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Tag: music

Remembering Paddy Fahey

Saturday, 8 June, 2019

Just getting around now to paying tribute to the East Galway fiddle player and tune composer Paddy Fahey, who died aged 102 years on Friday, 31 May. Fahey didn’t give his compositions names, instead they are simply called “Paddy Fahey’s Jig No.1”, “Paddy Fahey’s Reel No.2”, “Paddy Fahey’s Hornpipe No.3” and so on. He never made a commercial recording, nor did he publish a book of his compositions, but Paddy Fahey’s music, with its beautiful yearning feel, lives on in the playing of Liz and Yvonne Kane.


Show of hands

Sunday, 26 May, 2019

Loves Me, Loves Me Not, Loves Me is a track from the album The Space Between by the pianist Chad Lawson. To get the sound he wanted, Lawson placed extra felt between the hammers and strings and then placed a microphone close to the hammers.


Welcome to the protocol era

Tuesday, 9 April, 2019

The “protocol era”, in case you were wondering, is “where rapidly surfacing ideological battles over the future of A.I. protocols, centralised and decentralised internet protocols, and personal and political protocols compel us to ask ourselves who are we, what are we, what do we stand for, and what are we heading towards?” So says Holly Herndon, an American singer, who “operates at the nexus of technological evolution and musical euphoria,” as she says herself. The song Eternal is from her third album PROTO, which will be released on 10 May.


Word play

Monday, 8 April, 2019

“‘Cause the players gonna play, play, play, play, play
And the haters gonna hate, hate, hate, hate, hate” — Taylor Swift

Heater


The Gloaming: Meáchan Rudaí

Friday, 8 March, 2019

Traditional Irish music mixed with jazz, chamber, minimalist and elements of classical is what The Gloaming does for a living. Their third studio album, which has just been released, was recorded at Reservoir Studios in New York City. The opening track is Meáchan Rudaí (The Weight of Things) and the lyrics are from an Irish language poem by the late Liam Ó Muirthile. The English translation is by Gabriel Rosenstock.

Mo mheáchan i do bhaclainn sa phictiúr dínn beirt i Fitzgerald’s Park, agus mise in aois a trí. Ár meáchan araon. Ár gcómheáchan. Meáchan do hata anuas ar do gháirí. Mo mheáchan is tú dom iompar ar feadh naoi mí. Meáchan suí agus luí agus éirí. Do mheáchan féin nár ardaíos riamh ó thalamh ach chun tú a chur i dtalamh. Do mheáchan beo. Do mheáchan marbh. Meáchan na bhfocal ag éirí is ag titim eadrainn mar a bheadh sciatháin scuaine ealaí. Trom-mheáchan urnaí. Cleitemheáchan daidh-didil-dí. Meáchanlár fáinne fí na gcuimhní.

The weight of me in your arms. A photo of the two of us in Fitzgerald’s Park. Three years of age I was. The weight of the pair of us. Our weight together. The weight of your hat shading your laughter. My weight as you bore me for nine months. The weight of sitting, getting up, lying down. Your weight that I never lifted from the ground – before burying you in the ground. Your living weight. Your dead weight. The weight of words rising and falling between us, the wingbeat of swans. The heavy weight of prayers. The feather weight of lilting. The middle weight of memory, ancient spiral.


Gyða Valtýsdóttir

Friday, 8 February, 2019

The Icelandic cellist and singer Gyða Valtýsdóttir has developed her own musical identity. It combines elements of classical, folk and post-rock with avant-garde improvisations of works by Messiaen, George Crumb and Hildegard von Bingen.


Holocaust Remembrance Day

Sunday, 27 January, 2019

On 27 January each year, the world commemorates the genocide that resulted in the death of an estimated six million Jews, five million Slavs, three million ethnic Poles, 200,000 Romani, 250,000 mentally and physically disabled people and 9,000 homosexuals by Adolf Hitler’s Nazi regime and its collaborators.

“When Hitler started out, he took the Jews from their homes
Hitler started out, he took the Jews from their homes
That’s one thing Mr. Hitler you know you done wrong.

We’re gonna tear Hitler down
We’re gonna tear Hitler down
We’re gonna tear Hitler down someday.
We’re gonna bring him to the ground
We’re gonna bring him to the ground
We’re gonna bring him to the ground someday.

You ain’t no iron, you ain’t no solid rock
You ain’t no iron, you ain’t no solid rock
But we American people say ‘Mr. Hitler you is got to stop!'”

Huddie William Ledbetter (Leadbelly) was born on 20 January in 1888, in Louisiana. He was in and out of jail starting in his teens, for owning a gun, for killing a relative. John and Alan Lomax discovered him in prison in the early 1930s and they put some of his songs on tape. Freedom and fame followed. Born on a plantation, Leadbelly ended up touring the world and bringing blues music to a new generation.


Maggie Rogers: Light On

Monday, 21 January, 2019

In the depths of deep midwinter, light is needed more than ever. Step forward young Maggie Rogers, who grew up along the banks of the Miles River in Easton, Maryland, and began playing harp at age seven, focusing on the music of Holst and Vivaldi. The single “Light On” was released on 10 October last year and it can be found on her major-label debut album, Heard It In a Past Life, which hit the streams last Friday. Lights on!


Christmas Day

Tuesday, 25 December, 2018

The scene portrayed in A Christmas Childhood by Patrick Kavanagh is magically real, and for those who grew up in the rural Ireland of the 20th century, this work from a Christmas past when the poet was “six Christmases of age” captures that childhood world where the ordinary becomes extraordinary. “One side of the potato-pits was white with frost,” he notes factually, but in an instant three whin bushes on the horizon are transformed into the Three Wise Kings. The passing of time, Kavanagh says, erases the innocence of childhood but that innocence resurfaces at Christmas. Then: “How wonderful that was, how wonderful!”

A Christmas Childhood is dedicated to Kit and Mick Fitzgerald, honourable people, who made our childhood Christmas happy.

A Christmas Childhood

I

One side of the potato-pits was white with frost –
How wonderful that was, how wonderful!
And when we put our ears to the paling-post
The music that came out was magical.

The light between the ricks of hay and straw
Was a hole in Heaven’s gable. An apple tree
With its December-glinting fruit we saw –
O you, Eve, were the world that tempted me

To eat the knowledge that grew in clay
And death the germ within it! Now and then
I can remember something of the gay
Garden that was childhood’s. Again

The tracks of cattle to a drinking-place,
A green stone lying sideways in a ditch,
Or any common sight, the transfigured face
Of a beauty that the world did not touch.

II

My father played the melodion
Outside at our gate;
There were stars in the morning east
And they danced to his music.

Across the wild bogs his melodion called
To Lennons and Callans.
As I pulled on my trousers in a hurry
I knew some strange thing had happened.

Outside in the cow-house my mother
Made the music of milking;
The light of her stable-lamp was a star
And the frost of Bethlehem made it twinkle.

A water-hen screeched in the bog,
Mass-going feet
Crunched the wafer-ice on the pot-holes,
Somebody wistfully twisted the bellows wheel.

My child poet picked out the letters
On the grey stone,
In silver the wonder of a Christmas townland,
The winking glitter of a frosty dawn.

Cassiopeia was over
Cassidy’s hanging hill,
I looked and three whin bushes rode across
The horizon — the Three Wise Kings.

And old man passing said:
‘Can’t he make it talk –
The melodion.’ I hid in the doorway
And tightened the belt of my box-pleated coat.

I nicked six nicks on the door-post
With my penknife’s big blade –
There was a little one for cutting tobacco.
And I was six Christmases of age.

My father played the melodion,
My mother milked the cows,
And I had a prayer like a white rose pinned
On the Virgin Mary’s blouse.

Patrick Kavanagh (1904 – 1967)

We wish all readers of Rainy Day a healthy Christmas.


The third post of pre-Christmas 2018: March

Saturday, 15 December, 2018

The review of the year as echoed in Rainy Day posts continues with our 15 March reflection on the magisterial uilleann piper Liam O’Flynn. “For he had gone alone into the island / And brought back the whole thing,” as his great friend, the poet Seamus Heany, wrote. And, indeed, Liam O’Flynn brought back the whole legacies of Leo Rowsome, Willie Clancy and Seamus Ennis for future generations of pipers. RIP.

********

Fulsome are the tributes that have been published following the death yesterday of the uilleann piper Liam O’Flynn. And deservedly so, as he was unique. That mastery of an ancient tradition imbued him with the confidence to place his music before a restless, modern audience demanding progress but still wishing to retain some links with the past and the enthusiastic resonance — from Clonnmel to Copenhagen — ensured the success of the groundbreaking group Planxty.

Liam O’Flynn was charming and erudite, witty and cultured, polite and professional and, above all, human. Those fortunate enough to have known him know how much he’ll be missed. At this time, it’s appropriate to paraphrase C.S. Lewis in A Grief Observed: “His absence is like the sky, spread over everything.”

**********

Tomorrow, here, the fourth post of pre-Christmas 2018. One of our most fascinating April subjects was the notorious Silicon Valley scam artist, Elizabeth Holmes.


Cecilia

Thursday, 22 November, 2018

One of the oldest musical institutions in the world is the Accademia Nazionale di Santa Cecilia in Rome. It was founded at the command of Pope Sixtus V in 1585, who invoked two saints: Gregory the Great, after whom Gregorian chant is named, and Saint Cecilia, the patron saint of music. Her feast day is celebrated in the Catholic, Anglican and Eastern Orthodox churches on 22 November. The story goes that Cecelia was a noble lady of Rome, who, with her husband Valerian, his brother Tiburtius and a Roman soldier named Maximus, suffered martyrdom in about 230 under the Emperor Severus Alexander. She was buried in the Catacomb of Callixtus, and her remains were later transferred to the Church of Santa Cecilia in Trastevere.

This portrait of Saint Ceclia is by Il Lucchese, Antonio Franchi (1638–1709). After training in Lucca with Domenico Ferrucci, he moved to Florence to work under Medici patronage. He also published a text on the occupation of painting titled, La Teorica della Pittura.

Saint Cecelia