(IRIS OiFIGIUll

6'1 Marta/Aibreain
CHOMIiAl TAS
CEOLTOIRI
EIREANN) T RE 0 I
JOE AND KATHlEEN BURKE - SEE " SWEET MUSIC IN KllNADEEMA" ON PAGE 11.
(UI~~~ 7)
lUACH , 6p.
:I 1 11 111111 111!1 11 ~-itH ItlItII#!l~iI::::::::iI:tmtH~!I! II!l :I$!'I!!IIlIIIIII !lI !!! !l!!I! !~ HIIIII!III1I I1III1I!!IIII1II!''!11I111I11I11I11I1111I11II11I11I1I11I11I11I11I111I**14I111111111111 1111 11 11111 1 1111111 ~ _
 2

IRISH TRADITIONAL MUSIC "

In the preface to Vol. 11 of his " Collec-
tion of Irish Airs," Francis Roche insists
th at it is fundamental to the study of Irish
(Le PADRAIG A' CHNUIC) folk music that " the existence of the tra-
ditional style" should be recognised as "a
What is this trad itional music? What message has it? The ordinary inquirer, fact now established beyond question." He
I'm sure, expects a very simple, ready-made answer. That may be due to the simple went so far as to invent special symbols
appearance of most Irish music which has been writtEln down by the famous collec- to mark wtlat he called " inflected inter-
tors like Bunting, Levey, Joyce, Pelrle, Hudson and O'Ne lll, vals" which he described as a quarter-
It looks sim ple - no bass, no intricate harmony coupled with it - just one single tone slide on the fiddle string . This slide
lin e: but the serious students of traditional music realise t hat there is much more in is especially effective in the playing of what
it than simply pl ay ing th at line just as it appears in the book. are now called slow airs , and is not to be
The trad it ional intonation 01 which Francis songs sung to the airs Bunting had already con fu se d with " scooping" from one note
Roche speaks is something like the bias co llected. The Bunting manuscript was not to another, which is condemned by all
of the native speaker of Gaelic and can alone a collection of folk-m usic , it was a competent musicians.
only be acquired by years of patient prac- collection of poetry as well. Eibhlfn Bean Mhic Choisdealbha, as she
ti ce. says Ilerself, " never intended to publish "
Music of any I(ind has been simply su b- CARl HARDEBECK the collecti on of songs she had made
divided into three elements, melody, rhy- Another fa mous collector who realised over p period of ten or twelve years , and
thm and harmony. The Irish musician of that in order to render Irish airs properly possi bly would never have done so were
old, it would appear, attached most impor- it was necessary to have a thorough un- it not for the encouragement and assis-
tance to the first and very little indeed to derstanding of the accompanying words tance she got from the Irish Folk Song
the last. He was ·carried away by the beau- was Car I Hardebeck. So earnest was he Society .
ty of Irish melodies , ni nach ionadh. in his quest of Irish folk songs that he In the preface to " Amhrain Mhuige Seo-
" Of all the countries in the world," wrote studied and became a fluent speaker of la " -the title under which she published
Sir Arn ol9 Bax , " Ireland possesses the t he language . It was thus that he dis- 75 traditional Irish songs which she found
most varied and most beautiful folk music " covered the wealth of folk lore hidden be- still being sung in an area within a radius
Just on e liner ' But then that line was like hind the simple titles of many of our folk of 30 miles from the town of Tuam-Mrs.
th e fligh t of -the swallow - powe r, ease. songs. · Many of these would appear at Costello tells of the dreams she and her
and grace combined . first glance to be plain love songs. " R6isin musical friends were weaving when
Dubh " and " Cait Ni Dhuibhir" would sure- thoughts of rebellion and red war were
THE HISTORY OF IRISH MUSIC Iy be c lassed by most people as such . revo lving in other minds. No less a pro-
What then would the caption " Were You Iiect than the establishment of a school
The history of Iri sh mus ic has yet to be at Th e Rcck?" convey to the uninitiated? for t raditional music was formulated to
written but from the scant records avail- The story of this song vividly illustrates foste r Irish folk musk, as the Gaelic Col-
able we know. it has been as chequered one of the darkest periods of our history. leges in the Gaeltacht areas fostered the
as that of Ireland itself. Even as late as TradJtion has it that it was composed by language .
Turlough O'Carolan 's time (1670-1738) the a Catholic priest.
wealthy families patronised music and th e In his hasty retreat from a Mass rock AN COMHAL TAS
musician was always sure of a princely he had dropped the pyx with the Sacred About 40 years later a somewhat similar
welcome in their homes . Afte r the Crom- Host inside. Discovering his loss, he idea struck in a different place-the Pi-
wellian settlement the picture began to searched for days along the route he had pers ' Club . Thomas St., Dublin . This time
change rather sadly. The leader of the taken , but searched in vain. Knowing that the Committee's deliberations culminated
Ironsides is reputed to have ordered them there was a price on his head , he did not in th e formation of a Society-Combaltas
to " hang the harpers and break up the dare to confide in th e local people . So, Ceolt6iri Eireann-with a primary object:
harp." Possibly in no other province but att ired as a tra mp or bacach-as he would " To promote Irish traditional music in all
Connacht would Carolan have ·.> fOuf.i"d as be called at the ti me--he made his way its forms ."
generous a patron as McDefmott 1Roe at to the ne igh bouring village of Virginia. Up Now we come to the message which
the time . "'Jl' and down its single street he trudged for traditiona l music has for the Irish people.
A few :i:leterm ined efforts were made la- hours si nging at the top of his voice: A vital message it is too - to value what
ter to revive' inte(est in Irish music and in " An raib tu ag an gcarraig is their own and never exchange it for the
harp-playing in ' particular. The Granard N6 an bhfaca tu fein mo ghra? pale inanities of the music halls. And here
Fastival was held in 1781. There were 7 N6 an bhfaca tu gile finne they can be certain that the native folk
harpers at the Harp'e rs' Ball , as ',it 'Was Agus sceimh na mn a.?" music is second to none - unsurpassed
ca lled, and the competlt fon was won by A you ng Catholic girl , hearing this re- by any nation on earth . Nil ceol nios fe arr
Charles Fanning of Cavan . who playeq frain re peated so often, wondered that a na Ceol ar Sinnsear.
" An Chuilfhionn." This festival was spon- man with such a fine voice had only one
sored by Ja mes Duggan, one of the exiles song. She dec ided for herself that the re NOTE
from Erin . was a message contained in the words and
Clare-born Padraig A' Chnuic, a school
Another Harp Festival was organised in looking closer she saw through the bac- tea che r now residing in Foxrock , Co.
1792 in Belfast. Ten Irish harPers, six Of ach 's disguise. Passing close to him she Dublin. was fo r several years until 1962
whom .were blind , attended . Most of them gaily sang back the answer: National Secretary of An Comhaltas.
were over 70, and the oldest wa s 97 . 18- " Do bhi me ag an gcarraig ,
years-old Edwa rd Bunting must have pre- is do ch onaic me fe do ghra."
sented a curious contrast as he went Ro gu ishly winking at the tramp she
amon g tlles e hoary harpers, noting down made he r way back home , to be followed , AN RAIBH TU AG AN gCARRAIG
th e muSic they played . The young organ- a few moments later by the "travel ling
ist , who was also a pianist; preserved the man ." Disclosi ng his identity, he found to An raibh tu ag an gcarraig ,
airs on paper for posterity, but unfortun- his delight that she had picked up the pyx No an bhfaca tu fein mo ghra,
ately no harper has played them since in he had lost. He had recovered his treasure No an bhlaca tu gilei no finne
the style of the nonagenarian Denis O'Ha- and foun d a safe hiding-place from the No sceimh na mna .
mpsey at that Belfast Festival. sold iers of the Crown. No an bhfaca tu an t-ubhall ,
So impressed was Bunting by the music Ba chumh ra as ba mhilse blath,
he heard that he q\'lcided to devote his IiJe COLLECTORS No an bhfaca tu mo Bhalantin
to thestu'dy and preservation of Irish ' me- From the middle of the 19th century, No an bhfuil si d'a claoidh mar ta im?
lodies. He was >probably the first musician Irish folk music appears to have been al-
who realised that the verses which ac- most completely . neglected ., This is not to Do bhios ag an gcarraig
companied these folk tunes were almost be wondered at. for this was a period dur- As do chonaic me fein do ghra,
as important as the tunes themselves. He ing which famine , em igrat ion, and insurrec- Do chonaic me gile agus finne
had no knowledge of'uthe' language so he tion sapped the vitality of the Irish people. Agus sceimh na mna,
enlisted the aid of Pa"draig 0 Loinsigh , a A few scattered collectors were at work- Do chonaic me an t-ubhall
school teacher ' ill Co. Do wn. 0 'Lo insig h Capt. Francis O'Ne ill , who afterwards Ba chumhra as ba mhilse blath ,
-who was .:a Gaelic scholar as well as an emigrated to America; Francis 'Roche of Do chonaic me do Bhalantin
Irish speak.er~travelled all throllgh Mun- Limerick. and Mrs . Costelici of Tuam , Co. Agus nil si d'a claoidh' mar tair.
ster and
~ ....
Cohnacht to collect the many old Galway. (Reproduced by kind permi ss ion of "FO NN")

',,,'
 3
FINANCIAL HELP FOR BRANCHES
WHERE'S THE SESSION? -Asks HELENA ROWSOME.
The C.E.C. has arranged for a National
Raffle wh ich will help to supplement branch
funds . The prizes are £50, £25 , £15 , and
Did you ever ask someone how he enj oyed a particular session and get the fol- two prizes of £5.
lowing reply: " The session was good but the session after the session was fantastic" For every £1 collected the branch will
IfYaU ever heard that bit of ' logic' I'll bet nique is by attending regular " sess ions." retain 18/ -.
you began wondering and feeling disap- In some cases, the learning of tunes comes Each Raffle Card has 12 lines (1 / - per
pointed that you missed that night's music. wit hout any effort on the part of the lear- line) , of which the seller has two free
Did you ever notice that musicians get ner. In this instance one would probably ones. The draw will take place at Fleadh
into really great form late at night , and as have to hear a tune only once and be able Cheoil na hEireann in Cashel.
the night goes on they reach the top of to play it . Then there is the mu si cian who, UIMHIR GUTHAIN
their form? I imagine that mus ic sounds when he is at home after the session , feels Please note that 57554 is the telephone
differently late at night , filling the air with d isg usted that he just can't think of that number of the Comhaltas Head-Office at 6
th e magic of genu ine jollity and sincer ity ; last reel , when in fact he really knows the Sraid Fhearchair, Baile Atha C.!)ath , 2_._
that sincerity in wh ich every note of our reel but can 't just bring it out on his in-
fi ne music is steeped . All this cre ates t he stru ment . Did yo u ever find yourself lilt ing sion.to 'sit down and play away all night.'
necessary atmosph ere for the traditiona list a reel and then wonder where you got it? It is necessary to do a little more and per-
an d capti vates his entire heart and sou l. Thi s often happens and , therefore, indic- haps explain what a particular tune is, and
I often wonder ho w this word " session " ates that by attending regular " sessions" in t he event of someone playing a slow air,
ever bec ame associated wit h mus ic and one manages to learn quite a number of I feel that the air itself would be much
musicians , and ho w it came to be the pass tu nes subconsciously. more interesling to the listener if the story
word to Imany a musical evening (and early There are two different types of " ses- was briefly outlined by the well equipped
morning . ) .. I.t IS,. I would say, a word that sions." The on e organ ised by, let us say, Fear a' Ti ; this I think would be the ideal
every traditionalist uses freguently and a part icular branch of Comhaltas which in situation .
hopes for ItS real ity. The sessl.on IS to .me some areas is under the direction of a We have so many slow airs the stories
th e mo st Informal and effective medium Fear a' Ti. I would th ink that this form of which are fascinating , wouldn 't it be
through which one can rea.II>, see the .en- of session is really the most important and really great to hear something about them
ti re meanlnQ of the traditional musical most relevant to Comhaltas in its endeavour even occasionally at our sessions? This
mind. Th~ Inf?rmal chat between tunes to promote . It is necessary to impress upon type of session , however, might not be the
and ~he fnen~llness all r.o~nd are all part eve ry Irishman and woman that this music one that is enjoyed by the musicians to the
of thiS gathering of mUSICians. is the ir music , and that consequently the fu llest extent. However, when one ex-
THE LAST REEL , audience has a special part to play in the am ines the fact of our existence as an or-
ganisation with promotional aims one is
In my opinion , the most effect ive way II organis ing .of such a session . I. do not inclined to think differently.
of learning tunes and of studying tech- think It suffiCient at such an organised ses-
AN CEANN EILE
CEOL lOIRI SHLlGIGH Let us now take the other session, or
"the session after the session." As most
organised sessions must be over by (well! )
a reasonable hour or just when the mu-
sicians are getting into good playing form ,
the session must break up and on the final
note of the last reel the nudging begins.
" Well! where 's the session, Jack?" Let us
say that the session is held in Jack's house.
Jack collects twelve musicians and directs
them back to his house after session one.
The house is open, the people begin
streaming in until Jack realises that the
musicians have multiplied by four. Never
mind , thinks Jack, the more the merr ier.
Then the music begins. " The Ma id from
Castlebar " comes from the fiddle in the
corner and before the fiddle in the corner
has fini shed its opening reel , the other fi ve
fiddles have joined him . From then on the
tunes flow from the pipes, flutes , and the
fiddles . By this time the box players must
do their bit , so they get up off their cases
on which th ey have been seated anq get
to wo rK-after all , poor Jack can 't provide
chairs for all .
The session is really alive by this time
and the whistles can be heard chirpin g as
if trying to compete with the " heavy ar-
tillery " and usually making an excellent
effort in doing so. And so the session con -
tinues , from reel to reel for at least the
" revving up" period , which would prob abl y
last for forty-five minutes. Suddenly there
is a silence and someone exclaims " Let' s
play a few jigs, " and so off it goes again .
The tapping feet., the happy smiles .and
general environment ignores time and even
ignores the cock outside which is an -
nouncing th at it is time to go to Mass .
" Gosh " excl aims Jack, " it's 5.30 a. m. and
it's Sunday morning ; but wasn 't it a great
se ssion , lads?"

SLOW AIRS
Compe titors fo r the Slow Aa irs comp e-
t itio n at Fl eadh anna Cuige and Fl ea dh
Ch eo i/ na hEireann will sub mit a list of 8
airs f rom which the adjudicator will name
SEAMAS TANSEY AND GORETTI MOLLOY, WHO WERE MARRIED RECENTLY ~ t he thl'ee pieces to be played .
 4

This beautiful air was noted down by Miss Lucy Broadwood near Cappoquin. The words were taken down by Padralg Mac
Sulbhne from an old woman In Ballyduff, Co. Waterford.

Glasgow Function
" The national aspirations of Scotland and
Ireland have much in common and there
is vast scope for co-operation between the
two nations," said Labhras 0 Murchu, Na-
tional President of Comhaltas Ceoltoiri
Eireann , at a tourist promotion function
organised by Bord Failte in co-operation
with Comhaltas in the North British Hotel ,
Glasgow.
" Many voices may be raised ," he con-
tinued , " in praise of international ism to the
exclusion of national identities th roug h
distinct national culture, but how many will
indicate what is the ultimate meaning of
" internationalism." Does it mean that we
will use the cu lture of one particular na-
tion as a guideline? Which nation will this
be, and are we sure that all other nations
will accept the privileged one as an ex-
ample? Such a process is not possible , as
any man who values freedom and indi-
vi duality will not accept carbon-copy status
at either personal or national level. I be-
lieve that the different races who are rooted
in tradition and who can boast of strong
cultural foundations should co-operate
more fully and bring about a union of all
those who che ris h their own distinctiveness
and help each other to maintain it. If this
is " internationalism " then I will be a strong
advocate.
INDIVIDUALITY OF NATIONS
" Recently in Ireland we had some Scot-
tish guests on a late-ni ght television pro-
gramme and because they , like the vast
majority of the Irish people , believed in
the individuality of nations they were sub-
jected to an insulting and trivial barrage
by an uninformed and biased element, in-
stead of the dignity which befitted the ir
sincerity and standing . These fine Scottish
guests do not need my defence as they
acquitted themselves in a d ignified and
AT GLASGOW FUNCTION
Seated: Lena Tierney and Una Ui Mhurchu - From left to right: Chris Kane (Bord
Failte Manager for Scotland) , Owen Kelly, Fr_ O'Neill, Leon 0 Clumhaln (Gael-Linn),
Labhras 0 Murchu (Uachtaran), Denis O'Connell (Irish Travel Officer, Manchester)
5
DEPUTATION TO TELEFIS
Th e Comhaltas Liaison Committee (Labh-
ras 0 Murchu , Uachta ran , Seamas de Brun
agus Liam Mac Gleanain , had a three-
hour meet ing with representatives of Tele-
fi s Eireann (Mi chae l 0 Garbhaigh, Con-
troller of Programmes ; Lelia Doolin , Head
of Light Entertai nment, and Liam 0 Mur-
chu , Head of Ir is h Programmes) at Donny-
brook on February 28th . A full report will
be placed before the next meeting of the
CEC .
Furthe r discussions will take place be-
tween R.T.E. and An Comhaltas on April
28th .
~\Ic!;wt~~~tFllllm tl'l.l~~IW1wam'
COMORTAS SCORAIOCHTA
The final of the Comortas Scoraiochta
which will be held in the Marian Hall , Birr,
on March 30th , will be attended by Telefis
Eireann representatives.
q:jm~fi:I'1W~Wt1jHltHt1H~1t1'$11t11llll$l l+I$jt11!$.#1$ij
convincing manner. The attitude of what
was obviously a prejudiced and "fixed"
show was a source of embarrassment to
al l fair-minded people.
" Comhaltas in Scotland can de much
to strengthen the ties between our two
countries. It is encouraging to know that
this ye ar a Provincial Fleadh Cheoil will be
held in Glasgow and that the winners in
the various compet itions will compete in
Fleadh Cheoil na hEireann in Cashel. We
are looking forward to meeting you all at
this event in Ireland and I can assure you
of a Cead Mile Failte. We believe in the
brotherhood of man and that one must not
denude oneself of national personality to
achieve this fraternal state. We believe
also that visitors to a strange country want
to find something different than what they
left at home and surely this is the essence
of any good holiday."
OUR BRANCH
(Le MAIRTIN MAC GAMHNA)
Our branch , Killeshandra, promoted a
traditional music class to cater for the
youth of West Breiffne and 60 enthusiastic
boys and girls enrolled in October last. We
provided extra classrooms and appointed
four well-kn own music te?chers to give
instructions . Our first objective is to form
a Juvenile marching band and this idea
fairly roused the enthusiasm of the young-
sters. Instru ction on drumming and drill
is also given by the committee, and the
band is expected to get off the ground by
Corpus Christi.
Music classes are held every Thursday
night from 7,30 to 9.30 in the C'y.M.S.
rooms , followed by a music and singing
session of the members. In this cois-na-
tine atmosphere is kindled a love for our
beautiful Irish music among the young
generation,
The Co. Cavan Vocational Committee at
their January meeting acceeded to our re-
quest to give financial assistance to our
classes and our work in promoting the
Irish music among the youth. We are in-
deed very thankful for their unanimous
decision to give this active branch , lo-
cated in an area rich in the heritage of
fol k music and local ballad , a wonderful
and deserving fillip.
Killeshandra branch is one of the earliest
affiliated units of C.C.E. and it organised in
1954 the second Co. Cavan Fleadh Cheoil ,
wh ich attracted 6,000 enthusiasts (note the
population is just under 500) . A unique
feature of the Fleadh was the colourful
parade and pageant based on General
Owen Roe O'Neill in period costume , in
which over 50 officers and bodyguard on
horseback were depicted . The O' Neill
castle and stronghold ruins may still be
seen on an island base on nearby Lough
Oughter,
I wish to congratulate C.C.E. on the
publication of the new magazine " Treoir."
Of!icers elected at our annual meeting :
PreS ident, Rev. Fr. V. Duffy, C.C.; Chair-
man , Mairtin Mac Gamhna; Vice-Chairman ,
Padra ig 0 Dubhthaigh; Joint Treasurers ,
Sean 0 Sorahain agus Tomas 0 Currain ;
Joint Secretaries, Sister Mary Gonzales
agus Miss Patsy Fox. Auditor, Mr. G. D.
Geddis.
~j:lj·ij~~~*IIWFmlI$l*il~'
CRUINNITHE CUIGE
The following officers have been elected
for the coming year:
Cuige Mumhan :
Cathaoirleach , Salbheastar Mac Conn -
mhaigh ; Leas-Cathaoirleach, Peadar 0
Carruin ; Runai , Brid Ni Chraith; Cisteoir,
Padraig 0 Cathain; Auditors, Conchub-
har 0 Riain agus Eamonn 0 Meachair.
Delegates to C.E.C., Salbheastar Mac
Connmhaigh agus Sean 0 Ceallanain.
Cuige Laighean :
Cathaoirleach , Mrs . C. Mulally; Leas-
Cathaoirleach, Denis O'Connor; Runai ,
Padraig 0 Dufaigh ; Treasurer, Patrick
Corry; Auditors, Ruairi 0 Cinneide agus
Breandan Mac Eachrain ; Delegates to
C.E.C., Criostoir 0 Cearnaigh agus Liam
Mac Gleanain.
Cuige Uladh:
Cathaoirleach , Brian O'Donnell; Runai,
Mairtin Mac Caba; Runai Cunta, Mrs, M.
McCabe ; Cisteoir, Paddy Rafferty; Dele-
gates to C.E.C. , Mai rtin Mac Caba agus
Paddy Rafferty.
 6

"MUSIC BY THE LUG" knowled ge of what traditional music is all

about, and will also acquire an apprecia-
tion not only of music and musicians but
(By Seoirse Ceol)
THE above expres sion is known to ha ve raised a fe w eyebrows at recent Comh altas
al so have an insight into the work of An
Comhaltas.
Seminars. This quote , which has now become a cant , or ig inated in the first instance PHRASE BY PHRASE
from that grand old man of Irish traditiona l mus ic , the maestro himself, " The Boss " - " In conducting the class take a group
John Joe Ga rdiner. of SIX or seven pupils at a time ; pl ay the
Used in conte xt of a talk by Breandan classes but the capitation has risen to tune for them a few times slowly ; then ta ke
Mac Eachrain advocating the system of almost forty, which includes two novice the tune apart phrase by phrase. Play the
teach ing traditional music by ear, to use ceili bands and one junior ceili band and first phrase of whichever tune you are en -
an adjudicator's comment, added light and there is no need for me to mentio ~ the deavouring to pass on , and then stop -
shade to the performance by coming out Siamsa . and play it again and again. On then to
with the mouthful : " Music by The Lug is I wi ll let Breandan take up the subject the next phrase and the same procedu re .
the system of teaching that I wholehear- from here. " The point in starting small is Put the phrases together until you have
tedly advocate." And I know if t he Boss th iS - the smaller the class in the begin - reached the halfway stage of the tun e.
himself were th ere he wou ld undoubtedly ning stages the qu icker it becomes estab- Encourage the pupils to listen with great
concur. lished . The small class is easier to handle care and pick up the fingering of the phrase
As the theory, knowledge, know-how - on e can devot e mo re time to them , and and the playing of the phrase at a very
was expended; examples and results enu- more attention can be paid to detail. The slow rhythmic pace. Never encourag e
merated ; policy and advice outlined ; eye- Branch class is , I fervently bel ieve , the real playing with speed. Usually four phrases
brows returned to normal and the uncon- po werho use from which An Comhaltas of constitute half the tu ne. and you will suc-
verted duly converted . Then to add insult the future will derive its life line. The ceed in passing on half a tune per night
to injury as it were , after telling us how Branch class taking place within the con- without .overburdening any pupil. The
it could be done, and convincing us how fines of the Branch meeting room provides player with the good ear will pick up the
it should be done, he carefully painted out the ideal environmen t for the teaching of threads quickly ; he in turn can be utilised
in his adroit, apostolic, appealing and dip- traditional music. Children have a certain to help his neighbour, and eventually the
lomatic manner, that any method by which amount of freedom ; the class is conducted child that perhaps has not a good ear for
you can get children to play traditional in a congenial , friendly , relaxed atmos- music can be trained and encouraged to
music in the trad itional style is the right phere ; the absence of any school decorum adopt thiS method, and will in time be-
method . leaves the child re laxed. He won't look come attuned to learning by the ear. When
METHOD at the c lass in the same light as school you have succeeded in getting the pupil to
Before you employ a method yo u must and you 'll fi nd that the child treats the fit all the phrases together and he is able
have a class , and here the Branch mem- whole thing as a night out and a night of to play it through from beginning to end
bers can do much to set up a class. enjoyment, which I hold is the very thing no matter how slowly , you will find you
Breandan in his talk advised the hand that it should be. One of the most impor- have achieved much.
picking of a few children which the Branch tant features of this environment is that " The p~pil will have received your tune ,
members could encourage to come along. the child gets an opportunity of see ing and your setting , your swing, your time and
The selected few would have some little hear ing older musicians perform. By rhythm, and the remaining quality which
knowledge of the instrument and be able hearing and seeing music played by older for t.he time being eludes him is feeling .
to play a simple march at least. He cited mus icians , they perceive a certain love be- Feeling In one 's music is something which
th e difficulties of starting from scratch with ing portrayed in front of their very eyes. c~me~ from within the person himself.
children that would have no previous In time the child himself will experience Time IS needed fo r this quality to develop
knowledge of how to play the instrument. this love for our traditional music. The and mature .
He told the story of his own Branch 's in- child himself will have cultivated this love , " Working with the group is the most
roads to setting up a class some ten years and the creative musical genius of the true advantageous method of handling a class
ago, when Rory Kennedy and himself traditional musician will eventually emerge. as outlined . Concentration on group teach-
started with the huge number of three Should he never become a traditional ing does not hinder the progress of the
pupils. To-daythe~II in charge of player he will at least have acquired a solo performer in any way, and group
It:IifImII1tf~lj:1tt~i\jIl:l:ltlfl1~HII·~mfl:mm$l~ teaching breathes and seethes with en -
thusiasm and you achieve the result of a
CEOL NA nUASAL group of musicians playing together note
for note, phrase for phrase , playing as a
trained team . I think it foolish to work for
solo players and I feel it can be time
wasted , because such an approach may
well produce individualists but may also
crea~e problems of pettiness and jealousy,
and In any event in the working for groups
the solo player and his ability will emerge .
It's important to keep the children happy
and interested and involved , and it would
be a good idea to have some goal for th e
children to work for.
THE TEACHER
The teach er is an important cog in the
wheel an d deserves mention . The first
thing I'd like to mention in respect of the
teacher is that to teach traditional music
the re are no academic qualificRtions
needed . The important essentials that a
teacher must possess is that he must be
a traditional player with command of at
!east one instrument; the ability to play,
Illustrate and demonstrate the tunes he is
endeavouring to pass on . The only other
qualifications that are necessary: patience
and the ability to cope with children . I
have no hesitation in saying a traditional
player can do doubt be an excell ent teac h-
er and with Sincerity of purpose and de-
dication of work, a respect and a love for
Members of Ath lone Ceili Band which tOll.red in England (1947 and 1949), com- traditional mus ic, pupils in time will CUlt i-
prising some members of Walderstown Uilleann Pipers' Club. Front (left to right) vate and develop his sincerity , hi s
W. Reynolds, Se an Ward , Patrick Keegan (now in U.S.A.), Sean McCormack. Back dedication , his love, his respect , his music ,
row (I. to r.): Edward Ega n, P. O'Call agh an, John Healion , Gerard Irwin, Jack Daly, his sty le, his tradit ion , and may well some
Michael Nally (n ow deceased) . day become master to the man .
 7

This fine elegy was written on the execution of Sir James Cotter in 1720. He was a son of Sir James Fitzedmond Cotter, who
had been commander-In·chlef for King Jam9S 11 in Munster. The subject of the elegy was the Idol of the Catholic Irish
in Munster, and a generous patron of Irish poetry. A false charge of rape was brought against him by the Quakers of Cork. On
the false evidence of a Quaker girl, whom he never met before his trial, he was fou nd guilty and hanged. His real crime was
his adherence to the Jacobite cause.

~ /.:- ~ '9
Id~.t!I_l-Jlr_rrtrO'trlttrmiE j!J1J ~
kj4~~kur-~~~~~
I)iiU7twDzt~(CA<'b6I1:&rv'%'#:Zti~
. _-j

Cork County Board
Convention
Extract from address by Mlchael 0 Lochlalnn ,
Chairman , Cork Co. Board Comhaltas Ceoltolrf
Elreann , at the Annual Convention at Carrafg
na bhFear.
" It is my privilege once again to wel-
come you to this the 9th Annual Cork Co.
Convention . In keeping with our established
practice of visiting a different Branch each
year, we assmble to·day as guests of our
youngest Branch , Craobh Carraig na
bhFear. Its formation here during the past
year ideally befits the traditional spirit that
has existed in the parish through many
centuries and the members who have made
it possible can justly be proud that they
add their own chapter to the annals of
that historic seat of learning at Faitche na
bhFilf.
" The contribution made in the literary
field by men of this parish over the past
three hundred years has earned interna-
tional acclaim. Even during the Penal
Days, the most difficult era of our history,
the poets and scholars here continued to
flourish and the true Irish way of life was
preserved . The protection afforded them
by the McCarthy family , landlords of Car-
raig na bhFear, was their inspiration . They
were always welcome in the McCarthy
home at the Big House , where the Irish
learning, customs and habits enjoyed
unbounded respect, and indeed many
chapters and many verses were added to
the manuscripts here. Yes , here! It is in
this very same house we meet to-day . Even
though ownership has since changed to
the Miss ionaries of The Sacred Heart the
same spirit of goodwill and co·operation
with the surrounding community still exists
and the same Irish influences emanate
from here too .
" You may say that this is history super·
fluous to our aims. Nevertheless, we have
very close ties with the Irish literary heri-
tage in the proper management of our own
affairs, and the good work now being done
by the local Branch members in the mu-
sical field stands on a par with that of the
great scholars of other days.
" During the past year Comhaltas Ceol -
toiri Eireann has grown into a vast con-
cern . The introduction of week-end semi-
nars, each convened to discuss specialised
subjects-administration, organisation , ad-
iudication, to mention but a few-has
proved to be well worth the effort involved .
The issue of records and tapes of tradition-
al music from selected top class artistes
is a major step towards the establishment
of an authentic library of traditional music
available to everybody. The production of
the news magazine " Treoir" and the first
Comhaltas Annual are other aspects of the
expansion programme undertaken . The
venture has been most successful so
far , and I am confident that our members
in Cork City and County will strive to as·
sist in effecting the programme envisaged
for the future. In our own domain the in-
stitution of classes for the teaching of tra-
ditional music at five centres is well under
way. We are indebted to Cork Co. Voca-
tional Education Committee for its adop-
tion of our proposed scheme for these
classes."
FLEADHANNA CHEOIL DATES
Fleadh Ulaid at Clones .... .. ...... April 6-7
Fleadh na Breataine at Glasgow ... Apl. 20
Fleadh Chonnacht at Boyle ... April 26-27
Fleadh na Mumhan , Dungarvan, May 10-11
Fleadh Laighean at New Ross ... May 17-18
8
Piobairi Uilleann
(We feel that the following list of Uilleann Pipers may still be incomplete,
and further information wou ld be welcomed)
Cuige Laighin:
Micheal 0 h-Almhain, 97 , Ascal Cnoc Muirfean, Carraigh Dubh , Baile Atha Cliath.
Sam Atkinson , Moneudurthlene, Ferns, Co. Wexford .
Brendan Breathnach , 47, Frascati Park, Blackrock, Dublin.
Ivor Browne , Marathan , Killiney Avenue, Killiney, Co. Dublin .
Garech Browne, Baile Atha Cliath.
Peter Carbery, 1, Derrybawn , Kenagh, Co . Longphorl.
Patrick Cartan, Camolin , Gorey, Co. Wexford .
Dan Cavanagh , Ballybawn , Screen , Co. Wexford .
D. Clery, Ballinamere, Tullamore , Co. Offaly.
Thomas Connick, 3, The Place, Oxmantown Road , Dublin 7.
Andy Conroy.
Michael Crahan , 39 , St . David's Terrace , Naas, Co. Kildare.
Jack Devereaux.
James Dolan, Co. Longford.
Jim Dowling , 65 , Herberton Drive, Rialto, Dublin .
Donal 0 Dubhda, 153 , Malahide Road , Dublin 3.
Seam us Ennis.
Criostoir Mac Gearailt, 81, Shannon Road , Santry, Dublin 9.
Brian Gallagher, 8, Ballygall Road , Finglas , Dublin 11 .
Piaras 0 Greagain , Feichin na Manach , Dun Laoire, Co. Atha Cliath .
Matt Kiernan, 19 , Offaly Road , Cab ra , Dublin.
Malachy Kealy, 27 , Ashdale Road, Terenure, Dublin .
Sean Mac Cormac , Baile Bhaltur, Atha Luain, Co. Westmeath.
Seamus Mac Mathuna , Teach an Bhun Srotha , Cui Ri , Co. Loc Garman .
Tomas Mac Eoin , 1, Ceide Coillcaise , Ard Aidh in, Baile Atha Cliath .
Joseph Mac Kenn , 26 , Thomas Street, Dubl in 8.
Peter Mac Kenna, 26, Thomas Street, Dublin 8.
Eamonn Mac Siomoni, 72 , SI. Alban 's Park , Sydney Parade , Dublin 4.
Patrick Mitchell, 97 , North Circular Road , Dublin 7.
Paddy Maloney, The Stores, Miltown Bridge, Dundrum Road, Dublin 13.
Terence Mohan, 6, Whitworth Row, Saville Place, Dublin 1.
Tom Mulligan , 94 , Cabra Park, Phibsboro , Dublin 7.
Cornelius Mulligan, 94, Cabra Park , Phibsboro, Dublin 7.
Tom Nolan, Charleville Road, Tullamore , Co. Offaly.
Seamus 0 Broithe, 2, Bothar Chill Dara, Crumlin , Dublin 12.
Micheal 0 Broithe, 18, Cnoc Risteamoinn, Dublin 6.
Antoin 0 Ceallaigh , 83, Capel Street, Dublin 7.
Patrick O'Connor, 53, Anne Street, Dundalk , Co . Louth .
liam Og 0 Floinn, Kill , Co. Kildare.
Sean 0 Floinn , 17, Greenhills Road , Walkinstown , Dublin 12 .
John 0 Neill , Hempsfield, Enniscorthy , Co. Wexford .
Michael Power, 49, New Park Road, Kilkenny.
Michael Power, Tacumshane, Broadway, Co . Wexford .
Denis Quigley, Aughrim, Co. Wicklow.
Tosog Quinn , Bravellan, Raheny, Dublin 5.
Leo Rowsome, 9, Belton Park Road, Whitehall, Dublin 9.
Helena Rowsome, 9, Belton Park Road, Whitehall, Dublin 9.
Leon Rowsome, 92, Kilmore Lodge Estate, Coolock, Dublin 5.
Willie Reynolds, Waldertown , Athlone, Co . Westmeath.
Sean Seary, 13, Darling Estate, Navan Road , Dublin.
Paddy Tyrrell, 5, SI. Malachy's Villas, Dundalk, Co. Louth.
Se an Ward, Corr, Walderstown, Athlone, Co. Westmeath.
Thomas White, Newbawn, New Ross, Co. Wexford .
Ted Keane, c/o. Knockmeal Creamery, Ballinamult, Co. Wexford.
Michael Lacey, North Parade , Gorey, Co. Wexford .
Dr. T. Brereton, c / o. An Foras Taluntais, Johnstown Castle, Co. Wexford .
Eithne Carey, 25, Northumberland Road , Dublin 4.
Micheal 0 hAonghusa, Baile Atha Cliath.
Eoin 0 Duigneain, Baile Atha Cliath.
Harry Mullen , Baile Atha Cliath.
 9
Cuige Uladh:
Wilbert Garvin, 86, North Circular Road , Belfast .
Educational Role
Michael Keenan, Glasleach, Shercock , Dundalk, Co. Cavan.
John McCann, 18, Railway View, Dungannon, Co. Tyrone.
Of An Comhaltas
Sean Mac Aleen, 95, St. James Road, Belfast 12. In Dec., 1967, An Comhaltas organised
its first week-end Seminar in the County
Peter Mackey, 6, Emania Terrace, Armagh.
Arms Hotel, Birr, and in the first issue of
Finbar Mac Laughlin , 40, University Avenue, Belfast 7. " Treoir " which followed the headline ap..
Kevin McLaverty, Quintin House, Kilclief, Strangford , Co. Down. peared : " New Train of Thought In Birr."
Ed Mac Namee, Townhall Street, Co. Down . The article mentioned the success of the
week-end venture and that those present
Francis Mac Peake. felt more such undertakings should be or-
Jack 0 Rourke, 17, Broadway, Belfast 12. ganised .
Brian Vallely, Cnoc Aluinn, 50, Newry Road, Armagh . The C.E.C. accordingly planned five
Dara Vallely, Cnoc Aluuinn , 50, Newry Road, Armagh. provincial seminars and seven national
Niall Vallely, Cnoc Aluiunn , 50 , Newry Road, Armagh . ones which covered such subjects as
:' Iri~~ ..Traditional Music and Song ," "Pip-
Hugh Devenny , Killea, Co. Donegal. Ing , An Fleadh Cheoil," " Adjudication "
Cuige Mumhan: " Administration ," " Sean-nos Singing" and
" Comhaltas 1969." Nine of these seminars
Sean Aherne, Moyvane, Co. Kerry. have already been held, and the remaining
Joseph Barry, Railway Road, Templemore, Co. Tipperary. three will be held on schedule before the
Peadar Broe, 11 , Patrick Street, Fermoy, Co . Cork. end of March .
Andy Casey, The Rock, Killeens, Co. Cork. These seminars were designed to give
Willie Clancy, Miltown Malbay, Co. Clare. members at different levels of the organisa-
ti?n an opportunity of expressing their
Michael Falsey, Seafield , Quilty, Co. Clare. views on specific subjects without any
Johnny Galvin, Ballycorree , Ennis, Co. Clare. hindrance of official protocol. That such
Thomas Kennedy, St. John's, Clifton Road, Montenotte, Cork. ~iews were expressed honestly and openly
IS now well known and much useful in-
Michael Lenane, Main Street, Cappoquin, Co. Waterford . formation has been collected by C.E.C.,
Padraig 0 Loinsigh, Ballymacoda, Co. Cork. Provincial Councils, County Boards and
Seamus Mac Mathuna, Cuil Aodha, Machromhtha, Co. CorcaL branches. In other words it was a two-way
Aine Bean Ui Mhurchu , Con Amore, Bothar Glaisin, Corcaigh. process: branch representatives advised
C.E.C. and C.E.C. representatives advised
Tomas 0 Canainn, Ard Barra, Gleann Maghair, Corcaigh. branches; County Boards had dialogue
Tomas 0 Cearnaigh , 126, An Ce, Portlairge. with Provincial Councils and vice versa.
Thomas Sheridan, 67, Bothania House , Ocean Estate , Harford St., London, E.1. It was a completely open shop and music
Michael 0 Fogartaigh , Baile an Daingean , Baile Mhisteala, Co. Corcalgh. -as it should be-was the dominant
feature . The effect of this scheme of edu-
Peadar 0 Lochlinn, Fairyhill, Kilmaley, Co. Clare . . cation may not be immediate, but it will
Padraig 0 Guillighe, Spa Glen , Mallow , Co. Cork . undoubtedly provide a foundation, as did
Michael 0 Riabhaigh, St. Anne 's Drive, Montenotte, Co. Cork. the 1967 one, for increased understanding ,
Reamonn 0 Se, 8, Sydneyville, Bellevue Park, Co. Cork. efficiency, and progress.
Mairtin 0 Tailtigh, Sraid na Cathrach, Co. an Chlair.
Martin Rothford, Bodyke, Co. Clare.
Sean Reid , Gort Road , Ennis, Co. Clare. The Irish Minstrels
J. C. Talty, Quilty, Co. Clare.
In Glasgow
Cuige Connachta:
The Irish Minstrels Branch of Comhaltas
Muintir Ceannabhain, Cill Ciarain , Conemara, Co . na Gaillimhe. Ceoltoiri Eireann was founded on Jan. 21 ,
Thomas Flynn , Cuilmore, Gurteen , Co . Sligo. 1957, and had as its President Se an Mc-
Michael Hession, Loyola, Salthill , Co. Galway. Guire of Belfast. To spread a knowledge
Paddy Lavin, Ballyglass, Ballinagar, Co. Roscommon . and love of Irish traditional music, the new
branch held weekly " round the fires" and
James Lavin, Ballyglass, Ballinagar, Co. Roscommon. organised concerts and music classes.
Tomas 0 Duibhir, Ceard Scoil , Cluainin Ui Ruairc , Co . Liathroma.
Now 12 years later it will sponsor Bri-
Michael Padian. tain's Provincial Fleadh Cheoil on April
Tommy Reck. 20th in St. Mary's Parochial Hall, Orr St.,
Martin Tracey, Ballydonnellan , Spiddal , Co. Galway. Glasgow.
Recently Comhaltas , Gael-Linn , and An
An Bhreathain: Bord Failte joined forces to organise an
Felix Doran, 54, Mornington Street, Manchester 13. Irish night in the North British Hotel, and
Thomas Mac Carthy, 36, Warham Road, Harringay, London NA. the demand for tickets was so great that
a second one had to be arranged , and
M. T. O'Malley, 24, Argyle Square, King's Cross, London, W.C.1. again there was a capacity attendance .
Pat McNulty, 49, Roslea Drive, Glasgow, S.E. Labhras 0 Murchu , Uachtaran an Chom-
haltais, and Leon 0 Clumhain (Gael-Linn)
attended the functions which proved to be
DID YOU GUESS WHO? outstanding successes.
AN CEOL
The subject of our " Guess Who" com- During the night entertainment was sup-
plied by the Glasgow musicians (see
petition was Willie Clancy portraying Gar- Go raibh ceol geal meidhreach photograph). singers, and dancers and the
rett Barry, " The Blind Piper of Inagh, " at Gan sos ag seinnt ann prize-winning Fleadh Cheoil film was
shown . Gael-Linn provided a recital of
the Clare Co. Fleadh in 1960. The first I ngach teaglach in Eirinn ain ;
I rish records.
correct answer opened came from Miss Go raibh laochra groidhe ann
The present officers of the branch are:
Helena Rowsome , 9 Belton Park, Dublin , Le n'a chosaint go foidhneach President, Fr. Sean O'Neill; Vice-President,
who will receive two free tickets for the Go bhfeictear straidhn ar lucht a gcaint. Fr. Denis Hurley; Chairman, Owen Kelly;
Prize-Winners' Concert at Fleadh Cheoil Vice-Chairman, Hugh McDonald; Treasurer,
Michael McNulty; Secretary, Lena Tierney;
na hEireann. -So Mac Connmhaigh. Asst. Secretary, Una Boyle.
 10

An Maistir agus a Dhaltai

See Leo Rowsome 's .

notes on some tunes
which are being
incorrectly played.
We Intend to Include
a number of these
from time to time.

Information or tunes
from our readers will
be welcome for this
series. Write to:
An tEagarthoir,
" Treoir," 6 Sraid
Fhearchair,
Baile Atha Cliath 2.

Leo Rowsome demonstrating traditional airs for Micheal 0 hAonghusa of Glasnevin

and Peadar Mac Cinna, Thomas Street, at the Second Annu al Tion61 Pfobaireachta,
sponsored by An Comhaltas in Longford recently.
(photo by cou rtesy of " I ri sh Times" )
 11

SWEET MUSIC IN I(ILNADEEMA The Real Coleman

(Le " FEAR NA SUIME" ) I~d.It .
was during t h IS ' time. h e me t h'IS (From American Record Album)

lovely wi fe (w ho was then Kathleen Go 1- Our primary aim by this re-issue of some
Joe Burke , the 29-year-old accordion lins) at a conce rt in New Yor k. of the early recordings of Michael Cole-
wizard from Loug hrea " like hi~ counterpart KATHLEEN BURKE man is to bring once more to his legion of
In M'Jnster , Paddy 0 Bile n, IS qUiet and I admirers the enduring joy of lis~ening to
retiring and is never so fo rceful as when Kathleen was born in New York of Irish the singing rhythm and unsurpassed beau-
he is captivati ng an audience with his ps rents . Her father , Bill , who played the ty of elCpression of a great musical genius.
musical gen ius. 'idcle. came fr om the Newmarket area of For many years, in various parts of the
" What do you think of Paddy O'Sr ien , : orl<. and her mother (Bridge!) was a world , people have inquired about Gole-
Joe? " I asked directly. His boyish face lit le.live of Abbeyfeale , Go . limerick . man 's old records, wondering if they would
up wit h delight and his pro mpt reply re- Kathleen is also a talented musician. She ever again hear these peerless gems of
vealed the t rue characte r of a great mu- learne d the fiddle at the age of nine from Irish traditional music. For the recordings
sician . " Paddy O'Br ien is t he best pl ayer the late John McGrath of Go. Mayo (who used .on this album, great credit is due to
I know on the acco rdion ." he answered , f ·migr .te d to New York) , and she won the Mr. James Carroll, of Ghicago, who placed
7

" and the first time I heard him he made a A!I-Ire :and champ ionship at Fleadh Gheoil his unique record collection at our disposal
tremendous impact on me. " na hE ireann in 1966. and the " Fiddler of and we are also deeply indebted to the
R.C.A. Victor Company for giving to the
Joe Burke was born on the family farm Dooney" competition in 1966. late Mrs. Goleman a taped copy, with full
at Kilnadeema (two miles from Loughrea ), Not content with being a talented musi- reproduction rights, of Coleman's Victor
on April 11th , 1939. He was born into a cian . she left America and went to London performances.
musical family. His father (Michael i:1 19;:9 for the ex press purpose of learning
Burke) plays the flute and his mother (the ~~ntttn1'litl1tl*,lMHII I~H:JIHr.=lltHl11iOllWt~i;llt1.1tl!(.:tI~ One thing must be remembered by all
late Annie Burke) was a melodeon player. who have ever heard Goleman play and
who know what Irish traditional music is ,
HIS FIRST TUNE that the real Goleman lived in his music;
At the age of four , before he went to it was the expression of his real persona-
school , Joe learned his first tune on the lity ; that personality that melted into his
accordion from his uncle , Pat Burke, who playing and made his music a living and a
lived in the house with them . I enquired if radiant thing , because the language of his
he could remember the name of the tune. soul was sound .
" I can well ," he replied , " it was ' Let Erin All that might ever be said or written
Remember,' and he taught it to me phrase about any social aberration of any musical
by phrase. Next evening when my uncle genius-and indeed Goleman was one-
arrived Ihad learned a second tune on my must pale into insignificance when con-
own. From there on I listened to records fronted by consideration of this ever persis-
of the Sallinakill Geili Band , the Kincora tent fact. We hope that this album will not
Geili Band, and Michael Coleman and set off another series of " Goleman fiddle"
learned their tunes." "You know," contin- owners, and would-be Gale man biogra-
ued Joe profoundly, " no one has ever im- phers , as happened in I rei and five years
proved on Michael Goleman 's playing . ago when persons, influenced by mistaken
There are qu ite a lot of things written about identity , confused Goleman with some un-
Go le man which aren't factual. I would love known violin stunt artist who played a
to see the true facts collected and pub- fiddle behind his back in a circus, and
lished , and I would help you ." I promised whose violin has been exhibited as Gole-
to take him up on his offer and realised man 's violin in a museum in his native
that we were no longer talking about Joe Sligo.
-he would much rather talk about other NEVER IN CIRCUS
great musicians than himself. When Gale man performed on the voilin
TWO ROWS "This is how it goes," says Joe he held the instrument in the proper man-
ner. He never played in a circus. He did
Joe played on the one row up to the age Burke to Seam us , Clare Co. Fleadh (Continued on Next Page)
of nine or ten, and then one day Martin ~~mmi"l __*l4m.J~IF\_ ~11I111I1I111I1I1 1I11I1 11I1I111I1I11I11I~i
Grace (who played with the Sallinakill Ceili
Band) arrived for a threshing at the Burke Ir ish Dancing from Ted Kavanagh and suc-
homestead . Luckily for Joe the day turned ceeded. In 1960 she came to Dublin and
out wet and Martin passed the time playing qualified as a Dancing Teacher, and to-day
the accordion , and Joe noticed he used as Mrs. Joe Burke she teaches eight
the two rows and followed his example. classes in the Lough rea district.
" Afte r Martin Grace I learned quite a
lot from the Downey brothers of Leitrim BACK IN IRELAND
(Mick , Maurice, and Jack) and also flute After having met Kathleen in 1960, Joe
players Jack Goughlan and the late Ste- returned to America in 1962 , where he
phen Moloney of t he old Ballinakill Geili worked for three years. This talented
Band . I ioined the Leitrim branch of' Com- couple-champions both-were married in
haltas Geolto iri Eireann in 1956 and I am New York in 1964 and returned to Ireland
now a member in Ballinasloe." in 1965 to farm the 85-acre hold ing at
LEITRIM CElL! BAND Kiln adee ma, and give many hours of lis-
tening pleasure to lovers of Irish traditional
Joe, who also plays the tin whistle and music at concerts . fleadhanna, and on ra-
flute , won the senior accordion competition dio and television .
at Fleadh Gheoil na hEireann in 1959 and
1960, but he was reluctant to talk about Looking back over his comparatively
su ch things, so I brought him back to the short music career, Joe will tell you with-
Leitrim Ceili Band which Paddy Downey out hesitation that the standard of accor-
(Jack 's son) and himself formed in Dow- dion play ing has definitely improved , and
ney 's house in 1955 and which won the may even let you into his little secret that
All-Ireland com petition in 1959 and 1962. he is more interested in piping and fiddling
" Th ere was Ned Goleman , Paddy Garty, than acc ordion playing . And with this
Tony Molloy (flute players) ," Joe told me, revelation , I will bid farewell to Joe and
" Jack Derwin , Paddy Doorly (fiddlers) and Kathleen Burke of Kilnadeema. and, le
Sean McGlynn (accordionist) , who is now cunamh De , perhaps my wan dering s will
in Amer ica ." take me back that way again in the not
too distant future, ag us idir an ds. linn go
Joe himself went to America on a six raibh ceol is son as i dteach na mBtlrcach
weeks tour with Sean 0 Siochain in 1960 o mh aidin go hoiche.

An (As
Bosca Cheoil
" NOTAl DO MHOLTOIRI)
The re are many styles of producing
traditional Irish music on this instrument
but in the main two direct styles , let us
say "X" and " Y".
"X" STYLE
Th e older style, in which good rhyt hm is
most prominent . Usually this style is ac-
hieved without much access to the second
row . In one key, let us say " 0 ," the style
is on the press, in another key, let us say
" G," the style is on the draw, still with
little access to th e second row. This style
may be f rowned upon by the more modern
accordeon player, but often it is the mo re
accu rate of the two styles in reproducing
traditiona l music as the ornamentation is
not too cilromatic (i.e. bringing in too
many notes fo reign to both the tune and
th e key) . and is very often clearer music.
Th is styl e ought to be encouraged more
as a ve ry good musician could produce
music closer to that of pipes, flute or
violin. (Accordeon usually used 0 / 04) .
" Y" STYLE
(Accordeon usually used B / C)
Th is is a style in which access to the
second row is most prominent in both
keys " 0 " and " G." It is usually termed as
" pl aying on the draw " which really does
not accu rately describe the style. It is
usua lly easy to detect this style, played
on the insid e row using one to tw o notes
on the outside rows to complete the scale
and many others outside as ornamentation .
Th is styl e can also be an accurate im itat ion
of traditional Irish music but to-day musi-
ci an s tend to over-u se the outside row for
orn amentation . hence producing grace
notes, t riplets, etc., qu ite foreign to the
music . also contributing to muffling of the
melody and losses of time , etc.
Having satisfied himself as to th e style
be ing used the adjudicato r must satisfy
himseJf th at the melody produced is tra-
dition al, only an adjudicator steeped in
this music can differentiate. Howeve r, it
ought not to be difficult to weed out a non-
traditional book-reade r as his music is
usually not very well adorn ed in tra ditional
man ne r ( su ch a one should be encour-
aged to pursue th e proper style but he
shoul d be told that in his present state he
becomes elim inated) .
COMMAND OF INSTRUMENT
Th is will be seen stra ight away from
the ease with wh ich a musician produced
his music. Other factors to watch for are
evenes s of bello ws-work an d changes of
direct ion wh ich may take pl ace at the
wro ng t ime and break the flow of music.
Now may be the time to cons ider a mu-
sician's left hand . He need not lIse one to
produc e tradit ional music . but he may use
it as his instrument is equipped with suit-
able harmony (most tim es) . One must
re member th at even though the music is
primarily melodic , melodic music can be
enhanced by careful use of harmony as
was in a way used in Harp pl aying , pipes,
etc.. with out in any way destroying the
co ntex t. A fact also to remember is that
instruments used in ancient times were not
equip ped with thi s form of accompaniment.
The things to watch here are, a musician
sup plying harmony completely fore ign to
the music. much better not to use a left
hand at all in this case. Also a musician 's
left hand may tend to upset the rhythm or
muffl e the melody. The percentage of
weight given by an adjudicator ought to
be very small on use of left hand (as low
as 5% maybe) to elim inate the chances of
a good traditional musici an with no left
hand being beaten by a lesser qualified
trad it ional mu sic ian with good left hand .
12
SECOND OR THIRD ROW
Anothe r small point to conside r is the
di fference between second row and th ird
row accordeons. Provided the instrument
is chromatic there is usually very little d if-
fe rence; may only be an advantage to the
mus ician if he knows his instrument (third
ro w ) well, then he deserves an ext ra co n-
sideration for his efforts to better the mu-
sic if he does so. but most often the heav-
ier instrument is cumbersome and tends
to break the flo w of the mus ic with heavier
left side. Al so bear in mind that there can
be 60 basses on the thi rd row accordeon
and a musician must be marked on the
valu e of his results on these 60 basse s
(out of say t he 5 ) wh ich may not be as
high as the music ian making good use of
his 4 or 6 basses.
RHYTHM AND PHRASING
Rhythm is the manner in which a mus ic-
ian groups his notes in the production of
a melody , say, in each bar of music ;
phrasing is the manner in which these bars
are grouped together. Most usual in phra-
sing of Dance Music is 4 bar ph rasing ,
with sub-divisions of two bar phrasing. It
IS usually easy to detect bad phras ing of
these dance tunes if there are breaks after
bars 1 or 3, etc., or bad rhythm when the re
is wrong grouping of notes or unneces-
sary breaks within any bar itself. Bear in
mind , also , th at there are various styles of
rhythl!' as is easily seen in Hornpipes ,
whe re notes may be of equal value or un-
equal value , as both can be correct. To
a lesser degree, this can happen in other
tunes also . bu t an adjudicator can only
tell If rhyt hm and ph rasing are incorrect by
kno wing all these various styles.
TIME
Th is may easily be explained as the
speed at which these bars of music are
evenl y put together. Variations of time, if
sudden , are easily detected . A musician
may start in good time and then speed up
as he progresses with the melody. A mu-
sIcian may have good rhythm and still take
his melody too slowly or too quickly. Less
easy to dete ct are subtle , minor variations
of tim e when a melody is well under way.
Thl~ ag ain draws on the adjudicator's ex-
penence and alertness. A good basis for
a stand ard time is its suitability to dancing
in t ra d it ional man ner.
An ad judicator must know these speeds
wit h reaso nable accuracy, but there is lee-
way both sides of th is standard at which
the music can still be in good dancing
t ime . . Most trouble arises from playino
reels In fast hornpipe time, taking set dan-
ces much too s!owly, and taking marches
In a ti me In which the spirit and forceful-
ness is lost.
VARIAT ION & FLEXIBILITY OF TIME
. Th is may be termed as use of approp-
: Iate dyn amics , i. e. intermixing soft play-
Ing With a loude r type of playing . A musi-
cian who can sit down and use the same
tone or expression of mus ic without va-
riation from beginning to end can show
very little feel ing for his music no matter
how mechanically well he is equipped.
It IS not enough to over-emphasise phrase
endings to qualify here, he ought to be
capable of varying his balance of sound
throughout his melody.
MARKING SCHEME
Styl e and Ornamentation .. .......... .. .
Comm and of Instrument . . ........ ... . . .
Rhythm and Phras ing ...... .. ...... .. .. ..
Time ............ .. .... .. .. .. .. .. .. " .. .. .. ..
Variation and Control of Tune ..
Use ~ Le ft Hand .......... ... .. .
Total 100
THE REAL COLEMAN-continued
play for two years with Keith's Theatre
Circuit in many cities throughout the U.S.
Many of the record ings on this album . in-
cluding Nos. 1, 2, and 3, were not recorded
from a violin , as we know the instrument.
They were played by Coleman on a special
acoustical device equ ipped with violin
fittings , and a horn like speaker, having a
big d iaphragm directly connected to the
br idge . It must be remembered that those
recordings were made in 1921 . Thi s was
several years before the era of electronic
recording . While t he first sound recording
dev ices gave a good reproduction of th e
human vo ice. they failed to do as much
fo r voilin tone , because of the difference
in frequenci es.
Th e four violins which Coleman used
when he recorded for the Columbia Co .
are now in possession of Messrs. James
and John O'Beirne and Paul Ryan of New
York . and the " Cosgrove" violin now in
possession of Mr. Hugh Gillespie, Done-
gal , Ireland. Coleman 's Decca recordings
were made on the violins of Mr. Stanley
Parker and on Hugh Gillespie's de Nicho-
las violin. and on Coleman 's own violin ,
now in possession of his niece, Mrs. Mc-
Govern of Sligo . Th is last violin and the
" Cosgrove" violin are the only voilins
which Coleman's family accept as having
belonged to Coleman . They reject all '
other claims. His family respectfully re-
quests all those other "Coleman fiddle"
claim ants and Coleman story tellers to
please honor his music and his memory
with the truth instead of gross misrepre-
sentation of facts which have been pub-
lished in Ireland during the last five years.
Signed : James ( Lad) O'Beirne , Patrick
Sweeny, Thomas Finn , John
O'Beirne. Tim Hart, James
Cawley .
Note : Record ings 1. 2 and 3 refer to 'The
Boys of the Lough ,' ' Murray's Hornpipe ,'
and 'The Humours of Ennistymon .'
~ t:IIU1UIt:IIU!UIUl$llI-lmIUtHIt.I I1*t!l$Il$IlHlHlHH1j$IJ
Bo rrisokane Branch
Th e followin g report was received from
Thomas Nevin , Secretary of the Borriso-
kane Branch :
" The Borrisokane Branch of Comhaltas
Ce olto iri Ei reann was formed in Feb .. 1967.
by Sgt. John Scan Ion . In the year it was
founded the Branch took on a big respon-
sibility in holding th eir first Feile Ceoil , in
which they had ve ry litt le experience , and
it proved to be a grea t success. Since
then they hold . mus ic ses sions in the Le-
gion Hall every Tuesd ay night and also
have run a number of Ceilithe.
" The Bra nc h are now looking forward
to thei r sec ond Fei le Ceoil in Easter (7th
April) and it is hoped that it will be even
bigger an d be tte r than last year. Competi -
tions will be opened to all traditional in-
struments and ballads. both in English and
Irish. Entry forms can be had from the
Sec., Thomas Nevin , Curraghmore, Borriso-
kane . Co. Tipperary.
" Competitors please note that all prize
winners will receive their prizes on same
day. Th e Branch hopes to have a record
entry . It has 25 members , including offi-
cers and committee - Mr. Philip Hayes .
50 Chairman ; Thomas Nevin , Sec.; Brid Houli-
15 han , Ass!. Sec. ; Seamus Conlon , Treas .
10 Committee : Patrick Conlon . Frank Kelly,
10 Tadgh Slevin , T. J. Cahalan , P. J. Gavin ,
10 Miss M. Quinn and Miss E. Gleeson .
5 " The Branch extends a hearty welcome
to all who visit the town on Easter Monday
and hope they w ill enjoy their stay."
 13
a.fter a night 's music (which was definitely
From Another worth it ), and an outstandingly clear in-
s;ght into the aims of C.C.E. and what it
Young Musician really means.
FRIENDSHIP
Friendsh ip is the chain ,
that links true friends together,
And If you never break a link
We shall be friends forever,
To me the members of C.C,E, are like
an unbreakable chain when in the event
of linking up the link is never broken .
C.C .E. ca n also be compa red with a
large c ircle, w ith in whieh there are many
young and experienced , dedicated mem-
bers. Though a circle, it welcomes to the
fold all those who are genuinely interested
in the fostering and promotion of our
musi c , language , and culture. In so doing
they wi ll inevitably further the aims of
Comhaltas.
CO-OPERATION
" Co-operation is th e best kind of
operation ."
There is a great sense of co-operation
and dedication between members at
branch . c ounty , provincial and all-Ireland
levels. All four are indeed important, but
the most important of all is co-operation
at branch level. This is the true founda-
t:on of C,C.E. If co-operation is lack ing at pOSSible.
branch level then it would be impossible :I: An official camping site w ith light, wa-
to expect it at any other level.
No matter what the occasion be it
Fleadh Ceoil na hEireann or simply a Feile
Ceoil , every member is willing to assist
his fellow-member in every way, to ensure
that no stone is left unturned to make
w hatever is in hands a success.
This has been proved since the organisa-
tion first came into being. If this were not
so I would not be attempting to write this
a ~ticle in " Treoir." . .
· ~·~lt1ItIII1ItlItI!I1*I'II1411111 111 111 1 111IHI*mtlmI*II4~H*I11~
HOPE FOR FUTURE
My hope for the future is that C.C.E. will
go from strength to strength and will pro-
gress for the betterment of our tradition
and culture .
There is a difficult time ahead but I
am convinced that with more co-oper-ation
from each and every member, C.C.E. will
undoubtedly achieve its aims.
C.C.E. is a democratic organisation and
I would hope that it will continue to pro-
gress In a democratic fashion , as it has
done so successfully in the past.
.. Ba . mhaith liom me bhuiochas a ghabh-
all lels an eagarthoir as ucht an seans a
thug se dom chun na habhair seo a chur
os bhur gcomhair.
-Mairtin de Paor
(Baile an Mh lsleala igh)
~jlllI111fflttf1~t1'il~ill*fI1tU*I:tWV.'l!l'UmwJ;tm1$Hjtl~m
FLEADH CHEOIL NA hEIREANN
NOTES
*
The dates of Fleadh Cheoil na hEireann
which w ill be held in Cash el , Co. Tipp"
are Saturday, May 31, and Sun-M on .,
June 1 and 2.
*
Those requiring accommodation are
asked to contact Miss Te resa Grant
Tour!st Office , Cashel , as soon as eve;
ter, toilet and fire facilities is being
provided .
*
Anyone who is willing to assist at the
Fleadh is asked to contact An Runai
Una Ui Mhurchu , Cashel (phone No:
Cashel 245) .
*
Branches and groups are asked to or-
ganlse a street session and make early
*
preparations for same,
Overshadow the cyn.ic by exa mp.le ..

BORD CHONTAE CHORCAI

I have recently had the pleasu re of at-

te nding two Seminars - The Munster
Seminar held at Cashel and the Leinster,
at Mullingar. Briefly, a Seminar consists
of a series of lectures given on vari ous
topics concerning C.C .E.
All those who attended can say truth-
fully that every lecture given was excellent-
ly prepared beforehand . Those who were
selected to lecture lived up to expectations
and gained for themselves a very attentive,
deep ly interested , and co-operative audi-
ence.
The lecturers are dedicated and ex-
perien c ed members of C.C.E. They prefer
t heir lecture to be regarded as a talk. They
do not wish to be compared with superior
beings mounted on pedestals , but rather
as " one of the gang ." In this way there
exists an air of friendship and a relaxing
atmosp here between lecturer and audience
At the end of the day 's lecturing and
discussions a session is held . The " ses-
sion" to me is the very life and spirit of
C.C .E. It is the time when all little diffe-
re nces of opinion are comp letly forgotten .
All get together and enjoy a good lively
entertaining evening of music , song and
da nce .
Every member of C.C.E . should at some
tim e or other fi nd the time to attend a
Sem inar. Speaking as a young and , so
far , inexperien ced member in the affairs Labh ras 0 Murchu, National President, speaking at the Annual Convention of
and administration of the organisation, I Bord Ch.ontae. Choreal. Also included are Diarmaid 0 Cathain (Reachtaire) , Padraig
can now say in all sincerity that I left both o Catham (Clsteoir na Mumhan), Mlchael 0 Lochlainn (Cathaoirleaeh), Cristin Ni
Seminars with two t hings-a sore head Chonalll Runa!.
 14
hair dry, while she 'd get on with the ciste ,
The Bread We Baked In the Old Days The flat iron griddle was placed against
the fire ti ll it was quite hot, then red
A neighbour 's littl e girl was sitting chat- the big pot oven , with its cover, was put " griosac" was scooped from the heart of
ting in my kitchen . Suddenly she asked me to heat. Then grand-mother would take the fire, On this was placed a three-legged
" Did you make Christmas cakes? " " No ," what she called her " baking apron" from " stand" and on this the griddle was placed
I said , " since my four girls grew up I don 't a peg on the back of the kitchen door and The mixture for the ciste was the same
bother." Then she went on to tell me about gird it round her, Then when her hands as for a white soda loaf, only that she
the Christmas cakes her Mammy makes . were scrubbed and washed she got down added a nice piece of lard , Then she
to t he bread making . flattened the cake to the exact size of the
She went into raptures about all the
fru it and butter and eggs and all the other Two fine white loaves were t he every- gridd le-it was never too big or too small .
good things that went into these cak es. She day quota. I don't reme mber ever seeing Before putting it down to bake she always
gave me every detail about almond icing her ma ke a brown loaf. But now and then took a little bit of fat bacon and rubbed it
and white icing and silver balls, etc., that round and round on the hot g riddle , finally
went to the decorating of same. letting it sit there sizzling and spitting salt,
By ANNE SHEEHY , then the cake was laid on the griddle.
All this from a child of the 1960's sent : Secretary of Kerry Co . Board of Comh altas:
my mind back over the years to the days It would cook to perfection in 15 to 20
of my own childhood and to the bread into a white loaf used to go a handful of minutes and then the three of us would sit
and cakes of those days. ro und the table and drink hot sweet strong
carraway seeds-this was " see dy bread " tea with thick slices of hot buttered ciste.
To the age of 9 or 10 I lived with my and much loved by my grand-father. It was delicious, with its greasy, salty
m" ternal grand-mother and grand-father, I wonder was the flour better 40 years brown cru st, and its soft " pethey " inside.
both long since laid to rest in Abbeydo r- o; go than it is to-day? Or is it that I just One piece was mine and mine alone-the
ney, Co. Kerry. My grand-mother was a imagine that our home-made bread to-day brown hollowed part, that was extra salty,
native of Glenbeigh and was a fluent Irish iust cannot compare with those lovely extra nice, where the scrap of sizz ling
speaker. Her everyday speech was inter- gold.en crusted , gorgeous smelling loaves bacon had become embedded .
laced with nice soft-sounding Irish phrases. of my g rand-mother's?
All her salutations were in Irish , as were MORE EXCITING
all her prayers. When she took one of them out of the
cven how I loved it , when she 's cut off a Christmas then was much more exc,iting
In those days one had very little luxu- hot crusty "hee l" , put a dab of salty home than it is to-day. Besides the deeply re-
ries and many things that are taken for made butter on it and hand it to me saying : ligious feeling one had , there was the
granted to-day were not even known or " Now suig sios ar an suistin beag out of thrilling thought of ell the good things
heard · of in that home of my early child - my way, mo chailin beag dilis! " that were bought only just at Christmas
hood . For instance, the ordinary pan loaf t: me. Not like ta-day when there's good
as it is to-day I never saw there. We had THE BRIBE things to eat the whole year round.
batch bread so seldom that it was known
as " new bread ." She had another treat that I loved-this Oh how I loved t o lean my elbows on
she always used as a bribe . I just hated the kitchen table and watch the Ch ristmas
GRAN 'S ROUTINE having my very long hair washed and when loaves being made , No creaming or beat-
all coaxin g failed , she 'd play her trump il1g at all , everything was mixed with gran's
My gran was a wonderful bread maker card by saying , " brostaig , brostaig now, two fine capable hands. Flour, sugar, pure
-but 95 per cent . of country women were alannah, and when 'lis washed I'll make white lard , spices, currants and oh such
in those days. The usual routine was- a little c iste" fine juicy raisins all went into them , and
each morning after breakfast a great big into one or two went a half pint of the
fire was put down on the big open hearth. Eventually the hair was washed and I'd " black stuff."
When this was a blazing red mass of coals kneel near grand-father for him to rub my
!!Itt1tm1'lm~l*fmlml*ll$ll1~ttW~~~~lMl"l*llj:jij1fmt.1!HI.I4I~tI$H~l'IHtHWII:jjt:!!tl.\fl1tll!:!fl'lml~fUI$mHI*1ottflm-lTlttltJltljHjfjjl1ir.tll3

Coisde an Cheoil nGuaire

 15
NEW CElL! BAND
PIPERS OF THE PAST A group of young musicians in Dublin
have recently formed a ceili band und er
(Le BR IAN 0 DOCHARTAIGH) the name of " Dun Aengus."
Despite the extreme youth of some of
Some 60 years ago Uilleann Pipers we Je quite p:enti!ui in this country and they the members, they have between them a
could be found among people of any strata or level 01 society , from the top to the fu nd of musicianship and experience not
bottom layers and whether they were itin 3rant musicians, tradesmen, farmers or easily surpassed . The leader is Michael 0
members of the upper c lasses, they share:! a com mon characteri stic-the indelible hA lmhain (flute) , ably supported by Bred a
marks of refinem ent , cultu re and , in some cases, education. Tolan and John Regan , chromatic accor·
Th e itine rant pipers always had com- nius of our ra ce , w ith his lo ng c~: rling grey dions; Molly O'Higgins , piano; Michael
man ground Witll the ir more fo rtunate hair and be ard. And I particul arly noted Egan , Paddy Glacken , and Dermot Creh an
brethren , and mixed with and visited them th e wond erfu l de xterity of his fingers as ( fiddles) , Eddie Ryan , banjo; and Andrew
as an ac cep ted practice , and , of course , they move d with the rapidity of lightni ng Corbett , drums.
gave and received addit ions to thei r re - shafts along the dou bl e chan ter. I noticed Fleadh Cheoil awards, solo and con -
pe rtor ies as the case might be. too th at there was abs olute si lence all certed, broadcasts from RTE and other
I never saw an itinerant pipe r badly round and thc.t if a beast attempted to award s are amongst the laurels they have
dressed and for the most part they wore roar it was smartly tapped on the nose already wo n. All are members of Comhal -
the old fa shioned long body coats or frock wit h an ash plant, so that noth ing wou ld tas.
coats as they were called , bl ack , ta ll mar the wonderful flow of music. Booking can be made through Andrew
cro wned soft hats and invariably a green He played a selection of dance music , Corbett (telephone 312557).
coloured cravat with some gold adorn- mostly by request , and mean while three or l:ltttm t~I~ ltltt.l!U1Ulm~lj:jli:l1 F1tH1Ht*HlfII!1l
ments , wh ich might be a harp or a sham- fOLlr men went around with their hats or Kildare and Longford , or poor Andy Mc-
rock on the knot of the cravat. caps , and when the piper finished the pro· Cann of Meath did not acquire their craft
These pipers frequented fairs, races and ceeds of the collection were placed in the from the inhabitants of canvas tents on the
even sports meetings , and always played capacious pocket of his body coat. The roadsides of this country. And the Cashs
to crowds; and also frequented towns on piper expressed his gratitude and remark- and Dorans are for the most part back to
market days, and it was a common sight ed he was always well treated in Longford the position of opulence from which they
and a welcome one to see them setting up but he added " of course, you could kill originally came in all likelihood before
in the market square of a town and using a man with kindness, too " and "as there the pressure of'the infamous Penal Laws
I
a crutch which they invariably carried , on is a great weight on me now with money forced their forbears and many like them
which to rest a leg so that the chanter of I'd be thankful if a couple of gossoons gave who possessed in no small measure the
the instrument could be " popped" or the me a hand over to the Bank " . There was , cultural talents of their ancient race to
valve at its end effectively used off the of course , nothing further from his mind , abandon their homes and depend on' their
knee. If there was a convenient window as the twinkle in his eyes indicated . gifts to tide themselves and their families
sill it would suit as well as the crutch , as along .
the piper could then play in the orthod ox INFAMOUS PENAL LAWS Well , they have passed to their reward ,
position, which is seated of course . Th at was indeed another very marked R.I.P. , and it can be safely said that it is to
So far as I can remember the chan ters characteristic of these men - they hardly them we are in a great measure indebted
were of the 'flat' variety , much deeper in ever sol icited money for their art as is the for the rich store of Irish music , particu-
tone than the present concert pitcned ve· way with ordinary itinerants , and were larly slow airs or laments , which we now
riety , and had a greater sound range . And above begging or soliciting. Generally the have.
it was not unusual to see what were called money came to them in the manner as I often thought what a great loss it was
double chanter pipers; that is instead of shown in Longford . that in those days we did not pessess the
one piece of bored wood there was a They were received with open arms means we now have of recording music .
double piece, which contained two se ts of wherever they went, and people drew a What a wonderful thing it would be to hear
holes or notes directly opposite, so that wide distinguish ing line between them and our native music played as it was by our
the performer covered two sets of hoies the ordinary itinerants or street performers. ancient bards, with whom those itinerant
instead of one, and I was given to under- It was well understood that Dinny Delaney pipers must have had direct or semi-direct
stand by an old piper that before the ad- of Ballinasloe or the Cashs and Dorans of links.
vent of regul ators the double set of notes H1HlIiH:t1tfttl+H IHw'f~ttmlla~Hm1$111:j1U1H11$11'111'1li'11f11tt,*1Ulmt1tfmlfl'lltlml1ji'lfI'HIW
were harmonised so that plaintive effects NA PIOBAIRI UILEANN
could be applied or given , particularly
when laments or slow airs were being
played . To·day I have a very vivid recol-
lection of a wonderful performance by a
travelling double chanter piper on the mar-
ket square of Longford Town on a fair
day. The piper, dressed up much as I
have already described , set himself up at
the mon ument near where I was minding
cattle with my father. The town was dense-
ly packed with cattle , as was usual in
those days before the first world war, and
the Square was the only place which gave
th e required space to the piper, Being
accustomed to seeing pipes and pipers ,
and having as always a deep interest in
Gaelic music , I got close to this piper.
S~PENCE FOR A TUNE
The instrument was adorned with ivory
at the joints and was double chantered
and decorated by green ribbons all over,
Just as the piper had tuned up a man who
was well known to me-a farmer and no-
ted flute player-asked the piper to play
a particular lament and said that he would
give him six-pence if he played it with the
four parts. The piper thanked the man ,
remarking that he often played a lot of
music for less than six-pence , and adding
that he never played the particular piece
with any less than four parts. He said he
could add a couple for good measure if
necessary. I will never forget the lovely Walderstown Uilleann Pipers' Club (founded 1943). Fronl (I. 10 r.): John Healion ,
beautifully harmonised melody which Wm. Reynolds, Thomas Heallon. Back (I. to r.): Palrick Keegan (now in U.S.A,),
flowed from the fingers of this great ge- Michael Doyle , Sean Ward , and Sean McCormack.

Rambling . . Rambling . . Rambling
Dia 's Muire dhibh go leir aris, and the big flews in this rambling session is that
our Oifigeach Cheoil, Seam as Mac Mathu na , and Una de Faoite were married in
Seipeal Chuil Aodha on February 15. For over 120 guests it was a day to remember .
" Ar fheabhas," was how Donnachadh
o hAodha , Stiurth6ir Chonradh na Gaeilge ,
summed it up. Sean 0 Riada played the
organ for the ceremony and never was
Church music so distinctively Irish and
reverent, and what a contrast it would
provide for the guitar-strumming progres-
sives even with a television " Outlook"! It
would be superfluous to talk about the
music at the Reception-it was all music
-one big session ; it was even a Fleadh
Cheoi!. and the winners were Seamas and
Una, who qualified for the final. Go raibh
Rath De ortha i gonai.
:le Roscrea, Cluain Tarbh , Gorey, and En-
nis branches entertained over 700
guests at their Annual Dinners since
our last chat. Roscrea held their func-
tion in the Pathe Hotel , and the towns
people in no small way showed their
appreciation of this group, which has
become a noted community institution .
Among the guest artistes was Paddy
O'Brien. who provided a thrilling ses-
sion on the accordion .
Speaking of guest artises , a sugges-
tion I overheard at the Cluain Tarbh
Dinner was that units of An Comhaltas
should ·invite one or two Fleadh Cheoil
winners to their annual functions and
in this way project our standard bear-
ers. This seems like a great idea and
certainly worthy of consideration.
~ Courtown is a seaside resort and this
type of place can be so miserable in
the winter time. But this was far from
the case on February 5th , for that was
the night of the Annual Dinner of the
Gorey branch. And if the sea breeze
was blowing, yet it COUldn't drown the
strains of the branch musicians who
were ably supported by Tony Crehan
and Brian O'Kane .
* And in Clare, a new wave of enthusiasm
is sweepihg the county followj[lg . the
annual Oiche Cheoil organised by the
Ennis branch in the Queen's Hotel. I
heard someone say . it was like old times
and the livewire here was Mairtin 0
Dubhain , County Secretary.
* Membership in Cork has increased from
161 to 185 and classes for traditional
music are being provided by the Vo-
cational Committee following represen -
tations by An Comhaltas in the county.
The teacher is Sean 0 Cearuill of KiI-
mallock.
16
branches are due to compete in the
Scoraiocht competition. The County
Fleadh Cheoil has been arranged for
Kilgarva in June , and seven other bran -
ches have been given permission to
hold Feiltf Cheoil during the year. Most
branches are holding monthly musical
the Secretary is Treasa Ni Dhliil!. Am- sessions .
ong the members here are such well-
~
A group of Comhaltas members from
known personalities as Francie Brere-
ton , Michael Morgan and Sean Seor. Britain are planning a trip from Dublin
to America on October 4th , and it you
:le News coming through from Waterford are interested you should contact Mrs .
sho ws that the main activity is prepara- Kit Hodge , 6 Colebrook Road , Liverpool
tion for Flead b.. Cheoil na Mumhan, WUIi4II:IJtlij:jIUII III IIII II 1II 1I1 11 1111 111 111111111111 Itllll Iltlltlllm1l\J:
w~ i ch will be held in Dungarvan on 10th
and 11th May. The recently formed
branch in Waterford city is now the "OIA OHUIT-COMHALTAS
biggest in the county, with 31 members. CEOL TOIRI EIREANN"
Secretary , Ailis Ni Mhordha (formerly
of Ballymacarbery) , reports that this go
ahead branch has organised an ambit-
ious programme for the year ahead .
* And right bang in the middle of the
Munster men the Fu Iham Branch (Lon-
don) tells us that they held their An-
nual Meeting in January and elected
the following officers: Chairman, Willie
O'Sullivan ; Vice-Chairman, Dick Lan-
ders; Secretary , Liam Murphy. 67 Brick
Farm Close, Kew, Surrey; Treasurer,
Ron Somers. Tuesday . music sessions
are held fortnightly at " The Greyhound ,"
Fulham Palace Road. London. w.e. The
annual Fleadh Cheoil will be held in the
Cecil Sharpe House on September 28.
* A note from Pat McCabe , of Clones,
reads: "I was present at a provincial
Fleadh Cheoil not so long ago and I
remember leaving it with plenty of food
for thought. I first went to the Fleadh
Cheoil for information concerning my MAIRE NI CHORBHAIDH
competition . After waiting for 15 mins.
while the head-men of C.C.E. chatted This salutation is now familiar to those
with the committee, I caught the Sec- who have had occasion to ring Ard-Oifig
retary's eye aQd he gave me his atten- an Chomhaltais, and the sympathetic voice
!ion for ,five minutes. After getting my belongs to nineteen-year-old Maire Ni
informatIOn. I was told of the thousands Chorbhaidh , who has been appointed Clerk
at the Fleadh; in fact I was told it was Typist at the office.
a record crowd. I walked down the
Main Street to the venue for the com- Maire was a committee member of
petition and, noticing the thousands .
wondered how many hundreds were
Craobh Chluain Tarbh and has a very keen
interest in Irish music and dancing, and is
true supporters of traditional music. I also a fluent I rish speaker.
was saddened at the thought of the ~1!$ltl1l::atml!IIII I It1t1 11.1111111111111111111111111 111 III 111 11 11Jr"
poor Secretary imagining that huge
crowds mattered when , in fact only a :le A whisper from Ca isle an an Riabhaigh ,
small crowd were in any way helpful to Co. Roscommon . tells us that the Com-
haltas Dinner held there recently was a
the Fleadh . On arriving at the compe-
tition venue , I noticed the great number
of musicians present and wondered if
great success and that Seamas de Brun
in between his many tasks from the
maybe this is where they all seem to C.E.C.-played a big part in this.
hide du,ri.ng the Fleadh Cheoil. With my And further good news from Ca isle an
competition over, I went for a sess·ion an Riabhaigh is that Tadhg de Brun ,
and after some time got one and joined who is well-known in Comhaltas circles
in . After the music was played the as a musician and an adjudicator. has

* My thanks to Willie Reynolds and Sea-

mas Connolly for information and photo-
graphs supplied.
:le Aiseir! Luimni. Limerick is back in the
fold once more. Four branches are al-
ready affiliated this year. In recent
weeks, a County Board has been for-
med with Rev. Fr. Greene, C.C., Kil-
mallock . as Chairman; Capt. Frank
Spillane , Castleconnell , Vice-Chairman ;
* With 13 branches and membership ap-
Deirdre Ni Bhriain , O'Connell Avenue
Luimneach . Secretary; and Sean 0 Nu:
allain , Ballycahill , as Treasurer. Deirdre
expects the present membership of 64
to be doubled in the near future.
* Tomas 0 Gliasain of Ballinaclough, the
well-known ballad singer, is chairman
of the reorganised Nenagh branch, and
chatting started and this had for its cen-
tral theme-money. Was C.C.E. going
to waste the money and keep it for
other things besides music. On leaving
the Fleadh Cheoil that night I came to
the conclusion that C.C.E. must reform
at all levels before it can do its job
properly."
pro,aching the 600 mark, Kerry now
claims to be the strongest county in
Comhaltas. An fiar e? A branch formed
in Rathmore a few months ago now has
125 members, thanks to the enthusiasm
of the branch Secretary, Jeremiah Cro-
non . New branches have also been
formed at Kilgarvan and Kilgobnet, and
lapsed branches at Ballybunlon and
Ballyduff have been reorganised. Ten
signed a contract to arrange the music
for a number of documentapies featur-
ing the major cities of Europe. For
Tadhg, who works with Telefis Eireann ,
this will mean extensive travelling, but
what more fitting ambassador could
Ireland have than this young man ,
whose home language was Irish and
" whose heart must needs be Irish." To
Tadhg we extend best wishes, and to
Seamas and Bean de Brun our con-
gratulations .
:le The Stillorglin branch of An Comhaltas
h?ld a weekly session every · Saturday
night at Glen Abbey House agus beidh
Failte Ui Cheallaigh romhaibh.
Agus le sin fagaim slan agus bean-
nacht dibh uilig .
(Slater Bros .• Printers , Clonmel . Co . Tipperary)