Radio Show – Episode 8 – July 3, 2016 – The Power of Music

Today’s show is devoted to the Power of Music and its ability to enchant. Irish myth describes “Three Noble Strains” of music, known as the geantraí – song of joy/merriment, the goltraí – song of sorrow, and the suantraí – song of comfort/for soothing. You’ll hear expressions of all three “strains” in the music and stories played and told today.

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Show 8-Power of Music

12:00 Forest Halls Celtic / Show 8 – The Power of Music – Recorded on 7/3/2016 and updated for 7/19/20
Spookytree (Deb Knodel & Jane Valencia) – Lochaber No More
12:01 Heartstring Quartet – Sir Patrick Bellew’s March / An Cailin Rua Gaelach (The Red-haired Irish Girl)
12:05 William Taylor – Macpherson’s Testament
12:08 Paul Machlis – Darkness Falling
12:12 Dagda – Harp of Dagda
12:16 Johnnie Lawson – Natural Sound of the Forest Birds Singing
12:18 The Chieftains & James Galway – The Red Admiral Butterfly
12:23 Máire Ní Chathasaigh – Carolan’s Farewell to Music
12:30 Fiona Davidson – Deirdre of the Sorrows
12:46 Anúna – Sleepsong
12:50 Julie Fowlis – Cadal Ciarach Mo Luran
12:54 Tiffany Schaefer – Reconciliation
12:56 Spookytree (Deb Knodel & Jane Valencia) / Lochaber No More
12:57 The Irish Consort / Sorrow Sorrow Stay

Format: Track Title – artist (CD Title)

Geantrai – song of joy and merriment

“Patrick Bellew’s March / An Cailin Rua Gaelach” Heartstring Quartet (Heartstring Sessions)

The Heartstring Quartet brings together two famous Irish duos: Arty McGlynn & Nollaig Casey, Máire Ní Chathasaigh & Chris Newman. Nollaig and Máire are sisters who play fiddle and harp, respectively.

“Macpherson’s Testament” – William Taylor  
Bill (William) Taylor researches, performs, teaches and records the ancient harp music of Ireland, Scotland and Wales. He is one of very few players interpreting these repertoires using gut-strung medieval harps, renaissance harps with buzzing bray pins and wire-strung clarsachs.

In this show, I (incorrectly) stated that I thought that Bill Taylor was a harpmaker for Ardival Harps. But that isn’t so. He is a harper-in-residence for Ardival Harps. The actual makers are Zan and Alex Dunn and associates.

My friend and colleague, singer-songwriter and harper, Verlene Schermer writes:

“There is in Irish folklore, a story about the three sacred strains of music. The three strains are known as the goltrai — song of sorrow, the suantrai – song of comfort, and the gentrai – song of joy (Walton). The Dagda Mor, (the good god) is the leader of the Tuatha De Dannan, (the Fairy Folk – who are gods themselves), and it is his harp, Uaithne, that has the magical ability to bring listeners to tears, to put them to sleep, or to cause them to dance.”

Here we enjoy the story itself …

“Harp of the Dagda” – Irish Myth retold by Barra the Bard (Barra Jacob-McDowell) – read by Jane Valencia/ Music: “Darkness Falling” Paul Machlis (Greenwoods) 
Barra the Bard received her name from the Isle of Barra in the Outer Hebrides off the West Coast of Scotland and her love of storytelling from her maternal grandmother, Abigail Jones Dangler. With a repertoire of over 5,000 stories Barra specializes in tales from the Celtic nations (Scotland, Ireland, Wales, Cornwall, Isle of Man, Brittany, & Spain). She also enjoys telling stories from other ethnic traditions as well as family stories of her own.

Check out my Article for the Folk Harp Journal, Be A Bard: Start Down an Ancient Path, which features an interview with Barra.

Read Barra the Bard’s “Harp of the Dagda”.

“Harp of Dagda” – Dagda (Celtic Trance)
A review on Amazon.com says:
“If you’re not looking for “Traditional” Irish jigs, reels, lyrics, ballads or tunes, but rather a tightly put together selection of songs with a modern, mystic, Celtic “flavor” and a dream-like quality, with a nice heavy bass beat…then this is a CD for you!”

Danceable rhythms overlaid with string arrangements and lilting Celtic melodies compose the sound of Ireland’s Dagda, the collective moniker for producers Red Keating and Phillip O’Rely.

Johnnie Lawson -Natural Sound of the Forest Birds Singing 
Today’s forest sounds are from Johnnie Lawson. He writes: “I search out tranquil, quiet places in nature where we like to go when we want peace and calm, away from the stresses of modern day life. I capture the sense of beauty and tranquility of each location in sound and vision. It is my pleasure to bring these healing videos to you, free for you to relax with at any time of the day or night, anywhere in the world.”

On Forest Halls Celtic, we’ve heard several versions of the Irish slip jig, The Butterfly. A slip-jig is in 9/8 time, but we’ve heard it also in 11/8 and 5/4. In this next version, we hear yet another rhythmic variation, that of 12/8 tim.

“The Red Admiral Butterfly” (slip jig) James Galway & The Chieftains (James Galway & The Chieftains in Ireland)
Douglas Hadden writes:
“The Chieftains” and James Galway play an arrangement of the Irish slip-jig, “The Butterfly”. Possibly the best-known “slip-jig” [ in 9/8 time ] in Irish traditional music. It was made popular by “The Bothy Band” on their first eponymous album. It is often thought of as an original composition by Dublin fiddle-player Tommy Potts, but it is generally accepted these days that he “re-arranged” parts from other traditional tunes, and possibly only the 3rd part is original. In any case, a great tune. “The Chieftains” arrangement plays the original – a great introduction by Matt Molloy – and then change the time signature into 12/8.”

Goltraí – song of sorrow

“O’Carolan’s Farewell to Music” – Máire Ní Chathasaigh (The New Strung Harp)
From Wikipedia:
“Turlough O’Carolan (1670 – 25 March 1738) was a blind early Irish harper, composer and singer whose great fame is due to his gift for melodic composition. Although not a composer in the classical sense, Carolan is considered by many to be Ireland’s national composer. … Some of Carolan’s own compositions show influences of the style of continental classical music, whereas others such as Carolan’s Farewell to Music reflect a much older style of “Gaelic Harping.”

Reputedly the last song composed by O’Carolan — perhaps even on his deathbed! — Carolan’s Farewell to Music is an expression of goltrai — a song of sorrow.

Máire Ní Chathasaigh is an amazing Irish harper, and one I listened to carefully when I first began learning harp.

“Deirdre of the Sorrows” – Fiona Davidson (The Language of Birds)
The Celts know all about beauty, passion, tragedy, and grief. In this story we experience how music gives voice to this Irish myth. This is a tragic tale, but so beautifully and richly told.

Fiona Davidson had quite a career as a harper, storyteller, and bard, and performed in Iona, a progressive Celtic rock band from the United Kingdom, during its early years. These days, she goes by the name Fionntullach, and is devoted to the path of the Celtic spiritual tradition, the Céile Dé.

Suantraí – song of comfort, for soothing, lullabye

“Sleepsong” – Anúna (Invocation)
This absolutely gorgeous song was written for a tale that contains elements similar to the preceding tale of Dierdre.

Wikipedia:

“The Pursuit of Diarmuid and Gráinne (Irish: Tóraigheacht Dhiarmada agus Ghráinne or Tóraíocht Dhiarmada agus Gráinne in modern spelling) is an Irish prose narrative surviving in many variants. A tale from the Fenian Cycle of Irish mythology, it concerns a love triangle between the great warrior Fionn mac Cumhaill, the beautiful princess Gráinne, and her paramour Diarmuid Ua Duibhne. Surviving texts are all in Modern Irish and the earliest dates to the 16th century, but some elements of the material date as far back as the 10th century. …”

The princess Gráinne is to wed the aged great warrior Fionn, but she falls for the young warrior, Diarmuid. They run off and are pursued.

They hide from Fionn in a forest near the River Shannon, where in this greenwood shelter Gráinne soothes Diarmuid with a lullaby.

“Cadal Ciarach Mo Luran (Sleep Well My Beloved)” – Julie Fowlis  – (Gach Sgeul – Every Story)

Scottish folk singer Julie Fowlis sings a “sleepsong” along the same lines as the preceding song.

Sleep well my beloved,
Sleep well my beloved,
Sleep well my beloved,
I’ll always be with you …

Added for 7/19/20:
Music Tiffany Schaefer and The Irish Consort

Radio Show – Episode 5 – May 29, 2016 Play List and Program Notes – Foxglove Music and Magic

FHC-GoblinGloves-180dpiIn this episode we discovered the faery lore of the plant, Foxglove, through story and music, enjoyed some contemporary treatments of very old tunes and songs, and more.

Catch the latest Forest Halls Celtic episode on demand here.

01:39 Alan Stivell / Brian Boru
07:02 Owain Phyfe / Ja Nus Hons Pris
11:25 The Chieftains / I Know My Love (with The Corrs)
16:55 The Standing Stones and Debra Knodel / Oran Sniomh (Spinning Song)
20:39 Cynthia Cathcart / Mist Covered Mountains
23:06 Laura Risk, Fiddle / Lord Moira
31:04 Seamus Byrne / Track 2
31:55 Mara Freeman / The Faery Lore of Fox Gloves
34:08 / Story: Goblin Gloves by Allison Cox
37:00 Jeff Victor / The Widow of Loch Lemond
39:53 Jeff Victor / 7th Child of the 7th Child
47:14 Distant Oaks / Tobar gach Grais/An Drochaid Chliuiteach
51:49 Julie Fowlis / Danns’ a Luideagan Odhar
54:37 Altan / Jimmy Lyon’s/ The Teelin/ The Red Crow/ The Broken Bridge

Format: Track Title – artist (CD Title)

“Brian Boru” – Alan Stivell (Celtic Circle 2 – Various Artists) 

Brian Boru (full name Brian Bóruma mac Cennétig) was an Irish king who ended the domination of the High Kingship of Ireland by the Uí Néill dynasty, becoming the High King of Ireland himself. Alan Stivell is a Celtic musician from Britanny, best known in the folk harp world for his wire-strung harp playing on his classic album, Renaissance of the Celtic Harp. On this piece he plays electro-harp. He composed the words to the “Brian Boru” melody, and sings here in (I believe) Irish Gaelic and Breton.

“Ja Nus Hon Pris” – Owain Phyfe (Poets, Bards, and Singers of Songs)
A beautiful song written and sung in Langue d’oil – one of the two principal groups of dialects spoken in medieval France. It was composed by the English King, Richard Coeur de Lion, and with a lovely treatment here by the late Owain Phyfe.

Extreme trivia: Back in the early 90’s I played this song as a harp solo in the Portland, OR-based early music ensemble Musique Ancienne, and also recorded it on Deb’s & my privately-released first album, Spooky Tree.

“I Know My Love” – The Chieftains with The Corrs (Tears of Stone)
The Chieftains are a traditional Irish band formed in Dublin in November 1962. Some music experts have credited The Chieftains with bringing traditional Irish music to a worldwide audience, so much so that the Irish government awarded them the honorary title of ‘Ireland’s Musical Ambassadors’ in 1989. In 2012, they celebrated their 50th anniversary with the release of their most recent record Voice of Ages. If you’re tracking harps, yes – Derek Bell is playing harp here!

This was one of the Chieftains’ collaborative albums.

The Corrs are an Irish band that combine pop rock with traditional Irish themes within their music. The group consists of the Corr siblings, Andrea (lead vocals, tin whistle); Sharon (violin, vocals); Caroline (drums, percussion, piano, bodhrán,vocals) and Jim (guitar, piano, keyboards, vocals).

“Oran Sniomh (Spinning Song)” – The Standing Stones and Debra Knodel (Give Fleece a Chance)
The Standing Stones are Michael Robinson and Vicki Parrish. This San Francisco Bay Area based duo performs traditional music and song from Scotland and Ireland, and Canada and Australia where Scottish and Irish music took root during the Gaelic diaspora of the 19th century, as well as a certain amount of early music, and music from the other Celtic lands.

They write:

“While others may try to take traditional music into the future, our goal is to take it into the past. We try to join our research on historical performance styles to the living tradition, so that our music can be both exciting and true to its roots. But the most important thing is to enjoy ourselves and to share this beautiful musical heritage with others.”

Debra Knodel is a northern California harper who is doing some pretty cool things on harp. If you are listening in the Bay Area, contact me for information on a solo concert she’ll be performing in Fall. I wish I could travel down for that!

More trivia: Deb, Vicki, and I performed as a harp trio called Trillium way back in my first year or so of harp playing. We played at the Northern California Renaissance Faire.

“Mist Covered Mountains” – Cynthia Cathcart (Alchemy of a Rose)
Cynthia writes a regular column for the Folk Harp Journal, “Ringing Strings” which is devoted to the wire-strung harp. And is internationally known as a proponent of this instrument. I must have been thinking about my Portland, Oregon days when I put this play list together, because I really got to know this Scottish tune “Mist-Covered Mountains” back then, by way of harp lessons with wire-strung harper Janet Naylor in Eugene.

“Lord Moira – The Merry Making” – Laura Risk (The Merry Making)
“Laura Risk is an California-born violinist. She specializes in performing and teaching the diverse fiddle repertoire of Scotland and Quebec.
[Laura Risk] has that absolutely uncanny knack, not of knowing how much to put into a tune, but rather how little. She wrings every drop of passion, heartache or melancholy from most every note she plays… Just magic.”
Green Man Review

A protege of Alasdair Fraser, Laura Risk along with Athena Turgis played on Deb’s and my first (publically released) album, Masque. They played on “Waltz of the Little Girls” and “The Shetland Reels.” At the time Laura and Athena were teenagers, and musical forces to be reckoned with. Even then, I was impressed by Laura’s elegant playing, the crisp, beautiful ornamentation and her rich arrangements.

~~~

Celtic Twiddle art by Jane Valencia (c) 2010

I was inspired by all the beautiful Foxglove blooming these past weeks to put together this segment of lore and story regarding this mesmerizing plant.

Lore: The Faery Lore of Foxgloves by Mara Freeman/Background: 
Mara Freeman is an author and teacher of Western esoteric tradition, specifically the Celtic and British branches, and a storyteller.

By Mara:
“Foxgloves
Faery gloves
Faery caps and bells –
Foxgloves are the Folks’ Gloves,
the Good Folk, that is,
and you’d better not forget it if you think to cut them down. ….”

Read the full past about foxglove lore here.

“Goblin Gloves” by Allison Cox/Background music: “The Widow of Loch Lemond” – Jeff Victor (Lifescapes: Scottish Moors) /“7th Child of the 7th Child” – Jeff Victor (Lifescapes: Scottish Moors) 
Allison Cox is a storyteller on Vashon Island. She gave me permission to read her story, “Goblin Gloves” today. Allison is so fun to listen to, and so generous of spirit. She is very involved in the Seattle Storyteller’s Guild, and recently spear-headed an event in which an epic Irish myth retold by 17 tellers and with a musicians as well. It was fun to be part of that.

As accompaniment to “Goblin Gloves,” we have two pieces of Celtic Ambient music by Jeff Victors.

“Tobar Gach Gràis / An Drochaid Chliùiteach” – Distant Oaks (Gach Là Agus Oidhche : Music of Carmina Gadelica’)

“Distant Oaks  was a California ensemble specializing in dynamic, historically informed performances of traditional Gaelic and early European music. … In addition to their strong dedication to Gaelic music, language, and culture, as well as authentic traditional and Early Music performance practices, Distant Oaks was also actively engaged in composing new music in older styles. Much historical evidence suggests that the distinctions between indigenous music and courtly music were minimal in earlier times. In the spirit of fine music-making and respect for tradition, Distant Oaks continues to bring a brilliant panoply of music to their audiences.”

Distant Oaks is no longer together as a band, its founder, Deborah White, having passed away a number of years ago.

“Jimmy Lyon’s/The Teelin/The Red Crow/The Broken Bridge” – Altan (The Red Crow)
A set of tunes from the much-loved traditional Irish band, Altan.

Catch the latest Forest Halls Celtic episode on demand here.

Thank you for joining me in Forest Halls!

Into the Heart of the Dreaming

For it was said in that timeless moment that still echoes within me there are those among us who remember deep in some part of themselves–a part that will not let them rest–the forest and the living-ness of green things. It was said that it’s time for them to come home. Time for them to journey deep into the forest that birthed them. Time for them to take up their work–the work that resides in the deepest parts of themselves. Time for them to speak for the green things, to teach their children the way of Earth. Time for humans to think in new ways.

–Stephen Harrod Buhner, Plant Intelligence and the Imaginal Realm: Beyond the Doors of Perception into the Dreaming of Earth

Are you one whose Dream takes hold of you? Are you one who time and again has let that Dream go — the one Dream that holds all the smaller dreams. Perhaps it is not so much a letting go, as a turning away: to tend to the literal nature of daily life.

You are not making up your Dream. The Dream is speaking through you. It dwells in the deep and ancient forest within your heart.

Time and again I find reasons to turn away from the Dream and Soul that shines bright with images and feeling and initiative and a wise intelligence. Time and again, I find a deer trail that, when I take the breath to follow it, leads through gleeful and scratchy bramble back to the dragon clearing where the trees welcome me as a very young grandchild and the stones offer me their own sweet music. The plants set about educating me, and the birds remind me that the universe is threaded in song. And the land: the earth supports and voices the Dream.

Sword Ferns in Forest Halls - photo by Jane Valencia
Sword Ferns in Forest Halls – photo by Jane Valencia

I am always finding my way back to Forest Halls, even when I have thought I never left it (until I return: then I know I’ve only been groping through the salal at the very edges, with an occasional jab in the “I” by a twig).

The harp is one gate-opener for me, my foremost musical partner on the journey. The trees are my generous teachers, the plants my inquisitive co-creators, and the medicine ways of all are the ropes into the wise beauty and blessing that surrounds us and lies just below where I perhaps most typically reside.

There is beauty and blessing here indeed — as well as the sometimes terrifying dark that insists we choose, insists we follow the true nature of heart with eyes closed and hands and senses wide open. It insists that we decide to listen to the veriditas and learn its nature and wild poetic tongue … Decide: to listen …. or to turn away to head straight back to what we think is a place of safety. But what was once the cozy hut on the trail is in reality now a diminished and stunted expression of who we are. What suited and sheltered us at one point on the journey is not where we are meant to remain.

The world is alive, and all things within it are speaking. The trail we follow through the thickets and across open meadows, over waters and into the ancient mind of the mountains is speaking to us too. Take a moment and breathe into the pattern, the weave of all that is and the grace that lies beneath nourishing all. Where do you feel the language? Where do feel the song? Where are you in the forest, the deep, mysterious terrain of your soul? Where are you in the salt waters of your Dreaming?

Stories are welcome here. The forest is listening.

Hawthorn in Flower photo
Hawthorn in Flower: Do you see the faces in the leaves? – photo by Jane Valencia