A

Journal of
Irish Music ceo
CONTENTS

N6iseanna Nua?

Comhaltas
Ceolt6iri Eireann

The Lamentation
on the
Price ol the Pig

The Tunes of the

Munster Poets

Maire Dheoise

Dance Music

As we see it.

SUMMER, 1963

2/6
Vol. 1 - No. 1 From a sketch made by George Petri in 1839.
 CEOL is a journal primarily concerned with the
promotion of Irish Traditional Music ( both vocal and
instrumental) and its cultivation and practice in a
traditional manner. It has also as an objective the
spreading of a knowledge and appreciation of this music
among the general public.
Traditional songs and dance tunes will appear in each
issue as well as articles and studies on various aspects
of this subject. The receipt of material of this nature
for publication, notes, queries and correspondence will
be welcomed by the Editor.
CEOL wishes to acknowledge its gratitude to Mr.
Joseph O'Reilly and Mr. Thomas A. Ouinn for generous
contributions towards the cost of publication. It is also
indebted to its advertisers whom, it hopes, will be
patronised by its readers, to the contributors and others
who assisted in production, and finally the subscribers
zohose numbers and ready response have been most
encouraging. Enquiries, etc., to The Editor, CEOL, 47
Frascati Park, Blackrock, Dublin.
 Cuireann An Gum failte is fiche roimh

''CEOL''
Is maith agus is mithid a leitheid a bheith ar fail i
ngeall ar an speis iontach a nochtadh sa cheol
duchasach i ngach uile aird den tir le blianta beaga
anuas.

0 1936 i leith ta ceol a fhoilsiu ag An Gum agus a

dhiol go fior-shaor.
* Suantrai, goltrai, geantrai.
* Amhrain aonair agus pairt-amhrain
* Amhrain c6irithe do choir.
* Sreathanna fonn do cheolfhoirne.
* Ceol Ionstraime.
* Ceol Rince.

Aoinne a bhfuil eolas uaidh faoi na foilseachain

ceoil seo ba cheart d6 bualadh isteach n6 scriobh
chuig

FOILSEACHAIN RIALTAIS,
Stuara Ard-Oifig an Phoist,
Baile Atha Cliath.

An :sum
I
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2
I NOISEANNA NUA?
Duirt fear grinn e1gm na fuil sa tsean-n6s ceoil ach port a
sheinm as tiuin! Is baolach go bhfuil daoine inar measc na
tuilleann malairt chhi dh6, agus fairfor is minic gur orthu siud
I
a bhunafonn cuid den phobal a dtU3irimi i dtaobh an tseancheoil.
Ach ni ceart lochtaf an cheoltora bhreagaigh a chur anonn ar
an gceol fein.
6n uair is gur le hoidhreacht a thainig an seancheol anuas
chugainn is dual gur 6s na seandaoine a chaithfidh an t-aos 6g
e phiocadh suas, agus an sean-n6s amhranaiochta ach go hairithe.
Da chriothanaf agus da bhristithe e guth an tseanduine, bfonn
rud n6 dh6 le foghlaim uaidh ag an duine 6g i gc6naL Agus
ins an tsaol ata anois ann is iad na daoine 6ga a chaithfidh an
f6d a sheasamh i lathair an phobail-daoine a thug na sean­
amhrain leo go ffrinneach glan, agus nach feidir na lochtai a
ghabhann leis an gcrionnacht a lua leo. B'fheidir na fuil a
leitheidi r6-raidhsiuil, ach ta gearrachuid ann dfobh, ce nach ina
dtfr dhuchais ata tuilleamh a gcoda acu go leir.
Is e an dala ceanna ag na bheidhlead6ireacht e. Is m6 starra­
galai a bhionn ag casadh le ceol " Gaelach " a sheinm, sa chas
nach t6gtha ar dhaoine go minic a meireanna a sha ina gcluasa
an tuisce a chloiseann siad an chead scrabhadh. Ach ta bheidh­
lead6ireacht agus bheidhlead6ireacht ann. Bhfos oiche ag scor­
aiocht i dtigh airithe i mBaile Atha Cliath ta suim bhlianta 6
shin anois ann. Ta ceim sa cheol ag fear an tf sin, ach nfor mh6r
an tsuim a chuir se riamh in aon ni a bhainfeadh leis an sean­
cheol Gaelach. Thracht se ar bhuanna an cheoil chlasacaigh
liom, agus go m6r-mh6r ar an naou siansa a chum Beethoven.
Mhfnigh se a dheanamh dom agus conas mar mi fuil de bhunus
aige ach leathdosaen airithe n6taf a chloistear arfs agus arfs eile
trfd an obair go leir. Um an am go raibh an t-iomlan cloiste
agam bh{ tuiscint eigin agamsa san ailleacht a bhrath an fear
eile ann, agus daoine nach e.
Ansan do tharraingfos-sa chugam ceirnin a bhi agam fein agus
chuireas ar sitil d6 e: " Bonnie Kate " a sheinm ag Micheal
Coleman. D'eist se go cruinn leis. Nuair a stop an ceol, "B'fhearr
liom,'' ar seisean, " bheith abalta ar an gceol Gaelach a sheinm
ar an gcuma san mi a bheith ar mo chumas siansa den tsaghas
eile ud a chur le cheile." B'fheidir gur le heiri' croi aduirt se e,
ach ba leir dom gur mhothaigh se don chead uair riamh ina
shaol an rud a mhothaigh Fritz Kreisler agus Mischa Ellman
nuair a chualadar san an ceol a sheinn Michael Coleman.
Ach ta daoine eile ata nfos deacra a shasamh. Ta cuid againn
ar ar ndfcheall ag iarraidh briseadh tr( laincisi na sean-
3
aimsireachta. "Ta an ceol Gaelach as data" an port a bhionn
acu; "caithfear e fhorbairt agus e thabhairt suas chun data!"
�forbh fhearr le haon duine againn rud a chuirfeadh ag obair
iad, mura mbeadh nach folair leo reabadh reilige a dheanamh
ar an seancheol chuige sin. Nf haon leigheas ar an sceal sean­
phort a tharraing trid an ngriosaigh agus folathachtadh a thabh­
airt d6 agus crotharadh as ceanastar stain a chur a mhaisiu,
agus " Irish Rhapsody" a thabhairt mar ainm air. Ni forbairt e
sin ach fotharaga, agus is deacair a mheas go mbeadh aon bhuaine
na blath saoil i ndan d6.
Ta daoine agus is m6r an chraiteacht leo gan ceol siansach
dar gcuid fein againn, agus ta lag-mheas ar ar gceol duchais acu
da reir, i leith is gur ar an duchais ba choir an millean a chur.
An saghas ceanna milleain a bhionn ag daoine eile ar an dtean­
gain Ghaeilge toisc nach sa teangain sin a scrfobhadh an Aeneid,
an Divina Commedia agus dramaf Shakespeare.
"Caintear na filf agus ni hiad a bhfonn ciontach,
Mar na fachtar as na soithibh ach an Ian a bhionn iontu."
Is minic gurb iad na hallmhuraigh is fearr a thuigeann buanna
an cheoil ata againn. Is cuimhin liom Fritz Brase a ra: "There
must have been a race of musical geniuses in this country in the
past."
Don duine aonair is oiriunaf ar gceol duchais, agus is deacair
comhceol a chur leis gan m6rchuid da ailleacht a bhath. Is
d6igh Jena Ian nach ga chun an cheoil Ghaelaigh ach fonn n6
port a sheinm dfreach fe mar ata se breactha i leabhar eigin. Sin
e an ball direach go bhfuil mearbhall orthu. Ni bhionn sa
leabhar ach cnabalach, gan spre den bheatha ann. Ach an te
go bhfuil an sean-n6s aige deanfaidh se a chuid fein de, agus
cuirfidh se isteach castafocha agus ornaidf agus brf fe leith a
ghabhann le dtichas agus le nadtir an cheoil sin. D'fheadfa a ra
ina thaobh fe mar aduirt ceolt6ir airithe tamall 6 shin mar gheall
ar Sir John Barbirolli: "He takes the dry bones of music and
breathes the spirit of life into them." Ach nuair a dheanfaidh
amhranaf n6 bheidhlead6ir e sin leis an gceol Gaelach siud udair
a dhearbhu go bhfuil gach riail cheoil a bhriseadh aige-gan a
ra ce chum na rialacha!
Canas a gheoidh feasta leis an gceol so againne? Is deacair an
cheist sin a fhreagairt. Ach nf miste so a ra: gur imeasc pobail
tuaithe a thainig an ceol so ar an saol, agus gur ina measc san a
mhair se, gan poinn athraithe, go dti an la ata inniu ann. "Ach
ni hi an Eire seo an Eire a bhi anall6d ann." De reir mar a
cailleadh an Ghaeilge do cailleadh na seanamhrain agus an ceol
a ghaibh leo. Cuireadh stop leis na rind a bhfodh sna tithe
muintire. Cuireadh hallaf rince agus pictiurlanna ar bun, agus
is mo ceolt6ir brea a fhag slan go bra.eh ag a bhaile duchais. Is
ffor gur thainig spionnadh aris ann le teacht an Chomhaltais
ar an bhf6d, ach is le ceol uirlise is m6 a bhionn se sin ag pie,
4
agus is baolach go bhfaghaidh birfn beo na hamhranafochta bas
idir ar dha laimh. Beidh an i:irlais againn ata coitianta ar an
raidio agus ar an teiliffs anois, agus an te na fuil a mhalairt de
thuiscint aige ar an sceal nf bhraithfidh se aon easnamh air fein.
Ach an te a bhlais an ceol nar scrfobhadh riamh agus na scrfofar,
tuigfidh se gur liome-de an saol a chailliuint. C.D.

CE hlAD FEIN '1

Who are these players? This group of pipers was taken around
sixty years ago, probably on the occasion of a Feis Ceoil com­
petition in Dublin. It includes John Cash, Wicklow (middle,
back row) and Dinny Delaney, Galway (fifth from left, front row).
Perhaps some of our older readers could identify the other
musicians. This picture has been selected for publication from a
beautiful set of slides which Harry Hough assembled to illustrate
the history of the bagpipes from the earliest times. These slides
with his books and musical manuscripts passed on his death in
London in November, 1941, to Mrs. Elizabeth Hutton-Tails. she
gave them to Mr. Thomas A. Quinn, Bravellen, Raheny, Dublin,
who kindly made them available for use in CEOL.
Harry Hough was a life long member of Connradh na Gaeilge
in London where he spent many years teaching the children of
members Irish step dancing. He was a noted performer on the
warpipes and over the years adapted a great many Irish airs for
that instrument. Hough organised the pipers for the funeral of
Terence Mcsweeney, the Lord Mayor of Cork, who died in
Brixton in 1920.
5
 CDMHAllAS
CEOllOIRI
EIREANN

L IKE the tiny seed, Comhaltas Ceolt6irf Eireann began its existence
inconspicuously and struggled into flourishing maturity. There was
nothing spectacuiar about its foundation. It gathered strength slowly,
depending solely on its own resources. Its founders were unpretentious
men having no aspirations to notoriety and no desire for public acclaim.
The Piper's Club, Dublin, which has now been in existence for a
quarter of a century, was composed of musicians from all parts of
Ireland. These men brought with them the traditional tunes and tradi­
tional styles of their native places and a sincere love of the old music.
In the atmosphere of the club, it is easy to imagine the growth of a pride
in their inherited gift and their wealth of Irish music and a conviction
that without an association, the still large number of traditional musicians
scattered throughout the country, would lose all that had been handed
on to them, either through lack of proper appreciation of its value, or
through fear of ridicule.
During the years following World War II, modern music was turned
out in vast quantities, as a commercial produce, and by reason of
quantity, powerful publicity and salesmanship captured the minds of
the young people. The man who was interested in Irish music was made
to feel old fashioned, and the person who played it could only be a crank
or a backwoods man. Irish music in the traditional manner was dis­
appearing from the concert platform and the dance hall. Modern music
was taking over.
The musicians of the Piper's Club were not prepared to take shame in
their racial heritage and conceived the idea of founding a movement
which would form a fellowship for traditional players, bring their music
before the public, cultivate and extend the knowledge of it, and take up
the challenge of the modern commercial product. The aims of the new
movement were but a slight extension of the aims of the Piper's Club
itself. When the first oflicial constitution came to be written in 1956,
t:1e aims, as stated in article 2 were:-
(a) To promote Irish Traditional Music in all its forms.
(b) To restore the playing of the Harp and Uilleann Pipes in the
national life of Ireland.
(c) To create a closer bond between all lovers of Irish music.
6
 (d) To co-operate with all bodies working for the restoration of
Irish Culture.
(e ) To establish branches throughout the country to achieve the fore­
going aims and objects.
The organisat-ion was named Comhaltas Ceoltoir( Eireann, and its
initia'l membership was forty-five. It formally came into being in January,
1951. Armed with strong convictions, dauntless determination and a
genuine love for Irish music, the founders of Comhaltas went forth to
preach their gospel. If they resembled the first Apostles to some
extent in this, they resembled them in other ways as well. They had
no funds, no rules and their enthusiasm was unbounded.
It soon became apparent that there was plenty of traditional music in
the country and old instruments were taken down and old tunes
resurrected in the most unexpected places. Tradition was strong in
certain places, as for example, Clare, Antrim, Longford. Westmeath had
a pipers' club of its own in Walderstown, which soon joined the new
movement.
From the beginning the founders planned the Fleadh as a means of
bringing out traditional music before the public and to be the annual
social gathering of traditional musicians. The first Fleadh was organised
a bare five months after the formation of Comhaltas, in conjunction
with the organisers of Feis Lair na hEireann, and held in Mullingar.
It attracted an attendance of 1,500. The festival was held at Whit and
has been held at that week-end every year since then. The Fleadh has
been invaluable as a means of publicity for the organisation. It has
spread a knowledge of its aims and its work and aroused the interest
of thousands of people in Irish music. It has proved that there is a
genuine desire among a large section of the Irish people for their native
music, and that they find it more satisfying than the modern popular
music. In spite of the advantages the latter had in publicity, media of
dissemination and the backing of powerful commercial interests working
on the psychology of mass taste, when the public had the opportunity
for comparison, they had no difficulty in recognising where quality, and
substance lay. It was to be expected that the Fleadh should attract
mainly the older folk, for whom Irish music evoked nostalgic memories
of youth, and fiery spirits and defiant pride of race. For the young people
there was no such artificial boost, and the fact that the Fleadh and
the study of Irish traditionai music itself attracted them in ever­
increasing numbers is an indication not only that there is something
substantial and attractive about Irish music, but that it has a powerful
subconscious appeal to the soul of the Irish.
The Fleadh has become for Comhaltas both the great exhibition of its
work and the means of extending its influence. It ranks as one of the
most important, if not the most important, national cultural event.
From an attendance of 1.500 at the first to 50,000 at the last All-Ireland
Fleadh, eleven years later. its importance and its standing in the national
life may be gauged: while every other important cultural event has the
benefit of Government and other subsidies and in many cases shows an
enormous deficit, Fleadh Cheoil na hfireann receives no grant or subsidy
whatever from any source, and is almost the sole support of the
Comhaltas organisation.
Considering the importance of its contribution to the cultural life of
the country, and the value of the Fleadh as a tourist attraction, funds
for the encouragement of the arts and cultural activities, as well as
funds for the development of tourism might justifiably and profitably
have been granted to Comhaltas Ceolt6iri Eireann long ago. But
Comhaltas seems loth to seek any outside aid, feeling perhaps that the
enthusiasm of its dedicated workers has effected more than abundance
of funds.
Certainly, the work of organising and of enrolling members has
progressed rapidly, particularly in recent years. Up to 1959 all the
7
operations of Comhaltas were administered mainly by the Central
Executive Council, and the National Secretary was responsible for almost
all aspects and functions of the organisation throughout Ireland and over­
seas. When it is remembered that the National Secretary is an upaid
official, performing all these duties in his spare time, without any office
staff, in fact without any office or even the most meagre office equipment,
it is no matter for wonder that the necessity for the re-formation of
the organisation was recognised. In 1959 Provincial Councils were
established and given a provisional constitution. This was incorporated
in a new Bun-Reacht, which came into operation on 1st December, 1961.
The establishment of Provincial Councils has enriched with executive
talent and given a new vigour to the organisation. It has consolidated
and greatly enlarged the sphere of influence of Comhaltas; membership
has increased at least thrne-foid. There is no county in which the
organisatioin has not been established and a stir of life and activity is
being felt throughout the whole body.
It is now sometimes felt that there is more emphasis on organisation,
at the higher levels, than on the fundamental aims of Comhaltas. It is
argued that in the early days the ideals pursued were to discover
untapped sources of musical talent and bring it into the main stream;
to propagate traditional music in willing soil; . to exhibit it before the
public so that they might learn to appreciate and enjoy it. There can be
no doubt that organisation and administration are most important if any
body is to effect its aims, and the better the organisation the more
effective the body. But in all its re-organisation Comhaltas Ceoltoiri
Eireann seems to an outsider to have made one notable omission.
There is no expert committee or official appointed with the specific duty
of catering for what must be the main interest of Comhaltas-Irish
traditional music. The work of collecting and distributing traditional
music, of making it available on records for private and public use, and
of ensuring the passing on of the old tradition to the coming generations
is left to the random efforts of individuals or branches. Praiseworthy
work is being done by some earnest individuals to make available in script,
hitherto unwritten tunes, and to give tuition in traditional music on
various instruments. There is as yet, however, only the most casual
official recognition or direction of such efforts.
The new Bun-Reacht of 1961 merely re-iterated the old aims. Ten
years experience might have indicated where emphasis or possibly
extension or modification was necessary. On reading Clause (b) of
"Aims and objects "-To restore the playing of the Harp and Uilleann
Pipes in the National life of Ireland", one might reach the conclusion
that Comhaltas had made little progress. But Comhaltas may be excused
for having no spectacular progress to show regarding these two instru­
ments. Expert knowledge of them is limited and the harp is already
catered for by Cairde na Cruite. But these are the oldest traditional
instruments of quality and it is a pity that they should give place to
poor substitutes such as the piano or accordion. The pipes have not
been entirely neglected; but the harp, while Comhaltas would be glad
to co-operate with any group which fosters its playing, could be more
felicitously attuned to traditional strains.
It strikes one sometimes that Comhaltas Ceoltoiri Eireann. with its
ten thousand active members in Ireland alone, and its well over a
hundred thousand keen followers, is like a too gentle giant, who either
does not know or is unwilling to use his own strength. As inheritors
of something equally precious and even more powerful than the native
language Comhaltas has the duty and the right to demand for Irish
music the recognition and the place to which it is entitled in the
National Life-in schools, in Radio and Television, and as custodians
and exponents of the tradition, they have the right to be consulted on
what is exhibited as exemplifying Irish music.
Thomas P. Dempsey.
 THE LAMENTATION ON THE
PRICE OF THE PIG
Eddie Sweeney, Leonard's Island, Clones, Co. Monaghan.

pl/Jmp fat Jtn.d, J1tir (l{)m .- ,;utt m � limb.

#
11.,.,,J
s I i : t : d. I I ! :t :d 1 .,, : d 1
J�t!:F�� t r , t I e: c c =' , ·, I
1
If Y" : • :s ., • .,, 1

7/tt pig wu u mUd u lit l;i,,,,b l?r' 4- cMtd. !JOU, ,:q1,1,LJ.

11., de as
9
 II
Clasp the cash to me thigh and a glass to me eye,
To the street I did fly like a sporting young buck,
When a sporting young dame that belonged to the game,
She up to me came to be sure for good luck.
She gave me the wink to go in for a drink.
Then inveigled me up to dance Phenes'sl jig.
It was at the wheel round that she slipped her hand down,
And she left me quite scarce of the price of me pig.2

III
Like a man in despair when I missed me share
I went tearing me hair seeking her up and down
Each corner and lane. But it was all in vain,
For a sprig of the damsel was not to be found.·
Meet her when I will I sure will her kill
I swear by each hair in Lord Norbury's wig.
Till the day that I die vengeance I'll cry
On the jade that robbed me of the price of my pig.

IV
To Navan next day I straight took my way
And I heard people say of the dame being in Trim,
But when I got there I was loaded with care
You might think that I had just my walk, oh, in vain.
That first that rolled in was Tather Jack Flynn
We danced a few steps of a nice double jig,
Thinking bye and bye that I'd cast me eye
On the jade that robbed me of the price of me pig.

V
Oh, be Tara, be Screen, be the Bog of Armeen,
Be Paddy McGee, be the high Hill of Howth,
Be the Church, be the bell, be Paddy from Kells,
To swear any more do you know that I'm loath.
If the Lord of Mayo he but heard of me woe
I am sure he would come in a chaise or a gig,
And he'd search Ireland round 'til that jade would be found,
And he'd clap her in pound for the price of me pig.

VI
Well it's now that it's so, 'tis homewards I'll go.
My shuttle I'll throw and from drink I'll refrain.
I'll stick to me loom while youth's in the gloom
And never be caught by a trumpant3 again.

(Continued on Page 22)

10
 THE TUNES ·OF THE MUNSTER
POETS

W ITH the break-up of the old Gaelic order early in the seven­
teenth century culminating in the flight of the Wild Geese
after 1691, a radical change came over Gaelic poetry. Hitherto
the poet was an honoured and well-rewarded personage in the
household of every prince, lord and chieftain, both Irish and
Norman. Not only was he expected to adorn every occasion
with stylish verse but he was also the repository of the laws and
the genealogies of the ruling families-these often in verse form
also. Most of the bards were also musicians, and it seems that
they declaimed their lays to some type of harp accompaniment.
All this versifying was of a highly complex and aristocratic kind
-the ordinary people had little or no contact with it-and it
had come down in an almost unbroken tradition from the early
bardic schools of the twelfth and thirteenth centuries.
After the Battle of Kinsale and the defeat of O'Neill and
O'Donnell, a new patriotic spirit gradually made itself felt in
the country, and a minor renaissance occurred in Gaelic litera­
ture. The rising of 1641, the advent of Cromwell and the migra­
tion of the nobles and chieftains put an end to the old order
forever. The Gael was crushed now as never l::efore, yet the
patriotic spirit lingers and flames up anew. The penal code of
William and Anne seems to have caused the whole island to
blossom into music and song. A new type of poet (and poetry)
emerged, one without patronage who had to address his lays to
the people. The old complex metrical forms were gradually lost
and the new order of roving poets wrote their patriotic songs
and satires to the simple assonantal metre of the amhrdn form
which hitherto was not much favoured by them.
11
 Just as the English ballad maker of the last century fitted his
verses to certain ballad tunes in order to popularise them and
get his message to the people, with or without the aid of a broad­
sheet, so the new order of Gaelic poets from the seventeenth
century onwards composed their new patriotic poetry and satires
to airs that were popular among the ordinary people of the time.
Due to the influence of the Pale many of those airs were Scottish
or English, as there was a constant traffic of songs back and
f orth across the Irish Sea. This was the only means by which
the poet could spread the new spirit of poetry and patriotism
among the ordinary people. It was a completely oral traditional
as there was no Gaelic printing available to them, and the bard
by then had no scribe and was a wanderer. Many of these poets
were singers and harpers but there is no indication anywhere
that they had a knowledge of the new music notation which
was spreading across Europe. There is a theory that they had
some species of music notation of their own, but if so, no speci­
men survives. Being wedded to the popular songs of the day
these poems were preserved by the people and in later centuries
various local scribes made manuscript copies of them; many of
these are still preserved in the libraries of the Royal Irish
Academy, Trinity College and Maynooth, and in private collec­
tions.
From 1691 to 1798, a new and freer national spirit arose. This
was due to a relaxing of the Penal Laws and the ever-present
hope that help would come to Ireland from France, Spain or
Scotland. The Jacobite cause was a popular one, not so much
from real sympathy with the Stuarts as from the hope of better
treatment if their cause succeeded. This accounts f or the
abundance of Jacobite and aisling poems of this period. Most
of the songs were patriotic or political, eulogistic or satirical­
in lyric form wedded to simple popular tunes such as Sean Buf
(claimed bv the Scots as " Over the Water to Charlie" and also
identified 'with the earlier " Gliogram Cos"); The Tweedside
(probably the same tune as "Ar Eirinn nf 'neosfainn ce hi");
The White Cockade (claimed by the Scots as " My Gallant Braw
John Hielan"); The Flowers of Edinburgh, Hielan Laddie, The
Cuckoo's Nest (known to us to-day as the song and the horn­
pipe entitled "An Spealad6ir"). This was a version of an older
ribald sailor's song of the seventeenth century when sailors
wore a type of skirt or kilt and was entitled " Come ashore,
Jolly Tar with your Trousers on".). Another reference in the
manuscripts was to a song called "Since Celia's my Foe", which
one is supposed to sing to "The Irish Air" in Queen Elizabeth's
Virginal Book. It is interesting here to note that under the date
10th June, 1793, Boswell in his "London Journal" mentioned
that the horses moved around the circus ring to the tune of
"Shilinagarie", which we know as Sfle Nf Ghadhra.
The aim of this short survey is to classify and correlate the
12
tunes as mentioned in the old manuscripts of the poets of
Munster (as being the most prolific school) and to make available
a body of information to students of Irish folk song. It may,
perhaps, also stimulate further research and comparison with
other sources and lead to a study of the relation of the old songs
to the living songs we hear in the Gaeltacht today. I hope to
develop this theme in the next issue of Ceol.
Proinsias O Ceallaigh.

A Challenge to Irish Pipers

Ballinasloe, August 18th, '04.

1, DENNIS DELANEY, Irish Piper, Ballinasloe, feeling
aggrieved at the way I have been treated at recent Competitions,
now Challenge any Irish Piper to play Two Dozen Tunes, One
Dozen Irish Jigs and Reels, a Half-Dozen of Irish Traditional
Airs, and a Half-Dozen of Moore's Melodies for the Sum of £10
aside, and I will leave the judgment to the best Judges of Music
of Dublin, Belfast, or Cork, and will meet the Competitor half
way anywhere.
Signed,
DENNIS (his X mark) DELANEY.

Witness-James Kilmartin, Journalist, Ballinasloe.

(Freeman's Journal, 19-8-1904).
Dissatisfaction with adjudicators is nothing new apparently.
This is caused sometimes by misunderstanding on the part of the
audience and the competitors. Occasionally, it must be con­
fessed, the adjudication is at fault. This vexed question will be
discussed in the next issue of CEOL.
13
 ,
MAIRE DHEOISE
Tomas O Cadhain, An Cnocan Glas, An Spideal.

II
Gra mo chrof mo st6irfn,
Si nach ndearfadh tada liom.
Sf chuirfead-h na fatai m6ra
Ar a dtaisce ar Jeac a' teallaigh dhom3,
III
Gra mo chroi mo st6irin,
Si nach ndearfadh tada liom.
Si chuirfeadh na malaf m6ra4
Amach thri pholl an gheata dhom.
IV
Dha bhreictea Maire Mh6r
Ag goil suas Sraid an Mharga
Dhiun falach ar a braghaid
Ach c6ta m6r an charreara.
V
Dha bhfeactea Maire Mh6r
Ag goil suas Sraid an Mharga
Faoitin ar gach mear lei
Is iascaire m6r 'a leanacht 6.5
VI
Dha mbeinnse in Arainn Mh6ir
Mo bhad seoil bheith faoi rufa agam
Is deas mar thornalfainn roth6
Ach Maire Mh6r a bheith faoi dic7 agam.
14
 VII
Is dha mbeinnse thiar i dtf Mhaire Ni Cheirfn8
Mo chuid eadaigh a bheith go deas orm,
Nach liachtaf bean a dearfadh
Nach trua gan thu sa mbaile agam.
VIII
Ta bean in Arainn Mh6ir a'm
Is bean in Inis Bearachain
Mo ghra sf Maire Mh6r
An bhean a b'fhearr a thaithne6dh liom.
Seo tuilleadh bhearsai:
Dha mbeinnse in Uachtar Ard
Mo chuid eadaigh a bheith go <leas orm,
Nach iomai fear a dearfadh
" Nach trua gan thu ar leaba agam" (A)
Dha bhfeicfea Mairin eois
Ag goil siar barr na ngarrantaf
A t6in in aghaidh na gaoithe
Is a bolg in aghaidh na farraige. (B)
A bhfuil dh'uisce i Loch Eirne
Is dhe ghallaoireach ti Chlochartaigh
Ni ghlanfadh Mairin eois
Dhe bharr iascairf na Gaillimhe (B)
Ni le faochain na le bairnigh
Na le blath na scailiuin dhearga
A mheall mise Maire
Ach le fuisce laidir Shasana. (A)

1 ? d'reir. 2 ? 3 Deirtear an curfa i ndiaidh gach bhearsa. Seo leagan

eile dhe:
's 6r6 Mhaoire Mh6r,
Is a Maire a st6r an dtiocfa abhaile liom?
Mara dteaga tu an la gheall tu,
Go mbaitear ins an gcurrach thu (A)
4 an builin m6r (B). 5, treasna uirri, ag scaradh uirri (B). 6, r6d (B).
7 dic=deck an Bhearla. 8 Deirtear gurb e seo an teach is fuide siar in
E,irinn (B).
(A) Baib, Bean Shea.in Ui Dhonncha, Bhaile an Ti Mh6ir Thoir,
Indreabhan, Co. na Gaillimhe.
(B) Sean 6 Donncha, Baile an Ti Mh6r Thoir, lndreabhan Co. na
Gaillimhe.

Duirt Murchu 6 Conghaile (Morgan Mhicil Mhurchu) gurb e seo an

t-udar a bhi leis an amhran: sa seanreacht nuair theast6dh bean 6 iascaire
as an gCladach, thiocfadh an rf amach agus an chead chailin bhrea laidir
d'fheicfeadh se cheapfadh se i don iascaire. Mar sin fuadaiodh Maire
Mh6r. Chuir a muintir sceal aici ag cur comhairle uirri fanacht socair
15
go Domhnach is go dtiocfadh siad is go dtiurfadh siad abhaile i. Thosaigh
an cailin ag niim ar an 1ascaire go leigfeadh se go Magh Cuileann f le
go bhfagfad si shin ag a muintir. Gheill an t-iascaire di is cuaidh an
bheirt acu is iascairi eile leo amach ann an Domhnach dar gcionn. Bhi
muintir na mna rompa agus bad feistithe acu ar bhruach Loch Choirib.
Bhi fhios ag an mbean 6g ceard dheanfadh si. Chuaidh isteach sa mbad;
bhuail a muintir buille iomra ar an mbad gur fhagadar na hiascairi ina
staic ar bhruach na locha. Thosaigh na hiascairi ag deanamh an amhrain
ansin:

Ni le faochain na le bairnigh
A mheall mise an cailin deas
Ach le fuisce brea laidir
Amach as ti Mhister Cotter O.
's 6r6 Mhaire dheois,
Is a Mhaire dheois an dtiocfaidh tu?
Mara dteaga tu an la gheall tu
go mbaitear ins an tuile thu.

Beidh candail ar an gCladach amaireach

Ar a c6ta, ar a br6ga is ar a neacipin
Agus tri raithe 6n la sin
Beidh iascaire 6g sa mbaile .aici.
's 6r6 Mhaire dheois ....

" Or 6 Mh6r a Mh6irin" ata ar leagan den amhran d'fhoilsigh Petrie

sa mbliain 1855. B'as laimhscrfbhinn den bhliain 1787 bhain Petrie an
fonn. " Down among the Ditches O" a bhi air sin-seanbhailead sraide.
aduirt 6 Comhraf leis, a raibh an mheidhir is an ghairsiulacht ina
n-orlaidh thrfd. Ba leis an limisteara sin thart faoi th6rainn Cho. an
Chlair is Cho.na Gaillimhe bhain an t-amhran. Seo an chead bhearsa
dhe:
Is deas an buachaill Paidfn
La aonaigh n6 marga
Is ni deise na la Marta
Ar thaobh a bhaidfn iomara
6r6 ' Mh6r a Mh6irin
6r6 ' mh6r an dtiocfaidh tu?
()ro 'mh6r a mh6irfn
A chuilin 6ir an dtiocfaidh tu?

Chuir an tAthair Padraig Breathnach " Is deas an buachaill Paidin " f

gcl6 in Ar gCeol Feinig (!eh. 76). Nfl athru dhe bhrf idir a leagan
seisean is leagan Petrie ach ni hionann fonn don da leagan.
In the olden days when a fisherman of the Claddagh community
in Galway wished to marry, the King and his followers went down the
streets and the first fine young girl they met with was " chosen " to
be the fisherman's wife. Maire Mh6r, the subject of our song, was
thus selected, but with the help of her people, managed to escape from
her predicament, not quite in time, as one of the odd verses indicates.

The first part of the air is related to the turn (or second part) of The
Ladies Pantalettes, Kate Kelly's Fancy, Nellie Donovan and The Ravelled
Hank of Yarn as found in the O'Neill collections.

B.B
16
 DANCE MUSIC
Gleanings from manuscripts

l. THE GREEN PIGEON I, p.39

�fi-0! .Q?J JJJJ I Jf'J JiJ I JJl.l J)]J I @JJJ I

1 1 JjJJ JW¾]JJ J n IJJJJ - I t@J I
,. /JI Jn Qij I J n r UI JJ°lJ!iJIQ-Jnl
i-f+HV'.PJ I J n r d I r.to- @J I - ct,I

4J1c1m nj lJ=-J ,lj)ffl iJJ lp1J �I

2. TAP THE BARREL I, p.217

It D'J fJJ I J u J J J J I J J J 1JJ l J J J J 1 1

1• 11: s I r � r � 1. r c JJJ I r S ft.r, Cc; r � 1

I
r�
I"
I' r 2 I r ' .r:o I ffl -tn I u J J ; 11
i.
1

1l W ,rg I C;cr JJJ I m JlJ I J • a J �

17
 3. LEATHER or THE SHOEMAKER'S FANCY II, p.98

tV, 131qp ti I ttr Qrl ln J ti I Qr J �I

11 m J i; I ttr rP I rfr � I tij J IF
1•� 1 err tlr I tu r � I rrr tt.r, ctrJ v 1
11 W CCr I ctr at I �ft CU I t:tr J I
4. TUMBLE THE JUG II, p.122

rlwI J t J JJ I r f a: I J ; l Jj I rn n, I
tf J I J JJ I ' l at I J J .J /-'J I J i .tn II
�1 J•f�JI J l tr1l 1 Ja J'J I IJJ .f!jl

�JJJ U'J I J 1 WI JJJ JUJ I J t JJ111

f*s u 1 u e I w ao 1 , t , � 1 m JJJ 1 •
5. NACH TEANN etc. III, p. 23.

11 J ;J = I at -?J I ;.o J ii J I JJj sll

111:J l J ; 1 J J ; -'?J I J 1 J t I J J J lJj I
1* .J l J f I J ; J Qj I J .t aJ I fh J)J 11
18
 6. CAILLEACH AN DILISG

tl,tts ; Ji i)i I /h J � I J J J .t"'n 1 Jjj u I =

III, p.99

tk rn rn Im rn I JJJ BJ I .rn J •If

lhJ, � I al ct1 I JJ J 11? I tU U-1 I J J J J 1I

I ft at c:t I J J J ;tJ I ' J J tn I .rn u itf

7. DUBHAIRT SI GO BHFAIGHAINN III, p.180

�•s u I ctm re r 1m JO; 1;n .m 1fll JJ"J I

1 ' r r r r r r I JJ ' Qj I pJ JfJ I JJcJ J =II
1 1 11!j1J J1J 1,rn m I err rrr I J J J i1J 1
11 1,r; Jn I A? m I r r r t: c r I !1J J 1!(
These tunes from the Goodman collection are here published with the
kind permission of the Board of Trinity College, Dublin. James Goodman
was born at Baile Mor, near Ventry, Co. Kerry, in 1829. His father was
Rector of Dingle. On graduating from Trinity College, James followed
his father's profession. He was Professor of Irish in Trinity College
from 1879 until his death in 1896. The Goodman collection comprising
four volumes, contains over 2,000 airs and was made in the years
1860-66, while Goodman was serving at Ardgroom in West Cork. While
many pieces were copied from Aird, Bunting, O'Farrell, Levey and other
printed sources, the collection contains hundreds and hundreds of tunes,
including the two descriptive pieces "Allisdrum's March" and "The
Fox Chase", dance music and numerous slow airs with Irish titles-which
Goodman took down from Munster pipers. A biographical note and
photograph will be found in O'Neill's Irish Minstrels and Musicians
(pp. 173/176). B.B.
19
❖❖❖❖❖❖❖❖❖❖❖❖❖❖❖❖❖❖❖❖❖❖❖❖❖❖❖❖❖�

AS WE SEE IT

T HE present popularity of Irish music is due in no small part to the

regular broadcasting by Radio Eireann of such programmes as Ceolta
Tire and a Job of Journeywork. Besides reawakening an interest
in districts where it had already begun to wane, these programmes, and
the many clubs organised throughout the country by Comhaltas Ceoltoiri
Eireann. have also stimulated an interest in traditional music in ever
widening circles. As a result of these activities many young people
have been attracted to this music who otherwise might have remained
satisfied with the fare provided by what may be described as the urban
folk song movement. The time allotted to such programmes on Radio
Eireann and Telefis Eireann and their presentation and content are on
that account of particular concern to all who have the promotion of
Irish music at heart.
Discussions and comments on these programmes could be a most
effective means of extending a knowledge and an appreciation of this
music, that is of realising the aims that prompted the sponsors of Ceo!
to venture on the publication of a journal devoted exclusively to Irish
music. To avoid misunderstanding--if that is possible-we shall here
explain our own approach to the subject. Programmes which purport
to present Irish traditional or folk music played in a traditional manner
-seancheol ar an seanchaoi-should include only music of this kind
and any such music, vocal or instrumental, should be rendered only in a
traditional manner and, let us say, by competent performers.
Ceolta Tire and A Job of Journeywork are programmes that must
be judged by that standard. We have felt in the past year or so that
certain incongruities were creeping into these two programmes-the
introduction of solo players, of bands and other groups which could not
be regarded as playing in a traditional manner, the inclusion of tunes
and songs which were not by any definition Irish. We were greatly
perturbed by the first programme (not the first in the series) we heard
in the American Job of Journeywork. The content seemed to suggest
that a change in the nature of this programme was, in a sense, being
silently effected. After some fine reel playing by Joe Cooley on an
accordeon which did not sound very appealing, the rest of this broad­
cast was devoted to publicising a long playing record made by a group
of singers who specialise in rendering folk and other songs in the
fashion now prevailing in urban centres in the United States and else­
where. By its intrusion at fleadhanna ceoil followers of traditional music
are becoming more and more acquainted with this type of music, with its
inevitable guitar accompaniment and Aran sweater. It must be confessed
that a critic writing in the daily press acclaimed this broadcast " for its
presentation of the latest recordings of the Clancy Brothers, who can
be appreciated by an audience beyond that interested in traditional
music." A pop or two, some Gregorian chant and a piece from Bach
would no doubt attract an even wider audience, but while such music
and that cultivated so ably by the Clancy brothers all have a place in
radio, it is definitely not in a programme in which listeners expect to
hear Irish traditional music played in a traditional manner. •
Somewhat less of Reddigan-because he is so well known already to
20
home listeners-and more of Vesey-because he is Jess known-would
have improved the programme covering the Philadelphia visit. The
violinist should have been omitted; he was solely an academic player
and none of the airs he played was Irish. We had not previously heard
the Touhey record included in this programme. This is the second
record of Touhey that Ciaran MacMathuna has unearthed in his travels.
Touhey, who was born at Loughrea in 1865, died in New York in 1923.
His playing then illustrates a type of piping which flourished over 80
years ago. When he has finished with his American journey, perhaps
Ciaran MacMathuna would arrange a series of programmes illustrating
piping, one could say, over the past 100 years. There are, we believe,
records surviving of Gallagher and Tom Ennis, younger men than
Touhey was, and these with some early records made in Ireland would
fill in the gap between Touhey and the present-day exponents.
Reacaireacht an Riada and Fleadh Cheoil an Radio are programmes
which might fall to be judged by standards different from those applicable
to the programmes already discussed. Ceolt6irf Cualann, the chief feature
of these two programmes, is being presented to the public as a group of
native musicians constituting the new style "ceili band", in contrast to
"the misconceived Clandillon type". This grouping was considered by
one critic as a greater achievement by 6 Riada, "in the sense of cultural
importance" than his musical accompaniment to Mise Eire. In discuss­
ing these programmes the progress made by Ceolt6iri Cualann in
transmuting the presentation of jigs and reels as played by the ordinary
ceili band into a new art form should be assessed. If the experiment
has been a success the standards by which this new grouping must be
judged would differ from those applicable to the casual group of
"musicianers" who have a go together at some reel or other at a fleadh
cheoil. If a radical departure from the usual treatment of dance music
has not been achieved, this group with the ordinary ceili band must be
judged by how well the melody with all its ornamentation is presented
to the listener.
Ceolt6iri Cualann consists of accordions, bodhran and bones, fiddles
and flute, pipes and tin whistles. Basically there is no difference between
this grouping and the ceili band which it is now becoming the thing
to deride. Bodhran and bones replace drum and piano; all the other
instruments are found in varying proportions in other bands. Presenta­
tion varies from solo playing through duets and trios in harmonic
combination to whole group melodic playing. The Dingle Regatta or
Rcisai na Naomh6g sa Daingean as the tune is known in Ireland, with
an added third part not belonging serves as a signature tune for the
group. Various sounds which recall the name by which the air is
known in England, are introduced into the playing, jigging, horse laughs,
the traditional tri gartha of the ancient Fianna and other non-musical
sounds being all used in turn. In one of the Fleadh Cheoil programmes
one of the accordeon players played a slip jig known as The Whinny
Hills of Leitrim. He is followed by the flute player who also plays
another slip jig which has the same name. Both then play together,
each his own air and the whole group joins in this free-for-all, but which
side the other players took in this musical duel we are at a loss to say.
Such treatment of music can hardly be regarded as a serious effort
towards developing a new art music form.
In so far as the dance music is concerned this group must be regarded
as any other common or garden ceili band, that is leaving the added
antics out of account. Although Ceolt6irf Cualann numbers among its
members some of the best players in the country its performance is dis­
appointing. It fails to ·attain the "lift" which is the characteristic
of all great reel playing, and the overall effect suggests a lack of cohesion.
The objection to the ceilf band from the traditional point of view is
that the instruments in combination blur the melodic line, and the better
the players in the band the mo'e likely this is to occur. Piano and drums
besides being an added distraction, aggravate the blurring. In its group
21
playing Ceoltoirf Cualann does not escape those defects. Bodhran and
bones are as much a distraction as the piano and drums. and the
accordeons while giving body to the other instruments tend on the
whole to blunt their effect.
O Riada must be congratulated on his achievement in getting tradi­
tional players to play slow airs in an intelligible manner. Very little air
playing has survived traditionally. More often than not, one is on that
account lucky not to know the words of the songs rendered by instrumen­
talists at competitions which call for the playing of a slow air.
Included in Fleadh Cheoil an Radio is a ballad competition confined
to the winners at fleadhanna ceoil organised by Comhaltas Ceolt6iri
Eireann. As the Comhaltas is concerned with traditional music, one
must assume that the singers who won at its competitions were regarded
by the adjudicators as being genuine folk singers. The singing of several
competitors which have appeared on this radio series raises grave
doubts as to the standard and quality of the adjudication. No doubt
competent adjudicators are as difficult to get as good referees. An
organisation, however, which is concerned with the promotion and
fostering of Irish traditional music cannot afford to be remiss in its
choice of adjudicators. Apart from bringing itself into disrepute, the
survival of this music as a separate form could very well be endangered
by incompetent adjudication.

(Continued from Page 10)

Let me turn what I will, I will surely all kill,
And I'll have the best action of Salvary's will,
And for her transaction I'll have satisfaction,
I tramp her jade bones for the price of me pig.
Jack Wade, Clones, Co. Monaghan.
This song was published by Walter Kelly, Waterford, about 1836
under the title A New Song called the Lamentation on the Price of the
Pig, without music or chorus, in a small booklet which also contained
Paddy's Return to Ballinafad and Come o'er the Heather. The minor
differences between the two versions have been left unnoticed.
Lines 3 and 4 of the third verse above read:
Each corner and lane I searched out in vain
But a foot of the jade could not be found.
Lines 5 to 8 of this verse are supplied from that version. They clear up
the obscurities in the corresponding lines found in the last verse above.
The second half of this verse in the printed Waterford version reads:
But as I do swear and I am sincere
I will not spare her for a Tory or Whig.
But for this base action I will take satisfaction
Upon this cursed jade for the price of my pig.
The tune or first part of this air is a version of The Three Little
Drummers (O'Neill's Dance Music of Ireland, 189). The Humours o f
Duagh, The Spirit of Whiskey, The Little Drummers, The Cock in the
Heath and Send up the Little Thing are other names for this jig.

l r. Venus's; 2 The chorus is repeated after each verse; 3 r. strumpet.

22
 MAD/GANS
for best drink in convivial company

25 NORTH EARL STREET

9 CATHEDRAL STREET
I MOORE STREET
and choice food
at

7, CATHEDRAL STREET
(Restaurant),
D UBL I N

SEANCHEOl AR AN SEANNOS
A selection of Irish dance music
by
AGGIE WHITE and PEADAR O'LOUGHLIN
(FIDDLE) (FLUTE)

*
Available shortly from

SPOI-' 15 Hamilton Street, Dublin,

or through any Record dealer

23
 CEOL
SEAN 6 RIADA
I FiDR-THRAIDISllJNTA
SEAMUS ENNIS LIAM CLANCY PADDY CANNY
Cumad6ir /Ceolt6ir Amhranaf /Pfobaire Pfobaire Fidil

SE.SAMH 6 hEANAf SEAN 'ac DHONNCHA

Amhrana, Amhranaf

TOMAS RECK VINCENT BRODERICK DONNCHA 6 MURCHU

Plobaire Fead6g Mh6r Fidil

SEAN MAGUIRE SEOSAMH de BURCA

Fldil Bosca Ceoil

JOHNNY PICKERING AODH O DUI BHEANNAIGH SEAN O RIAIN

Fidil Amhranaf Fidil

AINE Nf GHALLCHOBHAIR
Amhranaf

SEAN MAC LOCHLAINN MAIRE Nf DHONNCA

Fidil Amhranaf

SEAN o SiOCHAIN SEAN 6 SE DARACH o CATHAIN

Amhranaf Amhranaf Amhranal

1f"'"� "1¥'�._,1•1•·
AR CHEIRNiNi gael-l1nn-
: A �11 11A11\}�t,,n�1 �"" '

.. •� 'I",, • i � , .,. ,, • I Ii C.,,'

Ta neart amhranaithe agus ceolt6irf eile ar cheirnfnf

Gael-Linn chomh maith. Cuir fios orthu id' shiopa
gramaf6in no 6

, ,
G A E L - L! N N, 5 4 S RA I D G RA FT O N, AT H C LI AT H, 2

24
 flEADH CHEOll NA hEIBEAHN
Mullingar Co. Westmeath
JUNE 1, 2, 3, 1963
(WHIT WEEK-END)

ARRANGE NOW TO VISIT IRELAND'S

NATIONAL FESTIVAL OF TRADITIONAL
MUSIC AND SONG.
Syllabus, Entry Forms, Advice and Information
from:
The Secretary,
Longford Road
Mullingar.

If You Play Music You Must Get

Nos, 1, 2 & )

A new collection of Irish Traditional Music

edited by Breandan Breathnach
Six tunes Each Issue for One Shilling
(Postage 3d. extra)

Published by CLARE CO. BOARD C.C.E.

and available from
The Secretary, 79 Parnell Street, ENNIS, Co. Clare