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=2&sort_field=Dublin+Core%2CTitle&sort_dir=d&output=atom <![CDATA[The Séamus Connolly Collection of Irish Music]]> 2024-03-28T06:03:22-07:00 Omeka https://connollymusiccollection.bc.edu/document/567 <![CDATA[Tureencahill Polka]]> 2016-10-12T08:09:03-07:00

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Another track from fiddle player Máire O'Keeffe. Her title for this tune refers to an area near Rathmore, County Kerry, famous for its music. Máire learned this polka from Sonny Riordan.

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
]]>
https://connollymusiccollection.bc.edu/document/676 <![CDATA[Tulla Lodge]]> 2016-10-12T08:09:20-07:00

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Martin Hayes, the great fiddle player from East Clare, gives us this beautiful rendition of a tune I have given the title 'Tulla Lodge'. This tune was given to me by Larry Gavin.

Publisher

Séamus Connolly
Boston College Libraries

Relation

Type

Some transcriptions are based on historical source recordings. More info.
]]>
https://connollymusiccollection.bc.edu/document/720 <![CDATA[Trip to Moultonborough]]> Meghan Mette was one of the musicians featured on 'A Polka for Matt'. She is the younger sister to Eliza Mette, who can be heard on 'Summer's Waltz'.

Here Meghan plays one of her own compositions and, below, she tells us in her own words how the tune came to be. What beautiful sentiments about our music and song from such a young person. It tells us much about her soul.

'Every summer of my life I have gone with my family down to New Hampshire to spend a week on Squam Lake. These weeks are always wonderful, but my fondest memories come from a time when I was much younger, a time when the entire family was able to join us at the lake.

For us, as children, the lake was a sea of mysteries waiting to be discovered and fully taken advantage of on sunny days: swimming, canoeing, going to the rope swing in Sandwich Bay, or maybe a motorboat ride out to the islands, setting up camp for a picnic. However, when a rainy day came along, we were far from disappointed. Today there would be a trip to Moultonborough. We would all pile into our cars and drive through the sprinkling rain – or the downpour – to Moultonborough Country Candy Shop.

The tired floorboards would creak as all of us children ran to collect our brown paper bags at the front of the candy bar, our mothers calling "Five dollar limit!" It is amazing, however, how much candy one can purchase for five dollars at a penny candy store. On the car ride home we would trade some candy – as long as it was an equal trade of course...

I wrote this strathspey in honor of those memories. Although we have grown up since then and many of my cousins no longer join us at the lake, we continue to go to Moultonborough once a year, because the tradition – like the music – must be passed on, never forgotten. Tradition is what allows us to hold the past dear, while all the time making and adding new memories and creations to our lives. We can never let these traditions die.'

]]>
2016-10-12T08:09:26-07:00

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Meghan Mette was one of the musicians featured on 'A Polka for Matt'. She is the younger sister to Eliza Mette, who can be heard on 'Summer's Waltz'.

Here Meghan plays one of her own compositions and, below, she tells us in her own words how the tune came to be. What beautiful sentiments about our music and song from such a young person. It tells us much about her soul.

'Every summer of my life I have gone with my family down to New Hampshire to spend a week on Squam Lake. These weeks are always wonderful, but my fondest memories come from a time when I was much younger, a time when the entire family was able to join us at the lake.

For us, as children, the lake was a sea of mysteries waiting to be discovered and fully taken advantage of on sunny days: swimming, canoeing, going to the rope swing in Sandwich Bay, or maybe a motorboat ride out to the islands, setting up camp for a picnic. However, when a rainy day came along, we were far from disappointed. Today there would be a trip to Moultonborough. We would all pile into our cars and drive through the sprinkling rain – or the downpour – to Moultonborough Country Candy Shop.

The tired floorboards would creak as all of us children ran to collect our brown paper bags at the front of the candy bar, our mothers calling "Five dollar limit!" It is amazing, however, how much candy one can purchase for five dollars at a penny candy store. On the car ride home we would trade some candy – as long as it was an equal trade of course...

I wrote this strathspey in honor of those memories. Although we have grown up since then and many of my cousins no longer join us at the lake, we continue to go to Moultonborough once a year, because the tradition – like the music – must be passed on, never forgotten. Tradition is what allows us to hold the past dear, while all the time making and adding new memories and creations to our lives. We can never let these traditions die.'

Publisher

Séamus Connolly
Boston College Libraries

Relation

Type

Some transcriptions are based on historical source recordings. More info.
]]>
https://connollymusiccollection.bc.edu/document/647 <![CDATA[Tóstal, An]]>
'I well remember when An Tóstal was held in Dublin. The entire city was cleaned up and flower baskets, flags and bunting of all colours placed on O'Connell Bridge. I recall thinking that Dublin must be the best place on earth. It provided a great incentive to tidy the city and instill civic pride again in its people. It was from An Tóstal that the current well-known 'Tidy Towns' competition came.

On one designated Sunday during An Tóstal (which would last for a couple of weeks), the GPO would be decorated with more flags than usual and a big platform placed outside for dignitaries of the State... I recall seeing the President, Seán T. O'Kelly, on the platform addressing the people during his presidency in 1954. I was eight then and daddy lifted me up to see the goings on...

Dad played at many events during An Tóstal, including a Céilí at the Mansion House. He composed the reel for obvious reasons: his celebration of a great festival. An Tóstal lasted from 1953 into the 1960s when it sort of phased out.']]>
2016-10-12T08:09:14-07:00

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Leo Rowsome, known as 'The King of the Pipers', wrote this lovely reel. It is played on this track by fiddle player John Daly. 'An Tóstal', according to my good friend Helena Rowsome, Leo's daughter, means 'a pageant or assembly of ordinary people'. Here Helena describes 'An Tóstal' in her own words. Thank you, dear friend.

'I well remember when An Tóstal was held in Dublin. The entire city was cleaned up and flower baskets, flags and bunting of all colours placed on O'Connell Bridge. I recall thinking that Dublin must be the best place on earth. It provided a great incentive to tidy the city and instill civic pride again in its people. It was from An Tóstal that the current well-known 'Tidy Towns' competition came.

On one designated Sunday during An Tóstal (which would last for a couple of weeks), the GPO would be decorated with more flags than usual and a big platform placed outside for dignitaries of the State... I recall seeing the President, Seán T. O'Kelly, on the platform addressing the people during his presidency in 1954. I was eight then and daddy lifted me up to see the goings on...

Dad played at many events during An Tóstal, including a Céilí at the Mansion House. He composed the reel for obvious reasons: his celebration of a great festival. An Tóstal lasted from 1953 into the 1960s when it sort of phased out.'

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
]]>
https://connollymusiccollection.bc.edu/document/625 <![CDATA[Top of the Bow]]> 2016-10-12T08:09:11-07:00

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Flute player Shannon Heaton wrote 'Top of the Bow' for her friends Emerald and Eden, two fiddle-playing sisters. They had their fiddles out in the car, learning a tune on the way to a gig. However, after realizing that their playing had left little marks in the car's ceiling, they decided that it's best to use just the very tip-top of the fiddle bow when playing in the car...

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
]]>
https://connollymusiccollection.bc.edu/document/598 <![CDATA[Tom Turkington's in G Major]]> 'Tom Turkington's in C Major').]]> 2016-10-12T08:09:07-07:00

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The young Cape Breton fiddle player Kimberley Fraser gives us an exciting blend of Irish and Cape Breton fiddle styles. She plays another reel from the music of County Tyrone fiddle player Tom Turkington (see 'Tom Turkington's in C Major').

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
]]>
https://connollymusiccollection.bc.edu/document/581 <![CDATA[Tom Turkington's in C Major]]>
Knowing the close connection the music of Northern Ireland has with Scottish music and the music of Cape Breton Island, I asked Kimberley Fraser, the great young fiddle player from Cape Breton, to give her interpretation of this and some of the other tunes that Tom Turkington played that night. Kimberley's remarkable blending of her own Cape Breton style with a Northern Ireland fiddle style on these recordings produces powerful, driving, and rhythmic music much in the spirit of the way Tom Turkington himself played. Thanks, Kimberley, for your splendid fiddle playing.]]>
2016-10-12T08:09:05-07:00

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I met Tom Turkington, a fiddle player from Cookstown, County Tyrone, only once. It was at the beginning of the 1960s at a County Clare Fleadh Cheoil, when he performed at a celebrity concert with his son David on the piano. Musicians love talking about and trying one another's instruments, and on that occasion Tom played a number of tunes – none of which I knew at the time – on my fiddle. This experience reinforced a fascination I have always had with regional styles of music.

Knowing the close connection the music of Northern Ireland has with Scottish music and the music of Cape Breton Island, I asked Kimberley Fraser, the great young fiddle player from Cape Breton, to give her interpretation of this and some of the other tunes that Tom Turkington played that night. Kimberley's remarkable blending of her own Cape Breton style with a Northern Ireland fiddle style on these recordings produces powerful, driving, and rhythmic music much in the spirit of the way Tom Turkington himself played. Thanks, Kimberley, for your splendid fiddle playing.

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
]]>
https://connollymusiccollection.bc.edu/document/444 <![CDATA[Tom Turkington's in B Flat]]> Tom Turkington's performance on my fiddle that night long ago in County Clare featured this hornpipe in B flat. I don't have a title for this tune, so I pay tribute to Tom Turkington by naming it for him. Listening to the great Kimberley Fraser's performance of the tune brings me back in time and somehow makes me long for that old fiddle of mine.]]> 2016-10-12T08:08:45-07:00

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Tom Turkington's performance on my fiddle that night long ago in County Clare featured this hornpipe in B flat. I don't have a title for this tune, so I pay tribute to Tom Turkington by naming it for him. Listening to the great Kimberley Fraser's performance of the tune brings me back in time and somehow makes me long for that old fiddle of mine.

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
]]>
https://connollymusiccollection.bc.edu/document/427 <![CDATA[Tom Turkington's in A Major]]> Tom's playing that night, many years ago, has kept the tune alive, as does Kimberley Fraser's playing here, on fiddle and piano. Thanks, Tom and Kimberley.]]> 2016-10-12T08:08:42-07:00

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Here is another tune from the playing of Tom Turkington of County Tyrone. I searched for its name, and I asked a number of reliable sources for a title, but I have come up empty-handed. So, what better name than 'Tom Turkington's in A Major'? Tom's playing that night, many years ago, has kept the tune alive, as does Kimberley Fraser's playing here, on fiddle and piano. Thanks, Tom and Kimberley.

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
]]>
https://connollymusiccollection.bc.edu/document/474 <![CDATA[Thomas Reilly, Clerk of Fore]]> The Mulvey Manuscript. Stephen Grier wrote it out on the twenty-fifth of May, 1883. Father John has supplied me with many tunes from his part of the country over the last thirty years, for which I am most grateful.

I am grateful also to the wonderful fiddle player Martin Hayes for taking time from his busy schedule to record this tune for me. Martin's playing, as always, has depth of soul, with an understanding of the tune's beauty and simplicity. Beautifully played with feeling and emotion. Up the Banner, Martin!]]>
2016-10-12T08:08:49-07:00

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Rev. John Quinn from County Leitrim sent me this tune in the 1980s. It was a copy of handwritten music from The Mulvey Manuscript. Stephen Grier wrote it out on the twenty-fifth of May, 1883. Father John has supplied me with many tunes from his part of the country over the last thirty years, for which I am most grateful.

I am grateful also to the wonderful fiddle player Martin Hayes for taking time from his busy schedule to record this tune for me. Martin's playing, as always, has depth of soul, with an understanding of the tune's beauty and simplicity. Beautifully played with feeling and emotion. Up the Banner, Martin!

Publisher

Séamus Connolly
Boston College Libraries

Relation

Type

Some transcriptions are based on historical source recordings. More info.
]]>
https://connollymusiccollection.bc.edu/document/544 <![CDATA[Thomas Power's Polka]]> 2016-10-12T08:08:59-07:00

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Thomas Power, fiddle player from Doonbeg, County Clare, had a repertoire of unusual old tunes. His son Michael, who lives in upstate New York, sent me a recording of his father playing this and a number of other tunes. Fiddle player Kevin Burke did a masterful job of learning this fine forgotten tune and endowing it with his magic swing. Incidentally, piper Padraic Mac Mathúna suggested to me that this melody might well be related to the old song 'An tSeán Bhean Bhocht', or 'The Poor Old Woman'. Musician and scholar Kieran O'Hare has brought to my attention the similarity between 'Thomas Power's Polka' and the song 'The Shearin's No for You' as performed by Scottish singer Ed Miller.

Publisher

Séamus Connolly
Boston College Libraries

Relation

Type

Some transcriptions are based on historical source recordings. More info.
]]>
https://connollymusiccollection.bc.edu/document/511 <![CDATA[Thomas Power's Jig]]> 'Thomas Power's Polka').]]> 2016-10-12T08:08:54-07:00

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This jig, played here for us by Josephine Keegan from South Armagh, was learned from the cassette tape that Michael Power sent me of the playing of his father, Thomas Power, a lovely fiddle player from Doonbeg in west County Clare (see 'Thomas Power's Polka').

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
]]>
https://connollymusiccollection.bc.edu/document/590 <![CDATA[Thirteen Arches]]> St. Patrick, piloted it underneath the largest of the arches. The young fiddle player Kelsey Lutz, from Ann Arbor, Michigan, was sixteen years old when she recorded the tune for this project. Irish music will forever remain vibrant when young people play our music as Kelsey does.]]> 2016-10-12T08:09:06-07:00

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A thirteen-arched bridge spans the majestic River Shannon as it flows through my hometown of Killaloe, County Clare. On the opposite side of the bridge is Ballina, County Tipperary. As a child I had fun saying, 'I can stand in Killaloe and Ballina at the same time'. I composed this tune in remembrance of my father, Michael 'Mick' Connolly, who, when working as the skipper of a tugboat named the St. Patrick, piloted it underneath the largest of the arches. The young fiddle player Kelsey Lutz, from Ann Arbor, Michigan, was sixteen years old when she recorded the tune for this project. Irish music will forever remain vibrant when young people play our music as Kelsey does.

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
]]>
https://connollymusiccollection.bc.edu/document/521 <![CDATA[Terry's Jig]]> 2016-10-12T08:08:55-07:00

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Here we have another melody composed by the Grand Lady of New Brunswick fiddle music, Mrs. Matilda Murdoch. Its performer on this track, who once again gives Matilda's music a genuine Irish flavour, is none other than Maeve Donnelly.

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/597 <![CDATA[Tara and Dáire]]> Marie Reilly, the fiddle player from New York, played this reel at a Gaelic Roots Festival concert at Boston College, her alma mater. Thanks to Marie for bringing the tune to our attention. I did my utmost to find the tune's composer in order to give credit in the collection, but my efforts were unsuccessful. I now know that this delightful reel is a version of 'The Easy Club' composed by Jim Sutherland. The track is played here by Tara Breen and Dáire Mulhern, for whom I named the tune before I learned of its correct title. Thanks to composer Jim Sutherland for his lovely reel.]]> 2017-04-25T10:53:07-07:00

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Marie Reilly, the fiddle player from New York, played this reel at a Gaelic Roots Festival concert at Boston College, her alma mater. Thanks to Marie for bringing the tune to our attention. I did my utmost to find the tune's composer in order to give credit in the collection, but my efforts were unsuccessful. I now know that this delightful reel is a version of 'The Easy Club' composed by Jim Sutherland. The track is played here by Tara Breen and Dáire Mulhern, for whom I named the tune before I learned of its correct title. Thanks to composer Jim Sutherland for his lovely reel.

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
]]>
https://connollymusiccollection.bc.edu/document/415 <![CDATA[Swallows' Return, The]]> 2019-05-10T10:03:47-07:00

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Another tune from the pen and heart of fiddle player Matilda Murdoch is the one played on this track by Maeve Donnelly. Maeve remains true to the spirit of Matilda's own style of playing, while giving it her own personal interpretation, weaving through the tune with an Irish and Canadian touch. Thanks again, Maeve, and thank you, Matilda: from Canada to County Clare.

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
]]>
https://connollymusiccollection.bc.edu/document/728 <![CDATA[Summer's Waltz]]> 2016-10-12T08:09:27-07:00

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A beautiful waltz played by its composer, Eliza Mette, from Cape Elizabeth, Maine, with Kimberley Fraser at the piano. Eliza made up this tune for her friend Summer, another young and talented musician. Eliza generously took the time (from doing her homework) to record it for this collection. When she went away to college, I missed hearing her play. I am happy to say that she is still playing her beloved fiddle and composing other tunes. Thank you, Eliza: keep playing and composing.

Publisher

Séamus Connolly
Boston College Libraries

Type

Some transcriptions are based on historical source recordings. More info.
]]>
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.
]]>
https://connollymusiccollection.bc.edu/document/642 <![CDATA[Stone Fiddle, The]]> 2016-10-12T08:09:13-07:00

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Josephine Keegan, the prolific composer, fiddle player, and pianist, made up this top-notch tune. Thanks, Josephine, for sending it to me for inclusion in this collection.

Publisher

Séamus Connolly
Boston College Libraries

Type

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