I’m curious how the keepers of the tradition react to the fact that the Generation-style whistle that they cling to is a comparatively recent development.
Other than the Clarke, the whistle designs that the traditionalists seem to want to adhere to are pretty much products of the last few decades. As someone pointed out recently (sorry, I’ve been out of net contact this week, and I couldn’t identify the thread), most whistles last century and beyond were wood, and I will add that many were silver.
So, why are wooden and all-metal whistles currently non-traditional? Chris Norman, who is a stickler for olden-style arrangements and instruments, plays a Thin Weasel.
What do you mean when you say that “traditionalists want to adhere” to Generation-style whistles? I thought it’s just that they thought them better suited for their purposes. Like traditional fiddlers who will (I hear) often play violins that would be considered inferior by classical musicians.
60, 70 years ago the whistle didn’t even exists as a traditional instrument. It was considered a toy, not fit to be played for dancing (the main purpose of making music), and it was considered better to lilt. I get this from Packie Manus Byrne, btw.
Bloomfield is correct that I didn’t express myself very well in the first post. I mulled over the words for quite awhile, but was still hoping to edit the post before any responses. I want to make it clear that I’m not being antagonistic, nor criticizing those who feel that Gen-type instruments are the best for what they do.
And in response to Bloomfield, I don’t doubt that the whistle was considered a toy in Ireland early this century, however, the rather heavy silver whistle that I played could not have possibly been considered a toy, except by the absolutely wealthiest. It weighed probably 3-400 grams. Plus, the whistle is mentioned in old (pre-1900) songs not as a toy, but as a real instrument. Possibly not in Irish song, but certainly in English song.
My query is about what people consider traditional, and whether “old” tradition, i. e., pre-1900, might possibly trump “current” tradition, and why some people are resistant to the new wave of high-end whistles, when the injection-molded plastic mouthpiece is much younger than most of the music they’re playing.
After an illuminating discussion with Peter and others, I think it’s not materials that matter, it all comes down to sound. Thus, the traditional value of plastic is not important, it’s the sound that matters.
Also, as was alluded to in the “Let’s Do It: Musician v. Collector” thread, the tradition has continued to evolve, and so at some level has embraced a certain sound, and thus a certain whistle.
I don’t think that it is so much that an instrument is “traditional” or not, as much as why pay $100-$300 on a whistle when a good Gen-type whistle costs little, sounds great, is nimble enough to play any reel and blends well with other instruments in an Trad.Irish session. Sure, there are lots of good reasons for buying high end whistles, but for a lot of players of Trad Irish music, their prefence to play and to hear is the Generation - type whistle.
I think whistlepeg had it dead on there. It’s a tool and the only worry is: will it do the job and will it do it well. As I pointed out in all previous discussions: as soon as something arrives on the market to replace the present makes of whistles I am sure everybody will jump at them. As I am sure this is what happened when the Gens replaced the old Clarkes.
In the meantime there is, contrary to what you may think, a lot of experimentation going on, a lot of people have the Susatos, a few even play them. But in general these don’t go down all that well. Also, and again that may be contrary to what some people in previous discussions thought, I think a lot of players will have seen other types of whistles, people arrive for Willie weeks and other events with bags full of them, they get seen and tried. And the ones that suit will be taken up.