DOCSLIB.ORG

Tulla Comhaltas 50Th Anniversary

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Tulla Comhaltas 50Th Anniversary Tulla Comhaltas 50th Anniversary We are celebrating our 50th Anniversary on 14th - 17th Sept 2007 with a great weekend of entertainment planned with concerts, ceilithe, workshops and recitals. The current committee of Tulla Comhaltas: Chairman Vincent Griffin Secretary Maureen Corbett Treasurer Breda McNamara Vice-Chair Peter Coughlan Asst. Secretary Mary O'Rourke PRO Kitty Leyden Auditor Sean Greene Committee Jack Murphy Committee Dorothy Landers Committee Gerard McNamara Committee Mary Coughlan Tulla, Co. Clare +353 87 8350996 Web: tullatradfestival.com/ email: [email protected] Tulla Trad Festival Sept 14th to 17th Come to Tulla for 4 days of the best in Music,Song, and Dance with Ceilis, Workshops, Singing, Sean Nos and Sessions. The Festival will attract genuine music lovers from all corners of the globe, besides providing a platform for local musicians to demonstrate their musical heritage, the Festival should bring together musicians from other traditional backgrounds to share in a unique musical experience. This is a great opportunity to showcase Tulla to the musical, art and business world and maybe bring in some employment or employers to the region. Programme FRIDAY 14th Sept. 7.00pm - Parade from Library to Courthouse led by Tulla Pipe Band. Official opening of Festival by Senator Labhras O'Murchu Ardstiurthoir C.C.E. Music on Gig Rig - Members of Tulla Comhaltas Group 9.00pm - R.T.E. Radio 1 Ceili House with Kieran Hanrahan, featuring the Tulla Ceili Band with Martin Hayes, Seamus Connolly and a host of local artists. 10.30pm - Opening Ceili with Tulla Ceili Band - Venue St. Joseph 's Secondary School Hall 9.30 pm - Informal sessions about town. SATURDAY 15th Sept. 11.30am - 3.30pm Workshops in a variety of instruments in St. Joseph 's Secondary School Lunch 1 - 2 pm . See workshops page (below) 5.00pm - Presentation of Archive - historical look at the music song and dance heritage of Tulla and the East Clare area over the past 50 years with photographs, slide show, pre-recorded interviews, and musical recordings of local artists. Roll of Honour acknowledging significant contributions to traditional Irish Music. Venue - St Joseph 's Secondary School Hall. Admission Free, All welcome 8.00pm - Gala Concert in St Peter's and Paul Church Tulla with Paddy & Mary Canny, Vincent Griffin and Gerry Mulvihill, Gerard & Eimear Coughlan, Manus McGuire, Mark Don nellan, Jennifer Lenihan, Jim Corry, Anthony Quigney, Maire Ni Cheallachoir, Darach MacMathuna, Martin Hayes, Seamus Connolly, Micheal O'Raghallaigh, Catherine McEvoy and family, Michael Rooney and June McCormack, Mary and Andrew MacNamara, Micheal O'Rourke, Paddy O' Donoghue, Seamus Bugler, Kate McNamara, Michael Landers, Mary Corry, Janet Harbison and many more. 10.00pm- Ceili Mor - Kilfenora Ceili Band - Venue St Joseph's Secondary School Hall. 9.30pm - Informal sessions about town. SUNDAY 16th 11.00am - Aifreann tri Gaeilge - Celebrated by Fr Martin O'Brien and Fr Brendan Lawlor Aifreann Comhaltas le ceol o na ceoltoiri aitiuil. Music arranged by Mary MacNamara , Broadcasting live on RnaG 12.00pm - Music on Gig Rig - All musicians welcome. 1.00pm - Informal sessions around town including singing session. 2.00pm - Family Street entertainment with Puppeteers, Magician, Face Painting 5.00pm - Fiddle Recital hosted by Vincent Griffin. Featuring Paddy Canny, Martin Hayes, Seamus Connolly, Micheal O'Rourke, Pat and Erica O'Connor, Jack Murphy, Manus McGuire, Mark Don nellan and Vincent Griffin. 9.30pm - Ceili Mor with Andrew MacNamara Venue - Minogues Bar Tulla 9.30pm - Informal sessions about town. MONDAY 17th - INFORMAL SESSIONS WORKSHOPS - Saturday 15th September Workshops will take place in St. Joseph's Secondary School, Tulla Registration 11.00am: Classes from 11.30am - 3.30pm (Lunch 1 - 2pm ) Class sizes restricted. A degree of competence in chosen instrument is expected. Classes available in instruments listed below: Button Accordion - C# D - Andrew MacNamara . B C - Seamus Bugler Banjo - Gerry Mulvihill Concertina - Micheal O'Raghallaigh Fiddle - Seamus Connolly and Martin Hayes Flute - Paddy O' Donoghue and Catherine McEvoy Harp - Michael Rooney and Janet Harbison Sean Nos singing - Maire Ni Cheallachoir Traditional Singing - Helen Hayes Sean Nos Dancing - Darach MacMathuna Comhra Gaeilge - An tSiur Eibhlin Ni Challanain agus Caitlin Ni Mhaoldomhnaigh 2.00pm - Launch of Ranganna Gaeilge will take place at Comhra Gaeilge Workshop by Meaiti Joe Sheamais, R na G. About Comhaltas Comhaltas branches and events have a profound effect on the cultural life of the communities we serve. * Our competitions and festivals generate a great buzz of local pride and have a large economic impact on host towns. * Our volunteer-based cultural movement fosters a spirit of cooperation and provides a positive model of service to the community. * Our work in preserving and building “cultural and social capital” plays an important part in preserving our Irish identity in the face of rapid globalisation. * Our contribution to the development of experiential tourism in Ireland is very much part of the worldwide “Ireland brand.” * We administer the nationally-recognised exam and grading system for testing proficiency in traditional music. * Our education programmes accommodate tens of thousands of students every week. These programmes support a family-based community and encourage positive social involvement for youth. http://comhaltas.ie/ Cois na hAbhna is the headquarters of Comhaltas Ceoltóirí Éireann in County Clare. http://www.c7r.com/cce/ CARTLANN RÉGIÚNDA COMHALTAS CEOLTÓIRÍ ÉIREANN REGIONAL ARCHIVE at COIS na hABHNA http://www.c7r.com/archive/ http://www.tullatradfestival.com/.
Load more

Recommended publications
  • Brittany Haas: Violin & Vocals Susie Petrov: Piano & Accordion
    abdesign bc A Proud Supporter of The New Harmony Music Festival & School -Informing Citizens -Empowering Families -Strengthening Community Listen Live at WNIN.ORG TV 9.1 & 9.2, Cable 12 &13 FROM THE FESTIVAL DIRECTOR christopher layer Welcome to season three... Celebrating Life In The Presence Of Music...And Architecture! elcome festival friends to the third New Harmony Music Festival & School! Welcome Wto community, freedom, and the harmony of sounds in soaring spaces, old ballads in historic theaters, and morning serenades out of doors while nature bestows her gifts upon us in this harmonious spiritual mecca for the soul. I invite you to bring your own joy and enthusiasm for musical creation to bear on our offerings in this cradle of life and sharing. Drink deep from the font of exploration and linger long in the land of things creative. On behalf of Clem Penrose and all of the New Harmony Artists Guild, dear listener, you are invited! This season... his year we celebrate the bicentennial of the town of New Harmony and the unique ways our historic Tsurroundings and structures shape how our ears receive our music. Stephanie Meeks, the Director of the National Trust For Historic Preservation, has graciously written a short letter of greeting to the festival, as we feature some our special architecture around town during festival. We are thrilled to be performing an outdoor concert at 9 o’clock on Saturday morning, July 12 in the Philip Johnson Roofless Church featuring a nine foot Steinway piano courtesy of H & H Music in Evansville. Classical and traditional music inspired by works of architecture through history will fill the bill of fare for this very special “first” in festival history.
    [Show full text]
  • Archives and Manuscripts
    Séamus Connolly Papers 1929-2013 (bulk 1957-2013) IM.M064.1999 Series II, Subseries B: Digitized audio from sound cassettes, circa 1953 – circa 2003 http://hdl.handle.net/2345/3083 Last updated: 2013 June 10 Irish Music Archives John J. Burns Library Boston College 140 Commonwealth Avenue Chestnut Hill, MA, 02467 617-552-4861 [email protected] http://www.bc.edu/burns COLLECTION OVERVIEW: AUTHOR: Irish Music Archives, John J. Burns Library SOURCE: Gift of Séamus Connolly, 2005. COLLECTION #: IM.M064.1999 ACCESSION DATE: 2005 PROCESSED BY: Richard Burley, 2013; Deanna Malvesti, 2013; Rachel Banke, 2012; Margaret Connolly, 2011; Sandra O’Donoghue, 2011; Justin Menner, 2009. Managed and reviewed by John Kearney and Elizabeth Sweeney, 2009- 2013. LANGUAGE(S): The majority of the materials are in English with some materials in Irish. RESTRICTIONS ON ACCESS: Collection is open for research. COPYRIGHT RESTRICTIONS: These materials are made available for use in research, teaching and private study, pursuant to U.S. Copyright Law. The user must assume full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials. Any materials used for academic research or otherwise should be fully credited with the source. The original authors may retain copyright to the materials. ABSTRACT: This collection documents the musical activities and career of Irish traditional fiddle player Séamus Connolly. The collection includes field recordings, correspondence, press clippings, publications, photographs, awards, and artifacts. It also includes research notes and materials collected by Connolly on Irish traditional music. PREFERRED CITATION: Identification of item, Box number, Folder number, Séamus Connolly Papers, IMC.M064, John J.
    [Show full text]
  • Caoimhín Mac Aoidh on Regional Irish Fiddle Styles
    20/03/2018, 0018 Page 1 of 1 Translate this page to French Go Translation by GO! Network Caoimhín Mac Aoidh on Regional Irish Fiddle Styles REPRODUCED BY PERMISSION OF THE AUTHOR: By all means feel free to use the article at the site. The only thing you need to point out is that the article is now at least 20 years old and was originally published in Vol. 1 of An Fhidil Ghaelach (now out of print).—Caoimhín Mac Aoidh Part 1 Part 2 Part 3 Part 1 Approximately 90 years ago the Irish language was spoken without break along the entire southern western and northern coastline and as far inland as County Roscommon (Irish Language Survey of 1891). At this time the Irish of these areas, dialectically speaking, gradually flowed into one another, thus making distinct dialects along a continuous transverse section almost undetectable. A language can be simply defined as a highly organised series of sounds and it is important to note that music, and in this case traditional Irish dance music, also fits well with this definition. I feel that both language and music are reflective of their practitioners or creators. Northerners to me generally are straightforward people in their humour and speech. Their music is usually straightforward as well; their song, ornamentally, is also. The Ulster dialect of Irish is often referred to as bland or flat. The music of the more southern counties, as regards their sound, and Irish dialects are significantly lighter in nature. A link between the music and the language is herein implied.
    [Show full text]
  • Foreign Bodies in the River of Sound
    FOREIGN BODIES IN THE RIVER OF SOUND SEEKING IDENTITY AND IRISH TRADITIONAL MUSIC Helen O’Shea Thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy School of Social Sciences Faculty of Arts Victoria University of Technology 2005 CONTENTS Images................................................................................................................................ v Musical Examples............................................................................................................ vi Abstract ........................................................................................................................... ix Declaration........................................................................................................................ x Acknowledgements.......................................................................................................... xi INTRODUCTION ............................................................................................................ 1 Chapter 1 THE RESEARCHER’S QUEST: THEORIZING MUSIC AND IDENTITY ..................... 6 1.1 Identifying identity .................................................................................................. 6 1.2 Theorizing music.................................................................................................... 10 1.3 Understanding Irish music..................................................................................... 21 1.4 The researcher’s quest...........................................................................................
    [Show full text]
  • Comhaltas- Interview with Gearóid Ó Hallmhuráin
    Treoir Comhaltas Magazine (Spring 1997) Out of the West By Raymond Hughes My father purchased an old Hohner accordion from a neighbour in Ballygriffey and decided that Frank Custy in Toonagh had a fitting alternative to my lack of talent on the hurling field. So begins the magnificent tale of one man’s musical journey continuing four generations of Clare concertina players. With several All-Ireland championships to his credit, Gearóid O hAllmhurain has finally released a solo album, entitled Traditional Music from Clare and Beyond. Acclaimed as one of the finest concertina recordings of all time by some critics, it is so much more than simply concertina. Joined by three of County Clares legendary fiddlers, Paddy Canny, Peter O’Loughlin and Martin Hayes, as well as Belfast harper Janet Harbison, sean-nós dancer Patrick O’Dea from Seafield, Inis Oírr flute player Mícheál O hAlmhain, and several other special guests, there is the makings of an entire céilií band on this recording. This delightful recording was released in Ireland and North America this summer. In the 1980s, Gearóid made his first forays into Amerikay as manager and piper of Dísirt Tola. This extraordinary band of young talent created their own cooperative recording produced in Windmill Lane Studios in Dublin. Touring England and New England, the band consisted of Sharon, Mary, and Garry Shannon, and a rake of young Clare and Dublin musicians. To this day, that album remains a most sought after collection but is as rare as hen’s teeth. Then for many years, Gearóid disappeared from the professional music arena in exchange for his academic pursuits.
    [Show full text]
  • The Album and the Musical Work in Irish Folk and Traditional Music, Ca
    The Album and the Musical Work in Irish Folk and Traditional Music, ca. 1955–70 Adrian Scahill Éire-Ireland, Volume 54, Numbers 1 & 2, Spring/Summer 2019, pp. 17-45 (Article) Published by Irish-American Cultural Institute DOI: https://doi.org/10.1353/eir.2019.0005 For additional information about this article https://muse.jhu.edu/article/725523 [ Access provided at 3 Nov 2020 16:25 GMT from Maynooth University ] Adrian Scahill The Album and the Musical Work in Irish Folk and Traditional Music, ca. 1955–70 In this article I explore the interrelationship between the introduc- tion of the long-playing record (or LP) into Ireland, the impact of the traditional and folk revival, and the emergence of the concept of a musical work within traditional music. The invention of long- playing records in the 1950s affected how record labels, musicians, and consumers conceptualized different musical styles, and it shaped the structure of recorded music (Montgomery 3; Keightley, “Long Play” 380). The LP came to be associated with serious music of ar- tistic worth that was aimed at an adult market. In the same decade the first long-playing records of Irish traditional or folk music were issued during the first phase of the revival. Irish revivalist musicians and activists of the 1950s and 1960s had a number of broad aims that included, but were not limited to, ensuring that this music was appre- ciated as serious and artistic by a wider audience in Ireland, making high-quality recordings of the music, and presenting the music in a professional and more artistic manner.
    [Show full text]
  • The Parameters of Style in Irish Traditional Music
    THE PARAMETERS OF STYLE IN IRISH TRADITIONAL MUSIC Niall Keegan, University of Limerick 1 Style is an important but elusive concept in the world of traditional Irish music. As a young traditional flute player growing up in St. Albans, England, I heard the words of flute style bandied about at fleadhs, concerts and sessions but didn’t really understand them despite being exposed to a rare generation of musicians in and around London. In 1990 I took the opportunity to undertake a research degree at University College, Cork with the stated, naive and far too ambitious idea of producing an account of the different regional styles of flute playing within traditional Irish music. My initial period of research was by far the most fun and I travelled the country and received the seemingly limitless generosity and hospitality of many flute players. However, my initial goal of establishing a categorical structure where certain regional styles could be defined in much the way musicologists would define historical styles of classical composition by the use of certain of techniques very quickly proved to be unattainable. One man’s east Galway style, was another’s Clare style was another woman’s Sligo style. Very soon I realised that the problem wasn’t with the words and conceptual structures of traditional musicians and their inadequacies (as is implied in the findings of musicologists such as George List (1994, 1997) and closer to home, Fionnuala Scullion (1980)). I concluded that the problems was my expectation of discovering a scientific, Aristotelian categorical structure where every category has a limited list of attributes and a well defines border to separate it from others.
    [Show full text]
  • Out of the West (CCE-1997)
    A popular teacher indeed, Gearóid can be found on syllabi from San Francisco Bay Area university forums and North American Comhaltas conventions to national music camps like the Catskills’ Irish Arts Week in upstate New York and the Swannanoa Gathering in North Carolina. A fine uilleann piper, what brought you back to the concertina, I asked. So begins the magnificent tale of one man’s musical journey continuing four generations of Clare concertina players. With several All-Ireland championships to his credit, Gearóid O hAllmhurain has finally released a solo album, entitled Traditional Music from Clare and Beyond. Acclaimed as one of the finest concertina recordings of all time by some critics, it is so much more than simply concertina. Gearóid’s good fortune led him to the Clare concertina master, Paddy Murphy. Mentor to Joined by three of County Clares legendary fiddlers, Paddy Canny, Peter O’Loughlin and countless young players, Paddy Murphy commanded tremendous respect from the 1950s Martin Hayes, as well as Belfast harper Janet Harbison, sean-nós dancer Patrick O’Dea from down through the 80s for his technical facilities, his collection of tunes and innovative style. To Seafield, Inis Oírr flute player Mícheál O hAlmhain, and several other special guests, there is his students, he also offered tremendous wisdom and insights. Through the longtime the makings of an entire céilií band on this recording. friendship which developed between these two men, an event of extraordinary impact on the popularity of Irish music in Europe occurred. In the 1980s, Gearóid made his first forays into Amerikay as manager and piper of Dísirt Tola.
    [Show full text]
  • Vincent Griffin Traditional Fiddle Music from County Clare
    Vincent Griffin Traditional Fiddle Music from County Clare *1 Reels: Fahey’s 1 & 2 *2 Jigs: Paddy Fahey’s/The Cliffs of Moher 3 Reels: Paddy Ryan’s Dream/Mammy’s Pet *4 Reels: Martin Rocheford’s/The Sligo Maid *5 Hornpipes: The New Century/The Cuckoo 6 Jigs: Coleman’s 7 Reels: Lord McDonald’s/Ballinasloe Fair *8 Reels: The Reefs/McFadden’s Favourite *9 Reels: The New Year’s In/Youghal Quay **10 Air: Se Bhfath mo Bhfuartha (The Cause of my Sorrow) 11 Reel: Lord Gordon’s *12 Reels: Dr. Gilbert/The Queen of May *13 Jigs: The Trip to Sligo/Garrett Barry’s 14 Reels: The Night in Ennis/The Maid Behind the Bar *15 Reels: Crowley’s *16 Reels: Lady Anne Montgomery/Down the Broom/The Gatehouse Maid On tracks marked * Vincent is accompanied on piano and ** on harp by Geraldine Carrig. First published by Topic 1977 Produced and recorded by Robin Morton, December 1976 Design by Tony Engle Photography by Robin Morton Notes by Robin Morton Much thanks to Mr and Mrs Wilde of Ennis who very kindly gave us the use of their house and piano for the recording. A Gilderoy Production THE MAN Teaching obviously gives Vincent pleasure, especially as Vincent Griffin, from County Clare, is first and foremost a some of his pupils show great promise. One group of young fine traditional fiddler. We met, however, not in Ireland but people from Tulla, under his tuition, won five or six classes in California. He was out there visiting friends and playing at the 1976 All-Ireland Fleadh Ceol.
    [Show full text]
  • Séamus Connolly Papers 1929-2013 (Bulk 1957-2013)
    Séamus Connolly Papers 1929-2013 (bulk 1957-2013) IM.M064.1999 Series II, Subseries A: Digitized audio from sound tape reel compilations, 1958-1987 (bulk 1958-1987) http://hdl.handle.net/2345/1384 Last updated: 2020 July 1 Irish Music Archives John J. Burns Library Boston College 140 Commonwealth Avenue Chestnut Hill, MA, 02467 617-552-4861 http://www.bc.edu/burns 1 COLLECTION OVERVIEW: AUTHOR: John J. Burns Library SOURCE: Gift of Séamus Connolly, 2003-2005. COLLECTION #: IM.M064.1999 ACCESSION DATE: 2003-2005 LOCATION: John J. Burns Library PROCESSED BY: Deanna Malvesti, 2013; John Kearney, 2013; Dante Garland, 2007; Séamus Connolly, 2004-2005; Katie McCormick, 2004-2005. Managed and reviewed by Elizabeth Sweeney, 2004-2013; reviewed by Amy Braitsch, 2010; reviewed by Elizabeth Sweeney, 2020. LANGUAGE(S): The majority of the materials are in English with some materials in Irish. RESTRICTIONS ON ACCESS: Collection is open for research. COPYRIGHT RESTRICTIONS: These materials are made available for use in research, teaching, and private study, pursuant to U.S. Copyright Law. The user must assume full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials. Any materials used for academic research or otherwise should be fully credited with the source. The original authors may retain copyright to the materials. ABSTRACT: This collection documents the musical activities and career of Irish traditional fiddle player Séamus Connolly. The collection includes field recordings, correspondence, press clippings, publications, photographs, awards, and artifacts. It also includes research notes and materials collected by Connolly on Irish traditional music.
    [Show full text]
  • Comhaltas: Honouring Ireland's First Lady of Concertina
    Honouring Ireland's First Lady of Concertina By Cecilia Nic Dhomhnail In August this year, the West Clare town of Kilrush will host traditional musicians, singers and dancers from all over Ireland and abroad, who will gather to pay homage to Ireland’s First Lady of Concertina Music, Mrs. Elizabeth Crotty, whose celebrated name continues to stand guard over the town’s Market Square. Thirty seven years after her death in December 1960, Mrs. Crotty is still a revered figure among Irish traditional musicians on both sides of the North Atlantic. A pioneer of the fleadh cheoil movement, a host to the travelling piper, and an encyclopedia of tunes for the music collector, she is particularly remembered as a kind and unassuming lady who always made time to mentor and encourage younger musicians. At summer schools from North Carolina to Miltown Malbay her music is still being passed on today to a new wave of concertina enthusiasts by Clare concertina masters who have inherited the unique reputation she created for Clare’s tiny hexagonal instrument. A MEETING OF OLD FRIENDS AND BROADCASTERS. The weekend school will convene on Friday August 15 and continue until Sunday evening August 17. Dr. Ciaran MacMathuna, whose distinguished career in broadcasting began with a rare series of recordings made in Crotty’s in the 1950’s, will perform the official opening on Friday evening. This will be followed by the Mrs. Crotty Memorial Lecture in Kilrush public library presented by Dr. Gearóid Ó hAllmhuráin of the University of San Francisco. The evening will conclude with a series of traditional music sessions at various venues throughout the town.
    [Show full text]
  • Paddy O'donoghue
    Cuimhneamh An Chláir Clare Education Centre Kilrush Road Ennis, Co. Clare Phone: 087 278 7463 Email: [email protected] www.clarememories.ie Paddy O'Donoghue INTERVIEW by Carmel O'Dea on July 15, 2011 Interviewee Paddy O'Donoghue Gender Male Birth Date 1928 Area-Townland South Clare - Newmarket Parish-Townland - Report Date September 21, 2015 Time Description File 1 0:00:00 0:04:00 SCHOOLDAYS - Born in Ballinahinch, Bodyke on March 31, 1928. Went to Bodyke National School. (Three teacher school all teachers were members of the one family). Paddy loved school. Teachers had respect for pupils. Music and hurling were favourite subjects. Pupils came from all over Bodyke, including places such as Caherhurley and Inchedehogue. Great camaraderie there. 0:04:01 0:05:08 FAMILY - Mother, father, five siblings three brothers, two sisters. He is both the youngest and the last surviving member of his family. His father Michael came from Glendaree, Tulla. He played concertina and fiddle. His mother was a good singer. 0:05:09 0:08:08 MUSIC - Paddy started on the Clarke C tinwhistle at age 4. He moved on to timber flute at 10. He had an uncle who played it too. Brothers Jack & Jim played, sisters Mary & Bridie played and sang too. Lots of house music. Local fiddlers Martin Rochford, Jimmy Long & Miko Doyle used to call. Any occasion would call for a house party & music. Simple way of life. 0:08:09 0:09:38 RADIO - Paddys family had no radio for a long time. They would call up to Whelans nearby to listen to broadcasts from the likes of Paddy Canny & Leo Rowsome.
    [Show full text]