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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.

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