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Get Shaun Davey recordings online Sleeve Notes A Celtic Suite for Orchestra, Soloists, Pipe Band and Choir. `The Pilgrim' was first released as an album at the end of 1983. It consists of a selection of pieces from` The Lorient Festival Suite', commissioned by the Lorient Interceltic Festival and mostly recorded live at its debut performance in Brittany earlier that year. The proposal by the Committee des Fetes had appeared to be straightforward: a suite for orchestra and celtic soloists representing the seven Celtic countries or regions (Scotland, Ireland, Isle of Man, Wales, Cornwall, Brittany, Galicia). Thus conceived it was to be an expansion of an idea central to the `Brendan Voyage' in which a traditional soloist performs with an orchestra. The previous year, 1982, with uilleann piper Liam O'Flynn and specially assembled festival orchestras this work had, received debut live performances in Brittany. In Lorient a large and enthusiastic audience had, with typical Breton generosity, demanded and received four encores. One calm summer evening at dusk one year later, I stood with conductor Noel Kelehan beside the stage in the football stadium and watched that same 5000-strong audience return for the premiere of the new suite. During the 20 minutes before the performance began, the focus of seven months effort seemed to narrow into two main concerns. Firstly, although still at a level that was hard to articulate, there lurked in my mind the suspicion that the suite was marred by flaws resulting from the creation of a large design in too short a time. Secondly and despite everyone's commitment and hard work, I knew that the concert was likely to have technical problems. Thus shrouded in the heavy mists of personal responsibility I engaged in the traditional exchange of an impolite french word festival president Pierre Guergadic and that sense of fatalism which comes to those for whom time has run out. By the end of the evening, thanks in part to the patient support of the large festival audience, the concert came to a successful conclusion and those pieces which has been the more obvious favourites were replayed as encores. The following day, however, praise was mixed with criticism: for example, did I not feel, I was asked on radio, that the suite was merely a patchwork? Such implied lack of cohesion was unavoidably evident in the ensuing 'Pilgrim' album which contained selected highlights and which, due to the limitations of vinyl, halved the suites running time of 80 minutes. On the other hand if the suites was indeed a patchwork, I wondered, could any such collection of widely differing pieces avoid being so? Certainly, I was forced to admit, unlike the 'Brendan Voyage' the 'Pilgrim' had no narrative thread to hold it together, Yet it did have the drama of successive soloists and celtic ensembles and with them was implied a sense of journey. In time I came to recognise that my initial failure to formalise that journey, to make it explicit and in so doing to explain why it takes place was perhaps something that could be put right for future performances. Correspondingly I began to feel that some pieces could be improved, some omitted altogether and that other entirely new pieces could be included in their stead. What in fact was needed was the occasion to revise the 'Pilgrim' suite from top to bottom. The occasion did present itself, and it did so in two ways. Firstly, towards the end of 1990 we were approached by Andy Morris, then manager of the newly-opened Glasgow Royal Concert Hall, to stage a performance of the suite, by now known by its album title, 'The Pilgrim'. This was to be on December 31st,-the last night of Glasgow's tenure of European City of Culture, which corresponded with the night before the same mantle fell, or was dropped, onto our own city of Dublin. Secondly, John Cook of Tara Music Company decided both to extend the albums life by transferring it to C.D. and to record the Glasgow Royal Concert. This meant that not only could the C.D., with its longer running time now include the suite in its entirety, it also meant that alterations made to work in time for the Glasgow performance would, with luck, find their way onto the new album. This was a rare opportunity and, while Brian Masterson, who had recorded the original album, located a digital machine and went with production manager Mick O'Gorman to explore the excellent amenities of the new hall in Glasgow, I began a limited period of revision on the score. Curiously enough I began by working up a song I had abandoned seven years before, but the melody of which had stayed fresh in my mind: 'Gair na Gairbe'- perhaps all the better for the delay and which I now offered to Iarla O'Lionaird. Next to add to the collection was 'The Deers Cry', the very beautiful and powerful early medieval text also known as 'St. Patricks Breastplate'. Although I had been given this text when first working on the suite and remember very much wanting to set it to music, for one reason or another it was not possible at that time. Since then however I had brought it to the stage where, sung by Rita Connolly, it had accompanied the closing titles of Granada Televisions documentary about the unjust imprisonment of the Birmingham six. As it stood the score awaited orchestra and choir. More immediately to hand was a piece I had composed for Liam O'Flynn, uilleann pipes and orchestra. This was originally housed as the last movement of a concerto but, with its echoes of great Atlantic waves, its virtuoso pipes part and the rare opportunity to record, I quietly moved it into the "Pilgrim" folder. As for the framework, I took a step which had before not seemed possible, of including the spoken word as a form of clarification of the journey undertaken in the new "Pilgrim'. As with most of the changes, it too had its origins in those seven frantic months of research and composition back in 1983. Early in these all too brief researches I had encountered E.G. Bowen's book 'Saints, Seaways and Settlements' which describes how the spread of Celtic Christianity was effected by (and in turn stimulated) the development of western sea and land routes. During the so called 'Dark ages' the Celtic world continued to function, isolated from the Anglo-Saxon invasions elsewhere. Bowen describes the journeys of missionary monks from one Celtic region to another (and sometimes beyond) along commercial trading routes, sometimes on specific missions, at other times more in the spirit of a dare to prove beyond any doubt their faith in God, for these routes were inevitably perilous. In the songs for the suite I had looked for sources which touched upon these journeys and pilgrims when the Celtic world was perhaps more vigorously in touch, and more genuinely independent, than today. Hence 'Samson Peccator Espiscopus' follows a Welsh Bishop, previously Abbot of Howth, as he crosses Cornwall en route for Brittany. A similar coat-tail ride is provided by Colum Cille (St. Columba). His exile to Scotland and confrontation with Pictish druids. At this time I had the good fortune also to be introduced by Bill Whelan to Gearoid Mac Eoin, professor of Old and Middle Irish at Galway University. It was he who provided the introduction to many inspirational early Irish poems-including 'The Pilgrim' itself - which formed the basis to songs of which, both then and now, I am particularly proud. He did so in an open and kindly way for which I shall always be grateful. However, the development of the above into a spoken role in which translations of these jewel-like mostly early Irish texts appear as bridges from one region to another has had to wait until 1993. This 'narrators' part has been assisted by a trial run at the Glasgow concert in 1990, by the artistry and erudition of the 'narrator's' himself, the actor Mick Lally, and by the choice of the metal-strung Irish harp of Helen Davies as accompaniment. Between them they create a bond between widely varied musical styles and also, I hope, that more explicit sense of journey which eluded the suite in its original form. Mick himself proposed the introduction to the Celtic world by the ancient Carthaginian explorer Himlico, and elsewhere supplied his own translations from the original. I owe Mick Lally a special debt for his contribution to this album. For introductions to the medieval music manuscripts of Santiago I am indebted in turn to members of Milladoiro, Sr. Carlos Nunez and Des Moore, for enabling the 'Pilgrim' suite to briefly refer to a genuine pilgrimage in the Celtic World i.e. the cult of St. James, whose bones are said to be buried as Santiago de Compostela in Galicia, the focal point of one of the great Christian pilgrimages since the 10th century. The pilgrimage undertaken on this album is not intended as a companion to any present-day religion, although it does contain readings and musical settings of texts that testify to the early spreading of Christianity. These are presented more as a phenomenon, as an experienced deeply shared by all the Celtic peoples. Nor is 'The Pilgrim' intended as a work of scholarship, although it does indeed contain elements of individual scholarship of a very high order, borrowed from others whose contributions I gratefully acknowledge. I hope that these are presented in a way that honours them as well as providing enrichment to the suite as a whole. Above all 'The Pilgrim' is not a work of musical scholarship: this music is newly-composed, although it is informed by the spirit of the traditional music of the Celtic world and those who sing and play therein. It was certainly an awesome and privileged experience to work with the 200 performers who originally met on stage in Lorient in 1983 and again in Glasgow at the end of 1990. I hope that something of that special sense of occasion is present on this new album. In mixing and assembling the new album Brian Masterson and I have tried to reproduce the dynamic of the live concert in Glasgow, as far as possible matching each title with the actual applause it received there. Occasionally we have omitted applause in order to allow the work to run without interruption. On the other hand, with the Glasgow concert serving as template, we have included some performances from 1983. These include items form the original outdoor premiere in Lorient. All 1983 material has been remixed to enable it to match the concert hall acoustic in Glasgow. The readings by Mick Lally accompanied by Helen Davies were recorded in studio. LORIENT 1983 The Lorient Festival Orchestra with; Helen Davies
harp, Noel Eccles , percussion, Garvan Gallagher bass guitar, Paul
MacAteer drums. Glasgow 1990 The Glasgow Philharmonic Orchestra, leader Clive Thomas,
with Helen Davies, harp; and Paul MacAteer, drums. PRODUCTION Engineer : Brian Masterson Orchestras Acknowledgements: Once again I acknowledge first and foremost the generosity and vision of the Lorient Interceltic Festival, particularly its Present, Mr Pierre Guergadic and Secretary, Mr Jean-Pierre Pichard, who stood by me at all times, and who helped in 1983 (see below). My thanks for a second chance are due to Andy Morris of the Glasgow Royal Concert Hall, Iain Sutherland the conductor of the Glasgow Philharmonic Orchestra, and all who participated in Glasgow, and to John Cook of Tara Music Company who goes once more into the breach. I also wish to record here my gratitude to Mr. Guy Berrier who has so beautifully conducted intervening performances of 'The Pilgrim' in Lorient. Thanks to all who helped with preparation and research, especially: Jean-Pierre Pichard of the Conservatoire of Breton Culture; Gearoid Mac Eoin of Galway University; Polig Monjarret; Jack Williams of BBC Bangor; John Macinnes and Hamish Henderson of Edinburgh University; Roderick MacDonald Edward Maguire; Anges Davey; Michael Derrin; Colin Jerry; Doughie Alexander; Tomas MacRuairi; Beatrice Kerno; Gerranio Torriero; Claude Lassbliez; Georges and Bernard Gallinier; Denis Suttil; Rita Connolly; Garvan Gallagher; Jermy Webber; special thanks to N.J. William's for his interpretation and translation into Old Cornish of 'Samson Peccator Episcopus'; to Arthur ap Gwynne for permission to set to music extracts form 'Ymadawaid Arhtur' by T. Gwynne Jones; and to Arwyn Watkins of U.C.D. for his help with this text and for its English translation. Thanks to Daisy Williams for permission to include extracts form 'Exultation' translated by her husband Gwyn Williams. Thanks to conductor Noel Kelehan for the 'Cue the busby' joke and all his work in 1983 and thanks to conductor Iain Sutherland for sustained good humour while bringing together all the elements on stage in Glasgow; thanks also to Graham Taylor, chorusmaster of The New Glasgow Chorus and David Wutherspoon, pipe major of The Glasgow City Pipes and Drums. Thanks also to Orla Cronin for assisting in the preparation of sleeve notes. Further acknowledgements: ' Early Irish Lyrics' by Gerard Murphy; 'Measgra Danta II' by Tomas O Rathile; Golden Treasury of Irish Poetry by David Greene and Frank O'Connor; 'The Oxford Book of Welsh Verse in English ', chosen by Gwyn Jones; ' The Penguin Book of Irish Verse', introduction and edited by Brendan Kennelly. Track Notes
Gair Na Gairbe Gair na Garibe glaídbinne glaídes re tosach Gairit lem mo chomainmne, fégad lán línas Is súairc immar glecaitsium tuile is aithbe Cairche cíuil at-chluinimse Éoin chalaid co céolchaire, Céol na salm go salmglaine Duilig trátha d'urmiasin Benn Boirche, Benn Bógaine, Duilig trátha d'urmaisin A Mo Ling na connailbe Gáir Na Gairbe (The Cry Of The Garb) The cry of the tunefully-roaring Garb sounding against the sea's first wave! Great lovely schools of fish swim about in its bosom. My patient activity is not wearisome to me, my looking at the tides which fill the banks: the mighty torrent of the great Garb, and the seawater thrusting it back. It is pleasant to see how they wrestle, floodtide and cold ebb; they occur in due succession , perpetually up and down. I hear melodious music in the Garb at the time of its winter splendour: I sleep to the sound of great revelry on a very cold icy night. Musical birds of the shore, music-sweet their constant cryings! Lonely longing has seized me to hear their chanting as they sing the hours. Chanting of the psalm-pure psalms at the Point of Ros Bruic, which will not long be so called; roar of the brown belling stag from the cheek of cold Erc; It is hard to attend to canonical hours at which loud bells are rung, by reason of the noise of Inber Dubglaise and the cry of the Garb. Benn Boirche, Benn Bógaine, and silent Glen Bolcáin, many nights, many evenings have I come from them in answer to Garb's cry. It is hard to attend the canonical hours at which loud bells are rung, by reason of the noise of Inber Dubglise and the cry of the Garb. Beloved MoLing, to whom I have come to play the end of my game, may you protect me against hell whose cry is rough!
The Pilgrim In regsa, a Rí inna rún In mbia I mbochtai isin chath Cen ól medrach mesetha druing, Cen éitiud min mass ar súil, In timg´r celebrad cóir
In toicéb mo churchán cíar Imba sessach, imba seng, The Pilgrim Anon. 10th Century. Translated By Kuno Meyer. Shall I go, O King of the Mysteries, after my fill of cushions and music, to turn my face on the shore and my back on my native land? Shall I be in poverty in the battle through the grave of the King, a King who does not fail, without great honour or a famous chariot, without silver and without a horse? Without heady drink that intoxicates a throng, without a stout tribe, without retainers to protect me, without a swift shield or any weapon, without cup, ale, or drinking horn? Without soft clothes that are pleasant to look at, without cushions which are no friend of any saint, but beech-twigs of virtue under a hard quilt for my body? Shall I say a long farewell to the great island of the sons of proud Mil? Shall I offer myself under Christ's yoke before I cross the waters of the Red Sea? Shall I cut my hand with every sort of wound on the breast of the wave which wrecks boats? Shall I leave the track of my two knees on the strand by the shore? Shall I take my little black currach over the broad-breasted glorious ocean? O King of the bright kingdom, shall I go of my own choice upon the sea? Whether I be strong or poor, or mettlesome so as to be recounted in tales, O Christ, Will you help me when it comes to going upon the wild sea?
Storm At Sea Anon. 11th Century. Translated by Kuno Meyer There is a great tempest on the plain of Ler, bold over its high borders. The wind has risen, rough winter has killed us, and comes to us over the great wild sea When the wind blows from the east the spirit of the wave is stirred; it longs to go past us westwards to the land over which the sun sets, to the blue sea, rough and wild. When the wind blows from the north, the dark fierce wave longs to attack the southern world, to battle against the wide sky and to listen to the music of the swans. When the wind blows from the west over the sea of fierce currents, it longs to go eastward past us to capture the sun-tree in the wide, far distant sea. When the wind sets from the south over the land of the Saxons of stout shields and strikes the wave of Skiddy Island, it surges up to the top of Calad Nit with a leafy, blue grey cloak. The ocean is full, the sea in flood; beautiful is the palace of the ships; the sandy wind has thrown eddies round near Inber na Dá Ainmech: the rudder goes swift in the wide sea. The flood with its great force has burst over every broad rivermouth. The wind has come to us, winter's fury has killed us. Round Cantyre, round the land of Scotland, rushes a wild torrent, mountainous and fearful. Son of God the Father with mighty hosts, save me from the horror of rough storms. Pure Master of the Sacrament, protect me form the great blast, from Hell with its furious tempest. Storm At Sea O do-chuir in gáeth an-air O do-chuir in gáeth a-túaid O du-chuir in gáeth an-far O du-chuir in gáeth an-des Is Ián ler, is Ionmán muir, Ro La tonn, trén a trethan, Mac De Athar, adblib scor, Back to Top
Lines Chosen Form Caniadau: A gem-like light spread over Camlan Bedevere walked without resting the heavy burden Chorus: Yonder over the sea there is a tender land Never will it be destroyed by faithlessness (Repeat chorus) From the depths of the desolate lake `YMADAWAID ARTHUR' Troes gemliw wawl tors Gamlan, Cerddod Bedwyr heb orffwys a `r pwysau Chorus: Bydd ddewr a glan Draw dros y don mae bro dirion nad ery (Repeat chorus) O drofau`r Ilyn
Samson Peccator Episcopus On Padstow sand Holy men from Wales On the Isthmus road On the Isthmus road High on Cornwall Miracle! Miracle! The Isthmus road On the Isthmus road On the Isthmus road Samson Peccator Episcopus War dreth Landebrok mordryg yu Y kerth yn dan lagas an jeth An escop clor An escop clor Dres an hal a omguntell Forth an culdyr yth hembrynk, Ottova, an epscop cuf Ef a`n jeves bagyl wyn Samson Peccator Episcopus
Santiago Gáir na Gairbe glaídbinne Is súairc immar glecaitsium Is ríu sein con-tuilimse The Cry of the tunefully-roaring Garb sounding against
the sea's first wave! I sleep to those melodies on mountain tops and tree
tops;
The Deers Cry I arise today Through the strength of Heaven I arise today Through Gods strength to pilot me From all who shall wish me ill Christ with me, Christ before me, Christ beneath me, Christ above me, Christ in the heart of everyone who thinks of me, Christ in the mouth of everyone who speaks of me
A` Ghrian (To The Sun) Hail to thee, thou sun of the seasons Thou liest down in the destructive ocean A` Ghrian Failte ort féin, a sharian nan tráth, Thu laighe sios an cuan na dith, Tha misr an dochas `na thrath
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