CD 1 - The Pure Drop
1. The Pure Drop / The Flax in Bloom (Two Reels)
The Pure Drop
This reel has all the hallmarks of an old pipers' reel in that
it includes movements peculiar to chanter-playing and lends itself
to drone-blending and comfortably attained harmony playing . A simple
version appears in O'Neill's collection (Chicago 1903) with this
title and it is played on a 78 of the 1930's by Sonny Brogan (accordion)
under the title "Hand me Down the Tackle".
The Flax in Bloom
A reel very melodic in its structure and therefore a favourite.
It strikes me as being originally a fiddle-player's development
but lends itself most aptly to piping.
2. The Fairy Boy (Slow Air)
This is the tune of the song in Gaelic of a mother whose boy-child
was taken by the fairies in accordance with the fairy changeling
mythological tradition. I have heard a free translation sung, the
first verse of which commences: "A woman came when stars were
.." and ends "wherefore steal my fairy boy?"
It was one of my father's favourite airs.
3. The Groves Hornpipe & Dwyer's Hornpipe (Hornpipes)
As a hornpipe recital my father invariably coupled these two tunes,
so that they are automatically in sequence in my mind. They are
two of the "Big" hornpipes, each having more than two
of three "parts" (extensions of theme) and are heard at
their best in piping.
4. O'Sullivan the Great (March)
If the O' Sullivan had one, as other Clans had, this is presumably
their Clan-March and is a striking, hard-hitting melody. It seems
to have been a popular one, too, for I know of two songs in English,
sung to this tune: "Ill Marry and I'll never be a Nun".
And a song of sentimental pathos "The Better that He longed
for Never Came".
5. When Sick, Is it Tea You Want? & The Humours of Drinagh (Double Jigs)
There are three forms of the Jig in Irish traditional music: the
double jig (time signature 6/8), the single jig (12/8) and the slip
of hop-jig (9/9). We get the term from the Continental gig and jigga
dance-music rhythm. These tunes are both included in "O'Neill's"
When Sick, Is it Tea You Want ?
Melodically arresting, this tune carries the disposition of the
musician when hospitality affords something more desirable than
tea on "the morning after the night before" of alcoholic
indulging as an introductory anecdote suggests.
The Humours of Drinagh
There are at least two places named Drinagh in Ireland. One in Co.
Cork and one in Co. Westmeath. "Humours", which occurs
in many Irish rune-titles would seem to refer to a very enjoyable,
musically festive night or occasion. My father and I, together,
learned this jig from the piping of one Philip Martin of Omagh,
Co. Tyrone, in the 1930's. He had no name for it, but I have since
found it in "O'Neill's".
6. By the River of Gems & The Rocky Road to Dublin (Slow Air and Slip-Jig)
It was a custom with the old pipers to follow a slow sir, in particular
a lament, with a cheerful dance-measure. I have done so here, selecting
a lively slip-jig in the same mode and key.
By the River of Gems
I learned this from the singing in West Cork of an old Gaelic Aisling,
or dream-ballad, particularly as sung by Miss Maire Ni Chrochain
of Coolea. The "Gems" of the title are the imagery of
the bard, referring to the glittering of lights and shades in the
river's pure waters and are brought forth brilliantly in some of
the tunes' nuances. This struck me forcibly when I first heard Maire
singing the song.
The Rocky Road to Dublin
Some fragments of Macoronie (Irish and English) words survive, to
this tune. A complete, entraining ballad of the sortie of a West
-of-Ireland-man as far as Liverpool, under the same title, is published
in a collection, "Irish Street Ballads" (O'Lochlainn,
Three Candle Press, Dublin, 1939) to this tune. I include here a
third part or theme-extension which I've never known anyone but
my father to play.
7. Ask My Father & Pat Ward's Jig (Two Single Jigs)
Ask My Father
This is most certainly a pipers' tune, primarily as the "cranning"
(a piper's gracing of the dominant) and other features make manifest.
An anecdote relating to its title tells how a young piper, when
asked what was its name, seemingly is not know and replied as above
- and the name stuck.
Pat Ward's Jig
As a child, I remember Pat Ward. He was a native of Drogheda an
old man with a white crescent-shaped beard. He played a double changer
- two reeds, two bores and two stop-holes for each finger, as compared
with the usual single piece. I would compare his tone with that
of a very mellow concertina, to the best of my recollection, for
I was but a child when he was tragically killed by a motor-bus near
his own house. My father learned this tune from him and as he had
no name for it we referred to it as above at all time.
Notice that the accepted performing-rhythm of the single jig is
nearly identical with that of the hornpipe - a "common"
tune simulated by the four threes of 12/8.
8. Valencia Harbour (Slow Air)
"Valencia" is from the Gaelic Beal Inse - The Island-mouth,
for Valencia Island is situated almost in the mouth of what would
otherwise be an open bay, between Donlus Head and Portmagee in the
extreme West of Iveragh (pron. Eevraw) Peninsula in Kerry. A schoolmaster
named "Connor, Master Riordan", in making a change of
schools from one district to another, had his books transported
across the bay by a local boatman. The story has it that the board
foundered, Riordan's books were lost and he composed a song in Gaelic
grandiosely lamenting the tragedy of the "Mighty Vessel",
naming it "The Song of The Books". I learned this tune,
its song history as above and the lyric from the late Colm O'Lochlainn,
author of "Irish Street Ballads" (v. note on item 6) who
sporadically studied piping under my father's tutelage.
9. The Standing Abbey & The Stack of Barley (Hornpipes)
The Standing Abbey
Named or both composed and named in honour of some abbey which survived
one or many of the pillage orgies of the would-be oppressor, or
the roofless walls of which were still standing gutted by incendiaries.
To my mind the tune exudes sadness and defiance, alternately, and
is primarily the music of a piper for it communicates much more
from him than from any other instrumentalist.
The Stack of Barley
This very melodic tune is, by name, dedicated to the much-treasured
amount of the grain apportioned to the distilling of "The Pure
Drop". The "Stack" in its Gaelic title is "Staicin",
a diminutive suffix being used for endearment. Again it is primarily
a piper's piece, in my opinion. An ersatz Irish Song, Kerry Long
Ago", has been written to this tune.
10. The Leitrim Thrush & Miss Johnson (Two Reels)
The Leitrim Thrush
To anyone who is familiar with native bird-song, it would be unnecessary
to try and trace here the inspiration for this melody and I daresay
its originator was a thrush heard in Co. Leitrim! My mind relegated
this one to the fiddle.
Undoubtedly this reel is a tribute by a musician of long ago either
to a woman noted for hospitality or a fair damsel who merited his
adulation, which may have been unrequited, for with all its liveliness
it carries a sad motif. Again, its occasional wailing is that of
the fiddle, in my ears.
11. The Return From Fingal (March)
The Return From Fingal
This is a tune of Triumph and Defiance with a skillful depicting
of after-battle weariness interwoven. It is believed to intend association
with the aftermath of the Battle of Clontarf (A.D. 1014) in Fingal,
where the High Brian Boru led his men and drove a Danish invasion
back into sea. Fingal is an old name for the northern half of what
is today the County of Dublin, and is an Anglicisation of Fine Gall,
the Foreigners' Gall, The Foreigners' Territory.
12. Chase me Charlie & The Dingle Regatta (Two Single Jigs)
Chase me Charlie
This is possibly of Scottish origin, for it is well known in Scotland
as a 6/8 march named "Cock 'O The North". It gets the
name here from a nonsense-jingle and another jingle would entitle
it "Aunty Mary Had a Canary".
The Dingle Regatta
I am of the opinion that this is a new name for a very old tune.
Its first part is erroneously coupled in recent years with the second
part of another single jig. I have both jigs in their entirety form
source - a district in East Derry where the single jig is still
a very popular measure today, being played for the dancing of the
old "Kerry Sets" and called a "Slide".
13. White Connor's Daughter, Nora (Slow Air)
White Connor's Daughter, Nora
There is a man named Colm Keane, living at Glynsk, 4 miles north
of Carna in Connemara, now in his late seventies, from whom I had
the privilege of writing down 212 songs, before mobile recording
was an established means of collecting. Colm, though utterly illiterate,
knows his patronymics form oral tradition: Colm, Son of John, son
of Martin, son of Thomas, son of Michael, son of "Big Connor"
The Nora of the song to which this is the tune, a song of unrequited
love, was "Big Connor's" daughter. He was the only one
in all my experience who had the tune in its entirety, for the second
or "higher" half of the tune was all I had ever heard
elsewhere. This, in my collecting experience, tends to be an unconscious
inclination with numerous folk-singers where tunes of this structure
14. Slieve Russell / Sixpenny Money (Two Double Jigs)
Slieve is the Anglicisation of the Gaelic Sliabh, a mountain or
moor, and Russell an English ascendancy surname. Despite many casual
enquiries throughout the years, I have never succeeded in placing
it, nor did my father. I have been more the enquired of then the
enquirer and one said "It could be a knob of a hill anywhere".
Our inability to locate its title, however does not take from its
This jig's characteristics point to its being primarily a pipers'
piece. Folk-tradition maintains that it was a tune played by a piper
when the hat was being passed around for subscriptions from the
company and he, disdaining coppers, politely called out the name
of his tune as above. This is certainly one of the old pipers' jigs
and owes it s survival to my fathers playing.
15. Stay for Another While / I Have No Money / The Cushogue (Three Reels)
Stay for Another While
I Have No Money
To my father, these would be three "Run-of-the-mill" pipers'
reels, because of this familiarity with the old pipers, apart form
their melodic attractiveness. The first one is alternatively named
"Stay and Have Another One" - words which fit its first
phrase. The second is purported to have been named by a piper when
the hat was being passed around and the last name, translated form
Gaelic, means a blade of grass and also a common rush. Incidentally
a rush inserted in the barrel of musical pipe (changer etc.) makes
its bore narrower and flattens its pitch. Therefore it is used extensively
in tuning pipes.
16. The Brown Thorn (Slow Air)
The Brown Thorn
(No available notes).
CD 2 - The Fox Chase
1. Music at the Gate / The Pigeon on the Gate (Two Reels)
Music at the Gate is an old reel my late father had; very lively
in its melodic sequences. I do not think I have ever heard anyone
else play it, but it is obviously the tune to which "Phil the
Fluter's Ball " is sung, though more elaborate in its present
form. The Pigeon on the Gate was and still is a very popular reel
among Irish traditional musicians. My version is one which my father
had from the old pipers.
2. The Blooming Meadows / Kitty’s Rambles (Two Double Jigs)
The Blooming Meadows is a tune which conjures up the peace of mind
associated with the lush bounty of a good season and the balmy humming
of bees on a warm summer's afternoon. Kitty's Rambles takes us on
a variety of expeditions with her enquiring turn of mind and her
conclusions. This is my father's version and I learned "The
Blooming Meadows" form the late Michael Gorman, one of the
last "Daddies" of Co. Sligo fiddle-playing.
3. Ned of the Hill (Slow Air)
Ned of the Hill is the tune of an old Gaelic song which consists
of Ned's conversation with his sweetheart when he knocks on her
door seeking shelter whilst on the run, sought by the alien authority
he had flouted and bemoaning his plight "Drenched, cold and
wet from eternal tramping of valleys and mountains". A very
free translation by James Clarence Mangan, sung to this tune makes
for a beautiful song in English.
4. Smash the Windows / The Dark Girl in Blue (Two Single Jigs)
Smash the windows, one of my father's favourites, is a tune of abandon
and gaiety, calling for no small amount of expression in its playing,
as its title would denote. The Dark Girl in Blue, an East Kerry
indigenous, goes into raptures of admiration for a girl among the
dancers for whom the tune was played and named in her honour.
5. The Derry Hornpipe / The Cuckoo’s Nest (Two Hornpipes)
The Derry Hornpipe was, I feel sure, a tune much favoured by harpers
of old, for it contains many harp-string sequences, but lends itself
admirably to piping, particularly in its latter stages, which were
assuredly pipers' addenda. The Cuckoo's Nest (the tune that never
was!) is a pipers' development of an old song sir: "And I'll
lay you down to rest in the Magpie's Nest". Eoin Rua O'Sullivan,
the 18th Century Gaelic poet wrote a song to this tune, "An
Spealadoir" (The Scythesman) and it is sometimes given that
6. The Trip We Took Over The Mountain (Song-tune)
The Trip We Took Over the Mountain, to give it its full title, is
a song of courtship in which the singer invites a girl to come for
a walk with him over the mountain. She agrees and "I hope you'll
excuse my simplicity over the mountain". This tune definitely
stems from my grandfather, and the words are extant.
7. The Merry Sisters / Music in the Forge / Castle Kelly (Three Reels)
The Merry Sisters strikes me as being the musical embodiment of
a man's dilemma as he tries to choose between the three, with arguments
for and against each, unsuccessfully. Music in the Forge plays about
with hammer and anvil-ringing and Castle Kelly is a piper's tribute
to his patron's hospitality. The Kellys were West of Ireland Irish
8. Johnny Cope (Hornpipe)
Johnny Cope is something of an enigma to me in that it is basically
the tune of a near-Doric Scots song with hunting overtones, but
in the Irish instrumental hornpipe-guise enjoys the distinction
of being probably our longest tune, having six parts or six variations
on its theme. The question arises: is it an Irish or a Scots melody?
I learned it from the late Padruig O'Caoimh of East Kerry, the last
of what were known as the fiddle-masters, teachers of traditional
fiddle-playing, who died exactly ten years ago.
9. The Rainy Day / A Fair Wind (Two Reels)
The Rainy Day was not an unheard-of day in Irish agricultural communities
and it conveys an air of time hanging heavily on idle hands and
minds whilst tilling, hay making or harvesting suffers a depressing
setback - though a note of hope reveals itself like the lightening
of an overcast sky, only to be dashed to gloom again by a heavier
patter of rain on the barn roof. A Fair Wind can be the title of
an agricultural or seafaring community. In my own opinion the latter
is more suiting as the reel smacks of serene sailing.
10. The Fox Chase (Descriptive Piping Piece)
The Fox Chase This is the only 'great' of descriptive pieces, purely
as such, in Irish traditional music. Based , for its theme, on "The
Little Red Fox" tune - a song in Gaelic- it portrays the individual
trot on horseback to the meet, the hunt leisurely setting out, following
the hounds as the search for a fox's scent starts, the excitement
when the hounds pick up a scent only to react disappointedly when
it proves to be an old one: very soon a fresh scent is found, the
''Hark-Away'' to the hounds giving voice, the '' View- Halloo''
as the fox is seen, the horn of the master of the hunt, the yelping
of the hounds giving full cry, the chase with all its excited speeding-up
and, inevitably, the kill. Then the fox is lamented with the most
poignant, wailing melody I have ever heard, whereupon the hunt jogs
happily homeward to the light and airy tune of the fox-hunters'
jig, (having had an enjoyable and successful hunt, pleasing to all)
which finishes with a very conclusive final cadence.
This is the Fox-Chase of the old pipers as my father culled it from
them. I have heard several incomplete rendering of it through the
years, resorting to inventiveness where lacking, and departing from
the main theme.
11. The Braes of Busby / Colonel Frazer (Two Reels)
The Braes of Busby is probably an Ulster fiddle - players' reel,
It falls in with that dialect of fiddle playing and "brae"
is a Northern and Scots word. I learned this whilst in my 'teens
from the piping of the late Dan Nugent of Dublin whom I've seen play
himself to sleep on his chair with this same tune! Colonel Frazer
is melodically very close to it. It is not known who was Colonel
Frazer, but the beautiful melody of this reel would show that he
was an honoured and well-liked man. It is one of a select number
that never goes under any other title, nor is the title erroneously
given to any other tune.
12. The Kid On The Mountain (Slip-jig)
The Kid On The Mountain is really a descriptive piece, for it depicts
the lost, forlorn, lonely kid in desolate surroundings, imitating
its forsaken bleating.
Where my notes do not state otherwise, I learned all
of these from my father, R.I.P.
Seamus Ennis - Dublin, November 1972.
To the Connoisseur and keen student of traditional
music, the name Ennis stands out among the greats in Uilleann piping.
His skill as a piper has come directly to him from his father who
was considered to be the last of the pipers in the idiom or dialect
of the old piping tradition. His piping was in fact (Seamus tells
me ) of select synthesis of all that was best in the playing of
old pipers he met and heard at the old Oireachtas Festivals during
the first ten years of this century, polished up by a tuition course
with Nicholas Markey, a master-piper then resident in Dublin.
In addition to being an expert performer Seamus is also renowned
folklorist and Gaelic Scholar. These latter accomplishments give
him an undoubted advantage in the interpretation of our native music.
This is particularly evident in the perfection and beauty of his
slow air playing. One never tires of his music. The more often it
is heard the more one appreciates the finer points of his piping.
I made my own way up on tin whistle and at the age of twelve got
my first practice chanter, but until meeting Seamus and hearing
him play I never realised that the field of piping could be so fast
and comprehensively embraced by the ability of the old pipers. When
I hear Seamus I am listening to the specialised playing of the old
pipers, as distinct form a rendering on a woodwind instrument, and
as his selection here is for the most part from the repertoire of
his father, who he tells me, played to him in his cradle, the above
title (The Pure Drop) covers a multitude!