Harp of Gold

Cruit go nÓr - Harp of Gold
Ann Heymann, et al.
Clairseach CMCD 0706


  1. 15th c. Irish (Trinity College MSS 78 & 80): Virgo sancta Brigida (w/ vielle, percussion)
  2. Cormac McDermott, c.1600: Schock.a.torum & Masque (w/ flute, lute, viol)
  3. Early 17th c. Scottish (Straloch lute MS): Woe Betyde Thy Wearie Bodie (w/ lute)
  4. Trad. Irish (Bunting MS 29): Conchubhar Mhac Coiréibhe (w/ voice)
  5. 14th c. Italian: Lamento di Tristan & La Rotta (w/ vielle)
  6. Medieval Welsh (ap Huw MS): Kaniad San Silin
  7. 17th c. Scottish (Wemyss lute book): Port Robart (w/ voice)
    Medieval Irish (Bunting MSS): Airrgeann Mór (w/ voice)
  8. Ó Catháin, c.1600 (Maclean-Clephane MS): Port Ballangowne / Is eagal leam am bas / Jig
  9. Late 16th c. Irish (Ballet Lute Book): Cailín ó Chois tSiúre mé (w/ lute)
  10. Early 17th c. Scottish (Daniel Dow, Antients Scots Music): Cumha Ioaria Wigton
  11. Early 17th c. Scottish (Straloch lute MS): Canaries (w/ lute)
  12. 18th c. Irish piobaireachd (MacArthur-MacGregor MS): Cumha a' Chléirich
  13. Early medieval Irish (Canntaireachd MS): Sith co nemh (w/ brass candlestick, voice)

Performers: Ann Heymann (gaelic harp), Charlie Heymann (voice, percussion); Ronn McFarlane (lute), Julie Elhard (vielle, viol), Laura MacKenzie (flute)

Playing time: 60'

Production date: 2006

This recording is documentation of Ann Heymann's research into the original stringing of the gaelic harp (cláirseach). Here, the harp is strung with 18-carat gold strings in the bass, with silver in the midrange and brass in the treble. The use of gold strings is argued to solve the mystery of the inconsistent bass tone in an instrument seemingly otherwise perfected.

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Todd M. McComb