Ann Heymann
Cruit go nÓr - Harp of Gold
Clairseach Records, 2006
Ann's latest record, long-awaited, and well worth the anticipation. Ann's first record using her replica of the medieval Trinity College harp with gold strings, Cruit go nÓr sets its sights firmly on the medieval "golden age" (the puns are obligatory) of the Gaelic harp tradition. As a contrast with her solo CD Queen of Harps, this latest record includes a number of collaborations both with other historical musicians (e.g. on lute and bass viol), which discretely and pleasantly support the cláirseach's starring role. But most importantly the CD includes singing - an essential part of the old Gaelic harp tradition. Ann's husband Charlie sings a Fenian lay as well as a song from the repertory of Denis O'Hampsey (1695 - 1807). Ann's playing is simply stunning, showing her up to be an absolute master of the instrument, and the variations in particular are virtuoso displays of harper's ability and instrument's potential. In fact I get the feeling that some of the variation sets should have been twice as long to get the most out of them (had there only been room on the CD). The whole thing is very well designed as well, and is a pleasure to own as well as to listen to. This CD is an essential addition to your collection.
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Ann Heymann
Queen of Harps
Temple Records COMD2057, 1994
Until Cruit go nÓr came out, I used to say I thought this was the definitive recording; it showcases both Ann's assertive and masterly playing, and also the potential of the instrument itself. The selection includes some of Denis O'Hampsey's old Irish repertory, which Ann plays on her replica of his "Downhill" harp, shown on the front cover, as well as some more traditional dances, 17th century English courtly music and an adventurous interpretation of Highland pibroch bagpipe music. Listen to sample tracks.
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Also available: Secondhand Cassette tape, good condition. £7
enquire for availability and postage costs

Ann Heymann & Alison Kinnaird
The Harper's Land
Temple Records 1983
Solos and duets; Ann plays Gaelic harp (a replica Castle Otway) while Alison plays lever harp (a 1930s Briggs). Although the notes imply that these represent the Irish and Scottish traditions, it would perhaps be better to think of the historical and traditional approaches. The tunes include new compositions as well as traditional music and old Gaelic harp repertory from Scotland and Ireland.
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