The Tempestuous History of the Celtic Harp

The beautiful, bell-like tones of the Celtic Harp belie its turbulent history. When you read the following excerpt from Eliseo Mauas Pinto's e-book, "The Celtic Harp", you'll understand why:

"The English warlike power [by the late 15th century] were not only looking for Irish submission. The English insisted on the idea that the Irish were "barbarians"... [they wanted to] eliminate the custom of which kings and gentlemen shared the table with jugglers, harpists and crew members... 

[The above picture] depicts an Irish bard praising the harper (who plays a not very well drawn harp in the lower right hand corner) while the host and chieftain of the Mac Sweynes is seated at dinner. With the gradual weakness of the kings in their sovereign power, the fall of the leadership of the bards and the harpists began by the end of the 15th century. Thus, the harp found refuge in Scotland, where many noble were dedicated to it’s performance, even kings like James IV.

Between 1494 and 1503, extensive companies of harpists settled in the Highlands. Thus the Harp became the national instrument of Scotland. Each clan had its own harpist, but after several years of feudal expansion and fights for the power, the importance of the harp decayed by the end of the 17th century, and gradually it was replaced by the Scottish bagpipes (Highland Bagpipes). Ironically, while the Irish bards and harpists were persecuted and executed and their harps destroyed, Isabel I delighted with harpists at her court, who used to play jigs, strathspeys and hornpipes for her. Times passed by turning even harder.

Between 1650 and 1660, Oliver Cromwell ordered the destruction of harps and organs in both Catholic and Protestant circles. Five hundred harps were confiscated and burned in the city of Dublin alone, and some 2,000 in all Eire. Like the Highland bagpipes, the harp began to gain the status of a “forbidden instrument” and was the origin of revolt against the Crown. Throughout the 17th and 18th centuries, the poetry and music of the bards decayed as a result of innumerable exiles and fears. This deliberate destruction and persecution finished with Oliver Cromwell; soon the Enclosure Laws in Scotland and the extreme hunger in Ireland, would again force these gaelic people to emigrate.

Since the 9th century through the Baroque era, the Irish harp represented the instrument of the upper classes in the Celtic countries. Perhaps this is why some survived to modern times."

--From “The Celtic Harp”, Smashwords Edition, ©2012 Eliseo Mauas Pinto, used with permission (including artwork). 

Interestingly, the harp is recognized as the national instrument of Ireland, appearing on its flag and coins. The harp stands for the struggles Ireland has endured throughout the centuries. 

Special thanks to my friend and wonderful harper, Eliseo Mauas Pinto, for his guest blog post. Share your love of Celtic culture, Celtic music, and Celtic harps, too! Contact me if you'd like to be featured as a guest blogger, contact me through the email address on my website at CelticHarpMusic.com.

About our guest blogger: Eliseo Mauas Pinto was born in Buenos Aires, Argentina. He took knowledge of the Celtic world at the age of twenty, motivated by his love for literary and musical subjects. He was the first to introduce the Celtic Harp and Celtic Festivals in Argentina. As a writer, poet, musician and reviewer, he has published printed books in Spanish, Galician and Asturian languages, enlisting some new works on eBook formats. Visit his Celtic Sprite blog.

The Secret to a Relaxing Road Trip--Turn the Harp Music On

Anne Roos Playing in County Galway, Ireland

As a Celtic harpist performing for decades (feels like a gazillion years), I completely agree with guest blogger, David Drasnin--Here, he shares his love of harp music and a wee bit of harp history, too. Go to my website to sample the sound of this wonderful instrument, and if you still aren't convinced, read David's travel thoughts:



"People throughout the ages have always been fascinated by the idea of a trip, a journey. Perhaps it was centuries ago, when the first ships sailed off to conquer unknown lands, often taking musicians on board. Or maybe it was that nice weekend road trip you've planned, taking along your favorite CDs. Music is always part of the human experience.

If you are looking for relaxing music for the road, I think Irish harp music is an excellent choice.

Even if we take a closer look at history, it is obvious that harp players were always bound to the road, ever since Medieval times, when many bards played harps. Originally, the bards were poets, usually hired by a nobleman, in order to commemorate a special event while also providing a form of entertainment for himself and his guests. Later, for political and social reasons, the role of the bard was to travel about the land. One of the most notable of was Turlough O'Carolan, a blind harpist bard of the 17th century who traveled throughout Ireland to share his music. He is considered a prominent national Irish composer.

Today, you can take the bard along with you, just as travelers have done throughout the centuries. No wonder music works so well on a road trip.

For me, there is nothing more pleasant than listening to the magical, soothing sounds of an Irish harp while on the road. It almost seems incongruous to link the mechanical power of a car with traditional Irish harp music, which comes as if from the depths of time itself, almost out of place with the modern world. But I think that this is precisely the beauty of it--Celtic harp music evokes images of the world from centuries ago, and when I listen to such music, I imagine the atmosphere, the sights, and the colors of that world, as described in books I have read. This very mixture of the past and the present is what fascinates me. It's as if listening to the sounds of an ancient instrument heard many years ago makes everything fall into place. It's as if in a single moment, on the road, you know you are going exactly where you are supposted to go, as if you are travelling on the right track.

If this hasn't convinced you to listen to harp music in your car on your next road trip, just go online and search performers of this exquisite instrument. You'll see how music by harpers like Alan Stivell, William Jackson, Loreena McKennitt, Patrick Ball, and Anne Roos can enhance your travels."

--Special thanks to David Drasnin, a frelance writer and a sworn music fan from London. He loves talking about cars and his favorite tunes. Fortunately, while he is drafting vehicle towing articles, he also dedicates his free to creating entertaining articles about his true passions--cars and music.



Would you like to share your love of Celtic culture, Celtic music, and Celtic harps? I'm always happy to feature guest bloggers. Contact me through the email address on my website at CelticHarpMusic.com to submit your article.

Ireland's Cherished Emblem

A contemporary “lever”, or “Neo-Celtic,” harp at The Cliffs of Moher, County Clare.
Photo 2008, by Audrey Nickel

Have you ever wanted to know more about the Irish harp? The folks at Bitesize Irish Gaelic just posted a wonderful little article that explains it all, complete with videos, too. What kind of harp is the true traditional harp of Ireland? How far does it date back in history? Find out about the true harp of Tara in their fabulous article. 

A Bit of Irish Harp History

From Guest Blogger and wonderful Celtic harpist, Eliseo Mauas Pinto, here is a brief history of the Celtic harp. This is an excerpt from his article, "Why the "Trinity Harp" is also known as the "Brian Boru's Harp?":



The "Brian Boru" harp, now at Trinity College, Dublin, bears the coat of arms of the O'Neills but although there are many theories about its ownership through the centuries, none can be substantiated, with no verifiable evidence remaining to indicate the harp's original owner, or subsequent owners over the next two to three hundred years until it passed to Henry McMahon, of Co. Clare, and finally to The Rt. Hon. William Conyngham, who presented it to Trinity College in Dublin in 1760.

Throughout its history the harp was in the possession of of many people some of which were kings.

Related Harps

The Trinity College harp is currently displayed in the long room at Trinity College Dublin. It is an early Irish harp or wire strung cláirseach. It is dated to the 14th or 15th century and along with the Queen Mary Harp and the Lamont Harp, is one of the only three surviving medieval Gaelic harps.

Related to the Trinity College Harp, there are two greatest medieval harps of Scotland, the "Queen Mary" and the "Lamont" harps. Both kept in the National Museum of Antiquities in Edinburgh.

Both “low headed” Celtic harps date from the 15th Century, and each is from a single piece of wood, possibly hornbeam, hollowed out from the back. The Lamont harp, which is unadorned, is the larger harp at 37 ½ “, with 32 wire strings.The Queen Mary is ornately carved with intricate designs, including griffins, a lion, a dragon and a unicorn, almost 31” high, with 30 wire strings. 

The Trinity College harp is the national symbol of Ireland, being depicted on national heraldry, Euro coins and Irish currency. A left-facing image of this instrument was used as the national symbol of Ireland from 1922, and was specifically granted to the State by the Chief Herald of Ireland in 1945.

A right-facing image was registered as a trade mark for Guinness in 1862, and was first used on their labels in 1876.

All three surviving Gaelic harps (the others are the Lamont Harp and the Queen Mary Harp) are considered to have been made in Argyll in South-West Scotland sometime in the 14th-15th century.