Tag Archives: Bagpipes

A history of early bagpipes

A bagpipe is an aerophone instrument with one or more sounding pipes, each with a single or double reed. The pipes are made to sound by air from a wind container in the form of a bag, which is pressurized by the arm of the player (usually the left one). The wind container is fed either directly from the player’s lungs via a blowpipe or indirectly via bellows. In many languages ​​the bagpipe is simply referred to as a pipe, such as the northern Italian piva (pictured above), Celtic bagpipes such as pìob mhór (large pipe), or the Estonian torupill (reed pipe).

The origins of the bagpipe are mostly unclear. Some have claimed that the instrument originates in western Asia, referencing similar instruments in Nebuchadnezzar‘s orchestra in ancient Babylon or mentioned by Aristophanes in Lysistrata (instruments with a wasp-like sound). Others have suggested that bagpipes originate in the hornpipes of North Africa and the Middle East—for instance, the Arabian instrument mizmār al-girāb, which dates to the 11th century.

A torupill player from Estonia.

European bagpipes were alluded to in texts as early as the 9th century, but certainly by beginning of the 12th century in German manuscripts. The earliest bagpipes typically consisted of a bladder made from whole sheepskin (or goatskin) cut, shaped, and sewn together. Iconographic representations of bagpipes became more common from the 13th century onward, and bagpipes were played in both court and urban areas of England, Ireland, Wales, France, and Germany.

Bagpipe Appreciation Day is on July 27, celebrate it by reading the entry on bagpipes in MGG Online.

Below are videos featuring performances by an ensemble featuring the Estonian torupill bagpipe and the Celtic pìob mhór by Ali Turner.

Related posts in Bibliolore:

https://bibliolore.org/2023/03/10/five-illustrated-bagpipes-in-musical-instruments-and-their-homes-an-insight-into-the-19th-century-instrument-collectors-world/

https://bibliolore.org/2013/06/24/the-sultans-bagpipes/

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Filed under Instruments, Popular music, World music

In Extremo and Walther

Recent interchanges between medieval music and heavy metal open new perspectives on historically informed practice. A comparison of recordings of Walther von der Vogelweide’s Palästinalied by Thomas Binkley, Paul Hillier, and In Extremo illuminates how historic orientation and its inherent sense influence performance aesthetics.

This according to “Gothic und HIP: Sinn und Präsenz in populären und in historisch informierten Realisierungen des Palästinalieds” by Konstantin Voigt (Basler Jahrbuch für historische Musikpraxis XXXII [2008] pp. 221–234). Above, a portrait of the great Minnesinger; below, In Extremo’s historically informed rendition of Walther’s celebrated work about the Crusades.

Related article: Advanced musicology

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Filed under Curiosities, Middle Ages, Performance practice, Popular music, Reception

The D-Day piper

Bill Millin was a 21-year-old private in Britain’s First Special Service Brigade when his unit landed at the front chosen by the Allies for the invasion on 6 June 1944. He was approached shortly before the landings by the brigade’s commanding officer, who asked him to play on the beachhead to raise morale.

While German troops raked the area with artillery and machine-gun fire, Millin marched and played as his fellow soldiers advanced on the German positions through smoke and flame, or fell on the beach. The scene provided an emotional high point in Darryl F. Zanuck’s film The longest day.

This according to “Bill Millin, Scottish D-Day piper, dies at 88” by John F. Burns (The New York times, 20 August 2010). Above, Millin entertains his colleagues a few days after the momentous battle; below, the sequence from The longest day.

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Filed under Curiosities