CD NOTES

“Limerick's Lamentation” (“Marbhna Luimni”). is a traditional Irish air, and refers to the loss of Limerick to English forces under William of Orange in 1691. The tune was first notated c1724. It is known by several other names, most notably “Lochaber No More”, c 1733 (A Scottish setting). Also as “Sarsfield’s Lamentation”, from the name of the commander of the Irish forces at Limerick.

 “Beside the White Rock” (“Ar Thaobh na Carraige Báine”). I came across this tune in Vol 1 of the Frank Roche collection, originally published in 1911. The tune also features in the Petrie Collection of the Ancient Music of Ireland (albeit with a different setting), pub 1855. Bruach and Carrick are the names of two settlements lying contiguous to each other on the River Bann near Portadown in Co. Armagh.

 “Don’t Wake Me (I May Hear My Spirit Dreaming)”.  An extended improvisation around a 16 bar hornpipe. The A section melody lends itself to altered harmonic changes. Another tune from the Roche Collection, vol 1.

“The Pretty Girl from Windy Hill” Binevenagh mountain (“Binn Fhoibhne” or “Foibhne’s Peak”) is in County Derry. Windy Hill Road runs beside the mountain.

“Morgan Magan” was composed by harpist Turlough O’Carolan (1670-1738). First published 1724, this is now a well-known session tune, also known as “Welch Morgan”. It was dedicated to Morgan Magan of Togherstown, co. Westmeath, who died in 1738, who is probably the “Captain Magan” referred to in another of O’Carolan’s tunes.

“The Foggy Dew” (“The Banks of Moorlough Shore”).  A young man praises the beauties of the countryside and the girl he has fallen in love with. She refuses his advances on the ground that she already loves a sailor. She will wait for her true love for seven years. In frustration the boy leaves his childhood home and sails away, still praising the girl he loves that lives by the Moorlough Shore.  After the 1916 Easter Rising in Ireland, the parish priest Canon Charles O’Neil wrote the lyrics for the well-known political song “Foggy Dew” to this air. An air closely resembling this melody was published as “Corraga Bawn” in 1804.

“The Blarney Pilgrim” (“Turasa Blarnaig”). This Double Jig is a modal tune with tonal centres variously around the notes D & G. Another well-known session tune, the basic melody of which has lent itself to various improvisational meanderings in this arrangement.

“The Dark Island”. A slow air, composed by Iain MacLachlan in 1958, and originally titled “Dr. MacKay’s Farewell to Creagorry”. It became the title music to the BBC TV Series first broadcast in 1962, which was remade as a radio programme in 1969. I first discovered and performed this tune as a member of the Sussex Folk Orchestra .The home key of my recording is G major, the original was performed in Bb accompanied by a pipe drone without chords.

 “Green Bushes in Finlandia”. A good vehicle for a bit of improvisation – Green Bushes is a traditional English folk song (Roud Index #1040). I guess many a music student has played the Hymn from Finlandia in one form or another – this perhaps incongruous segue evolved over several improvisations.

Stemning fra Steigjela”.  Egil Storbekken (1911 – 2002) was a Norwegian folk musician, composer and instrument maker. He was born in Tolga, Norway. Storbekken is perhaps best known for his development of the tussefløyte (troll-flute), a Norwegian version of the recorder. Stemning translates roughly to ‘ambience’, although the location of Steigjela remains obscure.

 “A Valediction for Sheila” Epitaph for my Mum.

 “Tom Bowling”. Charles Dibdin (d.1814) was in his time the most prolific English singer-songwriter. He is best known as the composer of "Tom Bowling", one of his many sea songs. I have taken a couple of musical liberties with the tune; a modulation, and an added riff here and there. The tune of "Tom Bowling" forms part of Sir Henry Wood's 1905 “Fantasia on British Sea Songs” and often features at the Last Night of the Proms, to the accompaniment of mock tears from the Prommers.

 “The Mists of Glenorchy/The Hills of Glenorchy”.  Like many other traditional tunes “The Hills” is known by several names  (Wild Hills of Wannie’s, Jockey’s Lament, The Robin’s Nest etc.) ,evolving perhaps from the different areas it is performed in. “The Mists” is a spontaneous and original  improvisation employing a similar harmonic progression.

A bit of serendipity surrounds the recording of this tune. I hadn’t intended a recording session but had switched on the computer to try and capture a few semi-formed ideas for later organisation; this piece of music was the result. I later added a touch of electronic textures, and a little accordion, to round off the piece (and the CD).