Alan Stivell
Alan Stivell (Breton pronunciation: [ˈɑːlãn 'sti:vəlː]; born Alan Cochevelou on 6 January 1944)[1] is a Breton and Celtic musician and singer, songwriter, recording artist, and master of the Celtic harp. From the early 1970s, he revived global interest in the Celtic (specifically Breton) harp and Celtic music as part of world music.[1] As a bagpiper and bombard player, he modernized traditional Breton music and singing in the Breton language. A precursor of Celtic rock, he is inspired by the union of the Celtic cultures and is a keeper of the Breton culture.
Alan Stivell
Alan Cochevelou
- Singer
- songwriter
- composer
- musician
1960–present
Keltia III
Critical acclaim[edit]
Music critic Bruce Eder has stated: "[Alan Stivell's] harp recordings, with their enveloping lyricism and tightly interwoven patterns of variations, can appeal to more serious listeners of new age music. Stivell's main audience, however, lies with fans of Celtic music and culture, and English folk music. Embracing ancient and modern elements, but (apart from his folk-rock work) making no compromises to modern melodic sensibilities, his music captures the mystery and strangeness of Breton, Irish, Welsh, and Scottish landscapes that are both ageless and timeless. It is haunting, mysterious, and beautiful, with no equivalent in modern popular music and few peers in the realm of commercial folk music."[1]
Interviews[edit]
An English translation of Stivell's interview for Le Peuple Breton by Peter Barry was published in the Scottish political, current affairs and arts review, Calgacus in 1975.[10]
In the 1978 book Racines interdites ("Forbidden Roots"), a series of interviews with Stivell covers questions about the Breton language, history and geography, as well as his utopian vision of a world living in meditative harmony with nature. Lyrics for 17 of Stivell's songs are reprinted at the back of the book.[11]
Legacy[edit]
Alan Stivell has influenced multiple contemporary artists, most notably folk metal band Eluveitie. Their biggest hit 'Inis Mona' shares a melody with the traditional Tri Martolod. Where it is played on bagpipes, tin whistle and hurdy-gurdy with the addition of harsh vocals, electric guitar, bass guitar and drums.
