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                <text>Mrs. Ryan's</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>Coen, Charles </text>
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                <text>&lt;iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/248906544&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="450"&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>Growing up in Ireland, and while practicing my fiddle in the home of my grandmother, &lt;span&gt;Elizabeth Collins (n&amp;eacute;e Rochford)&lt;/span&gt;, I drank many's the mug of black tea. I remember her tea being very strong and having to drink it without milk. I questioned my granny as to why she made it so strong. Her response to me was that it was 'no good unless you could trot a mouse on it'. Food for thought I suppose. &lt;br /&gt;&lt;br /&gt;My good friend, the wonderful musician Josephine Keegan, composed this lovely tune. She plays it here for us on fiddle to her own piano accompaniment. Josephine did make some tea for Sandy and me when we visited her home in County Armagh and she did have milk! Josephine's composition may also be found in &lt;em&gt;The Keegan Tunes, Cuid a Tr&amp;aacute; (Book 3)&lt;/em&gt;.</text>
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                <text>Keegan, Josephine </text>
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                <text>A week-long Irish music school known as Meitheal is held every year in Limerick. The five-day immersion in Irish music is directed by flute player Garry Shannon. As a teacher at the summer school, I had an assignment to work with a group of students who were interested in learning how to make up tunes. The music of composers Liz Carroll, Josephine Keegan, and Phil Cunningham from Scotland were used as examples. Students were asked to study the approach and methods used by these well-known composers. 'I'm not too sure where this is going to go', I said to myself. 'Music, I believe, happens when one is least thinking about it." However, after much listening, discussion, agreement, and collaborating, the students composed this tune. A talented group of young musicians &amp;ndash; concertina players, accordionists, and other instruments all performing together &amp;ndash; a wonderful sight to hear and behold! I have no fear for the future of Irish music. Nicole Rabata, a young flute player from Portland, Maine, joins me on this track. Listen and enjoy.</text>
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                <text>Another tune from the playing of M&amp;aacute;ire O'Keeffe. Ned and Dan O'Connor, two musicians from the Scartaglen area of Sliabh Luachra, were often heard playing this slide.</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>A tune composed by Sean Gavin when he was nineteen years old. The tune is in honour of good musical times that were had at the famed Abbey Pub in Chicago, a traditional music hub for many years. Sean plays his creation on flute (he is a multi-talented musician), joined by Brian Miller on the guitar.</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>Paddy Kierse, as Ciarán Mac Mathúna said on his Radio Éireann program A Job of Journeywork, was a lovely old musician. Ciarán recorded his playing of this tune on a visit to north County Clare. Mr. Kierse, from Kilnaboy, near Kilfenora, had wonderful old tunes, stories, and history from that part of the county. &#13;
&#13;
Monsignor Charlie Coen from New York State, formerly of Woodford, County Galway, did an excellent job playing the tune in the style of Mr. Kierse. We recorded the tune at my home in Maine. Kevin McElroy pulled out Sandy's old guitar and strummed along.</text>
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              <elementText elementTextId="10527">
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                <text>&lt;iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/270350220&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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        <name>Playlist 04</name>
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                <text>My young friend Meghan Mette composed this reel. I was delighted that she asked me to play it with her, along with Nicole Rabata on flute and Kevin McElroy on mandolin. She tells us how the tune came about: &lt;br /&gt;&lt;br /&gt;'I wrote this tune for S&amp;eacute;amus first and foremost as a "thank you" for all of the musical wisdom he has imparted to me. However, it is also a tale of the many afternoons spent in S&amp;eacute;amus' music room, learning, listening, playing... Some days we just sat and listened to old albums on the wonderful sound system, the notes vibrating through the varnished floorboards and bouncing off the walls... &lt;br /&gt;&lt;br /&gt;My favourite afternoons, however, were when it was just the two of us, sitting side by side, playing tunes for the fun of it; maybe S&amp;eacute;amus would think of a special ornament he wanted to show me or a specific tune that was fun to play in a different key. I often enjoyed just sitting back and observing S&amp;eacute;amus when he went on a rant of tunes. I was, and still am, mesmerised by the fluidity and grace of his fingers as they tickle the fingerboard, his bow flying over the strings, his mind at obvious peace. These are my favourite images, frozen in time, S&amp;eacute;amus in another world entirely, just playing because he loves it so. When I play "The North Road", it reminds me of these moments...'&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;</text>
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                <text>Another song from the pen of Robbie McMahon. I first heard him sing it at a County Clare Fleadh Cheoil over fifty years ago, and it has stayed with me down through the years. Robbie sang it again for me the afternoon that I visited his home in 2009, and I was delighted to capture it on disc. Thanks again, my friend, for the joy that you have given to all of us who knew you and who loved your expressive interpretations of all those lovely songs.</text>
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                <text>O'Brien's Tower</text>
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                <text>Paddy O'Brien, the learned and beloved accordionist from County Offaly who now lives in Minneapolis, recorded 'O'Brien's Tower', one of his many compositions, for me while on a visit to the home of Sally K. Sommers Smith Wells and her husband Paul Wells. Paddy possesses a vast repertoire of music, an encyclopedic knowledge of its history, and a profound understanding of the tradition. In his published music collections, a must for scholars and enthusiasts of Irish music, Paddy has compiled hundreds and hundreds of tunes, with stories for every one. Thank you, Paddy, for your music, your encouragement, and your enormous contributions to the traditional music of Ireland.</text>
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                <text>O'Carolan's (Number 174)</text>
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                <text>Turlough O'Carolan's eighteenth-century compositions have attracted the attention of musicians all over the world. His music occupies a unique and permanent place in the repertoire of Irish traditional music. I learned this tune from the guitar playing of my friend Anisa Angarola. We played it together on Anisa's CD &lt;em&gt;Birdwatcher Hill&lt;/em&gt;, and that track appears here. The tune can be found as number 174 in Donal O'Sullivan's magisterial collection &lt;em&gt;Carolan: The Life, Times and Music of an Irish Harper, Volume 1&lt;/em&gt;.</text>
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                <text>My friend in Tulla, Larry Gavin, sent me this reel thirty-five years ago. I love Larry's accordion playing and I am grateful to him for supplying many wonderful tunes to me during all the years that I have lived in America. Larry, as they say, you 'kept me at it'. The reel is played on this track by Joanie Madden.</text>
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                <text>Geraldine Cotter liked this tune the first time she heard me playing it. 'Let's try and record it', she said, and as I played the jig a second time she followed right along. This track is the result of our efforts. I do not have a name for this jig, but I have given it a title based on the fact that I first heard it many years ago on a 78 record.</text>
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                <text>Jack Coen gave me the name for this jig, which can be found as a two-part tune in A major in the &lt;em&gt;O'Neill's 1001&lt;/em&gt; collection. I first heard the tune played by 'The Man of Many Tunes', Larry Gavin. I also heard a version of it performed by Mr. David Curry and his orchestra in a radio broadcast when I was still living in Ireland. A classical musician, David Curry took traditional tunes in the public domain and arranged them for orchestra. Maine flute player Nicole Rabata and I play David Curry's four-part setting of 'Old as the Hills'. We transposed it to the key of G major, the key that Larry Gavin played it in many years ago.</text>
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                <text>Looking back in time, one of my special memories of working on this project was the visit I made to Finbarr Dwyer. As I was setting up my recording machine he was playing this, his very own version of 'The Old Blackbird'. I have always loved this tune, but hearing it played by Finbarr that day made it even more special. I captured most of his remarkable playing of this tune, and here it is now. Finbarr's playing is a perfect lesson on the difference between the 'bones' of a tune that can be found in a transcription and what that tune can become in the mind and hands of a true master. The transcription included with this collection is taken from a book entitled &lt;em&gt;Forget Me Not&lt;/em&gt;, which Laurel Martin and I compiled for Mel Bay.</text>
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                <text>Old Man in the Hob</text>
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                <text>In this song, the old man sitting by the fireside calls his sons together to relate to them what it was like living and surviving in days gone by: true stories of tough times. Running somewhat parallel with the words of this song are words spoken to me by a wonderful lady in Killaloe who was born in the year 1866. I interviewed her in 1960 and asked what she attributed her long life to. She answered, 'Hard work and plain food, with half enough of it sometimes'. Sobering words, indeed. &lt;br /&gt;&lt;br /&gt;Robbie McMahon, the master balladeer and composer, sings for us once again on this track. I first heard him singing this song around the same time as I did that interview with the lady from Killaloe. Robbie's compositions often tell of days gone by. He was a powerhouse of information and history, and his delivery of these songs had a way of transporting us back in time. He was a household name in County Clare, and in my home he was loved by all within. &lt;br /&gt;&lt;br /&gt;The final verse in his song opens with a call for Father Dan. It was this same verse that appeared by kind permission on my mother's Memorial Card when she 'passed on to her eternal shore'. Thanks to my brother Michael for reminding me of Robbie's composition. The master kindly sang it for me again when I recorded him in his home in Spancilhill, County Clare, a few short years before he himself went to his place 'far beyond the sky'. The lines below are from that same last verse: &lt;br /&gt;&lt;br /&gt;'Oh Father Dan, how are you, and come over here to me. &lt;br /&gt;Come lay your holy hand on me for I am on my way, &lt;br /&gt;To a land that's far beyond the sky where I'll have pains no more, &lt;br /&gt;For God himself has called me to his own eternal shore.' &lt;br /&gt;&lt;br /&gt;Robbie, we will miss you. Your likes will not be seen again.</text>
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                <text>&lt;iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/270479239&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>Reels</text>
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                <text>As I travel throughout the country, I have a compulsive habit of looking at street signs in the hope of discovering a good name or title for a new musical composition. I have seen a few variations on the above title and often wondered what road accordionist Paddy O'Brien was referring to when he named this tune, one of his many fine compositions. Paddy, from County Offaly, has been a friend and inspiration for many years. I have fond memories of him and me as teenagers playing music together in Tullamore, County Offaly. We were both young then, but the memories live on.</text>
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                <text>http://library.bc.edu/connolly/plugins/Dropbox/files/IMC_M064_2013_03_0614.mp3</text>
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                <text>http://library.bc.edu/connolly/plugins/Dropbox/files/06-14_The_Old_Mill_Road-Reel.pdf</text>
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                <text>&lt;iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/270479313&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>Old Schoolmaster, The</text>
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                <text>Folk dance music--Ireland</text>
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                <text>'Maestro' Se&amp;aacute;n Maguire played this tune in the key of A major at a concert in Kilfenora, County Clare, many years ago. My friend Sally K. Sommers Smith Wells reminded me that it somehow was like the song 'Love Will You Marry Me?' Brendan Bulger from Boston plays the tune, a version of which may be found in &lt;em&gt;O'Neill's 1001&lt;/em&gt; 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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                  <text>Schottisches</text>
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                <text>Old Times</text>
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                <text>Folk dance music--Ireland</text>
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                <text>Schottisches</text>
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                <text>Fiddle tunes--Ireland</text>
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                <text>I found an old brown manuscript page and remembered that my former sister-in-law Maureen Glynn had given it to me. Maureen grew up in Brooklyn, New York. She was a talented lady and widely respected in the Irish music and dance world. Maureen was a great musician: a piano, fiddle, and whistle player who taught hundreds of children in and around The Big Apple. She was also an Irish dance teacher, but most times could be heard playing music at the feiseanna instead of adjudicating the dancing. Maureen loved the old music and it was always a delight to play with her. &lt;br /&gt;&lt;br /&gt;The track heard here is taken from a cassette recording that I made years ago of myself playing the tune from that manuscript. If memory serves me well, I believe it was a handwritten transcription of a page from &lt;em&gt;The Roche Collection&lt;/em&gt;, where this tune occurs in the key of G under the title above. I moved the tune to the key of A, in order to give it a more open, pipes-like sound on the fiddle. At the time of recording, some variations had come to mind and I did not want to forget them, so onto the tape they went. I forgot about the tune after that, but I recently found the tape in a drawer in my music room. I thought it would make a worthy addition to this collection. So here is Maureen Glynn's old brown manuscript. A tune not to be forgotten. Enjoy!</text>
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                <text>Connolly, Séamus (fiddle) 33682623</text>
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                <text>Boston College Libraries</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>Jigs</text>
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                <text>Old Tipperary</text>
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                <text>Folk dance music--Ireland</text>
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                <text>Jigs</text>
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                <text>Uilleann pipe music--Ireland</text>
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                <text>Clancy, Willie 55839664</text>
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                <text>A great old jig that I first played with the legendary Clare piper Willie Clancy. It seems appropriate that Padraic Mac Math&amp;uacute;na, son of Ciar&amp;aacute;n Mac Math&amp;uacute;na, the radio and television presenter, should play it with me for this collection. Padraic spent much of his youth in Miltown Malbay where Willie Clancy lived, and Padraic's playing on the pipes is certainly a musical reflection of the nuances of Willie Clancy's music. Hospitality is at its best in the home of Padraic, his good wife Anne, and their lovely children. Sandy and I often reminisced about the evening we spent with them in Dublin, which was topped off when the man himself, Ciar&amp;aacute;n Mac Math&amp;uacute;na, shared a wonderful dinner with all of us.</text>
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                <text>Mac Mathúna, Padraic (uilleann pipes) 149453219</text>
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                <text>Connolly, Séamus (fiddle) 33682623</text>
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                <text>Séamus Connolly</text>
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                <text>Boston College Libraries</text>
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                <text>Mac Mathúna, Padraic </text>
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                <text>Connolly, Séamus</text>
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              <elementText elementTextId="6439">
                <text>http://library.bc.edu/connolly/plugins/Dropbox/files/IMC_M064_2013_03_0310.mp3</text>
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                <text>http://library.bc.edu/connolly/plugins/Dropbox/files/03-10_Old_Tipperary-Jig.pdf</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/270196439&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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        <name>Playlist 03</name>
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