For generations, its sharp and unmistakeable sound has struck fear into Scotland’s enemies, emboldened its troops in battle and helped define its national identity. Every year, tourists in their tens of thousands flock to Edinburgh Castle to applaud the pipe bands of Scotland’s regiments.
But contrary to popular myth, the great Highland bagpipe never led the Scots clans into battle against the English, nor did kilted pipers carry them around the castles of Highland chieftains.
In fact, says a new history by a leading authority on the much loved — and loathed — instrument, the Highland bagpipe was invented less than 200 years ago, primarily for urban audiences. And what’s more, it was largely created using money from wealthy Scots emigres living in London.
In a book to be published by the National Museums of Scotland, Bagpipes — a National Collection of a National Instrument, Hugh Cheape, a Gaelic historian and expert piper, argues that the origins of the instrument have been confused by mythology and deliberate invention.
Like most tartan regalia and the modern kilt, the great Highland bagpipe and many of its traditions known worldwide were manufactured by the Scots middle classes in the early 1800s in their romantic quest to rediscover their past.
Until the battle of Culloden in 1745 ended the Jacobite rebellion by the Highland chieftains led by Bonnie Prince Charlie, clan chiefs were great patrons of piping and pipe music; cultivating new musical styles, sponsoring musicians who founded piping dynasties and colleges.
But that rich musical culture was devastated by the Jacobite defeat. In 1778 educated and wealthy expatriate Scots living in London founded the highly influential Highland Society of London with the core aim of “preserving the martial spirits, language, dress, music and antiquities of the ancient Caledonians.”
The society set up piping competitions and commissioned pipes as prizes from two well-established pipe makers in Edinburgh — Hugh Robertson and Donald MacDonald. Cheape credits them with creating the Great Highland Bagpipe in the early 1800s.
The mythology surrounding the great Highland pipes increased when allegedly authentic pipes linked to great events in Scottish history were given to national museums. Many, Cheape says, are fake.
One set allegedly played at the Battle of Waterloo in 1815 includes 20th century parts. He is scathing about the pipes allegedly played at the battles of Culloden in 1745 and at Flodden in 1513.
“The bagpipe in Scotland has suffered a malaise of misunderstanding and misinterpretation, of misappropriation and manipulation of a lively and vital musical culture. Its treatment might even serve as a metaphor for Scottish history and culture since the 18th century,” he writes.
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