n ill . 1 - Comhaltas Archive

Irnl 34 Uirnhir 3 2002 I SS No 790 004X
• • •

sets it apart and ~ives it a central position
in the lives of a people. Because of its
necessity, the traditional expressions of a
people represent the norm for those
people; they are the forces of harmony and
equilibrium; the key reference points
a~ainst which all other expressions that are
simply possible are evaluated. Forms
representin~ a tradition have a complete
and or~anic quality about them. They are
certainly not as some arts pundits would
have it, all a matter of personal subjectivity:
those pundits who are ever-ready to assert
that their own individual subjectivity
annuls the ri~hts of the collective
subjectivity of an entire ethnic ~roup .
It is perhaps worth considerin~ here
another reason why Arts Departments in
~eneral overlook traditional forms of
expression with such astonishin~ easiness.
One reason is because the word traditional
implies a whole lot more than the word Art
can embrace. In the lives of a people where
tradition is still stron~ and relevant, the
forms representin~ the tradition play such
an inte~ral role in the lives of its people
that the very notion of art forms hardly ever
arises. The way in which a lan~ua~e is
spoken, a ~arment is made and decorated,
or a tune handed down is played is never
set apart from the everyday activities of the
life of a traditional people; it forms an
inte~ral whole.
In contrast the above the " extraterritoriality"
so arro~antly claimed by
Arts Departments is in character when
one considers that their ori~ins can be
traced directly to those places and that
time where and when every semblance
of the tradition has been extin~uished . In
other words, un like the Phoenix, Arts
Departments everywhere have sprun~ up
from a number of piles of unholy ashes
and just as museums now display the
traditional works of a people and
cultures no lon~er livin~ and therefore
relevant in a vital sense, so Arts
Departments try to compensate for their
poverty by displayin~ and supportin~ art
forms with liltle relevance to the inte~ral
needs of those people to whom it is
served up. In this respect, it parallels that
kind of overseas "aid" that is so often
injurious to the sustainable economies of
native people.
The hearts and minds of those peoples
(those whom I count amon~st Ireland's
heroes) who with meticulous care and
patience have collected and preserved
the many and varied forms of the
tradition were obviously not lukewarm in
their altitude to Irish Traditional Culture.
They could see the culture evaporatin~
before their eyes and knew if they did
not act with fervour and vi~il a n ce much
more would be lost forever, and with this
would ~o a part of Ireland's soul. Those
champions of the Tradition did not see
their work as quaint past time, like some
eccentric collector of curios; on the
contrary, they were driven by that
implacable sense of certitude only a True
and livin~ Tradition can impart and they
knew the inestimable value that this
tradition would continue to hold for the
people of Ireland.
What many of the above unsun~, heroes
may never have considered is that their
~entle work has filled and continues to fill
the needs of lovers of traditional ~enres
the world over. As a non-Irish person let
me say at once, thank God for them and
all those who have followed their lead.
3

As we go to press, the new Arts Bill
which was published by Minister SUe
de Valera has been brought before the
Oireachtas by Minister John
O'Donoghue who has responsibility
for arts in the new Government.
This Bill will repeal the Arts Acts of
1951 and 1973.
The publication of the much-awaited
Bill, the first in 30 years, follows an
extensive consultative process. Several
hundred submissions were made in
response to an advertisement inviting
submissions to the new Arts Review.
Over 50% of all submissions related
to Irish traditional arts: these came
from musicians, administrators,
ensembles and organisations.
Following on the submissions, an
intensive consultative weekend was
held in the Royal Marine Hotel, Dun
Laoghaire. This was presided over by
consultants Price Waterhouse Coopers.
The Bill represents a radical and
imaginative restructuring of the Arts
Council and in the case of the Irish
Traditional Arts this will be enshrined
in legislation.
The original Arts legislation made no
reference to Irish Traditional Arts. The
new Arts Bill corrects this omission.
The Arts Council will be reduced
from seventeen to eight members and
a Chairman.
A Standing Committee will be
established for Irish Traditional Arts.
This committee will advise the Arts
Council on issues falling within its
remit and will make
recommendations to the Council on
the advance of moneys to any person
relating to Irish traditional arts.
The standing Committee shall consist
of a chairperson appointed by the
Minister and 4 ordinary members, 2
of whom shall be appointed by the
Minister, and 2 of whom shall be
appointed by the Council. Ordinary
members may be Council members
or members who are not members of
the Council.
The plans and strategies of the Council
will be required to be compatible with
Government policy on the arts.
The bill provides that the Minister for
Arts, Heritage, Gaeltacht and the
Islands shall promote the arts, both
nationally and internationally and gives
recognition to the role of the
Minister in formulating overall State
policy on the arts.
There are now thousands of
traditional performers in Ireland,
many of them achieving high
standards of excellence. Over 10,000
performers attended Fleadh Cheoil
Na hEireann in Listowel.
5

TREOIR
Labhair Gaeilge Linn
Comhaltas is active in encouraging people to use the
Irish language as often as they can. In the coming
months we hope people will try to use whatever Irish
they may have. We include some phrases and vocabulary
to get you started.
Comhra
Hello. Dia dhuit Dia is Muire dhuit
How are you. Cen chaoi bhfuil tu Conas ata tu
I'm fine. Ta me go maith. Ta me ar fheabhas.
Did you see ... An bhfaca tu .. .
Were you at the competition An raibh tu ag an gcomortas
Will you have a drink An mbeidh deoch agat
I will see you. Feicfidh me tu.
How did you get on Conas ar eirigh leat
I won a prize. Ghnothaigh me duais.
I want ... Ta ... uaim.
I want tea please. Ta tae uaim le do thoil.
Play a tune. Seinn port
Did you meet ... Ar bhuail tu le ...
I must go now. Caithfidh me imeacht anois.
Where is ... Ca bhfUil ...
Where is the Fleadh Office Ca bhfuil Oifig na Fleidhe
I am hungry. Ta ocras orm.
I am thirsty. Ta tart orm.
Goodbye! Slan!
9

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The Oondllf
~ NewIt
eItctfJ~
CltIf'e~"'"
dllllDltsrnr. Iils
dondng skills at
....1 the Readh Nua.

TREOIR
SI

BILL McEVOY
The recent visit to Long Island by
Mary Brogan and her husband Tim
brought back many memories of the
1986 Comhaltas Concert Tour of
North America. It was one of the
great concert tours of that time
period. Mary Brogan, the traditional
singing sensation from Finchogue near
Enniscorthy, County Wexford was a
member of that tour. Mary had won
the 1974 All-Ireland Senior Singing
Championship at Fleadh Cheoil na
hEireannn, Listowel. Judging by her
fine rendition of traditional songs
here recently she has lost none of her
former glory.
On the concert tour 1986, Mary
shared the stage with such notable
talent as Kevin Webster who won the
All-Ireland under 18 Accordion
Championship at Listowel 1985; Eilish
Byrne, a fine young fiddle player from
Britain, she also won the under-18
Title at the same Fleadh. Eamonn
Walsh was a young Mayo musician
then living in Dublin. He was a stylish
and masterful Uilleann Piper. He later
went on to play a vital role in bringing
Fleadh Cheoil na hEireann to Ballina
1997 -1998, something he is hoping to
do again in 2003. Gerry Murphy was
one of Ireland's outstanding Banjo
players selected for the tour. Francis
Droney was current All-Ireland
Champion on the concertina. He was
son of the famed Chris Droney from
Belharbour, County Clare. Gerard
McAuley and Edwina McGiII were two
most popular dancers who had
starred on the 1986 tour of Britain;
Padraig Moynihan a top rate
accordion player from the famed
Sliabh Luchra area, renowned for its
slides and polkas. Frieda Gray was
one of Ireland's most outstanding
dancers, a three time undefeated
world champion who had toured
Ireland, Britain and America before
w ith Comhaltas. Brid Harper a very
brilliant young fiddle player from
Donegal, she starred in the Tour of
Europe 1985. Denis Gollock was one
of the great traditional dancers then,
he was born in Cork and went on to
live in England. Francis McDonald was
a fine young dancer who hailed from
Roscrea. County Tipperary. He was
renowned for his famous footwork.
Mairead Ni Chathasaigh, the multitalented
girl from Bandon. County
Cork, she was and still is an
internationally known harpist. Tommy
Guihan, a brilliant flute player from
Keadue. North Connacht. was making
his second tour of North America.
Anthony McAuley hailed from County
Killkenny. He was a fiddle player and a
member of the renowned McAuley
family whose father Jim served as
15

TREOIR
Songs submitted by Seamus Mac Mathuna
The Queen of the Fair This tune is believed to have been composed by John McFadden, a fiddler who was
born in Carramore, nearWestport, Co. Mayo, in 1846. He emigrated to the US, first
to Cleveland, Ohio, where he spent a few years before moving on to Chicago where
he spent the rest of his life. He was a highly respected fiddler in Irish traditional
music circles in Chicago in the late 1800s and early 1900s. One of his most ardent
admirers was no less a figure than Captain Francis O 'Neill, who wrote of him in
'Irish Minstrels and Musicians' as follows: 'The airy style of his playing, the clear
crispness of his tones, and the rhythmic swing of his tunes, left nothing to be
desired'. The tune was recorded in November, 1931 , by the famous Ballinakill Ceilf
Bands', issued by CCE in 2000.
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TREOIR
O'Dwyer's Hornpipe This tune was recorded in Dublin in July, 1930, by Billy Cummins (1894 - 1966), a
flute player from Roscrea, Co.Tipperary.This was his only commercial recording. It
also appears in O'Neill's Dance Music of Ireland, no. 842.
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,- r E EFt r [J I r cl J cl J J I J j j [g'
,. F r F F j cl J J I cl 4 ± ) cl :11
,. Ell r U E:E r I err F Un I (fi cJ er F ~ I
,. r r r CJ I r ts LE r I ~ Err E E too;; I
,. (El cS t r [J I r J±W J :11
,I cr I Er rr J cl JJ I JJ JJ J cr I Er n J ~ 1
,. r r Eft F U I r r r F J J J J I J J J J J e 1
,j E r F r" j cl J j I J L j J J :11
,. U I U mr n m I U m n ill . 1
3 3 3 3
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,- F r [F r r cri r ELF E:: F [J I r Jt; J :11

Today at fleadh and feis in various
places there are usually several kinds
of 'workshops'- instruments, dances,
story telling, singing and more. In
times past when travel meant walking
or pony and trap the 'traditional
cultural workshops' in Ireland's
isolated areas were the family
kitchens. This was driven home
dramatically some years ago by Rita
living near Rosslare. After providing us
with breakfast in a modern bungalow
she took us out back to the old
thatched cottage in which she grew
up. It was in good condition and tidy
with sense of pride but unoccupied.
She took us in to the large empty
stone flagged floor kitchen. "This is
where we learned to dance", she said.
She went over to the kitchen
window, turned her back to it saying:
"This is where my father stood with
his fiddle when he taught us to dance.
He was a very strict teacher. If we
made a mistake he stopped playing
and gesticulated with his bow
indicating how we should be dancing."
Getting on in years Rita was still able
to demonstrate some of the old style
dances learned so well round the
'kitchen dance hall.'
THE KITCHEN
WORKSHOPS
KATHLEEN AND KEVIN HANLON
ininnitCllble storyteller
At the heart of the 'kitchen workshops'
was the old turf fire described by a
resident in Donegal as symbolic of the
whole simple life eked out of the good
earth through days of toil forgotten in
the evening's relaxation beside the
spark that never went out. One home
was known to have kept the turf fire
alight for on'hu~drep years!
In another isolated area of Donegal
twelve homes in the early part of the
last century kept alive their music and
dance traditions. Each cottage hosted
four Sunday social evenings across the
year keeping alive weekly workshops
teaching and handing on the music,
song, dance, storytelling and 'the
craic'. Now only two of these
irreplaceable 'kitchen workshops'
remain sadly as holiday cottages.
Present day set dancers may be
interested to know that in the early
part of the last century it wasn't
unknown for doors in the house to
be unhinged and placed on the floor
for dancing on. People danced in
clogs, according to one set dance
expert, so there would be the sound
of rhythmic pounding of the boards -
almost bodhran style.
The kitchen workshop broadened out
to dances in the barn where 'barn
dances', currently receiving interest,
featured The German', Stack of
Barley, Shoe the Donkey, The Myland
and more. Dancing also featured at
local crossroads.
A very important aspect of kitchen
recreational workshops was that all
ages were involved from the eldest
present as 'cock of the corner' to
young children. Another aspect was
that all ages intermixed and danced -
socialisation at its best! What a
marvelous sight it was recently at an
evening wedding dance session to see
a grandmother dancing with a little
boy of three!
The cultural workshop also extended
to the school playground. Brfd recalls
her school days amidst the Hills of
17

It's a cool crisp evening
in late November, the
kind of evening that puts
you in the mood for all
things Christmas and
festive and cheery. Well,
the mood is right for
certain on this much
anticipated occasion and
as we hurry along the
street to the Hall,
someone from within can
be heard playing a lovely air on a tin
whistle. This is definitely the place to be
and it is packed to capacity with lovers
of fine Irish music! The night belongs to
Frank Cassidy and Friends as they
launch their new CD tided 'Tin Air'.
Frank Cassidy, his lovely wife Eileen and
their two children,Ashling and James
and new grandson Aidan, now call
Ottawa (Canada) home. You might say
they took the long worldly road and
several years to get here but we
couldn't be happier that they found us
and we them and we are the better
served for the travels that have brought
them here.
And you might say that Frank is more
than jUst a mite familiar to the
members of Comhaltas Ceolt6iri
Eireann, be it in his native Ireland, or in
South Africa or here in Canada (which
explains the long worldly road I
mentioned earlier!) His love for music
developed at an early age coupled with
his considerable talent are a perfect fit
for the traditional music and cultural
events CCE strives so successfully to
preserve and promote worldwide.
Since 1965 when, at the age of 16,
Frank won the Leinster Fleadh for the
under 18 tin whistle and went on to
place second in the All-Ireland in that
same year, he has been amassing not
only many more wins but as well
incredible experience as a musician
playing with a number of the Greats
who entertained audiences in Belmont,
Offaly and east Galway.
And now here, in Ottawa Canada, on
·Tin Air'
RitaWalker
r------------, this cool crisp November
evening, we in the audience
are treated to the music,
both traditional and
original compositions, from
Frank's new CD, music that
suggests all the influences
and experiences that Frank
has been privilege to ... his
home in Offaly, his time in
Johannesburg and Durban
and from here, the touches
of the style of music played in the
Ottawa Valley and Quebec. This is an
area greatly influenced by the Irish who
settled here over the last 150 years and
it would seem that in Frank a kindred
spirit was discovered and the music has
come full circle and found its own
crafter.
If you are feeling as though you missed
a great evening and all the craic that
went with it, you're so right! However,
opportunity knocks again. Frank, as well
as being a member of Comhaltas
Ceolt6iri Eireann, Ottawa Branch, is
also a proud member of the Ottawa Ceili
Band and plays for the Comhaltas Ceili
held each month. The music doesn't
stop there though! He, along with
Rosario Ruane, Dennis Alexander and
Marietta Fraser are known in these
parts as Corrib, a very popular
traditional Celtic music band found at
numerous events and sessions around
the Ottawa area. Now if these
opportunities still prove elusive for you,
you can visit Frank's website at:
http://members.rogers.com/jcassidyI857/
index.htm where it is possible to read
the reviews, find out all about the other
great musicians on the CD and listen to
sound samples. You can as well place
your order for the CD on this site. And
for those wanting to pass along their
congratulations to Frank and Friends on
the launch of this great CD, Frank's e­
mail address is:
tinairmusic@rogers.com
Enjoy!
•

TREOIR
rose to the rank of Army Sergeant. It
was in the Army that Paddy became
interested in becoming a Barber.
Joking about these good old days and
gents hairdressing. He said "if the Lads
had to pay for haircuts, they would
have nothing left. Meaning the
paycheck was so small.
It was during his service in the Irish
Army that Paddy linked up with
another jovial character. John Colum
Mulligan from Mohill Co. Leitrim.
From then on they both remained
lifelong friends. But they became
separated when Colum Mulligan
decided on coming to America where
he helped with the founding of
Comhaltas here in 1972 and served
as Regional Coordinator until he
returned to Ireland in 1989.
Paddy Fallon was first introduced to
North America audiences in the late
seventies as a member of annual
Comhaltas Concert Tour which was
really booming at that time. On the
earlier tours, Labhras O 'Murchu had
served as Fear An Tf, telling numerous
jokes that he had picked up from his
travels in Ireland. As Comhaltas
continued to expand, Labhras found
that he could no longer travel with
the concert tour.
The general feeling was that despite
the great talent in those days, there
was a missing link, we needed a
humourous presenter that would add
a new dimension to the already
popular show. Paddy Fallon was
selected and became an instant hit,
particularly with the native born Irish
living here, who could immediately
associate with his hilarious jokes
about life back home. Nobody
escaped from his ready wit,
particularly the performers on the
show who took their licks as Paddy
introduced them to the audience. If
anyone came from Cavan, they were
sure to bear the brunt of his untiring
wit. He had a particular affinity for
Cavan, and could easily imitate the
Cavan accent leaving one to feel that
he was born in Mullahorn. He
depicted the Cavan people as being
very frugal, tight with money, they
weren't spenders at all. He often told
the joke about the Cavan man who
had a hip replacement. Before leaving
the hospital he asked the doctor for
the bone that he removed from his
hip! The fact is Mullahorn and Cavan
were his favourite haunts, he rarely
ever missed a Cavan Festival.
As the years went by, Paddy became a
permanent fixture on Comhaltas
tours. He was known loved and
respected from Boston to San
Francisco and from New Foundland
to the Island of Vancouver in British
Columbia. When the Concert Tour
was announced in early Spring, it was
not unusual to hear people asking
"will Paddy be coming" He was
responsible for filling many a concert
hall. Together with his B. Flat Bodhran
and untiring wit, he articulated the
Emerald Isle on the concert stages of
the world. He was a true Ambassador
who brought joy to many an Irish
heart in exile.
Then there came a time when Paddy
had to relinquish his place on the
Comhaltas tour. He never lost
interest in the organization, he
continued to entertain at local
functions. He and I remained good
friends. He told me about having to
go to hospital for treatment. Don't
come to see me he would say. I'll be
home before you get to the hospital.
Then as time went by, I got the sad
news that his illness was more
serious. Paddy still remained jovial and
light hearted to the end. The
announcement of his passing brought
great sadness to Comhaltas here in
North America.
Paddy will not be coming to us again,
and we will surely miss him. The
legacy he left will live on, and the
ideals which he espoused will always
serve as a beacon to all who wish to
embrace our Irish culture and
tradition. "Keep sending the money,"
was his clarion call, a call that did not
go unheeded by audiences and
supporters everywhere, a call that
now seems to have lost its relevance
as we try to embrace this new era of
modernization and technology.
It was great to have known Paddy
Fallon, we were all enriched by his
boundless spirit.
On behalf of Comhaltas North
America, we extend our deepest
sympathy to his wife, Emily, and the
Fallon family.
Ar dheis De go raibh a anam uasal.
A Tribute
(for Paddy Fallon)
The Bodhnin is Silent
The sunlight is Shade,
The last note on the goatskin
To the reel has been played.
He burst on the catwalk,
Out hearts to engage,
He linked us in laughter,
The world his stage.
How can we stay silent
How could we regret
The laugh without blemish
He bestows on us Yet
Dr Philip Brady
21

TREOIR
hornpipes, were pretty enough
to chain to the spot any
worshipper of natural beauty."
Gersracker was fascinated by the
fiddle r, the sole musician in action,
who passed "abruptly from the
wildest allegro to the most dolorous
of the dolefuls, and then breaking off
suddenly to ask me for a quid of
tobacco." When Gerstacker replied
that he had no tobacco, the fiddler
complained that he had received only
two bottles of whiskey for his
performance, and had drunk both, but
his throat was still dry .He looked
wildly round, began to cry, and fell
sobbing on the neck of a thin man in
a blue coat, burying his head in the
man's large cravat. Thereupon, some
of the disgruntled male dancers
seized the drunken fiddler by the
arms and legs and unceremoniously
carried him out into the yard.
"Dancing, of course, ceased during
this little intermezzo, and one of the
party offered to find a sober fiddler;
but as the amusement would have
been interrupted too long by waiting
for him, a tall lad placed himself in
front of the chimney, turned up his
sleeves with the utmost gravity, bent
his knees a little, and began slapping
them in time with the palms of his
hands in two minutes all was going
on with as much spirit as before.
At length the promised musician
arrived, not however in the promised
condition but a connoisseur near me
remarked that he would do till twelve
o'clock.
- (Arrow Books)

"Seo chugainn na sl6ighte 'teacht anuas droim an tsleibhe
Is a mbratach ag craitheadh go hard leis a' ghaoith;
Is deas 'gus is aerach a gcoisceim 's a n-eide
Seacht m'anam na trein-fhir nach dtreigfeadh a dtir
Ta deallramh 'gcuid sleanntrach' cur maise ar na gleanntain
Mar loinnir na maidne nuair eirios an ghrian;
Ta a ngl6rtha go dana 'cur troid ar a namhaid -
Fagaigi an bealach ag sl6ighte na bhFiann
Seo thuas cuid d'aistriuchan a rinne an scribhneoir
cliuteach 6 Thir Chonaill, Seosamh Mac Grianna, den
amhrcin bhrea a scriobh Micheal 6 Scanlain fad6. Ta clu
agus cail le fada ar an mbailead "The Bold Fenian Men"
Biodh se againn anois:
See who comes over the red blossomed heather.
Their green banners kissing the pure mountain air,
Heads erect, eyes to front, stepping proudly together.
Sure freedom sits throned on each proud spirit there.
Down the hills twining
Their blessed steel shining
Like rivers of beauty that flow from each glen.
From mountain and valley,
'Tis Liberty's rally-
Out and make way for the bold Fenian men!
Our prayers and our tears they have scoffed and derided.
They've shut out God's sunlight from spirit and mind.
Our foes were united and we were divided,
We met and they scattered our ranks to the wind.
But once more returning,
Within our veins burning
The fires that iIIumine dark Aherlow glen;
We raise the old cry anew,
Slogan of Conn and Hugh -
Out and make way for the bold Fenian men!
We've men from the Nore, from the Suir and the Shannon;
Let the tyrants come forth, we'll bring force against force.
Our pen is the sword and our voice is the cannon,
Rifle for rifle and horse against horse.
We've made the false Saxon yield
Many a red battlefield:
God on our side, we will triumph again;
Pay them back woe for woe,
Give them back blow for blow -
Out and make way for the bold Fenian men!
Side by side for the cause have our forefathers
When our hills never echoed the tread of a
In many a field where the leaden hail rattled
Through the red gap of glory they
And those who inherit
Their name and their spirit
Will march 'neath the banners Qf
All who love foreign law ­
Native or Sasanach -
Must out and make
eile eta
ar 70 bliain) i Mheiricea ach nior
chaIU si an "" iontach a bhi aige riamh da thir duchais.
Fear cIiIfnaean dlUs dochloite a bhi ann agus file oilte
27

TREOIR
For his and for Ireland's sake.
And I cry:" Make way for the soldier's bride
In your halls of death, sad queen
For I long to rest by my true love's side,
All wrapped in the folds of green.
I saw the Shannon's purple tide,
Roll down by the Irish town,
As I stood in the breach by Donal's side
When England's flag went down.
And now it glowers as it seeks the skies,
Like a blood-red curse between;
I weep, but 'tis not women's sighs
Will raise our Irish green.
Oh Ireland! sad is thy lonely soul,
And loud beats the winter sea
But sadder and higher the wild waves roll
From the hearts that break for thee.
Yet grief shall come to our heartless foes
And their thrones in the dust be seen,
So,lrish maids, love none but those
Who wear the jackets green.
Deantar tagairt do Phadraig Sairseal freisin agus don troid
eachtach a rinne laochra Luimnigh breis agus tri cead bliain
o shin i " Limerick is Beautiful ", amhran alainn eile de chuid
Mhichil Ui Scan lain:
Oh, Limerick is beautiful
As everybody knows,
And by the city of my heart
How proud old Shannon flows.
It sweeps down by the brave old town
As pure in depth and tone
As when Sarsfield swept the Saxon
From the walls of Garryowen.
Tis not for Limerick that I sigh;
I love her in my soul;
The times may change and men will die,
And men will not control.
No! not for friends long passed away
Or days forever flown,
But that the maiden I adore
Is sad in Garryowen.
The girl I love is beautiful,
And worldwide is her fame;
She dwells down by the rushing tide
And Eire is her name.
And dearer than my very life
Her glances are to me,
The light that guides my stormy soul
Acrsss life's stormy sea.
I loved her in my boyhood,
And now in manhood's bloom
The vision of my life is still
To dry thy tears a ruin!
I'd sink into the tomb or dance
Beneath the gallows tree,
To see her and her hills once more
Proud, passionate and free.
Ph os Micheal 6 Scan lain bean de bhunadh na hEireann. Bh!
ardmheas aige riamh ar Chathal Kickham - ba e a laoch m6r
go deimhin e - agus thug se an t-ainm Kickham ar an gcead
mhac a saolaiodh do fein agus da bhancheile. Ba bhreitheamh
mor le ra e Kickham 6 Scanlain ar ball.
Bhi Micheal 6 Scanlain fos ina bheatha nuair a ghabh laochra
na Casca chun catha I 1916. Chuir an tI~irf Amach athas
chroi air. Agus is cinnte go raibh se broidiuil cionn Is gur
bhain ConchUir 6 Col beard agus Eamon 6 Dalaigh, beirt de
na laochra a chuir na Sasanaigh chun bais, le Luimneach. Ni
fada eile a mhair se, faraoir. Fuair se bas an bhliain dar gceann
agus e dilis go heag do chuis na tire agus na teanga.
Ta Micheal 6 Scan lain curtha i reilig Cailbhairf i Chicago. Nil
leacht na carn os cionn a uaighe agus is m6r an trua e sin. La
eigin, le cunamh De, airdeofar leac cuimhneachain chu~ sa
reilig sin in 6m6s don Ghael uasal seo a sheas go heag le Eire
shaor Ghaelach.
Ba ch6ir go mbeadh muintir na hEireann - agus muintir
Luimnigh, go hairithe - m6rtasach go deo as an bhfile dilis
Michl!al 6 Scanlain nach ndearna dearmad riamh ar thir a
dhuchais agus a chum amhrain aille ch un laochra na saoirse
a mholadh agusa spreagadh.
Beannacht dilis De lena anam uasal.
29

The 2002 Comhaltas Concert Tour of the United States
and Canada featuring, direct from Ireland, the tops in
Irish traditional entertainment
Echoes of Erin, the 30 th Annual Concert Tour of the United States and Canada
will be from the III October to 20 th October. It will be a proud occasion
marking as it does a monumental achievemnt, not only of sustaining the Tour
over all these years, but developing it into a major cultural event. The Tour is
sponsored by Anhueser Busch, Waterford Crystal and the Cultural Relations
Committee of Ireland's Department of Foreign Affairs.
From this Tour has grown a vibrant Comhaltas movement in North America with 50 branches promoting the native
culture of Ireland and forging strong links between this vast continent and the homeland. Thousands of Irish-Americans
(and non-Irish) play Irish traditional music and visit Ireland on a regular basis.
The talented performers selected for the Tour are:
Anne-Marie McGowan, Sligo/Dublin - presenter • Triona Flavin of Limerick on concert flute • Conor Walsh of Kerry -
traditional singer • Astrid Ni Mhongain from Mayo - singer • Daire Mulhern of Clare on 2-Row accordion
Ciara Brennan of Dublin and Patricia Dooley of Laois on fiddles • Colin McGill of Laois on piano accordion
Padraig McGovern of Leitrim on Uilleann Pipes • Lindsay Moynagh of Dublin on harp • Sharon Carroll from Offaly
on concertina • Kerrie Herrity of Sligo on banjo • John Coli ins of Limerick - dancer & storyteller • Orla Byrne
& Richard Lawless of Laois - dancers • Denise Kerrigan of Dublin & Liam Guiney of Cork - dancers
Shane Murphy of Kerry - sound technician • Seamus McCormack of Sligo - tour manager

Ever since his untimely death on 20 September 1970, whilst adjudicating the Fiddler of Dooney
Competition in Riverstown, Co. Sligo, it has been my ambition to make my father's music more
widely available.
At last, a book containing over 400 reels and jigs from Leo Rowsome's repertoire has been
published. The music is a direct transcription of his manuscripts with a few minor amendments.
Unfortunately, before he died, he had written down only a fraction of his huge repertoire. many
of these tunes were handed down to him by his father and grandfather who in their turn learned
them from the old master pipers of Kilkenny Wexford, Wicklow and Kildare; others are Leo's
original compositions.
This publication also included Leo Rowsome's Tutor for the uilleann pipes, first published by
Waltons in 1936. Leo wrote out the tunes for each pupil, in a beautiful hand and was always most
particular of the settings used. I quote from the sleeve notes of Classics of Irish Piping Volume I
by Sean Reid 1975 - 'This valuable collection would be a boon to traditional musicians generally'.
The existence of this publication is due to my mother, who encouraged my father to write down
these tunes on his arrival home from each evening's teaching at the Municipal School of Music, Chatham Row, Dublin,
and the Piper's Club, Thomas Street, Dublin.
Coincidentally, the last tune he wrote (and the last in the book) was a jig called 'Goodbye and a Blessing'!
My hope is that the publication of this, the first book of Leo Rowsome's music will prove to be useful and enjoyable to
pupil and teacher.

TREOIR
aigeanta.Agus is udar athais agus m6rtais do mhuintir
Luimnigh gur rugadh e sa chontae agus gur chaith se
tusbhlianta a 6ige ann.
Rugadh Micheal 6 Scan lain laimh le Caislean Mai Tamhnach
in iarthar Luimnigh sa bhliain 1836. Dealraionn se nach raibh
a mhuintir r6-mhaith as agus go ndeachaigh blianta an
Ghorta go crua orthu. Is iomai duine in larthar Luimnigh
agus in aiteanna eile ar fud na tire a fuair bas leis an ocras i
ngeall ar mheath na bpratai sna blianta ud.Agus is beag - dada
i ndairire - a rinne an rialtas gallda na na tiarnai talun chun
teacht i gcabhair orthu.
Faoin mbliain 1850 bhi tuismitheoiri Mhichil Ui Scanlain agus
a gclann og lonnaithe i Meiricea. Shochraigh siad sios i
Chicago agus is sa chathair sin a chaith Micheal an chuid eile
da shaoil. Nior fhill se riamh ar Eirinn. Ach ni dhearna se
dearmad riamh na go deo ar a thir fein. Chuidigh se go trean
le cuis na saoirse. Nuair a bhunaigh Sean 6 MathUna (fear eile
as Contae Luimnigh ) Braithreachas na bhFinini chuaigh
Micheal 6 Scanlain isteach sa ghluaiseacht agus ba Fhinin dilis
diograiseach e as sin go la a bhais. Mar is eol duinn, scriobh se
"The Bold Fenian Men", ceann d'amhrain mhora na bhFinini.
Agus is e a bhi dilis i gconai do chuis na hEireann. Bhi roinnt
postanna breatha aige i Chicago ach chaill se ceann i ndiaidh
cinn cionn is gur sheas se ceart d'Eirinn. (Bhi cumhacht nach
beag ag na Sacs-Mheiriceanaigh sa tir an trath ud!) Rinne se
eagarth6ireacht ar chupla paipear Eireannacha de chuid
Chicago freisin. Ba phaipeir iad siud a raibh dearcadh laidir
poblachtcinach acu, go deimhin, agus chuir na hUdarais cosc
orthu 6 am go cheile.
Nlorbh e an Scanlanach an t-aon duine i Chicago a bhi ag
obair, ar bhealach amhain n6 ar bhealach eile, ar son na
hEireann sa tarna chuid den 19u chead. Bhi Proinsias 6 Neill,
Corcaioch, (Chief O'Neill, mar a tugadh air) ag saothru sa
chathair agus e gnothach ag cur ceol na hEireann chun cinn, ag
deanamh taighde agus ag bailiu plosai ceoil. Bhain se cail amach
freisin mar scribhneoir. Scriobh se a lan leabhar faoi chursai
ceoil traidisiunta agus thabhaigh "Irish Minstrels and Musicians,
ach go hairithe, elu m6r d6.
Eireannach iomrciiteach eile a chalth na blianta fada i Chicago
sa tarna chuid den 19u ch6ad mi Tomas 6 Neill Ruiseal.
Chuaigh se go Meiricea in 1867 - bhi na Gaill ar a th6ir cionn
is gur shlleadar go raibh baint aige le hEiri Amach na bhFinini.
I gContae na hlarmhi a rugadh Tomas agus bhain se fein agus
a mhuintir le Cumann na gCarad. Gael daingean dilis a bhi ann
a thug gean a chrof don Ghaeilge. Scriobh se a lan leabhar - i
nGaeilge agus i mBearla - ach tci siad uile as el6 le fada, faraoir.
Cuimhnitear ar Thomas 6 Neill Ruiseal, ach go hairithe, de
bharr go raibh se ar na daoine (Dubhghlas de hide agus
naonur eile) a bhunaigh Conradh na Gaeilge i mBaile Atha
Cliath ar 31 Iwl 1893. Bhi Gaeilge ag Proinsias 6 Neill agus,
go deimhin, ag Tomas 6 Neill Ruiseal. Bhi an teanga ag
Michdl 6 Scanlain 6 aimsir a 6ige in iarthar Luimnigh agus
nfor chaill se i riamh. Bhiodh se m6r le Proinsias 6 Neill,
Tomas 6 Neill Ruiseal agus Gaeilgeoiri eile Chicago. Nuair a
bunaiodh Conradh na Gaeilge bhi se ar na Gael­
Mheiriceanaigh ba thuisce a thug tacaiocht agus cunamh do
ghluaiseacht na teanga.
Scriobh se cuid mh6r danta agus amhran, ach ni minic a
cloistear iad anois, ce is m6ite de "The Bold Fenian Men",
"limerick is Beautiful" agus " The Jackets Green". Ta "The
Jackets Green" ar na hamhrciin is aille dar cumadh riamh.
Amhran a cuireadh i mbeal chailln 6ig ar thit a ceadsearc sa
troid i Luimneach aimsir an tSairsealaigh. Biodh se againn anois:
When I was a maiden fair and young
On the pleasant banks of Lee,
No bird that in the greenwood sung
Was half so blithe and free.
My heart ne'er beat with flying feet,
No love sang me his queen,
Till down the glen rode Sarsfield's men,
And they wore their jackets green.
Young Donal sat on his gallant grey
like a king on a royal seat,
And my heart leaped out on his regal way,
To worship at his feet.
Oh! love, had you come in those colours dressed
And wooed with a soldier's mien,
I'd have laid my head on your throbbing breast
For the sake of your jacket green.
No hoarded wealth did my true love own,
Save the good sword that he bore,
But I loved him for himself alone
And the colour that he wore.
For had he come in England's red,
To make me England's queen,
I'd have roved the high green hills instead
And sought the Irish green.
When William stormed with shot and shell
At the walls of Garryowen,
In the breach of death my Donal fell,
And he sleeps near the Treaty Stone.
That breach the foeman never crossed
When he swung his broad sword keen;
But I do not mourn my darling lost,
For he fell in his jacket green.
When Sarsfield sailed away I wept,
As I heard the loud och6n
I felt then dead as the men who slept
Neath the fields of Garryowen.
While Ireland held my Donal blest
No wild sea rolled between,
Till I would fold him to my breast,
All robed in Ilis jacket green.
My soul has sobbed like the waves of woe,
That sad over tombstones break.
For I buried my heart in his grave below,
28

Ceist a
cuireadh orm
a spreag an
pfosa seo­
" cad is brf le
'ag scamhadh
geatairf'"
Bhuel, ma
bhfonn duine
ag scamhadh
geatairf do
dhuine, bfonn
se ag deanamh
obair uirfseal
do.Ach chun
an meafar a
thuiscint i gceart nf mor dui ar ais go
dtf an seansaol, i bhfad roimh aimsir
na haibhleise.
O'usaidtf geatairf mar bhuaicisf sna
lampaf - sna sligf agus na cumoga.
Geataire a thugaidfs ar smusach na
luachra. Is daoine oga, don chuid is
mo, a chuirtf ag scamhadh geatairf
agus ba leadranach an obair f. Seo mar
a chuireann fear on Rinn sfos ar
gheatairf i Sean-Chaint na nOeise:
"Crof na luachra bhfodh mar
bhuaiceas acu, geatairf a thugtaf ar na
buaicisf sin. Seo mar a dheintf e -
brobh luachra 'fhail, leath a chraicinn a
bhaint ar a fhaid de, tosnu le t 'iongain
ag a bhun agus f chur suas go dtf a
bharra, agus thiocfadh an crof amach
slan leat, trf no ceathair de
cheannaibh acu san a chur insa lampa
agus beadh solas maith ann."
In Ufbh Rathach fuar 0 Ouilearga an
meid sea 0 Shean 0 Conaill in 1926.
Bhf Sean se bliana dheag agus ceithre
fichid ag an am agus gan aon Bhearla
aige. " Ba mhinic a' lorg geatairf luachra
me .. Chaithff iad san a sgu (scamhadh) -
an craiceann a bhaint dfobh - agus a
thriomu. Cuirtf braon fie ar an gcumoig
agus an geataire a chur inti agus e a
lasadh. O'fhanfadh se ar lasadh faid a
sheasodh an fie leis. B'shin solas maith
againn, an uair sin, a cheapamair, ach taid
go leir briste sfos anois 0 thainig an
pairiffn. NfI scolb na geataire anois ann:'
Is on ngiuis a fhaightf na scoilb. Usaidtf
na scoilb chun solais chomh maith.
Bhaintf an ghiuis as phortach agus
thogtaf abhaile f. Oheintf mion phfosaf
le tua di agus chuirtf ar an lochta iad
ch un triomaithe. Oheintf scuilb -
giotaf caola fada - dfobh ansan.
Chuirtf an scolb ar lasa i gcoinnleoir
iarainn. " Bfodh coinnleoir iarainn
againn nuair a bhfmfs ag ithe ar gcuid
bfdh, agus scolb ar lasadh ann, agus da
dteastodh uaim dui sa chro, feachaint
ar na ba, no a gcru, thugainn scolb
agus smearoid tine liom, chun e a
lasadh sa chro," - Sean 0 Conaill.
Chualas mo shean athair a ra go
n-usaididfs beart scolb ceangailte da
cheile mar sholas nuair a bhfdfs ag
seilg eanlaithe istofche fado.
Os na heisc a bhaintf furmhor na hfle
chun solais. An saghas eisc ab fhearr
lea na an gabhar.Ach usaidtf an
phollog, an chrothog an seirdfn freisin.
Nf folair no bhf boladh uafasach os na
lampaf ceanna. Bhfodh fie na raibe go
maith leis chun solais - d'usaidtf chun
olann a smearadh freisin f.
Bhfodh coinnle geireacha acu, as geir
na n-ainmhithe a dheintf iad. Is
amhlaidh a leMaf an gheir agus scaoilff
isteach i munla f agus bheadh buaiceas
de shnath cotuin socraithe sa mhunla.
Ligff di fuaradh ansan agus bheadh
coinneal acu.Ait le ra nf raibh an
choinneal cheireach coitianta in ann
chor. Is doca nach raibh na beacha ro
fhluairseach cead bhiain 0 shoin.
Bhfodh lampa cairbfde ag mo shean
athair. Is mianra cairbfd a bhfuil
dealramh guail uirthi. Gintear gas
inlasta nuair a mheasctar uisce agus
cairbfd le cheile. Is amhlaidh a chuirtf
cairbfd in umar beag ag bun an lampa.
Os a chionn san bhfodh umar eile ina
gcuirtf uisce. Bhfodh luamhan rialaithe
ar an lampa chun uisce a scaoile sfos.
Bhfodh pfopa ag dui on cairbid go dtf
an lampa fein chun an gas a bhreith
anfos. O'fheadfa neart an tsoluis a
rialu luamhan. Solas gorm a bhfodh ar
an gcairbfd. Chffea ar rothair agus ar
chairteacha iad. O'fheadfa pleascan
brea a chur le cheile ach cairbfd agus
canna stain a bheith agat. Nfor gha
ach poll a chur i dtoin an channa,
pfosa cairbfde a chaitheamh isteach
ann, braon uisce a chur ar an gcairbfd,
an cludach a chur ar ais agus lasan a
chur leis an bpoll. B'eigin dom eirf as
na pleascain nuair a phleasc an canna
fein idir mo dhearthair agus me fein la
agus fuair Briain cneadh ina laimh.
Oroch-channa ba chuis leis an
dtimpiste ach ormsa a cuireadh an
milean. Bfonn maithreacha mar sin.
Tharla Breandan Feiriteir bheith anso
agus me ag scrfobh an ailt so. Ta lan
Eireann de bhealoideas agus de
sheanchas na Gaeltachta aige. Seo
seoidfn uaidh. Bfod " sop siuirdfn" no
"sop siurdain" i poll an iarta i ngach
tigh chun pfopa no coinneal a lasadh.
Nf bhfodh lasain acu i gconaf agus ma
bhf fein bhfodhar costasach.
Gluais: Buaiceas = wick. Giuis = bog
deal. Scolb = thin strip of bod deal used
as a light. Geataire = the inside of a rush
used as wick. Coinnleoir larainn = Sconce
or rush-light. Gabhar = scad. Croth6g =
small pollock. Seirdfn = pilchard.
Luamhan rialaithe = regulator lever. Sop
siuirdfn = wisp of straw.
26

TREOIR
Now often it is said nowadays that
characters are fast disappearing.
Well, the traditional music scene
has lost one such character in the
person ofTommy Robinson RIP. He
passed away on to a well-deserved
rest, after a period of ill health on
June 23 rd 2002.
Tommy was a character indeed
and a very popular figure at
traditional music venues throughout
Ireland. He was one of the first (if
not the first) to peddle his musical
wares at fleadhanna - and many a
seisuin and bit of craic took place
around his fiddle rail and accordion
bedecked car.
Tommy had a roguish sense of
humour, never quite giving a
straight answer to a question,
especially if in involved a haggle
over a deal for an instrument.
Asked to give his opinion on the
value of the fiddle or an accordion
he would often say, 'Well it
depends now whether you are
buying or selling!" On one
occasion when asked the price of a
mandolin, Tommy quoted £275 -
the prospective buyer quietly left
the mandolin down and walked
away. Tommy turned to me and
whispered, "was it something I
saidl" He was never short of an
answer.
Tommy was a fine musician himself,
playing fiddle, banjo and I believe
the saxophone in his young days
with a dance band. He had a lovely
style of playing airs on the fiddlesoft.
plaintive and very traditional.
He was a member of Belfast CCE
and often entertained us with his
unique, sweet fiddle playing. He will
be sadly missed by all his
colleagues in the Belfast branch.
Although he lived in Belfast Tommy
was a Tyrone man and proud of it.
He often recounted his days
playing at dances around Tyrone
with noted musicians such as Pat
and Rose McKenna and it was at
one such dance that he met his
wife Maura.
We will all miss Tommy, his dry
wit, his music and his stall of
musical instruments. However. I'm
sure he's up there already selling
harps and maybe an odd fiddle or
two! We offer our sincere
sympathy to his wife Maura and
family - Ar dheis De go raibh a
anam.
Michael J. McCullough
(Sec. Belfast CCE)
From August 7th - 11th Granard had a
wonderful few days of Harp music.
Starting on August 7th and continuing
on Thursday & Friday there was a very
successful Harp Summer School with
participants from all over the country
availing of the opportunity to work
with top tutors .. On the same days but
at 2.00pm each day there were free
classes for beginners, which proved
very popular, as there were students
from all over including Dublin. The
School hoped to have some new
enrolments come September. On
Friday night the 9th the Official
opening was performed by a long
standing supporter of the Harp Mr.
Padraig O'Ceallaigh, Dublin who said
it was lovely to come to Granard for
the 21 st celebrations. He
congratulated the committee on the
work they were doing for the Harp
and wished them continued success.
He also thanked them for their
invitation and declared the
celebrations open. That was followed
by what could be described as one of
the best concerts held in the
Community Centre for some time. The
Concert was a tribute night for wellknown
piper Peter Carberry, Kenagh
MUSicians, singers and dancers from
all over attended, some from as far
away as Dublin & U. S. A. which proves
how popular and well known Peter is.
On Saturday morning the usual Harp
competitions commenced at 10.00am
with Aine Ni Dhubhghaill, Dublin as
Adjudicator who had a tough task on
hand as the standard was so high in
all categories.
- Josie O'Rourke
24

The passing of Paddy Fallon at his
home in Castleknock, County Dublin,
March 18 removes from among us a
truly colourful entertainer and
immensely popular Fear An Tf, a
legendary character who brought joy
and happiness to many an Irish heart
especially those in exile over his many
years on the concert stage.
Paddy was born in Corrigeenroe near
Boyle. County Roscommon more
than 80 years ago. He was the oldest
of five children, two boys and three
girls. His father had a small farm and a
blacksmith's forge. He attended the
local school and left after his primary
certificate. In a joking way, he often
referred to his youth as a time of
great uncertainty. He remembered
the lines from the late John Cowley's
verse, which go as follows:
"My school days were full of
confusion,
I wasn't bright, I'll tell you the truth.
My parents came to the conclusion,
That I wasn't fit for Maynooth.
Too tall for a dwarf in a circus,
Still I hadn't the height for the
guards,
An in-between ignorant gasun
ill-designed for financial reward.
It was here near the plains of Boyle
that Paddy grew up and became of
age. He joined the Irish Army around
1941 and served there till 1946.
During his service in the Army he
20

TREOIR
Ceol sa Chistin
Donegal. To keep warm in the school
playground during cold periods the
children danced. She recalls in
particular The Haymakers Jig, which
she could still dance in her eighties.
The heart of traditional Irish dance is
to involve everyone from the 'stars'
to absolute beginners. The tradition
(what is being handed on) was/is for
everybody to dance with each other
- the 'experts' with the 'beginners'
thus involving all ages. Something very
important was being handed on - a
way of living, relating and socialising -
a unique culture in the words of the
novelist Maeve Binchy.
18

TREOIR
Na Cleaganna
6 Shean 6 Liathain i mBaile Mhuirne a fuaireamar an t-amhran seo. B'e Mfcheal
6 Tuama, file aitiuil a chum e, cead bliain 0 shin no mar sin. Tugtaf 'George
Curtin' mar saghas leas-ainm ar an bhfile ud agus chum se go leor amhrain, mar
sham pie An Gandal, My pup came home from Claedach, Ger Foley's Boat srI.
An bhfacair -se Sean 0 bharr a' chnoic 's e 'r leic a' tinteain
, '
s e
rince 'jig'
Do dheineadh se gleo le cleaganna no (nua) a thainig an treo so 0 cheann Toirc,
Agus 0 'bhean a' tf, cad e 'n bhuairt sin ort.
An bhfacair-se Sean 0 bharr a' chnoic
'S e 'r leic a' tinteain 's e 'rince 'jig'.
Do dheineadh se gleo le cleaganna no (nua)
A thainig an treo so 0 Cheann Toirc,
Agus 0 'bhean a' tf, cad e 'n bhuairt sin ort.
Do bhfodar 'na mbroga gleoite deas
Go cluthar compordach, thar meoin le teas
Nfor bhfearra dhuit clumh mar chneastacht faoi
d'bhun (bhonn)
Na paire brea cumtha 'cu siud a bheith ort,
Agus 0 'bhean a' tf, cad e 'n bhuairt sin ort.
Nf cuileann na draighean a bhf 'na mbonn
Ach pfosa brea'deil' a bhf eatrom ur
Bhf teanga bhrea shleamhain do chraiceann
oig-ghamhain
Nar gearradh ro ghann, se mo lom nach liom iad
Is 0 'bhean a' tf, cad e 'n bhuairt sin ort.
Bhf peire 'cu siud ar Fhionn fado
'S mo cnoc is sliabh cum do shiulaig lea
Is mo cathair do thog (mar) le buille da bhroig
Do chuirfeadh chun sceoin na sloite fear
Agus 0 'bhean a' tf, cad e 'n bhuairt sin ort.
Bhf leigheas na mflte aicfd iontu,
Do scaipfeadh gan mhoill liathbhuf no triuch
Do chuirfeadh chun fain crampaf 'gus fuachtain
Is moran eile gearain na h-airim dfbh
Agus 0 'bhean a' tf, cad e 'n bhuairt sin ort.
\6@')

TREOIR
She hasn't the thing
she thought she had
This Single Jig was recorded in August, I96B, by Gene Kelly, an accordion player
who was born in Co. Kilkenny in 1909, and emigrated to the U.s. and settled in
New York where he became a well known figure among the Irish traditional music
fraternity there.
l
F J1
r F r j J5 1 j J J J J J J. J :11
Up and Away
These two polkas were recorded in New York in 1934, by the renowned flute player,
John McKenna (I BBO - 1947), from Tarmon in Co. Leitrim, and banjo player Michael
Gaffney (I B96 - 1964) from Mullaun, Arigna, Co. Roscommon. This type of polka is
common to the North Connaught region (Sligo/Roscommon/Leitrim/East Mayo).
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TREOIR
President of Comhaltas 1982-1985.
The year 1986 was one of the
greatest years for Comhaltas concert
tours. There was top rate talent and
great diversity. They included in the
caste a Seanchaf, the late John Cowley
from Ballinagore near
Castletowngeoghan, County
Westmeath, a legendary character
with great ability for putting his
thoughts and impressions into verse.
During his lifetime. John Cowley
wrote and published 26 brilliant
pieces dealing with every aspect of
Irish life. One of his masterpieces was
about the Blacksmith and his forge. a
trade that has now faded from the
scene in Ireland.
The Blacksmith's forge just like the
old firesides of long ago was a
gathering place for young and old.
especially on rainy days. News and
stories from miles around would be
subjects of great debate. Recalling the
memories of yester-year, John Cowley
penned the following lines in verse
about the Blacksmith and his forge:
In pensive mood my boyhood
visions surge,
To recreate the Blacksmith and his
forge .
The Smith at work once viewed in
high esteem
Can now be only witnessed in a
dream.
Beneath the dredging roar of the
exhaust,
A noble trade forever more is lost.
To add flair and beauty to this very
popular show. Clfodhna Dempsey,
formerly of Dublin and then living in
Luxemburg was selected to present
the show. No better choice could be
made. Resplendant in ornate gown,
she thrilled audiences everywhere.
Her angelic appearance on stage
created a new dimension for the
show. Clfodhna had made a huge
impact as Presenter of the 1985
Concert tour of Europe. Her father,
Martin Dempsey was the well known
Irish actor.
The every popular John McCracken,
now R.l.P., was tour manager that
year. John hailed from Buncrana. He
had chaired the 1975 and 1976 Fleadh
Cheoil na hEireann held in Buncrana,
also 1979-80.
But it was Mary Brogan who added a
special treat to the show. The mother
of 13 children thrilled audiences
everywhere with her haunting voice
and rendition of such lovely
traditional songs as Carrig River and
Boolavogue. Mary also brought along
her Mouthorgan as well, to add more
to her multi talent. She is also a fine
IiIter. Glad to repeat here again that
she hasn't lost any of her fine talent
as was very obvious on her recent
vacation trip to Long Island.
There were 18 concert venues in
1986. covering a vast area. Starting
out in Long Island and on to
Schenectady, New haven. Waltham.
Buffalo. Detroit, Toronto. Ottawa.
Saskatoon. St. Albert, Vancouver. San
Francisco. San Antonio. New Orleans.
St. Louis, Kansas City. Chicago. and
Bronx, New York.
The regional coordinators then were
household names in Comhaltas. Jack
Pendergast, Helen Gannon.Jim
McGinty, Eamonn O·Loghlin. Tom
McSwiggan. The concert chairs and cochairs
were staunch and true. We
recall with pride the great names of
Hugh Smith. Dan O 'Kennedy,Tom
Masterson. Colum Mulligan, Paul Curry
and Johnny McGreevy now R.l.P.
Still happily with us, Jack Whelan, John
O'Donovan,Anne Marie McLoughlin,
Larry Reynolds. Mike Winston, Mike
Meehan, Danny Lucey, Jim Coyle,
Helen Gannon. Meena Sennott, Joanie
Scanlan,Anne McConnell, Sean
Gorman, John O 'Grady, Steve Welch,
Mary Ann Folan, Mary Burke Downs
and Michael Flatley. They came from
many counties in Ireland an some
from the United States and Canada.
All of them together understood
what our culture and heritage was all
about. Many were born into it. There
were no half measures. They set
about organizing the tour with
diligence and resolve, just as others
had done in preceding years.
The Comhaltas branches here were
strong in 1986. In preparation for the
concert tour. hospitality committees
were formed. The artistes on tour
were housed. cared for and looked
after while in town. There was no
thought of putting them in motels
back then. Host families came to
airport and other terminals to meet
and greet the talented group from
Ireland. There was a sense of pride all
around. Newspapers carried inspiring
articles on the show. Town
Supervisors and community leaders
very often issued Proclamations
declaring a Comhaltas Day of
Recognition in their respective towns
and cities.
1986 was our 14th year promoting
Comhaltas here. it was a labour of
love in its simplist form. 16 years have
passed since that historic time. Many
have passed on to their eternal
rewards. others are still happily with
us. But to all who served they will
always hold a special place in our
memory and in the annals of
Comhaltas history. They were loyal
and committed people whose massive
contributions to Ireland and our
native tradition will forever remain a
shining jewel in the Comhaltas crown
of success.
16

TREOIR
SEAN RYAN'S DREAM
The Second Collection of Irish Traditional compositions of Sean Ryan
Compiled by Brian Ryan
Sean was born in
Nenagh. Co. Tipperary.
It was his good
fortune to grow up in
the Newtown area, an
area that produced in
the same generation,
such fine musicians as
Paddy O'Brien and
P.J. Moloney. His father,
Thomas was an
outstanding fiddler.
Sean's first instrument
was the flute from
which he quickly
graduated to the
fiddle. He was a noted
step dancer and a
very fine singer.
He brought a different approach to
fiddle playing with his own unique
personal style, sweet and rich, which
instantly distinguishes his music from
that of any other fiddler. He had a
style noted for sweetness of tone, a
steady, gentle legato style in which
there were many lonesome notes and
many subtle ones. His playing was as
smooth as silk with gently rippling
ornaments and no hint of sharp attack
or brusque articulation. He could
dress up and refurbish an old tune so
that it sparkled like a jewel. His
outstanding accomplishments stand as
testimony to the quality of his fiddling.
He was living in the Portarlington
area when he won the Gold Medal at
the Feis Ceoil in Dublin in 1949 and
the Oireachtas Gold in 1954. He was
one of the few to win the All Ireland
Senior Traditional Fiddle title twice in
a row at Fleadh Cheoil na hEireann.
Loughrea in 1955 and Ennis in 1956
were the scenes of his victories. In
1958 he joined the Ballyoran Ceili
Band with Danny Coughian before
forming his own band in 1962. He
was a frequent performer on radio
broadcasts. He recorded with both
bands as well as with P.J. Moloney,
Peter Carberry and Pat Lyons.
I met Sean in 1961 . I had fallen in
love with his music previous to that.
He had already many compositions to
his credit at that time. We got married
in 1966 and from then on I heard his
compositions at first hand. His flair for
composition was remarkable. He
composed scores of tunes that have
the sound and feeling of the old music.
Over 200 tunes have flowed from the
warmth of his heart, the depth of his
soul and the gende stroke of his bow.
The first volume of 82 compositions
was first published in 1988 under the
tide of ' The Hidden Ireland'. Sean
bestowed honour on many of his
friends, admirers and fellow musicians
by naming tunes after them. Many
tunes got their tides from place-names
associated with the composing or
playing of them. Aptly enough Rev. John
Quinn and Rev. PJ. Kelly also
'christened' many of his tunes.
Sean was very close to nature and his
music reflects this. Often he got
inspiration or 'a run of notes' while
listening to the birds or a flowing
stream. Later in the peace and solitude
of his own home he would get his
fiddle and work on these notes.
Sometimes after a session with great
musicians he would be inspired to
compose new tunes. His whole heart
and spirit went into that music. Each
tune reflects the personality of the man
himself, kind, gende. genial and witty.
The late Pat Lyons hoped the
publication of Sean's compositions
would give some idea of his greatness
as a composer:
";r would he impOSSible to put down on
paper with a pen what Sean could do with
his nngers, especially his excellent technique
of treble and grace note, rolls and so on"
He was a frequent performer on Irish
traditional music pro~rammes on radio
and television. On two occasions he
toured the U.S.A. The audiences were so
thrilled by his performances in 1968 that
plans were made for his return in 1969.
Ireland's First 'Concert of Champions'
under the direction of Sean Ryan
performed in all the major cities of the
U.S.A. that year. As Labhras 6 Murchu
said at Sean's Memorial Concert in 1986:
'1 had the honour in 1969 to tour North
America with Sean and a number of other
musicians. I remember tralJellin~
throu~hout the United States, and each
hall, one after the other packed to
capacity. It was quite oblJious that each
time Sean Ryan came out on sta~e that the
audience was fully aware that they were
in the presence of a ~reat artist and he
was held in hi~h admiration. It is a ~reat
thin~ that someone is thou~ht 50 hi~hly of
50 far away from home. But it does
underline in no uncertain manner that
Sean Ryan was a ~iant amon~ ~iants" .
Sean was called to eternity on 15
November 1985.
That he did not live to see his works
published is to be re~retted but I'm sure
it will brin~ happiness to him now as it
does to us to see his lon~ cherished
ambition fulfilled. I treasure all the happy
memories I have of Sean. I really miss his
~entle lovin~ disposition, his calmin~
peaceful influence, and his unique sense
of humour, wit and charm. I am very
happy to be instrumental in making 'Sean
Ryan 's Dream' come true.
Taimid faoi chomaoin an mh6r a~ gach
duine a chabhraigh linn an leabhar seo a
fhoilsiu: Pat Lyons (R.I.P.), Frank McCollam
(R.I.P.), Rev. John Quinn, Rev. PJ. Kelly,
Paddy O'Brien, Eddie Kelly, Caitriona
Ryan agus gach duine a chabhraigh linn.
Without the expertise, interest and
dedication of Brian, Sean's son, this book
would not have materialised.
I ~comluadar na Aln~eal sna f/aithis ~o
raibh Sean.
Go gcuire an leabhar seo aoibhneas
agus son as ar ghach leitheoir.
Kathleen Ryan

GAA Urged to Drop
Ceili M usic at Interval
The Munster Colleges
representative on the Tipperary
County GAA Board has called on
the association to change its tune
in relation to half-time
entertainment at major games.
Gerry McDonnell wants the GAA
to bring in top Irish entertainers
such as Christy Moore,Van
Morrisson,Aslan and U2 not to
mention Tina Turner whose hit song
'Simply the Best' he has suggested
could be a real winner on Munster
Speaking at a meeting of Tipperary
County GAA Board, the Clonmel
man said: 'Can I just appeal to the
authorities in Semple Stadium and
other such venues around the
country to dump all those ceili
band tapes.
'I think we should be appealing to
the younger generations and playing
that kind of music is not the way to
go. All you have to do is look at the
terraces to see the ages of those
coming to our major games and,
believe me, they certainly do not
appreciate ceili band music.
- 'Irish Examiner'
*Note:An estimated 230,000 people
attended Fleadh Cheoil na hEireann in
Listowellast year while 80,000
attended the U2 performance in Slane
the same week-end, as reported by
Wil/ie Dil/on in the 'Irish Independent'!

The 25th of April 2002 saw one of
the most enjoyable and entertaining
nights of recent years at Culturlann
na hEireann, when a gathering
conceived and organised by the
committee of the Piper's Club
Craobh Leo Rowsome CCE took
place to honour one of of the
branch's most distinguished members.
The occasion was a celebration of the
life and times of Vincent Broderick,
musician, composer and teacher.
In the presence of the Ardstiurth6ir
and a host of distinguished musicians,
the gathering was reminded of
Vincent's outstanding contribution in
all areas of Irish traditional music. To
honour the occasion, a special edition
of Ceili House was recorded and all
of the music on the programme was
composed by Vincent.
The musical part of the evening,
including the recording of Ceili House,
involved both Vincent and his family
and many long standing associates,
colleagues, and friends who have shared
many great memories with Vincent.
Ant6in Mac Gabhann gave a glowing
account of Vincent's achievements as a
composer, musician and teacher, and
Vincent himself displayed his other
talent as wit and raconteur when
recounting experiences, origins of
tunes and many interesting experiences
and events in his life.
Among the guests with Vincent, PhyIlis
and family, were Labhras 6 Murchu,
Ciaran Mac Mathuna, Sean Potts,
Michael Tubridy, Des Geraghty,
Seamus Mac Mathuna. liam de
Bruineir, Muireann Deignan,
Mairead Farrell, Padraig 6 Ceallaigh
(Iar-Uachtaran CCE), Mairead
6 Cearnaigh and also Mick O 'Connor
who spoke fondly of Vincent and the
Piper's club and has promised that his
long awaited History of the Piper's
Club will soon the published.
One of Vincent's principal comments
was to remark on the young
members of the Pipers club who
played so well on the night and the
evening was enhanced by his
granddaughter, who sang The Sally
Gardens.'
The presentation and recording of
Ceili House was preceded by a buffet
with wine and refreshments. After the
recording, the event continued with
tunes, stories, and conversation into
the night.
A special and unique presentation
piece of Bog Oak engraved with a flute
and mounted on a granite base was
presented to Vincent by Brid Brody on
behalf of t he branch and Vincent was
obviously moved by the gesture.
One of the most impressive features
of the evening was the great rapport
which Vincent had with the younger
members, his favourable comments
about their playing, and the realisation
on the part of the young people t hat
they were in the presence of a major
figure in Irish traditional music.
Among the many messages received
on the night was one from two of his
former pupils and now of
the highly successful
Tom
and Eamonn Doorley, WfIO:J"'''''.
unable to attend due to
associated with the pnasenQl1l
The entire evening was an ~1dJ.l:i;
and satisfying experience for
concerned and gave due rec:OIlrifdlii1
to an outstanding individual and
fitting celebration of a lifetime of
achievement.
10

5eamus 6 Dubhthaigh is one of Ireland's foremost and highly
respected ballad makers and ballad singers. He is a well known
penonality and adjudicater on the Fleadh Cheoil circut. In this
three-part thesis, Seamus
of traditional
ballads and offers some ....... ~iiWifd~ • ••• ~.mlnelnta:ries.

TREOIR
Well Done Japan CCE
The traditional
St. Pat rick's Day
parade, now in
its 11th year, has
become more
and more
g'randiose. This
year the weather
was especially
g'ood. The rain
and cold which menaced previous parades was nowhere to be seen .
Aitog'ether, in our g'roup about 'to people participated, including' musicians, dancers,
friends and relatives. We manag'ed to perform on stag'e for the Tulip Festival, before
charg'ing' to the parade. Bag'pipes and marching' bands were followed by various
g'roups of people with props and costumes. They seemed to enjoy escaping'
everyday life and becoming' cheerful Irish people for a short time.
In order to avoid last year's problem (because there
was some distance between dancers and musicians,
the dancers couldn't hear the music), we made
thoroug'h preparations, but unfortunately, because of
the waves of people, near the end, our rows became
confused.
In spite of this, it was a fun (crazy) event. Even thoug'h
our rows became confused and the music faded in the
crowd, everyone just smiled and kept on dancing'. The
spectators at the side of the road joined in the fun by
applauding' and shouting'. Well done, everyone!
A few days after the Shamrock Festival, we received a
friendly messag'e from a founder of cd: Japan, Eamon
O'Keeffe. With his permission, we are publishing' his
letter here:
Hello there. For several years I have been qUietly
monitoring' the prog'ress of the cd: branch in Tokyo via your website and friends still
in Tokyo and I would like to tell you all how proud I am to be associated with the
Tokyo branch and how rewarding' it is to see you continue to flourish. This is a credit
to all of you on the committee and I would like to cong'ratulate you on doing' such a
g'reat job, especially since you are all volunteers.
Last Christmas I went home to Ireland for a vacation. While there I met Labhras 6
Murchu and he was very excited to tell me about the continued success of cd: Japan
and he considers you one of the org'anisations "jewels" - so well done to you all.
Ag'ain my cong'ratulations on keeping' the cd: Branch "alive and kicking'" and I would
like to send my encourag'ement to you all to continue your g'ood work. I hope cd:
will continue to be part ofTokyo and Osaka's artistic offering'S for many years to
come. I also hope to return to Japan ag'ain one day either on vacation or for business
(my company has a factory in Yasu) and I would love the opportunity to meet you all
some time in the future.
Best Reg'ards and keep up the g'ood work.
Eamon O'Keeffe, Founding' member, cd: Japan, cd: Japan Newsletter
HAND
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Efficient Bow Rehairin~ Service,
Bows, Cases, Strin~s & Fittin~s,
All other strin~
instrument repairs
Kevin Sykes,
Killeen,
Ballyvary,
Co. Mayo.
ksykes@eircom.net
www.kevinsykes.com
Visiting Galway weekly
by appointment

I would like to con~ratulate Joe O'Siorain
in Treoir Iml. 33 uimhir 2001 No. 79000'tx.
for his wonderful article - "Whither the
Traditional Arts of Ireland".
I don't believe that I am alone in ali~nin~
myself with so many of his critical
reflections of the Arts Council. Like life
support systems provided by nature, the
cultural traditions of people everywhere
have never been ~iven the honour and
~ratitude they deserve by the modern
and post modern world. On the contrary,
the extin~ushment of tradition is ~eneral
synonymous with the onward march of
modernism.
Unfortunately, it is too often for~otten that
had cd: not emer~ed in Ireland half a
century a~o what is now a rich livin~
tradition would have become yet another
curiosity in some museum or archive and
as AK. Coomaraswamy has so very well
said: the art forms of peoples in museums
are no more then the funerary rites of what
was once a livin~ and relevant tradition.
Arts departments are ~enerally not the
friends of tradition, they have always
been and still are a vehicle for "displays
of bour~eois elitism." The primary source
of their "inspiration" has always come
from an overarchin~ desire to be avante­
~arde and individualistic. The latter
always shows an implicit hatred of
traditional ~enres and is almost always
hostile to them.
The manifest absence of fundin~ for the
traditional arts and abundance offunds
available for the ballet and opera for
example arises out of a belief in the
innate superiority of the latter and this
belief is in part a consequence of the
equally false ideas of hi~h and low
culture: ideas that ~o hand in hand with
so many other modern aberrations. I
should point out, thou~h, that whilst I
believe I share a common purpose with
the author Joe O'Siorain I nonetheless
find myself just a little at variance with
some notions.
Defenders of traditional cultures must
~uard a~ainst bein~ drawn into
employin~ a lan~ua~e that in its nature
diminishes the plenary position of the
traditional. To demolish notions of hi~h
and low cultures I accept without
reservation primarily because low culture
is usually reserved for traditional ~enres
and hi~h culture for ballet and opera and
the like. But let me say without hesitation
that I refute outri~ht the assertion that
there " are no criteria which elevated one
art form over another or jud~ed one
cultural activity superior to another."
(p.50). So many traditional peoples, their
lan~ua~es and their arts and crafts have
passed into oblivion in the wake of just
such " democracy". It is a misplaced
ma~nanimity and it is so often used as a
smoke screen by people who at bottom
so not believe in it for a sin~le moment;
the better to serve their own purposes.
It has to be insisted on that the very word
traditional will lose all its relevance if it is
placed alon~side anythin~ whatever with
no reco~nition of a quality that sets it
apart. The point I wish to make here is; if
it is accepted in advance that traditional
expression is the fruit of a particular
ethnic ~enius then the very primacy of
the tradition must be due to the fact that
it is imbued with criteria and therefore
values of a pre-eminent nature. The
stamp of a ~iven tradition does not fill the
space-time of a people arbitrarily. It is
there in its particular mode because it
must be there and not simply because it
mi~ht or could be there and this is what
2