Fellswater 2019 Media

Total Page:16

File Type:pdf, Size:1020Kb

Fellswater 2019 Media Fellswater Boston’s Celtic Music Ensemble George March, Business Manager [email protected] 978-501-0849 | www.fellswater.com Consider Fellswater for your next event Fellswater is a dynamic 8 piece Celtic music ensemble based out of Boston playing a wide range of music from traditional to modern compositions, drawing from the music of Scotland, Ireland, Brittany, Canada and beyond. Fellswater has delighted audiences at the New Hampshire Highland Games, Blackstone River Theatre, Boston Celtic Music Fest, The Burren Backroom Series, Club Passim and Colonial Williamsburg. The band was featured at the 2015 Royal Nova Scotia International Tattoo, playing for 8,000 nightly. Fellswater performed at the world renowned Royal Edinburgh Military Tattoo as well as presented two concerts in the Edinburgh Festival Fringe in August 2018. Fellswater has released three well-received albums, Fellswater, Thursday Night and Skipping Stones. The band features Dave Cabral on cello, Kyle Forsthoff on percussion, Betsy Ketudat on violin, Hardanger fiddle and Celtic harp, Jim MacConduibh on acoustic bass guitar and high strung guitar, Sarah MacConduibh on Irish flute, whistles and fife, Andrew McIntosh on Scottish smallpipes and border pipes, Chris Myers on vocals, guitar and octave mandolin and Diane Myers on vocals. Fellswater is available to hire for a wide range of events, from weddings and anniversaries, corporate events to fundraisers. The ensemble performs regularly at music clubs and concert halls to Celtic festivals and Highland Games. Our travel range is primarily throughout New England with occasional overseas appearances. Fellswater is comfortable in an acoustic setting or fully “plugged in.” For more information please contact us by email or phone. George March, Business Manager [email protected] 978-501-0849 | www.fellswater.com Selection of Fellswater performances (2010 - 2019) • annual headline concert at Amazing Things Arts Center (2015 - 2018) • annual headline concert at Sandywoods Center for the Arts (2012 - 2019) • headline concerts at Blackstone River Theatre (2012, 2013, 2015, 2017 - 2019) •performers at New Hampshire Highland Games & Festival (2010, 2012, 2014, 2018) •performers at Boston Celtic Music Fest (2012 & 2016) • guest artists at Kimball Theatre, Williamsburg, VA (December 2014 & 2015) • performed at Royal Nova Scotia International Tattoo, Halifax, Canada (2015) • debut performance at Club Passim (2018) • debut performance in Burren Backroom Series (2018) • performed in 2018 Royal Edinburgh Military Tattoo, Edinburgh, Scotland • presented two concerts at 2018 Edinburgh Festival Fringe, Edinburgh, Scotland George March, Business Manager [email protected] 978-501-0849 | www.fellswater.com.
Recommended publications
  • View Or Download Full Colour Catalogue May 2021
    VIEW OR DOWNLOAD FULL COLOUR CATALOGUE 1986 — 2021 CELEBRATING 35 YEARS Ian Green - Elaine Sunter Managing Director Accounts, Royalties & Promotion & Promotion. ([email protected]) ([email protected]) Orders & General Enquiries To:- Tel (0)1875 814155 email - [email protected] • Website – www.greentrax.com GREENTRAX RECORDINGS LIMITED Cockenzie Business Centre Edinburgh Road, Cockenzie, East Lothian Scotland EH32 0XL tel : 01875 814155 / fax : 01875 813545 THIS IS OUR DOWNLOAD AND VIEW FULL COLOUR CATALOGUE FOR DETAILS OF AVAILABILITY AND ON WHICH FORMATS (CD AND OR DOWNLOAD/STREAMING) SEE OUR DOWNLOAD TEXT (NUMERICAL LIST) CATALOGUE (BELOW). AWARDS AND HONOURS BESTOWED ON GREENTRAX RECORDINGS AND Dr IAN GREEN Honorary Degree of Doctorate of Music from the Royal Conservatoire, Glasgow (Ian Green) Scots Trad Awards – The Hamish Henderson Award for Services to Traditional Music (Ian Green) Scots Trad Awards – Hall of Fame (Ian Green) East Lothian Business Annual Achievement Award For Good Business Practises (Greentrax Recordings) Midlothian and East Lothian Chamber of Commerce – Local Business Hero Award (Ian Green and Greentrax Recordings) Hands Up For Trad – Landmark Award (Greentrax Recordings) Featured on Scottish Television’s ‘Artery’ Series (Ian Green and Greentrax Recordings) Honorary Member of The Traditional Music and Song Association of Scotland and Haddington Pipe Band (Ian Green) ‘Fuzz to Folk – Trax of My Life’ – Biography of Ian Green Published by Luath Press. Music Type Groups : Traditional & Contemporary, Instrumental
    [Show full text]
  • Download PDF 8.01 MB
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 Imagining Scotland in Music: Place, Audience, and Attraction Paul F. Moulton Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC IMAGINING SCOTLAND IN MUSIC: PLACE, AUDIENCE, AND ATTRACTION By Paul F. Moulton A Dissertation submitted to the College of Music in partial fulfillment of the requirements of the degree of Doctor of Philosophy Degree Awarded: Fall Semester, 2008 The members of the Committee approve the Dissertation of Paul F. Moulton defended on 15 September, 2008. _____________________________ Douglass Seaton Professor Directing Dissertation _____________________________ Eric C. Walker Outside Committee Member _____________________________ Denise Von Glahn Committee Member _____________________________ Michael B. Bakan Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii To Alison iii ACKNOWLEDGMENTS In working on this project I have greatly benefitted from the valuable criticisms, suggestions, and encouragement of my dissertation committee. Douglass Seaton has served as an amazing advisor, spending many hours thoroughly reading and editing in a way that has shown his genuine desire to improve my skills as a scholar and to improve the final document. Denise Von Glahn, Michael Bakan, and Eric Walker have also asked pointed questions and made comments that have helped shape my thoughts and writing. Less visible in this document has been the constant support of my wife Alison. She has patiently supported me in my work that has taken us across the country. She has also been my best motivator, encouraging me to finish this work in a timely manner, and has been my devoted editor, whose sound judgement I have come to rely on.
    [Show full text]
  • Traditional Fiddle Music of the Scottish Borders
    CD Included Traditional Fiddle Music of the Scottish Borders from the playing of Tom Hughes of Jedburgh Sixty tunes from Tom’s repertoire inherited from a rich, regional family tradition fully transcribed with an analysis of Tom’s old traditional style. by Peter Shepheard Traditional Fiddle Music of the Scottish Borders from the playing of Tom Hughes of Jedburgh A Player’s Guide to Regional Style Bowing Techniques Repertoire and Dances Music transcribed from sound and video recordings of Tom Hughes and other Border musicians by Peter Shepheard scotlandsmusic 13 Upper Breakish Isle of Skye IV42 8PY . 13 Breacais Ard An t-Eilean Sgitheanach Alba UK Taigh na Teud www.scotlandsmusic.com • Springthyme Music www.springthyme.co.uk [email protected] www.scotlandsmusic.com Taigh na Teud / Scotland’s Music & Springthyme Music ISBN 978-1-906804-80-0 Library Edition (Perfect Bound) ISBN 978-1-906804-78-7 Performer’s Edition (Spiral Bound) ISBN 978-1-906804-79-4 eBook (Download) First published © 2015 Taigh na Teud Music Publishers 13 Upper Breakish, Isle of Skye IV42 8PY www.scotlandsmusic.com [email protected] Springthyme Records/ Springthyme Music Balmalcolm House, Balmalcolm, Cupar, Fife KY15 7TJ www.springthyme.co.uk The rights of the author have been asserted Copyright © 2015 Peter Shepheard Parts of this work have been previously published by Springthyme Records/ Springthyme Music © 1981 A catalogue record of this book is available from the British Library. The writer and publisher acknowledge support from the National Lottery through Creative Scotland towards the writing and publication of this title. All Rights Reserved.
    [Show full text]
  • Join Us Aboard the Lady of Avenel for Sessions and Sail 2020 – Argyll
    Join us aboard the Lady of Avenel for Sessions and Sail 2020 – Argyll This two-masted, Brigantine-rigged tall ship will be your home for the week as we step aboard in Oban and sail the waters south of Mull and the coast of Argyll and the islands. The ship will be your base for a voyage of exploration and music with sessions, workshops, sailing and more. See the spectacular Paps of Jura from the sea, feel the tide course through the Sound of Islay, visit Colonsay, Gigha and more. You will learn tunes from the rich local tradition under the guidance of some of Scotland’s best musicians in the bright saloon aboard Lady of Avenel; later, we will walk ashore to a local pub or village hall to play sessions with local musicians and meet the communities. Throughout the trip we will enjoy locally sourced food, beautifully prepared by our on-board chef. Some of our likely destinations are outlined overleaf. We look forward to having you join us! 1 Sessions and Sail - Nisbet Marine Services Ltd, Lingarth, Cullivoe, Yell, Shetland ZE2 9DD Tel: +44 (0)7775761149 Email: [email protected] Web: www.sessionsandsail.com If you are a keen musician playing at any level - whether beginner, intermediate or expert - with an interest in the traditional and folk music of Scotland, this trip is for you. No sailing experience is necessary, but those keen to participate will be encouraged to join in the sailing of the ship should they wish to, whether steering, helping set and trim the sails, or even climbing the mast for the finest view of all.
    [Show full text]
  • Annual Reports2014
    EASTERN UNITED STATES PIPE BAND ASSOCIATION Annual Reports Saturday, November 8, 2014 Renaissance Cleveland Hotel Cleveland, OH 2 President’s Report ................................................................................................................. 4 Vice President’s Report on Fair Hill .................................................................................. 5 Treasurer’s Report .................................................................................................................. 5 Executive Secretary’s Report ........................................................................................... 8 EUSPBA Annual General Meeting Minutes Nov. 9, 2013 Newark, NJ .............. 9 Membership Coordinator ................................................................................................. 13 Music Board Report ............................................................................................................ 15 The Voice ................................................................................................................................ 15 Florida Branch Report ....................................................................................................... 16 Metro Branch ......................................................................................................................... 18 Mid Atlantic Branch ............................................................................................................ 18 Northeast Branch ...............................................................................................................
    [Show full text]
  • Cs June 2010.Pdf
    ISSN 1352-3848 June 2010 VOLUME 27 NO 1 THE JOURNAL OF THE LOWLAND AND BORDER PIPERS’ SOCIETY Jock Agnew and Martin Lowe launch ‘The Wind in the Bellows’ IN THIS ISSUE From the Archive(4): New Tune Book(5): Music Resources(6): John Armstrong’s Sword(7): Tutor Launch(9): Melrose(11): LBPS Annual Competition(13): Stock Imagery(18): Piper Gould(24): Revival or Survival?(26): Event Reports(35): Nate Banton Interview(41): Coming Events(48): Reviews(51): Back Lill(55) 1 President Julian Goodacre Minute Sec. Jeannie Campbell Chairman: Jim Buchanan Newsletter Helen Ross Treasurer Iain Wells Membership Pete Stewart Secretary Judy Barker Editor CS Pete Stewart THE JOURNAL OF THE LOWLAND AND BORDER PIPERS’ SOCIETY EDITORIAL ol 25 no 1 is the 47th issue of some from far-flung parts of the world; Common Stock [issues were there were lowland pipers in America, in V rather erratic in the early years], Australia, in Germany and the Nether- but it is the first I have supervised as lands, in India and in Oman, it seemed, editor. It is extraordinary to find that I and they were all keen to become part of am only the third person to hold this this new organization and share their privileged position. It is indeed a privi- enthusiasm. lege to take over a publication which has And because they did, I am now given recorded the trajectory of bellows piping the honour of editing the journal they from the days nearly thirty years ago first produced in Dec 1983. when various enthusiasts around the This revisiting of the early days has world began to discover that they were been largely the result of the work that not alone in their interest and that there has been done recently on preparing the was demand for an organization which Society’s records for deposit in the Na- would represent it.
    [Show full text]
  • Scottish and Irish Elements of Appalachian Fiddle Music
    Butler University Digital Commons @ Butler University Undergraduate Honors Thesis Collection Undergraduate Scholarship 3-1995 Scottish and Irish Elements of Appalachian Fiddle Music Matthew S. Emmick Butler University Follow this and additional works at: https://digitalcommons.butler.edu/ugtheses Part of the Ethnomusicology Commons, and the Musicology Commons Recommended Citation Emmick, Matthew S., "Scottish and Irish Elements of Appalachian Fiddle Music" (1995). Undergraduate Honors Thesis Collection. 21. https://digitalcommons.butler.edu/ugtheses/21 This Thesis is brought to you for free and open access by the Undergraduate Scholarship at Digital Commons @ Butler University. It has been accepted for inclusion in Undergraduate Honors Thesis Collection by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. BUTLER UNIVERSITY HONORS PROGRAM Honors Thesis Certification Matthew S. Emmick Applicant (Name as It Is to appear on dtplomo) Scottish and Irish Elements of Appalachian Fiddle M'-Isic Thesis title _ May, 1995 lnter'lded date of commencemenf ­ _ Read and approved by: ' -4~, <~ /~.~~ Thesis adviser(s)/ /,J _ 3-,;13- [.>­ Date / / - ­ ( /'--/-----­ --",,-..-­ Commltte~ ;'h~"'h=j.R C~.16b Honors t-,\- t'-­ ~/ Flrst~ ~ Date Second Reader Date Accepied and certified: JU).adr/tJ, _ 2111c<vt) Director DiJe For Honors Program use: Level of Honors conferred: University Magna Cum Laude Departmental Honors in Music and High Honors in Spanish Scottish and Irish Elements of Appalachian Fiddle Music A Thesis Presented to the Departmt!nt of Music Jordan College of Fine Arts and The Committee on Honors Butler University In Partial Fulfillment of the Requirements for Graduation Honors Matthew S. Emmick March, 24, 1995 -l _ -- -"-".,---.
    [Show full text]
  • Degrees of Challenge and Diversity BA (Scottish Music — Piping)
    DEGREE Degrees of challenge and diversity BA (Scottish Music — Piping) NE student on the BA (Scottish Music — Piping) degree programme Ois leading the revival of a community pipe band in the Renfrewshire village of Maxwell Derek Photo: Kilbarchan, several are touring and recording with other musicians, one has successfully produced an album for a schools pipe band and others are making their mark as keen solo competitors. All of this is extracurricular activity, but it is helping to further the students’ pursuit of the diverse aspirations that led them to apply for the programme in the first place. The course, taught jointly by The National Piping Centre and the Royal Scottish Academy of Music and Drama (RSAMD), is now embarking on its important third year: a final year for its first graduates. Brian McNeill, director of the Scottish Music programme at RSAMD, admitted to having been “skeptical at first about having a separate BA (Scottish Music — Piping) degree. “I’ve always worked very hard, and with the Battlefield Band (of which he was a co-founder) we fought for 30 years, to get the pipes accepted as another Scottish instrument which was not separate. “But I’ve converted since then. What the National Piping Centre does is so good that I feel a concentration on piping has been a beneficial thing. “There are important issues about how they “Jimmy Banks (the Centre’s degree “The fact that it is more specialised than join in with the rest of us, what their influence programme administrator) and I spend a lot of our general degree is good, and it may well be a should be on the rest of us and what our time working on the right ways to make the model, a template, for future degrees for fiddle, influence should be on them.
    [Show full text]
  • Traditional Music of Scotland
    Traditional Music of Scotland A Journey to the Musical World of Today Abstract Immigrants from Scotland have been arriving in the States since the early 1600s, bringing with them various aspects of their culture, including music. As different cultures from around Europe and the world mixed with the settled Scots, the music that they played evolved. For my research project, I will investigate the progression of “traditional” Scottish music in the United States, and how it deviates from the progression of the same style of music in Scotland itself, specifically stylistic changes, notational changes, and changes in popular repertoire. I will focus on the relationship of this progression to the interactions of the two countries throughout history. To conduct my research, I will use non-fiction sources on the history of Scottish music, Scottish culture and music in the United States, and Scottish immigration to and interaction with the United States. Beyond material sources, I will contact my former Scottish fiddle teacher, Elke Baker, who conducts extensive study of ethnomusicology relating to Scottish music. In addition, I will gather audio recordings of both Scots and Americans playing “traditional” Scottish music throughout recent history to compare and contrast according to their dates. My background in Scottish music, as well as in other American traditional music styles, will be an aid as well. I will be able to supplement my research with my own collection of music by close examination. To culminate my project, I plan to compose my own piece of Scottish music that incorporates and illustrates the progression of the music from its first landing to the present.
    [Show full text]
  • 2016-Program-Booklet-Final.Pdf
    CONTENTS Page Background on the Workshop 4 “Antique (SSP) Archæology” - Ralph R. Loomis Tips for a New Scottish Smallpipe Owner 8 Chris Pinchbeck The William Davidson (Glenesk) Pipes 12 Ian Kinnear Meet Your Maker - Kim Bull 15 Richard Shuttleworth Goodacre’s Razor A CUT BELOW THE OTHERS. 17 Julian Goodacre How dos Wood choice afect the Tone of Bagpipes? 18 And a number of refections on Pipe Making and Tone - Nate Banton A New Perspective on Old Technique, Scales and Embellishments 21 Barry Shears Biographies 21 Dan Foster 22 Barry Shears 21 Laura MacKenzie 23 Brian McNamara 22 Chris Gray 23 Benedict Kœhler 22 Owen Marshall 23 Bill Wakefeld 22 Iain MacInnes 23 Will Woodson Music 24 The Wisdom House Gathering (music) - Bob Cameron 25 The Lichtfeld Hills (music) - Bob Cameron 26 Didn’t We Meet in Lichtfeld? (music) - Bob Cameron Dear Piping Friends, Welcome to the 2016 Pipers’ Gathering. We’re thrilled to offer you a stellar line- up of instructors - we work hard to bring you a consistently interesting mix of folks from North American and across the pond. You’ll hear a lot at this year’s Gathering about sustainability, applied in many different ways. Attending events like ours and playing in your communities sustains a small piping tradition: • We welcome attendees of all ages who are new to bellows-blown piping. Hopefully this event will inspire you to stick with them, and do your part to sustain the traditional music community in your area in your own unique way! • We welcome those who are taking a risk and trying something new at any age! Whether you already play one type of “alt” pipes, and are giving another type a try, or are push- ing yourself a little outside your comfort zone with new tunes and techniques, you are sustaining the tradition as well.
    [Show full text]
  • LAMENT the Fruits of Diverse Languages and Aesthetic Values, These Traditions Are Rooted in Strikingly Different Landscapes
    Traditional Song and Music in Scotland MARGARET BENNETT 77 The traditional songs, poetry, and musiC of Scotland are as easy to recognize as they are difficult to define. Just as purple heather cannot describe the whole country, so with traditional arts: no simple description will fit. M A C C R I M M 0 N ' S LAMENT The fruits of diverse languages and aesthetic values, these traditions are rooted in strikingly different landscapes. Within this small country there are enormous Dh'iadh ceo nan stuc mu contrasts. Culturally as well as geographically, Scotland could be divided aodainn Chuillionn, Is sheinn a' bhean-shith a torman into several (imaginary) areas [see map on page 70], each reflecting a mulaid, distinct spirit of the Scottish people, their songs, poetry, and music. Gorm shuilean ciuin san Along with the Western Isles (the Outer Hebrides), the Highlands­ Dun a' sileadh Scotland's largest land mass and most sparsely populated area-is On thriall thu uainn 's nach till traditionally home to the Gaels, who make their living from "crofting" thu tuille. (working very small farms), fishing, weaving, whisky distilling, tourism, Cha till, cha till, cha till and, nowadays, computing. uciamar a tha thu'n diugh?" a neighbor MacCriomain, enquires, in Scottish Gaelic, "How are you today?" The songs and music An cogadh no s.ith cha till e have evolved through history, from as early as the first century C.E., when tuille; Scotland and Ireland shared traditions about their heroes. These traditions Le airgiod no ni cha till MacCriomain remember the hero Cu Culainn, whose warriors were trained to fight by Cha till e gu bdth gu La na a formidable woman on the Isle of Skye.
    [Show full text]
  • Melodic Identity and Tune Resemblance Karen E. Mcaulay
    1 ABSTRACTS (grouped by session) Session 1: Melodic Identity and Tune Resemblance Karen E. McAulay (Royal Conservatoire of Scotland, Glasgow) ‘All the right notes, but not necessarily in the right order’*: Musical Resemblances over the Border The appealing Northumbrian pipe-tune, “I saw my love come passing by me”, appears in at least three nineteenth century sources, and again in Cock’s Tutor for the Northumbrian Half-Long Bagpipes. The latest two of these are shorter, whilst the first two elaborate the tune with variations. Nonetheless, the resemblances are clear; their kinship is indisputable. However, there are two much earlier appearances of similar tunes in publications north of the border. A century older, each has a different title, and although the shapes of these tunes are undeniably similar, they are certainly neither identical forerunners to one another, nor to “I saw my love”. Indeed, one source was linked in 1925 to a totally different tune. Notwithstanding this earlier identification, I dispute the similarity, and propose that there is some kind of link between “I saw my love” and her earlier Scottish cousins. Whilst the Tune Archive enabled me to trace the iterations of the Border tunes, it failed to flag up these Scottish tunes as potential relatives, partly because their rhythmic notation means the Theme Code index failed to pick up the same strong beats. I propose to demonstrate the methodology I have adopted to attempt to prove my hypothesis. If I’m right, it suggests that before I saw my love come passing by me, she had enjoyed a bit of a shadowy Celtic past.
    [Show full text]