Union Pipes - Irish Traditional Music Archive
Union Pipes - Irish Traditional Music Archive
Union Pipes - Irish Traditional Music Archive
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COURTNEY’S ‘UNION PIPES’ AND THE TERMINOLOGY OF IRISH BELLOWS-BLOWN BAGPIPES 22<br />
violinist Dieudonné Pascal Pieltain, 60 are well established London<br />
favourites. On the eve of the concert a further burst of publicity is<br />
employed: the full programme for the night is given in an extended<br />
advertisement. It will be a performance for listeners, free of the<br />
vulgar associations of bagpipes, and presented in terms of<br />
contemporary classical music, but at the same time novel. It will be<br />
supported by members of the nobility, who are probably the<br />
members of the Highland Society of London for whom he had lately<br />
played. The first half will feature ‘Concerto <strong>Union</strong> <strong>Pipes</strong>, Mr.<br />
Courtenay (being the first ever attempted on that instrument)’; the<br />
second ‘Maggy Lawther, with new variations, by particular desire of<br />
some noble personages, on Mr. Courtenay’s <strong>Union</strong> <strong>Pipes</strong>’. It is not<br />
explained what ‘<strong>Union</strong> <strong>Pipes</strong>’ are, 61 but Courtney had received a<br />
considerable build-up for his debut.<br />
The promotion was highly successful. According to an anonymous<br />
reviewer in The Times of London on the morning after the concert:<br />
Last night Mr. Courtney introduced a new species of music to the<br />
public, called the <strong>Union</strong> <strong>Pipes</strong>, being the Scotch and <strong>Irish</strong> Bagpipes<br />
united; and he performed Maggae Lawther, with its<br />
variations, on it with great success.’ 62<br />
Not quite everyone in the audience however was impressed with the<br />
music of the pipes. John Marsh, an English composer, recorded that<br />
60<br />
For Pieltain see Highfill et al.: 11, 306.<br />
61<br />
I had formerly thought (Carolan 2004: 21–3) that the instrument was already<br />
familiar to British audiences since no mention was made of the novelty of the<br />
term (or of the instrument), and that earlier examples of it would be found in<br />
print. Although earlier examples of the term may yet be found, I now think that<br />
the absence of explanation was an advertising ploy.<br />
62<br />
Issue of 15 May 1788 (reference courtesy Terry Moylan). The form of<br />
Courtney’s name used here is interesting: the writer clearly knew that it was<br />
really ‘Courtney’ in spite of his newspaper’s advertising.