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PAGE 28 PIPINGTODAYISSUE77•2015
Roderick Cannon speaking at the launch of Allan MacDonald’s CD, Dastirum, 2007.
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PIPINGTODAYISSUE77•2015 PAGE29
Roderick D. CannonA Musical Tribute to
by Barnaby Brown
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RodERick was a wonderful colleague, friend and mentor to me for 20 years.His monumental scholarship illuminated
every aspectofour common researchfield, thebagpipemusicofGreatBritain.Hisgoodcounsel,lively humour and unfailing courtesy upliftedthe livesof thoseheworkedwith.Hecertainlyinspired me and in this article, i present a tune composed in his memory and reflect on his remarkablelegacytoHighlandpiping.Iamgrate-ful to three colleagues for adding their memories, enriching this tribute to the leading piping scholar ofourtimes.
Roderick’s enthusiasm and meticulous publica-tions invigorated piping from every part of the British Isles. He was also a Professor of Chemistry at the University of East Anglia and carried his working methods from science into music with great results. Pibroch was what seemed to excite him most, however, and Cumha Roderick Cannon is a celebration of his achievements in this field. He was particularly fascinated by aspects of pibroch playing that did not survive in oral transmission and he brought to the fore the most challenging evidence, such as Joseph MacDonald’s treatise, c. 1760 (see Examples 1–3 in the following pages). He stumbled across this manuscript while a doctoral student at Oxford and it changed the course of his life.
Through this Cumha, I hope to draw atten-tion to the impact of the man and his work. He illuminated a cultural heritage that was overlooked and undervalued, changing the way people think – players, aficionados and those who did not take the bagpipe seriously. His skills as a communicator en-lightened insiders and outsiders alike. No adversity or rudeness swayed his T.H.I.N.K. responses (True, Helpful, Inspiring, Necessary and Kind). His high productivity; his rigour and clarity; his generosity to students and colleagues; and his kindness shep-herding people out of conflict into calmer waters: all were uniformly impressive.
When Roderick passed away unexpectedly, peacefully in his sleep on June 9, many people lost a steady rock in their lives. I lost a wise counsel-
lor and co-explorer of the thousands of pages of pibroch notation from before 1855. In our many in-depth discussions between 1995 and 2015, he invariably gifted an exciting new insight or piece of evidence. No grace note beam, canntaireachd syllable or deviant source spelling had escaped his notice. The professional scientist in him knew the value of paying attention to small things, allowing big answers to emerge accidentally rather than ask-ing big questions and looking for ways to support preconceived ideas.
TakingGaelicseriously
Cumha is the Gaelic genre-term for a memorial composition by a poet or musician. My use of the Gaelic word draws attention to Roderick’s ground-breaking respect for the culture that nurtured and shaped pibroch. His Gaelic studies culminated in two publications that epitomise his thoroughness: Gaelic Names of Pibrochs: A Classification (Scot-tish Gaelic Studies, 2000) and Gaelic Names of Pibrochs: A Concise Dictionary (2009). Both are available at altpibroch.com/gaelic-tune-titles. Rod-erick did for pibroch what the Ordnance Survey did for British maps: his surveys were more detailed, accurate and easy to use than any produced before, making it easier to find your way around the whole terrain.
The Concise Dictionary was not his first me-ticulous survey. Before it came A Bibliography of Bagpipe Music (1980) and A Piobaireachd Index (2003). These three maps form the bedrock and blueprint of altpibroch.com, where David Hester and I are maintaining and updating Roderick’s work with a long-term vision. Transforming his surveys for the digital age was a project he encouraged and in the last six weeks of his life, Allan MacDonald, David Hester and I worked through his Concise Dictionary from A to Z: responding to Roderick’s request for corrections; recording Allan’s pronun-ciation of every Gaelic title; and linking up each Dictionary entry not only with title and concord-ance data from his Index, but also PDF facsimiles of all the source material. The result – the most
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powerful research tool pibroch has ever known – would have been inconceivable without Rod-erick’s industry and generosity. He finished epic projects and released them, Open Access, for others to build on. Few revisions were needed, but if anyone spots mistakes or can suggest new insights, please contact us via the website. Our goal is to keep his legacy alive and cutting-edge, led by his T.H.I.N.K. modus operandi.
When I wrote, recorded and revised Cumha Roderick Cannon in the Hotel Ulivi e Palme, Sardinia, a couple of days before his funeral, I had in mind a less conventional title. Looking at his seminal edition of Joseph MacDonald’s treatise (1994), below the Barludh movement on page 57, Roderick transcribed: “This is the longest Cutting in one Barr that can be well Contrived, in any Pipe Composition, it being taken from a pleasant Rhapsody or Irregular March on this Key.” Many of our discussions concerned the “Irregular Marches” – pibrochs that defy convention, particularly those in the Campbell Canntaireachd. Rhapsody for Roderick Cannon, I thought, could symbolise how he reshaped thinking within and beyond the pip-ing world at the same time as embodying his virtuoso scholarship and high spirits.
By the time I’d finished, however, a 13-min-ute tune had taken shape very much in the Cumha genre. With Cumha (rather than Lament for...) marking Roderick’s role recon-necting pibroch with its Gaelic context, his name should really be in Gaelic. However, I decided against this so that it will not require a Roderick to figure out who the tune was composed for in 300 years’ time!
In the next three sections, I draw attention to some of the less obvious ways in which Cumha Roderick Cannon pays tribute to the man.
Clarity
Two of Roderick’s hallmarks – accessibility and interest in the unfamiliar – led me to choose the easy-to-handle phrase structure of Cogadh no Sìth (War or Peace). Roderick was especially fond of Gesto’s setting, which stands out from the other five as being structurally clearest. He published an article on it in 1981 (Piping Times
33/7) and 34 years later asked Jack Taylor to play it at what was to be his last public engage-ment: the College of Piping lecture in Birnam on March 20, 2015.
Binding this eightfold ‘Interlaced’ phrase structure is the twofold melodic descent of another of his favourite tunes, the urlar of An Cath Gailbheach (The Desperate Battle) – a title which, in his Concise Dictionary, he suggests may be a corruption of An Cath Gairbheach (The Battle of Harlaw). Superimposing these two familiar patterns produces a frisson which I know that Roderick would have relished. It also celebrates the 42-year arc of his pibroch publications, from The Battle of Harlaw: A Lost Piobaireachd? in 1974 (Piping Times 26/12) to The Music of John MacCrimmon (The ‘Gesto Canntaireachd’) to be released in 2016.
Nobility
Like an eagle soaring overhead, Roderick had the capacity to see things from a higher perspec-tive. He was unflappable; dignified yet never aloof; taking a real interest in alternative views and refusing to take sides or allow emotion to cloud his vision. I celebrate his open-minded, balanced approach in Cycles I–IV by present-ing four different timings of double beats, or Cradhaidhnean, spelled “Crahinin” by Joseph MacDonald (Example 1). By incorporating the modern timing in Cycle III, I pay respect to Roderick’s capacity to synthesise apparently conflicting evidence. He ushered in a richer and more compelling understanding of pibroch – one without dogma and with a wider spectrum of nuance and flexibility.
His observations and analysis on pages 13–16 of his 1994 edition are packed with in-sights relevant to players of every persuasion and generation. On the falling streams of grace notes that Joseph calls “Introductions”, he wrote:
An important clue to the playing of them is that the choice between the alternative high G and high A forms depends on the melodic character of the context ... Interestingly, there is one example of a tune recorded as late as Angus MacKay’s time which apparently
preserves this style ... [the Thumb Variation of “MacRae’s March”]. The convention is the same as Joseph’s. High A notes are used when the cadence falls into the note C, in a phrase with the flavour of the A major key, and the other type of cadence when the following phrase is in G major.
Rather than a conflict between two styles, what emerges is a picture of artistic scope con-tracting over time. Roderick melted the ice, encouraging “practical research by good play-ers who are prepared to experiment by trying different interpretations of Joseph’s styles, in full-length performances” (page 16).
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Edinburgh University Library, MS La.III.804, f 6rwww.altpibroch.com/j
Example 2. 4th Table. Edinburgh University Library, MS La.III.804, f 4v. www.altpibroch.com/j
These opening four cycles develop a pro-cess found in a third tune that he loved: the MacArthur-MacGregor setting of Cumha Thighearna Arnabuil (Lament for the Laird of Arnaboll). One of our most brilliant and obstinate colleagues was Frans Buisman, a formidable scholar from Amsterdam who was tragically killed in a cycling accident in 2003. Roderick nobly shepherded his critical edition of the MacArthur-MacGregor manuscript into print, patiently solving serious problems. Even-tually, all issues were resolved except one: the header above Frans’s pages ran The MacArthur-MacGregor Manuscript of Pibroch, whereas elsewhere the spelling was Piobaireachd. Roder-ick picked up the phone and, without a trace of exasperation, asked Frans if they could shorten the header to The MacArthur-MacGregor Manuscript. Silence. Eventually came the gruff response: “Yes” – and the book went to press.
Humility was one of Roderick’s endearing qualities and strengths. When his Index was released on the Piobaireachd Society website in 2003, I suggested that for practical purposes his catalogue numbers needed a name (like K numbers for works by Mozart and BWV num-bers for works by Bach). I proposed the prefix
Peter cooke writes:
I first came to know Roderick when he approached me around 1972, after the publi-cation of my Maol Donn piece. Thereafter we corresponded and phoned each other and we frequently exchanged drafts of articles for com-ment, excerpts from bits of manuscripts and other news. While toiling with the Elizabeth Ross Manuscript, I would ring up Roderick to ask him if he recognised a particular pipe melody. Such was his huge knowledge of the repertory that he often provided the answer by laying down the phone, picking up his chanter and playing the pipe tune to me. As you might guess, we had long conversations about the problem of ‘introductions’.
Over the years I developed a huge respect for his scholarship and, moreover, admiration for the tactful way in which he negotiated – in print, by letter and in person – with the piping establishment.
keith Sanger writes:
Although we knew each other from the Piobaireachd Society conferences and had exchanged letters and drafts for comment (his Joseph MacDonald edition was one) the really close research connection was formed outside of the piping world. I had travelled from Edin-burgh to Bangor, to the first major Robert Ap Huw conference in 1995, only to find when I got there that Roddy and Frans Buisman had had the same idea. With John Purser, another attendee, we formed a small Scottish enclave amongst the Welsh delegates. It provided lots of time outwith the sessions for Roddy, Frans and I to get our heads together.
The project on which we collaborated most closely was the publication of Donald MacDon-ald’s manuscript. One night, I got a call from Roddy, excited by his latest discovery. That day he had received a bundle of Sir John McRa’s papers from an antiquarian dealer seeking his advice. Roddy had just realised that it contained
PIPINGTODAYISSUE77•2015 PAGE31
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a copy of an earlier draft of the manuscript we were working on.
Our method of working included exchang-ing emails and photocopies of material, but a lot of it was done over the phone – long talks into the night, often with Roddy illustrating points by singing canntaireachd. On one par-ticular occasion we had been at it for a couple of hours. It was approaching midnight and Roddy wanted to demonstrate a point and, being Roddy, he doesn’t just go from a couple of bars beforehand – he gives you the entire flavour by starting earlier. He got carried away. In front of me was a copy of Sir John MacRa’s manuscript. I decided I was really getting tired because I couldn’t see whatever it was he was trying to illustrate. Roddy was in full flow, but I managed to interrupt him: “Sorry, I must be losing it, but I can’t relate what you are singing to the score let alone understand the point!” He had recently resurrected his edition of the Gesto canntaireachd (completed 1981) and was working on it in parallel. “I’m sorry,” he said, “I must have slipped into another tune! I was wanting to pick your brains on it later on...”
conclusion
Roderick’s bubbling enthusiasm, sunny spirit and warm generosity will be missed by all who knew him. Debating pibroch’s darkest corners with him was a tremendous privilege. His good humour, profound insight, radiant enthusiasm and nobility of heart were inspiring. Roderick also responded to setbacks and criticism with exceptional resilience and forgiveness. Working humbly and helpfully, he cast away shadows with tireless energy and a magical lightness of touch. Thank you, Roderick, for leaving the world of piping a brighter place. l
Roderick David Cannon. Born October 20,1938 in Salford, Lancashire. Died June 9, 2015 in Norwich, aged 76. Our thoughts are with Eliza-beth and his family.
Example 3. 14th CuttingEdinburgh University Library, MS La.III.804, f 12r
www.altpibroch.com/j
RC – Roderick Cannon numbers – but he would have none of it, so Piobaireachd Society numbers they became.
Tackling the unknown
To celebrate Roderick’s sense of adventure, his daring explorations into difficult terrain, his thrill making new discoveries and the enriching impact all this has had on the pibroch tradition, I introduce some finger movements known only from Joseph’s treatise: bar one introduces a throw to high A (Example 2, last bar); and the Third Motion develops the 14th Cutting (Example 3). Joseph wrote:
Here is a Large Specimen of the grandest Pipe Cutting or Variation, requiring nothing but a Closs View of all the Notes that Compose it, to play them exactly & Practise to Execute them Nimbly... The Last Cutting which is ye finest Serves for a Conclusion to more than one of these Runnings & is generally repeated 4 Times.
The arrival of “ye finest” cutting in Cycle XV (Example 3, last bar) celebrates Roderick’s virtuosity as a scholar and communicator to the general public.
To round off this tribute, I would like to hand over to three colleagues who knew him longer than I.
Peter Greenhill writes:
Roderick’s interests extended to medieval harp music, and it was through my reconstructive work on that that we first met. He asked me if I was also a piper; I replied, “I’m afraid not: I only play the practise chanter.” “Then you are a piper!” he exclaimed. That generosity of spirit proved to be a constant feature of my experience of him. I will always be immensely grateful to him for his enthusiastic encouragement, his hospitality, his sage advice and practical help, for giving me copies of his books and articles, for his patience in discussing the finer points of early piobaireachd and for taking an interest in my work, lying as it does at the margins of piping. All who know his writings and research will know well the great capacity Roderick had for incisive, penetrating insight, powered by a thirst for the truth of any matter coupled with all the patience of a great scholar, but he was also a true and kind gentleman, with a highly developed sense of integrity, and I found him to be a reliable, generous and fun friend.
PAGE 32 PIPINGTODAYISSUE77•2015
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I, V, XI, XVII.
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Barnaby Brown, 7 July 2015
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Version 2, 10 September 2015. Recordings and other versions are at www.altpibroch.com/learning/cumha-roderick-cannon
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