Traditional Irish Music Collectors
Traditional Irish music was handed on orally from generation to generation. As a result of this thousands of tunes were lost and many different versions of tunes exist. It was only in the late eighteenth century during the Belfast Harp festival that collectors began to write Irish music down. Many Irish traditional tunes that survive today may have joined the thousands that were lost forever if it was not for music collectors who helped preserve the tunes for the future generations.
Belfast organist Edward Bunting (1773–1843) was the first known collector and aged 19, was employed to notate the music
at the Belfast Harp Festival in 1792, where he collected tunes including “Sí bheag Sí Mhór” “Eibhlí a Rún” “The FairyQueen” and “Lord Mayo”. He continued to collect music and songs for some years and he published three volumes of material drawn from
his collection: General Collection of the Ancient Irish Music (1796) included O’Carolan’s Concerto, General Collection of the
Ancient Music of Ireland (1809) included Planxty Irwin and The Ancient Music of Ireland (1840) included Tabhair dom do Lámh. Several collectors continued and extended Bunting's work during the nineteenth century, with George Petrie's Ancient Music of Ireland (1855); and Patrick Joyce's Ancient Irish Music (1873) and Old Irish Folk Music and Songs (1909) being the most significant. Other collectors include John and William Neal.
Corkman Francis O’Neill who became chief of police in Chicago after he emigrated there collected tunes from other Irish immigrants. He published “The Music Of Ireland” in 1903 which has 1850 tunes including jigs, reels, hornpipes, marches, airs and O’Carolan tunes. He also published “The Dance Music Of Ireland” in 1907 which contains 1001 dance tunes and is refered to as “The Book”. These were the first collections that were aimed towards Irish musicians and were the first great collections of the 20th century. A flute player himself, he is said to have used his position to provide jobs for any needy Irish musicians
that he encountered.
In the mid-twentieth century Breandán Breathnach, starting, like O'Neill, by collecting material for his personal use, went on to compile the largest ever collection of dance music. Five volumes of selections from this material have been published, as Ceol Rince na hÉireann I - V,
Séamus Ennis under the auspices of the Irish Folklore Commission in the 1940s. Working in Gaeltacht areas and collecting only Irish-language material, he assembled a wonderful collection of some 2,000 songs. In 1994, RTE released a CD cof field recordings by some of the great Sean Nós singers called Amhrán ar an Sean Nós. These include songs from Nioclás Tóibín from Ring, Co. Waterford, and the famous Seán Mac Donncha, Seosamh Ó hÉanaí from Connemara.
Belfast organist Edward Bunting (1773–1843) was the first known collector and aged 19, was employed to notate the music
at the Belfast Harp Festival in 1792, where he collected tunes including “Sí bheag Sí Mhór” “Eibhlí a Rún” “The FairyQueen” and “Lord Mayo”. He continued to collect music and songs for some years and he published three volumes of material drawn from
his collection: General Collection of the Ancient Irish Music (1796) included O’Carolan’s Concerto, General Collection of the
Ancient Music of Ireland (1809) included Planxty Irwin and The Ancient Music of Ireland (1840) included Tabhair dom do Lámh. Several collectors continued and extended Bunting's work during the nineteenth century, with George Petrie's Ancient Music of Ireland (1855); and Patrick Joyce's Ancient Irish Music (1873) and Old Irish Folk Music and Songs (1909) being the most significant. Other collectors include John and William Neal.
Corkman Francis O’Neill who became chief of police in Chicago after he emigrated there collected tunes from other Irish immigrants. He published “The Music Of Ireland” in 1903 which has 1850 tunes including jigs, reels, hornpipes, marches, airs and O’Carolan tunes. He also published “The Dance Music Of Ireland” in 1907 which contains 1001 dance tunes and is refered to as “The Book”. These were the first collections that were aimed towards Irish musicians and were the first great collections of the 20th century. A flute player himself, he is said to have used his position to provide jobs for any needy Irish musicians
that he encountered.
In the mid-twentieth century Breandán Breathnach, starting, like O'Neill, by collecting material for his personal use, went on to compile the largest ever collection of dance music. Five volumes of selections from this material have been published, as Ceol Rince na hÉireann I - V,
Séamus Ennis under the auspices of the Irish Folklore Commission in the 1940s. Working in Gaeltacht areas and collecting only Irish-language material, he assembled a wonderful collection of some 2,000 songs. In 1994, RTE released a CD cof field recordings by some of the great Sean Nós singers called Amhrán ar an Sean Nós. These include songs from Nioclás Tóibín from Ring, Co. Waterford, and the famous Seán Mac Donncha, Seosamh Ó hÉanaí from Connemara.
Songs
Songs were handed on orally from generation to generation. As they weren’t written down, lots of different versions of each song existed.
Song types include:
Love songs – She moved through the fair. There are more love songs than any other class of song in the Irish tradition. Many of these songs grief at the loss of a lover or the bitter realisation of betrayal, e.g. Úna Bhán or Dónall Óg recorded by Karen
Casey (youtube).
Laments (Goltraí) – An Mhaighdean Mhara (recorded by Altan) A lament is a sad song, often sung as
part of a wake, or often recalls a local tragedy such as Anach Chuain which tells of a boating tragedy off the coast of Connemara.
Working songs – Amhrán na Cuiginne. These songs are not that plentiful but some spinning songs and churning
songs do exist.
Religious songs and Carols – Don oíche úd I mBeithil
Patriotic songs – The bold Fenian Men. Old traditional patriotic songs are rare, being more of a 20th century phenomenon, performed by groups like the Dubliners or the Wolfe Tones.
Aisling (dream or visioon) – Táimse im Chodladh. (sung by Zoe Conway on youtube) In a dream or vision the poet wandering alone spies a Spéirbhan, literally a skywoman. He describes her appearance being particularly lavish in the description of her hair. She is Ireland, grieving under the oppression of foreigners who shortly shall be driven from the land.
Lullabies (Suantraí) – Deirín Dé
Humorous Songs – An Poc ar Buile
Dandling Songs – Beidh Aonach Amárach
Drinking Songs – Preab San Ól
Macaronic songs - (half in Irish and half in English)
In an essay about the song tradition, mention some Sean Nós characteristics also.
Many traditional songs were ballads as are newly composed songs of recent times like the famine ballad The Fields of Athenry, written by Pete St John in1970.
In modern times groups like Altan and Danu with their singer Muireann Nic Amhlaoibh include as part of their repertoire old tradtional songs and newly composed songs arranged in a contemporary way. "Molly Na Gcuach Ní Chuilleanain" and "An
Seanduine" are examples of such ancient songs, while "County Down" is an example of a contemporary folk song written by Tommy Sands.
Song types include:
Love songs – She moved through the fair. There are more love songs than any other class of song in the Irish tradition. Many of these songs grief at the loss of a lover or the bitter realisation of betrayal, e.g. Úna Bhán or Dónall Óg recorded by Karen
Casey (youtube).
Laments (Goltraí) – An Mhaighdean Mhara (recorded by Altan) A lament is a sad song, often sung as
part of a wake, or often recalls a local tragedy such as Anach Chuain which tells of a boating tragedy off the coast of Connemara.
Working songs – Amhrán na Cuiginne. These songs are not that plentiful but some spinning songs and churning
songs do exist.
Religious songs and Carols – Don oíche úd I mBeithil
Patriotic songs – The bold Fenian Men. Old traditional patriotic songs are rare, being more of a 20th century phenomenon, performed by groups like the Dubliners or the Wolfe Tones.
Aisling (dream or visioon) – Táimse im Chodladh. (sung by Zoe Conway on youtube) In a dream or vision the poet wandering alone spies a Spéirbhan, literally a skywoman. He describes her appearance being particularly lavish in the description of her hair. She is Ireland, grieving under the oppression of foreigners who shortly shall be driven from the land.
Lullabies (Suantraí) – Deirín Dé
Humorous Songs – An Poc ar Buile
Dandling Songs – Beidh Aonach Amárach
Drinking Songs – Preab San Ól
Macaronic songs - (half in Irish and half in English)
In an essay about the song tradition, mention some Sean Nós characteristics also.
Many traditional songs were ballads as are newly composed songs of recent times like the famine ballad The Fields of Athenry, written by Pete St John in1970.
In modern times groups like Altan and Danu with their singer Muireann Nic Amhlaoibh include as part of their repertoire old tradtional songs and newly composed songs arranged in a contemporary way. "Molly Na Gcuach Ní Chuilleanain" and "An
Seanduine" are examples of such ancient songs, while "County Down" is an example of a contemporary folk song written by Tommy Sands.
Seán O Riada
Séan Ó Riada in the 1959 composed Irish music with a classical flavour; (MISE ÉIRE, and SAOIRSE). These were performed by an orchestra, and contained classical harmony and dynamics. But the tunes were Irish (based on Irish modes). This idea of mixing styles was to inspire further generations of Irish musicians. Between 1961 and 1969 Ó Riada was leader of a "Celtic chamber orchestra" called Ceoltóirí Chualann. It included O'Riada, Paddy Moloney (pipes) Martin Fay (fiddle),Sean Keane (fiddle) Michael Tubridy (flute) Seán Ó Shea (singer)and Sean Potts (whistle).
Although they played in concert halls dressed in a black suits with white shirts and black bow ties, they played traditional songs and tunes which were arranged in a more interesting way than was usual in Irish music until then. Ó Riada sat in the middle at front playing bodhrán, an instrument that had almost died out, being played only by small boys in street parades. . He also wanted to use the wire-strung Harp for authenticity, but as these were as yet unavailable, he played the Harpsichord instead. Arrangements of tunes like Brian Boru's March and much of the music of 17th Century Harper, O'Carolan went on to inspire the formation of The Chieftains.
He also studied and collected old Irish music and produced a series for RTE called Our Musical Heritage
He died at the young age of 40 in 1971, but his enormous influence on others was only beginning.
Although they played in concert halls dressed in a black suits with white shirts and black bow ties, they played traditional songs and tunes which were arranged in a more interesting way than was usual in Irish music until then. Ó Riada sat in the middle at front playing bodhrán, an instrument that had almost died out, being played only by small boys in street parades. . He also wanted to use the wire-strung Harp for authenticity, but as these were as yet unavailable, he played the Harpsichord instead. Arrangements of tunes like Brian Boru's March and much of the music of 17th Century Harper, O'Carolan went on to inspire the formation of The Chieftains.
He also studied and collected old Irish music and produced a series for RTE called Our Musical Heritage
He died at the young age of 40 in 1971, but his enormous influence on others was only beginning.