June 2017 Piping Times
* … the vast majority of pipe bands in the modern era have absolutely no connection to their localities, the areas that formerly made them … Pipe bands across all grades need to return to their roots, to their own communities and invest in the youth of these communities. Without this, they have no stability.
Stuart Letford, Editor
* “Nowadays, I definitely spend more time in politics than with piping, though my love for the music will never end.”
Eva Bolander, Lord Provost of Glasgow
* Sidelights on the Kilberry Book provides evidence of contribution to the process of cultural colonisation in piping as well as in other areas of Gaelic arts throughout the 19th and 20th centuries. Campbell was no different from collectors and publishers of music in the 19th century, throughout Scotland, whose position in society ensured that their ‘patronage’ gave them the unstated but accepted role as ‘improvers’ even though it may never have been Campbell’s intention. The ‘simple’ becomes ‘esoteric’ and complicated and one can never see a forest for trees.
* Competing pipers intending to enter the competitions at the Lonach are reminded that a prize is offered for the best performance of one of Pipe Major William Grant compositions … Grant’s compositions are well known, despite the low number that are published. The most famous and most played are probably The Lonach Gathering, The Doune of Invernochty, Falconer Wallace Esq of Candacraig, Monadh Gowan and Over the Lecht.
* I believe that, given the extremely humble years of his
* Father John MacMillan of Barra had a great fight with the Canadian authorities, who he felt had not kept their side of the bargain and were inflicting unnecessary hardship upon the immigrants. In the end they managed to get rid of a ‘turbulent’ priest.” Whether MacMillan was actually deported remains uncertain.