-2-
Mountain Loch and Sheiling -3- -4-
The Laird’s Piper -5- -6- -7- -8-
Preface
Generally speaking, the preface of a book sets forth the purpose for which it has been written; therefore, the object with which I have prepared this volume is to record the methods by which the old masters created the Great Highland Bagpipe, and have preserved it in its true and original form right down through the ages; presenting it to us, their descendents, in a unique form, both beautiful for the eye to behold, and pleasing for the fingers to perform upon it, as we pipe its great music.
As I have had the pleasure of meeting the last genuine representative of the famous MacCrimmon School, and have also had the privilege of being taught to play by him in the same manner as the Boreraig pupils; I would also record here what I know of the actual traditional methods by which the Skye masters taught their apprentices.
This I do as my bounden duty “lest I forget,” and lest my children may forget, because we have now entered upon an era of change which means decay, and seeks to degrade our National Instrument, and its music that were once great and noble.
Every now and then we see letters appearing in the public press in which men who have lost all national patriotism and particular sentiment for the Great Highland Bagpipe urge the need for the production of a pipe that will give this note and the next in a different pitch, and an altered scale to suit what one may call an individual taste, while they forget what has already been achieved by the great pioneers of Bagpipe making, and cannot well be improved upon.
Serious inroads have also been made in piobaireachd which tends to destroy it. Taorluath and Crunluath, the crowning movements in a great art, have been changed, either willfully or unwittingly, thus robbing Ceòl Mòr of its intricate beauty, and by so doing the perpetrators of these wrongs have taken away from piobaireachd its most ingenious peculiarities as well as its most ancient grandeur.
I have the honour of linking the present with the past, in that the opening piobaireachd in this volume entitled “Her Majesty The Queen's Welcome to Holyrood Palace” was excepted from my hand.
I owe a debt of gratitude to my clansmen Mr. John M. Grant, Edinburgh whose magic brush has brought this work into the closest touch with the mountain, the castle, the loch, and the glen. John Grant
Edinburgh, 7th November, 1930 -9-
Introduction
The Great Highland Bagpipe is a Royal instrument, and has been for centuries past. Kings and Queens have not thought it derogatory to their high station to recognize the Scottish National Instrument as a thing which possesses special qualities as well as a peculiar charm.
Although the state records and accounts show entries for cash paid to “ane piper” who played upon “ane pipe” to the King in the olden days, yet the Highland Bagpipe was not actually introduced into the Royal Household until what we may call a recent date.
The Highland Bagpipe has had many ups and downs, and it reached its most acute crisis at the rising of ‘45 when it was as much as forfeiting a man's life to be known to possess such a thing as a bagpipe, not to speak of playing upon it.
Immediately after the Battle of Culloden Prince Charlie had to flee to France, thus leaving the Highlands of Scotland in an uproar between peace and war. The English army patrolled the remotest parts of the Highlands and Western Islands, and for several generations Highlanders were actually deprived of the privilege of wearing their native garb or playing upon their National pipe.
By the close of the eighteenth century, however, Scotland had arrived at a period of its history which was more peaceful and prosperous, when the horrors of war were almost forgotten. Thus, the nineteenth century brought with it the dawn of better days, and Highlanders were ultimately permitted to wear the dress which they were once forbidden to don. With the restoration of the kilt came also the return of the Great Pipe, which was so much beloved by every Highlander, and the next thing which the Highland chiefs did was to bring back their pipers and encourage the revival of pipe playing, but more especially piobaireachd, the classical music of the pipe.
Every Chieftain of note had his piper long before the '45, for the Boreraig School was established centuries prior to that date, and the same School survived until 1822. But the power which the Chief exercised over his clan was broken, and he had to relinquish his command while many Chieftains discarded their pipers altogether.
The Highland Bagpipe was far too powerful an instrument to suppress altogether, for the soldiers in the Highland regiments neither march nor fight without it. Thus the Officers who were in reality discarded Chieftains, transferred the piper from the clanship to the regular Army.
What ensued actually proved to be the salvation of the piper in his pipe, for both were eventually found on every battlefield throughout the world wherever the British Army fought, and the same piper led many a gallant soldier to victory, while to the mournful wail of the pipe many a hero close his eyes in death.
The Highland pipers struggled on in civilian life with a very meagre following until about the year 1845 when Queen Victoria visited the Highlands of Scotland. This was a landmark in the history of piping, because the Queen added a piper to the Royal Household as a permanent official. Many of the Highland Lairds followed suit, and the piper was restored to his ancient dignity. Since then pipers have increased by leaps and bounds, and throughout the world today there are hundreds of thousands -10- who play upon the Great Highland Bagpipe.
The classical music of the pipe is also a Royal Art, as it has ever been. In the olden days it was customary to dedicate original compositions in piobaireachd to personages of the highest rank in the whole realm. Thus Kings, Queens and Princes have been pleased to accept original piobaireachd which have been dedicated to them by the humblest subjects in their kingdom. Indeed, there is one instance still on record of a piper who played before the King was permitted to kiss his hand, whereupon the piper composed a beautiful piobaireachd entitled “I got a kiss of the Kings hand.” This piobaireachd is still deserved, and is one of the gems in Ceòl Mòr, which possesses a very charming melody.
But piping and pipe music were not always associated with Kings, Queens and Princes. The first piper was a humble peasant, and his pipe was the first musical instrument in the world. The Shepherd in the Highland glen first created his simple but tuneful pipe there, where he tended his flocks. That simple pipe is still simple in the real sense of simplicity, and the creation of the Highland Bagpipe has reached its most scientific stage of perfection.
Bagpipe making is the work of skilled men in the art, or rather their craft, and the present day pipe is a thing of beauty which is “a joy forever.”--Thanks to the Highlanders of other years who were its original creators and the pioneers of this ancient music, which has risen to the pinnacle of its fame.
All that remains to be done is for the generations of Highlanders who follow in time to come to cherish and preserve this peculiar instrument and its music as the creation of their forefathers, and to make every effort to hand them on unimpaired to their children's children as our forefathers have done to us, their descendants.
Let us never forget all that is enshrined in:- “A’ Ph ìo b a Mh ò r ag us a Ce ò l.” -11-
Index to Volume Four
1. Dedication Gaelic...... 6
2. Dedication English...... 7
3. Preface...... 8
4. Introduction...... 9
5. Cruinnichidhean Gaidhealach agus Cuimhneachain air Cluich na Pìoba Mòire (Highland Gatherings, and Reminiscences of Piping...... 22
6. Cumhachd na Pìoba Mòire (The Power of the Pipes)...... 69
7. Appendices...... 95
Index To Piobaireachd
1. Failte do am Morachd Rìoghail Diùc is Bain Diùc Eboracum gu Luchairt na Croise Naoimhe (Their Royal Highnesses the Duke and Duchess of York’s Welcome to the Palace of Holyrood House)...... 15
2. Cumha na Cloinne (The Children’s Lament)...... 61
3. S’fada mar so tha sinn (Too Long in This Condition)...... 88
Index To Illustrations
1. Mountain Loch and Sheiling...... 2 2. The Laird’s Piper...... 4 3. Palace of Holyrood House...... 20 4. Aboyne Castle...... 24 5. Moy Hall...... 28 6. Bennachie...... 32 7. The Eagle and the Broken Pipe...... 35 8. Dubh Loch...... 39 9. Loch-na-gar...... 43 10. Ben Fion, Ross-shire...... 47 11. The Eagle and the Pipe...... 51 12. Old Brig o’ Dee...... 55 13. Eilean Donan Castle...... 59 14. Aberdeen...... 67 15. Loch Maree...... 72 16. Invergarry Castle...... 77 17. Loch Ard...... 81 -12-
18. The Eagle and the Chanter...... 86 19. Roslin Castle...... 93 -13- -14- -15-
Failte do am Morachd Rìoghail Diùc is Bain-Diùc Eboracum gu Luchairt na Croise Naoimhe
Their Royal Highnesses the Duke and Duchess of York’s Welcome to the Palace of Holyrood House -16-
Dedicated To Their Royal Highnesses The Duke and Duchess of York
In accordance with ancient Scottish Custom,
By
Their Humble Servant,
Iain Grannd -17- -18-
Composed by, John Grant, F.S.A. Scot.
Highland Society of London’s Medalist
Edinburgh, May, 1929 -19-
Palace of Holyroodhouse May 19th, 1929
Dear Sir,
I am desired by the Duke and Duchess of York to express to you the very grateful thanks of Their Royal Highnesses for the Piobaireachd entitled “ There Royal Highnesses The Duke and Duchess of York’s Welcome To The Palace of Holyrood House,” which you have been good enough to send them. They are delighted to accept it and much appreciate your kindness in giving it to them.
Yours faithfully, (Sgd.) P.K. Hodgson, Private Secretary
John Grant, Esq. 27 Comely Bank Street, Edinburgh. -20-
Palace of Holyroodhouse -21- -22- Cruinnichidhean Gaidhealach agus Cuimhneachain air Cluich na Pìoba Mòire
Highland Gatherings and Reminiscences of Piping
And wild and high the “Cameron’s Gathering” rose! The war note of Lochiel, which Albyn’s hills have heard, and heard, too, have her Saxon foes! ------And Evan’s, Donald’s fame rings in each Clansmen’s ears!
Byron
Highland Gatherings – There are few assemblages so picturesque as a genuine Highland Gathering, where the clansmen meet in tartaned array with their pipers in the vanguard leading each clan as they wend their way to the place of meeting.
The Gathering is one of the very oldest of Highland customs, and long, long ago the Highlanders who dwelt in the sparsely populated mountain ranges and Highland glens gathered together at intervals to celebrate the time-honoured custom–the holiday of the year for the district in which they lived.
Manly sports of every denomination were practised, but no gathering was complete without bagpipe playing and Highland dancing. The stirring notes of the pipe gave the Gathering a real Highland touch, and the picturesque Highland dress completed the whole spectacle, as the ribbands of the balmoral bonnet and the tartan plaid waved gently in the breeze.
As a rule the real Highland gathering was made up of many clans, and as they marched onto the field with their pipers playing a clan tune, the site was glorious. In the good old days there were no prizes offered for competition. Pipers and dancers pipe and danced for the pure love of practising the arts. There was under such circumstances less jealous rivalry, and although there were various degrees of skill and superiority in the ancient customs of the Highlands, yet no actual decision as to the best piper or dancer was intimated where the old time Gathering took place. -23-
“The Old Order of Things”
With the conclusion of hostilities which took place in the Rising of 1745, the old order of things was entirely changed, and something had to be done if the ancient customs of the Highlands were to live, especially the playing of the classical music of the Great pipe–Piobaireachd.
In the year 1778 the Highland Society of London came into being and they took up piobaireachd playing with the greatest enthusiasm. The Highland Society of London’s records were mostly all sacrificed in a disastrous fire which took place some time ago in their premises at Crane Court, Fleet Street, London; but fortunately some of them were preserved. As these early records of piping competitions are of the greatest interest not only to pipers but to lovers of Ceòl Mòr, it may not be out of place to insert an extract of them here, so that we may refresh our minds in the old order of things as they existed about a century and a half ago. One of the special features of these early competitions was that no money prizes were offered to competitors.
“Records from 1781”
1The Highland Society of London of which one of the first Dukes of Scotland was then president, being desirous that the ancient spirit of the Great Pipe, which in former times call the clans of Scotland to war should be revived, were pleased to order annual prizes to be played for, and to be adjudged to, the best performers on that instrument who should appear as candidates at the Falkirk Tryst: the first prize to be a set of new pipes, made by Hugh Robertson, Edinburgh. Some gentlemen, as a deputation from the Society at Glasgow, and the agent from Edinburgh made their appearance at Falkirk the day preceding that appointed for the competition. They met on the following morning and adjourned to the Mason Lodge; when, after hearing an excellent Gaelic poet recited by an old gray- headed bard (which he composed for the occasion), in presence of a select company of ladies and gentlemen, thirteen of the competing pipers and the maker of the prize pipes, the deputation and the agent proceeded to the election of a preses, and six gentlemen to be judges of the merits of the performers. The preses chosen on this occasion was universally allowed to be not only a very fine player himself, but one of the first judges of the pipe in Scotland; and one of the judges chosen from the Glasgow deputation was likewise acknowledged to be an excellent performer on that war-like instrument, in every way qualified for determinating on the merits of the candidates. A mode of trial was next adopted which reflected great honour upon the impartiality of the judges. The competitors were conducted to a room, apart where from one of the bonnets they drew lots for priority of performance. This done, the person who drew lot No. 1 was conducted by a private door to a small court below the windows of the Lodge in such a manner that the judges neither could see nor know the particular performer. Each person was made to play for different tunes while the judges continued taking accurate notes of the performance. The judges almost unanimously awarded the first prize to Patrick MacGregor, Piper to Henry Balnaves Esq., of Adradour, in the Parish of Mullin and County of Perth. Although this piper wanted almost all the third finger of the upper hand (on the chanter) yet he managed his pipes with the greatest dexterity: he used the little finger instead, and was known by the appellation of “Patrick na Coraig.” This man’s son became piper to His Royal Highness, The Duke of
1The following is Grant’s transcription of “A Circumstantial Account of the Competitions for the Prizes given by the Highland Society of London, to the best performers on the Great Highland Bagpipe, from the year 1781” in Angus MacKay’s A Collection of Ancient Piobaireachd or Highland Pipe Music (1838). Published on CD-Rom by www.ceolsean.net. -24-
Aboyne Castle -25-
Kent, Earl of Strathearn and officiated with great applause at the Meetings of The Highland Society of London. The second prize was awarded to Charles MacArthur, Piper to the Earl of Eglinton; and the third prize to John McGregor senior aged 73 years Piper to Lieut. Col. John Campbell of Glenlyon, in the Parish of Fortingall.
“October 1782”
The Competition for prizes given annually by the Highland Society of London for the encouragement of performers in the ancient martial instrument of Scotland was determined by a select jury of gentlemen in presence of a numerous and respectable audience. After a long trial carried on with the utmost attention and solemnity by the judges the first prize was voted to John MacAllister, first piper to the West Fencible Regiment; the second to John MacGregor, the father then over 74 years of age; and the third to John MacGregor, the son.
“October 1783”
At the annual competition for prizes given by the Highland Society of London, which was held at Falkirk, the first prize was adjudged to Neil MacLean, Piper to Major Campbell of Airds; the second prize to Archibald MacGregor, fourth son of John MacGregor, Piper to Col. Campbell of Glenlyon; and the third to John MacGregor, piper to the City guard of Edinburgh. The bard Ma can T’sior was introduced, and pronounced his annual Galey: in praise of the Marshall music and prowess of the Caledonians: and the whole was concluded with a grand procession to the churchyard where the victors at the three competitions viz:– MacGregor, MacAllister, and MacLean marched thrice round the tombs of the immortal heroes Sir John Stuart, Sir John the Graham, and Sir Robert Monro, playing the celebrated MacCrimmon’s Lament in concert on their prize pipes. On the return of the pipers from Falkirk by Edinburgh it was conceived by many gentlemen that an exhibition of their abilities would be a very agreeable entertainment to the public; it was accordingly arranged that it should take place next Wednesday, in Dunn’s Assembly Rooms, when the following artists gave each of them a specimen of his skill.
John MacGregor, piper to Colonel Campbell of Glenlyon, was desired to begin by playing Clanranald’s March. With respect to this performer, it is remarkable that at the age of 75 he braved the fatigue of a long journey to attend the Falkirk competition in obedience to a minute of the Highland Society of London appointing him their piper and intermediate person betwixt the judges and the competitors; that he was the father of four sons, all pipers, one of them eminent in that profession, who was for some time at Dunvegan; and a grandson not above twelve years old who was then able to play the pipes: Colin MacNab, piper to the laird of MacNab, and Donald Fisher, Second piper to the Earl of Breadalbane both played the same with the first. Paul MacInnes, from Fannadoich, in Argyllshire Piobaireachd na Pairc; John MacGregor of the City Guard, MacGregor’s March; Donald Gunn of the 77th Regiment Faìlte Phrionnsa; James Munro, piper to the Canongate, Clanranald’s March; John MacKay, from Lord Reay’s country, Mackintosh’s Lament; John MacAlister, piper to MacAlister of Loup, Cogadh na Sith; Allan MacIntyre of the 71st Regt. Faìlte Phrionnsa; Donald MacIntyre, Piper to Sir R. Menzies, Faìlte Mheinearaich; John MacArthur, commonly called Professor MacArthur then grocer in Edinburgh, Cumha Oberchàrnaig, agus Faìlte Oberchàrnaig, after which he and Donald MacIntyre played in concert. During one of the intervals the Bard Don MacIntyre in the City Guard was introduced who repeated a poem in the Gaelic in praise of that language and ancient music of the great pipe which was very much approved by those who understood that language. The pipers then marched around St. Andrews Square all playing Clanranald’s March. The first prize was voted to Donald -26-
MacIntyre–a handsome Bagpipe, with the following inscription:–“a prize given by the managers of the Edinburgh Exhibition on the bagpipe to Donald MacIntyre 1783,” and the like inscription upon a silver horseshoe, with a coronet for the bonnet of Colin MacNab to Don Fisher and Paul MacInnes, each an elegant Highland dress, with silver epaulets, double silver loops, buttons, and feathers in their new bonnets as well as defraying the traveling expenses of each of the above. One of the greatest Highland Chieftains of Scotland, a member of the Highland Society of London, who honoured the exhibition with his presence as President ordered Hugh Robertson to make one of the handsomest Highland Bagpipes he could at his expense which was to be delivered to the so much celebrated performer upon the War-like instrument–Professor MacArthur as a mark of approbation of so great a performer’s merit, accompanied with the signed declaration of the whole pipers then present.
“October 1784”
The annual competition which was formerly held at Falkirk Tryst, was performed at the assembly Hall, Edinburgh before a numerous and fashionable audience. There were sixteen competitors all of whom were esteemed good performers by the judges. The prizes were this year awarded as follows:–the first to John McGregor, senr. From Fortingall, the second to Don. Fisher, and the third to Dugald MacDugald, piper to Dugald MacDugald Esq. of Gallanach, and the money collected by the sale of tickets was distributed among the other candidates.
“July 1785”
The first prize was unanimously voted to Donald MacIntyre, senr. from Rannoch, a man of 75 years of age; the second to Colin MacNab, Piper to Francis MacNab Esq., of MacNab, and the third to Paul MacInnes, piper [to] John Cameron Esq., of Callert. There were present twenty-five performers and competitors. The competition was introduced by a Salute played by Professor MacArthur, piper to the Highland Society of Edinburgh, and by a piece performed by John MacGregor, who won the first prize last year. A piece was also played by Patrick MacGregor, and the whole concluded with Clanranald’s Salute, played in a very masterly style by Professor MacArthur.
“July 1786”
The first prize was voted to Roderick MacKay, Piper to Sir High Dalrymple of North Berwick; the second to Dugald MacDugall; the third to Archd. MacDonald from Invera, late piper to the 78th Regt.
“July 1784”
The annual competition was held in the new Assembly Rooms. The judges having determined, the first prize was voted to Archd. MacGregor, Piper to the Laird of Glenlyon; the second to Archibald MacDiarmot, and the third to Robert MacIntyre, Piper to John MacDonald Esq. of Clanranald.
“July 1788”
The first prize was adjudged to John MacGregor from Strathtay; the 2nd to Robert MacIntyre, and the third to Alexander Lamont. -27-
“August 1789”
The first prize was awarded to Duncan MacNab, from Lorne, Argyllshire; the second to John MacDonald from Strathtay, and the third to John MacGregor Junior, son of John MacGregor first piper to the Earl of Breadalbane.
“July 1790”
The first prize was voted to Robert MacIntyre, the second to Alexander MacGregor, fourth son of John MacGregor, who gained the first prize in 1784; two others of his sons having each of them gained a first prize at former competitions, and the third to Donald MacLean from Kintyre. The following is a list of the competitors with names of the pieces performed viz:–Act First– Salute to The Prince of Wales composed and performed by Professor MacArthur; MacGregor’s March, Patrick MacGregor, The Cameron’s Gathering, John MacGregor, Piper to the Earl of Breadalbane; The Grant’s March, Archibald MacGregor, piper to Glenlyon. Act Second– A favourite piece, Donald MacLean, Kintyre; The Prince’s Salute, Donald MacDonald from Culloden. A favourite piece, R. MacDougall, Fortingall. Act Third– The Duke of Hamilton’s Lament, R. MacIntyre. The Cameron’s Gathering, John MacGregor, Jr., son of the Earl of Breadalbane’s piper. Boisdale’s Salute, John Cameron, a boy, Piper to John MacDonald of Lochgary. The Prince’s Salute, by A. MacGregor, Fortingall; MacGregor’s March, Donald Fisher; and Salute to the Highland Society of Scotland composed and performed by Professor MacArthur.
“July 1791”
At the annual competition of the pipers in the circus, the first prize was awarded to Donald MacRae from Applecross, Ross-shire, the second to John MacGregor, Piper to Breadalbane, and the third to Duncan Stewart, Piper to the Rt. Hon. Lord Mountstuart.
“July 1792”
The most honourable the Marquis of Huntly’s preses. The first prize was unanimously voted to John MacKay, Piper to MacLeod of Raasay; the second to A. MacDonald, Piper to Col. Robertson of Strowan, and the third to John MacGregor tertius, a boy twelve years of age, son of Patrick MacGregor, Piper to Edradour.
“July 1793”
The competition, this and the following year, was performed in the Theatre Royal. The first prize was adjudged to John MacGregor, Piper to Breadalbane Fencibles. This man succeeded his father as Piper to the Earl of Breadalbane. He died about the age 59; the second prize to Angus Cameron, Piper to Donald Cameron Esq. of Lochiel, and the third prize to Donald MacErchar, Piper to the Scot’s Royals. -28-
Moy Hall -29-
“July 1794”
The annual competition of the pipers was held in the Theatre Royal. The prizes were voted to the following competitors:–The first to Angus Cameron; the second, to Dugald MacIntyre from Lorne, and the third to Peter MacGregor son of the Earl of Breadalbane’s piper.
“July 1795”
At the annual competition this year, the first prize was awarded to Peter MacGregor; the second to Donald MacLean from Kintyre; and the third to Peter MacNeil, Piper to Sir James Grant of Grant, Bart.
“July 1796”
The first prize was awarded by the committee of judges to Donald Fisher, 2nd Piper to the Earl of Breadalbane; the 2nd to Donald MacErchar, and the third to Donald MacKenzie, Pipe Major to the Sutherland Fencibles.
“July 1797”
The first prize was adjudged to Alex. MacGregor, Piper to the Laird of Glenlyon; the second to Donald MacKenzie, and the third to Donald MacNab, Pipe Major to the Breadalbane Fencibles.
“July 1798”
The first prize was voted to Donald MacErchar; the second to John MacGregor, son of Patrick MacGregor, Piper to Edradour, and the third to Donald MacLean, a boy, son of Donald MacLean, Piper to the Highland Society of Scotland.
“July 1799”
The first prize was adjudged to Donald MacIntyre, the second to George Graham, Pipe Major to the Perth-shire militia, and the third to Hugh MacGregor, Pipe Major to the Scots Royals. In the course of the performance Madame Frederick dressed in an appropriate garb, danced strathspeys, jigs and other dances with her accustomed dexterity and effect.
“July 1800”
The first prize was adjudged to George Graham, the second to William Forbes, Piper to the 42nd Regiment, and third to Adam Ross, Pipe Major to the Ross and Cromarty Rangers.
“July 1801”
The first prize was awarded to William Forbes; the second to Donald Robertson, Piper to the Royal Perthshire Militia; and the third to Donald MacDonald, Piper to the Caithness Highlanders. Among the competitors John MacDonald, a veteran of nearly fourscore, and who fought with the 42nd at Ticanderego attracted particular attention, and received from the judges a suitable premium He had been piper to the Glengary family for some generations. (The lady of Glengary, observed one day to -30-
John, that it was a matter of surprise he did not employ his leisure hours in doing something. “Indeed, madam” said John “it is a poor estate that cannot keep the Laird and Piper without working.”) The judges were much gratified to find, that from the very considerable receipts of the theatre, on the day of the competition, with the sum allowed by the Highland Society of London, they were enabled to supplement the prizes in a very handsome manner both for the piping as well as the dancing.
“July 1802”
The prizes were delivered by Lord MacDonald the Preses, as adjudged by the Committee; the first prize to John Buchanan, Pipe Major to the 42nd Highlanders: the second to Murdoch MacKenzie of the 92nd Highlanders; and the third to M. MacGregor, from Glasgow. At this contest there were thirty performers and competitors.
“July 1803”
The prizes were voted as follows: The first prize to Donald Robertson, Piper to the Edinburgh Volunteers: the second to Malcolm MacGregor; and the third, to John MacGregor, Piper to Sir Robert Menzies of Weem, Bart.
“July 1804”
The first prize was adjudged by the Committee, and the pipes delivered by Col. A. MacGregor Murray their Preses to Malcolm MacGregor; the second, to Finlay MacLeod; and the third to John MacArthur, Pipe to Ranald MacDonald, Esq. of Staffa. On the suggestion of J. Sinclair the committee directed a certain number of copies of a treatise “on the theory, principle, and practice of the Great Highland Bagpipe” published by the Revd. Patrick MacDonald, Minister of Kilmore and Kilbride, Ayrshire, to be delivered to such of the performers as had made the greatest improvement. This work was composed upwards of seventy years ago, by Mr. John MacDonald the brother of the publisher, then an officer in the service of the East India Company, and discovered in Bengal by Sir J. MacGregor Murray, and sent to the brother of the composer who has given it to the public.
“July 1805”
The Theatre on this occasion was crowded in every part and many ladies as well as gentlemen of the first distinction who were late of arriving had difficulty in obtaining seats. The first prize was awarded to Duncan MacMaster, Piper to the Laird of Coll; the second, to Donald MacNab, Piper to the Laird of MacNab; and the third, to Peter Forbes, from Foss. In addition to dancing the broad sword exercise was performed this year for the first time.
“August 1806”
The first prize was voted to John MacGregor, Piper to the Highland Society of London; the second was awarded to John MacArthur, but he having declined it, it was given to Allan MacLean, Piper to Alexander MacLean, Esq. of Ardgour; and the third, to John MacDonald, son of Donald MacDonald, now Pipe maker in Edingburgh. Sir J. Sinclair by desire of the Committee called Donald MacDonald; and informed him that a prize had been voted to him by the judges for producing the greatest number of pipe tunes set to music by himself; and it was recommended to him, to continue his exertions in that way, and to instruct such others as might apply to him to be taught. -31-
“August 1807 ”
The first prize was voted to Donald MacNab; the second to Alex. Bruce, Piper to Capt. MacLeod of Gesto; and the third to John MacGregor, Piper to W. Farquharson of Monaltry. To vary the entertainment, Mr. Fitzmaurice played several beautiful airs upon the Union Pipes, which was received with great applause.
“July 1808”
The first prize was voted by the Committee to John MacGregor, Pipe Major 73rd regiment; the second, to Peter Forbes; and the third to Alex. MacDonald from Skye. John MacDonald, son of D. MacDonald, Pipe Maker, received a premium for setting to music a collection of ancient pipe tunes submitted by him to the judges.
“August 1809”
For the more effectual encouragement of performers on the ancient war-like instrument, the judges resolved, that instead of three prizes, as formerly allowed, five prizes should be given on this and future occasions. There were decided as follows; The first to Peter Forbes from Foss; the second to Norman MacPherson, Pipe Major to the Inverness-shire Militia; the third to Duncan MacGregor, Pipe Major to the centre battalion of Perthshire Militia; the fourth to Donald MacGregor, Piper to the Perthshire Militia, son of the Earl of Breadalbane’s Piper; and the fifth to James MacNie, from Balquhidder. The prizes were delivered by Admiral Sir Edmund Nagle.
“July 1810”
The prizes this day were voted as follows; viz, the first to Allan Maclean, from Mull; the second, to John MacGregor from Monalty; the third, to Donald MacGregor; the fourth to John MacKay, from Sutherland; and the fifth to James Monro, also from Sutherland.
“July 1811”
The first prize was adjudged to John MacGregor; the second to Donald MacDonald, Pipe Major, Argyleshire Militia; the third to Adam Graham, Pipe Major Ross-shire Militia; the fourth to William MacKay, Inverness-shire Militia; and the fifth to Alex Sutherland, a boy, Piper 25th regiment.
“July 1812”
The prizes were decided by the judges as follows:– The first prize to Donald MacGregor; the second to Adam Graham; the third to John MacKay; the fourth to Alex. MacKay of the 9th royal veteran battalion, and the fifth to Don Scrumgeour, from Strathtay. Sir John Sinclair, Preses. The Committee voted a handsome premium to Malcolm MacGregor, Piper and musical instrument maker to the Highland Society of London for essential improvements made by him on the Great Highland Pipe and the Union and Northumberland Pipes on which last instruments he played several tunes in an excellent style and was highly applauded. -32-
Bannachie -33-
“July 1813”
The prizes were adjudged this year to the following persons:– the first to Finlay MacLeod; the second to Robert MacKay from Reay country; the third to Kenneth Logan, Piper Major, 71st regiment; the fourth to A. MacGregor, from Fortingal; and the fifth to Francis MacNicoll, Piper to the Scots Royal. Sir John Sinclair in his speech, after alluding to the small number of pipers present, owing to the different Highland regiments being then on foreign service, said the pipers attached to those corps of course accompanied them, some of who might otherwise have been present at the competition; but they were better employed in animating by the martial strains the spirit of their countrymen. The valorous conduct of those war-like corps does not require any additional eulogium; and, said Sir John, it may be sufficient to remark that there is no sound which the immortal Wellington hears with more delight, or the Marshals of France with more dismay than the shrill notes of a Highland piobaireachd.
“July 1814”
The first prize was adjudged to Robert MacKay from Lord Reay’s country; the Second to Kenneth Logan; the third to Donald Scrumgeour, piper to Col. Kinloch, of Kilrie; the fourth to Murdoch MacLean, Pipe Maker, Glasgow; and the fifth to Farquhar MacRae, Piper to Hugh Innes, Esq., of Lochalsh, M.P.
“July 1815”
The first prize, being a handsome Pipe of superior tone and workmanship constructed by Malcolm MacGregor of London, Pipe Maker, and one of the pipers to the Highland Society there was adjudged to John MacKay from Lord Reay’s country; the second to Murdoch MacLean; the third to Donald Gunn, Piper to the Perthshire Militia; the fourth to John Campbell from Nether Lorn; and the fifth to Donald Campbell a boy from Breadalbane. Sir J. Sinclair, as Preses of the judges, then addressed the audience at the conclusion of which he said that George Clark, Pipe Major 71st regiment, having formerly received a set of pipes from the Highland Society of Scotland for his gallant conduct at the battle of Vimeira in continuing to play after he was wounded, it was thought proper to vote him a gold medal instead of considering him as a candidate for one of the prizes. George Clark was then called in and distinguished by the attention of the audience, when the resolution of the judges was announced to him.
“July 1816”
Twenty-three competitors appeared, besides several performers who had obtained prize pipes at previous competitions. The audience was highly respectable and numerous and among them not a few of the fairest daughters of Caledonia, cheering the performers. The plan of the competition having been arranged at a rehearsal, with a list of the ancient piobaireachd to be performed given in Gaelic and English was printed by desire of the judges for the information of the company. First prize, to D. MacKay, Piper to the Highland Society of Glasgow; second to William MacKay; third to John Campbell; fourth to John Gordon, from Fincastle; and the fifth to James Kennedy, from the Strath of Tay. Sir John MacGregor Murray, addressed them severally in their native language, the pure Gaelic, which appeared to gratify them highly. -34-
“July 1817”
The prizes Were adjudged as follows:– The first prize to Donald MacDonald, Piper to the Argyleshire Militia; the Second to Donald Gunn, Piper to the Perthshire Militia; the third to Duncan MacTavish, Piper Major 42nd regiment; the fourth to Peter MacKenzie from Breadalbane; and the fifth to John MacPherson, Piper to Col. MacPherson of Cluny.
“July 1818”
The first prize was voted to Allan MacDonald; the second to John Campbell; the third to John Gordon; the fourth to John Forbes, from Killichassie; and the fifth to Alex. Sutherland, Pipe Major 79th Highlanders. The piper (said Sir J. MacGregor Murray in addressing the audience) has always held an honourable rank in the estimation of our ancestors, and his post was in front of his comrades on the day of danger. This honourable place had still been continued to him, and it was his duty to march forward with the cool determination of a true Highlander, stimulating his companions to heroic deeds by the sound of the favourite piobaireachd of his country.
“July 1819”
The first prize was voted to John Campbell; the second to Duncan MacTavish; the third to John Forbes; the fourth to Duncan Smith, 92nd regiment; and the fifth to Alex. Dewar, from the estate of Sir John MacGregor Murray, Bart. The judges felt themselves on this occasion enabled to notice the merits of Kenneth Logan by voting him a new annual prize placed at their disposal through the liberality of Mrs. H. Siddons, who had requested permission in this manner, to promote the annual competition, as a token of the grateful sense she entertained of the liberal support afforded by the public to the Edinburgh Theatre, with reference more especially to the National play of Rob Roy. The prize was an elegant sporan Mollach or Highland purse of the finest material with gold tassels, a silver plate and inscription.
“July 1820”
The first prize was awarded to William MacKay, Piper to the Celtic Society; the second to Donald Scrumgeour; the third to Donald MacKay, Piper to James MacLeod, Esq., of Raasay; the fourth to John MacKenzie, Piper to F. MacKenzie, Esq., of Allangrange; and the fifth to James MacDonald, son of Donald MacDonald, Pipe Maker, Edinburgh.The annual extra prize, an elegant sporran Mollach, the gift of Mrs. H. Siddons, was voted to Adam Graham.
“July 1821”
The first prize was voted to Adam Graham; the second to Donald MacKay, Piper to R. G. MacDonald, Esq. of Clanranald; the third to John MacKenzie, Piper to Duncan Davidson, Esq. of Tulloch, and later to the Marquis of Breadalbane; the fourth to John Cameron, Piper to the fifth Lanarkshire Militia; and the fifth to Donald MacDonald, son of Donald MacDonald, Edinburgh. The extra prize, an elegant mounted dirk, was voted to Duncan MacTavish. -35-
The Eagle and the Broken Pipe -36-
“July 1822”
No fewer than thirty competitors appeared this year: the house was crowded in every part; in the boxes particularly, there was a most brilliant assembly of our fair countrywomen, some of whom were remarked in the full Highland costume of tartan robes and bonnets. When the curtain was raised, the whole competitors, Pipers, and dancers, were seen (as on former occasions) arranged around the stage, and the various chequers of the lively tartans worn by above sixty fine Highlanders in their full native dress, had a very grand effect. When the pipers had done playing, the Judges retired to determine prizes. Upon their return, the decision of the several prizes was announced by Sir John Sinclair, as follows:– The first prize to Donald MacKay; the second to John Bàn MacKenzie; the third to Kenneth MacRae, Piper to the Honourable Jame Sinclair; the fourth to Alex. Dewar; and the fifth to John Smith, Piper to the Hon. Col. Grant of Grant. The extra prize of a brace of very handsome Highland pistols was voted to Donald Scrumgeour.
“July 1823”
The first prize was voted to John Bàn MacKenzie; the second to Kenneth MacRae; the third to John Cameron; the fourth to Donald MacDonald; and the fifth to William Fraser from Breadalbane.
“July 1824”
The first prize, to D. Scrumgeour; the second to Donald Stewart, Piper to the 79th regiment; the third to Donald MacDonald; the fourth to John Smith; the fifth to William Gunn, from Glasgow. The extra prize of a superbly mounted Highland Powder Horn, was awarded to Kenneth MacRae. This is the only prize which Pipers who had already gained a second prize could receive, until they obtained the first prize, and in this situation it had been awarded to Kenneth MacRae. On his being called forward to receive the prize, he declined it, conceiving as he said, that he should have obtained the pipes. The committee again retired and voted this extra prize to Alexander Dewar.
“July 1825”
The first prize was voted to Donald Stewart; the second to John Gordon, Piper to the Atholl Club; the third to Ranald MacKenzie rom Rosshire, and the fourth to William Smith, Piper to the Inverness-shire Militia, and the fifth, to John MacDonald, from Fortingall, a promising young piper only thirteen years of age.
“July 1826”
His Grace the Duke of Gordon, President of the Highland Society of Scotland, took his seat as Preses of the committee of judges for deciding the prizes given by the sister Society of London. After the pipers were done playing, the judges retired to decide the prizes, an interlude of Highland Reels to the music of the bagpipe, and the orchestra alternatively followed. On the return of the judges, his Grace delivered the prizes as follows;– The first to John Gordon; the second to Donald MacDonald, Piper 72nd Highlanders; the third to James MacDonald his brother; the fourth to Angus MacKay, a boy fourteen years of age, son of John MacKay, Piper to Lord Gwyder; and the fifth to Donald Farquhar, from Breadalbane, also a boy. -37-
“July 1829”
The first triennial competition of performers on the Great Highland Bagpipe was held in the Theatre Royal on the 28th of July, before a crowded, brilliant, and fashionable audience. The first prize was voted to John MacNab, Piper to the 92nd Highland Regiment; the second, a dirk, superbly mounted, to Adam MacPherson, Piper to the Stirling and Bannockburn Caledonian Society; the third, a beautiful Highland purse to John MacDonald from Fortingall; the fourth, to Roderick MacDonald, Piper to Aeneas MacDonnell, Esq. of Glengary; and the fifth to John Scott, Piper to Archibald Butter, Esq. of Fascally.
“July 1832”
The triennial competition of performers on the Bagpipe took place in the Theatre Royal. After the usual Salute upon the prize pipe played by John Bàn MacKenzie, Piper to the Earl of Ormelie, the performance of the day commenced. The different candidates having played their tunes, the judges retired. On their return they awarded the prizes as follows:– First, the prize pipes to Roderick MacKay, Piper to James Moray, Esq., of Abercairny; second a handsome Highland sword to Donald MacInnes, Piper to Col. MacNeill, of Barra; third an elegantly mounted dirk, to John MacBeth, Piper to the Highland Society of London; fourth a Highland Pistol to John Scott; and the fifth a Sporran Mollach, to George Murchison, Piper to Duncan Davidson, Esq. of Tulloch.
“July 1835"
The triennial competition on the Bagpipe took place in the Theatre Royal, before a brilliant and crowded audience. So great a number of candidates for fame had never been attracted together, nor had a warmer interest in their exertions been excited in the public. Independently of the wonted triennial prizes to the five performers of highest proficiency, there was now offered for the first time, a gold medal, to the best performer among those who previously gained the first prize at any ordinary competition. Of five such candidates who had competed at a rehearsal, three were selected for the public performance; and of no less than thirty who had offered themselves also in rehearsal thirteen were chosen. The competitors for the ordinary prizes performed in succession. The performance was relieved, as formerly, by the interspersion of reels and Highland dances, to the great entertainment of the audience, for the best dancers were called on repeatedly for a renewal of their exertions. Amongst, the dances Gillie Callum, or the Sword Dance, so renowned from all antiquity was executed in excellent style by John MacKay, one of the competing Pipers. This dance is known to have been exhibited before King Charles I at Perth, by thirteen persons during his visit to Scotland in the year 1633. The three candidates for the Gold Medal having next performed in succession, the committee of judges retired to determine the merits of the whole competitors. On their return Mr. Farquharson of Invercauld, the preses, in a spirit of reserve which demands great approbation, requested Mr. MacDonald of Staffa as more familiar with the subject, to explain to the audience and to the candidates the objects of the institution, and the resolutions of the committee, after which the names of the successful candidates were announced; and the prizes in the subjoined list, delivered to them by John MacDonald, Esq., Secretary to the Highland Society of London, who came to Edinburgh to assist on this occasion. The prizes were awarded as follows;– The Gold Medal to John Bàn MacKenzie, Piper to the Marquis of Breadalbane. An extra medal to Donald MacRae, from Kintail, who gained the prize pipe in 1791, and who now came forward in the eightieth year of his age, as a competitor for the gold medal. The prize pipe, being the highest prize among the ordinary competitors was awarded to Angus MacKay, son of John MacKay, Piper to Lord Willoughby de Eresby. The second, a handsome Highland -38- sword, to John Stewart, Piper to the 79th regiment; the third, a superb dirk, to Archibald Munro, from Oban, Argyleshire; the fourth, a pair of Highland pistols, to John MacKay, Piper to the Right Honourable Sir Robert Gordon of Balmorell, G.C.B.; and the fifth, to James MacPherson, late piper to MacPherson of Cluny, a silver mounted powderhorn. An extra prize to John MacDonald, a boy of fourteen years of age, Piper to R. MacDonald Seton, Esq. of Staffa.
“July 1838”
The triennial competition of performers on the Great Highland Bagpipe was held in the Theatre Royal, before a most numerous and distinguished audience. Of many candidates, some of whom had travelled a great distance, the committee of judges on their merit [at a previous rehearsal,] selected fifteen for the public performance – a choice which is indispensable, both that the competition may not be unnecessarily prolonged, and to avoid the introduction of any who may be insufficiently qualified. On the judges entering their box at 12 o’clock, the rising of the curtain exhibited between fifty and sixty competitors for the different prizes, ranged on the stage all equipped in the tartan of their respective clans – a sight most unusual and interesting to strangers. The length of the performance was relieved by frequent interspersion of dances, among which was the Reel of Tulloch, and the ancient Gillie Callum or Sword Dance. On the return of the judges, who had retired to determine the merits of the respective candidates in the three subjects of competition, – music, dancing, and dress, Cluny MacPherson explained, in an elegant and appropriate address to the audience, the nature and purpose of the competition, after which the following prizes were delivered by Cluny to the successful candidates:– First a Bagpipe handsomely ornamented, to John MacBeth, Piper to the Highland Society of London; second, an elegant broadsword to Donald Cameron, Piper to Mr. MacKenzie of Scatwell; third, a Highland dirk, handsomely mounted to Duncan Campbell from Foss; fourth, a Highland pistol to Peter Bruce from Glenelg; fifth, a powder horn to Duncan MacKay, Piper to Cluny MacPherson.
“Dancers”
First to Thomas MacIntyre from Perth; second to John MacBean from Strathspey; third to Donald Robertson from Athol; fourth to John Dunbar from Strathdon. An extra prize to Alexander Stewart from Kinloch-Rannoch for Gillie Callum.
“Best Dressed Highlander”
First to James MacPherson, Piper to A. Campbell Esq., of Menzie, the competitor best dressed at his master’s expense; second to John MacAlister, Piper to D. Davidson, Esq. of Tulloch.
In the class best dressed in the home-spun tartan, the first prize was awarded to John Loudon from Laggan; second prize to Thomas MacDonald from Blair Atholl.
And in the class best dressed at the own expense, the prize for ornamental dress was awarded to Daniel Munro from Ross-shire; and for plain country-made dress, the first prize was awarded to George Mackay from Badenoch, the second prize to John Robertson from Atholl. -39-
Dubh Loch -40-
The following pipers also appeared but were unsuccessful; - John Stewart, Pipe Major, 79th Regiment; Kenneth Stewart, Skye; Angus MacInnes, Piper to the “Cock o’ the North” [The Most Noble the Marquis of Huntly]; James MacPherson, Peter MacLaren, William Smith, Piper, 92nd Regiment; Evan Cameron, Piper, 78th Regiment; Roderick MacPee [MacPherson] from Ross-shire; William Gunn, Glasgow, (Pipe Maker); Alexander Stewart, from Kinloch-Rannoch, Alexander MacLeod, John MacAlister, Angus Cameron, Malcolm MacPherson from Breadalbane, Archibald Stewart, from Rannoch, and John Bruce, Skye. Plan of Competition
Held in
Dunn’s Assembly Rooms for prizes to best performers of ancient martial music on the Great Highland pipe to begin at eleven o’clock forenoon, on Tuesday the 30th day of August 1785.
Act I
1. By Professor MacArthur–A Salute. 2. To be played by John MacGregor Senr. Fom Fortingall, who won the first prize at Edinburgh last year. Cean Drochaid Beg.–Head of the Little Bridge, or Cameron’s Gathering. 3. By Peter MacGregor who won the first prize at Falkirk competition.–A Piece.
Act II
1. John Cumming, Piper to Sir James Grant of Grant, Bart. Fàilte a’ Phrionsai–the arrival or Welcome, A Salute. 2. Robert MacIntyre, Piper to John MacDonald, Esq. Of Clan Ranald. Fàilte Shir Sheumais–Sir James MacDonald’s Welcome. 3. John Cumming– Cumhadh Mhic an Leathain–The MacLean’s Lament. 4. Robert MacIntyre. Fàilte a’ Phrionsai. 5. Alexander Lamont, Piper to John LaMont Esq., of Lamont. Fàilte Phrionsai. 6. Colin MacNab, Piper to Francis MacNab, Esq. Of MacNab–Glais Mheur– A favourite piece. 7. Alex. Lamont - Moladh Mharai. A piece in praise of Mary, or the Laird of MacLachlan’s March. 8. Colin MacNab, Fàilte a’ Phrionsai–The Prince’s Salute. 9. Donald Gun, Piper tTo ir John Clark of Penciuk, Bart.--Fàilte a’ Phrionsai. 10. Donald MacIntyre, Snr., from Rannoch–Cumhadh Mhic Chruimean. The Lamentation of Patrick More MacCrimmon. A Highland Dance after Act II
Act III
11. Donald Gun. The Grants March - Craigellachie. 12. Donald MacIntyre, Senr. Fàilte a’ Phrionsai. 13. Dugald MacDougal, Piper to Allan MacDougal Esq. Of Hayfield. Fàilte a’ Phrionsai. 14. John McPherson, from Badenoch, Piper to Col. D. MacPherson of Cluny. Piobrachd Ereanach - An Irish Pibrach. -41-
15. Dugald MacDougal. Fàilte Shir Dheorso. In Praise of Laird of Callander. 16. John McPherson. Fàilte a’ Phrionsai - The Prince’s Salute. 17. Hugh MacGregor, from the Stewartry of Monteath. Teachd an Phrionsai gu Muideard. The Landing in Moydart. 18. Malcolm Macpherson from Breadalbane. Fàilte a’ Phrionsai. 19. Hugh MacGregor. Fàilte a’ Phrionsai–The Prince’s Salute. 20. Malcolm MacPherson. Glais-mheur.
A Highland Dance after Act III.
Act IV
21. Donald Fisher, from Breadalbane who won the second prize last year. Leannan Dhonail Chruaimeich. Donald’s Love. 22. Archibald MacGregor, from Fortingal. Fàilte a’ Phrionsai. 23. Donald Fisher. Fàilte a’ Phrionsai - The Prince’s Salute. 24. Archibald MacGregor - Leannan Ghioll Chruaimeich. The Stern Lad’s sweetheart. 25. Alexander MacGregor, from Fortingall. Fàilte a’ Phrionsai - The Prince’s Salute. 26. John MacGregor, from Glenlyon. Cean Drochaid Mhoir.–Great Bridge. 27. Alexander MacGregor–Chissealach Strath Ghlais–Chisolm’s March. 28. John MacGregor--Fàilte a’ Phrionsai - The Prince’s Salute. 29. John MacGregor, Junr., a boy, of twelve years of age, son to the above John MacGregor, from Fortingal, who won the prize last year.–Piobrachd Sliabh an’t Siora Sheriffmuir. 30. Donald MacLean, Edinburgh. Fàilte a’ Phrionsai - The Prince’s Salute.
A Highland Dance after Act IV
Act V
31. The boy John MacGregor. Fàilte a’ Phrionsai. 32. Donald MacLean. Cumhadh Eoin Ghairbh–Lamentation of Rough John. 33. Donald MacIntyre, Junr., from the Estate of Sir Robert Menzies, of that Ilk in Rannach, Perthshire. Suibhal Mhic Allain.–Clanranald’s March. 34. Paul MacInnes, from Lochaber, Piper to John Cameron Esq., of Callart. Piobrachd Mhic Dhonail Dhuibh. –The Cameron’s Gathering. 35. Donald MacIntyre, Junr., Fàilte a’ Phrionsai - The Prince’s Salute. 36. Paul MacInnes–The same. 37. Allan MacIntyre, of Edinburgh. Suibhal Mhic Allain–Clanranald’s March. 38. John MacPherson, from Strathspey, late Piper to the Atholl Highlanders. Fàilte a’ Phrionsai - The Prince’s Salute. 39. Allan MacIntyre–The same. 40. John MacPherson–Cumhadh an Aion Mhic.–Lamentation for an only son. 41. Duncan Stewart Rannoch–Glais Mheur. 42. John Dewar, from the Estate of Sir R. Menzies, of that Ilk. Fàilte a’ Phrionsai. 43. Duncan Stewart. The same. 44. John Dewar. Cean Drochaid Mhoir. Head of the Great Bridge. A Pibrach. 45. Ronald MacDonald, from Culloden. Sliabh an’t Siora Sherrifmuir. 46. R. MacDougal, from Fortingal, Perthshire. Fàilte a’ Phrionsai - The Prince’s Salute. -42-
47. Ronald MacDonald. The same. 48. R. MacDougal–Moladh Mharai.–In Praise of Mary.
A Highland Dance after Act V
The whole to conclude with a piece by Professor MacArthur. -43-
Loch-na-gar -44-
Plan of the competition for prizes given by the Highland Society of London to the best performers of the ancient music of the Great Highland Bagpipe to be held in the Theatre Royal, Edinburgh, on Wednesday the 22nd day of July, 1835, at twelve o’clock noon precisely; in presence of a committee of judges, members of the Highland Society of Scotland.
To commence with a Highland dance.
Act I.
1. James MacPherson, from Badenoch, late Piper to MacPherson of Cluny. S’linn Fhein an Gleann. The valley is ours. 2. John Stuart, Piper to the 79th Regt., or Cameron Highlanders. Bratach Ban Ceantaille. Kintail’s White Flag. 3. Archd. Munro, from Oban–MacLachlan’s March–Moladh Mairi.
A Dance
4. John MacKay, Piper to the Right Hon. Sir R. Gordon of Ballmorell, G.C.B. Cumh’ Shir Eachain Ghairloch–MacKenzie of Gairloch’s Lament. 5. Angus MacKay, son of John MacKay, Piper to the Right Hon. Lord Willoughby de Eresby. An co-aontachadh. Lament For The Union.
A Dance
Act II.
6. James McKenzie, Piper to James Moray Esq. Of Abercairny. Fàilte Mhic Ghille Chalaim.–MacLeod of Raasay’s Salute. 7. Duncan MacKay, Piper to MacPherson of Cluny.–Cumh Alasdair Dhearg–Red Sandy’s Lament. 8. Donald MacInnes, piper to Col. MacNeill of Barra, gained the second prize as piper, and second prize for dress. Blar Bhateinis–Battle of Waternish.
A Dance
Afterwards the ancient Sword Dance called the Ghille Challaim.
9. William Gunn, Pipe Maker, Glasgow, gained the fifth prize as piper, and third prize for dress. Clagean na Pheairt–The Bells of Perth. 10. George MacPherson, Piper to D. Davidson of Tulloch, gained fifth prize in 1832, as a piper, and the first prize for dress. Bratach Bhan Mhic Caoidh–MacKay’s Banner. A Dance.
Act III
11. Peter MacLaren, Piper to John Stirling, Esq., of Kippen Davie, gained fourth prize for dress. Blar Earn–The Battle of the Burn Earn. 12. John MacDonald, a boy of 14 years of age, Piper to R. MacDonald Seton Esq., of Staffa. Thainig mo Righ ar Tir a Mhuideart– Prince Charles Stuart Landing in Moidart. -45-
13. Charles Duff, Piper to G. Small Keir Esq., of Kinmount. Glais mheur–The Finger Lock.
A Dance.
After which three of the pipers who formerly gained Prize Pipes in Edinburgh and who at the rehearsal were selected from the other competitors in this class will compete for the Gold Medal:--
14. John Gordon, Piper to J. P. McInroy Esq., of Lude–gained the prize pipe in 1826. Leannan Dhomhnuil Ghrumaich–Grim Donald’s Sweetheart. 15. John Bàn MacKenzie, Piper to the Marquis of Breadalbane, gained the first prize in 1823, and first for dress. Fàilte na Gordonaich–Gordon’s Salute. 16. John MacGregor, formerly piper to the Duke of Atholl–gained prize pipe in 1811. Fàilte a’ Phrionsai - The Prince’s Salute.
A Dance.
The judges will then retire to determine the prizes, and during their absence the band will play some favourite Scottish Airs, which will be followed by National Dances. On the return of the judges the award of the Gold Medal and prize pipe with the other prizes to pipers; to the best dancers, and the best dressed competitors will be announced by the Preses of the committee, and delivered by the Secretary of the Highland Society of London to the preferred competitors, in the presence of the audience and the whole competitors. The Medal pipers in the centre.
To conclude with a Dance.
In addition to the three competitors to play in public for the Gold Medal, the following also came forward as competent to compete for it, having gained Prize Pipes at Edinburgh:-- 1. Donald Macra from Kintail aged 80 years–gained the prize pipe 44 years ago viz. at the competition of 19th July, 1791. 2. Wm. MacKay, Piper to the Celtic Society gained the prize pipe in 1820.
Seventeen other pipers were excluded from the general competition as not sufficiently qualified. ______
These notes convey to us the greatness of the pipers of old. They re-echo the swelling notes of the piobaireachd when it was cherished and cultivated as an art. Alas! The Falkirk Tryst and the Theatre Royal are now no more gladdened by the music of the pipe; nor do the fair women and brave men of our nation gather anymore there to hear the music of the MacCrimmons.
“A New Piping Era”
Time changes everything. About the year 1838 the special competitions held by The Highland Society of London came to a close, and other Gatherings took their place.
“The Highland Gatherings”
Highland Gatherings sprung up all over Scotland and more especially in the heart of the Highlands. The most important of these are:–Brae Mar, Inverness, Oban, Portree, Lochaber, Aboyne, -46-
Crieff, and Bridge of Allan. These are the principal Highland Gatherings but there are others in various parts of Scotland although of lesser magnitude.
It is very difficult to determine the exact date in each of the above Gatherings, as to when they first took place, but as Brae Mar is the most ancient as well as genuine of all Highland Gatherings, and is now styled “The Royal Brae Mar Gathering” on account of Royal patronage it really should be given first place for that reason.
“The Royal Brae Mar Gathering”
Away back in the year 1826 on a beautiful day–a Friday the 21st, July, the stirring notes of the Highland Bagpipe announced the first “Gathering” held on “The Braes ‘o Mar.”
This was a memorable year in the district of Mar in several ways. The heat was so intense that the heather caught fire mysteriously, and burned for weeks on end. The bloom on the Heather was very rich, and far away out in the distance the eye could see the blue hills looming in their rich luxuriance, as the majestic peaks towered into the azure sky.
“The Original Society”
In 1816 the original Society which was formed and carried on the Gathering in a very small scale was known as the “Brae Mar Wright’s Society”; but as outsiders who were neither Wrights nor Carpenters were admitted to the Society, it was ultimately discontinued and changed to the “Brae Mar Highland Society.” The very early patrons were The Earl of Fife, with Mr. Farquharson of Monaltrie as President.
“A Royal Gathering”
In 1848 when Queen Victoria came to Balmoral she graced the assemblage with her presence, as did Prince Albert, her Consort. In 1849 the gathering was held at Brae Mar Castle, and in 1859 Queen Victoria invited the Society to hold its Gathering at Balmoral.
“A Hundred Years”
This Gathering has gone on for over a hundred years and still flourishes. In 1906 the Duke of Fife gifted twelve acres of ground to the Royal Brae Mar Society in which to hold their Annual Gathering, and this ground is now known as “The Princess Royal Park.”
The Royal Brae Mar Gathering has become so popular that thousands of people come to it from far and near. Hundreds of motorcars arrive at this picturesque and romantic scene on the day of the Gathering, and special arrangements have to be made for parking them. It is a wonderful spectacle to witness the cars as they leave the Gathering. The road is line up for miles and miles with automobiles of every denomination. -47-
Ben Fion, Ross-shire -48-
“The Greatest of Mountains”
The Princess Royal Park is surrounded by great mountains which stretch away in the distance for many miles. It was near this romantic spot that the “Standard” was raised on “The Braes o’ Mar” for Royal Charlie, and the great hills still re-echo that memorable though somewhat tragic event.
“Royal Patronage”
As a rule Their Majesties the King and Queen patronize the Gathering, which is held on the second week in September of each year and the chief events are:–Tossing the “caber,” putting the stone, throwing the hammer, wrestling, and last but not the least important are the piping and dancing events. Indeed! The chief attraction is bagpipe playing, and as the ancient Piobaireachd sounds, the great blue hills repeat each note in tuneful harmony.
The most interesting and exciting feature of the Gathering is the March of the clansmen with their pipers and Standard bearers. First comes the Balmoral Royal Highlanders, then the Farquharson’s of Invercauld, the Duke of Fife’s Brae Mar Highlanders, and so on. It is the March of the clansmen that makes the Brae Mar Gathering famous above all others for its old-time custom, for without this part of the proceedings there would be no Gathering.
“Poetry and Romance”
The entire surroundings are here full of romantic lore in poetry and prose. Nearby the scene of the Gathering is “Dark Loch Na Gar” which Lord Byron has immortalized in his patriotic song “Away Ye Gay Landscapes and Gardens of Roses.”–“ The steep frowning glories of Dark Loch Na Gar.”
There are prizes offered at Brae Mar for piobaireachd playing, and although there are not so many competitors for this event as at Inverness and Oban, yet it is well patronized by the best pipers in the country.
“The Inverness Gathering”
This Gathering which is also known as the “Northern Meetings,” is held at Inverness on the third week in September of each year, and it goes back a long way as regards its origin. The Gathering is recognised by the Highland Society of London who present a Gold Medal yearly for piobaireachd playing. The medal can only be won once by any one piper. The first medal was presented by the Highland Society of London in the year 1859 and it was one by Donald Cameron Seaforth.
“Qualifying Mark”
The Highland Society of London’s medal is the qualifying mark of superiority in the art of piobaireachd playing, and every piper who gains it prizes it very highly. -49-
“Medal Winners”
There is a long line of medal winners since the year 1859: much too lengthy to reproduce here, as the space already taken up in this work has exceeded the originally intended number of pages by one hundred percent.
“The Argyllshire Gathering”
The Argyllshire Gathering is held at Oban on the second week in September of each year, and Oban is a delightful spot. The little town nestles quietly by the seashore, and the angry waves lap the beach in the storm; but in summer the waters are as still as a mirror, and reflect the surrounding hills in the morning sunshine.
Oban is also famous for piobaireachd playing, and here we find more competitors for Ceòl Mòr than any other Gathering in broad Scotland.
“The Gold Medal”
The Highland Society of London gives a “Gold Medal” for piobaireachd playing here also, and this competition is well patronised by the finest piobaireachd players of the day.
“The First Gold Medal”
The first Gold Medal was presented by the Highland Society of London at Oban in the year 1875, and John MacBean from Culloden won that coveted prize, which put him in the front rank of piobaireachd players.
“The Skye Gathering”
The Skye Gathering is held at Portree in the month of August of each year. Portree is a beautiful little Island township which lies snugly in the Bay of Portree. Portree or Port-an-righ, the Kings Harbour, was so named from being visited by King James V in 1540.
There is a good attendance at the Skye Gathering for all sporting events, but the chief attraction is piobaireachd playing on the Great Highland Bagpipe, and many good pipers are present. The exact date of the origin of the Gathering is not quite clear, but it goes a long way back.
“A Hallowed Spot”
Skye is the most hallowed spot in the whole universe so far as piobaireachd playing is concerned, for there the MacCrimmons lived for generations and generations, but competition was far beneath their dignity, so it is just as well that they were all dead and gone before this form of encouragement of piobaireachd playing came into existence.
Nevertheless, if this is to be the form of encouragement which pipers require to make them play piobaireachd, the beloved music of the Skye Masters, then it must continue in the process. There certainly is a great deal of romantic charm in the listening to piping at a Highland Gathering, so Skye must fall in with other places and have its prizes with the rest. -50-
“Lochaber Gathering”
The Lochaber Gathering is held at Fort William in the month of August of each year. Lochaber is one of the loveliest districts of Scotland, and Fort William where the games are held lies at the foot of Ben Nevis, the highest mountain in Scotland.
There is no place under the sun that can beat this spot for a Highland Gathering. The great “Ben” towers far above the spectator and competitor alike, and it looks down upon the multitude with patriotic pride (to put it in such an expression) while its snow-crested peak rings with the notes of the great music of the MacCrimmons.
“Lochaber No More”
When one stands upon the lofty summit of this great mountain, and turns the keen eye Skyeward, it is almost possible to see the battlements of Dunvegan Castle. Where the imagination is also keen it is possible to see the “Fairy Queen” wave the “Fairy Flag” and send abroad with her “Silver Chanter” the plaintive notes of the “Lament For MacCrimmon” while the peaks of “Ben Nevis” wafts back in answer to the Lament, the sad wail of the notes of “Lochaber No More.”
Good money prizes are offered at Lochaber Gathering for piobaireachd playing, and there is always a good attendance of performers of Ceòl Mòr. There is no confined playing of piobaireachd at this meeting, so that the lover of the Great Music can hear a good selection of tunes instead of listening to three pieces as at Inverness.
“Lochaber Gold Medal”
One of the special features of the Gathering, so far as the piping is concerned, is the handsome Gold Medal which is given yearly for the piper who secures most points in the combined competitions for Marches Strathspeys and Reels, and Piobaireachd. This medal is very hard to win, and is a Hall Mark of superiority in all branches of piping.
“Off The Beaten Track”
Although Fort William is well off the beaten track, yet it is very well attended by Highlanders and Lowlanders alike who love all things Highland and who come in great numbers to hear in the very heart of the Highlands, “a skirl o’ the pipes.”
“Aboyne Highland Gathering”
The Aboyne Gathering is held at Aboyne in the early part of September of each year, and generally it is arranged for the day prior to the Royal Brae Mar Gathering. This arrangement is especially agreed to in order to get good competitors to take part in the important events at both Gatherings, as both Aboyne and Brae Mar are well into the mountain solitudes. It would be too expensive for competitors to come back in a few days or weeks to the one Gathering and then the other, as the one railway journey does both events. -51-
The Eagle and the Pipe -52-
Aboyne itself is situated upon the River Dee where stands nearby Aboyne Castle, the seal of the Marquis of Huntly, (The Cock o’ the North) who is the original founder of the Gathering many years ago.
Sports of every kind which are of Highland origin take place here:–tossing the Caber, wrestling, jumping, running, throwing the hammer and so on but the chief feature, and what makes the Gathering Highland is bagpipe playing and Highland dancing.
Good prizes are offered for piobaireachd playing, and competitors come (one may say) from Lands End to John o’ Groats to get the Treasury notes which are offered as a reward for skillful piping and dancing. It is a great pity that the good old custom has died, when in the olden days, instead of money prizes, a set of Bagpipes, a Highland dirk, a Sporran Mollach, a Claymore, or a Powder Horn were offered to the champion players of piobaireachd as a reward for their ingenious skill.
Aboyne is similar to Brae Mar Gathering for attendance, but on a very much smaller scale. The field is packed with cars from far and near. There are thousands of people who come to witness the events, and here the piping competitions. The founder of the Gathering “The Cock o’ the North” himself is always there in Highland costume.
The scene of Aboyne Gathering is in the heart of the Highlands. The mountains rise on for size of the little village, and down in the Valley nearby, the River Dee wends its way to the sea, murmuring to itself the music of the mist, the mountain and the glen.
“Bridge of Allan and Crieff”
These are two very attractive little Gatherings. The Bridge of Allan stands on “the banks of Allan water,” as did the “Miller’s lovely daughter,” and Crieff is situated upon the River Earn. Good prizes are offered at both places and the attendance is very large.
There are many other Gatherings held throughout Scotland at which there is piobaireachd playing, and a fair supply of the “Highland Mountain Dew,” proof, fifteen years old, but all good pipers are temperate, for even in piobaireachd playing there is a “limit.” -53- Reminiscences of Piping
Many years ago now, the Highland Volunteer Brigade went into camp at Gordon Castle, Fochabers. The five Battalions comprising the Brigade were the first and third Seaforth’s, the Gordons, the Sutherlandshire Volunteers and the Camerons.
While under canvas there the maneuvers close with a “Sham Fight” when each piper was posted to his Company, because the Company piper had to play the men into action.
“One Casualty”
The tune which we played for the Seaforth’s Charge was “Cabar Feidh.” Why we played the whole of our Regiment over the top, one of our pipers jumped into a bog to the shoulders, and it was with great difficulty that we extracted him from his dangerous position.
The bog was one of those often found in the Highlands. Powerful Springs rose from “Iron Ore,” and the soft miry clay, red as paint, did not make the dip a pleasant one. The piper went into this bog a Seaforth Highlander, but he came out more like “Rob Roy,” the Highland Freebooter, for he was red from top to toe. After “taking” the bog so courageously the piper had to be redecorated, as his clothes were no more use, and he was exempted from further duty while the camp lasted.
“A Hundred Pipers”
The Inspecting Officer was Brig. Genl. Murray, and immediately he came on the field on the day of the Inspection he gave orders that the “March Past” was to be played by the pipers. Five Pipe Bands were massed, under the charge of the senior and veteran Pipe Major Ronald McKenzie. There and then a hundred and four pipers played “Piobaireachd Dhomhnuil Dubh.” To hear the old song sung is a treat, but to hear and see a hundred pipers play the old and familiar air was glorious.
“Pipes at the Picnic”
In years gone by when the horse held the one and only place upon the road, and picnics were more common, the piper was very much sought after. The duty of a piper who accompanied a picnic was to sit beside the driver in the first coach, and play the pipe at intervals on the road to the trippers rendezvous.
On one occasion I was told off by Ronald McKenzie to accompany a large party for a picnic in the country. The day appointed was a Saturday, and I had leave of absence from my employer for the forenoon. There were some twenty coaches in all, with a pair of horses in each, for the company numbered in all over two hundred. -54-
“The Kist o’ Whistles”
In full Highland dress I arrived beside the first coach, and mounted the “dickie.” I opened my case, and to my surprise, instead of my pipes being there intact, I found about two thousand envelopes in their place. What Highland blood I had in my veins got up, as the coachman said “Aye! laddie, ye man be gye far gane on her if ye’r tae write a’ they.” I said nothing but “nursed my wrath”; threw down the envelopes in the stable yard, and marched back for my pipes.
“Held Up”
The whole company was held up, and some twenty men came up to the first coachman to inquire why he did not drive off. “What’s wrong?” said one man. To which the weather-beaten man o’ road replied “Naething much! The piper’s come awa’ wi’ ‘a kist o’ writin’ paper” instead o’ ‘a kist o’ fussels.” “Sen’ for’m,” said another man wi’ a good Scots tongue in’s head. “Ye need nae fash! Possess yer sel’,” said the jovial coachman, who thoroughly enjoyed the joke. “The laddie’s gane for his fussels, an’ by my faith’in he comes back as fest as he’s gane awa’ he’ll be here in a jiffy, for i’s assure ye he’s in a fine pur.”
This explanation satisfied the anxious enquirers, and I had my own back upon the culprit. At the Office where I was employed, I demanded and got my pipes, saying with some indignation as I departed “You will find your master’s stationary in the stable yard round by, if you care to go for it, as I have come for my pipes,” and in a few moments I was again on the dickie. The coachman who had become my friend and sympathiser by this time, said, “They’ll be a’far mair yees tae ye the day, than the paper, laddie. I dinna ken what kin’ o’ writer ye are, but blaw ‘them’ up an’ we’ll see what ye can play, an’ all hand the ro’d, for we man mak’ up lost time.”
“A Merry Trot”
As I “blew up my chanter” the horses made off at a merry trot before the old coachman could tighten his reigns. I played “We’ll Gang Nae Mair Tae You Toon,” and to this old time air the line of coaches made their way through one of the most beautiful glens in the Highlands, and at the foot of the great “Ben” we enjoyed in brilliant sunshine one of the happiest days a ever spent in my life.
“Another Pleasant Day”
On my last visit to Gordon Castle, from Abercairny while with Ronald McKenzie for further instruction in the art of Piobaireachd playing, I spent one other very happy day with my master and the old Pipe Band “the Seaforth Highlanders.”
“At the Cattle Show”
During one of my periods of instruction at Gordon Castle, Pipe Major Ronald McKenzie had to play with his band at a Cattle show, and rather than allow me to remain at home unoccupied while he was away he procured permission from the Commanding Officer of the Battalion, for me to accompany him as a member of his band. -55-
Old Brig o’ Dee -56-
“With the Lark at Dawn”
On a beautiful morning about the middle of August, we rose with the lark, and caught the early morning train which took us far through the “Glen” and up to the lofty mountains of the Strath of Spey– The land of Grant where stands the Clan Castle and “Craigellachie” the rallying ground of the Clansmen.
Our duty on this occasion as a pipe band was to play at intervals stirring tunes, which inspired the spectators and exhibitors alike and even the cattle themselves, for as we played, the Highland cattle and horses stood alert with a pose like the “Royal Stag,” the “Monarch” of the mountain fastness. Cattle and horses are very fond of pipe music, and to see the manner in which some of them stood with head erect, so perfectly calm and peaceful was in itself a subject for the expert cameraman, or the brush of a “Raeburn,” with the great mountains in the background. The sun shone out in brilliant splendour, and the surrounding moors gave off their honey scented odour in full strength.
“The Muckin’ o’ Geordie’s Byre”
It goes without saying that the first tune which we play on this occasion as we entered the field was “The Muckin’ o’ Geordie’s Byre.” When we ceased playing, a gentleman came up and asked the Pipe Major what the name of the tune was, whereupon he said,“The Muckin’ o’ Geordie’s Byre.” An Englishman who stood by (being a stranger in a strange land) asked what that meant, or whether the Pipe Major gave the name of the tune in the Gaelic? The Pipe Major explained that the Gaelic equivalent for “The Muckin’ o’ Geordie’s Byre” was “The cleansing of the Cow House of George,” which was the cause of no small degree of merriment on the part of a group of listeners, which was soon augmented by a large crowd of curious spectators.
During the forenoon the pipe band had played many selections, and at one o’clock p.m. we had luncheon in the large marquee. The sun continued to shine brightly and the great range of Grampian mountains ran far away out in the distance. The hills stood above us like sentinels watching over the valley below, while their beautiful mantle of purple heather made them look as if they had been dressed up specially in purple for the occasion.
“Cupid’s Dart”
After luncheon we stood for a moment with some exhibitors and competitors who entered into a very pleasant chat, and as we talked there, a lady came up to the Pipe Major and asked if one of his pipers would be allowed to accompany her in her pony trap at the driving competition, as she was sure there was supposed to be some peculiar charm about a piper and his tartan attire which would bring her luck. -57-
“A Fairy Nymph”
The young lady who looked more like a “Fairy Nymph,” wore in her bosom “a sprig o’ white heather” tied with the “tartan.” The flush of young beauty was upon her rosy cheek: indeed, she blushed deeply as she made her request, and her eyes pleaded beseechingly. She turned to me and asked if I would come, and fain, fain would I have gone: her eye sparkled with a bewitching charm, uncanny it was, as its rays lit up the rich smile upon her face. The Pipe Major then said “Sorry Madam! It is against regimental orders that a piper in Her Majesty’s uniform should take part in a driving competition with a young lady while on duty.” The fair competitor’s face clouded, and her eye lost it sparkling brilliance as she apologised, bowed gracefully, and withdrew. There was only one lady in the driving competition, and needless to say she lost the first prize by an arm’s-length, which she accounted for afterwards by the Pipe Major’s refusal to allow the minstrel from “The Fairy Duns” to accompany her in her passion-haunted chariot.
The band played several old Scottish airs and one Gaelic air at my request:–“My faithful Fair One, my young, my rare one,” and at five o’clock in the evening we left the field for the hotel in the village to partake of tea and refreshments.
“At The Black Bull”
When we reached the yard at “The Black Bull” we encountered forty men with forty bottles of whiskey. These were competitors in the tug-of-war teams, which were recruited from the employees at the neighbouring Distilleries. Such a sight was not to be seen every day. It would have tempted a statue to come down from its pedestal to taste the rare mountain dew (fifteen years old) which the forty man held in the forty bottles. In single file they would have stretched some distance, and one may imagine what kind of a rope they tugged at! Had each man been supplemented with a Highland Dirk which it sparkling cairngorm and its deep steel blade, I would not say that there would not have been thirty-nine or even forty corpses on the threshold of the Black Bull Hotel, and as many funerals winding their way to the quiet country “Kirk Yaird” e’er the week was oot–Then the “Lament.”
“Marching Home Again”
After tea the band fell in, and while we were preparing to march off a gentleman visitor handed the Pipe Major half a crown, and said “you must be dry after all that playing, the coin will at least get you a good refreshment.” The Pipe Major handed me the half crown as I stood next to him, whereupon the gentlemen again said “you are right, he will be dry also, here is another for yourself,” and he handed the Pipe Major another silver piece, which made the “crown” of it.
“Farewell To The Mountains”
The train from Perth was very late, it being the height of the grouse shooting season, and we had a wait of over an hour at the Highland Railway station–Grantown-on-Spey. A great crowd -58- followed us, and there were two outstanding figures in the company whose hearts were Highland and whose hands had the “grip” of true friendship. They saw our train depart.
“Silver In Abundance”
The gentleman who gave us the “silver” as we piped in the village “marketplace” was there, and three or four times he put round his hat, saying “Good piping is well worth paying for.” When he emptied the hat into our “sporran Mollachs” (for we had nae pooches i’ the tartan) I took particular notice that every coin was “Sterling Silver.”
With a hasty shake of that rare fellow’s hand our train departed, for our road lay far ben the deep shadows of the great Cairngorm Mountains, and as the swift chariots moved out of the station we could see, well above the crowd, the slender and lily-white hand of our fair competitor whom we disappointed in the field but a few hours before. Her tender fingers grasped a white silken handkerchief which she waved in the cool Western breeze long after we were out of sight. This was a day of days not be forgotten, for next day the Pipe Major asked me one question: “Was it Cupid’s dart, boy?”
Such is the exquisite charms of –
“Cruinnichidhean Gaidhealach agus Cuimhneachain air Cluich na Pìoba Mòire” -59-
Eilean Donan Castle -60- -61-
Cumha na Cloinne
The Children’s Lament -62- -63- -64- -65- -66- Historical Note on The Children’s Lament
Patrick Mòr MacCrimmon was tall and stately as indicated by the Gaelic word “Mòr,” meaning big or great. He was a famous piper and a diligent as well as accomplished composer of Ancient piobaireachd. This member of the MacCrimmon family had eight sons: all tall and stately like their father. They were born pipers, and many a time there fond parent piped them to sleep under the setting sun as it sank to rest beyond the Western seas. But the messenger of death came and took seven of them away to “The land o’ the leal,” for one Sunday the eight handsome pipers accompanied their father to church and before the end of that year all but one were buried in the church yard at Kilmuir having died of a highly contagious fever.
Patrick Mòr was so overwhelmed by such a terrible blow, the death of his whole family but one, that he composed this touching and heartrending Lament “Cumha na Cloinne.” -67-
Aberdeen -68- -69-
Cumhachd na Pìoba Mòire The Power of the Pipes
MacCrimmon’s sweetheart’s lonely watch was keeping Beside the grave where Boreraig’s piper lay: There she could hear the low-notes softly stealing, While she stood side by the lifeless clay.
MacCrimmon
Many stories are related about the power of the pipe and its music, some of which have been told and retold until they are threadbare.
“The Sick Highlander”
A story which is still fresh in the minds of many is told of the Highlander who became sick in a Midland city, when he was finally taken to a hospital. None of the doctors or surgeons could make out what was wrong with the man. They could not diagnose his disease. They found out his name, however, and the first part thereof was “Donald.” One of the medical men had that same year visited Scotland, and he had been told that the music of the bagpipe could cure almost any illness which a Highlander could take, such as a broken neck or fractured leg.
This young surgeon called his fellow practitioners aside and suggested that they should there and then ask Donald if the music of the Great Highland Bagpipe would do him any good. They all agreed to try the experiment, although some of them thought that it was a barbarous one. They all returned to Donald’s bedside, and questioned him still further in this manner:–“ Have you got any pain, Donald?” “No!” replied he, “she has got no pain whatefer more.” “Strange!” said the young surgeon. “Are you breathless then, Donald?” “No!” replied Donald, “she would pe as full o’ breath as efer she was.” At last the young surgeon thought that he would administer one cure, and he said to the Highlander, “Are you musical, Donald? “Yes!” said Donald, while a faint smile appeared on his face, “put she would not pe so full o’ ta musick as preath.” “Would a tune upon the bagpipes do you any good, Donald?” said the surgeon. Donald turned from his side onto his back and said with another faint smile “she would pe trying a tune upon ta pipes if it could pe got.”
The doctors left the patient’s bedside and sent for a piper. After some inconvenience a piper was located, and he came to the ward and played a piobaireachd to Donald, who chose the longest one that the piper could play. After the piper was about halfway through his tune, Donald got up and dressed, and by the time that the tune was finished he was in a fit condition to leave the institution in company with Dougald, the piper. -70-
Next day, the surgeons called to see how Donald was getting on. “Getting on,” said the nurse, “why, Donald is up and away with the piper who piped him, but a worse calamity has befallen us: all the other patients have died.”
“The Canadian Doctor”
Donald had been “Too Long in This Condition,” and at one period of his existence he exclaimed “Beloved Scotland I Leave thee Gloomy,” and he at once sought another country. Soon after that he emigrated to Canada, and in time he sent home sufficient money to take his mother out to the land of his adoption. The good old woman arrived in the new world, and for a time she took to the surroundings as well as the climate.
At last Donald’s mother took to bed and a doctor was sent for. The doctor came at once, and he soon found out that the old woman was suffering from low spirits. After making some inquiries at the old person as to what might cheer her up, he found out that she had a craving for a tune upon the Scottish Bagpipes. The doctor then asked Donald if he thought that he could get a Scottish piper. “Yes!” Said Donald, “there would pe a piper not fery far away and she will go an’ get her immediately, if not sooner.”
Donald left his mother in the doctor’s charge, and got his friend named MacPherson to come and play upon the pipes. In a very short time both Highlanders returned with the bagpipes. MacPherson then piped in Donald’s garden because he thought that to play in the sick room at the start might produce ill effects. Donald agreed to this proposal and MacPherson struck up his pipes and played a few lively tunes, after which he wondered unconsciously into a piobaireachd, the real music of the pipes.
MacPherson was only getting about halfway into his piobaireachd when Donald came running out to him with a very long face and asked if he could play “The Land O’ The Leal.” “Yes!” said MacPherson, “she can pe playing anything whatefer, put what would pe wrong now, has ta old pody worn away?” “No!” said Donald, she would pe up and doing, put you have killed ta toctor with her piobaireachd.”
“Playing the Pipes in Gaelic”
An English lady living in London had often heard her Scottish friend say that the best maids came from the Western islands in Scotland. The English lady approached her friend with a view to getting a servant girl from the island of Jura. The Scottish friend made enquiries and in the end was successful in procuring a made from the island.
The made arrived in London in due course, but naturally she could speak more fluently in the Gaelic tongue. Although she was not a very good English speaker that was no drawback to Morag, for she had realized the dream of her life in getting into such a great city as London. Time passed on, however, but Morag did not just find London to be what she anticipated. She soon began to long for Jura and the Highland lads there who piped so sweetly upon the great Highland Bagpipe. Day after day passed on and Morag had never heard a note of her beloved music. Indeed, Morag became quite ill, and her mistress did not know what to do with her. -71-
At last Morag told her mistress point-blank one morning that she could not live any longer without hearing the Highland pipe. The mistress was at a great loss to know what to do, as she had no idea of any Scotsman or Highlander in London who could play the pipes, and she herself hated the instrument as well as its music.
To the mistress’s surprise, that very forenoon a wandering piper strode up the great street playing upon the pipes. The mistress was quite unaware of what the piper played, but in a great state of delight she ran downstairs in a breathless condition and brought Morag up to the ground floor to hear the piper playing upon the Bagpipe.
“To No Purpose”
The lady’s excitement and the efforts of the piper working no purpose, even although the lady had tipped the piper with an extra-large silver coin. Moray had wept bitterly that morning with a real longing for the music of the pipe, and although she had just dried her tear-stained face as she came upstairs, she had no sooner heard the first two bars of the piper’s tune, than she at once began to weep again. “Bless my very soul,” said the lady, “what is wrong with you now, Morag? You wanted pipe music and now that you have got it, you don’t mean to tell me that you are still dissatisfied?” “Oh!” said Morag, “it would pe ta pipes all right that she would pe playing, put she would not pe playing them in ta Gaelic.”
Morag came from the home of the pipe where the piper played piobaireachd, and as this man played some broken melodies on an old pipe which he had picked up with which to make a shilling, in reality he piped “in English.” In an instant Morag could tell that the piper was not playing piobaireachd as she had heard it in her native Jura. If the piper played Ceòl Mòr, Morag would have recognized it instantly as playing the pipes in Gaelic and that would have at once satisfied her wistful craving.
“Only Suggestive Power”
These stories only indicate what the genuine piper would call “suggestive power.” More or less they poke fun at the piper, the pipe, and its music, but the genuine power of the pipes will be found in many other cases which bear out the proof of that magic power.
“Piping on Sunday”
Where a piper is kept at the Castle of the Highland laird, playing pipe music is practically all that the piper does. He pipes in and around the castle six days of the week, in the morning, noon and night, but the Sabbath day he has to keep sacred and free from playing upon his pipes. It is sometimes hard to keep from indulging in a skirl o’ the pipe, even on Sunday, and far away in the northern Highlands the piper struck up his pipes as usual (on other days) one Sabbath morning.
“Remember The Sabbath Day”
The laird, who was busy dressing at the time, put his head out at the bedroom window and said “James! Do you remember the Sabbath day?” “No, Sir!” said James, “but if ye whistle the first part of it I’ll play it.” -72-
Loch Maree -73-
“Remember The Sabbath Day”
The laird, who was busy dressing at the time, put his head out at the bedroom window and said “James! Do you remember the Sabbath day?” “No, Sir!” said James, “but if ye whistle the first part of it I’ll play it.”
“Rory MacKay of Gairloch”
Rory MacKay was the first piper who came from the Reay country to Gairloch, and it was the power of the pipe that brought Rory from Reay to Gairloch, as well as probably saving his life.
“The Severed Hand”
John Roy MacKenzie of Gairloch was returning from Tongue House to Meikle Fairy on the Kyle of Sutherland, and he was accompanied by MacKay together with Rory, Reay’s piper, a handsome youth of only seventeen summers.
When they reached the ferry another gentleman was there before them accompanied by a groom, who attempted to prevent anyone entering the boat except his master and his party. As soon as Rory observed what was likely to happen, a scuffle ensued between him and the groom. Rory drew his dirk in an instant, and with one blow cut the groom’s hand off at the wrist.
The laird of Reay at once said to his piper, “Rory! I cannot keep you with me any longer; you must at once fly the country and save your life.” John Roy McKenzie said, “Will you come with me to Gairloch, Rory?” The piper was only too glad to accept the offer.
Surely this is an example of the power of the pipes. MacKenzie was passionately fond of them and his passion for pipe music was so powerful that it brought him his first MacKay piper from the Reay country as well as saving his life.
Rory MacKay was piper to four Gairloch lairds in succession and he died in 1689 in extreme age. Rory had but one son, the celebrated blind piper i.e., John MacKay who was born at Talladale in 1656. John was the well-known figure “Am Piobare Dall,” but he was not blind from birth as some erroneously say. He lost his eyesight when only seven years old through an attack of smallpox.
After mastering the principles of pipe music under his father’s tuition, John Dall was sent to the MacCrimmon college in Skye in order to finish his musical education. Going back to Rory, John Dall’s father, we have had before our day the greatest piping family in Scotland, bar the MacCrimmons, all of which were preserved in limb and wind by the power. Yea! The mysterious power of the pipes.
“The Cave of Gold”
There is a tradition which still lingers by the peat fires of the imaginative West, of the power of the pipes and how the renowned MacCrimmon pipers first secured the mastery and the secrets of harmony through the virtue of a silver chanter bestowed upon them by “The Fairy Queen.” -74-
Near the old college at Boreraig, in Skye, there is a hollow on the edge of a precipice, and to that hollow, still called the piper’s study, the pupils of the college would retire to practice.
While a young MacCrimmon played there one day, there appeared to him the Fairy Queen. She piped to young MacCrimmon so sweetly that her music enchanted his soul. The notes which fell from the pipe of the Fairy Queen were too powerful for MacCrimmon, and he could not leave the charmed spot, so there he lingered for a long time. At last the Fairy Queen handed him a “Silver Chanter,” with which he could charm the otter from the sea, the deer from the hill, and the lark from the sky. But the price of this fatal pre–eminence was the hard and fast condition that after a year and a day the youth must renounce his life on earth, and enter the Fairy Kingdom through the “Cave of Gold.” The disappearance of the young piper was commemorated by a MacCrimmon piobaireachd, now lost and called “The Cave of Gold.”
The above is but another instance of the power of the pipe and its music, even upon a descendent of the greatest race of pipers which the Highlands have ever seen or ever will see.
“The Lament for the Great Eagle”
In the olden days there lived in the Northern Highlands a Golden Eagle of enormous size and great beauty. No person then living knew this birds age. It had visited certain haunts in the wild and precipitous regions of high mountains on the mainland and islands, and was known by the Highlanders abiding there for many generations.
Although the Eagle is the monarch of the air and believed to be the most ravenous and powerful bird which lives, yet this Golden Eagle was never known to have carried away foul, lamb or beast of any kind belonging to the farms or crofts in the vicinity near which it lived. The noble bird was very anxiously looked for at its usual season of visitation by Highlanders who lived in those remote places, and its periodical return was always welcomed by its admirers.
“Untamed Vulture”
The Eagle belongs to an untamed species of vulture, or bird of prey, and it is usually accustomed to roam anywhere and everywhere in its winged flight. No other bird, beast or person can challenge the eagle in any way whatever when it takes its flight up into the heavens. The way of the eagle is untraversed by anything living, thus it is well-named “The Monarch of the Air.” It does as it pleases: sits upon the mountain with its purple heath, perches itself upon the dangerous precipice, and soars up into the heavens to greet the golden sun.
The longest span of life is referred to as “the eagle’s age,” and the eagle is noted for its longevity, but alas, one day this beloved and beautiful bird already described died, and it was sorely lamented by all who had seen it, for those people had become very much attached to it. -75-
“An Air Mark”
Had it been an animal, one could have called it a “Land Mark” (to put it in that particular manner), but being a bird it was well known as an “Air Mark” for miles and miles around the North and West of Scotland, as well as the Western Islands.
“Lament For The Great Eagle”
A famous piper of that period composed a beautiful piobaireachd, which is now lost and entitled “The Lament for the Great Eagle,” in order to perpetuate the birds memory for future generations.
Long after the death of the bird a piper played “The Lament.” The melody was so particularly sad and touching, it is related, that one day as this piper played the piobaireachd an offspring of the great eagle alighted upon the ground beside the piper. The bird was so charmed with the pathetic notes that it picked up and carried away the fragment of the broken pipe upon which the original tune was composed as it lay upon the ground near the piper’s feet. The eagle repaired to its precipitous abode, and stood for a moment gazing into the air with a broken pipe still held firmly in its powerful beak.
At last the eagle soared up into the sky to meet the scorching sun, and finally carried the broken pipe to its aerial abode, and laid it beside its bewildered brood. The parent eagle was said to have told its offspring in its own language the story of the fragment of the broken though once enchanted pipe, which was laid up as a treasured charm of their ancient home.
It is also related that as the soft Western breezes blew through the broken pipe the plaintive notes of the “Lament” could be heard at the setting of the sun, while the great vultures gathered round the spot in order to listen to the enchanted notes. There, it is said, that the broken pipe should live forever as an emblem of peace and beauty, to adorn the lonely and lofty heights of the wild mountainous regions of the Scottish Highlands where dwells the golden eagle in its home of peace and charmed romance.
“Adam Glen”
The music of the Highland pipe had a very powerful effect upon the mind of Adam Glen from the cradle to the grave. Adam Glen was piper to the clachan, and it was his duty to play upon the pipe in the morning and the evening to the entire inhabitants of a small village. Adam was a fine piper and there is still extant a short two-part pipe tune entitled “Adam Glen” which perpetuates his name.
There is also a poem preserved about this worthy piper which goes on to say:
“Pawkie Adam Glen, piper o’ the clachan; When he stited ben, sairly was he pechin.”
This poem was composed to mark Adam’s eighth wedding, and after the ceremony was concluded the poem says:
“Now my callans name the spring; -76-
Ginglin’ John, or onything.” and here Adam took the floor to dance a reel with his newly-wedded wife.
Adam was seven times previously married, and the poem laments his sevenfold misfortune:–
“Seven times his bridal vow, Ruthless fate had broken through.”
And when Adam was accused of marrying his eighth wife he exclaimed with a smile “ae kist comin’ in is worth twa gan oot.”
“The Fairy Piper”
There is still related in the Strath of Don that at a small farm within walking distance of the “Fairy Circle” which lies upon the top of Beinn a’ Chruinnich there lived a family upon a small farm. The farmer went out one evening at dusk with a bridal upon his arm to take in his horse. The Fairy Duns were close by where the horse grazed, and just there, the farmer, who was very fond of piping, heard the finest pipe music that was ever played upon pipes. He was so fascinated with the music that it completely mesmerised him altogether.
He looked everywhere around him to see if he could locate the person who piped so sweetly. At last he came upon an opening upon the side of the “Fairy Dun.” There he could hear a piper playing whose music charmed his very inmost soul, and a great company danced to the music of the pipe.
The farmer was so delighted with the music which he heard and loved so dearly that he at once entered the Fairy Kingdom. He soon forgot all about the outside world, and remained in his new abode for a whole year and a day, during which time the company only danced one dance.
The captive imagined that he had only been absent from home for about an hour. At the end of a year and a day after the man’s disappearance, his relatives found him at the very spot where he was lost with the bridal still upon his arm.
“A MacCrimmon”
Many years ago I had occasion to go up to Glen Rinnes to play at the Highland Gathering there. At the foot of the Ben there lived one of the descendants of the great MacCrimmon of Skye. John, for that was his Christian name, did not play the pipes. He said himself that it was long, long ago since he had heard his forefathers perform their native music in the Isle of Skye. Although John MacCrimmon did not play the great pipe, yet the love of its music dwelt within his soul.
“Highland Hospitality”
This man was so charmed with the music of his forefathers that he extended to me an invitation to spend with him the weekend. MacCrimmon’s house was a simple sheiling which sat at the foot of -77-
Invergarry Castle -78-
“A MacCrimmon”
Many years ago I had occasion to go up to Glen Rinnes to play at the Highland Gathering there. At the foot of the Ben there lived one of the descendants of the great MacCrimmon of Skye. John, for that was his Christian name, did not play the pipes. He said himself that it was long, long ago since he had heard his forefathers perform their native music in the Isle of Skye. Although John MacCrimmon did not play the great pipe, yet the love of its music dwelt within his soul.
“Highland Hospitality”
This man was so charmed with the music of his forefathers that he extended to me an invitation to spend with him the weekend. MacCrimmon’s house was a simple sheiling which sat at the foot of the great Ben, and John himself was a simple man who lived a very simple life, but I could see from his face that he had a keen eye and was the possessor of even more than ordinary intelligence.
After the Gathering was over we had tea in the sheiling and he requested me to play a piobaireachd. This I did, and John listened very attentively. Its effect was instantaneous. At once John’s mind was away back amongst the rocks at Boreraig near Dunvegan.
“Climbing the Misty Ben”
Before darkness fell we climbed the misty Ben, but that was in the cool of the evening in early August. Halfway up the mountainside we passed through a curtain of mist which draped the scene, but at the top the mountain was bare.
As we gazed around us I cast my eye to the golden West, and said to John, “Ah! Surely I can see the ‘Isle of the Mist’ itself, where your great forefathers, the masters of piobaireachd, lie sleeping.” John remained silent for a moment, and at last replied with a slow but doubtful waver in his voice, “Well! I believe that the Isle of Skye, where lies the Castle at Dunvegan and the home of my forefathers, can be seen from here. The great Cuchullins rise up into the sky and cast their dark shadows far into the sea.” We left it at that, but all the same both John MacCrimmon and I still thought that we could see the Island of the Mist; if not in reality, we beheld it in the most vivid eye of imagination which for our interest served the same purpose.
“Love of the MacCrimmons”
I told John that I dearly loved the MacCrimmons and their music and that I had copied many a page of their compositions. He looked at me with surprise, for I was but a boy at that time, and he said that it was so very strange seeing that I had never been in Skye or heard a MacCrimmon play. I admitted that I had never seen a MacCrimmon but still we were linked together by the powerful ties of the music of the pipe. I told him that I was taught to play piobaireachd in the direct MacCrimmon line by one of their pupils.
MacCrimmons face beamed with the pride of ancestry, and ere we left the lofty Ben he said, “Then, you will be able to play ‘Cha Till MacCrimmon’?” And for the moment nothing more passed between us on that subject other than my replying that I played his favourite piobaireachd. -79-
“The Descent”
We descended the mountain slowly, and the scene which lay before us looked magnificent in the extreme. I remarked this idea to MacCrimmon, and my companion said “Yes! The country and surrounding hills look well, but they lack the rugged grandeur that you would find in the Cuchillins. If ever you go to Skye you can compare the two, and see whether or not I am right. There you would see Dunvegan Castle and the ‘MacLeod’s Maidens.’ You would also be interested to see Boreraig, and the pipers leap where John Dall (am piobaire Dall) was pushed over the ledge into the sea.” MacCrimmon had all the love and instincts of his fathers. He only lacked the power to play their music, which he greatly deplored.
“The Sheiling”
We were then within a stone’s throw of MacCrimmon’s sheiling, and he appeared to be unusually restive until we reached it.
No sooner had we entered the humble but comely abode where the peat fire welcomed us even at that season of the year, that John said “Now for ‘Cha till MacCrimmon’; I am longing to hear it.”
“Cha till MacCrimmon”
I got the pipes, and when they were sufficiently steady I played a MacCrimmon tune called “Too Long in This Condition.” MacCrimmon listened very eagerly to the whole tune, but from his face I could see that he expected something more; something greater than a discontented MacCrimmon melody.
The pipe requires to be perfectly steady before an effective Lament can be brought out of it, and when my reeds reached that stage I sounded the first note of “Cha till MacCrimmon.” We were out upon the green sward at the foot of Ben Rinnes, and as I played the first bar of the Urlar MacCrimmon recognised the piece. He sat as still as the green grass under the calm of heaven. His whole soul was moved with the power of the pipes and the sad notes of the “Lament.”
Each note went home to his heart until it began to swell with the surge of sorrow which was moving him to the very inmost core. This was the Lament for one of the greatest of all the MacCrimmons–Donald Ban, who left his beloved Dunvegan with his master at the rising of ‘45. Every note told this descendant of the great Donald Ban’s a part of his life story, and the melody itself bemoaned an untimely death.
As I hiked this mournful tune, I could not help observing that this descendant of the greatest race of pipers that Scotland has ever seen had awakened within him the fond memories of the days of other years.
Indeed, as John MacCrimmon raised his eyes to the great Ben and gazed upon the mighty hill which overlooked us, the great tears crept silently down his weather-beaten cheeks–The notes of the sad Lament had tapped the fount of tears. -80-
“King Edward’s Funeral”
On the 6th day of May 1910, his late Majesty King Edward, who was dearly beloved by his people, and who became known over the most of the world as “The King of Hearts,” died, after his having reigned for a short space of nine years.
His late Majesty was passionately fond of the Highland Bagpipe and its music, and I have had the signal honour of presenting an original composition in the form of a piobaireachd, the classical music of the Highland Bagpipe entitled “His Most Excellent Majesty King Edward Seventh’s Salute,” which his Majesty was graciously pleased to accept from my hand.
“King Edward’s Lament”
I had a sincere desire to record in “Ceòl Mòr” a Lament to perpetuate King Edward’s memory, and his Majesty King George V was also graciously pleased to accept from my hand an original piobaireachd entitled “Lament for His Most Excellent Majesty King Edward VII.”
Surely this is proof that piobaireachd is a Royal art, as it has always been, and is dearly beloved by Kings and Queens of the British throne. His late Majesty had a piper who piped in the early dawn of morning at his Highland home, while after the set of son the stirring notes of the piob mhor gladdened the festive halls of Balmoral Castle.
“Westminster to Windsor”
It was most natural to think that a King who loved the music of the pipe when he was in the noon-day or prime of life should also be lulled to sleep, even in death itself, to the sad and mournful notes of the “Cumha” or Lament.
On the day selected for the carrying of the King’s body to its last resting place at Windsor from Westminster Abbey, thousands upon thousands of leal and true hearted subjects lined the last pathway.
The route was a long a weary one at such a slow pacem as the funeral cortege wended its way to the vaults of Kings and Queens. Brass bands played one after another on the way, and although the people were sad and mourned their nation’s loss, yet they only stood bare-headed with down-cast eyes; but when the pipe band of the Scots Guards struck up and played the heartrending Lament– thousands wept.
“The Power of the Pipes”
Surely this is proof of the power of the most wonderful music of our Highland pipe, for never in the history of our country did so many stalwart men and brave women weep so many tears of genuine heartfelt sorrow.
The wail of the “Coronach” is sad; the sounding of the “Last Post” upon the trumpet of war touches the soft cords of the heart, but the sad notes of the “Lament” awaken the soul to the realisation -81-
Loch Ard -82- eyes; but when the pipe band of the Scots Guards struck up and played the heartrending Lament– thousands wept.
“The Power of the Pipes”
Surely this is proof of the power of the most wonderful music of our Highland pipe, for never in the history of our country did so many stalwart men and brave women weep so many tears of genuine heartfelt sorrow.
The wail of the “Coronach” is sad; the sounding of the “Last Post” upon the trumpet of war touches the soft cords of the heart, but the sad notes of the “Lament” awaken the soul to the realisation of death itself, and as nothing else can do those sad notes open the floodgates of the human heart, while the eye grows strangely dim with tears.
“The Great War”
In France during the Great War, a mother had come from Scotland to see her son’s body being consigned to his last resting place. The poor woman was almost frantic with grief. She was so stricken with sorrow that she could not shed a single tear. During the sad ceremony she struggled through the agony of bereavement and grief. The ceremony at the graveside was ineffectual: the firing party made no impression upon the stricken mother; but when the solitary piper played the “Lament,” she burst into a flood of tears, and wept like a child.
The sad notes of the Lament did as they never fail to do in the hour of sorrow: they loosed the floodgates of the heart and soothed the passion of the ravished soul in the time of sorrow when the flesh of this woman’s flesh and the bone of her bone were torn from a tender mother’s breast.
“The Piper at Loos”
After a heroic siege at Loos our troops had just gone over the top of the trenches and had made a mark upon the enemy’s forefront. Our brave fellows were led on by a heroic piper who piped them into the enemy’s lines.
“Forgot His Pipes”
The piper disregarded all the warnings and pleadings of his comrades. He would have his beloved pipe. That instrument was his chief joy in life as well as in death, and he was, if necessary, willing to make the supreme sacrifice to regain his lost, but treasured pipe.
He at once mounted the parapet and crossed no man’s land right into the enemy’s lines, for there his pipe lay; and when he located it he would rather carry it back in person than wear a “Victoria Cross” itself without it. -83-
“No More Returning”
Like the great MacCrimmon himself, Donald Ban, the heroic piper of Loos was “no more returning.” He sacrificed his life for his great war-pipe and he did not even hear the last sad note to lull him to sleep in death; but in making the supreme sacrifice he exemplified the extreme power which his native pipe and its music had upon him.
Life without his Highland pipe would have been to the piper of Loos only a misery, while he realized that even to a ruthless enemy they were a perfect terror. Surely while this hero sleeps who sacrificed his life for his beloved pipe, it becomes us, his brother pipers, to cherish what he has left behind him for us to enjoy–The Great Highland Bagpipe and its music.
“Personal Experiences”
I have had many personal experiences of the power of the pipes. While I was spending a holiday in a small village in Ross-Shire many years ago now, the people with whom I resided had cows which were tendered upon the pasture by an old man between sixty and seventy years of age.
“Strathspeys and Reels”
While I piped Strathspeys and Reels the old man was brim full of energetic glee, and he even tried to dance a step or two of his national dance, although he was far past the stage of such a youthful exercise.
“Cried Like a Child”
But when I played the “Lament” the old man cried like a child. Indeed, I had to cease piping the sad piobaireachd which possessed so much power and pathos, for it almost broke the poor old man’s heart. I did the same thing upon two different occasions to see whether or not the power of the “Lament” was genuine, and again it proved to be reality. My friends with whom I resided warned me not to play the Lament as it hurt the old man and made him weep.
“Something Uncanny”
Before I left the village, however, the old man came to me very quietly and asked me to play the “Lament” once or before we parted. “There is something uncanny in the music of the pipe,” he said. “Man! It goes to my very heart as no other music can.” I played once more “The Lament For Macintosh,” and while I piped the “Siubhal” the old man turned his back upon me, when a silent tear crept down his pale weather-beaten face.
“The Sleepless Sassenach”
An English lady and gentleman were traveling from London to Inverness by the night mail. In the next carried was a Highlander of the name of Dougal Macintosh, and being in a very lonely mood, Dougal resorted to a tune upon his pipe. -84-
“A Fine Going Tune”
The pipe went magically and Dougal played for almost an hour as it was a non-stop run.
“Could Not Sleep”
The English lady and gentleman could not sleep at all while Dougal piped. They tossed about from one side to another until they reached Inverness. As soon as the train came to a standstill the Sassenachs at once accosted the stationmaster and demanded him to have the carriage wheels greased in future as they could not get sleep for screeching noises.
The couple traveled First Class, and the stationmaster made some investigations as he did not like the complaint.
“A Kilted Passenger”
Just as the stationmaster left the couple, Dugald came up pipe in hand, and the stationmaster accused him of piping on a railway train without permission. “Permission!” said Dougal, “Would she require permission to play her own pipe in a night of loneliness?” “But did you play, Dougal?” said the wiley stationmaster. “What would hinder her?” said Dougal.
“An Apology”
The enraged stationmaster went up to the annoyed passengers and apologised, explaining that the carriage wheels were all right, but at a piper played upon his great pipe in the next compartment.
“My Own Children”
“Music hath charms,” and although many people make this quotation a proverb, yet few believe altogether in the part which constitutes a charm.
“Piped Them To Sleep”
From the age of twenty-eight days to almost twenty years I have piped my own children to sleep every evening.
Six days in the week I have put them to sleep from the time that they were a month old by piping in the same room in which they lay.
“Sleepless Sunday Evenings”
When Sunday came around there was no sleep with them for hours after they were put to bed.
There is no need to complain of hurtfullness in the music of the pipe when a little child can sleep soundly to it a few days old. -85-
“Watchful Wakerifeness”
My boys all slept soundly to my piping every evening until they reached the age of about three years when they began to be less sleepy and more wakerife.
“Their Apprenticeship”
Their piping apprenticeship began in the cradle. At that age they started off by watching how to tune the drones and soon they fell out of the cradle in search of the “Chanter.” Before they reached the age of five years three of them could play “Ceòl Mòr” and fully realized the charms of:
“Cumhachd na Pìoba Moire” -86-
The Eagle and the Chanter -87- -88-
S’fada mar so tha sinn
Too Long In This Condition -89- -90- -91- -92-
Historical Note on Too Long In This Condition
The Highlands and Islands were never in a state of peacefulness even from the earliest times. With the building up of a nation war is an inevitably predominant feature on account of the unsettled state of its early inhabitants.
Many of the Highland chieftains were unwilling to permit the Stuart line to become extinct, and even when Britain was settled down to enjoy peace and plenty under the government of the House of Hanover the clans meditated rebellion.
Here in this piobaireachd Patrick Mòr gives vent to his disapproval of war as he uplifted Dunvegan’s pipe and played “S’fada mar so tha sinn.”
It is one of the most pleasing tunes known in Ceòl Mòr, and it sweet melody is an indication of what better conditions would mean as it calms the Highlanders fears, and rekindles a new hope of brighter days to come: “S’fada mar so than sinn.” -93-
Roslyn Castle -94- -95-
The Great Highland Bagpipe And Its Music
Appendix i
Genealogical Tables of
(A) The MacCrimmons
Hereditary Pipers To The MacLeods of Dunvegan
Dun-Coloured John Donald Mòr Patrick Mòr Patrick Òg 644444444 4 ;444444448 5 5 ))))0))))))))))))), Malcolm John Donald Farquhar 444;4448 ))))))))))))))), 5 Donald Ruadh John Dubh (1795 - 1822). Aged 91 Years
Last of the hereditary Pipers To The MacLeods of Dunvegan Isle of Skye
~ Cha till MacCruimein ~ 1822. -96- (B) The MacKays
Hereditary Pipers to The Mackenzies of Gairloch Taught by the MacCrimmons, Skye
Blind Roderick - died 1689 5 John Dall, Son, born 1660 5 Pupil of Patrick Òg 5 Angus, Son 5 John,Son
(C) The MacKays of Raasay Hereditary Pipers to the MacLeods of Raasay Taught by the MacKays of Gairloch
Roderick MacKay 5 John MacKay, Son +))))))))))0)))))))2))))))))0))))))))), Donald Roderick Angus John
(D) The MacKenzies Pipers to Earl of Breadalbane and Duke of Gordon Taught by the MacKays of Raasay
John Ban MacKenzie - born 1789 Ronald MacKenzie - Nephew Tutor of the Author -97- Appendix ii
Chronological Table
1500 or 1600 A.D. Probable date of MacCrimmons settling at Boreraig, Dunvegan, Skye 1660 John Dall MacKay born about this year 1778 In May the Highland Society of London constituted 1780 The “Falkirk Tryst” 1789 John Ban MacKenzie born near Dingwall 1795 John Dubh MacCrimmon was the last of the hereditary pipers at Dunvegan 1796 John Dubh retired to his native isle 1812 Angus MacKay born at Kyleakin 1814 About - Am Piobaire Ban, Piper to Davidson of Tulloch 1821 Am Piobaire Ban, 3rd Prize H.S.L. 1822 Do , 2nd Prize H.S.L. 1822 Do Appointed piper to Earl of Breadalbane 1822 John Dubh MacCrimmon died 1823 Am Piobaire Ban, 1st Prize H.S.L. Champion 1826 Angus MacKay - prizeman H.S.L. at age of 14 years 1832 Am Piobaire Ban, selected to play the opening Salute at the Theatre Royal, Edinburgh in the great triennial piobaireachd competition, at which the champion was selected 1835 Angus MacKay - 1st Prize H.S.L. 1835 Am Piobaire Ban was gold medalist as Champion of Champions 1838 Angus MacKay published his collection of Ancient Piobaireachd–“The Pipers Bible” 1842 Ronald McKenzie born at Fodderty in Ross-shire 1860 Ronald joined Seaforth Highlanders at the Castle, Edinburgh 1862 Ronald appointed Pipe Major 1863 Ronald won H.S.L. gold medal for playing piobaireachd 1873 Ronald won the prize set of pipes at Inverness 1895 Ronald appointed piper at Gordon Castle 1899 Author won championship gold medal, 3rd V.B.S.H. Pipe Band 1899 Author appointed piper to Abercairny 1916 Ronald McKenzie died, aged 74 1922 Author received H.S.L. medal –Special award of Merit -98- Appendix iii
Table Showing the direct line of the authors tuition with the MacCrimmon School
1. Patrick Og MacCrimmon Dunvegan 2. John Dall MacKay - Pupil of above Gairloch 3. John MacKay Raasay 4. John Ban MacKenzie Breadalbane 5. Ronald MacKenzie Gordon Castle 6. The Author Abercairny
Cuimhnich Mhic Cruimein -99- Index To Chapters
Volume One
1. Tùs is Fàs na Pìoba Móire (The Origin and Evolution of The Great Highland Bagpipe)...... 23
2. Tùs is gleidheadh a Chiùil Mhòir (The Origin and Preservation of Piobaireachd)...... 58
3. Cruinneachadh Ríoghail Bhraigh Mhàir (The Royal Braemar Gathering)...... 91 Volume Two
1. Air ais gu Sgoil MhicCruimein (Back to the MacCrimmon School)...... 23
2. Obair is Eideadh a Phiobaire (The Piper’s Duties and his Dress)...... 81
3. Ceòl Aotrom (The March, Strathspey and Reel)...... 106
Volume Three
1. Eachdraidh a Chuìul Mhòir (The Story of Piobaireachd)...... 22 “Are You Sad?”...... 22 “The Boat Tune”...... 23 “Cheerful Scotland”...... 25 “The Comely Tune”...... 25 “Drizzle On The Stone”...... 26 “Fair Honey”...... 27 “The Fairy Flag...... 29 “ The Finger Lock”...... 29 “The Frisky Lover”...... 32 “The MacKay’s Banner”...... 32 “A Taunt On MacLeod”...... 33 “The MacLeod’s Controversy”...... 33 “The Men Went to Drink”...... 36 “We Will Take The High Road”...... 36 “War or Peace”...... 37
2. Foghlumachadh Pìobaire (The Making of a Piper)...... 49 -100-
3. Aireamh Fhaghta de Piobaireachdan (Classified List of ancient Piobaireachd)...... 77
4. A’ Phiòb Mhòr an Cogadh is an Sith (The Bagpipe and its use in war and peace)...... 97
Volume Four
1. Cruinnichidhean Gaidhealach agus Cuimhneachain air Cluich na Pìoba Mòire (Highland Gatherings, and Reminiscences of Piping...... 22
2. Cumhachd na Pìoba Mòire (The Power of the Pipes)...... 69
3. Appendices...... 95 -101- Index To Piobaireachd
Volume One
1. Fàilte a Mhorachd Ro-òirdhearc Deorsa V gu Caisteal Bhailmoireal (His Most Excellent Majesty King George V Welcome to Balmoral Castle)...... 15
2. Cumha Phadruig Òg Mhic Cruimein (Patrick Òg MacCrimmon’s Lament)...... 53
3. Cha till Mhic Cruimein (MacCrimmon Will Never Return)...... 86
Volume Two
1. Fàilte a Morachd Ro-òirdheirc Banrughinn Mairi do Muchairt Holirud (Her Most Excellent Majesty Queen Mary’s Welcome To Holyrood Palace)...... 15
2. Am Port Leathach (The Half-Finished Piobaireachd)...... 75
3. Sleam Fein an Gleann (The Glen is Mine)...... 99
Volume Three
1. Fàilte a Mhorachd Ro-òirdhearc Eamhar VII (His Most Excellent Majesty King Edward VII Salute)...... 15
2. Iomarbhadh Mhic Leoid (The MacLeod’s Controversy)...... 43
3. Fàilte Thighearna na Comeraich (MacKenzie of Applecross’s Salute)...... 71
4. Fàilte na’n Leòdach (The MacLeod’s Salute)...... 91
Volume Four
1. Failte do am Morachd Rìoghail Diùc is Bain Diùc Eboracum gu Luchairt na Croise Naoimhe (Their Royal Highnesses the Duke and Duchess of York’s Welcome to the Palace of Holyrood House)...... 15
2. Cumha na Cloinne (The Children’s Lament)...... 61 -102-
3. S’fada mar so tha sinn (Too Long in This Condition)...... 88 -103- Index To Illustrations
Volume One
1. The Royal Pipe...... 2 2. The Warning...... 4 3. Dunvegan Castle...... 14 4. Balmoral Castle...... 22 5. Castle Fraser...... 26 6. Highland Targe...... 32 7. Haughs of Cromdale...... 33 8. Paradise on the Don...... 37 9. The Goose...... 41 10. The Fiery Cross...... 43 11. Greenan Castle, Ayrshire...... 46 12. Cawdor Castle...... 48 13. Ben Rinnes and Craigellachie...... 51 14. Dunstaffnage Castle...... 57 15. Castle Forbes...... 61 16. Duntulm Castle, Skye...... 64 17. Holy Loch...... 68 18. Invermark Castle...... 71 19. Loch Long...... 74 20. Highland Sheiling...... 77 21. Castle Grant...... 81 22. Loch Strivon, Clydeside...... 84 23. MacCrimmon’s Sweetheart...... 90 24. The Standard on the Braes o’ Mar...... 93
Volume Two
1. Scone Palace...... 3 2. Dumbarton Castle...... 5 3. Windsor Castle...... 21 4. Eilean Donan Castle...... 25 5. Kilchurn Castle...... 28 6. Drum Castle...... 32 7. Dunvegan Castle...... 37 8. Abercairny House...... 40 -104-
9. Duntroon Castle...... 42 10. Tarbert Castle, Loch Fyne...... 47 11. Prince Charlie’s Monument at Glenfinnan...... 50 12. The Old Bridge Grantown...... 54 13. The Fairy Flag...... 57 14. Glencoe...... 61 15. Edinburgh Castle...... 65 16. Stirling Castle...... 68 17. The Spey at Aberlour...... 72 18. Castle Campbell...... 79 19. Corgarff Castle...... 84 20. Duart Castle...... 88 21. Inverlochy Castle...... 93 22. The Fox and The Bagpipe...... 97 23. Ben Nevis...... 104 24. Loch Broom...... 109
Volume Three
1. Glen Sannox, Arran...... 2 2. The Castle Loch Ranza...... 4 3. Edinburgh Castle...... 20 4. Brae Mar Castle...... 24 5. Gordon Castle...... 28 6. Shepherd’s Sheiling...... 31 7. Ben Lomond...... 35 8. Tolquhan Castle, Udny...... 38 9. Doune Castle, Sterlingshire...... 41 10. Head of Loch Lomond from Glendarroch...... 47 11. Dirlston Castle...... 51 12. Craigellachie Bridge...... 54 13. Fincharn Castle, Loch Awe...... 58 14. The Black Chanter...... 62 15. The Castle Shrine...... 66 16. Brodick Castle and Goat Hill, Arran...... 69 17. Cullen House...... 76 18. Rothes Castle in the Snow...... 83 19. The River Dochart...... 89 20. Linlithgow Palace...... 95 21. Loch a’an...... 99
Volume Four
1. Mountain Loch and Sheiling...... 2 2. The Laird’s Piper...... 4 -105-
3. Palace of Holyrood House...... 20 4. Aboyne Castle...... 24 5. Moy Hall...... 28 6. Bennachie...... 32 7. The Eagle and the Broken Pipe...... 35 8. Dubh Loch...... 39 9. Loch-na-gar...... 43 10. Ben Fion, Ross-shire...... 47 11. The Eagle and the Pipe...... 51 12. Old Brig o’ Dee...... 55 13. Eilean Donan Castle...... 59 14. Aberdeen...... 67 15. Loch Maree...... 72 16. Invergarry Castle...... 77 17. Loch Ard...... 81 18. The Eagle and the Chanter...... 86 19. Roslin Castle...... 93 -106-
A’ Phìob mhór agus a Ceòl
O’shiel nan laoch nach do theich riamh romh nàmhaid, an leig sinne, a ta nar sliòchd dhìubh air dichuimhn’an ceòl sin, a thug fa chomhair bhur n’inntin rì uchd a chath ‘s an tir chein, òirdheirceas beanntan bhur dùchais? An leig sinn a dhith an seann innleachd, na chèile seanachas, iomradh; gloìr; fulangais; aoibhneas; brùn; cuimhn’ agus dòchas ar n-athraichean gràdhach? An do dh’ fhàs ar làithean cho diblidh? An do mhùch saoghaltachd ar n-ur-iarratus, agus an do dhubh e mach clìù na làithean a thriall? Tha spiorad beanntan a cheò ‘gar gluasad gu nithibh is àirde, agus a nochdadh dhuinn nach bi sinn neo-dhìleas dhuim fèin, no dearmad: ach mu’n dileab is leinn mar dhualachas.
Iain Grannd
[The Bagpipe and Its Music
Since the warriors died away that never fled from an enemy, will we, who are their descendants, let that music fall into neglect that kept your minds, in the face of battle in distant lands, on the splendour of your native mountains? Will we neglect that ancient instrument that was the companion of the history, fame, glory, suffering, joy, sorrow, memory and hope of our beloved forefathers? Have our times become so feeble? Has worldliness smothered our original nature, and has it obliterated the glory of past days? The spirit of the mountains of mist is inspiring us to higher things and showing us not to be unfaithful to ourselves or forgetful of that legacy which is ours by birth right.]2
2A Special “Thank You” to Meg Bateman, Sabhal Mòr Ostaig, Skye, for spelling corrections and translation of the Gaelic. -107-