Broederschap of Rivaliteit?

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Broederschap of Rivaliteit? Broederschap of rivaliteit? De Ierse en Engelse twintigste-eeuwse folkrevival MA Scriptie Naam: Ivo Terpstra Studentnummer: 10069631 Opleiding: Master Europese Studies: Cultuur & Identiteit Instelling: Universiteit van Amsterdam Eerste lezer: dr. K.K. Lajosi Tweede lezer: dr. M.E. Spiering Afsluitdatum: 01-07-2014 Inhoudsopgave Inleiding ..................................................................................................................................... 3 Hoofdstuk 1: Theoretisch kader ................................................................................................. 5 1.1 Wat is folkmuziek? ........................................................................................................... 6 1.2 Keltisch vs. Iers ................................................................................................................ 9 Hoofdstuk 2: De Ierse folkrevival ............................................................................................ 11 2.1 Francis O’Neill ............................................................................................................... 11 2.2 Opnameapparatuur .......................................................................................................... 13 2.3 Seán Ó Riada .................................................................................................................. 14 2.4 Urbanisatie van Ierse folk ............................................................................................... 18 2.5 De jaren zeventig en verder ............................................................................................ 19 2.6 Ierse folkinvloeden in populaire muziek ........................................................................ 21 Hoofdstuk 3: Analyse Ierse folkmuziek ................................................................................... 23 3.1 Michael Coleman – Irish Jigs and Reels (1921) ............................................................. 23 3.2 The Chieftains – The Chieftains (1963) ......................................................................... 24 3.3 The Clancy Brothers and Tommy Makem –Irish Songs of Rebellion (1956) ................ 25 3.4 The Dubliners – A Drop of the Hard Stuff (1967) ......................................................... 26 3.5 Planxty – Planxty (1973) ................................................................................................ 27 3.6 Altan – Harvest Storm (1992) ........................................................................................ 29 3.7 Horslips – The Táin (1973) ............................................................................................ 30 Hoofdstuk 4: De Engelse folkrevival ....................................................................................... 32 4.1 Cecil Sharp ..................................................................................................................... 34 4.2 De tweede folkrevival ..................................................................................................... 36 4.3 Elektrische folk ............................................................................................................... 38 Hoofdstuk 5: Analyse Engelse folkmuziek .............................................................................. 41 5.1 Ewan MacColl – Shuttle and Cage (1957) ..................................................................... 41 1 5.2 Davy Graham & Shirley Collins – Folk Roots, New Routes (1964) ............................. 42 5.3 The Watersons – Frost and Fire: A Calendar of Ceremonial Folk Songs (1965) .......... 43 5.4 The Pentangle – Basket of Light (1969) ......................................................................... 45 5.5 Fairport Convention –Liege & Lief (1969) .................................................................... 46 5.6 Anne Briggs – Anne Briggs (1971) ................................................................................ 47 5.7 Steeleye Span – All Around My Hat (1975) .................................................................. 47 Hoofdstuk 6: Overlappingen tussen Ierland en Engeland ........................................................ 49 Conclusie: een vergelijking tussen de folkmuziek van Ierland en Engeland ........................... 50 Bibliografie ............................................................................................................................... 53 2 Inleiding In 1983 bracht de Ierse folkband Clannad haar zevende studioalbum uit onder de titel Magical Ring. Met het openingsnummer ‘Theme from Harry’s Game’, een sferisch nummer dat gezongen wordt in het Gaelic, scoorde de band haar grootste hit ooit. In een tv-interview met Leo Blokhuis vertelt zangeres Moya Brennan hierover: ‘The lovely thing about Harry’s Game was the fact that it was the first and only Gaelic song that ever reached the top five in England.’1 Dit succes in Engeland bleek echter van korte duur voor de band. ‘When they kind of realized that we were singing words, because I think they just thought it were sounds, they thought it might be offensive, because there was a lot happening between Ireland and England at the time. So they took it off the airwaves for one day, until we sent the translation.’2 Dertien jaar later nam zangeres Eimear Quinn namens Ierland deel aan het Eurovisie Songfestival. Haar nummer ‘The Voice’ was een traditioneel Iers nummer, waarin typisch Ierse instrumenten de begeleiding vormden bij de zang van Quinn. Het werd een groot succes voor Ierland, want het won de Europese liedjeswedstrijd overtuigend. Stemmers uit onder meer Turkije, Polen, Zwitserland en Nederland hadden de maximale hoeveelheid van twaalf punten over voor Quinn. Het meest opmerkelijke feit bij de stemprocedure was dat het Verenigd Koninkrijk geen enkel punt schonk aan haar buurland. Blijkbaar viel het Ierse nummer niet in de smaak bij de Britse stemmers. De anekdotes rond Clannad en Eimear Quinn laten zien dat de verhoudingen tussen Ierland en Engeland tot diep in de twintigste eeuw op scherp stonden, in ieder geval op het gebied van muziek. Beide landen hebben een grote gedeelde geschiedenis, maar er lijkt onderling een grote culturele concurrentie te bestaan. De culturele verhoudingen tussen Ierland en Engeland zullen in dit onderzoek centraal staan. Hierbij zal specifiek worden gekeken naar de twintigste-eeuwse folkmuziek. Binnen een nationale cultuur speelt folklore een belangrijke rol. ‘Folklore often constituted one of the key elements of national identities, a distinguishing feature of a group of people which could be identified as a nation through their folkloric cultural practices, stories, traditions, dwellings, songs, music, costume, dialect, cuisine, etc.’3 Wilhelm Tell in Zwitserland, Siegfried en Barbarossa in Duitsland, Robin Hood en Beowulf in Engeland, Beatrijs in Nederland, vrijwel elk Europees land kent haar eigen nationale helden uit oude volksverhalen. Folklore is samen met taal één van de belangrijkste kenmerken die een nationale cultuur onderscheidt van andere nationale culturen. Folkmuziek maakt een belangrijk onderdeel uit van deze folklore. Van oudsher hebben gemeenschappen overal ter wereld hun eigen nationale repertoire, dat via een orale traditie werd overgebracht op een volgende generatie. In de negentiende eeuw werd het onder Europese componisten gebruikelijk om dergelijke nationale melodieën te gebruiken in hun composities, om zo een vorm van nationale muziek te creëren. Frédéric Chopin werd bijvoorbeeld gezien als de nationale componist van Polen, een status die bijvoorbeeld Bedrich 1 Interview Moya Brennan & Ciarán Brennan, Top 2000 a gogo, NTR, uitgezonden op 26 december 2013. 2 Ibidem. 3 Timothy Baycroft & David Lopkin (red.), Folklore and Nationalism in Europe During the Long Nineteenth Century, Leiden: Brill 2012, p.1. 3 Smetana in Tsjechië, Jean Sibelius in Finland, Edvard Grieg in Noorwegen en Franz Liszt in Hongarije eveneens hadden verworven. Door folkmelodieën te vermengen met Europese klassieke kunstmuziek kreeg deze kunstmuziek een bijzonder nationaal karakter. Aan het begin van de twintigste eeuw was de interesse in folkmuziek stevig gedaald. Maar naarmate de eeuw vorderde, ontstond overal in Europa een ware revival van folkmuziek, voornamelijk na de Tweede Wereldoorlog. Hoe deze revival zich in de twintigste eeuw in Ierland en Engeland ontwikkelde zal in dit onderzoek bestudeerd worden. Naast vele publicaties over vroege folkmuziek, is er de laatste jaren ook steeds meer aandacht besteed aan de folkmuziek in de twintigste eeuw. Zo publiceerde de Engelse muziekjournalist en -onderzoeker Rob Young in 2010 zijn boek Electric Eden: Unearthing Britain’s Visionairy Music waarin hij de geschiedenis van Engelse folkmuziek beschrijft. Opmerkelijk genoeg wordt er in dit boek weinig tot geen aandacht besteed aan folkmuziek in Ierland, terwijl er ook daar een enorme revival ervan plaatsvond. Denk hierbij alleen al aan de wereldwijde populariteit van The Dubliners vanaf de jaren zestig, wellicht de grootste exporteur van Ierse folkmuziek ter wereld. Het feit dat Young in zijn studie naar Engelse folkmuziek geen verbanden met Ierland ziet, doet vermoeden dat beide folkrevivals zich onafhankelijk van elkaar hebben ontwikkeld. Of dit daadwerkelijk het geval is zal in dit onderzoek worden bekeken. De centrale vraag die onderzocht zal worden luidt dan ook: Hoe verhielden de Ierse en Engelse twintigste-eeuwse folkmuziekrevivals zich tot elkaar
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