An Píobaire - Na Píobairí Uilleann

An Píobaire
Vol. 4 No. 27
Meán Fomhair/September 2004
Contents
2 ............Cover Photo Details
3 ............Editorial
4 ............Upcoming events
4 ............Donations and acquisitions
5 ............News & Events
7 ............New Publications
11 ............The Floating Tionól
14 ............Ancient Irish Pipes
16 ............“Donnybrook Fair”
18 ............Tune from Tom Busby
20 ............Airs & Graces - “Mo Cheallaichín Fionn”
22 ............Mick Daley
23 ............Seanchas – Letter from the Silvermines
24 ............Recent Visitors
26 ............Seanchas - O’Hannigan the Piper
27 ............Historic Willie Rowsome Set
30 ............Items available from NPU
31 ............Advertisements
32 ............Calendar of Piping Events
eficial in the long run than learning a plethora of tunes or practicing triplets and crans
until your fingers hurt.
he increasing number of music summer schools is a welcome additional
learning opportunity for many pipers.
This especially applies to those pipers who
live in areas in which piping teachers are
scarce or non-existent. But while these classes can be of enormous assistance, it is important that pipers do not become over reliant on
them and expect to become a brilliant piper in
the space of four or five days. The classes
should be a reference point where pupils can
get informed opinion on their own playing,
where the main objectives should be the correction of bad habits while also picking up
useful tips on technique. This is far more ben-
T
Classes are a great way of learning to play,
and having a variety of different mentors will
be sure to keep the pupil interested while
demonstrating different styles and technique.
However we must remember that no amount
of classes or practicing technique can make
any of us great players, and that listening to
traditional music, and in particular piping, is
as important if not more so. While listening to
Ennis, Clancy and Rowsome it is vital that we
not just admire their technique, but that we
also appreciate in what context they use it.
Being able to play every triplet in existence is
no good unless we are able to identify where
in the tune to play them and how often. For
this reason, it is important to go past the
aforementioned pipers and listen to the generation that preceded them – pipers like Patsy
Touhy, Barney and Dinny Delaney and
Johnny Doran. In listening to these players,
we can have a clearer picture of how they
influenced the following generation of pipers.
The cover picture shows the Waterford piper David Power playing Mal Whyte’s
Kenna ‘B’ set during a visit to Henrietta Street in 2003. (Photo - Terry Moylan)
An Píobaire is the newsletter of Na Píobairí Uilleann Teoranta, 15 Henrietta Street, Dublin 1, Ireland, and is issued five
times annually - 1st week February, 3rd week April, 1st week July, 3rd week September, 1st week December. Deadline
for contributions - three weeks before these dates. Views expressed in An Píobaire are not necessarily those of Na
Píobairí Uilleann Teo. or of the Board of NPU Teo.
Editor:
Gay McKeon, Chairman, Na Píobairí Uilleann Teo.
Editorial committee: Gay McKeon, Gerry Lyons, Sean Potts, Terry Moylan, Robbie Hannan
Board of Directors: 2004-2005, Gay McKeon (Chairman); Gerry Lyons (Secretary); Dermot McManus (Treasurer);
Harry Bradley; Tom Clarke; Ivan Crowe; Patricia Logan; Nollaig Mac Cárthaigh; Pat Mitchell;
Noel Pocock; Denis Quigley.
Honorary President: Seán Potts
Patrons:
On the subject, of learning, the autumn term
of classes have started in Henrietta Street on
Tuesday nights, anyone who is interested
should contact the office. To those attending
and teaching classes around the world, I
encourage you to source the earliest available
recordings of pipers for inspiration.
Peter Carberry, Longford; Dave Hegarty, Tralee; Tommy Kearney, Waterford; Neil Mulligan,
Dublin, Joe Shannon, Chicago.
Registered Office:
15 Henrietta Street, Dublin 1.
Telephone:
Office: 01-8730093; Fax: 01-8730537; Archive: 01-8735094;
E-mail: [email protected] Web site: www.pipers.ie
Membership:
Full & Associate - €38 p.a. Unwaged/junior members - €19 p.a.
Advertisements:
Ordinary advertisements carried free, display adverts - €20
An Píobaire contents © Na Píobairí Uilleann Teoranta, unless otherwise stated.
Gay McKeon
Na Píobairí Uilleann Teoranta is incorporated in Ireland, Company Reg. No. 242874.
2
3
~ Upcoming events in Henrietta Street ~
Andy Conroy Night
Reedmaking Class with
Benedict Koehler
Saturday 23rd October 2004
Saturday 6th November
ndy Conroy was a much-loved and
respected piper who spent the final years
of his life in Dublin, passing on his highly
individual style and his take on piping to any
who had the sense to pay attention to him.
As a way of sharing knowledge of Andy’s
music and musings, there will be a night of
music and reminiscence on 23rd October.
This will be an opportunity for those who
knew him to remember an extraordinary man,
and for those who didn’t to learn about him.
The evening will be moderated by Mick
Coyne.
A
he renowned American pipemaker and
reedmaker Benedict Koehler will be visiting Dublin in early November to record
some footage for the projected NPU reedmaking DVD. While here he has agreed to
conduct a reedmaking class in Henrietta
Street. This will be an opportunity to learn
from one of the foremost reedmakers in the
world. Admission will cost €25, and numbers
will be restricted. Bookings should be made
immediately to NPU.
T
Breandán Breathnach Night
Saturday 11th December 2004
very year NPU holds an event to commemorate the life and contribution to
Irish music of our founder Breandán
Breathnach.
The arrangements for this are being finalised
at the moment, but we hope to have a full programme of musical and social activities.
E
~ Donations & acquisitions ~
ecent publications received include the
following:
Ar Soner – Magazine of Bodaged Ar
Sonerion/Assemblée des Sonneurs de
Bretagne. No. 374, Mai/Juin 2004
Piping Today – magazine of The National
Piping Centre, Glasgow. Issue 11
Chanter – magazine of the Bagpipe Society.
Summer & Autumn 2004
R
Andy Conroy (Photo - Liam McNulty)
4
~ News & Events ~
During The 'Floating Tionól' everyone went
away with a new, working reed. Pre-booking
iping classes have resumed in Henrietta is desirable, please contact me by e-mail at
Street. The current term runs from Sep 14 [email protected] or phone 01865
to Oct 19, and the second term from Nov 2 to 727942.
Dec 7, with an end-of-term Christmas party in
Henrietta Street on Dec 14. The fee for each 11th William Kennedy Piping
class is €42.
Festival
As classes will not be overcrowded, places
cannot be guaranteed to anyone who has not
pre-registered. The class fee is payable on the
night of enrolment at the beginning of each
term. Classes start at 7:30. For further information contact Mary Walsh or Nicola Spain at
8730093.
Henrietta St Classes
P
The ‘Dry Dock’ Tionól
he Dry Dock Tionól will take place in
Oxford, England on Sunday 17th October
2004. From 2pm to 7pm the venue is the
Friends Meeting House, 43 St Giles, Oxford.
This is a very central location and has parking
right outside. The Tionól will consist of piping
lessons, focusing on ornamentation and technique, a reedmaking workshop and acoustics
lecture. We shall have a separate room for session playing, recital and general socialising.
The teacher, as for our successful ‘Floating
Tionól’ will be Brian Howard.
From 9pm onwards the tionol will adjoin at
‘The Half Moon’ on St Clements. Sunday is
session night and we are guaranteed a seriously good evening of musical entertainment.
The price is £15 to cover costs and an optional £10 extra for a Howard reedmaking kit, this
consists of all the required materials to make
your own reed during the afternoon and is a
special discounted price for Tionól attendees.
T
he Armagh Pipers Club have announced
details of the 11th William Kennedy
Piping Festival. Started in 1994 to commemorate the extraordinary life of the blind 18th
century pipe maker from Tandragee, Co.
Armagh, the festival has grown to become one
of the biggest of its kind in the world.
This years festival runs from the 16th – 21st
November and will feature pipers from
Galicia, Brittany, Sardinia, Hungary, Cape
Breton, England, Scotland and Ireland.
Festival highlights include performances from
Davy Spillane, Carlos Nunez, The Kathryn
Tickell Band and Patrick Molard.
For further details, contact +44 (0)28
37511248 or email [email protected] or check
our website www.wkpf.org.
See insert with this issue of An Píobaire.
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5
2004 East Coast Tionól
Al Purcell Tionól
he East Coast Irish Pipers will hold the
2004 East Coast Tionól this year over
Halloween weekend (Oct 29 - Nov 1) in the
Catskills town of East Durham, about two
hours north of New York City. In conjunction
with the Southern California Pipers Club, we
will feature Dublin piper Mick O’Brien and
fiddler/piper Caoímhín Ó Raghallaigh.
In addition Waterford piper David Power will
join us, as will Limerick piper Mickey Dunne
and Toronto piper Debbie Quigley. Pipemaker
Nick Whitmer will preside over the reedmaking workshops, while Benedict Koehler and
Patrick Hutchinson will offer private lessons
to supplement the group workshops. This
year we have also added a full fiddle component, with Patrick Ourceau and Caoímhín
teaching the fiddle workshops. And rumour
has it that a number of instruments will come
in full costume to Sunday night’s Halloween
party.
For detailed information and a downloadable
registration form, please visit our website at
www.eastcoastpipers.com. For those without
access to the web who wish for more information or a registration form, please call
Susanne Ward at 207 594-5434.
Website: www.eastcoastpipers.com
he 2004 Al Purcell Irish Music
Gathering/Tionól will take place on
October 1st this year in Ann Arbor, Michigan.
The Ark is again sponsoring the venue for the
Saturday workshops in uilleann piping, reed
making, fiddle, and flute/whistle, as well as
the Saturday evening concert. There will also
be a Friday night concert at Chapel Hill
Condiminium Clubhouse. Workshops are
taught by notable musicians in:
T
T
~ New Publications ~
1 Song: Bean Pháidín ~ Seán ’ac
Dhonncha
2 Song: Is Í do Mhamó Í ~ Seán ’ac
Dhonncha
3 Reel: The Dash to Portobello ~ Sean
Ryan [Fiddle]
4 Song: Caoineadh na dTrí Muire ~
Seosamh Ó hÉanaí
5 Reels: Bonny Kate/Mrs. McLeod’s
Reel/The Fermoy Lasses ~ Tommy
Reck [Uilleann Pipes]
6 Song: Neainsín Bhán ~ Seosamh Ó
hÉanaí
7 Air: Carolan’s Concerto ~ Tommy
Reck [Uilleann Pipes]
8 Song: Bean an Leanna ~ Seosamh Ó
hÉanaí
9 Reels: The Kerry Reel/Colonel
Frazer/The Steampacket ~ Denis
Murphy [Fiddle]
10 Song: Mainistir na Búille ~ Seán ’ac
Dhonncha
11 Reels: Saint Anne’s Reel/The NewMown Meadows ~ Denis Murphy
[Fiddle]
12 Song: An Buinneán Buí ~ Seán ’ac
Dhonncha
13 Jigs: The Queen of the Fair/The Luck
Penny ~ Joe Devlin [Fiddle]
14 Song: Geaftaí Bhaile Buí ~ Aodh Ó
Duibheannaigh
15 Jigs: Jackson’s Rum Punch/The Rose in
the Heather ~ Johnny Pickering
[Fiddle]
16 Song: Úirchill an Chreagáin ~ Aodh Ó
Duibheannaigh
17 Reels: The Earl’s Chair/Tom Steele ~
Sean McLaughlin [Fiddle]
18 Song: Ar Maidin Dé Máirt ~ Áine Ní
Ghallchobhair
19 Hornpipes: The Wily Old Bachelor/The
Harvest Home ~ Johnny Pickering
[Fiddle]
Seoltaí Séidte - Setting Sail
Ceilta Éireann 1957-1961
Gael Linn CEFCD184
Beginning, intermediate, and advanced uilleann piping
Reedmaking & troubleshooting
Irish flute & whistle
Fiddle
Celtic guitar (new this year)
Sessions and two concerts: Friday & Saturday
evening (Sat. concert included in $65 workshop fee) Sunday brunch and afternoon session at Conor O’Neil’s Pub
Instructors this year are Pat Hutchinson and
Tyler Duncan, both teaching the Intermediate
and Advanced pipers. Each instructor will
take each class for half a day, giving more students the benefit of both instructors. Seth
Gallagher is back with us again this year
using the same “open class” format which
was so successful last year.
New this year for fiddle is Brian Taheny, and
Loretto Reid for Irish flute & whistle. There is
also a probability of an Irish style guitar
workshop. More on this will be available
later this week.
Visit the website at www.alpurcell.com for
more details on the workshops, instructors,
schedule, maps, etc.
If you still can't find what you’re looking for
or would like to see additional info. placed on
the website please email me at:
[email protected]
Tom Kennedy
Southern Californian
Tionól
he Southern California Tionol is scheduled for Oct. 22-24, in beautiful San Juan
Capistrano. Classes on pipes, fiddle and reedmaking. Lecture on the use of regulators.
Guests will be Mick O’Brien, Caoimhín Ó
Raghallagh
and
Benedict
Koehler
Information from Larry Dunn at [email protected]
Details at www.socalpipers.com
T
6
ael Linn have re-released in a double CD
package the recordings that they first
issued on 78rpm format at the start of their
existence.
The emphasis is on song in Irish, but there is
also a good helping of instrumental music,
including three tracks from Willie Clancy and
two from Tommy Reck.
The CDs are accompanied with a booklet
which contains meticulously-researched
background information by Nicholas Carolan
on the musicians, the music and songs (with
complete song-texts and translations) and the
history of Gael Linn itself.
G
7
20 Song: Bríd Bhéasach ~ Áine Ní
Ghallchobhair
21 Song: Ar a Ghabháil chun an Chuain
Damh ~ Áine Ní Ghallchobhair
22 Reels: Rhattigan’s Reel/Mrs McLeod’s
Reel ~ Sean McLaughlin [Fiddle]
1 Song: An Gamhain Geal Bán ~ Seán de
hÓra
2 Reels: The Piper’s Despair/Jim
Kennedy’s Favourite ~ Denis Murphy
[Fiddle]
3 Song: An Seanduine ~ Diarmuid Ó
Flatharta
4 Song Air: Na Connerys ~ Willie Clancy
[Uilleann Pipes]
5 Song: An Draighneán Donn ~ Seán ’ac
Dhonncha
6 Jigs: Garrett Barry’s/Brian O’Lynn ~
Paddy Canny [Fiddle]
7 Song: Tá na Páipéir dhá Saighneáil ~
Seán ’ac Dhonncha
8 Reels: The Old Bush/The Ravelled
Hank of Yarn ~ Willie Clancy
[Uilleann Pipes]
9 Song: Bríd Thomáis Mhurchadha ~
Seán ’ac Dhonncha
10 Reels: Down the Broom/The Boys of
Ballisodare ~ Vincent Broderick
[Flute]
11 Song: Amhrán na Trá Báine ~ Seosamh
Ó hÉanaí
12 Jigs: Old Man Dillon/The Battering
Ram ~ Vincent Broderick [Flute]
13 Song: Amhrán na Páise ~ Seosamh Ó
hÉanaí
14 Reels: Lord McDonald’s Reel/The Fair
of Ballinasloe ~ Paddy Canny [Fiddle]
15 Song: Sadhbh Ní Bhruinneallaigh ~
Seosamh Ó hÉanaí
16 Song: Is Measa Liom Bródach ~
Seosamh Ó hÉanaí
17 Hornpipes: The Plains of Boyle/The
Leitrim Fancy ~ Willie Clancy
[Uilleann Pipes]
18 Song: Caisleán Uí Néill ~ Máire Nic
Dhonnchadha
19 Reels: The Golden Keyboard/Farrell
O’Gara ~ Joe Burke [Accordion]
20 Song: Píopa Ainde Mhóir ~ Máire Nic
Dhonnchadha
21 Reels: The Dawn/The Moving Cloud ~
Joe Burke [Accordion]
Patrick Martin
Bould Pypering
Contact Patrick Martin at www.emusic.ie/otooles
named/Un-named
6 Air: Blind Mary
7 Hornpipes: The New Crossroads [Gerry
Hanlon]/The Sidewinder [Tim
Farrelly]/Rubber Legs [Terry Tully]
8 Song: The Lakes of Ponchartrain
9 Jigs: Un-named
10 Air: Little One [Colin Blakey]
11 Jigs/Reel: Un-named
12 Reels: Un-named
6 Song: The Harp that Once Through
Tara's Halls [John McCormack]
7 Song: The Rocks of Bawn [Joe Heaney]
8 Song: Edward Connors [Andy Irvine]
9 Reels: Dr Gilbert/The Queen of May
[Michael Coleman (Fiddle), acc.
Herbert G. Henry (Piano)]
10 Reels: The Ash Plant/The Dog Among
the Bushes [Mary MacNamara
(Concertina)]
11 Demonstration of ornaments [Dorothea
Hast (Whistle)]
12 Single Jig: The Road to Lisdoonvarna
[Stan Scott (Mandolin)]
13 Slip Jig: A Fig for a Kiss [Stan Scott
(Mandolin) & Dorothea Hast
(Whistle)]
14 Slide: O'Keeffe's Slide [Stan Scott
(Mandolin)]
15 Reels: The Reel of Rio/The Woman of
the House [Kevin Crawford (Flute)]
16 Polkas [George Wilson (Fiddle),
Dorothea Hast (Whistle) & Stan Scott
(Guitar)]
17 Carolan: Planxty Fanny Power [George
Wilson (Fiddle), Dorothea Hast
(Recorder) & Stan Scott (Guitar)]
18 Jig: Garrett Barry's Jig [Jerry O'Sullivan
(Pipes)]
19 Jig: Garrett Barry's Jig [Jerry O'Sullivan
(Pipes)]
20 Song: The Blarney Stone [Tom
Lenihan]
21 Song: The Carmagnoles [Jerry O'Reilly]
22 Song: Caoineadh na dTrí Muire [Joe
Heaney]
23 Song: Uirchill a' Chreagáin [Pádraigín
Ní Uallacháin]
24 Song: Love, Won't You Marry Me [Len
Graham]
25 Song: Banks of the Bann [Len Graham]
26 Song: Banks of the Bann [Len Graham]
27 Jig: The Old Grey Goose [Mícheál O
Súilleabháin (Piano)]
28 Reels: Dr Gilbert/Merry Sisters of
Fate/Longacre [Lúnasa]
Music in Ireland
Dorothea E. Hast & Stanley Scott
Book and CD. Oxford University Press
Available from NPU at €20.00 (less members’ discount)
plus postage.
tanley Scott and
Dorothea Hast are
regular visitors to Ireland
and have become familiar faces at sessions and
musical events throughout the country.
They have distilled their
experiences ro produce
this book and CD which comprises one of the
‘case studies’ of the Oxford Press’s Global
Music Series. As a study of the way the music
and song is actually used, it is a perfect complement to Breandán Breathnach’s Folk
Music & Dances of Ireland.
1 Reels: The Maid Behind the
Bar/Gregg's Pipes [Junior Crehan
(Fiddle), Michael Tubridy (Flute),
Tommy McCarthy (Concertina) &
Eamon McGivney (Fiddle)]
2 Song: Farewell to Miltown Malbay
[Tim Dennehy]
3 Jigs: The Mist Covered Mountain /
Tommy Whelan's [Kitty Hayes
(Concertina)]
4 Hornpipes: The Sunshine/Humours of
Castle Bernard/Dick Sands' [Dublin
Metropolitan Garda Céilí Band]
5 Carolan: Planxty Johnson [Sally
Perreten (Harp)]
S
P
atrick Martin is a player of both the
Highland pipes and the uilleann pipes and
performs on both forms here, as well as on
whistles and keyboards.
He is joined by other musicians and singers,
and the result is an eclectic selection of airs,
dance tunes and songs rendered by a variety
of different-sounding lineups, with the sound
of the pipes – uilleann or Highland – to the
fore in most of the arrangements.
1 Airs: Spiddel/Sean O’Dwyer
2 Reels: Hughie Travers’/The mouse in
the bag of potatoes/McFadden’s/The
Humours of Tulla
3 Jig: The Humours of Ballyloughlin
4 Song: Raglan Road
5 Jigs: The Girl from Dungannon/Un-
8
9
I feel sure that Breandán would have been
delighted to see this publication. It was
always his practice to try to recruit workers
for all the tasks that he felt needed to be done
in the field of Irish music, and the history of
dance was a subject dear to his heart. He
would have been doubly delighted that it
should have been produced by a writer associated with NPU and Henrietta Street. Mary
Friel is a dance teacher and collector and has
been teaching set-dancing in Henrietta Street
for twenty years.
Although the book is focussed on dance, there
is plenty of material here of interest to pipers
and to anyone with a broad interest in the
music. During the period covered by the book
the pipes and fiddle were the premier instruments in use among Irish musicians. There
are many quotations and references here dealing with pipers, named and anonymous. For
example, I had not before heard of the connection between John Cash and the Carrigans
of co. Kilkenny:
Dancing as a social pastime in the south-east of
Ireland, 1800-1897
Mary Friel
Four Courts Press (ISBN 9 781851 828159) 58pp
A tinsmith by trade, Cash dealt in horses and
became one of the best-known musicians in
the south-east. His horse-dealing brought him
regularly to the farm of the Carrigan family of
Clara, Co. Kilkenny. While there he taught the
sons how to play the ppes.
Again, quoting from James Carr’s The
Stranger in Ireland (London 1806) we learn
how the Irish peasantry typically passed the
time on their day of rest:
ary Friel’s study of dance in south-east
Ireland has been published as part of
the excellent series from Maynooth College –
Maynooth Studies in Local History – although
it is probably the first to deal with any aspect
of traditional music.
It immediately joins the very short shelf of
works dealing in a serious manner with Irish
dance. I can think of only three writers who
have brought the same level of scholarship
and depth of research to the subject –
Breandán Breathnach, Larry Lynch and Helen
Brennan.
M
After the hours of devotion a spirit of gaiety
shines upon every hour, the bagpipe is heard,
and every foot is in motion.The cabin on this
day is deserted: and families, in order to meet
together, and enjoy the luxury of a social chat,
even in rain or snow, will walk three or four
miles to a given spot.
The range of sources examined and the
recourse to primary data in the form of census
returns add to the value of this study. Highly
recommended to anyone with an interest in
the history of Irish music. TM
10
~ The Floating Tionól ~
The First Annual Floating Tionól 18-22 June 2004
Sean Lally
n the evening of Friday 18th June the
first crew for the Annual Floating
Tionól assembled on the towpath of
the Oxford canal and boarded Venturer, a 72'
narrowboat which would be home for the next
four days and five nights. Experienced pipers
and complete beginners (who had loaned or
bought a set of pipes from our teacher, Brian
Howard) alike, abandoned dry land and set
off for a voyage into the unknown.
I am a full time narrowboat resident and the
Tionól was a natural mixing of two passions.
I thought the boat trip on the tranquil upper
reaches of the river Thames would give an
extra dimension to the trip, as well as giving
people the opportunity to get away from piping when that elusive roll, cran or triplet
drove them to distraction. Sean Potts describing skiing and piping in his An Píobaire article about the ‘Winter Snow’ Tionól helped to
re-inforce my belief that it would benefit the
students to have a focus away from the pipes
too.
The added benefit was the opportunity to stop
at different locations for a picnic lunch each
day (provided all-inclusive), and a different
pub to play in each evening. The first session
took place at ‘The Globe’ an Irish pub in
Jericho, Oxford. We had a quite a battle to
hear ourselves over a bemused crowd of
locals, who proved hard to win over.
Nonetheless, the session gave us opportunity
to get to know one another and knock out
some tunes. Songs were sung, pipes pipered
and when it came to closing time all the talk
was of the next day.
After a full English breakfast (provided every
day) we set out onto the River Thames, while
I helmed the vessel, Brian Howard started the
first lesson, for the total beginners. This structuring of ability groups gave people the
opportunity to crew the vessel (with instruction if need be) and practice in other areas of
the large boat. The Thames above Oxford is
simply stunning, and some guys who had
merely come along to do piping were realizing what a treat lay ahead of them as we
cruised at a stately 4mph through green fields
and woods.
Everyone had piping lessons throughout the
day, including Helene Dunbar, a journalist
from Irish Music Magazine who joined us for
O
Roger Schofield with a full set of Pat Stones pipes in D,
at the bow of the boat as we cruise along.
11
the day, and most of the lads took turns on the
tiller and roping up at locks. In the afternoon
we were treated to an in-depth, but very clear
lecture on pipe acoustics by Brian Howard.
This certainly gave us an understanding why
the pipes do all these strange things, and the
best way to remedy them! On Saturday
evening we were raring to go and piled into
‘The Rose Revived Inn’ a beautiful Cotswold
pub, right on the riverbank. We were treated
to a performance of English border pipes by
Andy Letcher and the English Northumbrian
smallpipes by Elmar Nasahl (who had just
purchased a set of Uilleann pipes and had
travelled from Austria to be with us as his initiation.) Brian Howard demonstrated a new
sort of chanter with a ‘diaphragm reed’ his
own C# chanter and C double chanter, as well
as his new keywork system. All to a fascinated audience of pipers, piping fans (including
one in an NPU t-shirt) and general punters. A
great session ensued and the pub provided
free food for the lads.
On Sunday we headed into deep countryside
and saw no roads or people apart from the odd
small bridge and occasional fisherman or
drinker at a secluded riverside pub. We were
joined for the day by Anke Seepert who got
up at 5am to drive to meet us, and then set off
for a four hour drive home at 10pm, as she
had work commitments. She soon fitted into
the structure, and the boat, now with ten people on board, never felt overcrowded. Lessons
continued in the morning, while after a superb
lunch Brian Howard gave a reedmaking
workshop, with the reedmaking kits supplied
to everyone for the trip. In a few short hours
everyone had a new and working reed. The
looks of satisfaction and indeed astonishment
on peoples’ faces was wonderful, surely what
Standing l-r Roger Schofield, Andrew Doyle
Sitting l-r Kelvyn Lynch, Elmar Nasahl, Simon Guppy, David Hooper, Brian Howard, Sean Lally.
12
a Tionól is all about. Peoples’ reeds all
held up perfectly, which as a boat dweller
I knew they would, it was however a fear
of some prospective Tionól attendees.
Modern narrowboats are well insulated
and this was doubly proved when we
could have three sets of lessons or sessions going on at any one time in the boat.
We arrived at Lechlade-on-Thames in the
late afternoon, which is the head of the
river for powered craft and as ever,
moored right outside our venue for the
evening, ‘The Trout Inn’. Fine food was
eaten and we had quite a session in the
marquee, in the pub’s extensive grounds.
Brian Howard treated the audience to
dance tunes of all hues, slow airs, unaccompanied song and even singing as he
pipered. His wit and skill touched everyone present and he even got up and
danced a jig while I played one.
The Monday was a magical cruise back
towards Oxford with many an ooh! and
ahh! at the sights passed. The crew were
getting used to the gentle and relaxing
Brian Howard with Howard full set plays in a Lock as we
pace of river life. It was wonderful to hear
decend
the pipes played out of doors as we meanment beloved of many pipers. More lessons,
dered along, many a lock keeper or fellow more practice, more mini sessions at the bow
boater gave up a wave or whoop as we of the boat and more simply soaking in the
cruised past. Lessons continued apace and I tranquillity. We saved the best till last as
had to admire Brian’s teaching style. He regards the pubs. We entered ‘The Old
would teach a beginner a series of exercises, Bookbinders’ In Jericho, Oxford, a canal side
and then suggest they try a cran. ‘Oh no, not English ale house, to be greeted with free real
yet’ was the reply, followed by a look of dis- ale and a wonderful atmosphere. The lads
belief when informed they had been playing were on form after all this expert tuition and
them for the last ten minutes. A nice lazy ses- playing together, and visiting musicians realsion took place at the welcoming ‘Ferry Inn’ ly lifted us. The crowd loved it as did we. A
in Bablock Hythe (another stunning loca- perfect end to an amazing experience. We are
tion.) and the craic was mighty as the lads had already planning a crew reunion in autumn.
bonded marvellously over the last few days.
Many of the crew have already booked their
The final day’s cruising took us back to place on ‘The Second Annual Floating
Oxford via the Oxford canal entered at Tionól’, a sign of success indeed. For details
‘Duke’s Cut’. Brian led a low whistle work- of next year’s event, please contact me at
shop which was both educational, historic and [email protected]
very useful for playing this modern instru-
13
~ Ancient Pipes Found ~
Unique prehistoric musical instrument discovered
in Co. Wicklow
Molloy made the discovery during the archaeological excavation of a burnt mound (fulacht
fiadh) site.
The site, thought to be a cooking site, is one
of several partially preserved sites revealed
by soil stripping and archaeological investigation which are related to Bronze Age settlement in the location. The archaeological sites
have been revealed, investigated and fully
recorded in a highly successful, collaborate
project with Mountbrook Homes and
Ballymore Properties Ltd.
The find consisted of six graded cylindrical
rchaeologists excavating at Charlesland, Greystones have found a set of
wooden pipes dating to the Early
Bronze Age. Archaeologists for Margaret
Gowen & Co. Ltd recently made the unique
discovery of a set of prehistoric pipes,
thought to be from a musical instrument.
Engaged by Mountbrook Homes and
Ballymore Properties Ltd to fulfil a planning
requirement to monitor site preparation work
for a residential development at The Glen,
Charlesland, Greystones, Co. Wicklow, the
archaeological team under director Bernice
A
14
wooden pipes, five arrayed side by side at the
bottom of a well-preserved rectangular,
wood-lined trough that once held water. The
largest is damaged but was over 50cm long.
The pipes had been covered and possibly concealed when the site was abandoned. A peg
used in the construction of the wooden trough
lining has been radio-carbon dated to between
2120BC and 2085BC.
Back in the laboratory, careful cleaning and
initial research on the slender and beautifully
crafted pipes has identified that they are made
of yew wood. They are not perforated, like a
recorder or flute, but do have features that
suggest they are a set, and that they were
attached to something that no longer survives.
With no direct parallels for the pipes, work
has been under way to establish what kind of
an instrument the pipes might have come
from. The experts consulted suggest that the
pipes, which lack finger holes (like those on a
wooden flute tin whistle or recorder), may
have formed part of a multi-flute instrument
or pipe organ. These instruments utilise the
different lengths of the air column in the pipes
to generate the melodic or harmonic content
of the instrument’s musical sound.
At present, experts including Dr. Peter
Holmes, an expert in the reconstruction of
ancient instruments from the UK, and Simon
O’Dwyer, who is shortly to publish a book on
early Irish musical instruments, have been
assisting the archaeologists in the analysis of
the pipes. Dr. Ann Buckley from University
College, Maynooth and Frank Cullen an artist
and wood carver have also examined the
pipes.
Coincidentally, work on other early Irish
wooden musical instruments has been under
way and two papers written by Greer Ramsey
of the Armagh County Museum and a
Scottish expert, John Purser, are shortly to be
published by the Ulster Journal of
Archaeology.
The combined weight of research and expert-
ise assembled so far suggests that the find is
truly unique and that we may have the
remains of the earliest wooden piped instrument ever found in an archaeological context
in Europe. Research suggests that the earliest
recorded wooden musical instruments from
an archaeological context date to the 5-6th
century BC while the pipes from Charlesland
are more than 1000 years older. On the other
hand, simple bone flutes and whistles have
been found from earliest prehistory going
back to Neanderthal man. So, music formed
an important part of prehistoric life.
Ireland does not lack musical instruments of
prehistoric date. Most notable are the truly
spectacular cast bronze horns of the later
Bronze Age and Iron Age. The only other
wooden instruments, all made of yew wood
also, are a set of four curved pipes from
Killyfadda, Co. Tyrone (400BC) the Bekan
Horn from Co. Mayo dating to 700AD and a
short conical wooden horn from the River
Erne in Co. Fermanagh dated to 700AD also.
It is still unclear how the instrument might
have been played. Nothing is known of the
mechanism, if any, used to make individual
pipes ‘speak’ but the assembled instrument
might well have been a precursor to the
ancient pipe organ. However, initial experiments have indicated that the pipes generate
the notes E flat, A flat and F natural. E flat is
common pitch for many ancient Irish horns.
The method of creating the hollow pipes is
also not yet established but it is clear that a
lathe was not used.
Contact details:
Margaret Gowen: Tel. 01-2300433; Mobile 0872564174
Dr. Peter Holmes: Tel. 0044-208 205 4529 (reconstruction)
Simon O’ Dyer: Tel.: 094-9508396 (other ancient
Irish instruments)
Dr. Patrick Wallace, Director, National Museum of
Ireland: Tel. 01-6777444
15
Donnybrook Fair (Detail) - Attributed to George Mulvaney RHA (In the James Adam auction of Irish Art 29 September 2004. Photo - Ingo Kemmer)
~ From The Archive ~
The Foxhunters’ Reel (“Greig’s Pipes”) - Tom Busby
The Foxhunter’s Reel (Greig’s Pipes)

   
                   
    
' '


3
3
tone to play it. Tom, though, almost certainly
had an independent source for the tune, since
he begins with what is usually regarded as the
last part.
I
The ugly-looking clutter of notes in the second half of bar 1 in part 2 is an attempt to
indicate, roughly, the timing of this ornament.
Tom replaces an ordinary roll here with a
backstitch, that is a staccato CA, between the
two Gs. It takes up exactly the same time as
a roll. Just as the cut and tap of the roll take
their time from the G quaver, so also does the
CA. One way of coming at it is to play a double-cut, CA, instead of the usual roll; then just
close the bottom hand for the CA and open
immediately for the G crotchet. The trick, as
with a roll, is to count four to the bar; count
the DG G– as ‘1-and-2–’, and get the ornament in on the ‘and’. As usual it is much easier to demonstrate than to explain. Examples
of how the ornament can be timed (though on
a high F sharp) are to be heard in the first part
of ‘The Sailor’s Bonnet’ as played by Pat
Mitchell on his record, and by Paddy Keenan
on his first record. In part 2, bar 4, Tom used
the backstitch as a passing ornament to grace
the stressed D in the next bar, achieving a
very nice effect; he also used this in ‘The
Blackthorn Stick’, a reel better known as ‘The
Rising Sun’ (An Píob. ii, 26 (Iúil 1985), p. 4).
The tune that follows is now called ‘The
Foxhuners’ Reel’, but I do not know if this
was Tom’s title for it. It is usually ‘Greig’s
Pipes’ in old collections. On one of those the
fiddler was instructed to tune his G and D
strings up to A and E because ‘Greig’s pipes
were Scotch’. This is how Seán Keane tunes
his fiddle when playing it. Patrick Kelly of
Cree, co. Clare, from whom the tune passed
into general circulation in Ireland through
Michael Tubridy, who brought it to The
Chieftains, tuned the A and E strings down a
Seán Donnelly
18


3
3
   

       









 




  ''




3

     

  
recently rediscovered my copy of a tape
Tom Busby made for the flute-player
Vincent Broderick, ten or fifteen years
ago, which Lorcan and Anne Dunne lent to
me. Listening to it again, I was impressed
with how well Tom was playing and with the
selection of tunes he chose. He was obviously in his famous basement and very relaxed,
playing a nice-sounding flat chanter, which
responds very well to his demands on it. Tom
was embarrassingly modest about his own
playing – and unjustifiably so. His teachers
Michael Carney and Michael Gallagher
would have had no reason to be ashamed of
their pupil. Listening to and learning from
two such outstanding pipers probably gave
Tom impossibly high standards that only few
could achieve. Nevertheless Tom remained
faithful to the crisp, close style he was taught,
and his command of it comes across on this
tape.
3


      



  
  

   
           
3
    
 
             



     
                      



  
3

 



                                   

   
       
 


  
           

    
  
  
   
  
 
 ' 3'





      
             


' '

3



 









         




3
         

3
     


3
       

3
VARIATIONS
I : bar 7


      

IV : bar 1 
3
   

    
  
II : bars 1-3
 
   

IV : bar 1
19
  
    

 V : bars 1-2

     
    
  

 

    

~ Airs & Graces ~
Mo Cheallaichín Fionn ~ Antaine Ó Faracháin
’S
a
chuaigh sé a’ rith geall
Chuaigh sé a’
rith
geall
ta
Chuaigh sé a’ rith
geall
ghnóthaigh sé
Gheall
’S
nach
trí
fa
fa
da
uaim
fa
da
uaim
fheic
fidh
mé i
da
ta
siar
é
é
mblian a é
chuaigh sé a’ rith geall
Mo
le
Cheal
slio
Mo
uaim siar
siar
ta,
é
Mo
ón
lai
gair
gín
Cheal
lai
’s nach fa
da
Cheal lai
ntaine Ó Faracháin has suggested this
song as a piece that might be tried by
pipers. He learned it many years ago
from a recording which Séamus Ennis played
on a radio programme of Maggie McDonagh
of Fínis island. The tune is in the Re mode,
giving it the nice plaintive sound so beloved
of pipers. It would take very well to being
‘humoured’ as a piece, in the same manner as
Cheal
Fionn
báir
chín
neach, Is
Fionn.
uaim siar
é
chín Fionn
gClo chán
Mo
chín
a
lai
niar
chín
ta
’s ní
Fionn
“The Humours of Glynn” or the way that
“Nóra Críona” is played in the ‘piece way’. It
would also make a nice jig.
Antaine’s own rendition of it is on Where
Linnets Sing, a CD published by the Góilín
Singers Club in Dublin (www.goilin.com),
who have allowed us to make it available on
our website. It will be found at: www.pipers
.ie/sound/Farachain_Cheallaichin.mp3
A
20
And he went (boat) racing
And he went (boat) racing
And he went (boat) racing
My little fair-haired Kelly.
He went (boat) racing
With a barnacle shell (of a boat),
And (yet) he won three races
My little fair-haired Kelly.
Curfá:
'S nach fada uaim siar é
'S nach fada uaim siar é
'S nach fada uaim siar é
Mo Cheallaichín Fionn.
Nach fada uaim siar é,
Ón gClochán aniar é,
'S ní fheicfidh mé i mbliana é
Mo Cheallaichín Fionn.
Chorus:
And isn't he a long way out west away from me?
And isn't he a long way out west away from me?
And isn't he a long way out west away from me?
My little fair-haired Kelly.
And isn't he a long way out west away from me?
Coming from Clifden out west,
And I won't see him (again) this year,
My little fair-haired Kelly.
A' gabháil soir Cora Dhaighinse
A' gabháil soir Cora Dhaighinse
A' gabháil soir Cora Dhaighinse
'Sea a chas sé a' stiúir.
A' gabháil soir Cora Dhaighinse
A' gabháil soir Cora Dhaighinse
'S ní phósfaidh sé anois
Nó go bhfaighidh sé bád nua.
And going east of Cora Dhaighinse
And going east of Cora Dhaighinse
And going east of Cora Dhaighinse
Didn't he turn the steering/direction?
And going east of Cora Dhaighinse
And going east of Cora Dhaighinse
And he won't marry now
Until he gets a new boat.
[Repeat first verse]
[Repeat first verse]
Bhí punt do Dheaideó,
'S bhí punt do Mhamó,
'S bhí punt do Dheaideó,
Ag mo Cheallaichín Fionn.
Bhí punt do Dheaideó,
'S bhí punt do Mhamó,
'S punt eile le n-ól,
Ag mo Cheallaichín Fionn.
And he had a pound for Grandad,
And he had a pound for Granny,
And he had a pound for Grandad,
My little fair-haired Kelly.
And he had a pound for Grandad,
And he had a pound for Granny,
And another pound for drinking
My little fair-haired Kelly.
Curfá
Chorus
'Sé mac Bháinín Móir é
'Sé mac Bháinín Móir é
'Sé mac Bháinín Móir é
Mo Cheallaichín Fionn.
'Sé mac Bháinín Móir é
'Sé mac Bháinín Móir é
As Baile Iorrais Mhóir é
Mo Cheallaichín Fionn.
He is Báinín Mór/s son
He is Báinín Mór/s son
He is Báinín Mór/s son
My little fair-haired Kelly.
He is Báinín Mór/s son
He is Báinín Mór/s son
He's from the town of Iorras Mór
My little fair-haired Kelly.
Curfá
Chorus
’s nach
nach
é
'S chuaigh sé a' rith geallta
'S chuaigh sé a' rith geallta
'S chuaigh sé a' rith geallta
Mo Cheallaichín Fionn.
Chuaigh sé a' rith geallta,
Le sliogáirgín báirneach,
Is ghnóthaigh sé trí gheall,
Mo Cheallaichín Fionn.
21
Mick Daley
ear NPU, many thanks for posting the
sad news of the sudden and unexpected
death of Lancashire piper, Mick Daley. His
funeral was held yesterday at Burnley
Crematorium where family and friends gathered to celebrate his life in a simple but very
moving service. The North-West pipers club in
Manchester sent a bouquet of flowers, and a
slow air was played on a flat B set by myself
as Mick’s pipes watched over the proceedings.
A wake-style gathering was held afterwards at
his sister’s house where local musicians
played and everyone remembered Mick for
what he was – a fun loving man who loved life
and music in all ways possible.
A prominent man on the English uilleann piping scene, he will be very much missed by his
family and friends, pipers and non-pipers
alike. I have attached a photograph and a
scanned copy of an article that appeared
some years ago in a South African newspaper!
Becky Taylor
21 Aug
D
chanter and pipes played independently. “It’s
a bit difficult,” Daley admits.
Which might explain why they are such a rare
instrument. “Only 500 people play them in
Ireland, and maybe 2000 worldwide”.
Twice a year Daley takes the pipes, which he
made himself, on a three-month trip around
Europe visiting Spain, Luxembourg,
Germany and Czechoslovakia. He travels in a
caravanette and busks on market days.
Back in Britain he works as a travelling
mechanic and welder for farms where he can
pitch up and park his caravanette. He’s a
familiar face in Wales where he earned himself a new name. “I spend a lit of time in
Wales, and in the village there is Dai the
Butcher and Jones the Baker... and Mick the
Bagpipes.”
He once tried playing in a band but “he who
pays the piper calls the tune,” said Daley.
“And I’m not a human jukebox.”
“I’m a channel for this music. I’m a travelling
piper, that’s what my life is. I heard about
Johnny Doran who was the last travelling
piper. And I thought that was sad, that he
should be the last.”
Well he isn’t anymore, not that Mick
Bagpipes intends earning that label for himself. “I’m spreading that sound around”.
~ Seanchas ~
COARSE BUT FINE: LETTER FROM SILVERMINES, 14 AUGUST 1797
Piping a tune to the fairies
by Stephen Coan
at the Pieter Maritzburg Folk Club while on a
visit to relatives in Durban. According to
Daley the uilleann pipes are the most
advanced bagpipes in the world. “They have
a full two octave range as opposed to the
Scottish pipes; they are not mouth-blown, the
air supply comes from a bellows under one
elbow which flows via a tube to a bag under
the other. The chanter is played with the fingers and then the forearm and wrist and is
used on the three drones – bass, baritone, and
tenor. These can also be turned off and the
’d like to believe in the Pied Piper, said
Mick Daley. Hearing him play the Irish or
uilleann pipes you might be inclined to
believe as well. They have a distinctly other
worldy sound. “The slow airs are very expressive and there is that link between Irish fairies
and music. I played in a pub in County Clare
once and the owner said ‘You’ve a way with
the fairies’.”
Whatever the verdict of the little folk, Daley
(who, incidentally speaks with a broad
Lancashire accent) has proved a popular draw
I
22
esterday . . . we rode off for Holy Cross
[Co Tipperary], a village charmingly
seated upon the river Suir, and surrounded by
a fine country . . . After dinner, lured by the
calmness of the evening, we strolled along the
banks of the river, highly delighted with the
scenery. Here we met a truly rustic groupe;
the young men and women of the village were
enjoying themselves by a dance; a fiddler and
piper emulously lent their strains, which were
not ill bestowed upon their hearers, for they
shewed, by their rude jokes and merry glee,
how open the mind is to the effect of music,
even of the coarsest kind. Each young man as
he took his partner gave an halfpenny to the
piper, and then set too with all their heart and
soul. Content and harmless mirth are, I am
sure, acceptable offerings to our creator, and
in a much higher degree than all the gloomy
self-denial of the cloistered monk – one voluntary sign of humble thankfulness, springing
from a grateful and cheerful heart, finds easier access to the throne of mercy than all the
raging sorrows and health-consuming abstinences of monastic discipline. Leaving them
to their pastime, we rambled on still farther,
till warned by the quick approach of evening
we returned.
Y
G. Holmes, Sketches of Some of the Southern Counties
of Ireland, Collected during a Tour in the Autumn,
1797, in a Series of Letters, London 1801, pp. 33-7
(contributed by Nicholas Carolan)
23
~ Recent visitors ~
ecent visitors to Henrietta Street
include two members from Germany
– Andreas Rogge and Ingo Kemmer.
Andreas Rogge was in Dublin to record his
contribution to NPU’s up-coming DVD publication on the art of reed-making. Produced
by Dinny Quigley, the DVD should be available before Christmas. The final recording
session with Benedict Koehler will take place
in October. It will feature Andreas, Benedict
Koehler, Cillian Ó Briain and Geoff Wooff,
with an introduction by Dave Hegarty.
The publication of this instructional DVD
will provide the opportunity for pipers to
learn reed-making from some of the highest
regarded masters of the art.
Ingo Kemmer is a student and is in Dublin
doing archiving and research work for Na
Píobairí Uilleann. He has already completed
the indexing of a full volume of An Píobaire
and has been doing basic research for NPU in
the National Library of Ireland. He has also
managed to fit in visits to instrument-makers
and has become familiar with seemingly
every traditional session in the city.
While Andreas was in Henrietta Street, we
also had visits from Martin Nolan and Jackie
Small, both of whom have sets made by
Andreas. Jackie had the reed for his Coynestyle C# chanter adjusted to his satisfaction.
Martin brought along his full Rogge set for
use in a photo-shoot.
Jackie Small (Photo - Terry Moylan)
Martin Nolan (Photo - Terry Moylan)
R
24
Andreas Rogge and Ingo Kemmer in the back yard in Henrietta Street (Photo - Terry Moylan)
~ Seanchas ~
~ Technical ~
Report and advertisement from The Drogheda Argus, Jan 27th 1838.
Supplied by Seán Corcoran
Historic Willie Rowsome set found in America
CHING LAU LAURO
ere is a set that surfaced in
Massachusetts last year on eBAY.
Brad Angus did a great job restoring
the set. It is the Willie Rowsome set that
Willie is seen holding in Francis O’Neill’s
Irish Folk Music and the only photo that we
have of Willie with pipes. That photo was
taken during Francis O’Neill’s visit to Ireland
in 1906; Fr Fielding (of Mooncoin, Co
Kilkenny and Chicago) was in Willie’s workshop along with O’Neill.
Reading between the lines in O’Neill, it was
likely O’Neill who tried to acquire the fiveregulator Moloney Brothers set that went to
Prof. Denis O’Leary. O’Neill was surprised to
see this set back in Willie’s shop (O’Leary
had borrowed the set to compete successfully
in the Munster Feis at the City of Cork) along
with O’Leary’s newly acquired Moloney
Brothers set.
Did O’Neill secure the set for someone in
Boston and bring them back on his return trip
to Chicago thru Boston? At any rate, the set
ended up in Boston and the contents of the
auction also included several fine Patsy
Brown concert pitch chanters. We do have
evidence of Patsy Brown being active in
pipemaking from 1906 thru 1911; he lived
until 1958 but sets have definitely turned up
between those dates.
The set is pitched in Bb and is executed in
ebony, brass, and ivory. The chanter did not
appear in the auction and is unaccounted for;
Brad added a chanter in ebony and mammoth
ivory. The set was recently sold to someone
in the US.
H
t will be seen, by a reference to our advertising columns, that this celebrated
Ventriloquist and Magician has visited the
Town of Drogheda. He has already exhibited
for Three Nights before very crowded and
respectable audiences, and the applause with
which each successive display of his wondrous art was received, amply testified the
delight and satisfaction which every one
could not but feel.
For our own parts, having frequently witnessed the performances of similar exhibitions, we must, decidedly, pronounce that
those of Ching Lau Lauro exceed any of them,
in the elegance and dexterity of his deceptions; his imitations of birds were really surprising - as we heard the strains of the Thrush,
Blackbird, and Nightingale, one might fancy
that Spring came back to us for a brief
moment, and that we were listening, in reality, to the voices of the feathered songsters.
But we must not forget Mr. O’Hannigan, the
Irish Piper. The lover of Irish music had a rich
treat in the performance of this gentleman,
from gay to grave, from sentimental to jocose
he carried with him the feelings and applause
of his auditory. Scarcely had the plaintive
strains of the “Cooleen” died away, than the
merry burst of “Rory O’More,” brought
shouts of applause from all parts of the house.
To say more of either of these Two Gentlemen
we feel to be unnecessary, for to speak of
them in the terms they deserve, would seem to
such as have not viewed their entertainment to
be exaggerated, while they would appear feeble and insufficient to those who have had that
pleasure.
I
26
Jim Maguire
27
28
Willie Rowsome (from O’Neill’s Irish Folk Music)
Available from Na Píobairí Uilleann
Advertisements
Brass. Lovely bright sound, in tune. €2000
Patrick Murray practice set, 6 months old. (no case included). Also: Full set. Drones
and chanter by Martin Preshaw (one of
Reed works, could do with a new one soon.
CAN$600 (approx Stg£300). Darren Thomas, Martins first half sets produced). Regulators
by Finbar McLaughlin. Bass reg. needs new
[email protected] (4/25)
reed. Tenor and baritone are reeded. (Case
Concert pitch chanter made by Kirk
included.) €3500. Contact Ciaran McNally.
Lynch. Chanter has two keys: Fnat and Cnat.
087 9573099. [email protected]
Has a chanter top from a Seth Gallagher
Location: Rathmines, Dublin (4/27)
chanter. Made 2000-2001. Please contact me
at [email protected] or call 216~ WANTED ~
851-3555. €800 Timothy Benson (4/24)
Cillian Ó Briain Half Set in concert pitch
Uileann pipes made by Brad Angus in the
wanted. (or single parts of Half set: Chanter /
key of C. They come with a wooden case and
bellows / drones / bag) Must be in perfect
extra reeds, and are in excellent condition.
working order! If possible fully keyed
$5100.00. Marta Collier. martabeag@adelchanter! Loïc JOUCLA [email protected] (4/25)
music.net (4/25)
Three quarter set for sale, with chanter and
Full flat set of pipes, B or C considered but
drones by Peter Hunter and two regulators
must be in "perfect" playing order.
by Johnny Bourke. Phone 01-2891031
Keith Powell 0044 (0) 1248 430 147 or
(4/25)
[email protected] (4/26)
Dan O' Dowd practice set for €480. It is in
good condition and has a nice tone.If inter~ LOST & FOUND ~
rested my number is 01 8038102 or text me
on 0863167654. Donal Rooney (4/27)
Concert pitch chanter found in Rathmines
(Dublin) area. Contact Ivan Crowe at 086Set of Drones. Boxwood. Concert Pitch (D)
2450360 (4/27)
Made by Brendan O'Hare. Excellent playing condition. Brand new bag, new reeds,
refurbished. Fra Gunn - fgunn36@yahoo
African Blackwood and
.com. (4/27)
~ FOR SALE ~
Sean Reid Society
Journal - Vol Two
Sean Reid Society
Journal - Vol One
Introduction, Editorial,
Contents.
1: Reminiscences of my
father. (Seán Óg Reid)
2: A Timothy Kenna set
in C. (Ken McLeod with drawings by
Wilbert Garvin)
3: Rhythm & Structure in Irish traditional
dance music. (Pat Mitchell)
4: Chanter design and construction of the
classic makers (Geoff Wooff)
5: A Robertson Pastoral set. (Ken McLeod
with drawings by Wilbert Garvin)
6: Geoff Wooff's pipe-making; a photographic project. (Peter Laban)
7: A method of making reamers. (John
Hughes)
8: Museum collections (Mark Walstrom)
9: Passionate industry (David Quinn)
10: Lord Rossmore (James O'Brien Moran)
11: A Harrington set pitched about B.
(Patrick Lyons and Craig Fischer)
12: The National Museum collection (Ken
McLeod)
13: The Italian Sordellina. (Barry O’Neill)
14: A century of pipe making 1770-1870.
New light on the Kennas and Coynes.
(Seán Donnelly)
15: List of pipe makers to 1940, Updated.
(Mark Walstrom)
16: Miscellanea. (i) A Kenna B Chanter.
(Pat Sky). (ii) A simple purfling tool.
(Wilbert Garvin). (iii) Some reeds by
R.L. O'Mealy. (Ken McLeod & Wilbert
Garvin)
Introduction, Notes &
News. (Ken McLeod)
1: An Early set of Irish
Pipes, c1780. (Seán Óg
Reid)
2: Transcription of tunes by R.L. O'Mealy
(Robbie Hannan)
3: A list of makers to c1940 (Mark
Walstrom)
4: Rolling metal ferrules and tubes for
Uilleann Pipes (Geoff Wooff)
5: A brief look at the piping style of Paddy
Conneely (James O'Brien Moran)
6: From Hotteterre to the Union pipes (Ken
McLeod)
7: A piping MP: Joseph Myles McDonnell
(1796-1872) (Sean Donnelly)
8: A Galway gentleman piper (Sean
Donnelly)
9: A South Australian reed and pipe hoard
(Craig Fischer)
10: Reconstructing chanter reeds & A John
Coyne chanter (John Hughes)
11: Runaway pipers (Barry O'Neill)
12: Rhythm and structure in Irish traditional
dance music, part 1 (Pat Mitchell)
13: Piping contests at the Feis, 1897-1935
(Barry O'Neill)
14: The M. Dunn set at Morpeth (Anne
Moore)
15: Name Index (Ken McLeod)
Ebony
Dave Williams Concert Pitch Drones, Bag,
stock and three drones in brass. Price: €1,600
Contact: [email protected] (4/27)
No order too small.
Timber cut to order.
Northern Crescent Timbers
4 The Climb, Rickmansworth,
Herts. WD3 4DX, England
Half set. Drones and bellows By Dinny
Quigley, reeded and playing well. L&N bag,
chanter by Mark Donahue. Blackwood and
The Sean Reid Society Journals are published only in CD format and are available from Na
Píobairí Uilleann at €25.00 (less member’s discount, plus p+p).
NPU wish to acknowledge the generosity of Ken McLeod and the Sean Reid Society.
Na Píobairí Uilleann does not endorse, directly or indirectly, the goods or services offered here. These advertisements are carried as a service only. The reference number [e.g. (4/6)] on each advertisement indicates when it first
appeared in An Píobaire; 4/6 indicates Vol. IV, No. 6. Advertisements are carried for a maximum of three issues, or
until the advertiser requests NPU to withdraw the advertisement, whichever comes first.
To avoid unnecessary trouble and expense to others, please advise NPU when an advertised set has been sold.
30
31
Calendar of Piping Events
Oct 1-3
Al Purcell Irish Music Gathering, Ann Arbor, Michigan. Beginners, intermediate and advanced piping classes; reed-making classes. See website for
details: www.geocities.com/thelongnote
Oct 8-10
16th Annual Templemore Tionól. Contacts: Joe Barry at 0504 31409,
Brendan Collins at 0504 50969
Oct 20-25
Scoil Shéamuis Ennis, Seamus Ennis Centre, Naul, co. Dublin. Opening on
Wednesday 20th by Peter Browne with Mich O’Brien and Caoimhín Ó
Raghallaigh; piping classes with Leo Rickard & Neillidh Mulligan, who will
also play along with Mickey Dunne in the piping recital on Friday night.
Details from Seán Mac Philbín at 01-8020898 or 087-7870138
Oct 23
Andy Conroy Night at Na Píobairí Uilleann, 15 Henrietta Street, Dublin 1.
Mick Coyne will be fear a’ tí for a night of reminiscences and music of Andy
Conroy
Oct 22-24
2004 Southern California Tionól, San Juan Capistrano. Piping guests will
be Mick O'Brien, Caoimhín Ó Raghallaigh and Benedict Koehler. Details
from So.Cal. Uilleann Pipers’ Club, c/o Larry Dunn, 7153 Knowlton Pl., Los
Angeles, CA 90045-2215. Website: www.socalpipers.com/tionol_2004.html
Oct 29-Nov 1 East Coast Tionól, East Durham, New York. Performances and workshops
from Mick O’Brien, Caoimhín Ó Raghallaigh, David Power, Mickey Dunne
and Debbie Quigley. Reedmaking will be taught by Nick Whitmer, and
Patrick Hutchinson and Benedict Koehler will be providing individual classes. Details from www.eastcoastpipers.com
Nov 4-7
26th Copenhagen Irish Festival featuring Paddy Keenan. Contact L.V.
Mikkelsen, Spaniensgade 2, 2., 2300 Kbh. S, Denmark, or see website for
details: www.irishfestival.dk
Nov 5-7
Tionól Tommy Kearney, the Clubhouse, Kilkenny. Participants will include
Mick O’Brien, Nollaig MacCárthaigh and Tommy Kearney. Contact John
Tuohy at 056-7762970
Nov 6
Reedmaking class at Henrietta Street. Benedict Koehler will conduct a reedmaking class in Henrietta Street. Places limited. Apply to [email protected]
Nov 13
Lowland & Borders Pipers Society - Collogue and AGM. See website for
details: www.lbps.musicscotland.com/news/news.htm
Nov 16-21
11th William Kennedy Piping Festival, Armagh. contact +44 (0)28
37511248 or email [email protected] or check our website www.wkpf.org.
Dec 11
Breandán Breathnach Night at Na Píobairí Uilleann, 15 Henrietta Street,
Dublin 1. Details yet to be finalised. Check website www.pipers.ie for information, or contact the office at 01-8730093v