Tapestry III - Cottage & Castle cover



Tapestry III - Cottage & Castle 2003

No aristocratic Celtic household was complete without resident musicians who created music honoring their patrons' holdings. Recalling the charm of the cottage and the elegance of the castle, these tunes affirm the connection of home and heart.

CASTLEBAY features sensitive, spirited arrangements of music that was popular in the fine country estates of the 17th & 18th century British Isles as well as original compositions. They have toured the Eastern U.S., England, Scotland, and Ireland playing at festivals, museums, and arts centers, as well as on radio and television. Julia Lane's unique, self-taught playing of the clarsach or Celtic folk harp has won three international competitions. A multi-instrumentalist, Fred Gosbee has also designed and built several guitars, harps, and whistles.

Julia Lane - Celtic Harp, Voice
Fred Gosbee -Fred Gosbee - Violin,Viola, Woodwinds, Guitar, Voice

 

The sound samples are from the most representative section of a track. The times listed are the total track time, not the length of the sample! The samples range from one to two minutes in length.

 

 

Coilsfield House (5:06)

18th century fiddler Nathaniel Gow composed Coilsfield House for a manor house in Ayrshire.

 

Carolan's Cottage (4:32)

Carolan's Cottage is attributed to the blind Irish harper Turlough O'Carolan (1670-1738), but is noted as Alloa House in Johnson's Scots Musical Museum (1787).

Patricia Boyle-Wight- flute

 

Castle of the Faerie Queen (4:16)
© Nollaig Casey

Castle of the Faerie Queen (Lois Na Banriona) is an elegant, courtly air made by contemporary Irish fiddler Nollaig Casey.

 

Whithorn (3:57)
© 2000 Julia Lane

Whithorn was inspired by the first Christian settlement in Scotland established by St Ninian on the Solway Firth in the 4th century. Whithorn is one of the sixteen pieces Julia Lane composed for the Sang O' the Solway, a two-hour concert piece commissioned by the Galloway & Dumfries Arts Association in 1999.

 

Dumfries House (1:45)

Dumfries House, built in a parkland in Ayrshire between 1754-9, inspired Robert Burns' poem- To John Kennedy, Dumfries House.

 

Rivendell (6:06)
© 2003 Julia Lane

All travelers were welcome at Rivendell, the home of Elrond the Elvish healer in J.R.R. Tolkien's Lord of the Rings.

 

Castle Kelly / Drummond Castle (5:54)
Doreen Conboy- cello

Castle Kelly in Fife, Scotland, originally dates from 1360, but was rebuilt in the 1600's. A fine example of domestic Lowland architecture, the 19th century restoration includes a walled garden of roses. Drummond Castle, near Crieff, was built in 1491. The family was removed by Cromwell to house his troops in the mid 17th century

 

Roslin Castle (4:07)

Roslin Castle in Angus, also known as Glamis Castle, is mentioned in Macbeth. Elizabeth, the Queen Mother, was born here. The tune, possibly composed by James Oswald, is noted in several 18th c Scottish collections. It became a “shape-note” hymn and was a favorite funeral march in early 19th c America.

 

Tigh Morag / Da Peerie Hoose Ahint da Burn (6:46)
Tigh Morag © 2003 Julia Lane

Tigh Morag (Morag's House) depicts a friend's cottage on Skye where otters swim up the burn past the sunroom. Da Peerie Hoose Ahint da Burn (The Little House Beside the Stream) is a traditional Shetland reel.

Patricia Boyle-Wight- flute

 

Hatfield House / Little House under the Hill (3:39)
Forrest Dillon- harpsichord

Hatfield House, a 15th c English manor house, was the childhood home of Elizabeth I. The Little House under the Hill is a traditional reel. These two tunes bring to mind the festive country dancing that enlivened many a gathering at “the big hoose”.

 

Cumbernauld House (6:46)
Doreen Conboy- cello

Cumbernauld House in Wigtown was built in 1731 on the site of a castle destroyed by Cromwell's troops in 1651. One of the biggest in Scotland, it reflected the power of the Fleming family. Robert the Bruce, Mary Queen of Scots, and Bonnie Prince Charlie have all figured prominently in Cumbernauld's colorful history. The melody is noted in Johnson's 18th century Scots Musical Museum

 

 


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