sligo for all-ireland? - Comhaltas Archive

were all loyal to each other, worked topromote traditional music with little interestin personal gain . Why my reminisence?As I write, the dark , drearymonths of winter are here, evoking nostalgicmemories. I recall a house on OakRoad, the home of Peter and MargaretFlynn. They had a passionate love oftraditional music and of uilleann pipesand were fired with above all, patrioticzeal. I cannot forget their kindness toLeo and myself when, after our marriagewe were coming to reside at thisside of Dublin. They surely welcomedus. They have earned and deserveremembrance.While in pensive mood I recallanother, who too soon wore himselfout, doing good for others, going, whilein failing health, to musical events andtraining young athletes. Of course Iwrite of Sean Reid. Although born inCastlederg, he went as a young engineerto work in Ennis. He was a saintly soulwho had a devoted love of music andpipes, who put himself in a prematuregrave because he was too involved indoing good for others to look after hishealth. He was a humble but very learnedman. I recall him playing music inthis house until the early hours of themorning, in a trance, dazed with themelodious sound of pipes. What a superiorbeing he was, never seeking fame,over modest of his talents, always helpingand encouraging! Words are inadequateto describe the character of SeanReid. He was one of the most unselfishmen I ever knew. He was a storehouseof knowledge. His musical talents havebeen passed down to his grandsons who,I am told, show great promise.Leo Rowsome - my dear husband -completed a set of uilleann pipes forSean Reid in 1936. Made of ebonyand silver and ornamented with ivorythey were and are still, melodious andbeautiful. Sean could not see a talentedmusician without an instrument to fur-SEAN REIDther his musical ability. Consequentlytoday our own Liam b Floinn playsthat instrument which was made in1936, doing justice to the memory oftwo kindred souls, Leo and Sean.It is heartening today to hear youngmusicians who show much promise.They are, no doubt, products of thegreat revival of traditional music, duelargely to the masters of the past, andfurthered today in Cornhaltas Clubs andin the Henrietta Street Pipers Club.What trojan work Breandan Breathnachdid in a short time. What a loss!Readers - forgive me if I have boredyou, if I have omitted to mention somewho deserve mention. These few lineswhich I read somewhere surely apply tothose I have mentioned:We owe life more than a livingWe must put something backSomething that will last after we aregone.You, older readers, remember someof the men " who have left their footprintson the sands of time."BILLY CAPLESIt is with regret that we announcethe death of one of Boston's bestknown and best loved traditional musiciansBilly Caples, ar dheis De go raibha anam uasal. Billy was one of thecolourful personalities of the traditionalmusic scene and a music teacher ofrenown. His love of Ireland's nativemusic was legendary. Our photo ofBilly is probably one of the last taken ofhim. This is supplied by Joe O'Donovanand was taken at a Ceili in Boston onFriday, May 30. The picture shows himwith friends from Boston and Cork: (I-rstanding) Billy Caples; Siobhan O'Donovan((Cork); Pat Lynch (Cork- Boston);Paddy Joe O'Brien (Cork- Boston).Seated (I-r) Mrs. Noreen Lynch, Peg andJohn Kelleher (all Cork-Boston).3

JAMES LAST AND FRIENDSTomas b CeallaighIt was nine o'clock of a damp, drizzly evening and there I was standing in front oftheBank of Ireland in College Green in the heart of Dublin waiting, but unlikemany a date I had there in byegone days it wasn't the non-arrival of an Irish cailinthat was causing me to mutter to myself and shuffle - actually I was trying topractise a few jig steps to my own lilting, in anticipation of the crack that was dueto erupt any minute now when the lames Last Orchestra came on stage, augmentedby the group 'from the Ceoltas Ceolt6iri' as my neighbour labelled them.It was, of course, Friday August 22,and I had postponed my customaryFriday trip to Fleadh Cheoil na hEireannin order to experience this rarephenomenon. Arriving at 6.30, I founda huge crowd already assembled, manyof them good-humouredly bareheaded,but thousands sporting umb rellas ofdiverse colours as a misty drizzle closeddown on the arena.Word had gone out that the Cornhaltasgroup would be on in the first half,but the 'informed sources' in this casehad got it wrong. It was J ames Last andhis orchestra who took the stage at 8.00and for fifty minutes had the hugecrowd clapping and swaying, singing andswinging, responding to the conductor'sexhortation to join him in beating theelements. And sure enough by 8.30the drizzle had virtually ceased and theorchestra finished their first half selectionin an atmosphere of revelry andoptimism.Looking around at the now incredablemass of people I could not helpwondering how the Irish traditionalmusicians, accustomed to the intimate'atmosphere of session room or parochialhalls, would gear themselves to thisoverwhelming occasion. Soon the Orchestrawere drifting back to theirplaces for the 2nd half; after an openingnumber there was a hustle of movementover to the left, a flash of green, andsuddenly ..... Eoin Kenny on the pipes,Tomrny Guihan with his concert flute ....right into the front row came the elevenCornhaltas artistes - rather like a teamemerging onto Crok Park on All-Irelandday, the lads in smart green CornhaltasJackets and ties and two ladies in bright,flowing dresses. From left to right onthe stage the line up was - to the bestof my recollection - Gerry Murphy -banjo; Fiontan b Meachair - mandolin;Dermot Kenny - whistle/flute; TomrnyGuihan - flute; Brid Harper- fiddle ;Eoin Kenny - pipes; Jimmy McGreevy- 2 row accordeon; Michelle O'Sullivanconcertina;Niall b Callanain- bouzouki;Seamus Meehan-piano accordeon;with Seamus MacMathuna who introducedthe artistes and returned later tosing 'Mo Chile Mear'.THE COMHALTAS CONNECTIONSoon James Last was introducing themembers of the Orchestra to the 60,000plus fans who were by now in exuberantmood and I must say that those musicianssurely knew how to accept andacknowledge applause. Mindful of thenonchalant nod with which I have seenmany of our best traditional musiciansacknowledge even the most enthusiasticwelcome, I fervently hoped that theCornhaltas musicians would take a leaffrom the visitors' book. I was not disappointed:as Searnus MacMathUnaintroduced each member in turn theyjumped to the feet and waved enthusiasticallyto the crowd. There was aspecial partisan cheer for each of the5 Dubs, with MacMathuna playing the"Hill 16" Card for all it was worth andan equally rousing cheer from each ofthe non-Dubs - particularly for the twolovely ladies from Donegal and- inevitable-Kerry. "Culchies" muttered mynext-door neighbour, a teenage Dub.with a pronounced Northside accent.Then it was back to James Last and theOrchestra for 'Dublin in the rare oul'times' . The crowd were singing now;next moment they were dancing andclapping as Brid Harper led the groupinto a really dynamic selection of reels.She was joined in turn by flute, concertina,banjo, etc. giving a splendid seriesof duets and trio sounds; suddendly the5

In the serene surroundings of theFranciscan College, Gorrnanston, the1986 Tionol Cheoil attracted its longstandingclients and many newcomers.There was a varied programme of workshops,displays and informal sessions.As usual, there was a large contingentfrom the North of Ireland and alsopresent were the members of the 1986North American Tour group. Ourphotographer John Kennedy was onhand to provide pictorial coverage ofthe event.,TIONOL CHEOL '86RODDY SPAIN (right) of Kildare checking inat the 1986 Tionol Cheoil in the FranciscanCollege, Gormanston. He is ably assisted bymembers of the organising committee.One of the many informal sessions at theTionol Cheoil.Na hUaisle ag an Tionol Cheoi}: Liam agusBean de Bruineir le Criostoir 0 Cearnaigh.Ceoltoiri oga an seinm ag Tionol Cheoil '86.The concertina workshop being conducted byBro. Kinsella at Tionol Cheoil '86.7

onds, the light-bringer who dissipatesthe darkness. This is the theme of thesilent harp, or as Job says: "My harp istuned to funeral wails, my flute to thevoice of mourners" .In all the wealth of metaphor inScripture where life on this earth is concerned- it is variously described as aflower, a dream, a vanity or even as amilitary service - two aspects of humanexistence are stressed in very markedfashion. The first is its depen.dence on ahigher power, and the second is thetotal and unshakeable confidence thatsuch a dependence entails. God is primarilylord, ruler, dominus of the humanrace. He is Ri an Domhnaigh in theIrish phrase. He is also Saviour,Slanuighthe6ir, Healer and Restorer.Our concepts of God as Ruler, as the infinite, eternal, unfathomable, spiritual,personal Truth are hazy, clumsy, moredark than light. We are like blindpeople trying to describe light andcolour, or like deaf people trying to describemusic - that is, if we rely totallyon our reason. But the heart is ourguide in the darkness. It is morecapable of leading the soul by theinstinct of love, towards God than is ourreason .. It is true that we cannot see Hiscountenance, but we can be aware ofHis presence, because it is only there wefind total tranquility. God is theAlmighty Ruler, to whom all things andall men pay homage, if only because allhuman beings and things are mortal, andonly God remains ever young and everlasting.Everything earthly is perishable.Babylon has fallen, the fertile granaryof the Roman Empire is now a barrendesert, with its people dying of starvation.The earth itself is gradually windingdown - everything upon it is destinedto decay. Iron rusts, graniteweathers into powder, the mighty oakrots and falls, beauty ends in wrinkledtoothless ·old age, intelligence ends insenility .... Nothing is comparable to theworship of our Infinite Lord, Masterand Ruler. The whole purpose of ourcreation", in the Master's plan, is our loveand praise of Him at the time of ourflowering and our splendour, and notless so "when our blossom is shed, ourpower faded, and we the mere husks ofwhat we were . But then human, transitoryrejoicing is replaced by profoundestadoration; an adoration so perpetualthat it is eternal. That is God's plan forus. We don't always live up to it - wedon't follow the blue-print. Sometimes,because of sheer obstinacy we don'tknow how to read it.God is our guide through a labyrinthof contradictions. The thread thatguides us through the maze of life inHis holy will, and if we drop that threadwe lose all sense of direction. Wecannot cope with the struggles andsufferings of daily living. We cannotbring order or harmony into the chaoswhich we call human life . It is theorganising activity of the Divine Will ofour Ruler and Lord which alone cansave us. Our strings must be properlytuned, our adherence to the rules ofcomposition strict, if we are to produceharmony and make music for the Lordout of our lives. We need God to bringlight out of darkness, we need to keepon learning - making music not justplaying scales. And for each one, as foreach string, there is a different pitch.For one it is health, for another sickness;for one riches, for anotherpoverty ; a short but high-pitched careerfor some, for others the long boringdrone of low-profile renunciation andsacrifice for others. We are members ofthe orchestra - only God the conductorknows the whole score. As St. Paulsays: "Think of a musical instrument, aflute or a harp. if one note on it cannotbe distinguished from another, how canyou tell what tune is being played?"The harp has always been held inhonour in Ireland - it is ournational symbol. One of themost common motifs in Irishilluminative art, in stone sculpture andin meta1craft is that of the Psalmist andhis harp. We find it, time and timeagain, in our illuminated manuscripts,on our High Crosses in Clonmacnois,Monasterboice and elsewhere, on suchshrines as the Breac Maodh6ig and theShrine of St. Molaise. We shouldhonour that tradition by listening to thestill-repeated prophecy that come withthe harp, the same message that St.John saw in the Book of Revelations."I seemed to see a glass lake suffusedwith fire and standing by the lake ofglass, those who had fought against thebeast and won, and against his statueand the number which is his name.They all had harps from God, and theywere singing the hymn of Moses, the servantof God, and of the Lamb :-"How great and wonderful are all yourworksLord God AlmightyJust and true are all your waysKing of nationsWho would not revere and praise yourname, 0 Lord,You alone are holyAnd all the pagans will Clf--le and adoreyouFor the many acts of justice you haveshown".9

PADDY KILLORANtives and friends was able to get a j ob onthe docks. Ambition overtook caution,however, and Hugh left his employmenton the docks for what he considered tobe a mor~ prestigious calling- a realestate salesman. His gift of "theBlarney" coupled with the shrewd salestechniques acquired at sheep sales madehim a good salesman, but nothing couldovercome the recession of the times andthe bottom fell out of the market.Hugh was determined that he was notgoing to be just another number in asocial security hand-out so he set towork for himself as a door to door salesmanselling tea. His wares, lib. packetsof tea in attractive "Irish Cottage Tea"wrappers, were packed into a large suitcasewhich he carried around with him.Business became brisk and he took in apartner. Other lines were added, likefree range chicken eggs "fresh from thehens", vegetables, and since those weredays of prohibition, "a drop or two ofhome made beer and whiskey".The police soon got wind of theirillicit distillery, but it wasn't altogetherthe threat from the police that madethem close down their distillery operationbut rather a fear that the mobster;-and there were a number ofthese in the area- would take moreruthless action if they discovered thatsomeone, even a small time operator,was moving into their territory. Hughalso gave up his legitimate door to doorround to take up a permanent job. Hispartner persisted, however, and went onto become a millionaire.By now Hugh was augmenting hisearnings by playing the fiddle in the"Old Log Cabin" for $3 a night. He hadalready met Michael Coleman and theyhad become firm friends. Coleman'sname was synonymous with the greatresurgence of traditional music in theStates in the 30s and he was hailed asthe greatest living exponent of Irish traditionalfiddling. He always attractedlarge audiences to his concerts, he had awide listening public when he broadcast,and his records had excellent sales, particularlyamong the Irish exiles inAmerica. Coleman's memory, and hisgreat talent, were honoured in his nativeKillavill, Co. Sligo, a few years ago, andupwards of a thousand people gatheredto see the unveiling of a monument totheir native son. Hugh Gillespie wasColeman's only student ever and theybecame inseparable friends. They appearedtogether in many concerts andco-operated in numerous recordingsessions. They had their own fournights a week spot on radio from CarnegieHall. Hugh had married in theHUGH GILLESPIE and FRANK KELLY11meantime to a girl from Westmeath, arefmed, channing woman who shares hislove of music and is content to "be agood listener and entertain. his friends" . .For those of us who have enjoyed th~hospitality of the Gillespie home I mustsay it is an accomplishment she hascertainly mastered.When Michael Coleman died in 1954Hugh was distraught. They had beenlike brothers. In recognition of thisgreat friendship the Coleman familypresented him with Michael's "Cosgrove"fiddle . Some years later therewere claims by a number of people whosaid they were in possession of Colemanfiddles but the family rejected theseclaims saying that the only violins whichbelonged to Coleman were now in thepossession of Hugh Gillespie and a Mrs.McGovern from Sligo. Coleman's niece.During his musical career Hughbecame friendly with many prominentpeople including John McCormick andFritz Kreisler, the latter a weekly coffeedate. Even Henry Ford found time todemonstrate his own dexterity on thefiddle with- Hugh and Coleman in J oeMaguires, in New York.Hugh's album of memorabiliacontains many precious items includingletters from Ford himself.Hugh Gillespie made his first recordingin 1937 in New York. A collectionof his best have been reissued by theTopic Recording Company. A musiccritic has described Hugh as "evenbetter than Coleman" but modesty andloyalty to his friend makes Hugh rejectthis claim out of hand. Other criticshave said that it was a pity that greatplayers like Hugh Gillespie, Killoran andMorrison had not received the sameattention Coleman had.Hundreds of students passed throughthe Gillespie School of Music but themost accomplished of these was his own

SHADES OF LISTOWELAnother Fleadh brimful of memories;the one big week-end that restoresyour faith in Ireland, in Irish music, inhumanity. What would we do, how toface the weary winter, if we didn't havethe All-Ireland Fleadh to rally ourspirits, to rally the friends from North,South, East and West, from Britain,Canada, Australia and the U.S.A. Listowel'86 was great; the spirit, the senseof belonging, of involvement, of enjoymentcame bursting through; thoseheavy cloud-laden skies, those rainladenhours on Saturday and Mondaywill be forgotten, but we'll still rememberthe great sessions, the incrediblecompetitions, the wonderful atmospherewhich in spite of the weather,permeated the Fleadh in Listowel. Wewill remember Listowel '86, for the newstandards of efficiency in all matterspertaining to the running of the Fleadh;for the way in which Marie O'Gonnanand her assistants handled a hundredand one accommodation problems, forthe sessions with John Bowe, KevinTaylor, Roger Sherlock and P. J. Crotty,for the wonderful endless hours offiddling and singing sessions, for the oldand loyal comrades we met who talkedof Raymond Roland and Fred Finn,Sean Ryan and Paddy Carty. whose sadabsence was noted from this Fleadh.For the mighty young musicians fromNew York, London, St. Albans, etc.who blazed a new trail of glory inListowel '86.Fear og ag deanamh cheoil ar an mbosca.Our photographer Ena Doocey ofWaterford has provided us with thefollowing record of that memorableweek-end- shades of Listowel- to revivememories in future years.Street session with SEAMUS CONNOLL Yand ANISA ANGAROLA.HEAR YE! HEAR YE!: P AoRAIG bCEALLAIGH keeping in touch at the Fleadh.Box-player MICK MULCAHY and friends onthe streets of Listowel.Master COSTELLOE of Roscrea getting in aspot of practice.13

FLUTE SESSION IN LiSTOWEL:BRENDAN McMAHON (Clare) with theMOLONEY Brothers of Limerick.COGAR, n~ bhFEAR; SEAN, NOI:,U1AN,LABHRAS 0 MURCHU and MAIRTIN MacCABA outside the Listowel Arms Hotel.Producer TONY McMAHON and his crewcapturing some of the highlights at theFleadh.WHAT DO WE DO NEXT?: It's decision·making time for this group of musicians in theearly hours of the morning.Music on your doorstep at Fleadh Cheoil '86.THE KING OF LISTOWEL: The well knownplaywright DR. BRY AN McMAHON chattingto Detroit CCE representatives DAN andGERTIE O'KENNEDY.15

FLEADH CHEOIL na hElREANN 1986Champions of NoteFIDDLEFaoi 121st. Stephen O'kelly, Dublin.2nd. Tracy McRory, Buncrana.3rd. Niamh Ni Charra, Cill Airne.12-151st. Desmond Donnelly, Manchester.2nd. Brenda Ni Churtain, Limerick.3rd. Siobhan Peoples, Ennis.15-181 st. Adrian Bourke, London.2nd. Siobhan Harper, Donegal.3rd. Brian Lavery, Derry.OVER 181st. Brian Conway, New York.2nd. Cathal Hayden, Tyrone.3rd. James Cullinan, Ennis.lWO ROW ACCORDIONFaoi 121st. Seamus 0 Cinnsealaigh, Offaly.2nd. Brian O'Connor, New York.3rd. John O'Sullivan, Kerry .12-151 sI. Tim 0' Sullivan, Kerry.2nd. Deirdre Filan, Birmingham.3rd. Dessie O'Connor, Offaly.15-181st. Claire Commins, Coventry.2nd. Martin Connolly, New York.3rd. John Bass, Wexford.OVER 181st. Billy McComiskey, New York2nd. Michael Searson, London.3rd. Bernadette Mooney, Offaly.CONCERT FLUTEFaoi U1st. Nicholas Carroll, Tipperary.2nd. Kieran McNamara, Leitrim.3rd. John Blake, London.12-151st. Sharon Bourke, London.2nd. Blanaid Flanagan, Tipperary.3rd. Michael Goldrjck, Manchester ..15-181st. Deirdre Havlin, Antrim.2nd. Thomas McElvogue, Newcastle-on-Tyne.3rd. Mary Rafferty, New York.Over 181st. Sharon McDermott, Tyrone.2nd. Gary Shannon, Cork.3rd. Francis O'Connor, Limerick.TIN WHISTLEFaoi 121st. Stephen O'Kelly, Dublin.2nd. Brendan Cunniffel . Galway.3rd. Catherine Cunniffe, Mayo.. 12-151st. John Kelly, Roscommon.2nd. Ivan Goff, Dublin.3rd. Ciara Joyce, New York .15-181st. Breda Smyth, Mayo.2nd.3rd.Irene O'Brien, New York.Deirdre Havlin, Antrim.OVER 181st. Sharon McDermott, Tyrone.2nd. Brid NicChonrua, Cavan.3rd. Attracta Brady, Offaly.PIANO ACCORDEONFaoi121st. Niall Coakley, Cork.2nd. Michael Kavanagh, Louth.3rd. Paul Harrigan, Donegal.12-151st. Marita Nolan, Carlow.2nd. Alan Kelly, Roscommon.3rd. T. J. Hogan, Tipperary.15-181 st. Maeve Boylan, Derry.2nd. Evelyn Duggan, Galway.3rd. Eugene Mallon, Leeds.OVER 181st. Collette O'Leary, DUblin.2nd. Thomas Nagle, London,3rd. Gerry Conlon, Glasgow.CONCERTINAFaoi 121st. Micheal Rooney, Monaghan.2nd. Brid Meaney, Clare.3rd. Niamh Ni Charra, Kerry.12-151 st. Micheal 0 Raghallaigh, Meat h.2nd. Rona Ni Dhincin, Monaghan.3rd. Sinead Scullane, Clare.15-181st. Caroline Tubridy, Clare.2nd. Maeve Boylan, Derry.3rd. Claire Keville, Galway.OVER 181 st. Michelle O'Sullivan, Kerry.2nd. Caroline Judge, St. Albans.3rd. Marian Gill, London.UILLEANN PlPESFaoi 121st. Janette Lambert, Wicklow.2nd. Emmett Gill, London.3rd, Olivia Galvin, Mayo.12-151 st. Ivan Goff, Dublin.2nd. Tiarnan 0 Dincin, Monaghan.3rd. Emer Mayock, Mayo.15-181st, Ray McNamara, Leitrim.2nd. Christopher McDonagh, Luton.3rd. Patrick Oavey, Belfast.QVER,18ht, El,Imonn Walsh, Dublin.lnc;!. Michael Lawlor, Wexford .3rc;!. P ~ ter Sll,vage, Preston,HARPFaoi 121st. Micheal Runai, Monaghan.2nd. Emily O'Dowd, Limerick.3rd. Fionnuala Joyce, Meath.1712-151st. Brenda Barron, Donegal.2nd. Geraldine O'Hanlon, Tyrone.3rd. Barbara Nolan, New York.15-181st. Sile Ni Dheasmhumhain, Cork.2nd. Eimear Ni Bhroin, Cork.3rd. Kim Fleming, Roscommon.OVER 181st. Martha Clancy, New York.2nd. Darcy Fair, New York.MOUTH ORGANFaoi 121st. Paul O'Dwyer, Wexford.2nd. Angela Kerr, Lancashire.12-151st. Alan O'Dwyer, Wexford.2nd. Rosarie Cagney, Limerick.3rd. Catherine Cogan, Lancashire.15-181st. Nuala Cagney, Limerick.2nd. Ciaran Tackney, Cavan.3rd. Theresa Cagney, Limerick.OVER 181st. Philip Murphy, Wexford.2nd. Seamus O'Boyle, Dublin.3rd. John Gavin, Clare.BANJOFaoi 121st. Marcus Maloney, Limerick.2nd. Enda Scahill, Galway.3rd. Teresa O'Grady, Luton.12-151 st. Barry Kennedy, Luton.2nd. James Hehir, Dublin.3rd. Andrew Dinan, Manchester.15-181st. Sean 0 Lorchain, Limerick.2nd. Jennifer Matthews, Luton.3rd. Alan Tubridy, Clare.OVER 181st. Annette Caulfield, Luton.2nd. Colman Nugent, Waterford.3rd. Noel Birmingham, Clare.PIANOFaoi 121st. Karen Devane, Galway.2nd. Eileen Deignan, Sligo.3rd. Sean Morris, Waterford.12-151st. Alan Kelly, Ro scommon.2nd. Joseph Brady, Cavan.3rd. Denise Shiel, Galway.15-181 st. Francis Coil, Galway.2nd. Elizabeth Smith, Offaly.3rd. Carmel Commins, Coventry.OVER 181st. Norl,l Byrne, Wexford.2nd. Gerry Conlon, Glasgow.3rd. Carmel Commins, Coventry.

ST. PATRICK'S NIGHTAg Deanamh Ceotl_WHEN (You're) SICK IS IT TEA YOU WANT?/lm ID I JD J]J ! (rr tvl EiJ ill I_ f 1I Et! ,.. :11. I

BILLY BYRNE OF BALL YMANUS.'- Cone"'Mng nob!.< Rifty By,,"

12-151st. Donna McRory, Donegal.2nd. He1en O'Connor, Limerick.3rd. Karen Franklin, Limerick.IS-IS1 st. Eilis De Roiste, Cork.2nd. Michael Heneghan, Mayo .3rd. Moya Hughes, Antrim.OVER IS1st. Timmy O'Shea, Kerry.2nd. Annette Coleman, Wexford.3rd. John Burke, Periva1e.UILLEANN PIPES-SLOW AIRSFaoi 121 st. Janette Lambert, Wicklow.12-151st. Emer Mayock, Mayo.2nd. Tiiunan 0 Dincin, Monaghan.3rd. Ivan Goff, Dublin ..IS-IS1st. Patrick Davey, Belfast.2nd. Ray McNamara, Leitrim.3rd. James Morri$on, Cork.OVER IS1st. Andrew Murphy, Blackpool.CONCERT FLUTE-SLOW AIRSFaoi121 st. Ann M. Harty, Tipperary.2nd. Daire O'Neill, Dublin.3rd. Karen Devane, Galway.12-151st. Sharon Bourke, London.2nd. Jonathan Carroll, Louth.3rd. Kathy Keane, Illinois.IS-IS1st. Brian Finnegan, Armagh.2nd. Bernadette McMahon, Antrim3rd. Muireann Ni Charra, Kerry.OVER IS1st. Turlagh Boylan, Derry2nd. Mairead Ni Ghreagain, Dublin.3rd. Beverley Whelan, Blackpool.TIN WHISTLE-SLOW AIRSFaoi 121 st. Paudie O'Connor, Kerry.2nd. Treasa Lavin, Mayo.3rd. Karen McDaid, Donegal.12-151st. Sharon Bourke, London.2nd. Emer Mayock, Mayo .3rd. Deirdre Rooney, Monaghan.IS-IS1st. Cora Smyth, Mayo .2nd. Claire Keville, Galway.3rd. Brian Finnegan, Tyrone.OVER IS1st. Mairead Ni Ghreagain, DUblin.2nd. JUlie MacNicholas, St. Helens.3rd. Kathleen Forde, Donegal.DUETSFaoi 121st. M. Ely & M. Fitzgerald, Luton.2nd. Alan & Lisa Costello, Tipperary.3rd. Niall & Sinead Coakley, Cork.12-151st. Ml. & MacDara 0 Raghallaigh, Meath.2nd. Ml. Go1drick & Des Donnelly,3rd.Manchester.Brid & Sheila Meaney, Clare.IS-IS1st. Brenda Curtin & Dona1 0 Murchu,Limerick.2nd. Miriam Collins & Fiona Linneen, Clare.3rd. Ian & Deirdre Carney, New York.OVER IS1st. Caroline & Rosemarie Judge, St. Albans.2nd. S. Ni Chinneide & A. Dawe, Louth.· 3rd. Michael & Ray McNamara, Leitrim.TRIOSFaoi 121st. A. M. Harty & C. & M. Short, Tipperary.2nd. E. Verling, M. & S. Coakley, Cork.3rd. 1. Carter, F. Joyce, N. Wiseman, Meath.12-151 st. Caitriona, Brid & Maura O'Gorman,Clare.2nd. M. Lavery, A. Scott, A. M.awhinney,Derry.3rd. Peadar Langan, Ricky & James Kilroy,Mayo.IS-IS1st. S. 0 Lorchain, D. 0 Murchu, B. NiChurtain, Limerick.2nd. Justin, Ivan & Yvonne Goff, DUblin.3rd. Mary Rafferty, Martin & KevinConnolly, New York.OVER IS1st. N. Whelton, A. & S. Bourke, London.2nd. A. Dawe, S. Ni Chinneide & P. Duffy,Louth.3rd. Deirdre, Muireann & Niamh Ni Charra,Kerry.CEILIBANDSFaoi 121st. Ormond Ceili Band. Tipperary.2nd. Ballycullane Ceili Band, Wexford.3rd. Moyne Valley Ceili Band, Kildare.12-151st. Eamonn 0 Muiri Ceili Band, Monaghan.2nd. Naomh Padraig Ceili Band, Meath.3rd. Errigal Ceili Band, Derry.. 15-1S1st. Ormond Ceili Band. Tipperary.2nd. Dun10y Ceili Band, Antrim.3rd. Leagrave Ceili Band. Luton.OVER IS1st. The Thatch Ceili Band, London.2nd. Joe Coo1ey Ceili Band, New York.3rd. Pride of Erin Ceili Band, Fermanagh.GRUPAICHEOILFaoi 121st. Tulla Group, Clare.2nd. Moyvalley Group, Kildare.3rd. Loughmore Group, Tippefary.12-151 st. Ceoltoiri Cronain, Cork.2nd. Inis Eoghain Group, Donegal.3rd. Naomh Padraig Group, Meath.15-1S1st. C1uain Tarbh Group, Dublin.2nd. Tyrone CCE Group, Dungannon.3rd. Loughmore Grupa Cheoil, Tipperary.OVER IS1st. St. James' Gate Group, Texas.2nd. Murray Family, Galway.3rd. St. Albans Group, St. Albans.19ACCORDION BANDSFaoi IS1 st. Letterkenny Band, Donegal.2nd. Kilcoo Association Band, Down.3rd. Athboy Marching Band, Meath.OVER 181st. St. Mary's Band, Donegal.2nd. St. Patrick's Band, Down.FLUTE BANDS1st. Cloney Flute Band, Antrim.2nd. Rann na Feirste Band, Donegal.ROGHA GHLEAS BANDSFaoi181st. Cloich Cheann Fhaola Band, Donegal.2nd. St. Crone's Band, Donegal.3rd. Westport Girls' Band, Mayo.OVER 181st. St. MacCartan's Band, Fermanagh.PIPE BANDS1st. O'Neill's Band, Armagh.2nd. St. Joseph's Band, Down.3rd. City of Sligo Band.AMHRAIN-MNAFaoi 121 st. Noreen Duggan, Cork.2nd. Deirdre Scan1on, Limerick.3rd. Laura Matthews, Monaghan.12-151 st. Deirdre O'Dea, Clare. ~2nd. Niamh Nic Mhathuna, DUblin.3rd. Sharon Franklin, Limerick.15-181st. Geraldine Anderson, Donegal.2nd. Breda Mayock, Mayo.3rd. Kim Fleming, Roscommon.OVER 181st. Marion Craven, Galway.2nd. Eibhlin Ni Churtain, Limerick.3rd. Aoife Ni Fhearraigh, Donegal.ONE OFCORK'SSTALWARTSClones,Co. Monaghan.I met Ned Meagher two years ago inListowel at the All-Ireland FleadhCheoil. We had a great week-end ofmusic and conversation and I enjoyedhis music and chat very much. I heardthe sad news about Ned's illness. SinceI received that news I found out thatthe local Cornhaltas branch of whichNed is a staunch member gave an exhibitionof their music talent. Whenthey played at Ned's hospital bedside:Ned being a musical minstrel himselfjoined in the session of music.I wish Ned the best of health.DERMOT McCABE

Senior 4 Hand CeiIi-(l) Grianan A; (2)Grianan B; (3) Tyrone CCE.8 Hand Ceili-(I) Grianan; (2) Derry,Owen Roe; (3) Carrickcruppen.Ulster Senior Full Set-(I) Carrickcruppen;(2) Monaghan; (3) Clonduff.Open Senior Half Set-(l) Carrickcruppen;(2) Lorrha CCE, Tipperary; (3)St. Patrick's, Dundalk.The award presented by theNorthern Ireland Tourist Board for thewinner of the National Solo TraditionalChampionship went to Jack Slatteryfrom Dublin who gave a magic performance.Runner-up was Roddy Spain fromCo . Kildare and thrid Pat Dillon, Derryand Kathleen McGlynn, Dundalk. Thiswas an excellent competition anddelighted the audience who respondedwonderfully during the afternoon to themagnificent display of dancing. Thehigh light of the dancing on Sunday wasthe news that Camross were the All-IrelandSet Champions. Camross teamcame from Co . Laois and amidst cheersStephen Conroy received the trophy.Runners-up were Carrickcruppen andthird were Monaghan.The entire event was an outstandingsuccess and the organisers are deeplygrateful to all those who made itpossible; to those who provided fmance,trophies and assistance. The committeerecords a warm thanks and especiallywords of appreciation to the voluntarystaff without whom this event could nottake place.BUSY YEAR FOR ARKLOW CCEThe five day visit to London of theLiam Mellows Craobh, Arklow, Co.Wicklow, was an outstanding success.This is the 6th year the group have travelledto London, where theyentertainedthe Irish emigrants in the Camden­Kilburn district. Highlight of their tripto London is taking part in the LondonIrish Festival which was held onSunday, 6th July in Roundwood Park,Willesden, London.Up to 100,000 people attended thefestival in glorious sunshine. The groupwere welcomed by the Chairperson ofthe London- Wicklow Association, Mrs.Lil Price and the committee.This annual event organised by theCounty associations in London is one ofthe most important days of the year forthousands of Irish emigrants and theirfamilies living in many parts of England.It was an extra busy day at the festivalthis year for the Liam MellowsGroup.The group performed their Cabaretthroughout the day and took part as amarching band for the Parade of theCounties.This year the group were featured asspecial guests appearing at the SummerTheatre for one hour. The largeaudience really enjoyed the LiamMellows Cabaret with their delightfulmusic, songs and dances aboyt theCounty Wicklow.The group had a very busy programmefor the summer months performingat many venues and festivals. In Julythey performed for a group of peoplefrom Michigan, U.S.A. who were doinga choral workshop course in Ireland.In March this year Katherine andJohn Kinsella travelled to Chateaudunin France and delighted the people therewith Irish music and dance arnvmghome just in time to organise the groupfor the local St. Patrick's Day Parade inwhich the Liam Mellows group won theprize for best overall float in the Parade.In September the group performedtheir cabaret for the Municipal AuthoritiesConference which was held inArklow this year.Members of the group are: Fiona andKieran Byme, Mary and John O'Brien,Roisin Elliott, Treasa and RosaleenMoules, Lisa Kelly, Elaine Byme,Patricia Brennan, Mary Byme, Grainne21MR TOM CLANDILLON, Chairman ofArklow Urban District Council, with CAITKINSELLA before the group left for theirtrip to London.Kavanagh, Michelle Flynn, MichelleWa1ker, Rechella and Davnet McGuire,Sandra and Linda Elliott, Treasa Naughter,Linda McDonald, Roisin Wood,Vaier:ia Fitzgerald, John and KatherineKinsella.

RAYMOND ROLANDANARTIST AND A CRAFTSMANThe sad news of Raymond Roland's untimely death spread quickly among manythousands of people in London and in his native Galway. And sad though it was, atleast to them his death was not altogether unexpected. Even those who heard himplaying with flair and vigour together with his beloved friends Liam Farrell andRoger Sherlock, a matter of weeks before his death, must have been aware that hisplaying was soon to become a memory and that what they were hearing was A LastHurrah - a gifted musician who knew that his time was limited, leaving a finalmusical testament and in his totally unpretentious way celebrating the gloriouscreativity of life on the very edge of extinction.But his death came as a great shockto many people in Ireland who had seenhim a year or so previously on the ComhaltasTour when he teamed up with hislife-long friend Paddy Hayes and hadthe apFearance of good health and tonone more than to the many people inCounty Wexford who regardedRaymond's annual arrival in theirCo unty as the high point of theirSummer. Not many people would associatehim with Wexford but he spentsome time there every year on his wayto Galway and on his way back to London.Here he had a dedicated band offollowers and these included not onlythe musicians and afficionados but completenon-experts who responded asmuch to his exuberant vitality as theydid to his playing. It was great news tothem to hear that the Galwayman withthe solemn husky voice and rogueishsmile was back again and with his inimitablekind of traditional music- a fullbodied blend of accuracy , wildness andsensitivity that was vaguely reminiscentof many brilliant Western players yetcompletely personal and distinctive. Hecould hardly escape greatness. In hisearly boyhood, he spent years of unforced listening to the fiddle playing ofhis parents and often recalled minutelyfor us the frequent visits of Joe Cooleyto their Ballyshea home whose playingaroused in him an intense interest in theaccordion. J oe responded to this zealby regularly leaving his accordion withhim so that he could learn to play. Heabsorbed advice eagerly and quicklymastered the technicalities of the instrumentwhich, however, could only be ofuse to one destined to become an eminentlyproficient accordionist anyway.H is greatness as a traditionalmusician stemmed from the fact thatRaymond was both an artist and acraftsman. The distinction between thetwo lies in the creation, invention ordevelopment required by the artist ascompared with the skill or dexteritywhich are alone required by the craftsman.The one reaches a certainstandard through copying, over imitatingor mere execution; the other creates,invents, improvises and somehow findsin a basically simple traditional tune thetreasure which he gives his listeners.The technical skill can be taught andmust be learned by every musician. Thecreative power and inventiveness isalmost an environmental gift whichbegins developing at a very early age andcan never be taught though in a sense itis learned from every sight, sound andfeeling; but this supreme art is learnedunconsciously and few like Raymondhave the power to learn the lesson. Hehimself admired this creative power inmany of the musicians with whom heplayed McGuire, McGlinchey, Casey,Burke, Carthy, Fahy to mention but afew, his brother Oliver and, of course ,his great friend and golfing companionFinbar Dwyer.The people who came to hearRaymond in Wexford , Ross, Foulksmillsor Duncannon admired not onlythe music he made with such expertisebut also his willingness to join in withmusicians with more modest claims tofame than his. They appreciated that aman of almost legendary reputationshould be so unassuming and so willingto be part of their own music making.One night in Ross as peofe attentivelysavoured Raymond's playing, BrendanMulkere astutely observed how his sheerlove of traditional music shone throughevery note he played and how hisfeeling for his immense repertoirepassed on an emotional impact to hisaudience.23His recordings except those surreptitiouslyobtained in the fisties and sixtiesdo not demonstrate fully his truemagnificence. These were his golden ·years when he was being hailed by authoritativecritics asoneo! the mostoutstanding traditional musicians of anyera. Raymond's close friends in Wexfordhave their personal memories but eventhose less well acquainted with him andwho knew only the music, can recapturesomething of his spirit by listenting toone of his recordings, perhaps "TheBucks", that quintessentially westerntune which he played with such elanand heart. Listenting to it they can fanthe embers of memory and reliveglorious nights of music.Ta focal iontach as na Spainnigh arnhinionn go beacht tn\ith amhciin abhain le Raymond Roland. Tugann siad" duende" air agus is deacair e a aistriu.Baineann se le duchas ach teann sethairis sin ; baineann se chomh maith lehiogaireacht a chuireann an duchas ata induine ag obair ar chomhluadar nachdtuigeann an duchas sin. Deireadh anfile Lorca nach bhfuil " an duende" seo ingach ceolt6ir is cuma ce chomh foirfeis ata se; is bua e nach feidir a mhlniu.Bhi se go laidir i Raymond. Chuaigh achuid ceoil, a phearsantacht ceoil, ibhfeidhm ar gach aoinne a chuala e, isli diarnharach eigin nach dtuigim fein.Braithfunid uainn e, Gura moide teaghlachDe a imeacht uainn.F. M.

SAN DIEGO PROFESSOR LOVES IRELANDDr. Ed. Henry of the Department ofAnthropology, College of Arts andLetters at San Diego State Universityhas fallen in love with Ireland and hermusic. He recently completed a thesison Comhaltas Ceolt6ir{ Eireann andwrote an excellent article - which waspublished in TREOIR - on the Sligofiddle player Joe O'Dowd.While in Ireland on his last visit, Dr.Henry recorded on camera some musical"faces" of the country and we arepleased to publish three of them here.The young fiddle player is Pat Flood;the older solo fiddler is Sean Moloney;and the fiddle duet are, as yet, "ganainm" .ARMYTROPHYONTARGETThe first shots of a closer musicalalliance between Comhaltas and theIrish Army were fired recently whenofficers and men of Kildare Barracksmade and presented a beautiful trophyto Comhaltas. The trophy is made froma hand polished shell superimposed withthe Comhaltas symbol and mounted ona wooden base . The new trophy is righton target with the aim of the ArdchiraitheoirSeamus MacArnhlaoibh who isrequisitioning some extra trophies tobridge the gap in the present arsenal oftrophies available for national competition.Seamus would be pleased to hearfrom other volunteers who might like todonate a trophy.• Our picture shows the Army representativespresenting the trophy to Uachtaranan Chomhaltais Miche3I Cl Lochlainnand also included are Kildare Com-LIVERPOOL'S MUSICALWEDDINGJulie Nicholas of the Liverpool ComhaltasBranch playing a tune on 'herwedding day when she married SteveHodgeson. Julie is an All-Ireland, champion having won the senior SlowAir on the Concert Flute in 1985 . Bothshe and her sister Margaret are longstandingmembers of Comhaltas: Margaret,who was bridesmaid, is an All-Irelandwinner on the tin whistle , has alsogained her Teacher's Diploma and isSecretary of the Liverpool Branch.It was one of the great musical weddingsof the year with The WeddingCell{ Band providing the music ably assistedby members of the LiverpoolCelli Band and many of the youngermusicians. Julie and Steve ended theirHoneymoon by coming to the All-Brithaltaspersonalities Denis Gilroy, Nora' Grogan, Sean Grogan and Seamus25A tune on Julie's wedding dayain Fleadh Cheoll in Hariunersmith,London. We wish the happy coupleevery health and happiness for manyyears to come.MacAmhlaoibh.EILEEN O'BRIENP.R.O. Liverpool CCE

LUTON EXTRAVAGANZARoy BushbyFor the past eleven years theLeagrave Branch of CCE has beengreatly involved in the promotion ofmusic, song and dance, at the -LutonCarnival and Street Fair.The event - providing six hours ofnon-stop family entertainment - attractscrowds in excess of 20,000. TheLeagrave Branch has a large stage fromwhere it is able to promote its musicalactivities for those six hours, a contributionwhich is always a great draw,putting on show star musicians from itsown branch and other branches who areinterested in making a contribution.Young dancers from the Brook, Magee,McDonald and McGill schools contributedto this musical extravaganza.This event is one of the greatest opportunitiesComhaltas has in presenting itsimage to the public in Britain and, asalways, the Leagrave Branch undertakesthis task to the highest standard.The Carnival is organised by the RecreationServices Department of thelocal council and features continuousdisplays. The days events were featuredon television, commercial and BBCradio . The branch staged a highly successfulceilf on the same evening as theCarnival.Staying on the same promotionaltheme, the Leagrave Branch was greatlyinvolved in a special anniversarypromotion with Aer Lingus in the Bedfordshirearea, in which musicians anddancers provided the entertainment.There were in all five promotionalevents each concluding with a ceilf.AER LING US PROMOTION EVENT:EUGENE TEEVAN, a young man who needshardly any introduction, was one of themusicians at this event in Luton.(Picture; ROY BUSHBy),Luton Carnival and Street Fair: SEAN Mc ·DQNAGH, chjlirman of the Luton V~agraveBianch of CCE, relaxes for a moment at theLuton Carnival and Street Fair as musiciansfrom the branch provide entertainment forthe vast crowd ·on the Bank holiday Monday.. ROYAER LINGUS PROMOTION EVENT: ANN­MARlE SKINNER, a young singer withplenty of talent was at the Aer Lingus promotionevening in Luton.(picture: ROY BUSHBy)A family of music-all young pupils of ANNECAULFIELD and members of the LeagraveComhaltas Branch in Luton. They are: (backrow from the left) JOHN O'DONNELL (11)STEPHEN O'DONNELL (9) and KEVINO'DONNELL. Front row: MAR lA O'DONNELL (9) EWHLIN O'DONNELL (8) andMARY O'DONNELL (11). All youngsters wewill no doubt see a great deal of in the yearsto come, a talented O'Donnell family.(Picture: ROY BUSHBy)Aer Lingus Promotion Event: a picture fromNICHOLAS BUSHBY showing the young musiciansfrom the Leagrave Branch of Comhaltason stage at the Aer Lingus 50th anniver-sary promotion event. Nicholas has managedto scrounge one of his dad's cameras and at10 years of age hopes to get as much practiceas he can so that he can join the Photo Press27National Picture Agency when he becomesproficient enough. At the moment, Nicholasis watching his father Roy undertakingpicture and reporting assignments, fIlm processingand prin ting to meet deadlines and isasking lots of questions. Roy is givingNicholas scope to develop his ideas and otherpress men are giving tips. It can be safe to saythat we will be able to see many pictures fromNicholas Bushby in the years to come.Nicholas, like his parents, is a member of theLeagrave Branch of Comhaltas.(Photo: NICHOLAS BUSHBy)

PATRICK McENTEEBrian S. b M6rdhaComhaltas Ceoltoid Eireann inCo. Cavan suffered a grievious losson the 21st July, 1985, whenPaddy McEntee, our County Chairman,died after a long and patientlyendured illness. At short notice weasked that well-known Cavan Gael,Brian S. b Mordha, to deliver afuneral oration at Paddy's gravesideon the day of the burial and this hedid, giving a very moving accountof Paddy's life and of his splendidwork for that which he loved sowell, ceol traidisiunta '" dtire. Wealso hoped that Brian would write ashort account of Paddy's life andwork which could be published inTreoir but, unfortunately, Brianhimself was suddenly stricken witha very serious illness which necessitatedhospital treatment and it isonly now that he has been able toget working again. We are indeedvery grateful to the editor of Treoirfor, even at this late stage, allottingus space to put on public record ashort account of the life and workof one who devoted all his leisuretime to fostering a love for Irishmusic, song and dance.Seosarnh Baxter,Cathaoirleach Coiste Co. anChabMin.In the introduction to the Irish version of The Imitation of Christ it is statedthat "ni fhuil se ro-mhail an mhaith a dheanamh am ar bith" - it is never too lateto do a good thing. That is a very true statement indeed and, therefore, it iscertainly a very good thing even more than a year after his death to place on publicrecord some account of what Paddy McEntee did for Irish music and Irish culturegenerally in Co. Cavan.In 1948 I was working as a teacher ofGaeilge and what were then termed"General Subjects" in the Vocationalschool in Cootehill and part of my dutywas to take at least one 'night' or 'evening'class each week for adults andyoung people generally, somewhere inthe school area. I had already tried onedistrict without much success- because,of course, emigration was then rife andyoung people were few in number, as indeedthey soon will be in this era too,when someone casually remarked tome that I should try Maudabawn, arather undefined rural area lying somefour or five miles East of Cootehill; it is,generally speaking, the rural part ofDrumgobn parish. I organised my classvery successfully there becauseMaudabawn was then-as indeed it stillis- a very closely knit community with adeep pride not only in its present, as itsfine community centre and new footballpitch show, but in its past as well. Avery fine group of young boys and girlsattended each class to learn Irish, manyPADDY McENTEEof whom still remain my personalfriends. The type of Irish class we weresupposed to try to teach in those simpleunsophisticated days was as follows : (a)a lesson in Irish first ; (b) claisceadal, orcommunity singing, in Irish using suchsongs as Ora 'se do bheatha abhaile (byPadraig Mac Piarais, of course) and (c)ceilf dancing which need I say, was avery popular part of the class. Thequestion immediately arose then as towhere we could get music for our dancingas portable radios, tapes, etc., werethen things of the future. Somebodycasually mentioned to me that there wasa 'young fellow' of their own age groupliving in the townland of Corragarrywho was very interested in traditionalIrish music and was 'a very good fiddler'.Some class members contacted thisyoung lad and so I fust met Paddy McEntee. He was then, despite his youthhewas born in 1939 in Corragarry- oneof nature's gentlemen; good mannersand courtesy came naturally to him; hewas to be trusted in all things. If hepromised tG- do something then it wassure to be done and done excellently.He promised to play for our class and hewas there for every seisiun, come hail,rain or snow and he joined in the preliminarysections of the class with enthusiasmalso because he loved allaspects of our traditional culture. Eventhen it was obvious that he was a talentedmusician who had a very large repertoireof reels, jigs, hornpipes and traditionalslow airs. He had, however, noknowledge of ceili dancing or of therhythm required for it as it was then notreally known in the area ; at countrydances old-time waltzing, quick steps,etc. has supplanted almost entirely thesets, etc. It was with a certain feeling ofpride that I heard him say that it was Iwho first gave him an understanding ofaf a part of our CUlture which he grewto love and which he so willingly helpedto promote in his native county.I need not have been surprised at thefact that Paddy McEntee was such a29

and culture and who accompanied himto almost all his coirmeacha ceoil, hisceilithe, his seisiuin, etc. To her weoffer our deepest sympathy. If Paddy'sdeath hurt us all so much what a blow itmust have been to her. Grasta b Dhia 'ort, a Mhaire.Perhaps the best way for me to endthis tribute to Paddy McEntee is toquote some lines from a beautiful littlepoem written by that great Irish patriot,Brian na Banban, Brian O'Higgins. Theyare:The tears will fall, tho' it is vain to weepthee;One called thee Home to Him - and Heknows best;No bond of human love on earth couldkeep thee-Great soul, dear friend, true guide, Godgive thee rest.The "Mountain Lark" producer BRIANEUSTACE (centre) with his production teamduring a film ing session.{{THE MOUNTAIN LARK"MAYFLY TO AMERICAAs the "Mountain Lark" series oftraditional music programmes continues,the production team has nowvisited the four provinces and Britainfor rehearsals. Many well known facesand some up-and-coming stars have appearedon the series. It is understoodthat the audience reaction to the seriesto date has been exceptionally good andseveral new programmes are already inthe can for transmission.The setting for the "Mountain Lark"is Culturlann na hEireann and theartistes for each programme workthroughout the day and into the night.Brian Eustace, the Producer of the serieswhich is a co-production with Comhaltas,has expressed himself very pleasedwith the standard of talent available inIreland and abroad. Further visits areplanned to Britain in the near future.One question now exercising theminds of the production team is when avisit to North America- can be undertaken.There is a vast reservoir of talentavailable on that Continent and this,coupled with the unique role played bythe Irish community in North Americain the preservation and promotion oftraditional music throughout thiscentury makes a visit there inevitable.The success of North Americanmusicians at this year's Fleadh Cheoil inListowel adds a further claim to theirpriority for recognition. Such plumchampionships as Senior Fiddle (BrianConway, New York); Senior Accordeon(Billy McComiskey, New York); andSenior Grupai Cheoil (St. James's GateGroup, San Antonio) went to theUnited States.It is known that RTF: executives arefavourably disposed to covering the traditionalmusic scene in North Americabut there are many technicalities whichwould have to be resolved before such amajor venture could be undertaken.Meanwhile, the 20-strong Comhaltasgroup from Ireland will have travelled20,000 miles to give 17 concerts on the15th annual Concert Tour of NorthAmerica and the musical links betweenthe two countries will have been furtherstrengthened.31

AUGHRIM FIDDLER SUPREMEThis year John Joe O'Loughlin fromBallymorris, Aughrim, has steppeddown as Chairman of the County Boardof Comhaltas Ceolt6iri Eireann afterserving a four year stint in the position.But he is not hanging up his andfiddle by any manner of means and willstill be actively involved in this greatIrish cultural organisation that hehelped to establish in the county almost30 years ago .He is still the County Board's representativeon Leinster Council, a positionhe has held continuously since 1973 andbefore that from 1962 to 1977. He alsoserved five years as Vice-Chairman ofLeinster Council from 1977 to 1982.The fact that CCE is throbbing withvitality today and the Wicklow hills arealive to the sound of Irish music owes alot to the dedicated work put in byJohn Joe O' Loughlin and like-mindedpeople over the last three decades.His love of the culture of Irish music,song and dance is something that helearned at the knee of his father,William, who was himself a noted playerof the violin. John J oe could read and 'play music before he ever went near atutor.In 1955 he joined the pipers' club inDublin- there being no formal organisationin Co. Wicklow at that stage.Two years after the formation of thefirst CCE branch in Donard, he foundeda branch in Aughrim and was elected itsfirst Chairman, a position he held forthe next decade.He was also at the meeting in Donardin 1962 to found the first Co. Boardand was elected its Treasurer, anhonorary position that was to be conferredon him each year for the next 17years.Because four branches were requiredto form a County Board, Wicklow wasamalgamated with Kildare in thoseformative years following on from1962. But the infant organisation wasto grow strong quickly and by 1969Wicklow was able to stand on its owntwo feet and have its own separateCounty Board.In 1962 there were 180 competitorsin the open fleadh of that year- andthese included entries from Dublin,Wexford, Kildare and Carlow, as well asWicklow- whereas in this year'sconfmed Fleadh there were 450Wicklow competitors taking part.John Joe has also lent his consider-JOHN JOE O'LOUGHLINable musical talents to the competitiveside, assisting local duets, trios, ceilibands, grupai cheoil and scoratochtgroups to win Leinster medals. He alsohas a Leinster medal for story-telling inthe "Ceol an Gheirnhridh" competition.But his interest lies more in assisting,helping and encouraging young artistesas a teacher of music and an adjudicatorof competitions. He has adjudicatedcompetitions all over Leinster and as theholder of a teacher's diploma in musiche has conducted classes all over Co.Wicklow, including his native Aughrim.In the early 1960s he undertookanother labour of love and that was collectingmanuscript music which hadbeen lying forgotten in houses aroundthe county.And what surprised him then wasthat so many people were capable ofreading and writing music even thoughthey had not had the benefit of muchschooling in their day.Next he and Tom Walsh, who wasSecretary of the County Board at thetime , travelled the highways and bywaysof Wicklow collecting the pureballads of Co. Wicklow.In all they collected the surprisinglyhigh number of 104 ballads and in additiongot as many as possible on tape forthe music.33Most of these ballads date from the1798 period onwards and the fact thatWicklow continued with a guerilla warfor six years after 1798 was part of theexplanation of why Wicklow is so richin these ballads."This is something of a hobby withme", states John Joe "1 would not liketo see this part of our Irish culture dieand 1 would like to leave somethingbehind for the next generation. Somuch of our musical heritage has beentaken to the grave by people and this ismuch of our musical heritage has beentaken to the grave by people and this isa great pity".AUSTRALIANPLANSThis photo taken by the AustralianAmbassador, Sir Peter Lawler, is intendedfor his scrapbook covering hisassignment in Ireland. Pictured atCulturlann na hEireann are (l-r) theAmbassador's wife Lady Lawler, Una bMurchu, Mrs. Bracken from Australia(the Ambassador's sister) and Labhraso Murchu. The Ambassador was visitingthe Culturlann on the invitation ofComhaltas to discuss the movement'splans for the Australian Bi-centennialcelebrations in 1988. Cornhaltas hasreceived many invitations to tour Australiaand are at present researching theoptions open to them. Following onthe success of their North American,British, Irish and European Tours, themovement is anxious to service theAustralian invitations.

NA CEITHRE hAIRDECaoimhghin b Brolchain'Dtuigeann sibh' , much of our national 'eccentricity' can be put down to the factthat, from the beginning, we were orientated East - West, whereas the r~st of theworld aligned its thinking North-South with the Magnetic Poles. The ancIent Ga~lfaced the rising sun and said 'Front-rear-left side~right side' .. So ,~hen ~ou s~y ~Irish 'Taim ag duI 15 dheas' (I'm going south), you re really saymg I m gomg nght ,or again, '0 dheas lamh soir' (South-south-east)-noti~e the emphasis on which'hand' (lamh) is indicating the direction favoured. There IS many and m~ny another'wonderful' combination, the study of which would keep you occupIed for themorning when you should be giving the wife a hand washing the childer.All of this was borne in on me veryforcibly over Easter when I was asked toread a short paper on Flann O'Brien atthe 'International Symposium' atNewman House , Dublin .. .... . and I'm stillreeling at the enormous effrontery I hadto accept the invitation. Academicswere six deep at the bar and the chatwas rarified- for example 'Had FlannO'Brien predicted the invention of thelaser beam in the 'Third Policeman',when he told of the point of a needlewhich was so fine and acute that its realpoint was well in advance of its visiblepoint?'. There's a question to put to afella who spent much of his youthcutting turf on Monagore bog!Nice to have polite people coming upto you to say that they enjoyed yourpaper- bewildering when they said thatthey particularly relished this point orthat which in fact hadn't been in yourpaper at all but in a previous lecture!The world of Flann O'Brien wassuddenly very real. Even the ingeniousabstractions of De Selby were frequentlythrust upon you as endeavoured tobe, what is the phrase? - 'Ag baintsuimin as do phionta' (Taking a sip outof your pint). Several of the visitingprofessors (some from J apan- America­Australia- Germany ....) mentioned thatthey were certain that they had met DeSelby in some Dublin bar the previousevening.The great thing was that there was nononsense about 'Cupla Focal agam'­great gales of Irish were on all sides- andgreat gales spouting it. Then I foundmyself being transfixed by an earnest,quiet-talking fella who had a singlecentre to his existence- the TaraBrooch. Whilst I was alarmed by his intensityand the absolute futility of tryingto escape what he had to say was ofgreat interest and I gradually found thata glazed fixity of gaze with the 'gob aroscailt' was all that was required of mefor the evening. It was a very one-sidedconversation but this fella was the'Bradan an Eolais' and my thumb was inthe process of incineration. I didn't feela thing.The burthen of this tale was that hehad deduced that the Tara Brooch wasin fact , an ancient Irish 'DirectionFinder'. What you did was to pointyour brooch at the rising sun- exactly asthe Sean Gael had, he maintained, done.Round the rim of the brooch are studsor stones set into the metal. These areat equal spacings- roughly at 30 degreeintervals; and by taking lines throughthe centre from these markers youcould have a good indication of whichway you hav to point the chariot whenyou had an urgent appointment atArdMacha or An· Uaimh in the old days.A'coorse, the sun has a lower trajectoryduring the winter solstice than duringthe summer- this was the reason for thelower arc which also forms part of thebrooch. Examining his back-of-anenvelopediagram which gradually assumedthe configuration of the 'UnionJack', I rashly quipped that there wasclear inference here that the AncientBrits must have settled Ireland beforethe coming of the Celts. This suggestionseemed to enrage my companion as didmy follow-up that if there had beenmany summers like the last one in ancientIreland it might account for theprecipitate abandonment of Ard Macha,indeed Tara Hill itself as the centre forgovernment- no sun, no directionfinding! I perceived that I was exceedingmy function in this interchange ofscholarship . My part was to be therecipient of wisdom. I was not requiredto contribute beyond the oldd exclamationof wonderment.Now Professor b Hainle had mentioned,in passing, in his lecture thatBeckett had a character who idiosyncraticallymarked the passage of time by35having a pocketful of stones. Everyday, he transferred a pebble from onepocket to the other. Everyone in hisaudience thought this was good for alaugh - everyone except my earnest informant.What the hell they were laughingat mystified him! That, he said , wasexactly what the ancient Gael had, infact, done. They worked on an eightmonthyear of 354 days. By complicatedmathematics - again on the backof the overcrowded envelope it appearsthat they managed with 22 stones andevery now and then they missed a daybefore starting again - Oh! and severaltimes a year there were 'clicks' noticeableto this day by such 'communerswith nature as shepherds- when oneseason gave way to the next. It was allvery erudite stuff - unfortunately, myconcentration became somewhat erraticas time passed because I found thatI was getting through an unusualnumber of pints- again one-sidedly,since I wasn't expected to say a damnthing.Leaving the bar- eventually- I haddifficulty in deciding whether I was '0dheas' or coming 'aniar' and my recentingenious friend had disappeared takingthe only replica Tara Brooch that sideof the city with him- together with hisenvelope. The result was that I did notsucceed in visiting Ard Macha this tripindeedI had a rough time getting backto my digs.Somehow or other, I managed toreach my friend 's house where I wasbeing accommodated for the length ofthe Symposium. Up in my room Ifound myself blinking owlishly at a volumeof Silva Gaedelica without which Irarely set foot outside the door. Nowhere I came across reference to a oneleggedhorse which pulled a chariot inthe days of Cuchullain and it wascuriously yoked. Apparently, the shaftof the chariot 'transfixed' the animaljust under the tail and emerging fromthe horse's mouth was securely fastenedin place by a crosswise placed peg onwhich the beast chewed as it galloped ­doubtless towards Ard Macha- fruitlesslyif the day was cloudy. 'Nach iontachan peata an saoghal', as Peig mighthave said if she'd been to theSymposium.

10 COUNTRY SET DANCESBEAUTIFULLY ILLUSTRATEDAND EASY TO FO LLOW£3 (or $5) each post free.£30 (or $50) per dozen.CC' E., Belgrave Square, Monkstown, Co. Dublin, Ireland.

The Port Talbot (Wales) Branch ofComhaltas is among one of the most enthusiasticbranches abroad. They haveplayed host on a number of occasions tothe British Tour and always have anopen door for visiting traditional musicians.Our photo shows two of themusical stalwards of the area PeterBlaney and John Morgan ••• • A younglassie from Co . Tipperary who has quitea record of performances to her creditis Bhithnaid Flanagan of Cashel. Elevenyears old flautist Bhithnaid has playedfor President Regan in Ballyporeen; liveon German television; and has appearedseveral times on RTB. Now we hearthat Bhithnaid has broadened hermusical horizon and is now learning theharp • ••• Congratulations to the 1986Rose of Tralee , Noreen Cassidey ofLeeds. Noreen, who is a student of politics,is an active member of the LeedsBranch of Comhaltas as is her boyfriendChris Kelly. Noreen's father, Patrick , isa native of Williamstown, Co. Galwayand her mother, Maureen, is a native ofSheffield where the family now lives.The new Rose of Tralee played the tinwhistle on stage in the Festival Domeduring the live television show. Nodoubt, all of this heady news will giveLeeds Scoraiocht producer John Fergusonsome ideas for his next theme ••••The McCabe name is synonymous withIrish traditional music. Mairtin is a pastPresident of Comhaltas and son Pat is awell known musician. Another memberof their family , Dermot, is a keen tra-BLATHNAID FLANAGAN: and now theharp.ditional music fan and he is organising abig session in McQuillans' Bar, Clones,on Friday, October 3, to which all traditionalmusicians are welcome • • • •Port Talbot's PETER BLANEY and JOHNMORGAN.MICHEAL 0 LOGHLAINN, Uachtanln AnChomh!Utais (Ielt), receives a presentationfrom SEAM US 0 CONCHUBHAIR on behalfof Comhairle na Mumhan in recognition ofMicheal's work for the Council.36

IRISH MUSIC IN SYDNEYAn Irishman told me once that youcan always tell if it's a German who issinging a traditional Irish folk song becausethey'll get all the words right.The story is symptomatic of the phenomenalrise in the popularity of Irish musicamongst non-Irish people abroad inthe past twenty years or so. Also , itsuggests that Irish people are scepticalabout the way foreigners have come tointerpret the music of their country:that somewhere along the line wemissed out on something.Perhaps that's not surprising whenthose who would play the music are removedfrom its source ; when their maincontact with it is through records and inan age when musical perfonnance is synonymouswith ostentation and pretence.The Irish music scene in Sydney,though, has managed to avoid the wordexcesses of Irish music abroad, becausethe social aspect of the music has beenmaintained and because there is a continuingcontact between Australian andIrish musicians here. It wasn't so longago that pub sessions in Sydney consistedalmost exclusively of Irish-born musicians.In 1983- 84 London-based Irishmusicians John Carty and Brendan Mulkerecame to Sydney with the help ofvarious members of the Sydney Irishcommunity. They gave concerts andregular classes and as a result of their influencethere has emerged a growingnumber of Australians able to play themusic well.The best musician to appear on theIrish music scene in that time, AngelaNoonan, died tragically in February ofthis year. She was more than a technicallyadept fiddle -player: there was aspiritedness and sensitivity in her musicwhenever she played. Angela recordedan album with Roger Hargraves andGraham McDonald ("Airs and Dances",Sandstock SSM- 018).In every other respect, 1986 has beena full and productive year for Irishmusic in Sydney. Dundalk fiddler EilishO'Connor is to be brought to Australiato continue the process started by Cartyand Mulkere. It's hoped she willconduct classes as well as perfonn andjoin in the regular sessions. A dance washeld on St. Patrick's Day to help financeher trip.In January the Boys of the Loughperformed in Sydney with their twonew Irish members. Both John CoakleyNOLLAIG NI CHATHASAIGHand Christie O'Leary, and also CathalMcConnell, joined in the session at theBald-Faced Stag after the concert. InMarch the Guinness company brought aclutch of musicians to Australia, includingChristie Moore, Stockton's Wing,Liam O'Flynn, Arty McGlynn andNollaig Ni Chathasaigh, Joe and Antoin-JOHN CARTY34ette McKenna are expected to arrive fora series of concerts in September.For the most part, though, the Sydneymusic scene consists of Sydneypeople playing music. As well as theregular Sunday night sessions at the'Stag in Leichhard t', which have beengoing for some years, there is now musicmost Wednesday nights at the RiverviewHotel in Balmain. On Fridayslocal band 'The Gingermen' present anenergetic mixture of songs and dancetunes at the White Horse in Surry Hills.Since March local musicians havegiven lessons on fiddle , tin whistle andflute. These have been well attended bypeople from a wide range of age-groups.Some of the newer players are Irishpeople rediscovering their own musictwelve thousand miles from home.In May an uilleann pipers' club wasfom1ed. In the manner of pipers aroundthe world, members meet monthly todiscuss reeds, drones, reeds, hard D's,reeds and the bits of string that youwrap around the chanter where it joinsonto the bag . And they play tunes.A tune is chosen each month and thepipers practise it and present it at thefollowing meeting.One of the factors bearing on theshape of Irish music in Australia is thedistance separating the variouscommunities of musicians. There's noslipping across to Doolin over the weekendfor a few tunes. People do stay intouch though. There are the variousannual festivals- forums for Australia'shybrid folk culture of which Irish musicand dance fonns a significant part. Sydneymusicians also organise impromptutrips to Canberra and the Blue Mountainsto visit friends and swap tunes. Onthe Australia Day long weekend in Januaryword got around that there was tobe some music in Sydney. People camefrom Canberra, Newcastle and theMountains for three days of pub andkitchen sessions.The Irish music scene is evolving herein an uniquely Australian way, whileremaining close to the social and musicalbasis of the tradition. We encourageall people involved with the music whomight be thinking of travelling to Australiato get in touch, so that we canshare a tune and the crack. You'll bevery welcome.PETER WOODLEY

A TRIBUTE TO MATT KIERNANKevin SpencerOnly a few issues back (Iml 17Uirnhir 3), TREOIR carried a well deservedfeature on Matthew Kiernan writtenby Eamonn Walsh - now, sadly, wemourn Matt's death which occurred aftera short illness at the Mater Hospitalon 17 July last. The Heavenly group ofdistinguished uilleann pipers is, indeed,growing now that Matt is gone to joinLeo Rowsome , Willie Claney, SeanReid, Seamus Ennis and BreandanBreatnaeh.To say that virtually all our presentday uilleann pipers and pipe-makers owesome debt to Matt Kiernan wouldhardly be an exaggeration. It is a storyas yet untold for he was too modest totalk of his achievements. EamonnWalsh has made a start and I would nowlike to add my share.I have known Matt Kiernan foralmost twenty years and visited him regularlyat his home in Offaly Road,Cabra. There, having worked all day athis lathe, we would sit by the fire , talkabout pipers and piping, play sometunes and have tea. We would look overhis many music books, too, for he hadtutors like Roche's long before their reissueand wider circulation. Though asplendid piper he often used the tinwhistle to demonstrate a particular baror ornament and never condonedlearning without having sheet music.His inclusion on the cassette issued withCeol Rinnce na hEireann is a fitting tributeto his skill in popping and cranning,or the use of triples and grace noteswhich make up the art of piping.However, Matt Kiernan's greatest influencewill be in the area of pipe-making.Though the 1951 Fleadh Cheoil inMullingar marks the current renaissanceof Irish music generally , the piping revivalhad to wait for a further decade orso. While there was Leo RowsomeWillie Clancy, Seamus Ennis and just ~few records, it was the sixties which sawthe release of L.Ps devoted fully touilleann piping and , with them, longstored uilleann pipes being taken downand their restoration contemplated. .It was Matt Kiernan who helpedmany with such restoration work bymeasuring old instruments and makingjigs and templates with painstakingaccuracy to reproduce the D, C & B pitchesin chanters. In addition, he devel-oped other templates for drones, regulators,bellows and bag and sought outnew sources not only for traditionalmaterials like ebony, African Blackwood,ivory, brass and leather but alsonew rubber and plastics based ones.Such has been his contribution that allof this has become the stock-in-trade of. many new practitioners and the art ofpipe-making and restoration has neverbeen higher.What else can one say of this man.There was his mail much of it fromoverseas. Where possible there would bea reply- some encouragement to visitIreland perhaps, some sheet music forwardedor a half set promised- all withunfailing gentleness and courtesy.He was a busy man with callersalmost every night, his lunch on a Sundayin Ballybough and afterwards,Crake Park; .32For his Mass in the church of Christthe King, Cabra, he had three uilleannpipers and again in Ballivor wheremore were to hand to play by the graveside. Peter Maguire spoke of his immensecontribution to uilleann piping.He will be mourned not just by hisfamily but by uilleann pipers everywhere.In a special way, he will bemourned by his next door neighbours,Tom Meehan and his wife with whomhe shared so much. Indeed, the musicaltalent of this family is a further tributeto this wonderful man. And what of hislegacy? We see it in the many youngpipers, the pipe-m&kers up and downthe country, the Eigse , the Tion61, theSummer schools, exhibitions like thoseof pipes and piping and more recently,the reopening of the music room in ournational Museum with its beautiful collectionof uilleann pipes.

talented young mUSICIan and that hehad such an extensive repertoire oftunes as Paddy was a traditional fiddlerin the very real sense of that word. Itwas in his blood, as one of the localpeople remarked to me when we werediscussing Paddy's father: "music wasalmost a second religion with him".The playing of music was then, indeed,a 'family tradition as the grand-uncle ofPaddy's was also a noted musician whoplayed with the Muff fife-and-drumband in the closing years of the last century;Muff is a townland in the neighbouringparish of Kill but bordering onCorragarry. Paddy's father himselfplayed with a group of local musiciansat concerts, dances, etc. in his nativearea. A strong tradition of traditionalmusic seems to have lingered on in thisarea after it had died out in many otherplaces because as Ant6in MacGabhannhas pointed out in his article on Edward .V. Reavy in the 1981 edition of thatfme magazine "The Heart of Breifne"this noted Irish-American musician andone of the few composers of traditionalmusic in this century, was born in 1898in the townland of Barnagrow which isin the parish of Drumgoon just a. f~wmiles distant from Corragarry. It IS m­teresting and encouraging to note thatthat love of traditional music, fosteredby Comhaltas Ceolt6iri, still flourishesin the district and many of you haveheard , for example, at All-Ireland orUlster Fleadhanna Cheoil the Tackneychildren or Niall O'Donohoe.Incidentally, Paddy's father was bo~in Belfast but when he was about SIXyears of age he returned to live with anaunt in the townland of Corfad which isactually in the parish of Kill but just onthe borders of Drumgoon. Paddy'sfather, to use the local dialect, "workedon the roads" with Cavan County Counciland Paddy himself was lucky enoughto obtain employment of that typewhen he reached manhood. However,after some years at "this work he becamevery seriously ill and after his recoveryhe secured a position as a male attendantat St. Felim's Hospital in Cavantown, a position which he held fortwenty seven years until his retirementsome months before his death. That hewas immensely popular with his fellowworkers was very evident both at the. removal of the remains, at the RequiemMass and at the internment in Killygarrycemetery where, w~th members ofComhaltas Ceolt6iri Eireann, theyformed impressive guards of honour. . Imight mention also that thanks is due tothe Cathedral authorities who planned abeautiful Requiem Mass for Paddy withlovely traditional music being played atappropriate times. You see all lovedThe late PADDY McENTEE receiving hisTeacher's Diploma from the Minister forEducation MR. JOHN WILSON, T.D.him. At the internment in Killygarrycemetery, many of his friends were onthe verge cif tears: we all realised thatwe were burying a great man who couldnot ever dream of injuring or insultinganybody.Naturally Paddy joined ComhaltasCeolt6iri Eireann as soon as it was foundedin 1951. He helped Dr. Galligan, gondeanai Dia maith d6 , who was one offounders and who was President of theAssociation for some. years, to establishit in County C,avan because its idealswere those which were close to his ownheart. He soon became a well-knownfigure all over the county playing atconcerts, at ceilithe, at impromptuseisiuin etc. Also , of course, he neverlost his love for the 'Irish language andwhen Seamus de Faoite started his dancingclasses in the sixties in Cavan townPaddy naturally was asked to supply themusic and those of us who attendedthose wonderfully pleasant gatheringswill never forget Paddy and his playingorindeed will ' we forget Seamus deFaoite either! Paddy not merely knewthe tunes required but he also under- ,stood the dancing, because whether itwas for some simple dance such asBallai Luimni or a much more intricateone such as Na Tri Foinn, the tempoand rhythm were always correct. Asyou all know it is not always the mostaccomplished musician who can playbest for dancing. For example, when Iwas teaching ceili dancing to myCumann Gaelach members in St.Aidan's Comprehensive school I had difficultyin getting tapes or records whichwere suitable so I went to Paddy and hemade a tape for me which was just idealfor my purpose. The only time I nearly30fell out with him was when I tried topay him for it! Paddy was a grand fiddlerbut, above all, he could playdelightfully for dancing. (I might mentionas a kind of an aside here that Ihope that my Contae Mhuineachainfriends appreciate having Bri Ni Dhonnaileto play for their competitions.)Although Paddy McEntee was a grandtraditional player of the fiddle he was aperfectionist by nature and so he, whohad really so little to learn, was a memberof the first group who were awardedthe T.T.C.T.- Teastas i dTeagasc CeoltaTire. For Paddy everything had to beperfect- he was always anxious and willingto learn.For a variety of reasons ComhaltasCeolt6iri Eireann lost its initial impetusin County Cavan in the sixties but in theseventies people interested in preservingand fostering Irish music reorganisedit and on the 14th December, 1978,Paddy McEntee was elected countychairman, a post which he held until hislamented death. He was a perfect chairmanbecause (i) he could control ameeting without hurting anybody'sfeelings and never tolerating personalityclashes ; (ii) he was obviously so enthusiastichimself that he was able to transmitthis enthusiasm to others; (iii)everybody knew that he was atremendously hard worker himself andthat he was merely asking them to dowhat he himself was doing- workinghard to spread a love of our nativemusic among the new generation; (iv)everybody could see also that he neversought publicity or acclaim for himself.As far as he was concerned- just get thework done and it did not matter whogot the praise or credit. F~om 1978 on,then, Comhaltas Ceolt6iri Eireann flourshedin County Cavan and it was,indeed, inspiring to attend the countyfleadhanna and to see the hundreds ofyoung people who had entered for the.;] ~o us competitions, or even betterstill, to see and to hear the impromptuseisiuin of music with people of all agestaking part. Paddy did, indeed, with thehelp of his loyal assistants, put Comhaltason its feet again in the county. Thatwas all he ever asked for- that ournative music which he had learned as ayoungster at his father's knee and whichat that time seemed destined to die wasvalued by everybody- except, of course,the infamous Arts Council! Padraig MacAn tSaoi is dead but his influence stillremains strong in County Cavan and enthusiasticworkers are still veryeffectively carrying on the good work.Ar dheis - laimh De go raibh se.Focal scoir Paddy was fortunate inthat he was married to a lovely ladywho had a similar love of Irish music

BOGUSBLUNDEROn the 28 August the "EveningPress" retracted a story which they hadpublished in a previous edition andwhich was based on a bogus phone call.It seems that the phantom caller was"out to get Comhaltas" but the tableswere soon turned on him through thequick action of Pat Sweeney of Manchester.The following is the "EveningPress" retraction:MUSICIANS 'TREATED. VERY WELL'A group of traditional musicians whowere forced to spend an extra night hereafter a traffic accident on their wayhome to England have paid tribute toComhaltas Ceolt6iri Eireann for providingfood and accommodation.The 53 musicians were travellinghome from the all-Ireland fleadh cheoilat Listowel when their bus struck abridge over a flooded river at Portlaoise,on Monday night. They arrived at.Culturlann, the CCE headquarters inMonkstown, Co. Dublin, at midnightand stayed there overnight.Their Donegal-born spokesman, PatSweeney said "The staff -at headquartershave been most helpful and havegone out of their way to make uscomfortable."When we arrived at midnight wewere met by the manager, JohnMcCracken, who put on a huge log fire,provided us with a meal and drinks andmade us as comfortable as possible. Thefollowing day we were given a firstclassbreakfast, a lovely lunch and tea".Mr. Sweeney said that a minibus wasordered to take them to the boat andthe CCE national director, Mr. Labhnisb MurchU ordered that they should beprovided with free hotel accommodationif the boat did not sail.Mr. Sweeney said that a report inTuesday's Evening Press expressing concernof the group's treatment wasincorrect. The caller purporting to beMr. Sweeney, on whose claims thereport was based, was bogus, he said.FRANCIE McPEAKETomas b CanainnIt was in the early fifties that I firstmet Francie McPeake in Belfast. Fourof us used to play for a Sunday-nightceili in Cumann Chluain Ard - Francie,his fathe\", his brother James and myself.Seamus 0 Mealliin was Fear a' Ti, controllingdancing, music and song to thehighest standard.My abiding memories of Francie areof his humour, his gentleness and of hispoetic playing of Irish airs on theuilleann pipes. He visited us often inCork and would keep us laughing longinto the night, enjoying his power overus.I was at the Welsh Eisteddfod inLlangollen thirty years ago, when theMcPeake family trio, with two pipes anda harp, stopped the show and took firstprize from the folk-musicians of theworld.It had all started with his father -'Me Da' - who had been patronised byFrancis J oseph Biggar in the early yearsof the century. It was Biggar who convertedthe young flute-player to apiper- even buying for him a prize setof pipes from the Belfast maker,O'Mealy. As if that were not enough,he paid a Galway piper, blind O'Reilly,to come to Belfast and teach him. Atone of the music soirees in Biggar'shouse , old Francie played for RogerCasement, who gave him a sovereignthefirst he had ever seen. His fatherpassed his piping on to Francie and ithas now gone into his family and intotheir families too.We have seen and heard four McPeake generations, though the secondbegan to slip away from us whenFrancie died on the seventh of July.I have written this poem for him.IN MEMORIAM FRANCIEMcPEAKEd.7.7.'86That talk of the perfectSet of pipes you'd turnOn the garage latheIn Theodore Street is finished.The "Coolin" has goneFrom fingers that felt the pulseOf reels O'Mealy taughtYour father to playIn Biggar's for Casement,Who paid him in royal gold:A story told between tunesIn Springview, where IWas strapped into pipesAnd took from you much moreThan piping. How can ICondone your goingInto a place that diminishes;Whose shuttered doors,Will try to hide Llangollen,Where I saw you, Francie,Bewitch the crowdedEisteddfod with airsThat you inhabit still,Whoever plays the tune.UILLEANN PIPER WEDSEamonn . Lane of 39 CherryfieldRoad, Walkinstown, was married recentlyto Una Crowley .of 24 AshingtonAve., Navan Road, Dublin. Thewedding was in the Iona Road Churchand Fr. Roy Donovan, C.C., officiated.Miirin de Brun sang at the Mass accompaniedby Emir and Etna O'Connor andAidan Clancy. The Reception was atHowth Lodge Hotel and theHoneymoon was in Cyprus.Eamonn is one of the youngergeneration of uilleann pipers to comefrom the Cumann na bPiobairi Branch28.UNA and EAMONN LANE photographedwithFR. ROY DONOVAN.of Comhaltas and his father Ernie is astalwart of that Branch.

TRIBUIE TO A GREAT PRIEST ANDIRISHMANFriday, June 20th was the eve of theGolden Jubilee of the late CanonPatrick O'Meara, Spiritual Director ofthe Irish Centre and President of theLeeds Branch of CCE and former curateof Normanton and Parish Priest of theHoly Rosary, Leeds, covering a periodfrom 1936- 1985. Earlier in the weekthe Committee and Staff of the IrishCentre with committee and members ofthe Leeds Comhaltas witnessed the blessingof the lounge and dedication to thelate Canon by Rev. Fr. Eugene Murtagh,the newly appointed Spiritual Directorto the Centre.On the eve of his Jubilee, concelebratedMass was offered up for the Canonby his life long friend and fellow collegestudent, Canon James Farrell, P.P., St.Patrick's Leeds, assisted by Mgr. GerardSpellman, Canon Donal Stretch, Rev.Fr. Euguene Murtagh, Fr. Patrick J .O'Keefe from Normanton and Fr.Michael McQuinn from the Holy RosaryParish. There were many other priestsamongst the congregation and alsoSisters from many orders. The choirand altar servers were from the HolyRosary, and readers during the Masswere the Canon's cousin, Rose Malone,who travelled over from Australia andthe Manager of the Irish Centre, Mr. T.McLoughlin. The music from the lateSean b Riada Mass was played by themusicians from the Leeds Branch ofComhaltas.When the Mass was over, the plaquewas unveiled by Mr. Frank Scargal, theman who designed and made it.Then began the social events of theevening and the Leeds CCE Junior Bandset the evening off to a lively start with'The Walls of Limerick', which encouragedsome equally lively dancing. TheLeeds Senior Ceili Band were next onthe stage and with dancing from theJackson, Torley and the Joyce andO'Donnell Schools of Dancing and singersfrom Normanton and the HolyRosary Parishes, the evening proved tobe a huge success.The plaque is now left on display inthe O'Meara Lounge at the Irish Centrein Leeds and it depicts, as seen here,the four provinces - Ulster, Munster,Leinster and Connacht - an AbbeyMR FRANK SCARGAL holding the Plaquefrom each of these provinces is depictedalso and a violin, which was the instrumentthat Canon O'Meara used to play.The dates 1969 to 1985 , displayed on26the plaque, are the years the Canon wasSpiritual Director to the Leeds IrishCentre and President of the LeedsBranch of CCE.May He Rest In Peace.M. FEAN

SEOSAMH O'hEANAI REMEMBEREDBy Peadar 0 : Maolain with DennisDoyleThis year, the Irish Tradition Committeein coordination with .!he Boardof Directors of the Irish Fair havedecided to name and dedicate the traditionalwing of the 11 th Annual LosAngeles Grand National Irish Fair inhonour of the late great Irish traditionalsinger, seanachie and poet, J oe Heaneyof Ard Carna, Connemara, Ireland.J oe died in May 1984, in Seattlewhere he has lived since 1982. He was aVisiting Artiste at the University ofWashington, where he taught up to hisfinal illness in 1984. As a child, I rememberJ oe coming to ceilis in our. house in Ardmore, singing song aftersong when the dancers were not knockingsparks from the concrete floor,doing their half sets to the music of mymother, who filled in until ThomasCanavan and his brother Pat arrived tosupply the lively music that lasted mostoften until the crack of dawn. I saw Joeseveral times later, when both of us hadreturned to Ireland on holidays. I nowwish I had engaged him in conversationwhen I used to see him in Connemarasitting quietly and sipping a creamypint.In an odd way, I have come to knowhim better after his death. I May 1985,I was travelling to Seattle, Washington,with the Celtic group"Sheila No Gig" .While in Seattle, we visited the Universityof Washington, and had the goodfortune of meeting Sean Williams andJill Linzee, who work at the EthnomusicologyArchives in the School ofMusic. To my surprise, Sean and Jillhad put together an extensive collectionof J oe's stories and songs, numberingmore than 500, a tall task for anyone.J oe won first and second prizesinging the "Sean N6s" competition inDublin at the age of twenty. Like mostIrishmen, he spent some years inLondon, before coming to America atthe .invitatiorrof the Newport Folk Festivalirt 1965 . He eventually performedat every major North American folkfestival.He taught for several years at WesleyanUniversity and in 1977, SouthwesternMassachusetts University bestowedtheir annual " Eisteddfad" Award on Joeat their Festival of Traditional Music.Years later, after moving to Seattle,Joe was honoured with a National Endownmentfor the Arts fellowship, -the only non-American out of the fifteenso honoured. With the help of theNational Endownment for the Arts andthe Washington State Arts COmmission,Joe was able to perform and teachGaelic to people in communities outsideof the University of Washington.Not bad for a "fear as Connemara" (aman from Connemara).It is a tribute to J oe's artistry andimportance to Irish culture, that whenhe died, Celtic musicians from all overthe world, (inclUding the Chieftains),gathered in the small town in CountyGalway for the funeral, in the same wayas in ancient times, all the harpers ofthe day would gather at the death of agreat harper.At future Irish Fairs, we intend todedicate the traditional wings to someoneoutstanding who kept the Irishlangauge and authentic Irish culturealive. If you know of anyone for futureFairs, please send a brief history to theIrish Tradition Committee, clo PeadarO'Maolain, 808 Alamitos Ave. , LongBeach, California, 90813 .Go raibh mile maith agaibh.24INSTRUMENT CASES5 Richmond Court,Bandon,Co. Cork.You may be interested to knowthat I will be starting a workshopmaking wooden cases for musical instruments.I have made cases for friends ofmine for their uilleann pipes, PaddyKeenan and Diarmuid Grainger. I alsomade a few accordian cases.For the last six months I have beendoing an AnCO Course and I developedmy woodworking skills. I always wantedto make Instrument cases, havingmet many musicians who could notafford a case. So I would like to makesomething affordable.Uilleann pipe cases are £25 as areaccordian cases. All cases are fittedwith a box lock , are lined and have aleather handle.Micky Harrington

THE DREAM OF A LIFETIMETwenty leading Irish traditional musicians, singers and dancers travelled over20,000 miles to perform at 17 concerts in the 1986 Comhaltas Concert Tour ofNorth America. The artistes drawn from all over Ireland and Britain were selectedfor the experience of a lifetime which took them to New York, New Haven,Boston, Buffalo, Detroit, Toronto, Ottawa, Saskatoon, St. Albert, Vancouver,San Francico, New Orleans, St. Louis, Kansas City and Chicago.This year Comhaltas announced anew association with Budweiser who areco-operating with the promotion of thislong established prestigious cultural extravaganza.As in previous years, AerLingus were closely assocated with theTour which is also assisted by WaterfordGlass and the Cultural Relations Committeeof the Department of ForeignAffairs.The annual Tour of North America isnow in its 15 th year. Last year Comhaltaswere welected by the EEC and "Council of Europe to represent Irelandwith a European Tour for EuropeanYear of Music. Plans are already underwayfor a Comhaltas Tour of Australiain 1988 as part of that country's bi-centennialcelebrations.The 1986 Tour from September 22to October 14 was presented byCliodhna Dempsey who works with theEuropean Parliament in Luxembourg.Cliodhna who comes "from a wellknown theatrical family was also presenterwith the European Concert Tour.The other artistes included: fiddleplayers Brid Harper (Donegal) andEilish Byme (London); accordeonistsPadraig Moynihan (Kerry) and KevinWebster (preston), uilleann piperEamonn Walsh (Dublin), harpistMairead Ni Chathasaigh (Cork); banjoplayer Gerry Murphy (Limerick); concertinaplayer Francis Droney (Clare);flautist Tommy Guihan (Roscommon);singer Mary Brogan (Wexford); storytellerJohn Cowley (Westmeath);dancers Frieda Gray (Dublin), EdwinaMcGiU (London), Gerard McAuley(London), Francis McDonald (Tipperary)and veteran traditional dancerDenis Gollock (Liverpool). Tour Managerwas John McCracken (Donegal) andsound technicians Anthony McAuleyKilkenny and John McGelligot (Kerry).The Westmeath storyteller JohnCowley writes all his own materialwhich is evocative of Ireland's traditionsand customs - harvest memories,hurling, fairdays, etc.The fast moving and colourful showwas produced by RTt: personalityBreandan () Duill and the group gave aFarewell Concert on Sunday, September21 at Culturlann na ht:ireann prior totheir departure for Kennedy Airport,New York.Some members of the 1986 North AmericanComhaltas Tour Group pictured duringrehearsals in Ireland (I-r) FRANClSMcDONALD (Tipperary); AILlSH BYRNE(London); FRIEDA GRA Y (Dublin);FRANC IS DRONEY (Clare); GERARD McAULEY (Lqndon); JOHN COWLEY (Westmeath);MAIREAD NI CHATHASAIGH(Cork); CLlODHNA DEMPSEY (Luxembourg)and KEVIN WEBSTER (Preston).Some members of the 1986 North AmericanComhaltas Tour Group pictured with theiimascot-the one on the left: -during rehearsalsin Ireland (I-r) MARY BROGAN (Wexford); FRIEDA GRAY (Dublin), JOHNCOWLEY (Westmeath); EAMONN WALSH(Dublin); TOMMY GUIHAN (Roscommon);CqODHNA DEMPSEY (Luxembourg) andBRID HARPER (Donegal).22

BALLYCASTLE FLEADHON BBCIn a sun drenched Ballycastle one ofthe fillest traditional music festivals,Fleadh Amhran agus Rince, was stagedin June. It would be fair to say that theinflux of traditional musicians, singersand dancers who entertained large numbersof enthusiasts for hours, couldcompare favourably with any majorevent of its kind in the country.The atmosphere from the word gowas electric and the glorious weatherplayed no small part in attracting largecrowds who listened intently at theDiamond Platform where an extravaganzaof music, song and dance tookplace.The opening event of Friday eveninggot off to a good start with an. entertainingcaUin peas competition with fmalistsfrom all over the Province. Theadjudicator Mrs. Maire MacAogainfrom Dublin complimented all the corn.petitors and oongratulated the committeeon organising this novel event.Cailin Deas 1986 was declared when shearmounced that this year's winner wasAngela Reid from Trillick, Co. Tyrone.Rurmer-up Ann Marie O'Neill, Rasharkin,3rd place was awarded to Mairead.McMahon, Dunloy. Highlycommended Maire McNiallas, Co.Donegal, Hilary Scott, Co . Derry andFionuala M1,lldoon, Eunis!cillen . Thecompetition was sponsored by the IrishNews and set a festival mood for therest of the weekend. The Irish NewsShield was presented to the fIrst CailinDeas by Mr.. Peter MonteJler, assistanteditor.The official opening was performedby Mr. Petet: Tieroey, Ulster chairmanof CCE. Mr. Labhras b MurchUCashel, Director General of Comhalta~once again thanked the local committeeunder the. direction of chairmanPadraig McCaughan, and secretary Mrs.Jeannie McGrath, for all the hard wqrkwhich is an integral component in themounting of any event.The chairman of MQyle pistrictCouncil, Mr.. Malachy McSparron,welcomed all the Southern musicians,singers and dancers. to Ballycastle aswell as those from aritain. For theremainder of the week-end events ransmoothly with crowds of visitorsMr. & Mrs. PADDY TUNNEY at the Aeadh.(Photo: Caoilnhghin Mac an tntaigh)coming to the town to enjoy some ofthe fInest displays of traditional talentever witnessed in Ballycastle.Also aware of the fine display oftalent was BBC producer Mr. TonyMcAuley a{ld his team who spent manyhours filming the weekend events. McMcAuley spoke highly of the standardof performances throughout the entiretwo days and he was specially delightedwith the cultural parade in whicheleven floats took part from TyroneCCE, Ring of Gullion CCE, South Armagh,l3ellaghy CCE, Dungiven CCE aswell as the local branches from Co .Antrjm and the local Chamber ofCommerce .The Cailin Deas on the Co . Antrimfloat led the parade and providinglaughs all round was the Dl!ngiven CCEentry with Selj.mus O'Kane and the localPoteen makers having a fIeld day. Twodancing schools took part - Carey­McQuigg.an School, and the Made.neOunlop Dancers.MOst tJ;aditional of the flQats was anexcellent flOat from Dunloy and bestdressed from Rasharkin CCE. Cups for20the winning floats were presented byMc Peter Tiemey and the localChamber of Commerce.On Saturday evening music, song anddance continued into the night withmusicians from practically every countyin Ulster as well as the Harper family,Donegal, Seamus MacMathuna andLarry Kinsella from Clare and Wexf~f(.irespectively, to mention but a few.The Singing Workshops were led bySeamus MacMathuna, Paddy Tunney,Seamus 0 BaoiU, Jirn Mcf'arland, BrianMqUan, lIelen Curran Glasgow, originallyDungloe to mention but a few.A hard working Ceili Committeefrom head office organised the dancingcompetitions led by Bllly Boylan,Jimmy Brennan and Nora O'Sullivan.The adjuidicators for the weekendwere Maire MacAogain, P~b1in , M~rt~Bolger, RoscommOn, Uarn Suckley,Ballybunion, .6reda Hession, Ballinasloe,Tony McNulty, Balbriggan.Junior Dance winners - 4 Hand.1. Grianan CCE, Derry; (2) Carey, Ballycastle;CD Clonduff, Co . Down.8 Hand- (1) Grianan CCE; (2) Clonduff;(3) Carey.Junior Set Dance- 0) Pride of Erin,Warrenpoint (2) Clonduff.

DONNCHADH BAN,0, is ar na mbaile seo sea chonaic me an t-ionadhAr Dhonnchadh Ban bocht is e dha dhaoradhBhi caipin ban air in rut a hat a .Agus roipin cnrube in rut a charabhata.Agus ta me 'tiocht ar feadh na hoicheMar 'bheadh uainin imeasc seilbh mhor caorachMo bhrollach oscailte's mo cheann Horn scaoilteIs ca bhfaighinn mo dhriothairin 'rornham ach sinteb chaoin me an chead dreas ag gob an lochaAn dara dreas ag bun na croicheAn triu dreas os cionn do choirp-seI measc na nGall is mo cheann dha scoilteadhDa mbeithfea agam san rut ar chOir dhuit,Thios i Sligeach no i mBaile an Roba,Bhrisfi an chroch agus ghearrfai'n ropaIs Hgfi Donnchadh Ban abhaile ar an eolas6, is a Dhonnchad.· Bhain Bhocht, a dhroithairin dilisI maith ata fhios a'm-sa ceard a bhain diom thUAg 01 an chupciin is a' deargadh an phiopaIs ag siul na druchta le ciuine na hoiche.A Mhic Ui Mhulthrun! na raibh do chlann mhac le cheileN~ do ,chlann inion ag iarraidh spre ort!Ta dha cheann an bhoird folamh, is an t-udar liontaIs Donnchadh Ban, mo dhroithairin, sinte.Is ta spre Dhonnchadh Bhain ag tiocht abhaileIs ni ba, caoirigh, e na capaillAch tobac is piopai 'gus coinnle gealaIs ni dha rnhaiochtail 6 ag Iucht an chaithimh.BILLY HYRNE OF BALLYMANUSCome all you brave United Men, I pray you lend an earAnd listen to these verses few I now willlel you hearConcerning noble Billy Byrne, a man of high renownWho was tried and hanged al Wicklow town, a traitor to the Crown.It was in the year of ninety-eight, we got reason 10 complainWe lost our brave commander, Billy Byrne was his nameHe was taken to Dublin city and brought to Wicklow JailAnd though we wished to free him, for him they'd take no bail.When he was taken prisoner the 101 against him sworeThat he a Captain's title upon Mount Pleasant bore,Before the King's grand army his men he did reviewAnd with a piece of cannon marched 011 for Carrigue.And when the trial was started the· infomH' rs they came inThere was Down, Doyle and Davis and likewise Bid DoolinThey thought it little scrup1e his precious blood to spoilWho never robbed nor murdered nor to any man did ill .It would melt your heart with pity how these traitors did explainThat Byrne worked the cannon on Arklow's bloody plain,They swore he worked the cannon and headed the pikemen,And near the town of Gorey killed three loyal Orangeman.They swore he had ten thousand men all ready at his command,All ready for to back the French as soon as they would land,They swore he was committed to support the United ·cause,The Judge he cried out: "Guilty", to be hanged by coercion laws.One of those prosecutors, I often heard him tell,It was at his father's table he was often treated well,And in his brother's kitchen where many did he see,The Byrnes were well rewarded for their civility.Success to Billy Byrne! may his name forever shine,Through Wicklow, Wexford and Kildare and all along the line,May the Lord have mercy on his soul and all such souls as he,Who stood upright for Ireland's cause and died for liberty.St. Patrick's Night: a popular tune overthe last couple of years.When (you're) sick, is it tea you want?an old but still popular Jig.John Whelan's Reel: Seamus got thisone from Karen Tweed.Phi! Cunningham's Reel: also fromKaren Tweed. Phi! Cunningham is anaccordeon player from Edinburgh.Donnchadh Ban: Be Darach 6 Cathliina chuala muid ag casadh an Ieagain seo . Isbrea an t-arnhran e, agus ta an-rnhothu sacheoI agus sa bhfLiiocht.Billy Byrne of Ballyri13nus, near Rathdrumin Co. Wicklow was a well-lovedand respected figure in his native county.A member of the United Irishmen, he wasbetrayed after the '98 Rising and executedby the Crown in Wicklow town.)~d.

JOHN WHELAN'S REELPHIL CUNNINGHAM'S REEL,•

MELODEONFaoi 121 st. Alan Costello, Tipperary.2nd. Sean MacGabhann, Meath.3rd.John O'Su!livan, Kerry: '12-151st. Tim O'Su!livan, Kerry.2nd. Mary Henry, Mayo.3rd. Colette O'Loughlin, Mayo .15-181st. Mary Reidy, Kerry.2nd. John Bass, Wexford.3rd. Raymond Doyle, Wexford.OVER 181 st. Caroline Judge, St. Albans, Herts.2nd. John Bass, Wexford.3rd. J erry 0' Su!livan, Limerick.BODHRANFaoi 121st. John Joe Kelly, Manchester.2nd. Liam McCormack, Westmeath.3rd. Kevin Doherty, Donegal.12-151st. Patricia Harper, Donegal.2nd. Caoimhin 0 Murchu, Limerick.3rd. David Fitzpatrick, Wexford.15-181st. Verena Commins, Coventry.2nd. Matthew McA!lister, Antrim.3rd. Denis Fitzpatrick, Wexford.OVER 181st. Fabian 0 Murchu, Cork.2nd. Damien Quinn, Kildare.3rd. Mark Maguire, Glasgow.NEWLY COMPOSED BALLADS1st. John Kennedy, Antrim.2nd. Micheal Carr, Kerry.3rd. Myles J. O'Reilly, Wexford.CNUASACHT DE CEOL RINCE1 st. Fiona Walsh, Sligo.CNUASACHT DE AMHRAIN TUAlTHE1 st. Pat Bro snan, Limerick.2nd Daithi 0 Riordain, Limerick.3rd. Michael Rafferty, Galway.JlMMY KEOGH MEMORIAL SETCOMPETITION1st. Muintir Connaught, Cavan.2nd. Carrickcruppin, Armagh.3rd. Ballybunion, Kerry.COMHRA GAEILGEFaoil01st. Fiona Ni Chonchubhair, Kerry.2nd. Deirdr,'l Ni Dhubhlaoich, Offaly.3rd. Lisa Ni Choisdealbha, Tipperary,Faoi 131st. Ruairi 0 Conchubhair, Kerry .2nd. Tiarna 0 Dincin, Monaghan.3rd. Diarmuid 0 Cathasaigh, Cork.Faoi 151st. Colma Nic Nialluis, Donegal.2nd. Noirin Ni Chorcora, Kerry.3rd. Fiona Ni Loinsigh, Laois.Faoi 181st. Maire Nic Nialluis, Donegal.2nd. Sean 0 hAdhrnail, Tyrone.3rd. MichealO hEineachain, Mayo .AMHRAIN-FIRFaoi 121st. Padraig McNulty, Mayo .2nd. Michael 'O Runai, Monaghan.3rd. Eamonn Doorley, DUblin.12-151 st. Padraig Breathnach, Listowel.2nd. Brian Murphy, Mayo .3rd. Diarmuid 0 Cathasaigh, Cork.15-181st. Liam MacTreinir, Monaghan.2nd. Michael Heneghan, Mayo.3rd. Barney McLoughlin, Tyrone.OVER 181st. Sean MacCraith, Waterford.2nd. Lillis 0 Laoire, Donegal.3rd. Colm MacConfhaola, Wexford.BALLADS-LADIESFaoi 121st. Aileen O'Connor, Roscommon.2nd. Gill Ni Argain, Cork.3rd. Terry MUrray, Westmeath.12-151st. Dehdre O'Dea; Clare.2nd. Joanna Higgins, Monaghan.3rd. Noreen Howley, Sligo.15-181st. Verena Commins, Coventry.2nd. Sile Morgan, Offaly.3rd. Dympna Gaffney, Roscommon.OVER 181st. Rose Daly, Offaly.2nd. Mattina Ryle, Tralee.3rd. Eileen Curtin, Limerick.BALLADS-MENFaoi 121st. CathalO Conaill, Cork.2nd. Michael Rooney, Monaghan.3rd. Glen Connolly, Wembley.12-151st. Padraig Walshe, Kerry.2nd. Declan Grant, Donegal.3rd. Brian Mur,phy, Mayo .15-181st. Brendan Coleman, Leicester.2nd. Liam Treanor, Monaghan.3rd. Brian Carr, Kerry.OVER 181st. Donie Nolan, Limerick.2nd. Philip Enright, Limerick.3rd. John Furlong, Wexford.WHISTLINGFaoi121st. Paul Forsythe, London.2nd. Deirdre Newell, Galway.3rd. Richard Hayes, Wexford.12-151st. MichaelO Gliasain, Cork.2nd. Alan O'Dwyer, Wexford.3rd. Mary O'Loughlin, Clare.15-181st. Mark McIvor, Luton.2nd. Maeve Geraghty, Mayo .3rd. Marty Keane, Wexford.OVER 181 st. M. J. 0 ' Reilly, Wexford.2nd. Paddy O'Donnell, Galway.3rd. Paddy Rafferty, Galway.LILTINGFaoi 121st. Caitriona Staunton, Wexford.2nd. John Joe Kelly, Manchester.2rd. Breda MUrphy, Wexford.1812-151 st. Grace Kelly, Manchester.2nd. Brenda McCann, Fermanagh.3rd. Adrian McKenna, Derry.15-181 st. Brendan Coleman, Leicester.2nd. Maeve Geraghty, Mayo.3rd. Sharon Ni Argain, Cork.OVER 181 st. Eileen Curtin, Limerick.2nd. M. J. 0' Reilly, Wexford.3rd. Padd y Rafferty, Gaway.AMHRAN NUA-CHEAPTHA1st. MichealO Maranainn, Waterford,2nd. Colm MacConfhaola, Wexford.ROGHA GHLEASFaoi121st. Marcus Maloney, Limerick.2nd. John Morrow, Leitrim.3rd. Timothy Martin, Manchester.12-151st. Barry Kennedy, Luton.2nd. Tara McBride, Louth.3rd. Liam Duggan, Galway.15-181st. Sean 0 Lorchain, Limerick .2nd. Geraldine McNuIty, Mayo .3rd . Enda Dooley, Wexford.OVER 181st. Colman Nugent, Waterford.2nd. Annette Caulfield, Luton.3rd. Noel WheIton, London.WARPIPESFaoi121st. Desmond Smyth, Armagh.'2nd. Seosamh 0 Fiaich, Limerick.3rd, Catherine Morrison, Cork.12-151 st. Michelle Minogue, Northolt.2nd. Sean 0 Fiaich, Limerick.3rd. C. Lennon, Armagh.15-181 st. Dolores O'Neill, Laois.2nd. Seamus Morrison, Cork.OVER 181st. Seamus 0 Fiaich, Limerick.DRUMMINGFaoi 121 st. Martin Ely, Lu ton.2nd. Brendan Meaney, Clare.3rd. lames Murphy, Wexford.12-15I st. Michael Sheridan, Sligo.2nd. Sean McGinley, Glasgow.3rd. Earilonn Heffernan, Antrim.15-181st. Aiden Bourke, London.2nd. Colin McKenna, Manchester.3rd. Denis Fitzpatrick, Wexford.OVER 181st. Mark McGuire, Glasgow.2nd. Pat McGuire, Luton.3rd. Seamus Webster, Kilkenny.FIDDLE SLOW AIRSFaoi 121st. Gearoid MacRuairi, Donegal.2nd. Stephen O'Kelly, Dublin.3rd. Catriona Duggan, Galway.

Fir (agus mm!!) ag obair.The Thatch O~ili Band of London playingtheir way to victory.YOUR VISION OF "KEASHUREEN"!The tired old piper scrambledthrough an opening in a hawthornhedge. He found a cosy spot and laydown. He was staring at the clear blue,lark-drenched Irish sky, when the localgamekeeper approached him. Thegamekeeper immediately recognised thelife-long entertainer and invited himover to his place, where he could rest ina real bed and have some refreshments."I am, indeed, very grateful for yourkind offer", replied the piper. "However,if I was to accept your offer itwould mean I'd miss out on a fascinatingdream?" aSked the game-keeper."It's like this", replied the piper,"whenever I sleep in the open I invariablydream of a session of music, songand dance in a strange environment,beyond the western horizon. It's aplace from which souls are reputed tohave returned to their bodies if theKeener's lam~t had started beforethey'd reached there. It's a place calledKeashureen, and it's symbolic of Irishculture in general.""Very well," said the gamekeeper,"I'll leave you to your pleasant dream.However, I will return later, with somerefreshments." The gamekeeper retur-16ned later, as promised. He found thepiper fast asleep - or, was he?My vision of "Keashureen" I intendto keep secret. Scoraiocht Producersare highly creative people. It would beinteresting to learn what their visions of"Keashureen" would be.BERNARD DWYERLeeds Comhaltas Branch.

Ceim no dho ag an bhFleadh.Ardchlaraitheoir SEAMUS MacAMHLAOIDHchecking the trophies in the backroom.CLIODHNA DEMPSEY, PEADAR b RIADAand TONY McMAHON at work in Listowel.A Box solo in ListowelLuxembourg bound: The JUDGE Duet ofLondon, winners of the Senior DuetChampionship at the Fleadh, who will beguests of the Luxembourg CCE Branch.A QUIET CORNER: TOMAS b CANAINNand MICK TUBRIDY.14

daughter, Rosemary. She made severalappearances with her father in concertsand on television. Perhaps it was herclose association with talented artistesin the top echelon that gave her afeeling of being overshadowed in thetraditional scene and caused her to seeka career in a more creative form of art.It was towards this end that she joinedthe Grafton Academy in Dublin tostudy dress designing and graduatedwith honours.When Hugh and his wife, May, returnedto Donegal in 1964 he irrunediatelylaunched himself into the revival of tra- .ditional music, then initiated by ComhaltasCeolt6iri. He joined the CrossroadsBranch and was elected chairman.One of his ftrst acts was to take a youngmusician, Frank Kelly, under his wing.History was repeating itself. His protegewent on to become All-Ireland. champion.Hugh has spent a lifetime promotingtraditional music, fostering a love of aculture that bonds exiles together inevery country in the world. Today, atthe venerable age of eighty he is still,thankfully, very much to the fore.BOGBUTIEREamonn b hArgainHaving spent some time working Inthe bog in Lixnaw during the year, itbrought to mind the various fmdingsthat were made and more than likely arestill being made in the bogs that are soplentiful around this country of ours.But I suppose one rarely fmds anythingstranger than a substance which isknown as "bog butter".While we cannot claim it as altogetherof Milesian origin, it is to a certainextent "ours" as the preponderatingnumber of fmds recorded are obtainedin this country. The National Museumin Dublin showed me a fme specimen ofthis ancient butter which was discoveredduring the past century by people engagedin turf-cutting. The bog butterwas dug out of banks that appearedcomposed of firm bog from considerabledepths beneath the present surfaceof the ground, such as ten, ftfteen oreven eighteen feet deep.Needless to say, this practice has passedinto oblivion and cannot be rememberedeven by the people of two generationsago. It is interesting that such acustom was~ alSo carried cmf in placeslike Scotland and Iceland. The Icelandiccustom may date from those ageswhen Irish missionary priests and wanderinglaymen kept in close contact betweenboth countries; they were regularlyexchanging ideas and no doubt discussedtheir ideas on butter and butterpreservation.The custom of burying butter in bogsis of considerable interest, though it hasnever received the study that the questionsraised deserve. The two main problemsassociated with "bog-butter" arethose of dating and origin. Interestinglyenough, the main belt of fmds lies aiongthe bogs of the south-ern midlands, witha secondary group in the west. Onlycomparatively few fmds have beenreported from the north and none fromDonegal. The period of origin of the. custom is so far u.nknown but the know­-ledge of butter-making must go back along way. in man's economy; or it maybe assumed that the making of cheesewas also known at an early period. Asa reason for the practice, varioustheories may be suggested, namely thatit was buried for preservation until theannual periods of shortage, in otherwords, that it was the· old equivalent ofmodern cold stora'ge . It may have beenburied in order to acquire a taste, or itmay have been' an offering, possibly to"Goibniu", the patron saint of "buttermaking".The idea that butter wasburied to acquire a taste, is a goodone. When the butter was made it hada garlic taste which :was caused by thewild garlic which was eaten by the cattle.Burying it in the bog gave it a sweettaste.As late as this century, the practiceof throwing butter into a lake in thanksgivingfor healing the cows or horses arestill being done in parts of the country,so the idea that the custom had a semireligioussigniftcanceis also woirqlooking at.We will never know when the custombegan, unless someone fmds a specimenwith a date on it. One fmd had such adate. The fmd was made in TirnakillBog, in County Galway, and it wasdated 1798, and another finding wasdated 1680.The speciments of Irish bog buttercan be divided into two differentclasses, dependent on the manner inwhich it was packed by its owners. Onevariety is contained in hollow vessels ofwood, while the second variety is madeup into various- shaped masses of12irregular form. These are usually surroundedby a layer of moss and sometimeswith linen cloth. They usuallymeasure 15 inches in length and 10inches in breadth and height, while thelatter might weigh 30 lbs to 40 lbs.Of course , the methods of buttermakingwere much different in thosedays. It was a woman'sjob to make thebutter and they used a bag made fromthe skin of a cow. This bag, which Ihave failed to fmd a name for, was sewntogether and the milk was then pouredin. It was then kneaded, shaken andtossed around until the liquid becamesolid. After being put into the ferkinsor casks, it was boiled and only thenwas it ready for insertion into the bog.When it was taken from the bog in sixmonths to a year or whenever it was requiredfor eating, it was cut into bricklikeshapes with two wooden spatulas.The spatUlas had the seal of a cross onthem to vanish any unwanted spiritsthat might have possessed the butterduring its term in the bog. People usedto believe in those times that the evilspirits used to take the goodness fromthe butter and the crosses in the spatulaswas a kind of protection from them.This pise6g goes back to the fourteenthcentury and a prayer was often said tothe aforementioned "Goibniu", whdwas said to be the patron saint ofbutter-making.In the library of the Royal IrishAcademy in Dublin, there is a paper bythe late Sir William Wilde. In it, hementions that Sir William Petty, in hisenumeration of different articles offood used by the Irish, describes"Butter made rancid by keeping inbogs" and refers also to the " IrishH~dibras" where we read of "Butter toeat with their hog, was seven yearsburied in a bog".

THE GILLESPIE LEGENDJ oe McGarrigleIf Hugh Gillespie's fiddle playing is out of this world it could well be because heheard fairy music when he was a young boy tending sheep on his uncle's farm in aremote countryside near Brockagh. "I could hear the most beautiful fiddlingcoming from a wee knowe and I listened spellbound. Then I crawled over to seewho was playing and there was nobody there", he told me. When Hugh ran homeand told his uncle of his experience he was told "it was the fairies you heard andyou have been touched by it" . Well whatever the source of Hugh's great talent hecertainly has the power to hold an audience spellbound when he performs.Perhaps perform is not the rightword to use in this context for HughGillespie when he is playing is totallyunaware of those around him; he iscompletely engulfed in a world wherehis music is an expression of his culture,his sensitivity, his absolute involvement ·with an inborn tradition. It must havebeen these qualities that attracted thegreat Michael Coleman to him early intheir acquaintance and made him decideto take Hugh under his wing.Hugh Gillespie was born in Drennanin Ballybofey, 80 years ago . When hewas only three years old he was takenon an outing to see his grandfather,Hugh McElwee who lived in Brockagh.That visit was to be a long one for Hughfor he was to stay there, go to school inthe district, and live with his grandfatheruntil he emigrated to the Statesalmost twenty years later. He got hisfust lesson on the fiddle when he wasonly seven years old "my cousin EddieMcMonagle who was working in Scotlandbrought home a fiddle with himwhen he came on holidays and it wasmy plaything from that moment".He obviously treated it as more thanjust a plaything for in a short time hewas actually playing for dancers incountry house "big nights". "I mustadmit that I only had two or three tunesand I kept playing these all night" . Ijust changed the tempo to suit thedance", he explained.In his early years life was uneventfulin the remote mountain area in whichhe lived : Sheep farming, attendingfairs, and following the usual pattern ofrural life in those days. His fringe involvementwith politics while he wasstill at school was perhaps the onlybreak in this pattern. Being called onto deliver important messages to "boys"on the run gave him an importance thathis other schoolmates did not enjoy,and there was a certain spice of adventurein it too. When he grew older hebecame much more involved in the fightfor independence when he became amember of the I.R.A.He recalls with some humour anoccasion when he was delivering arms toa local unit and he had to pass througha village where there was often a spotcheckby the Tans ~ He sought the helpof a local fish pedlar and they loadedthe arms ID boxes and placed a layer offish over them. They then wentthrough the village calling out "FreshFish" , presumably offering their waresfor sale. In this way they were able topass the road block because the fishdealer was a well known character.In 1928 Hugh set sail for America.He sailed on the Athenia from Moville.HUGH GILLESPIE as he looked when he wasentertaining in the U.S.A.On board he met a man from Derry whohad been a member of a flying columnand often stayed in Hugh's area. Theybecame companions on the trip. Whenthe ship put into Hailfax to take on suppliesHugh and his travelling companiondecided to slip ashore for a drink. Theyslipped over the side on a rope ladderdown to the quayside. When they madeenquiries as to the nearest saloon theywere directed to a sheebeen. The drinkwas cheap and the crack was good andso time slipped by. It was several hourslater when they returned to the ship.They found that it was much easier toget off the ship undetected than getaboard again. They were refused permissionto board and it was only aftermuch haggling and pleading that theywere eventually allowed to embark.Hugh's arrival in the States coincidedwith the approach of what was to be thecountry's greatest ever economic upheaval.In a matter of months wouldcome the Wall Street crash that broughtfinancial empires crumbling down andthrew millions onto the breadline. Despitethis Hugh with the help of rela-10

The Gift of Music and ProphesyTHE FOLLOWING IS THE TEXT OF THE HOMILY GNEN BY THAT WELL KNOWN SCHOLAR CANON CORKERYAT THE GRANARD HARP FESTN AL MASS IN AUGUST, 1985."It is good to give thanks to Yahwehto play in honour of your name, MostHighto proclaim your love at daybreakand your faithfulness all through thenightto the music of the zither and lyreto the rippling of the harp."(ps. 92 vv. 1-3)These are the opening verses of Psalm22 - which is a Song for the Sabbath.The motif of "to proclaim your love atdaybreak" is a recurrent one all throughthe Old Testament: and, very specifically,in the Book of Revelations, theApocalypse , in the New Testament.Dawn, or daybreak in the Old Testamentis always the symbol of rescue.And, when rescue seems impossible,the symbol of almost despair is that ofthe silent harp. Thomas Moor wasmerely echoing an ancient sentimentwhen he wrote "The Harp that Once,through Tara's halls" , - a sentiment atleast as 0 Id as:"Beside the streams of Babylonwe sat and weptat the memory of Zionleaving our harpshanging on the poplars there"(Ps. 136)But the " rippling of the harp" was alsoto proclaim Yahweh's " faithfulness allthrough the night", and Dawn was toherald the eventual rescue. As twoother psalsms, repeating each otheralmost verbatim, express it:"My heart is ready Godmy heart is readyI mean to sing and play for youawake, my museawake, lyre and harpI mean to wake the Dawn"(ps. 577, 108, 1.2.)The imagery of the harper with hisharp as prophet, or spokesman for God,is almost ,as old as the human race.Genesis tells us that Jubal, "the fatherof them that play upon the harp and or·gans" was only the sixth generationfrom Cain. In The First Book ofSamuel, he tells Saul: " thou shalt meeta company of pr9phets coming downfrom the high place,with a psaltery anda timbrel and ~ pipe and a harp beforethem; and they shall be prophesying."Later, when Saul himself became mentallydisturbed, he was recommended to~rnploy the harper destined to be themost famous of all time - David, soneof J esse of Bethlehem, psalmist andKing and ancestor of Our Lord. Andthus early was the therapeutic value ofharp-music recognised."And whenever the spirit from Godtroubled Saul, David took the harp andplayed, then Saul grew calm, andrecovered, and the evil spirit left him."And David, in his old age, setting upstructures for the liturgy to be observedin the great permanent Temple to be'built by his son Solomon ... .. ... .. .."separated for the ministry the sonsof Asaph and of Heman and of J eduthun,to prophesy with harps, and withpsalteries and with cymbals according totheir number serving in their appointedoffices ....... and of J eduthun, the sons ofJ eduthun, Gedaliah, Zeri, J eshainh,Hashabiah and Mattithiah, six, underthe direction of their father J eduthunwho prophesied with a harp "to theglory and praise of Yahweh. In all heappointed 288 instructors in the arts of8chant and church music.In what dJ,'d this prophesying withthe harp consist? The theme ofpraise and joy is predominant 'as is thanksgiving: "Give thanksto Yahweh on the lyre, play tohim on the ten-string harp.(Ps. 32, 2)"I shall rejoice, I shall praise you onthe harp, Yahweh my God." (Ps. Judica43, 5): " Sing to Yahweh in gratitude,play the lyre for our God" (Ps. 147;7):"I will play the harp in your honour,Holy One of Israel" (ps. 71 ): "Sing toYahweh, sing to the music of harps ..... .acclaim Yallweh the King" (Ps. 97):"Praise him with clashing cymbals praisehim with clanging cymbals. Let everythingthat breathes praise Y ahweh." (Ps.150. 3.5): The theme of thanksgivingand praise - of sheer joy, constantlyrecurs; nowhere more exuberantly thanwhen" David and all the house of Israeldanced before Yahweh with all theirmight, singing to the accompaniment oflyres, of harps, tambourines, castanetsand cymbals".(ll Samuel 6,5)But this was no secular seisiun -it was to mark the return of the Ark ofthe Covenant to Jerusalem. Indeed theprophet Isaiah has a strong warningagainst purely secular music (does itsound like parish priests you haveknown?)"Woe to those who from early rm mingchase after strong drinkand stay up late at nightinflamed with wineNothing but harp and lyretambourine and fluteand wine for their drinking boutsNever a thought for the works ofYahwehNever a glance for what his hands havedone".God, and his place in our lives, cannot be forgotten - is clearly themessage . All the emphasis so farhas been on God's role as Lordand King. There is also his roleas Rescuer or Saviour - the breaker of

ancient walls of Dublin were echoingand re-echoing as the string and drumsfrom the Orchestra joined in the session,woodwind, horns and trumpets allswung into an amazing fmal 64 bars.The fmal note echoed for a full halfminute as the crowd roared theirappreciation. The lads looked as if theyhad just scored three goals in the fIrstminute on All-Ireland day. " Some Ceil{Band" said my teenage neighbour inreluctant admiration!THE RHYTHM AND SWINGFor the next forty minutes or so we. had a most unusual mixture. Orchestralarrangements of such tunes as "Mna nahEireann", " Skibbereen", "Only ourrivers run free" , "Cuaich{n GhleannNeiflll" alternating with the reels, jigsand the evergreen and beautiful setdance"The Blackbird" in exuberantand memorable arrangements combiningthe Comhaltas band and the Orchestra.I will have to say, in all fairness, that Ihave never heard an Orchestra of artmusicianswork so hard and so successfullyat getting the rhythm and swing ofIrish traditional music. One selection inparticular stands out in memory led byEoin Kenny, piping brilliantly as he wasjoined in turn by flutes, by the remainderof the group and then by the entireOrchestra, with the pipes emerging againand again in brilliant solo pieces beforethe final breath-taking schemozzle . Fairplay, Eoin, you did us proud."GILE MEAR"The shades of night were falling asJames Last announced a wonderful songin Gaelic - " Gile Mear" and SeamusMacMathuna stepped up to the mike asthe pipes played a bold marching intro."Mo Ghile Mear" is a powerful, spiritedsong and piper and singer attacked itwith a vengeance. With each succeedingverse and chorus the build up rose untilfor the final two verses there wascreated an unforgettable crescendo withtrumpets and strings resounding andharmOnising to the words."Seinntear stair ar c1airsigh ceoilIs liontar tainte cairt ar bard"Voices from the group and from thethrong joined in the final chorus of 'Semo laoch mo ghile mear' and I thoughtto myself that the heart of our Dublinis sound yet when sixty or seventythousand people can listen to an oldGaelic song and scream their appreciation.All too soon the Comhaltas stalwartswere on their feet, taking a fmalbow, some looking slightly dazed at theextent of the reception they hadreceived, but all obviously as high as themoon, shook hands with James Last andslipped into the darkness of the wings.James Last and the Orchestra launchedinto their fmal arrangement of tunes,and the crowd loved every minute of itbut for me the most lasting memories ofa wonderful evening will be the range. and lift of the pipes in that brilliant reelsession and the words of an 18thcentury Gaelic song ringing out overDublin's Fair City.MUSIC IS KEY TO OUR NATIONALITY, ,LABHRAS 0 MURCHU" Some of the major world powersmeasure their strength and influence bythe number of people who speak theirlanguage worldwide. In fact , many suchcountries spend millions of pounds eachyear promoting their native language inother countries." This was stated byLabhras b Murchu, Ard stiurthoir ' ofComhaltas when he officially openedthe 1986 Munster Fleadh Cheoil inTipperary Town. Continuing he said :Ireland's appeal abroad is based on thefact that we did not seek to oppressother countries and our record is one ofmissionary zeal and scholarship. Ourlifestyle with its emphasis on traditionalvalues is becoming more and more amodel for other countries who aresuffering the effects of unbridled materialism.It is interesting to note that thenative music of Ireland - a most potentlanguage of friendship - has thousandsof admirers and exponents worldwide.Our music has become the key for manypeople to our uniqueness as a nation. Itis a natural asset which is deserving 'ofmuch more official recognition. This6music is co mparable with any of thegreat art collections in the world but ithas the added attraction that instead ofbeing confined. to a city based repositoryit has the whole country as agallery.In surveys carried out on the tastesof tourists to Ireland, Irish traditionalmusic has a very high priority rating. Itis, therefore , difficult to understandwhy the 14 years old highly successfulNational Entertainment Scheme ofComhaltas 'was axed by the ArtsCouncil. Our movement is perplexedand concerned that our native artformscould be treated thus under a nativegovernment.Our native music has a huge appealfor young people. There are thousandsof boys and girls now playing Irish traditionalmusic-much more than at anytime in Irish history. This phenomenoncould prove very significant in harnessingthe energies of young people to thetask of revitalising our confidence toovercome the many economic, politicaland social problems which beset ustoday.

SLIGO FOR ALL-IRELAND?Sligo Town for Fleadh Cheoil nahE ire ann? This was one of the livelydiscussion points when the 1986Connacht Fleadh Cheoil was held inSligo . So successful was the Provincialevent that many people felt that Sligocould be the key to open the door for areturn of an All-Ireland to Connachtafter a lapse of so many years. The lastFleadh Cheoil na hEireann held in Conmichtwas the 1966 event in Boyle. It isunderstood that strong consideration isnow being. given by Cornhaltas in Sligoto apply for the 1988 Fleadh.This year' s Connacht Fleadh had allthe atmosphere of a national event. Thestreets were closed to traffic to allowfor uninterupted sessions and comfortof movement. The townspeople welcomedthe event with open arms andthe Mayor of Sligo gave a Civic Receptionto the Committee and visitingofficers. The Fleadh was officiallyopened by the Ardstiurth6ir Labhnisb Murchu who paid tribute to the workof the organising committee.Playing at the Connacht Fleadh in SligoCHARLES ROBERTS of Glencar, Sligo_(photo: BRIDlE NICHOLSON)TOMMY FL YNN of Arigna_(Photo: BRIDlE NICHOLSON)MARTIN BOLGER, P.R.O. of the ConnachtCouncil of Comhaltas, working at theConnacht Fleadh in Sligo.Father and son champions at the ConnachtFleadh in Sligo: KIERAN and MICHAELMcNAMARA OF Aughavas, Co. Leitrim.Set-dancers knock aparks off the street at theConnacht Fleadh in Sligo.(Photo: BRIDlE NICHOLSON)4

, ,BOITHRIN NA SMAOINTEHelena RowsomeSince this article was written byMrs. Helena Rowsome, the legendarypipe-maker Matt Kiernan hasgone to his eternal reward-ar DheisDe ro raibh a anam uasal.We are glad to report that Mrs.Rowsome is fast recovering fromher recent illness and we look forwardto receiving many morereminiscences from her in thefuture. Go raibh Rath De uirthf.The picture of Matt Kieman on thecover of TREOIR stirred memories forme. May he live long to continue hisgood work, guiding, helping and encouragingall who cross his threshold. Leospoke with admiration for Matt, who,when God called his wife from thisworld, reared his children up to be acredit. He (Leo) spoke of Matt's character,his fairness, honesty and eagernessto help and reassure , but never to criticise.The picture of the pipe maker inhis workshop bears out what my sonLeon recently told me i.e. that theworkshop is neat and orderly matchingthe character of the man. Whatmemories that foot lathe had for me!For years Leo worked on a similar latheand what beautiful instruments wereborn of that old lathe- the same onewhich William Rowsome worked, aswell as the anvil which Leo used. Leobelieved that the keys for regulators andchanter which he produced by using theanvil were far more durable than the"cast" or machine made keys which are,I think, used. today. Beating out rods ofsilver or brass on the anvil used takenearly a week . Keys were meticulouslyshaped, filed and polished.As I remember, Jack Wade whoplayed pipes and fiddle and who livednear us advised Leo to save laboriouswork and to invest in a motor for thelathe. Jack was a most cheerful andwitty character. He met his death asthe result of a car accident. The lateJirn Seery and Jack were here oftenwhen Leo's workshop was being built.If only we had recorded or taped someof the jokes that were told. Jirn Seeryof course, played the fiddle and was astalwart member of the early pipers'LEO ROWSOMEclubs. He was, of course, father of Seanwho was and is one of the very gifteduilleann pipers, while his sister Eileenhad a true, sweet singing voice. TheSeery home in Manor Street was attimes like a Pipers' Club . Businessconcerning the Moleswo rth Street andThomas Street clubs was often discussedthere while dear kind Mrs. Seeryever obliging, provided the tea and sandwiches.They were truly the good olddays.I remember some of the great musiclovers who now have been called to abetter world - Thos. McCabe, Thos.2Brazil, Hugh Byme, Maura Reid, GerTuohy, Sean Dempsey and, of course ,Thos. Rowsome whose car was availableL.vays and was consequently called the"Club" car. Comhaltas wasn't bornthen and cars were not so plentiful.Tom Rowsome had a drapery shop inThomas Street and J im Seery and othersused drop in to chat, joke and pretendto argue. I recall a picture of a line ofyoung pipers at a fleadh in Mullingar allin very smart suits tailored by ThomasRowsome. My son Liam tells me thatFleadh in Mullingar was the first FleadhCheoil and was or~anised in associationwith Feis Llir na hEireann in 1951.The men of the clubs in those days

I refand: is fanwus for its crystaL Every piece is tl1e procCuct of rare cmftsma.11Sl1.ip alu[strict adftereru::e to quaLityTI1e same is true for BucCweiser.We Srew our Seer witl1. tI1e finest I1.ops, rice, and: SarCiy maLt. Tl1en we Clge it witl1.BeecI1.wood; to aiLi tI1e naturaL carSonation. TI1e resuLt is a c.fean, crisp taste tfwtMs Seen cCistinctiveIY BucCweiser's for over one l1.und:recC years.For those who appreciate quafi~ this Bu&.s for you;BUDWEISERiJ)· KING OF BEERS ~ · AN H EUSEA·8USCH . I NC · 5T. LOUIS