Píobaire, An, Volume 1, Issue 3, Page 6

Píobaire, An, Volume 1, Issue 3, Page 6
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periodical Publisher
Na Píobairí Uilleann
periodical Editor
Chairman, NPU
periodical Title
Píobaire, An
volume Number
1
issue Content
(25)Instruction book. Judging by these tunes waltzes, quicksteps, hornpipes, variations on The RoseTree and Maggie Lauder, the music provided by Cotclough was much the same as that provided foryoung ladies playing on the pianoforte, very different from that which must have been played on thepipes about this time for the dancing masters and their pupils. Among the C tunes is A piperoer the meadow straying. This dates the tune back to around 1800. I had always thought it wasa concoction by some dance teacher cum violinist of the present day.There is an excellent portrait of Colclough (ONeill gives his name as Dudley) drawn andengraved by Henry Brocas, the Dublin painter (17621837). It is reproduced in Irish Ministrelsand Musicians (p. 190).(Ar lean) IB. Breatnnac$ $$$ $ $ $$$$* There was another great piper in this place, Tom Kennedy, brother of Andy Kennedy,the piper, from Carrick. Back from Trants town their people were before coming toCarrick. When Tom was stopped from playing music he took soup. He had the fairymusic and he played it going through Mom Clasach and his hand - the pipe hand was paralysed and he could not play at all. Father Foley or Moriarity cured him andtold him not to play the fairy music again or he would pay for it. But he lost hispatience on one occasion afterwards. A little drop he had taken and he played thefairy music but if he did his hand and fingers were paralysed again and my word, hewas not cured. See, when he caught hold of a stick the fingers used worked wellbut as soon as he set about playing on the pipes he was not able to do anything. Iheard my father say he heard him play the fairy music on one occasion and, he thought,the purlins and beams and the rafters of the house and all the household vessels weremaking music. There was no one to touch him playing. It is said he died in thesoupers house at Ventry.A PEEP INTO THE FUTUREJohn Taveners Celtic Requiem presented in last July in the Royal Festival Hall, London,includedsuch rare splendours as a miniature trumpet and a set of Irish bagpipes, as well as an organ and apiano. The piper was Pat McNulty (to whom again NPU is indebted for a taped commentaryfrom Bettystown, 1969). As the work has been described by the composer as a gigantic decorationof the chord of E flat major pipers will appreciate the task involved in returning to that pitch aset of pipes so that chanter, drones and regulators met exacting orchestral standards. Pat jumpedat the opportunity when Tavener wrote to him asking him to play the part for the pipes which hadbeen written specially into the Requiem. His interests are wider than traditional music which hefinds somewhat restrictive and this excursion into the realms of modern music has encouraged himto see, perhaps with undue optimism, wider horizons for the pipes than pipe music.P -t f .the. p..i4oe./ ., g Ot 4A nia.o. Lc La.n who ca down a.nd tke. 40 ..nl. . ton Olt. e .Xp/ e.44JOni Lc w.Uiioa vcti Lct.t.Lon n.op beg .Lnn..Lng . to e nd ca.n 4how veJeeLLng h L s vnas..Lc. no t tvt how m hcnc .tj we.U he. 4 aq ppcd 0CCE W6ta.L do MhoU6 ..Li X ( e.e.h 3)//II6
issue Number
3
page Number
6
periodical Author
[Periodical]
issue Publication Date
1969-11-01T00:00:00
allowedRoles
anonymous,guest,friend,member

Píobaire, An, Volume 1, Issue 3

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