Vol. 15 No. 1 Feabhra/February 2019 - Na Píobairí Uilleann
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Vol. 15 No. 1 Feabhra/February 2019 ISSN 1649–9220
CONTENTS
3 Editorial
5 Donations & Acquisitions
Editor: Gay McKeon, CEO, Na Píobairí
Uilleann CTR 6 News & Events
Editorial committee: Gay McKeon, Emmett Gill, 8 Tionól Dhún na nGall 2019
John Blake, Noel Pocock,
Kieran O’Hare 9 Regular NPU Events
Board of Directors: 2018-2019 10 Leo Rowsome Commemoration 2019
Noel Pocock (Chairman)
Éanna Drury (Secretary)
11 AGM Notice
Donnacha Dwyer 12 New Publications
Sheila Friel 14 A Few Thoughts on the 2018 Northeast
Ken Lynam
Jacqui Martin Tionól
Kieran O’Hare (USA) 17 21 Years of the Southern California Uilleann
Danny McGreevy
Sorcha Potts Piper’s Club
Mike Mullins (USA) 20 International Uilleann Piping Day 2018
Honorary President: Tommy Keane
Patrons: Dave Hegarty, Tralee
26 Seanchas – Letter from Ireland to Saxony
Pat Mitchell, Dublin 27 Seanchas – Dinny Delaney
Neil Mulligan, Dublin 28 Seanchas – May McCarthy
Nollaig MacCárthaigh, Dublin
WIlbert Garvin, Antrim 33 More on the Mercer Museum Material
Staff: Gay McKeon, CEO 39 Seanchas - Robert Thompson
John Blake, Administrator
Emmett Gill, Archivist 41 Music from The Piper’s Choice
Anne-Marie Bell, 45 St Louis Tionól
Administrative Assistant
Registered Office: 15 Henrietta Street, Dublin 1,
46 NPU Publications
D01 N504. 47 Advertisements
Registered Charity: No. CHY 6155 48 Calendar of Piping Events
Telephone: Office: +353 (0)1-8730 093
E-mail: info@pipers.ie 48 Cover photo details
Website: www.pipers.ie
Membership: Full €60 p.a. Unwaged/junior
members €30 p.a.
Advertisements: Ordinary advertisements
carried free, display adverts -
€20.00
An Píobaire contents © Na Píobairí Uilleann CTR unless otherwise stated.
Na Píobairí Uilleann CTR is incorporated in Ireland, Company Reg. No. 242874.
An Píobaire is the newsletter of Na Píobairí Uilleann CTR, 15 Henrietta Street, Dublin 1, Ireland, and is issued
four times annually - February, May, August, and November. Na Píobairí Uilleann CTR (“NPU”) can accept
no responsibility for the accuracy of contributed articles or stertisements in this publication and NPU is not
responsible for examining or evaluating any such advertisements and does not endorse directly or indirectly the
goods or services offered by any of these businesses or individuals. NPU accepts no responsibility for loss, damage
or distress occasioned to any person acting or refraining from acting as a result of any material contained in
this publication. NPU reserves the right to make publishing decisions on any advertisement or editorial article
submitted and to refuse publication or to edit any editorial material as may seem appropriate.
www.facebook.com/napiobairiuilleann
@Napiobairi
EDITORIAL
ing the support of the Arts Council.
Pipers and friends of piping both in
Ireland and internationally will be delighted to Tionól and AGM 2019
hear that the Arts Council has confirmed our This years Annual Tionól will be held
strategic funding application level of €405,000 on the weekend of Friday the 24th of May through
for the twelve months to 31 December 2019. to Sunday the 26th in the Riverside Hotel, Sligo
This represents a €30,000 (8%) increase over the town, early booking is advisable. (see informa-
2018 grant. The good news does not stop there, tion on page 7). You will note that the AGM will
the Arts Council have also confirmed that Na take place on that Saturday the 25th at 4pm.
Píobairí Uilleann is recommended for multi-an- It is timely that members give consider-
nual funding (2019-2021). This, alongside our ation to standing for election to the board of
self-generating of finance, through fundraising, NPU, which will take place at the AGM.
membership fees, courses, sales of publications The board, in recent times has been
and recordings and donations, helps to ensure a giving some time and thought to succession
sustainable future for NPU. The Arts Council is planning for board membership, since the
quite clear in how it implements its Policy and rule change of a few years ago, board mem-
Strategy on funding. Below is an extract from bers must now step down after two terms in
their “Traditional Arts Context Note 2019”: office. There are many positive sides to this
“In the traditional arts, the approach but it can also leave gaps in experience and
proposed for 2019 is intended to ensure that knowledge, which need to be addressed.
a core infrastructure of organisations is main- Given the importance now attached
tained at a level that will ensure the delivery of to governance practices from both our mem-
key services and programmes to the sector. bers and our stakeholders, the board recog-
Strategic funding to these organisa- nise that to function well, we must have a mix
tions delivering activity of national and inter- of skills around the table i.e., experience in
national significance will be at a level which corporate governance, finance and account-
will ensure their ongoing sustainability and it ing, information technology, strategic devel-
is intended the Arts Council would continue to opment, law, fundraising and publishing.
support both core and programming costs of Other valuable attributes include; the abil-
such organisations. The Arts Council investment ity to challenge and probe, sound judgment
will also allow for capacity building for organi- and common sense.And what’s not essen-
sations experiencing increased levels of activity tial is being the “worlds best piper”.
and for the delivery of their strategic plans.” We are hopeful that this skills mix
NPU is of the four organisations be realised among our own membership and
in Ireland to receive multi annual funding therefore appeal to you to seriously consider
reflects on the outstanding work and com- standing for election to the board of NPU next
mitment of the CEO and the staff in secur- May. This is your organisation, its future is well
3
Summer School. Again, details on page 4.
worth securing. Details of the election process
are on page 11 of this issue of An Píobaire. Lots going on for 2019, Keep your bag full!
Noel Pocock, Chairman
Other Key Events in 2019
Tionól Piobaireachta Tir Chonaill
from 15th to 17th February, details are listed
on page 8. The Leo Rowsome Commemora-
tion takes place on February 23rd in Henrietta
Street. See page 10 for more information.
Cyclists, time now to be oiling up
your bikes and limbs for the Annual Spon-
sored Cycle to Miltown Malbay in July. This is
a special appeal to younger pipers to sign up
for what is a great party! And if you’re signing
up for the cycle, you might consider making
application for one of the scholarships at the
John Rooney, Pat Broderick and Neillidh Mulligan at the inaugural Johnny Doran Tionól in 2000.
Photo from Alphie Mulligan’s collection
4
DONATIONS & ACQUISITIONS
The painting of Liam O’Flynn featured
on the right was commissioned by Seán and Liz
McKeon and painted by Glenn Matthews. The
painting has been donated to Na Píobairí Uille-
ann and is now displayed in Henrietta Street.
Alphie Mulligan has donated a col-
lection of photographs taken at the first Johnny
Doran Tionól in Wicklow in February 2000.
Dave Hegarty has donated a num-
ber of photographs including the image below
featuring pipers Tom Busby (centre) and Andy
Conroy (right) taken in Atlantic City in 1950.
Na Píobairí Uilleann has reciprocal
arrangements with several other piping and musi- Seán McKeon, Liz McKeon and Glenn Matthews
cal bodies to exchange publications, and we also
subscribe to relevant periodicals. Complete or
near-complete runs of many of these publications
are available to members in our library. Publica-
tions recently received include the following:
Chanter – The Journal of the
Bapipe Society, Winter 2018
Common Stock – The Journal of the Lowland
and Border Pipers’ Society, December 2018
Folk Music Journal – Journal of the Vaughan
Williams Memorial Library, Vol. 11 number 4
English Dance & Song – Magazine of the English
Folk Dance & Song Society, Winter 2018
Newsletter of the Northumbrian Pip-
ers’ Society, Autumn 2018
Piping Today, No. 94
John Bracken, Tom Busby and Andy Conroy
5
NEWS & EVENTS
skills and academic qualifications to enable
PIPECRAFT/CEOLTÓIR COURSE
them to have a successful career in music.
Graduates who achieve a merit/distinction result
are eligible for entry to the final year of the col-
lege’s BA (Hons.) in Media Production Manage-
ment programme which is accredited by Dublin
City University. Applications to the Ceoltóir pro-
gramme and to the instrument making strand can
be made through the college website www.bcfe.ie
For further information please con-
FOLLOWING ON FROM last year’s tact Paul McGrattan, paul.mcgrattan@
successful pilot programme in instrument making, bcfe.ie or call (01) 6269421.
Ballyfermot College of Further Education (BCFE)
is pleased to announce that the college is now of- SCHOLARSHIPS
fering an instrument making strand as part of the
college's existing Higher National Diploma in Mu-
sic Performance Programme (Ceoltóir). The in- NA PÍOBAIRÍ UILLEANN will award
strument making strand commenced in September ten piping scholarships for 2019. Subject to demand,
2018 and is run in cooperation with Na Píobairí a minimum of two scholarships will be specifically
reserved for non-Irish-resident applications. Suc-
Uilleann at the PipeCraft Training Centre.
cessful applicants can attend piping classes at any of
This new programme in Musical the following:
Instrument Making and Performance is of two • Scoil Samhraidh Willie Clancy,Milltown
years duration and currently has three strands: Malbay, Co. Clare
uilleann pipe making, flute making, and whistle • South Sligo Summer School, Tubbercurry, Co.
making. The flute and whistle strands are taught Sligo
• Scoil Acla, Cashel, Achill Island, Co. Mayo
by the renowned flutemaker Hammy Hamil- • Joe Mooney Summer School, Drumshanbo Co.
ton and the pipemaking strand is taught by Na Leitrim
Píobairí Uilleann. All instrument making classes • Catskills Irish Arts Week, East Durham, N.Y.
are taught in Na Píobairí Uilleann’s PipeCraft • Ceol na Coille, Letterkenny, Co. Donegal
Training Centre, Clonshaugh, Dublin 17. The application form can be downloaded
from www.pipers.ie. See application form for terms
The aim of this unique programme is to ca-
and conditions.
ter for a skills shortage within the traditional Application must by accompanied by
music community in terms of instrument recordings of solo piping by the applicant. Closing
making, to enable students to develop their date for NPU Summer School Scholarships is 26th
musical skills and understanding of Irish tra- April 2019.
ditional music and to equip students with the
6
piper’s chair performance opportunities.
OINEACH MHUIRIS UÍ RÓCHÁIN
The hotel will take bookings directly
and can be contacted by phone +353 71 919 4480
or email info@riversidesligo.ie. Accomodation for
two nights (bed and breakfast with one evening
meal) is €145 per person sharing. Futher details
of the events will be available on www.pipers.ie
QUERY FROM VIRGINIA
I am a past Fellow at the Virginia
Foundation for the Humanities and a researcher.
Is there any NPU newsletter recipient who might
have knowledge of “the celebrated piper Downey”
who is cited in Vallely’s book, The Compan-
ion to Irish Traditional Music (1st edition),
OINEACH MHUIRIS UÍ RÓCHÁIN is page 208, in discussion of William Kennedy?
open to any family with two or more family mem- Our findings in the state of Virginia have uncov-
bers wishing to attend classes at Scoil Samhraidh ered several Downeys who arrived to work in
Willie Clancy. Oineach Mhuiris Uí Rócháin will building railway tunnels through the Blue Ridge
entitle the family to use of a three-bedroom house Mountains in the 1850s. These Downeys came
during Scoil Samhraidh Willie Clancy and free from the Downpatrick area, probably Drum-
access to classes for up to four family members gooland townland. They included a priest, Fr.
either adults or children. The application form Daniel Downey, whose brother was included in
can be downloaded from www.pipers.ie. Fr. Downey’s Last Will. It would be very use-
Please email the completed form to ful to link piper Downey with these emigrant
john@pipers.ie or post to Oineach Downeys (who arrived with some neighbors
Mhuiris Uí Rócháin, Na Píobairí Uil- called Crickard, also from that part of Down).
leann, 15 Henrietta St., Dublin 1. If any NPU members can assist with this detec-
Closing date for applications is 26th April tive work, their help would be greatly appre-
2019 and the Oineach Mhuiris Uí Rócháin ciated. I can be reached by e-mail as follows:
scholarship will be awarded in May 2019. djkevindonleavy@gmail.com, by phone in Va. at
434.984.1916, or by letter to my home, 105 Minor
ANNUAL TIONÓL
Road, Charlottesville, Virginia 22903 USA.
Thanks very much, colleagues.
THE NA PÍOBAIRÍ UILLEANN Kevin Donleavy
Annual Tionól will take place this year at the
Riverside Hotel in Sligo from Friday 24th May
to Sunday 26th May. Events will include pip-
ing and reedmaking classes, a young piper’s
recital, the AGM, piping recital, a lecture and
7
Tionól Dhún na nGall 2019
An Óige Errigal Youth Hostel - Dunlewey, Co Donegal
Friday 15th February 2019
8.30-9.30pm Young Piper's Recital
9.30 - 11pm Piper's Chair
Saturday 16th February 2019
10am -1pm / 2- 3.30pm Reed making - Joseph Byrne
10am -1pm / 2 - 3.30pm Piping Classes - John Touhy &
Eimhear Nic Comhaill
3.30 - 5.00pm Try the Pipes
7.00pm Recital - Tara Connaghan & Ronan Galvin,
Maeve O’Donnell, Conor Gallagher, Sheila Friel
9.00pm Piper's Chair
Sunday 17th February 2019
11.00am Piper's Chair
For ACCOMMODATION email: errigal@anoige.ie
For CLASS REGISTRATION call 01-8730093 or email
info@pipers.ie
Classes €30 (includes entry to recital)
Concert €10 (concessions €5)
8
REGULAR EVENTS WITH NA PÍOBAIRÍ UILLEANN
WEEKLY NPU PIPING & REEDMAKING CLASSES: Held weekly during the months September
to May on Tuesday nights. Classes start each hour from 5pm to 8pm.
Piping classes are also held on a regular basis in Portlaoise, Dundalk, Drogheda, Sligo
Town and Gurteen in conjunction with Music Generation. There are also weekly lessons in
Wexford, Enniskillen and Derry.
For further information call +353 1 873 0093 or email info@pipers.ie.
NPU RECITALS: Held in The Cobblestone on the first Tuesday of each month at 9:30pm
Mar 5th Cormac Cannon (pipes), Breda Keville (fiddle), Seán Ó Broin (flute), Deirdre
Hurley (songs)
Apr 2nd Padraig McGovern (pipes), Doireann Glackin (fiddle), Sarah Flynn (concertina),
Doimnic Mac Giolla Bhríde (songs)
May 7th Kevin Rowsome (pipes), Conor McCague (banjo), Bríd Treasa Wyndham (songs),
Johnny Óg Connolly (accordion)
NOTES & NARRATIVES: Held in Henrietta St. on the 3rd Thursday of each month at 8:30pm.
21st Feb Aoife Kelly “John Kelly (1912 - 1989): Fiddle & Concertina Player”
21st Mar Dan Neely“From the Variety Stage to the Shamrock Band: A Brief History of
Irish Music in Boston, 1890-1930.”
18th Apr Fergus Woods “Kind friends lend an ear - Collecting folk songs and stories in Co
Monaghan and beyond”
Notes & Narratives is available to watch live on NPU-TV http://pipers.ie/npu-tv/
LEO ROWSOME COMMEMORATIVE EVENT: Held annually on the last Saturday in February.
The 2019 event will take place on February 23rd.
NPU TIONÓL: Held annually on the weekend before the last Monday of May, in 2019, the
weekend of May 24th to 26th, in Sligo.
SCOIL SAMHRAIDH WILLIE CLANCY: Held annually on the first full calendar week in July. It
always starts on the first Saturday of July, the 6th of July in 2019.
ACE & DEUCE OF PIPING CONCERT: Held annually on the last Saturday in September, the
2019 concert will take place on Saturday September 28th.
INTERNATIONAL UILLEANN PIPING DAY: Now an annual event, this year’s global day of
uilleann piping will take place on Saturday November 2nd.
BREANDÁN BREATHNACH COMMEMORATION: Held annually on the first Saturday of
December. The 2019 event will take place on Saturday, December 7th.
9
SEÁN RECK LEO ROWSOME
COMMEMORATION 2019
SEÁN RECK, son of the late Tommy & Nor-
een Reck and brother of Una Gallagher, Maura
Reck and Sheila Starr, passed away peacefully
at his home in Ennis, Co. Clare, on Wednes-
The Leo Rowsome commemoration will
day, 12 December 2018. Seán inherited a
take place in Henrietta Street on Saturday
great love of piping from his father Tommy,
23rd February.
which he carried with him when working
abroad in Holland, Germany and America.
10:00am-5:00pm
In his late teens and early twenties, Seán was
REEDMAKING WORKSHOP:
very friendly with Paddy Keenan and they played
with Paddy O’Hare
many a session together before Seán emigrated.
Seán was smitten by two piping recordings in
10:00am-3:30pm
particular; Tommy’s “The Stone in the Field”
PIPING CLASSES:
and Paddy’s first recording “Paddy Keenan”.
with Caoimhín Ó Fearghail and
To the best of my knowledge there is only one
Padraic Keane
recording of Seán’s music. Seán played with a
7:00pm Reception
group called “Na Seanachai” in Dublin, and in
1978 Cabaret Records issued a 45 record of the
7:30pm
group: Scab 101, Side A: Paddy on the Screeve,
PERFORMANCE
Side B: The Recruiting Sergeant & Morrison’s Jig.
“The Road to Lough Swilly”
At a respectful, dignified funeral mass in St. Jo-
by Michael Holohan
seph’s Church, Ennis on Monday, 17th December
featuring Mick O’Brien on pipes
2018, Seán’s niece, Róisín Starr on fiddle, and
Seán’s nephew, Fiachra Starr on pipes, played the
9:00pm REFRESHMENTS
music. Seán was cremated at Shannon Crema-
torium and it was truly fitting that Tommy’s
9:30pm RECITAL
famous Gael Linn 78 record of the three reels,
Jimmy O’Brien Moran
Bonnie Kate, Miss McLeod’s and The Fermoy
Claire Fennell
Lasses was played as we bade farewell to Seán.
Leo Rickard
Solas na bhFlaitheas dá anam uasal.
M.C. Joe Mc K enna
Gerry Starr (Brother-in-law)
10:30pm INFORMAL PIPING SESSION
Co. Thiobraid Árann
10ANNUAL GENERAL MEETING
NA PÍOBAIRÍ UILLEANN CTR
ANNUAL GENERAL MEETING
NOTICE IS HEREBY GIVEN that the Annual General Meeting (AGM) of the Company will be held
at Riverside Hotel, Riverside, Abbeyquarter North, Sligo on the 25th day of May 2019 at 4pm.
AGENDA
1 Minutes of Previous Annual General Meeting
2 Directors Report
3 Audited Annual Accounts and Auditors Report
4 The Appointment of the Auditors
5 Election of the Board
6 Any Other Business
By Order of The Board
Éanna Drury (Hon. Secretary)
Dear Member,
Nominations are hereby invited for positions on the Board of Na Píobairí Uilleann.
In accordance with the retirement by rotation procedure in the Articles of Asso-
ciation of NPU, four directors are scheduled to retire at this year’s Annual Gener-
al Meeting. These are Ken Lynam, Donnacha Dwyer, Danny McGreevy and Mike
Mullins. Danny McGreevy and Mike Mullins are eligible for re-election.
The role of Board members includes working on behalf of, and proactive contribution and ad-
vocacy for, the effective functioning and public image of NPU. To give potential candidates
an idea of the commitment involved, each year there are five scheduled board meetings. Di-
rectors may also be involved in sub- groups requiring attendance at further meetings. In ad-
dition, there is a need to set time aside to read documents in preparation for meetings.
Nominations must be:
(a) Signed by an ordinary member giving notice of their intention to propose the nominee at the AGM,
(b) Accompanied by a note from the candidate confirming his/her willingness to take office if elected,
(c) Submitted to the office of NPU not less than three and not more than 21 days be-
fore the date of the AGM; for AGM 2019, no later than Tuesday, May 21st, 2019.
11NEW PUBLICATIONS
THE ROAD TO LOUGH SWILLY LIVE RECORINGS...FROM THE WILLIAM
MICHAEL HOLOHAN KENNEDY FESTIVAL VOL 2
Available from NPU at €20.00 (Members €18.80) + Available from NPU at €20.00 (Members €18.80) +
postage postage
The Road to Lough Swilly was originally com- This collection was released to coincide with
missioned by Na Píobairí Uilleann to celebrate the 250th anniversary of the birth of pipemaker
the Millennium. It was written as a virtuoso William Kennedy and the 25th William Kennedy
solo piece for the pipes in the tradition of The Piping Festival, which was held in Armagh in
Fox Chase and was premiered at The Nation- November 2018.
al Botanical Gardens, Dublin, in December The double CD provides a snapshot of the festival
2001, and performed by Mick O’Brien. and features live recordings made between 2003
The piece was expanded in 2003 to celebrate and 2017.
the 400th anniversary of The Treaty of Melli- The recordings feature a variety of bagpipes in
font and scored for pipes and string orchestra. solo, duet and group settings and uilleann pipes
The piece is in twelve movements with predominate with a fine range of piping styles on
each movement exploring an import- display. Pipers included in this collection include
ant event in the life of Hugh O’Neill. Seán McKeon, John McSherry, Francis McIlduff,
This new CD also includes five additional pieces Loic Bléjean, Seán Potts, Robbie Hannan, Síle
entitled Memorials, and a second CD, a music Friel, David Power, Paddy Keenan and Pádraig
theatre piece, entitled Running Beast written by McGovern.
Donal O’Kelly with music by Michael Holohan.
12GOOD PIPING THE LEGACY OF STEPHEN GRIER
Available from NPU at €30.00 (Members €26.00) +
postage
Available from mcguireleemusic.com €15 + postage
US filmmaker and piper Davis Watson came to
The Legacy of Stephen Grier celebrates the
Ireland in 2008 with plans to make a film about
Stephen Grier manuscripts, one of the most
the Irish piping tradition. Over the following
comprehensive nineteenth century collections of
months Davis visited many pipers and pipemak-
Irish traditional music. Stephen Grier (c.1824-
ers in their homes and workshops, recording and
1894) was born in north Longford and moved to
interviewing them about all aspects of piping.
Newpark, Bohey, Gortletteragh, south Leitrim
The resulting film, “Good Piping” has recently
on his marriage in 1852. The major part of the
been made available on DVD for the first time.
collection was compiled in the 1880s. Following
Grier’s death, his collection was bequeathed
The film features music and interviews with
to his neighbour, the piper William Mulvey.
many pipers and pipemakers including Seán
The collection came to the attention of Bre-
McKiernan, Jimmy O’Brien-Moran, Néillidh
andán Breathnach and sixty-four of the tunes
Mulligan, Kevin Thompson, Kevin Rowsome,
were published in Ceol Rince na nÉireann 4.
Máire Ní Ghráda, Eugene Lambe and Joe Doyle.
The music on this recording was selected,
arranged and performed by Séamus McGuire
The film was shown at the Southern Cal-
on fiddle and viola and John Lee on flute, who
ifornia Tionól in October 2018 and in
have performed together since the 1980s. The
Dublin and Ennis in early 2019.
tune selections reflect the great variety of tune
types and rhythms included in the collection.
13A FEW THOUGHTS ON THE 2018 NORTHEAST TIONÓL
When I was a very young piper, I used to look 1986, and spearheaded by pipers Roy Rogers and
with amazement and a little bit of jealousy at the Tim Britton. If my recall is good, that gathering
pages of O’Neill’s Minstrels and Musicians, filled (which I did not make it to, alas) or perhaps the
as they were with fascinating looking pipes and next year’s, received a little bit of coverage in
impressive looking pipers. There seemed to have Time magazine, that era’s equivalent of ‘trending
been a golden age of piping in America so very on Twitter’. The first tionól I attended on the east
recently, yet it had disappeared out of all living coast was in 1989, when it was held at the home
memory, preserved only in those photos and in of the Hillman brothers, Mark and Drew, in one
the Captain’s heavy but unforgettable prose. (I of Washington, DC’s Maryland suburbs. A few
remember laughing aloud at O’Neill’s description pipers and enthusiasts gathered on the porch
of Turlough McSweeney’s reaction to the efforts and in the living room to play and talk, and I
of a Mr. John K. Beatty: ‘“Begor, Mr. Beatty, you still remember huddling around a television set
have a great shower of fingers.” And so he had.’) to watch a videotape of a few minutes (or was it
seconds?) of piping that had made it over here
In the mid-1980s when I started playing the pipes, from Ireland: a rare glimpse of living pipers, and
the Beattys and Touheys and Eddie Joyces and a rare sample of ‘what they were doing over there’
Barney Delaneys were long gone. Perhaps there beyond what we could hear on a few LPs and
were a couple of pipers in Chicago, and a few copies of copies of copies of cassette tapes…
scattered here and there around the country, it
seemed, but that was the extent of it. If one wanted What a different world it is now. What is today
information about the instrument, one might known as The Northeast Tionól celebrated what I
have been fortunate enough to have received the believe was its thirty-second year in East Durham,
postal address of a man named Denis Brooks, far New York, the weekend of October 12-15, 2018.
away in Seattle, to whom one would write and Pipers once again gathered at the perhaps once-
receive beautifully typed, advice- and informa- quaint Gavin’s Irish Country Inn in the Catskills
tion-filled missives in return. Perhaps these would for what is unquestionably North America’s larg-
be accompanied by a copy of The Pipers’ Review, est gathering of uilleann pipers—this year there
published by the Irish Pipers’ Club in Seattle. Or were around 110 registrants for classes and work-
perhaps one might by hook and crook get one’s shops. Unlike similar piping events in Ireland, the
hands upon a copy of this very publication, which Northeast Tionól has had as the major focus of
at the time (for this piper aspirant) carried a level its daytime activities a series of intensive classes
of the exotic excitement that must accompany the and workshops in which almost all attendees
receipt of an acceptance letter from Hogwarts. participate. Friday and Saturday evenings are re-
served for concerts, held in Gavin’s underground
It was from Denis that I received word of the first pub, and whatever other unscheduled hours
East Coast Tionól, to be held in Philadelphia in remain are for socialising and playing music.
14It was our intention also to have Mick O’Brien and
Susanne Ward, piper of Rockland, Maine, is the Síle Friel on hand for the event, and the moun-
real hero of the Northeast Tionól: she rescued it tain of work required to request visas for them
from oblivion a few years ago, single-handedly ran from the relevant US governmental authority was
the event for a time, and then saw to its evolution carried out in the usual timely manner. However,
into a non-profit organisation which has been the wheels of bureaucracy, never efficient even in
for the last few years operated by an all-volun- happier, less fearful times, were gummed up by the
teer board of directors. The amount of work in sludge of the current political climate in this coun-
putting on an event of this size is, as one can try. The simple desire of a few American citizens
imagine, monumental. All details from accom- to invite two masters of our favourite art form to
modation to travel to registration to curriculum teach and play for a weekend proved impossible
to selection of guest pipers to visa acquisition to to achieve, due to an unexpected and imbecilic
fundraising must be attended to, and this work tightening of restrictions on the documenta-
balanced with the professional and personal lives tion required for artists, and no visas arrived in
of the board members. The organisers of 2018’s time for Mick’s and Síle’s flights to the event.
tionól were Susanne herself, Kara Doyle, Naka
Ishi, Brad Hurley, Liz Knowles, and the writer.
Guest pipers from the United States at the 2018
event: Tom Creegan, Stoneybatter’s contribution
to Seattle, whose wonderfully musical style on his
Rowsome set was in full flight, and who conduct-
ed a workshop entitled ‘Marching With Leo’ to
pass on some of those march-time melodies and
the simple pleasure of playing them. Eamonn
Dillon, via Belfast, Florida, and Nashville, whose
very personal and inventive style, and warm,
welcoming personality make him a favourite at
the gathering. Benedict Koehler, the extent of
whose contribution to piping, to pipemaking and
restoration—and especially to our understanding
of the reed—will be for history to determine,
as it’s impossible to conceive of its immensity
without the perspective of time. Torrin Ryan of
Massachusetts, who grew up playing and learning
at the Northeast Tionól, and who has become a
fabulous piper and a wonderfully articulate and
effective teacher. From Ireland, the genial Cao-
imhín Ó Fearghail once again thrilled everyone
with his technical mastery of the chanter: his Caoimhín Ó Fearghail at the Northeast Tionól
highly articulated and articulate style brings new Happily, in the midst of our frustration and
life and clarity to any tune he turns his hands to. disappointment, two last-minute replacements,
both regular guests at the Northeast Tionól,
15graciously stepped in: Ivan Goff, another Dublin listening and the development of a true connois-
man, now resident in New York City, brought seur’s ear—great piping or great fiddle playing
his wonderful clarity of tone and remarkable may carry only timing and rhythm, say, or a
fluency on the chanter; and Cillian Vallely, of ‘nice’ sound, or perhaps a pleasant air of confi-
Armagh via Queens, New York, whose stel- dence or an inchoate impression of musicality.
lar piping in his professional efforts surely
place him among the very top rank of those To those of us who have put in years and years
who have introduced the sound of the uille- of assiduous attention and listening, however,
ann pipes to huge numbers of new listeners. the stream of data that comes from chanter or
fiddle can be far denser, far richer. In addition
Other instructors at the tionól include Kinch to the master musician’s own personal musi-
Pádraig O’Kaine, who flew up from Miami to cal genius, each phrase, each note also comes
conduct a reedmaking workshop. Reedmaking laden with references to teachers, influences,
has over the last few years been put into a position and inspirations, and their myriad versions and
of prominence at the Northeast Tionól, as we all settings of tunes—historical footnotes that link
realise the profound importance an increase in the current player to the persons who populate
the numbers of us who can successfully prac- our musical past, stretching into the beginnings of
tice that art is for the future of the instrument what we now call ‘Irish traditional music’ (never
everywhere. Kinch is one of those select few the vulgar ‘trad’). We can sense the links and
who have put in the time and dedication neces- connections, we can appreciate the artistry and
sary to develop his skill at reedmaking, showing the musical wit, and take pleasure in the sheer
the same tenacity that he puts into his piping richness of generations of musical gifts pouring
(and guitar playing, concertina playing, and forth in quarter note, phrase, triplet, and roll.
jiu jitsu, it would seem!). In addition, Yvonne
Casey from Clare and Liam O’Connor from Those who make that journey of ear-educated
Dublin came to play the fiddle, and to teach, growth—some of the waystations on which
and both made irreplaceable contributions to are gatherings like our Northeast Tionól—will
the concerts and the weekend as a whole. find that the returns far outweigh the time
spent in transit. We are trying to cement those
As with other tionóil in the U.S.—St. Louis and connections, train our ears and our hands, and
Seattle, Southern California and the Southeast— grow musically, each in their own way. It would
as well as similar events in Ireland and around not surprise me in the least if the pipers of the
the world, our primary purpose in gathering at a future were to look back upon our customary
tionól is to share the pleasure of gathering with tionól group photographs, perhaps with a sense
old and new friends to increase our knowledge of of curious longing, and wonder to themselves
how to play and, perhaps most important, how to if we too had ‘a great shower of fingers’.
listen. In listening to Liam O’Connor’s masterful
musical contribution to the Saturday evening Kieran O’Hare
concert, I was struck by how much ‘information’
the playing of a true master of this art of Irish
traditional music contains. To a non-aficiona-
do—someone whose understanding and grasp of
this art form has not been informed by assiduous
1621 YEARS OF THE SOUTHERN CALIFORNIA UILLEANN PIPER’S CLUB
We’ve all heard the adage, “Seven years listen- tor; Kinch Pádraig O’Kane, Joseph Sampson
ing, seven years practicing, seven years play- and Michael O’Donovan at the reed table, and
ing make a piper.” The earliest documented representing NPU, our special guest Emmett
record of the saying that I could find was in an Gill. The festivities kicked off Friday evening
interview Alan Lomax did with Seámus Ennis with a screening of Davis Watson’s documentary
back in the 1950s. Whether it was a pearl of film, “Good Piping,” quite appropriate, as the
wisdom handed down through generations of film was inspired by Davis’ encounter with Seán
pipers, or something that Ennis made up on McKiernan and Jimmy O’Brien-Moran at our
the spot, we can never be certain, but it does 2007 tionól. The evening continued with a session
make an appropriate theme (not to mention a and party, with Eileen McKeagney generally
catchy t-shirt) for the 21st anniversary of the spoiling us with her signature hospitality.
Southern California Uilleann Pipers’ Club, as Saturday morning saw us gathering for some
celebrated at our annual tionól last October. fortifying cups of coffee or tea, followed by
The club was the brainchild of two Irish ex- piping workshops taught by Joey and Emmett,
pats, Patrick D’Arcy and Gabriel McKeagney, with long-time club member Michael Eskin
drawn together by their mutual love of the teaching our “boot camp” for new pipers, while
pipes and common frustration at the lack of the garage hummed with reed makers at their
resources available in Southern California for craft. We were especially lucky to have pipemaker
those interested in learning the instrument. It Michael Hubbert on hand to lend his expertise.
was not an easy time for aspiring pipers—good Midday found us roaming the streets of San Juan
instruments were in short supply, and online in search of tacos, of which there is no short-
resources were only a tiny fraction of those age. Our appetites sated, we returned to chez
available today. They were able to attract several McKeagney for another round of workshops.
other like-minded individuals, and the club first The Saturday evening concert was held at the
met in December of 1997. Since then, the club San Juan Capistrano Library, a lovely venue
has met on a monthly basis. Riding the wave of with excellent acoustics that do not require
Riverdance fever the club grew, and we held our amplification, making for a warm and intimate
first tionól in 2001, a tradition that continues. listening experience. Highlights included sets
Our tionól, held on the weekend of October 26- from club members Ben Jaber and Steve Pribyl;
28, at the home of Eileen and Gabriel McKeagney with Joey Abarta returning to his hometown,
in sunny San Juan Capistrano, featured our own performing with his longtime friend, fiddler
prodigal son, Joey Abarta, as our piping instruc- Kira Ott, and his new bride Jaclyn O’Riley,
17who treated us to a step dance. K.P. O’Kane it has given me a group of lifelong friends and
joined in on concertina; Barry O’Neill graced introduced me to scores of very fine musicians
us with a song and Emmett Gill rounded out a from all over the world. I have been humbled by
very enjoyable evening of fine performances. the great generosity of the piping community
Then, it was back once more to Gabriel’s worldwide, and to all those who have contributed
for a session and general merry making. to making the Southern California Uilleann Pip-
Sunday morning (not too early, mind you) ers’ Club a success, including all those who have
Emmett Gill gave us a very interesting and been guests at our tionóil. Special thanks go to our
informative talk about the ongoing activities founders, Gabriel McKeagney, Pat D’Arcy, Victor
and future plans underway at NPU. The online Fitzsimmons, Kathy McFadden and Richard
resources now available to any piper with an Cook, as well as to our core members Fel Bautista,
internet connection are truly amazing. We are very Dave Collins, Michael Eskin, Michael O’Donovan
grateful to NPU for their support and for sending and Steve Pribyl. We are very grateful for the pipe
Emmett as their representative to our tionól. and reedmakers who have been so helpful to us
As a longtime member of the Southern California over the years, in particular Benedict Koehler, Da-
Uilleann Pipers’ Club (in a happy coincidence vid Quinn, Ted Anderson and Michael Hubbert.
my first practice set arrived two months after
the club’s founding), I look back at the past two If you are ever in Southern California, we hope
decades with great awe and affection. Whether you’ll look us up, www.socalpiers.com.
seven years of listening, practicing and playing has Respectfully submitted,
made me a piper I will leave for others to say, but Larry Dunn
Treasurer, SCUPC
K.P. O’Kane, Joey Abarta and Kira Ott at the Tionól concert
18Victor Fitzsimmons and Tom Klein at the Tionól
Back row, L to R: Michael O’Donovan, Joseph Sampson, Dave Collins, Kira Ott, Michael Eskin, Mike DeSmidt,
Terry McCarthy, Ben Jaber, Larry Cusick, Tom Klein, Bob Wilson, Steve Pribyl, Jamie Case, Larry Dunn, Ga-
briel McKeagney, Tress Maksimuk, Michael Hubbert, Fel Bautista.
Front row, L to R: Victor Fitzsimmons, Rob Fox, (Rua), Tom Wolverton, Emmett Gill, Joey Abarta, Kinch
Pádraig O’Kane.
19INTERNATIONAL UILLEANN PIPING DAY 2018
This year’s International Uilleann
Piping Day, held on November 3rd, had some
novel events: walkers and cyclists on the Wa-
terford Greenway being entertained by local
pipers; jigs and reels ringing out across an Italian
piazza; and just over one hundred years since the
1916 Rising, the re-occupation of the General
Post Office in Dublin by a band of pipers…
As in 2017, there were fifty events
this year, and we were especially pleased to have
Pamela Schweblin and Mickey Dunne
participation for the first time from the follow-
ing locations: Mayo, Fermanagh, Sligo, Derry, I was delighted with the event at
Montréal, Toronto, San Francisco, Pittsburgh Stormont again this year. I invited more au-
and Surrey (British Columbia). Many thanks dience participation which worked well - a
to the ‘new’ organisers, and of course a huge few good friends and their families travelled
thank you also to the many regular and reliable from Dublin. My focus next year (if still on the
organisers who come up trumps every year. perch) le cúnamh Dé will be to get as many
young pipers to participate as possible.
Here is feedback from some of this year’s events: Helena Rowsome (Belfast)
We had amazing days with Mickey Dunne in Ar-
gentina. We have organized events in Buenos Ai-
res and Lago Puelo (Patagonia). In Buenos Aires
we had a day with workshops about reed making
and pipes lessons. Mickey made reeds for the
pipers and also played a beautiful concert. Then
at Lago Puelo we had the opening of the school,
(a free public school for uilleann pipes) where he
taught how to make bellows, bags and reeds, and
he also gave talks about the history of uilleann
pipes, classes, sessions, and a beautiful concert.
Piping at Stormont
Pamela Schweblin (Argentina)
20Thank you so much for making us part of NPU’s We had a very successful recital from 12.00 till
worldwide effort to celebrate the uilleann pipes. 3.30. Steve Johnston, Phil Westwell and myself
Until next year! were joined by Manchester pipers David Lim, Jim
Daryl Henderson (Vancouver Island) Horan, Maisieanne Maguire and Ian O'Brien, and
in addition we had harpist Celia Brier to provide a
restful interlude and occasional accompaniment.
Also significant, the event has roused a retired
piper from Colne to blow the dust and earwigs
out of his instrument and start playing again,
and we have uncovered another aspirant piper,
a retired ex-jazzman, from near Lancaster.
Tom Walsh (Preston)
One of the big successes this year was our use
IIUPD Vancouver Island
of social media, which helped build momentum
We had a good afternoon in the Culturlann for the event as well as providing a platform for
in Derry and I feel the IUPD event will have posting the many videos and photos of the day’s
given piping in the city renewed momentum. events. A special thanks to Daniela for revamp-
Brian Stafford (Derry) ing the Facebook page, setting up the Facebook
Group and for co-ordinating this aspect of IUPD.
I will definitely be planning a bigger/better Once again we were successful in obtaining
event for next year either in the Rathcoole or funding from Culture Ireland which enabled us
Clondalkin area and have already been dis- to send pipers to Argentina, Italy and the UK.
cussing the idea with venues and other local For IUPD 2019 we are planning to issue an Open
musicians. Tim Farrelly (Clondalkin) Call scheme, to give organisers the opportunity
to host a visiting piper. If this is something you
Noi speriamo di aver contribuito con il nostro would like to consider please contact info@pipers.
lavoro alla buona riuscita dell'evento a cui ade- ie for an application form and details of what is
riamo sempre molto volentieri. Un caro saluto involved. Closing date for applications is March
dall'Italia- (We hope that we have contributed to 18th. The scheme is of course dependent on
the success of the event in which we are always receiving Culture Ireland funding for this year.
happy to participate. Warm greetings from Italy. We also intend to produce a simple guide
Nicola e Gregorio per IUPA (Italian on how to organise an event for po-
Uilleann Pipers Association) tential organisers of IUPD 2019.
Finally, a big thank you to the organisers and par-
ticipants for all your hard work and enthusiasm.
We look forward to working with you
all again for IUPD 2019, which will take
place on Saturday, November 2nd.
Anne-Marie Bell, Daniela Ferretti, Em-
mett Gill, John Blake and Ken Lynam
21Salt L
Armagh
Preston
Quebec
International Uilleann
San Francisco
Dublin Irvinesto
22alt Lake City
Toronto
Cork
bec Castlebar
nn Piping Day 2018
estown Buenos Aires 23INTERNATIONAL UILLEANN PIPING DAY 2018 - LOCATIONS
Armagh
Castlebar
Cavan Tow
Cork City
Ennis
Derry City
Dublin(5 e
Galway
Irvinestow
Newcastle
Preston
London
Glasgow
Taunton
France(Rousset)
Italy (Reggio Emilia)
Switzerland (Schaff hausen)
Chicago Montreal
Florida Toronto
Los Angeles St John’s (Newfoundland)
Pittsburg Surrey (British Columbia)
Salt Lake City Vancouver Island
San Francisco
St. Louis
Mexico City
Argentina (Buenos Aires)
Argentina (Lago Puelo)
24agh Lisburn
lebar Moville
n Town Mullingar
City Portlaoise
s Rostrevor
y City Sligo Town
in(5 events) Stormont
way Waterford
nestown Wexford
Victoria
25SEANCHAS LETTERS TO SAXONY FROM IRELAND
This passage from a late-eigh- “I turn now to an Irish instrument,
teenth-century account of travels in Ireland the bagpipe. This musical instrument is very
was kindly brought to the attention of Seán particular to this nation; this country is actually
Donnelly by Beatrix Färber of University Col- its home, and moreover it had pride of place at
lege, Cork. Translation by Roger O’Keeffe. all dances, amusements and festivities. There are
The author, Carl Gottlob Küttner (1755- particular national airs and dances which are
1805) was engaged in 1783 as a private tutor played on it, and to which the country people still
for the sons of the influential parliamentarian sometimes dance; although, around these parts
George de la Poer Beresford, Second Earl of at least, they seem to live more in indolence and
Tyrone. Küttner accompanied his pupil on somnolence rather than be inclined to joy, cheer-
the Grand Tour, and spent two summers with fulness and entertainment. Nevertheless, the
the family in Ireland, where they had exten- instrument is still held in honour, and I latterly
sive properties near Portlaw, Co. Waterford. encountered a country nobleman who not only
The “Ossianic poetry” of James Macpherson was played it very well but had really raised it to the
popular both in Great Britain and in continental dignity of a musical instrument. Instead of a sin-
Europe, and had inspired a “first Celtic reviv- gle pipe, his bagpipes have five pipes, one of which
al”, sparking widespread enthusiastic interest is curved like a trumpet. The main pipe, which is
in Irish culture and language. This movement played with the fingers like a flute, has more holes
was in full swing when Küttner came to Ire- than the ordinary bagpipes, and the pipes through
land, and he was one of the first of a series of which the two airbags are connected include one
German visitors to write an account of their whose holes are fitted with keys. The whole instru-
travels there. His account was published in book ment is thus quite complicated, as the player not
form as two series of “Letters about Ireland only has to control the airflow with the right arm
to his friend, the Publisher, Leipzig 1785”. while playing the main pipe with this hand, but
The full German text is available at CELT must also move up and down these keys with the
(Corpus of Electronic Texts), a free online lower part of the same hand, alternately blocking
resource of documents and literature relating and releasing the air as with the key on the lowest
to Ireland, and originating there, in the original part of a flute. I found the sound of these bagpipes
languages and in many instances in translation. exceptionally gentle and pleasant, almost like
The original text of this excerpt is at Briefe 7 a flute, but more complex, and the gentleman
(second series) pp. 202–4: https://celt.ucc. can play anything on it following regular music
ie//published/D780001-002/index.html. notation. I do not know if I have described the
A biographical account of Küttner by Be- whole layout of the instrument sufficiently clearly
atrix Färber is available in German at to give you an idea of it? It is difficult, as I know
https://celt.ucc.ie//CGK2018.pdf. no instrument to which I could compare it.”
26SEANCHAS DINNY DELANEY
Thanks to Seán Donnelly for the treat I never got from anyone then from the dear
following piece from the Weekly Irish Times, Denis Delaney till we arrived in Ballinasloe. He
Saturday, May 4, 1901. The author of the piece, at once perceived that I was a child of song, and
Reverend Robert Leech, was the father of the by some very delicately put questions that none
flute player George Leech who appears with piper but an Irishman could so put he found I had some
John Cummings in Francis O’Neill’s book Irish knowledge of music. Then he regarded me like
Minstrels & Musicians. For a recent article on a newly discovered brother, and poured out one
Dinny Delaney, see An Píobaire Vol.13, No4, p.39. musical gem after another, and one excelling
the other in beauty of melody and peculiarity
A Great Irish Piper of structure and history. Sometimes he would
The Rev. Robert Leech, Rector of try and try again to call back from the sweet
Belturbet, County Cavan, contributes to the chambers of the past an air he wished me to
Anglo-Celt a sketch of the well-known piper, hear. Often he would search in vain for a while.
Denis Delany. “On the platform in Mulling-
ar, where one lands from Cavan,” he says, “I “But when he caught the measure wild
noticed last May, a respectable looking man, The old man raised his face and smiled
somewhat helpless. A closer glance showed me And lighted up his faded eye
he was blind and carried the Irish bagpipes. I With all the poet’s ecstasy”.
took him by the arm and carefully brought him
to the western platform, and left him in a place Exactly, you’d think Scott had drawn a pen and
of safety till the time would be nearly up. ink sketch of Denis Delany’s face at the time,
“When we entered the train I found that my and a fine face it was and well worth seeing, as
companion was the celebrated Irish piper, Denis he modulated our national airs so beautifully,
Delaney of Ballinasloe. He had just come from with his fine enraptured countenance, catching
the great Irish Feis in Belfast, and was a little inspiration from heaven to which it was turned.”
down in the mouth because he had not obtained
high place among the pipers. On making delicate
inquiries about ‘the inner man’ I found that a
Cavan gentleman, bearing a good Scotch name,
had met him at the train the day before, treated
him like a prince of song, and sent him on his
way rejoicing. Then he gave us a specimen of his
playing, and I at once saw they didn’t give him the
name of “great” for nothing in the programme of
the great Irish Feis in Dublin in 1897. A greater
27SEANCHAS WHEN PIPING CAME TO SOUTH WALES In September this year, the South Wales Uil- reported McCarthy winning the gold medal at leann Pipers will host our 10th annual tionól, the Oireachtas in 1909 and the following year a significant milestone in the history of the taking first place among seven competitors on club. While South Wales is a region steeped in union pipes at the Munster Feis, where she also musical tradition and history, it does not boast took a third place medal in dancing. O’Neill a piping tradition. However, that is not to say notes ‘her fame as a performer on the Union the pipes were totally unknown here before our pipes is now so well established, that she was club was founded. Perhaps the most noteworthy invited to cross the Channel to Wales to play event in this regard was a series of concerts in at a series of concerts in December, 1910’. 1910 featuring the teenaged piping sensation from Cork, Miss Mary (May) McCarthy. May McCarthy is among the pipers profiled in Captain Francis O’Neill’s 1913 book, Irish Minstrels and Musicians. By all accounts, she was a musical talent of the highest order. Born in Cork to parents from Nenagh, Tipperary, McCarthy was an award winning piper and dancer, and an accomplished concert perform- er, while still a teenager. A member of the Cork Pipers’ Club from an early age along with her brother and fellow piper, Michael, McCarthy was taught by Club founder Seán Wayland. According to O’Neill, ‘She won first prize at the Munster Feis…and even successfully competed with men on the Warpipes’. Of the pipers who came through the Cork Club, O’Neill wrote ‘no one is more distinguished than Miss McCar- thy, whose performance on the Union pipes, surpass[es] that of Mr. Wayland, her teacher… Based on my archival research, we now have Though not out of her teens, her progress in new details of McCarthy’s Welsh concert tour. piping and dancing is said to have been lit- With the growth of mining and heavy industry in tle short of marvelous.’ The Cork Examiner South Wales from the early 1800s, the area became 28
a magnet for migrants from England, Ireland and was held in December 1910 in Cardiff, Swansea,
Scotland seeking employment. Towns and cities Barry and Merthyr Tydfil. Billed as the ‘First
in the county of Glamorgan – such in as Cardiff, Annual Irish Music Festival’, the concerts were
Swansea, Merthyr Tydfil and Pontypridd – all organised ‘in furtherance of the aims of the Gaelic
became major industrial centres. In the mid-19th League’ (Evening Express, 15 December 1910).
century, Irish immigration to the area increased The concerts were presided over by the Honour-
again as a result of the famine. Although initially able William Gibson, 2nd Baron of Ashbourne
met with hostility and discrimination by much of and a member of the House of Lords. Born in
the local population, the Irish community slowly Dublin to a wealthy family, Gibson was a fervent
established itself though involvement in trade cultural nationalist and Irish speaker, known for
unions, and an increasing number of Irish people wearing traditional ancient Irish costume. Gibson
taking visible and prominent roles in public life. was President of the National Gaelic League of
This period also saw the establishment of fraternal Great Britain, and his presence at these concerts
and cultural organisations such as the Hibernians suggests the importance the League placed on
and Gaelic League in the area, and the increasing building the organisation in South Wales.
collaboration between Welsh and Irish cultural
and language revivalists. The National Eisteddfod
of Wales (Eisteddfod Genedlaethol Cymru), held
annually since the 1860s, served as the inspiration
for founding the annual Feis Cheoil in Dublin
in 1897, and official delegations were regularly
exchanged each year between the two festivals.
The cultural and language revivalism in Ireland
seen at the turn of the last century also spread
to the Irish communities in South Wales, and
was reflected in the growth of the Gaelic League
(Conradh na Gaeilge). As described in The
Weekly Mail in 1910, ‘Efforts are being made to
boom the Gaelic League in Glamorgan. There are
already strong branches at Cardiff, Merthyr, and
other places. Classes for studying Irish are to be
formed, and another feature will be Irish concerts,
in which all the items will be Irish, whilst the Irish
William Gibson
language will also largely be used’ (12 November
1910). Another newspaper noted that ‘The Irish
people of Glamorganshire are trying to revive On 26 November, The Cardiff Times reported
their ancient language and branches of the Gaelic ‘the Hon. W. S. Gibson would shortly address
League are being formed in the principal towns. a meeting at the Cory Hall in three languages.
Classes for the study of Irish will be established The object of the meeting was to start Gaelic
and competent Irish teachers engaged’ (Cymro a’r Societies in South Wales on similar lines to the
Celt Llundain, 5 November 1910). As part of ex- Cymmrodorion, in order to preserve the Irish
panding the profile and membership of the Gaelic language.’ Gibson was ‘a familiar figure at the
League in the area, a series of Irish music concerts National Esiteddfodau of Wales’ and, in keep-
29ing with his cultural nationalist politics and the Gaelic League of Barry took place…The evening pan-Celtic nature of the concert series, press was very enjoyably spent, the airs of course being accounts describe him wearing an Irish kilt and essentially Irish melodies. Selections on the War addressing the audience in Irish, Welsh and & Union Pipes were given by little Miss May English. (The Cardiff Times, 3 December 1910). Mcarthy, of Cork - the world’s youngest female The importance the League placed on these piper’ (The Barry Herald, 9 December 1910). concerts is also apparent from the line-up of The next night, 8 December, the musicians performers assembled, who were among some performed in Merthyr Tydfil. Advance publicity of the most talented young musicians, singers in The Merthyr Express described ‘The object and dancers Ireland had to offer. They included of the concert is to raise funds for the payment Miss Cissie Griffin of Waterford and Miss Maggie of a teacher to teach the Gaelic language…Star Griffin of Kilkenny, both Munster champi- artistes of Ireland will perform at the concert’ (3 on dancers, and Martin Fitzgerald of Dublin, December 1910). By all accounts, the concert Oireachtas gold medal winning singer. Howev- was another success. ‘Under the auspices of the er, the headliner and star of the show was the Merthyr and Dowlais branches of the Gaelic thirteen year-old May McCarthy, fresh from her League, the first annual music festival was held competition victories at the Oireachtas and the in the Drill Hall, Merthyr, on Thursday evening. Munster Feis, and described in the promotional Despite the inclement weather, the spacious materials as ‘the youngest piper in the world’. The hall was comfortably filled with an enthusiastic local press covered the concerts extensively, so audience’ (The Merthyr Express, 17 December we have a good record of each of the four events. 1910). One press account reported that the con- The first concert took place in Barry on 7 De- cert ‘at Merthyr was particularly good. The Hon. cember. The week before the concert, The Barry W. Gibson presided over a splendid audience’ Herald promoted ‘An Irish Music Festival, under (Cymro a’r Celt Llundain, 31 December 1910). the auspices of the Gaelic League, on Wednesday The newspaper coverage in The Merthyr next at 7:45pm. The Hon. Wm. Gibson presiding. Express of 17 December is of particular his- The artistes will include some of Ireland’s best torical value as it contains the entire running pipers, singers, and dancers’ (2 December 1910). order of the evening and the set list of tunes Reporting after the event, the Barry Dock News and songs performed. From this can see the wrote, ‘A successful Irish musical festival was held repertoire performed by May McCarthy on the in connection with the newly-formed local branch night, on both union pipes and war pipes. of the Gaelic League, at St Mary’s Hall, Barry Union Pipes Docks, on Wednesday evening last. Dressed in a) Dear Irish Boy Irish national costume, the Hon. William Gibson, b) Flogging Reel of London…occupied the chair…An excellent c) Tatter Jack Walsh programme of songs, pipe solos, reels, jigs, war- d) Blackbird pipe solos, etc., was delightfully rendered by e) O’Connell’s Jig Miss May McCarthy (Cork)’ (9 December 1910). War Pipes Another newspaper said of the event, ‘Proof posi- a) The Peeler and the Goat tive - if proof were needed - of the solidarity of the b) Brian Boru’s March Irish people in Barry was provided on Wednesday evening, when at St. Mary’s Hall, before a crowded Union Pipes audience, the first annual Musical Festival of the a) Job of Journey Work 30
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