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                  <text>Reels</text>
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                <text>Nicky McAuliffe gave me the name for this tune. It may be attributed to the eighteenth-century piper Walker 'Piper' Jackson from County Limerick. This is another of the tunes played for me fifty years ago in Tralee, County Kerry, by Julia Clifford and her son Billy Clifford (see &lt;a href="http://connollymusiccollection.bc.edu/document/572" target="_self"&gt;'Old Torn Petticoat'&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>Mrs. Crotty from the town of Kilrush in County Clare played this set dance for Ciar&amp;aacute;n Mac Math&amp;uacute;na's radio programmes, &lt;em&gt;Ceolta Tire&lt;/em&gt; and &lt;em&gt;A Job of Journeywork&lt;/em&gt;. 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'.</text>
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                <text>Séamus Connolly</text>
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                <text>Concertina player John Ryan lived on Thomas Street in Dublin, just opposite the old Pipers' Club. One can only imagine the music echoing up and down the streets of that part of the city! Ciar&amp;aacute;n Mac Math&amp;uacute;na visited John Ryan's home and recorded this polka, one of many tunes that he brought with him from his native County Tipperary. It is played here on melodeon by my nephew Damien.</text>
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                <text>&lt;iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/270196456&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, played by Damien Connolly on fiddle this time, is one of his own compositions. I'm not sure who the title refers to, but since he was born in County Clare, maybe it's himself!</text>
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                <text>The rolling hills and valleys in east County Clare, close to the river Shannon, are known for their beauty. This area is well-known too for its music. Here Damien once again plays the fiddle on another of his compositions. Yes, as I've said, I am very proud of him!</text>
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                <text>Cruca Glás na hÉireann</text>
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                <text>The music lives and breathes in the soul of Tara Lynch. Tara, daughter of Jerry Lynch (accordionist in the 1950s with the celebrated three-time All-Ireland champion Kilfenora C&amp;eacute;il&amp;iacute; Band), was born in New York. She learned her music from her father, and her style is steeped in the tradition of the old Kilfenora Band. The tune she plays on this track was part of the repertoire of the band in the 1960s and '70s, of which I was so honoured to be a member. I am also honoured to have Tara playing it for us: an unbroken link.</text>
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                <text>The amazing and distinctive fiddle music of Liz Carroll from Chicago is featured on this track. Here, she performs one of her own compositions in the creative playing style which is very much her hallmark. I am honoured that this great player so generously gave of herself and her composition for this collection. The tune named above was composed as a birthday present for Miss Chilcott. It also may be found in Liz's book,&lt;em&gt; Liz Carroll Collected: Original Irish Tunes&lt;/em&gt;.</text>
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                <text>&lt;p dir="ltr"&gt;&lt;span&gt;The exciting recording on this track was made by RT&amp;Eacute; Raidi&amp;oacute; na Gaeltachta, featuring master musicians Tony MacMahon and Steve Cooney. The first jig is associated with the piping of Brother Gildas O'Shea. The second jig of the set, 'Bryan O'Lynn', is one of a number of closely related tunes, variants of which include &lt;a href="http://connollymusiccollection.bc.edu/document/453" target="_self"&gt;'The Planting Stick'&lt;/a&gt; and &lt;a href="http://connollymusiccollection.bc.edu/document/454" target="_self"&gt;'Magpie in the Tree'&lt;/a&gt;, found elsewhere in this collection. The two tunes on this track were played together previously by Tommy Potts and Tommy Reck, and they make for a beautiful pairing. Although the first tune does not appear in sheet music form in this collection, both tunes may be found in &lt;/span&gt;&lt;span&gt;&lt;em&gt;The Leo Rowsome Collection of Irish Music&lt;/em&gt;.&lt;/span&gt;&lt;span&gt; Thanks to Malachy Moran, manager of Audio Services and Archive at RT&amp;Eacute; Radio, for permission to use the recording for this project, and to Raidi&amp;oacute; na Gaeltachta. A special 'thank you' to Steve Cooney for his generous help in tracking down the original recording, and for the great guitar playing that complemented Tony's magical performance. Tony, thanks for the music and for bringing this track to my attention.&lt;/span&gt;&lt;/p&gt;&#13;
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                <text>'Cloonlish House' was played for me years ago by its composer, Eddie Kelly. This hornpipe is played creatively and wonderfully here by Liz Carroll. &lt;span id="docs-internal-guid-ae9627a6-30a3-3b0a-06d3-5d501d30f8e9"&gt;&lt;span&gt;Liz's masterful interpretation seems to slowly open the doors of Cloonlish House, inviting all of us in.&lt;/span&gt;&lt;/span&gt;</text>
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                  <text>Jigs</text>
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          <element elementId="50">
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                <text>Old Tipperary</text>
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                <text>Jigs</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>I had no idea of the name of the fiddle player who performed this jig on a cassette tape I had of an old 78 RPM recording. However, my friend Paul Wells knew the tune and the fiddle player, whom he identified as Leizime Brusoe. Mr. Brusoe was born in 1870, of French-Canadian stock, and lived in the North Woods region of Wisconsin. He was a champion fiddle player who was recorded by the Library of Congress in the 1930s and '40s. The jig, played here for us by Jerry O'Sullivan on the uilleann pipes, will be saved for posterity thanks to Mr. Brusoe and my dear friend Jerry.</text>
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                <text>Old Times</text>
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                <text>Here is another tune from the playing of Leizime Brusoe. Paul Wells provided the name 'Crystal Schottische'. I sent the tape over to S&amp;eacute;amus and Manus McGuire, two wonderful fiddle players, who gave graciously of their time to learn and perform it for this collection. Beautifully played, lads. &lt;br /&gt;&lt;br /&gt;A book I have called &lt;em&gt;Mellie Dunham's 50 Fiddlin' Dance Tunes&lt;/em&gt;, published by Carl Fischer in 1926, happens to include another version of this tune, called 'Old Times'. It was taken from the playing of Mellie Dunham, a fiddle player born in 1853 who lived in Norway, Maine.</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>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>Boston College Libraries</text>
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                <text>Sweeney, Beth </text>
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              <elementText elementTextId="10521">
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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>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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