2013 Program - The Balmoral Classic

NOVEMBER 7-9, 2013
PITTSBURGH, PA
THE BALMORAL SCHOOL OF PIPING & DRUMMING presents
7TH ANNUAL BALMORAL CLASSIC
November 7-9, 2013
Pittsburgh, Pennsylvania
THURSDAY, NOVEMBERR 7
BALMORAL SPECIAL EVENT
Lecture by Andrew Wright, author of General Principles of Piobaireachd
7:00 PM • Free • Carnegie Mellon University, College of Fine Arts, Room 303
FRIDAY, NOVEMBERR 8
A HERING: A CELEBRAT
A ION OF BAGPIPING
GAT
Music, Food, Cash Bar, Silent Auction
7-10 PM • Tickets: $20 • Pittsburgh Athletic Association, 4215 Fifth Ave., Oakland
SAT
A URDAY, NOVEMBER
R9
US JR SOLO BAGPIPING CHAMPIONSHIPS
9:00 AM -4:00 PM • Free • Central Catholic High School , 4720 Fifth Ave., Oakland
7:30 PM winners announced immediately prior to evening concert
ALASDAIRR FRASERR & NAT
ATALIE HAAS, IN CONCERT
R
6:30 PM Lobby doors open; 7:30 PM Championship awards ceremony
8 PM • Tickets: $30/door, $15 students • McGonigle Theater, Central Catholic HS
All locations are in (Oakland) Pittsburgh, PA 15213
The Classic is sponsored annually by the
CCHS
Balmoral School of Piping & Drumming
1414 Pennsylvania Avenue, Pittsburgh, PA 15233
(412) 323-2707 • [email protected] • BalmoralSchool.org
PAA
CMU
SAGE FOUNDATION
The Piper’s Hut
BALMORALCLASSIC.ORG
R. K. MELLON FAMILY FOUNDATION
Balmoral Classic is supported in part by
Pennsylvania Council on the Arts, a state
agency funded by the Commonwealth of
Pennsylvania and the National Endowment for the Arts, a federal agency.
THE 2013 BALMORAL CLASSIC
WELCOME!
W
elcome to the seventh annual Balmoral Classic,
Pittsburgh’s annual celebration of Highland
Bagpiping and related arts.
The Balmoral Classic’s US Junior Solo Highland
Bagpiping Championship on Saturday is the only
national competition for pipers 18 years of age or
younger. This year there are eleven contestants
representing California, Illinois, Maryland,
Massachusetts, Michigan, Minnesota, New
Hampshire, & New Jersey.
They have worked intensively for years to earn
their position by competing with distinction in the
upper amateur grades of their respective regional
pipe band associations. For any competitor at
this level it takes a lot of talent, focus, and time,
in some ways analogous to preparation for top
athletic contests. The have all come to Pittsburgh
at their own expense to prove their skills and
compete for valuable prizes. They deserve our
respect and congratulations.
On Thursday evening it is our pleasure to host
Andrew Wright of Dunblane, Scotland, and his
presentation of his recently published book,
General Principles of Piobaireachd. Andrew is one
of Scotland’s most respected senior judges, and
we are privileged to have him join us as a lecturer
and piping judge.
Friday night is the Gathering reception at the
Pittsburgh Athletic Association to meet and greet
the competitors, judges, staff, and supporters of
the Balmoral Classic with emcee Arthur McAra
and Highland pipe music by judges Scot Walker
and Duncan Bell. Irish music will be provided by
Bruce Foley (uilleann pipes, whistle, vocals, guitar)
Mary Coogan (guitar), and Vince Burns (fiddle).
There will be a silent auction, and refreshments
will be served.
The Saturday evening concert features the
internationally acclaimed Scottish fiddle player,
Alasdair Fraser, accompanied by Natalie Haas
on cello. Alasdair’s father was a piper, and his
love of bagpipe music can be heard in his
fiddling. No stranger to Pittsburgh environs,
he has performed at numerous
venues throughout the region
over the last ten years or
more, including the Ligonier
Highland Games and legendary
duets with the late great piper
Alasdair Gillies at the Bridgeport, WV Highland
Games.
The award winners of the US Junior Championship
will be announced during the opening of the
Saturday evening concert in the McGonigle
Theater, CCHS, and the overall winner will
perform his/her winning March, Strathspey, and
Reel at the start of the second set.
Two of Pittsburgh’s dance schools are also
represented in the concert with dancers from the
Burke-Conroy School of Irish Dance and The Celtic
Spirit of Pittsburgh Scottish Dancers. We extend
our thanks to these artists for helping to make the
concert unique and special.
With only two applications to compete in the
Snare Drumming contest, we regret the event had
to be cancelled for this year.
We hope that you take in and enjoy the Balmoral
Classic events, and have a chance to personally
welcome our guests, the young competitors from
various parts of the USA. If you are a visitor to our
fair city, please take the opportunity to see and
visit as much as possible. Pittsburgh, and Oakland
in particular, has many attractions.
The Balmoral Classic is made possible in part
by grants and individual and organizational
contributions, for which we are very grateful. We
thank all of our contributors for their support,
which is essential to the survival of this event.
To the Balmoral Classic volunteers, we extend our
sincere thanks. Without their time and talents the
weekend events would not be possible.
Please visit our information table and bid on
any of the silent auction items which have been
donated to raise funds for this event. If you are
not on our email list, please leave us your name
and email address at various venue’s information
tables so we can keep in touch.
We encourage you to patronize our advertisers
and sponsors. I hope that you will join us in
affirming that Scottish and Irish music holds an
important place in our American communities.
On behalf of the Balmoral Board and Staff, we
hope you enjoy the Balmoral Classic!
George Balderose
Executive Director
Balmoral School of Piping & Drumming
BALMORAL SCHOOL OF PIPING & DRUMMING
BOARD OF DIRECTORS
BOARDS & STA
T FF
EMERSON RAY, Chair • Westinghouse Corp. (retired)
ERIC HAYES, Vice Chair • Ha!Yes! Communications
MICHAELL FALLON, Treasurer • Senior Underwriter, Creditvest
GEORGE BALDEROSE, Secretary • Executive Director and Piping
Instructor, Balmoral School
ADVISORY BOARD
HON. THOMAS MURPHYY • Former Mayor, City of Pittsburgh
BRUCE BICKELL • Senior VP, PNC Wealth Management
SUSAN BLACKMAN • Non-profit Arts Consultant
MIKE CUSACKK • Headmaster, Saint Thomas’ Episcopal School, TX;
First American to win the Gold Medal in Scotland;
Former Pipe Major, five-time Juvenile World Champion Pipe Band
WILLIAM F. ASKIN, ESQ. • Private Practice Attorney
GORDON BELL • Drumming instructor, US Snare Drum Champion
KENNETH W. BOHL, PHD • Adjunct instructor, Westmoreland
BRIAN DONALDSON • Former Pipe Major, 2nd Battalion, Scots
Guards; Multi-Gold Medalist; Instructor (22 years), Army School of
Bagpipe & Highland Drumming, Edinburgh, Scotland;
Bagpipe maker, Inveran Bagpipes
CHRISTINE JOHNS • Regional Ministry Associate, Disciples of Christ
RICHMOND JOHNSTON • Piping instructor and on-site
ROBERT
RT GALBRAITH • Former High Commissioner, Clan Donald USA
JONAT
A HAN KING • President, Equity Guidance, Inc.
JAMES LAMB • Executive Director, Ireland Institute of Pittsburgh,
County Community College, Duquesne University
administrator, Balmoral School
Pennsylvania; Honorary Irish Consul, Pittsburgh
ALLAN MACDOUGALL • Schofield and MacDougall
LACEY MAHLER • Music educator, Deer Lakes School District
RAY SPEICHERR • Co-founder & CEO, Smartsite Strategies
WILLIAM R. SHIPLEY • CAO, McKinley Carter Wealth Services
MARK R. THOMAS • Vice President, EVA Dimensions
LYRIC TODKILLL • Pipe Major, 2006 Juvenile World Champion St.
Thomas’ Episcopal School Pipe Band
STA
T FF
GEORGE BALDEROSE, Executive Director
LESLIE CLARK, Associate Director
DEBORAH CORLL, Marketing & Development
TERRY TULLYY • Pipe Major, St. Laurence O’Toole Pipe Band, Dublin,
Ireland, 2010 Grade One World Champion Pipe Band
JOHN WILSON • Piper, Argyll & Sutherland Highlanders, Gold
Medalist; Pipe Sergeant of 8-time World Champion Strathclyde
Police Pipe Band; Host of “Pipeline” Internet program
The mission of the Balmoral School of Piping and Drumming is to raise the standard and
promote the appreciation of bagpipe music in the USA by providing world class instruction,
cultivating excellence in youth, presenting innovative musical events, and fostering tradition.
2013 BALMORALL CLASSIC PRODUCTION STA
T FF
ART
R HUR MCARA, Emcee
BUD BRIZUELA, Chief Steward
LYNETTE CASTELUCCI, Photographer
JOHN MART
R HENS, Stage Manager
GEORGE BALDEROSE, LESLIE CLARK, DEBORAH CORLL, CHRISTINE JOHNS,
Program Book
BANKSVILLE EXPRESS, Printer
GERRY O’NEILL, CZ SOUND, Sound Reinforcement
OUR SPECIAL THANKS TO:
PITTSBURGH ATHLETIC ASSOCIAT
A ION STA
T FF
CENTRALL CAT
A HOLIC HIGH SCHOOL STA
T FF
CMU COLLEGE OF FINE ART
R S , SUZIE SILVER
& JOHN CARSON, for providing Room 303
for the Thursday night lecture
A Memorial Scholarship to the Balmoral School of Piping Pittsburgh summer session
has been established by the Pittsburgh Firefighters Memorial Pipe Band
in memory of EDWARD D. MOORE (August 30, 1937 –June 13, 2012)
For more information contact George Balderose,
Balmoral School, ph. (412) 323-2707 or [email protected]
New members welcome!
BALMORAL SCHOOL OF PIPING & DRUMMING
SETTING THE STANDARD
T
The Balmoral School of Piping & Drumming was established in 1979 by co-founders George
Balderose and James McIntosh, MBE, “…to raise the standard and promote the appreciation of
bagpipe music in the USA by providing world class instruction, cultivating excellence in youth,
presenting innovative musical events, and fostering tradition.” It is a non-profit, 501.C.3 a.1 taxexempt school, and its Board of Directors include professionals from the fields of law, finance,
education, management, commerce, and piping and drumming who selflessly serve to guide
the organization and realize its mission.
Balmoral School of Piping and Drumming celebrates and teaches traditional bagpipe music
dating as far back as the 14th century, along with more recent compositions in the traditional
style including the competition repertoire. Long-term commitment to the culture and heritage
associated with the great traditions of bagpiping and drumming is encouraged among the
Balmoral students. Learning music through the Balmoral School builds character, promotes
heritage and fully supports family values.
SUMMER SESSIONS
Balmoral School of
Piping & Drumming
Drummin
ming
g hass
introduced to Pittsburgh and other US locations some
som
of the world’s most outstanding
standing senior pipers to teach
teach
ach
at its summer sessio
sessions,
ns, among them John MacDougall,
MacDoug
MacDouga
all
ll,,
Ron Lawrie, Iain Morrison, P/S John Wilson an
and
dP
P/M
/M
Iain McLellan, BEM of the 12-times World Champion
Champion
Strathclyde Police
lice Pipe Band. James McIntosh, M.B.E.
M
M.B.E
.B.E..
also founded the Carnegie Mellon
n University
University Bachelor
Bachelor
lor
of Performing Arts prog
program
m in Bagpipe Music, the
the first
rs
in the world. Balmoral past instructor & Advisory
ry Board
Board
member Mike Cusack was the first
first American
American to win
in
the Gold Medal at the prestigious
restigious Northern
Nor hern Meeting
M ing
in Inverness. He also led the St. Thomas Episco
Episcopal
Episcopa
pall
School Pipe Band to five Junior World
rld Championships.
Champion
Championship
shipss.
Noteworthy drumming instructors
structors who have
have taught
taugh
aught
for Balmoral include Reid Maxwell, Bert Barr,
r, Andrew
Andr
Hoinacki, Jon Quigg, Andy White, and our Principal
Princ
Princip
ipa
al
drumming instructor,
r, Gordon
on Bell.
B
Bell
ll..
The Balmoral School’s summer sessions
ssions attract
a
attract
rac
150-250 pipers and drummers
drummers
mmers each year and are
a
arre
held on college campuses in California, Kansas,
Kansass,
Wisconsin, and Pennsylvania. A new location
on is
tentative for Albuquerque, New Mexico
Mexico
ico in 2014.
22014
14..
Among next summer’s instructors
nstructors are the
th Balmoral
Balmoral
School’s Principal piping instructor,
r, Pipe
Pipe Major Brian
Bria
Brian
n
Donaldson, Scots
cots Guards (Ret.), JJohn
ohn Wilson (ex-P
(ex-P/S
/S
Strathclyde Police PB), Donald McBride, James McColl,
McColl
McColl,,
Willie McCallum, James Bell, Gordon
rdon Bell, George
Georg
orge
Balderose, Andrew Hoinacki,
oinacki, and other seasoned
season
asoned
d
piping and drumming instructors from the USA..
The Balmoral School of Piping & Drumming is a 501(c)(3) nonprofit
tax-exempt educational organization.
Contributions are tax-deductible. We appreciate your support.
BALMORALL CLASSIC
Founded
in 2007, the Balmoral Classic is home to the
only US Junior Solo Competitions for bagpipers and snare
drummers 18 years of age and under. Judges are carefully
chosen from among veteran judges in the USA and
Scotland. Successful contestants usually advance to major
invitational competitions and are encouraged to compete
in Scotland. Balmoral Classic events also include a Friday
night reception, as well as a Saturday evening concert with
acclaimed International Scottish or Irish traditional music
artists.
BRINGING
TRADITIONAL
BAGPIPE MUSIC TO
WIDER AUDIENCES
Balmoral School of
Piping & Drumming
and
the
Balmoral
Classic support the
field
d of bagpiping in new and creative
cr
ways within the
traditional idiom and widen the public’s understanding
and appreciation of quality bagpipe music. During the year,
public concerts such as those at downtown Pittsburgh’s
historic First Presbyterian Church feature traditional and
original bagpipe music, at times in combination with other
instruments.
For more information, contact:
George Balderose, Executive Director
Balmoral School of Piping & Drumming
1414 Pennsylvania Avenue, Pittsburgh PA 15233
(412) 323-2707 | [email protected]
Sage Arts
14311 Stehr Road, Arlington, WA 98223 USA
Phone: 800-724-3462
Fax: 360-691-2744
www.SageArts.com
2013 BALMORAL CLASSIC
SUPPORTERS
We thank the following individuals who, through their
generosity, have supported the Balmoral Classic.
CHIEFTAIN ($1,000 +)
FRIEND (UP TO $99)
Anonymous
Stephen M Friedberg
E. W. Littlefield, Jr.
& Sage Arts
Patricia Murray
Allan MacDougall
Larry Rabinowitz
Ralph Magnusson
Bill Askin
Joseph & Marguerite Baker
Ronald Berlin
Zoe Brumfield
Jacqueline Campbell
Leslie Clark
Deborah Corll
Clare & Virginia Cornelius
Robert Davis
Patricia Dugan
William Finger
Bruce Foley
Heather Foote
Francine Gemperle
Elizabeth Glover
Neil Henderson
Michael Heywood
Gabrielle Hughes
Kathleen Jedlica
Christine Johns
William McAllister
Bruce McClellan
Glenn McClintock
Duane Mohney
Mychael Morohovich
Gerald & Muriel Morrison
Boyd Murray
Keina Nutter
Patrick O’Brien
Sean O’Donnell
Tom Ogden
Nathan Piper
David & Nancy Rost
Sarah Rubin
Kathleen Schneider
Bill & Judy Shipley
Suzanne Silver
Duchess Simon
Joseph & Esta Ann Stearne
Larry & Sharon Van Dyke
Charles Yankel
HIGHLANDERR ($500–$999)
George & Kathryn Balderose
Cary & Ken Bohl
Arthur Fournier
Lynn Dalzell Friedberg
Lanny & Anne MacDougall
Patrick McCaffrey
Allan Patterson
Emerson & Linda Ray
Malachy Whalen
STEWARD ($250–$499)
Bruce Beavis
Michael Fallon
David & Diane George
Caleb & Bronwyn Loring
Judith Waddington
PATRON ($100–$249)
Antoinette Aloe
Archie Andrews
James Armstrong
Stanley R. Bagbey
Cheryl Bowman
Robert Boyd
Fitzhugh Lee Brown
H. Thomas Elliott
Joyce Helmetzi
Stephen Kurpiewski
Mark B. Latham
Lacey Mahler
Thomas Maloney
Arthur McAra
David A. Murdoch
Gail Oare
Marc Robertshaw
Robert Rost
Peter B. Shaw
Ian Strouse
Ann Wallace
Robert Wallace
GRANT SUPPORT
SILENT AUCTION DONORS
Heinz Endowments
Laurel Foundation
PA Council on the Arts
R.K. Mellon Family Foundation
Sage Foundation
Artfool Jester
Birdsfoot Golf Club
Caliban Book Shop
Calliope: Pittsburgh Folk
Music Society
Carnegie Museums of
Pittsburgh
Dennis Inserra
Emerson & Linda Ray
Gail Killmeyer / Challenge
By Choice
Greentrax Recordings
Henderson Imports Ltd.
Hillman Center for
Performing Arts
Irish Design Center
Ligonier Country Club
Max’s Allegeny Tavern
Mullaney’s Harp & Fiddle
Nemacolin Woodlands
Pittsburgh Concert
Chorale
Pittsburgh Glass Center
Pittsburgh Trophy Co.
Pittsburgh Zoo & PPG
Aquarium
St. Brendan’s Crossing
Thistle and Pine
NONPROFIT SUPPORTERS
CMU College of Fine Arts
Greater Pittsburgh Arts Council
Ligonier Highland Games
Pittsburgh Firefighters Memorial
Pipe Band
Pittsburgh Police Emerald Society
Pipes & Drums
St. Andrew’s Society of Pittsburgh
BUSINESS & INDIVIDUAL SUPPORTERS
IDL Worldwide
Dick’s Construction Company
John & Francine Marthens
First National Bank of Pennsylvania
Peppi’s
The Piping Centre
DONORS OF THE US JUNIOR SOLO
CHAMPIONSHIP PRIZES
Balmoral School of Piping &
Drumming
Celtic Croft
Duncans Highland Supply
Inveran Bagpipe Makers
Jim McGillivray
MacLellan Bagpipes
McCallum Bagpipes
Scott’s Highland Services, Ltd.
The Pipers Hut
Many thanks to additional sponsors
and donors giving after our press
deadline.
As a nonprofit organization, the Balmoral
School depends on the generosity of donors
and volunteers. You can make a difference.
To find out how, visit BalmoralSchool.org
or call (412) 323-2707.
VOLUNTEERS
Bill Askin
George Balderose
Kay Balderose
Bud Brizuela
Aryn Burda
Kevin Carhart
Leslie Clark
Debbie Corll
Tom Elliott
Ean Eshelman
Linda Eshelman
Randy Eshelman
Teri Hayes
Christine Johns
Elaine Johns
Lacey Mahler
Tom Maloney
John Marthens
Donald McBride
Heather Parks
Emerson Ray
Jackie Sharp
Adam Valenti
Larry Van Dyke
Sharon Van Dyke
Jeaneen Zappa
FRIDAY, NOVEMBER 8, 7–10 PM
BALMORALL CLASSIC GAT
A HERING:
A CELEBRAT
A ION OF BAGPIPING
PITTSBURGH ATHLETIC ASSOCIAT
A ION
4215 Fifth Avenue, Oakland
Join us to kick off this gala weekend!
The Gathering is an opportunity to meet and
greet the Balmoral Classic competitors, judges,
Balmoral School board, staff and volunteers.
Welcoming Remarks
Arthur McAra, Emcee
Emerson Ray, Chair, Board of Directors
George Balderose, Executive Director
Music
Bruce Foley of Guaranteed Irish (guitar, uilleann
pipes, whistle, vocals) with Mary Coogan of
Cherish the Ladies (guitar, mandolin, banjo) and
Vince Burns (fiddle)
Champion piping
An exclusive performance by Balmoral Classic’s
judges, Duncan Bell and Scot Walker
Refreshments
Light hors d’oeuvres and cash bar
Silent Auction
Let your competitive streak show! Browse the
items and place your bids. Don’t let someone
else beat you out. Winners for the Friday night
auction will be announced at 10 PM. Then, on
Saturday night, an all-new Silent Auction will
begin at 7:00 PM and continue through the end of
the Intermission during the Alasdair Fraser and
Natalie Haas concert. Saturday night winners
will be announced at the end of the night.
Sponsors for this Celebration include:
Musicians’ Background
Bruce Foley first became familiar with the uilleann
pipes in 1975 in Chicago with the legendary piper Joe
Shannon. It would be 13 years
before he was able to secure a
b
ffull set due to the scarcity of
pipe-makers and the high cost
p
of having a set made. He was
o
able to get a beautiful full set
a
in 1988 from Kerry pipe-maker
Alain Froment. Bruce is selfA
taught on guitar and whistle. He has performed on
stage with Paddy Reilly, Paddy Keenan, James Kelly,
Tommy Sands and other notable traditional musicians
and on a variety of recordings. Bruce regularly travels
to Ireland and takes pleasure in performing with local
musicians in Connemara.
Mary Coogan was born in New
York and also raised in a musical
household. Her mother is from County
Roscommon and her father is a first
generation Irish-American accordion
player. Mary is a self taught guitar,
mandolin and banjo player. She began
playing at an early age listening to
various types of acoustic music and is a highly sought
after accompanist. She has just finished a recording
with her father Jim titled “Passing Time” featuring
renditions of tunes both old and new. Her first solo
recording, “Christmas” has received rave reviews from
fans and critics alike. In addition to her musical talents,
she also holds her masters degree in education, and is
named in Who’s Who Among American Teachers.
Vince Burns plays Irish traditional music on the
fi
fiddle
in a style he learned from his
mentor, Brendan Mulvihill. Active in
m
the DC/Baltimore Irish music scene for
yyears, he relocated to Pittsburgh where
he continues to perform and teach. In
h
a previous lifetime he received a B.M.
in
n viola performance from The Catholic
University of America.
U
Pittsburgh Firefighters Memorial Pipe Band • Balmoral School of Piping & Drumming
Pittsburgh Police Emerald Society Pipes & Drums • St. Andrew’s Society of Pittsburgh
US JUNIOR SOLO CHAMPIONSHIPS
JUDGES & COMPETITORS
ANDREW
W WRIGHT is known to everyone with an interest in this music. He is a double Gold Medalist and
winner of most of the major prizes in piobaireachd competition. He was introduced to piobaireachd in
his teens by Peter MacLeod and later received expert tuition from P/Ms Donald MacLeod and RB Nicol,
Balmoral, protégés of John MacDonald, Inverness. This teaching, allied to Andrew's own musical instinct,
assured his success on the contest platform. Yet he was never content to play the tunes well. He took
what was given and, after comprehensive analysis over many years, established his own ideas on why
what these masters taught led to the expressive playing immediately recognized by the learned listener... "
-from General Principles of Piobaireachd, Forward by Robert Wallace, Principal, The College of Piping, Glasgow.
DUNCAN D. BELL started his piping training in 1964 being taught by his father, George M. Bell, and is still
active on the competitive circuit today. He has been at the open (professional) piping level in the EUSPBA
since 1973 and attained both Open Piping overall and Open Piobaireachd overall in same year six times
since then while recently winning the overall Open Piobaireachd in 2012, 2011 and 2010 and landed in the
top 5 overall every year since 1999. Duncan sits on the EUSPBA Adjudication panel and has been an active
judge since 1983. He has also served as the P/Sgt and a founding member of Parlin and District Pipe Band, P/
Sgt of Lehigh Valley Pipe Band and a former member of The City of Washington Pipe Band. Duncan actively
teaches private students in both bagpiping and guitar, and taught music theory and bagpipe performance
at New York University in 1999 and 2000.
SCOTT WALKER was rated #1 Overall Solo Piping Competitor 7 out of 8 years by the Eastern US Pipe Band
Association. He has won firsts at nearly all the major North American Solo Championships. A fourth generation
player, Scot was originally taught by his grandfather, Robert Walker, son of William Walker, Pipe Sergeant of
5th HLI, 6 time World Pipe Band Champions under MacDougall Gillies. In Scotland he has won first prizes in
the professional competitions at the games in Dornoch, Strathpeffer, Lonach, and Cowal, among others. He
has served on the Music Faculty of Moravian College as instructor of Bagpipe Music since 1993, and holds a
Masters of Education. His students have distinguished themselves at Amateur and Open solo competitions
throughout North America and Scotland. He is a member of the Eastern United States Pipe Band Association
judges panel, former Pipe Major of the Lehigh Valley Pipe Band (1985-2010) and a current member of the
Lomond and Clyde Pipe Band based in Glasgow, Scotland.
2013 BAGPIPING COMPETITORS
MAEGHAN BIELSKI
Middleboro, Massachusetts
CHRISTIAN HARRS
WILLIAM SHROPSHIRE
THOMAS CANGELOSI
TYLERR JOHNSON
Farmington Hills, Michigan
CHANDLER SIEVEWRIGHT
DYLAN CHRISMER
Alta Loma, California
SCOTT MCCANN
COLIN TAIT
Milford, Michigan
Rockaway, New Jersey
Bayville, New Jersey
Staunton, Illinois
ANYAA GLOVER
Glendora, California
STEWARDS
BUD BRIZUELA, CHIEF STEWARD
TOM ELLIOTT, LACEY MAHLER,
DONALD MCBRIDE, ADAM VALENTI
Rockville, Maryland
Hales Corners, Wisconsin
CAMPBELLL WEBSTER
Concord, New Hampshiree
EMCEE
ARTHUR MCARA
REGISTRAR
LESLIE CLARK
Céad míle fáilte romhat!
Good luck to all competitors
The Pittsburgh Police Emerald Society Pipe Band
Pipe Major Chuck Handerhan • 412-498-0121
US JUNIOR SOLO CHAMPIONSHIPS
BAGPIPING TROPHIES AND AWARDS
OVERALLL WINNER
• Ralph Murray Memorial Trophy
• Ralph
p Murrayy Memorial Scholarship
p
(for room/board/tuition for two weeks to the Balmoral School summer session of his/her choice)
2ND, 3RD, AND 4TH OVERALL WINNERS
• Flora MacDonald Dalzell Scholarship | • Henry Matthews Scholarship
(for one week’s tuition to the Balmoral School summer session of his/her choice)
PIOBAIREACHD WINNER
MARCH, STRAT
A HSPEY, REEL WINNER
• Balmoral Trophy
• Handcrafted set of imitation ivory mounted bagpipes (donated
by Brian Donaldson and Inveran Bagpipe Makers)
2ND PLACE PIOBAIREACHD WINNER
• Premium-quality rabbit-fur sporran with chrome cantle (made
in Scotland donated by Celtic Croft, Brooklyn Park, Minnesota)
• Piobaireachd Society’s Modern Piobaireachdd
• E.W.Littlefield, Jr. Trophy
• AB celtic engraved alloy-mounted set of bagpipes
(donated by McCallum Bagpipes, Kilmarnock, Scotland)
2ND PLACE MSR WINNER
• Xavier Boderiou African blackwood bagpipe chanter
(donated by The Piper’s Hut, Reynoldsburg, Ohio)
3RD PLACE MSR WINNER
(donated by Duncans Highland Supply, Royal Oak, Michigan)
3RD PLACE PIOBAIREACHD WINNER
• Backpack bagpipe case
• Handcrafted blackwood practice chanterr
(donated by MacLellan Bagpipes, Monroe, North Carolina)
4TH PLACE MSR WINNER
• Rhythmic Fingerwork
(donated by Scott’s Highland Services, London, Ontario)
4TH PLACE PIOBAIREACHD WINNER
(donated by Jim McGillivray, Aurora, Ontario)
• Piobaireachd Fingerwork
5TH PLACE MSR WINNER
•TThe Balmoral Collection off Hymns,
y
(donated by Jim McGillivray, Aurora, Ontario)
5TH PLACE PIOBAIREACHD WINNER
• A.G. Kenneth’s Collection, Vol. 1 & 2
(donated by Duncan’s Highland Supply, Royal Oak, Michigan)
Arranged for the Highland Bagpipe
(donated by Balmoral School of Piping & Drumming, Pittsburgh, PA)
Medals are awarded to 2nd, 3rd, 4th, and 5th place competitors in each event. Trophies become the property of the winner.
MEMORIAL SCHOLARSHIPS ADVANCE THE SKILLS OF TALEN
T
TED STUDENTS AND ARE TA
T X-DEDUCTIBLE. THEY
SCOTTISH AND IRISH HERITA
T GE AND ENSURE THE FUTURE OF TRADITIONAL MUSIC. INQUIRIES WELCOME.
PROMOTE
BALMORALL CLASSIC CHAMPIONS 2007-2012
OVERALLL PIPING
2012 KIRK BRUNSON
2011 ALEXANDER SCHIELE
W RT
2010 JOSEPH STEWA
2009 ANTHONY MASTERSON
Y N PRASKOVICH
2008 RYA
2007 LARSON STROMDAHL
R - PIPER
PIOBAIREACHD MSR
OVERALL
ALL
LLL DRUMMIN
MM G
MSR
RDRUMMER
HJ - DRUMMER
RUM
NICHOLAS THERIAULT JACK WILLIAMSON
ALEXANDER SCHIELE
ALEXANDER SCHIELE
AMBER STONE
O
PETEY LOWRIE
OW
AMBER STONE
PETEY LOWRIE
ALASTA
T IR BURGESS
JOSEPH STEWA
W RT
MARSHALL GERMAN
REID BISHOP
KEGAN SCHEEHAN
DANIEL PISOWLOSKI
ANTHONY MASTERSON
RYA
Y N PRASKOVICH
ANDREW TICE
QUINN MCCORMACK QUINN MCCORMACK
PETEY LOWRIE
OW
PETEY LOWRIE
PETEY LOWRIE
QUINN MCCORMACK
PETEY LOWRIE
CONCERT SATURDAY, NOVEMBER 9 AT 8:00 PM
ALASDAIRR FRASERR & NAT
ATALIE HAAS
CENTRAL CATHOLIC
A
HIGH SCHOOL
MCGONIGLE THEATRE
A
Scottish fiddle and cello music of unrivaled beauty, eloquence, and passion
FIFTH AVENUE AT
A NEVILLE STREET, OAKLAND
The
musical partnership between Alasdair Fraser,
long regarded as Scotland’s premier fiddle
ambassador, and the sizzlingly-talented
young California cellist Natalie Haas
may not seem an obvious one. Fraser,
acclaimed by the San Francisco
Examiner as “the Michael
Jordan of Scottish fiddling,” has
a concert and recording career
spanning 30 years, with a long
list of awards, accolades, television
credits, and feature performances on top
movie soundtracks (Last of the Mohicans,
Titanic). Fraser has been sponsored by the
British Council to represent Scotland’s
music internationally, and received the Scottish
Heritage Center Service Award for outstanding
contributions to Scottish culture and traditions.
the gristly bits—the rhythmic, percussive energy that
makes the wee hairs on the back of the neck stand up.”
Natalie
Haas was just 11 when she first
attended Fraser’s Valley of the Moon
Scottish Fiddling School in California.
She responded to Fraser’s challenge to
find and release the cello’s rhythmic
soul, and four years later, when
Natalie was just 15, Fraser and
Haas played their first gig
together. Now regularly touring
with Fraser and creating a
buzz at festivals and in concert
halls
throughout
Europe
and
North
America, Natalie is
in the vanguard of young cellists who are
redefining the role of the cello in traditional music.
The duo represented Scotland at the Smithsonian
Natalie Haas, a graduate of the Juilliard School of Museum’s
Folklife Festival, have been featured on
Music, wasn’t even born when
Alasdair was winning national fiddle
“ … you would think they’d been playing
competitions on the other side of together for centuries. While his fiddle dances, her
the Atlantic. But this seemingly cello throbs darkly or plucks puckishly. Then [Haas]
unlikely pairing is the fulfillment of opens her cello’s throat, joining Fraser in soaring
a long-standing musical dream for sustains, windswept refrains, and sudden, jazzy
Fraser, whose cutting-edge musical explosions. Their sound is as urbane as a Manhattan
explorations took him full circle to midnight, and as wild as a Clakmannan [Scotland]
find a cellist who could help him winter.” — Boston Globe
return the cello to its historical
the faculty of
role at the rhythmic heart of Scottish dance music.
nationally broadcast Performance
Today, the Thistle & Shamrock, and
Mountain Stage. They both teach
at Fraser’s popular annual summer
fiddle courses (Valley of the Moon
Scottish Fiddling School and Sierra
Fiddle Camp in California, and at
Sabhal Mor Ostaig Gaelic College
in Scotland), and Natalie is on
Berklee College of Music in Boston.
“Going back to the 1700s, and as late as the early 20th “Cellists are coming out of the woodwork to study with
century,” Fraser says, “fiddle and cello made up
the dance band of choice in Scotland, with the cellist
bowing bass lines and driving the rhythm. Pianos and
accordions elbowed out the cello, relegating it to an
orchestral setting. I’ve been pushing to get the cello
back into the traditional music scene for years, always
on the lookout for a cellist with whom I could have a
strong musical conversation, one that incorporated
not just the cello’s gorgeous melodic tones, but also
Natalie, to learn how she creates a groove and a whole
chunky rhythm section,” says Fraser. “It’s inspiring to
hear the cello unleashed from its orchestral shackles!”
One of the inspirations is the duo’s debut recording,
Fire & Grace, which displays dazzling teamwork,
driving, dancing rhythms, and the duo’s shared
passion for improvising on the melody and the groove
of Scottish tunes. The two instruments duck and dive
around each other, swapping melodic and harmonic
lines, and trading rhythmic riffs. The recording won
not only critical acclaim, but also the coveted the Scots
Trad Music “Album of the Year” award, the Scottish
equivalent of a Grammy. Fire & Grace, and the duo’s
new CD In the Moment, and Fraser’s many other
recordings are on his own Culburnie Records label
Workshops, Master Classes, and Residency Activities
Through two summer programs that he founded nearly
two decades ago, the Valley of the Moon Scottish
Fiddling School in California and a week-long course
on the Isle of Skye,
“Fraser, one of the most respected
Alasdair has inspired
of all exponents of the Scots fiddle,
hundreds of aspiring
would look long and hard to find a more
and
accomplished
appropriate cellist as a partner. Haas can
m u s i c i a n s .
switch just as effortlessly as Fraser from
a gentle singing tone to driving, dancing
Alasdair is available
melody. A positive joy.” -The Scotsman
for master classes
and
workshops
for performers of all ages, with an emphasis on
the tradition and techniques of Scottish fiddle
music. The classes can be for fiddlers only, or
can include musicians playing any stringed
instrument, with special focus on playing by
ear, improvising, and learning to play as part of
an ensemble. Alasdair can present classes for
music teachers and students that emphasize
music as a voyage of discovery and finding the
individual voice. For schools, he and Natalie
can present both educational performances
and bus-in performances in conjunction with
evening concerts at performing arts centers.
Partial Discography
Alasdair Fraser and Natalie Haas
Highlander’s Farewell (2011)
Fire and Grace (2009)
In the Moment (2007)
Alasdair Fraser
SKYEDANCE: Live in Spain (2001)
Return to Kintail w/Tony McManus (1999)
Way Out to Hope Street w/SkyeDance (1997)
Dawn Dance (1995)
Culburnie Records
www.Culburnie.com | [email protected]
PO Box 219, Nevada City, CA 95959
(800) 830-6296
TONIGHT’S DANCERS
CELT
L IC SPIRIT HIGHLAND DANCERS OF PITTSBURGH
Sarah Hoffman and Brittany Maniet are awardwinning students of the Celtic Spirit Highland
Dancers of Pittsburgh, a group of young performers
who study traditional Scottish Highland Dance
and traditional Scottish Bagpiping. They love to
share their knowledge of the Scottish traditions
through performing. Director and dance instructor
Kathy Horvath provides students with professional
Scottish Highland Dance training. She is certified
by The British Association of Teachers of Dance
and a member of The Federation of United States
Teachers and Adjudicators. Highland Dance is a
celebration of Scottish spirit combining strength,
agility movement, traditional music and costume
and is a healthy workout for children and adults.
Its study improves confidence, coordination,
concentration, stamina and self-discipline. The
group performs regionally at Scottish celebrations
such as Tartan Day, Robert Burns events, and other
occasions. Ph. (412) 551-7420; [email protected]
BURKE CONROY SCHOOL OF IRISH DANCE
Championship-level dancers who are students of
The Burke Conroy School of Irish Dance, located in
Pittsburgh, PA have qualified for, and competed in,
the World Championships of Irish Dance multiple
times – an accomplishment only 1% of Irish dancers
achieve. The school’s founder, the world renowned
Theresa Burke, ADCRG, has been teaching Irish
Dance for over 50 years, and is assisted by Laura
Conroy, TCRG, and Mary Conroy Adams, TCRG.
With sister schools in Ohio, the organization is
one of the oldest and most respected Irish Dance
schools in the country. The Burke Conroy School
has had many top winners in regional, national
and World championship competitions, and is very
proud to continually qualify dancers to compete
in the annual World Championship of Irish Dance.
In addition to competing, the students perform
throughout the region, including performances
with popular Irish bands, including Grammy
Award winners “The Chieftains”, the Titanic
movie’s steerage band “Gaelic Storm”, Eileen Ivers
of Riverdance fame, Solas, and Cherish the Ladies,
among others. Ph. (412) 781-3273; burkeirishdance.com
Music To My Ears
Specializing in Quality
Antique Music Boxes, Phonographs,
And Mechanical Music Machines
Contact us at: [email protected]
We wish the best to all of
the 2013 contestants in the
US Junior Solo Bagpiping
Championships!
PIOBAIREACHD
Piobaireachd
is played all over the world by devotees whose number must far exceed those who enjoyed it in the
'golden age' of the 16th, 17th, and 18th centuries. Modern technology has made an important contribution to popularizing
the music; there are dozens of easily accessible recordings available and these can help achieve a reasonable
competence in expression. True appreciation, however, only comes after years of study with a respected teacher...
Very little is known of its origin. Conjecture and romanticism are rife. There is no doubt that it is instrumental music designed
solely for the great Highland bagpipe. Passages of melody will have come from Gaelic song and perhaps the clarsach, the
small Celtic harp; some pipe embellishments may even have been engineered to imitate harp characteristics. But there
can be no equivocation on this; the piper's technique combines to bring the best out of these airs, to add character to
them, to compensate for his lack of dynamic control and to fulfill the requirement that he maintain a continuous sound.
Too
often we hear piobaireachd played in an ad lib fashion, obvious to even a half-tutored ear that no effort
has been made by the performer to understand the structure of the piece he is playing... Staff notation does
not convey enough information on the way the music should be played. It gives us an excellent record of
pitch, note sequence and fingering, leaves many a grey area as far as timing and pointing are concerned...
In addition to these timing issues, there is the ongoing problem of keeping the instrument and its four reeds in perfect
tune for periods of fifteen minutes or more whilst performing long pieces entirely from memory. The pipe plays a very
important part in how the music is heard. It is intrinsic to it, virtually one and the same, hence the name 'piobaireachd'
- piping. The great Highland pipe comes fully into its own when playing this music. The same can be said in reverse - the
music needs the pipe. Andrew Wright, from his General Principles of Piobaireachd: A Guide to Interpretation, The College of Piping, Glasgow, 2013.
Pibroch,
piobaireachd or ceol mor is an art music genre
associated primarily with the Scottish Highlands that is
characterized by extended compositions with a melodic
theme and elaborate formal variations. Strictly meaning
"piping" in Scottish Gaelic, piobaireachd has for some four
centuries been music of the Great Highland Bagpipe. Music
of a similar nature, predating the adoption on the Highland
pipes, has historically been played on the wire-strung Gaelic
harp (clarsach) and later on the Scottish fiddle, and this form
is undergoing a revival.
A more general term is ceol mor (Scottish Gaelic ceòl mór)
meaning the "great music," to distinguish this complex
extended art-music from the more popular Scottish music
such as dances, reels, marches and strathspeys which are
called ceòl beag or "little music."
In musical structure, pibroch is a theme with variations.
The theme is usually a very simple melody, though few if any
pibroch contain the theme in its simplest form. The theme is
first stated in a slow movement called the ground or in Gaelic
the ùrlar. This is usually a fairly stylized version of the theme,
and usually includes numerous added embellishments and
connecting notes.
The
subsequent variations can number from one up to
about twenty, although there are a few fragmentary tunes
for which only a ground is known. In most cases the
variations following the ground involve the use of a number
of different musical embellishments, usually starting very
simply and progressing through successively more complex
movements before returning again to the ground.
The Gaelic titles of piobaireachd compositions have been
categorized into four broad groupings. These include:
•Functional - salutes, laments, marches and gatherings.
•Technical - referring to strictly musical characteristics of the pieces
such as "port" or "glas", terms shared with wire-strung harpers.
•Textual - quotations from song lyrics, usually the opening words.
•Short names - diverse short names referring to places, people and
events similar to those found in Scottish popular music of the period.
Piobaireachd
in the functional category were most
commonly written for or have come to be associated with
specific events, personages or situations:
•Laments (Cumha) in Gaelic cumha means "strength through
suffering”, the tunes are named after noteworthy person or things, like
The Lament for the Harp Tree.
•Salutes (Fàilte) are tunes that acknowledge a person, event or
location. Salutes were often written upon the birth of children or after
a visitation to a prominent figure such as a clan chief. Many salutes
have been written to commemorate famous pipers.
•Gatherings (Port Tionail) are tunes written specifically for a clan.
These tunes were used to call a clan together by their chief. The tune
structure is usually simple so that it could be recognized easily by clan
members.
•Rowing pibroch are more rhythmic tunes used to encourage rowers
while crossing the sea.
Many piobaireachd tunes have intriguing names such as
"Too Long in This Condition", "The Piper's Warning to His
Master", "Scarce of Fishing", "The Unjust Incarceration" and
"The Big Spree" which suggest specific narrative events or
possible song lyric sources.
In the absence of concrete documentary evidence, the
origins of pibroch have taken on a quasi-mythic status.
The earliest commonly recognized figures in the history of
bagpipe piobaireachd are the MacCrimmon family of pipers,
the hereditary pipers to the MacLeods of Dunvegan on
Skye, particularly Donald Mor MacCrimmon (c. 1570-1640),
who is reputed to have left a group of highly developed
tunes, and Patrick Mor MacCrimmon (c. 1595-1670).
from WIKIPEDIA, with editing by George Balderose
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Uilleann Piping
Irish Fiddle
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Ukulele
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Classes held at
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Tickets and information:
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412-361-1915
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Music for All Occasions
www.davidshelow.com
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THE SCOTTISH FIDDLE
Scottish fiddling, even to many an untrained ear, can be
distinguished from other Celtic and folk fiddling styles by its
particular precision of execution and energy in the delivery.
The style has a very large repertoire consisting of a great
variation of rhythms and key signatures, arguably more than
in related styles. There is also a strong link to the playing of
traditional Scottish bagpipes, expressed in the Scots saying:
Speak well o' pipers, yir faither wis a fiddler. The influence of
Scottish fiddling on Scottish piping has also been significant,
with pipers and fiddlers exchanging melodies for centuries.
The traditional Scottish Border and Lowland bagpipe repertoire
of today, lost to oral tradition, has been largely reconstructed
from early Scottish and Northumbrian fiddle collections.
The fiddle is among the most versatile of instruments, occurring
in many different forms throughout the world. The modern
violin has been around since the 16th Century, but before that,
folk fiddles had already spread though most of Asia, Africa and
Europe. The violin had probably been introduced to Scotland
from England around 1670, and was much prized among the
nobility. It rubbed shoulders with its medieval ancestors the
rebec and vielle; one of the earliest mentions of a Scottish fiddle
is in the royal treasurer's accounts for 1497, which mention
a payment "at the kingis command, to the fidilar in Dunbar".
These early fiddles rubbed shoulders with the violin before finally
being replaced by it due to its superior tone and playability. When
King Charles II, the so-called “Merrie Monarch” came down from
Edinburgh to take the English throne in 1661 one of his first acts
was to bring down his band of 24 fiddle players, led by a German
violinist Thomas Baltzar. By this time the nobility were more
interested in European music than traditional Scots tunes, but
throughout Scotland, fiddling was about to enter its Golden Age.
Among the earliest compilation of tunes was a collection of tunes
entitled “The Caledonian Pocket Companion”. This was published
in 12 volumes over a number of years by James Oswald. Born in
Fife in 1710, Oswald was a talented and industrious man; a cello
player who discovered a talent for composition and publication.
Following the Union of Parliaments in 1707, when the Scottish and
English states were unified, Scotland saw a renewed interest in its
national culture, and Oswald was among the first to translate this
enthusiasm into something practical. His successful first effort
was “A curious collection of Scots tunes”, which he published in
1740. Emboldened by the very respectable sales of this volume, he
moved from Edinburgh down to London, where he attempted to
set himself up teaching, composing and, once more, publishing.
His timing was unfortunate. In 1745, not long after his arrival, the
second Jacobite Rebellion took place. Bonnie Prince Charlie landed
in the West Coast of Scotland, in an attempt to take the throne
and re-unite the country as a nation once more independent
of England. As a Scot living in London, Oswald was obviously
under suspicion, particularly as his chief Scottish patron, the
Duke of Perth, had been a prominent supporter of the rebellion.
Ever the pragmatist, Oswald, predicting, correctly, that the
rebellion would fail, took the bold step of reprinting his “Curious
collection”, this time with a dedication to Frederick, Prince of
Wales, thereby demonstrating his allegiance to the British crown.
His gamble was successful; the book sold well, and he followed it
up with a series of volumes (the Caledonian Pocket Companion),
starting in 1745. The first of these publications was aimed at flautists,
but he soon realised that the fiddle was a much more popular
vehicle for the playing of Scottish music, and future volumes were
targeted much more in this direction. Along with traditional tunes,
many of his own compositions were included, including some, such
as the East Neuk of Fife which are still popular today. The Jacobite
rebellion was crushed at the Battle of Culloden in 1746, and was
followed by parliamentary acts designed to stamp out symbols of
Scottish independence, including the wearing of tartan and, more
significantly, the playing of the highland bagpipes. This led to a
considerable transferral of both repertoire and playing techniques
from the pipes to the fiddle (which fortunately was not banned).
This move was reflected by Oswald, who began transcribing
famous pipe tunes such as Mcintosh’s Lament (a 200 year old
pibroch-a type of extended improvisation in memorial of a dead
clan chief). Since pipers had always learned and played by ear, such
tunes had never been written down. Oswald reproduced the effect
of the pipe’s drones by using an open tuning (AEAC#). The survival
of these ancient tunes was therefore assured, along with many of
the details of performance and ornamentation. Although following
Oswald’s death in 1769 his books were not reprinted, there were
enough in circulation to assure that the next generation of fiddlers
was both aware of the repertoire he had collected, and of the not
inconsiderable profits that could be made by such endeavours.
The fiddle continued to be popular through the 19th and 20th
Centuries, with Strathspey and Reel Societies being established in
most Scottish cities. Meetings of such groups see large numbers
of fiddlers playing unison, written arrangements of tunes. The
fact that the majority of players read music, and the relatively
sparse use of fingered ornamentation in the Scottish genre makes
such unison playing a practical possibility. Fiddlers rallies have
become popular- occasional or one-off events where even larger
numbers of fiddlers (often up to 100) get together to play, and one
such rally was the starting point for the Scottish Fiddle Orchestra.
This ambitious project, launched in 1980, sees up to 150 amateur
players of all ages performing before a conductor in concert halls
throughout Scotland and abroad. Many, however, weaned on the
traditional Irish pub session, with its marked informality, find such
rallies, societies and orchestras anathema. Slightly less formal
are the fiddle clubs which have sprung up throughout Scotland
(where there are now over 50) and also in the US and Canada.
from http://www.fiddlingaround.co.uk/scotland/
Save the date!
September 20, 2014
LigonierHighlandGames.org
The 56th Annual Ligonier Highland
Games & Gathering of the Clans of
Scotland
238 Rizzi Dr
Irwin PA 15642
robertfelsburg.com
quietpipersmallpipes.com
Quietpiper Smallpipes
Robert Felsburg
Smallpipes, Big Sound
412.897.6262
Scottish Smallpipes and Great Highland Bagpipes
instruments, repairs, fettling,
lessons, and performances
Pipemaker
[email protected]
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BALMORAL SCHOOL OF PIPING & DRUMMING
2013
In an October 2013 event, best-selling
author Les Standiford spoke on the
subjects of his book Meet You in Hell:
Andrew Carnegie and Henry Clay Frick and the bitter
partnership that transformed America, as well as Andrew
Carnegie’s Scottish roots and his passion for the Highland
bagpipe. Music was provided by renowned champion
piper Brian Donaldson, Scots Guards (ret.), Vince Burns,
and Richard Hughes.
BALMORAL PIPES
& DRUMS
The Balmoral Pipes and Drums is a
young band, formed during May of
2013 by Balmoral School Executive
Director George Balderose and
Balmoral students. The band meets
weekly, was featured in five area
parades in 2013, and is available for parades and special events. For information about band membership
or booking the band, please contact: [email protected] or (412) 323-2707.
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Call 724-468-1300
BALMORAL SCHOOL OF PIPING & DRUMMING
PITTSBURGH SESSION 2013
2012 BALMORALL CLASSIC
HIGHLIGHTS
PITTSBURGH GLASS CENTER
5472 Penn Avenue, Pittsburgh, PA 15206
At Inveran, we pride ourselves in preserving the traditional methods of bagpipe craftsmanship, in kindred spirit with makers
of auld: MacDougall, Lawrie, Henderson & Glen, where each instrument is turned by the hands of skilled craftspeople.
This means that when you select an Inveran instrument, you are choosing to purchase quality and a tailored, bespoke instrument built for you to fit you. No “off the peg” products. No copy machines. No mass production. Pure and simple, this is
what sets Inveran apart from the majority. A truly sound investment.
The magic takes place onsite in our traditional workshop, where the hum of the lathe can be heard from outside the walls.
Take some time to learn about our bagpipes, chanters, and other products, and feel free to inquire about any of our services,
which include bagpipe insurance valuation, repair & refurbishment, and bespoke silver mounting.
Inveran Bagpipe Makers | Makers of fine quality Highland bagpipes
[email protected] | www.inveran.com
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Balmoral School of Piping & Drumming
1414 Pennsylvania Avenue • Pittsburgh, Pennsylvania 15233
Ph. (412) 323-2707 • [email protected]
George Balderose, Executive Director