Karen McCrindle Warren on her Highland Bagpipe Composition for the Accused


“The Burning of the Nine Women on the Sands of Dumfries, April 13th, 1659.
By J. Copland, Dundrennan

I spoke to Karen McCrindle Warren about her Piobaireachd, composed for the Highland Bagpipes.

You can hear Karen play her Piobaireachd  here.

The tune is one of memorial and witness for women executed in Dumfries in 1659, but also stands in as a memorial for all those executed for whom there is no physical memorial.  The tune was commissioned by Steve Rooklidge of the Shasta Piping Society of California. Asked for a remembrance piece for the “devastating witch trials that took place during the 16th and 17th centurires. A “Lament for the Accused”, if you will.” He included a link to the Interactive Witchcraft Map published by the University of Edinburgh. 

Questions in bold are mine. Here is what she told me: 

“This tune commemorates the events of 13th April 1659, when nine Galloway women were executed on Dumfries Whitesands.  Agnes Commes, Janet McGowane, Jean Tomson, Margaret Clerk, Janet McKendrig, Agnes Clerk, Janet Corsane, Helen Moorhead and Janet Callon, were “stranglit at stakes till they be dead, and thereafter their bodies to be burnt to ashes”.  This began a third peak in Galloway – more and more witch finders came forward, demanding their fees for rounding up suspects and torturing confessions from them.

“The tune is written in pentatonic G – the key that gives the most dissonance against the drones, symbolising the pain, fear and anxiety of these times, and the high G’s symbolising the screams of the ‘witches’ who were tortured for confession and put to such horrific public execution.  Not enough to kill them by strangling them at the stake, they had to be sure they were dead by also burning their bodies to ashes.”

Can you tell me more about how the Piobaireachd was commissioned? 

…I started looking through the map and searching for more information about witchcraft in Scotland, and particularly relating to Ayrshire, Dumfries and Galloway which is my area of interest.  I wrote music that was dark and desperate, but it took a while to find the story behind the title, and find the right title that suited the tune.  In the end, I felt the tune, title and story were a perfect fit.

Piobaireachd has a way of pulling at the heart strings, as the variations grow in intensity, it is like waves of grief coursing through the body and soul, returning to the calm of the ground as you try to compose yourself and move forward in life.

Karen McCrindle Warren

Your Piobaireachd is moving and intense, demanding time and space for witness. Traditionally, how has this style of composition been used in memorials?  

Piobaireachds have been used in memorials for centuries.  It is the traditional, ancient music of the bagpipe, and is often used to lament or salute those we have lost.  For example “Lament for Mary MacLeod”, “Lament for the Duke of Hamilton”, or “Lament for the Children” – this last one was written by Patrick Mor MacCrimmon who lost seven of his eight sons to small pox within a year.  This year the piping world lost a talented and lovely young man Alex Duncan at the age of 26.  A close family friend wrote a piobaireachd to commemorate him “Lament for Alex Duncan” and it was performed at the Glenfiddich Championship at Blair Castle where Alex used to spend a lot of time piping.  For one tune, our whole world came together and remembered this wonderful young man and mourned such a great loss to our community.  Piobaireachd has a way of pulling at the heart strings, as the variations grow in intensity, it is like waves of grief coursing through the body and soul, returning to the calm of the ground as you try to compose yourself and move forward in life.

What aspects of the history of the witch hunts informed your composition? 

I really didn’t know anything about witches in Scotland before Steve brought it up – we all learnt about Anne Boleyn having her head chopped off for being a witch, but I had never really considered witchcraft in Scotland.  What an eye opener that map was!  As I read into some of the cases, the things these poor people were being accused of was just crazy.  Anyone could fall out with you and accuse you of being a witch and your life would be over. Suspicion was enough to accuse, repute was enough to convict.  It must have been a terrifying time, and it was this state of distress I tried to bring out in the music. 

There is growing momentum for a national memorial to those killed during the witch hunts in Scotland. How do you see your composition playing a role in this work for a national monument? 

This isn’t something I’m familiar with but my music is freely available to anyone who wishes to listen, use it in memorials or learn to play it, and I hope it helps to evoke the desperation of the times and the memory of all these poor people who had their lives taken in such a cruel and violent way for nothing.

Karen can be found online at: 

www.elixir.scot

www.facebook.com/southwestscotlandcollection   

www.facebook.com/elixir.scot 

One Year on Patreon

patreon_anniversary
This week marks my first year anniversary on Patreon.  It’s been a year of community, witness and ancestral storytelling

– 23 quarter-moon updates
– 16 witches’ monuments
– 5 publications
– 3 New Moon tales—modern retellings based on Scottish folklore.
– 2 spoken word files

My new goal is to reach 75 patrons. This will help me to invest in a microphone for better quality sounds files when recording the spoken word pieces as well as when I’m reading the New Moon Tales. You can join my community here:

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Glenda of the Saltpans

Andy Scott’s untitled memorial to the accused witches of Prestonpans in the Athena Grange Housing Estate.

In my recent Patreon update, I’ve written about sculptor Andy Scott’s monument to the accused witches of Prestonpans. In it, I talk about undercurrents of fascination with the lively witches in the paintings of Frans Fracken the Younger who are often seen reading. You can read the piece and support my work by going to my Patreon here.  You can really get lost in Francken’s “Witches Kitchen” paintings, like they one below. They were a subject of obsession for the 17th century Flemmish painter.

Witches Kitchen, Frans Fracken the Younger. 1606.

“The Cailleach of the Borehole” at The Bottle Imp

19th Century photo of the Witches Stone of Dornoch

My piece on the witches stone of Dornoch, “The Cailleach of the Borehole,” is published in The Bottle Imp, the online journal of the Association for Scottish Literary Studies. You can read it here: https://www.thebottleimp.org.uk/2019/12/the-cailleach-of-the-borehole/

This is part of the larger project I’m working on at the moment, writing about the witches monuments of Scotland. You can read more about that project at my Patreon Page.

A Memorial to Scottish Witches

Some of you may follow my Patreon where I post new writing, specifically my field notes around the witches monuments of Scotland.

It is estimated that in Scotland over 3,000 people were accused of witchcraft during the witch hunts of the 16th and 17th centuries and 84% of them were women. Two thirds of those known accused were executed, and these numbers are only from the existing records. Records of the witch trials in Scotland were meticulous, recording the cost of the tar for burning, rope for binding and even on occasion the cost of ale given to the spectators, but they are in no way complete and will never give us the real number of the dead, though they give us a glimpse of their suffering. In Scotland the witch hunts were more virulent than in England or the rest of Europe, yet there is no large-scale public memorial.

Map of Accused Witches at the University of Edinburgh Website

The recently published map representing the data in the Survey of Scottish Witchcraft is a memorial of sorts. It is a sobering visual reminder of the thousands of accused. It literally puts them on the map. Emma Carroll, a Geology and Physical Geography undergraduate student and intern at the project created the map which can be used by anyone in Scotland or the Scottish diaspora to find their neighbours and ancestors by area. Toggling through the Detention, Trial and Death Location maps is sobering viewing. The myriad charts which breakdown the victims by career—the majority were domestic workers, vagrants, midwives and weavers—is humanising.

The Steilneset Memorial in Vardo, Norway. Photo by Bjarne Riesto via wikipedia

But what of a physical memorial in the landscape? What would a national memorial look like? The possibility of a successful site brings to mind the powerful Steilnesest Memorial, in Vardø, Norway. Louise Bourgeois’ last installation, entitled The Damned, The Possessed and The Beloved, was a collaboration with Swiss architect Peter Zumthor. Years ago, I embarked on a pilgrimage to Vardø to see this monument, only to be thwarted by a wild Norwegian sea which was so violent we could not dock, but that is a story for another day. The structure commemorates over 100 women, girls and Sami men executed. The memorial is set in a larger structure on the craggy coastline. It is a burning chair in a dark glass box, surrounded by mirrors that reflect the viewer and the perpetually burning flame.

In Salem Massachusetts, there is a memorial to 20 people executed for witchcraft during the Salem Witch Trials in 1692. It is a series of granite benches set in a low stone wall surrounding the Old Burying Point. Each bench is inscribed with the names of the accused, and their date of execution. Maggie Smith and James Cutler designed the memorial which was inspired by the Vietnam Memorial.

Can a monument shift the discussion of these dead women and men? Often we only hear of the victims in news stories or on commercial ghost tours, dusted off for Halloween, with the attending broomsticks and black cats. Could a monument help frame the victims in a new light? What shape could Scotland give to its memory of atrocity? How can a monument make space for witness and ultimately healing?

For the past year I have been travelling to witches monuments throughout Scotland, visiting stones, fountains and even hedge mazes dedicated to people who were accused witches during the Scottish witch hunts of the 17th century. I’ve mapped them and added field notes with a kind of trainspotter impulse. There are many secreted away outside a village here, beside a suburban lawn there, each with its own story. Some are called “The Witches Stone” or are menhirs marked with a date. Some are nothing but a big rock with stories, told over hundreds of years, attributing them to the women killed during the witch trials of the 17th century. Often these stones mark the “last woman burned” as if the monument would keep history from repeating, like a revenant stone over the grave of the unquiet dead.

Reconstruction of the face of Lilias Adie by Dr. Christopher Rynn of Dundee University.

As I have written up my field notes, the face of Lilias Adie has stared back at my from my laptop’s screen where I keep it as a reminder. An accused witch murdered in 1704, her face has been reconstructed from a photo of her skull by Dr Christopher Rynn of Dundee University. She has been the tutelary spirit of this project, and hers may very well be the face that launches a national memorial. The morning before I posted my notes on Lilias Adie, I received an email reply from Councillor Kate Stewart who represents the area in Fife where Lilias Adie’s grave is located. She was central in making a wreath laying memorial event for Lilias. She told me that since the wreath laying, the story of Lilias has taken off on social media and she has been contacted by artists and writers from all over the world, curious about Lilias’ story. She has asked for the grave of Lilias Adie to be registered as a site of National Importance and there has been a public meeting to discuss a National memorial organised by Fife Witches Remembered. The proposal put forward uses the Beamer Rock Lighthouse which would be re-erected near the site of Lilias’ grave. The beacon was originally a non-illuminated day navigation beacon, but I wonder if, for the memorial, light could be involved in some way, as a flame or reflected light. The minutes of the memorial meeting state “The lighthouse would make an excellent low-maintenance landscape feature or memorial. The structure is built of a high quality whitish coloured sandstone (probably Longannet Quarry stone) and could be easily cleaned back to natural stone.” The lighthouse, like most of the lighthouses in Scotland, was built by Robert Louis Stevenson’s family. Lighthouses are heroic by nature, built as they are under often violent conditions, saving many lives. The poetry of a lighthouse monument for Scotland is unmistakeable: thrashed by storms and beaten by the tides, it still shines its light of hope and redemption, of home.

How would you see our fallen dead— the sisters, daughters, wives, mothers and neighbours—remembered? The shape the monument takes will be important, as important as the momentum we now have to make this happen. We can finally look Lilias Adie in the eyes and say, we are righting this.