Irish groups, especially Sibín and Familia. Unfortunately I missed seeing Davy Spillane, who I think was performing solo and also missed hearing Calicantò, who are an Italian band using the ‘bags’ (the North Italian pipe resurrected by Massimo Fumagalli) and are a very theatrical and musically very exciting group.

For the bagpiper the wonder of the event was not in the variety of bagpipes on show, as would be the case in St. Chartier, but the sheer weight of numbers of sets of pipes around, usually Highland or Gaitas. A common sight at mealtimes would be a bagpipe mountain stacked up while their owners partook of the excellent food. On several occasions I was transfixed by a pile of Antonio Corral gaitas twenty or thirty deep (the Man himself runs an excellent pipe band Gaitas de Xarabai): surely they wouldn’t miss just one?

Since the Irish, Scottish and Breton pipe bands use the same pipes (more or less), it was interesting to compare the different styles and repertories. This was made very easy on the day of the Great Parade, when seventy different outfits went in procession along a mile-long course. It took two hours for the whole parade to go by, and most of the partici pants played pipes. The Breton bagadou seemed to be the most interesting, since the bagpipers give them a flexibility of approach to the music which the bagpipers only bands don’t have. For the first time in its history, the parade was not led by the Naval bagad of Lorient. Bagad Lann-Bihoué. Pride of place (!) this time went to the Renards marching band of two flatna, rauschpfeife and percussion. As the only Welsh representatives willing to process, we were put at the front to avoid upsetting the careful programming of the rest. Apart from the fact that we couldn’t be heard when the bagad twenty paces behind us was playing (2 pantes vs. 20 pipes, 20 bombarders and 8 drums) our only embarrassment was the lack of a national costume. Alex Eve’s suggestion that we went masked painted with woad was not put into practice since it was a chilly morning and none of the shops sold woad.

I love the sound of a massed paila marching band, and the Galician costumes were the most elegant on display, especially those of the men. The Asturians seem less flamboyant; both in costumes and music, although not without charm of their own. They do not go to far large groups of pipers (a dozen or so at the most) and marching is made most uncomfortable due to their amazing three-pronged clogs. The Asturian pipes are outwardly the same as Galician gaitas except they only ever have one drone (as far as I could see) and have a flared end to the drone rather than the characteristic bottle-shaped ends of the Galician drones. However, they employ exclusively closed fingering as opposed to the Galician open or semi-closed and the tunes use overblowing as a matter of course, to at least the three finger notes of the second octave. The Galicians very rarely stray above the break and even then only go one or two notes above.

Page 22 Page 23

For us, the highlight of the festival was the night at the fishing port nearby, for which a large boulevard was blocked at each end and six stages erected at intervals on which groups performed from evening until daybreak. Fish was on the menu of nearly every bar and stall from freshly grilled sardines to fish couscous. If they could have made beer from fish, I’m sure they would have done so. By 4am or so the whole 15,000-strong audience was very drunk and very cheerful. A similar event would be impossible to stage in Britain as it would result in the stupid, ignorant and aggressive behaviour that usually seems to accompany a certain stratum of British society. At Lorient however, everyone was fully occupied in enjoying themselves and being friendly to one and all.

Hopefully, we generated a lot more members for the bagpipe society with the large number of leaflets we gave away. There is an exhibition of Lutherie in the main marquee (including, this year, a superb bagpipe maker Dominique Bougé making French and Balkan pipes) at which we might be able to set up a permanent stall next time. It seems that we were well enough received this time to be asked back next year, so I hope to be writing a similar report then. Watch this space.

S.O.

For details of Lorient ‘88 contact Simon Owen. We will be advising you through these pages in plenty of time for you to plan your hols… Ed.

LETTERS

Dear Bagpipe Society,

Re Hale the Piper

The pipes are not shown in any detail but did appear as in the illustration you have but larger in the other, now lost, part of the broadsheet.

The drones clearly have holes. This now makes sense through comparison with other types of (weak) double drones - or does it remain as an error on the part of the artist? No means of inflation is visible. ‘Old Hale’s Hornpipe’ used a rangd of notes from A below the stave to F sharp in the top line - this is worth looking at again (but not available, lost or stolen or mislaid, when asked for last at the local library) [reproduced in John Offord’s book-typist]

The bell on the liale’s pipes appears to be attached by binding or staples; or are they keys?

Was Hale also a pipe maker? There appears to be a lathe in the background with odd, partly finished pieces under it. The lathe itself looks at a glance to be very modern and anachronisms appear to abound, what with the tune, the pipes and detnlls from the illustration. Accuracy or concentration?

And as for your blood running cold, is someone trying to tell me something? Hale isn’t such a common name and my musical unconscious has certainly not been developed for me by the last generation of my family. Oddly enough I do a lot of what my paternal grandfather did; he was an ‘Anglo’ concertina player. born in the Black Country, who moved (back?) to Derby. I am an English concertina player with a definite leaning towards practical repairing, making aspects. Who knows where we both came from?! ‘Grandfather died before I was born.’

Derrick Hale,

A number of other members have written to draw attention to the item by Jon Swayne on the Hale pipes in John Offord’s book of English Dance Tunes, “John of the Greeny Cheshire Way”. In it Jon casts doubt on the authenticity of the bagpipe itself and suggests that it might be an invention of the artist in an attempt to depict “an instrument current 100 years before his time”…. ed

Dear Bagpipe Society,

I would like to tell you about our Pipeband in Switzerland, the Basle Drum and the Swiss bagpipes.

In Switzerland there are two Pipebands: one in Basle and one in Zurich. There are a few little groups of about three or slightly more members. The pipesband I’m a member of is ten years old now. The very beginning of the band consisted of three members who brought along bagpipes from Scotland without any knowledge of maintenance, tuning, fingering or anything else. Slowly they began to improve their piping after having got acquainted with a Scottish instructor, who normally still comes once a year to Basle, together with a drum instructor. During recent years the band has grown bigger and more experienced. It might be mentioned that the Drum Corps is relatively good, for all the drummers are already very experienced Basle Drummers.

The Basle drum is a low-pitched metal drum with snares and two cowhides which are not as strongly strained as for example the Scottish drum in nowadays. The drum is played sometimes in groups of 50 drummers who play together. Mostly you can see the Basle drum at the “Fasnacht”, which may be known abroad, for the Basle Carnival is very famous.

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At the moment our land counts twelve pipers and seven drummers. Three years ago we were competing in Scotland in Grade four and three.

Recently I saw a Swiss bagpipe, which is the same type as the Southern German. Unfortunately I don’t know where to get them from or where to learn more about them. The only thing I know is that they are mouthblown and a comparatively similar sound to the Scottish Highland pipes.
East Wales Markus Scherrer.

JUNIOR PIPER’S CORNER

Hello Juniors…. This is Uncle Peter welcoming you to a new feature. And aren’t there a lot of young pipers for you to read about in this issue? Two promising young soloists and the young group Capercaillie at Edinburgh (did you know, one of them is only 26?), a young Caledonian group who’ve even been allowed to make a record(!), a young Austrian group at Lorient, together with two absurdly young groups (well really, what ever were their parents thinking of allowing them out so late?). But seriously though, don’t you look forward to the day when you pass forty and you can become a real member of the club? I mean, just how old do you have to be before you can be just a good musician, and not a child protegé?

      Agialty Yours,
        Uncle P.

Have you heard about the amazing young Northumbrian piper Paul Higgs (hope I’ve got the name right) who has been dupping for Kathryn Tickell? Now this one really is young, Peter; I believe he’s about 12 (correct me if I’m wrong Don Rendell). Apparently he’s good enough to study audiences who have come to see KT, and that’s saying something!… Ed.

GREEK BAGPIPES - THE SAGA CONTINUES by Paul Miller

Here is my contribution to the Greek pipes story. As far as I am concerned the gaida in its Greek variants is the mainland bagpipe. Let me justify that statement. Firstly Macedonia is just as valid an ethnic and geographic region of Greece as Epirus or the islands. The wider region of Macedonia i.e. including the parts of Yugoslavia and Bulgaria is not an entity like Kurdistan, where the Kurdish people have a homeland but the territory is split between three modern states ruled by people with different ethnic and religious backgrounds. Macedonia has always been a region at mixed minorities, hence the French use of the term “macedoine” and the two largest minorities are basically either Greek or Slav speaking. Political events of the last 100 years including exchanges of population have led to the current situation of a vast Greek speaking majority in the part now under Greece. I am a bit worried that all this is too simplified to make sense but a whole library has been written on “The Macedonian

Question” and the anthropologist Society Newsletter is not the place to continue it. What I think I am really trying to say is that there is no such person as a “Macedonian” in the same way as there is no Kurd or a Basque. So back to the pipes.

The gaida is not just played in Greek Macedonia but it is also played further east in Thrace. The instruments appear to be much the same as those more familiar gaidas played by the Slavs and Rumanions to the north, the only notable difference being that in Greek Macedonia the higher pitched instrument is favoured, playing around 3 finger d’ (or e’ in some villages, known as the ‘mosquito’ gaida for obvious reasons).

All the authentic Greek-manufactured instruments I have come across have had cylindrical bores. There are some conical bore ones around, but these appear to be Bulgarian imports. As regards the Thracian, the lower pitched instrument, with a 3 finger note around d’ flat, seems to be favoured together with a conical bore as in Bulgaria, but I am less sure about this because I have never met a player and am relying on the tapes and written information I have found. Both the Greek Thracian and Macedonian players have a playing style similar to but at the same time distinct from the corresponding Slav players in Bulgaria and Yugoslavia.

The second reason for regarding the gaida as the 'authentic'

mainland instrument is this: Brian Wilson, who posed the original question seemed to want to disregard the gaida on the basis that it was copied or borrowed from a neighbouring group. If you follow this argument then logically there are no real Greek pipes at all because the island pipes (known as ‘Tsambouna’ in most places) are so clearly related to the Turkish ‘Tulumb’.

While on the subject of the island pipes: apparently on some islands the pipers don’t bother to play when there is a southerly wind because it brings too much moisture: Instead they wait for the dry northaries. So if you thought it was just the British climate that was bad for pipes, you are wrong! Also on some islands they use uncured bags; presumably there everybody is glad of any wind at all just to carry away the stink!

Lastly, there is a fresco on Mt. Athos painted in the 16th Century and showing an instrument much like the typical medieval pipes (eg. Jon Swayne’s reconstruction), including a proper conical bore, and such pipes also have some sketchy references elsewhere in written sources. So perhaps these pipes were once widespread in mainland Greece and they are the missing link? P.M.

The subject of Greek bagpipes is still definitely open and any more light that can be shed on the subject will be most welcome. Paul is currently spending a protracted sojourn in Macedonia and will, we hope, have lots more goodies for the newsletter on his return. His contact address can be found in the membership list supplement. Meanwhile, see next letter for details of a recording of Pontus bagpipes… Fd

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MORE LETTERS

Dear Bagpipes Society,

Yes, pipe collecting is really sheer madness! I have a large collection of pipes, not all of them in playing condition—especially out here. Keeping pipes playing in our ridiculous extremes of temperature and humidity certainly takes on a whole new and frustrating perspective. The west coast of Canada and the North Western U.S. is much preferred; the temperatures, rain and general climate are much more conducive to bagpipe players (somewhat resembling the British weather).

Well—the listing of my pipes—it just keeps getting longer!. I have recently added; 1 A full Bflat set of uillean pipes in boxwood made by Hughes and McLeod in Downpatrick, N. Ireland. Obtained from west coast of US) 2 A keyless set of Northumbrian smallpipes—extra Colin Ross chanter—no maker’s name on this set. Very nicely made in blackwood/ivory. Obtained via a friend here, who got them via Dave McCordick (should this be Stephen?…ed)– pipe maker in the Derby area. The chanter has a plunger in the end, facilitating playing open style (plunger out) or closed style (plunger in). 3 Bflat blackwood chanter—Hughes and McLeod 4 Full blackwood/silver plated brass set of D concert pitch uillean pipes from David Quinn— dimensionally copied from Liam O’Flynn’s 1936 Leo Roweome set (David measured Liam’s set). Fantastically high standard of workmanship from David Quinn (USA) 5 Old Scottish smallpipe drones (19th Century probably) plus D chanter made by Denny Hall (near Seattle, Washington State). On order

1 Remi Dubois Bechonnet Bourbonnas 2 Flemish Cornemuse 3 cabrette chanter from Bernard Blanc 4 Half-longes from Jonathan Swayne no doubt I’ll have excuses for other pipes in the meantime. Keen to locate older sets now—though obviously difficult to find.

Will be in the UK at Christmas time, so possibly I could try to meet some of you folks when I’m over.

The North American Northumbrian pipers’ convention is looking good for this year (August) and I’m getting Gerry O’Sullivan up from New York City to play in the Sunday concert. He’s without doubt amongst the top half-dozen or so uillean pipers here in North America. A little on the style of Paddy Keenan. (He may have a record out shortly over here.)

Enthusiastically

Alan Jones,

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Alan has also sent a complete list of the pipes he owns. It is reproduced here as a warning to all members against excess and overindulgence! Take heed, you too could end up like Alan, sleeping in a pup tent while your house is full of bagpipes (seriously Alan, where do you keep them all?). I’m sure this can’t be the lot as Alan is a keen Northumbrian piper—somewhere between America and England there must be a stray sheet listing his Northumbrian pipes—help!

UILLEAN 1 Eugene Lamb 4 set (small drone down side of chanter 2 David Quinn (not in boxwood) 3 Pat McNulty practice set 4 Pete Riley set in maple (made in Maine, USA) 5 David Quinn Bflat 4 set (Normal B/Bflat) 6 Joe McKenna 4 set in C. Cuharp chanter for his Rowsode recorded to play in C 7 Jim Maloney/Eugene Lamb full set in D. 8 Glendon McCarthy (London) full set in D. 9 John Addison full set in D/Ligruna 10 Jeff Slaven full set (Derby and Nottinghamshire) 11 David Quinn D chanter (5 keys + stop switch) 12 Chris Langan (Ireland/Toronto, Canada)—C chanter 13 Matt Kiernan Bflat chanter, 14 Peter Riley D chanter. 15 John Addison D chanter in blackwood. 16 Chris Bailey (London) D chanter. 17 Early Uillean (Pastoral?) pipe, manufacturer currently unknown. Excellent workmanship. Bellows intact piece missing off end of chanter (foot joint?)—Looks like Robert Reed standard of work. 18 Hughes and McLeod— full set in Bflat.

SCOTTISH 1 Scottish smallpipes in D Colin Ross 2 Bflat/A smallpipes (interchangeable chanter) Colin Ross 3 C Scottish smallpipes Robbie Greensilt 4 MacDonald, Edinburgh, border pipes (late 17/early 1800’s) 5 MacPhearson highland blackwood/ivory (60 years old?) 6 Hardie Highland 7 Hardie Practice Goose. 8 Henderson(?) Practice chanter. 9 to come this summer— Old set of 19th century drones (3) + modern smallpipe chanter Denny Hall USA.

MISCELLANEOUS 2 Breton Veuze (Hervieux and Glet, Brittany) in G, two drones. Spanish Galta 2 drones, blackwood, in C (made by Veuze makers in Brittany 3 Swedish Saxpipa Leif Eriksson 4 Flemish pipes David Quinn 5 English Double pipes in F with interchangeable double chanter Julian Goodacre 6 D English pipes C interchangeable chanter Julian Goodacre

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Dear Bagpipe Society
I thought you might like to publish Dr. Bain’s letter to me
concerning the piping records held at Oxford university Music Faculty
(note the one from Pontus, under Greece)

Has anyone been over, these, or thought of transferring
selected bands onto cassette tape for distribution within the society?
I would agree with Duncan Moss about AIDS but I am less sure about
hepatitis B and tuberculosis (rare though it is nowadays). A
disposable plastic slipover for the mouth-piece would be researching
for demonstration sets, perhaps with a one-way valve.

Yours Sincerely
Dr. Peter Cameron

Dear Dr. Cameron
In answer to your letter, I have recently been able to go
through the records, old and new, which are in the Music Faculty here;
many of them are mine. In case any are fresh to you, here are the
bagpipe items. (LP 12" unless otherwise stated)

Albania: Topic 12V154 Lloyd), gaida, 2 bands
Bulgaria: Unesco Coll. Univerel. 78. 10" Gajda, 1 band
Argo ZRG 562, gaida, 2 bands
Chant du Monde LD-88138, 10", gajda trio (arranged)
Czecho: Supraphon SP 20377. 7" (contained in V. long’e book on Slovak
instruments - in Slovak), gajdy, 3 bands

• 03122, 45. 7", gajdy 3 bands.
• 03085/6 45, 7", gajdy 2 bands.
• 031139, 03115/6, dudy, many bands
  Rescho HV 72253. 45. 7" (contained in music book by Könizlg)
  England: Northumbrian Unesco Coll. Univ. 78 10" (no artist named)
  Topic 12R23 “Holely Ha’penny” Clough & others.
  Estonia: Unesco Coll. Univ. 78 10" (no.10 in the series) 1 band.
  France: Col. SL-207. Folk Music of France ‘musette’. 2 bands
  Decca for EFDSS S.P.12 ‘Folk tunes from the Auvergne’. 1 band
  Westminster WS 5334, (INKF Pagalon festival) cabrete, 1 band
  Brittany -an old 78 not yet listed, with old biniou.
  Germany Coloss.SM 3014. Upper Palatinate (Eichenseer 1975 collection)
  Greece SDNN 110. Chaos tsabouna. 2 bands
  Pan Vox BIGA 13357 10143. (Songs etc from Pontus) tulum,
  recorded in Greece.
  Hungary: Hung.Acad. of Sciences. Gualton LPX 1187 (MNFC ‘64). 1 band

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Ireland: Unesco Coll Univ 78 10" union pipes, no muse, 1 band.
Westminster (As above, France) R.Rashg. 1 band.
HMV DLP 1143 10". Recorded in Scotland in band
HMV CLP 1327 (Kennedy). McPeaka. 2 bands.
HMV I.R.498 78 10" Rowsona (all)
Decca V.4009,4046,4332 78 10" Walsh (3 records)
Italy: Col.KL-5137. Latium, Molise (unusual) 2 bands. Also Sicilian.
Col. KL-5174 zampogna. 3 bands.
Col D.Q. 426.‘78 10" Zampognari
Homecord A-6366. 78 10" …….
Sicily: Odeon CO 17874, 78 10". Cormamusa.
Col.D.Q. 553
Portugal Requet SRLP 0089. galteros. 2 bands
Rumania Electrecord EDP 78. 10", cimpoi
Topic 10T12 10" .. . .
Antalogia muz. pop.r omn,b. 10". cimpoi
Scotland Col.DB11516. Pipe-maj, Forsyth, 78 10"
Westminster (as France). sword dance
Spain Col.KL-216. Gallicas, 1 band
Yugos. Col. KL-217. Five bands, different types
Jugotom Ethnoplila. 78 10". mih.
Vegner Verlag. Lieder der Welt VIII. diple? 1 band
Unesco coll. univ. 78 10" Macedonia: gajda
Radiotel Beograd LPV 175 ‘Tanset’ gajda.

Yours sincerely, Anthony Baines, Faculty of Music, Oxford Nov. 1977

What a treasure trove this little lot is! Unfortunately, we
simply can’t list selected bands, even for distribution exclusively
within the society - our copyright laws, quite rightly, do not allow
it. However, it would seem that the records are available for
listening; just what the borrowing or additional arrangements are I
do not know. If any members are interested, perhaps they might like to
contact Dr Baines at the above address…

Ed

NEWSLETTER 12 COPY DATE

The copy date for the next Newsletter is January 30th. This
gives us a clear month to get it all written up, typeset, printed and
distributed. You may think a month is a long time but, believe me, it
isn’t - even if we were doing it full time. When you consider that it
has to be squeezed in between other leisure activities (even Newsletter
editors/ typesetters like to actually play bagpipes occasionally as well
as write about them), I’m sure you’ll realise that we really do need
your copy in early to avoid a last minute panic. I would also like to
make a plea to the 90% of members who do not contribute, it’s not that
we’re short of material, just that there must be lots of wonderful fax
info out there about the wonderful world of bagpipes that just isn’t
being shared with other members. Tips, tunes, anecdotes, research,
jokes, letters, complaints, keep it all rolling in.

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DEAR UNCLE OCTAVIUS

Double Trouble. I have a strange effect in the common drone stock of my E.M.S Praetorius bagpipes. It I try to play both drones at once, the vibrating air from one seems to disturb the other. I have tried several reeds in both without improvement. Sketch below of the drone arrangement. The other trouble is with the chanter on a set of Scottish small pipes made by Grainger and Campbell. These play in the key of D (a little flat actually) with a bassoon reed. I suspect incorrectly placed or sized finger holes. The trouble is 4 5th hole) and B (5th hole) (numbered from the bottom), which play almost one semi-tone sharp. I’ve been playing these for years with plastic tape over the tops of the holes to flatten these two notes. Different reeds make no improvement, and I’d either like to alter tha holes, or have a new chanter made which tunes properly (C & C no longer makes them). If any of your members would undertake these alterations, or be willing to duplicate my existing chanter with properly placed holes in African blackwood and ivory sole, I’d be anxious to hear from them.

First of all, let me say that I am only glancingly familiar with the E.M.S. instrument, so cannot give any advice based on direct experience of it. However there must be many members with sets who may have come up against this problem and have discovered how to sort it out, so let’s hear from them. In the meantime, I can make a few general comments. This annoying phenomenon occasionally crops up with common drone stocks, and is also known to occur with certain designs of chanter/drone stocks as used in Central France. In my experience it seems to be related to the volume of air contained in the stock. For example, stocks of the type used on Border or Loch pipes, where the stock is hollowed out behind the sockets for the drone tenons, seem to be free of the problem. Such stocks are also sometimes constructed by long straight through for each drone, thus each drone would effectively have a separate feed from the bag; this arrangement is also not susceptible to interference. The smaller the volume in which a reed is regulated to operate, the greater will be the change above and below ambient pressure in response to the compression/rarefaction cycle produced by the vibrating reed. Mutual coupling (interference) is therefore likely to occur where a common stock has a relatively small internal volume; a reduction in bore area between the stock and the bag is likely to make matters worse, since it would tend to make it more difficult for the air in the stock to stand at ambient bag pressure. Assuming that you have strictly followed the instructions for the kit as to the construction of the stock, the remaining approach is to experiment with the reeds. Intuitively I would have thought that a stiffer reed is less likely to be affected by mutual coupling. The resonant frequency of a drone reed is a function of the mass and stiffness of the tongue. The size of the reed must also be matched to the air-column it is required to excite. Since the relationship with frequency is inverse in the case of mass, and direct in the case of stiffness, any increase in stiffness must be matched by an increase in mass (usually length) in order to preserve a matching resonant frequency.

As to the second problem, even Uncle Octavius (finds it impossible to give sensible advice without having the instrument in front of him, and without the answers to the many questions it raises. Perhaps members may be able to help, or to recommend someone who can.

A Case of Aural Harassment. Could your “Pipers’ Problem Page” be retitled “Problem Pipers’ Page”? My landlord has recently acquired a set of “ullian [occluded]ose [illegible]estearshira small pipes, with the result that domestic harmony (to say nothing of the musical variety) has been somewhat disturbed of late. My main problem appears to be an insufficient supply of blu-tak for plugging up the end of the drone, couple with the fact that Mr. Goddard has rather inconsiderately made the bore too small for poking anything larger than a piece of spaghetti up it to act as a mute (which is not very satisfactory since the spaghetti goes soggy after a few days use). I never used to have this trouble with any landlord’s bassoon since almost anything can be dropped down the end of a bassoon and a pair of rugby socks made a most efficient mute. Do not misread me – I have no quarrel with the pipes, which I’m sure are a most melodious and mellifluous instrument in the right pair of hands; I am merely worried about my landlord’s health – how long can be withstand the barrage of insults (and greater items) hurled at him from across the living-room floor? Perhaps there is some medical operation which can separate a problem piper from his pipes – I hope you can give me some advice (or falling that, some consolation). Yours worriedly, Ann Noyd, Beeston, Notts.

This column receives a constant stream of letters and phone calls of similar substance, and I often wonder whether pipers as a type have something to learn in their choice of wife/partner/live-in lover. Or since the vast majority of pipers are male, perhaps the problem is that their female partners exhibit to a greater extent than normal, the tendency of some women to fall in love with their men’s potential rather than with his present reality. In this case the relationship seems to be that of landlord and tenant, but if it is, how do they come to share the same ill-lng-room? Astute readers will have noticed many unanswered questions here. For instance, why should Ann want to blu-tak the drone? Is it too loud, or not in tune? Why cannot the landlord’s blu-tak his own drone, stick spaghetti up his own chanter, drop socks down his own bassoon? Why should she worry about her landlord’s health when the insults seem to be coming from her? Does the executioner worry about the health of the condemned men ? Has Ann considered that spaghetti in a soggy state is likely to be a more efficient mute than in its raw state? In fact, why haven’t she noticed this? Has she considered that dirty socks may be a more efficient mute than clean ones due to the increased density of air laden with small-pock molecules? Can a state of harmony ever be said to exist between landlord and tenant, and if it can, can such harmony properly be described as domestic? Quite frankly, I think that Ann has not been Frank (godd[i?]) with us. As for surgical separation, I think this suggestion smacks not a little of pain every. You ask for advice and consolation, Ann, but I can’t help you unless you come clean. Come to think of it, have you asked yourself whether all this activity with pipes you complain of might not be what the psychologists call “displacement activity” or “sublimation”? Consider carefully before coming to any premature conclusion.

IMPORTANT NOTE to Organologists: with reference to using bagpipes for cooking spaghetti, compare the practice of rock-concert goers of ‘hard-boiling’ eggs by placing the directly in front of the speaker stacks. After a few hours of exposure to several kilowatts of acoustic energy, the eggs are nicely done in their shells, ready for eating on the way home.

The Deeper Mysteries.
At the recent-making workshop held in Milton Keynes In October 1986, I noticed that all the makers secured the 2 shaped blades of cane together with red thread of different gauges, prior to gluing them onto the staple. Is this absolutely necessary … or only just green thread? Stanley Wolff, Shadwell

You are clearly a highly evolved being, since the capacity for such sensitive discernment of the HIGHER SECRETS of reed-making is bestowad upon few. Your experience shows how things reveal themselves to us only when we are ready and fit to receive them, doesn’t it? You exquisitably developed intuition has shown you naturally that which THE MAKERS rarely reveal unmasked, if then, namely that the higher vibrations of the coloured thread affect the molecular structure of the cane at a deeper level than is apparent to those, shall we say, woven of coarser cloth. The colour RED was used by THE MAKERS, because it carries the lowest rate of vibration in the hierarchy and is less likely to represent a danger to the uninitiated. The aspirant must purify the dense matter of his being before he can bear the intensity of the vibration of the Higher Colours. It has also been shown to you that the thickness of the thread that binds must be matched to that which is bound. That you have already perceived the hue of the next colour in the hierarchy as truly unifying leave patience, the CALL TO THE GREEN will come when you are ready for it. In the meantime you must be sure to continue to develop your Strength and Awareness. In the knowledge that great gifts carry with them great responsibility, the responsibility which will be required of you at the final step of TAKING ORANGE when you will be worthy to be privy to the company of the ineffable Swah Deva himself, first among the Company of the Elders (so-called, as I am sure you know, not because of their great age, but because of their reverence for the Elder plant), in comparison with whom we are all but a broken reed and beyond whom we cannot on this plane aspire, until we go to the GREAT REED-MAKER in the sky. (Note: this last sentence is of a length of which even Bernard Levin would be proud).

THIS INSPIRING COMMUNICATION WINS THIS MONTH’S PRIZE FOR THE BEST LETTER. The prize, consisting of the Ashes produced by the spontaneous combustion of Seven Reads used and blessed by SWAH DEVA himself will assume sent to the Home for Indigent Gentleppers.

EIGHTEENTH CENTURY BAGPIPE - A DICTIONARY DEFINITION

BAGPIPE, a musical instrument of the wind kind, chiefly used in country places, especially in the north: it consists of three principal parts; the first a leathern bag, which blows up like a foot-ball, by means of a port-vent, or little tube, fitted to it, and stopped by a valve; the other part consists of three pipes or flutes, the first called the great pipe, or drone; and the second, the little one; which pass the wind out only at the bottom: the third has a reed, and is played by compressing the bag under the arm, when full, and proceeding or stopping the holes, which are eight, with the fingers. The little pipe is ordinarily a foot long; that played on, thirteen inches; and the port-vent six.

From: “A new and Complete Dictionary of Arts and Sciences, extracted from the best authors,” by a Society of Gentlemen, London, 1754.

I am grateful to Dr Maurice Byrne, editor of the Galpin Society Journal, for referring me to this dictionary.

JOHN GOODCORE

JACK MY HEDGEHOG (GRIMM) by Dirk Campbell

A farmer whose wife had been childless for many years wished eventually for a child of any kind at all, even though it were a hedgehog! His wife soon gave birth to a child who was a boy from the waist down but a hedgehog from the waist up. The boy lay on a pile of straw behind the stove doing nothing except eating and sleeping until he was grown, when he unexpectedly asked his father to bring him a hopper from the market. Having received this gift, he went to the smith to have the hoops took about, and, much to the relief of his long-suffering parents, rode away on it to the forest to look after his father’s pigs and asses. There he flew up to the top of a tall tree and sat there year after year, playing on his pipes.

One day a king lost his way in the forest, and hearing the beautiful music of the pipes, sent his servant to see if the player could tell him who he was.

Jack My Hedgehog promised to oblige on the condition that the king would give him whatever first met him on his return home. The king did so, but failed to carry out his promise, since it was his daughter that ran out to him.

A second king got lost in the forest and brought Jack to show him the way home. Jack exacted the same promise from him, which he felt obliged honour, even though he and his daughter were understandably upset at the thought.

Unaware of the decisions of the two kings, Jack took his herd of pigs and asses home to his father, but the cock crowed and rode off to the first king’s castle, where the king had given orders that Jack was to be shot on sight. But Jack avoided the soldiers by flying over the walls into the palace. He confronted the king and his daughter and threatened both of them with death if he did not have his wish. Terrified, the king consented to the marriage. Jack and the princess left the town in the same carriage, but after a few miles he stopped, tears of all her fire clung, pricked her all over with his bristles and sent the poor girl home in disgrace.

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