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Tir Na
Moe
THE LAND OF THE YOUNG (Melodies and songs between tradition
and innovation)
 CD review by William Robertson
"TIR NA MOE" had a clear forward sound, and with the odd exception very well played and sung. The music to my mind mostly had a kind of Medieval sound and style, and had some more folk music in a more modern idiom; both being very pleasant, well executed in the main, lovely singing, and interesting small ensemble.
My most liked tracks were:
1 The title piece "Tir na Moe" with its charming soft, slow introduction, and transition into a lively melody and rhythm in a kind of old and folk appealing styles.
2 The singing part of Stefania was most enjoyable with such a pleasant sounding voice and musicianship. The flute and ensemble blended well, but the Highland bagpipes did not blend so well to my mind; being too sharp on the upper hand notes (better in tracks 4 and 14 especially though).
3 A solo accordion opening leading to nice dance music with the ensemble made one want to dance.
6 A more simple folk idiom vocal duet with instrumental take-up and back with nice vocals again.
7 Had a nice flute leading in melody and rhythm with ensemble joining in. very pleasant and perhaps my favourite.
8 This was a lovely lilting song to Pier Franco's father. 9 I liked the pleasant voicing and harp etc. with Italian pipes blending well.
10 This was a good diversion with "spoons" to the fore. Well executed rapid rhythms, and later flute variety.
11 I was taken with the interesting strange sound that conveyed a certain seemingly intended sadness, yet up tempo.
13 I really liked the voice duet in this one. The Italian pipes again had that better blend. Perhaps the accompanying harmony was rather too strong (volume).
14 A nice lullaby with Highland pipes blending better this time.
The compositions by Stefania and Pier Franco within their idiom I thought were very good. Overall a very pleasant selection of music that is pleasant change from much of what we generally hear these days.
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William Robertson speaks about himself
I started my piping in Scotland, like many pipers then in the Boys Brigade, the 1st. St. Andrews Company.
At 18 I was called up for compulsory National Service with The Royal Scots (The Royal Regiment) that is the oldest serving regiment of the British Army. After basic training at Glencorse, Edinburgh, I was accepted for the Pipes and Drums of the 1st. Battalion of the regiment under Pipe Major Willie Denholm (ex K.O.S.Bs); a fine piper, and composer of the 6/8 march “El Alamein” (winner of the competition for such tune), and “The Royal Scots Polka”. After my National service I decided to continue service with my regiment and pursue my piping in the greater part of the 1950s. Soon Willie Denholm retired and was succeeded by Pipe Major Hugh Fraser a renowned piper and solo competitor who transferred from the Cameron Highlanders. I was fortunate to be taught and influenced by Hugh who had so much to pass on with his experience in the “Old School” of Army piping pre-war and of that time particular time. He was also a composer of note. Both these Pipe Majors had some of their tunes published in pipe music books.
At 23 I gained the much coveted so called Pipe Majors’ Certificate at EdinburghCastle under the direction of the World famous Pipe Major Willie Ross MBE who was the Director of the Army School of Piping. The board of examiners then was made up of reputable members of the Piobairech Society and a knowledgeable representative of the Army who was then Major David Murray, Cameron Highlanders. A year or so later I succeeded Hugh Fraser as Pipe Major of the 1st. Battalion.
Late 1958 I decided to resign from the British Army. After being so much time abroad in Germany, the Middle East, and
Far East, I had the desire to settle down in New Zealand where I have resided since 1959. In New Zealand I started directing the Hamilton Caledonian Society’s Pipe Band, brought them up from grade 2 to grade 1 and reached third in national championships. We had almost half the pipe corps 17 and under then. Some few years later I had to move to Auckland when I was promoted in my normal job. There I directed the Auckland and District Pipe Band (later P & D of Innes Tartan and now backto Dalewool Auckland and District -) and took them to good number of Grade 1 New Zealand championships, many more grade 1 winning music events, but devalued in the aggregate by having less drill points that counted towards championships then. The same happened in Australia grade 1. We won the music, but too low in their different form of drill movements. When the band changed its name through sponsorship to Pipes and Drums of Innes Tartan we won the open events in Vancouver, B.C., and Santa Rosa, California, in 1972. Prior to that gained seventh place in Scotland at the Scottish Grade 1 (open) Championships, and highest equal points for tone. I retired from the band in the 80s. They are still up there. New Zealand has had since 1957 and still does have numerous gold medallists (ex Scotland).
Being more dedicated to the bands both in the Army and in New Zealand as a means of being more helpful to piping, I seldom competed in solo events, although when I did I had some notable success: first in Highland Brigade piobaireachd event, winner of the Comunn na Piobaireachd New Zealand gold medal, and some other New Zealand regional open events. I also won the Australian open march, strathspey and reel when our band was over there. I have taken part in seminars and workshops, and have been on the judges’ panel of both pipe bands and solo piping in New Zealand. My piobaireachd composition “Lament for Pipe Major Hugh Fraser” was placed third equal in the BBC competiton for new piobaireachd in 1965 from 66 entries World wide. It is published in the book “Twentieth Century Piobaireachd” by the Piobaireachd Society. It appears also with a 6/8 march “Pipe Major Bill Boyle, New Zealand Scottish Regiment” in honour one of N.Z’s most famous pipers, (both tunes have small amendments) and compositions of Pipe Majors Willie Denholm and Hugh Fraser in The Royal Scots Pipe Music Book.
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