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28 erthygl ar y dudalen hon

The Musical Instruments of…

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Rhannu

BY D. EMLYN EVANS. The Musical Instruments of the Welsh. It has been previously stated that Giraldus Cambrensis, in hi Description of Wales," enumerates three musical instruments as being in use aUlon the Welsh people in his time, viz., the harp, the pipa, and the crwth. The first, which is the premier instrument, is so weU-nown, and has been so often described and discussed in these columns and elsewhere, that it is in on need of any additional treat- ment at present while the erwth, the second in importance, formed the subject of some re- marks made in our last week's contribution. We are not able to refer to the original term used by Giraldus for the word pipe and the bare word itself supplies but a very indefinite description. Edward Jones in his Rdicks says that the musical instruments anciently used in Wales are five in number the Telyn or Harp, the Crwth or Crowd, the Pibgorn or Pipe. the Tabwrdd or Tabrct, and the Corn Buelin, Cornet, or Bugle Torn a represen- tative of each being very clearly given in an interesting plate Delineated by Ed. Jones," and Kn graved by Thornthwaite. As will be observed, the only pipe referred to is the Pib- gorn or Horn Pipe so called because both extremities were made of horn. In blowing the wind passed through and sounded the tongue of a reed concealed within. It had seven holes, we are told, and measured some ? inches iong the tone being a medium be- tween the flute and the clarinet,and remarkable for its tunelui&ess. t was purely a rural in- strument, peculiar to Anglesey, played by the shepherds to enh.ince the innocent delights of pastoral life and net at all of the class and the pretensions of the harp and the erwth. Evidently more of a plaything than a thing to play on in a gtrictly musical sense. In his in- troduction to the Relicks however—" Hia- toricaJ Account of the Welsh Bards "—Edward Jones quotes Giraldus as referring to the Harp, the Crwth, and the Pipes (in the plural). A considerably later author, Mr Henry Owen. has in his Gerald the Welshman a foot-note to the word pipe to the effect that the bagpipes had been introduced into Wales from Ireland by Griffith ap Conan, lOBO. In this opinion both Carnhuanawc (Rev. Thomas Price) in his "Hanes Cymru (His- toy of Wales) and Thomas Stephens in "Liter- ature of the Kymry" practically agree—the only writei's hitherto, as may be observed in pjng, who have made an effort to handle Ancient Welsh Musical History critically and intelligently. Stephens says :—" It appears to me that we are to refer the introduction" of the pipes among the Welsh to the reign of Gruffydd ab Cynan. In the account of the feast of Cadwgan find no mention made of any but stringed instruments nor yet in the history of the Eisteddfod held under the auspices of Gruffydd ab Rhys in 1135. Up to that date the bgtg-pipes were unknown in South Wales but between 1135 and 1177 they had made some progress in popular ot1inion. The pipes were coming into use, not instead of the crwth and harp.but with the instruments; and we find harpers, violinists (crowthers would have been more exact), and pipers invited to the court of Lord Rhys at the latter date." That would be at Cardigan—" Castell Aber- teivi "—and the function is described as a gwledd (feast or festival). I am strongly of opinion," continues our author, "that the pipes were first introduced here at the Caerwys Eisteddfod and I am further of opinion that the Ysgodawg mentioned.by the biographers of Gruffydd ab Cynan as having won the silver pipe came not from Scotland but from Ireland, as a portion of the Irish people were known by the name of Scots in the 12th!century." We may point out here that in Gruffydd ab Cynan's biography according to the quotation in Carnhuanawc, the reference is not to a silver but a gold pipe—" pib aur." In connection with the above Carnhuanawc observes :—" From this it is obvious that strangers excelled in' the practice of the pipes and it is also certain that the Welsh despised these instruments, nor is there cause for us to blame them on account of their taste for if by this name we are to understand the pipe with the bag, as they are seen in their old mode practised by Scotsmen to-day, and some- times among the Irish there is nothing to create regret that they have stirred the con- tempt of the Welsh people, and that they are now fallen into desuetude" Then he proceeds to produce reasons for his depreciation of the bag-pipes their harsh tone, faulty intonation, harmonic incapacity and uselessness for vocal accompaniment, and ends with the con- reflection that the Welsh nation was fatetf to be possessed of such a complete and scientific instrument as the harp as their national musical organ. Stephens also writes that < The Pipe was Never Greatly Liked Among the Welsh that they treated it with contempt at Caer- wys. the bards always raising their voices against it and that Lewis Glyn Cothie has left us an excellent satire upon a piper among his works." It is pretty evident that the pipes had but a short and that not a merry life in Wale6, other- wise their subsequent influences and their re- eord would have been greater. Dafydd ab Gwilvm's celebrated onslaught on the Delyn Ledr (Leather Harp)—with strings made out nf a dead sheep," and not of his favourite shawn du (black horse hair) is sufficiently well known. But he has only a passing refer- ence once, so far as we know, to the pipe, or piper rather—a subject at least as likely as the noisy mad Irishwoman (one of his de- scriptions of the above harp) to raise his ire in one of his sonnets to Morfudd, portraying the immeasurableness of his sighings to which the blowings of a blacksmith's bellows were as naught and which would lead people .to think that he was a piper (" mai pibydd wyf"). This goes to prove, as we think, the brief exist- ence of the bag-pipes in this country and that at best they only flourished to the limited ex- tent and for the short time they did, in that part of the Principality over which Gruffydd iib Cynan ruled. This, however leads us up to the long-standing and vexed question, to- wards which point we have been aiming throughout indeed, viz., the connection and ^alleged) influence of Irish musicians in the time of ab Cynan on the music and the musical instruments of Wales. That we hope to deal with another time.

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