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C�mhr� na dTonn: Conversation of the Waves - Maire Garvey

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C�mhr� na dTonn: Conversation of the Waves - Maire Garvey

$ 22.00
Garvey,Maire
\r\nComhra na d'Tonn
CD only available
\r\nC�mhr� na dTonn: Conversation of the Waves - Maire Garvey
\r\nCD Bi-Lingual Traditional Songs & Tunes
\r\nwith detailed background info
\r\nfrom Maire's website:
\r\n"The name of my CD C�mhra na d'Tonn should be well known \r\naround North Connaught. There is a little fishing \r\nvillage called Aughris, along the Atlantic coast of \r\nNorth Sligo. When the weather is bad the waves from the \r\nAtlantic roll under the cliffs for about a mile. \r\nThe roar of the water can be heard for a radius of \r\nthirty miles. In ancient days the locals knew they were \r\nin for bad weather when the heard the C�mhr� dTonn. \r\nWe have a hornpipe called by the same name.

\r\n\r\nI talk of the forgotten people of Ireland. In the 19th \r\ncentury there were many collectors of our tradition \r\nmusic and songs. Patrick Lynch, George Petrie, \r\nW.P. Joyce, William Forde and Captain Francis O'Neill. \r\nThe setting up of the Folklore Society of Ireland, the \r\nFeis Ceoil, and Conradh na Gaeilge were all instrumental \r\nin bringing our tradition forward in order to equal our \r\nEuropean neighbours. Men and women in these societies \r\ndid wonderful work for the future of Ireland. \r\nEibhl�n Bean Ui Coistealbha, who was teaching in the \r\nPresentation Convent, in Tuam married the local doctor, \r\nand collected songs from the Tuam, Connemara and Mayo \r\nsingers where Irish then was the spoken language. \r\nShe published her collection under the name \r\nAmhr�n Muighe Seola. When I contacted the Tuam Library \r\nfor more information, they sent me some details from the \r\nmain Galway library.

\r\n\r\n\r\nOur Ancient music is seldom heard. We have delved into \r\nthe well of 400 years ago and came up with The Wild Geese,\r\nthe tragic story of the destitute women �ag caoideadh�, \r\nas the ships set sail for France as their men folk were \r\ngoing to join the Irish Brigades to fight for King JamesII\r\n It was 1691, after the fall of Limerick. Before that \r\naround the forming of the Confederation of Kilkenny, the \r\nParliamentarians defeated the Confederate Catholics at \r\nCnoc na nDos near Mallow in Co. Cork, and not a man of \r\nAllister Mc Donnell's army under the command of Taffe \r\nwas left alive. MacAllistrum's Lament-March is a fitting \r\ntribute to the dead.

\r\n\r\n\r\nI talk of the closeness of our tradition to the other \r\n5 Celtic countries and the reasons for this. Pointing out\r\nthat Thomas Connellan and his brother Lawrence both \r\nHarpers from Cloonamahon in Co. Sligo, both lived in \r\nScotland for years and both Ireland and Scotland claimed \r\ntheir compositions. I say we come from the same tradition.\r\n We have Planxty Davis one of Thomas 's compositions.

\r\n\r\n\r\nThen I go to Wexford the home of the Mummers. It took \r\nsome time to discover the two most important men of that \r\nera. Now almost forgotten except for the oldest \r\ngeneration. Their stories are full of excitement and \r\nchallenge; Arthur Warren Darley was born in Northumberland\r\nRoad Dublin. His family was musical both in traditional \r\nand classical. His grandfather played the uilleann pipes \r\nand fiddle, his father played fiddle and viola and \r\nArthur played fiddle and piano. Arthur was playing the \r\nfiddle well at 8 years of age. He was a fellow in The \r\nCollege of Violinists, London, Professor of Leinster \r\nSchool of Music, Director of the municipal School of \r\nMusic, and was deeply interested in Irish Music. He met P. J. McCall who spent much of his time in Wexford. \r\nTogether they collected old tunes and Ossian Publications\r\npublished them. It was P J mc Call who composed the \r\nfamous Wexford Ballads and Arthur Darley put the music \r\nto them � The Boys of Wexford, Boolavogue, Kelly The Boy \r\nfrom Killane.

\r\n\r\n\r\nArthur read a paper to the Irish Literary Society in 1897.\r\nHe talked of the ancient bards and harpers, and the \r\nsupremacy of their music. He had theories as to how the \r\nposition of Irish music could be advanced in the future.\r\n He said, many believe he song known as Killarney is an \r\nIrish air Kathleen Mavourneen, Molly Bawn and many others\r\nare accepted as genuine. �Now is not such ignorance \r\nlamentable? � He said Thomas Moore and Stevenson were \r\ncensurable for their work. They changed the name of \r\n�The Foxes Sleep� to �When he who adores thee�, and they \r\nremoved all the vestige of Irish character from the \r\nancient melody. Arthur adjudicated at the Feis Ceoil \r\nall over the 32 counties.

\r\n\r\n\r\nThen I come to a very interesting item. The connection \r\nbetween County Mayo and counties Armagh and Down, bring \r\na new element to our history. The O'Neill Clan were \r\nnumerous O'Neills of the Fews, Armagh, O'Neills of Mayo \r\nwho were descended actually from the Fews, the Leitrim \r\nO�Neills and the Meath O'Neills. The first migrations \r\nfrom the north in medieval times were the Mc Donnell's \r\nand the Mc Sweeney's who came to this part of the world \r\nas galloglasses or professional soldiers, hired by the \r\nBurkes. Migration took place from Ulster to County Mayo, \r\nfrom the end of the 18th century. The late Cardinal \r\nO Fiaidh did a study of this.

\r\n\r\n\r\nWhen we move into the 18th century, we find an \r\nunderlying seam of culture right across Mayo little \r\ntalked about at this time. Songs and music were heard at \r\nevery fireside. In remote areas people sang Carolan's \r\nsongs. Dr Douglas Hyde collected many sean-n's songs \r\naround the Mullet. Here I come to Patrick Lynch. I have \r\ngotten his list of tunes 189, he collected in Mayo from \r\nQueen's University, Belfast."\r\n


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