"My Singing Bird" (Mo Éan Amhránaíochta) is a
Munster folk tune of unknown Irish origin. The words
are by the Irish poetess, Edith Wheeler. The song came
to the McPeakes from Cathal O'Byrne, who organised
stage ceilidhs at which Francis senior played as a
young man. The lyrics: "I've seen the lark soar high at
morn, Heard his song up in the blue. I have heard the
blackbird pipe his note, The thrush and the linnet too.
But there's none of them can sing so sweet, My singing
bird, as you, Ah-ah-...(+)
"My Singing Bird" (Mo Éan Amhránaíochta) is a
Munster folk tune of unknown Irish origin. The words
are by the Irish poetess, Edith Wheeler. The song came
to the McPeakes from Cathal O'Byrne, who organised
stage ceilidhs at which Francis senior played as a
young man. The lyrics: "I've seen the lark soar high at
morn, Heard his song up in the blue. I have heard the
blackbird pipe his note, The thrush and the linnet too.
But there's none of them can sing so sweet, My singing
bird, as you, Ah-ah-ah-ah-ah, Ah-ah-ah-ah-ah. My
singing bird, as you."
Irish traditional music is a genre of folk music that
developed in Ireland. In A History of Irish Music
(1905), W. H. Grattan Flood wrote that, in Gaelic
Ireland, there were at least ten instruments in general
use. These were the cruit (a small harp) and clairseach
(a bigger harp with typically 30 strings), the timpan
(a small string instrument played with a bow or
plectrum), the feadan (a fife), the buinne (an oboe or
flute), the guthbuinne (a bassoon-type horn), the
bennbuabhal and corn (hornpipes), the cuislenna
(bagpipes – see Great Irish warpipes), the stoc and
sturgan (clarions or trumpets), and the cnamha (bones).
There is also evidence of the fiddle being used in the
8th century.
There are several collections of Irish folk music from
the 18th century, but it was not until the 19th century
that ballad printers became established in Dublin.
Important collectors include Colm Ó Lochlainn, George
Petrie, Edward Bunting, Francis O'Neill, James Goodman
and many others. Though solo performance is preferred
in the folk tradition, bands or at least small
ensembles have probably been a part of Irish music
since at least the mid-19th century, although this is a
point of much contention among ethnomusicologists.
Irish traditional music has endured more strongly
against the forces of cinema, radio and the mass media
than the indigenous folk music of most European
countries. This was possibly because the country was
not a geographical battleground in either of the two
World Wars. Another potential factor was that the
economy was largely agricultural, where oral tradition
usually thrives. From the end of the Second World War
until the late fifties folk music was held in low
regard. Comhaltas Ceoltóirí Éireann (an Irish
traditional music association) and the popularity of
the Fleadh Cheoil (music festival) helped lead the
revival of the music. The English Folk music scene also
encouraged and gave self-confidence to many Irish
musicians. Following the success of The Clancy Brothers
and Tommy Makem in the US in 1959, Irish folk music
became fashionable again. The lush sentimental style of
singers such as Delia Murphy was replaced by
guitar-driven male groups such as The Dubliners. Irish
showbands presented a mixture of pop music and folk
dance tunes, though these died out during the
seventies. The international success of The Chieftains
and subsequent musicians and groups has made Irish folk
music a global brand.
Historically much old-time music of the USA grew out of
the music of Ireland, England and Scotland, as a result
of cultural diffusion. By the 1970s Irish traditional
music was again influencing music in the US and further
afield in Australia and Europe. It has occasionally
been fused with rock and roll, punk rock and other
genres.
Source: Wikipedia
(https://en.wikipedia.org/wiki/Irish_traditional_music)
.
Although originally composed for tradional instruments,
I created this Interpretation of "My Singing Bird" (Mo
Éan Amhránaíochta) for Flute, Oboe & Celtic or
Concert (Pedal) Harp.
