Oidhreacht Dhonncha Uí Ámhsaigh: The Legacy of Denis O’Hempsey

The Downhill @ Guinness. Photo by Sue, August, 2009.

Well here is a rare opportunity to see several of the world’s best harpers perform.  As you’ll see in my previous post, TG4, the Irish Language TV station, created a documentary on the legacy of the mysterious blind harper, Denis O’Hempsey, who was an old man back in 1792 when Edward Bunting noted down the music he and several other harpers played at that last great gathering of early Irish harpers.


Take a look at each of the three parts of the film.  The coverage is a little bit choppy, and cuts  back and forth between the performer on stage and the small talk of the participants behind the scenes, preparing for their turn to perform.

Who will you see?  Ann Heymann plays Feachain Gleis on a Downhill replica, which I understand from Michael Billinge was made by Jay Witcher.   Her gorgeous Kortier Trinity is also on the stage, but unfortunately, whatever she played on the Trinity was not included in the film.  Alison Kinnaird plays her handsome Lamont replica, made, I believe, by Bob Evans.  Paul Dooley and Laoise Kelly both play clarsachs made by Dooley, as far as my eye can tell.  Two Breton harpers, Alan Stivell and Myrdhin, play more modern instruments, but are a pleasure to watch.  I was thrilled to see Alison Kinnaird play for the first time.  That was rather exciting.  The Downhill replica played by Nollaig Brolly was made by Seamus O’Kane, and is a handsome thing.  Take a look at this article from the Derry Journal to learn a bit more about the project.

It’s  fun to look at everybody’s styles up close, and appreciated having a close-up look at their manicures.  I was amused to see one of the harpers working on his nails before the concert.  We can all identify with him.

Special thanks to Karen Loomis, who mentioned the broadcast in the first place, and to Michael Billinge for further information about the film he was central to creating.  With good wishes for the end of the year,


More on Banríon an Cheoil: the Harp Recital in Belfast, Nov. 2009

Thanks to the sharp eyes of friend and doctoral research student Karen Loomis, I understand that TG4, the Irish language TV station, has presented a program this evening showing a number of the participants in the November 2009 Belfast harp recital.

The harpers include some of the luminaries, such as Ann Heymann and Alison Kinnaird. Several months ago TG4 released a documentary on a lever harp player, Nollaig Brolly, who sought to recreate the music of Denis O’Hampsey by learning to play a replica of the Downhill Harp.  Here’s the original post.  If you’d like a quick look at a video that includes an Irish language interview with Brolly, and shows, most interestingly, O’Hampsey’s grand Downhill being removed from its glass prison at the Guinness Brewery in Dublin, I’d recommend this short clip.  Remember that Brolly is a lever harper, as you can see from her hand positions when she plays the replica.

As soon as TG4 posts the concert documentary, I’ll add it to this blog. After all, I’m extremely eager to see the harpers, and to hear their choices of music. To learn more about the Belfast Harp Festival in 1792, here is a helpful link provided by Simon Chadwick. He’s added some downloadable PDF links if you’d like to take a look at Edward Bunting’s published works inspired by his transcription of the music at the festival.

For some in-depth information about the Downhill harp, here’s a good starting point.  You might also take a look at Armstrong’s chapter on the Downhill.  Take a look to the right at the link for Armstrong (it’s a very big PDF file–you’ve been warned).

Solstice good wishes,

New Documentary on the Downhill Harp

Banríon an Cheoil is a new documentary that follows lever harp player and singer, Nollaig Brolly, as she seeks out information about the Downhill harp and the technique required to play it. The Downhill (see the photo below) is a high-headed Irish harp that was once owned and played by the venerable Denis O’Hampsey, who seems to have lived to an extraordinary age that spanned three centuries. He is one of the fine old players who performed at the Belfast Harper’s Festival in 1792, and thanks to Edward Bunting, we have a good deal of information about what he played, and some of his terminology and techniques.

The Downhill @ Guinness. Photo by Sue, August, 2009.

Banríon an Cheoil is a pretty story, and traces Brolly’s interactions with a team of luthiers, and a wide range of harpers as they seek to reproduce the Downhill harp, and Brolly prepares to learn to play it in a concert. Some of the harpers that Brolly visits in the course of her inquiry include the great Scottish player Alison Kinnaird, and Bill Taylor of Ardival Harps in Strathpeffer. Locally, Brolly works with Paul Dooley, who gives her some lessons on his own instrument. Farther afield, Brolly visits with Myrdhin and Alan Stivell to learn about the Breton revival of the instrument.

The sections of the documentary that show the decisions of the harpmakers as they encounter various structural problems (cracks in the wood, soft wood pulp in a structurally important part of the instrument, and a change of plan from alder to willow) are interesting to watch. I enjoyed the filmed interactions with a number of well-known contemporary and a few historical players. It is impossible in an hourlong film to do justice to a subject of this size in any sort of depth, so the film is comprised of short snippets that juxtapose the harpmaking process with Brolly’s practicing for a concert scheduled for six months down the road. The concert’s invited performers represent a wide range of players and styles, some of whom are historical players, but many are not. I was glad to see Ann Heymann among them. In any case, judge the film for yourself.

Banríon an Cheoil appears on TG4, the Irish language television station. Be sure to check out the links to each of 3 parts.

Anecdotally, I felt rather sorry for the actual Downhill harp when I saw it at the Guinness Brewery in Dublin in the summer of 2009. It is housed in a large commercial building, under hot lights, and assailed by loud music and heavy tourist foot traffic hour after hour. The conditions are very far from dignified when one reflects on the rather grand history of this elegant old instrument that is in excess of 300 years old. –Sue

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