Inspired by a Celtic tribe from North Wicklow

Na Cauci (2022)

A short Electroacoustic piece using recorded sounds of struck metal objects and waves with some underwater recording..

Metal Seas

DEALRAMH_4.23 is a recomposition of the traditional Irish air 'The Bright Lady'. Based on the 1980 recording of the air by Willie Clancy, which is sampled throughout, the piece explore microtonality, pitch space and timbre as a means of reimagining traditional music.

Performers:
Willie Clancy (tape) - Uilleann Pipes
Lina Andonovska - Alto Flute
Caimin Gilmore - Double Bass
Ann-Marie O'Farrell - Concert Harp

Thanks to Ann Cleare for her guidance and mentoring through the compositional process.

DEALRAMH_4.23

RETUNING_THE_DRONES  is a long form work that explores the intersection between traditional Irish music and contemporary composition and audio production techniques. 
The work explores sampling, experimental recording techniques, sound design techniques and electroacoustic composition ideas within recorded traditional Irish music



The work has 3 movements:

Movement 1 'Recontextualising Patsy Touhey'

THE DEAR IRISH BOY (0:00)

RHYTHM ÉTUDE: based on the reel 'The Ladies Pantalettes' (4:42)

Movement 2 

'CENTRI_PETAL' (7:13)

Movement 3

'CENTRI_FUGAL' (13:35)

RETUNING_THE_DRONES

Spotify: https://open.spotify.com/artist/38l8rWOkstVOFSLtcjOdwM
iTunes: https://itunes.apple.com/ie/album/springs-in-bloom-all-i-got/id1082689211

Spring's In Bloom

Textiles, Glass, Musical Instruments, and Fancy Work
8. Planxty Charles Bunworth And Rose and Kathleen’s Slip Jig
© Liz Carroll / Grow Your Own Music (BMI)

Liz Carroll (fiddle), Catriona McKay (harp), Kieran O’Hare (flute, tinwhistles, uilleann pipes), Tríona Ní Dhomhnaill (keyboard), Liz Knowles
(fiddle, hardanger d’amore 5+5), Trevor Hutchinson (acoustic bass)

From Liz's words in the CD Booklet, "Charles Bunworth (1704–1772), from County Cork, was a great proponent of Irish music, especially harp music, and was also a harpist himself. The instrument by John Kelly featured in the exhibition was made for Reverend Bunworth.

A planxty is a tune that honors or thanks someone. In respect to the word’s origin, Donal O’Sullivan writes the following in Carolan: The Life Times and Music of an Irish Harper: 'The tunes called Planxties . . . owe their origin, if not, as I believe, their names, to Carolan; and are to be regarded as a class of festive harp-tunes composed in honour of his patrons or hospitable entertainers, and, as such, only differing from his other airs composed for the same purpose in the greater gaiety and playfulness of their movements.'

The slip jig is a uniquely Irish dance to a tune in 9/8 time. "Rose and Kathleen’s Slip Jig" honors two of my fellow musicians, Rose Conway Flanagan (fiddle)and Kathleen Conneely (tinwhistle), wonderful players and teachers. The melody of the tune contains my own bow to Chicago in a blues progression to end the twelve-bar first part."

"IRELAND: Crossroads of Art and Design, 1690–1840 - The Music" is an album of music produced and performed by some of Irish music's most renowned musicians. The music was inspired by a collection of fine and decorative art that was part of an exhibition at the Art Institute of Chicago between March and June of 2015.

Produced by Liz Carroll, Liz Knowles, and Marty Fahey, the album features music of the period, and also newly composed music by Liz Carroll which was inspired by the hundreds of years old music as well as the art from the exhibition itself.

All three of the producers play on the album. Fiddlers Liz Carroll and Liz Knowles are heard throughout, and are often leading an ensemble of exemplary musicians. The ensemble also take on solo pieces which honor the tradition of the traveling musicians of the period. These artists include keyboardist Tríona Ní Dhomhnaill, harpist Catriona McKay, uilleann piper Kieran O’Hare, pianist Marty Fahey, and Liz Knowles, too. Guest musicians include Jackie Moran, Trevor Hutchinson, Emer Mayock, Mick O'Brien, and Aoife Ní Bhriain.

The album, which had been for sale only via the Art Institute's web site and museum store, is now widely available via CD Baby, Claddagh Records, and OSSIAN USA, and at online stores everywhere.

Ireland: Crossroads Of Art And Design, 1690-1840 - The Music

Textiles, Glass, Instruments, Fancy Work - Charles Bunworth, Rose & Kathleen's, composed by Carroll

Here's my take the great Irish song 'The Last Rose of Summer' as we head for the depths of winter time, for what could be the last time we have to put the clocks back!

The Last Rose Of Summer (2020)

A few newly-composed jigs, conceived during lockdown in April 2020. 
Named after two rogue cats and a diving tower, typical!

Special thanks to Dizmation for mixing and mastering.
https://www.instagram.com/dizmation/

Scrap and Or/Dark Green Sky (2020)

Here is a short reel I wrote over the past month or so, which I am sharing with you on the occasion of the longest night of the year

Traditionally, Winter Solstice was a celebration of the rebirth of the sun, driving out the darkness, and the coming of longer days.


This year (2020), this has taken on even more meaning as we attempt to drive the virus that has taken over our lives. There is a clear frustration in this music too, I hope we can all relate to

However, this tune is also celebration of darkness it even has a groove. Midwinter doesn’t have to be all bleak.

WINTER_SOLSTICE (2020)

le_cúnamh_dé

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