Grattan Flood - A History of Irish Music, Volume 1, Issue 1, Page 44

Grattan Flood - A History of Irish Music, Volume 1, Issue 1, Page 44
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periodical Publisher
Browne and Nolan Ltd, Dublin 1913
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periodical Title
Grattan Flood - A History of Irish Music
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72NISTORY O M [ Sic.minstrelsy, followed three years later by that of BryanOBrien_also called Bran tTa Briajn_an eminent tim..panist. ..or performer on the c1ompA terrible blow was given to music in Ireland by thepassing of the iniquitous Statute of Kilkenny, in 1367,which made it penal to receive or entertain Irish bard;pipers, harpers, minstrels rhymers, etc., the Ostensiblereason being that C these and such like often came asspies on the English. However, as Dr. Joyce writes 1it was intended to apply only to the English, and wasframed entirely In their interests_its chief aim being toWithdraw them from all contact with the Irish enemjes and to separate the two races for evermore*From the Ann js of Clo rn cfloj we learn that JohnMac Egan and Gilbert OBarden, two most famousharpers of Conmaicue (Ardagh), died in 1369; andAndrew Mac Senaigh, master of melody, died of theplague, at Tuam, in 37I -whose name is given asAmhlaim Mac Senaigh, accomplished emperor ofmelody, by the Ulster Annalists.On the Patent Rolls of the year 1375 (49 Edw. III.),we find a license granted to Donal OMoghan, an Irishminstrel [ Ministrallus Hibernicusj, for that he notalone was faithful to the King, but was also the causeof inflicting many evils on the Irish enemies, Permittinghim, contrary to the Statute of KiThen uy, to dwell withinthe English Pale.f Hardiman adds: This recreantbard was one of the very few traitors of his Order, ofwhich Patriotism was the motto and ruling principle.Like Alfred, the Irish bards went amongst the enemy to* Joyce s Cencise Flistory of Irela,id (1895), p. soS,f Hardim irish Minstr el 5 , voL 1., p. xviii.IRISH MUSIC IN THE MIDDLE AGES. 73len in theb situation, strength and intentions, which theynever failed to report to their countrymenUnder date of 1379, the Four Masters chronicle theobit of Gillacuddy OCarroll, the most delightfulminstrel of the Irish , who is called by the UlsterAnnalists, William, son of Gillacuddy OCarrolLEvidently the musical abihties of the OCarroll familyhad not diminished since the days of MaelroonyOCarroll so lauded by the Irish chroniclers, as also bythe Anglo-Irish annalist Clyn, who died in 1349, asGuardian of the Franciscan Friary, Kilkenny.One of the many legends that for long obtained cur-rency was the ascription of the song, eil3tin A 1b an. vulgo Aileeri Aroon to Donogh mdr ODaly, ofFinvarra, Cistercian Abbot of Boyle, who was calledthe Ovid of Ireland, and who died in the year 1244.Most writers concur in dating the ifiusic and words asfrom the first half of the thirteenth century, whilst themore sceptical tell us that it was composed in the latterportion of the sixteenth, or the first half of the seven-teenth century. The sober truth is that this exquisitemelody, so admired by Handel (as we learn on the unim-peachable testimony of the Venerable Charles OConor,of Belanagare), was written in the last quarter of thefourteenth century. It was composed by Carrol mO?ODaly, about the year 1390, in honour of EibhlinKavanagh, of Polmonty Castle, near New Ross, Co,Wexford; and all readers are familiar with theromantic story of how our Irish harper and composersuccessfully won the hand of Kavanaghs fair daughter. Cormac Coinyn (Cormac dali) was the first to furnish anaccount .f the circumstances under which eibtin A tubs was4 II
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Grattan Flood, Wm. H.
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Grattan Flood - A History of Irish Music

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