https://connollymusiccollection.bc.edu/items/browse?advanced%5B0%5D%5Belement_id%5D=46&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Donohue%2C+Gabriel&sort_field=Dublin+Core%2CIdentifier&sort_dir=d&output=atom <![CDATA[The Séamus Connolly Collection of Irish Music]]> 2024-03-28T22:08:54-07:00 Omeka https://connollymusiccollection.bc.edu/document/693 <![CDATA[Old Times]]>
The track heard here is taken from a cassette recording that I made years ago of myself playing the tune from that manuscript. If memory serves me well, I believe it was a handwritten transcription of a page from The Roche Collection, where this tune occurs in the key of G under the title above. I moved the tune to the key of A, in order to give it a more open, pipes-like sound on the fiddle. At the time of recording, some variations had come to mind and I did not want to forget them, so onto the tape they went. I forgot about the tune after that, but I recently found the tape in a drawer in my music room. I thought it would make a worthy addition to this collection. So here is Maureen Glynn's old brown manuscript. A tune not to be forgotten. Enjoy!]]>
2016-10-12T08:09:22-07:00

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I found an old brown manuscript page and remembered that my former sister-in-law Maureen Glynn had given it to me. Maureen grew up in Brooklyn, New York. She was a talented lady and widely respected in the Irish music and dance world. Maureen was a great musician: a piano, fiddle, and whistle player who taught hundreds of children in and around The Big Apple. She was also an Irish dance teacher, but most times could be heard playing music at the feiseanna instead of adjudicating the dancing. Maureen loved the old music and it was always a delight to play with her.

The track heard here is taken from a cassette recording that I made years ago of myself playing the tune from that manuscript. If memory serves me well, I believe it was a handwritten transcription of a page from The Roche Collection, where this tune occurs in the key of G under the title above. I moved the tune to the key of A, in order to give it a more open, pipes-like sound on the fiddle. At the time of recording, some variations had come to mind and I did not want to forget them, so onto the tape they went. I forgot about the tune after that, but I recently found the tape in a drawer in my music room. I thought it would make a worthy addition to this collection. So here is Maureen Glynn's old brown manuscript. A tune not to be forgotten. Enjoy!

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
]]>
https://connollymusiccollection.bc.edu/document/680 <![CDATA[One-Horned Buck, The]]> 'Cathal's Reel').]]> 2016-10-12T08:09:20-07:00

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Another tune from the legendary Cathal McConnell. He gave me this tune, and the others in this collection, during that visit to Boston and Cambridge, Massachusetts, over thirty years ago (see 'Cathal's Reel').

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
]]>
https://connollymusiccollection.bc.edu/document/678 <![CDATA[Edenderry, The]]> O'Neill's 1001 collection, the same version that was played by Larry so long ago. Lar, I still have that tape. Thanks for the memories.]]> 2016-10-12T08:09:20-07:00

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Larry Gavin sent this tune to me on a tape over thirty years ago. Getting a tape of music from Ireland, and more especially from Larry, was always special. I was always assured of getting a new tune or two from my good friend. On this track we hear Joanie Madden playing the version found in O'Neill's 1001 collection, the same version that was played by Larry so long ago. Lar, I still have that tape. Thanks for the memories.

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
]]>
https://connollymusiccollection.bc.edu/document/525 <![CDATA[Crooked Hurricane, The]]>
'What else to do while the power is out in the middle of a hurricane? Fiddle and fiddle! I composed this tune as Hurricane Irene battered eastern North Carolina in 2011. The hurricane did not travel as expected. Its unusual pattern of travel was described as crooked. The tune too is crooked in the style of some Canadian fiddle tunes. I dedicate the jig to my friend Randy Bridgman, a native of Newfoundland. This tune is also crooked, somewhat like the shape of many of the trees in my garden when the storm subsided.']]>
2016-10-12T08:08:55-07:00

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My good friend Cindy Polo made this tune and dedicated it to another friend, Randy Bridgman. I enjoyed playing this tune with Cindy and Gabriel Donohue. In Cindy's own words, she tells us about 'The Crooked Hurricane':

'What else to do while the power is out in the middle of a hurricane? Fiddle and fiddle! I composed this tune as Hurricane Irene battered eastern North Carolina in 2011. The hurricane did not travel as expected. Its unusual pattern of travel was described as crooked. The tune too is crooked in the style of some Canadian fiddle tunes. I dedicate the jig to my friend Randy Bridgman, a native of Newfoundland. This tune is also crooked, somewhat like the shape of many of the trees in my garden when the storm subsided.'

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
]]>
https://connollymusiccollection.bc.edu/document/662 <![CDATA[Molly, Put the Kettle On]]> O'Neill's 1001. I temporarily mislaid the recording Joanie made for me, so the tune almost didn't make it into this collection. I'm glad I found it, Joanie. Great playing!]]> 2016-10-12T08:09:17-07:00

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Joanie Madden gives us her interpretation of a tune I first learned from Larry Gavin. It also appears in O'Neill's 1001. I temporarily mislaid the recording Joanie made for me, so the tune almost didn't make it into this collection. I'm glad I found it, Joanie. Great playing!

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
]]>
https://connollymusiccollection.bc.edu/document/731 <![CDATA[Just Because It's You]]>
'My first attempt at Irish fiddle playing was at a music camp in 2008, a violin novice, where I had the opportunity to learn from Séamus Connolly. He suggested that I could create a tune if I thought about a meaningful event. The tune played here by Séamus was my first attempt at composing music. It is in waltz time, and I wrote it in memory of my father, Edward Thomas Keane. As a young child, we would waltz across the living room, me riding on his feet. In later years there were father–daughter dinner dances and the dance at my wedding. We had our last waltz in 2001, the weekend before he died in the World Trade Tower on September 11th.']]>
2016-10-12T08:09:28-07:00

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My dear friend Cindy Polo wrote this lovely tune in memory of her Dad. In her own words she tells us how it came to be:

'My first attempt at Irish fiddle playing was at a music camp in 2008, a violin novice, where I had the opportunity to learn from Séamus Connolly. He suggested that I could create a tune if I thought about a meaningful event. The tune played here by Séamus was my first attempt at composing music. It is in waltz time, and I wrote it in memory of my father, Edward Thomas Keane. As a young child, we would waltz across the living room, me riding on his feet. In later years there were father–daughter dinner dances and the dance at my wedding. We had our last waltz in 2001, the weekend before he died in the World Trade Tower on September 11th.'

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
]]>
https://connollymusiccollection.bc.edu/document/695 <![CDATA[Queen of the Faeries]]> 2016-10-12T08:09:22-07:00

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I learned this set dance from the playing of Larry Redican. Its first few measures seem to be related to the melody of an old tune – also a set dance – called 'The King of the Fairies'. And so, 'here's me' (an old Irish expression) playing 'Queen of the Faeries'.

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
]]>
https://connollymusiccollection.bc.edu/document/401 <![CDATA[Remembering Curly]]>
A more complete version of the tune is heard on this track, with my good friends the late John McGann playing guitar and Gabriel Donohue on keyboard. John was very involved with the transcription of the tunes for this project but, alas, he left us too soon. So in John's memory, perhaps 'Remembering Curly Remembering John McGann' might be a perfect title for this tune. Thanks, John, for all the music, stories, laughs, and friendship.]]>
2016-10-12T08:08:38-07:00

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Paula, a fiddle student in one of my classes at the Rocky Mountain Fiddle Camp, asked me to 'make a tune' in honour of her late father, Curly. Paula really wanted to play something new at the student concert which was to be held at the end of the week of classes. I agreed at the time, but somehow managed to forget her request until one afternoon, I awoke from a nap in a panic. I had only then remembered my promise to Paula, and then panicked more. Never having known Curly or anything about him, it was not easy to make a tune for him. However, I did take out my fiddle and gave it a few strokes. Happily, I began to get some ideas into my head of what 'Remembering Curly' might sound like. With some shape to the tune, Paula was able to play it at the concert.

A more complete version of the tune is heard on this track, with my good friends the late John McGann playing guitar and Gabriel Donohue on keyboard. John was very involved with the transcription of the tunes for this project but, alas, he left us too soon. So in John's memory, perhaps 'Remembering Curly Remembering John McGann' might be a perfect title for this tune. Thanks, John, for all the music, stories, laughs, and friendship.

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
]]>
https://connollymusiccollection.bc.edu/document/550 <![CDATA[Bells of Congress, The]]>
In the 1980s, as part of a musical delegation to Washington, D.C., representing the State of Massachusetts, I had the honour of visiting the Old Post Office and hearing the bells ring. When in full peal, the bells can take up to three and a half hours to complete their continuous performance. However, my composition on this track takes only a few minutes. I am joined by Gabriel Donohue on guitar.]]>
2016-10-12T08:09:00-07:00

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The Bells of Congress were presented to the United States by the Ditchley Foundation of Great Britain in 1976. A replica of the bells in London's Westminster Abbey, they are rung in honour of the opening and closing of Congress, and on state occasions and all national holidays. The Old Post Office in Washington houses the Bells of Congress and a guided tour of the building by the National Park Service is worth taking.

In the 1980s, as part of a musical delegation to Washington, D.C., representing the State of Massachusetts, I had the honour of visiting the Old Post Office and hearing the bells ring. When in full peal, the bells can take up to three and a half hours to complete their continuous performance. However, my composition on this track takes only a few minutes. I am joined by Gabriel Donohue on guitar.

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
]]>
https://connollymusiccollection.bc.edu/document/648 <![CDATA[O'Reilly's Fancy]]> 2016-10-12T08:09:14-07:00

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My friend in Tulla, Larry Gavin, sent me this reel thirty-five years ago. I love Larry's accordion playing and I am grateful to him for supplying many wonderful tunes to me during all the years that I have lived in America. Larry, as they say, you 'kept me at it'. The reel is played on this track by Joanie Madden.

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
]]>
https://connollymusiccollection.bc.edu/document/400 <![CDATA[Máire Mo Chara]]> 2016-10-12T08:08:38-07:00

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This air, played here by its composer, Josephine Keegan, is a special tribute to her friend Máire McDonnell-Garvey, author of numerous books on the history and music of the West of Ireland. Máire worked all her life promoting traditional Irish music. She was secretary to the Dublin County branch of Comhaltas Ceoltóirí Éireann, and she was a fine fiddle player in the Roscommon and Sligo styles of playing. Thank you, Josephine, for remembering Máire with this lovely air.

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
]]>
https://connollymusiccollection.bc.edu/document/711 <![CDATA[Eochaill]]> Mo Ghrása Thall na Déise. The English translation of the lyrics is provided courtesy of Tomás Ó Ceilleachair.]]> 2016-10-12T08:09:25-07:00

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My dear friend Ann Mulqueen, formerly of Castleconnell, County Limerick, and now living in An Rinn, the Gaeltacht area of County Waterford, is the singer on this track. Ann travelled throughout Ireland competing at Fleadhanna Ceoil, and she was much sought after as a performer of the great ballads of Ireland. She amassed a huge collection of songs from her grandmother, which no doubt were helpful to her during her competitive years, when she won a number of All-Ireland singing titles. On this track we hear her singing 'Eochaill', a love song in Irish which she learned from the great Gaeltacht singers of An Rinn. This track appears on her CD, Mo Ghrása Thall na Déise. The English translation of the lyrics is provided courtesy of Tomás Ó Ceilleachair.

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
]]>
https://connollymusiccollection.bc.edu/document/411 <![CDATA[Billy Caples' Barndance]]> 2016-10-12T08:08:40-07:00

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This barndance is another tune from the repertoire of Boston accordionist Billy Caples. I am joined by Nicole Rabata playing flute and Kevin McElroy playing the tenor banjo. Gabriel Donohue later added his piano playing to the track.

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
]]>
https://connollymusiccollection.bc.edu/document/445 <![CDATA[Séamus Connolly's]]> 2016-10-12T08:08:45-07:00

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I was honoured when Mrs. Matilda Murdoch from New Brunswick composed this hornpipe for me on her ninetieth birthday. After a night of playing music together at her daughter's home in Massachusetts, Matilda presented me with this very recording of herself playing her composition. A wonderful lady, a great composer and fiddle player, Matilda Murdoch has done much for the music of the Gael. God bless you, my friend. Gabriel Donohue added piano accompaniment to Matilda's fiddle, and we both spoke to her at her home as she celebrated her ninety-second birthday. She loved the track with Gabriel's piano playing. She asked Gabriel if he would go on tour with her – so young at heart!

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
]]>
https://connollymusiccollection.bc.edu/document/499 <![CDATA[Boat to Bofin, The]]> 2016-10-12T08:08:52-07:00

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Joanie Madden of Cherish the Ladies fame composed this happy jig. In her own words Joanie tells us of her inspiration: 'I was inspired to write this tune after a very rocky ferry ride to the beautiful island of Inishbofin off the coast of Connemara in County Galway'.

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
]]>
https://connollymusiccollection.bc.edu/document/494 <![CDATA[Whelan's Auld Sow]]> 2016-10-12T08:08:51-07:00

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The leader of the band Cherish the Ladies is Joanie Madden, who plays this tune for us on the flute. I first heard Eddie Moloney play it. Eddie came from Ballinakill in County Galway and may have named the tune. Tommy Whelan was a member of the Ballinakill Traditional Players. However, I do not know if he indeed owned a sow...

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
]]>
https://connollymusiccollection.bc.edu/document/481 <![CDATA[Jim Conroy's]]> 2016-10-12T08:08:50-07:00

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Jack Coen had a storehouse of older tunes from his native East Galway. Jack learned this tune from the playing of Jim Conroy, a flute player from his part of the country who was a great musical influence. It is played here for us by the one and only Joanie Madden.

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
]]>
https://connollymusiccollection.bc.edu/document/727 <![CDATA[Cruca Glás na hÉireann]]> 2016-10-12T08:09:27-07:00

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The music lives and breathes in the soul of Tara Lynch. Tara, daughter of Jerry Lynch (accordionist in the 1950s with the celebrated three-time All-Ireland champion Kilfenora Céilí Band), was born in New York. She learned her music from her father, and her style is steeped in the tradition of the old Kilfenora Band. The tune she plays on this track was part of the repertoire of the band in the 1960s and '70s, of which I was so honoured to be a member. I am also honoured to have Tara playing it for us: an unbroken link.

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
]]>
https://connollymusiccollection.bc.edu/document/460 <![CDATA[Tart ar an Ól]]> The Roche Collection, but I first heard it played by Eddie Moloney from Ballinakill, County Galway. Eddie, Tommy Mulhaire, and his son Brendan were among those who travelled on a number of occasions in the 1960s with Mulhaire's Céilí Band to perform in different towns around County Kerry. These performances were part of a series of concerts and music weekends organised by Diarmuid Ó Catháin, who was later to become president of Comhaltas Ceoltóirí Éireann. I was thrilled when Joanie Madden, daughter of yet another Galway musician, Joe Madden, recorded the tune for me. Thanks, Joanie – keep up the great work that you and Cherish the Ladies do. We cherish you! Sláinte to you all!]]> 2016-10-12T08:08:47-07:00

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A version of this tune can be found in The Roche Collection, but I first heard it played by Eddie Moloney from Ballinakill, County Galway. Eddie, Tommy Mulhaire, and his son Brendan were among those who travelled on a number of occasions in the 1960s with Mulhaire's Céilí Band to perform in different towns around County Kerry. These performances were part of a series of concerts and music weekends organised by Diarmuid Ó Catháin, who was later to become president of Comhaltas Ceoltóirí Éireann. I was thrilled when Joanie Madden, daughter of yet another Galway musician, Joe Madden, recorded the tune for me. Thanks, Joanie – keep up the great work that you and Cherish the Ladies do. We cherish you! Sláinte to you all!

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
]]>
https://connollymusiccollection.bc.edu/document/725 <![CDATA[Come to the Fair]]> 2016-10-12T08:09:27-07:00

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'Come to the Fair' was a very popular waltz/song played by The Kilfenora Céilí Band in the 1960s. I have always enjoyed listening to the band's singer Mary Higgins performing the song on a recording made at a céilí in Ennis in 1960. The recording of all of the tunes and songs played on that night was given to me to learn when I was invited to join The Kilfenora and embark on my first 'big' tour of England. What a thrill and an honour for me! The tune is performed here on this track by Tara Lynch (daughter of Jerry Lynch, the accordionist with the band in the 1950s) and myself. The track was enhanced by the musicianship of Gabriel Donohue on piano and keyboards.

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
]]>