The Highland bagpipe

by W. L. Manson

The harp was the immediate predecessor of the pipes; but in ancient times, and also contemporary with the harp, there were other instruments. The Complaynt of Scotland, written in 1548, speaking of a company of musicians, says:—

“The fyrst hed ane drone bagpipe, the next hed ane pipe made of ane bleddir and of ane reid, the third playit on ane trump, the feyerd on ane cornepipe, the fyfth playit on ane pipe made of ane grait horne, the sext playit on ane recorder, the sevint plait on ane fiddil, and the last on ane quhissel.”

We cannot speak as to quality, but there was evidently no lack of quantity in these days.

HARPER: ON A STONE AT MONIFEITH
From Chalmers’ Sculptured Stones of Scotland.

The Horn of Battle was used by the ancient Caledonians to call their armies together. The cornu was blown by the Druids and their Christian successors, and St. Patrick is represented as carrying one. Ancient writers, indeed, lay particular stress on the musical ability of the Celtic priesthood, the members of which they describe as possessing extraordinary skill as harpers, taking prominent part with their instruments in religious ceremonies. The cornu in its rudest form was a cow’s horn, and could sometimes be heard at a distance of six miles. The Irish Celts had various other instruments, but the harp was the favourite, both in Scotland and Ireland. The Hyperboreans, who are believed to have been the aborigines of Britain, were celebrated performers on the harp, accompanying their hymns with its music; and harpers were hereditary attendants on the Scottish kings and the Highland chiefs, from whom they had certain lands and perquisites. The cultivation of harp music reached the highest level in Scotland, the players beating their masters, the Irish harpers, although the class were more honoured in Ireland than in Scotland. In Ireland none but a freeman was allowed to play the harp, and it was reckoned a disgrace for a gentleman not to have a harp and be able to play it. The Royal household of Scotland always had a harper, whose rank was much higher than that of the ordinary servant, and the kings even were not above playing. James I. of Scotland, who died in 1437, was a better player than any of the Scottish or Irish harpers. In Scotland, however, the use of the harp ceased with the pomp of the feudal system, while in Ireland the people retained for many generations an acknowledged superiority as harpers.

It has been claimed for the harp that it is, or at least was, the national instrument of Scotland. It is admitted that most of the Highland chiefs had harpers, as well as bards, and that their music was esteemed as of no small moment. In several old Highland castles the harper’s seat is still pointed out, harps are mentioned in Ossian, but not pipes; there is a field in Mull called “The Harper’s Field,” a window in Duntulm castle called “The Harper’s Window,” it is a matter of history that Donald, Lord of the Isles, was killed at Inverness by his own harper, after the misfortunes which followed his incursion into Atholl; and there are many other references which prove the universal use of the instrument. But we have very few traces of itinerant harpers in the Highlands resembling those of Ireland and Wales. In Wales it was the acknowledged national instrument. The pipes were known for some centuries, but the Britons never took kindly to them, a famous poet comparing their notes to

“The shrill screech of a lame goose caught in corn,”

or a

“Horrible, noisy, mad Irishman.”