More Music from the Works of James Joyce (Booklet)

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“ He would seat himself
at the piano, drooping
over the keys, and the old
songs, his particular way
of singing them in his
sweet tenor voice, and the
expression on his face—
these were things one
can never forget.
”
—Sylvia Beach
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ELIJAH IS COMING!
BLOOD of the LAMB!
WASHED IN THE

GLORY SONGS!
The Noted American Evangelists,
Mr. Kevin M’Dermott,tenor
and Mr. Ralph Richey, pianist
WILL PERFORM
MORE MUSIC
 FROM THE WORKS OF 
JAMES JOYCE!
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Now then, our Glory Song!
 PROGRAMME 
1  In the Shade of the Palm ........................................................... ( 6 :08 )
From F LORODORA : “Leslie Stuart” (Tom Barrett)
2  O Twine Me a Bower ................................................................. ( 3 :40)
Thomas Crofton Croker, Esq.—Hon. D. Roche
3  The Groves of Blarney .............................................................. (4 :40 )
Richard Alfred Millikin ; Air, Castle Hyde
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You call me up by sunphone any old time.
CREDITS
Recorded by Joseph C. Chilorio of M H P,
Mechanics Hall, Worcester MA, March –, .
Design and typography by Kevin McDermott. Text set in digitizations of
Centaur by Bruce Rogers () and Colm Cille by Colm Ó Lochlainn ().
Artiste’s Photographs by Todd Gieg () and Georg Schreiber ().
ILLUSTRATIONS
4  Killarney ................................................................................. ( 5 : 1 1 )
F   : “The Rev. John Alexander Dowie, General
Overseer of the Christian Catholic Church in Zion,” c. .
5  Oh! Ye Dead ............................................................................. ( 3 :32 )
B   : John Alexander Dowie, “First Apostle of the Lord
Jesus the Christ” in his robes as Elijah, . Both images of Dr. Dowie were
from T HE C OLLEEN B AWN ; Edmund Falconer —Michael Balfe
Words by Thomas Moore; Air, Plough Whistle, arr. by C. Villiers Stanford
published as supplements to L  H and are courtesy of the Zion, IL, Historical Society.
6  Lilly Dale ................................................................................ ( 3 :46)
I  : Joyce in Trieste, , taken by Ottocaro Weiss. Courtesy
7  Suite of Stephen’s Piano Improvisations ............................. Ralph Richey
“Loath to Depart”; “The Agincourt Carol”; “Greensleeves” ................... (4 :34 )
8  The Lass That Loves a Sailor .................................................... ( 2 :38 )
B   : Joyce in Paris, , taken by photographer
Gisèle Freund.
H.S. Thom(p)son
Charles Dibdin
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of the Poetry Collection, SUNY Buffalo.
Visit us on the Web at: www.james-joyce-music.com
© 2006 Sunphone Records
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A.J. Christ Dowie and the harmonial philosophy.
J
O H N A L E X ANDER DOWIE , the tutelary deity of this
recording, was born in Edinboro’ in . A healing from chronic
indigestion led to his growing activity as a faith healer; he ran healing services in a large tabernacle opposite Buffalo Bill’s Wild West Show
during the Chicago World’s Fair of . In  he established the Christian Catholic Church and, in , founded a true American theocracy:
Zion, Illinois. At the height of his power Dowie was worth several million dollars and claimed , followers. In  Dowie also proclaimed
himself “Elijah the Restorer” and began to wear High-Priestly robes,
causing dissension in his church. He was deposed in  amid rumors
of sexual and financial malfeasance, suffered a stroke, and died in .
Although a minor character in Ulysses, Joyce clearly had a strong desire
to include Dowie in his novel, for the evangelist was not in Dublin on
June , . The principal reason seems to be that, whereas Leopold
Bloom only fantasizes about establishing the “New Bloomusalem,”
Dowie actually built his. Today about , Christians still describe
themselves as “Dowieites.” In the rest of the world, John Alexander
Dowie is better remembered by Muslims (as a false prophet and enemy
of Islam) than by Christians (as an early faith healer and forerunner
of Pentecostalism); and also, of course, by Joyceans—for his guest
appearance in Ulysses. A full biography of Dr. Dowie is available on
our website: www.james-joyce-music.com/extras/dowie_bio.html.
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All join heartily in the singing!
Suite from C HAMBER MUSIC (1952) ................................ Ross Lee Finney
9  Strings in the Earth and Air (I) .............................................................. ( 1 :39 )
10  The Twilight Turns from Amethyst (II)........................................... ( 1 :52 )
11  Bright Cap and Streamers (X) ....................................................... ( 1 :04)
12  O, It Was Out by Donnycarney (XXXI).............................................. ( 1 :25 )
13  Love Came to Us in Time Gone By (XXX) ........................................... ( 1 :42 )
14  My Lady’s Bower ..................................................................... (4 : 27 )
Frederick E. Weatherly—“Hope Temple” (Alice M. Davis)
15  What-Ho! She Bumps! .............................................................. ( 3 :33 )
Harry Castling—Arthur J. Mills
16  Shall I Wear a White Rose?...................................................... ( 5 :1 2 )
H. Saville Clarke —Emily Bardsley Farmer
17  In Old Madrid ........................................................................... ( 3 : 55 )
Clifton Bingham—H. Trotere
18  Nuvoletta ................................................................................ ( 6 :1 8 )
F INNEGANS WAKE —Samuel Barber (opus 25, 1947)
19  The Lost Chord ......................................................................... (4 :23 )
Adelaide Anne Proctor — Sir Arthur Sullivan
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No yapping, if you please, in thi§ booth.
“
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I know and I am soµe vibrator.
”
Words? Music? No :it’s what’s behind.
(Ulysses, 274:33)
 Kevin McDermott 
 to the French poet, José Maria de Herèdia, ‘La musique des
poètes n’a aucun rapport avec la musique des musiciens.’ Joyce was one of the
A
“comparatively
few poets who were musical in the musician’s sense. Yeats
was tone deaf; so by deduction was Byron; so was Burns; but Joyce was
gifted with a double ear, exquisite in both faculties. His first volume of
poetry, Chamber Music, is one proof. The other is his success as a singer.
Strange, almost incredible as it may seem now to his admirers, Joyce
was more intent on becoming a singer than a writer.” So writes Oliver
St. John Gogarty (Ulysses’ Mulligan) in his essay James Joyce as a Tenor, in
which he describes Joyce’s voice in  as “clarion clear and though
high pitched…not at all strident” and opines, “I think that he derived
more happiness from his voice than from his writing.” Possibly; but that
he was active both as a singer and as a writer throughout his entire life is
a matter of record. His encyclopædic knowledge of the music popular
in his day, combined with a highly refined sensitivity to the often subtle
meanings and social distinctions connected with or evoked by individual
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K MD, tenor, received his vocal training from his father, Raymond McDermott, a noted voice
teacher in New York City. His earliest musical memories
are of John McCormack, whose art, philosophy, and repertoire have remained an important influence in his own
career, which he has devoted to championing the forgotten
art of the song recital. He is internationally known for
his concerts of music from the works of James Joyce.
He is a winner of the American Musciological Society’s
Noah Greenberg Award for Excellence in the Performance of Historical Music for his work as vocal soloist
with D.C. Hall’s New Concert & Quadrille Band, a
group devoted to music in mid-th-century America.
R R, pianist, is a native of Kentucky and
studied at the New England Conservatory in Boston.
Through countless concerts, radio and television appearances and recordings, both here and in Europe,
Mr. Richey has built an international career as soloist and accompanist. Since  he has been living in
Europe, where he is also active as an opera conductor,
composer, and author of stage plays. His most recently
performed works were a political musical based on the
fairy tale Sleeping Beauty and a play based on the life of
the composer Franz Schubert. Mr. Richey is currently a
member of the faculty of the Music Theater Department
of the Folkwang Musik-hochschule in Essen, Germany.
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It restores. It vibrates.
I aµ operating all this trunk line.
Zion, Illinois, Historical Society for her invaluable help in obtaining
the photographs of Dr. Dowie. My thanks to Ellwood Annaheim and
Morrie Johnston for permission to quote material from their websites
and to Ian Halligan, author of an upcoming biography of Michael
Balfe, for consultation concerning Killarney’s date of composition.
pieces of music or genres, allowed him to use music to great effect in
his writing—and so he did, its structural importance increasing with
each succeeding work. The opinions and suggestions presented here are
those of a singer, intimately familiar with the music and culture of
Joyce’s time and informed by a -year association with Joyce’s literary
works—but not with the immense body of secondary scholarship they
have generated. Expanded notes, additional background material, and
full song texts will be found on our website, www.james-joyce-music.com.
This recording, complete in itself, also forms a continuation of the
work presented in Music from the Works of James Joyce (Sunphone  ).
SOURCES MENTIONED IN THE TEXT
Annaheim, Elwood: http://www.geocities.com/musictheater/floro/floroplot.html.
Chappell, William: Popular Music of the Olden Time, London: Chappell &
Co., .
Finney, Ross Lee: Preface to Chamber Music:  Songs to Words by James Joyce,
unpublished; ?. Personal communication. A shortened version
was published in the first edition: Chamber Music, New York: Henmar
Press/C.F. Peters Corp., .
Gogarty, Oliver St. John: Intimations, New York: Abelard Press, .
Johnston, Morrie: http://moderick.typepad.com/life/2003/12/.
Luening, Otto: The Odyssey of an American Composer, New York: Charles
Scribner’s Sons, .
Read, Charles A. (ed.) : The Cabinet of Irish Literature (vol. ), New York:
P. Murphy & Son, .
Stanford, Charles Villiers: Irish Melodies of Thomas Moore, (op. ) London:
Boosey & Co., .
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1  IN THE SHADE OF THE PALM
In that most musical chapter of Ulysses,  , Joyce uses this song
repeatedly—although artfully misquoted: “O Idolores” and “fair maid
of Egypt” are just two examples. Given the novel’s Homeric subtext, the
attraction of the piece for Joyce is neatly (although unwittingly) summarized by Ellwood Annaheim of the Musical Theater Research Project : “in one
of the score’s most beautiful melodies, he [the hero, Frank Abercoed]
tells Dolores he must go but will return for her if she waits patiently.”
The song is from Florodora, one of the great hit musical comedies of
the turn of the th century; premiering in London in November ,
it also had successful runs in New York and Paris. One of the selling
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†he deity ain’t no nickel dime bumshow.
It’s just the cutest snappiest line out.
features of the show was a chorus line—besides their fleshy charms, the
girls sang in the show’s other great hit, Tell Me, Pretty Maiden, Are There Any
More at Home Like You?—and the Misses Douce and Kennedy may be seen
as the “Florodora Girls” of Joyce’s musical comedy.
Ulysses: :; :–; :–; :–; :–; :–;
:–; :–
logic to create “harmonies” that are sometimes so allusive that their
connections are perceptible by the brain, but not the eye. In the passage
at :–: Bloom does sit weary and ill at ease while his idlywandering “four forkfingers” stretch the elastic in an explicitly musical
way, “double, fourfold, in octave.” Although Bloom is actually listening
to M’appari, the effect produced is that presented in The Lost Chord—
music calms; quiets pain and sorrow; and points to a harmony existing
beyond current circumstances. Thus this very minor musical allusion,
at the low midpoint of Bloom’s day, presents the same message that the
novel’s most important one, Love’s Old Sweet Song, promises at its end:
“though the heart be weary; sad the day and long, still to us at twilight
comes love’s old sweet song.”
Ulysses: :; :–
2  OH TWINE ME A BOWER
3  THE GROVES OF BLARNEY
In Portrait Uncle Charles sings these songs while banished to an outhouse in the back garden; he may be seen as a type of the unspoiled,
rural, pre-famine Irishman now trapped in the squalor and confusion
of an urban and alien environment, a change he accepts with equanimity. Joyce’s care in apportioning appropriate musical materials to his
characters is on display here: the songs mentioned are those of Charles’
youth in the s and have strong connections to the south of Ireland.
Their authors were Corkonians, both of whom devoted a good part
of their lives to collecting folk traditions among the peasantry. The
resemblance, however, stops there; the contrast between these writer’s
approaches to Ireland’s past may well be part of Joyce’s decision to pair
their songs. T. Crofton Croker (–) was an early and sympathetic
collector of folk material, the source of a number of Thomas Moore’s
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ACKNOWLEDGMENTS
Almost all page citations to music in Joyce’s works are drawn from Prof.
Zack Bowen’s Musical Allusions in the Works of James Joyce : Early Poetry
Through Ulysses, State University of New York Press, Albany, NY, ,
 ---; those items unreported by Prof. Bowen are cited
from the same editions used in his work. Gogarty’s essay, James Joyce as a
Tenor, was generously brought to my attention by Prof. Joseph Nugent
of Boston College. I am particularly grateful to Carol Ruesch of the
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It is imµense, supersumptuous.
I put it to you that he’s on the square.
The central concept of the novel is the endless cycle of all things, and
through the book we see ALP begin as a small stream in the Wicklow
hills, join the river Liffey, pass into the sea, ascend as vapor to form a
cloud, and then—as the song begins (newly-born as Nuvoletta) gazing
over the “bannistars” trying to decide whether she will return to earth
as rain to start the whole cycle again….
Finnegans Wake: Book , §, “Mookse and Gripes,” pp. –
melodies, and the author of song collections championing Ireland’s glorious past. His Oh Twine Me a Bower can be accepted as straightforward
praise of the simple, but important, things in life—the only irony provided by the decidedly non-bucolic surroundings. The Groves of Blarney is
quite the other thing. According to Charles Read in his  Cabinet of
Irish Literature, Richard Alfred Millikin (–) wrote “many [songs]
on the impulse of the moment and in burlesque on the doggerel flights
of the hedge schoolmasters and local bards.” The most famous of these
is the song at hand, written during a boozy meeting of Anglo-Irish
gentry. It is clear from the start what one is in for—the now extinct selfcontradictory form of humor known as an “Irish bull” is prominently
on display (murmuring…silent streams; spontaneous posies planted in order). The
central metaphor might be Blarney’s “rock close,” an early th-century
assemblage of manufactured scenery given romantic names such as the
“Fairy Glade,” “Druid’s Circle,” and “Sacrificial Altar”— all of which
were built around, and completely overwhelm, what is probably an
actual prehistoric monument. The song, like the rock garden, offers a
stark contrast between an artificial and whimsical fantasy of Ireland’s
past created by and for her conquerors and the genuine remnants of
Ireland’s high, indigenous culture—clad in beggar’s robes and ridiculed
by those who destroyed it.
Portrait: p. 
19  THE LOST CHORD
Although its appearance in Ulysses is limited to a few passing thoughts,
this song provides a good example of the depth at which Joyce considered his materials and worked with them. Zack Bowen points out that,
superficially, Bloom’s free-association with the song suggests a broader
knowledge of music than one might expect of him. Below this, however,
lie more interesting connections—most importantly that The Lost Chord
shares a common theme with M’appari and Tutto è sciolto, two other pieces
featured prominently in  . All are musical expressions of grief
over a loss believed to be permanent which is, in fact, temporary. But
I believe Joyce included The Lost Chord in this chapter primarily for its
depiction of music’s power to soothe and heal. In a chapter he acknowledged was written using the techniques of musical composition, Joyce
seems to me also to be making use of music’s powerful yet nonexplicit
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Be on the side of the angels. Be a pri§m.
4  KILLARNEY
Beloved of Irishmen for a century after its appearance in the s,
Killarney nonetheless has a strong whiff of the “West Briton” about it—
the district was one of the first recognized tourist areas and catered to a
primarily English clientele from the s onward. The song is a species
of musical postcard, rattling off the attractions to be seen—and heard;
the final verse refers to one of the “must-dos,” in which visitors were
rowed around the lake while a cornetist sounded bugle calls to awaken
echo. The preternaturally sensitive Joyce was almost surely aware of this
aspect of the song when he used it prominently in the nationalist concert delineated in the story A Mother : an ironic musical evocation of a
subservient Ireland offering its beauties (for a price) to moneyed and
unthinking transients.
Dubliners, “A Mother”: p. ; Portrait: p. 
5  OH! YE DEAD
The American composer Otto Luening remembered “Joyce had a strong
interest in Italian and Irish folk music. He sometimes hummed Thomas
Moore’s Irish melodies, particularly ‘O Ye Dead’”; this was in Zürich, at
the end of the ’teens. Joyce had been intrigued with the song since receiving a letter from his brother Stanislaus in  describing a concert
in which the Irish baritone Harry Plunket Greene had sung it; Stanny
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It’s the whole pie with jam in.
Joyce’s choice of the song was influenced by its composer: the exoticsounding “H. Trotère” was actually plain Henry Trotter (–) ,
’cellist of the (fishless) Royal Aquarium orchestra, London.
Ulysses: :–; :–; :–; :–; :–; :–
18  NUVOLETTA
The development of Joyce’s literary use of music might be stated as follows: title and subject (poetry); gloss (Dubliners); minor theme (Stephen
Hero and Portrait); major theme and occasional technique (Ulysses); consubstantiation (Finnegans Wake)—Joyce’s language has become music by
then. To my mind, Samuel Barber (–) is the only composer to
return the compliment, absorbing the essence of Joyce’s wordplay and
translating it into the music of Nuvoletta. Some examples of the themes
and techniques he utilized are the song’s cyclic form and main theme,
which evokes merry-go-round music; quotation (Wagner’s famous
“Tristan” chord sequence at tristis tristior tristissimus); multi-level puns (at
first by ones and twos then by threes and fours, the musical intervals in the voice
and the rhythms in the piano “count along ”); and sheer joy in the
sound of sound (such as the unearthly echo of the weeping oh! oh! oh!
produced by the piano’s vibrating open strings). Anna Livia Plurabelle
is an archetype of the feminine, specifically in the element of water,
and even more specifically in the river Liffey, which bisects Dublin.
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Ru§h your order and you play a §lick ace.
Are you all in this vibration? I §ay you are.
return of her lover after a long voyage: “I must look my fairest when
tomorrow’s here; He will come to claim me! Shall I still be dear? I must
look my brightest on that happy day, As his fancy drew me when so far
away.” In the recapitulation we have a glimpse of Ulysses/Poldy, as well:
“I shall need no roses if his heart be true”—to me, at least, another
indication that morning will bring reconciliation and a new start. Add
to this the song’s dreamy heroine attempting to choose between white
roses and red ones (traditional symbols of sacred and profane love) and
it’s clear why Joyce added it to Molly’s music roll and used it in the most
famous ending in literature.
Ulysses: :–; :–; :–
liked the piece and was particularly struck by Plunket Greene’s delivery
of its second verse. Joyce asked for a copy, learned to sing it, and worked
its themes and details—down to the famous snow—into the story he
named after it: The Dead. When this program was created, the version
chosen for performance was the original setting by Sir Henry Bishop.
Less than a month before going into the recording studio, Mr. Richey
(thinking ahead to one of our future projects) purchased a copy of
C. Villiers Stanford’s  Moore settings. Being an inveterate reader of
“useless” trivia, he spent as much time looking at the publisher’s advertisements as at the music—and found that three songs were available
separately, marked sung by Mr. Plunket Greene; one was Oh! Ye Dead. A quick
series of rehearsals followed and the version heard here, significantly
different not only in setting but also in melody and rhythm, is that
which so impressed Stanislaus Joyce—and his brother.
17  IN OLD MADRID
Together with In the Shade of the Palm, this song is a musical incarnation
of the Homeric theme of travel to distant lands and also serves as the
Leitmotiv of Molly’s youth in Gibraltar, much in her thoughts during the
soliloquy. The piece first appears (literally) when Bloom shows Steven
Molly’s photo, asking if he thinks her “a Spanish type.” She isn’t, of
course; and the “exotic” song is a domestic production seen sitting quietly enough on the piano rack at her side. All this occurs in the 
chapter, presided over by the soi-disant world-traveling sailor who has
really never been out of sight of the Irish coast; one wonders whether
4.75”
JJoyce2_CD_Booklet.indd 9
6  LILLY DALE
The identity of the composer has proved a mystery: little can be said
of Thom(p)son except he flourished in the s and is supposed to
have worked in Boston. He excelled in the exorbitantly maudlin songs
which were a standard feature of black-face minstrelsy—his other big
hit, Annie Lisle, has the same dying, angelic young girl and fixation on
last wishes. According to Gogarty in James Joyce as a Tenor, Joyce “heard
4.75”
11/8/06
2:23:02 PM
Variance for finishing process (trimming, folding
and perforating)
CD 2PN FOLDER
Trim: 9.5 x 4.724
Have we cold feet about the cosmos?
Bumboosers, save your stamps.
singing in his nursery and nature had endowed him with a musical ear.”
As to the early use of that ear, a good—but unanswerable—puzzle for
Joyceans is whether the substitution of place for grave in young Stephen’s
version of this song is the result of Bowdlerizing by his elders—
unlikely, in my opinion—or his first recorded wordsmithery.
Portrait: pp. , 
been unable to determine—although my suspicion is the former, based
on the slim and rather inchoate nature of the lyrics, which have little
purpose except to provide three opportunities to shout “What-ho! She
bumps!” Whatever its genesis, the phrase has had a long life: first popular among soldiers during the Boer War, it was still sufficiently current
in England for stop-action film pioneer George Pal to use as the title
of one of his Puppetoons in . According to Morrie Johnston’s blog
(T H F, December , ), it is used today in the Australian
Navy—and, apparently, among technodweebs Down Under as well:
7  STEPHEN’S PIANO IMPROVISATIONS
There are several passages where Stephen Dedalus (like the real-life Joyce)
displays a knowledge of, and fondness for, older English music. In Stephen
Hero “Stephen…retired silently to the piano where he began to strum
old airs and hum them to himself until someone said ‘Do sing us
something’ and then he left the piano and returned to the horsehair
sofa” (:–) ; in another citation his material is stated more explicitly: “Stephen used to sit down and sing his beautiful songs to the
polite, tired, unmusical audience. The songs, to him at least, were really
beautiful—the old country songs of England and the elegant songs
of the Elizabethans” (:–) . Finally, we have actual titles in the scene
at the end of Portrait in which Stephen attempts to impress E.C. by
singing “a dainty song of the Elizabethans, a sad and sweet loth to
depart, the victory chant of Agincourt, the happy air of Greensleeves”
to his own piano accompaniment (p. ). The dominance of William
4.75”
JJoyce2_CD_Booklet.indd 10
What Ho!, She Bumps. WHSB is an ONS (Old Naval Saying) and usually
referred to a collision. Its also got a modern meaning of “wow, it works.” So,
sincere congratulations to Ben, Mena, Anil and the team for the upgrading
editing facility in Type Lists. It certainly pays to read the News occasionally.
Ulysses: :–:
16  SHALL I WEAR A WHITE ROSE?
Most of Molly’s repertoire dates from the s and early s, when
she would have been a young singer. This piece, in a noticeably older
style, is from the late s or early s and must have been one of
Molly’s first songs, as she knew it in Gibraltar. Joyce was attracted to
it for the scene it sets of a woman (Penelope/Molly) waiting for the
4.75”
11/8/06
2:23:03 PM
Variance for finishing process (trimming, folding
and perforating)
CD 2PN FOLDER
Trim: 9.5 x 4.724
Boys, do it now. God’s time is 12:25.
Are you a god or a doggone clod?
remains resolutely dead and the narrator bereaved rather than embraced. While it is in Molly’s repertoire (she considers it too long
for an encore, and is probably right), My Lady’s Bower is also the musical incarnation of Halcyon Days, the lithographic calendar art Gerty
MacDowell hung on her outhouse wall: “You could see there was a
story behind it” (Ulysses :–). This picture’s style—familiar to anyone who has spent much time rooting through popular culture,  to
—is a fuzzily romantic mixture of fashions worn during the last
half of the th century and the first third of the th: pannier dresses
and regency gowns; tricornes and tophats. Although a small subset of
these illustrations were intended for men—usually showing drinking
scenes—most aimed their sentimental, ahistorical scenes of courtship
straight at women such as the serving girls who did the marketing at
Mr. Tunney’s grocery.
Ulysses: :–
Chappell’s Popular Music of the Olden Time in its field lasted more than
a century and can hardly be overstated. It is not surprising, therefore,
that almost all the “old ballads and sea chanties” Joyce and his alter ego
Stephen are known or reported to have sung can be found in the work.
I therefore posit Chappell’s book as the source of the various tunes
alluded to, on the grounds of likelihood corroborated by the telling
detail that “Greensleeves” is described as a “happy air;” the most common versions are in the minor mode. Chappell gives two variants, the
second of which is in fact a very merry major-key version. Taking that
liberty which we have in Christ Joyces, Mr. Richey has improvised a
suite such as Stephen plays in Stephen Hero from the pieces mentioned
in Portrait, using for his jumping-off point the melodies harmonized by
G.F. Macfarren in Chappell’s work.
15  WHAT-HO! SHE BUMPS!
On Saturday, September , , The Era reported this song’s premiere
at London’s Royal Theatre of Varieties: “Mr Charles Bignell, who never
commits the fault of boring his hearers with stale songs, has made a
great hit with ‘What ho! She bumps!’” Whether the phrase preceded
and inspired the song, or the song launched the catch phrase, I have
4.75”
JJoyce2_CD_Booklet.indd 11
8  THE LASS THAT LOVES A SAILOR
Music makes its first, silent, appearance in Eveline through mention of
her family’s broken harmonium, an instrument associated with aspiring
lower middle-class domesticity and poor-parish religion. The useless
reed organ, an ikon of Eveline’s present circumstances, is given an appropriate contrast by the most important musical allusion in the story:
Charles Dibdin’s The Lass That Loves a Sailor. As a sketch of Frank, the
song presents a musical bona fide that he is exactly what he seems to be—
4.75”
11/8/06
2:23:03 PM
Variance for finishing process (trimming, folding
and perforating)
CD 2PN FOLDER
Trim: 9.5 x 4.724
Shout salvation in king Jesus.
Tell mother you’ll be there.
cheerful, manly, and loving. Additionally, its images of blowing winds,
sailing ships, and loyalty—of motion, change, and connection—
embody the enticing future he offers and the means by which it might
be achieved—if only Eveline chooses. Typical of Joyce’s use of music
in Dubliners, the title is mentioned in passing; to draw on the insights
to character and plot it provides one must be familiar with the song
itself. Dibdin (–) was the acknowledged lyric-poet laureate of
Britain’s Navy during the Napoleonic wars. His charming vignettes of
bluff Jack Tars drinking heartily, fighting victoriously, loving chastely,
and dropping sentimental tears should be contrasted with the Citizen’s
blasphemous (but far more truthful) appreciation of life ’tween-decks
in Nelson’s day (Ulysses :–:).
Dubliners, “Eveline”: p. 
edited lightly to make them cohere; Ross’ full text can be read on our
website (www.james-joyce-music.com/extras/finney_cm_preface.html ).
9–13  SUITE FROM CHAMBER MUSIC
The American Ross Lee Finney (–) is one of the few composers
to have set Chamber Music in its entirety, in . It was my honor to give
the world premiere of several of the songs in . In an unpublished
essay, Ross mounted a spirited defense of Joyce’s often-maligned early
work; much of this literary material was understandably cut when a
shortened version was published as the score’s preface in . I have
excerpted passages relevant to the pieces selected for this suite and
4.75”
JJoyce2_CD_Booklet.indd 12
Poems  and  fall into an introductory group in which there is an
adolescent vagueness about the beloved. These poems introduce the
ancient metaphor of music “in the earth and air” and the traditional
pastoral setting of love. The second lyric shifts to the nostalgic city
sound of piano, and a different environment in which the adolescent
thinks of love. These first poems, madrigalesque in character, set the
scene for the entire work. Lyric  belongs to a group of songs of
courting involved with breaking down the resistance of the beloved.
They are generally optimistic in tone and are poems of spring and
virginity. The second part of the cycle deals with disillusionment;
No. , in which Donnycarney gives the only specific reference to
Ireland in the entire work, uses the symbol of the bat to reflect its
more tortured mood. The “curtain” lyric (No. ) ends the section
sadly looking back to the beginning of the whole cycle.
14  MY LADY’S BOWER
Born in Dublin as Alice Maude (Dotie) Davis (–), “Hope Temple”
seems to have had a strong line in faux th-century songs; another
effort is entitled The Old Garden—different lyricist, but the same concept
(“…it was call’d my Lady’s garden…”) —although the proprietor
4.75”
11/8/06
2:23:03 PM
Variance for finishing process (trimming, folding
and perforating)
CD 2PN FOLDER
Trim: 9.5 x 4.724
Shout salvation in king Jesus.
Tell mother you’ll be there.
cheerful, manly, and loving. Additionally, its images of blowing winds,
sailing ships, and loyalty—of motion, change, and connection—
embody the enticing future he offers and the means by which it might
be achieved—if only Eveline chooses. Typical of Joyce’s use of music
in Dubliners, the title is mentioned in passing; to draw on the insights
to character and plot it provides one must be familiar with the song
itself. Dibdin (–) was the acknowledged lyric-poet laureate of
Britain’s Navy during the Napoleonic wars. His charming vignettes of
bluff Jack Tars drinking heartily, fighting victoriously, loving chastely,
and dropping sentimental tears should be contrasted with the Citizen’s
blasphemous (but far more truthful) appreciation of life ’tween-decks
in Nelson’s day (Ulysses :–:).
Dubliners, “Eveline”: p. 
edited lightly to make them cohere; Ross’ full text can be read on our
website (www.james-joyce-music.com/extras/finney_cm_preface.html ).
9–13  SUITE FROM CHAMBER MUSIC
The American Ross Lee Finney (–) is one of the few composers
to have set Chamber Music in its entirety, in . It was my honor to give
the world premiere of several of the songs in . In an unpublished
essay, Ross mounted a spirited defense of Joyce’s often-maligned early
work; much of this literary material was understandably cut when a
shortened version was published as the score’s preface in . I have
excerpted passages relevant to the pieces selected for this suite and
4.75”
JJoyce2_CD_Booklet.indd 12
Poems  and  fall into an introductory group in which there is an
adolescent vagueness about the beloved. These poems introduce the
ancient metaphor of music “in the earth and air” and the traditional
pastoral setting of love. The second lyric shifts to the nostalgic city
sound of piano, and a different environment in which the adolescent
thinks of love. These first poems, madrigalesque in character, set the
scene for the entire work. Lyric  belongs to a group of songs of
courting involved with breaking down the resistance of the beloved.
They are generally optimistic in tone and are poems of spring and
virginity. The second part of the cycle deals with disillusionment;
No. , in which Donnycarney gives the only specific reference to
Ireland in the entire work, uses the symbol of the bat to reflect its
more tortured mood. The “curtain” lyric (No. ) ends the section
sadly looking back to the beginning of the whole cycle.
14  MY LADY’S BOWER
Born in Dublin as Alice Maude (Dotie) Davis (–), “Hope Temple”
seems to have had a strong line in faux th-century songs; another
effort is entitled The Old Garden—different lyricist, but the same concept
(“…it was call’d my Lady’s garden…”) —although the proprietor
4.75”
11/8/06
2:23:03 PM
Variance for finishing process (trimming, folding
and perforating)
CD 2PN FOLDER
Trim: 9.5 x 4.724
Boys, do it now. God’s time is 12:25.
Are you a god or a doggone clod?
remains resolutely dead and the narrator bereaved rather than embraced. While it is in Molly’s repertoire (she considers it too long
for an encore, and is probably right), My Lady’s Bower is also the musical incarnation of Halcyon Days, the lithographic calendar art Gerty
MacDowell hung on her outhouse wall: “You could see there was a
story behind it” (Ulysses :–). This picture’s style—familiar to anyone who has spent much time rooting through popular culture,  to
—is a fuzzily romantic mixture of fashions worn during the last
half of the th century and the first third of the th: pannier dresses
and regency gowns; tricornes and tophats. Although a small subset of
these illustrations were intended for men—usually showing drinking
scenes—most aimed their sentimental, ahistorical scenes of courtship
straight at women such as the serving girls who did the marketing at
Mr. Tunney’s grocery.
Ulysses: :–
Chappell’s Popular Music of the Olden Time in its field lasted more than
a century and can hardly be overstated. It is not surprising, therefore,
that almost all the “old ballads and sea chanties” Joyce and his alter ego
Stephen are known or reported to have sung can be found in the work.
I therefore posit Chappell’s book as the source of the various tunes
alluded to, on the grounds of likelihood corroborated by the telling
detail that “Greensleeves” is described as a “happy air;” the most common versions are in the minor mode. Chappell gives two variants, the
second of which is in fact a very merry major-key version. Taking that
liberty which we have in Christ Joyces, Mr. Richey has improvised a
suite such as Stephen plays in Stephen Hero from the pieces mentioned
in Portrait, using for his jumping-off point the melodies harmonized by
G.F. Macfarren in Chappell’s work.
15  WHAT-HO! SHE BUMPS!
On Saturday, September , , The Era reported this song’s premiere
at London’s Royal Theatre of Varieties: “Mr Charles Bignell, who never
commits the fault of boring his hearers with stale songs, has made a
great hit with ‘What ho! She bumps!’” Whether the phrase preceded
and inspired the song, or the song launched the catch phrase, I have
4.75”
JJoyce2_CD_Booklet.indd 11
8  THE LASS THAT LOVES A SAILOR
Music makes its first, silent, appearance in Eveline through mention of
her family’s broken harmonium, an instrument associated with aspiring
lower middle-class domesticity and poor-parish religion. The useless
reed organ, an ikon of Eveline’s present circumstances, is given an appropriate contrast by the most important musical allusion in the story:
Charles Dibdin’s The Lass That Loves a Sailor. As a sketch of Frank, the
song presents a musical bona fide that he is exactly what he seems to be—
4.75”
11/8/06
2:23:03 PM
Variance for finishing process (trimming, folding
and perforating)
CD 2PN FOLDER
Trim: 9.5 x 4.724
Have we cold feet about the cosmos?
Bumboosers, save your stamps.
singing in his nursery and nature had endowed him with a musical ear.”
As to the early use of that ear, a good—but unanswerable—puzzle for
Joyceans is whether the substitution of place for grave in young Stephen’s
version of this song is the result of Bowdlerizing by his elders—
unlikely, in my opinion—or his first recorded wordsmithery.
Portrait: pp. , 
been unable to determine—although my suspicion is the former, based
on the slim and rather inchoate nature of the lyrics, which have little
purpose except to provide three opportunities to shout “What-ho! She
bumps!” Whatever its genesis, the phrase has had a long life: first popular among soldiers during the Boer War, it was still sufficiently current
in England for stop-action film pioneer George Pal to use as the title
of one of his Puppetoons in . According to Morrie Johnston’s blog
(T H F, December , ), it is used today in the Australian
Navy—and, apparently, among technodweebs Down Under as well:
7  STEPHEN’S PIANO IMPROVISATIONS
There are several passages where Stephen Dedalus (like the real-life Joyce)
displays a knowledge of, and fondness for, older English music. In Stephen
Hero “Stephen…retired silently to the piano where he began to strum
old airs and hum them to himself until someone said ‘Do sing us
something’ and then he left the piano and returned to the horsehair
sofa” (:–) ; in another citation his material is stated more explicitly: “Stephen used to sit down and sing his beautiful songs to the
polite, tired, unmusical audience. The songs, to him at least, were really
beautiful—the old country songs of England and the elegant songs
of the Elizabethans” (:–) . Finally, we have actual titles in the scene
at the end of Portrait in which Stephen attempts to impress E.C. by
singing “a dainty song of the Elizabethans, a sad and sweet loth to
depart, the victory chant of Agincourt, the happy air of Greensleeves”
to his own piano accompaniment (p. ). The dominance of William
4.75”
JJoyce2_CD_Booklet.indd 10
What Ho!, She Bumps. WHSB is an ONS (Old Naval Saying) and usually
referred to a collision. Its also got a modern meaning of “wow, it works.” So,
sincere congratulations to Ben, Mena, Anil and the team for the upgrading
editing facility in Type Lists. It certainly pays to read the News occasionally.
Ulysses: :–:
16  SHALL I WEAR A WHITE ROSE?
Most of Molly’s repertoire dates from the s and early s, when
she would have been a young singer. This piece, in a noticeably older
style, is from the late s or early s and must have been one of
Molly’s first songs, as she knew it in Gibraltar. Joyce was attracted to
it for the scene it sets of a woman (Penelope/Molly) waiting for the
4.75”
11/8/06
2:23:03 PM
Variance for finishing process (trimming, folding
and perforating)
CD 2PN FOLDER
Trim: 9.5 x 4.724
Ru§h your order and you play a §lick ace.
Are you all in this vibration? I §ay you are.
return of her lover after a long voyage: “I must look my fairest when
tomorrow’s here; He will come to claim me! Shall I still be dear? I must
look my brightest on that happy day, As his fancy drew me when so far
away.” In the recapitulation we have a glimpse of Ulysses/Poldy, as well:
“I shall need no roses if his heart be true”—to me, at least, another
indication that morning will bring reconciliation and a new start. Add
to this the song’s dreamy heroine attempting to choose between white
roses and red ones (traditional symbols of sacred and profane love) and
it’s clear why Joyce added it to Molly’s music roll and used it in the most
famous ending in literature.
Ulysses: :–; :–; :–
liked the piece and was particularly struck by Plunket Greene’s delivery
of its second verse. Joyce asked for a copy, learned to sing it, and worked
its themes and details—down to the famous snow—into the story he
named after it: The Dead. When this program was created, the version
chosen for performance was the original setting by Sir Henry Bishop.
Less than a month before going into the recording studio, Mr. Richey
(thinking ahead to one of our future projects) purchased a copy of
C. Villiers Stanford’s  Moore settings. Being an inveterate reader of
“useless” trivia, he spent as much time looking at the publisher’s advertisements as at the music—and found that three songs were available
separately, marked sung by Mr. Plunket Greene; one was Oh! Ye Dead. A quick
series of rehearsals followed and the version heard here, significantly
different not only in setting but also in melody and rhythm, is that
which so impressed Stanislaus Joyce—and his brother.
17  IN OLD MADRID
Together with In the Shade of the Palm, this song is a musical incarnation
of the Homeric theme of travel to distant lands and also serves as the
Leitmotiv of Molly’s youth in Gibraltar, much in her thoughts during the
soliloquy. The piece first appears (literally) when Bloom shows Steven
Molly’s photo, asking if he thinks her “a Spanish type.” She isn’t, of
course; and the “exotic” song is a domestic production seen sitting quietly enough on the piano rack at her side. All this occurs in the 
chapter, presided over by the soi-disant world-traveling sailor who has
really never been out of sight of the Irish coast; one wonders whether
4.75”
JJoyce2_CD_Booklet.indd 9
6  LILLY DALE
The identity of the composer has proved a mystery: little can be said
of Thom(p)son except he flourished in the s and is supposed to
have worked in Boston. He excelled in the exorbitantly maudlin songs
which were a standard feature of black-face minstrelsy—his other big
hit, Annie Lisle, has the same dying, angelic young girl and fixation on
last wishes. According to Gogarty in James Joyce as a Tenor, Joyce “heard
4.75”
11/8/06
2:23:02 PM
Variance for finishing process (trimming, folding
and perforating)
CD 2PN FOLDER
Be on the side of the angels. Be a pri§m.
4  KILLARNEY
Beloved of Irishmen for a century after its appearance in the s,
Killarney nonetheless has a strong whiff of the “West Briton” about it—
the district was one of the first recognized tourist areas and catered to a
primarily English clientele from the s onward. The song is a species
of musical postcard, rattling off the attractions to be seen—and heard;
the final verse refers to one of the “must-dos,” in which visitors were
rowed around the lake while a cornetist sounded bugle calls to awaken
echo. The preternaturally sensitive Joyce was almost surely aware of this
aspect of the song when he used it prominently in the nationalist concert delineated in the story A Mother : an ironic musical evocation of a
subservient Ireland offering its beauties (for a price) to moneyed and
unthinking transients.
Dubliners, “A Mother”: p. ; Portrait: p. 
5  OH! YE DEAD
The American composer Otto Luening remembered “Joyce had a strong
interest in Italian and Irish folk music. He sometimes hummed Thomas
Moore’s Irish melodies, particularly ‘O Ye Dead’”; this was in Zürich, at
the end of the ’teens. Joyce had been intrigued with the song since receiving a letter from his brother Stanislaus in  describing a concert
in which the Irish baritone Harry Plunket Greene had sung it; Stanny
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It’s the whole pie with jam in.
Joyce’s choice of the song was influenced by its composer: the exoticsounding “H. Trotère” was actually plain Henry Trotter (–) ,
’cellist of the (fishless) Royal Aquarium orchestra, London.
Ulysses: :–; :–; :–; :–; :–; :–
18  NUVOLETTA
The development of Joyce’s literary use of music might be stated as follows: title and subject (poetry); gloss (Dubliners); minor theme (Stephen
Hero and Portrait); major theme and occasional technique (Ulysses); consubstantiation (Finnegans Wake)—Joyce’s language has become music by
then. To my mind, Samuel Barber (–) is the only composer to
return the compliment, absorbing the essence of Joyce’s wordplay and
translating it into the music of Nuvoletta. Some examples of the themes
and techniques he utilized are the song’s cyclic form and main theme,
which evokes merry-go-round music; quotation (Wagner’s famous
“Tristan” chord sequence at tristis tristior tristissimus); multi-level puns (at
first by ones and twos then by threes and fours, the musical intervals in the voice
and the rhythms in the piano “count along ”); and sheer joy in the
sound of sound (such as the unearthly echo of the weeping oh! oh! oh!
produced by the piano’s vibrating open strings). Anna Livia Plurabelle
is an archetype of the feminine, specifically in the element of water,
and even more specifically in the river Liffey, which bisects Dublin.
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It is imµense, supersumptuous.
I put it to you that he’s on the square.
The central concept of the novel is the endless cycle of all things, and
through the book we see ALP begin as a small stream in the Wicklow
hills, join the river Liffey, pass into the sea, ascend as vapor to form a
cloud, and then—as the song begins (newly-born as Nuvoletta) gazing
over the “bannistars” trying to decide whether she will return to earth
as rain to start the whole cycle again….
Finnegans Wake: Book , §, “Mookse and Gripes,” pp. –
melodies, and the author of song collections championing Ireland’s glorious past. His Oh Twine Me a Bower can be accepted as straightforward
praise of the simple, but important, things in life—the only irony provided by the decidedly non-bucolic surroundings. The Groves of Blarney is
quite the other thing. According to Charles Read in his  Cabinet of
Irish Literature, Richard Alfred Millikin (–) wrote “many [songs]
on the impulse of the moment and in burlesque on the doggerel flights
of the hedge schoolmasters and local bards.” The most famous of these
is the song at hand, written during a boozy meeting of Anglo-Irish
gentry. It is clear from the start what one is in for—the now extinct selfcontradictory form of humor known as an “Irish bull” is prominently
on display (murmuring…silent streams; spontaneous posies planted in order). The
central metaphor might be Blarney’s “rock close,” an early th-century
assemblage of manufactured scenery given romantic names such as the
“Fairy Glade,” “Druid’s Circle,” and “Sacrificial Altar”— all of which
were built around, and completely overwhelm, what is probably an
actual prehistoric monument. The song, like the rock garden, offers a
stark contrast between an artificial and whimsical fantasy of Ireland’s
past created by and for her conquerors and the genuine remnants of
Ireland’s high, indigenous culture—clad in beggar’s robes and ridiculed
by those who destroyed it.
Portrait: p. 
19  THE LOST CHORD
Although its appearance in Ulysses is limited to a few passing thoughts,
this song provides a good example of the depth at which Joyce considered his materials and worked with them. Zack Bowen points out that,
superficially, Bloom’s free-association with the song suggests a broader
knowledge of music than one might expect of him. Below this, however,
lie more interesting connections—most importantly that The Lost Chord
shares a common theme with M’appari and Tutto è sciolto, two other pieces
featured prominently in  . All are musical expressions of grief
over a loss believed to be permanent which is, in fact, temporary. But
I believe Joyce included The Lost Chord in this chapter primarily for its
depiction of music’s power to soothe and heal. In a chapter he acknowledged was written using the techniques of musical composition, Joyce
seems to me also to be making use of music’s powerful yet nonexplicit
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†he deity ain’t no nickel dime bumshow.
It’s just the cutest snappiest line out.
features of the show was a chorus line—besides their fleshy charms, the
girls sang in the show’s other great hit, Tell Me, Pretty Maiden, Are There Any
More at Home Like You?—and the Misses Douce and Kennedy may be seen
as the “Florodora Girls” of Joyce’s musical comedy.
Ulysses: :; :–; :–; :–; :–; :–;
:–; :–
logic to create “harmonies” that are sometimes so allusive that their
connections are perceptible by the brain, but not the eye. In the passage
at :–: Bloom does sit weary and ill at ease while his idlywandering “four forkfingers” stretch the elastic in an explicitly musical
way, “double, fourfold, in octave.” Although Bloom is actually listening
to M’appari, the effect produced is that presented in The Lost Chord—
music calms; quiets pain and sorrow; and points to a harmony existing
beyond current circumstances. Thus this very minor musical allusion,
at the low midpoint of Bloom’s day, presents the same message that the
novel’s most important one, Love’s Old Sweet Song, promises at its end:
“though the heart be weary; sad the day and long, still to us at twilight
comes love’s old sweet song.”
Ulysses: :; :–
2  OH TWINE ME A BOWER
3  THE GROVES OF BLARNEY
In Portrait Uncle Charles sings these songs while banished to an outhouse in the back garden; he may be seen as a type of the unspoiled,
rural, pre-famine Irishman now trapped in the squalor and confusion
of an urban and alien environment, a change he accepts with equanimity. Joyce’s care in apportioning appropriate musical materials to his
characters is on display here: the songs mentioned are those of Charles’
youth in the s and have strong connections to the south of Ireland.
Their authors were Corkonians, both of whom devoted a good part
of their lives to collecting folk traditions among the peasantry. The
resemblance, however, stops there; the contrast between these writer’s
approaches to Ireland’s past may well be part of Joyce’s decision to pair
their songs. T. Crofton Croker (–) was an early and sympathetic
collector of folk material, the source of a number of Thomas Moore’s
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ACKNOWLEDGMENTS
Almost all page citations to music in Joyce’s works are drawn from Prof.
Zack Bowen’s Musical Allusions in the Works of James Joyce : Early Poetry
Through Ulysses, State University of New York Press, Albany, NY, ,
 ---; those items unreported by Prof. Bowen are cited
from the same editions used in his work. Gogarty’s essay, James Joyce as a
Tenor, was generously brought to my attention by Prof. Joseph Nugent
of Boston College. I am particularly grateful to Carol Ruesch of the
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It restores. It vibrates.
I aµ operating all this trunk line.
Zion, Illinois, Historical Society for her invaluable help in obtaining
the photographs of Dr. Dowie. My thanks to Ellwood Annaheim and
Morrie Johnston for permission to quote material from their websites
and to Ian Halligan, author of an upcoming biography of Michael
Balfe, for consultation concerning Killarney’s date of composition.
pieces of music or genres, allowed him to use music to great effect in
his writing—and so he did, its structural importance increasing with
each succeeding work. The opinions and suggestions presented here are
those of a singer, intimately familiar with the music and culture of
Joyce’s time and informed by a -year association with Joyce’s literary
works—but not with the immense body of secondary scholarship they
have generated. Expanded notes, additional background material, and
full song texts will be found on our website, www.james-joyce-music.com.
This recording, complete in itself, also forms a continuation of the
work presented in Music from the Works of James Joyce (Sunphone  ).
SOURCES MENTIONED IN THE TEXT
Annaheim, Elwood: http://www.geocities.com/musictheater/floro/floroplot.html.
Chappell, William: Popular Music of the Olden Time, London: Chappell &
Co., .
Finney, Ross Lee: Preface to Chamber Music:  Songs to Words by James Joyce,
unpublished; ?. Personal communication. A shortened version
was published in the first edition: Chamber Music, New York: Henmar
Press/C.F. Peters Corp., .
Gogarty, Oliver St. John: Intimations, New York: Abelard Press, .
Johnston, Morrie: http://moderick.typepad.com/life/2003/12/.
Luening, Otto: The Odyssey of an American Composer, New York: Charles
Scribner’s Sons, .
Read, Charles A. (ed.) : The Cabinet of Irish Literature (vol. ), New York:
P. Murphy & Son, .
Stanford, Charles Villiers: Irish Melodies of Thomas Moore, (op. ) London:
Boosey & Co., .
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1  IN THE SHADE OF THE PALM
In that most musical chapter of Ulysses,  , Joyce uses this song
repeatedly—although artfully misquoted: “O Idolores” and “fair maid
of Egypt” are just two examples. Given the novel’s Homeric subtext, the
attraction of the piece for Joyce is neatly (although unwittingly) summarized by Ellwood Annaheim of the Musical Theater Research Project : “in one
of the score’s most beautiful melodies, he [the hero, Frank Abercoed]
tells Dolores he must go but will return for her if she waits patiently.”
The song is from Florodora, one of the great hit musical comedies of
the turn of the th century; premiering in London in November ,
it also had successful runs in New York and Paris. One of the selling
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No yapping, if you please, in thi§ booth.
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I know and I am soµe vibrator.
”
Words? Music? No :it’s what’s behind.
(Ulysses, 274:33)
 Kevin McDermott 
 to the French poet, José Maria de Herèdia, ‘La musique des
poètes n’a aucun rapport avec la musique des musiciens.’ Joyce was one of the
A
“comparatively
few poets who were musical in the musician’s sense. Yeats
was tone deaf; so by deduction was Byron; so was Burns; but Joyce was
gifted with a double ear, exquisite in both faculties. His first volume of
poetry, Chamber Music, is one proof. The other is his success as a singer.
Strange, almost incredible as it may seem now to his admirers, Joyce
was more intent on becoming a singer than a writer.” So writes Oliver
St. John Gogarty (Ulysses’ Mulligan) in his essay James Joyce as a Tenor, in
which he describes Joyce’s voice in  as “clarion clear and though
high pitched…not at all strident” and opines, “I think that he derived
more happiness from his voice than from his writing.” Possibly; but that
he was active both as a singer and as a writer throughout his entire life is
a matter of record. His encyclopædic knowledge of the music popular
in his day, combined with a highly refined sensitivity to the often subtle
meanings and social distinctions connected with or evoked by individual
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K MD, tenor, received his vocal training from his father, Raymond McDermott, a noted voice
teacher in New York City. His earliest musical memories
are of John McCormack, whose art, philosophy, and repertoire have remained an important influence in his own
career, which he has devoted to championing the forgotten
art of the song recital. He is internationally known for
his concerts of music from the works of James Joyce.
He is a winner of the American Musciological Society’s
Noah Greenberg Award for Excellence in the Performance of Historical Music for his work as vocal soloist
with D.C. Hall’s New Concert & Quadrille Band, a
group devoted to music in mid-th-century America.
R R, pianist, is a native of Kentucky and
studied at the New England Conservatory in Boston.
Through countless concerts, radio and television appearances and recordings, both here and in Europe,
Mr. Richey has built an international career as soloist and accompanist. Since  he has been living in
Europe, where he is also active as an opera conductor,
composer, and author of stage plays. His most recently
performed works were a political musical based on the
fairy tale Sleeping Beauty and a play based on the life of
the composer Franz Schubert. Mr. Richey is currently a
member of the faculty of the Music Theater Department
of the Folkwang Musik-hochschule in Essen, Germany.
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A.J. Christ Dowie and the harmonial philosophy.
J
O H N A L E X ANDER DOWIE , the tutelary deity of this
recording, was born in Edinboro’ in . A healing from chronic
indigestion led to his growing activity as a faith healer; he ran healing services in a large tabernacle opposite Buffalo Bill’s Wild West Show
during the Chicago World’s Fair of . In  he established the Christian Catholic Church and, in , founded a true American theocracy:
Zion, Illinois. At the height of his power Dowie was worth several million dollars and claimed , followers. In  Dowie also proclaimed
himself “Elijah the Restorer” and began to wear High-Priestly robes,
causing dissension in his church. He was deposed in  amid rumors
of sexual and financial malfeasance, suffered a stroke, and died in .
Although a minor character in Ulysses, Joyce clearly had a strong desire
to include Dowie in his novel, for the evangelist was not in Dublin on
June , . The principal reason seems to be that, whereas Leopold
Bloom only fantasizes about establishing the “New Bloomusalem,”
Dowie actually built his. Today about , Christians still describe
themselves as “Dowieites.” In the rest of the world, John Alexander
Dowie is better remembered by Muslims (as a false prophet and enemy
of Islam) than by Christians (as an early faith healer and forerunner
of Pentecostalism); and also, of course, by Joyceans—for his guest
appearance in Ulysses. A full biography of Dr. Dowie is available on
our website: www.james-joyce-music.com/extras/dowie_bio.html.
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All join heartily in the singing!
Suite from C HAMBER MUSIC (1952) ................................ Ross Lee Finney
9  Strings in the Earth and Air (I) .............................................................. ( 1 :39 )
10  The Twilight Turns from Amethyst (II)........................................... ( 1 :52 )
11  Bright Cap and Streamers (X) ....................................................... ( 1 :04)
12  O, It Was Out by Donnycarney (XXXI).............................................. ( 1 :25 )
13  Love Came to Us in Time Gone By (XXX) ........................................... ( 1 :42 )
14  My Lady’s Bower ..................................................................... (4 : 27 )
Frederick E. Weatherly—“Hope Temple” (Alice M. Davis)
15  What-Ho! She Bumps! .............................................................. ( 3 :33 )
Harry Castling—Arthur J. Mills
16  Shall I Wear a White Rose?...................................................... ( 5 :1 2 )
H. Saville Clarke —Emily Bardsley Farmer
17  In Old Madrid ........................................................................... ( 3 : 55 )
Clifton Bingham—H. Trotere
18  Nuvoletta ................................................................................ ( 6 :1 8 )
F INNEGANS WAKE —Samuel Barber (opus 25, 1947)
19  The Lost Chord ......................................................................... (4 :23 )
Adelaide Anne Proctor — Sir Arthur Sullivan
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Now then, our Glory Song!
 PROGRAMME 
1  In the Shade of the Palm ........................................................... ( 6 :08 )
From F LORODORA : “Leslie Stuart” (Tom Barrett)
2  O Twine Me a Bower ................................................................. ( 3 :40)
Thomas Crofton Croker, Esq.—Hon. D. Roche
3  The Groves of Blarney .............................................................. (4 :40 )
Richard Alfred Millikin ; Air, Castle Hyde
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You call me up by sunphone any old time.
CREDITS
Recorded by Joseph C. Chilorio of M H P,
Mechanics Hall, Worcester MA, March –, .
Design and typography by Kevin McDermott. Text set in digitizations of
Centaur by Bruce Rogers () and Colm Cille by Colm Ó Lochlainn ().
Artiste’s Photographs by Todd Gieg () and Georg Schreiber ().
ILLUSTRATIONS
4  Killarney ................................................................................. ( 5 : 1 1 )
F   : “The Rev. John Alexander Dowie, General
Overseer of the Christian Catholic Church in Zion,” c. .
5  Oh! Ye Dead ............................................................................. ( 3 :32 )
B   : John Alexander Dowie, “First Apostle of the Lord
Jesus the Christ” in his robes as Elijah, . Both images of Dr. Dowie were
from T HE C OLLEEN B AWN ; Edmund Falconer —Michael Balfe
Words by Thomas Moore; Air, Plough Whistle, arr. by C. Villiers Stanford
published as supplements to L  H and are courtesy of the Zion, IL, Historical Society.
6  Lilly Dale ................................................................................ ( 3 :46)
I  : Joyce in Trieste, , taken by Ottocaro Weiss. Courtesy
7  Suite of Stephen’s Piano Improvisations ............................. Ralph Richey
“Loath to Depart”; “The Agincourt Carol”; “Greensleeves” ................... (4 :34 )
8  The Lass That Loves a Sailor .................................................... ( 2 :38 )
B   : Joyce in Paris, , taken by photographer
Gisèle Freund.
H.S. Thom(p)son
Charles Dibdin
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of the Poetry Collection, SUNY Buffalo.
Visit us on the Web at: www.james-joyce-music.com
© 2006 Sunphone Records
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“ He would seat himself
at the piano, drooping
over the keys, and the old
songs, his particular way
of singing them in his
sweet tenor voice, and the
expression on his face—
these were things one
can never forget.
”
—Sylvia Beach
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ELIJAH IS COMING!
BLOOD of the LAMB!
WASHED IN THE

GLORY SONGS!
The Noted American Evangelists,
Mr. Kevin M’Dermott,tenor
and Mr. Ralph Richey, pianist
WILL PERFORM
MORE MUSIC
 FROM THE WORKS OF 
JAMES JOYCE!
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