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Irnl 34 Uirnhir 3 2002 I SS No 790 004X<br />
• • •
sets it apart and ~ives it a central position<br />
in the lives of a people. Because of its<br />
necessity, the traditional expressions of a<br />
people represent the norm for those<br />
people; they are the forces of harmony and<br />
equilibrium; the key reference points<br />
a~ainst which all other expressions that are<br />
simply possible are evaluated. Forms<br />
representin~ a tradition have a complete<br />
and or~anic quality about them. They are<br />
certainly not as some arts pundits would<br />
have it, all a matter of personal subjectivity:<br />
those pundits who are ever-ready to assert<br />
that their own individual subjectivity<br />
annuls the ri~hts of the collective<br />
subjectivity of an entire ethnic ~roup .<br />
It is perhaps worth considerin~ here<br />
another reason why Arts Departments in<br />
~eneral overlook traditional forms of<br />
expression with such astonishin~ easiness.<br />
One reason is because the word traditional<br />
implies a whole lot more than the word Art<br />
can embrace. In the lives of a people where<br />
tradition is st<strong>ill</strong> stron~ and relevant, the<br />
forms representin~ the tradition play such<br />
an inte~ral role in the lives of its people<br />
that the very notion of art forms hardly ever<br />
arises. The way in which a lan~ua~e is<br />
spoken, a ~arment is made and decorated,<br />
or a tune handed down is played is never<br />
set apart from the everyday activities of the<br />
life of a traditional people; it forms an<br />
inte~ral whole.<br />
In contrast the above the " extraterritoriality"<br />
so arro~antly claimed by<br />
Arts Departments is in character when<br />
one considers that their ori~ins can be<br />
traced directly to those places and that<br />
time where and when every semblance<br />
of the tradition has been extin~uished . In<br />
other words, un like the Phoenix, Arts<br />
Departments everywhere have sprun~ up<br />
from a number of piles of unholy ashes<br />
and just as museums now display the<br />
traditional works of a people and<br />
cultures no lon~er livin~ and therefore<br />
relevant in a vital sense, so Arts<br />
Departments try to compensate for their<br />
poverty by displayin~ and supportin~ art<br />
forms with liltle relevance to the inte~ral<br />
needs of those people to whom it is<br />
served up. In this respect, it parallels that<br />
kind of overseas "aid" that is so often<br />
injurious to the sustainable economies of<br />
native people.<br />
The hearts and minds of those peoples<br />
(those whom I count amon~st Ireland's<br />
heroes) who with meticulous care and<br />
patience have collected and preserved<br />
the many and varied forms of the<br />
tradition were obviously not lukewarm in<br />
their altitude to Irish Traditional Culture.<br />
They could see the culture evaporatin~<br />
before their eyes and knew if they did<br />
not act with fervour and vi~il a n ce much<br />
more would be lost forever, and with this<br />
would ~o a part of Ireland's soul. Those<br />
champions of the Tradition did not see<br />
their work as quaint past time, like some<br />
eccentric collector of curios; on the<br />
contrary, they were driven by that<br />
implacable sense of certitude only a True<br />
and livin~ Tradition can impart and they<br />
knew the inestimable value that this<br />
tradition would continue to hold for the<br />
people of Ireland.<br />
What many of the above unsun~, heroes<br />
may never have considered is that their<br />
~entle work has f<strong>ill</strong>ed and continues to f<strong>ill</strong><br />
the needs of lovers of traditional ~enres<br />
the world over. As a non-Irish person let<br />
me say at once, thank God for them and<br />
all those who have followed their lead.<br />
3
As we go to press, the new Arts B<strong>ill</strong><br />
which was published by Minister SUe<br />
de Valera has been brought before the<br />
Oireachtas by Minister John<br />
O'Donoghue who has responsibility<br />
for arts in the new Government.<br />
This B<strong>ill</strong> w<strong>ill</strong> repeal the Arts Acts of<br />
1951 and 1973.<br />
The publication of the much-awaited<br />
B<strong>ill</strong>, the first in 30 years, follows an<br />
extensive consultative process. Several<br />
hundred submissions were made in<br />
response to an advertisement inviting<br />
submissions to the new Arts Review.<br />
Over 50% of all submissions related<br />
to Irish traditional arts: these came<br />
from musicians, administrators,<br />
ensembles and organisations.<br />
Following on the submissions, an<br />
intensive consultative weekend was<br />
held in the Royal Marine Hotel, Dun<br />
Laoghaire. This was presided over by<br />
consultants Price Waterhouse Coopers.<br />
The B<strong>ill</strong> represents a radical and<br />
imaginative restructuring of the Arts<br />
Council and in the case of the Irish<br />
Traditional Arts this w<strong>ill</strong> be enshrined<br />
in legislation.<br />
The original Arts legislation made no<br />
reference to Irish Traditional Arts. The<br />
new Arts B<strong>ill</strong> corrects this omission.<br />
The Arts Council w<strong>ill</strong> be reduced<br />
from seventeen to eight members and<br />
a Chairman.<br />
A Standing Committee w<strong>ill</strong> be<br />
established for Irish Traditional Arts.<br />
This committee w<strong>ill</strong> advise the Arts<br />
Council on issues falling within its<br />
remit and w<strong>ill</strong> make<br />
recommendations to the Council on<br />
the advance of moneys to any person<br />
relating to Irish traditional arts.<br />
The standing Committee shall consist<br />
of a chairperson appointed by the<br />
Minister and 4 ordinary members, 2<br />
of whom shall be appointed by the<br />
Minister, and 2 of whom shall be<br />
appointed by the Council. Ordinary<br />
members may be Council members<br />
or members who are not members of<br />
the Council.<br />
The plans and strategies of the Council<br />
w<strong>ill</strong> be required to be compatible with<br />
Government policy on the arts.<br />
The b<strong>ill</strong> provides that the Minister for<br />
Arts, Heritage, Gaeltacht and the<br />
Islands shall promote the arts, both<br />
nationally and internationally and gives<br />
recognition to the role of the<br />
Minister in formulating overall State<br />
policy on the arts.<br />
There are now thousands of<br />
traditional performers in Ireland,<br />
many of them achieving high<br />
standards of excellence. Over 10,000<br />
performers attended Fleadh Cheoil<br />
Na hEireann in Listowel.<br />
5
TREOIR<br />
Labhair Gaeilge Linn<br />
<strong>Comhaltas</strong> is active in encouraging people to use the<br />
Irish language as often as they can. In the coming<br />
months we hope people w<strong>ill</strong> try to use whatever Irish<br />
they may have. We include some phrases and vocabulary<br />
to get you started.<br />
Comhra<br />
Hello. Dia dhuit Dia is Muire dhuit<br />
How are you. Cen chaoi bhfuil tu Conas ata tu<br />
I'm fine. Ta me go maith. Ta me ar fheabhas.<br />
Did you see ... An bhfaca tu .. . <br />
Were you at the competition An raibh tu ag an gcomortas<br />
W<strong>ill</strong> you have a drink An mbeidh deoch agat<br />
I w<strong>ill</strong> see you. Feicfidh me tu.<br />
How did you get on Conas ar eirigh leat<br />
I won a prize. Ghnothaigh me duais.<br />
I want ... Ta ... uaim.<br />
I want tea please. Ta tae uaim le do thoil.<br />
Play a tune. Seinn port<br />
Did you meet ... Ar bhuail tu le ... <br />
I must go now. Caithfidh me imeacht anois.<br />
Where is ... Ca bhfUil ... <br />
Where is the Fleadh Office Ca bhfuil Oifig na Fleidhe<br />
I am hungry. Ta ocras orm.<br />
I am thirsty. Ta tart orm.<br />
Goodbye! Slan!<br />
9
;:;;;';;' __<br />
The Oondllf<br />
~ NewIt<br />
eItctfJ~<br />
CltIf'e~"'"<br />
dllllDltsrnr. Iils<br />
dondng sk<strong>ill</strong>s at<br />
....1 the Readh Nua.
TREOIR<br />
SI
BILL McEVOY<br />
The recent visit to Long Island by<br />
Mary Brogan and her husband Tim<br />
brought back many memories of the<br />
1986 <strong>Comhaltas</strong> Concert Tour of<br />
North America. It was one of the<br />
great concert tours of that time<br />
period. Mary Brogan, the traditional<br />
singing sensation from Finchogue near<br />
Enniscorthy, County Wexford was a<br />
member of that tour. Mary had won<br />
the 1974 All-Ireland Senior Singing<br />
Championship at Fleadh Cheoil na<br />
hEireannn, Listowel. Judging by her<br />
fine rendition of traditional songs<br />
here recently she has lost none of her<br />
former glory.<br />
On the concert tour 1986, Mary<br />
shared the stage with such notable<br />
talent as Kevin Webster who won the<br />
All-Ireland under 18 Accordion<br />
Championship at Listowel 1985; Eilish<br />
Byrne, a fine young fiddle player from<br />
Britain, she also won the under-18<br />
Title at the same Fleadh. Eamonn<br />
Walsh was a young Mayo musician<br />
then living in Dublin. He was a stylish<br />
and masterful U<strong>ill</strong>eann Piper. He later<br />
went on to play a vital role in bringing<br />
Fleadh Cheoil na hEireann to Ballina<br />
1997 -1998, something he is hoping to<br />
do again in 2003. Gerry Murphy was<br />
one of Ireland's outstanding Banjo<br />
players selected for the tour. Francis<br />
Droney was current All-Ireland<br />
Champion on the concertina. He was<br />
son of the famed Chris Droney from<br />
Belharbour, County Clare. Gerard<br />
McAuley and Edwina McGiII were two<br />
most popular dancers who had<br />
starred on the 1986 tour of Britain;<br />
Padraig Moynihan a top rate<br />
accordion player from the famed<br />
Sliabh Luchra area, renowned for its<br />
slides and polkas. Frieda Gray was<br />
one of Ireland's most outstanding<br />
dancers, a three time undefeated<br />
world champion who had toured<br />
Ireland, Britain and America before<br />
w ith <strong>Comhaltas</strong>. Brid Harper a very<br />
br<strong>ill</strong>iant young fiddle player from<br />
Donegal, she starred in the Tour of<br />
Europe 1985. Denis Gollock was one<br />
of the great traditional dancers then,<br />
he was born in Cork and went on to<br />
live in England. Francis McDonald was<br />
a fine young dancer who hailed from<br />
Roscrea. County Tipperary. He was<br />
renowned for his famous footwork.<br />
Mairead Ni Chathasaigh, the multitalented<br />
girl from Bandon. County<br />
Cork, she was and st<strong>ill</strong> is an<br />
internationally known harpist. Tommy<br />
Guihan, a br<strong>ill</strong>iant flute player from<br />
Keadue. North Connacht. was making<br />
his second tour of North America.<br />
Anthony McAuley hailed from County<br />
K<strong>ill</strong>kenny. He was a fiddle player and a<br />
member of the renowned McAuley<br />
family whose father Jim served as<br />
15
TREOIR<br />
Songs submitted by Seamus Mac Mathuna<br />
The Queen of the Fair This tune is believed to have been composed by John McFadden, a fiddler who was<br />
born in Carramore, nearWestport, Co. Mayo, in 1846. He emigrated to the US, first<br />
to Cleveland, Ohio, where he spent a few years before moving on to Chicago where<br />
he spent the rest of his life. He was a highly respected fiddler in Irish traditional<br />
music circles in Chicago in the late 1800s and early 1900s. One of his most ardent<br />
admirers was no less a figure than Captain Francis O 'Ne<strong>ill</strong>, who wrote of him in<br />
'Irish Minstrels and Musicians' as follows: 'The airy style of his playing, the clear<br />
crispness of his tones, and the rhythmic swing of his tunes, left nothing to be<br />
desired'. The tune was recorded in November, 1931 , by the famous Ballinak<strong>ill</strong> Ceilf<br />
Bands', issued by CCE in 2000.<br />
~II all J 33 DJ J 1 j J:3 DJ 1 J l m 1 <strong>ill</strong> i H 1<br />
~Ii J J J J J J 1 j J fJ) 1 :J J J J J J 1 J J J J .:11<br />
~II PiEr F r re 1 <strong>ill</strong> JJ J 1 j j1 DJ 1 :J JJ on ~ 1<br />
~II [ j r r r r 1 DJ J J J 1 rr i J J 1 J j J J :11<br />
~II p 1 tU E EJ 1 to [EJ 1 <strong>ill</strong> F D 1 F j r ~ 1<br />
1<br />
~II' tU [u Le F F r 1 f J 3 £J J 1 J J J J :11<br />
2<br />
fA<br />
J<br />
J ] fa J 1<br />
J<br />
J J J 11<br />
\b~)
TREOIR<br />
O'Dwyer's Hornpipe This tune was recorded in Dublin in July, 1930, by B<strong>ill</strong>y Cummins (1894 - 1966), a<br />
flute player from Roscrea, Co.Tipperary.This was his only commercial recording. It<br />
also appears in O'Ne<strong>ill</strong>'s Dance Music of Ireland, no. 842.<br />
,-! B I r cl J cl J J I J J J B I r cl cl ~<br />
,- r E EFt r [J I r cl J cl J J I J j j [g'<br />
,. F r F F j cl J J I cl 4 ± ) cl :11<br />
,. Ell r U E:E r I err F Un I (fi cJ er F ~ I<br />
,. r r r CJ I r ts LE r I ~ Err E E too;; I<br />
,. (El cS t r [J I r J±W J :11<br />
,I cr I Er rr J cl JJ I JJ JJ J cr I Er n J ~ 1<br />
,. r r Eft F U I r r r F J J J J I J J J J J e 1<br />
,j E r F r" j cl J j I J L j J J :11<br />
,. U I U mr n m I U m n <strong>ill</strong> . 1<br />
3 3 3 3<br />
,. EJ <strong>ill</strong> fJ <strong>ill</strong> I EJ <strong>ill</strong> j J J J I £) tP ~ r r ~ ·· 1<br />
,- F r [F r r cri r ELF E:: F [J I r Jt; J :11
Today at fleadh and feis in various<br />
places there are usually several kinds<br />
of 'workshops'- instruments, dances,<br />
story telling, singing and more. In<br />
times past when travel meant walking<br />
or pony and trap the 'traditional<br />
cultural workshops' in Ireland's<br />
isolated areas were the family<br />
kitchens. This was driven home<br />
dramatically some years ago by Rita<br />
living near Rosslare. After providing us<br />
with breakfast in a modern bungalow<br />
she took us out back to the old<br />
thatched cottage in which she grew<br />
up. It was in good condition and tidy<br />
with sense of pride but unoccupied.<br />
She took us in to the large empty<br />
stone flagged floor kitchen. "This is<br />
where we learned to dance", she said.<br />
She went over to the kitchen<br />
window, turned her back to it saying:<br />
"This is where my father stood with<br />
his fiddle when he taught us to dance.<br />
He was a very strict teacher. If we<br />
made a mistake he stopped playing<br />
and gesticulated with his bow<br />
indicating how we should be dancing."<br />
Getting on in years Rita was st<strong>ill</strong> able<br />
to demonstrate some of the old style<br />
dances learned so well round the<br />
'kitchen dance hall.'<br />
THE KITCHEN<br />
WORKSHOPS<br />
KATHLEEN AND KEVIN HANLON<br />
ininnitCllble storyteller<br />
At the heart of the 'kitchen workshops'<br />
was the old turf fire described by a<br />
resident in Donegal as symbolic of the<br />
whole simple life eked out of the good<br />
earth through days of toil forgotten in<br />
the evening's relaxation beside the<br />
spark that never went out. One home<br />
was known to have kept the turf fire<br />
alight for on'hu~drep years!<br />
In another isolated area of Donegal<br />
twelve homes in the early part of the<br />
last century kept alive their music and<br />
dance traditions. Each cottage hosted<br />
four Sunday social evenings across the<br />
year keeping alive weekly workshops<br />
teaching and handing on the music,<br />
song, dance, storytelling and 'the<br />
craic'. Now only two of these<br />
irreplaceable 'kitchen workshops'<br />
remain sadly as holiday cottages.<br />
Present day set dancers may be<br />
interested to know that in the early<br />
part of the last century it wasn't<br />
unknown for doors in the house to<br />
be unhinged and placed on the floor<br />
for dancing on. People danced in<br />
clogs, according to one set dance<br />
expert, so there would be the sound<br />
of rhythmic pounding of the boards -<br />
almost bodhran style.<br />
The kitchen workshop broadened out<br />
to dances in the barn where 'barn<br />
dances', currently receiving interest,<br />
featured The German', Stack of<br />
Barley, Shoe the Donkey, The Myland<br />
and more. Dancing also featured at<br />
local crossroads.<br />
A very important aspect of kitchen<br />
recreational workshops was that all<br />
ages were involved from the eldest<br />
present as 'cock of the corner' to<br />
young children. Another aspect was<br />
that all ages intermixed and danced -<br />
socialisation at its best! What a<br />
marvelous sight it was recently at an<br />
evening wedding dance session to see<br />
a grandmother dancing with a little<br />
boy of three!<br />
The cultural workshop also extended<br />
to the school playground. Brfd recalls<br />
her school days amidst the H<strong>ill</strong>s of<br />
17
It's a cool crisp evening<br />
in late November, the<br />
kind of evening that puts<br />
you in the mood for all<br />
things Christmas and<br />
festive and cheery. Well,<br />
the mood is right for<br />
certain on this much<br />
anticipated occasion and<br />
as we hurry along the<br />
street to the Hall,<br />
someone from within can<br />
be heard playing a lovely air on a tin<br />
whistle. This is definitely the place to be<br />
and it is packed to capacity with lovers<br />
of fine Irish music! The night belongs to<br />
Frank Cassidy and Friends as they<br />
launch their new CD tided 'Tin Air'.<br />
Frank Cassidy, his lovely wife Eileen and<br />
their two children,Ashling and James<br />
and new grandson Aidan, now call<br />
Ottawa (Canada) home. You might say<br />
they took the long worldly road and<br />
several years to get here but we<br />
couldn't be happier that they found us<br />
and we them and we are the better<br />
served for the travels that have brought<br />
them here.<br />
And you might say that Frank is more<br />
than jUst a mite familiar to the<br />
members of <strong>Comhaltas</strong> Ceolt6iri<br />
Eireann, be it in his native Ireland, or in<br />
South Africa or here in Canada (which<br />
explains the long worldly road I<br />
mentioned earlier!) His love for music<br />
developed at an early age coupled with<br />
his considerable talent are a perfect fit<br />
for the traditional music and cultural<br />
events CCE strives so successfully to<br />
preserve and promote worldwide.<br />
Since 1965 when, at the age of 16,<br />
Frank won the Leinster Fleadh for the<br />
under 18 tin whistle and went on to<br />
place second in the All-Ireland in that<br />
same year, he has been amassing not<br />
only many more wins but as well<br />
incredible experience as a musician<br />
playing with a number of the Greats<br />
who entertained audiences in Belmont,<br />
Offaly and east Galway.<br />
And now here, in Ottawa Canada, on<br />
·Tin Air'<br />
RitaWalker<br />
r------------, this cool crisp November<br />
evening, we in the audience<br />
are treated to the music,<br />
both traditional and<br />
original compositions, from<br />
Frank's new CD, music that<br />
suggests all the influences<br />
and experiences that Frank<br />
has been privilege to ... his<br />
home in Offaly, his time in<br />
Johannesburg and Durban<br />
and from here, the touches<br />
of the style of music played in the<br />
Ottawa Valley and Quebec. This is an<br />
area greatly influenced by the Irish who<br />
settled here over the last 150 years and<br />
it would seem that in Frank a kindred<br />
spirit was discovered and the music has<br />
come full circle and found its own<br />
crafter.<br />
If you are feeling as though you missed<br />
a great evening and all the craic that<br />
went with it, you're so right! However,<br />
opportunity knocks again. Frank, as well<br />
as being a member of <strong>Comhaltas</strong><br />
Ceolt6iri Eireann, Ottawa Branch, is<br />
also a proud member of the Ottawa Ceili<br />
Band and plays for the <strong>Comhaltas</strong> Ceili<br />
held each month. The music doesn't<br />
stop there though! He, along with<br />
Rosario Ruane, Dennis Alexander and<br />
Marietta Fraser are known in these<br />
parts as Corrib, a very popular<br />
traditional Celtic music band found at<br />
numerous events and sessions around<br />
the Ottawa area. Now if these<br />
opportunities st<strong>ill</strong> prove elusive for you,<br />
you can visit Frank's website at:<br />
http://members.rogers.com/jcassidyI857/<br />
index.htm where it is possible to read<br />
the reviews, find out all about the other<br />
great musicians on the CD and listen to<br />
sound samples. You can as well place<br />
your order for the CD on this site. And<br />
for those wanting to pass along their<br />
congratulations to Frank and Friends on<br />
the launch of this great CD, Frank's e<br />
mail address is:<br />
tinairmusic@rogers.com<br />
Enjoy!<br />
•
TREOIR<br />
rose to the rank of Army Sergeant. It<br />
was in the Army that Paddy became<br />
interested in becoming a Barber.<br />
Joking about these good old days and<br />
gents hairdressing. He said "if the Lads<br />
had to pay for haircuts, they would<br />
have nothing left. Meaning the<br />
paycheck was so small.<br />
It was during his service in the Irish<br />
Army that Paddy linked up with<br />
another jovial character. John Colum<br />
Mulligan from Moh<strong>ill</strong> Co. Leitrim.<br />
From then on they both remained<br />
lifelong friends. But they became<br />
separated when Colum Mulligan<br />
decided on coming to America where<br />
he helped with the founding of<br />
<strong>Comhaltas</strong> here in 1972 and served<br />
as Regional Coordinator until he<br />
returned to Ireland in 1989.<br />
Paddy Fallon was first introduced to<br />
North America audiences in the late<br />
seventies as a member of annual<br />
<strong>Comhaltas</strong> Concert Tour which was<br />
really booming at that time. On the<br />
earlier tours, Labhras O 'Murchu had<br />
served as Fear An Tf, telling numerous<br />
jokes that he had picked up from his<br />
travels in Ireland. As <strong>Comhaltas</strong><br />
continued to expand, Labhras found<br />
that he could no longer travel with<br />
the concert tour.<br />
The general feeling was that despite<br />
the great talent in those days, there<br />
was a missing link, we needed a<br />
humourous presenter that would add<br />
a new dimension to the already<br />
popular show. Paddy Fallon was<br />
selected and became an instant hit,<br />
particularly with the native born Irish<br />
living here, who could immediately<br />
associate with his hilarious jokes<br />
about life back home. Nobody<br />
escaped from his ready wit,<br />
particularly the performers on the<br />
show who took their licks as Paddy<br />
introduced them to the audience. If<br />
anyone came from Cavan, they were<br />
sure to bear the brunt of his untiring<br />
wit. He had a particular affinity for<br />
Cavan, and could easily imitate the<br />
Cavan accent leaving one to feel that<br />
he was born in Mullahorn. He<br />
depicted the Cavan people as being<br />
very frugal, tight with money, they<br />
weren't spenders at all. He often told<br />
the joke about the Cavan man who<br />
had a hip replacement. Before leaving<br />
the hospital he asked the doctor for<br />
the bone that he removed from his<br />
hip! The fact is Mullahorn and Cavan<br />
were his favourite haunts, he rarely<br />
ever missed a Cavan Festival.<br />
As the years went by, Paddy became a<br />
permanent fixture on <strong>Comhaltas</strong><br />
tours. He was known loved and<br />
respected from Boston to San<br />
Francisco and from New Foundland<br />
to the Island of Vancouver in British<br />
Columbia. When the Concert Tour<br />
was announced in early Spring, it was<br />
not unusual to hear people asking<br />
"w<strong>ill</strong> Paddy be coming" He was<br />
responsible for f<strong>ill</strong>ing many a concert<br />
hall. Together with his B. Flat Bodhran<br />
and untiring wit, he articulated the<br />
Emerald Isle on the concert stages of<br />
the world. He was a true Ambassador<br />
who brought joy to many an Irish<br />
heart in exile.<br />
Then there came a time when Paddy<br />
had to relinquish his place on the<br />
<strong>Comhaltas</strong> tour. He never lost<br />
interest in the organization, he<br />
continued to entertain at local<br />
functions. He and I remained good<br />
friends. He told me about having to<br />
go to hospital for treatment. Don't<br />
come to see me he would say. I'll be<br />
home before you get to the hospital.<br />
Then as time went by, I got the sad<br />
news that his <strong>ill</strong>ness was more<br />
serious. Paddy st<strong>ill</strong> remained jovial and<br />
light hearted to the end. The<br />
announcement of his passing brought<br />
great sadness to <strong>Comhaltas</strong> here in<br />
North America.<br />
Paddy w<strong>ill</strong> not be coming to us again,<br />
and we w<strong>ill</strong> surely miss him. The<br />
legacy he left w<strong>ill</strong> live on, and the<br />
ideals which he espoused w<strong>ill</strong> always<br />
serve as a beacon to all who wish to<br />
embrace our Irish culture and<br />
tradition. "Keep sending the money,"<br />
was his clarion call, a call that did not<br />
go unheeded by audiences and<br />
supporters everywhere, a call that<br />
now seems to have lost its relevance<br />
as we try to embrace this new era of<br />
modernization and technology.<br />
It was great to have known Paddy<br />
Fallon, we were all enriched by his<br />
boundless spirit.<br />
On behalf of <strong>Comhaltas</strong> North<br />
America, we extend our deepest<br />
sympathy to his wife, Emily, and the<br />
Fallon family.<br />
Ar dheis De go raibh a anam uasal.<br />
A Tribute<br />
(for Paddy Fallon)<br />
The Bodhnin is Silent<br />
The sunlight is Shade,<br />
The last note on the goatskin<br />
To the reel has been played.<br />
He burst on the catwalk,<br />
Out hearts to engage,<br />
He linked us in laughter,<br />
The world his stage.<br />
How can we stay silent<br />
How could we regret<br />
The laugh without blemish<br />
He bestows on us Yet<br />
Dr Philip Brady<br />
21
TREOIR<br />
hornpipes, were pretty enough<br />
to chain to the spot any<br />
worshipper of natural beauty."<br />
Gersracker was fascinated by the<br />
fiddle r, the sole musician in action,<br />
who passed "abruptly from the<br />
wildest allegro to the most dolorous<br />
of the dolefuls, and then breaking off<br />
suddenly to ask me for a quid of<br />
tobacco." When Gerstacker replied<br />
that he had no tobacco, the fiddler<br />
complained that he had received only<br />
two bottles of whiskey for his<br />
performance, and had drunk both, but<br />
his throat was st<strong>ill</strong> dry .He looked<br />
wildly round, began to cry, and fell<br />
sobbing on the neck of a thin man in<br />
a blue coat, burying his head in the<br />
man's large cravat. Thereupon, some<br />
of the disgruntled male dancers<br />
seized the drunken fiddler by the<br />
arms and legs and unceremoniously<br />
carried him out into the yard.<br />
"Dancing, of course, ceased during<br />
this little intermezzo, and one of the<br />
party offered to find a sober fiddler;<br />
but as the amusement would have<br />
been interrupted too long by waiting<br />
for him, a tall lad placed himself in<br />
front of the chimney, turned up his<br />
sleeves with the utmost gravity, bent<br />
his knees a little, and began slapping<br />
them in time with the palms of his<br />
hands in two minutes all was going<br />
on with as much spirit as before.<br />
At length the promised musician<br />
arrived, not however in the promised<br />
condition but a connoisseur near me<br />
remarked that he would do t<strong>ill</strong> twelve<br />
o'clock.<br />
- (Arrow Books)
"Seo chugainn na sl6ighte 'teacht anuas droim an tsleibhe<br />
Is a mbratach ag craitheadh go hard leis a' ghaoith;<br />
Is deas 'gus is aerach a gcoisceim 's a n-eide<br />
Seacht m'anam na trein-fhir nach dtreigfeadh a dtir<br />
Ta deallramh 'gcuid sleanntrach' cur maise ar na gleanntain<br />
Mar loinnir na maidne nuair eirios an ghrian;<br />
Ta a ngl6rtha go dana 'cur troid ar a namhaid -<br />
Fagaigi an bealach ag sl6ighte na bhFiann<br />
Seo thuas cuid d'aistriuchan a rinne an scribhneoir<br />
cliuteach 6 Thir Chona<strong>ill</strong>, Seosamh Mac Grianna, den<br />
amhrcin bhrea a scriobh Micheal 6 Scanlain fad6. Ta clu<br />
agus cail le fada ar an mbailead "The Bold Fenian Men"<br />
Biodh se againn anois:<br />
See who comes over the red blossomed heather.<br />
Their green banners kissing the pure mountain air,<br />
Heads erect, eyes to front, stepping proudly together.<br />
Sure freedom sits throned on each proud spirit there.<br />
Down the h<strong>ill</strong>s twining<br />
Their blessed steel shining<br />
Like rivers of beauty that flow from each glen.<br />
From mountain and valley,<br />
'Tis Liberty's rally-<br />
Out and make way for the bold Fenian men!<br />
Our prayers and our tears they have scoffed and derided.<br />
They've shut out God's sunlight from spirit and mind.<br />
Our foes were united and we were divided,<br />
We met and they scattered our ranks to the wind.<br />
But once more returning,<br />
Within our veins burning<br />
The fires that iIIumine dark Aherlow glen;<br />
We raise the old cry anew,<br />
Slogan of Conn and Hugh -<br />
Out and make way for the bold Fenian men!<br />
We've men from the Nore, from the Suir and the Shannon;<br />
Let the tyrants come forth, we'll bring force against force.<br />
Our pen is the sword and our voice is the cannon,<br />
Rifle for rifle and horse against horse.<br />
We've made the false Saxon yield<br />
Many a red battlefield:<br />
God on our side, we w<strong>ill</strong> triumph again;<br />
Pay them back woe for woe,<br />
Give them back blow for blow -<br />
Out and make way for the bold Fenian men!<br />
Side by side for the cause have our forefathers<br />
When our h<strong>ill</strong>s never echoed the tread of a<br />
In many a field where the leaden hail rattled<br />
Through the red gap of glory they<br />
And those who inherit<br />
Their name and their spirit<br />
W<strong>ill</strong> march 'neath the banners Qf<br />
All who love foreign law <br />
Native or Sasanach -<br />
Must out and make<br />
eile eta<br />
ar 70 bliain) i Mheiricea ach nior<br />
chaIU si an "" iontach a bhi aige riamh da thir duchais.<br />
Fear cIiIfnaean dlUs dochloite a bhi ann agus file oilte<br />
27
TREOIR<br />
For his and for Ireland's sake.<br />
And I cry:" Make way for the soldier's bride<br />
In your halls of death, sad queen<br />
For I long to rest by my true love's side,<br />
All wrapped in the folds of green.<br />
I saw the Shannon's purple tide,<br />
Roll down by the Irish town,<br />
As I stood in the breach by Donal's side<br />
When England's flag went down.<br />
And now it glowers as it seeks the skies,<br />
Like a blood-red curse between;<br />
I weep, but 'tis not women's sighs<br />
W<strong>ill</strong> raise our Irish green.<br />
Oh Ireland! sad is thy lonely soul,<br />
And loud beats the winter sea<br />
But sadder and higher the wild waves roll<br />
From the hearts that break for thee.<br />
Yet grief shall come to our heartless foes<br />
And their thrones in the dust be seen,<br />
So,lrish maids, love none but those<br />
Who wear the jackets green.<br />
Deantar tagairt do Phadraig Sairseal freisin agus don troid<br />
eachtach a rinne laochra Luimnigh breis agus tri cead bliain<br />
o shin i " Limerick is Beautiful ", amhran alainn eile de chuid<br />
Mhichil Ui Scan lain:<br />
Oh, Limerick is beautiful<br />
As everybody knows,<br />
And by the city of my heart<br />
How proud old Shannon flows.<br />
It sweeps down by the brave old town<br />
As pure in depth and tone<br />
As when Sarsfield swept the Saxon<br />
From the walls of Garryowen.<br />
Tis not for Limerick that I sigh;<br />
I love her in my soul;<br />
The times may change and men w<strong>ill</strong> die,<br />
And men w<strong>ill</strong> not control.<br />
No! not for friends long passed away<br />
Or days forever flown,<br />
But that the maiden I adore<br />
Is sad in Garryowen.<br />
The girl I love is beautiful,<br />
And worldwide is her fame;<br />
She dwells down by the rushing tide<br />
And Eire is her name.<br />
And dearer than my very life<br />
Her glances are to me,<br />
The light that guides my stormy soul<br />
Acrsss life's stormy sea.<br />
I loved her in my boyhood,<br />
And now in manhood's bloom<br />
The vision of my life is st<strong>ill</strong><br />
To dry thy tears a ruin!<br />
I'd sink into the tomb or dance<br />
Beneath the gallows tree,<br />
To see her and her h<strong>ill</strong>s once more<br />
Proud, passionate and free.<br />
Ph os Micheal 6 Scan lain bean de bhunadh na hEireann. Bh!<br />
ardmheas aige riamh ar Chathal Kickham - ba e a laoch m6r<br />
go deimhin e - agus thug se an t-ainm Kickham ar an gcead<br />
mhac a saolaiodh do fein agus da bhancheile. Ba bhreitheamh<br />
mor le ra e Kickham 6 Scanlain ar ball.<br />
Bhi Micheal 6 Scanlain fos ina bheatha nuair a ghabh laochra<br />
na Casca chun catha I 1916. Chuir an tI~irf Amach athas<br />
chroi air. Agus is cinnte go raibh se broidiuil cionn Is gur<br />
bhain ConchUir 6 Col beard agus Eamon 6 Dalaigh, beirt de<br />
na laochra a chuir na Sasanaigh chun bais, le Luimneach. Ni<br />
fada eile a mhair se, faraoir. Fuair se bas an bhliain dar gceann<br />
agus e dilis go heag do chuis na tire agus na teanga.<br />
Ta Micheal 6 Scan lain curtha i reilig Cailbhairf i Chicago. Nil<br />
leacht na carn os cionn a uaighe agus is m6r an trua e sin. La<br />
eigin, le cunamh De, airdeofar leac cuimhneachain chu~ sa<br />
reilig sin in 6m6s don Ghael uasal seo a sheas go heag le Eire<br />
shaor Ghaelach.<br />
Ba ch6ir go mbeadh muintir na hEireann - agus muintir<br />
Luimnigh, go hairithe - m6rtasach go deo as an bhfile dilis<br />
Michl!al 6 Scanlain nach ndearna dearmad riamh ar thir a<br />
dhuchais agus a chum amhrain a<strong>ill</strong>e ch un laochra na saoirse<br />
a mholadh agusa spreagadh.<br />
Beannacht dilis De lena anam uasal.<br />
29
The 2002 <strong>Comhaltas</strong> Concert Tour of the United States<br />
and Canada featuring, direct from Ireland, the tops in<br />
Irish traditional entertainment<br />
Echoes of Erin, the 30 th Annual Concert Tour of the United States and Canada<br />
w<strong>ill</strong> be from the III October to 20 th October. It w<strong>ill</strong> be a proud occasion<br />
marking as it does a monumental achievemnt, not only of sustaining the Tour<br />
over all these years, but developing it into a major cultural event. The Tour is<br />
sponsored by Anhueser Busch, Waterford Crystal and the Cultural Relations<br />
Committee of Ireland's Department of Foreign Affairs.<br />
From this Tour has grown a vibrant <strong>Comhaltas</strong> movement in North America with 50 branches promoting the native<br />
culture of Ireland and forging strong links between this vast continent and the homeland. Thousands of Irish-Americans<br />
(and non-Irish) play Irish traditional music and visit Ireland on a regular basis.<br />
The talented performers selected for the Tour are:<br />
Anne-Marie McGowan, Sligo/Dublin - presenter • Triona Flavin of Limerick on concert flute • Conor Walsh of Kerry -<br />
traditional singer • Astrid Ni Mhongain from Mayo - singer • Daire Mulhern of Clare on 2-Row accordion<br />
Ciara Brennan of Dublin and Patricia Dooley of Laois on fiddles • Colin McG<strong>ill</strong> of Laois on piano accordion<br />
Padraig McGovern of Leitrim on U<strong>ill</strong>eann Pipes • Lindsay Moynagh of Dublin on harp • Sharon Carroll from Offaly<br />
on concertina • Kerrie Herrity of Sligo on banjo • John Coli ins of Limerick - dancer & storyteller • Orla Byrne<br />
& Richard Lawless of Laois - dancers • Denise Kerrigan of Dublin & Liam Guiney of Cork - dancers<br />
Shane Murphy of Kerry - sound technician • Seamus McCormack of Sligo - tour manager
Ever since his untimely death on 20 September 1970, whilst adjudicating the Fiddler of Dooney<br />
Competition in Riverstown, Co. Sligo, it has been my ambition to make my father's music more<br />
widely available.<br />
At last, a book containing over 400 reels and jigs from Leo Rowsome's repertoire has been<br />
published. The music is a direct transcription of his manuscripts with a few minor amendments.<br />
Unfortunately, before he died, he had written down only a fraction of his huge repertoire. many<br />
of these tunes were handed down to him by his father and grandfather who in their turn learned<br />
them from the old master pipers of Kilkenny Wexford, Wicklow and Kildare; others are Leo's<br />
original compositions.<br />
This publication also included Leo Rowsome's Tutor for the u<strong>ill</strong>eann pipes, first published by<br />
Waltons in 1936. Leo wrote out the tunes for each pupil, in a beautiful hand and was always most<br />
particular of the settings used. I quote from the sleeve notes of Classics of Irish Piping Volume I<br />
by Sean Reid 1975 - 'This valuable collection would be a boon to traditional musicians generally'.<br />
The existence of this publication is due to my mother, who encouraged my father to write down<br />
these tunes on his arrival home from each evening's teaching at the Municipal School of Music, Chatham Row, Dublin,<br />
and the Piper's Club, Thomas Street, Dublin.<br />
Coincidentally, the last tune he wrote (and the last in the book) was a jig called 'Goodbye and a Blessing'!<br />
My hope is that the publication of this, the first book of Leo Rowsome's music w<strong>ill</strong> prove to be useful and enjoyable to<br />
pupil and teacher.
TREOIR<br />
aigeanta.Agus is udar athais agus m6rtais do mhuintir<br />
Luimnigh gur rugadh e sa chontae agus gur chaith se<br />
tusbhlianta a 6ige ann.<br />
Rugadh Micheal 6 Scan lain laimh le Caislean Mai Tamhnach<br />
in iarthar Luimnigh sa bhliain 1836. Dealraionn se nach raibh<br />
a mhuintir r6-mhaith as agus go ndeachaigh blianta an<br />
Ghorta go crua orthu. Is iomai duine in larthar Luimnigh<br />
agus in aiteanna eile ar fud na tire a fuair bas leis an ocras i<br />
ngeall ar mheath na bpratai sna blianta ud.Agus is beag - dada<br />
i ndairire - a rinne an rialtas gallda na na tiarnai talun chun<br />
teacht i gcabhair orthu.<br />
Faoin mbliain 1850 bhi tuismitheoiri Mhichil Ui Scanlain agus<br />
a gclann og lonnaithe i Meiricea. Shochraigh siad sios i<br />
Chicago agus is sa chathair sin a chaith Micheal an chuid eile<br />
da shaoil. Nior fh<strong>ill</strong> se riamh ar Eirinn. Ach ni dhearna se<br />
dearmad riamh na go deo ar a thir fein. Chuidigh se go trean<br />
le cuis na saoirse. Nuair a bhunaigh Sean 6 MathUna (fear eile<br />
as Contae Luimnigh ) Braithreachas na bhFinini chuaigh<br />
Micheal 6 Scanlain isteach sa ghluaiseacht agus ba Fhinin dilis<br />
diograiseach e as sin go la a bhais. Mar is eol duinn, scriobh se<br />
"The Bold Fenian Men", ceann d'amhrain mhora na bhFinini.<br />
Agus is e a bhi dilis i gconai do chuis na hEireann. Bhi roinnt<br />
postanna breatha aige i Chicago ach cha<strong>ill</strong> se ceann i ndiaidh<br />
cinn cionn is gur sheas se ceart d'Eirinn. (Bhi cumhacht nach<br />
beag ag na Sacs-Mheiriceanaigh sa tir an trath ud!) Rinne se<br />
eagarth6ireacht ar chupla paipear Eireannacha de chuid<br />
Chicago freisin. Ba phaipeir iad siud a raibh dearcadh laidir<br />
poblachtcinach acu, go deimhin, agus chuir na hUdarais cosc<br />
orthu 6 am go cheile.<br />
Nlorbh e an Scanlanach an t-aon duine i Chicago a bhi ag<br />
obair, ar bhealach amhain n6 ar bhealach eile, ar son na<br />
hEireann sa tarna chuid den 19u chead. Bhi Proinsias 6 Ne<strong>ill</strong>,<br />
Corcaioch, (Chief O'Ne<strong>ill</strong>, mar a tugadh air) ag saothru sa<br />
chathair agus e gnothach ag cur ceol na hEireann chun cinn, ag<br />
deanamh taighde agus ag bailiu plosai ceoil. Bhain se cail amach<br />
freisin mar scribhneoir. Scriobh se a lan leabhar faoi chursai<br />
ceoil traidisiunta agus thabhaigh "Irish Minstrels and Musicians,<br />
ach go hairithe, elu m6r d6.<br />
Eireannach iomrciiteach eile a chalth na blianta fada i Chicago<br />
sa tarna chuid den 19u ch6ad mi Tomas 6 Ne<strong>ill</strong> Ruiseal.<br />
Chuaigh se go Meiricea in 1867 - bhi na Ga<strong>ill</strong> ar a th6ir cionn<br />
is gur shlleadar go raibh baint aige le hEiri Amach na bhFinini.<br />
I gContae na hlarmhi a rugadh Tomas agus bhain se fein agus<br />
a mhuintir le Cumann na gCarad. Gael daingean dilis a bhi ann<br />
a thug gean a chrof don Ghaeilge. Scriobh se a lan leabhar - i<br />
nGaeilge agus i mBearla - ach tci siad uile as el6 le fada, faraoir.<br />
Cuimhnitear ar Thomas 6 Ne<strong>ill</strong> Ruiseal, ach go hairithe, de<br />
bharr go raibh se ar na daoine (Dubhghlas de hide agus<br />
naonur eile) a bhunaigh Conradh na Gaeilge i mBaile Atha<br />
Cliath ar 31 Iwl 1893. Bhi Gaeilge ag Proinsias 6 Ne<strong>ill</strong> agus,<br />
go deimhin, ag Tomas 6 Ne<strong>ill</strong> Ruiseal. Bhi an teanga ag<br />
Michdl 6 Scanlain 6 aimsir a 6ige in iarthar Luimnigh agus<br />
nfor cha<strong>ill</strong> se i riamh. Bhiodh se m6r le Proinsias 6 Ne<strong>ill</strong>,<br />
Tomas 6 Ne<strong>ill</strong> Ruiseal agus Gaeilgeoiri eile Chicago. Nuair a<br />
bunaiodh Conradh na Gaeilge bhi se ar na Gael<br />
Mheiriceanaigh ba thuisce a thug tacaiocht agus cunamh do<br />
ghluaiseacht na teanga.<br />
Scriobh se cuid mh6r danta agus amhran, ach ni minic a<br />
cloistear iad anois, ce is m6ite de "The Bold Fenian Men",<br />
"limerick is Beautiful" agus " The Jackets Green". Ta "The<br />
Jackets Green" ar na hamhrciin is a<strong>ill</strong>e dar cumadh riamh.<br />
Amhran a cuireadh i mbeal cha<strong>ill</strong>n 6ig ar thit a ceadsearc sa<br />
troid i Luimneach aimsir an tSairsealaigh. Biodh se againn anois:<br />
When I was a maiden fair and young<br />
On the pleasant banks of Lee,<br />
No bird that in the greenwood sung<br />
Was half so blithe and free.<br />
My heart ne'er beat with flying feet,<br />
No love sang me his queen,<br />
T<strong>ill</strong> down the glen rode Sarsfield's men,<br />
And they wore their jackets green.<br />
Young Donal sat on his gallant grey<br />
like a king on a royal seat,<br />
And my heart leaped out on his regal way,<br />
To worship at his feet.<br />
Oh! love, had you come in those colours dressed<br />
And wooed with a soldier's mien,<br />
I'd have laid my head on your throbbing breast<br />
For the sake of your jacket green.<br />
No hoarded wealth did my true love own,<br />
Save the good sword that he bore,<br />
But I loved him for himself alone<br />
And the colour that he wore.<br />
For had he come in England's red,<br />
To make me England's queen,<br />
I'd have roved the high green h<strong>ill</strong>s instead<br />
And sought the Irish green.<br />
When W<strong>ill</strong>iam stormed with shot and shell<br />
At the walls of Garryowen,<br />
In the breach of death my Donal fell,<br />
And he sleeps near the Treaty Stone.<br />
That breach the foeman never crossed<br />
When he swung his broad sword keen;<br />
But I do not mourn my darling lost,<br />
For he fell in his jacket green.<br />
When Sarsfield sailed away I wept,<br />
As I heard the loud och6n<br />
I felt then dead as the men who slept<br />
Neath the fields of Garryowen.<br />
While Ireland held my Donal blest<br />
No wild sea rolled between,<br />
T<strong>ill</strong> I would fold him to my breast,<br />
All robed in Ilis jacket green.<br />
My soul has sobbed like the waves of woe,<br />
That sad over tombstones break.<br />
For I buried my heart in his grave below,<br />
28
Ceist a<br />
cuireadh orm<br />
a spreag an<br />
pfosa seo<br />
" cad is brf le<br />
'ag scamhadh<br />
geatairf'"<br />
Bhuel, ma<br />
bhfonn duine<br />
ag scamhadh<br />
geatairf do<br />
dhuine, bfonn<br />
se ag deanamh<br />
obair uirfseal<br />
do.Ach chun<br />
an meafar a<br />
thuiscint i gceart nf mor dui ar ais go<br />
dtf an seansaol, i bhfad roimh aimsir<br />
na haibhleise.<br />
O'usaidtf geatairf mar bhuaicisf sna<br />
lampaf - sna sligf agus na cumoga.<br />
Geataire a thugaidfs ar smusach na<br />
luachra. Is daoine oga, don chuid is<br />
mo, a chuirtf ag scamhadh geatairf<br />
agus ba leadranach an obair f. Seo mar<br />
a chuireann fear on Rinn sfos ar<br />
gheatairf i Sean-Chaint na nOeise:<br />
"Crof na luachra bhfodh mar<br />
bhuaiceas acu, geatairf a thugtaf ar na<br />
buaicisf sin. Seo mar a dheintf e -<br />
brobh luachra 'fhail, leath a chraicinn a<br />
bhaint ar a fhaid de, tosnu le t 'iongain<br />
ag a bhun agus f chur suas go dtf a<br />
bharra, agus thiocfadh an crof amach<br />
slan leat, trf no ceathair de<br />
cheannaibh acu san a chur insa lampa<br />
agus beadh solas maith ann."<br />
In Ufbh Rathach fuar 0 Ouilearga an<br />
meid sea 0 Shean 0 Cona<strong>ill</strong> in 1926.<br />
Bhf Sean se bliana dheag agus ceithre<br />
fichid ag an am agus gan aon Bhearla<br />
aige. " Ba mhinic a' lorg geatairf luachra<br />
me .. Chaithff iad san a sgu (scamhadh) -<br />
an craiceann a bhaint dfobh - agus a<br />
thriomu. Cuirtf braon fie ar an gcumoig<br />
agus an geataire a chur inti agus e a<br />
lasadh. O'fhanfadh se ar lasadh faid a<br />
sheasodh an fie leis. B'shin solas maith<br />
againn, an uair sin, a cheapamair, ach taid<br />
go leir briste sfos anois 0 thainig an<br />
pairiffn. NfI scolb na geataire anois ann:'<br />
Is on ngiuis a fhaightf na scoilb. Usaidtf<br />
na scoilb chun solais chomh maith.<br />
Bhaintf an ghiuis as phortach agus<br />
thogtaf abhaile f. Oheintf mion phfosaf<br />
le tua di agus chuirtf ar an lochta iad<br />
ch un triomaithe. Oheintf scuilb -<br />
giotaf caola fada - dfobh ansan.<br />
Chuirtf an scolb ar lasa i gcoinnleoir<br />
iarainn. " Bfodh coinnleoir iarainn<br />
againn nuair a bhfmfs ag ithe ar gcuid<br />
bfdh, agus scolb ar lasadh ann, agus da<br />
dteastodh uaim dui sa chro, feachaint<br />
ar na ba, no a gcru, thugainn scolb<br />
agus smearoid tine liom, chun e a<br />
lasadh sa chro," - Sean 0 Cona<strong>ill</strong>.<br />
Chualas mo shean athair a ra go<br />
n-usaididfs beart scolb ceangailte da<br />
cheile mar sholas nuair a bhfdfs ag<br />
seilg eanlaithe istofche fado.<br />
Os na heisc a bhaintf furmhor na hfle<br />
chun solais. An saghas eisc ab fhearr<br />
lea na an gabhar.Ach usaidtf an<br />
phollog, an chrothog an seirdfn freisin.<br />
Nf folair no bhf boladh uafasach os na<br />
lampaf ceanna. Bhfodh fie na raibe go<br />
maith leis chun solais - d'usaidtf chun<br />
olann a smearadh freisin f.<br />
Bhfodh coinnle geireacha acu, as geir<br />
na n-ainmhithe a dheintf iad. Is<br />
amhlaidh a leMaf an gheir agus scaoilff<br />
isteach i munla f agus bheadh buaiceas<br />
de shnath cotuin socraithe sa mhunla.<br />
Ligff di fuaradh ansan agus bheadh<br />
coinneal acu.Ait le ra nf raibh an<br />
choinneal cheireach coitianta in ann<br />
chor. Is doca nach raibh na beacha ro<br />
fhluairseach cead bhiain 0 shoin.<br />
Bhfodh lampa cairbfde ag mo shean<br />
athair. Is mianra cairbfd a bhfuil<br />
dealramh guail uirthi. Gintear gas<br />
inlasta nuair a mheasctar uisce agus<br />
cairbfd le cheile. Is amhlaidh a chuirtf<br />
cairbfd in umar beag ag bun an lampa.<br />
Os a chionn san bhfodh umar eile ina<br />
gcuirtf uisce. Bhfodh luamhan rialaithe<br />
ar an lampa chun uisce a scaoile sfos.<br />
Bhfodh pfopa ag dui on cairbid go dtf<br />
an lampa fein chun an gas a bhreith<br />
anfos. O'fheadfa neart an tsoluis a<br />
rialu luamhan. Solas gorm a bhfodh ar<br />
an gcairbfd. Chffea ar rothair agus ar<br />
chairteacha iad. O'fheadfa pleascan<br />
brea a chur le cheile ach cairbfd agus<br />
canna stain a bheith agat. Nfor gha<br />
ach poll a chur i dtoin an channa,<br />
pfosa cairbfde a chaitheamh isteach<br />
ann, braon uisce a chur ar an gcairbfd,<br />
an cludach a chur ar ais agus lasan a<br />
chur leis an bpoll. B'eigin dom eirf as<br />
na pleascain nuair a phleasc an canna<br />
fein idir mo dhearthair agus me fein la<br />
agus fuair Briain cneadh ina laimh.<br />
Oroch-channa ba chuis leis an<br />
dtimpiste ach ormsa a cuireadh an<br />
milean. Bfonn maithreacha mar sin.<br />
Tharla Breandan Feiriteir bheith anso<br />
agus me ag scrfobh an ailt so. Ta lan<br />
Eireann de bhealoideas agus de<br />
sheanchas na Gaeltachta aige. Seo<br />
seoidfn uaidh. Bfod " sop siuirdfn" no<br />
"sop siurdain" i poll an iarta i ngach<br />
tigh chun pfopa no coinneal a lasadh.<br />
Nf bhfodh lasain acu i gconaf agus ma<br />
bhf fein bhfodhar costasach.<br />
Gluais: Buaiceas = wick. Giuis = bog<br />
deal. Scolb = thin strip of bod deal used<br />
as a light. Geataire = the inside of a rush<br />
used as wick. Coinnleoir larainn = Sconce<br />
or rush-light. Gabhar = scad. Croth6g =<br />
small pollock. Seirdfn = pilchard.<br />
Luamhan rialaithe = regulator lever. Sop<br />
siuirdfn = wisp of straw.<br />
26
TREOIR<br />
Now often it is said nowadays that<br />
characters are fast disappearing.<br />
Well, the traditional music scene<br />
has lost one such character in the<br />
person ofTommy Robinson RIP. He<br />
passed away on to a well-deserved<br />
rest, after a period of <strong>ill</strong> health on<br />
June 23 rd 2002.<br />
Tommy was a character indeed<br />
and a very popular figure at<br />
traditional music venues throughout<br />
Ireland. He was one of the first (if<br />
not the first) to peddle his musical<br />
wares at fleadhanna - and many a<br />
seisuin and bit of craic took place<br />
around his fiddle rail and accordion<br />
bedecked car.<br />
Tommy had a roguish sense of<br />
humour, never quite giving a<br />
straight answer to a question,<br />
especially if in involved a haggle<br />
over a deal for an instrument.<br />
Asked to give his opinion on the<br />
value of the fiddle or an accordion<br />
he would often say, 'Well it<br />
depends now whether you are<br />
buying or selling!" On one<br />
occasion when asked the price of a<br />
mandolin, Tommy quoted £275 -<br />
the prospective buyer quietly left<br />
the mandolin down and walked<br />
away. Tommy turned to me and<br />
whispered, "was it something I<br />
saidl" He was never short of an<br />
answer.<br />
Tommy was a fine musician himself,<br />
playing fiddle, banjo and I believe<br />
the saxophone in his young days<br />
with a dance band. He had a lovely<br />
style of playing airs on the fiddlesoft.<br />
plaintive and very traditional.<br />
He was a member of Belfast CCE<br />
and often entertained us with his<br />
unique, sweet fiddle playing. He w<strong>ill</strong><br />
be sadly missed by all his<br />
colleagues in the Belfast branch.<br />
Although he lived in Belfast Tommy<br />
was a Tyrone man and proud of it.<br />
He often recounted his days<br />
playing at dances around Tyrone<br />
with noted musicians such as Pat<br />
and Rose McKenna and it was at<br />
one such dance that he met his<br />
wife Maura.<br />
We w<strong>ill</strong> all miss Tommy, his dry<br />
wit, his music and his stall of<br />
musical instruments. However. I'm<br />
sure he's up there already selling<br />
harps and maybe an odd fiddle or<br />
two! We offer our sincere<br />
sympathy to his wife Maura and<br />
family - Ar dheis De go raibh a<br />
anam.<br />
Michael J. McCullough<br />
(Sec. Belfast CCE)<br />
From August 7th - 11th Granard had a<br />
wonderful few days of Harp music.<br />
Starting on August 7th and continuing<br />
on Thursday & Friday there was a very<br />
successful Harp Summer School with<br />
participants from all over the country<br />
availing of the opportunity to work<br />
with top tutors .. On the same days but<br />
at 2.00pm each day there were free<br />
classes for beginners, which proved<br />
very popular, as there were students<br />
from all over including Dublin. The<br />
School hoped to have some new<br />
enrolments come September. On<br />
Friday night the 9th the Official<br />
opening was performed by a long<br />
standing supporter of the Harp Mr.<br />
Padraig O'Ceallaigh, Dublin who said<br />
it was lovely to come to Granard for<br />
the 21 st celebrations. He<br />
congratulated the committee on the<br />
work they were doing for the Harp<br />
and wished them continued success.<br />
He also thanked them for their<br />
invitation and declared the<br />
celebrations open. That was followed<br />
by what could be described as one of<br />
the best concerts held in the<br />
Community Centre for some time. The<br />
Concert was a tribute night for wellknown<br />
piper Peter Carberry, Kenagh<br />
MUSicians, singers and dancers from<br />
all over attended, some from as far<br />
away as Dublin & U. S. A. which proves<br />
how popular and well known Peter is.<br />
On Saturday morning the usual Harp<br />
competitions commenced at 10.00am<br />
with Aine Ni Dhubhgha<strong>ill</strong>, Dublin as<br />
Adjudicator who had a tough task on<br />
hand as the standard was so high in<br />
all categories.<br />
- Josie O'Rourke<br />
24
The passing of Paddy Fallon at his<br />
home in Castleknock, County Dublin,<br />
March 18 removes from among us a<br />
truly colourful entertainer and<br />
immensely popular Fear An Tf, a<br />
legendary character who brought joy<br />
and happiness to many an Irish heart<br />
especially those in exile over his many<br />
years on the concert stage.<br />
Paddy was born in Corrigeenroe near<br />
Boyle. County Roscommon more<br />
than 80 years ago. He was the oldest<br />
of five children, two boys and three<br />
girls. His father had a small farm and a<br />
blacksmith's forge. He attended the<br />
local school and left after his primary<br />
certificate. In a joking way, he often<br />
referred to his youth as a time of<br />
great uncertainty. He remembered<br />
the lines from the late John Cowley's<br />
verse, which go as follows:<br />
"My school days were full of<br />
confusion,<br />
I wasn't bright, I'll tell you the truth.<br />
My parents came to the conclusion,<br />
That I wasn't fit for Maynooth.<br />
Too tall for a dwarf in a circus,<br />
St<strong>ill</strong> I hadn't the height for the<br />
guards,<br />
An in-between ignorant gasun<br />
<strong>ill</strong>-designed for financial reward.<br />
It was here near the plains of Boyle<br />
that Paddy grew up and became of<br />
age. He joined the Irish Army around<br />
1941 and served there t<strong>ill</strong> 1946.<br />
During his service in the Army he<br />
20
TREOIR<br />
Ceol sa Chistin<br />
Donegal. To keep warm in the school<br />
playground during cold periods the<br />
children danced. She recalls in<br />
particular The Haymakers Jig, which<br />
she could st<strong>ill</strong> dance in her eighties.<br />
The heart of traditional Irish dance is<br />
to involve everyone from the 'stars'<br />
to absolute beginners. The tradition<br />
(what is being handed on) was/is for<br />
everybody to dance with each other<br />
- the 'experts' with the 'beginners'<br />
thus involving all ages. Something very<br />
important was being handed on - a<br />
way of living, relating and socialising -<br />
a unique culture in the words of the<br />
novelist Maeve Binchy.<br />
18
TREOIR<br />
Na Cleaganna<br />
6 Shean 6 Liathain i mBaile Mhuirne a fuaireamar an t-amhran seo. B'e Mfcheal<br />
6 Tuama, file aitiuil a chum e, cead bliain 0 shin no mar sin. Tugtaf 'George<br />
Curtin' mar saghas leas-ainm ar an bhfile ud agus chum se go leor amhrain, mar<br />
sham pie An Gandal, My pup came home from Claedach, Ger Foley's Boat srI.<br />
An bhfacair -se Sean 0 bharr a' chnoic 's e 'r leic a' tinteain<br />
, '<br />
s e<br />
rince 'jig'<br />
Do dheineadh se gleo le cleaganna no (nua) a thainig an treo so 0 cheann Toirc,<br />
Agus 0 'bhean a' tf, cad e 'n bhuairt sin ort.<br />
An bhfacair-se Sean 0 bharr a' chnoic<br />
'S e 'r leic a' tinteain 's e 'rince 'jig'.<br />
Do dheineadh se gleo le cleaganna no (nua)<br />
A thainig an treo so 0 Cheann Toirc,<br />
Agus 0 'bhean a' tf, cad e 'n bhuairt sin ort.<br />
Do bhfodar 'na mbroga gleoite deas<br />
Go cluthar compordach, thar meoin le teas<br />
Nfor bhfearra dhuit clumh mar chneastacht faoi<br />
d'bhun (bhonn)<br />
Na paire brea cumtha 'cu siud a bheith ort,<br />
Agus 0 'bhean a' tf, cad e 'n bhuairt sin ort.<br />
Nf cuileann na draighean a bhf 'na mbonn<br />
Ach pfosa brea'deil' a bhf eatrom ur<br />
Bhf teanga bhrea shleamhain do chraiceann<br />
oig-ghamhain<br />
Nar gearradh ro ghann, se mo lom nach liom iad<br />
Is 0 'bhean a' tf, cad e 'n bhuairt sin ort.<br />
Bhf peire 'cu siud ar Fhionn fado<br />
'S mo cnoc is sliabh cum do shiulaig lea<br />
Is mo cathair do thog (mar) le bu<strong>ill</strong>e da bhroig<br />
Do chuirfeadh chun sceoin na sloite fear<br />
Agus 0 'bhean a' tf, cad e 'n bhuairt sin ort.<br />
Bhf leigheas na mflte aicfd iontu,<br />
Do scaipfeadh gan mho<strong>ill</strong> liathbhuf no triuch<br />
Do chuirfeadh chun fain crampaf 'gus fuachtain<br />
Is moran eile gearain na h-airim dfbh<br />
Agus 0 'bhean a' tf, cad e 'n bhuairt sin ort.<br />
\6@')
TREOIR<br />
She hasn't the thing<br />
she thought she had<br />
This Single Jig was recorded in August, I96B, by Gene Kelly, an accordion player<br />
who was born in Co. Kilkenny in 1909, and emigrated to the U.s. and settled in<br />
New York where he became a well known figure among the Irish traditional music<br />
fraternity there.<br />
l<br />
F J1<br />
r F r j J5 1 j J J J J J J. J :11<br />
Up and Away<br />
These two polkas were recorded in New York in 1934, by the renowned flute player,<br />
John McKenna (I BBO - 1947), from Tarmon in Co. Leitrim, and banjo player Michael<br />
Gaffney (I B96 - 1964) from Mullaun, Arigna, Co. Roscommon. This type of polka is<br />
common to the North Connaught region (Sligo/Roscommon/Leitrim/East Mayo).<br />
E E E r ral J J ] J 1 B {3 J' 1<br />
Fer 1 EEEF J J J J J la j :11<br />
,j f F Si L r Cd 1 l r r r t<br />
lprrt l<br />
ci Frr tJ r r S 1<br />
11"- ~<br />
EY kEeF E E::r F :11<br />
The Merry Girl<br />
e P<br />
0- 11"<br />
Etf<br />
Etf<br />
*1 B<br />
r r r<br />
EE<br />
r F<br />
J J J J :E7J<br />
p- J J ] J<br />
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j J J j<br />
B Er'p I<br />
E J - r F r r E r b f F J 1 £ J j - :11
TREOIR<br />
President of <strong>Comhaltas</strong> 1982-1985.<br />
The year 1986 was one of the<br />
greatest years for <strong>Comhaltas</strong> concert<br />
tours. There was top rate talent and<br />
great diversity. They included in the<br />
caste a Seanchaf, the late John Cowley<br />
from Ballinagore near<br />
Castletowngeoghan, County<br />
Westmeath, a legendary character<br />
with great ability for putting his<br />
thoughts and impressions into verse.<br />
During his lifetime. John Cowley<br />
wrote and published 26 br<strong>ill</strong>iant<br />
pieces dealing with every aspect of<br />
Irish life. One of his masterpieces was<br />
about the Blacksmith and his forge. a<br />
trade that has now faded from the<br />
scene in Ireland.<br />
The Blacksmith's forge just like the<br />
old firesides of long ago was a<br />
gathering place for young and old.<br />
especially on rainy days. News and<br />
stories from miles around would be<br />
subjects of great debate. Recalling the<br />
memories of yester-year, John Cowley<br />
penned the following lines in verse<br />
about the Blacksmith and his forge:<br />
In pensive mood my boyhood<br />
visions surge,<br />
To recreate the Blacksmith and his<br />
forge .<br />
The Smith at work once viewed in<br />
high esteem<br />
Can now be only witnessed in a<br />
dream.<br />
Beneath the dredging roar of the<br />
exhaust,<br />
A noble trade forever more is lost.<br />
To add flair and beauty to this very<br />
popular show. Clfodhna Dempsey,<br />
formerly of Dublin and then living in<br />
Luxemburg was selected to present<br />
the show. No better choice could be<br />
made. Resplendant in ornate gown,<br />
she thr<strong>ill</strong>ed audiences everywhere.<br />
Her angelic appearance on stage<br />
created a new dimension for the<br />
show. Clfodhna had made a huge<br />
impact as Presenter of the 1985<br />
Concert tour of Europe. Her father,<br />
Martin Dempsey was the well known<br />
Irish actor.<br />
The every popular John McCracken,<br />
now R.l.P., was tour manager that<br />
year. John hailed from Buncrana. He<br />
had chaired the 1975 and 1976 Fleadh<br />
Cheoil na hEireann held in Buncrana,<br />
also 1979-80.<br />
But it was Mary Brogan who added a<br />
special treat to the show. The mother<br />
of 13 children thr<strong>ill</strong>ed audiences<br />
everywhere with her haunting voice<br />
and rendition of such lovely<br />
traditional songs as Carrig River and<br />
Boolavogue. Mary also brought along<br />
her Mouthorgan as well, to add more<br />
to her multi talent. She is also a fine<br />
IiIter. Glad to repeat here again that<br />
she hasn't lost any of her fine talent<br />
as was very obvious on her recent<br />
vacation trip to Long Island.<br />
There were 18 concert venues in<br />
1986. covering a vast area. Starting<br />
out in Long Island and on to<br />
Schenectady, New haven. Waltham.<br />
Buffalo. Detroit, Toronto. Ottawa.<br />
Saskatoon. St. Albert, Vancouver. San<br />
Francisco. San Antonio. New Orleans.<br />
St. Louis, Kansas City. Chicago. and<br />
Bronx, New York.<br />
The regional coordinators then were<br />
household names in <strong>Comhaltas</strong>. Jack<br />
Pendergast, Helen Gannon.Jim<br />
McGinty, Eamonn O·Loghlin. Tom<br />
McSwiggan. The concert chairs and cochairs<br />
were staunch and true. We<br />
recall with pride the great names of<br />
Hugh Smith. Dan O 'Kennedy,Tom<br />
Masterson. Colum Mulligan, Paul Curry<br />
and Johnny McGreevy now R.l.P.<br />
St<strong>ill</strong> happily with us, Jack Whelan, John<br />
O'Donovan,Anne Marie McLoughlin,<br />
Larry Reynolds. Mike Winston, Mike<br />
Meehan, Danny Lucey, Jim Coyle,<br />
Helen Gannon. Meena Sennott, Joanie<br />
Scanlan,Anne McConnell, Sean<br />
Gorman, John O 'Grady, Steve Welch,<br />
Mary Ann Folan, Mary Burke Downs<br />
and Michael Flatley. They came from<br />
many counties in Ireland an some<br />
from the United States and Canada.<br />
All of them together understood<br />
what our culture and heritage was all<br />
about. Many were born into it. There<br />
were no half measures. They set<br />
about organizing the tour with<br />
diligence and resolve, just as others<br />
had done in preceding years.<br />
The <strong>Comhaltas</strong> branches here were<br />
strong in 1986. In preparation for the<br />
concert tour. hospitality committees<br />
were formed. The artistes on tour<br />
were housed. cared for and looked<br />
after while in town. There was no<br />
thought of putting them in motels<br />
back then. Host families came to<br />
airport and other terminals to meet<br />
and greet the talented group from<br />
Ireland. There was a sense of pride all<br />
around. Newspapers carried inspiring<br />
articles on the show. Town<br />
Supervisors and community leaders<br />
very often issued Proclamations<br />
declaring a <strong>Comhaltas</strong> Day of<br />
Recognition in their respective towns<br />
and cities.<br />
1986 was our 14th year promoting<br />
<strong>Comhaltas</strong> here. it was a labour of<br />
love in its simplist form. 16 years have<br />
passed since that historic time. Many<br />
have passed on to their eternal<br />
rewards. others are st<strong>ill</strong> happily with<br />
us. But to all who served they w<strong>ill</strong><br />
always hold a special place in our<br />
memory and in the annals of<br />
<strong>Comhaltas</strong> history. They were loyal<br />
and committed people whose massive<br />
contributions to Ireland and our<br />
native tradition w<strong>ill</strong> forever remain a<br />
shining jewel in the <strong>Comhaltas</strong> crown<br />
of success.<br />
16
TREOIR<br />
SEAN RYAN'S DREAM<br />
The Second Collection of Irish Traditional compositions of Sean Ryan<br />
Compiled by Brian Ryan<br />
Sean was born in<br />
Nenagh. Co. Tipperary.<br />
It was his good<br />
fortune to grow up in<br />
the Newtown area, an<br />
area that produced in<br />
the same generation,<br />
such fine musicians as<br />
Paddy O'Brien and<br />
P.J. Moloney. His father,<br />
Thomas was an<br />
outstanding fiddler.<br />
Sean's first instrument<br />
was the flute from<br />
which he quickly<br />
graduated to the<br />
fiddle. He was a noted<br />
step dancer and a<br />
very fine singer.<br />
He brought a different approach to<br />
fiddle playing with his own unique<br />
personal style, sweet and rich, which<br />
instantly distinguishes his music from<br />
that of any other fiddler. He had a<br />
style noted for sweetness of tone, a<br />
steady, gentle legato style in which<br />
there were many lonesome notes and<br />
many subtle ones. His playing was as<br />
smooth as silk with gently rippling<br />
ornaments and no hint of sharp attack<br />
or brusque articulation. He could<br />
dress up and refurbish an old tune so<br />
that it sparkled like a jewel. His<br />
outstanding accomplishments stand as<br />
testimony to the quality of his fiddling.<br />
He was living in the Portarlington<br />
area when he won the Gold Medal at<br />
the Feis Ceoil in Dublin in 1949 and<br />
the Oireachtas Gold in 1954. He was<br />
one of the few to win the All Ireland<br />
Senior Traditional Fiddle title twice in<br />
a row at Fleadh Cheoil na hEireann.<br />
Loughrea in 1955 and Ennis in 1956<br />
were the scenes of his victories. In<br />
1958 he joined the Ballyoran Ceili<br />
Band with Danny Coughian before<br />
forming his own band in 1962. He<br />
was a frequent performer on radio<br />
broadcasts. He recorded with both<br />
bands as well as with P.J. Moloney,<br />
Peter Carberry and Pat Lyons.<br />
I met Sean in 1961 . I had fallen in<br />
love with his music previous to that.<br />
He had already many compositions to<br />
his credit at that time. We got married<br />
in 1966 and from then on I heard his<br />
compositions at first hand. His flair for<br />
composition was remarkable. He<br />
composed scores of tunes that have<br />
the sound and feeling of the old music.<br />
Over 200 tunes have flowed from the<br />
warmth of his heart, the depth of his<br />
soul and the gende stroke of his bow.<br />
The first volume of 82 compositions<br />
was first published in 1988 under the<br />
tide of ' The Hidden Ireland'. Sean<br />
bestowed honour on many of his<br />
friends, admirers and fellow musicians<br />
by naming tunes after them. Many<br />
tunes got their tides from place-names<br />
associated with the composing or<br />
playing of them. Aptly enough Rev. John<br />
Quinn and Rev. PJ. Kelly also<br />
'christened' many of his tunes.<br />
Sean was very close to nature and his<br />
music reflects this. Often he got<br />
inspiration or 'a run of notes' while<br />
listening to the birds or a flowing<br />
stream. Later in the peace and solitude<br />
of his own home he would get his<br />
fiddle and work on these notes.<br />
Sometimes after a session with great<br />
musicians he would be inspired to<br />
compose new tunes. His whole heart<br />
and spirit went into that music. Each<br />
tune reflects the personality of the man<br />
himself, kind, gende. genial and witty.<br />
The late Pat Lyons hoped the<br />
publication of Sean's compositions<br />
would give some idea of his greatness<br />
as a composer:<br />
";r would he impOSSible to put down on<br />
paper with a pen what Sean could do with<br />
his nngers, especially his excellent technique<br />
of treble and grace note, rolls and so on"<br />
He was a frequent performer on Irish<br />
traditional music pro~rammes on radio<br />
and television. On two occasions he<br />
toured the U.S.A. The audiences were so<br />
thr<strong>ill</strong>ed by his performances in 1968 that<br />
plans were made for his return in 1969.<br />
Ireland's First 'Concert of Champions'<br />
under the direction of Sean Ryan<br />
performed in all the major cities of the<br />
U.S.A. that year. As Labhras 6 Murchu<br />
said at Sean's Memorial Concert in 1986:<br />
'1 had the honour in 1969 to tour North<br />
America with Sean and a number of other<br />
musicians. I remember tralJellin~<br />
throu~hout the United States, and each<br />
hall, one after the other packed to<br />
capacity. It was quite oblJious that each<br />
time Sean Ryan came out on sta~e that the<br />
audience was fully aware that they were<br />
in the presence of a ~reat artist and he<br />
was held in hi~h admiration. It is a ~reat<br />
thin~ that someone is thou~ht 50 hi~hly of<br />
50 far away from home. But it does<br />
underline in no uncertain manner that<br />
Sean Ryan was a ~iant amon~ ~iants" .<br />
Sean was called to eternity on 15<br />
November 1985.<br />
That he did not live to see his works<br />
published is to be re~retted but I'm sure<br />
it w<strong>ill</strong> brin~ happiness to him now as it<br />
does to us to see his lon~ cherished<br />
ambition fulf<strong>ill</strong>ed. I treasure all the happy<br />
memories I have of Sean. I really miss his<br />
~entle lovin~ disposition, his calmin~<br />
peaceful influence, and his unique sense<br />
of humour, wit and charm. I am very<br />
happy to be instrumental in making 'Sean<br />
Ryan 's Dream' come true.<br />
Taimid faoi chomaoin an mh6r a~ gach<br />
duine a chabhraigh linn an leabhar seo a<br />
fhoilsiu: Pat Lyons (R.I.P.), Frank McCollam<br />
(R.I.P.), Rev. John Quinn, Rev. PJ. Kelly,<br />
Paddy O'Brien, Eddie Kelly, Caitriona<br />
Ryan agus gach duine a chabhraigh linn.<br />
Without the expertise, interest and<br />
dedication of Brian, Sean's son, this book<br />
would not have materialised.<br />
I ~comluadar na Aln~eal sna f/aithis ~o<br />
raibh Sean.<br />
Go gcuire an leabhar seo aoibhneas<br />
agus son as ar ghach leitheoir.<br />
Kathleen Ryan
GAA Urged to Drop<br />
Ceili M usic at Interval<br />
The Munster Colleges<br />
representative on the Tipperary<br />
County GAA Board has called on<br />
the association to change its tune<br />
in relation to half-time<br />
entertainment at major games.<br />
Gerry McDonnell wants the GAA<br />
to bring in top Irish entertainers<br />
such as Christy Moore,Van<br />
Morrisson,Aslan and U2 not to<br />
mention Tina Turner whose hit song<br />
'Simply the Best' he has suggested<br />
could be a real winner on Munster<br />
Speaking at a meeting of Tipperary<br />
County GAA Board, the Clonmel<br />
man said: 'Can I just appeal to the<br />
authorities in Semple Stadium and<br />
other such venues around the<br />
country to dump all those ceili<br />
band tapes.<br />
'I think we should be appealing to<br />
the younger generations and playing<br />
that kind of music is not the way to<br />
go. All you have to do is look at the<br />
terraces to see the ages of those<br />
coming to our major games and,<br />
believe me, they certainly do not<br />
appreciate ceili band music.<br />
- 'Irish Examiner'<br />
*Note:An estimated 230,000 people<br />
attended Fleadh Cheoil na hEireann in<br />
Listowellast year while 80,000<br />
attended the U2 performance in Slane<br />
the same week-end, as reported by<br />
Wil/ie Dil/on in the 'Irish Independent'!
The 25th of April 2002 saw one of<br />
the most enjoyable and entertaining<br />
nights of recent years at Culturlann<br />
na hEireann, when a gathering<br />
conceived and organised by the<br />
committee of the Piper's Club<br />
Craobh Leo Rowsome CCE took<br />
place to honour one of of the<br />
branch's most distinguished members.<br />
The occasion was a celebration of the<br />
life and times of Vincent Broderick,<br />
musician, composer and teacher.<br />
In the presence of the Ardstiurth6ir<br />
and a host of distinguished musicians,<br />
the gathering was reminded of<br />
Vincent's outstanding contribution in<br />
all areas of Irish traditional music. To<br />
honour the occasion, a special edition<br />
of Ceili House was recorded and all<br />
of the music on the programme was<br />
composed by Vincent.<br />
The musical part of the evening,<br />
including the recording of Ceili House,<br />
involved both Vincent and his family<br />
and many long standing associates,<br />
colleagues, and friends who have shared<br />
many great memories with Vincent.<br />
Ant6in Mac Gabhann gave a glowing<br />
account of Vincent's achievements as a<br />
composer, musician and teacher, and<br />
Vincent himself displayed his other<br />
talent as wit and raconteur when<br />
recounting experiences, origins of<br />
tunes and many interesting experiences<br />
and events in his life.<br />
Among the guests with Vincent, PhyIlis<br />
and family, were Labhras 6 Murchu,<br />
Ciaran Mac Mathuna, Sean Potts,<br />
Michael Tubridy, Des Geraghty,<br />
Seamus Mac Mathuna. liam de<br />
Bruineir, Muireann Deignan,<br />
Mairead Farrell, Padraig 6 Ceallaigh<br />
(Iar-Uachtaran CCE), Mairead<br />
6 Cearnaigh and also Mick O 'Connor<br />
who spoke fondly of Vincent and the<br />
Piper's club and has promised that his<br />
long awaited History of the Piper's<br />
Club w<strong>ill</strong> soon the published.<br />
One of Vincent's principal comments<br />
was to remark on the young<br />
members of the Pipers club who<br />
played so well on the night and the<br />
evening was enhanced by his<br />
granddaughter, who sang The Sally<br />
Gardens.'<br />
The presentation and recording of<br />
Ceili House was preceded by a buffet<br />
with wine and refreshments. After the<br />
recording, the event continued with<br />
tunes, stories, and conversation into<br />
the night.<br />
A special and unique presentation<br />
piece of Bog Oak engraved with a flute<br />
and mounted on a granite base was<br />
presented to Vincent by Brid Brody on<br />
behalf of t he branch and Vincent was<br />
obviously moved by the gesture.<br />
One of the most impressive features<br />
of the evening was the great rapport<br />
which Vincent had with the younger<br />
members, his favourable comments<br />
about their playing, and the realisation<br />
on the part of the young people t hat<br />
they were in the presence of a major<br />
figure in Irish traditional music.<br />
Among the many messages received<br />
on the night was one from two of his<br />
former pupils and now of<br />
the highly successful<br />
Tom<br />
and Eamonn Doorley, WfIO:J"'''''.<br />
unable to attend due to<br />
associated with the pnasenQl1l<br />
The entire evening was an ~1dJ.l:i;<br />
and satisfying experience for<br />
concerned and gave due rec:OIlrifdlii1<br />
to an outstanding individual and<br />
fitting celebration of a lifetime of<br />
achievement.<br />
10
5eamus 6 Dubhthaigh is one of Ireland's foremost and highly<br />
respected ballad makers and ballad singers. He is a well known<br />
penonality and adjudicater on the Fleadh Cheoil circut. In this<br />
three-part thesis, Seamus<br />
of traditional<br />
ballads and offers some ....... ~iiWifd~ • ••• ~.mlnelnta:ries.
TREOIR<br />
Well Done Japan CCE<br />
The traditional<br />
St. Pat rick's Day<br />
parade, now in<br />
its 11th year, has<br />
become more<br />
and more<br />
g'randiose. This<br />
year the weather<br />
was especially<br />
g'ood. The rain<br />
and cold which menaced previous parades was nowhere to be seen .<br />
Aitog'ether, in our g'roup about 'to people participated, including' musicians, dancers,<br />
friends and relatives. We manag'ed to perform on stag'e for the Tulip Festival, before<br />
charg'ing' to the parade. Bag'pipes and marching' bands were followed by various<br />
g'roups of people with props and costumes. They seemed to enjoy escaping'<br />
everyday life and becoming' cheerful Irish people for a short time.<br />
In order to avoid last year's problem (because there<br />
was some distance between dancers and musicians,<br />
the dancers couldn't hear the music), we made<br />
thoroug'h preparations, but unfortunately, because of<br />
the waves of people, near the end, our rows became<br />
confused.<br />
In spite of this, it was a fun (crazy) event. Even thoug'h<br />
our rows became confused and the music faded in the<br />
crowd, everyone just smiled and kept on dancing'. The<br />
spectators at the side of the road joined in the fun by<br />
applauding' and shouting'. Well done, everyone!<br />
A few days after the Shamrock Festival, we received a<br />
friendly messag'e from a founder of cd: Japan, Eamon<br />
O'Keeffe. With his permission, we are publishing' his<br />
letter here:<br />
Hello there. For several years I have been qUietly<br />
monitoring' the prog'ress of the cd: branch in Tokyo via your website and friends st<strong>ill</strong><br />
in Tokyo and I would like to tell you all how proud I am to be associated with the<br />
Tokyo branch and how rewarding' it is to see you continue to flourish. This is a credit<br />
to all of you on the committee and I would like to cong'ratulate you on doing' such a<br />
g'reat job, especially since you are all volunteers.<br />
Last Christmas I went home to Ireland for a vacation. While there I met Labhras 6<br />
Murchu and he was very excited to tell me about the continued success of cd: Japan<br />
and he considers you one of the org'anisations "jewels" - so well done to you all.<br />
Ag'ain my cong'ratulations on keeping' the cd: Branch "alive and kicking'" and I would<br />
like to send my encourag'ement to you all to continue your g'ood work. I hope cd:<br />
w<strong>ill</strong> continue to be part ofTokyo and Osaka's artistic offering'S for many years to<br />
come. I also hope to return to Japan ag'ain one day either on vacation or for business<br />
(my company has a factory in Yasu) and I would love the opportunity to meet you all<br />
some time in the future.<br />
Best Reg'ards and keep up the g'ood work.<br />
Eamon O'Keeffe, Founding' member, cd: Japan, cd: Japan Newsletter<br />
HAND<br />
CRAFTED<br />
VIOLINS<br />
Restored Older Violins<br />
Quality repairs to:<br />
Violins, Violas & Cellos<br />
Efficient Bow Rehairin~ Service,<br />
Bows, Cases, Strin~s & Fittin~s,<br />
All other strin~<br />
instrument repairs<br />
Kevin Sykes,<br />
K<strong>ill</strong>een,<br />
Ballyvary,<br />
Co. Mayo.<br />
ksykes@eircom.net<br />
www.kevinsykes.com<br />
Visiting Galway weekly<br />
by appointment
I would like to con~ratulate Joe O'Siorain<br />
in Treoir Iml. 33 uimhir 2001 No. 79000'tx.<br />
for his wonderful article - "Whither the<br />
Traditional Arts of Ireland".<br />
I don't believe that I am alone in ali~nin~<br />
myself with so many of his critical<br />
reflections of the Arts Council. Like life<br />
support systems provided by nature, the<br />
cultural traditions of people everywhere<br />
have never been ~iven the honour and<br />
~ratitude they deserve by the modern<br />
and post modern world. On the contrary,<br />
the extin~ushment of tradition is ~eneral<br />
synonymous with the onward march of<br />
modernism.<br />
Unfortunately, it is too often for~otten that<br />
had cd: not emer~ed in Ireland half a<br />
century a~o what is now a rich livin~<br />
tradition would have become yet another<br />
curiosity in some museum or archive and<br />
as AK. Coomaraswamy has so very well<br />
said: the art forms of peoples in museums<br />
are no more then the funerary rites of what<br />
was once a livin~ and relevant tradition.<br />
Arts departments are ~enerally not the<br />
friends of tradition, they have always<br />
been and st<strong>ill</strong> are a vehicle for "displays<br />
of bour~eois elitism." The primary source<br />
of their "inspiration" has always come<br />
from an overarchin~ desire to be avante<br />
~arde and individualistic. The latter<br />
always shows an implicit hatred of<br />
traditional ~enres and is almost always<br />
hostile to them.<br />
The manifest absence of fundin~ for the<br />
traditional arts and abundance offunds<br />
available for the ballet and opera for<br />
example arises out of a belief in the<br />
innate superiority of the latter and this<br />
belief is in part a consequence of the<br />
equally false ideas of hi~h and low<br />
culture: ideas that ~o hand in hand with<br />
so many other modern aberrations. I<br />
should point out, thou~h, that whilst I<br />
believe I share a common purpose with<br />
the author Joe O'Siorain I nonetheless<br />
find myself just a little at variance with<br />
some notions.<br />
Defenders of traditional cultures must<br />
~uard a~ainst bein~ drawn into<br />
employin~ a lan~ua~e that in its nature<br />
diminishes the plenary position of the<br />
traditional. To demolish notions of hi~h<br />
and low cultures I accept without<br />
reservation primarily because low culture<br />
is usually reserved for traditional ~enres<br />
and hi~h culture for ballet and opera and<br />
the like. But let me say without hesitation<br />
that I refute outri~ht the assertion that<br />
there " are no criteria which elevated one<br />
art form over another or jud~ed one<br />
cultural activity superior to another."<br />
(p.50). So many traditional peoples, their<br />
lan~ua~es and their arts and crafts have<br />
passed into oblivion in the wake of just<br />
such " democracy". It is a misplaced<br />
ma~nanimity and it is so often used as a<br />
smoke screen by people who at bottom<br />
so not believe in it for a sin~le moment;<br />
the better to serve their own purposes.<br />
It has to be insisted on that the very word<br />
traditional w<strong>ill</strong> lose all its relevance if it is<br />
placed alon~side anythin~ whatever with<br />
no reco~nition of a quality that sets it<br />
apart. The point I wish to make here is; if<br />
it is accepted in advance that traditional<br />
expression is the fruit of a particular<br />
ethnic ~enius then the very primacy of<br />
the tradition must be due to the fact that<br />
it is imbued with criteria and therefore<br />
values of a pre-eminent nature. The<br />
stamp of a ~iven tradition does not f<strong>ill</strong> the<br />
space-time of a people arbitrarily. It is<br />
there in its particular mode because it<br />
must be there and not simply because it<br />
mi~ht or could be there and this is what<br />
2