Union Pipes - Irish Traditional Music Archive

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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.
COURTNEY’S ‘UNION PIPES’ AND THE TERMINOLOGY OF IRISH BELLOWS-BLOWN BAGPIPES 40 Courtenay. Performer on the Union Pipes, most respectfully informs the Nobility and the Gentry, that his engagement with Mr. Daly is expired; and, for the short time he has to stay in this kingdom, will thankfully receive commands at No. 15, Trinitystreet. 117 He was probably successful in receiving private engagements: it is the end of April 1793 before he is back on the Dublin stage, and no evidence has been found that he performed publicly in Cork, Limerick or Kilkenny in the interim. In May the Dublin music publisher Hime is advertising among the ‘New Music... Just published... The fashionable Songs and Airs as played by Mr. Courtney on the Union Pipes in Oscar and Malvina’. 118 Music from the show was also published in Dublin by John Lee. 119 Illustration on following page: As published in Dublin, during Denis Courtney’s visit there, January–July 1793 (courtesy National Library of Ireland) 117 Saunder’s News-Letter, Dublin, 9 Mar. 1793. Trinity Street is in south central Dublin, close to the then Irish parliament buildings and to the Theatre Royal in Crow St, and would have been a fashionable address. It is noticeable that Courtney’s stage name and the new term for his instrument is being used here in an advertisement presumably inserted by himself rather than by Daly. 118 Freeman’s Journal, Dublin, 4 May 1793. Undated copies of the Hime sheet music are in the NLI: Rondo and Favorite Airs as Performed by Mr Courtney (JM 2832, JM 2833, Add. Mus. 7027 with a song from Oscar and Malvina on the reverse of the single sheet). Hime similarly published Three Favorite Marches in Oscar and Malvina (JM 2832) and various songs from the show, and included tunes from it in Hime’s Pocket Book for the German Flute or Violin (JM 5474) 119 An undated single sheet was published by John Lee: The Favourite Airs in Oscar & Malvina Performed by Mr. Courtney (NLI Additional Music 12,401).
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