Caenarfon Castle

Wales is dense with history and beauty. On a rainy day a few weeks ago, I visited Caenarfon Castle, built about 1300 AD, with layers of walls to walk on, polygonal towers, and a central green, with a wall for the town.

Caenarfon Castle

Wandering around, I had no desire to live there, nor to live in its purview. How cold and drafty it must have been. And boys then must have loved it, and still do.

The castle is astounding: huge, dense walls of local stones, walls within walls, arrow slots to the outside, defenses within defenses, a puzzle in space, and passage ways that go up the towers, to the top of the walls, and from one corridor to another.

They don’t all connect, and you must return up or down winding staircases, around and around, back through halls to where you started.

I don’t think this castle would be considered safe for Disneyland. Certainly it lacks disabled access.

From the Castle to the Menai Straits at low tide

Caenarfon from the Castle

Cemaes Bay is beautiful & I’m enjoying myself; it’s a rugged coastline with tide pools, ochre lichen, spring green grasses & lots & lots of flowers.

There’s also a nuclear power plant on the coastline, with nature walks all around. It’s the same age as the Japanese plant; its birthday party was postponed after the earthquake, Tsunami and meltdown. Passing by on the nature path, I was filled with the humming of electric cables,

and the coconut smells of yellow gorse. The musty white smell of hawthorne reminds me of childhood springs.

The nature path leads to a 360 degree vista of the power plant and the headlands. Whoever planned this path was proud of it, and the landmark is visible for miles.

It’s time for the next generation of nuclear power plant. Land in the vicinity has been purchased & more homes boarded up all around.

This lichen is everywhere visible on the rocks.

Adje & I worked every night during our research week until about 11pm before stopping to eat at the Royal Tandori, the only restaurant still open. On Monday, April 25, he returned to Germany. I’m finally finished labeling the hundreds of pictures and sound files; yet to do is tweaking the photos, entering the measurements into their table, and a rough edit of the sound files. Eventually we will combine all our images and sound files.

Now I’m happily more rested and going back & forth to fondle my favorite pipes. Yet again, these flutes are my teachers. Each has an extraordinary feature. One has  several ripples of clay built up around the aperture, causing an amazing vibrato/rough tone that can be varied with air pressure. Another has a breathy tone with an undertow of subtle little tones that can again be accented with variations in breath pressure. What fun to play! Most of these pipes have been broken and reconstructed; while the timbre remains, whatever tunings that were present have been lost.

This small single pipe has a small nick in the upper edge of the air duct that may promote the second partial in play.

Another remarkable double pipe has been broken and repaired but not reconstructed. It has enough unisons, wonderful intervals, and combination tones that its tuning cannot be just by chance.

Yesterday, in Bangor, I recorded a few more single pipes; two more to go. I love their sounds: their odd alterations to the mouthpiece seem to create the ability to really use the ‘wolf’ tones, to create beats, to burble & to howl. Some of these alterations are clearly intentional; others cannot be so definitely stated.

Tiny rolls of clay have been added around the apertures of the mouthpiece in this double pipe. It’s visible on the right pipe but less so on the left; that pipe has an additional roll of clay over part of the aperture. Unfortunately, this double pipe does not play, probably because there are glued cracks in the tubes that leak.

In Cemaes Bay, I am now working in the clay studio of Fiona Brown; she makes a lovely production line of small glazed horses, sheep, pigs and more, all reflecting careful observation. Check it out on the North Wales Potters web page.

I’m having fun adding ripples of clay around the aperture; so far, I have had modest results, some alterations to the tone, but not nearly as useable as those of the prehispanic instruments

I’ll post some sounds soon.

There’s too much to do, lovely things to do. Help!!!

At last I opened my first box, picked at random, of ancient, unique, and precious ceramic pieces. It was my bad luck that this turned out to be the worst packed box; three out of eight had very old glue repairs that fell apart when unwrapped. Old glues do fail; those from the past were not as good as now. But it sure scared the bejesus out of me, especially with the Music Department being closed for Spring Break. Yikes!!! Thank goodness most of the remaining boxes were better packed, with no more glue joints disintegrating in my hands.

Outside, the flowering cherry tree is in bloom, and petals are everywhere.

After about a week, Adje & his companion Olga finally arrived via a conference in Scotland. Adje is a German archaeologist specializing in musical archaeology; this project is right up his alley, and I’m happy to work with him again. Before she left for her own research project in London, Olga was most helpful in xeroxing Peter Crossley-Holland’s original records, and in taking some flute measurements.

We cannot look at the entire collection in the given amount of time and have been forced, forced I say, to pick and choose according to our interests. What a gift! to spend time with these objects, to play, study, and eventually make more clay pieces inspired by the collection. Quantities of small sculptural ocarinas and whistles, small and larger sculptures of musicians, bone rasps, conch shells, rattles, bells, drum forms, single pipes, double pipes and hundreds more pieces.

After a solid week of work, we have photos, sound files, and measurements on about 100 instruments that interested us individually or together.

Adje has left to return to Germany and tomorrow, I will record in the Bangor audio studio a selection of the single and double airduct flutes. These flutes are very sophisticated with evidence of manipulation in construction to change the timbre or sound of the instrument, as well as interval tuning on the double flutes. There is no evidence of fixed scales on any of the instruments.

We did find time for a few short hikes, including one to the Roman Camp. Bluebells were everywhere, laying down blue/purple under the trees, the plants. I wanted to roll in it.

On the hill in the late evening, looking over the Menai Strait, part of the mud flats can be seen, as the tide rolls in and out.

Adje & I then were tourists for a few hours before Easter supper with friends Kyle and Lewis.

What a gorgeous place, both Bangor and the University. The weather has been balmy although I’m not quite ready for tee shirts. The Bangorites are—they’re in tee shirts, no shirts, sun dresses, and more, or rather less.

I have walked past this street looking from Upper to Lower Bangor.

I love the chamberpot chimneys, especially obvious here walking down to the harbor.

The collection of prehispanic flutes is fabulous, all 325 pieces of it, twice as many as I thought. As is typical, the circumstances have been challenging, beginning with clearing a seminar room of boxes, books, memorabilia, chairs, a piano cover and more; then finding another table & moving it in. Then I started thinking about lights, the next big challenge; there are no compact florescent daylight bulbs to be had. This reminded me of the saying that the English and the Americans are two peoples divided by a common language.

And what a lovely seminar room it is. Eventually I adapted to the large bay window and turned my photography set up around, to let in the light! So what if I can’t shoot at night; I can shoot with daylight, the best light.

In the middle of this, I hiked up Trefern mountain with a Thursday hiking group, a gaggle of wonderful people. I was well cared for with my borrowed fleece and jacket, as well as waterproof pants & gaiters—just in case. We scrambled over large boulders and loose shale, through bogs dense with moss, through the cloud layer to the top, where we stopped for lunch along with several groups of hikers and rock climbers. There, on one of the three highest mountains in Wales at about 3000’, the clouds were drifting in and out, revealing and concealing the craggy tips of other mountains as well as glacier valleys and rivers below. Stunningly beautiful in the clear air.

After the hike, I felt that none of the niggley organizational details of working with the collection could bother me. And what a wonderful collection it proved to be. What a gift! the freedom of time with these all these beings, taking pictures, playing, measuring, examining….

I was so lucky to arrive last week to beautiful weather, & to stay at Kyle’s house in Pentraeth, just outside of Bangor. And it is beautiful.

I’ve included a few pictures from around their house.

One morning, I walked on the one lane road to the marsh. I loved looking at the the hawthorn hedgerows:

This hawthorne was at the beach.

So many plants are coming into bloom.  

The marsh is now in the process of restoration to eliminate non native plants such as sedges, allowing the return of other native species.

I followed the wooden walkway to the end, where I found a group of semi wild ponies.

As I was returning, I encountered horses in lust, just like a few others around here.

That afternoon, we drove to lunch on the beach, where I promptly fell asleep, as is proper to a beach. Even with a wet suit, the water was way too cold for my California body.

The weekend was a social whirl, meeting lots of lovely Welsh natives and adoptees. I met Fiona, with whom I will be staying for the ceramics part of my journey. She is a lovely English eccentric with a house to match.

On Sunday, I moved in with Manuela Vittori in Bangor and within walking distance of the University.

Until the next post.

Hi: Here are a few images. For the next few weeks, I’ll be walking into this red/orange building to work on the collection. Turns out there are actually about 325 pieces, mostly small ocarinas and whistles, along with a selection of single and double pipes, a few fabulous sculptures, and so on. I have also included a picture of the view from Bangor University across the town and its Cathedral. More to come.

Many things are falling into place. I’m excited and nervous, and very grateful that once again, I have the privilege of working with, of playing, and admiring a collection of very ancient ceramic prehispanic pieces. These instruments have been my teachers for 30 years. My intent includes making them available yet again through my work to make them available to anyone who is interested. I think they are magical.

I first saw this collection here in Los Angeles at the home of Peter Crossley-Holland. The prehispanic pieces are from about 300 BC-600 AD and many were dug up by grave robbers from tombs. Some of the flutes may have been made for the tombs; others were tools designed for specific ceremonies.

To give you an idea of how fabulous they can be, I’m including two jpegs of very old photos of the sculptures and flutes.

It’s amazing! Small things are falling into place & my friends are helping: Perry with this blog, Slobodan with my photography; Linda with the audio; Peter with the wood mandrils to make clay tubes for flutes; Fiona, whom I have yet to meet & Kyle in Wales with arranging many local details; and so on.

Thanks folks; I am very grateful.

One month to go! Help! I’ll be gone for two months, a long time to be away from home. I applied for and received a Cultural Explorers International grant from the Department of Cultural Affairs, City of Los Angeles. Another case of  “be careful what you ask for, you might get it.” And I am grateful.

I’m leaving 4/5/11, & returning on 5/31. For the first 3+  weeks at the University of Wales, Bangor, I’ll be studying prehispanic West Mexican clay flutes and sculptures of musicians, some really beautiful pieces collected by Peter Crossley-Holland when he lived here and taught ethnomusicology at UCLA. The collection is now in boxes in the basement of the Music Dept.

The next 3+ weeks, I’ll be working in a clay studio, having fun, & studying these flutes by making them. At the end, I’ll give a public presentation in Bangor about the collection with the images I shoot, & the sounds we record.

Hopefully, there will also be a workshop in making clay flutes sponsored by the North Wales Pottery collective and a local college.

Ha ha, I also get to be a tourist, looking at cairns, castles, hiking around Isle of Anglesey and Mt. Snowdon, visiting galleries in London or Dublin.

When I return, there will be a San Pedro/LA presentation on 6/23 and a workshop the following weekend at Angel’s Gate, where I my studio is located.

Wheee!  Sheer terror and excitement!

More to come….