An Píobaire - Na Píobairí Uilleann

An Píobaire
Vol. 4 No. 31
Iúil/July 2005
Contents
2 ............Cover Photo Details
3 ............Editorial
4 ............Donations and acquisitions
5 ............News & Events
7 ............New publications
9 ............Unknown Piper
10 ............Recent Recitals
12 ............Famine March
14 ............Aran Islands before the Famine
16 ............“Irish Merrymaking”
18 ............From the Archive – A choice from print
20 ............Airs & Graces – The Bonny Bunch of Roses
23 ............Music Quiz
24 ............The Third Octave
28 ............In Memoriam – Photos by Liam McNulty
30 ............Items available from NPU
31 ............Advertisements
32 ............Calendar of Piping Events
The cover picture shows Elvin Moynagh playing at a recent recital in Henrietta Street. His set was made
by Cillian Ó Briain’s colleague Maurice Reviol (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, Terry Moylan, Robbie Hannan, Sean Donnelly
Board of Directors: 2005-2006, 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:
Peter Carberry, Longford; Dave Hegarty, Tralee; Tommy Kearney, Waterford;
Neil Mulligan, Dublin.
Staff:
Mary Walsh, Administrator; Nicola Spain, Secretary; Terry Moylan, Archivist.
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 - €45 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.
e welcome members to the Willie
Clancy Summer School, the 33rd
to be held since Willie’s death. This
year is also the 20th anniversary of the death
of our founder Breandán Breathnach, and this
will be marked on Wednesday afternoon with
a seminar discussion on his life and work. I
would encourage all members to attend this
event.
thought of return. Nevertheless, on the pretext
that one of the tiny number of tunes which
have been registered as copyright might be
played at a session, the collection agencies
oblige publicans to pay a fee to cover all the
music-making at their premises. This is
backed up by the implication of expensive
legal proceedings should the publican demur.
This type of arrangement is usually known as
a protection racket. Other ludicrous instances
have been recorded, such as
groups of boy scouts being
obliged to obtain a licence and
submit song-lists before they
can embark on a campfire
sing-song.
The main collection agency in
Ireland, the Irish Music Rights
Organisation (IMRO) has
begun to discuss these matters. At an Open Forum to take
place in the autumn they will
discuss
the
question
“Traditional arrangements—
should they be entitled to a royalty for Public
or Mechanical Performance”. Despite the narrow focus of the discussion it is good that
IMRO is seemingly prepared to examine the
question. It hardly needs to be said that our
position on the issue is that traditional music
is a shared heritage and should not be commandeered by sectional or commercial interests. We look forward with interest to the outcome of the IMRO debate.
Gay McKeon
W
One of the most contentious
issues in the field of Irish traditional music has been the
question of the copyrighting
of traditional music. This has
consisted of a wide spectrum
of activities. At the most
innocent end is the assertion
by a musician of the right to
receive a payment whenever
a recording of theirs is broadcast on radio or television, or
otherwise used commercially.
At the other extreme are the
reports one hears of the activities of various
collection agencies. These have included the
coercing of publicans into paying ‘music
licence fees’ because traditional music sessions are held on their premises. The music
played at such sessions is overwhelmingly
public-domain material, with no known
authors, or whose creators are long dead.
Even in the case of tunes of known authorship, in the vast majority of cases their tunes
were added to the common store with no
Na Píobairí Uilleann Teoranta is incorporated in Ireland, Company Reg. No. 242874.
2
3
~ News & Events ~
Willie Clancy Summer School
Courtesy of The Irish Traditional Music Archive
his picture – a clipping from the Sunday Independent in December 1967 – was found in a collection of press-cuttings
assembled by Breandán Breathnach. Breandán, who worked at the time in the Dept of Education, was obviously the
subject of the cartoon. It has become topical again in the light of the current controversial de-centralisation plans.
T
~ Donations & acquisitions ~
onations since last issue consisted of
two books, both containing pictures
of pipers. They are The Saturday
Book - 4, (Mayflower Press, St Albans 1944),
and Tales of Irish Life and Character by Mrs
S. C. Hall, (T. N. Foulis, Edinburgh 1910). An
image from the latter work showing a piper is
reproduced on pages 16-17. The picture from
the other book will be included in a future
issue.
Na Píobairí Uilleann has reciprocal arrangements with several other piping and musical
bodies to exchange publications. Complete or
near-complete runs of many of these publications are available to members in our library.
Publications received include the following:
English Dance & Song – Magazine of the
English Folk Dance & Song Society.
Summer 2005
Piping Today – magazine of The National
Piping Centre, Glasgow. Issue 15
Chanter – magazine of the Bagpipe Society.
Summer 2005
The Pipers’ Review/Iris na bPíobairí –
Magazine of the Irish Pipers’ Club,
Seattle. Vol XXIV No 2, Spring 2005
Ar Soner – Magazine of Bodaged Ar
Sonerion/Assemblée des Sonneurs de
Bretagne. No. 377, Jan-Mar 2005
Utriculus – Magazine of the Associazione
Culturale “Circolo Della Zampogna”,
Anno IX, Numero 33, Jan-Mar 2005
D
4
Maintenance Room: Donncha Keegan will
be available here each day to assist with
maintenance problems.
Pipemakers: The following pipemakers will
exhibit their sets in the Social Services Centre
on Friday between 1:00 and 3:00pm:
Lorcan Dunne
Hughes & McLeod
Hevia, Parrado y Aragon
Learn to Listen/Listen to Learn: How to get
the most from music recordings, with Ronan
Browne and Sean Corcoran. Wed. to Fri.
afternoons. Bring cassette recorder and headphones if possible. Details from NPU.
Solo Performance Class: Afternoon class on
Wednesday conducted by Mick Coyne.
Contact NPU staff to enrol. Limited to eight
participants, but observers welcome.
Piping Classes: Teachers this year will
include: Kevin Rowsome, Peter Browne,
Robbie Hannan, Nollaig Mac Cárthaigh, Gay
McKeon, Sorcha Ní Mhuiré, Mick O’Brien,
Leo Rickard, Stephen Scales, Mikie Smyth,
Séamus Ó Rócháin, Tom Clarke, Joe Doyle,
Seán Potts, Seán McKeon and Mickey
Dunne.
The annual Breandán Breathnach memorial
lecture, on the subject of ‘The Digital
Leprechaun – electronics, image, politics and
funding for traditional music in the 21st century’, will be delivered on the Saturday night
by Fintan Vallely.
On Monday afternoon Rhona Lightfoot, a
piper and singer from South Uist, will speak
on the traditional music of her own place.
On Wednesday there will be a seminar on the
life and work of Breandán Breathnach to
mark the twentieth anniversary of his death.
Contributors will include Nicholas Carolan,
Paddy Glackin, Pat Mitchell, Terry Moylan
and Seán Potts. The piping recital will take
place the same night.
iping events in the Willie Clancy Summer
School will include the following:
P
Reedmaking Class: Located in the Social
Services building. Conducted by Dave
Hegarty and Alan O’Donoghue. Note that this
space is reserved solely for reed-making.
Piping Concert: The Piping Concert takes
places on Wednesday at 8:00pm. Performers
will include:
Mickey Dunne
Rhona Lightfoot
Seán McCarthy
Alan McDonald
Seán McKeon
Jimmy O’Brien Moran
Rose O’Leary
Seán Potts
Leo Rickard
Mikie Smyth
Lunchtime Recitals: From 1:15 to 1:45
daily, Monday to Friday at The Mill on the
Ballard Road. Performers will be:
Monday - Mickey Dunne
Tuesday - Nollaig Mac Cárthaigh
Wednesday - Tom Clarke
Thursday - Gay McKeon
Friday - Peter Browne
5
Quebec Pipers’ Club
~ New Publications ~
ed to the USA with his parents as a child,
dying there in 1901. He was an associate of
Francis O’Neill and Patsy Touhey. The photograph of him which appears in O’Neill’s Irish
Minstrels and Musicians was the first picture
of him that Ms O’Connor had ever seen.
he pipers of Quebec
have organised themselves into a club,
with a website and
regular classes and
meetings. For details
see:
www.pages.infinit.net/jamie/Uilleann.html.
T
Jerry O’Sullivan
Maggott
6 Polkas: Quick Step/Willy Winky
7 Strathspeys: Sir Charles Douglas’s
Strathspey/Braes of Busby
8 Jigs: Stad Erro Rogura Stad Stad/Wild
Oats
9 Reels: You’re Welcome Home/Sall’s
Delight
10 Air/March: Mill Mill O
11 Jigs: Douraling/The Bucks of Tipperary
12 Hornpipes: O’Farrell’s Hornpipe/Mr
Walker’s Hornpipe
13 Reels: Miss Walker’s Favourite/Dunkeld
Hermitage
14 Piece/Waltz: Humours of Glen/The
Youghall Waltz
15 Jigs: The Gobbyo/A Trip to Killarney
O’Sullivan Meets O’Farrell, Volume 1
Jerry O’Sullivan Music
Available from NPU at €23.00 (less members’ discount)
plus postage.
Ulster Folk & Transport
Museum – Piping classes &
Recital
n Sunday 24th September there will be a
day of piping and reedmaking classes as
well as a recital in Cultra. The classes run
from 10:30am to 2:45pm and the recital takes
place at 3:30pm. The classes will cater for
pipers of all abilities.
Admission is £10/£5. Contact Maureen Paige
at Belfast 90-395061 to book a place.
O
Irish Minstrels & Musicians
German Tionóls 2005
he final tionól in the series organised by
the Deutsche Uilleann Pipes Gesellschaft
will take place on 28-30 October 2005 at
Burg Waldeck.
The contact details for this event is: Ingeborg
Schwerentigges, Frankfurt. Tel: 0049 (0) 69
66 16 99 10.
email: [email protected]
T
Francis O’Neill wrote of him, inter alia:
. . . his music was all that could be desired.
Time, tune, taste and rhythm were all there,
but from the monotony of his perennial practice he played automatically, hardly an effort
of the will being required in his wonderful
command of such a complicated instrument.
Often with eyes closed, and head resting
agains the wall back of his chair, and seemingly half asleep from pure weariness, his fingers never forgot their mission. With unerring
certainty they reached for the proper keys on
the regulators even in the most lively dance
music, and never a discord or false note
marred “Tom” Kerrigan’s playing during the
two hours [I] enjoyed in his “Pleasant Hour” a
quarter of a century ago.
Thomas Kerrigan
e were very pleased recently to receive
a visit at NPU from the great-greatgrand-daughter of Thomas Kerrigan, Ms. C.
O’Connor, accompanied by her husband.
Kerrigan was born in Longford and emigrat-
W
6
Mick O’Brien, Caoimhín Ó
Raghallaigh, Benedict
Koehler & Patrick D’Arcy
I
n this novel release Jerry O’Sullivan visits
the collections published two hundred years
ago by O’Farrell, the celebrated piper. These
were his four-volume O’Farrell’s Pocket
Companion for the Irish or Union Pipes (c.
1805 to 1810) and his O’Farrell’s Collection
of National Irish Music for the Union Pipes
(1804), the latter collection also including his
tutor. The music is completely solo, played
on a Johnny Bourke concert set with a Seth
Gallagher chanter.
Seven Years of Listening
SCUPC Tionól 2004
Available from Southern Californian Pipers Club at:
www.socalpipers.com
1 Hornpipe: The Shepherd’s Hornpipe
2 Reels: Lady Harriot Hope/The Humours
of Castlecomber
3 Jigs: The Humours of Ballinamult/The
Old Hagg in the Corner
4 Air: Adieu Adieu Thou Faithless World
5 Slip Jigs: Cusabue Ord/The Pipers
7
his is a live recording of the concert at the
Southern Californian Pipers’ 2004 tionól.
With two discs in the package it provides an
excellent addition to the available recordings
of Mick O’Brien and Caoimhín Ó
Raghallaigh. The bulk of the tracks are performed by Mick O’Brien and Caoimhín Ó
Raghallaigh, with Patrick D’Arcy, the producer of the CD, playing on the first three
tracks, and Benedict Koehler joining O’Brien
and Ó Raghallaigh on the final four.
10 Reels: The Old Bush/Colliers
11 Speech: Mick O'Brien
12 Reels: The Silver Spear/The Dublin
Reel/The Bucks of Oranmore/Rakish
Paddy
T
1
2
3
4
5
6
7
8
9
10
11
1
2
3
4
5
6
7
8
9
Dicky Deegan
Music of the Irish Celts
DDCD003
Available from NPU at €15.00 (less members’ discount)
plus postage.
Speech: Gabriel McKeagney
Jigs: Mike Carney’s/Hinchey's Delight
Set Dance: Sean O’Dwyer of the Glen
Reels: The Swallow’s Tail/The Five Mile
Chase/The Old Bush
Jigs: The Wandering Minstrel/The
Chorus
Reels/Jigs: The Hairy Reel/Hickey’s/The
Humours of Lisheen/The Lark’s March
Reel: Rolling in the Ryegrass
Jigs: The Sporting Pitchfork/The
Rambling Pitchfork
Piece: The Trip We Took Over the
Mountain
Slides: Mickey Callaghan’s Slide/Winnie
Haye’s Jig
Slides: Rathawaun/The Hare in the Corn
Jigs: Na Ceannabháin Bhána/Máirseál
Alasdruim/Munster Buttermilk
Reels: John Kelly’s Concertina Reel/
Tom Keane’s
Jigs: Slieve Russell/Páidín Ó Raffairtaigh/Staesia Donnelly’s
Reels: An Manglam/The Fairy Reel/I
Have No Money
Reels: Mary Brennan’s Favourite/The
Fowler on the Moor
Jigs: Spóirt/The Rolling Wave
Reels: The Lady on the Island/
Seanbhean na gCártái
Speech: Mick O’Brien
Jigs: The Butcher’s March/When the
Cock Crows it is Day/Sixpenny Money
2 Hornpipe: The Groves Hornpipe
3 Reels: The Crock of Gold/Kyleback
Rambler/The Small Hills of Offaly
4 Harp piece: Madame Maxwell
5 Reels: Snow on the Hills/Sporting Nell/
The Shakseen
6 Jigs: The Humours of Drinagh/
Grehan’s/The High Point of the Road
7 Hornpipe: The Home Ruler/The Fairies’
Hornpipe
8 Air: Aisling Gheal
9 Jigs: My Darling’s Asleep/An Buachaill
Dreoite/Down the Back Lane
10 Song: Roger the Miller
11 Reels: The Swallow’s Tail/The Fox on
the Prowl/The Concert Reel
12 Reels: The Woman of the House/The
Leitrim Lilter/The Boys of Portaferry
8 Air: Stór mo Chroí
9 Air/Jig: Táimse mo Chodhladh (I Sleep,
Do Not Waken Me, I am Dreaming)/
The Geese in the Bog
10 Jig/Reel: Paudín O'Rafferty/Farewell to
Ireland
11 Air: Cuaichín Ghleann Néifin (The Little
Cuckoo of Glen Nefin)
12 Reel: Drowsy Maggie
13 Air/Jig: Easter Snow/The Burnt Old Man
14 Reel: Sean sa Ceo
15 Air/Jig: An Buínneán Buí (The Yellow
Bittern)/The King of the Pipers
16 Air/Reel: The Coolin/The Adamstown
Sisters
17 Air: Stór mo Chroí
Martin McCormack
Uilleann Pipes and Whistles
LISNALEECD001
Available from NPU at €18.00 (less members’ discount)
plus postage.
his is the first recording by co. Monaghan
piper Martin McCormack. The music is
performed on his Dave Williams concert set,
as well as on whistles. Accompaniment is
provided by fiddle, harp, guitar, bouzouki,
bodhrán and bongoes. One song – the humorous “Roger the Miller” – is contributed by
Amelia Murphy.
T
D
icky Deegan has added a third album to
his catalogue with this new release. It contains some new material along with tunes that
he had featured on his previous two albums.
8
Unknown piper
he picture on the left was
photographed by Artur
Guja during an Easter
weekend holiday in a B&B in the
English countryside.
Artur writes:
Does anyone know anything
about the picture, or has anyone
T
Artur Guja
1 Air: The Fox’s Lament
2 Jigs: My Former Wife/The Butcher’s
March/Petticoat Loose
3 Air/March: The Weeping of the
Women/Alistrum’s March
4 Air/Reel: An Caisdeach Bán (Fair Haired
Cassidy)/The Duke of Leinster
5 Reels: The Flags of Dublin/The Fairy
Reel/The Merry Harriers/The Pinch of
Snuff/The Bucks of Oranmore
6 Air: The Fairy Queen
7 Air: The Princess Royal
1 Slip Jigs: Will you come down to
Limerick?/Rakes of Westmeath/Moll
Rua
9
seen it or similar before? The
owner and myself would love to
know more about it.
The background contains a monument, which the owner of the
picture thinks is located in
Scotland, but wasn't sure.
Any info on the pipes, the piper
or the picture would be greatly
appreciated.
~ Recent recitals at NPU ~
Terry Moylan
Terry Moylan
Above: Harry Bradley, Paul O’Shaughnessy & John Blake.
Below: Éanna Ó Cróinín (left) & Moss Landman (Right)
Above: Mairéad Ní Mhaonaigh & Dermot Byrne
Below: Mick O’Brien (left) & Caoimhín Ó Raghallaigh tunes his Hardanger fiddle (Right)
11
Terry Moylan
Terry Moylan
Terry Moylan
Terry Moylan
10
– Recitals continued
Terry Moylan
Terry Moylan
Above: The marchers proceed along O’Connell Street, with Moss Landman playing.
Below: Martin Nolan plays at the Famine Memorial on the Liffey quays.
Ronan Browne & Peadar O’Loughlin
~ The Famine Walk ~
n an effort to embarrass the Irish government into nominating an annual day of
commemoration for the victims of the
Great Famine of 1845-47, a group of activists
has for several years organised a march
through Dublin city in early June. In previous
years this has been led by a Highland piper.
This year the organisers decided that the uilleann pipes would be a more appropriate
instrument. As uilleann pipers cannot readily
walk and play at the same time, it was
arranged to have several players stationed
along the march route. Martin Nolan and
Nollaig Mac Cárthaigh made the arrangements. Some of the participants can be seen
here and on on the next page.
I
12
Terry Moylan
Terry Moylan
Darach MacMathúna
13
~ Seanchas ~
The Aran Islands before the Famine
book was The Sportsman in Ireland, a new
edition of a work originally published in
1840, with new illustrations by P. Chevenix
Trench. The illustration he wanted is shown
below. The publisher replied that the block
had been destroyed but offered the original
drawing for two guineas (£2-2-0). There is no
indication that Ó Casaide ever bought it.
We intend to publish further excerpts from
these papers in An Píobaire from time to time.
N
Courtesy of National Library of Ireland
a Píobairí Uilleann have recently
acquired copies of the Séamus Ó
Casaide papers from the National
Library of Ireland. Ó Casaide was the secretary of the Dublin Pipers’ Club in the early
20th century and his papers contain a large
amount of material of interest to pipers.
One item reveals that in 1925 he tried to buy
the block for a book illustration from the
London publisher Edward Arnold & Co. The
rran now began to assume a speA
cific form. The sandy shores
shone brightly in the sun, and we
could distinguish the little pier, which
the poor inhabitants have constructed,
covered with moving dots; they constituted the chief of the inhabitants of
this strange spot. As we still neared
the landing-place, we could distinguish shouts, and waving of handkerchiefs, or rags so estimated; but we
were all at loss to conjecture the cause
of such joyous demonstrations. Our
boatmen smiled, but at length confessed that they were in honour of our
arrival; some of the fishing-boats had
already apprised them of our
approach, and the people of the island
had all assembled to bid us welcome.
Having moored our bark, we were
hailed on landing by about a hundred
men, women, and children, the whole
of the inhabitants the island could
boast; and, certainly, so strange a concourse had never been beheld forming
a part of a community which considers itself civilised.
It has been ridiculously said that the
only true fashion of the Irish peasantry is a blanket, two burnt holes for
the arms, and a wooden skewer for
the waist. Such a costume would be
really luxurious. Here the women
were covered from the waist only—
some rag thrown over their shoulders;
while the men, with old pieces of sack
“The Island Dance”
Courtesy of National Library of Ireland
“An Irish Street Piper”
14
or sail-cloth, carelessly tied round the middle,
and children literally naked, altogether formed
so strange a group that it would, in persons
less accustomed to such a sight, have occasioned some alarm lest they had arrived
indeed among savages.
There was, nevertheless, no lack of hilarity;
joyousness and the piper go hand in hand; nor
was the procession towards the huts impeded
but by the want of discretion in the major,
which occasioned a general huzza. A fair girl,
whose hair was hanging over her naked
bosom, just covering a countenance of
extraordinary beauty—her large blue eyes,
constantly fixed on us as in astonishment—at
length attracted the major’s observation.
Whether the sea-air or the whiskey had
aroused the elderly militant, I know not; but
he burst forth into rapturous exclamations,
caught the unconscious beauty in his arms,
and inflicted divers kisses before the poor girl
was at all aware of his intention.
“That’s for luck!” says the major, as the girl
regained her liberty.
“Huzza!” cried the crowd; “Kate’s the gentleman’s partner.”
There was no more to be said: the piper struck
up, each roughly seized his particular
favourite, and, in one minute, the whole island
population, shoeless, were jigging on the
sandy shore. The major availed himself of the
happy incident—soon wooed his former
favourite; while I, more modest, am ashamed
to confess that a lady offered herself to my
notice as a partner.
How long this kind of welcome would have
lasted I know not; but the major exhibited
symptoms of breaking down, and began to
puff so audibly that I thought it a good opportunity to desist, and save the major’s reputation. He took the hint, and we quietly proceeded to the huts.
The largest was selected. The whiskey which
the major had brought was put under the command of Owen, who, as master of the ceremonies, had acquired a high character already
among the islanders.
We now strolled round this interesting spot,
having, with great difficulty, shaken off our
new acquaintances for a time, under a promise
of joining the evening dance.
The Sportsman in Ireland, by A Cosmopolite [i.e. Robert
Allen] second edition, pub. Edward Arnold, London, 1897,
with illustrations by P. Chevenix Trench. This work was
first published in 1840 by Henry Colburn, London.
15
Irish Merrymaking (detail) - Erskine Nicol
(from Mrs. S. C. Hall - Tales of Irish Life and Character,
Character, T. N. Foulis, London 1910)
~ From the Archive ~
The Madcap
Dinny Delaney
Lyons’s Reel
Lyons (Piper)
Pipers’ tunes from the Feis Ceoil Collection
Lord Blayney’s Demesne
Dan Markey
3
3
3
3
3
Reilly From County Cavan
3
Dan Markey
3
3
3
3
3
3
3
other cases that could not be so. The settings
of the dance music are accurate but simple,
except in one case, ‘The Hag in the Kiln’,
played by Dinny Delaney, which defied
attempts to set it in the wrong time so that it
remained unpublished for eighty years until
its appearance in Ceol an Phíobaire in 1981.
hese five tunes are taken from the Feis
Ceoil Collection of Irish Music, published by the Feis Ceoil Association in
Dublin in 1914. They are offered in the hope
that some members may make something of
them. The people involved in this body were
not equipped to deal with traditional music;
they made errors in transcription and presented tunes in keys which were determined by
pitch, paying no attention to traditional practice in music transcription. As Breandán
Breathnach put it in “The Feis Ceoil and
Piping” (Ceol VIII 1986):
T
The Bracken Lane
Philip Goodman
The key of the first tune here, “Lord
Blayney’s Demesne”, was changed for publication and printed in the key of E flat. The
second tune “Reilly from County Cavan”,
was printed in the key of C. These have been
changed here to G and D respectively. The
fourth tune, “The Madcap”, is Dinny
Delaney’s version of “Sixpenny Money”
The fifth tune, “Lyons’s Reel”, was obtained
from a manuscript of Mr James Corrigan.
Terry Moylan
As is usual with art musicians, Rogers set the
music in keys which the performers could not
have used. In some cases it would seem that
these reflect the pitch of the pipes or fiddle; in
18
19
~ Airs & Graces ~
The Bonny Bunch of Roses
By
the
mar
gins
One
plea sant
When
all
Their
li
’Twas
quid
And
on
Con
ver
Con
cer
ning
the
eve ning in
those
there
of
fea
did
sing with
ly
3
the
young
tune.
fe
signs
Bo
the Bon ny Bunch of
ecently I heard a piper play this air and
experienced again the disconcerting
sensation of hearing a melody being
played that didn’t fit the words in my head.
Knowledge of the words associated with an
air provides the player with a palette of readymade variations in the ways that the notes
must be nipped and tucked to accomodate the
June,
sters,
sweet
a
tures
of
song
spied
her fea
cean
the month
thered
notes
I
o
male,
of
na
Ro
woe,
parte,
ses
O
different verses. It also creates an envelope of
possibilities – the various ‘correct’ ways to
play the air – outside of which the melody
simply sounds wrong.
This is not an inflexible system. There are
often several sets of words associated with a
melody, so there is considerable scope for different interpretations. There is also, of course,
R
20
the option of treating an air purely in musical
terms and elaborating runs and ornaments
according to the musician’s own fancy.
This is a valid approach as well, but it is not
the one usually consciously employed. Most
often, when one hears a piper play an air, they
are trying to re-produce what they heard from
another piper. In transmission like this, small
differences of hearing or perception turn one
player’s slip into another’s ornament; that
player’s modest embellishment into a feature
for the next to exaggerate out of recognition.
It only takes a few such mutations in transmission for an air to contain passages that are
‘traditional’ but bear no relationship to the
original melody. This can’t happen with
dance tunes because their set rhythms provide
a scaffolding that prevents it occurring. In
song-airs the only scaffolding is the words –
hence the provision of sets of words with this
series of airs.
Roses” is usually sung–the one associated
with the song “An Beinnsín Luachra”. I had
never heard O Lochlainn’s air used until I was
watching a recent instalment of Nicholas
Carolan’s TV programme “Come West Along
the Road” where I saw a 1960s clip of the
Clare singer Colm Walsh singing it.
Ennis may be heard singing the song on the
CD of the same name. This recording is still
commercially available; it can be ordered
through Amazon.com. There is a track on the
recording mis-titled “An Beinnsín Luachra”;
this is actually “Bean Dubh an Ghleanna”.
Likewise, the track labelled “Gol na mBan
san Ár” on the recording is actually “The
Eagle’s Whistle”.
There is no time signature in the transcription
above. In this type of song the normal stress
on the spoken word is the basic guide to
rhythm, along with the demands of the air.
The value given to any note in the transcription is intended to indicate duration relative to
the notes before and after, and is as consistent
as practicable throughout the air. Ennis sings
the song to end on F.
I feel the setting above shows the most effective position for this air on the chanter. The
upper register suits the tune, and the attractive
sound of the C natural can be exploited. However a chanter key is required to sound the C
natural in the upper octave.
An alternative is shown below, where the air
is pitched in D. In this case all the Cs are
sharp, but it does have the advantage of finishing on the bottom D. The version below
differs slightly from the one above. Use of
both versions in a rendition (in the same key)
would provide quite acceptable variation.
Other excellent versions of the song may be
heard from Frank Harte on My Name is Napoleon Bonaparte (Hummingbird Records
HBCD0027), and from Dolores Keane on the
Chieftains’ recording The Chieftains 6,
Bonaparte’s Retreat (Claddagh CC20CD).
The latter version is embedded in track 3, a
“The Bonny Bunch of Roses” is a song connected with the Napoleonic wars. There are
many songs referring to Napoleon in the Irish
song tradition and for some reason they all
seem to have particularly attractive airs. This
one recounts an imagined conversation, after
Bonaparte’s downfall, in which his wife the
Empress Marie Louise cautions her son, the
King of Rome, against the ambition that
proved the un-doing of his father. The “bunch
of roses” was, according to A.L. Lloyd, a
common name for the red-coated British
army.
The version here is from the singing of
Seamus Ennis. He worked for a while for
Colm O Lochlainn, publisher of the famous
song collections Irish Street Ballads (1939)
and More Irish Street Ballads (1965). It is
possible that he learned the song there, from
one of the broadside ballads that O Lochlainn
collected and published, but he does not sing
it to the air presented by O Lochlainn. Instead
he uses the air to which “The Bonny Bunch of
21
programme piece entitled “Bonaparte’s Retreat”.
Donal O’Sullivan gives another version and
deals with the provenance of the song in the
Journal of the Irish Folk Song Society Vol
XXVII. Other versions of the air may be
found in Londubh an Chairn, The Feis Ceoil
Collection of Irish Airs and in O’Neill’s
Music of Ireland.
Terry Moylan
~ Correspondence ~
Supplier of boxwood
Octopus Wood Works – wood for musical
instruments
Phone: +90.224.7313279
Fax: +90.224.7313278
Bursa karayolu 10.km, TR-16414 Inegöl,
Turkey.
Website:http://octopuswoodworks.sitemynet.com/TR/
email: [email protected]
Dear Sirs,
By the mar gin of the o
When
cean,
one
pleas ant eve ning in the month of June,
all those fea thered warb ling song sters, their li quid notes did sweet ly tune.
3
It was there I
Con
spied a
fe male, and
on her fea
tures the signs of
woe,
ver sing with young Bo na parte, con cern ing the Bon ny Bunch of Ros es oh!
Hello. Now we have got European boxwood
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Our prices and information below. If you are
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By the margin of the ocean, one pleasant evening
in the month of June,
When all those feathered songsters their liquid
notes did sweetly tune,
’Twas there I spied a female, and on her features
the signs of woe,
Conversing with young Bonaparte, concerning the
Bonny Bunch of Roses O.
He took three hundred thousand men, and kings
likewise to bear his train,
He was so well provided for, that he could sweep
the world for gain;
But when he came to Moscow, he was overpowered by the driving snow,
And with Moscow all a-blazing, he lost the Bonny
Bunch of Roses, O.
Best Regards.
Then up speaks young Napoleon, and takes his
mother by the hand,
Saying: ‘Mother dear, be patient until I’m able to
take command;
And I’ll raise a mighty army, and through tremendous dangers go,
And I never will return again till I’ve conquered
the Bonny Bunch of Roses, O’.
‘Now son, be not too venturesome, for England is
the heart of oak,
And England, Ireland, Scotland, their unity shall
ne’er be broke;
Remember your brave father, in Saint Helena his
bones lie low,
And if you follow after, beware of the Bonny
Bunch of Roses, O’.
hat two first cousins, whose
grandfather came from co.
Wexford, were attached to the
opposing general staffs at the Battle of
Waterloo in 1815?
‘When first you saw great Bonaparte, you fell
upon your bended knee,
And you asked your father’s life of him, he granted it right manfully.
And ’twas then he took his army, and o’er the
frozen Alps did go,
And he said: ‘I’ll conquer Moscow, and return for
the Bonny Bunch of Roses, O’’.
‘O mother, adieu for ever, for now I lie on my
dying bed,
If I lived I’d have been clever, but now I droop my
youthful head;
But when our bones lie mouldering and weeping
willows o’er us grow,
The name of young Napoleon will enshrine the
Bonny Bunch of Roses, O’.
22
Muzaffer Yeltekin
~ Intercontinental Music Quiz ~
night in a suitable premises where teams of
contestants compete to answer sets of questions on general knowledge.
The quiz we are organising will focus on
music, especially Irish music, and we will
provide ‘kits’ consisting of questions, answer
sheets, rules etc.
Funds raised in this way qualifies for ‘matching finance’ from funding bodies, so the value
of any monies raised will be doubled.
We hope that members and friends around the
world will volunteer to participate in this
event so that we could set a record by running
the first ever worldwide table quiz. Please
contact us as soon as possible.
W
If you can answer this question, or would
even like to know the answer to this question,
you would probably enjoy getting involved in
the ‘table quiz’ which we will be running as a
fund-raiser in the Autumn.
For those who have never been involved in
this type of event before, it is an entertaining
way to spend an evening and consists of a
23
~ Technical ~
THE THIRD OCTAVE
Geoff Wooff
So is there any hope for getting higher up the
scale and what, if any, are these ideal circumstances? Does any sane piper require to reach
these dizzy heights and are there any tunes in
the current repertoire that would benefit from
or call for their use?
In the following article I hope to be able to
answer the first of these questions but will
leave the second query to you the piping public for judgement.
Tony Kearns
Geoff Wooff
I hear you say,
“have
we
not
enough trouble with our two-octave chanters
as it is without some nut enquiring after a
third?” Sorry, but I think we should be
mature enough now, in this current renaissance, to discuss further findings and even
slightly ‘off the wall’ ideas.
“Oh no!”
There are those amongst us who view the
pipes (Uilleann, Union or Irish Organ etc.) as
a totally separate entity, unrelated to any other
musical noise-making machine. Fortunately
this is not the case; in the bagpipe world there
are those who claim to have counted over two
hundred different types and in the ‘woodwind
instrument family’ our pipes could be closer
related than a country cousin. These relationships might allow us to glean usefully from
the researches of people in other fields of
endeavour.
During the late eighteenth century, when this
type of bagpipe was being devised, it was certainly not considered to be ‘rustic’ or a ‘country cousin’ of the instruments that we now
classify as classical or orchestral, nor was it
designed or designated as a ‘folk’ instrument.
We know from the advertising of Kenna that
he was trying to sell it to the sort of people
who might buy a piano or a flute and as such
had spent much time trying to improve its
workings, to ‘civilise’ it.
The possibility of a third octave, as I recall,
was mentioned by Séamus Ennis, who
referred to a note or two above high D being
achievable under ideal circumstances.
24
The nearest relative to our chanter in the classical woodwind family is the oboe, a conicalbored double-reed instrument which was
devised from the shawm. This shawm was a
loud instrument which had large finger holes
and a fairly broad reed. It possessed the ability to overblow a second octave but with
uncertain and crude results. By the late seventeenth century instrument makers who
worked for the French royalty had re-worked
the shawm using a narrower bore and smaller
finger holes to produce an instrument that
would overblow reliably and have a more
controllable tone and dynamic flexibility
combined with a greater range of notes. This
was the early oboe.
ing to make it sound without its fundamental
and second harmonic. So maybe we should
try to understand this harmonic series.
A practical illustration of the harmonic series
occurring in woodwind instruments can be
obtained on the flute; cover all finger holes
and blow to produce low D. This is the lowest
note and is called ‘the fundamental’. By
blowing slightly faster and tightening the lips
a D one octave higher can be produced (the
first harmonic); by further speeding up of the
air flow and creating a thinner air stream further notes can be achieved without moving
the fingers. These are A (five notes above the
second D), D (two octaves above the fundamental), F# (two octaves and three notes
above fundamental), A (an octave above previous A) and C natural two octaves and seven
notes above the lowest D. All the other fingering positions on the flute will produce an
harmonic series with varying degrees of success but each will readily produce the same
first harmonic, this being one octave above
the fingered note fundamental.
It would be very reasonable to assume that
our early pipemakers were trying to assimilate the virtues of the oboe into their products.
I did once make a two-key oboe to the measurements of a late eighteenth century instrument using the same reamers that I use for
pipemaking. In other words the two instruments have very similar bores.
Fingering charts for the oboe show a range of
two and a half octaves, up to G in the third
register, so is it possible to obtain these notes
from the uilleann pipe chanter and if not then
why not?
In the case of the flute we have an instrument
that gives us a second octave using the same
fingering as the lower register, as does the
oboe and the uilleann pipe chanter. On the
flute third octave notes can be obtained by
accessing the upper harmonics as can be seen
from the above example, F# in the third
octave could be found using the low D fingering although a better position might exist
for this note. A review of fingering charts for
all classical wood wind instruments can be
obtained from Woodwind Instruments and
Their History by A. Baines. (ISBN 0571
08603 9 ).
The simple answer is yes, it is possible to
reach third octave G and beyond! A more
complex answer would be yes, under certain
circumstances, and this I will try to explain.
Firstly there is no point trying to obtain these
extra notes on a chanter that will ordinarily
not give all the notes of the second octave i.e.
all the way up to the high D. On any woodwind instrument the third register is obtained
by ‘cross fingering’ which means that you do
not get the same notes using the same fingerings. This is because you are accessing the
third or fourth harmonic in the series and try-
The oboe will also produce usable notes into
the third octave in a similar way to the flute.
This is because these upper harmonics are
present and form part of the tone of the lower
25
notes. Simply put, the strength and quality of
the upper harmonics have a large effect on the
tone of each lower note and allow our ears to
determine what type of instrument is being
played. We know if a note is played on a flute
or on a fiddle by its sound, and the quality of
that sound has a lot to do with the harmonic
content.
any success to be had in this area. In respect
of these ‘conditions’ I refer you back to the
instrument makers of the royal French court
who narrowed the bore and diminished the
finger holes of the Shawm to produce an
instrument that would octave more readily
and be easier to control both tonally and in
cross fingering. In other words, I would not
expect much third octave ability from the
modern wide bore chanter. It is interesting
that the pipemakers of the late 19th century
reversed the decisions of the 17th century
French designers. I am of the opinion that it is
a retrograde step to over-enlarge both bore
and finger holes in a search for loudness, the
result of which is a degradation of tone quality and dynamic variety.
Harmonics capable of producing third octave
notes on the uilleann pipe chanter are present
in the same varying degrees as on other wind
instruments but is it possible to separate them
from their fundamentals in a usable way?
This is a question I asked myself some years
ago because I was convinced that the quality
of the tone of any note was affected by how
‘in tune’ its harmonics are. A note with weak
or out-of-tune harmonics will not be so
vibrant and may even sound out of tune in
comparison to a note with good harmonics.
My successful explorations into the third
octave have been achieved using chanters of
the narrow bore type as designed by the makers of the late 18th and early 19th century.
These chanters use a reed which when sucktested (air drawn through them by suction
applied to the staple end) produce the A note
of the chanter, i.e. for a D chanter this would
be A and for a Bb chanter this would be F etc.
By comparison most wide bore D chanters
would have a reed producing G or lower
using this test.
It is possible to examine these upper partials
(harmonics) using acoustic laboratory equipment and a clever investigator might be able
to improve our chanter designs by so doing.
However I needed a more practical (simple)
approach, I wanted to hear these higher
sounds!
By following the principles of cross fingering
used on the oboe I was able to ascend to third
octave G without too much difficultly and, on
certain chanters, as far as C natural, giving a
theoretical range of almost three octaves!
Before I describe the fingering used, a word
of caution, the conditions must be right for
So the reed-head speed has to be high enough
to achieve the vibration speeds needed to
cleanly separate the harmonics. If you have a
chanter that will easily reach D at the top of
the second octave then you may try to proceed as follows:
2nd octave D – front top hole and 5th hole down open (C# and F#)
3rd octave E – close top hole whilst opening 4th hole (keep 5th open too;
improved with G# key open )
3rd octave F# – as for E but open 3rd (A hole), then close both holes 5 and 4
3rd octave G – as F# but open 2nd hole (B hole)
D
E
G
F#
It is sometimes possible to get higher by
opening the thumb hole and experimenting
with the other fingers and keys. I can usually
achieve the third octave as far as G with a
crisp reed that is stronger than I would normally like to play although no extra pressure
is needed, and often a slight decrease in pressure is helpful when exiting the top of the second octave. It is best to try these experiments
away from other people and do remember not
to hold me responsible for any relationship
difficulties or broken reeds (or windows).
this will only damage the reed. It is possible
to get third octave G and play the regulators
and drones!
Have I learnt anything by these voyages into
the unknown? Hmmm . . . I’m still thinking
about that but, if you can isolate these upper
partials clearly to produce working notes, it
does say something about the strength and
clarity of their effect on the more normal
notes of the chanter.
The oboe player can use lip pressure and
blowing speed to select high notes individually and therefore has a great advantage over
the piper who is using a ‘wind-cap’ instrument with little control over the reed other
than fingering and pressure on the bag. On
the oboe the lips can squeeze the reed blades
to close them slightly, which allow control of
both pitch and loudness. It is quite amazing
how much control the piper can achieve without this facility.
Once the third octave G is reached some difficulty may be experienced in trying to exit
this position, to retrace one’s steps back down
to the lower notes. It is also awkward to
obtain these very high notes without approaching them with a ‘run up’ to them. In
other words it may be difficult to select a third
octave note in isolation.
I have had most success with the B chanters
(the only ones so far to go beyond A3) which
may be due to the lower overall pitch but G3
was obtained on all pitches up to D narrow
bore.
A demonstration of the third octave G can be
seen as I test a reed on the NPU reedmaking
DVD. I hope it does not offend!
Some experimenting will be needed with the
fingerings given. There is no point trying to
push the notes up with extremes of pressure –
Geoff Wooff, May 2005
3rd octave A – as G but with C natural key open (or top finger hole open).
26
A or A
27
~ In Memoriam ~
Photographs by Liam McNulty
H
bove is a photograph of a tablet in
Kilcrumper Cemetery, Fermoy, co.
Cork. Perhaps Michael O’Brien was a
warpiper rather than an uilleann piper?
Below is a photograph of a plaque that caught
my eye while passing through Ballinasloe.
In doing some sorting and cleaning I came
upon the photograph above right. It is a
plaque inserted into the wall just beside
Killeen’s pub in Naul, co. Dublin. I think this
predates the fine
bronze
statueof
Séamus which sits
under the tree – the
one which appeared
on the cover of An
Píobaire, Vol 4, no.
18.
Because this small
plaque is where it
is, it may be overlooked or in time
lost if there is
‘development’ in
Naul.
A
Liam McNulty
Liam McNulty
28
Liam McNulty
ere are some photographs of Ronnie
Wathen’s gravestone at the Church of
Ireland, Calary, co. Wicklow. The
small churchyard, in the countryside, is a very
beautiful place, with Djouce Mountain in the
near distance and the stretches of Calary Bog
leading away to Roundwood on one side and
Enniskerry on the other.
Liam McNulty
Andy Mulligan, the piper, came from Calary,
and Breandán Breathnach used visit Andy’s
home. A few miles away is Luggala, the home
of Garech a’ Brún, patron of pipers and traditional musicians. General Joseph Holt, the
1798 leader, was born nearby. Ronnie would
have known this area well from his walking
and climbing days.
On the opposite side to ‘Piper’ is the word
‘Poet’ and on the back of the stone (it is a
granite boulder with four sides) is the word
‘Climber’.
In his travels around Ireland our former administrator
Liam McNulty photographs sites of interest to pipers and
sends us the pictures. Here are a selection of his pictures,
focussing on memorials to deceased pipers. The descriptions are Liam’s.
29
Liam McNulty
Available from Na Píobairí Uilleann
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~ FOR SALE ~
Breandán Breathnach Ceol Rince na hÉireann
Vol 1, Breathnach’s first
collection of the dance
music of Ireland – 214
tunes notated directly
from musicians he met in
Dublin.
€19.00 (less disc. + p&p)
Breandán Breathnach Ceol Rince na hÉireann
Vol 4, The fourth selection
from Breathnach’s collection of the dance music of
Ireland – 225 tunes selected by Jackie Small from
Breathnach’s collection of
manuscripts.
€19.00 (less disc. + p&p)
Breandán Breathnach Ceol Rince na hÉireann
Vol 3, The second selection from Breathnach’s
collection – 315 tunes
notated from musicians
from all parts of Ireland.
€21.00 (less disc. + p&p)
Breandán Breathnach Ceol Rince na hÉireann
Vol 5, The fifth selection
from Breathnach’s collection of the dance music of
Ireland – a further 224
tunes selected by Jackie
Small from Breathnach’s
collection of manuscripts.
€19.00 (less disc. + p&p)
Breandán Breathnach Ceol Rince na hÉireann
Vol 3, The third selection
from Breathnach’s collection of the dance music of
Ireland – 230 tunes notated from commercial sound
recordings.
€19.00 (less disc. + p&p)
Willie Clancy Summer
School 2005 - Tee Shirt
Featuring Breandán
Breathnach surrounded by
his musical associates.
Variety of sizes and
colours.
Tee-shirt: €18.00
Polo shirt: €21.00
(both prices less discount
+ p&p)
Seth Gallagher fully reeded bass regulator
made of ebony and brass, one year old in
great condition. Can$1500. Buyers can contact me @ 613-277-9547 or by e-mail to
[email protected] (4/29)
Half set made by the French maker
Tanguy Allain. The chanter was made in
2000 and has two keys (C, F) and is in good
condition. The drones have been added in
2002 but have not been used. I’d say that it is
a good set for a beginner. The pitch is a little
high to play in group but the reeds can be
maintained. The price will be close to €1,450
(I bought it for €2,058), and I need money to
buy my new Andreas Rogge full set. Contact
André at [email protected] (4/29)
Eugene Lambe full concert set with Dave
Williams chanter, in full working order with
case. Stg£2,800 or nearest offer. Phone
(01785) 601568 - Staffordshire, England.
(4/29)
Seth Gallagher D Chanter, fully keyed in
sterling silver. €1,100 – Contact Derrick at
[email protected] or phone 087
9967646 (4/29)
Geoff Wooff full set, concert pitch. Phone
with offers to 01-4522168 (Ireland) (4/29)
Eugene Lambe half-set of uilleann pipes
(key of D) for left-handed player. €1,000.
Contact John @ (087)2322751 (4/29)
African Blackwood and Ebony
to Davey Spillane’s, and are in blackwood
and brass. They have the last Johnnie Bourke
hand made keys. They come with bag, bellows and case, and are fully reeded by
myself. If you have seen my reedmaking
video, they are are the set I use on it. Price
£5,000 stg. I would consider part exchange
with a good set of concert drones. Photos on
request. Allan Moller e-mail: Saramoller@
aol.com Tel:UK 01766 771227 (4/30)
Alan Ginsberg sets for sale: D, C and B flat
– new in workshop, blackwood, artificial
ivory and brass. All Stg£3,000. Contact Alan
Ginsberg at 0044 1248 671381. (4/30)
Charles Roberts concert pitch half set in
ebony with case and spare reed. Offers to
Ciaran Byrnes 087 9526263/ 061 353043
(4/30)
Frank McFadden practice set, made in
1958. Bag & bellows in need of repair. Call
with offers to Joe Doyle: 01-2891031 (4/30)
Charles Roberts half set 4 drones (twin
tenors) plumbed ready for regulators includes
bag bellows and blowpipe and case also
available, made to my special specification.
All drones share common cavity. All regulators are sleeved internally and independently,
using brass chambers. Bass regulator tubing
also in place and provided. No chanter.
Maintained by Robbie Hughes of Strangford.
£1250. Now 15 years old and in good running order. Tel: +442882 241328 Charlie
Mc Crystal Co. Tyrone (4/31)
Johnnie Bourke set of drones and regulators Three Mark Donohoe concert chanters for
for sale. They were made in 1982 as sister set sale. Contact Joe Doyle 01-2891031 (4/31)
Touchstone Tonewoods
44 Albert Road North
Reigate, Surrey RH2 9EZ
England
Tel: 01 737 221064 Fax: 01 737 242748
www.touchstonetonewoods.co.uk
The Journal of Music in Ireland
Articles on Traditional Music, Contemporary
Music & Jazz
Subscribe online at www.thejmi.com, or by post to
JMI, ‘Edenvale’, Esplanade, Bray, Co. Wicklow.
30
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.
31
Calendar of Piping Events
Jul 10-16
19th South Sligo Summer School, Tubbercurry, Co. Sligo. Piping classes
with Brian Gallahar & Eamonn Walsh. Phone 071-9120912, Fax 0719185035, Website www.sssschool.org
Jul 16-23
17th Joe Mooney Summer School, Drumshanbo, co. Leitrim. Piping classes
with Néilidh Mulligan, Mikie Smyth & Padraig McGovern. Enquiries to
Nancy Woods: +353 (0) 71 9641213 or Mary Doyle: +353 (0) 71 9641126, or
by email to [email protected]
Jul 25-31
Scoil Acla, Achill Island, Mayo. Piping classes with Robbie Hannan and
Tommy Keane. Contact phone + 353 98 43414. Website www.scoilacla.com
Aug 8-14
Piping Live - Glasgow International Piping Festival, Glasgow Royal concert Hall. International programme including uilleann piping performance by
Jarlath Henderson. Contacts: Tel. +33 141 353 8000; email [email protected]; Website www.pipingfestival.co.uk
Aug 12-15
The Pipers’ Gathering, Killington, Rutland, Vermont. Piping tuition by
Brian McNamara, Emmett Gill and Anthony Santoro. See website
www.pipersgathering.org for details.
Sep 23-25
Dutch Uilleann Pipers’ Club Tionól, 'De Lindenhorst', Schiphorsterweg 15,
De Schiphorst Holland. Guest piper - Mikie Smyth. Details available on website: www.nvup.nl
Sep 24
Ulster Folk & Transport Museum, Cultra, Hollywood, Co. Down. Uilleann
piping classes with Seán McKeon and Ciarán McPhelimy. Reedmaking with
Andreas Rogge. Afternoon recital with tutors. Contact Maureen Paige at
Belfast 90 395061
Oct 7-9
17th Annual Templemore Tionól. Contacts: Joe Barry at 050431409,
Brendan Collins at 0504 50969
Oct 7-9
2005 Southern California Tionól, San Juan Capistrano. Piping guests will
be Jimmy O’Brien Moran, Máire Ní Ghráda 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
Oct 28-30
Deutsche Uilleann Pipes Gesellschaft Autumn Tionól, Burg Waldeck.
Contact Ingeborg Schwerentigges, Frankfurt. Tel: 0049 (0) 69 66 16 99 10.
email: [email protected]
Nov 5-6
Tionól Tommy Kearney, Clubhouse Hotel, Kilkenny. Uilleann piping classes
with Tommy Kearney, Nollaig Mac Cárthaigh and Mick O’Brien. Contact
John Tuohy at 056-7762970