Traditional songs of the Yuletide season with stirring upbeat choruses

Walter Scott (1771-1832), a Scottish poet famous for such romantic heroic works as Ivanhoe, was the first English-language author to have a truly international career in his lifetime. Written in 1808, Marmion is an epic poem about the 1513 Battle of Flodden Field and, in addition to the following lines, also contains the famous ballad of Lochinvar. The poem remained popular for over a century.

–––––– Christmas at Mertoun House –––––– Heap on more wood! the wind is chill; But let it whistle as it will, We'll keep our Christmas merry still. Each age has deemed the new-born year The fittest time for festal cheer;

The damsel donned her kirtle sheen; The hall was dressed with holly green; Forth to the wood did merry men go, To gather in the mistletoe. Then opened wide the baron's hall To vassal, tenant, serf, and all; Power laid his rod of rule aside, And Ceremony doffed his pride. The heir, with roses in his shoes, That night might village partner choose; The fire, with well-dried logs supplied, Went roaring up the chimney wide; The huge hall table's oaken face, Scrubbed till it shone, the day to grace, Bore then upon its massive board No mark to part the squire and lord. The wassail round, in good brown bowls, Garnished with ribbons, blithely trowls. There the huge sirloin reeked; hard by Plum-porridge stood, and Christmas pie; Nor failed old Scotland to produce, At such high tide, her savoury goose. Then came the merry maskers in, And carols roared with blithesome din; If unmelodious was the song, It was a hearty note, and strong. Who lists may in their mumming see Traces of ancient mystery; On Christmas Eve the bells were rung; On Christmas Eve the mass was sung; And well our Christian sires of old Loved, when the year its course had rolled, And brought blithe Christmas back again, With all his hospitable train. Domestic and religious rite Gave honour to the holy night; England was merry England, when Old Christmas brought his sports again. 'Twas Christmas broached the mightiest ale; 'Twas Christmas told the merriest tale: A Christmas gambol oft could cheer The poor man's heart through half the year.

–––––– NOTES ON THE SONGS ––––––

1. O'ROURKE'S FEAST O’ Carolan is probably the best known 18th century Irish harper. When in Dublin, he met Jonathan Swift. They collaborated in translating a poem by Hugh MacGauran of County Leitrim, which describes Christmas festivities held in the Great Hall of Dromahair Castle by Brian na Murtha (16th c). Carolan wrote the music. Usquebaugh = water of life or whiskey madder = a wooden cup containing 1 to 3 pints

2. DRIVE THE COLD WINTER AWAY Also called In Praise Of Christmas or All Hail To The Days, this is one version of an early 17th century ballad; many have over a dozen verses. Early publications are in Pills to Purge Melancholy (1698) and in a broadside collection under A Pleasant Country new Ditty: Merrily shewing how to drive the cold winter away. In The English Dancing Master (1651), a jig by the same name accompanies a three part longways dance.

3. THE HOLLY & THE IVY Evergreens, symbolic of the continuity of life, were used to decorate the winter house as a refuge for wandering spirits. The song may have originated as a contest between the masculine (holly) and feminine (ivy) elements in nature. One early variant, Get Ivy And Hull, Woman, Deck Up Thine House (1558), makes no mention of the Christian symbolism. Melodies found for this song range from doleful to jocular. This version obviously crossed over from pre-Christian times. It integrates the symbolism of the plants into the story of Jesus and is set to a lively jig.

4. THE CHRISTMAS HORNPIPE appears in many collections of popular traditional dance tunes. In earlier centuries dancing, in both great hall and kitchen, was a staple of any Christmas celebration

5. SOULIN’ Originally sung during the All Saints /Souls holiday in early November, this song is now found in modern Christmas repertoire. In pre-Christian times, it was believed that souls of the dead wandered at this time of year. The living would provide for them on their journey with cakes. This custom attracted notice as early as the 1600’s, when John Aubrey wrote ' All Soules'-day, Novemb. 2d- there is sett on the Board a high heap of Soule-cakes, lyeing one upon another like the picture of the Sew-Bread in the old Bibles. They are about the bignesse of 2d cakes, and n'ly all the visitants that day take one; and there is an old Rhythm or saying,

" A Soule-cake, a Soule-cake, Have mercy on all Christen soules for a soule-cake."

In Shropshire in 1886 it was noted “Poor children, and sometimes men, go out ' souling ' which means that they go round to the houses of all the more well-to-do people within reach, reciting a ' ditty ' peculiar to the day, and looking for a dole of cakes, broken victuals, ale, apples, or money.”

1. WASSAIL MEDLEY Was-Hael!, the Anglo-Saxon invocation for “Good Health”, accompanied the drinking of spiced ale or cider served in an ornate wooden bowl. One drinker would raise his vessel, salute his companion with a kiss, and shout "Wassail!".  The other returned the kiss and cried "Drink-hail!"  whereupon both would drink. Geoffrey of Monmouth, in History of the Kings of Britain (1139), relates the origin of the custom to the meeting of Vortigern and Hengist's daughter, Ronwen. This ritual became combined with the Souling tradition as the traveling singers would invoke good fortune for the house and all occupants in exchange for refreshment. New verses were composed spontaneously for each house and member of the household.

2. GOOSE ROUNDS The fat Christmas goose was the favored repast in many affluent households. Street vendors would vie for attention with their catchy ditties hoping for sales.

3. THE CUTTY WREN One of many songs accompanying an age-old ritual procession traditional throughout the British Isles and Ireland. On December 26, a wren is killed and carried in an ornate cage around the village while its feathers are distributed as luck charms. The belief was that the wren had the honor of being King of the Birds and as such was sacrificed to provide sustenance for the community. Since the wren was King perhaps supernatural, superlative effort was required to carry out the ritual. This motif appears in numerous ancient hero tales and songs.

4. THE WEXFORD CAROL From Enniscorthy, County Wexford, Ireland, this is one of the oldest extant Christmas carols in the European tradition dating to the 12th century. William Grattan Ford (1859 - 1928), organist and music director at St. Aidan’s Cathedral in Enniscorthy, transcribed the carol from a local singer. Published in the Oxford Book of Carols.

5. GOD BLESS THE MASTER Another in the tradition of house-blessings, these words are adapted from The Saviour Of All People found in William Sandys, Christmas Carols Ancient and Modern (1833) The tune was noted as being sung by Christmas Mummers from the neighbourhood of Horsham, Sussex, England in the late 1870’s.

Spirited Celtic harp music to accompany feasts, fests, and fiestas.

The Thanksgiving holiday is a special time of homecoming and hospitality. The music of this season stirs memories of home and hearth, bounty and peace. We reflect on our heritage in gratitude for our many blessings, for the beauty of the earth itself and for the amazing grace that keeps us filled with hope. Many of us travel over the river and through the wood to be among ones so dear for a friendly visit and a feast with the old folks at home. We gather together around the laden table in the warmth of a familiar circle and welcome both friend and stranger. When we finally drink a parting glass, we realize we are always renewed by going home.

Solo Celtic harp recording of Yuletide music that you will want to listen to all year long.

Over the last seven years that this CD has been available we have received countless messages from people who have been touched by the music. Some examples: "I play this CD all year" - many places , "This was all my wife wanted to listen to as she was dieing" - Arizona, "This music healed me!" - New Jersey, "You've got to send me another CD, my copy got scratched and won't play .. the dogs are chewing up the furniture" - Oregon.

Julia Lane began playing Celtic harp in 1988. Her unique self-taught style had won three major competitions on the instrument by 1993. A New England native, she has an avid interest in the folklore of the area and it's Celtic roots. Her concerts and other recordings also feature her vibrant and lovely voice, sometimes compared to Jean Redpath, and her compelling original songs.

The winter holiday season is unique as so many traditions come together to celebrate in common. Much of our modern ceremony and lore has it's roots in the Celtic and northern European cultures. Evergreens, as pagan symbols of everlasting life, have become part of the Christmas celebration (THE FIRST TREE IN THE GREENWOOD/ THE HOLLY & THE IVY).The image of the rose blooming in the winter is a reminder of the beautiful miracles in our lives. Delicate and beautiful as a rose, the evergreen melody LO, HOW A ROSE is the work of the 16th century German composer Michael Praetorius.

While most of these melodies do not credit a composer, it is thought that Henry VIII created the tune for WHAT CHILD IS THIS, while Scottish fiddler Niel Gow is known to have penned THE ROYAL GIFT. The original meaning of the word "carol" was "round dance". Circle dancing around a fire was a big part of ancient celebrations attempting to rid the world of evil spirits.(DANCING DAY/ BRING THE TORCH) Another method to banish evil influences was bell ringing. DING! DONG! MERRILY ON HIGH, a French carol, reminds one of the carrillons and tower bells of the great cathedrals.SOALIN'/ GOD REST YE MERRY, GENTLEMEN describes the practice of going house to house gathering donations to help the needy through the winter. In return, the house was blessed with a song or good luck charm. Of course we cannot forget those heavenly messengers, the angels! Legend has it that IN DULCI JUBILO was sung to a priest in his cell by visiting angels.

Originally a plainsong, it has evolved into one of our most beloved carols. ON CHRISTMAS NIGHT is a less-known English carol that also depicts the angelic choir. On this side of the Atlantic, immigrants have continued to create music in celebration of the season. JESUS REST YOUR HEAD,from Appalachia, has touched me ever since I first heard it as a child. Simple yet substantial, it is the product of the faith of folk transplanted to a new land. So often with folk melodies regional differences create variants.

I have blended the three versions of AWAY IN A MANGER that I know, although there may be even more! The Shakers of Maine have left a legacy of elegant simplicity that takes on special meaning during the holiday season. SIMPLE GIFTS, the most famous of their great body of tunes, is also used for the song "Lord of the Dance". I, myself have been moved by the winter season to compose three of my own melodies JOYEUX NOEL, THE WINTER MOON, and JANUARY THAW. Through this recording I wish all who hear it a peaceful, joyous Christmas/Solstice/Yuletide!

Lesser-known Yuletide music on nylon-strung and wire strung Celtic harps.

Yuletide Treasure A British Isles Winter Celebration Deborah Friou & Julia Lane - Celtic Harps

The return of light during the darkness of the winter solstice, which coincides with the Christmas holiday, caused ancient people to create rituals and music in honor of the event.The Celtic harp, ancestor of the orchestral harp, has been a part of these celebrations for over a thousand years. Here is a musical Yuletide journey through the British Isles from Shetland to England,Wales, Ireland, the Hebrides and the Isle of Mann, arranged and played with joy and sensitivity by two of today's finest harpers.

Deborah Friou has devoted twenty-five years to the revival of the Celtic harp.She has expressed her love of the musical spirit of a previous age through performance, six books of harp arrangements, and two solo recordings of Renaissance and Celtic music. Her publications are known and sold worldwide. Deborah has performed and taught workshops at harp and traditional music festivals throughout the US and in Scotland. She now performs on both nylon-strung and wire-strung harps and teaches in Brunswick and Bar Harbor, Maine. Deborah's nylon-strung harp was built by Dusty Strings; her wire-srung harp by Triplett

Julia Lane came to the Celtic harp through her life-long love affair with the ancient music of the British Isles. Also an accomplished vocalist, she accompanied herself with guitar for many years until she had the opportunity to play the Celtic harp.Her unique self-taught style has won several international competitions.She currently plays and sings with partner Fred Gosbee as Castlebay. They have toured the east coast of the US, England Scotland and Ireland and have recorded over five albums of both Celtic and original music. Julia's harp was built by Fred Gosbee.

The following review by is Jo Morrison.

It is always exciting when two excellent harpers combine forces to play as a duo. The very essence of harp music is the ringing of strings, and the natural harmonics that develop through the vibrations. If done properly, this can be enhanced greatly by the use of harps with distinctive voices. Deborah Friou and Julia Lane (of Castlebay) have accomplished this beautifully with their new collection of Winter holiday traditional music from the British Isles.

The sounds of the two nylon-strung harps are distinctively different enough to create a rich and vibrant sound when combined. Friou's Dusty Strings has a lush sound full of finesse, while Lane's harp (built by Fred Gosbee) has a touch of ancient overtones, carrying an almost earthy sound to the strings. In addition to the contrasts and combinations of these two sounds, Friou uses a wire-strung Triplett on a couple of tracks, highlighting the stark contrasts of the two types of harps.

"Yuletide Treasure" is well named, for it showcases some true gems from the British Isles Winter holiday tradition. Those looking for old favorites won't have to go far, with delightful versions of "Greensleeves" (including two distinct versions of the tune,) "The Holly and the Ivy," "Deck the Halls," and "Auld Lang Syne." However, the true mystique of the recording comes from the lesser-known tunes, including such treasures as "Down in Yon Forest," "The Abbot's Bromley Horn Dance," and "Irish Lullaby for the Christ Child."

I think my favorite duet on the recording is the gentle yet sprightly "God Rest Ye Merry, Gentlemen" paired with the beggar's carol "Soulin'." The contrast of the two tunes is striking, and it reminds listeners of the contrast of the season for those that have money and those that do not. The arrangement is sparse and open as "Soulin'" begins, but rapidly evolves into a rich and complex upbeat version of "Gentlemen," only to return to the evocative "Soulin'" again at the end.

Another standout is the very Welsh arrangement of "Nos Galan (Deck theHalls.)" This track takes the Welsh theme and variations to a delightful climax with the use of two harps. The Irish dance tune "Three Sea Captains" sets very nicely with the upbeat Spanish carol "I Saw Three Ships," and shimmers like the sun on the waves through the dancing strings of the two harpers.

The wire-harp adds a nice texture on "Coventry Carol/Down in Yon Forest," although the wire arrangement may be a little heavy and resonant for some tastes. The wire truly sparkles on "Da Day Dawns," however, calling the listener to come out for the rising sun of Christmas.

One of the most impressive things about this recording is the beautifully coordinated playing of the two harpers. It can be extremely difficult to play harmoniously in tandem. If the two harpers' timing is even slightly different, it can quickly destroy the beauty of two harps together. The beat on this recording is almost always clear and precise, even when struck by both harpers simultaneously. It can also be very difficult to match tuning on two harps, but Friou and Lane have done a very nice job with this as well.

The recording is not limited to harp duets. Julia Lane and Deborah Friou both also offer exciting solo tracks throughout. The recording actually opens with Friou's solo "The Holly and the Ivy/Sans Day Carol," which is complex enough that you could almost believe it was a duet. Yet her delivery is so crisp and clean that the effect is downright stunning. Lane offers a haunting rendition of two "Lullabies for the Christ Child," complete with ethereal vocables over the opening and closing strains of the piece.

"Auld Lang Syne" is a surprising delight. It combines the tune Burns originally wanted paired with his famous poem and the one most people in the US are familiar with. I had originally planned to do something very similar at the end of my second recording, and am so glad that I didn't actually follow through with it, for Friou and Lane have done a much more inspired arrangement than I could have possibly achieved. The arrangement opens with Burns' preferred tune, and gradually the more familiar tune interweaves with it, finally leaving the listener with the familiar melody only. Julia Lane's beautiful soprano voice expresses it beautifully, especially on the first (by far my favorite) tune.

The recording ends with a shimmering duet on the Scottish carols "Rorate Coeli Desuper" and "New Christmas." The harpers sparkle and shine on this powerful conclusion to this Winter holiday feast for the ears.

Notes on the Music

1) The Holly and the Ivy / Sans Day Carol 3:36 Solo- Deborah Friou These carols from England and Cornwall reconcile two potentially conflicting traditions. The use of evergreens to celebrate the Solstice and Christmas is actually of pagan origin. The masculine (holly) and feminine (ivy) elements symbolize the vitality of the life force even in the midst of the cold, dark winter. The word "holly" is derived from the Saxon word for "holy".

2) Three Sea Captains / I Saw Three Ships 3:15 Duet The first tune is an Irish set dance and, although not directly related to Christmas or Yuletide, we loved how it went with the English carol, I Saw Three Ships, as well as providing captains for the three ships! The earliest written version of Three Ships appeared in 1666 and depicts the journey of the relics of the three kings.

3) Soalin' / God Rest Ye Merry, Gentlemen 3:19 Duet The practice of begging for "soul cakes", or Soalin', is related to the Wassail / carolling tradition. In this piece we like to contrast the viewpoint of the poor begging from door to door with the lot of the merry gentlemen viewed through the window of the manor house, wanting for nothing.

4) Gloucestershire Wassail 2:17 Solo- Julia Lane Each region of England has their own wassail tradition which involves vagabond groups travelling door to door taking turns singing. Hopefully, they receive money or food and drink in exchange for the blessing of the song. Wassail itself is a potent spiced brew and the word means "good health" in Anglo-saxon.

5) Greensleeves 2:27 Solo- Deborah Friou Several carols have been written to this tune, the earliest a 17th century version called The Olde Yeare Now Away is Fled. The original melody has been attributed by some to King Henry VIII. The first setting here was inspired by a version from the Ballet Lute Book c.1590 and the second from the Thysius Lute Book c.1600.

6) Coventry Carol / Down in Yon Forest 3:35
Duet- Deborah Friou, wire strung harp / Julia Lane, nylon strung harp The first in this set of English tunes was the song of the mothers of Bethlehem in the Pageant of the Shearmen and Tailors, one of the 15th century Coventry mystery plays. The second is a mystical song that weaves allusions from the legend of the Holy Grail into the verses. The fifth stanza refers to the Glastonbury Thorn "which ever blows blossom since he was born". It is said to have grown from the staff of Joseph of Arimethea, bearer of the Holy Grail, and flowers every Christmas.

7) The Abbot's Bromley Horn Dance 2:40 Solo- Deborah Friou The Celtic winter season began with the festival of Samhain on October 31. This time was aligned with the rutting of the deer, a sacred animal. The battle of the stags came to symbolize the age-old battle of the old year with the new and is the basis for the horn dance, which is still performed to this day. During the middle ages, it was traditionally performed at Christmas by dancers wearing deer masks with attached antlers.

8) 'T is Winter Now 2:53 Duet Samuel Longfellow, son of Henry Wadsworth Longfellow, might have been viewing our own Maine winter landscape when he wrote this poem. Set to a traditional English melody, it describes the sharp, cold wind, the leafless boughs, and the clear skies after the snow falls. He also speaks of the treasure of winter, the crimson dawn, the shimmering beauty of the boughs covered with frost and snow creating "glittering wreathes", and the warmth inside as "home closer draws her circle". We tried to capture that sparkling, delicate winter loveliness in this arrangement.

9) Lullabies for the Christ Child 5:10 Solo- Julia Lane, soprano These are two songs with the same image- the Virgin Mary lulls her miraculous son with a quiet song. The first in this pairing, Taladh Chriosta (The Christ Child Lullaby), is a very ancient song from the Scottish Hebrides while the second, Irish Lullaby for the Christ Child, was made from Gaelic prose in 1935 by Irish poet Sam Henry and set to a traditional tune.

10) Drive Cold Winter Away / Cold and Raw 4:05 Solo- Deborah Friou / Duet Drive Cold Winter Away is an early 17th century broadside ballad also known as The Praise of Christmas. This song recommends the season as a time of merriment, music and convivial fireside gatherings with "wassails of nut-brown ale"- "Forgetting old wrongs with carols and songs to drive the cold winter away". It may be a reaction to the time when Cromwell's parliament abolished any celebration of Christmas. Cold & Raw seems to be the earliest name for a tune that has been popular in Scotland and England since the 16th century. It is also known as Stingo and Robert Burns wrote lyrics to it called Up in the Morning Early - all about the "pleasures " of arising early on a cold winter morning.

11) Nos Galan (Deck the Halls) 5:04 Duet In this traditional Welsh New Year's Eve song, merrymakers would dance in a circle around a harper making up verses answered by the harp. Later the harp response was replaced with the nonsense words "fa, la, la, la, la". In the Welsh harp tradition, variations and improvisation are the expectation. This arrangement for two harps was adapted from a version for triple strung harp found in Edward Jones Musical and Poetical Relics of the Welsh Bards, first appearing in 1794. Deborah's father gave her an edition he bought from an antique book dealer in London.

12) Carul Loch Garman (The Wexford Carol ) 2:44 Duet A carol collected in County Wexford Ireland with English lyrics and a traditional Irish tune. It is said that the melody dates from the 12th century.

13) Do'n oiche ud i mbeithil (That Night In Bethlehem) 3:21 Solo- Julia Lane Songs celebrating Christ's birth are rare in the Celtic lands due to religious and political repression. This Gaelic song was apparently preserved in the oral tradition and was documented by Paddy O'Brien who shared it with Irish flute player Cathal McConnell (Boys of the Lough). Julia has arranged it here for harp.

14) Da Day Dawns (arr. Patsy Seddon PRS/MCPS) / When Christ was Born 4:17 Duet- Deborah Friou, wire strung harp & Julia Lane, nylon strung harp This lovely tune from the Scottish Shetland Islands used to be played at first light on Yule morning. As the music unfolds, one can imagine the early morning light first appearing on the horizon, then increasing in warmth, strength and color with the rising of the sun. It is thought to be an ancient fiddle tune dating from the 15th century.This version was arranged for harp by Scottish harper Patsy Seddon (Sileas, the Poozies) and has been adapted for the wire-strung harp by Deborah. The second song, arranged by Julia, is from the Isle of Mann. It is from a collection of "carvals", or carols, which are 17th and 18th century religious texts set to traditional tunes.

15) Auld Lang Syne 3:48 Duet / Julia Lane, soprano Favorite Scottish poet, Robert Burns, was the author of this popular song that has come to be a tradition on New Year's Eve. Auld Lang Syne means "old times past" in Scots, and "my jo" is Burns' term for "my dear". This arrangement by Deborah starts with the original version of the melody in which she is joined by Julia's vocals. The better known tune is then played and sung before ending with the two harps interweaving both melodies.

16) Rorate coeli desuper / New Christmass 3:23 Duet Rorate is a rare Scottish Christmas carol written by William Dunbar, a 16th C Scottish diplomat, former Franciscan and poet. The lovely first verse commands the heavens to rain down the dew "for now is risen the bright Day Star". New Christmas refers to an incident in 1582 when Pope Gregory XIII decreed that the official calendar be adjusted by 11 days to accomodate a cumulative discrepancy in the Julian calendar. The British Isles refused to participate in the alteration, continuing to celebrate "Old Christmas" on January 6 until 1752 when it finally joined the European system. Confusion and rioting were the result. The tune is in the collection of Neil Gow, a renowned 18th century Scottish fiddler.

Beautiful music for Thanksgiving - a cornucopia of melodies from the American Celtic folk tradition arranged for Celtic harp, fiddle, viola, cello, flute & guitar.

Harvest Home A cornucopia of melodies from the American Celtic folk tradition arranged for Celtic harp, woodwinds, fiddle, viola, cello and guitar. Handcrafted wooden instruments recall the elegance and charm of a bygone era.

Thanksgiving- a time for convivial gatherings of friends and family from near and far; celebrations in gratitude for loved ones, bountiful harvests, and good health. These musical selections reflect loving relationships, journeys made over bonnie hill and dale, the warmth of house and hearth, and the simple gifts of good food and drink. The music ranges from that which would have been heard by the first colonists in New England to melodies inspired by people and places in our own lives. It is our hope that it will provide a peaceful and joyous accompaniment to your harvest holidays.

All the best- Julia & Fred

Throughout history, musicians have been engaged to provide music that enhances and enlivens the surroundings. CASTLEBAY features sensitive, spirited arrangements of music that was popular in the fine country estates of the 17th & 18th century British Isles as well as original compositions. As background music for all types of events, the Celtic harp solo or with viola and /or woodwinds creates a relaxing scene. Like the scent of a bouquet of flowers fresh from a country garden, or the pleasant undertone of a brook or fountain, the music wafts among the guests easing tension and providing a romantic, Old World ambiance.

Some reviews... “This is music of shimmering beauty that stirs the heart gently but passionately. It is an absolute delight” Spotlight Magazine

“fine and exceptionally pleasing” US Scots Magazine

“delicate yet breathtaking beauty” Face Magazine

"Enchanting, mellow and dynamic" Portsmouth Herald

“An exquisite recording. It was just what I needed to lift me away from myself; it is a healing tape.” NH

“...phenomenal and wonderful ..an alchemy of sounds...This one upon first playing gained first place in my collection. Great stuff!” NY

“This is the third attempt to find the right words to describe the deep mystical feelings your priceless CD has brought to me... (it) transports me to a new realm. Truly hauntingly beautiful music. “ ME

“You can't imagine how I am touched by the music....Every song is so right, so beautiful. “ MA

“I can’t tell you how much we’ve enjoyed your CD. In fact, we can’t stop playing it ever since it got here!” PA

“I’ve just returned from a visit to Ireland where I enjoyed quite a variety of Celtic music, but nothing as hauntingly beautiful as Julia’s music. I am simply delighted by the CDs.” ME

“Thanks so much for the CD of your lovely Christmas harp - it has started the season for us. Not only do I love it, so do my kids, so does my neighbor, and so even does my husband, every musician's harshest critic (except perhaps Bruce Springsteen's - he'll forgive him anything)” NH

“December 7th marks 4 years since my broken knee (not to mention heart) and the amazing healing that I experienced through the love I heard in Julia's music......I know that her harp is merely an instrument that resounds with the beauty and sensitivity of one deeply connected to divine grace and love. My heart rejoices as I listen! “ NJ

“Of my 2000 CDs, I play yours the most” Saudi Arabia

“Yours is beautiful and elegant music “ Montreal, Canada

“Ms. Lane and Mr. Gosbee, you two are amazing. I mean it. You guys are seriously amazing together. I think if you keep going as you are, you will manage to touch the heart of the world, like you have mine.” Andrea, Age 14

ABOUT THE ARTISTS

FRED GOSBEE has collected and performed folk music for over thirty years. As a child he heard his older relatives singing the old woodsmen's songs and playing fiddle and accordian. He dabbled in the viola (because his arms were long enough), and during high school he had training in standard band instruments and choir. Inspired by the folk music he heard in a college folklore class at the University of Maine with Dr. Sandy Ives, Fred took up the banjo and guitar. His interest in woodworking led him to begin designing and building guitars and a lute. Throughout his career he has played with with a wide variety of performance groups including orchestras, marching bands and folk ensembles. As a vocalist, he has sung with madrigal groups, oratorio, musical theater, Gilbert and Sullivan and barbershop groups. Combining his theatrical experience with his knowledge of folk music, he arranged, composed, and performed incidental music for a production of A Spoon River Anthology. The resulting sound tapestry included 56 pieces of music with songs, instrumentals and new works for voices, guitars, banjo and fiddle performed live for each show. Fred has continued to write original songs in the traditional style. His works have since been recorded by other artists and have garnered him invitations to international music festivals. He currently sings and plays classic and 12-string guitar, viola, fiddle, and woodwinds. When he is not touring, Fred Gosbee engineers and produces recordings and designs and builds Celtic harps.

JULIA LANE has loved, sung, researched and created folk music since childhood. As an adolescent, she studied music theory and took guitar lessons from a lutenist specializing in Elizabethan songs as well as flamenco. She became active in madrigal and Renaissance music groups as well as playing as a soloist and providing music for a children’s theater group. After graduating from Phillips Exeter Academy in 1974, her interest in English and Scottish folk music and lore, inspired by the literary works of J.R.R. Tolkien, led her to study in Oxford, England. She now writes music reminiscent of her Celtic ancestors and inspired by the natural world. She is currently writing a musical commemoration of the Scots-Irish survivors an 18th century shipwreck which occurred in northern Maine. Julia Lane is a self-taught player of the "clarsach" or Celtic folk harp which she began playing in 1989. Her unique style has won three international competitions. Judge/ harpists Kim Robertson and Dennis Doyle praised her “innovative arrangements and energetic performance” and declared “she really captured the spirit of the music”. Julia Lane is also an exceptional vocalist, “one the Maine coast’s foremost voices”, whose voice has been called “lovely, vibrant”, “reminiscent of Jean Redpath”, and compared favorably with Loreena McKennitt and Judy Collins. In addition to her own recordings, Julia has appeared as a guest artist on recordings on both sides if the Atlantic. The three videos for which she has composed and recorded soundtracks have won National Awards for Cable Excellence.