||The Wild Geese
||The Dean's Pamphlet
||Gynt at the Gate
||The Winter's End
||After Aughrim's Great Disaster
||Ar Bhruach na Laoi
||Dollards and The Harlequin Hornpipes
||Sean O Duibhir a Ghleanna
To An Other Side
Brendan Voyage (boxset includes CD & Book)
The Break - PLANXTY
Woman I Loved So Well - PLANXTY
- Uilleann Pipes in D, C# and C, Whistle
- Flute and Piccolo.
- Oboe and Cor anglais.
- Tenor saxophone.
- French Horn.
- Trumpet and flugelhorn.
- Guitar on **
- Irish Harp.
- Violin and Viola.
Joe Czibi jnr.
- Double Bass.
- Electric Bass on**
- Electric Bass on *
- Drum Kit on **
The Voice Squad - Phil Callery, Fran McPhail and Gerry Cullen.
Liam O' Maonlai (appears courtesy of London Records)
Recording Engineer : Brian Masterson.
Produced by : Shaun Davey
Arranged by : Shaun Davey
and Liam O'Flynn
Production Co-ordinator : Gay Brabazon
Engineer's assistants : Robert Kirwan, Eugene Ryder, Aidan Mc Govern,
Recorded at Windmill Lane Studios
with thanks to Catherine
Rutter, Katy Mahony and Brian Dillon
1. The Foxchase.
Originally said to have been composed by Tipperary piper Edward Keating-Hyland
in 1799. I was first in contact with this piece through Leo Rowsome
and later encountered the very different Seamus Ennis version. Both
versions have now evolved into this larger and more orchestrated piece
arranged by Shaun Davey. This epic piece is perhaps the best existing
example of descriptive music composition in the Irish Traditional style,
telling the story of the different phases in a typical late - eighteenth
2. The Wild Geese.
This tune chronicles the departure of the Irish army for France, known
as the flight of the Wild Geese, after final defeat at Limerick in 1691.
Its curious limping gait demonstrates the descriptive power of Irish
traditional music, an aspect which the sparse orchestration is designed
3. The Dean's Pamphlet.*
The verses form part of 'An excellent new song on a seditious pamphlet
' dated 1720 and attributed to Jonathan Swift. The 'seditious pamphlet'
was Swifts' A proposal for the universal use of Irish manufacture '
in which he advocated the boycott of English goods in Ireland in retaliation
for English laws crippling Irelands export trade, particularly in woolen
clothing. The dexterity of the lyrics necessitated Rita, who found them,
in taking her verses at a slower tempo than the instrumental which follows.
The words were apparently originally set to the air of 'Packington's
Pound'. This version is set instead to the tune of 'Tatter Jack Walsh'
and may perhaps be permitted to demonstrate the continuing tradition
of setting new words to existing tunes.
4. Gynt At The Gate.**
Derived from a section of Shaun Davey's score for the 1988 Gate Theatre
production of Ibsen's 'Peer Gynt'.
5. The Winter's End.
Adapted from Shaun Davey's score for the 1992 Royal Shakespeare Company's
production of 'A Winter's Tale', the melody occurring in the final scene
at the point where a statue comes to life and past hurt is healed. The
melody here alternates between pipes , cor anglais and oboe.
6. After Aughrim's Great Disaster.
The Voice Squad here sing their own superb arrangement of the great
traditional song which relates to the defeat of the Catholic Irish forces
at The Battle Of Aughrim in 1691, one in a series of battles fought
on Irish soil between King James 11 and William of Orange.
The initial impulse was to combine song and instrumental versions within
one track, but as they evolved it became clear that each had to stand
separately . The same basic melody receives a purely instrumental treatment
at the end of the album under its alternative title 'Sean O Dhuir a
Specially composed to honour present - day descendants of Grace O' Malley
(Granuaile), the full title of this piece is 'The O' Malley Blackwells
Of Ross'. It is interesting to note the special character that traditional
fiddle playing can bring to a piece that is broadly classical in conception.
8. AR Bhruach NA Laoi. (By the
banks of the Lee)
I first heard this little - known song from Aine Ui Cheallaigh of Ring,
Co. Waterford. It comes from the 18th Century Munster tradition of 'Aisling'
or 'version' poetry in which the magical apparition of a beautiful woman
came to be recognised as a symbol of an oppressed Ireland. Here the
instrumental and vocal versions run together and we are grateful for
the vocal in Sean Nos style by Liam O' Maonlai and the remarkable ad
lib fiddle of Sean Keane and the synth. chording by Rod McVey.
9. Lady Dillon
A tune composed in two sections by the Irish harper Turlough O' Carolan
during the first quarter of the 18th Century, one of many he composed
in honour of his patrons or, as in this case, patroness.
By way of experiment, the arrangement attempts to take what might otherwise
be interpreted as a traditional tune closer to the classical baroque
style of Carolan's European contemporaries some of whom he may have
met while in Dublin.
10. Dollards and The Harlequin Hornpipes.*
These two fine hornpipes come from the great Kerry fiddle tradition
associated with Padraic O' Keeffe and Denis Murphy via Johnny Leary
and his daughter Ellen.
11. Sean O Duibhir A Ghleanna.
(John O' Dwyer of the Glen) - the alternative title of the song 'After
Aughrim's Great Disaster'. This impromptu instrumental version is led
by the free phrasing of the air on pipes, supported by Sean Keane's
great ad lib fiddle playing and accompanied by Rod McVey's carefully
chosen synth. chording.
The title of this album comes from
a line in Seamus Heany's wonderful poem 'The Pitchfork' and I am deeply
grateful to Seamus for it .It sums up for me the often venturesome nature
Liam O' Flynn
Phil Callery, Ciaran Mac Mathuna, Nicholas
Carolan of the Irish Traditional Music Archive. Sheelagh Hickey of Sunnyhill.
Alfred Cochrane and Frank Carroll. Suzanne Murphy. Frank Harte.
Dr. Daithi O'hOgain.