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                  <text>Airs </text>
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                <text>Remembering Curly</text>
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                <text>Paula, a fiddle student in one of my classes at the Rocky Mountain Fiddle Camp, asked me to 'make a tune' in honour of her late father, Curly. Paula really wanted to play something new at the student concert which was to be held at the end of the week of classes. I agreed at the time, but somehow managed to forget her request until one afternoon, I awoke from a nap in a panic. I had only then remembered my promise to Paula, and then panicked more. Never having known Curly or anything about him, it was not easy to make a tune for him. However, I did take out my fiddle and gave it a few strokes. Happily, I began to get some ideas into my head of what 'Remembering Curly' might sound like. With some shape to the tune, Paula was able to play it at the concert. &lt;br /&gt;&lt;br /&gt;A more complete version of the tune is heard on this track, with my good friends the late John McGann playing guitar and Gabriel Donohue on keyboard. John was very involved with the transcription of the tunes for this project but, alas, he left us too soon. So in John's memory, perhaps 'Remembering Curly Remembering John McGann' might be a perfect title for this tune. Thanks, John, for all the music, stories, laughs, and friendship.</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 wise man of traditional Irish music, Paddy O'Brien from County Offaly, composed this tune and graciously recorded it for me for inclusion in this collection. The Athens mentioned in the title is in southeastern Ohio, along the Hocking River. Athens is home to the University of Ohio. Paddy has fond memories of visiting Athens. Perhaps when he writes his autobiography he will reveal to us what went on down that road.</text>
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                <text>O'Brien, Paddy </text>
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                <text>Paddy the Piper</text>
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                <text>Brendan Bulger plays a lovely version of 'Paddy the Piper' on this track. Another version may be found in &lt;em&gt;Ryan's Mammoth Collection&lt;/em&gt;. I first heard the tune played by Paddy Cronin, who loved playing tunes from that wonderful nineteenth century collection.</text>
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                <text>Go Easy, Young Hag</text>
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                <text>The fiddle playing of Devin Shepherd from Chicago is heard once again on this track, playing one of his own compositions. He is joined by Marta Cook, who plays the harp. A lovely tune, Devin, thanks for sending it along. Thank you too, Marta, for helping with the recording.</text>
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                <text>The memory of legendary piper Willie Clancy from County Clare continues to be immortalised with this fine hornpipe. A composition of County Tyrone's All-Ireland champion fiddle player Jimmy McHugh, the tune is played here for us by Jimmy's son Benny. Benny kindly recorded a number of his father's compositions for me in Donegal in 2009. The Willie Clancy Summer School, affectionately known as 'Willie Week', has special memories for me and for thousands of musicians and music lovers from around the world.</text>
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                <text>Flute player Frank Neylon lived in Boston when I arrived there in 1977. I loved listening to his beautiful, distinctive North Clare style of playing, and to the unusual tunes that he had brought with him to America. This is another of the tunes that he recorded for me on the long-playing record that I produced in Boston in 1981 (see &lt;a href="http://connollymusiccollection.bc.edu/document/639" target="_self"&gt;'Leamanagh Castle'&lt;/a&gt;). I played Frank's recording for Nicole Rabata, from Portland, Maine. She listened a few times and played along with Frank, capturing elements of his style, and said, 'Do you want me to record it for the book?' I'm glad I said yes. Enjoy Nicole's playing.</text>
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                <text>Kilfenora Barndance, The</text>
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                <text>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 C&amp;eacute;il&amp;iacute; Band (see &lt;a href="http://connollymusiccollection.bc.edu/document/725" target="_self"&gt;'Come to the Fair'&lt;/a&gt;). 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.</text>
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                <text>I learned this set dance from the playing of Larry Redican. Its first few measures seem to be related to the melody of an old tune &amp;ndash; also a set dance &amp;ndash; called 'The King of the Fairies'. And so, 'here's me' (an old Irish expression) playing 'Queen of the Faeries'.</text>
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                <text>Just Because It's You</text>
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                <text>Folk dance music--Ireland</text>
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                <text>My dear friend Cindy Polo wrote this lovely tune in memory of her Dad. In her own words she tells us how it came to be: &lt;br /&gt;&lt;br /&gt;'My first attempt at Irish fiddle playing was at a music camp in 2008, a violin novice, where I had the opportunity to learn from S&amp;eacute;amus Connolly. He suggested that I could create a tune if I thought about a meaningful event. The tune played here by S&amp;eacute;amus was my first attempt at composing music. It is in waltz time, and I wrote it in memory of my father, Edward Thomas Keane. As a young child, we would waltz across the living room, me riding on his feet. In later years there were father&amp;ndash;daughter dinner dances and the dance at my wedding. We had our last waltz in 2001, the weekend before he died in the World Trade Tower on September 11th.'</text>
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                <text>Séamus Connolly</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>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>Barney's Jig</text>
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                <text>Accordion and piano music</text>
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                <text>This track comes to us courtesy of Kathleen Boyle from Glasgow. Kathleen recorded it in Donegal in 2011 in the county where her grandfather, the great N&amp;eacute;illidh Boyle, lived. Kathleen carries on her grandfather's tradition of composing as she plays her own tune, 'Barney's Jig'.</text>
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                <text>Séamus Connolly</text>
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                <text>http://library.bc.edu/connolly/plugins/Dropbox/files/IMC_M064_2013_03_0809.mp3</text>
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                <text>http://library.bc.edu/connolly/plugins/Dropbox/files/08-09_Barneys_Jig.pdf</text>
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              <elementText elementTextId="10565">
                <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/270512808&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>Reels</text>
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                <text>Bottle of Cop-On, A</text>
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                <text>An expression in Ireland when I was growing up was, 'Ah, cop-on', which means something like 'get with it'. Damien Connolly, my nephew, remembers the saying too, and he suggested the above title as a name for the composition which he plays on this track. Damien writes: 'A Bottle of Cop-On: One of my friends from Sixmilebridge, Paul Delaney, used to say, "You need a good bottle of cop-on". Perhaps he was right! Maybe I still need a good bottle of it. The first few bars of the second part kept coming to me for months til I finally decided to do something about it. I wrote this tune back in 2006.'</text>
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                <text>Another composition from the multi-instrumentalist Eamon Flynn from Mountcollins in County Limerick. Eamon moved from Boston to The Green Mountain State, Vermont, in 1987. His memories of the hills and fishing brooks of this beautiful state in New England live with him now as he enjoys his retirement (not from music!) in his native Limerick. We hear him playing his own composition with our mutual friend Helen Kisiel playing piano, on a track taken from Eamon's CD &lt;em&gt;Down by the Glenside&lt;/em&gt;. Courtesy of Eamon and Helen, I give you 'The Vermont Jig'.</text>
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                <text>Another tune that Eric Eid-Reiner played for me during that &lt;a href="http://connollymusiccollection.bc.edu/document/502" target="_self"&gt;early morning recording session&lt;/a&gt; in Gasson Hall on the Boston College campus. Eric told me that he wrote the jig after listening to a lively session at Johnson State College in Vermont. The music session was part of the Northeast Heritage Music Camp.</text>
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                <text>My friends from Winnipeg, Canada, Alice Bérubé and her sister Jeannine, visited with Sandy and me a few years ago. Both of them play fiddles and they enjoy getting together to talk, laugh, and play music. They meet once a year, as Alice lives on Prince Edward Island and Jeannine three thousand miles away in Vancouver. We played music in my house for a few days and had much fun. On the day of their departure, they told me that they were going to go shopping for a gift for me. I appreciated their kindness, but told them, 'don't get me anything!' I left the house to do some errands and when I returned my friends were nowhere to be found. I somehow thought I heard fiddle music in the house but did not know where it was coming from.&#13;
&#13;
A few days later, after my friends had returned home, a fax came to my house with a tune written on manuscript paper. It was a jig that the ladies had composed while up in my attic. They had somehow found their way up there. Unfortunately, on the day the fax arrived my machine was running low on ink. The lines on the paper all ran together on the tune's second part, and I was unable to make it out. At Sandy's suggestion, I sat at the kitchen table to compose a temporary replacement for it. &#13;
&#13;
I next met the ladies a year later at the Northeast Heritage Music Camp, and we began to play the jig, but with a few surprises and laughs as our two competing second parts clashed against each other! I had to explain to them what had happened to their original second part, and my addition was demoted to a third part. We recorded it with help from Ken Perlman on banjo and Pete Sutherland on piano, two fellow teachers at the camp. Thanks, ladies, a nice gift, better than 'anything' from a shop.</text>
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                <text>I can picture Jimmy Noonan with his eyes closed and his shoulder going up and down as he plays this tune with accordionist Dan Gurney. When Jimmy moves like this playing his flute, it is a visible sign that he is 'in the groove', giving the music the swing that is such a part of his playing. Listen as these wonderful musicians give 'The Ballina Lassies' that lilt and swing that was associated with the older musicians. One can hear that happy lift in the music of master fiddle player Paddy Killoran, from whose recording Dan and Jimmy learned this tune.</text>
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                <text>Another track from fiddle player M&amp;aacute;ire O'Keeffe. Her title for this tune refers to an area near Rathmore, County Kerry, famous for its music. M&amp;aacute;ire learned this polka from Sonny Riordan.</text>
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                <text>&lt;iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/270512762&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>I recorded Mrs. Galvin playing this hornpipe at a concert over fifty years ago in County Clare. Jerry O'Sullivan plays it on this track with a slightly different arrangement. This tune is sometimes attributed to the nineteenth-century Newcastle fiddle player and composer James Hill, and it appears in William Honeyman's &lt;em&gt;The Strathspey, Reel, and Hornpipe Tutor&lt;/em&gt;. In parts of New England, it is played as a reel for contra dancing.</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>Folk dance music--Ireland</text>
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                <text>This track comes to us through the generosity of its composers, fiddle player Donna H&amp;eacute;bert and guitarist Max Cohen. It is track number two on their CD &lt;em&gt;In Full Bloom&lt;/em&gt;. Donna writes: &lt;br /&gt;&lt;br /&gt;'My father passed away in early March 2008 while our band was visiting the Grand Canyon. We were stalked by ravens all day until, at sunset, one landed among us. It looked straight at me and gestured, croaking; after a few minutes it flew off. Within moments, the call came through that my father had passed. Max and I wrote the tune and only then did I discover that my father's bomber unit in World War II was called The Ravens... When I heard the last mix from Canada, I wept with joy. Mark Busic (engineer) had captured the feel of the day, the canyon, the wonder, perfectly. Max's guitar is the raven's wings. My violin and viola are the spirit breaking free...'&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;</text>
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                <text>Séamus Connolly</text>
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                <text>http://library.bc.edu/connolly/plugins/Dropbox/files/IMC_M064_2013_03_0818.mp3</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>Henry Savage's Favourite</text>
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                <text>I first heard this tune on a long-playing record titled &lt;em&gt;Music from the Glens&lt;/em&gt;, 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 c&amp;eacute;il&amp;iacute; 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.</text>
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                <text>http://library.bc.edu/connolly/plugins/Dropbox/files/IMC_M064_2013_03_0819.mp3</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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