Letters

This edition is from our archives, so it is presented as scanned pages rather than text.

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PIPES IN THE PRESS

The following item in the French Folk magazine “Tradition Vivante” was sent in by J. Godalton (Coventry, I’ve forgotten which one?)

“Le premier numero de Chanter, le journal du “Bagpipe Society” d’Angleterre est, pour Octobre (60 pages concues aux cornemuses, c’est un omest> pour les sauveteurs anglais. Au sommaire du No. 1 interview du floboiata, commentaire reparer les cornemuses, Westernshire small pipes, partitions et copies de stripes, 104 cornemuses italiennes et une étude de repertoire possible pour la cornemuse du sud de l’Angleterre, instrument disparu depuis plusieurs siècles, mais qui jouit d’un regain d’interet depuis quelques années.”

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 “translations 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 (so thinks):

“A judge yesterday summoned the leader of a band of Scottish pipers to appear before him when the swelling 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 earshot”

Oh well, at least it’s something when the press actually admit that pipers so turn up. ‘sbetter than being told to move out of the c, I suppose, which some of us came 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, bagpipist 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 realise that the people is only recently extinct, if that, as a traditional instrument in Yorkshire and Lancashire. A recently in 1960, Julius Pilling visited and duly laid Barrowford who said he father had played the bagpipe when wickd if he was Scottish, he replied “No, celically not, he played the Union Pipe,” What sort of tunes did he play? “Hinyes,” 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 I look at “Yates Dictionary in the following voluy 4: “Indelible”. A sin who plays the Union Pipes is called a tweedler.” To receive as only in this book shows 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 bound up at Skip, nearby, on the estate of Lord Dundas. He was apprenticed as a wheelsmith to John Alcull of Richmond, but by the age of 26 he had left that trade and became an incident hardened artisan and knife grinder based on Whalcliffe Mill about a mile West of Richmond. His travels took him all over the North and West Riding and it appears he was very poorly paid given his work, but also for the stories he told, the songs he sang, and the conjuring tricks he performed. Country persons appear to have been his principal fans, rather oddly perhaps since he was a musical Catholic, ever eager to put forward his own views.

Billy’s obituary I does not say when he heard to play the pipes but dates other evidence to put forward it is probable that he was taught while living in the Richmond area, since by one of his own family, or by a friend during his youth. The fact mention of his piping comes in 1886 when Dr. J. H. Dixon wrote of a ballad called “The Gerald Gace” 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 “in-coles” was “ay getting Malhamdale and the fine dale Gordale and another one the clear slipping source of the Aire and there by night the famous glenander ja The Cove, with pips and chanter playing which fell pick, and this in the grand and romantic styles of Craven was spent many of the happiest days of the old Dales Minstrel."

“When press of hours began to tell upon the old grinder, the machine slackened its revolutions, the fingers became less active on the pipes and the song would rarely be continued because when it was about this time that the old minstrel had the misfortune to with the little handle of Hilton East, where, after having done certain work for the collages and farmers and the chief magistrate of that place, he unfortunately felt his pipes with the magicians’ charms who promised he old minstrel that the voice of care alone should be taken off them until his return on the following day. Gebri, however, was the old man’s grief, when, on his return, the pipes, which he valued at three pounds, were smashed, burst, and entirely spoilt. However, after a household or family council, in which the old minstrel had the first time in his life made threats of law, the pound was paid to the old man - a third of the damage done. The poor minstrel tried many ways to “raise the wind” and get through repairs, but failing to do so, ultimately had the pipe fond fair fillings.”

I would put the above event as happening in about 1870, since Billy eventually settled down in retirement in the village of Barnsill, in Whalcliffe, 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 Barrowford, near Leyburn, had befriended him, granted 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 Barnsill 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. “Abc of ‘Yates Dictionary” Craven Pioneer, 12th September 1884
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, R. D. “The Bagpipe in Northern England,” Folk Music Journal, London, 1971.

of The Folk Music Journal, is in The Castle Museum, York,* and the other is displayed at Cliffe Castle, Keighley. The York pipes were made by M. Egan of Liverpool in about 1850, but nothing— whatsoever 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 an great, however, that their origin can be no more than conjecture.

Whoever else owned them, I do not think that they belonged to Billy Bolton. “While minor repairs have been done there is nothing to suggest that either set has been *” repaired, tourist and surely polished." Also when the York pipes were made Billy was over 50 years of age, an old man for these days Where the are Billy’s pipes today? Probably in some Wharfedale 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 ringing in Yorlksire during the last hundred years.

FOR SALE

Mibsa (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 belongings to Paul James). Overhauled by Jon only last year. £370. Jack Humphreys.

Set of Dill 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 course) but has a few secondhand sets in the process of restoration, mostly 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 (Dollcimer/Dulcifo) by Homer Ledford of Kentucky. As there are no takers yet for this superb example of rug Dulcimer maker’s art, I am forced to drop the price to a final £1000. 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 doing the Newsletter. Your new Membership Sec. will be Val Woollott and all enquiries regarding membership, new membership applications and changes to Membership List details should be addressed to her at

As will be help a new start on typesetting, I am extremely grateful to Val for her help and well with the job (you may still notify changes directly to the keeper of the Society’s bits, Don Ward, if you prefer, for loan to put straight onto his tame 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 tasd earlier, he is in the throes of moving house

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ed 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 work at this. Any philanthropists among you? In the meantime, he would still love to hear from anyone who would like to purchase 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 we would, wouldn’t we?), our main aim being to provide lots of good quality publications (recently, 1 of net always printing wise). Small print runs are expensive as is postage; so “the bulk of your subscription money goes on just this. Now, hands up all those who thought I was going to announce an increase in subs! Well no, you’re wrong – at least I hope so. . . one more. 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 trifle out of present for us though – if everyone paid up promptly! If 15/- then old news about careful . . Even as I write I’m not sure we can afford the paper and mail, but this newsletter – because so many of you haven’t renewed who should have done so in the summer (with apologies to those who have paid up promptly).

We hate having to moan like this, particularly when so many of you of the offenders have done so much good work for the Society in other ways, but we simply can’t go on without money. So what have you of objects have you magic piece, please take note of this typed little behind-the-block “notices” at the time they’re printed (aren’t these the same corner?), first the once per used magazine Society.

Unfortunately, although we hope to keep going static, minimal hope got to go by. We just didn’t anticipate the rise in publications being so strict and heavy when we put the rate and aimed is almost expensive! The good news (for some) is that it would appear that surface mail from everywhere but the Far East and Oz/ NZ is pretty well as quiet as air mail I think: at 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 quid more later to go over to Airmail.

The Highland Gathering
London’s Centre for Everything Scottish

Highland Outfitting, Dance Wear, Pipe Band Uniform, Bagpipes, Baggage Repairs, Drums, Band Accessories, Shortbread, Concert tickets, Trophies, etc, Books, Jewellery Gifts.

The other big problem at this moment, is the date of renewals. Like all bodies, we tried to make it so that everyone renewed at the same after joining: it was ain’t that easy! Everyone we’ve got to was due a subs for every period of renewal. This means that subs will be shortchanged while others get out a bit of that for nothing. These just doesn’t show to be any other way. The present proposal (for the AGM) at the time 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 87 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 like any of the above, make sure your voice is heard! It’s your Society members.

MEET YOUR MAKER

People often ask me where they can get French pipes. Well this issue features a maker of all sorts of fine French bagpipes, Dominique Butruille of Montpellier 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 Gajda (that’s the deep one!) at 3500F in blackwood or 3700F in blackwood; Swedish pipes in fruitwood at 2500F; and Southdown student pipes (14 or 16 pouces) in fruitwood at 2700F.

But he is best known (for his traditional French pipes, the southdowns Bourdonnais/Berrichann pipes come in two sizes 14 pouces (A/D/E) and 16 pouces (Sol/Do; G/C) in fruitwood or blackwood with mounts of pewter or bone with prices ranging from 4900F to 8000F depending on size and material.

It occurs to me at this point that a brief explanation of the French system of designation for pipes facts, the centre of the tone would not go amiss; while we’re all sadly going metric, the French cling invented it all, still use the inch (le pouce) to describe their pipes! So a 14 pouces bagpipe has a 14 inch chanter. This is obviously just convention and I’m not sure whose thumb they used to arrive at the inch – it probably doesn’t correspond exactly to our imperial inch anyway. In convention, the 14 pouces pipes are pitched in B-Upper D – Three finger giving the proper keynote for French pipes – but they usually quote it C-G-finger notes as well (firsts). To make matters more difficult – the usually quote the pitch using the Tonic Sol-fa, which is being Sol. So, you can see that the smaller of Dominique’s Bourdonnais/Berrichon pipes has a 14 inch chanter (approximately), the third finger (3-finger/3-finger), otherwise known as A/D. Drones are always tuned to the 6-finger note and/or small pipes (Setti). To continue:

In addition to the smaller southdowns Bourdonnais pipes Dominique also makes the Grande Correnoise and Nivernais & Bourbonnais – all with the smaller pipes from the region. They have two drones but are only available only in fruitwood with mounts of pewter or horn. They come in three sizes: 20 pouces (Re/Sol; D#G); 22 pouces, (Do/Fa; C/F); and 24 pouces (Re/ Mi/ BVF) – to complicate matters further, this latter …

5-reopen (in French) as a 5/4 pitch. Prices range from 6200F to 7500F depending on size.
And so on to the bellows-blown. The Musette dechonnet is well-known in lovers of French bagpipes. Unlike most French pipes, it alone is name from its inventor, not a region. Rene dechonnet (Dechonnet converted these pipes towards the end of the last century and they were entirely played through the central region of France during and after his lifetime. A number of makers, including Dominic Bourg, continue the tradition with pipes modeled after the style of the old master. Dechonnet’s are in full wood or bell-tawed with bone mounts. The pipes may be ordered with the most nearly French or southern of 4 tenor drops in parallel with the chanter one octave below its 6-finger note plus a bass drone one octave below that; alternatively, dechonnet pipes can be had with two tenor and two bass accompanied by a small treble drone, pipe in the chanter/tenor drone (trotier), which is tuned in unison with the “limier” note. This tiny drone gives an unexpected lift to the sound of the pipes. It is brought into play. The dechonnet pipes are available in A mance (>4,292 hrl) and 16 pounces (501/Dc) or in B flat, corning to 50 or to 1500F depending on size and material.
Dominc Bourg makes 14 pieces (La/Rg A/D) bellows-blown musettes. Premiums will turn drones made entirely from boxwood for 5600F. No bagpipe not very well known outside its native Brittany is the Veeuze. It is a larger bagpipe than the better known Breton Binioù, being more akin in style and sound to the Gaitas of northern Spain and Portugal. Dominiqne differs the Yeeuze with one or two drones in Do (C) and La (A) or fours; three or beazart 2700F.
In addition to bagpipes, M. Bouge also makes excellent oboes from 1350F, musettes (a small oboe in G) from 1300F and serpents in C from 1900F.
Most of his pipes have around a 6 to 8 month waiting period which can months to a year for most of William. All instruments come fully correct and playing when are available upon request. A 50% deposit is required. He also paysable before delivery.
Contact: Denis Bouge

BANSPIPE FESTIVAL, PRESTON HALL MUSEUM, STOCKTON by Dave McQuade

This event, held on the August bank holiday, turned out to be surprising successful and approximately 7,500 visitors to the museum entertained by members of the Society and other local folk dancers and musicians. I was surprisingly as I think it is true to say that the Society and the Museum administration did not quite get their act together. Problems with organisation meant that we did not twist people’s arms so badly, so 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, cold 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, or traded up providing a very informal concert to the visitors by playing in a crumpet outside Victoria Street within the museum on Sunday and Monday afternoons. To add to the atmosphere, most of the performers were presented twists provided on traditional dress. although this made page 12

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 hotels, and this to me has the highlight of the weekend. It was quite an experience to hear Maisie Moor and Jean Pierre Basle fully ensemble 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 participants. 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 Stev and Jean-Pierre Basle, Hamish Moore, Jon Swayne, the Goudarce Tetral, James Merryweather, Colin Ross, Malachi Simon, Judy Rockcliffe, Joe Flin and Mary Cannon. Folk groups featuring pipes were Northern Irish Folk , 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 - he sent his cheque back cancelled!

THE SOCIETY OF IRISH PIPERS - NA PIOBAIRI UILLEANN

As promised in an earlier Newsletter, we are continuing with our feature on other piping societies with Na Piobairi Uilleann.
The society caters for Uilleann pipers and was founded in 1968; from modest beginnings, it now boasts a worldwide membership of 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, now live in Ireland with many in the Dublin area where tuition is given weekly basis at the Society’s membership. Sheet music stores are free to all and encompasses differing levels of expertise. In addition courses in reedmaking and general maintenance are run at intervals 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 and also cooperates with pipers in England and further afield in conduct similar functions abroad. The most important event on the calendar is the annual Willie Clancy Summer School at Miltown Malbay. Co Clare in July. Na Piobairi Uilleann runs the piping section of the school, providing teachers, organising the classes, selling piping concert, daily recitals by competent players for students, and 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 the increased interest in Irish piping being translated into a demand for pipe, this increased interest is also in large part to the singular work of Na Piobairi Uilleann in protecting the playing and making of pipes.
Contact: Na Piobairi Uilleann, page 13