Musical and Poetical Relicks of the Welsh Bards

Towards the close of the eleventh century, the great prince Gruffudd ap Cynan Prince of Gwynedd (r. 1081–1137), who spent much of his early life in exile in Ireland. invited some of the best musicians of Ireland to Wales. Being partial to the music of that island, where he was born, and observing with displeasure the disorders and abuses among the Welsh Bards, he created a body of statutes original: "institutes" for the improvement of their manners and the correction of their art and practice. Accordingly, I find in an old manuscript of Welsh Music Located in the library of the Welsh School. a curious account of this remarkable revolution, beginning with these words:

"Here follow the twenty-four measures of instrumental music, all conforming to the laws of harmony, as they were settled in a congress by many doctors skillful in that science, both Welsh and Irish, in the reign of Gruffudd ap Cynan. These were written in books by the order of both parties—princely and principally—and thence copied, etc."

This grand reformation of the Bards was achieved by dividing them into classes and assigning to each class a distinct profession and employment. Previously, we have seen them acting in a very broad and varied capacity. It was their office to applaud the living and record the dead; they were required to possess learning and genius, a skill in pedigrees genealogy, an acquaintance with the laws and meters of poetry, a knowledge of harmony, a fine voice, and the command of an instrument. This diversity of character is well expressed by Michael Drayton in the sixth song of his Polyolbion:

"Musician, Herald, Bard, thrice may you be renowned,
And with three several wreaths immortally be crowned!"

Such a variety of excellence was unattainable by human capacity alone. The Bards were now, therefore, distributed into three grand orders: Poets, Heralds, and Musicians. Each of these was further divided into subordinate distinctions.

None of these orders or distinctions was any longer compatible with the others, nor with any other profession. According to a more detailed arrangement, there were six classes of regular Bards who could proceed to degrees in the Eisteddfod: three of Poets and three of Musicians.

The first class of Poets consisted of historical or antiquarian Bards original: Prydydd, or Prifardd, who sometimes mixed prophecy with their inspiration. They were also critics and teachers, and to them belonged the duty of praising virtue and censuring vice. It was their responsibility to celebrate the gifts of imagination and poetry. They were required to address married women without an air of gallantry, and to speak to the clergy in a serious tone suitable to their function. They were to satirize without indecency, and to answer and overthrow the lampoons of the inferior Bards without resorting to crude insults themselves.

The second class was formed of domestic or instructional Bards original: Teuluwr, or Posfardd, who lived in the houses of the nobility to celebrate their exploits and amiable qualities. They sang the praises of generosity, contentment, domestic happiness, and all the social virtues; in this way, they significantly contributed to enlivening the leisure time of their patrons. It was also their role to request presents in a familiar, easy style, without being bothersome.

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ᵍ Dr. Powel, in his notes on the historian Caradoc, informs us that either our music arrived here with Prince Gruffudd’s Irish musicians, or was composed by them afterward. Mr. Wynne, another editor of Caradoc’s history, mistook this passage; by failing to distinguish instrumental music from musical instruments, he misled readers by claiming the Harp and the Crwth An ancient bowed lyre came from Ireland. ʰ See Powel’s History of Wales, and Clarke’s Preface to the Welsh Laws. ⁱ Part of this manuscript was transcribed during the reign of Charles I by Robert ap Huw from William Penllyn’s book. Penllyn was a famous harper at the Caerwys Eisteddfod in 1568. Dr. Burney notes that this manuscript contains harp pieces in full harmony (counterpoint) using a unique notation, some dating back to at least the year 1100.

The 24 measures of Music are listed here from the manuscript in the original Welsh to assist future research and to show the technical perfection the art had reached. As they have never been fully explained, I refrain from attempting a translation to avoid misleading the reader.

ʸ The Twenty-Four Measures of String Music

In the same manuscript, the five principal Keys of Welsh Music are preserved, established by the same authority:

• Is gywair: The Low, or Bass Key.
• Crâs gywair: The Sharp, or High Key.
• Lleddf gywair: The Flat Key.
• Go gywair: A Secondary Key, or perhaps the Natural Key.
• Bragod gywair: The Mixed, or Minor Key.

ᵏ original Welsh: Llyma’r Pedwar Mesur ar hugain... "Here are the twenty-four measures of string music, according to the established rule, as they were composed in an Eisteddfod, etc." — Manuscript.

“We find the King always had a civil judge to attend him, and one of the chief lords to consult with upon all emergencies. He had a Bard to celebrate the praises of his ancestors; a Chronicler to register his own actions; a Physician to take care of his health, and a Musician to entertain him. These were obliged to be always present and to attend the King wherever he went. Besides these, there were a certain number of heroic men, or Soldiers original: Milwyr, who attended him when he traveled or marched with his army, and were resolved to stand by him even at the expense of their lives.” — Owen’s History of the Ancient Britons.