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                <text>Farewell to Whiskey</text>
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                <text>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 Ciar&amp;aacute;n Mac Math&amp;uacute;na, the well-known broadcaster on Radio &amp;Eacute;ireann, featured it on his &lt;em&gt;Ceolta Tire&lt;/em&gt; 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.</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>The Bells of Congress were presented to the United States by the Ditchley Foundation of Great Britain in 1976. A replica of the bells in London's Westminster Abbey, they are rung in honour of the opening and closing of Congress, and on state occasions and all national holidays. The Old Post Office in Washington houses the Bells of Congress and a guided tour of the building by the National Park Service is worth taking. &lt;br /&gt;&lt;br /&gt;In the 1980s, as part of a musical delegation to Washington, D.C., representing the State of Massachusetts, I had the honour of visiting the Old Post Office and hearing the bells ring. When in full peal, the bells can take up to three and a half hours to complete their continuous performance. However, my composition on this track takes only a few minutes. I am joined by Gabriel Donohue on guitar.</text>
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                <text>The art form of lilting is demonstrated here by Bobby Gardiner. My grandmother Elizabeth Collins (n&amp;eacute;e Rochford), herself a very good lilter, told me that 'jiggers', as she called them, were commonly called upon whenever musicians were not available to play for dancers. Button accordionist Bobby Gardiner both lilts and plays with 'The Clare Swing'. Listen to him on these tracks lilting, then playing his very own tune. Barbara MacDonald Magone joins in on the piano.</text>
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                <text>Ciar&amp;aacute;n Mac Math&amp;uacute;na from Radio &amp;Eacute;ireann 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. &lt;br /&gt;&lt;br /&gt;'My poor father is minding sheep &lt;br /&gt;Me sisters and brothers are fast asleep &lt;br /&gt;I've been out in the hay all night &lt;br /&gt;Get up and let me in!'</text>
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                <text>David Kaynor graciously played his own composition for me, with Pete Sutherland at the piano, at the Northeast Heritage Music Camp held at Johnson State College in Vermont in 2009. David told me that this tune occurred to him after he hosted a fiddle convention, about 1985, in Montague Center, Massachusetts. David is well-known as a caller and fiddle player in the world of New England contra dancing. His tune is very popular at weddings and celebrations. One can certainly imagine a bride walking to this elegant and stately composition. Thanks, David, and a special thanks to Jay Ungar and Swinging Door Music for permission to include the tune in this collection.</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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              <description>A name given to the resource</description>
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                  <text>Marches</text>
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          <element elementId="50">
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            <description>A name given to the resource</description>
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                <text>Thomas Power's March</text>
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                <text>Another tune from the playing of Thomas Power from Doonbeg in County Clare. On this track, I am joined by Kevin McElroy on bodhr&amp;aacute;n and Nicole Rabata on flute to perform our interpretation of the march.</text>
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              <elementText elementTextId="10594">
                <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>Brave Irish Boys, The</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>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 Math&amp;uacute;na suggested to me that this melody might well be related to the old song 'An tSe&amp;aacute;n 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.</text>
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                <text>This tune is not a composition of 'Professor' Bob McQuillen, but of the master fiddle player from New Hampshire, Rodney Miller. Rodney is considered today to be the foremost exponent of the music of New England. He has traveled all over the world playing his music and passing it on through his teaching. Spending the day with Rodney at his home was an inspiration for me, and trying out the beautiful fiddles that he makes and sells was truly special. Thank you, Rodney, for the music and for the memories: you are one of my heroes.</text>
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                <text>Magherafelt May Fair</text>
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                <text>The Pride of Erin C&amp;eacute;il&amp;iacute; Band, led by All-Ireland fiddle champion Sean Nugent, was held in high esteem throughout Ireland. Sean, from Lack in County Fermanagh, was a vibrant, energetic, and fun-loving man who adored the music. On a recording issued by Outlet Records in 1977, he and the band played this great march. The lyrics of this song, sung by Sean's daughter Rosemary in her County Fermanagh accent, give us a clear picture of the Magherafelt May Fair: &lt;br /&gt;&lt;br /&gt;'I am a nice wee bouncing girl, &lt;br /&gt;And my age it is scarce sixteen, &lt;br /&gt;And when I'm dressed all in my best &lt;br /&gt;Sure I look like any queen... &lt;br /&gt;&lt;br /&gt;On the first of May I will make my way, &lt;br /&gt;To the Magherafelt May Fair...&lt;br /&gt;&lt;br /&gt; My mother cautioned me going out &lt;br /&gt;Do not stay long in town &lt;br /&gt;For if you do, your father and I, &lt;br /&gt;On you we will surely frown.&lt;br /&gt; Be sure to shun bad company &lt;br /&gt;And of young men beware,&lt;br /&gt; How nice you be, don't make too free &lt;br /&gt;At the Magherafelt May Fair!' &lt;br /&gt;&lt;br /&gt;Listening to those All-Ireland champion band members play along with Rosemary's singing, one can sense the exuberance and pride that they felt playing their music. For this collection, the march is played by Sean Nugent's son Larry on the flute, accompanied by Pat Broaders on the bouzouki.</text>
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                <text>This track comes from the CD &lt;em&gt;To The Dance Floor&lt;/em&gt;, released in 2006 by a Rhode Island-based group called The Gnomes. Among its members is Phil Edmonds, the composer of this beautiful tune. Phil and I went to the same school in Killaloe, where we learned to play the tinwhistle, and Phil's father, Eddie Edmonds, was one of my secondary school teachers. The words below are taken from the notes to their CD: &lt;br /&gt;&lt;br /&gt;'The Celtic Tiger is the term referring to the system of economics and way of life in Ireland for the past several years. While it has resulted in much wealth for many people (not all), the Celtic Tiger is devouring Irish Culture. Wherever money and material possessions become a priority, the quality of life decreases. Phil wrote this air, "The Celtic Lamb", hoping that Ireland, and all of us, will move towards a more sustainable and gentler lifestyle.' &lt;br /&gt;&lt;br /&gt;It gives me great pleasure to have another Killaloe man associated with this collection. Thanks, Phil, for the tune, and thanks to the rest of the band for their participation in this project.</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>Accordion music--Ireland</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>&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>Young When He's Dancing</text>
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                <text>This tune was composed by Chicago fiddle player Devin Shepherd. He plays it here with his friend Sean Gavin on flute. Devin named the tune for Mike Doyle from County Wexford, who now lives in Chicago. Mike is an avid enthusiast of the music and can be found on the floor youthfully dancing wherever music is played.</text>
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                <text>Shepherd, Devin (fiddle) (composer)</text>
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                <text>http://library.bc.edu/connolly/plugins/Dropbox/files/IMC_M064_2013_03_1025.mp3</text>
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              <elementText elementTextId="10587">
                <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>What Care I for the Minister?</text>
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                <text>This slip jig from the Scottish tradition was taught to me by Boston harpist Kathleen Guilday. I told her about this project and asked her if she would record it for me. Kathleen was delighted, and graciously agreed to come to Maine to do the recording. I also told Kathleen of the mishap in my brother's home in Ennis, County Clare (for further insight into the recording of this slip jig, see &lt;a href="http://connollymusiccollection.bc.edu/document/484" target="_self"&gt;&amp;lsquo;The First Slip&amp;rsquo;&lt;/a&gt;). &lt;br /&gt;&lt;br /&gt;When Kathleen did arrive in Maine, guess what happened? Yes, my machine would not record. I was so upset, especially because she had driven over 150 miles for nothing. Well, that's not true: we turned the day into something special by having dinner and a nice bottle of wine while reminiscing about friends in Boston and our musical exploits together around New England. Kathleen did eventually get to record the slip jig, this time in her own home and with her own equipment. I ask myself if there was a jinx on this tune. Maybe it had something to do with its title. I'm puzzled. Anyhow I am grateful to you, Kathleen. Thank you, my friend. I think we beat the odds.</text>
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                <text>The fiddle master N&amp;eacute;illidh Boyle recorded this tune as part of a two-jig set in Dublin in 1937. That recording happened to be the very first record of Irish fiddle music that I had when I was growing up. It is performed on this track by N&amp;eacute;illidh's grandaughter Kathleen on piano accordion and Gr&amp;aacute;inne Murphy on fiddle. They both did me the honour of recording the track in Donegal, home to Kathleen's parents and grandfather.</text>
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                <text>Road to Durham, The</text>
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                <text>Ride to Durham, The</text>
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                <text>Cathal McConnell, 'The Great One', gave me this tune, and he also gave it the above title. Recently, I discovered that the other 'Great One', Liz Carroll, had recorded her rendition of the tune on her long-playing record &lt;em&gt;A Friend Indeed&lt;/em&gt;. Liz informed us in the liner notes of the recording that Armin Barnett and David Molk composed the tune while driving to Durham, New York. Liz called this smashing tune 'The Ride to Durham', and her playing is a delight to listen to. The lovely fiddle playing of John Daly from County Cork is heard on this track as he remains true to the version from the tape of Cathal McConnell's flute playing. John's fiddle playing is also a delight to hear.</text>
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                <text>During that &lt;a href="http://connollymusiccollection.bc.edu/document/434" target="_self"&gt;musical evening at the Gavins'&lt;/a&gt; in Balbriggan so long ago, Jimmy Keane, the piano accordion player from Chicago, played this tune. He informed me that it is one of Liz Carroll's compositions, entitled 'The Champaign Jig Goes to Columbia'. It can be found in &lt;em&gt;Liz Carroll Collected&lt;/em&gt;, a beautifully produced book of her wonderful compositions. Gr&amp;aacute;inne Murphy plays her version of the tune on this track.</text>
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                <text>David Curry's broadcasts from the BBC studios in Belfast were eagerly awaited in my home. He broadcast many fine tunes, including this one, which Nicole Rabata and I arranged for flute and fiddle. Not having the tune's original title, I have named it for the river that flows through Mr. Curry's hometown of Belfast.</text>
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                <text>David Reiner composed 'The New Road to Sligo'. It is played for us by Liz Carroll. David told me that he composed this tune 'to tell the story of a musical road trip, from the bold beginning in G minor, to the detour into B flat, to the simpler and lyrical third part.'</text>
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                <text>This lovely and unusual slip jig is played here by Geraldine Cotter. It may also be found in her collection of fifty traditional Irish tunes called &lt;em&gt;Rogha, Geraldine Cotter's Choice&lt;/em&gt;.</text>
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