Today’s post will be a review of Karen Marshalsay – Eadarainn á Chruit: Between Us the Harp. And I have to give you the heads up, this album is an absolute gem; an exquisite journey through Scottish Gaelic music and beyond.
What’s the album about?
This is a glorious album of traditional tunes, melodies associated with Robert Burns, Music from Gaelic and Irish traditions, alongside items from the Scottish lute manuscripts. I particularly enjoyed the music from the Scottish lute manuscripts, as the traditional harp made the music sound like a snapshot from times gone past.
I don’t need to explain or describe the songs in depth, as Marshalsay provides detailed liner notes on her website, so please take time to have a gander here. I especially loved Uamh an Ǒir. Her voice really took me back to distant times…
Music of the people
As well as a wide range of instruments and style, Marshalsay is a valued and highly experienced musician, having collaborated across the years with many musicians, within many projects. I think you could argue that this album is the music of the people, in that Marshalsay has collaborated with many, and used music from the many. But Marshalsay is clearly the driver here, pulling together the threads of a very fine gossamer cloth.
There are esteemed guest musicians appearing on the album such as Allan MacDonald, Alison Kinnaird, Cathal McConnell, and Kathryn Nicoll, all legends in their own right. I was already aware of Kinnaird, the ‘doyenne’ of Scottish harp music, who I believe Marshalsay trained with. Marshalsay in particular plays the modern level harp, the wire-strung clarsach in two sizes, and the bray harp (carries a slight drone like quality. Karen also plays the whistle on one track, and also sings.
The Musician
The playing is next to none. Very few allow the instrument to become a part of themselves in this way. Marshalsay has obviously dedicated many years to developing her technique and playing, and the technique is consummate, making full use of an admirable range of ornaments available to us as harpists. This isn’t just a harpist’s album though, and there isn’t just harp music here.
Personally I came across Marshalsay during lockdown, still relatively early in my own harp journey. Her workshops, alongside other harpists, truly enabled outsiders like me to access her music. I’ve since attended workshops, and not only is she a wonderful musician, she is a kind but able teacher. There is no wonder so many organisations have utilised her prowess. But I think the key takeaway should be that this is an album of devotion to the instrument, to the culture, and to the identity of Gaelic music. Few instrumentalists offer this.
Final thoughts
Overall , this is folk heaven, particularly gaelic/irish traditional music. This probably sounds as it did two hundred years ago, in a bothy under the mountains of Caledonia. If you want authenticity, then this is it. And Marshalsay’s commitment to the genre, the instrument, warrants far more than just a favourable review here.
So what are you waiting for? Jump across, have a look at the material on her site, and immerse yourself in expert musicianship.
andrew