The Historical Irish Harp: Myths Demystified
Andrew Lawrence-King, Katerina Antonenko & Natalia O'Shea
Guildhall School of Music & Drama/The Harp Consort/Moscow State University
Abstract
This article presents the work of three scholars from three disciplinary areas, surveying the history of the Irish harp through the lenses of organology and musicology, supported by literary and mythological studies. The historical Irish harp, also known as Cláirseach or Early Gaelic harp, is simultaneously one of the world’s most famous and least known musical instruments. We see it on various romanticised “Irish” flags, on the State arms of Ireland (and indeed, representing Ireland, on those of the UK and Canada), on the Irish Presidential standard and the flag of the Irish province of Leinster, on Irish Euro coins, and painted on the tails of aeroplanes. The Guinness brewing company exports millions of images of the harp, labelling the bottles of its most famous product. But we hear it far less often, and our knowledge of its technical workings is clouded by a mist of repeated half-truths and patriotically inspired legends.
The popular vision of ancient harpers is surrounded by an aura of romantic mysticism, but it is generally assumed that they not only enjoyed the privileges of freemen, but could influence listeners’ emotions with mysterious power. “The only entertainer with independent legal status (soíre) is the harpist… He is expected to be able to play music to bring on tears (goltraige), to bring on joy (gentraige) and to bring on sleep (súantraige)”. Now that the political tensions surrounding such a national symbol have declined, there is a new opportunity for rigorous, international research with full use of modern methodologies. The first step in this renewed research effort should be to abandon any preconceptions, to re-examine some musicological folklore and debunk some cherished myths.