📷 Photo above by Sandy Butler

Once upon a time, many years ago in late 2010 the committee of the Edinburgh International Harp Festival reached out to me with an exciting proposal: to craft a piece that would celebrate their 30th anniversary while also honouring the 80th anniversary of the Clarsach Society. This opportunity felt like serendipity, as the Clarsach Society had played an instrumental role in my own harp journey. I still remember the first harp I rented from them as an eager student and how every festival I attended continued to inspire me, opening my eyes to the rich variety of performances and music that comes together in Scotland.

A group of harpers at Cromarty Harp Village learning a section of the piece. Caroline, my mum, in the bottom right corner, the manager of The Cromarty Arts Trust. Photo CDH

With this new composition, I envisioned a sound palette that reflected the diversity of harpers who fill the Scottish music scene. I knew I wanted to spotlight players who not only showcased their individual talents but also actively contributed to shaping the musical landscape around them. I was seeking out musicians whose distinctive styles and memorable sounds made them stand out, and who were ready to collaborate honestly, drawing on both their musical intuition and previous experiences we’d shared.

One of the first names on my list was Mary Macmaster. I vividly recall meeting her at a Feis in Plockton when I was younger. There she was, a striking figure with a mohawk and a harp—she was simply the epitome of cool, and I thought to myself, “That’s who I aspire to be!” Years later, when we formed the trio “Shine,” I knew I had found my musical soulmate. Mary’s unique use of the electroharp creates a captivating depth, with big bass tones and a brilliant spangle of sound, especially when her nails dance across the wire strings.

Then there’s Wendy Stewart, a powerhouse of musical influence. Her ability to blend English, Scottish, Swedish, Cajun, Welsh, and other European folk styles into her performances is just so uniquely ‘Wendy.’ With roots tracing back to her mentor, Jean Campbell, she has become a steadfast member of the Clarsach Society, and her versatility shines through in her acoustic and electroharp playing.

I also couldn’t overlook Heather Downie, one of the most reliable harpers I’ve ever known, I trust her implicitly. As a former student, Heather has developed into a fantastic teacher herself, and her commanding presence on both acoustic and electroharp adds another layer of richness to our ensemble.

I fondly recall my first encounter with Bill Taylor many years ago when he moved to Strathpeffer near the Black Isle, where I lived. We met at Balnain House in Inverness, a beloved hub for musicians—complete with an immense shop selling everything a musician could dream of. Bill was playing local Ardival harps, and I shared my first ‘professional’ gig with him at the Highland Festival back in July 1994. His medieval wire-strung harp has a sonic depth that I absolutely adore, and he’s a demon in the intricate complexities of 9-dot dominoes.

Tristan Le Govic was another brilliant musician I connected with. He was a Breton harper living in Glasgow at the time. I had always been inspired by my travels to Brittany, playing in festivals like Lorient, Quimper, Dinan, St Malo. I realized I wanted to bring that light yet heavy Fest Noz dance groove into our music, a characteristic Tristan captures beautifully on his electroacoustic harp.

As I began composing, I drew inspiration from Eugene Field’s “The Oak Tree and the Ivy,” a whimsical story exploring the symbiotic relationship between the two plants. While the tale itself may not have aged gracefully, it sparked a deep curiosity in me about how we, as musicians, mirror nature in our own right, much like the wood, age, and craftsmanship of our harps—each unique as the players themselves. I wanted the piece to resonate with a cyclical feel, divided into four sections that reflect the changing seasons, intertwining themes of love, friendship, power, rage, loss, renewal, and hope.

Photo outside Main St during rehearsals

Our rehearsals took place in Pathhead, in our wee living room on the Main Street, where ten harps, six players, amplifiers, tables, leads, and extension cables converged in chaos. I still crease up at one particular rehearsal when Mary unceremoniously discovered not only had we ants coming in under the walls, but they were also making their way up her trouser leg.

We premiered the piece in April 2011, followed by a small, perfectly formed tour that took us through the Edinburgh Fringe, Cromarty, Dunblane, Celtic Connections 2012. We played in Lorient in August of that year with Dimitri Dimitri on wirestrung harp as Bill couldn’t make it, and Catriona McKay toured with the group magnificently when I was unable.

We have had the EIHF mass harps play sections of it, as well as mass harps in Cromarty Harp Village. Since that time, our composition has evolved, taking on a richer form that feels like second nature to us now. There’s something incredibly special about performing together—when musicians truly connect, the experience transcends the notes on the page.

Amid this journey, I faced a poignant blow when my mother, who had begun sketching designs for the album artwork, ran out of time to finish. It took me a long while to learn how to live with that loss, but the onset of COVID-19 restrictions ignited a fierce determination within me to complete the recording as a testament to our music and memories. I resolved to save up and create the artwork myself, transforming that longing creatively.

The Celtic Connections show in January 2025 marked a turning point for the piece, helping it find its true shape. I had the opportunity to intertwine my voice over Dave Milligan’s piano, weaving melodies from the various sections together. His contributions lent a delicious depth to the album, capturing moments of magic that we all cherished.

The recording itself took place through 2022 at Castlesound Studios in Pencaitland, a space I’ve loved working in for years. Although we couldn’t all all be there together at the same time—juggling schedules proved to be a challenge—we made the most of our time there, allowing Stuart Hamilton to skillfully handle the many harps, bringing my vision to life.

I truly love the recording process, and although I am truly terrible at the promotional side of things, I am glad to have it out there now. I’m glad to share the journey behind “Song of Oak and Ivy” with you, and a wee bit of our collective experiences that have shaped this piece into what it is today. Thanks to Hudson Records for taking on the distribution.

https://corrinahewat.bandcamp.com/album/song-of-oak-and-ivy
https://propermusic.com/products/corrinahewat-songofoakandivy
Cat No: BBRCD020

Corrina Hewat

Instruments:
Corrina Hewat – Camac Ulysse harp, Camac Electroharp
Heather Downie – Camac Aziliz harp, Camac Electroharp
Wendy Stewart – Klangwerkstatt Bohemian Harp, Camac Baby Blue
Tristan Le Govic – Camac Mélusine
Mary Macmaster – Camac Electroharp, wire strung harp
Bill Taylor – Ardival wire strung clarsach
David Milligan – Steinway piano

Recorded, mixed and mastered by Stuart Hamilton
at Castlesound Studios, Pencaitland – castlesound.co.uk
Photograph of performers taken at the EIHF 2022 by Chantal Guevara chantal.photo
Artwork by Corrina Hewat – corrinahewat.com
CD design by Dave Milligan at Van Gill Media – vangillmedia.com
Printed by Akcent Media – akcentmedia.com