Fintan Vallely will give this year’s Breandán Breathnach lecture on the opening night of Scoil Samhraidh Willie Clancy, Miltown Malbay, Co. Clare.
We are delighted to have been offered a concert at this landmark, prestigious Australian festival. Members of the group will be playing in various recitals and ceilidh-dance sessions, as well as offering tuition on flute, fiddle, sean-nós step-dance and singing.
On this occasion Liz Doherty will be playing fiddle.
Fintan Vallely will speak on the significance of the 18th-19th century collector Edward Bunting, and the importance of Charlotte Milligan Fox’s publication of his papers. A Saturday 1pm talk, illustrated with music, at St. George’s Church, part of weekend festival in Belfast.
This is a fast-moving, concert of Traditional music, song, dance and imagery from all Irish counties and regions. It is performed by fiddler Gerry O’Connor, uilleann piper Tiarnán Ó Duinnchín, flute-player Fintan Vallely, sean-nós step dancer and flute-player Sibéal Davitt, and sean-nós singer and fiddler Roisín Chambers. A unique event, it draws on the A-Z format of the encyclopedia Companion to Irish Traditional Music, literally turning its text back into music.
It is packed with visual narrative created on a large-scale, backdrop screen – a flow of a thousand images, and terrific contemporary photos of musicians and dramatic scenery by the award-winning Belgian-Irish photographer Jacques Nutan. These are lifted by the superb music into a real-time display of people, places and events related to the tunes which demonstrates Irish music’s hallmark variety, repertoires and styles.
Music and tunes for the wooden concert flute · New flute tutor by Fintan Vallely
Including the basics of playing traditional music and a selection of over 100 tunes for all instruments.
A unique visual and descriptive ‘method’ for all levels of learning and playing on the keyed and unkeyed ‘Irish’ wooden flutes. Tried and tested, this is a greatly expanded and improved update of the very first Irish flute tutor which was published in 1986. Its 136 pages are packed with background information and suitable for all from the most basic to the most advanced levels. The book covers breathing and ornamentation techniques, has a hundred and five notated tunes and a companion CDs with 180 tracks of tuition, ornamentation and music examples. This ‘method’ is perfectly suited too to the tin whistle.
The book was launched on Wednesday, 27th November, 2013, at the Harcourt Hotel, Dublin. [Read more…]
The 120-minute show expresses the artistic depth, finesse and variety of the music as described in the new encyclopedia Companion to Irish Traditional Music. Based on the format of the book, the concert covers all Irish counties and regions, demonstrating hallmark styles and repertoire. For students of the music and of Irish culture this is a wonderful melodic display of information; for aficionados it is an exceptionally vibrant presentation of solo and group playing, sean-nós step-dance and singing.
The hind teat: strategic misassumption in the promotion of Traditional song in the English language. The paper addresses the issue of ‘Identifying Key Changes and Developments in Irish Music, Song and Folklore in Recent Times’.
A review of the EMIR encyclopedia is in the February edition of The Living Tradition magazine. An RTÉ Radio 1 Arts Show, with interviews, is dedicated to this book also.
Traditional music is soundly established in Ireland as a ‘national’ music with a cross-class goodwill that sees large numbers of young people playing it as their music of choice. It is guided by enthusiastic idealists who run week-to-week teaching and seasonal music schools; they make things happen by belief, commitment, foresight, planning and persistence. Their work is paralleled by equally dedicated people in Scotland, England, Europe, Scandinavia and North America, all of whom are linked to Ireland by performance and touring in the one disparate, global community of taste. Part of this picture too is the university-level study of Traditional music in Ireland and Britain, out of which comes much valuable research and writing. The Crosbhealach/Crossroads conferences set out to understand all of this better, and this second volume of papers is a diverse range of voices which assess aesthetic, practical and academic aspects of formal and informal Traditional music learning. The thirty-four essays in this volume are a cogent contribution to Irish Studies knowledge, and are of particular relevance to education, State agencies and the media. They should add too to the confidence of those involved in performance and promotion, for they show Traditional music internationally as alive and engaged – a challenging, satisfying contemporary music of the twenty-first century. [Read more…]