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=Folk+dance+music--Ireland&page=1&sort_field=Dublin+Core%2CIdentifier&sort_dir=a&output=atom <![CDATA[The Séamus Connolly Collection of Irish Music]]> 2024-03-28T05:57:58-07:00 Omeka https://connollymusiccollection.bc.edu/document/572 <![CDATA[Old Torn Petticoat ]]>
As I look back now, I realise that it was an act of musical generosity to a young musician, which perhaps contained within it the inspiration not only for this project, but also for how I, throughout my life as a musician and teacher, have been driven and encouraged to do my utmost in passing along to others this incredible and astonishing oral and aural tradition. For that I say, 'Thank you, Julia; thank you, Billy'. Little did you both realise fifty years ago when you made that tape for me how much influence your music would have on today's musicians and students alike.]]>
2016-10-12T08:09:04-07:00

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I believe it is important to feature master fiddle player Julia Clifford and her son Billy playing the first dance tune in this collection. It was the first reel that they recorded for me that night in Tralee over fifty years ago, when Julia invited me to record herself and Billy playing tunes she thought I might not have. When they played a tune I admitted to never having heard, she would ask me in surprise, 'You don't have it, do you?'

As I look back now, I realise that it was an act of musical generosity to a young musician, which perhaps contained within it the inspiration not only for this project, but also for how I, throughout my life as a musician and teacher, have been driven and encouraged to do my utmost in passing along to others this incredible and astonishing oral and aural tradition. For that I say, 'Thank you, Julia; thank you, Billy'. Little did you both realise fifty years ago when you made that tape for me how much influence your music would have on today's musicians and students alike.

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
]]>
https://connollymusiccollection.bc.edu/document/453 <![CDATA[Planting Stick, The]]> 'The Planting Stick' is a variant of the venerable jig 'Bryan O'Lynn', a tune I first learned from my grandmother, Elizabeth Collins (née Rochford). A number of versions of 'Bryan O'Lynn' are to be found in this collection. The tune appears in Patrick W. Joyce's collection Ancient Irish Music as 'The Planting Stick'. However, the first time I heard the version which Maeve Donnelly plays for us on this track was on a cassette tape recorded in New York in the 1950s, played by an unknown fiddle player. Paddy Canny from Tulla in County Clare was in the company in New York that same evening, and he played yet another version of 'Bryan O'Lynn'.

 
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2016-10-12T08:08:46-07:00

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Bryan O’Lynn

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'The Planting Stick' is a variant of the venerable jig 'Bryan O'Lynn', a tune I first learned from my grandmother, Elizabeth Collins (née Rochford). A number of versions of 'Bryan O'Lynn' are to be found in this collection. The tune appears in Patrick W. Joyce's collection Ancient Irish Music as 'The Planting Stick'. However, the first time I heard the version which Maeve Donnelly plays for us on this track was on a cassette tape recorded in New York in the 1950s, played by an unknown fiddle player. Paddy Canny from Tulla in County Clare was in the company in New York that same evening, and he played yet another version of 'Bryan O'Lynn'.

 

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
]]>
https://connollymusiccollection.bc.edu/document/454 <![CDATA[Magpie in the Tree]]> 2016-10-12T08:08:46-07:00

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And now to confuse things even more or, as they say at home in Ireland, 'to throw more turf on the fire', my brother Martin Connolly here plays 'Magpie in the Tree', which is yet another version of the classic jig 'Bryan O'Lynn'. Martin, a great accordion player and the maker of the 'Kincora' accordion, told me that the County Kerry fiddle player Johnny Cronin played this jig for him over the phone. Johnny was in New York and Martin was in John's sister's house near Killarney.

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
]]>
https://connollymusiccollection.bc.edu/document/455 <![CDATA[Johnny's 21st Birthday]]> 2016-10-12T08:08:46-07:00

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Dr. Tomás Ó Canainn wrote this tune and recorded it with his daughter Nuala to honour and celebrate the twenty-first birthday of their musical friend Johnny McCarthy. Their recording was named Béal na Trá and was issued in 1982 on the Outlet label. In keeping with Tomás' being a piper, the tune on this track is played on the pipes by my good friend from New York, Jerry O'Sullivan.

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
]]>
https://connollymusiccollection.bc.edu/document/456 <![CDATA[Is It Any Good, Séamus?]]> 2016-10-12T08:08:47-07:00

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Fiddle player, accordionist, and composer Eddie Kelly played this tune for me and asked, 'Is it any good, Séamus?' I recorded Eddie playing it in a session on the street at an All-Ireland Fleadh Cheoil around 1990. The title somehow suggests that it is a composition of Eddie Kelly, but I'm not certain. I am honoured to have Manus McGuire associated with this collection, and here he gives us his interpretation of this grand jig.

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Séamus Connolly
Boston College Libraries

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Some transcriptions are based on historical source recordings. More info.
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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.
]]>
https://connollymusiccollection.bc.edu/document/457 <![CDATA[Jimmy Neary's]]> 2016-10-12T08:08:47-07:00

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Jimmy Neary was a fiddle player from County Mayo who lived in Chicago. Johnny McGreevy, another fiddle player from Chicago and a hero of mine, gave me this tune in 1972 when I was on my first visit to that city, on the first ever Comhaltas Ceoltóirí Éireann concert tour of North America. The tune is played here by my friends Jimmy Noonan from Cleveland, Ohio, who now lives in Boston, and Dan Gurney from New York State, two musicians who do much for traditional Irish music through their teaching and performing. Jimmy is on the faculty of the Boston College Irish Studies Program where he teaches flute and whistle. Dan, who plays the accordion, graduated from Harvard University with a degree in music.

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
]]>
https://connollymusiccollection.bc.edu/document/548 <![CDATA[Mrs. Ryan's]]>
'My poor father is minding sheep
Me sisters and brothers are fast asleep
I've been out in the hay all night
Get up and let me in!']]>
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Ciarán Mac Mathúna from Radio Éireann recorded this tune from concertina player Mrs. Ryan from Ballinaclough, Nenagh, County Tipperary. Although this tune is played as a slide, the area around North Tipperary and Limerick is particularly well-known for its polka music. Monsignor Charles Coen lilts the tune using his mother's words to it on the first track, then plays the tune on the concertina on the following track.

'My poor father is minding sheep
Me sisters and brothers are fast asleep
I've been out in the hay all night
Get up and let me in!'

Publisher

Séamus Connolly
Boston College Libraries

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Type

Some transcriptions are based on historical source recordings. More info.
Some transcriptions are based on historical source recordings. More info.
]]>
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.
]]>
https://connollymusiccollection.bc.edu/document/420 <![CDATA[Gearóid Ó Laidhigh's]]> Ceolta Tire and A Job of Journeywork. On this recording, the tune is played on fiddle by my dear friend, colleague, and musical collaborator Laurel Martin.]]> 2016-10-12T08:08:41-07:00

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Fiddle player Gearóid Ó Laidhigh and flute player John Darcy recorded this tune, a composition of Mr. Ó Laidhigh's, for Ciarán Mac Mathúna. Ciarán traveled throughout Ireland recording musicians and singers, and later presented them on his weekly radio programmes, Ceolta Tire and A Job of Journeywork. On this recording, the tune is played on fiddle by my dear friend, colleague, and musical collaborator Laurel Martin.

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
]]>
https://connollymusiccollection.bc.edu/document/573 <![CDATA[Humours of Toonagh]]> 2016-10-12T08:09:04-07:00

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This reel first came to my attention when it was played by a group of wonderful young musicians from Dublin. Their band, known as The Castle Céilí Band, made a big name for themselves in the 1960s and were much admired throughout Ireland for their rhythm, phrasing, and selection of tunes. James Keane and his brother Seán – the fiddle player with The Chieftains – were central to the success and popularity of the band, so who better than accordionist James Keane from Dublin and New York to play this tune for us?

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Séamus Connolly
Boston College Libraries

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Type

Some transcriptions are based on historical source recordings. More info.
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https://connollymusiccollection.bc.edu/document/421 <![CDATA[Corney Drew's]]> American Journeywork programme in 1963. I gave this recording to Liz and she graciously played Denis's and Charlie's version for this project. A different version may be found in Captain Francis O'Neill's 1001 Gems collection of music.]]> 2016-10-12T08:08:41-07:00

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This hornpipe as played on this recording comes to us courtesy of fiddle player Liz Knowles. The original sources for the tune, Denis Murphy and Charlie Mulvihill (fiddle and accordion, respectively), recorded it for Ciarán Mac Mathúna's American Journeywork programme in 1963. I gave this recording to Liz and she graciously played Denis's and Charlie's version for this project. A different version may be found in Captain Francis O'Neill's 1001 Gems collection of music.

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
]]>
https://connollymusiccollection.bc.edu/document/553 <![CDATA[Granny in the Woods]]> 2016-10-12T08:09:00-07:00

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Tom Morrison from Dunmore in County Galway recorded this polka in the early 1920s. Catherine McEvoy, originally from Birmingham, England, and now living in County Meath, delights us with her recording of this same tune: two great flute players at work with the same tune almost one hundred years apart.

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
]]>
https://connollymusiccollection.bc.edu/document/574 <![CDATA[Martin Woods' Reel]]>
Johnny McCarthy, the accordion player and great hurler from County Clare, recorded this tune on his CD Solo Run. Thanks, Johnny, for all those solo runs on the playing pitch and for your mighty accordion music. Thanks also to Laura Byrne, flutist; Donna Long, pianist; and Billy McComiskey on accordion for their excellent rendition of this reel.]]>
2016-10-12T08:09:04-07:00

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A fine fiddle player from County Clare was Martin Woods. I had the honour of playing with him often in the early 1960s. Both of us were members of a céilí band known as The Lough Derg. That was so long ago! Martin Woods had fine old tunes which he loved playing for me.

Johnny McCarthy, the accordion player and great hurler from County Clare, recorded this tune on his CD Solo Run. Thanks, Johnny, for all those solo runs on the playing pitch and for your mighty accordion music. Thanks also to Laura Byrne, flutist; Donna Long, pianist; and Billy McComiskey on accordion for their excellent rendition of this reel.

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
]]>
https://connollymusiccollection.bc.edu/document/459 <![CDATA[Liam Rowsome's]]> 2016-10-12T08:08:47-07:00

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The name Rowsome is ubiquitous in the world of Irish music. Down through the years I have had the honour of playing music with the piping master Leo Rowsome and with his children, Leon, Liam, and Helena. Fiddle player Liam Rowsome composed this tune in the key of A major. It is recorded here by fiddle player Brendan Bulger, All-Ireland fiddle champion from Boston. Brendan chose to play it in a different key. He told me he had fun doing so. Well done, Brendan.

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.
]]>
https://connollymusiccollection.bc.edu/document/422 <![CDATA[Lynches and Wards of Clogher, The]]> 2016-10-12T08:08:41-07:00

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Throughout its illustrious career, the celebrated Kilfenora Céilí Band from north County Clare has had various band members with the surnames Lynch and Ward, including P.J. Lynch, Tom Ward, and Jimmy Ward. This composition by the extraordinary Tommy Peoples – who was himself a member of that great band – gives well-deserved honour to the Lynch and Ward families for their great contributions to Irish music.

Publisher

Séamus Connolly
Boston College Libraries

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Some transcriptions are based on historical source recordings. More info.
]]>
https://connollymusiccollection.bc.edu/document/575 <![CDATA[McGreevy's Tansey's]]> 2016-10-12T08:09:04-07:00

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Johnny McGreevy from Chicago played this reel for me in 1972. I have given it this title because it reminds me of 'Tansey's Reel', a tune recorded by the Sligo fiddle player Paddy Killoran. My good friends Jimmy Noonan and Dan Gurney recorded this version at my home in Maine. Thanks, lads. Well done: great swing!

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
]]>
https://connollymusiccollection.bc.edu/document/576 <![CDATA[Flowery Hills of Scotland, The]]> 2016-10-12T08:09:04-07:00

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According to Nicky McAuliffe, Michael Coleman and James 'Lad' O'Beirne, master fiddle players from County Sligo, recorded this reel on a 78 RPM recording machine in Mr. O'Beirne's home on November 5, 1941. I have not had the opportunity to hear that old recording, but Brendan Bulger's playing on this track reminds me of the lilt and swing of yet another County Sligo man's music, that of flute player Eugene Preston, from whom I learned the tune.

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
]]>
https://connollymusiccollection.bc.edu/document/577 <![CDATA[Jack Coughlin's]]>
Incidentally, Sean Moloney, in his notes on the CD recording of his father's music, tells us that Eddie learned many tunes, including the one featured here, from Tommy Whelan. A flute player, Tommy was a member of the Ballinakill Traditional Players and a composer of many fine tunes. In all probability then, these masters from the past, Jack Coughlin, Eddie Moloney, and Tommy Whelan, played this tune often. This amazing flute tradition from in and around Ballinakill, County Galway made its way across the Atlantic Ocean, brought to America by two other masters from East Galway, Mike Rafferty and Jack Coen. Both these gentlemen were awarded National Heritage Fellowships for their contributions to the living arts and culture of the United States. What an amazing life's journey in the name of music. Enjoy the tune and decide for yourself which part you would prefer to begin the tune on!]]>
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I met Jack Coughlin only once, sometime in the early '60s. Jack was a lovely flute player in the lyrical and flowing style associated with East County Galway. He was living in London when I was introduced to him by my lifelong friend, master musician Joe Burke. Joe also gave me this reel and told me that it was a favourite of Jack Coughlin's. My nephew Damien Connolly plays the tune on this track on his two row button accordion. It is interesting to note that he begins the tune on what might at first seem to the listener to be its second part, or as we say in Ireland 'the turn of the tune'. When one listens to the wonderful double CD recording of master musician Eddie Moloney, a neighbour of Jack Coughlin's, one hears Eddie play on flute this same reel with the parts reversed. One could ask the question then, which is the first part of the tune, and which is the second part? My answer would be that, delightfully, the parts work beautifully when played either way.

Incidentally, Sean Moloney, in his notes on the CD recording of his father's music, tells us that Eddie learned many tunes, including the one featured here, from Tommy Whelan. A flute player, Tommy was a member of the Ballinakill Traditional Players and a composer of many fine tunes. In all probability then, these masters from the past, Jack Coughlin, Eddie Moloney, and Tommy Whelan, played this tune often. This amazing flute tradition from in and around Ballinakill, County Galway made its way across the Atlantic Ocean, brought to America by two other masters from East Galway, Mike Rafferty and Jack Coen. Both these gentlemen were awarded National Heritage Fellowships for their contributions to the living arts and culture of the United States. What an amazing life's journey in the name of music. Enjoy the tune and decide for yourself which part you would prefer to begin the tune on!

Publisher

Séamus Connolly
Boston College Libraries

Type

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