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Steeped in British Isle history and musical folklore, the Celtic harp is an inviting challenge as an interpretative instrument in contemporary harmony circles. Irminsul, an American West harpist and pianist, has ventured beyond the historical and traditional limits of the harp through his musical artistry. Though trained in piano from a young age, Irminsul was drawn to mountain folk culture and Celtic music during his teenage years in Vermont. At age 35, he began playing the Celtic harp after gaining competence and establishing a foundation in the tradition through local Utah Celtic musicians. Irminsul now performs both traditional Celtic renderings as well as Celtic fusion works, reflecting the timeless and mesmerizing quality of the har
![Steeped in British Isle history and musical folklore, the Celtic harp is an inviting
challenge as an interpretative instrument in contemporary harmony circles.
Welcoming this novel challenge to venture beyond historical and traditional
limits of the harp is the musical artistry of Irminsul, an American West harpist and
pianist whose gallant talents enliven the harp’s ability to capture, emote, and create
song.
Amid the red brown earth backdrop of his Rocky Mountain upbringing, Irminsul, a
native Utahn, was trained in piano from the age of six. His early teenage years in the
woodlands of Vermont gave him his first taste of mountain folk culture along with the
mysterious and wondrous music that works such a magic on the heart and mind. With
subsequent years of learning and weaving his growing love for the simple, clear hymn
of stricken or strummed string instruments together with his virtuosity on piano,
Irminsul gradually fashioned the Celtic Harp to his musical palette at the accom-
plished age of 35. Thanks to the tutelage and friendship of local Utah Celtic musicians,
he quickly gained competence on the harp and established a foundation in the tradi-
tion that he would soon challenge.
For Irminsul, the prospect of a lifetime versed in the composition and performance of
traditional music was a double-edged sword. When developing artistry with an arcane
instrument, he valued tradition as a well-wrought craft of precision on one edge of the
sword. On the other side of the sword, he found that tradition often fosters unwaver-
ing social expectations that sunder innovation. Moreover, bridging the chasm between
these two worlds makes for an interesting pursuit and result. Irminsul performs and
records the celebrations of this journey, ranging from heartfelt traditional renderings
such as “The Wild Geese” and “Tavern On The Moor” [Idlewild Recordings] to the
Celtic fusion laced “Alchemy” [STONECIRCLE, Lodestar Productions] and “The
Dragon’s Tongue” [Kin Of Daanu Records, release pending]. Irminsul’s harp reflects
the timeless aspect of the instrument with its stirring, mesmerizing quality and its abil-
ity to converse directly with the human soul.
Irminsul has performed concerts and special events around the world, including
Europe, Japan, Taiwan and most frequently in the British Isles, where he was trans-
formed by the poignant and spiritual songs of Scotland, Wales and Ireland. In the
American West, he has performed with the acclaimed Celtic band Stonecircle at the
Utah Arts Festivals (2001, 2002), Salt Lake Highland Games (2002), The Salt Lake
Celtic Festival (2002), The 4th Annual Durango Celtic Festival (2002), and annual
concert tours through Moab, Grand Junction and points west. xxxxxxxxxxxxxx
T H I R D M I L L E N N I U M C E L T I C H A R P](data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7)
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Irminsul press
- 2. Steeped in British Isle history and musical folklore, the Celtic harp is an inviting challenge as an interpretative instrument in contemporary harmony circles. Welcoming this novel challenge to venture beyond historical and traditional limits of the harp is the musical artistry of Irminsul, an American West harpist and pianist whose gallant talents enliven the harp’s ability to capture, emote, and create song. Amid the red brown earth backdrop of his Rocky Mountain upbringing, Irminsul, a native Utahn, was trained in piano from the age of six. His early teenage years in the woodlands of Vermont gave him his first taste of mountain folk culture along with the mysterious and wondrous music that works such a magic on the heart and mind. With subsequent years of learning and weaving his growing love for the simple, clear hymn of stricken or strummed string instruments together with his virtuosity on piano, Irminsul gradually fashioned the Celtic Harp to his musical palette at the accom- plished age of 35. Thanks to the tutelage and friendship of local Utah Celtic musicians, he quickly gained competence on the harp and established a foundation in the tradi- tion that he would soon challenge. For Irminsul, the prospect of a lifetime versed in the composition and performance of traditional music was a double-edged sword. When developing artistry with an arcane instrument, he valued tradition as a well-wrought craft of precision on one edge of the sword. On the other side of the sword, he found that tradition often fosters unwaver- ing social expectations that sunder innovation. Moreover, bridging the chasm between these two worlds makes for an interesting pursuit and result. Irminsul performs and records the celebrations of this journey, ranging from heartfelt traditional renderings such as “The Wild Geese” and “Tavern On The Moor” [Idlewild Recordings] to the Celtic fusion laced “Alchemy” [STONECIRCLE, Lodestar Productions] and “The Dragon’s Tongue” [Kin Of Daanu Records, release pending]. Irminsul’s harp reflects the timeless aspect of the instrument with its stirring, mesmerizing quality and its abil- ity to converse directly with the human soul. Irminsul has performed concerts and special events around the world, including Europe, Japan, Taiwan and most frequently in the British Isles, where he was trans- formed by the poignant and spiritual songs of Scotland, Wales and Ireland. In the American West, he has performed with the acclaimed Celtic band Stonecircle at the Utah Arts Festivals (2001, 2002), Salt Lake Highland Games (2002), The Salt Lake Celtic Festival (2002), The 4th Annual Durango Celtic Festival (2002), and annual concert tours through Moab, Grand Junction and points west. xxxxxxxxxxxxxx T H I R D M I L L E N N I U M C E L T I C H A R P
- 3. ALCHEMY Stonecircle 2000 (Lodestar Productions) available at AMAZON.COM CELTIC SEASONS Lodestar Productions 1998 (two guest tracks) available from Lodestar Productions THE WILD GEESE Idlewild Recordings 1996 available from Idlewild Recordings THE TAVERN ON THE MOOR Idlewild Recordings 1998 available from Idlewild Recordings THE GRAND CAYLEE Idlewild Recordings 2000 available from Idlewild Recordings (several guest tracks) THE DRAGON’S TONGUE Kin of Daanu Records release pending as of January 2003 1155 East 300 South Apt. #13 Salt Lake City, Utah 84102 801.673.4571 email: irminsul@37.com