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                <text>Winifred's Well</text>
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                <text>Another composition by Margaret Lawrie, twin sister of Kathleen Lawrie, who plays on several tracks in this collection. The tune somehow reminded her of scenes she encountered in the Welsh Highlands, so Michael Burnham, who plays fiddle on this track with Meg on piano, suggested she name it for Winifred, a Welsh saint. The tune was also recorded by Margaret and Michael for their CD &lt;em&gt;Bygone Days&lt;/em&gt;. I am delighted to have the tune included in this collection.</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>Vanishing Keys, The</text>
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                <text>Folk dance music--Ireland</text>
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                <text>Many of my fellow chronic misplacers of keys can relate to the above title. What a great name for a great tune! It is played here in grand style by its composer Richard Dwyer in another excerpt from his solo CD &lt;em&gt;In a Creative Mood&lt;/em&gt;. Richie's wonderful playing of this happy reel on the accordion brings a smile to my face and lifts my heart along the way.</text>
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                <text>Turn of the Season</text>
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                <text>I have had the great pleasure of living in New England for many years, first in Massachusetts, and now in Maine. When I reflect on the beauty of the region, I picture its snow, its mountains, rivers, and lakes. I think of springtime when everything greens up and comes alive. I think on the changing colours of autumn leaves, the amazing foliage, and the turning of the seasons. All of the above are wonderful gifts and all are part of nature's beauty. These visions are forever captured for me in this lovely musical piece, composed and performed on this track by fiddle player Rodney Miller from New Hampshire.</text>
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                <text>Rodney Miller once again demonstrates that he is not only a fiddle player of extraordinary talent, but also a fine crafter of tunes. Here he plays his composition 'Turlough'.</text>
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                <text>I was honoured when Mrs. Matilda Murdoch from New Brunswick composed this hornpipe for me on her ninetieth birthday. After a night of playing music together at her daughter's home in Massachusetts, Matilda presented me with this very recording of herself playing her composition. A wonderful lady, a great composer and fiddle player, Matilda Murdoch has done much for the music of the Gael. God bless you, my friend. Gabriel Donohue added piano accompaniment to Matilda's fiddle, and we both spoke to her at her home as she celebrated her ninety-second birthday. She loved the track with Gabriel's piano playing. She asked Gabriel if he would go on tour with her &amp;ndash; so young at heart!</text>
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                <text>My nephew Damien Connolly plays his own composition on this track. I asked Damien for information on the tune and its title. He writes: 'I composed this tune on an old fiddle I purchased at an auction. The fiddle itself wasn't great, but it had a really nice tone. One day while playing around with the overtones on the lower strings, this tune came out. I just loved how gutsy the tune sounded so I called it "Savage Paddy". Whenever I love anything I say that it's "savage".'</text>
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                <text>Eamon Flynn composed this slow jig for his daughter Sarah on Valentine's Day when she was five years old. Sarah asked her dad to 'do a song' for her. What a lovely present to get, one that will remain documented forever. This recording comes to us courtesy of Eamon. It was taken from his CD &lt;em&gt;Down by the Glenside&lt;/em&gt;, which he recorded with our mutual friend Helen Kisiel playing piano.</text>
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            <element elementId="50">
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                  <text>Reels</text>
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                <text>Reel Bus, The</text>
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          <element elementId="49">
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                <text>Folk dance music--Nova Scotia--Cape Breton Island</text>
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                <text>Reels (Music)</text>
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                <text>Piano music--Nova Scotia--Cape Breton Island</text>
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                <text>On this track we hear a lovely reel performed by its composer, Barbara MacDonald Magone. Barbara tells us in her own words below how the tune came to be: 'In the spring of 2005, the San Francisco Fiddle Club (of which I am a member) took a tour of the Pacific Northwest. We traveled in two huge buses which were somewhat modified to accommodate the fiddle players (i.e., an area for sessions and refreshments). These buses were aptly named "Strathspey Bus" and "Reel Bus". I rode on the latter. Although I was a bit apprehensive at first about the trip, it turned out to be a wonderful experience. Bonnie Rutherford, a younger member of the SFFC, helped me to come up with the name of this tune.'</text>
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                <text>Séamus Connolly</text>
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                <text>Magone, Barbara MacDonald</text>
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                <text>http://library.bc.edu/connolly/plugins/Dropbox/files/IMC_M064_2013_03_0607.mp3</text>
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                <text>http://library.bc.edu/connolly/plugins/Dropbox/files/06-07_The_Reel_Bus-Reel.pdf</text>
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          </element>
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              <elementText elementTextId="10675">
                <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>Queen of May, The</text>
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                <text>Leo Rowsome recorded this intricate hornpipe many years ago on a 78 RPM record. I recorded it with master piper Liam O'Flynn in 1988 on my record &lt;em&gt;Notes From My Mind&lt;/em&gt;. On this track flute player Kevin Crawford joins me in keeping the tune alive.</text>
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                <text>While reflecting on Eric Eid-Reiner's musical compositions, my first thought was that he created 'happy music'. Indeed, as Eric himself described it, this is 'a light-hearted jig with a sense of humour'. Eric kindly arrived at Boston College one Sunday morning at eight o'clock to record this tune in the Irish Room at Gasson Hall. An unreasonable and unnatural hour, one might say, for a musician to record. Thanks for being so gracious, as always, Eric.</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/270479306&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>Plains of Mayo, The</text>
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                <text>This jig is tune number 304 in [George] &lt;em&gt;Petrie's Complete Irish Music&lt;/em&gt;. It is given a special melodic lift by Larry Gavin and Miche&amp;aacute;l O'Rourke on accordion and fiddle. Charlie Lennon adds his own unmistakable accompaniment on piano. They 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; in a set with 'The Galway Jig'.</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>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>O'Brien, Paddy (accordion) (composer) 28799446</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>Songs and Mouth music&#13;
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                <text>Old Man in the Hob</text>
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                <text>Folk music--Ireland</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>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>This jig was played in my home in Killaloe, County Clare, when I was a young boy. It was not played by me, but by button accordionist Terry Lane on the turntable of our record player! Now, whenever I hear Mr. Lane's recordings, or 'Mordaunt's Fancy', it brings back childhood memories. My friend Geraldine Cotter from Ennis, County Clare, joins me on piano. We recorded the track in Geraldine's home in front of a blazing turf fire.</text>
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                <text>Connolly, Séamus (fiddle) 33682623</text>
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                <text>http://library.bc.edu/connolly/plugins/Dropbox/files/IMC_M064_2013_03_0603.mp3</text>
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              <elementText elementTextId="10545">
                <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>Songs and Mouth music&#13;
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                <text>Lurgy Stream</text>
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                <text>Folk music--Ireland</text>
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                <text>Folk songs,  English--Ireland</text>
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                <text>The beautiful singing voice of All-Ireland Champion Rita Gallagher is once again heard on this track. The words of the song, and the others that she sang for the miscellany, appear courtesy of Rita. Thank you, my friend. More wonderful singing from Rita may also be heard on her 2010 CD recording, &lt;em&gt;The May Morning Dew&lt;/em&gt;.</text>
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              <elementText elementTextId="10754">
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                <text>A lovely slip jig played here for us by its composer, master fiddle player Larry Redican. Lough Key in County Roscommon is one of the beautiful lakes in Ireland famous for its fishing.</text>
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                <text>Redican, Larry (fiddle) (composer)</text>
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                <text>Séamus Connolly</text>
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                <text>Redican, Larry </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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        <name>Playlist 06</name>
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                <text>Key in the Kiln, The</text>
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                <text>Key in the Cill, The</text>
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                <text>Monsignor Charles Coen recorded the jig on this track. In his own words, Father Charlie tells us what he knows about the tune: &lt;br /&gt;&lt;br /&gt;'This tune "The Key in the Cill" or "The Key in the Kiln" was popular in Woodford when I was growing up. It was a great favourite of Bill Logue's. Bill took a strong sweet tone from a flute and had amazing breath control. As with many Irish tunes, the title doesn't have to make sense. "Cill" being the Irish for "church", the title could mean "The Key in the Church", or "church key", or the latter sometimes a humorous name for a corkscrew, or "Kiln" being a place for burning lime, it may have some strange connection with that. The tune is important for me because I made my debut along with Bill's son Josie at a church concert playing it on two fifes. I was ten and Josie was eight and it was the only tune we both knew. My mother had some words to that melody as follows: &lt;br /&gt;&lt;br /&gt;"The girls are on the lookout young men, &lt;br /&gt;The flowers are blooming, &lt;br /&gt;It is Spring and June will surely a wedding bring. &lt;br /&gt;The girls are on the lookout young men."' &lt;br /&gt;&lt;br /&gt;Sl&amp;aacute;n, Charlie.</text>
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                <text>Coen, Charles (concertina) 38213636</text>
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                <text>Séamus Connolly</text>
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                <text>Coen, Charles </text>
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                <text>http://library.bc.edu/connolly/plugins/Dropbox/files/IMC_M064_2013_03_0612.mp3</text>
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                <text>http://library.bc.edu/connolly/plugins/Dropbox/files/06-12_The_Key_In_The_Kiln-Jig.pdf</text>
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                <text>&lt;iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/270479317&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 06</name>
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