<![CDATA[The Séamus Connolly Collection of Irish Music]]> https://connollymusiccollection.bc.edu/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Barndances&output=rss2 Fri, 29 Mar 2024 05:00:46 -0700 burnsref@bc.edu (The Séamus Connolly Collection of Irish Music) Boston College Libraries Zend_Feed http://blogs.law.harvard.edu/tech/rss <![CDATA[Mrs. Galvin's Barndance]]> https://connollymusiccollection.bc.edu/document/407

Story

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
01-29_Mrs_Galvins_Barndance.pdf
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<![CDATA[Dominick McCarthy's Irish Barndance]]> https://connollymusiccollection.bc.edu/document/408

Story

The name Shand is synonymous with the traditional music of Scotland. The rock-solid rhythm and strict tempo of master accordionist and composer Sir Jimmy Shand are forever embedded in my mind. Joyous memories of Mr. Shand's music have remained with me all my life. They take me back to my youth in Killaloe, as we tuned our crackly radio to the Scottish airwaves to listen to the star of radio and television playing with his band.

Moving further along in years, my wife Sandy and I visited Sir Jimmy's hometown of Auchtermuchty, Scotland in the hope of meeting the maestro. Deciding that an unannounced visit might be intrusive, we continued on our journey.

This introduction to Dominick McCarthy's Irish Barndance may seem unusual; nevertheless, it seems appropriate to write about Sir Jimmy in order to write about his equally talented son Jimmy Shand Jr., accordionist, composer, and accordion tuner. On a recent visit to Auchtermuchty with my friends Drs. Jim and Cindy Polo, we were welcomed into the beautiful home of Jimmy Shand Jr. and his lovely wife Margaret. Jimmy had invited us, and on that trip I did not hesitate to knock on the door of the Shand residence. The kind warm hospitality that we received from Mr. and Mrs. Shand will now also be embedded in my mind. Music, stories, photographs, and holding Sir Jimmy's accordion were special treats on that occasion. 

And then our conversation turned to Jimmy Jr.'s music compositions. I told Jimmy that Dominick McCarthy from Clara in County Offaly had played the barndance for me over thirty years ago. Mr. Shand told me that he did not have any recollection of the tune. Upon giving Jimmy Jr. the sheet music, he began to whistle, and with a twinkle in his eye he smiled as the tune instantly came back to him. He was delighted to be reminded of this tune while saying it would be a welcome addition to his forthcoming book, Jimmy Shand, Jr. Music Compositions.

Unforgettable memories all around. Thank you, sir, for your composition and for the welcome that you and Margaret gave to Cindy, Jim, and myself. Jimmy, I hope you never stop playing and composing!


Publisher

Séamus Connolly
Boston College Libraries
03-25_Dominick_McCarthys_Irish_Barndance.pdf
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<![CDATA[Message to Séamus]]> https://connollymusiccollection.bc.edu/document/409

Story

One of America's most distinguished master musicians, North Carolina banjo player, fiddle player, and composer Tony Ellis was out on his tractor one day when he began to hear this barndance in his head. Not knowing whether he'd heard the tune somewhere before, or if it was something new, he went inside and pulled out his fiddle.

I was not at home when he rang me, but he played the tune onto my answering machine and asked if I had ever heard it. As soon as I received his message, I returned his phone call and told him that I had never heard the tune before.

Later, on one of his CD recordings, Quaker Girl, Tony recorded the tune for posterity and gave it the above title. I am very proud that my friend, the wonderful fiddle player Liz Knowles, kept Tony's interpretation and feeling in mind yet added her very own nuances, colour, and variations when she played the tune for this collection. Thanks, Liz!

Publisher

Séamus Connolly
Boston College Libraries

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04-01_Message_to_Seamus-Barndance.pdf
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<![CDATA[Parkersburg Landing]]> https://connollymusiccollection.bc.edu/document/410

Story

The music of Ed Haley, a fiddle player born in West Virginia in 1883, has for over twenty years given me much enjoyment and pleasure. My good friend Mr. Joe Wilson, former director of The National Council for the Traditional Arts, gave me a tape of Haley's music. He played this particular tune in a very distinctive West Virginia style, but with a definite Irish influence, incorporating ornamentation similar to that employed by the Sligo fiddle players Coleman, Killoran, and Morrison, who came to America in the early 1900s. I asked Séamus McGuire to learn and play the tune for my collection. Masterfully played, thank you, Séamus.

Publisher

Séamus Connolly
Boston College Libraries
04-09_Parkersburg_Landing-Barndance.pdf
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<![CDATA[Billy Caples' Barndance]]> https://connollymusiccollection.bc.edu/document/411

Story

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
06-32_Billy_Caples_Barndance.pdf
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<![CDATA[Kilfenora Barndance, The]]> https://connollymusiccollection.bc.edu/document/412

Story

This tune was one of the ones that I did not know on that tape sent to me over fifty years ago by Kitty Linnane, then leader of the famous Kilfenora Céilí Band (see 'Come to the Fair'). Indeed, many of the tunes on that tape were new to me. I had my work cut out for me, having to learn all of them for our upcoming tour of England. I am delighted that Tara Lynch (of the famed Kilfenora name) joined me on this track. It felt like home having Tara play with me. Thank you, my friend.

Publisher

Séamus Connolly
Boston College Libraries

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08-06_The_Kilfenora_Barndance.pdf
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<![CDATA[Henry Savage's Favourite]]> https://connollymusiccollection.bc.edu/document/413

Story

I first heard this tune on a long-playing record titled Music from the Glens, featuring the musical Quinn family from New York. Mr. Louis Quinn, father of this talented family, was a fiddle player who came to America from South Armagh. Mr. Quinn probably heard this tune growing up in that beautiful part of the county, an area well-known for Irish music and céilí dancing. The tune gets its name from Henry Savage, who came from a long lineage of fiddle players in that area. Here, Shannon Heaton plays her interpretation of this barndance. I am very grateful to Shannon and her husband Matt, who so generously took time from their busy schedules to come all the way from Boston to spend time with Sandy and me, for playing such delightful music for this project.

Publisher

Séamus Connolly
Boston College Libraries

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08-19_Henry_Savages_Favourite-Barndance.pdf
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<![CDATA[Quinn Family, The]]> https://connollymusiccollection.bc.edu/document/414

Story

Shannon and Matt Heaton give vibrant life to a barndance which I first heard on the long-playing record Music from the Glens. The album featured the talented Quinn family from New York, hence the title I've given the tune to honour this musical clan led by Mister Louis Quinn of County Armagh.

Publisher

Séamus Connolly
Boston College Libraries

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09-23_The_Quinn_Family-Barndance.pdf
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