Celebrate Traditional Irish Music
Tagged with “irish” (67)
This inaugural episode tells the tale of Cormac Gaj and the band he formed with fellow Boston tweens. I learn about their amazing journey to the All Ireland music competition in Sligo; and I dig into what it meant to Cormac… and to all the parents, teachers, and peers who were in on the qualifying round in New Jersey, and the big Fleadh (contest) in Ireland. Whether you already play the fiddle or you don’t know anything about trad music or dance, you’ll join me, Shannon Heaton as I visit Boston and Dublin Comhaltas branches (Irish music schools); Mary MacNamara’s kitchen in Tulla, where she teaches music and organizes Irish music exchanges; and Cormac’s living room where he tells his big story. Great stories here from Chicago fiddler Liz Carroll, too. There’s plenty of music here, too. Full music listings and information at www.irishmusicstories.org
Marie-Louise Muir explores the tradition of keening for the dead in Ireland.
Keeners were the women of rural Ireland who were traditionally paid to cry, wail and sing over the bodies of the dead at funerals and wakes. Their role was to help channel the grief of the bereaved and they had an elevated, almost mythical status among their communities. The custom of keening had all but vanished by the 1950’s as people began to view it as primitive, old-fashioned and uncivilised.
Now, broadcaster Marie-Louise Muir sets out to ask what’s been lost with the passing of the keeners.
She travels to Inis Mor, a remote island off the west coast of Ireland, where one of Ireland’s last professional keeners - Brigid Mullin - was recorded by the song collector and archivist Sidney Robertson Cowell in the 1950’s. Brigid’s crackling, eerie evocation of sorrow echoes down the years to capture a tradition in its dying days - a ghostly remnant of another world.
Dr Deirdre Ni Chonghaile is a native of Inis Mor and thinks modern funerals have taken on an almost Victorian dignity in a society that in general has become far less tolerant of extravagant displays of grief. Deirdre believes it was this very extravagance that helped lead to keening’s demise. Its emphasis on the body and human mortality was in direct conflict with the notion of a Christian afterlife and the influential role of the keening women may even have been regarded as a threat to the patriarchy of the Church.
As the story of the keeners blends with the waves and winds of Ireland’s west coast, Marie-Louise reflects on the passing of this once rich tradition.
Producer: Conor McKay.
Bridget Mullin with Sidney Robertson Cowell, keen performance and conversation. Smithsonian Folkways, Ralph Rinzler Archives.
Neil O’Boyle, keen demonstration on fiddle. Irish Traditional Music Archive, Dublin
Eithne Ni Uilleachan, ‘Grief’ from the album Bilingua (Gael Linn)
The Gloaming ‘The Pilgrim’s Song’ from the album ‘2’ (Real World)
Milk Carton Kids ‘Wish You Were Here’ (Anti/Epitaph)
Brian Eno ‘The Ship’ (Warp)
Great music from Stockton’s Wing - Paul Roche, Kieran Hanrahan, Maurice Lennon, Tony Callanan & Tommy Hayes. Songs from Curly Sullivan & Jack O’Carroll. Music also with Raymond Rolland, Kit O’Connor, John Joe Doyle, Paddy & Kevin Taylor, Benny O’Connor, Brendan McGlinchey, Rodger Sherlock, Liam Farrell, P.J. Hynes, Brian Green, MacDara Ó Raghallaigh, David Power, Willie Kelly, Mick & Kathleen Conneely, Johnny McDonagh, Michelle O’Sullivan, Deirdre McSherry & more!
Copperplate Podcast 202 presented by Alan O’Leary August 2016
- Paddy Glackin: Top It Off. Glackin
2.Caladh Nua: Humours of Ballyloughlin Set. Happy Days
Eilis Kennedy: Nead na Lachan. Time to Sail Damien Mullane: The Orphan.
Liz & Yvonne Kane: 3 & A Deer/Pangur Ban. Side By Side
Joe Derrane/Seamus Connolly/John McGann: Dash to Portobello/McFarley’s/Geeghan’s Reel. The Boston Edge
Teada: Tom Connor’s HP/The Joy of My Life/Handy With The Stick Teada
Mick Sands & Clive Carroll: Lough Erne’s Shore. The Ominous & The Luminous
Peter McAlinden: The Piper Through The Meadow Straying. Happy To Meet
Niamh ni Charra: The Belles of South Boston Happy Out.
Goitse: Ireland’s Green Shore. Inspired by Chance
Mulcahy Family: Galway Rambler/Morning Dew/Boston Irish Reel.
We Banjo 3: Chair Snapper’s Delight. String Theory
It’s easier to get people to stop speaking a language than to take it up again. Just ask the Irish. | Public Radio International
For centuries, colonialists, church leaders and educators discouraged Irish people from using their native tongue. When Ireland won independence, its leaders had no idea just how difficult it would be to bring the language back. Despite that, there’s hope for Irish today.
Radio documentary by Seán Corcoran on Richard Henebry (1863-1916) of Portlaw, Co. Waterford, Ireland, pioneering folk song collector and musicologist. First broadcast by Waterford Local Radio (www.wlrfm.com) 7pm Sun 29 Dec 2013.Funded by the Broadcasting Authority of Ireland with the Television Licence Fee. Sound design by Ronan Browne.
The National Concert Hall’s & Arts Council’s ‘Tradition Now’ festival (25 and 26 January 2014) is a weekend of forward looking traditional music offering the best of traditional music from established and up-and-coming artists on the concert circuit.
In this podcast Ben Eshmade discusses each of the concerts in the festival and talks exclusively to June Tabor, Kris Drever of Lau and Caoimhin Ó Raghallaigh and Iarla O Lionaird of The Gloaming.
Original video: https://soundcloud.com/nationalconcerthalldublin/tradition_now_2014
Downloaded by http://huffduff-video.snarfed.org/
Interview with composer and musician Brendan Tonra at his home in Boston, Feb 2009.
Part of a 12 part series on traditional Irish musicians in North America. Funded by the Sound and Vision Scheme - Broadcasting Commission of Ireland - Connemara Community Radio
Sound by Grainne O’Malley Research - Patrick Ourceau Produced by Ita Kane-Wilson
Original video: https://soundcloud.com/ita-kane-wilson/the-music-keepers-brendan
Downloaded by http://huffduff-video.snarfed.org/
Michael Coleman’s recordings from the early 1920’s set the standard for all the traditional Irish music that would follow. Coleman emigrated from County Sligo, Ireland, to New York City in 1914 at the age of 23. In New York, recording companies were eager to sell records to immigrants nostalgic for the music of home. Coleman became one of the first Irish musicians to be immortalized on the shellac of a 78 rpm record.
Coleman played a style of fiddle music particular to county Sligo. “The Sligo style is upbeat, it’s very rhythmic, uses a lot of ornamentation,” says Brian Conway, a musician from New York who plays Sligo-style fiddle.
It was a tradition passed down from mentor to student, not on paper. “The music is not played as it’s written on sheet music,” says Fiona Ritchie, producer of the public radio show The Thistle and Shamrock. “When you had no way of recording it, the only way to memorialize it was to put it on sheet music, and then it loses that sense of rhythm that can only be captured by hearing it.”
So when Coleman recorded the song “The Boys of the Lough,” he was crystallizing a tradition. “This was really a turning point for Irish music, because music could travel out from the communities where it had just been a natural, unremarkable part of life,” Ritchie says.
Ritchie credits recordings by Coleman and other Irish emigrants with saving traditional Celtic music. “Once you partnered up these early recordings with radio, you had the music coming back to its home again and reinvigorating the music,” she says. “So many of these communities had been depleted, with young folks going away and taking their music with them.”
Coleman was prodigiously talented, and thanks to those early recordings, his influence hasn’t waned. “Michael Coleman’s influence on traditional Irish music could be compared to Miles Davis in jazz, the Beatles in rock ‘n roll,” Conway says. “His influence is still felt today by those who may never have actually listened to Coleman play, but just through what they’ve learned from other people.”