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The Ennis Cillt IdIJd on their way to a second A"" ~tltIe at F1eadh 2002 only the third Clare to win the All-Ireland in 200 I. they went one year by retaining the tide, equalling the feat of the Tulla Ceili Band, who won back-toback tides in the 1950's. They are now only one step away from matching the feat of the great Kilfenora Ceili Band. who enjoyed three-in-a-row success in the fifties. and again in the nineties with the current incarnation of the band. Band leader. Padraic O'Reilly explains. 'we were really eager to retain our tide this year, Having joined the ranks of the Tulla and Kilfenora last year, we felt it was important for us to at least equal what they achieved, by winning a second tide. We now feel that we they had from last Queally returned absence, Galligan who has to Riverdance. with whom she has danced for six years. The full line-up is Nuala Hehir (accordion). Pat Nolan (concertina), Niamh O'Dea and Eilis Faherty (flutes). Liz Gaughan, Monica Queally and Mark Sheehan (fiddles). Rena Queally (banjo). Brendan Vaughan (drums) and Padraic O'Reilly (piano). Clare bands again dominated the Ceili Band competitions in 2002, continuing the trend of recent years. Ennis-based TurloughmQre e8iU Band tied for second place in 1Ihe Senior competition, and .. (nls 6g Ceili Band (trained by PIldraic O 'Reilly) retained their U-15 t:itIe.l While narrowly failing to retiirt ti.efr U- IS title when they finished stiCOnd. The Denis Liddy trained 8arefield Ceili Bands won the U-12 title, and finished runners-up to the Inis 6s in the U-15 category. - Clare ChdlnPion 8
Emigrant traditions made a strong showing, with as many as half the competitors in some disciplines coming from the United States or England. Stephen Prosol, a 21 year old accordion player, came from Cambridge, England, for his third Fleadh, but blames a case of nerves for stopping him from placing in the competition. His mother, who is also his teacher, emigrated from Ireland; she called out encouragingly, 'We thought you would bring home that cup this year: Mr Prosol said the trip to Listowel was his fifth to Ireland this year and that he had made many friends in both Ireland and England through his music. That strong connection with second and third generation Irish emigrants is apt, Mr 6 Murchu said, because Irish emigrants helped preserve traditional music in the late 19 th and early 20 th centuries, when musicians here were unappreciated and had few outlets to perform. Emigrants in the United States were the first to put ancient tunes onto 78 rpm records, which came to Ireland and reintroduced a new generation of tunes that had been forgotten. The health of Irish music is perhaps best exemplified by Isaac Alderson, a Chicago native with no Irish roots. He started playing the uilleann pipes at 13, drawn in by his local Irish scene and the 'very flowing, very natural' feel of the music, he said. Traditional Irish music is unlike other classical and folk forms, Mr Alderson said, because it allows musicians to develop and express a personal style in an unique way. There's nothing like the rhythm and the way the music flows: he said. 'In Irish music, you create compleXity out of a very simple melody: Now 19 and a sophomore at Sarah Lawrence College, Mr Alderson was the only one to win three competitions this year, in uilleann pipes, concert flute and tin whistle. As he walked back to his tent at the Fleadh campsite. passers-by who saw his three silver trophies stopped and stared and asked about his musical heroics. The Fleadh helps sustain ancient traditions, musical and verbal, since experienced musicians tend to introduce each song with the history of its composition and its Significance, which usually means a folk tale or a brief eulogy for a deceased virtuoso who passed the tune on. Despite <strong>Comhaltas</strong>'s desire to uphold Irish culture. Mr 6 Murchu said. musicians do gradually cause the tradition to evolve. 'It's not fair to ask them to play in the style of 80 years ago; he said. That's not a living art form: Just after winning the uilleann pipes competition for 'slow airs: a genre of ancient Irish song, Thomas Johnston said he did not think of the Fleadh or his playing the pipes as an effort to maintain Irish culture. Now 19, he started playing the tin whistle at 7 and has been coming to Fleadhs his entire life. 'It's just my life; it's what I do: he said 'It's just music. music, music.' 6
Page 2 and 3: Im l 34 Ulmhlf 4 2002 I SS No 790 0
Page 4 and 5: TREOIR like the fiddle and flute, t
Page 6: HATS OFF TO A GREAT FLEADH! 9
Page 9 and 10: TREOIR Eamonn Rooney, CCE, Rinn Mhi
Page 11 and 12: TREOIR • .-- • -. • ••
Page 13 and 14: TREOIR The Lament of Hugh Reynolds
Page 15 and 16: Seamus de Brun's lifelong service t
Page 17 and 18: TREOIR Annual Boat Ride up the Huds
Page 21 and 22: TREOIR AN NOLLAIG DOIRfN MHIC MHURC
Page 23: 39 TREOIR
Page 26 and 27: Robbie was a legendary figure, cons
Page 28: TREOIR PADDY FALLON AND MULLAHORAN
Page 32 and 33: Membership Fees New membership fees
Page 34 and 35: Padraig Mac Suibhne, Uachtaran an C
Page 36 and 37: TREOIR Hair!n de Barra Though sung
Page 38 and 39: a fine night of music local creamer
Page 40 and 41: TREOIR CCE.lnis Diomain.An Clar; 12
Page 42 and 43: TREOIR 12
Page 46 and 47: Listowel,lreland,August 26- Decades
Page 48: The Internet has enormously improve

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