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                  <text>Reels</text>
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                <text>The first time that I heard New England contra dance music was in 1972 in St. Louis, Missouri. It was on an LP recording of The Canterbury Country Dance orchestra from New England. Among the members of that band was Bob McQuillen, the prolific composer and long-time stalwart of the New England music scene. Bob had, at last count, over fourteen hundred tunes to his credit. The reel he plays here with his band, Old New England, was composed for my wife Sandy on May 20, 2006. Bob had met Sandy at Boston College during one of the Gaelic Roots summer schools of music, song, and dance. He had received a special award from Boston College on that occasion, an award well overdue, for his amazing contributions to the world of music. Thank you, Professor, for the tune and all your music and friendship. Bob's tunes may be found in his own published collections and manuscripts.</text>
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                <text>&lt;iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/270196433&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>Will Hardy's Twiggy Jig</text>
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                <text>My friend Beth Sweeney is the librarian for the Irish Music Archives at the Burns Library of Boston College. When she finds time in her schedule, Beth likes to play music and compose. On this track she plays one of her own tunes, which she describes in this way: 'In the early 1990s I recorded a cassette tape of a few fiddle tunes I had composed, including this jig, and gave the tape to S&amp;eacute;amus Connolly, my first teacher of Irish fiddle music. Years later, after listening to the tape again, S&amp;eacute;amus asked me if I would record this particular jig for his collection. On this track I play both fiddle and piano. The tune is named for a dear friend of mine, Will Hardy, an award-winning designer and a great appreciator of music. The "twigginess" of the jig is a play on words, a reference to my friend Forrest, with whom I exchanged many a tune around the same time that this jig was written.'</text>
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                <text>Sweeney, Beth </text>
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                <text>Hetty's</text>
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                <text>This is another of master composer Bob McQuillen's tunes. It may be found in his seventh book of compositions. It was composed for Miss Hetty Thomae from Vermont. On this track I had the honour of playing it with Bob and his band, Old New England.</text>
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                <text>&lt;iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/270196422&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>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>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>Thomas Reilly, Clerk of Fore</text>
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                <text>Rev. John Quinn from County Leitrim sent me this tune in the 1980s. It was a copy of handwritten music from &lt;em&gt;The Mulvey Manuscript&lt;/em&gt;. 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. &lt;br /&gt;&lt;br /&gt;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!</text>
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                <text>&lt;span&gt;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 D&amp;aacute;ire Mulhern, for whom I named the tune before I learned of its correct title. Thanks to composer Jim Sutherland for his lovely reel.&lt;/span&gt;</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>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.</text>
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                <text>Pride of Erin</text>
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                <text>Folk dance music--Ireland</text>
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                <text>Jigs</text>
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                <text>Neary, Eleanor Kane 61343934</text>
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                <text>Sean Nugent and his Pride of Erin C&amp;eacute;il&amp;iacute; Band from County Fermanagh loved to play this jig. So too did Johnny McGreevy from Chicago, who played it for me in 1972 with piano player Eleanor Kane Neary. Jimmy Noonan on flute and Dan Gurney on accordion took the time in 2009 to learn it and record it for this collection. Thanks, boys: beautifully played with that great old swing! For want of a better or more current title, 'Pride of Erin' is fine in my book.</text>
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                <text>Tom Turkington's in G Major</text>
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                <text>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 &lt;a href="http://connollymusiccollection.bc.edu/document/581" target="_self"&gt;'Tom Turkington's in C Major'&lt;/a&gt;).</text>
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                <text>Cape Breton fiddle legend Mr. Buddy MacMaster gave this tune to our mutual friend, piano player Barbara MacDonald Magone. Barbara graciously passed it along to me when she recorded it for this collection in Portland, Maine, almost ten years ago.</text>
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                <text>The name Shand is synonymous with the traditional music of Scotland. The rock-solid rhythm and strict tempo of master accordionist and composer Sir Jimmy Shand are forever embedded in my mind. Joyous memories of Mr. Shand's music have remained with me all my life. They take me back to my youth in Killaloe, as we tuned our crackly radio to the Scottish airwaves to listen to the star of radio and television playing with his band. &lt;br /&gt;&lt;br /&gt;Moving further along in years, my wife Sandy and I visited Sir Jimmy's hometown of Auchtermuchty, Scotland in the hope of meeting the maestro. Deciding that an unannounced visit might be intrusive, we continued on our journey.&lt;br /&gt;&lt;br /&gt;This introduction to Dominick McCarthy's Irish Barndance may seem unusual; nevertheless, it seems appropriate to write about Sir Jimmy in order to write about his equally talented son Jimmy Shand Jr., accordionist, composer, and accordion tuner.&amp;nbsp;On a recent visit to Auchtermuchty with my friends Drs. Jim and Cindy Polo, we were welcomed into the beautiful home of Jimmy Shand Jr. and his lovely wife Margaret. Jimmy had invited us, and on that trip I did not hesitate to knock on the door of the Shand residence. The kind warm hospitality that we received from Mr. and Mrs. Shand will now also be embedded in my mind. Music, stories, photographs, and holding Sir Jimmy's accordion were special treats on that occasion.&amp;nbsp;&lt;br /&gt;&lt;br /&gt;And then our conversation turned to Jimmy Jr.'s music compositions. I told Jimmy that Dominick McCarthy from Clara in County Offaly had played the barndance for me over thirty years ago. Mr. Shand told me that he did not have any recollection of the tune. Upon giving Jimmy Jr. the sheet music, he began to whistle, and with a twinkle in his eye he smiled as the tune instantly came back to him. He was delighted to be reminded of this tune while saying it would be a welcome addition to his forthcoming book, &lt;em&gt;Jimmy Shand, Jr. Music Compositions.&lt;/em&gt;&lt;br /&gt;&lt;br /&gt;Unforgettable memories all around. Thank you, sir, for your composition and for the welcome that you and Margaret gave to Cindy, Jim, and myself. Jimmy, I hope you never stop playing and composing!&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;</text>
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                <text>The name of the legendary piper, pipemaker, composer, and teacher Leo Rowsome (1903-1970) is synonymous with the uilleann pipes. An icon of Irish traditional music, Leo devoted his entire life to the uilleann pipes and has numerous recordings to his credit. His friend Larry Redican composed this air in Leo's memory. I got it from Larry himself and had the honour of recording it with Liam O'Flynn, a former student of Leo's, on a record entitled &lt;em&gt;Notes From My Mind&lt;/em&gt;. The pipes that Liam used on that recording were made by Mr. Rowsome. The air is soulfully played here by fiddle player John Daly from County Cork. More of John's own music and compositions may be heard on his CD entitled &lt;em&gt;John Daly&lt;/em&gt;.</text>
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                <text>Accordionist Larry Gavin, a longtime friend, put this tune on tape for me a few years ago at his home in Tulla, County Clare. Larry is a repository of Irish music, and he raised this tune up from his deep well. Apparently the tune was played by members of the old Aughrim Slopes C&amp;eacute;il&amp;iacute; Band from County Galway back in the 1940s. Larry, together with East Clare fiddle player Miche&amp;aacute;l O'Rourke and piano accompanist Charlie Lennon, recorded this version of the tune especially for me. The tune may also be heard on their own CD recording &lt;em&gt;Two Miles to Tulla&lt;/em&gt;&amp;nbsp;in a set with 'The Plains of Mayo'.</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>Multi-instrumentalist Brian Hebert from the Boston area conferred on me special recognition by composing and playing this slip jig. The chair mentioned in the tune's title is my endowed position as Sullivan Artist in Residence at The Center for Irish Programs at Boston College.</text>
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                <text>Master accordionist Bobby Gardiner from Clare composed this reel. I first heard it on an LP he recorded in Ireland, produced by his fellow accordionist Dermot O'Brien: exciting and wonderful music. When I asked Bobby if he would perform it again, for this collection, he told me that he had no recollection of the tune but I certainly could put the tune in the book. I convinced him to play it for me, but for that to happen, I had to send him a copy of the tune so that he could re-learn it. On a visit to Boston College, Bobby did record it and I greatly enjoyed that session. Barbara MacDonald Magone was with us that day and she &amp;ndash; with her stories and laughs &amp;ndash; made it a memorable occasion.</text>
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                <text>Gardiner, Bobby </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>Trip to Moultonborough</text>
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                <text>&lt;p&gt;Meghan Mette was one of the musicians featured on &lt;a href="http://connollymusiccollection.bc.edu/document/555" target="_self"&gt;'A Polka for Matt'&lt;/a&gt;. She is the younger sister to Eliza Mette, who can be heard on &lt;a href="http://connollymusiccollection.bc.edu/document/728" target="_self"&gt;'Summer's Waltz'&lt;/a&gt;.&lt;/p&gt;&#13;
&lt;p&gt;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.&lt;/p&gt;&#13;
&lt;p&gt;'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.&lt;/p&gt;&#13;
&lt;p&gt;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 &amp;ndash; or the downpour &amp;ndash; to Moultonborough Country Candy Shop.&lt;/p&gt;&#13;
&lt;p&gt;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 &amp;ndash; as long as it was an equal trade of course...&lt;/p&gt;&#13;
&lt;p&gt;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 &amp;ndash; like the music &amp;ndash; 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.'&lt;/p&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>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'Brien, Paddy </text>
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