The Piper's Call
- TARA 3037
Liam O'Flynn : Uilleann Pipes, Whistle
Arty McGlynn : Guitar
Steve Cooney : Guitar
Rod McVey : Keyboards, Harmonium
Liam Bradley : Percussion
Mark Knopfler : Electric guitar
Sean Keane : Fiddle
Matt Molloy : Flute
Carlos Núñez : Gaita, Ocarina, Whistles
Orchestra : Irish Chamber Orchestra - Artistic Director Fionnuala Hunt
Horns : Ian Dakin / Fergus O'Carroll
Orchestral Arrangement : Micheál O'Súilleabháin
Produced by : Liam O'Flynn and Arty McGlynn
Executive Producers : Mick Barry and John Cook
Recording Engineers : Ciaran Byrne and Brian Masterson
Assistant Engineers : Ciaran Cahill, Richard McCullough
Recorded at : Studio Cooney, Dingle: Windmill Lane Studios Dublin; Film Lighting Facilities, Dublin; Guinness Hopstore, Dublin;
1. The Humours of Kiltyclogher, Julia
2. The Pleasures of Hope, Rick's Rambles
3. An Droichead (The Bridge)
During the recording of this album, much of which was done in Stephen Cooney's studio in Ventry, Co. Kerry, I was honoured with a request by Ireland's President Mary McAleese to write and perform a piece of music for her inauguration. The music was be based on the theme of her Presidency, An Droichead or Bridges. I was fortunate to have the very generous assistance of Arty, Stephen and Rod in this task. Mark Knopfler had already very kindly agreed to guest on the album and this seemed the ideal piece on which he would play. The elegance and eloquence of his playing is unique.
4. Miss Admiral Gordon's Strathspey
5. Sliabh Na mBan (The Women's Mountain)
6. The Drunken Landlady, McKenna's Reels
The first of these three reels is yet another example of a great tune with a wonderfully roguish title and I imagine there must be a great story behind it! The two reels following are named after the great Leitrim flute player John McKenna. It was great to join forces here once again, with Matt Molloy and Sean Keane - old friends and incomparable musicians.
7. Muiñeira de Poio / Muiñeira
8. Bean Dubh an Ghleanna (The Dark Woman of the Glen)
Here is another Munster song-air. A feature of these tunes is their great musical sweep and scope. It first comes to light in the 18th century and is a song of unrequited love. When Micheál O'Súilleabháin and myself first talked about the arrangement we both felt it should paint a picture which comes out of the words. Hence the french-horns and their texture, combined with the pipes, evoke a pastoral landscape which reflects the song-text. Micheál has opted for a very interesting and creative approach in his arrangement, which is so full of movement. The arrangement, together with the magnificent playing of the Irish Chamber Orchestra, is wholly sympathetic to the beauty and grandeur of the air.
9. The Humours of Carrigaholt Set
10. The Gold Ring
Quiet simply one of the great classic piping tunes and this version (seven parts in all) I heard directly from one of my great musical heroes, uilleann piper Willie Clancy. It is a tune which offers the player unlimited scope, which can be heard in Sean Keane's fantastic playing.
11. Marcha de Breixo / Marcha de Lousame
The first of these tunes is an ancient processional march that comes from the area of Cedeira on the northwestern coast of Galicia, a remote area of high ocean cliffs. In the small town of Breixo (meaning Heather) on the day of the local patron saint, the pipers lead pilgrims in a march round the chapel taking steps so small that it takes one hour to complete the circle of the chapel. The second tune also comes from the northern coast of Galicia and was collected by Bal Y Gay in the first half of this century. Musically it has the shape of an alborada (meaning sunrise). These tunes are played on the mornings of fiestas.
Growing up in a family where both parents
loved to play traditional music and where visits from musicians were
commonplace it was not surprising that Liam O'Flynn as a very young
child developed a particular fascination with the uilleann pipes. Liam's
request for a set of pipes when he was ten fell on his father's receptive
ears and the following decade saw him taking weekly lessons with the
renowned piper and pipe-maker Leo Rowsome. The often cited "seven years
learning, seven years practising, seven years playing" said to make
up a pipers apprenticeship saw Liam come to maturity as a master piper
at a time of great social change and intense musical innovation. That
he was equal to the agenda set by these challenges has been evident
since his first days as an ensemble player with Planxty right through
to his celebrated orchestral work. Centre stage always in this schema
is the figure of the solo piper connecting with 300 years of piping
tradition. All the creative forces in Liam's playing converge at this
point. This album bears eloquent testimony to that imperative. Liam's
music flows as a water from a spring fed by sources deep underground.
The ear delights in its profound accomplishments; the heart rejoices
in its truthfulness.
This album is dedicated to my late
mother Maisie and my father Liam.
Special Thanks To: