Union Pipes - Irish Traditional Music Archive

39 COURTNEY’S ‘UNION PIPES’ AND THE TERMINOLOGY OF IRISH BELLOWS-BLOWN BAGPIPES
Much as we had heard of him, the reality exceeds all expectations,
indeed nothing but hearing him, and to that all listen with avidity,
can convey any adequate idea of his extraordinary merit. His
brilliancy of execution, the elegance of his shake, and his delicacy,
yet truth, of tone, are the universal themes of applause; but his
pathetic impression which melts every heart with sympathising
feelings is not to be told... 111
Even allowing for the hyperbole of these puff-pieces, which was
probably management-inspired, it is clear that something out of the
ordinary was being heard on stage in Dublin, and that Courtney had
helped Daly fill his 2,000-seater venue. London was kept informed
of the latest success: ‘Courtney, the Irish Piper, is performing... in
Ireland... and is as much followed as Haydn’. 112
As early as 11 January 1793, while Oscar and Malvina continues its
Dublin run, Courtney is also continuing his London practice of
entr’acte theatrical performance, and is playing for dancers in an
intermezzo: ‘A favourite Pas de Deux and Reel by Mr. Lassells,
Master Lassells and Mrs. Parker accompanied on the Bagpipes by
Mr. Courtney’. 113 In February, after Oscar and Malvina had finished
its run on 31 January, 114 ‘a Grand Concerto on the Union Pipes, by
Mr. Courtney’ is advertised for after the second act of The
Conscious Lovers, 115 and in May ‘a celebrated Rondeau on the Union
Pipes, by Mr. Courtney’ during the play Wild Oats. 116 He is also
open to private engagements:
111
Hibernian Journal, Dublin, 11 Jan. 1793.
112
Morning Post, London, 18 Jan. 1793. Joseph Haydn and his ‘London’
symphonies had caused a sensation there in 1791–2.
113
Hibernian Journal, Dublin, 5 Jan. 1793.
114
Saunder’s News-Letter, Dublin, 31 Jan. 1793.
115
Freeman’s Journal, Dublin, 28 Feb. 1793.
116
Freeman’s Journal, Dublin, 30 Apr. 1793.