The Harp, by Brinley Richards, Esq.
(from - Y Cymmrodor, April 1877)

Among national instruments of music, the place of honour must undoubtedly be assigned to the Harp; and, although its tones have long since died away in Scotland and Ireland, they are still heard in the country with which its name has been associated from the earliest records of its history. But even in Wales its use has been gradually declining; and had it not been for the patriotic efforts of Lady Llanover, it is probable that "the distinctive instrument of an old and haughty nation, proud in arms", would long since have disappeared. But while compelled to say, in the words of Walter Scott:-
"Receding now the dying numbers ring,
Fainter and fainter down the rugged dell;"
we trust we shall not have to add with him,
"And now 'tis silent all: - Enchantress, fare thee well."

Triple Harp

In writing on the Harp, it is clear we have to deal with the combined subjects of nationality and music; and we preface our paper with remarking it to be somewhat curious, that while strenuous efforts are being made to uphold the national instrument of Scotland, such little interest should be shown in preserving the Harp of Wales. Considered simply as a question of sound, the bag-pipes have claims which, if not musical, are assuredly boisterous. But even in Scotland the pipes were not always in favour. In 1630 the Magistrates of Aberdeen "discharged the common piper going through the town, it being an uncivill forme to be usit within sic a famous burghe". Nor can we wonder at this, if we are to accept a statement in Sir John Dalyell's memoirs of Scotland, "that a bag-pipe in possession of the Duke of Sutherland, during the Rebellion of 1775, was so loud as to be heard eight miles".

Compared with modern instruments, the harp is placed at a disadvantage, in consequence of the expense of stringing and tuning - strings being so easily affected by atmospheric influences. In a debate before the Privy Council on the accession of James I, about quartering the Royal arms, it was decided that the harp of Ireland should be in the third quarter. The Earl of Northampton, who had little affection for the Irish, remarked "that the best reason for the bearing was, that it resembled the country in being such an instrument that it required more cost to keep it in tune than it was worth".

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