The Pipes of War / A Record of Achievements of Pipers of Scottish and Overseas Regiments during the War, 1914-18

by Sir B. G. Seton; John Grant

Patrick Òg.
Donald Bàn
Angus Òg.
Malcolm.
Iain Dubh.
Patrick Mór.

It is outwith the scope of this article to deal with the MacCrimmon genealogy, or to discuss in detail the different members of the family. Interesting notes might be furnished concerning most of the men whose names are enumerated above, and it might not be difficult for a skilled player of pibroch, by a careful analysis of the MacCrimmon compositions, to assign many of the extant compositions to the appropriate composers. I prefer to gather together from the available sources known to me a few incidents in the lives of three outstanding members of the family, Donald Mór, Patrick Mór and Donald Bàn.

DONALD MÓR MACCRIMMON

We shall probably not be very far wrong if we regard the period during which this piper lived as that embracing the concluding years of the sixteenth century and the early years of the seventeenth. I realise that, in so placing him, I lay myself open to the criticism that I post-date the period of Patrick Mór's activities. Patrick Mór is regarded as the son of Donald Mór, and it is probable that both father and son were in the service of Sir Rory Mór. It is stated that, being a special favourite of his chief, Donald was sent to Ireland to complete his musical education. There can be little doubt that as Ireland was the early home of Celtic letters so she was the early home of musical culture, and that the high degree of efficiency attained by the MacCrimmons was, at least in part, due to the finishing touches obtained by them in the sister island. We learn that Donald Mór played before many of the nobility and gentry of the country and greatly distinguished himself. Mr. Ross has an interesting note that Donald accompanied his chief to Ireland in the reign of James VI., on the occasions when MacLeod led his clan in battle, and that about that time Donald composed "The Lament to the Earl of Antrim." Among the compositions attributed to him are "The Macdonald Salute," "Welcome to Rory Mór," and "The Salute of the Earl of Ross." Mr. Ross, whose knowledge of pibroch entitles him to speak with authority, states that close analysis of Donald Mór's compositions reveals the fact that he frequently used the lower notes of the chanter, and that there is internal evidence that he possessed great skill in changing from the low to the high notes.

PATRICK MÓR MACCRIMMON

It is generally agreed that Patrick succeeded Donald as hereditary piper to the MacLeods of Dunvegan. He is generally admitted to have been the most distinguished member of his race. His life was spent in the service of Sir Rory Mór MacLeod, who succeeded to the chiefship in 1596, and who died as stated in 1626. Under the protection of this powerful chief the practice of Piobaireachd received an impetus which is bearing fruit to-day. The Scottish Privy Council, at a comparatively early date, struck a severe blow at what was regarded as the despotic power of the chiefs by limiting the number of the retinue each chief was entitled to gather round him. An important member of that retinue was the person who held the office of hereditary piper. In addition to the honour such an office carried, there were certain material advantages e.g., the freeholding of land and the right to certain dues and liberties which were not lightly esteemed. As indicating the dignified nature of the office, it may be mentioned that, included in the chief's retinue, was the piper's man, whose duty it was to act as servant to the piper and to carry his instrument for him when not in use.

To Patrick Mór MacCrimmon is assigned the honour of having composed the largest number of pipe tunes. In the plaintive lament "Cumha na Cloinne" (Lament to the Children) he gives expression to his deep grief caused by the visitation of one of the most poignant afflictions known to man—the deaths of his children. According to Dr. MacLeod he was the father of eight stalwart sons. Proudly one Sabbath morning he and they marched to the church in their native glen. Before the close of that year he mourned the loss of all his sons who died in an epidemic of fever. Two other well-known laments, the composition of which is assigned to him, are, "The Lament to the only Son" and "The Lament to John Garbh MacGhille Chalum of Raasay," who was drowned in 1646 while crossing the Minch.

In 1651 Patrick Mór MacCrimmon was in all probability an old man, but not too old to accompany the clan in support of Charles II. At this time MacLeod of MacLeod was a minor, and the command of the clan devolved upon his uncles, Norman MacLeod of Bernera and Roderick MacLeod of Talisker. According to Angus Mackay's account, both these men were knighted by Charles II. before the battle of Worcester in 1651 and on that occasion, Patrick Mór having had the honour of playing before the King, and his performance having greatly pleased His Majesty, Patrick received the further honour of being allowed to kiss the King's hand. Mackay states that the well-known port, "Fhuaireas pog o spog an Righ," was composed by MacCrimmon in honour of the distinction then conferred upon him. Various accounts of this outstanding MacCrimmon honour have been published, no two of which entirely agree. Dr. William Mackay of Inverness has frequently rendered signal service in the department of Highland history, and I am indebted to his labours and scholarly research for what I regard as a complete elucidation of the circumstances surrounding the composition of this tune. Dr. Mackay edited The Chronicles of the Frasers, an old MS. of events embracing the period 1616-1674. There are many MS. histories bearing upon Highland matters, some of which have been fabricated, but no suggestion of falsification besmirches the reputation of this MS., which has been published under the auspices of The Scottish History Publication Society. Referring to the year 1651, the date of the battle of Worcester, the MS. states that at Stirling, in the month of May, "there was great competition betwixt the trumpets in the army; one Axell, the Earle of Hoome's trumpeter, carried it by the King's own decision. The next was anent the pipers; but the Earle of Sutherland's domestick carried it of all the camp, for non contended with him. All the pipers in the army gave John Macgurmen (MacCrimmon) the van, and acknowledged him for their patron in chief. It was pretty in a morning (the King) in parad viewing the regiments and bragads. He saw no less than eighty pipers in a crould, bare-headed, and John Macgurmen in the middle covered. He asked what society that was? It was told his Majesty—'Sir, yow are our King, and yonder old man in the middle is the Prince of Pipers.' He cald him by name and comeing to the king, kneeling, His Majesty reacht him his hand to kiss; and instantly played an extemporanean port, 'Fuoris Pooge i spoge i Rhi'—I got a kiss of the King's hand—of which he and they were all vain." The writer of the manuscript has made an attempt to render the Gaelic phonetically, and Mr. Mackay in a footnote gives the correct Gaelic spelling "Fhuaireas pog o spog an Righ."