D

Y Cymmrodor.

PART II-APRIL 1877.

THE HARP.

BY BRINLEY RICHARDS, Esq.

AMONG national instruments of music, the place of honour must undoubtedly be assigned to the Harp; and, although its tones have long since died away in Scotland and Ireland, they are still heard in the country with which its name has been associated from the earliest records of its history. But even in Wales its use has been gradually declining; and had it not been for the patriotic efforts of Lady Llanover, it is probable that "the distinctive instrument of an old and haughty nation, proud in arms", would long since have disappeared. But while compelled to say, in the words of Walter Scott:

"Receding now the dying numbers ring,

Fainter and fainter down the rugged dell;"

we trust we shall not have to add with him,

"And now 'tis silent all :-Enchantress, fare thee well."

In writing on the Harp, it is clear we have to deal with the combined subjects of nationality and music; and we preface our paper with remarking it to be somewhat curious, that while strenuous efforts are being made to uphold the national instrument of Scotland, such little interest should be shown in preserving the Harp of Wales. Considered simply

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as a question of sound, the bag-pipes have claims which, if not musical, are assuredly boisterous. But even in Scotland the pipes were not always in favour. In 1630 the Magistrates of Aberdeen "discharged the common piper going through the town, it being an uncivill forme to be usit within sic a famous burghe". Nor can we wonder at this, if we are to accept a statement in Sir John Dalyell's memoirs of Scotland, "that a bag-pipe in possession of the Duke of Sutherland, during the Rebellion of 1775, was so loud as to be heard eight miles". Compared with modern instruments, the harp is placed at a disadvantage, in consequence of the expense of stringing and tuning-strings being so easily affected by atmospheric influences. In a debate before the Privy Council on the accession of James I, about quartering the Royal arms, it was decided that the harp of Ireland should be in the third quarter. The Earl of Northampton, who had little affection for the Irish, remarked "that the best reason for the bearing was, that it resembled the country in being such an instrument that it required more cost to keep it in tune than it was worth".

The purpose of this paper, however, is to attempt a sketch of the harp in its national and historical aspect, rather than in reference to its music; for it is probable that all stringed instruments which have not the means of sustaining sounds like a violin, must in time give place to others more in accordance with the requirements of modern art; and, considering the immense changes that have taken place in the construction of instruments, it is not altogether improbable that even the pianoforte and the harp will at some future period be considered of little value except as curiosities of ancient art. Harps of some kind appear to have been known to most nations, even to the Saxons and the Danes, as well as to the Irish, the Scotch, and the Welsh. There are ample proofs of the popularity of the harp; and that the art of playing

it was cultivated by persons of the highest rank. This is placed beyond doubt by many historical facts. When King Alfred reconnoitered the Danish encampments in 875, he was disguised as a minstrel; and the same thing occurred many years later when the Danish King, Aulaff, explored the camp of Athelstan. It is related that he took his harp among the Saxons, and played with such skill, that he was at once admitted to the Royal pavilion. From this, it is evident that the harp at that time was small and of light weight, as it was so easily carried about by the player. In attempting to sketch the history of such an ancient instrument, it is difficult to discover what was meant by the term "harp", since it was used to describe all kinds of instruments, however unlike they may have been to our own, except that the sounds were produced by means of strings formed of sinews, silk, hair, or wire. It is evident that the ancient Gauls and Britons were familiar with the harp; but whether this was the identical instrument which has since been recognised under the appellation of the 'harp', it is impossible to say. Diodorus Siculus (who lived in the time of the Cæsars, Julius and Augustus) informs us "that the Gauls had amongst them composers of melodies whom they called bards, and that they sung to instruments like lyres". Vague as is the expression instruments like lyres", yet, when in conjunction with it a few hundred years afterwards, we find the harp in the hands of their Celtic successors, the bards of Wales, Ireland, and Scotland, we see that the harp, rude in construction and with few strings, was probably the instrument spoken of by Diodorus. If it be true, that the Welsh, Irish, and Scotch people all descend from one Celtic origin, it may account for the fact that the harp was familiar to each nation. It is equally clear, notwithstanding the assertions of some historians, to which I shall again refer, that the Britons were acquainted with music and its instruments at a very remote

period. Blegwryd ab Seisyllt, who was King of Britain about 160 before Christ, is said to have been a celebrated musician and performer on the harp; "therefore he was called the God of Music". The ancient laws of Wales mention the harp as one of the indispensable accomplishments of a gentleman. They enumerate three distinct kinds of harp:'Telyn y Brenin,' the harp of the king; 'Telyn Pencerdd,' the harp of a master of music; and 'Telyn Gwrda,' the harp of a gentleman. Nevertheless, it is asserted that all instruments in use among the Welsh were derived from Ireland. Welsh writers, however, state that the harp was invented by Idris Gawr; but, as he lived no earlier than the fourth century, this must be an anachronism. In the Welsh Triads it is written "that Idris, the champion, invented the harp; and that the three imperial performers were King Arthur, Glewlwyd Gavaelvawr (brave Grey with the powerful grasp), and Crellan, bard of the harp to Prince Gruffydd ab Cynan". However great the reliance we place on the Welsh Triads, there is evidently a mistake here. King Arthur died about 572, and Gruffydd ab Cynan was not born until centuries after. It is also clear that the bard Crellan could not have been contemporary with Arthur, as he fell in battle in the eleventh century, when fighting under the banners of his prince. Neither can we accept the theory that the aboriginal Britons had the harp prior to any other nation except the Hebrews'. If we are to believe that the harp is an Irish invention what becomes of the account the Bible gives, "Jubal was the father of all such as handle the organ and the harp"? Mr. Beaufort, in his Essay on the Harp, informs us that even the Welsh admit the harp to be of Irish origin. Mr. Pennant, however, is inclined to think, that if it is not British, "they had it from the Romans". Unfortunately for this, there is no proof that either Greeks or Romans were acquainted with it; nor is it to be found on their sculpture or coins, or in their

paintings. If we admit that the harp was as popular in Ireland as in Wales, what are we to believe of Scotland, “which excelled even Ireland"? Giraldus, after describing the wonderful skill of the Irish harpers, says, "In the opinion of many, however, Scotland has not only attained to the excellence of Ireland, but has, even in musical science and ability, far surpassed it; insomuch that it is to that country they now resort as to the genuine source of art". This evidence is of no value whatever. Giraldus never visited Scotland, and merely wrote from hearsay. Whether the Scotch were really familiar with the use of the harp or not, the old historian, John Major, states that it was a royal accomplishment (Annals of Scotland, 1521). In enumerating the talents of King James, he says: "Musicus artificiosus, nulli secundus, in Cytharâ. Tanquem alter Orpheus, Hiberenses aut Silvestres Scotos, qui in illa arte præcipui erant, exsuperabat". (He was a skilful musician; second to none on the Cythara. As though he had been another Orpheus, he excelled the Irish or Highland Scots, who are esteemed the best performers on that instrument.) In a work called "Certaine Matters concerning the Realme of Scotland, 1597, we learn something of the manner of stringing and playing: "They (the Scotch) delight much in musicke, but chiefly in harpes and clairschoes of their own fashion." The harps were strung with sinews, as in Wales, and the clairschoes with brass wire, "which strings they stryke with their nayles growing long". This at once proves the use of two distinct kinds of harp; but what these really were, it is difficult to imagine. Probably there was as great a difference between ancient and modern harps as between the old Citole and a modern' Broadwood'.

In former days it was the custom in Scotland, as in Wales, to have harpers at the head-quarters of the army; and the Earl of Argyle had his own harper with him at the battle of Strathaven, October 3rd, 1594. On that occasion, we learn