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=McElroy%2C+Kevin+&output=atom <![CDATA[The Séamus Connolly Collection of Irish Music]]> 2024-03-29T06:43:47-07:00 Omeka https://connollymusiccollection.bc.edu/document/551 <![CDATA[Farewell to Whiskey]]> Ceolta Tire programme. He had recorded it from Paddy Neil, a concertina player from near Newport, County Tipperary. Paddy's version, in particular the second part, is different from what is usually played. Thanks to Monsignor Coen for learning and recording it for me, and to Nicky McAuliffe from County Kerry for the tune information.]]> 2016-10-12T08:09:00-07:00

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Composed by the legendary Scottish fiddle player Niel Gow in 1799, this tune's title is apparently a reaction to the temporary prohibition of distillation in Scotland due to the failure of that year's barley crop. Played on this recording by master musician Monsignor Charles Coen, it first came to my attention when Ciarán Mac Mathúna, the well-known broadcaster on Radio Éireann, featured it on his Ceolta Tire programme. He had recorded it from Paddy Neil, a concertina player from near Newport, County Tipperary. Paddy's version, in particular the second part, is different from what is usually played. Thanks to Monsignor Coen for learning and recording it for me, and to Nicky McAuliffe from County Kerry for the tune information.

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
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https://connollymusiccollection.bc.edu/document/458 <![CDATA[Humours of Castlelyons]]> (More on Kathleen on the tunes 'Kathleen Lawrie's' and 'The Fiddler Around the Faerie Tree'.)

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2016-10-12T08:08:47-07:00

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I am joined on this track by my friends Kathleen Lawrie from Birmingham, England, and Kevin McElroy from Freeport, Maine. Kevin played banjo and Kathleen played piano. I first heard this tune played by musicians from Ballinakill, County Galway on an old 78 RPM recording.

(More on Kathleen on the tunes 'Kathleen Lawrie's' and 'The Fiddler Around the Faerie Tree'.)

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
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https://connollymusiccollection.bc.edu/document/407 <![CDATA[Mrs. Galvin's Barndance]]> We shall hear Barbara play some of her own compositions (‘Ashcraft-Fraser House’, ‘The Reel Bus’, and ‘A Riverview Cabin’) as we venture through this collection.

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2016-10-12T08:08:39-07:00

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The fiddle playing of Mrs. Ellen Galvin, who was born in the 1880s, certainly did sound as though it were from an earlier time in history. I remember seeing her perform in a concert in West Clare in the late 1950s. I was enthralled with her music then, and I still am. The tune transcribed here was recorded and collected from Mrs. Galvin, and a copy of the tape was passed along to me by accordion master Tony MacMahon. Thanks, Tony! My friends Barbara MacDonald Magone and Kevin McElroy helped out on the recording you are about to hear.

We shall hear Barbara play some of her own compositions (‘Ashcraft-Fraser House’, ‘The Reel Bus’, and ‘A Riverview Cabin’) as we venture through this collection.

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
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https://connollymusiccollection.bc.edu/document/555 <![CDATA[Polka for Matt, A]]> 2016-10-12T08:09:01-07:00

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Matt Cranitch, the well-known fiddle player and scholar from County Cork, came to visit Sandy and me in Maine a few years ago. Matt loves to play polkas, so I composed this three-part tune for him. I play it here with my friends Kevin McElroy on bodhrán, Barbara MacDonald Magone on the piano and, on the fiddle, Meghan Mette, who at the time of recording was a young and enthusiastic sixteen-year-old.

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
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https://connollymusiccollection.bc.edu/document/556 <![CDATA[Mountain Pathway, The]]> 2016-10-12T08:09:01-07:00

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Kevin McElroy, Barbara MacDonald Magone, and I came together to record this tune, which we learned from the cassette tape of fiddle player Mrs. Ellen Galvin that was given to me by Tony MacMahon. A version of this tune was recorded by the great Sligo fiddle master, James Morrison.

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
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https://connollymusiccollection.bc.edu/document/694 <![CDATA[Stranger, The]]> Ceolta Tire and A Job of Journeywork. I had the honour of playing it with Mrs. Crotty in her home many years ago. As I look back on those years, now long gone, and think how privileged I was to have played music with some of the giants in Irish music, I realise that my world would not have been the same had I not met those people. I can say the same for Father Charlie Coen! Now listen as the Monsignor plays 'The Stranger'.]]> 2016-10-12T08:09:22-07:00

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Mrs. Crotty from the town of Kilrush in County Clare played this set dance for Ciarán Mac Mathúna's radio programmes, Ceolta Tire and A Job of Journeywork. I had the honour of playing it with Mrs. Crotty in her home many years ago. As I look back on those years, now long gone, and think how privileged I was to have played music with some of the giants in Irish music, I realise that my world would not have been the same had I not met those people. I can say the same for Father Charlie Coen! Now listen as the Monsignor plays 'The Stranger'.

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
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https://connollymusiccollection.bc.edu/document/479 <![CDATA[North Clare Jig]]>
Monsignor Charlie Coen from New York State, formerly of Woodford, County Galway, did an excellent job playing the tune in the style of Mr. Kierse. We recorded the tune at my home in Maine. Kevin McElroy pulled out Sandy's old guitar and strummed along.]]>
2016-10-12T08:08:50-07:00

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Paddy Kierse, as Ciarán Mac Mathúna said on his Radio Éireann program A Job of Journeywork, was a lovely old musician. Ciarán recorded his playing of this tune on a visit to north County Clare. Mr. Kierse, from Kilnaboy, near Kilfenora, had wonderful old tunes, stories, and history from that part of the county.

Monsignor Charlie Coen from New York State, formerly of Woodford, County Galway, did an excellent job playing the tune in the style of Mr. Kierse. We recorded the tune at my home in Maine. Kevin McElroy pulled out Sandy's old guitar and strummed along.

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
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https://connollymusiccollection.bc.edu/document/559 <![CDATA[Kathleen Coen's]]> 2016-10-12T08:09:02-07:00

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Flute player Mr. Jack Coen, brother of Monsignor Charlie Coen, was visiting his daughter Kathleen in Clinton, Massachusetts. I took a trip down that same day to meet Jack and to play a few tunes with him. Many of the tunes we played that day I had learned from a reel-to-reel tape of Jack and his friend Paddy O'Brien from County Tipperary. The tape was recorded in the Bronx, New York, in the 1950s, and a copy was sent back to Ireland. That day, Jack told me that Kathleen played the piano and, if I encouraged her, she might play a tune. Kathleen did play this polka with her father and I captured it as my prize for the day. With such a family connection, it is appropriate then that Father Charlie would be our performer on this track.

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
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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.
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https://connollymusiccollection.bc.edu/document/505 <![CDATA[Joy of My LIfe]]> 2016-10-12T08:08:53-07:00

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This well-known jig is performed on this track by yours truly, Séamus Connolly. With help on the banjo from my friend Kevin McElroy, we offer this grand two-part jig as a way to invite musicians to play this tune once again. The interesting second part of the tune comes from the fiddle playing of Thomas Power from Doonbeg in County Clare.

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
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https://connollymusiccollection.bc.edu/document/508 <![CDATA[How Are You, Sandy? (Sandy Connolly's)]]> 2016-10-12T08:08:53-07:00

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It meant much to my wife Sandy and me when Bill Black, our friend from Cape Cod, sent us a tune that he composed in her honour entitled 'How Are You, Sandy?' Bill later sent the tune under the new title 'Sandy Connolly's' when she left us to go to her eternal reward. Thank you, sir, for caring so much. Sandy was very moved by your thoughtfulness. My friend Kevin McElroy joins me on this track.

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
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https://connollymusiccollection.bc.edu/document/510 <![CDATA[Shandon Bells]]>
'With deep affection
And recollection
I often think of
Those Shandon Bells
Whose sounds so wild would,
In the days of childhood,
Fling round my cradle
Their magic spells.
On this I ponder
Where'er I wander,
And thus grow fonder,
Sweet Cork, of thee.
With thy bells of Shandon,
That sound so grand on
The pleasant waters
Of the river Lee.'

The grand old jig 'Shandon Bells', the first in O'Neill's The Dance Music of Ireland, 1001 Gems, is played on this track by Nicole Rabata on flute and myself on fiddle. We play it as a four-part tune. I played it many times as a two-part jig in the city by the River Lee. I first heard the two extra parts played by David Curry and his orchestra. They are two parts well worth hearing and preserving for posterity.]]>
2016-10-12T08:08:53-07:00

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Having lived in the beautiful and historic city of Cork in the 1960s, I often think back to the happy times I had while beginning to find my feet in the big world of city life. The clock tower of St. Anne's Church has special meaning for me because the Bells of Shandon often chimed as I walked past the church. Whenever I hear the wonderful poem 'The Bells of Shandon', penned by Francis Sylvester Mahony, it is with deep affection and recollection that I think of the Shandon Bells. Mahony's words are very meaningful to me, and I quote from his poem here for all to read:

'With deep affection
And recollection
I often think of
Those Shandon Bells
Whose sounds so wild would,
In the days of childhood,
Fling round my cradle
Their magic spells.
On this I ponder
Where'er I wander,
And thus grow fonder,
Sweet Cork, of thee.
With thy bells of Shandon,
That sound so grand on
The pleasant waters
Of the river Lee.'

The grand old jig 'Shandon Bells', the first in O'Neill's The Dance Music of Ireland, 1001 Gems, is played on this track by Nicole Rabata on flute and myself on fiddle. We play it as a four-part tune. I played it many times as a two-part jig in the city by the River Lee. I first heard the two extra parts played by David Curry and his orchestra. They are two parts well worth hearing and preserving for posterity.

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
]]>
https://connollymusiccollection.bc.edu/document/546 <![CDATA[Thomas Power's March]]> 2016-10-12T08:08:59-07:00

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Another tune from the playing of Thomas Power from Doonbeg in County Clare. On this track, I am joined by Kevin McElroy on bodhrán and Nicole Rabata on flute to perform our interpretation of the march.

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
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https://connollymusiccollection.bc.edu/document/669 <![CDATA[North Road, The]]>
'I wrote this tune for Séamus first and foremost as a "thank you" for all of the musical wisdom he has imparted to me. However, it is also a tale of the many afternoons spent in Séamus' music room, learning, listening, playing... Some days we just sat and listened to old albums on the wonderful sound system, the notes vibrating through the varnished floorboards and bouncing off the walls...

My favourite afternoons, however, were when it was just the two of us, sitting side by side, playing tunes for the fun of it; maybe Séamus would think of a special ornament he wanted to show me or a specific tune that was fun to play in a different key. I often enjoyed just sitting back and observing Séamus when he went on a rant of tunes. I was, and still am, mesmerised by the fluidity and grace of his fingers as they tickle the fingerboard, his bow flying over the strings, his mind at obvious peace. These are my favourite images, frozen in time, Séamus in another world entirely, just playing because he loves it so. When I play "The North Road", it reminds me of these moments...'


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2016-10-12T08:09:18-07:00

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My young friend Meghan Mette composed this reel. I was delighted that she asked me to play it with her, along with Nicole Rabata on flute and Kevin McElroy on mandolin. She tells us how the tune came about:

'I wrote this tune for Séamus first and foremost as a "thank you" for all of the musical wisdom he has imparted to me. However, it is also a tale of the many afternoons spent in Séamus' music room, learning, listening, playing... Some days we just sat and listened to old albums on the wonderful sound system, the notes vibrating through the varnished floorboards and bouncing off the walls...

My favourite afternoons, however, were when it was just the two of us, sitting side by side, playing tunes for the fun of it; maybe Séamus would think of a special ornament he wanted to show me or a specific tune that was fun to play in a different key. I often enjoyed just sitting back and observing Séamus when he went on a rant of tunes. I was, and still am, mesmerised by the fluidity and grace of his fingers as they tickle the fingerboard, his bow flying over the strings, his mind at obvious peace. These are my favourite images, frozen in time, Séamus in another world entirely, just playing because he loves it so. When I play "The North Road", it reminds me of these moments...'


Publisher

Séamus Connolly
Boston College Libraries

Type

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