- 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
where otherwise indicated.
Production Co-ordinator : Gay Brabazon
Engineer's assistants : Robert Kirwan, Eugene Ryder, Aidan
Mc Govern, Willie Mannion.
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 century
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 to enhance.
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
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 Gleanna'.
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
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 of music.
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.