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                <text>Achonry Lassies</text>
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                <text>Yet another great old tune that was given to me by Chicago fiddle player Johnny McGreevy. The young fiddle player Tina Lech, one of my favourite musicians, plays the tune for us on this track.</text>
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                <text>Joe Burke, my lifelong friend, was leader of The Leitrim C&amp;eacute;il&amp;iacute; Band, named not for the county of Leitrim, but for a townland in east County Galway. I was honoured to have been a member of that musical group when we won the Senior C&amp;eacute;il&amp;iacute; Band competition in 1962. Ambrose Moloney was one of the flute players in the band and during a tour of England he gave me this tune. I had the honour of recording this reel in the early 1970s with the legendary Tipperary accordionist Paddy O'Brien, with Charlie Lennon at the piano.</text>
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                <text>Murphy, Gráinne (fiddle)</text>
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                <text>Around Lough Graney</text>
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                <text>Who better to perform this tune than Martin Hayes, whose home place in County Clare is close to Lough Graney? This reel was shared back and forth across the Shannon among musicians from counties Galway, Tipperary, and Clare. Martin's treatment of the tune gives us exactly what I hoped to hear: his deep insight into the stylistic elements of this lovely reel.</text>
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                <text>And as we present this last selection, we come to the end of a long musical journey. It is my hope that whoever reads my stories, anecdotes, and ramblings will get some insight into the tunes' histories, and some new information about them. &lt;br /&gt;&lt;br /&gt;Preferring to end this collection with lively, happy music, I asked my young musical friends, Kathleen Boyle from Scotland and Gr&amp;aacute;inne Murphy from Massachusetts, to do me the honour of recording the above-named tunes for this last track. These same jigs were recorded in 1937 by Kathleen's grandfather, the famed fiddle maestro N&amp;eacute;illidh Boyle from County Donegal. The young ladies are joined by N&amp;eacute;illidh's son Hughie Boyle, who plays piano, and together, with pride, they give us that same lift and drive associated with the wonderful music that is peculiar to County Donegal. I was thrilled when Kathleen invited me to join herself, her dad, and Gr&amp;aacute;inne in remembering her grandfather, completing an extraordinary musical circle. The torch has indeed been passed.&lt;br /&gt;&lt;br /&gt;It so happens that the last tune on the track, 'The Connaughtman's Rambles', is the first jig I ever learned, and I did so from the 78 RPM recording that N&amp;eacute;illidh Boyle recorded seventy-eight years ago. In a way, then, this track is symbolic of how Irish traditional music keeps coming full circle, shared back and forth between musicians across the broad Atlantic and across generations. &lt;br /&gt;&lt;br /&gt;And lest I forget about the not-often-heard tune dedicated to a certain Biddy (a nickname for 'Bridget') from Sligo, my mind goes back in time to my grandmother sitting by the fireside listening to me trying to learn and play this fine jig. And so, in remembrance of my grandmother, &lt;span&gt;Elizabeth Collins (n&amp;eacute;e Rochford)&lt;/span&gt;, a wonderful lady of tunes, songs, and stories, I hereby offer an account of the lyrics she had for 'Biddy from Sligo': &lt;br /&gt;&lt;br /&gt;'Oh mother dear, may I go for a swim? &lt;br /&gt;Yes, my darling daughter! &lt;br /&gt;Mind the boys don't see your shins, &lt;br /&gt;Keep them well under the water!'</text>
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                <text>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.</text>
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                <text>&lt;iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/270479250&amp;amp;color=ff5500&amp;amp;auto_play=false&amp;amp;hide_related=false&amp;amp;show_comments=true&amp;amp;show_user=true&amp;amp;show_reposts=false" frameborder="no" scrolling="no" width="100%" height="166"&gt;&lt;/iframe&gt;</text>
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                <text>Some transcriptions are based on historical source recordings. &lt;a href="/exhibits/show/essays/essay-sweeney"&gt;More info.&lt;/a&gt;</text>
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                  <text>Reels</text>
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                <text>Bird's Nest, The</text>
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                <text>Tina Lech, a former fiddle instructor at Boston College, performs this tune for all of us to hear. Tina learned the reel from a tape I gave to her of Larry Redican, the Dublin fiddle player who lived in New York. The tune's title was given to me by Nicky McAuliffe from County Kerry. Expert that he is, Nicky told me that master Cape Breton fiddle player Angus Chisholm had recorded it under the name 'The Bird's Nest'.</text>
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                <text>A tune not often heard is this set dance. I am grateful to Mr. Larry Redican Jr. for giving me permission to present his father's performance of it in this collection. I have fond memories of Larry Sr. playing it for me in my home when I lived in Ireland.</text>
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                <text>I first heard this tune played as a hornpipe by Paddy O'Brien with The Lough Gowna C&amp;eacute;il&amp;iacute; Band in the early 1960s. In fact, the tune was originally composed as a four-part march by Gordon MacQuarrie of Cape Breton. MacQuarrie, a noted fiddle player and composer, published the tune in 1940 in his book &lt;em&gt;The Cape Breton Collection of Scottish Melodies&lt;/em&gt;. &lt;br /&gt;&lt;br /&gt;It is fascinating to imagine the musical meetings that occurred when musicians from Ireland immigrated to America and encountered not only American-born players of Irish traditional music, but also players of Scottish music from Cape Breton. This tune is a great example of such musical cross-pollination. Perhaps Paddy O'Brien picked the tune up in America from a fiddle player, or from MacQuarrie's book, converted it to a hornpipe, and took it back to Ireland with him when he returned in the early 1960s. And now, 'The Bonnie Lass of Headlake' has travelled back and forth across the Atlantic many times; this time in fine style indeed, played by John Daly on the fiddle with Kevin Brehony at the piano.</text>
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                <text>An expression in Ireland when I was growing up was, 'Ah, cop-on', which means something like 'get with it'. Damien Connolly, my nephew, remembers the saying too, and he suggested the above title as a name for the composition which he plays on this track. Damien writes: 'A Bottle of Cop-On: One of my friends from Sixmilebridge, Paul Delaney, used to say, "You need a good bottle of cop-on". Perhaps he was right! Maybe I still need a good bottle of it. The first few bars of the second part kept coming to me for months til I finally decided to do something about it. I wrote this tune back in 2006.'</text>
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                <text>Irish c&amp;eacute;il&amp;iacute; dancing was very popular in the late 1950s and early '60s, and dancers loved the idea of dancing to the music of different bands. In the late 1950s I was invited to join The Ormond Star C&amp;eacute;il&amp;iacute; Band, one of a number of bands that were formed around the banks of The Shannon and Lough Derg. The Ormond Star counted among its members many fine musicians, including All-Ireland champion button accordionist Paddy Ryan from Coolbawn, Nenagh, County Tipperary, and fiddle player Liam O'Connor, originally from Brosna, County Kerry. Liam taught me many tunes, including the one played on this track by my friend Nicole Rabata on flute, with myself on fiddle. Just for the record, The Ormond Star did travel to Dublin to make a long-playing recording &amp;ndash; exciting times for me as a teenager.</text>
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                <text>I have a tape of a wonderful evening of music in the home of the Gavin family of Balbriggan, County Dublin, which includes this hornpipe played by Jimmy Keane from Chicago. I wanted to include the tune in this collection, so I phoned Jimmy to ask about its origins. He said the tune wasn't his composition, so after some thought I phoned Brian O'Kane (a member of the All-Ireland Champion Siamsa C&amp;eacute;il&amp;iacute; Band in the 1960s) in Dublin to ask if he knew anything about the tune. He informed me that he indeed had written it himself, but had no name for it. Looking back now, it seems that I had made an association between the names Keane and O'Kane, and their styles of playing, which happily led me to the identity of the actual composer of this fine hornpipe. Thanks for the tune, Brian, and thanks to Gr&amp;aacute;inne Murphy for learning and playing it here for us.</text>
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                <text>Bridge at Newtown, The</text>
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                <text>'The Bridge', as it was affectionately called, was home to Dinny O'Brien, concertina and fiddle player. It was also the home of accordionist Paddy O'Brien, my musical colleague in the 1960s and '70s. The bridge in question is on the road between Portroe and Nenagh, County Tipperary. As a tribute to the O'Brien family, and in particular to Paddy, I composed this reel. It is played on this track by a former student of M&amp;aacute;ire O'Keeffe's, Tara Breen, a young fiddle player who has won the Fiddler of Dooney competition and the All-Ireland Championship. Tara's playing is a special treat. The tune is in E major, a key not commonly used in Irish music.</text>
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                <text>http://library.bc.edu/connolly/plugins/Dropbox/files/IMC_M064_2013_03_0424.mp3</text>
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                <text>Some transcriptions are based on historical source recordings. &lt;a href="/exhibits/show/essays/essay-sweeney"&gt;More info.&lt;/a&gt;</text>
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                <text>Bridge of Portumna, The</text>
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                <text>The town of Portumna in County Galway was a port of call for my father, Mick Connolly, when he worked on the River Shannon. During school holidays I often sailed with my Dad up and down the river and I always looked forward to docking in Portumna after the twenty-five mile trip on Lough Derg. &lt;br /&gt;&lt;br /&gt;The bridge spanning the Shannon at Portumna always held a fascination for me, particularly when it was raised to let larger boats sail underneath. I loved to swim in the clear waters of the Shannon, and diving from the high bridge of Portumna was always a test of nerves and possibly a way of being a 'show off'. During one of my crazy show-off dives I twisted my back and though I lived to tell the tale, I carry a souvenir of that dive to this day! &lt;br /&gt;&lt;br /&gt;I wonder if my good friend, accordionist and composer Martin Mulhaire, ever jumped or swam near the bridge. However, I do know that he composed this grand reel, which is masterfully played here by Liz Carroll on her fiddle.</text>
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                <text>Boston College Libraries</text>
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                <text>http://library.bc.edu/connolly/plugins/Dropbox/files/IMC_M064_2013_03_0510.mp3</text>
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                <text>&lt;a href="http://creativecommons.org/licenses/by-nc/4.0/" rel="license"&gt;&lt;img style="border-width: 0;" src="https://i.creativecommons.org/l/by-nc/4.0/88x31.png" alt="Creative Commons License" /&gt;&lt;/a&gt;&lt;br /&gt;This work is licensed under a &lt;a href="http://creativecommons.org/licenses/by-nc/4.0/" rel="license"&gt;Creative Commons Attribution-NonCommercial 4.0 International License&lt;/a&gt;.</text>
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                <text>&lt;iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/270372191&amp;amp;color=ff5500&amp;amp;auto_play=false&amp;amp;hide_related=false&amp;amp;show_comments=true&amp;amp;show_user=true&amp;amp;show_reposts=false" frameborder="no" scrolling="no" width="100%" height="166"&gt;&lt;/iframe&gt;</text>
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                <text>Some transcriptions are based on historical source recordings. &lt;a href="/exhibits/show/essays/essay-sweeney"&gt;More info.&lt;/a&gt;</text>
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                <text>Peadar O'Loughlin's name seems to be eternally present in the world of Irish music. His music brought much joy to the Connolly household when I was growing up in County Clare. It was such a heartwarming pleasure to have him visit the home of Geraldine Cotter the afternoon that he and Geraldine recorded 'Bridie's Joy' for Sandy and me. Years earlier, on an LP record issued by Ceirn&amp;iacute;n&amp;iacute; Cladaigh, he and piper Ronan Browne played this same reel. A great tune that's worth hearing again.</text>
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                <text>David Reiner has published a number of fiddle books, including &lt;em&gt;Anthology of Fiddle Tunes&lt;/em&gt; (Mel Bay). According to Dave, this tune came together in his head while he was hiking with his parents and brother in the Canadian Rocky Mountains. After he returned from the hike he picked up his fiddle and, he writes, 'made a few improvements to the tune, including the ending that tumbles down arpeggios like a waterfall into a canyon.' The great Liz Carroll recreates Dave's musical hiking adventure with her interpretation of this composition.</text>
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                <text>Carraigín Ruadh</text>
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                <text>Another composer of fine tunes was fiddle and flute player Brendan Tonra from County Mayo, who immigrated to Boston around 1959. Brendan played this tune, one of his compositions, on a recording made in 1979 by the Boston branch of Comhaltas Ceolt&amp;oacute;ir&amp;iacute; &amp;Eacute;ireann. It may be found in Brendan's own collection, &lt;em&gt;A Musical Voyage, with Brendan Tonra&lt;/em&gt;, produced by his friend Helen Kisiel. My setting of this reel can be found on a 1989 recording called &lt;em&gt;Here and There&lt;/em&gt;, on the Green Linnet label. The tune is played for this collection by S&amp;eacute;amus and Manus McGuire.</text>
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