Celtic Harps
An Introduction

Centuries ago Celtic harps were known as a cruit. At this time the term cruit applied to any number of stringed instruments in northwestern Europe. It wasn't until about the twelfth century the term was used for distinctively Irish harps. In the fourteenth century the word cruit became interchangeable with the word "Clairseach", the modern term for Celtic harps. The harps in the twelfth century were constructed differently than the harps depicted on the centuries old high crosses.

From the twelfth century to the present the distinguishing feature of Celtic harps are their robust constructions. These early modern harps had a solid piece of willow hollowed out for the sound box. They had sturdy fore-pillars that curved outwards. If you cut a section of the fore-pillar it was shaped like the letter "T", with the top of the "T" facing out. The body of the "T" was where the upper part of the brass strings were attached with metal pins on the left side. The other ends of the strings were twisted around wooden pegs inside the sound box. It had a deep, heavy neck that was bound on both sides with a metal band. Modern harps look the same, only the construction methods are different, for instance the sound box is now made of multiple pieces of wood.

Before I continue on, a little musical interlude. The video below is Michelle Mulcahey performing "Bimis ag ol" and "The Lark on the Strand". This is nice. She is an excellent harper. There are some good close-ups of her playing.

Enjoy.

The "Brian Boru Harp" is from the fourteenth century. It is the oldest specimen of the native instrument to survive. Let alone one of the few musical instruments to survive intact from all medieval Europe. It is preserved at Trinity College in Dublin. It has been used as a model for the national emblem shown on Irish coins. It was once re-stinged with metal stings to get an idea what the old Celtic harps sounded like. It was played in what is believed to be the old traditional manner with long crooked fingernails. The sound was described as sweet and clear and almost bell-like with the richness of a guitar.

Irish harpers of the twelfth century were considered superior to harpers of any other nation. They were held in high esteem in both political and cultural Gaelic Ireland. The harpers of this period felt there was no need for musical notation of their music. The sound of this music cannot be reproduced as it was, it can only be guessed at. You can only get written descriptions of their music. Giraldus Cambrensis visited Ireland in 1183 and 1185. He describes the music of Celtic harps as quick and articulate, sweet and pleasing. He was amazed at the perfect rhythm maintained while performing rapid fingerwork and the melody preserved during the most complicated rhythm.

By the end of the eighteenth century the lives of harpers took a downturn. The harp was out of favor and almost extinct. Harpers had degenerated to itinerant musicians that played mostly folk airs and the planxies. Many of the harpers of this period were blind. The most famous blind harper was Turlough O'Carolan (1670-1738). He wrote hundreds of tunes, many still played today.

Their are many reasons for this downturn. Beginning with the the English conquers of the 1600's banning harps. This national symbol stirred the native Irish to revolt. The English killed the harpers and burned the harps to surpress any more unrest. In the eighteeth century step-dancing and the fiddle increased in popularily pushing harpers aside. Finally, traditional Celtic harps did not have the range of Classical Orchestral harps needed for the increasing popular classical music.

By the end of the nineteenth century the old traditional way of playing the Irish harp was lost to history.

I'll break this up for you with another video. The following tune is "Si Bheg Si Mhor" written by Turlough O'Carolan performed by Molly Bauckham another excellent harper.

Thanks to harpers like Derek Bell (1935 - 2002) , who played with the Chieftains, the Celtic harp began making a comeback in the late twentieth century. Harpers like Alan Stivell, Anne Heyman, Patrick Ball, Moira O'Hara, Kim Robertson, Alison Kinnaird and others have all contributed to the resurgence of the Celtic harp in the last century. Thanks to O'Carolan you can enjoy the music of the eighteenth century performed by modern players.

I'll leave you with a slide show of a Derek Bell tribute. Derek had kind of a wry sense of humor, as you'll see, when you see the name of one of his albums in the slide show.

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