University of MiamiScholarly Repository Open Access Dissertations Electronic Theses and Dissertations 2010-06-24 The Choral Music of Irish Composer Michael McGlynn Stacie Lee Rossow University of Miami,
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[email protected]. UNIVERSITY OF MIAMI THE CHORAL MUSIC OF IRISH COMPOSER MICHAEL MCGLYNN By Stacie Lee Rossow A DOCTORAL ESSAY Submitted to the Faculty of the University of Miami in partial fulfillment of the requirements for the degree of Doctor of Musical Arts Coral Gables, Florida June 2010 ©2010 Stacie Lee Rossow All Rights Reserved UNIVERSITY OF MIAMI A doctoral essay submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts THE CHORAL MUSIC OF IRISH COMPOSER MICHAEL MCGLYNN Stacie Lee Rossow Approved: ________________ Donald Oglesby, D.M. Professor Vocal Performance ________________ Joshua Habermann, D.M.A. Associate Professor Vocal Performance _________________ Terri A. Scandura, Ph.D. Dean of the Graduate School _________________ Melissa de Graaf, Ph.D. Assistant Professor Musicology ________________ Teresa Lesiuk, Ph.D. Assistant Professor Music Therapy ROSSOW, STACIE LEE The Choral Music of Irish Composer Michael McGlynn. Abstract of a doctoral essay at the University of Miami. Doctoral essay supervised by Professor Donald Oglesby. No. of pages in text (271) (D.M.A., Choral Conducting) (June 2010) Michael McGlynn is predominantly known around the world for his choral music that reflects the traditional sounds of Ireland. The greater body of his compositions, however, fit into the contemporary choral genre and represent a sizable contribution to the choral music repertoire of Ireland. This essay begins with a discussion of McGlynn’s life and work. Extensive interviews and rehearsal comments with the composer regarding compositional process and performance practice were conducted and are included. The musical history of Ireland and details regarding the harmonic and rhythmic language specific to the vocal music of the country are included to provide background information for the reader. Song comparisons from various sources detail the living nature of Ireland’s traditional music. The Appendices contain a complete list of McGlynn’s works, a discography, IPA pronunciation guides for McGlynn’s Irish language compositions, reference scores for all compositions discussed, and programming details about Michael McGlynn’s most frequently performed choral compositions. • Lastly. David and Emma. iii . Dave. and to Patricia Fleitas for their support and dedication to my education. and my grandmother.ACKNOWLEDGEMENTS Sincere gratitude to Michael McGlynn for his cooperation and invaluable assistance throughout this process. David. Kris Niehaus. • Thank you to my mother. Mary Arline Hohlt. thank you to my husband. patience. • Thank you to the staff of the Irish Traditional Music Archive for their patience and guidance in securing research sources. to Sue. for their love. and encouragement throughout my doctoral education. and my children. and Pamela Rossow. ............ Music in Ireland ................................................................. Anúna ........................................................................... Personal History ..... Rhythmic Devices................................................................................................. TRADITIONAL SONGS OF IRELAND ............................................................ Siúil..................................................................................................................................................................................... IRISH VOCAL MUSIC ................ Compositional Output and Style .................................................................. Ardaigh Cuan ..................................... O’Moyle .................................. Instruments and Accompaniment .............. SELECTED CHORAL ARRANGEMENTS OF MICHAEL MCGLYNN ................................................................. Sean-nós................................................................................................. LIST OF FIGURES AND TABLES ......................................... iv 1 1 3 6 10 12 12 15 20 21 25 29 32 33 42 43 49 49 52 53 58 60 63 66 67 vii xi 2 3 4 5 6 ........... Irish Historical Overview ...................................................................................................................................... Chapter 1 MICHAEL MCGLYNN ............................................. a Rúin .... Choral Music in Ireland .... Song Comparisons ......... Language .......................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................... Traditional Repertoire .......................................... TRADITIONAL IRISH MUSICAL ELEMENTS .............. Collectors of Irish Music ..............TABLE OF CONTENTS Page LIST OF MUSICAL EXAMPLES .................................................................................................................................................................................. CULTURE AND MUSIC HISTORY OF IRELAND ............... Introduction ...................................... Silent....................................................................... ‘Sí do Mhaimeo Í ...................................... Harmonic Devices ................................................................................. .................................................‘Sí do Mhaimeo Í ............... Alphabetical Listing by Title .... 82 Dúlamán ........................... Cúnnla .... 116 BIBLIOGRAPHY ..................................................................................................... 99 Agnus Dei (2008).................................................. 81 Traditional Works ................................................................................................................................................................................................................................................. Medieval Chant Source .................................................................................................................................................................... Dúlamán ............................................................................................................................................................................................................................................................................................................................................................................................................................ ‘Sí do Mhaimeo Í .......................................................................... Silent.................. O’Moyle ....................... Works by Voicing.................................................................................................................................... Incantations .......................................................................................................................... 87 Island ....................... 7 67 74 75 75 SELECTED ORIGINAL CHORAL WORKS OF MICHAEL MCGLYNN ............................. 92 Spiritual Works ............... 86 Wind on Sea.............................................. a Rúin ......................... ‘Sí do Mhaimeo Í ............................................. 118 125 125 129 132 133 136 137 APPENDIX B: Discography ............................................................................................................................ An Oíche ..................................................................................................................................................................... Arrangements............................. List of Works by Commission........................................................ APPENDIX A: Works List ......................................................................... ......................................................................................... 82 Natural Works .......................................................................................... Siúil.................... 140 APPENDIX C: IPA Transcriptions ..................................................................................................................................................................................... 95 Sanctus .................................... Ardaigh Cuan ................................................................................................................................................. a Rúin ........................................................................................................................................................................................................................................... Original Compositions......................................... APPENDIX D: Complete Musical Examples ........................................................................................................................ Cormacus Scripsit........................ 96 Incantations................................................................................... 145 146 146 147 148 149 150 150 152 152 158 160 163 v ............................... Salve Rex ........ Agnus Dei (2008)............................ 105 GLOSSARY............................................................... Siúil.............. Chronological Listing of Works .................................................................. ................................................................................. Siúil............................................................................... 231 vi ................................................ a Rúin .. Dúlamán ........................................................................................................... Incantations................................................................................................APPENDIX E: Michael McGlynn Selected Scores ............................................................................................. Agnus Dei ................................................................................................ 167 169 177 181 185 190 194 203 209 218 224 APPENDIX F: Survey of Suggested Choral Works of Michael McGlynn. Sanctus ..................... Island .............................................................................................................................................. ‘Sí do Mhaimeo Í ............................................................................................................................ Cormacus Scripsit.................................................... Wind on Sea....................................... Invocation ............................................................................................................... ..1 4...........................................5 4. Doh Mode...............13 4......................................................................9 4.............. Sol Mode (G Doh) .. Mi mode (F Doh) ................................1 3............................... Ardaidh Cuain ....................... Tiagharna Mhaighe-eo ........ Cailleacha Chúige Uladh ............................................. Drones ......................................... Sol Mode.................................. Amhránaíocht meter in 3/4 .................. Doh mode (F Doh) ....3 4.......... vii 22 23 36 36 36 37 37 38 38 39 39 39 40 40 41 41 47 47 .......................... La Mode (G Doh) ....... Fa Mode (C Doh) .. Re Mode (C Doh) .................................12 4.................................6 4....LIST OF MUSICAL EXAMPLES Example 3...............................................................8 4..............................7 4.......... “The Last Time I Came Thro’ the Muire” .......................................... Bán-Chnoic Éireann Ó ..............14 4...................... Hexatonic Scale................................................ La Mode.................... Mi Mode........................................................... Re Mode....................... Pentatonic Scale ........2 4........................................ Uilleann pipes.. Fa Mode....................................................15 4......................................... “The Campbells are Coming” ................................... chanter range ................ Uilleann Pipes.....................................................10 4.........16 Amhránaíocht meter in 9/8 ......2 4....................................4 4...................................................................................11 4...................... ................... 'S Í Do Mhaimeo Í.............................16 5.............. mm..........7 5..........McGlynn.. 1-5 ............. Ó hEidhin................. 69 ‘Sí do Mhaimeo Í.............. Ó hEidhin......... 13-16 ......... m.............. mm.... Cailleacha Chúige Uladh......... m......... 60 The Song of Fionnuala................................................. 68 ‘Sí do Mhaimeo Í.............9 5...17 5... 64 Cailleach an Airgid..3 Uilleann Pipes................. 'Sí do Mhaimeo Í... 1-4 ......3 5................................................................... mm..............4 5.. be the Roar of the Water.. 61 Arah My Dear Ev'Leen..........12 5. mm.. mm.... 1-4 ................ regulator chords ...13 5. 'Sí do Mhaimeo Í........10 5.....19 6................... 10-13 ................. 62 Silent.... 16-22 .. mm.............. 1-4 ...17 5..... Cailleach an Airgid...........6 5........... mm......2 5....18 5..Moore.......... 59 Ardaigh Cuan.. MacEoin. Petrie...... mm......... 1-2 ... 16-22 ................................................... 9-12 ..... mm............... mm.......... 59 Airde Cuan.. 'S Í Do Mhaimeo Í.............. McLaughlin.. 9-13 ..............Fleischmann (4521)....................2 6...... Cailleacha Chúige Uladh.... McGlynn....................5 5..................... Ó Canainn ............4................... Page. McGlynn.. Petrie .......1 5.. Ó Baoill............. 1-2 .8 5....................................... mm.......Moore. 62 Alone in Crowds: Shule Aroon..............1 6. McGlynn ....... Ó Canainn... Moore................ 1-2 .......................... 70 viii .................. 1-5 ... Heaney.................................... mm............11 5.. 61 Silent O Moyle.... 48 55 55 56 56 56 57 57 58 58 58 Airdi Cuan.....15 5....... mm............... 1-2 ....... 62 Song of Fionnaula.... Heaney ..................14 5............................. mm....... McGlynn............. 1-4 .................... Sí Do Mhamó Í................................McGlynn...... m.... Cailleach an Airgid.. Cailleach an Airgid.......... O Moyle....... mm...................... 13-16 .................... 1-2 ........... ... ostinato ..3 7....... 78 Cormacus Scripsit.... part b .........12 7............................. mm..............2 7......... McGlynn.7 6...6 6......... 2-5............ violin and solo ......4 7.............. 9-12................................ 98 Sanctus...... m..11-12 ...... mm......5 6.................. 9-12 ................................ 84 Dúlamán..... traditional tune .. mm.................. refrain ........ 78 Cormacus Scripsit. 9-12...... 23..... final section .......7 7..................... mm.......1 7................8 7........... mm. mm..... 101 Incantations...... 93 Sanctus.............. mm.11 6.............. mm......................... 6-9.....13 7..... Theme C .... 74 Cormacus Scripsit....... 28-30......................... 28-30. Sliding between notes ......... 102 ix .............. 91 Island...... mm................. 92 Island......................5 7....................... McGlynn..... 29-32.. 79 Cormacus Scripsit....................... Theme B ... mm............14 !Sí do Mhaimeo Í..........10 6..... solo .9 7.............. 1-4..................... chorus and harp contrast ....... mm.......... choral passage ... Themes B and C variations .............................................................9 6............................... 83 Dúlamán. mm.................. McGlynn..... 99 Incantations... mm....... mm.......... 18............................ Theme A doubled .......... mm....... 8-11.... 86 Wind on Sea...... 17-20......... 51......... mm.. Theme A ....................... mm. 98 Sanctus.... 71 !Sí do Mhaimeo Í...... 17-20............ 2-5.......... Theme B ............. 78 Cormacus Scripsit.......................... choral stasis ..... 16-19 ............................ mm...............4 6........... Amhráin Chúige Uladh..... mm............... 1-4........... 89 Wind on Sea.............................. 1-5...... 90 Wind on Sea..............................8 6.....6...57... 10-13.. mm.......... chorus ............... mm...................... 80 Dúlamán..... 79 Cormacus Scripsit.. 26-27.............. Theme A .....10 7.................. Theme A ... 72 ‘Sí do Mhaimeo Í.11 7...........6 7............................12 7......... 83 Dúlamán.............. .............29 7.................. Theme C ....... 109 Agnus Dei..... 112 Agnus Dei....... 28-31....7..24 7.16 7. 1-6............. mm. McGlynn................... 15-19.......................... Themes A and B ............................ 33-36...........1-5. 112 Agnus Dei.............. 114 x ........... final chords .... Theme C ............................... tenor entry Theme A ........... mm.....20 7.. 28-31..25 7....................... 37-40...................... 20-25................. solo......... 107 Agnus Dei. harmonic superimposition ... ostinato ......27 7. 105 Agnus Dei......... 102 Incantations..... parallel motion ...... 103 Incantations..26 7... 103 Incantations.... ostinato and hemiola ................... parallel and inverted statements ................ mm.. 43-48... m. 13-16.23 7.......... mm..............28 7............................15 7..................................22 7........... 104 Incantations.......... mm.. 6................................................... choral harmony ......... chromatic alternation ............... mm............ 111 Agnus Dei............ 23-24.............. mm........... mm.... mm..31 Incantations. Ó Riada....... 33-36................... mm........... 79...... solo .... 105 Incantations............... mm..... baritone entry Theme A ........ mm.19 7..18 7...... 110 Agnus Dei... 103 Incantations..30 7.... m........ 110 Agnus Dei................ 108 Agnus Dei.... mm.......................... McGlynn........ 42-44............ solo .......... mm.......... 113 Agnus Dei... 19-23.... 50-54..21 7..... mm...........17 7........... Theme B ........ ........ translation ......... 3 6.................. Wind on Sea......................................................................................) ........ Cormacus Scripsit............. 2..................................3 6..........1 4................. xi 97 .........................D...................... 2 7......... text and translation ...... form ..... 76 Table 3.... final page ... Wind on Sea...... 1 7..... text and translation .......................... 1 6.......... 2 6........ formal structure ..... Ireland .............................. form ...... form .... Text and Translation ...................................................... 26 30 34 45 Uilleann pipes ....................................................... 3 7.............. Drawing of Brian Boru Harp ...................................................... 4 7.............................................................. Modes found in Irish Traditional Music .. Monasterboice...... 46 Facsimile of Psalter........ 95 Sanctus....................................... Dance Forms and Structure ............................ County Louth....................LIST OF FIGURES & TABLES Figure 3............... Island..2 4.... 4.. Cross of Muireadach...1 3............1 4............... Cormacus Scripsit........ Form ............. 5 7................................ Text and Translation ............................................................................. 24 35 43 73 75 77 78 85 88 91 94 Island....1 4................................1 Map of Gaeltacht areas of Ireland ......... a Rúin............................... ‘Sí do Mhaimeo Í......................................... Dúlamán........................2 6............................................ 6 Siúil.............. Siúil a Rúin........................... Maedoc book cover from Ireland (circa 1000 A.......... 4 7......... mixed English and Irish text and translation ............... ...................................7.............. 105 Agnus Dei.................. 106 xii .............. 9 7......10 Incantations............ form ................. 8 7.............. 100 Incantations........................... text and translation ...................... 7 7... 101 Agnus Dei........................................................................ form ................ text and translation ................... his music has reached millions of people and has been performed by hundreds of choruses worldwide. performances. it is part of the world in which his music exists. McGlynn cannot separate his music from his cultural heritage. Michael McGlynn has fought to capture in his compositions something that is uniquely Irish. The traditional music of Ireland has a long history influenced by the cultural and social heritage of its people. Michael McGlynn has been trying to create a choral sound native to his country. and texts from the traditional Irish repertoire. Although he does not claim these musical elements as primary influences. Through this process McGlynn has become a highly successful composer and choral director in Ireland. It is important to understand the context in which McGlynn’s music was written. there are commonalities between his choral compositions and Irish traditional music. A Dublin-born composer. Through the recordings. and arrangements for Anúna. 1 . a professional ensemble directed by the composer. drones. Ireland was long controlled by Great Britain and was only released from British domination in the last century.CHAPTER 1 MICHAEL MCGLYNN Introduction Since 1987. These are his use of modal harmonies. the language of the songs. and the instruments used for accompaniments and companion music. com/cg/amg. Craig Harris.. It was during the Medieval period that the music of Ireland was last free from foreign influence. and Greek in [the] examination of ancient and contemporary Irish music. choral music with an Irish identity was not permitted to develop.combines songs in middle English. http://www. Irish.allmusic. they succeeded in evading the ruling entities. he has combined the musical elements of his country to create a choral compositional voice that has assimilated past traditions into a new style worthy of Ireland’s musical heritage. All-Music Guide: Anúna. The only forms of Irish music that survived this oppression were solo songs and a limited selection of instrumental music. McGlynn’s compositional style combines the sounds and forms of Irish traditional and Medieval music. Since these forms did not require large numbers of performers and could exist within individual homes. Latin. 1995. All aspects of cultural life came under control of England. 2009). Craig Harris writes that McGlynn’s music “.2 In addition to traditional Irish music.dll (accessed November 28. Scots Gaelic. McGlynn is also influenced by Western European Medieval styles. Craig Harris. and native musical ideas were stifled. 1 . All-Music Guide.”1 He has gone beyond the mere creation of choral arrangements from existing solo songs. Medieval Irish. Therefore it is logical that McGlynn would turn to this music to discover a compositional voice that is truly Irish. It is for these reasons that Michael McGlynn’s music is deserving of study as representing the choral music of Ireland. Breton.. reflected in his use of parallel motion and chant. Because of foreign domination after the eleventh century. while not classically trained musicians themselves. it provided his first exposure to traditional Irish song. interview by author. at the age of nine and ten John. Though the family were not native Irish speakers. This Gaeltacht (Irish-speaking community) is where McGlynn gained fluency in the Irish language. McGlynn’s first musical training was through piano lessons. Michael McGlynn. the youngest.2 Clare and Andrew sought to instill within their children a sense of pride in their heritage. Clare.3 When the time came to enter college in 1982. FL. Dublin (UCD). but much of his early musical influence was from rock musicians such as the Beatles and David Bowie. Tom. His mother. Michael has two brothers: Tom. interview by author. in May 1964. It was at UCD that he first 2 3 Michael McGlynn.3 A Personal History Michael McGlynn was born in Dublin. Clare and Andrew. and Michael lived as boarders for a year at the Irish-speaking college of Coláiste na Rinne in Dún Garbhán (Dungarvan). February 2010 . October 2009. John. Andrew. Ireland. He was introduced to large-scale orchestral and choral classical music in secondary school and was particularly attracted to the works of Debussy and Britten. More importantly. though his father later turned to photography. All three boys were musically inclined. and father. During his teen years. saw the value of music in their family’s life. Ft. Dublin. Lauderdale. When they were young they enjoyed singing in three-part harmonies. worked in the hotel industry. Ligeti’s contribution to the soundtrack to 2001: A Space Odyssey made a significant impression on him. and a twin. County Waterford. McGlynn elected to study music and English literature at University College. Ireland. Dublin. In the twenty-two years that McGlynn has been the director of Anúna. and after receiving his Bachelor of Arts degree in English (1985) he continued and completed his Bachelor of Music degree (1986). February 2010 Michael McGlynn. renamed Anúna in 1991. During his time at UCD. Virtually none of them can read music adequately.5 By the completion of his collegiate choral experiences. He began studies in both English and music. McGlynn stated in a 2010 interview: One of the things that has put me in a unique position among professional choral directors is that I took up choral music quite late. interview by author.4 Soon after graduation from UCD he composed his earliest formal work. I had never sung in a choir before the age of nineteen. Even those that do have vocal training have come 4 5 Michael McGlynn. Ft. which I went on to conduct. he was completely captured with the choral medium. After completing this composition he felt compelled to make his living as a composer. and this choral ensemble introduced him to the choral music of the great master composers. he has become an advocate for change within the choral infrastructure of Ireland. He entered the field of music from a non-classical perspective.4 received an introduction to early Western Medieval music. Lauderdale. Musical forms and the structure of music were most intriguing him. I dread auditioning new singers for Anúna. In 2006. October 2009. he first sang in a choir. at age nineteen. In 1987 McGlynn founded the small Irish choral ensemble An Uaithne. or have more than the basic musical skills or even general [musical] knowledge. interview by author. but the reality is very different. Ireland. McGlynn wrote for The Irish Times: On the surface choral music in Ireland appears to be healthy. . I first sang in college in a chamber choir. a setting of four Rimbaud poems for soprano and piano. This has allowed me to look at choral music as a completely fresh and new form. I later went on to conduct the Trinity College Singers as well. the UCD Chamber Choir. Biography. as much of the repertoire performed is related to schools and traditions of other nations. he has also become an internationally recognized composer.” The Irish Times. the RTÉ (Radio Telefís Éireann) Concert Orchestra. www. The BBC (British Broadcasting Corporation) Singers. Choral music transmits the poetry and the language of a nation through song in a unique manner. His compositions have been commissioned. In 2007. “ A Way to Find Different Voices in this Multi-Ethnic Age. and that is opera. The National Youth Choir of Great Britain.ie/IT2006.7 This program resulted in a large number of new adaptations and original works scored for symphony orchestra and chorus. the Phoenix Chorale.anuna. While McGlynn has gained prominence in the choral community as the director of Anúna. commissioned a large-scale work for SSAA chorus and symphony orchestra. Conspirare. http://www.htm (accessed 10 October 2009). 2006. something that should be of particular interest and importance in a country that prides itself in its literary heroes. 7 6 Michael McGlynn. one of the national orchestras of Ireland.ie/MichaelBiography. June 5.6 He further explains that promoting a unique identity for Irish choral music is difficult. Rajaton. performed. and recorded by some of the world’s best choral ensembles including The Dale Warland Singers. the RTÉ National Symphony Orchestra of Ireland programmed a retrospective of McGlynn’s compositions for a major concert in Dublin’s National Concert Hall that also featured Anúna. . and Chanticleer.anuna.html (accessed 11 August 2009). Also in 2007.5 through music schools and colleges that appear to believe that there is only one form of classical singing. In July 2009. in particular the United Kingdom. the award-winning choral ensemble Chanticleer commissioned McGlynn to compose the Agnus Dei for the multi-composer work And On Earth Peace: A Chanticleer Mass. which resulted in the four-movement cantata St. Francis. Michael McGlynn. the music is received normally within forty-eight hours via email with a certificate for the number of copies purchased. and voicing. he self-publishes his sheet music through his website. commission. McGlynn’s own original music. it is essential to view it as an aspect of his work as a composer. The list has been cross-referenced by title. and in some cases. which also gives directors an audio reference. While mechanical and performance rights are held by Warner Chappell. the current name of the group that McGlynn formed in 1987. Nearly all of his choral compositions have been recorded by Anúna. Unlike standard means of music distribution. date of composition. The original name of the ensemble. Appendix B is a discography to assist in locating recordings of specific compositions. a sound approximation pronunciation guide. has become one of the leading professional choral ensembles in the world. Suantraí (lullaby). An Uaithne. www. and for its unique staging. A complete list of his works is found in Appendix A of this document. a translation. When directors purchase a composition to perform they are also sent an audio recording of the text.com. Geantraí (happy . is the collective term that describes the three ancient kinds of Irish music. Anúna Anúna. The ensemble is known for its interpretations of traditional Irish songs. reconstructions of medieval Irish music. as well as a tool he uses in the compositional process. This method of distribution makes his music both accessible and affordable for choral directors worldwide. As McGlynn’s music and compositional output is directly related to Anúna.michaelmcglynn.6 McGlynn uses a unique and highly successful method of publication and distribution of his compositions which has contributed to his success. com/cg/amg.ie/JML (accessed 16 August 2009). When asked about the reason for creating an ensemble of this kind McGlynn stated.7 song). February 2010. McGlynn felt a “.. Craig Harris. July 2009 www. Ibid.9 When McGlynn was asked why he chose to form a new ensemble instead of work within the framework of the existing choral infrastructure in Ireland he stated that he created Anúna because he felt that there was a “need to find a choral voice that was distinctly Irish”. it was simply easier for non-Irish speakers to pronounce and recognize. interview with Contemporary Music Center.10 All of the ensembles that were in existence were founded from nonIrish sources and rarely performed music influenced by their country.”11 He also wanted to make certain that choral music was accessible to the people.need to define Ireland in a choral fashion in some way. 10 11 8 9 Michael McGlynn. there was “no indigenous form of choral singing” in Ireland. Three of the albums have placed in the United States Billboard charts.dll?p=amg&sql=11:wxfwxqlgldte~T1 (accessed 28 November 2010). .. Ft. Dublin. FL. a name that has no meaning but uses portions of the original words. interview with author. and Deep Dead Blue reached the top five in the United Kingdom Classical Chart and was nominated for a Classical Brit Award in 2000.anuna. An Uaithne was shortened to Anúna. not just to the lucky few who could understand Michael McGlynn.”8 Under McGlynn’s direction the ensemble has released fourteen albums which feature primarily his own compositions and arrangements. and Goltraí (lament). Ireland. It developed from the need to reinterpret the choral canvas. “Anúna.allmusic. As he perceived it. Lauderdale. “Anúna developed from that idea [of bringing choral music to more people].” http://www. much of classical music in Ireland. In a 2009 interview McGlynn discussed the “fragility of the human voice” that first intrigued him. and attitude during the rehearsal process contributes to the overall success or failure of an ensemble. producer. All of us in Anúna are flawed. And that’s conscious. Ibid. in his opinion.8 it. vocal coach. singer. and business manager. but she was instructed to sound more fragile. but it doesn’t allow the human element to come out. The fragility of Anúna’s sound. These people are brilliant singers. conductor. was a trained English singer. with fantastic technique. Listen to the Sixteen or the Tallis Scholars [singing chorally] and it will sound beautiful. He has found over his twenty years as a choral director that awareness of singer’s posture. She had the ability to sing all of the lines in one breath. In a recent recording of the Allegri Misereri Mei Deus the first soprano soloist. What I have done is to try to always create an accessibility using the concept of fragility in the voice to allow the audience to access music that otherwise they might find overtly and harmonically complex or technically demanding to listen to. technique. 13 .13 With Anúna McGlynn serves as composer. In his desire to produce a better sounding ensemble with a group of non-trained singers he has developed an approach to producing better singers. is one of the primary reasons it is successful. artistic director. McGlynn uses this term to describe the natural and beautiful flaws heard in untrained singers. In his opinion. has only been accessible to a minority of people.12 He has succeeded with Anúna in bringing choral music. If an individual singer is not standing with the correct posture or appears to have brought the stress of daily life into 12 Ibid. and specifically that which he feels expressed a sound native to Ireland to a large number of people. unusually for us. he leads from within the tenor section. but quite often that is not possible. not in the moment of performance. His rehearsal and performance techniques have been developed to aid in the elimination of the physical obstruction of a body between the chorus members and the audience. Instead of conducting in front of the ensemble.9 the rehearsal. Many people I bring in I bring in based on personality. they need to be able to take criticism. McGlynn spoke about his rehearsal and audition process: I can spend hours over six months on only a few notes if I am not happy with the sound they are making. . I try to bring musical persons into the ensemble. his instence and attention to detail has proven to make a distinct difference in the sound quality of Anúna. His manner of rehearsing is focused on empowering and requiring each individual to concentrate on his or her own performance within the choral ensemble. he will address that singer and insist on an immediate change of demeanor or posture.14 While an awareness of singer’s physical well-being and attitude is not new to choral conductors. in his opinion optimal music making is only possible when the ensemble members have the responsibility of creating the musical impulse of a performance.15 To him. the role of the conductor is to shape and form the music during the rehearsal process. Although his 14 15 Ibid. In a February 2010 interview with this author. While he does believe that a conductor can be an asset to an ensemble. He believes that the essential connection that should occur between performer and audience is often impeded rather than helped by the presence of a conductor. which McGlynn chose to forego after only a few seasons. Ibid. he considers the ensemble’s amateur nature among its greatest attributes and one of its sustaining factors. new compositions will sometimes go through several revisions before he feels the singers and the audience gauge the piece in the way he intended. and even fewer have had traditional vocal training. Contrary to what many believe.16 Compositional Output and Style McGlynn’s compositional output is indelibly linked with Anúna. It is also why he leads the ensemble from within. he uses Anúna as many composers would use a piano in the creation of new works. Through his role as a member of the ensemble he is able to aid in tuning. and focus the performance. the vast majority of the singers in Anúna are not trained musicians. but most often the core of the ensemble is simply people who love to sing and share the same passion and desire to communicate through music that McGlynn has. 16 Ibid. the ensemble is a compositional tool for him. and perhaps challenging for the mostly nonprofessional singers he encounters. For this reason he has created a unique manner of quickly training his members to sing as part of the chorus. Few of them have had any formal theory or musicianship classes. Prior to publication. The complexity of McGlynn’s compositions is limited by what Anúna is able to achieve vocally and musically without a conductor. .10 standard expectation for Anúna is high. Occasionally one or two classically trained singers will audition. energize. Fundamentally. He generally will make changes or adjustments to a new work only after hearing it in a performance. 11 As a choir that is known the world over as an Irish choral ensemble. Instead of solely producing arrangements of traditional songs for the ensemble. culture. This understanding allows the choral conductor to identify those aspects in his compositions that are traditional. Anúna must maintain several traditional or traditional sounding compositions in its repertoire at any given time. McGlynn also composes completely original songs that use many of the elements found in the traditional song repertoire. it is considered by many to be the genuine sound of Irish choral music. While McGlynn’s music draws influence from various idioms. The use of compositional elements that have existed in the Irish music tradition has closely identified McGlynn’s compositions with Ireland. His use of familiar texts and original melodies that incorporate elements of traditional music leads the listener to identify these choral compositions as part of the ever-changing corpus of Irish music. . It is also for this reason that an understanding of the history. and music of Ireland is important to the study of his music. Scotland. The void was created by an absence of native composers and music indigenous to Ireland. which originated in other areas of Europe. The study of Michael McGlynn’s musical influences must begin with an understanding of both Irish culture and the music history of Ireland. 2004). and Cornwall.CHAPTER 2 CULTURE AND MUSIC HISTORY OF IRELAND In ancient times Ireland was renowned for skilled musicians. including parts of modern-day Ireland. The only choral music found on the island was that of the church. It was the turbulent history of conquest and rule from around AD 1100 that both stifled the performance and transmission of this music and kept Ireland from following the same path of musical creation that other European countries enjoyed. in Spain. Music in Ireland: Experiencing Music. Celtic influence can also be found in the regions of Galicia and Asturias. Brittany. many of whose tales are recounted in mythology and lore. Wales.17 In Ireland these clans or tribes were well Dorthea E Hast and Stanley Scott. as it is from this tradition and culture that his music is created. and in areas of Portugal. Expressing Culture (Oxford: Oxford University Pres. Irish Historical Overview The people who began settling Ireland as long ago as 500 BC belonged to a now extinct race of people called the Celts. The Celts settled in clan groups in areas throughout much of Europe. 17 12 . 20. are those commonly associated with the creation and proliferation of the Gaelic-Irish language and culture. 27.13 established by 100 BC. . Munster. and culture of the Irish people. and Connaught) evolved into sagas and have since been passed down through story and song. religion. The Irish people came to be considered degenerate and barbaric. music.. Subsequent to the original missionary settlements. Ireland’s first peaceful visitors came from its nearest neighbor. Leinster. Legends of the kings and chieftains who ruled the four provinces (Ulster. These missionaries began the rapid spread of Christianity through the pagan Celtic land. Britain. voting. Following the English Reformation. and ownership of land. wholly embracing the religion the British had spread only years earlier. Ireland had become a strong Catholic region. through his disaffiliation with the Catholic Church in 1532. the Gaelic chieftains. outlawed the language. further complicated Irish life. The descendents of these groups. This influx of people from England also began almost 1500 years of British involvement in Ireland. a series of laws prohibited Catholics from “participation in public life. However. through a series of laws and acts beginning around 1350. King Henry VIII. as time passed the British governing body became less and less tolerant of Irish culture. and the British government. First conquered in the fifth century AD by the Norse (Vikings). When the British first occupied Ireland they were fascinated by the cultural differences they found on an island so close to their own.”18 18 Ibid. 19 While records do not indicate a mass extermination of harpers and bards. the people of Ireland felt that they would be able to retake their parliament. The Irish Song Tradition (Toronto: Macmilian of Canada. Introduction: Eighteenth Century Ireland. 1986). . J. to less than fifteen percent of land. but it was a 19 20 Séan O'Boyle. thereby displacing seventy-five percent of the population.” effectively halted the public playing of Irish music. 10. IV. were political spies and that their music and lyrics stirred up political unrest. After the American and French Revolutions. ed. T. poets.14 During the late sixteenth and early seventeenth centuries under Queen Elizabeth. xliii (Oxford: Oxford University Press.E Vaughan. and bards by death. xliii. who had enjoyed a high status in earlier years. The Queen felt that the wandering bards and harpers. In 1695 the British Parliament. the threat served to seriously diminish the tradition and its oral transmission to subsequent generations. By 1571 the Earl of Kildare was commissioned to punish all harpers.C. Vol. removed the authority of the Irish Parliament to create laws for itself. all Catholic. A 1603 proclamation. The land to which they were displaced was an area in the province of Connaught deemed quite infertile. many families continued to pass on the language and music of their ancestors in the privacy of their homes. after a few small uprisings. in A New History of Ireland. 1976). Beckett. This document did acknowledge the sole right of the Irish Parliament to create laws for Ireland. to “hang the harpers wherever found and destroy their instruments. Moody and W. life for the Irish became worse. There were many attempts to remove the British government from power in Ireland. The Act of Settlement in 1652 allowed Cromwell to confiscate property from Irish-Catholic landowners.20 Although it appeared the heritage and livelihood of the Irish people had been broken.W. In 1782 an effective campaign for legislative independence was initiated with the Constitution of 1782. The outbreak of the French Revolution rekindled their desire to “unite Irishmen of all denominations in an attempt to break connection [with Great Britain] and establish in Ireland a republic on the French model. ed.Ireland has a reputation for inheriting a great musical tradition extending back to the earliest of times. 544. in A New History of Ireland. Music in Ireland Brian Boydell writes that “. Many who led the movement were not satisfied. and tradition that existed for at least a millennium prior to their arrival. T. 4. when the Irish Free State was established and the British government no longer ruled Ireland.E. IV. the population of the country was depleted by nearly two-thirds either from death or emigration. demonstrating the new government’s commitment to the heritage of the people. Vaughan.15 Parliament still under the authority of the British government. culture. J. Music Before 1700. Beckett. ed.W. T. 22 21 . 1691-1800. that the native culture and language of the people experienced a renaissance. Moody and W. Vol.E. Those who remained and survived were in no way able to remove England’s control...W. 544 (Oxford: Oxford University Press. 1986). xil-xli.C. Vaughan (Oxford: Claredon Press. 1986). this musical heritage was almost lost.”22 When British rulers outlawed the Irish language. Brian Boydell. This internal conflict continued until the Irish Potato Famine in the mid-1800s. Vol. Moody and W. in A New History of Ireland. During the twenty years beginning in 1845 with the first of many years of crop failures. In the 1922 Constitution English and Irish were established as co-national languages.”21 It was this disagreement between countrymen that led to civil unrest and instability and kept the people from regaining governance over their country. Eighteenth Century Ireland. It was not until 1922. but much of what is known about music before 1600 is based only upon anecdotal reference. There were a few writings and single songs published in English volumes before these Irish collections. even though much research on the topic exists. Within courts and villages. and the old style (sean-nós) singing that makes Ireland’s musical heritage unique. they recounted stories of war and genealogy. transcribed. The earliest complete transcriptions of this traditional music were made and published in the late eighteenth and early nineteenth centuries. Perhaps most importantly for their social status. George Petrie. There are letters and other writings that confirm the existence of music schools within monasteries and that the harp was considered the only instrument suitable to accompany voices. It was not until the eighteenth century that musicians trained in the Western classical style of music began to collect the traditional music of Ireland. Various writers. artists. As is often the case with traditional music. and P. there was no one readily available to transcribe it for posterity. and records of musical events are scarce.16 The origin of the musical heritage of Ireland is still disputed. they praised their patrons. This led to a multi-century comingling of ideas. The bards were the oral keepers of the laws. bards and harpers held places of honor.W. Very few sources have been found. though very little writing about the style of the music exists. thus the development of a solo musical tradition began. Edward Bunting. Composers and musicologists Charles Villiers Stanford. . and poets mention instruments and musical gatherings. mythology. and described the music that had been a vital component of the cultural identity of Ireland since early recorded times. Gaelic traditions. Joyce collected. Most often a harper would accompany the bard as the stories were recounted. The Danaans were admired for their music.23 The musical tradition of the early Gaelic court musicians is. not known in concrete terms. These musical categories include “goltraí (music for sorrow). or sinister giants. who were defeated by the Firbologs. whose tunes were said to be the sweetest music ever heard and which possessed magic powers. a small but cunning race. geantraí (music for happiness). The Milesians eventually overtook them. they were able to turn into the invisible little people—leprechauns and fairies.17 The vocal music of Ireland includes a long mythological tradition that contributed to its complicated history. but due to their close connection with nature. and Lydian modes accordingly. The modal associations are the Dorian.” is a form of solo singing considered the oldest in Ireland and is generally believed to date from at least the fifteenth century AD.24 Sean-nós. Many tunes that exist in the modern repertoire are said to have come from the fairies. and suantraí (music for sleep).” are each related to a particular mode or traighe. According to the mythology as described by Cowdery. geantraight (music for love). The Danaans were seen as the embodiment of all that was good. 24 . giving way to the Danaans. goltraighe (music of valor). Phrygian. though those are without examples. and suantraighe (music for rest). especially that of the fairies. which translates to “old-style. 1990).. The Melodic Tradition of Ireland (Kent. There are sources that give terminology to various kinds of songs. 6.” Terms found in later sources cited by Harry Flood. eventually disappeared. The Firbologs. 23 James Cowdery. of course. 5. Irish folklore tells of four races that existed in Ireland before the Gaels arrived in the fourth century BC. OH: Kent State University Press. Ibid. these races began with the Fomorians. While a great majority of these songs is in the Irish language. 12. the use of modal structures does predominate in the genre. Several styles of dance. but some songs in the Irish repertoire also use hexatonic and pentatonic scales.27 Although Irish music was long a solo art. highly ornamented.18 and possibly earlier. hornpipe. and Michael McGlynn among them) Thomas Moore. Several ensembles and composers (Altan. This style of music is usually modal. One of the best examples of this is found in the Irish Melodies of Thomas Moore in which the author creates new English language texts to fit the existing ancient Irish tunes. 1990). Breandán Breathnach. either a cappella or with very little accompaniment. reel. Clannad. James Cowdery. 16-18.26 Most songs in the Irish song repertoire are binary (in two large sections) and most sections can be divided into four near-equal phrases. 1893). David Mooney. and slide are commonly used as the rhythmic and structural basis of solo songs. due to the dual use of English and Irish for a long period of time. including the jig. The Melodic Tradition of Ireland (Kent. which by its nature requires regular sections that are commonly repeated. 27 26 25 . in the nineteenth and twentieth centuries there began a movement towards group performances and the arrangement and adaptation of many traditional songs for choral ensembles.25 Harmonically. and above all else. Moore's Irish Melodies With Symphonies and Accompaniments (Boston: Oliver Ditson. OH: Kent State University Press. The use of the binary form also demonstrates the close relation of the song tradition to dance. highly personalized by the singer. many tunes were adapted to English texts. 1996). Folk Music and Dances of Ireland: A Comprehensice Study examining the Basic Elements of Irish Folk Music and Dance (Cork: Mercier Press. Anúna. .19 specialize in choral settings and work diligently to adhere to the artistic ideals of that solo art form in the ensemble medium. The only choral music that existed was in the church. especially the sean-nós. and eventually mandated. When England’s rulers outlawed Irish music. 20 . The song tradition was first influenced by the structure of the Irish language and then by the increased. any development in group singing of traditional repertoire was cut short.CHAPTER 3 IRISH VOCAL MUSIC The vocal music of Ireland has been influenced by many changes in the culture of the country. the choral music of Ireland remained in an infantile state. Music that began as a solo art style remained as such outside of the choral development within the Anglican Church. The song styles that flourished in earlier times. use of English. It has only been in the last century that choral music began to take a foothold in the world of Irish music. but that is not to say that choral music did not exist in Ireland. musicians were forced to either forego their native language or combine it in moderation with English. Because of Britain’s rules and restrictions in the use of the Irish language and the domination of the Anglican Church through music’s developmental periods. and that was British. were limited to specific areas and were kept alive by a few communities throughout times of occupation and oppression. When the Irish language was outlawed and the majority of the ruling class for whom the songs were performed spoke only English. 7. Breton. George Petrie first stated the importance of the 28 James Cowdery. song traditions. and early choral forms that were in place prior to Ireland’s subjugation. Language The language that is today known as Irish or Irish-Gaelic belongs to the Celtic group of languages. and the use of a language that was required by the British rule. like the premiere of Handel’s Messiah in Dublin.28 The Irish Gaelic literary tradition had great influence on the songs of Ireland. The Melodic Tradition of Ireland (Kent.21 During the years of occupation it was difficult for musicians to perform any music that was not sanctioned by Great Britain. and English. Bards used very complex forms of poetic meter. Borrowed words in the Irish language came primarily from Latin. however. which due to the strong foreign influence did not develop. OH: Kent State University Press. Michael McGlynn has been trying to create a distinct Irish choral tradition. While similar to other Celtic languages including Welsh. . These additions came through missionaries. great choral societies. which in turn defined the musical structure of the songs and airs. There were. 1990). Musical events based on the English model. Norse. were permitted and encouraged. and Scots Gaelic. Irish also assimilated components from languages outside the immediate family group. early settlements of the Viking peoples on the east coast. His music is a window into all that has come before him and synthesizes the language influences. Manx. The meter.1. consists of a stanza with five stressed syllables in each line. O’Boyle gives as an example of this metric similarity as the first line of An Bata Dubh Droighin. The five stressed syllables per line of this meter fit into two measures of 9/8 (Example 3. the laws of rhythm and metre which govern the construction of those songs. and to which they consequently owe their peculiarities of structure. amhránaíocht is one of the most common. as many classes as there are metrical forms of construction in our native lyrics– but no further. and arranged under. 36. œ œ & t 29 t œ t nó j œ œ œ t géag de'n j œ chuil . but always strictly coincident with.1) or five measures of 3/4 (Example 3. 2005). 21. The Irish Song Tradition (Toronto: Macmilian of Canada. 1976). . Amhránaíocht meter in 9/8 Lyrics by: [Lyricist] Music by: [Composer Arranged by [Arranger 9 & 8 œ. ed.2). t œ. mere ad libitum arrangements of a pleasing succession of tones unshackled by a rigid obedience of the sentiments of the songs for which they were composed.tín bhog bhocht j 3 & 4 œ. Each stanza fits easily into two bars of 9/8 or six bars of 3/4. 30 ! t de'n œ chuil . t Œ. like so many modern melodies. œ œ 4 slai .29 Of the six meters used in Irish-language poetry.eann chas j œ œ chuar ! Séan O'Boyle.eann chas chuar œ. And hence it obviously follows that entire body of our vocal melodies may be easily divided into. ˙. which forms the basis for some of the most characteristic melodies. t ! ! ! 3 4 slai .30 Amhranainocht Meter examples Example 3.22 interrelationship of the two structures in his Collection of the Ancient Music of Ireland in 1855: For those airs are not. and subservient to. David Cooper (Cork: Cork University Press. The Petrie Collection of the Ancient Music of Ireland. and that any melody that will not naturally fall into some one or other of those classes must either be corrupt or altogether fictitious.tín bhog bhocht ˙ t nó géag ˙ 11 George Petrie. œ œ t œ. each rhyming with the other. and a line of four syllables that rhymes with the last line of the first section. and when writing in English. Those that did not fit the traditional structure fell into a verse form known as Ochtfhoclach. poets who were familiar with Irish poetry attempted to place assonances and stressed syllables in a location that was suited to the amhránaíocht meter.31 Many nineteenth century Irish speakers shared this sentiment. but the English words and the air are like a quarrelling man and wife– the Irish melts into the tune but the English doesn’t. as do the lines of four.9 & 8 œ.eann chas chuar œ. records that his mother. œ œ & t t œ t nó j œ œ œ t géag de'n j œ œ chuil . or tail-rhyme. 25. As O’Boyle noted: William Carleton. ˙. t œ. t 23 ! ! ! 3 4 Example 3.tín bhog bhocht j 3 & 4 œ. However. when asked to sing the English version of Bean an Fhir Rua..2. that was not always possible. the Tyrone novelist. The first has three lines of six syllables. Consisting of four large parts. The second contains three lines of five syllables.tín bhog bhocht ˙ t nó géag ˙ 11 When the English language is used with Irish melody the construction is changed ! t de'n chuil . œ œ t œ. Amhránaíocht meter in 3/4 slai . said: I’ll sing it for you.eann chas j œ œ chuar ! slightly. t Œ. and a line of five syllables. . œ œ 4 slai . In this structure there are two large groups. all of which rhyme with the six-syllable lines of the first part. Ochfhoclach Mór is another verse form that contains odd syllabification. the five-syllable lines rhyme. 31 Ibid. each containing three lines of five syllables and one line of four syllables. 32 . 1. Many songs became bi-lingual. Today. that is. http://www. a Rúin. which was eventually won in 1922. was the primary language spoken in Ireland. go my love Go quietly and go peacefully Go to the door and fly with me) By the nineteenth century Hiberno-English. Table 3. A detailed description of this familiar song is included in Chapter Five. 2008.24 The outlawing of the Irish language brought about changes in the repertoire of Irish music. The movement to reestablish Irish to the prominence it once held fed into the struggle for national independence.net/anuna/siuil. siúil. the Celtic Lyrics Corner. mixed English text and translation32 Verse Chorus (cúrfa) I wish I were on yonder hill Siúil. Siúil. Other tunes were sung partially in each language. although English continues to be the primary language throughout Ireland.htm (accessed October 29. 2009). November 27. typically with verses in English and a refrain in Irish. go.1). In supporting this initiative. One example of this kind of modification is seen in Siúil a Rúin (Table 3. siúil a rúin 'Tis there I'd sit and cry my fill And every tear would turn a mill I wish I sat on my true love's knee Many a fond story he told to me He told me things that ne'er shall be Siúil go sochair agus siúil go ciúin Siúil go doras agus éalaigh liom (Translation: Go. a dialect of English. However in the last decade of the same century a movement began to reinstate Irish and its historical literary style. basic Irish language skills are taught in schools and certain communities exist where Irish is the sole language. the traditional tune was sometimes translated into what became a well-known English version.celticlyricscorner. It is an unaccompanied musical style that is typically characterized by a highly ornamented melodic line. sean-nós has spread to all parts of Ireland.33 While found most frequently in the southwestern area of the country. Many sean-nós singers in recent history have come from Gaeltacht areas (Figure 3. Although an original source for this music is unknown. . if not earlier. These are regional areas in Ireland where Irish is the primary language and where the culture of passing this body of songs through generations is still part of daily life. though the means and degree of ornamentation change from region to region. At the very least the singers have a considerable facility and competency in it. and most consider Irish their first language. it is generally assumed that it is derived from the medieval bardic tradition. dating from at least the fifteenth century.25 government has kept Irish from becoming a dead language and has made it one whose future is yet to be determined. Sean-nós Sean-nós refers to both the repertoire and style of singing generally considered to be the oldest in Ireland.1). 33 The Sean-nós style of singing was discussed on page 16. http://www. 34 . The singer is not constrained by meter or tempo. Map alterd by author to illustrate regions. Gaeltacht areas (darkened areas are officially recognized regions)34 The performer of sean-nós takes considerable liberties with the original tune or framework of the song through knowledge of a commonly understood rules. These stylistic constraints permit him to adhere to tradition while allowing enough freedom to place his own unique mark and interpretation on the song.com/translation/topic66267. 1.irishgaelictranslator.html (accessed June 21. 2010). but moves through the song according to both his interpretation of the Irish Gaelic Translator.26 Figure 3. Irish composer Seán Ó Riada has said: In approaching that style of singing which is called in Irish. Though the use of the harp to accompany the recitation was lost.27 text and through his use of sometimes very elaborate ornamentation. the Sean-Nós– the old style—it is best to listen as if we were listening to music for the first time. 2004). Music in Ireland: Experiencing Music. sean-nós is similar to much of what will be seen in the greater body of Irish song. These include love songs. To the listener accustomed to European art music. The bards of medieval Ireland held highly honored places in the court. This process is called “humoring” or “gracing” the tune. often of epic length.35 Harmonically. Our Musical Heritage (Mountrth: Fundúireacht an Riadaigh/ Dolmen Press.36 Within the corpus of the sean-nós repertoire there exist several subgenres according to the subject matter. was long revered by their patrons. Their manner of reciting poetry and stories. lullabies. 103. 1982). and humorous songs. with a child’s new mind. Expressing Culture (Oxford: Oxford University Pres. Many of these songs were composed for a local audience who would have known either the story upon which the song was based or who had a personal connection with the place or event described. hymns. or to think of Indian music rather than European. drinking songs. modalities and alternate scale structures (pentatonic and hexatonic scales) are often employed. Sean Ó Riada. laments. it may sound foreign. The songs therefore do not relay the events in a journalistic manner. especially that of the seventeenth through nineteenth centuries. two features of Dorthea E Hast and Stanley Scott. vision or dream songs. but are a part of the long storytelling tradition that stems from the bardic era. 36 35 . 23. Thomas Kinsella and Tomás Ó Canainn. Vol. 39 . 565. 1986). who was brought in to sing an Irish cronaan. First. internal rhyming does pose a considerable challenge. 38 37 A detailed description of the common features of Irish poetic meter found on page 20. being mostly performed in the throat. While it may not be overly difficult to create an adequate translation in English that uses a final syllable rhyme scheme.28 early Irish poetry did have significant effects on sean-nós singing. 2004).W. Music in Ireland: Experiencing Music. which is so odd a thing that I cannot express it. What might this style have sounded like before the modern influence and training of various styles? An account from John Dutton near the end of the seventeenth century states that he . Music Before 1700.37 The internal rhyming did transfer into English language poetry and song in Ireland. only now and then some miserable sounds are sent through the nose.38 There are many accounts of the vocal tone used in the singing of this old style. Dorthea E Hast and Stanley Scott.was entertained by the landlady. Second. ed.E. in A New History of Ireland. 544 (Oxford: Oxford University Press. but caused problems for those poets and musicians who tried to maintain both the rhyme scheme and the original musical line. the length of the poetic line was far greater than many of its counterparts in English or other languages. T. 99. Many modern day recordings demonstrate a rather nasal sound while others employ a vocal tone reminiscent of Italian bel canto technique.. Vaughan. This meant that there would be more stresses or accented beats in a musical line. Moody and W.. IV. Expressing Culture (Oxford: Oxford University Pres. It also made the overall poem or song longer than those in other languages. Brian Boydell. there was a prevalence of internal rhyming and assonance.39 It is not known if the performer described was suitably versed in the form and performance of the style. depicts a choir of monks among other musicians. The Cross of Muireadach (Figure 3. with one of the figures holding a book. which customarily has a simple presentation.40 The singer strives to reflect the stresses of the poetic meter above all. Only recently has this repertoire been developed to incorporate group singing. AD 600. If the era from which this cross dates is compared to the rest of Europe. a Celtic high cross dating from the tenth century.41 During the Elizabethan age there was a necessity for anonymity. Nuala O'Conor. normally have very florid musical lines in contrast with Ulster (northern Ireland). Traditional Music in Ireland (London: Routledge & Kegan. Sean-nós began as a solo-unaccompanied style much like ballad singing across Europe. Was this done as a form of call and response or in rudimentary harmony? Unfortunately there is no definitive answer. . lest one be put to death. But what might have been in place before the Norman invasion (1169-1171)? Are we to believe that throughout fifteen centuries no singing was done in groups? There are forms of work songs that survive from c. It would not be unusual for these to have been sung by all of those contributing to the day’s chores. Choral Music in Ireland The concept of choral singing in Ireland has long been an imported art form. but unlike other areas of Europe. Singers from Connacht. the western portion of Ireland.2). 2001). or accompaniment. 49. group singing. 1978).29 Ornamention in sean-nós varies greatly from area to area. 9. Bringing it All Back Home: The Influence of Irish Music (Dublin: Merlin Publishing. it never developed to incorporate harmony. moving from stress to stress at his own pace. one 40 41 Tomás Ó Canainn. T.30 might assume that this could be a depiction of early organum singing. Monasterboice. Many sources have references to singing in churches dating from the seventh century. 44 . Ireland. Cross of Muireadach.. 2010).bluffton. A polyphonic choir was established at St. County Louth.42 These date from after the Norman invasion and thus demonstrate more of the outside influence on the people and practices of Ireland than on the indigenous culture. Monasterboice. particularly that of the Burgundian School. but the earliest Irish music manuscripts that have polyphonic notation date from between the twelfth and fifteenth centuries. http://www.html (accessed June 21. 1986).edu/~sullivanm/muiredach/muiredach. Ireland44 42 43 Ibid. Vol. 782. 544 (Oxford: Oxford University Press. Moody and W. Its music followed the developing continental polyphonic style and composition. Patrick’s Cathedral in Dublin established in 1431. in A New History of Ireland.43 Figure 3. Vaughan. Brian Boydell. Music Before 1700. 543.W. 2.E. ed. IV. 31 From the inception of polyphony at St. Patrick’s Cathedral, choral church music in Ireland developed similarily to that of northern continental Europe and Britain. The influence the British exerted was great, and, for a country that would be under foreign rule for over a millennea, it was insurmountable. Any secular choral singing would have been done in the home, away from the ears of the ruling class, and without notation. We know that the oral tradition continued in the Gaeltacht areas. Modern ensembles, such as the Bothy Band, Clannad, and Altan, demonstrate the kind of ensemble singing that might have occurred.45 These groups sing in simple harmonies, usually at the third or the fifth, and are accompanied by the pipes, fiddle, and bodhrán (traditional drum). They often use drone voices at intervals of a fifth to accompany a solo line and join either in unison or harmony during the curfá (refrain). Scholars agree that this kind of group singing might have been very typical in family and social gatherings throughout Ireland for centuries. These ensembles are popular Celtic/ Irish vocal and instrumental groups who have recorded extensively from the 1990s on. 45 CHAPTER 4 TRADITIONAL IRISH MUSICAL ELEMENTS Even in their liveliest strains we find some melancholy note intrude – some minor third or flat seventh – which throws its shade as it passes, and makes even mirth interesting. –Thomas Moore, The Poetical Works of Thomas Moore The traditional music of Ireland has long been isolated from the musical developments of continental Europe and the rest of the world. The traditional music as described in this chapter belonged to the Irish peasantry, not the English elite. The native musicians were not exposed to the music that was fashionable in England, France, and Germany. Traditional Irish musicians were still using modal systems and non-tempered instruments when trained musicians such as George Petrie and Edward Bunting began fieldwork collecting and notating tunes in the late eighteenth and early nineteenth century. The harmonic systems, rhythmic theories, and traditional instruments in use throughout the various regions of Ireland combined to give traditional Irish music the old, essentially medieval sound it retains today. Many of the musical elements described in this chapter are visible in McGlynn’s compositions. 32 33 Harmonic Devices The specific scales found in traditional Irish music derive from the stringing of the cruit (Irish Harp). A general understanding of the harp as it existed when many of the traditional tunes first came into being is therefore essential. A favored instrument among the upper classes in Ireland, once strung these harps were fixed in pitch. Strings were made of thick brass anchored at one end by metal pins, with the other end wound around wooden pegs housed in the hollowed-out soundboard. An example of this, the Brian Boru harp (Figure 4.1), is housed at Trinity College Dublin. Flood indicates that this specific harp dates from around AD 1220, but Breanthnach lists the date for its construction at about one hundred years later. Traditional Irish harps had between twenty-one and sixty strings (the Boru harp had twenty-nine strings).46 This surviving specimen of the traditional instrument was restrung in the mid-1900s with metal strings. When played it was said to have “an extraordinarily sweet and clear [tone] with a quality which was somewhat bell-like.”47 William H. Grattan Flood, "A History of Irish Music," Library Ireland, 1905, http://www.google.com/imgres?imgurl=http://www.libraryireland.com/IrishMusic/boruharp.jpg&imgrefurl =http://www.libraryireland.com/IrishMusic/III.php&h=257&w=150&sz=40&tbnid=rYQj36spHkU6NM:& tbnh=112&tbnw=65&prev=/images%3Fq%3Dbrian%2Bboru%2Bharp&usg=__Nd0cAlg9CSnB8mEeNM qc9RR5c84=&ei=P1-S6fiDIKdlgf25bneBg&sa=X&oi=image_result&resnum=9&ct=image&ved=0CBYQ9QEwCA (accessed March 28, 2010). 47 46 Brendán Breathnach, Folk Music and Dances of Ireland. (Cork: Mercier Press, 1996), 66. 34 Figure 4.1. Brian Boru Harp, illustration48 When Edward Bunting transcribed songs of the harpers at the Belfast Harp Festival in July of 1792, he noted: “It would appear that the old Musicians, in transmitting Music to us through so many centuries, treated it with the utmost reverence, as they seem to never have ventured to make the slightest innovation in it during its descent.” He further states “It is remarkable that the performers all tuned their instruments on the same principle, totally ignorant of the principle itself, and without being able to assign any reason for their mode of tuning, or their playing of the bass.”49 48 Early Gaelic Harp, http://www.earlygaelicharp.info/harps/trinity.htm (accessed March 24, 2010). Edward Bunting, The Ancient Music of Ireland: The Bunting Collections (a facsimile edition of Edward Bunting's songs and airs in piano arrangements), ed. Harry Long (Dublin: Walton Manufacturing Ltd., 2002), preface. 49 35 While musicologists now consider Bunting’s concept that there was no innovation as generally false, the observation is significant in its reference to the tuning systems employed. Since the tuning system of the harp was fixed it is widely agreed that the scales employed were of a modal origin. From various writings and from later transcriptions of tunes, it is likely that the harp had one of its G strings tuned down to F# in order to facilitate a greater variety of modal scales. Thus the Do, Re, and Mi modes were played through the C Do using the F natural while the Fa, Sol, and La modes were played through the G Do with the F#.50 The division and distribution of notes within each scale and their relation to the traditional church modes, as seein in table 4.1, is easily viewed in two sets of three modes. Table 4.1. Modes found in Irish Traditional Music51 First scale degree Scale Do C D E F G A B C Re D E F G A B C D Mi E F G A B C D E Fa C D E F# G A B C Sol D E F# G A B C D La E F# G A B C D E Scale name Ionian Dorian Phrygian Lydian Mixolydian Aeolian The final note defines the mode of each song. In order to facilitate the recognition of modes in a variety of songs, it is helpful to see examples of tunes in each of the six possibilities: Séan O'Boyle, The Irish Song Tradition (Toronto: Macmilian of Canada, 1976), 30-31. In order to facilitate discussion of the harmonic structures, solfege syllables will be used. 51 50 Ibid., 30. Doh mode (C Doh) ! ! œ &œ œ œ œ œ œ œ œœœœ œ 9 œœœœœœœœ œœœ œœœœ œœœœœ . 52 & œ œ #&œ œ œ œ œ œ 8 ! ! ! # œ & œ œ œ œ œ œ œ # 12 œ œ œ œ ! .36 Scales Lyrics by: [Lyricist] Do Mode Mu Arra Voice œ œ œ & œ œ œ œ œ Cailleacha Chúige Uladh from Petrie Collection 3 Example 4. 2005). George Petrie. ed.3. 152. 10 David Cooper (Cork: Cork University Press. Cailleacha Chúige Uladh52 5 œ œ œ œ œ n ! Scales &b œ œ œ . œ œ œ œ œby: œ [Lyricist] 5 Music by: [Com Arranged by [Ar Re Mode œ œ œœ œ œ œ & œ & œb œ œ œ œ œ œ œ n Voice 8 10 ! ! ! ! œ œœ œ œ œ œ & & œ œ œ œ œ œ œœ 3 # Example 4. Re mode (C Doh) ! ! ! 12 œ œ œœ #&b œ œ œ œ œ œ n œ & œ œ œ œ œ 5 14 George Petrie. œ œ œ œ œ œ Lyrics œ œ œ œ œj œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œj . The Petrie Collection of the Ancient Music of Ireland.1. ed. David Cooper (Cork: Cork University Press. œ . Doh mode. 2005). œ &8 œ œœœ œ J œ œ œj . The Petrie Collection of the Ancient Music of Ireland. qd = 118 Example 4.2. & . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ b œ n œ Music by: [Co Arranged by [A œ œ. œ œ. Inc. œ œ. 14 ! . Tiagharna Mhaighe-eo53 5 8 & œ.37 Tiagharna Mhaighe-eo Fleischmann 2212 Example 4. œ œ œ œ 3 & œ œ œ Mi mode œ &œ œ œ œ œ œ œ Example 4. œ œ œ œ &œ œ œ Voice &œ œ œœœ 11 œ œ œ œ œ œ œ œ. 1998).4. (New York: Garland Publishing. Aloys Fleischmann. 1583-1855. Vol. 2 vols. œ œ &C œ œ œœ œ. œ œ œ œ. Mi mode (F Doh) œ œ œ. 1. Sources of Irish Traditional Music c. 429. œ œ ! ! 5 œ œ œ œ œ œ n &b œ œ œ œ œ œ œ &œ œ œ œ & œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ & # # # ! ! ! ! ! 8 10 12 53 Aloys Fleischmann.5. 1600-1855: An Annotated Catalogue of Prints and Manuscripts. ed. Re mode.. œœ œ œ œ œ œ Scales œ Lyrics by: [Lyricist] œ œ œ œ œ œ œ œ œ œœœ œ œ. Inc. Vol. Sources of Irish Traditional Music c.6. “The Campbells are Coming”54 & b œ. œ œ œ& œ œ œ b œ nœ œ œ œ œ œ œ œ œ œ œœ œ.. œ œ 11 œœ œ . œ œ œ œ œ. œ œ œ œ œ œ j œ œ œ. 448. 1998). 1600-1855: An Annotated Catalogue of Prints and Manuscripts. 1583-1855. œ œ Voice œ .The Campbells are Coming Fleischmann. (New York: Garland Publishing.2315) 38 j j j 6 j œ j œ œ & b 8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Scales œ œœ œœœ 6 Example 4. œ œ œ œ œ œ J J J œœ Lyrics by: [Lyricist] Mus Arran ! ! ! ! ! ! 16 21 Fa Mode œ &œ œ œ œ œ œ œ œ. ed. œ œ œ œ œ œ j œ œ œ œ œ œ œ œ . &b œ œ œ œ œ œ 5 œ œ œ œ n œ œ b œ & œ 8 j œ œ j œ œ œ œ œ œ 3œ œ j œ œ j œ œ œ œ œ œ œ œ j œ œ j œ œ œ œ œ œ œ &œ œ Example 4. Aloys Fleischmann. Mi mode. 2 vols.7. J &b J œ J œ &b œ œ. 54 . œ œœ œ œ œ œ . Fa mode (C Doh) 10 # œ & œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ & # ! # 12 14 Aloys Fleischmann. 1. Vol. Bán-Chnoic Éireann œ œ œ œ bean14 . 36. œ œ œ œ œ œ œ œ œ J n 8 Sol Mode Score œ œ œ &œ œ œ œ œ œ ! [Title] ! [Composer] &c # 2 & 4Œ & # ! œ œ Beir œ Ó56 Example 4. Sol mode (G Doh) ! ! œ hÉi # 2 4 œ œ ! ! œ œ œ œ œ œ Bán chnoic # & œ 55 œ œ œ œ Éi reann œ Éi - & óm' œ œ œ œ chroi go tir œ œ œ na ˙ ó œ œ œ Chun a œ œ œ mair -eann j œ œ œ - j œ de ! - reann shíol . Fa mode. Aloys Fleischmann. œœ œ J ! ! 14 œ œ. œ œ &œ œ œ œ œ œ b œ œ & œ œ œ œ œ œ œ œ œ ˙ J œ. 1600-1855: An Annotated Catalogue of Prints and Manuscripts.nacht œ & œ œ œ œ œ œ œ œ # œ œ œ œ & œ œ œ j j œ 12 10 Example œ œ œ # # # 4. 1976). (New York: Garland Publishing.9. œœ œ œ œ œœ œ œ . The Irish Song Tradition (Toronto: Macmilian of Canada.8. 1.ra œ œ œ œ ˙ Ír œ œ œ œ bhir ar œ bhán a .Scales Lyrics by: [Lyricist] The Last Time I Came Thro' the Muire &C œ J œ 5 39 Music b Arranged Example 4.& b œ œœœ œ œœ J œ œœ 3 œ œ œ œœ œ œ Fleischmann 445 œ œœœ œ œ.10. ed. 2 vols. Inc. 1998). J 5 &œ œ œ j œ œ. Sources of Irish Traditional Music c. 86. 56 Séan O'Boyle. Sol mode. 1583-1855. . œ. œ œ ˙. Aloys Fleischmann.gus - chnoic Éi œ œ reann œ ó. œ œ œ œ œ œ œœ œ œ œ œ œ j œœœœœ ˙ œœœœœ ˙ J n œ. “The Last Time I Came the Muire”55 œ œ œ Thro’ Voice &œ & 9 œ œ œ œ.. 1975). Ardaidh Cuain57 # 6 œ œ œj œ .12. œ J 14 5 Ardaidh Cuain & # 9 # 9 6 œ . Often times. œ œ œ œœ œ œ œ œœ 8 J J Two other scales.11. 57 Mícheál Ó hEidhin. œ œ œ œ œ œ J œ œ 9 j œ œ œ. However. Both of these scales correspond to the Do scale.14). Cas Amhrán (Conmara: Cló Iar-Chonnachta. also hold important places in Irish music. many tunes have components or phrases that are set completely in one of these two scales.13 and 4. œ œ œ œ. while the hexatonic scale lacks only the seventh. the pentatonic and hexatonic (Examples 4. . œ œ œ œ. it is only a secondary phrase or the refrain that completes the normal eight-tone scale by adding the one or two missing scale degrees from the pentatonic or hexatonic phrase.10 La Mode # œ & œ œ œ œ œ œ œ # œ œ & œ œ œ œ œ œ Example 4. œ œ œj œ œ ‰ & 8 œ œ œ œ . œ œ œ œ. œ œ œ & 8 œœ œ œ œ œ J œ œ. La mode (G Doh) 40 ! ! 12 #from O hEidin Cas Amhran ! & Example 4. La mode. 152. These scales are only employed in a small number of the tunes in the traditional Irish music repertoire. The pentatonic scale most often used normally lack the fourth and seventh scale degrees. or Ionian mode.œ œ œ œ œ 8 œ œ . In the pattern 8-7-5 the seventh may be either flattened or sharpened. Pentatonic scale 41 & & œ œ & œ & œ ! œ œ Hexatonic œ 4.58 Ó Canainn writes of the rules governing inflection: 1.13. 2. . Traditional Music in Ireland (London: Routledge & Kegan.Score Score [Title] [Title] Example 4.59 58 59 Tomás Ó Canainn. Ibid. If the inflectible note proceeds upwards by step. 3. it is generally flattened. Some have said that the presence of these altered versions serve to change the modal scale in mid-tune. 33-34. 4.. collectors and musicians have argued as to the purpose of these inflected notes. particularly those notes that appear in both raised and lowered forms within a tune.14. but it is more usually sharpened. it is sharpened. Others believe that they are merely a decoration or passing tone. but the third and occasionally the fourth degree of the scale may be inflected. If the inflectible note is the highest note of a group. œ Example scale œ œ œ œ œ œ œ œ œ œ œ œ œ œ ! ! ! Of particular interest to the collector of Irish music are the chromaticallyinflected scale degrees. 30. The seventh is by far the most commonly inflected note. 1978). For many years. highly energetic acrobatic dances that involved leaping and jumping about.42 Rhythmic Devices It is quite strange that in a country such as Ireland. polkas. including mazurkas. In fact. In modern Irish two words are used for dance: damhsa and rince. though not frequently. The most popular dance forms are jigs. 35. Several other dance styles. originated in Scotland. the most common form of dance in the Irish repertoire. which had an early affinity for music. Tunes frequently began as dances and later had words added to create a song that often became more popular than the original dance. Most of the dance tunes are in a standard repeated form (AA BB). and hornpipes. both of which came into use between 1530 and 1650 from France and England respectively. there was not a word that corresponds to the Latin word for “dance” until the mid 1500s. Many of the rhythms found in the dances serve as the basis for tunes in the traditional song catalog. they have been assimilated into the Irish musical tradition. slides. The dance forms are identified by several variables of which the most easily identifiable are tempo. 60 . time Breandán Breathnach.” and “leap” where a word for “dance” would have been found. Folk Music and Dances of Ireland: A Comprehensice Study examining the Basic Elements of Irish Folk Music and Dance (Cork: Mercier Press. Though many of the dance forms originated in other countries. It is this verbiage that has lead many to believe that the early dances of Ireland were much like the step-dances of today. reels. Early Irish translations of the Bible use words that mean “jump. and barn dances are also found in the song literature.60 Dances are the most common and abundant tunes found in the traditional Irish music repertoire. highlands. the reel.” “hop. 1996). "Irish Traditional Music. and rhythmic pattern (Table 4. 61 . 4 feel Time Signature 6/8 (or 12/8) 6/8 9/8 2/4 or 4/4 4/4 Characteristic Rhythm \ q e q e\ \ eee eee \ \ q e q e q e\ \ ee ee \ \ q ee q ee\ Instruments and Accompaniment In order to better understand the elements and performance of the vocal music in a musical society known for its instrumental contributions to folk music. 13. Different instruments require Andrew Purcell. 2006)." in Music: Revision for Leaving Certification (Dublin: Gill & Macmillan.43 signature.2). Much of what exists today in the corpus of known tunes has variations and derivations stemming from various means of performance and ornamentation.2. As much of the vocal music repertoire came from instrumental tunes. many songs can also be placed into these categories. Table 4. Dance Forms and Structure61 Dance Type Tempo Single Jig (also known as slide) Double Jig Hop or Slip Jig Reel Hornpipe Fast Moderately fast Fast Fast. with a 2 feel Steady. it is essential to understand the instruments that had the greatest impact in the genre. 62 Scholars believe that the harp existed as early as the beginning of the third century. "The Social Context of Irish Folk Instruments. Anniina Jokinen." International Review of the Aesthetics and Sociology of Music (Croatian Musicological Society) 26. no. became king of Ireland in 218 AD and reigned until 254.htm (accessed December 12. widely believed to be a harper. Johnston. 42. taller high-headed harp of the eighteenth century. Cormac Mac Art. http://luminarium. He is said to have turned to Christianity near the end of his life. Harp Throughout Irish history there have been three distinct versions of the Irish harp: the fourteenth and fifteenth century small low-headed harp.org/mythology/ireland/cormac. 64 . 2007.2) . 2009). He is remembered as a noble and celebrated king and Ireland was said to be full of goodness in his time Thomas F. The first known depiction of the fully framed triangular harp appears in Psalters of the ninth century (Figure 4. most likely an early harp or version of the lyre. 1 (June 1995): 35-59.63 It was common for bards or court poets to recite stories to the accompaniment of a stringed instrument. Today these instruments are known both for their solo styles and for their interaction with the vocal traditions. and the straighter. Cormac mac Art. when in the reign of Cormac Ulfada a law required every regional chieftan to have a musician in his court.44 different methods of performance that are easily identifiable.64 62 63 Detailed description of the harp included in discussion about harmonic elements on page 34. the large low-headed harp of the sixteenth and seventeenth centuries. May 20. also known as Cormac Ulfada (Cormac Long beard). drone. While the Scottish version uses a mouthpiece to inflate the bag through blowing.66 These earliest notations were references to a very simple instrument similar to pipes of the ancient Greeks and Romans. 81. bellow.45 Figure 4. Tomás Ó Canainn.2. chanter.67 A set of pipes is constructed of five basic parts (Figure 4. extending the 65 66 Classic Cat. and pipes. Traditional Music in Ireland (London: Routledge & Kegan. 1978).info. In order to fill the bag the elbow is raised.3): the bag. Instruments known as pípaí were noted in writings from as early as the eleventh century in pre-Norman Ireland.php (accessed June 21. Ancient historians reference Nero’s ability to play the pipes. Breandán Breathnach. which is closely related to the bagpipes of Scotland and possibly derived from similar instruments used in ancient Greece and Rome. framed triangular harp depicted65 Uilleann Pipes Also closely associated with the traditional music of Ireland is the Uilleann or Union pipes. 67 .). http://classiccat.D. Maedoc book cover from Ireland (circa 1000 A. 69. Folk Music and Dances of Ireland: A Comprehensice Study examining the Basic Elements of Irish Folk Music and Dance (Cork: Mercier Press. The primary difference between the various pipes of different geographic regions is the manner in which the bag is filled with air.Harp.net/iv/harp. 1996). the Irish pipes uses a bellow strapped to the arm. 2010). co. Uilleann pipes68 The Uilleann pipes chanter has a range and tone similar to that of a modern oboe (Example 4. http://www.dirkcampbell.uk/Uilleann_pipes. While innovative. This part of the instrument allows the piper to play a single melodic line. Though old pipes were transposing instruments. The prevalence of drones in the performance of traditional music most likely began with the harp and was continued in the pipes. modern versions are double-reed instruments and are set in concert pitch. The use of instrumental drones began sometime in the thirteenth century and was first used as a very simple continuous accompaniment to the melody played on the 68 Dirk Campbell.html (accessed June 21. The lowest note of the chanter is the D above middle C.15). as modern pipes are played in the seated position. .46 bellow. this change made the Uilleann pipes less portable than its counterparts. the range extends upwards two octaves.3. Figure 4. 2010). 69 . the single pitch is always present to the performer. The highest of the three matches the lowest pitch of the chanter (Example 4. Example 4. chanter range Early Uilleann pipes (union pipes) consisted of two drones. with a third added in the mid-eighteenth century.” a vocal drone accompaniment sung through the nose. Uilleann Pipes. It has also been suggested that the drones may have originated in sean-nós singing. OH: Kent State University Press. 1990). 16. Each of the three drones is tuned to D.16). 36-37.15. The drones allow the pipes to serve as both a melodic and harmonic instrument and provide a constant harmonic support while the melodic line is played on the chanter.69 Heaney explained to Cowdrey how while not audible to the listener except at the beginnings and ends of phrases. Example 4. Drones James Cowdery. It is his way of accompanying himself and an example of how vocal music and instrumental music in this tradition influence each other.47 chanter. The Melodic Tradition of Ireland (Kent. Uilleann pipes. spaced an octave apart. Joe Heaney (one of the most famous sean nós singers in modern times) talked to James Crowdery about the “nea. regulators were added allowing additional accompaniment to be played. regulator chords 70 Tomás Ó Canainn. Traditional Music in Ireland (London: Routledge & Kegan. The regulator allows the piper to play one of four predertmined three-note chords (Example 4. .48 Also in the mid-1900’s. Uilleann Pipes. 70 Example 4. 81-82. 17. 1978).17). which were at once the offspring and solace of grief.CHAPTER 5 TRADITIONAL SONGS OF IRELAND Perhaps we may look no further than the last disgraceful century for the origin of most of those wild and melancholy strains. and Italy. France. http://www. 1995.Anúna.allmusicguide. The ability to see some of these changes— and to recognize what has not changed—can be beneficial to the performer of McGlynn’s choral music. Collectors of Irish Music Late in the sixteenth century a few Irish songs became popular in England. All Music Guide. 71 49 .dll?p=amg&sql=11:wxfwxqlgldte~T1 (accessed March 2. a rebel tune that was found in both William Ballet’s Lute Book (1590) and in the Craig Harris. Among the earliest written Irish tune was Calilín ó chois tSiúire mé (The Croppy Boy). This chapter examines variations found in the collections of the traditional repertoire in specific songs that McGlynn has arranged. 2010). Ireland.”71 Musicians in this tradition have both knowingly and unknowingly made changes to the repertoire.com/cg/amg. – Thomas Moore. These appeared as early transcriptions found in books that contained a variety of songs from different geographic areas including England. Scotland. The Poetical Works of Thomas Moore Craig Harris writes: “Twelve centuries of Ireland’s vocal tradition are explored by the choral ensemble. Anúna. Traditional Music in Ireland (London: Routledge & Kegan.com/IrishMusic/boruharp. http://www.oxfordmusiconline.libraryireland.73 These tunes were altered. Oxford Music Online. From that event Edward Bunting produced his first volume of collected music. 1978). Grattan Flood. He employed Patrick Lynch to collect the texts separately. Neal’s A Collection of the Most Celebrated Irish Tunes. was published in Dublin in 1726.google." Grove Music Online. It was in 1792 at the Belfast Harp Festival that the serious and scholarly collection of Irish tunes began.php&h=257&w=150&sz=40&tbnid=rYQj36spHkU6NM:& tbnh=112&tbnw=65&prev=/images%3Fq%3Dbrian%2Bboru%2Bharp&usg=__Nd0cAlg9CSnB8mEeNM qc9RR5c84=&ei=P1-S6fiDIKdlgf25bneBg&sa=X&oi=image_result&resnum=9&ct=image&ved=0CBYQ9QEwCA (accessed April 8. Margaret Dean-Smith.72 Later in the same century. 10. 1905. Bunting was also the first collector to note the importance of the Irish texts that accompanied the tunes.50 Fitzwilliam Virginal Book (1609-19).jpg&imgrefurl =http://www. often changing words. 2010). Ancient Irish Music (1796). http://www.libraryireland. Ibid. . Bunting and Lynch encountered problems because often they were dealing with different William H.74 The first collection that contained exclusively Irish tunes.com/imgres?imgurl=http://www." Library Ireland.com/IrishMusic/III. or modal inflections from their original forms in order to be more suitable for the English gentry for whom these books were compiled.75 As many of the melodies that appeared in this collection are still in the common repertoire today.com/subscriber/article/grove/music/1336 (accessed April 9. "Hornpipe (ii). 74 75 73 72 Tomás Ó Canainn. this publication should be viewed as an important milestone in the history of Irish music. several other Irish tunes appeared in London publications of Playford’s The Dancing Master (1695). In attendance at that festival were ten harpers who were considered the last generation in a line that extended back several hundred years. language. "A History of Irish Music. 2010). but they are adapted to it. As will be seen with several tunes. In the preface of his third volume Bunting states: Whatever differences of opinion may exist as to the high degree of early civilization and national glory laid claim to by the Irish people.51 versions of the same song. great variation. These songs were collected from the 1792 festival and from his travels throughout the country. The Ancient Music of Ireland: The Bunting Collections (a facsimile edition of Edward Bunting's songs and airs in piano arrangements). 2002). indeed. especially among country people. 1-2. never changed is of debate. and that their bards and harpers were eminently skilful in its performance. 1. the ancient. once impressed on the popular ear. they had at least a national music peculiar to themselves. A strain of music. He places them into three categories: the very ancient. 6. not it to them. once composed. unless on the introduction of the altered tunes for the first time amongst those who have never heard them in their original state. Ibid. a criterion is immediately established in almost every ear. ed. never varies. 78 77 76 Ibid. and it will no more alter its character on their account than a ship will change the number of its masts on account of an alternation in the nature of its lading. He is noted as both an eminently skilled harper and the composer of many of the tunes that exist in the modern repertoire. many of them in various versions.. the tune remains the same if studied within the region of origin.76 Bunting also attempts in his collection to give an approximate time frame for the composition of most tunes. in many instances. so intuitively acquired.77 Bunting adds that while the words associated with each tune may change slightly.. and airs are so easily.. Turlough O’Carolan (Toirdhealbhach Ó Cearbhalláin) was an Irish harper who lived near County Meath from 1670 to 1738.78 The assertion that the tunes. there is in fact. it has never been questioned that. and in a pastoral age. Harry Long (Dublin: Walton Manufacturing Ltd.. Edward Bunting. . that when a melody has once been divulged in any district. It is thus that changes in the actual frame and structure of our melodies have never been attempted. and those composed from around the time of Carolan the harper. It may be made the vehicle of many different sets of words. in the most remote times. Bunting continued to collect over two hundred fifty songs.. For the taste of music is so universal. noteworthy musicians in their own right. Unfortunately. removing the ancient sound of the tune. Many of the songs discussed below show only minor variances in the tunes and can reflect the living nature of traditional music as in any culture. made great contributions to Irish musicology. Thus. and several of them used a similar methodology for acquiring the tunes. Portions of songs discussed in this chapter are annotated here. many of the transcriptions forced the melodies into a contemporary key signature or scale. However. they changed it forever. Song Comparisons In beginning the study of Michael McGlynn’s settings of traditional tunes. Many of the collectors. some of them are quite different. The ancient Irish harp was a diatonic instrument without accidentals and thus the tunes were in modal scales. Herein lies a distinct problem: all of the collectors listened to the tunes through the prism of their modern musical ears relative to their knowledge of western musical traditions. In an effort to give metric value to notes. Many of them failed to realize that the tunes did not fit exactly into the modern tuning and harmonic systems in which they were transcribing. despite their efforts to preserve the ancient music. the free-flowing nature of the tunes was constrained to a determined note value. several antiquarians began their own compilations. They traveled the countryside and asked traditional musicians to perform given pieces that they then transcribed into modern musical notation. it is quickly noticeable to anyone familiar with Irish traditional music that some of the tunes are different from those of other modern Irish traditional performers and composers. so much so that they can be considered different tunes with the . complete melodies are in Appendix D.52 After the Bunting collections. ” This tune dates from 1839." From My Tradition: The Best of Joe Heaney. and the choral arrangement by Michael McGlynn. 2005.53 same text. In a few instances he intentionally changed or omitted portions. this author compiled sources used by many traditional musicians in Ireland. the modern Joe Heaney. a piper from the Connaught region. 79 . by McLaughlin in Singing in Irish. It should be noted that in creating some of his arrangements. as will be seen in ‘Si do Mhaimeo Í and Siúil. O’Moyle. a Ruín. ‘Si do Mhaimeo Í ‘Sí do Mhaimeo Í is also known by the title Caileach an Airgid or Cailleacha Chúige Uladh.79 by O’hEidhin in Cas Amhrán. As this primary objective of this study is the examination McGlynn’s compositions and arrangements. In order to accurately establish the origin and transmission of the songs. turning instead to personal recollection. The variations are referenced according to the author and title of the collection. McGlynn does not always rely on scholarly sources for his melodies.” and Siúil. Transcribed by the author. Ardaigh Cuan. While there are only slight variations between the four recent versions as performed by Joe Heaney from his CD From My Tradition. attributed by both Petrie and Fleischmann (who notate identical tunes) to Patrick Coneely. and by the English titles “The Hags with the Money” or “The Hags from Ulster. "Cailleach an Airgid. McGlynn intentionally used a tune that he knew without refering to any particular source. This section will demonstrate the differences and similarities. harmonic and rhythmic. this chapter is intended to demonstrate how and where he deviates from or aligns with tradition in his arrangements. “Silent. between variations of four songs (‘Sí do Mhaimeo Í. a Rúin) that have been set by McGlynn. McLaughlin. these two versions of the melody shall be considered enough of a deviation from the original to be separate songs. or possible use of similar names for different tunes. person. It is evidence of the living nature of the traditional music of Ireland. listed by English language titles. The translation and transcription difficulties of the Irish language by non-Irish speakers combined with the natural and subtle changes of a tune as it traveled from performer to performer. Let us first consider the differences between what is considered the earliest source material (the melody found in Petrie) and that notated by Ó Canainn in 1970. the Petrie version is written as a slip jig in 9/8. his 1978 version has similarities with both the tune found in the Petrie collection and the modern versions. and McGlynn will then be compared to the Ó Canainn as they are very similar and demonstrate possible performance and regional differences. and though he does not attribute the tune to any particular time. It is also evident that the melodies are quite different. It could be considered as a link beteen the earlier and later versions. or place. which place them in the jig or double jig category. This metamorphosis. While most of the tune variations as demonstrated by Ó Canainn use a 6/8 meter. Ó Canainn notates yet another version. Most striking between the versions are the variant time signatures. The second half of the tune contains similarities between Petrie (Example . Fleischmann’s Sources of Irish Traditional Music also contains two additional versions. For this study. The more modern versions by O’hEidhin. occurrs frequently as the tunes were passed down through generations. often gave rise to entirely new songs. even though they are both supposedly from the same piper. which bear only faint resemblance to the others.54 examples differ from the tune earlier attributed to Coneely. George Petrie. Cailleach an Airgid.Petrie.5).4). Example 5. m. 5-781 It is also interesting to compare four relatively contemporary versions of ‘Sí do Mhaimeo Í. the solo line of Michael McGlynn’s choral arrangement from 1993 (Example 5. Traditional Music in Ireland (London: Routledge & Kegan.3).55 5. 2005). 5-780 Example 5. 1978). The examples shown are the curfá (chorus) from four sources: a transcription of a 2005 performance by Joe Heaney on his From My Tradition: The Best of Joe Heaney album (Example 5. Though there are differences.Ó Canainn. As the Petrie has added beats. but the examples give the idea of the same tune ornamented in a different manner. The beginning note of each compound beat is the same The boxes denote analogous places in the tune. . the melody is slightly displaced. The Petrie Collection of the Ancient Music of Ireland. the reference version in Cas Amhrán as compiled by Ó hEidhin (Example 5.152.1. Cailleacha Chúige Uladh. mm. the basic shape of the tune is the same. and a 2002 arrangement for solo voice and accompaniment by Mary 80 81 Tomás Ó Canainn.1) and Ó Canainn (Example 5.2). 29. David Cooper (Cork: Cork University Press.2. ed. œ œ mm. 82 83 14 j ‘Sí do Mhaimeo Í (Dublin: j McGlynn & Warner œ œ œ œj œMichael & œ œMichael œ œ œ œ œ œ Chappell. œ # œ œ 'Sí do Mhaimeo Í Arranged by Michael McGlynn 5 q = 108 b œ œ œ œ œ œ b œ œj œ œ & œ œ jœ œ œ œ œ œ œ j Mhaimeo Í. œ œ œ œ #œ œ œ œ œ œ œ œ Mhaimeo Í œ j œ V œ œ œ œ # œExample 83 # œ œ œ . œ My œ œ œ œTheœBest of Joe Heaney. 1-484 œ œ œ œ œ do V œ œ œ œExample œ œJ œ 5. Cas Amhrán 11 16 5 j j 6 &8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ j j j V œ # œ œ œ œ œ œ œ œJ œ œ œ . and chorus. J “ ‘S Í Do Mhaimeo Í.56 McLaughlin found in Singing in Irish Gaelic (Example 5. mm. J & œ Mícheál œ œ (Conmara: œ œCló Iar-Chonnachta.McGlynn. œ œ 1993). œ . Curfá 'S Í Do œ œ œ œ. these arrangements are for three different mediums: solo unaccompanied singing. The differences that exist appear to be from interpretative and ornamental decisions or in how the performer or arranger recalled the tune. solo singing with accompaniment. unlike the older versions that were intended for a solo instrument.Í. It should be noted that. Immediately it is clear that these are versions of the same tune. œ œ j œ œ œ œ œ œ œ b œ & œ œ œ œ œ œ œ œ J œ œ 84 &œ œ œ œ j œ œ œ œ œ j œ œ œ œ œ j œ œ œ œ œ œ œ ." œ œ œ"Cailleach œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ Ó hEidhin. 1-482 6 V8 6 j œ œ œ œ œ.5. 'Sí œ œ œ œ œ œ œ œ œ œ œ œ œ. Cailleach an Airgid as performed by Joe Heaney Example 5.” Cas Amhrán 1975).Heaney. Í Do œMhaimeo œ 'S œ œ 1-4 œ œ œ. ! œ œ œFrom an Airgid.4.6).3. 10 14 œ Tradition: & œ œ Joe œ Heaney. however. All begin with the same ascent of a fourth with a return to the note of origin followed by a melodic descent.O' œ œ œ5. mm. 6 &8 œ œ œ œ œ œ œ œ 9 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ & œ J J 11 155. Cailleach an Airgid. they all use different tonal or modal centers. œ œMcGlynn. 2005. # œ œ œ œ œ œ œ œ œ œ œ . œ œhEidhin. "Sí do Mhaimó Í. œ œ œ œ j œ œ œ. 36-37. this rhythmic change. How each enters that repeat. . œ œallows the performer to œ j The œ ornamentations.McLaughlin.Ó hEidhin. MO: Mel Bay Publications. œ œ œ œ j 11 between the Cas Amhrán (Example 5. 1-585 j œ œ œ œ œj j œ œ œ œ œ œ ˙.7) and the others (Examples 5.7. the & have an interval of a perfect fourthŒbetween the first and fourth eighth 10 & œ At œ the œ beginning œ œ œ œ œ œ œ œ œ œ œ but also j œ b œ œ ofœtheœverse bœ œ œ œ there are not only rhythmic variations.86 œ œ œ œ œ œ œ œ œ œ bœ œ œ ˙. In the tune this phrase is repeated. and his reasoning will be further discussed in Chapter 6. While all versions j notes. Another œ comparison is how the œ end œ of œ œversions . Many traditional musicians view this change as a deviation from the accepted version of the song.6. œ œ above rhythmic durations of the phrases are also notable. 9-12 Mary McLaughlin.8-10).Sí Do Mhamó Í Singing in Irish Gaelic 57 Arranged by Mary McLaughlin 6 & 8 œ œ œ œ œj œ œ bœ œ 6 Example 5. The placement of whole and half steps varies & œ œ œ. It should be noted that McGlynn opted to remove this pause in some verses and to elongate it in other verses. œ theœphrase varies among the four interesting 16 (indicated by the second box). use varied & from œ ." in Singing in Irish Gaelic: A Phonetic Approach to Singing in the Irish Language Suitable for Non-Irish Speakers (Pacific. 'S Í Do Mhaimeo Í. Sí Do Mhamó Í. œ œ . mm. melodic differences in where the whole and half steps of the melody are found. 86 85 McGlynn’s arrangement. 2002). ˙. œorœbelow. motion taken to get there is different. Several versions have a pause at the end of the primary phrase. mm. MO. Example 5. Joe Heaney. “Cailleach an Airgid. 'Sí do Mhaimeo Í. mm.Heaney. 89 . 10-1387 Example 5. Sí Do Mhamó Í. 2005. unable to return. ‘Sí do Mhaimeo Í (Dublin: Michael McGlynn & Warner Chappell. Mary McLaughlin.10.58 Example 5. Ardaigh Cuan is a haunting song about the cliffs of Northern Ireland. Legend recounts that MacAmbrois. 2002).” in Singing in Irish Gaelic: A Phonetic Approach to Singing in the Irish Language Suitable for Non-Irish Speakers (Pacific.8. one of the last poets of the Glens of Antrim.9. MO: Mel Bay Publications. mm. MO.McGlynn. It 87 88 Michael McGlynn.11-1488 Example 5. composed this tune while gazing back at his homeland cliffs while on the shores of Scotland.” From My Tradition: The Best of Joe Heaney. 1993). Cailleach an Airgid.McLaughlin. mm. 11-1589 Ardaigh Cuan Composed by Seán MacAmbrois in the middle of the nineteenth century. Transcribed by author. “Sí do Mhaimó Í. and Ardaigh Cuan. 10. Ó Baoill. Airde Cuan. by Ó Baoill and MacEoinare nearly identical.12). mm. all available versions of this tune are remarkably similar. 16-2291 Seán Óg Ó Baoill and Mánus Ó Baoill. 1975). Airdi Cuan. “Ardi Cuan. 1985).11 and 5. "Airdi Cuan. .11.” in An Cór Gaelach (Corcaigh: An Chéad Chló. Airdi Cuan." in Celota Gael (Corcaigh: Cló Mercier. Of the four compared notations. MacEoin. Unlike other songs and airs. 91 90 Micheál Mac Eoin. Example 5. They are printed in several collections and arranged settings dating from 1975 to 1995. Airde Cuan. mm.12. the greatest variant being the use of the 6/8 or 2/4 time signatures. Versions of this tune exist under the titles Ardaidh Cuain.59 became one of the most recognized emigrant tunes in the modern repertoire. 9. all are in a pentatonic minor with the fourth and seventh eliminated. the only differnces are one note and one rhythm in measures sixteen and seventeen (Examples 5. 16-2290 Example 5. The two versions in the simple meter. The lack of variation between versions may be due to the nature and recent origin of the tune. mm. & œ œ œ. œ U œ œœ œœ Silent O’Moyle 9 œ &œ J œ . œ œ œ. œ œ œj œ œ .13) arrangements. q = 60 Ardaigh Cuan Arranged by Michael McGlynn 6 & 8 œ œ œ.12. Œ œ œ. a celebrated poet and writer. 1995). Ardaigh Cuan (Dublin: Michael McGlynn/ Warner Chappell. Moore states: U Thomas “Silent O’Moyle. While other airs notated only a few decades earlier exist in different versions.11 and 5. Ardaidh Cuain. As only about a century divides the original composition from the current versions. J 92 Michael McGlynn. Moore composed the text and fit it to the ancient air with which he was famliar.13. The material has existed in printed sources since Moore set it. it was most likely in written notation since its creation. was publishing a volume of Irish Melodies. the two versions in compound meter are nearly identical to each other. When compared to the Ó hEidhin and McGlynn (Example 5. . it is evident that the tunes are the same as examples 5.” also j Moore composed 9 6 known as the “Song of œ. 1-492 œ. œ œ œ œ. œœ œœ 8 œ œ J œ œ Dear Eveleen. œ ‰ ‰ œœ œ œ J œœ œ œ j œ œ.” Fionnuala.McGlynn. œ œ 8 œ œœœ œ. œ œ œ œ. this tune is nearly identical in all published records and arrangements.” and “Arah My Dear Ev’Leen. In writing about his love of music and why he.” “Tell me during the first decade of the nineteenth century. 5 Example 5.60 Similarly. The rhythmic change to the complex meter allows for additional ornamentation and greater variation in the manner in which the song progresses. in adapting words to an expressive air. 1600-1855: An Annotated Catalogue of Prints and Manuscripts..14). An arrangement by N. Be The Roar of Thy Water: The Song of Fionnuala. While Moore’s version is written in harmonic minor (Example 5. and I have always felt. Moore's Irish Melodies With Symphonies and Accompaniments (Boston: Oliver Ditson. (New York: Garland Publishing Inc. that I was bestowing upon it the gift of articulation. 95 94 93 . Sources of Irish Traditional Music c.15).93 The only non-ornamental variation that is found among the six versions compared (Moore. one of the three listings in Fleischmann’s Sources of Irish Traditional Music has the tune in melodic minor (Example 5. Example 5.Fleischmann (4521). “Silent. The Song of Fionnuala. 2. three in Fleischman. ed. 1-294 Example 5. Aloys Fleischmann. 1998).61 Dryden has happily described music as being inarticulate poetry. v.16).15. O’Moyle. Vol. and McGlynn) is a deviation in the minor mode. Aloys Fleischmann. Arah My Dear Ev'Leen. 824. Page. 1893). 1583-1855.Moore. m.” Moore's Irish Melodies With Symphonies and Accompaniments (Boston: Oliver Ditson. Clifford Page in Irish Songs: Collection of Airs Old and New is the natural minor version (Example 5. Thomas Moore.14. 2 vols. 1-295 Thomas Moore. and thus enabled it to speak to others all that was conveyed in its wordless eloquence to myself. m. 105-106. 1893). be the Roar of the Water. 1-296 In creating a choral arrangement of this tune. Example 5. O Moyle. 1935).Moore. 13-1697 Example 5.” Irish Songs: Collections of Airs Old and New. “Silent O Moyle.18. Michael McGlynn uses a combination of both the natural and harmonic minor (Example 5.McGlynn. be the Roar of the Water. O Moyle (Dublin: Michael McGlynn & Warner Chappell. m. mm.62 Example 5. Clifford Page (Boston: Oliver Ditson. 1993). 60-61. The examples demonstrate the similarity of the two versions of the melody. Silent.Page. Song of Fionnaula.18).16.17). 97 96 Michael McGlynn. mm. Silent O Moyle. adding the raised leading tone only in the final cadence (a derivation from the Moore original shown in Example 5. ed. Silent.17. . 13-16 Clifford Page. Old Irish Folk Music and Songs: A Collection of 842 Irish Airs and Songs Hitherto Unpublished (Dublin: Hodger Figgis & Co. 1909). “Shule Arun (6339).W. a Rúin Both Joyce98 and Ní Uallacháin99 give the origins of this tune as from the time of the “Wild Geese” or Irish Brigade (between 1691 and 1745). Fleischmann.101 P. 236-237. Thomas Moore quotes the air for his “Alone in Crowds to Wander On. 2 vols.” This air.63 Siúil. . Ltd. and Traditions of Oriel (Dublin: Four Courts Press. Vol. 1994). (New York: Garland Publishing Inc.19). 303-05. ed. Though the words have changed. 1583-1855. Joyce. when thousands of young Irishmen enlisted with the armies of France and other areas of the continent. 1600-1855: An Annotated Catalogue of Prints and Manuscripts. 1998). in hopes of overthrowing the British rule of Ireland. emigrated to America.100 and as arranged by McGlynn. 101 100 99 98 Michael McGlynn. My Love” bear a striking resemblance to the published Irish tunes notated by Joyce. Aloys Fleischmann.” Sources of Irish Traditional Music c. 1893). Siúil.. Songs. unlike others included in this study. the songs known as “Johnny Has Gone for a Soldier” or “Come. Pádragín Ní Uallacháin.. Aloys Fleischmann. Nearly a century later in his Irish Melodies (Example 5. a Rúin (Dublin: Michael McGlynn & Warner Chappell. 2. 1159. A Hidden Ulster: People. “Alone in Crowds to Wander On. 1893). 54-55. 9-13102 Most of the versions of this tune are notated in a dorian mode with the fourth scale degree omitted.Moore. The manner in which the music has changed over time and is affected by performers serves as a guide for those to come. but it is used more in the manner of a passing tone or ornamentation. though he intentionally omitted a line of the chorus (as will be discussed further in Chapter 6). and it is in this light that McGlynn approaches traditional music.19. Whether they choose to adhere to the tune with minimal embellishment or use only the text as their inspiration. Joyce indicates that the transcription is from a combination of personal memory and several known versions. He is not a purist and is not concerned with retaining the exact material as the 102 Thomas Moore. mm. A few versions do include the fourth. . possibly alluding to the source of variations found in other known versions. Many of the tunes found in the genre have been changed a multitude of times.” Moore's Irish Melodies With Symphonies and Accompaniments (Boston: Oliver Ditson. making this a hexatonic minor mode. Alone in Crowds: Shule Aroon. the musicians who passed these songs through generations left a world of possibilities for subsequent performers. This is also the case with McGlynn.64 Example 5. The traditional music of Ireland carries with it a rich history. It is a living corpus of musical material that changes daily. McGlynn has added to the traditional repertoire in a choral voice. Through those changes. He often uses impressions or recollections of a tune and creates something different but recognizable.65 collectors have recorded it. . This chapter 103 Michael McGlynn. 66 . His arrangements can be placed into two categories: arrangements of songs from the traditional Irish repertoire. McGlynn admittedly does not attempt to preserve the original melody of the song. and all levels of ensembles from amateur to professional and middle school to college perform them. he strives to reinterpret the impression of the song by retaining something familiar. One of the misapprehensions about my music is that I am not actually concerned with saving Irish traditional music. These arrangements have been a staple of the performance repertoire of Anúna. I am not a traditionalist. The songs that I set are not from a specific collection. Rather.103 His reinterpretations or arrangements of chant or medieval material all retain the original melody in some manner. FL. interview with author. and can be considerd arrangements. February 2010. In creating a traditional song arrangement. The only exposure I had [to traditional Irish song] was during my year at Coláiste na Rinne in Dún Garbhán. they are more impressions of the songs I remembered. Ft. Lauderdale.CHAPTER 6 SELECTED CHORAL ARRANGEMENTS OF MICHAEL MCGLYNN Michael McGlynn is known worldwide both for his arrangements of traditional Irish tunes and his original choral compositions. Many of his Irish traditional song settings come from his memory during his time at the Gaeltacht rather than from a specific source. and arrangements or reinterpretations of songs or chants from the Medieval period. When he first arranged this tune he was highly criticized for it: ‘Sí do Mhaimeo Í is probably the most interesting example [of my arrangements] for which I was criticized. interview by author. from chant sources. McGlynn has set this tune for SATB chorus and a featured female solo.104 The difference in rhythmic momentum is visible in the examples of the Joe Heaney performance (Example 6. FL. Ft. but a choir can do it since they stagger the breaths. 104 Michael McGlynn. Traditional Repertoire !Sí do Mhaimeo Í Originating in 1839 !Sí do Mhaimeo Í (also known in traditional Irish music as Cailleach an Airgid or “The Hag with the Money”) is a spirited jig (a piping tune) that tells a tale of a young man in the village willing to do anything for money. and Cormacus Scripsit. When I thought about it in a choral setting I knew I could not do that.1) and solo line from McGlynn’s choral arrangement (Example 6.67 includes discussions of !Sí do Mhaimeo Í and Siúil. So therefore the piece works wonderfully as a choral piece. The original tune places large gaps in the middle of the phrase. February 2010. I would have had to place little vocal gymnastics in the breaks as to not stop the rhythm. but it is not the piece it began as. from the traditional repertoire. a Rúin. . The result is something that is impossible to sing in one breath. I took out the gaps. So. Lauderdale. The solo is set in a manner that exaggerates the rhythmic vitality naturally found in the melodic line. what I did was.2). " From My Tradition: The Best of Joe Heaney. Transcribed by author. 105 . Cailleach an Airgid. pause in forward momentum 105 Joe Heaney.1.Heaney.68 Example 6. 2005. "Cailleach an Airgid. derivation from traditional tune106 Throughout much of the arrangement. ‘Sí do Mhaimeo Í. 106 Michael McGlynn. the chorus serves as both a harmonic foundation and a driving rhythmic force in its repetition of the text !Sí do Mhaimeo Í. 1993). ‘Sí do Mhaimeo Í (Dublin: Michael McGlynn & Warner Chappell. McGlynn’s use of a dotted eighth note rhythm in the same sections serves as a variation from the melody line and assists in creating the forward motion of the tune.3). .2.McGlynn. The repeated articulation of the initial consonant (the ["] sound at the beginning of the phrase) during each repeat of the curfá (chorus) is emphasized by offset rhythms within the parts (Example 6.69 Example 6. With the parallel motion. as well as the drone-like repetition of the bass line.4). McGlynn. 1-5 While the harmonic support is unusual for what one might expect to hear in a traditional song arrangement. ‘Sí do Mhaimeo Í. It is interesting that McGlynn’s use of parallel movement. mm. also characterizes the accompaniment now being added by traditional groups who are recording this music (Example 6. annotated rhythmic articulation. it is important to remember that this would have traditionally been performed unaccompanied.3. McGlynn creates a modern arrangement using traditional ideas superimposed on ideas found both in traditional music and early art music.70 Example 6. often found in his original compositions. . Both the parallel movement and the use of the drone would have also been found in piping tunes in Ireland. Ah Ah bb ∑ ∑ & Although McGlynn was not inclined to retain the original song. œ. ‰ œ. the chorus’s 4 A change to single syllable homophonic accompaniment during each verse is reminiscent of T of the solo tradition while still meeting his desire to create a choral arrangement. The choral parts are able to ?move with the soloist without disrupting the solo’s rhythmic B b Vb bb ∑ ∑ ∑ ∑ motion (Example 6. œ œ ‰ ∑ ∑ ∑ Ah œ œ . !Sí do Mhaimeo Í.2 Example 6. . Ah œ œ . œ œ ‰ Ah Bass œ. The chorus needs to be aware of where the language and harmonic stresses fall in the solo in order to align changes in the underlying chords. ‰ .5).McGlynn.6.Si do Mhaimeo . The soloist is thus able to more freely negotiate the language and interpret the song. parallel movement that concludes each verse.4. ? bb 6 8 œ. mm. ‰ œ œ . . œ. Ah ‰ œ œ .11-12 Alto 71 Lyrics by: [Lyricist] Music by: [Composer] Arranged by [Arranger] b 6 &b 8 Tenor b 6 V b 8 œ. ? bb 6 8 oo oo oo Bass Through the use of the featured soloist. McGlynn.peall siar ó . naoi nuair 'ara 'cúl. ˙. the intent and tradition of the song heritage has been maintained while being reinterpreted.5. The song reflects life in 1839 Ireland where the ladies would sit and gossip while working (See Table 6.Si do mahimeo b &b 6 8 œ œ œ œ œ J b &b 6 8 ˙ ˙ .1 for the translation).na ceath rún a[í] œ œœ œ œ œ ˙. Catih feadh sí'n stiú . Michael McGlynn.107 The chorus plays the role of townspeople reacting to a story they are being told. ˙. ‘Sí do Mhaimeo Í (Dublin: Michael McGlynn & Warner Chappell. ˙. ˙. 'Sní Soprano 2 Alto Tenor b Vb 6 8 ˙. ˙. Translation is supplied with the score purchase 107 . oo Music by: mcglynn 72 Example 6.ir œ œ œ œ œ œ œ œ œ œ J J ˙. ˙. mm. b &b 6 8 b˙ . ˙. 16-19 Soprano 1 roth aí gh'l tim . ˙.. 1993). ˙. ˙. choral accompaniment. ˙. !Sí do Mhaimeo Í. She is your granny.1. ‘s í do Mhaimeo Í cailleach an airgid. ‘Measann tú ‘bpósfa cailleach an airgid? Tá ‘s a’m nach bpósfa’. While the conductor and choir need not be fluent in Irish to perform ‘Si do Mhaimeo Í. ‘s gairid go bpósfa’. they must have a certain level of understanding of the flow of the language (an IPA transliteration can be found in Appendix C). ‘measann tú ‘bpósfa. ‘S chuirfeadh sí cóistí ‘r bhóithre Chois Fharraige. ‘S na rothaí gh’l timpeall siar óna ceathrúna. we’ll soon have a wedding. Caithfeadh sí’n stiúir naoi n-uair’ar a cúl. tá ‘s a’m nach bpósfa’. ‘s gairid go bpósfa’. We’ll soon have a wedding. much in the same manner as a soloist leading to . ‘S gairid go bpósfa’. we’ll soon have a wedding. ‘s í do Mhaimeo Í. Because he’s too young and he’ll drink the money. ‘S gairid go bpósfa’. I know he’ll not marry. Do you reckon he’d marry. Do you reckon he’d marry the hag with the money? I know he’ll not marry. Séan Shéamais Mhóir agus Máire Ní Chathasaigh. Between Séan Séamais Mór and Máire Ní Chathasaigh. ‘S í do Mhaimeo Í. And she would put coaches on the roads of Cois Farraige If you’d see the steam [steam boat] going past Tóin Uí Loing’ And the wheels turning speedily at her flanks She’d scatter the store nine times to the rear. ó Bhail’ Iorrais Mhóir í. But she never keeps pace with the hag with the money. Sí do Mhaimeo Í. ‘S gairid go bpósfa’ beirt ar an mbaile seo. do you reckon he’d marry. We’ll soon have a wedding by two in the village We’ll soon have a wedding. Mar tá sé ró-óg ‘gus dólfadh sé’n t-airgead. she is your granny. ‘bhFeicfeása ‘n “steam” ‘ga’l siar Tóin Uí Loing’. the soloist needs to be able to lead the ensemble to the changes in harmony. Text and Translation ‘S í do Mhaimeo Í. ‘S ní choinneodh sí siúl le cailleach an airgid ‘Measann tú ‘bpósfa. She is your granny the hag with the money She is your granny from Iorrais Mór.73 Table 6. the ensemble must listen intensely to the solo line. If this is to be performed without a conductor (a viable option especially when performed with a smaller ensemble). McGlynn purposefully deviated from the original tune by omitting the final line of the curfá. Siúil. Each statement of the verse has slight variations of rhythm and ornamentation which are dependent on the text. she should take a breath that is percussive in nature and omit a syllable (marked syllable Example 6.6. mm. If a soloist is not able to sing the duration of the lines without taking a breath.6) in order to make the breath part of the phrase. “Is go dte tú mo mhuirnon slan” (for you my darling will be). . In performance the chorus should be acutely aware of the places in the line where it is difficult for the soloist to project. When performed with a conductor. In the refrain the chorus sings the text while maintaining a more or less homophonic structure. a Rúin dates from around 1700 and is seen as a remorseful song of farewell.2). The chorus serves as accompaniment throughout the verses. a Rúin As was discussed in Chapter Five. The structure is a simple strophic verse with a refrain (Table 6.74 harmonic changes during a recitative. This arrangement is accessible to all levels of choirs and is intended to be fun. 9-12 Siúil.McGlynn. creating the harmonic foundation for the soloist. ‘Sí do Mhaimeo Í. The difference here is that the verse is in English and the refrain is in Irish. the conductor should follow the soloist and strive to join the two entities so they work as one unit. Example 6. example of syllable omission to facilitate breath. British Library). as it is in a moderate tessitura. William O'Sullivan. Medieval Chant Source Cormacus Scripsit Cormacus Scripsit is an arrangement of a chant melody and text from notations on an Irish psalter. 69 Harmonic introduction Verse 1 Refrain Verse 2 Refrain Verse melody in violin Refrain Verse 3 (half statement) Refrain Refrain (extended) Siúil.75 Table 6. 1. 9 m. Dáibhi Ó Cróinín (Oxford: Oxford University Press. On this page Cormac. while marked for mezzo-soprano.2. 38 m. could also be sung by a soprano.1). 30 m. 44 m. 533.108 The British Library acquired it in 1904. March 17. 109 108 . Manuscripts and palaeography. a Rúin is a moderately easy arrangement that can serve as an introduction to singing in the Irish language. ed.3) and chant for McGlynn’s arrangement are from the final page of the manuscript (Figure 6. The solo. 1 m. 2008). in A New History of Ireland: Prehistoric and Early Ireland. Vol. Completed around the twelfth century. the scribe. the Psalter was probably in a library on the continent for much of the Middle Ages and rebound in the sixteenth century. writes to ask for prayers from those who read it. Siúil a Rúin. 24 m. 53 m.109 The source of the text (Table 6. 54 m. form Introduction A B A B Interlude B A B B m. The chordal movements of the ensemble move logically and are in a moderate range. 2010. email communication regarding the manuscript. 62 m. Sarah Biggs (Catalog of Illuminated Manuscripts. final page110 © British Library Board: 36929 (reprinted by permission) The source document is held in the British Library. the braid-like lines appear in red as do parts of the large first letters. 110 .76 Figure 6. O’ Sullivan refers to it as the Cormac Psalter. The title appears as Psalter in all reference books and catalogs. An illuminated manuscript.1: Facsimile of Psalter. Reference Add 36929 British Library Catalog. Theme B. and the final section is set off from the previous by a caesura.4). In this way his intent of “framing the original chant” (Theme B) is realised. November 2009. The basis for this arrangement is the medieval lyric idea of taking a Christian image and hiding it within the context of a natural environment. interview with author.. Cormacus Scripsit. Dublin. The end of the first section is delineated by a tonal shift.112 111 112 Michael McGlynn. This constant taking of nature and using it to amplify the message of the central Christian conceit is the basis of the form. Cormacus Scripsit is in a ternary form in which each large section is comprised of several smaller subsections (Table 6. Ireland.3.111 McGlynn composed two parts of the thematic material.. text and translation Cormacus scripsit hoc psalterium Cormacus scripsit Cormacus scripsit hoc psalterium Cormacus scripsit… Cormacus scripsit hoc psalterium Ora pro eo qui legis hec Ora procese qualibet hora Cormacus scripsit. which are related to the original melody. McGlynn states that in placing his own arrangement around the original … it causes people to look at the image in the middle. Cormacus scripsit Cormacus wrote this psalm Cormacus wrote Cormacus wrote this psalm Cormacus wrote… Cormacus wrote this psalm Pray for him you who read these [words] Pray for yourself at any hour Cormacus wrote Cormacus wrote In McGlynn’s arrangement of this medieval chant he demonstrates his affinity for ancient musical forms and structures.77 Table 6. Ibid. Themes A and C. . through the use of similar tonal centers and melodic motion. ter .ter .ra pro e .sit œ hoc & œœ œ œ œ œ œ . 38 Theme A.ma 3 .cus Scrip .cus Scrip . Chant motive B m.sit hoc psal . 17 Theme B. 9 Theme A doubled at the fifth m. 1 Theme A.ma . - Music by: [Comp Arranged by [Arra - Cormacus examples .sit hoc Psal .9. 3 Theme B. 14 Theme A altered ending m. œ œ .i .o 3 UiU Cor . 2-5 3 Lyrics by: [Lyricist] Music by: [Composer 3 3 b 4 Arranged by [Arranger ! ˙ . œ œ œœ œ œ œ ˙ ! œ œ œœœœ œ œ œ ˙ & 2Œ & Cor . The addition of the doubled theme a ! The use of thematic material is quite unique throughout Cormacus Scripsit. Cor Example 6.ter .sit hoc psal .um o .cusœScrip œ . 23 Theme C. augmented C m.um ! nnn Theme A (seen in Example 6. œ œ œœ œ œ œ ˙ 2 Œ ! œ œ œ œ œ œeœ.cus Scrip .cus Scrip . Cormacus Scripsit.sit œ hoc Psal ter um œ ! ! œ œ œ œ œ & œ œ œ œ œ œ œ 3 œ . œ œ œ œ œ œ œU U & b b 4 ˙. mm.7) is in G Phrygian.ma .ma4 . & .sit hoc Psal ! .i . as in opening statement m.um o . McGlynn Chant motive m.cus Scrip .cus Scrip . Cormacus Scripsit.4. 28 Tutti entrance Theme B variation Theme C.78 Table 6.ma .ter i um Lyrics by: [Lyricist] 2 - œ ˙.ma .ma .i .um Example 6.sit hoc Psal .i . œ œ œ œ œ œ œ œ œ U œ Uœ œ 3 ! œ -œ. Cormacus Scripsit.o b ! n ˙ n . mm. & b 4 ˙. Theme A. McGlynn Opening statement A m.um o .ter .ra pro e . Theme C.sit hoc Psal i um 3 ter .cus Scrip .ter .ra pro o ! & 3 6.um ! œ œ psal Cor ma œ œ ˙ Œ œ œ œ ! œ œ œ œœœ œ œ œ ˙ & Cor . 23 Example Cor . doubled at the fifth Lyrics by: [Lyricist] Over drone Drone doubled at octave Aleatoric figure Drones and fifths return Cormacus examples Cormacus examples œ œ œ œ œ œ œ œ œ œ œ 3 Music by: [Composer Arranged by [Arranger b 4 & b b 4 ˙. form m. œ œ œ œ œ œ œ ! ! œ œ œ œ œ œ & œ œ œ œ œ œ œ Cor . 18 3 n Corb .i . mm.i .ma . 42 Theme A.7.œ œ˙ & Cor .cus Scrip . Cormacus Scripsit .ter œ .sit hoc Psal .8. Alto &˙ V Theme B derived Tenor .79 fifth above and the drone an octave below serve to further reinforce the tonal center. and Theme C. Theme C then moves into the mezzosoprano voice and is used in an augmented form (Example 6. ? b c w bb w 5 Arranged by [Arranger] Example 6. 10-13 Cor œ œ ˙ ˙ .9). Themes B and C in variation.5 Lyrics by: [Lyricist] Music by: [Composer] Tenor b ˙.11. w w œ œ œ œ œ œ œ œ œ œ 3 Bass Cor œ œ œ œ œ œ œ œ 3 ma cus Scrip sit œ œ œ œ hoc œ œ œ œ œ œ œ œ œ œ 3 ma cus Scrip sit w w psal ter i um T Theme B. V b b c ˙. one of the compositional aspects that allows this melody to appear original (Example 6. œ. The use of Theme A at the beginning and the end creates an arch form. the soprano solo (Example ? 6. 28-30 Arranged by [Arranger] Music by: [Composer] Soprano & & ˙ ˙ Theme B Variation at the fifth œ œ œ œ œ œ œ œ ˙ œ œ ˙ ! œ œ œ œ œ œ œ œ œ. ! œ œ œ œ œ œ œ œ ! œ œ œ œ œ œ Theme C augmented variation MzS. where it is doubled in duration and then varied at the fifth in the soprano.8). Theme A doubled.8 Lyrics by: [Lyricist] Example 6. œ. Cormacus 6. Theme B is used as a cantus firmus in the alto. Cormacus 6. mm.10.. œ. both carry into the final section where they develop and sound B b Vb b bbb ∑ ∑ ∑ ∑ simultaneously.11).10). Cormacus Scripsit. Cormacus Scripsit. found in the alto (Example 6. mm. um & 28 tutti The ˙ greatest œ œ œ difficulty œ œ lies in conducting the chant œ œ in a nonœ œ œ for œ the œ conductor œ œ œ œ œ œ œ œ œ o .ter - i - um o . Sliding between œ and perfect MzS..12). f ? W W f Oh* Oh* 32 Slide between notes œ. Cormacus Scripsit. . they are significant in pro e o qui le gis hec o - œ œ œ œ œ ra pro . so move precisely 6.ter - ˙ œ. o ˙ œ œ œ ra pro . œ œ . ˙ his& repertoire. special care must be taken to Cor ma cus Scrip sit hoc psal . W W *There must be no discernible breaths between notes in this section S.80 S. œœ œ œ œ œ œ œ œ œ ˙ œ. œ œ œ œ œ & œ œ 28 metrical manner.ce - œ se qui le - gis hec T. o œ œ œ ra pro .that the mamen cus Scrip . & ˙ ˙ choral medium. w w w B. œ.. œ.ra B. œ.ra T. œ. sliding between notes.(Example sit A.i . mm.ter .ra time to Cor perfect. he has taken a body ofœmusic not known to the vast majority of the public and created arrangements that are to the public through the pro e o qui le gis hec o 32 œ œ œ œ ˙ ˙ œ ˙ œ œ ˙ œ. notes may take ˙ the œ open œ œ . œ œ. F & ˙ ˙ Cor - hoc psal . œ œ œ œ ˙arrangements & While ˙ McGlynn’s of traditional songs and Medieval chants œ comprise a small percentage of his overall compositional output. 28-30 W V W œ. F ensure that intervals are well tuned.ce - œ se - A. . FExample 6. œ œ œ œ i - œ um œ œ ˙ ˙ ˙ o .12. V W ? W W W W W œ. œ. pro e - œ. ma cus Scrip sit hoc psal . œ Through œ œ these ˙ melodies.ce se MzS.In preparing Cormacus for performance. and through those we find hopefully a greater truth. not sacred. Early Irish. a secular text with almost no spiritual input to show an almost pantheistic place where God exists in everything. The traditional music is drawn from the ancient song and poetic traditions of his country.113 McGlynn’s original compositions consist of psalm settings. Of the three categories of music. and settings of texts by famous Irish philosophers and poets. settings of other sacred texts. That is exactly the way that I set the secular texts. February 2010. and that is the key. but the text is something that is not necessarily set in a manner that is religious. I respond to the text. With the spiritual compositions McGlynn creates music that draws upon Ireland’s ancient culture. Latin. McGlynn considers the natural and spiritual compositions linked together: The spiritual music. Florida. All three categories are influenced by Irish culture in different ways. Interview with author. 113 Michael McGlynn. We look at the ideas behind the text.CHAPTER 7 SELECTED ORIGINAL CHORAL WORKS OF MICHAEL MCGLYNN Michael McGlynn’s original choral output can be divided into three categories of composition. Spanish. He has set texts in Irish. it is set in a contemplative way. each with a different genesis of inspiration: traditional. Lauderdale. The natural compositions are an attempt to audibly depict the physical beauty of Ireland. Secular [music] uses tonal language to produce the thought of something existing beyond this world.. is usually informed by using some kind of religious text. mass movements. he creates the sensation of his connection to something far greater than himself.. Ft. and spiritual.. natural. Middle Irish. 81 . works with his own texts. maybe with a few deviations. Scots Gaelic. Ft. Florida. Greek. Middle English.114 Dúlamán Dúlamán is a well-known song in the traditional Irish repertoire. Traditional Works McGlynn chooses on occasion to create new compositions that could be perceived as arrangements of Irish songs. Italian. in the case of Dúlamán. In fact I have done what has made solo traditional music so viable: I have created a new version. People just assume that I have just found a “living” version. and English. Interview with author. However. February 2010. Muireadhach Méith compiled traditional Irish songs in the 1970s and 1980s.115 includes a version of the tune (Example 7.1) that has been recorded by several contemporary traditional Irish music groups. Lauderdale. Breton. In fact they are not traditional songs—he is not a traditionalist and is not concerned with maintaining the song tradition. The Amhrain Chuige Uladh. Swedish. McGlynn’s setting bears no resemblance to the original tune. The melodies in this kind of McGlynn’s compositions are often confused with existing traditional songs. I take the songs and reinterpret them in a new way. but are complete reinterpretations of a song or. as compiled by Méith. Auvergnat. 114 Michael McGlynn. 115 . entirely original using only a traditional text. His intent is to create new choral music that fits into the overall vocal tradition of Ireland. including Altan. My priority is always to create a choral version that works. These works are not arrangements.82 French. tune from Amhráin Chúige Uladh116 McGlynn firstroith drawn the ! was Cuir mo lean to go this dt text me. ˙ œ œ. it was in fact the rhythm of D la m n na binn e buidhe. œ œ. Example 7. 13 language. while the chorus refrain is rhythmically energized with a limited amount of Irish (Example 7. œ œ. “Dúlamán. œ œ œ n a Gaodh lach. and the Kingston Céilí Band.” Amhráin Chúige Uladh (Baile Átha Cliath: Gilbert Dalton. In his version the tenor solo sings the bulk of the text. œ œ. #œ œ . A n ghin mh n ! Sin a nall na fir shu r ghe A mha thair mh n 6 Example 7. When he set this text in 1995 for a male ensemble.83 Clannad. Michael McGlynn. Dúlamán. œ œ œ. because D laof m the n nainflection binn e bu of dhe d Irish la m & œ œ.1. 1-5117 116 Muireadhach Méith. œ . j ‰ & œ. Dúlamán. œ œ œ œ œ . mm. a far cry from McGlynn’s setting of this same text. œ.2). œ œ. œ œ. œ œ. œ œ. 1977). Dúlamán (Dublin: Michael McGlynn and Warner Chappell. du la man a Goadh lach. meter to accentuate the natural syllabic stresses (Example 7. &4 œ œ œ œ œ œ œ. 1995). œ œ œ. œ œ. In these versions the tune is a reel in a moderate lilting tempo.2. œ 2 . œThe Irish is intricately placed in theœfast-changing the language that most intrigued him. solo entrance. 117 . œ œ.3). œ œ. 6-9 dúl a mán ' & & ' & & ' & & na binn e buí Gae B1 dúl a mán na binn e buí Gae (& & & & & & (& & & & & & & & & & & & lach lach B2 dúl a mán na binn e buí Gae lach The overall structure of McGlynn’s Dúlamán is still very much in keeping with the traditional song form. dúl a mán na binn e buí. October 20.htm (accessed October 29. dúl a mán na binn e buí. 2009).3. as it tells of the young men who have gathered the seaweed coming back to town while the soloist. dúl a mán.net/anuna/dulaman. Dúlamán is McGlynn’s most popular composition: it is exciting and rhythmic and it is fun for the ensemble to sing. four of which McGlynn used. chorus refrain. tells his young daughter about the men. There is a verse and refrain (or curfá) structure wherein the soloist has a great deal of rapidly moving text in the verse and the chorus enters on the refrain. dúl a mán. The traditional versions have between four and seven verses. Dúl a mán. Dúlamán. dúl a mán na binn e buí. Dúl a mán.118 Celtic Lyrics Corner.celticlyricscorner. 118 . mm. He has completed revisions of this for SATB and SSAA voicings in addition to the original TTBB. 2008. Example 7. The text (Table 7. http://www. the father. which he feels works the best.84 T $ % $ ! # & & & & & & # & & & & & & & # &&& " $ # & & & & & & % # & & & & & & & $ # &&& " $ # & & & & & & % # & & & & & & & $ # &&& Dúl a mán.1) is well suited for a male ensemble. dúl a mán. The Gaelic seaweed has beautiful black shoes. A ‘níon mhín ó! Sin anall na fir shuirí A mháthair mhín ó! Cuir na roithleán go dtí mé! Rachaidh me chun ‘lúir leis a’dúlamán Gaelach “Ceannódh bróga daor’. Seaweed of the ocean. The text is set in such a way that the syllabic stress of the Irish occurs naturally in both the solo and chorus parts. Since the sections that the chorus sings are repetitive. There are two blunt ears on the stately seaweed. Dúlamán na farraige. Dúlamán gives the listener the impression that it is far more difficult than it actually is. text and translation Dúlamán na binne buí. put the wheels in motion for me! I would go to the tailor with the Gaelic seaweed “I would buy expensive shoes. here come the wooing men.” arsa’ dúlamán Gaelach. dúlamán Gaelach. Gaelic seaweed.4) make intonation a central concern for any conductor. O gentle mother. Dúlamán can be quickly learned and memorized. ‘Bairéad agus triús ar a’ dúlamán Gaelach Tá ceann buí óir ar a’dúlamán Gaelach. Tá dhá chluais mhaol’ar a’ dúlamán Maorach. making choral entrances difficult to synchronize. . There is a yellow gold head on the Gaelic seaweed. The ever-shifting meter can be challenging." said the Gaelic seaweed. The open harmonic setting and fast harmonic shifts (Example 7. The challenges within this composition are greater than they may first appear. The Gaelic seaweed has a beret and trousers. Gaelic seaweed O gentle daughter. Dúlamán. Seaweed of the yellow peaks. dúlamán Gaelach. Bróga breátha dubha ar a’ dúlamán Gaelach. It is essential that the ensemble be exceedingly familiar with the solo in order to better anticipate the entrances.85 Table 7.1. as each solo section is slightly different in meter. We lived in a very wild and ancient place in many ways. The sense of flow and the sense of movement forward is ever constant. ( & Natural Works Among McGlynn’s compositions that he considers influenced by nature. The sea. I suppose that I have tried to describe the sea in many ways. It was at that time that I developed a great love of sea swimming. B1 Dúl mán na binn e buí. Although we lived in a modern hotel (because my father was a hotel manager) we were surrounded by the wildness of nature all the time. is something that runs throughout the entirely of the work. Although it does not mention the sea except as a passing reference. he is especially fond of those with references to the sea. McGlynn views this music as a song cycle that includes “Invocation” (1992).86 T & ! $$ # " $$ # & " $$ # & & & & a a a Example 7. while it is only a small part of the text. The human voice is the only instrument that can create that flowing sound [of the sea]. & ' buí Gae lach. “Island” (1996). “The Sea” (1996). Through these compositions he sought to evoke the idea of the sea and describes the influence it had on him. underneath it the sense of space and almost otherworldliness of some of the harmonies and the openness of [those harmonies] reminds me of the sea. mm. & & & $% & & & & & & & & & & # & & & $% & & & & & & & & # dúl a mán na binn e buí Gae lach. but particularly the sea. Chorus. I have tried to look at the sea and then interpret how it makes me feel. Dúlamán. “Wind on Sea” (1994). I took that a step further in 1994 with “I Am Wind on Sea” which I shortened to “Wind on Sea”. Then I followed that in 1995 and 1996 with . When I was very young we lived by the sea in the west of Ireland. 26-27 & & & & & & Dúl mán na binn e buí. The first time I think I did it very successfully was in the piece “Invocation” which dates from 1993. & & & $% # & & & & & & & & dúl a mán na binn e dúl a mán na binn e buí Gae lach. I love the sea. and “1901” (1997 with revision in 2009).4. B2 Dúl mán na binn e buí. ignoring his original introduction to that work. There are two tracks on that called the “ The Sea” and “Island” which complete that cycle of music. and used it on either side of the new composition.” are included here as examples of this repertoire. “Wind on Sea” and “Island. McGlynn split “Invocation” in half. It takes ideas of melodic lines floating over repetitive patterns. Then after that “1901” and “Ocean” move into different territories with “1901” as my orchestral interpretation. he chose to use material from “Invocation” as an introduction and as a coda to the new composition.2). Wind on Sea Composed for two tenor soloists. Table 7. Both complete scores can be viewed in Appendix E for comparison. Florida. and violin. . the 1994 composition “Wind on Sea” is seen by the composer as a natural evolution from his 1993 “Invocation. Lauderdale.119 Two of these compositions.” 119 Michael McGlynn. interview with author. “Island” being the one that I think far more successful of the two. February 2010. SATB chorus. “Wind on Sea” is in a large compound three-part form with the material from “Invocation” supplying symmetry to the exterior sections (Table 7.87 two songs from the album Deep Dead Blue. Ft.” As such. Essentially.2 references the specific measures from “Invocation” when they are applicable in the overall form of “Wind on Sea. From the breeze on the mountain. never changing or ending on the voice of the A’ (cont) a’ b 3336 3742 4346 4750 5152 5359 (60) 6168 A extension/ transition a Same material as mm. from the waterfall down to the sea. chorus changes movement Chorus returns to material similar to transition with new text Tenor solo has same melodic material from A Same material as mm. I am the song of the blackbird. 25-32 Same material from mm. to the lake of deep pools. Wind on Sea. 1724) Tenor solo with English text evoking .2. I am tide wave on the ocean I am the wind breathe on the sea. 21-24. form Intro 1-8 A transition a A’ b 2124 2532 9-12 1320 material from “Invocation” (mm. I am tide wave on the ocean. 21-24. I am the ray eye of the sun. b extension Coda c d Uses the repeat from “Invocation” (mm. 916) Section B of “Invocation (mm. Who but I can cast light upon the meeting of the mountains? Who but I will cry aloud the changes in the moon? Who but I can find a place that hides away the sun? I am the depths of a great pool. Who but I can cast light upon the meeting of the mountains? Who but I can find a place that hides away the sun? I am a star. wonder in flower. Ailíu iath nErenn. I am the wind that breathes on the sea. I am the spear that cries out for blood the word of great power.88 Table 7. tear of the Sun. I am the wind that breathes on the sea. 916) choral statement of harmonic movement tenor solo entrance with chorus repeating transition material but rhythm changes tenor solo remains. I am the wind breathe on the sea. Who but I can cast light upon the meeting of the mountains? Who but I will cry aloud the changes in the moon? Who but I can find a place that hides away the sun? Ailíu iath nErenn. I am the bloom. I am the tomb cold in the darkness. 5) with voice parts moving on each beat in a non-accented syncopated figure. . He does so by using the chorus in a flowing harmonic passage (Example 7. its melodic movement is in opposition to that of the solo (Example 7. 2532) wind sing the dark song of Erenn to me. bœ ‰ breathe j œ œ œ œ on sea j œ œ œ œ J on sea j #œ œ œ œ I am tide j bœ . mm. As McGlynn sought to imitate the motions B & ! ! ! ! ? 120 Michael McGlynn.89 images if Ireland. œ œ. Wind on Sea. I am tide b b b Arranged by [Arranger] b j œ œ œ œ wave on j œ œ bœ ‰ on b A min7/C j œ œ the j œ œ J the œ œ œ œ œ œ œ œ o .cean o . Wind on Sea (Dublin: Michael McGlynn and Warner Chappell. He also specifies that the chorus should not breathe as a group unless indicated in the score. choral passage.cean S When the violin solo enters in measure seventeen. In spirat omnia vivificat omnia superat omnia suffulcit omnia.5. Ailíu iath nErenn.6). McGlynn does not insert a choral breath or rests between measure nine and measure fifty-two. Chorus in chant-like Latin harmonic support Conclusion of “Invocation” (mm. A Maj7/D E sus4/A D min7 A min7/E Wind on Sea b b b D ??/F Music by: McGlynn S/ A T/B 3 & 4 œj œ œj # œ œ œ œ œ I j am thej wind œ bœ ? 3 œb bœ œ 4 œ œ J ‰ am the wind 5 Example 7. 1994). œ. œ. c’ 6977 McGlynn seeks to evoke the sound sensation of the ocean in this composition. œ bœ bœ œ œ J ‰ . This constant motion he creates depicts both the depth and vastness of the sea and its seemingly unending currents. 9-12 b D ??/F A Maj7/D G min7/B G min7/B A min7/E A min7/C E ??/A 120 b breathe œ. j œ œ œ bœ ˙ the eye of the Sun. œ œ œ #˙ ˙ ˙ ˙ can find a place that hides a -way the sun? S ˙ B œ bœ œ œ ˙ œ. j Œ œ ˙ œ ˙ œ b˙ œb ˙ J œ bœ . œ œ. 17-20 Violin . œ œœ œ b œ b œ œ œ œ œ œ œ ˙ ˙ œ œ œ˙ . . Œ œ ! œ œ œœ b ˙ .. #œ œ œ ˙ I am the tomb.7). bœ ‰ I œ . The following A’ section gives momentary rest from the undulations that came before (Example 7. œ. 3 œ œ œ ˙ 3 " " " " 5 T œœ œ V œ . violin and solo. I am the ray.90 of the sea.6. j œ œ œ œ J the sun bœ . œ œ œ b œ b œ œœ œ œ œ œ œ Œ & ˙ ˙ oo ? b˙ b˙ oo Who but I can cast light upon the meeting of the mountains? Ah Who but I œ .3 œ œ œ bœ œœ œ œ # œ # œ œ œ 3 œ œb œ œ œ œ # œ œ œ &4 # œ# œ œ # œ# œ œ 3 3 3 3 Tenor 3 V 4 #œ œ œ œ . Wind on Sea. œ ‰ I 5 j œ #œ œ œ am ray j œ bœ œ œ J am ray j œœ œœ eye of j œbœ œ ‰ of j œ œ œ œ the sun. ! . œ I j œ #œ œ œ am tomb j œ bœ œ œ J am tomb j œ œ œ œ cold in j œ bœ œ ‰ in j œ œ œ œ œ œ the dark -ness j œ œ œ œ œ œ J the dark -ness Vln. 3 -#œ . both through a slower harmonic motion and a change from text to a single vowel. mm. this movement can be viewed as the tossing of the waves. œ œ œ #œ œ .example 2 Expressively Music by: [Composer] Example 7. I Baritone ?4 3 b œ b.. & ˙. Wind on Sea. œ œœ œœ œ cold in the dark ness Soprano 3 & 4 œ. Wind on Sea (Dublin: Michael McGlynn & Warner Chappell. Wind on Sea. mm. œ I j bœ . 17-20 Vln. œ œ œ #˙ ˙ ˙ ˙ McGlynn concludes “Wind on Sea” much in the way it begins. of the Example 7. . part b. ?4 3 bœb œ ‰ I œ. œ 3 œ œ œ ˙ 3 T œœœ œ œ œ V œ . I invoke the land of Ireland. Translation taken from score. In spirat omnia vivificat omnia superat omnia suffulcit omnia. j Œ œ ˙ œ ˙ œ b˙ œb ˙ J ˙ œ bœ œ œ œ˙ . Œ ! œ œ œœ b˙ . Ailíu iath nErenn.7.. œ œ. œ œ œ bœ bœ œ œ œ œ Œ & ˙ ˙ oo ? b˙ b ˙ oo Who but I can cast light up on the Ah meeting of the mountains? Who but I œ . I am am œ œ ray j œ bœ œ œ J ray eye of œ œ œ œ j œbœ œ ‰ the sun. McGlynn reinforces his affinity for formal structure.3). 121 . 1994).Baritone . Michael McGlynn. œ œ œ œ bœ ‰ J sun I am tomb am tomb œ œ j œ bœ œ œ J cold in œ œ œ œ j œ bœ œ ‰ in the dark -ness the dark -ness œ œ j œ œ J œ œ œ œ œ œ œ91 & ˙. œ œ œ. text and translation Ailíu iath nErenn. He inspires all things He makes all things grow He is above all things He supports all things. In creating the structural pillars at the beginning and the end.3. œ œœ œ b œ b œ œ œ œ œ œ œ ˙ can find a place that hides a -way the sun? S ˙ B œ bœ œ œ ˙ œ. Wind on Sea.121 Table 7. œ œ œ #œ œ . The coda starts with a repeat of the introduction and completes the material borrowed from “Invocation” evoking the spirit of Ireland (Table 7. I invoke the land of Ireland. 8.” the 1996 “Island” is scored for SATB chorus and harp.. w & c . Island (Dublin: Michael McGlynn and Warner Chappell. chorus and harp contrast.” though later. 1996). . .8) and are characteristic of the rest of the composition... 1-4122 Soprano 1 Soprano 2 Tenor & c . Island Example 7. Whether the chorus is holding a single chord on an open vowel or moving through text in a fluid manner. The opening four measures illustrate this natural contradiction (Example 7. Island.. it is at any given time either rhythmically or harmonically static (Example 7... T 5 . mm. . w mm p & c .. .9).92 Island Composed two years after “Wind on Sea. is the orchestral component to the cycle). Harp ? c . He explores both the stillness and the motion of the water in the contrast between the chorus and the harp. w mm p V c . 5 ! œœ bœ œ œ œ bœ œ œ œ œœ S1 &w &w Vw S2 122 Michael McGlynn. ! mm w w w œ bœ œ œ œ bœ œ œ w w w ˙ #œ œ w w w ˙ #œ œ ... This composition is the final choral work in McGlynn’s evolutionary cycle of music based upon the ocean (“1901.. œ ˙. ?c œ w De . and Latin in combination (Table 7.lis œ œ œ œ ˙˙ . The changes in the text occur most often in conjunction with tonal shifts and help to delineate the overall form of the composition (Table 7.lis ac so . & c œ ˙. . ˙. choral stasis mm.us Bass ˙.5). McGlynn chose to use English.us De ..us Example 7..lis œ w ˙. 9. sometimes simultaneously. Irish.4). ˙.93 Soprano &c œ œ ˙ ˙ .lis Tenor ˙ lu ˙ - nae Tenor Vc De . Island. 29-32 Island ˙ ˙ ˙ ac so .us oo ! so . ! ac lu ˙ ˙ ˙ - nae ww w w ! ! ! ! w ! ! ! Alto so . œ ac Harp &c ?c ! ! œ o œ ˙ ˙ w ! lu - nae lu ˙ - nae w w œ ! ! œ œ œ o œ ˙ The use of text in “Island” is unique. Vc De . net/anuna/island.” Ascnam tar tuinn topur ndílenn dochum To sail across the wild sea back to Ireland nÉirenn Inspirat omnia He inspires all things Vivificat omnia He makes all things grow Superat omnia He is above all things Suffulcit omnia He supports all things Celtic Lyrics Corner-Island.celticlyricscorner. 2009).” Deus super caelo et in caelo et sub caelo God above heaven and in heaven and under heaven Habet habitaculum erga caelum He dwells in heaven Et terram et mare And earth and sea Et omnia quae sunt in eis And all that is in them Non separantur Pater Not separate are the Father Et Filius et Spiritus Sanctus The Son and the Holy Spirit On an island I long to be Evening brings a whisper of the summer breeze I hear the song of the ocean wave on wave Crying. Island.4.94 Table 7. text and translation123 On an island I long to be Gazing out upon the shining surface of the sea I hear the sound of the ocean wave on wave Crying.” Ascnam tar tuinn topur ndílenn dochum To sail across the wild sea back to Ireland nÉirenn Deus caeli et terrae God of heaven and earth Maris et fluminum The sea and the rivers Deus solis ac lunae God of the sun and the moon On an island I long to live Seabirds lament the coming of the winter wind I hear the endless sound of sea on shore Crying. "You who have turned away from home. "You who have turned away from home. 2008. "You who have turned away from home. 123 . http://www.htm (accessed December 2. ” and “The Wild Song. Among them are “August.95 Table 7. Island. he views them in a spiritual realm that does not ascribe to a specific religion.. form Introduction 1-4 a 5-21 b 21-24 25-28 A c 29-33 34-46 47-50 d 51-54 55-60 B Transition A’ D a’ b’ 61-65 66-80 81-84 85-101 open vowel English Irish Latin Latin Latin and English Irish and English Latin Latin open vowel English Irish Latin Key change chant Key change chant McGlynn has several other compositions that explore various aspects of nature and the personification of the natural world.” he is very careful to specify that he does not mean that they are spiritual in a religious context.. McGlynn spoke about this concept in a January 2010 interview: “.” All of these compositions depict the landscape of Ireland and use harmonic techniques (modal scales) from the song tradition. Spiritual Works When McGlynn discusses his compositions that he considers “spiritual.” “Silver River. Many of the texts have dual meanings.5.this constant taking of nature and using it to amplify the message of the central Christian . and most have a natural or human component. Although many of the texts are associated with the Catholic Church because of their scriptural use. Lauderdale. interview with author. February 2010. Ireland. and there are three statements of the choir in the center singing sanctus. rehearsal comments.”126 The use of three soloists is significant for McGlynn because. February 2010. This setting of the mass movement is quiet and ethereal. January 2010. Michael McGlynn... He indicates in the score that the three solos should be placed at various locations around the venue in an antiphonal manner. and should be performed with as little physical motion from the ensemble as possible. as in the Agnus Dei. Dublin. Michael McGlynn. baritone solo. interview with author.”124 The exception to his choice of text settings is in commissioned works. where he is constrained by the commisson.6) and is based upon “. as he stated.the Hildegard idea of rhapsodic melody and restrained ecstasy. Three soloists echo the three statements of the word. According to McGlynn this soloist is intended to represent the “voice of man” and should move forward in a dominant manner. . Florida. Other compositions included in this category are the Sanctus from his Celtic Mass and “Incantations.125 The overall form of Sanctus is ABA (Table 7.96 conceit is the basis of the form. Sanctus McGlynn composed the Sanctus from his 1991 Celtic Mass for three soprano solos.” He said the soloists must be placed 124 125 126 Michael McGlynn. The only movement should be from the baritone soloist as he moves from his position in the chorus to prepare to sing the solo.” the texts of which he chose or created because of the spiritual connection he found with the words. “the whole point to the Sanctus is the number three. and SATB chorus with optional harp accompaniment. Coral Gables. Ft. 25 m. E-flat. Sanctus. Dublin. . January 15. which is placed over a foundation of stacked fifths. Sanctus. Pleni sunt caeli et terra gloria tua. the first having several variations which are harmonically related. Sanctus Theme A by soloists Theme A variations by soloists Theme B by solists and choral women Free chant by solo Theme A by solists Theme B by choral women Theme A by solists C drone C over F drone Men C/F drone Harp arpeggio C drone A m. A-flat. B-flat) is used in variation.6. Sanctus. Sanctus Dominus Deus Sabbaoth. This variation also recalls the traditional concept of chromatic inflection. The entire composition is based around a C minor scale. Ossana. Ireland. Osanna in excelsis Osanna in excelsis Benedictus qui venit in nomine Domini. Pleni sunt caeli et terra gloria tua Osanna in excelsis Sanctus. as occasionally the D is changed to D-flat. 2010.97 throughout the venue so as to give “a sense of space and endlessness as the angels sing for all eternity. interview by author. Sanctus. 127 Michael McGlynn. D. F and C. 1 Sanctus. Sanctus. Sanctus Dominus Deus Sabbaoth. The pentatonic scale of Theme A (C. 63 themes occur in stretto over C/F drone and harp arpeggio McGlynn employs two main themes in Sanctus. formal structure m.”127 Table 7. 36 B m. 51 C m. mm. 2-5 œ œ œ œ J œ bbb 2 4 b 2 b b œ œ Theme B œ œ œ œ œ œ ˙ œ Example 7. F).10. b 2 &b b 4 œ b 2 &b b 4 Œ b 2 &b b 4 Œ 128 Example J 7.sis. J œ œ œ œ - ex . It is only at this point that the two pentatonic scales are combined to realize a c-minor tonality without the G (the fifth). Sanctus.11) uses b Scale 7 a new pentatonic scale (B-flat. C. 128 Michael McGlynn.na œ- œ œ œ œ - œ œ œ ˙ ˙ tus bbb 2 4 4 œ - œ - ˙ - bbb 2 4 œ Œ - bbb 2 4 bbb 2 4 Œ 8 Theme B œ O œ œ œ œ œ san .98 Theme A (Example 7.. 1991). Theme B. with the three statements of the solos ending on a unison C over the F/C drone. Sanctus.cel œ. œ œ œ œ œ J œ œ. Theme A. Sanctus (Dublin: Michael McGlynn and Warner Chappell. Upon the return of the A section in measure fifty-one. 25-29 san . uses only those tones found in the pentatonic scale. the two themes begin simultaneously (Example 7. . D E-flat. which is repeated once and then varied for the third Sanctus examples œ œ statement of the text.cel - - . mm.11. Sanctus examples œ œ œ b 4 &b b 7 Theme A Scale . œ œ œ œ œ - - sis. Theme B (Example 7.12).na in O - in ex . 10). The piece then concludes in much the same manner in which it began. bbb 2 4 œTheme 2& A 2 5 & b b 4œ œ œ San b 2 œ œ & b b Theme 4 A Variation œ 5 Theme A Variation 8 b 2 & b b 4 œ. SA b 2 œ. ∑ O œ œœœœ ˙ J san ˙ œ œœœœ ˙ J san S3 ∑ na œ.12. There is an apparent trinity within the form of the composition. Each poetic line refernces three items and is completed by a three note ‘Alilu’.57 S2 ∑ ∑ œ œœœœ ˙ J san ˙ ∑ ∑ ∑ ∑ ∑ ∑ na œ. mm. J in no O na ˙ ˙ ˙ ˙ mi ˙ ˙ ˙ ˙ ne ˙ ˙ ˙ ˙ ∑ Incantations Incantations. b 2 &bb 4 b 2 &bb 4 O Example 7. The piece is written in 6/8 with frequent use of hemiola for a contrasting feeling of 3/4. Sanctus.99 S1 b 2 & b b 4 œ. This rhythmically animated composition is a series of affirmations of beliefs (Table 7. with text written by McGlynn. final section entry. This text demonstrates McGlynn’s concept of taking a Christian theme and placing it into a natural environment. was composed and premiered in 1989. .7). &bb 4 œ œ œ œ œ J 2 ˙ ? b 4 ˙ bb ˙ ˙ Oh Be ne di ctus TB ˙ ˙ ˙ ˙ œ œ œ œ œ ˙ ˙ ˙ ˙ qui ven it ˙ ˙ ˙ ˙ ‰ œj œ œ œ œ œ œ . including the form of the text. It is set for an unaccompanied SSAATTBB chorus. 51. Interview with Author. Alleluia my Jesus. !s Tusa an t-iasc. !s Tusa an éan. 130 129 Michael McGlynn. You are the grass. 1989). aililú. Alleluia. which remains constant throughout the work (Example 7. Alleluia You are the sun. February 2010 . however it is a compound ternary form. aililú.7. You are the sky. Aililú mo Thuarna. Aililú mo Íosa.8) of “Incantations” is ternary. McGlynn begins by introducing a rhythmic ostinato.100 Table 7. !s Tusa an spéir. You are the fish. Alleluia. !s Tusa an mhuir. Incantations (Dublin: Michael McGlynn & Warner Chappell. You are the stag. Incantations. !s Tusa an fuacht. You are the sea. !S Tusa an fear. You are the tree. Alleluia my Christ. You are the cold.130 Overall. the entire work is constructed in layers with each theme developed over the underlying rhythmic intensity of the eighth note pattern. He composed “Incantations” during a time when he was commuting forty-five minutes on a motorbike and says that the rhythm and pitch are that of the bike. !s Tusa an réalt. text and translation129 !S Tusa an dámh. Alleluia my heart. !S Tusa an ghoath. Alleluia my Lord. Alleluia. Aililú mo Chríost. You are the bird. Translation in score.13). You are the flower. You are the wind. !S Tusa an ghrian. aililú. The overall structure (Table 7. You are the star. !s Tusa an bláth. Michael McGlynn. Aililú mo chroí. !s Tusa na crainn. aililú. lú. œ œ œ œœ œ ail . œ œ #œ ail .lú.lú. 24 m. m.lú.lú. Theme A Theme A œ in œ Soprano œ œI Tu -sa an saSoprano an fuacht.i .Alto 2 &6 8 Tenor 6 V 8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. ail .lú.i .lú. 16 m. ail . After a three-measure introduction. Theme B œ inœ Alto œ œœœ œ œ œ œœ œ Theme B Theme C Theme Ail C in in augmentation ail .lú. 64 m.i male .i . ail . Tu -sa an dámh. ail .i . Theme A ail -Theme A in Alto p Theme A Theme A in Soprano II Theme A A in Soprano I œ .lú.i . . Coda Ostinato material with opening chord œœœ œ œ œ œ.i . Bass ?6 8 p ! ! ! œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ.lú.lú. ail . who continue through the first line of the text with the first three affirmations of “You are.œ50 I’? ail .” The second © 1989 Michael McGlynn 131 Michael McGlynn. 4 m.i .lú.i original .lú. 61 œ œ œ m.lú.. B 58 m.i . 20 m.71 Introduction Beginning of ostinato Ail . Incantations . Theme C œ inœ soprano œ œIIœvoice œ in œ variation œ œ œœ œ Theme C Theme C in male voices in augmentation ail .lú. Theme . 10 ! m. 67 Ail .lú. ail .i . 43 m. .i .i . Ail . 8.i .lú.i . 27 m.sa an œ œ œ œ. in augmentation Transition Related to Introduction and ostinato i . Theme B ghaoth. mm. ail . .lú. œ œœ œœ œ œ œ .lú. Theme B ail -Theme B in form in Alto Theme B Theme B in original form in Soprano I and II œ œ œ œ Theme œœ A œ in œ original œ œform œ œ œ œœ œ .1 m. Incantations (Dublin: Michael McGlynn and Warner Chappell. Ail .i .lú.lú.13.lú. 1989). œ œ œ œ.33 lú.i .i . œ œ œ œ.lú.. Example 7.lú.i .lú. 101 Tu. œ œ œ œ. ail .i . 45 S2 & I & #œ II B A1 ail . ail . 1-4131P ail .i .lú.lú. Tu .lú. ail .i . Theme Tu Bin II F Theme B Theme B in Soprano I Theme B Theme B in Soprano II œ œ œ œ .i .lú. P œ œ œ œ.i . ! ! ! œ œ œ Tu -sa an dámh. ail . Theme Theme Ail B in Soprano I and II offset by one p C beat œ œ œ Theme C Œ ‰ Œ ‰ œœ œ œ Theme œœ C œ inœ œ male œ voices œ .sa an œ œ œ éan.i .i . i . 37 m.i .œ63œ œ A/B m.i .lú.i .lú. ail . m. 40 œ m.lú. Theme A is stated by the altos. m. . V œ œ œ m.sa an mhuir.i .i . ail . voices ail . ail . ail . ail .lú. form & œ œ œ A m.i T . ail .l Ail . ail .i . ail .i .lú. Incantations.i .lú.lú. œ œ œ œœ ail .i .i . ail . Theme Theme C in male voices in augmentation p C Theme C Theme C in soprano I voice in variation Theme C œ œ œ œ . ail . ostinato.lú. p 7 S1 Table ! 7.lú.lú. ail . œ œ œ œ œ œ œ.i .i œ A2 & #A’/B’ œ œ ail .i . 29 œ m. œ œ œ œ. 8 m. 41 lú.lú. Tu. ail . éan.i . m. ail . Ail .i . i . in Alto Theme A Theme B Theme B in original form in Soprano I Theme B ail -Theme B in original form in Soprano II ail .i - lú.lú.lú. Incantations. Tu . ∑ i lú ! ∑ mo ! ∑ ! ! 26 (Example 7.16) is stated in an augmented form with all male voices in stacked fifths and fourths. Incantations. ! Theme C! . Soprano II. chroí. Theme B. œ & & & & S1 ! ! ! 8 6 & 8 ! Example 7. which has the final two statements of the first part of the text (beginning a fourth higher).15. McGlynn introduces ! ! ! a new theme ! and its variation. In measure thirty-seven. #œ all - œ i - lú. œ œ œ ! œ œ !œ ! ! ˙. an mhuir.16 and 17. Tu . Íos ∑ ! ail œ. an fuacht. Soprano.17) in a compressed rhythmic structure that begins on a different pitch level. followed by soprano I. Tu .14) at the same pitch level. The difference in metrical duration of the two themes causes the harmonic rhythm to become denser.102 line is brought in by soprano II (Example 7. 8-11 an ghaoth. Theme A. mm. [Title] Score [Composer] S2 6 & 8 œ œ œ œ. Chromatic alteration or inflection is also visable in both examples 7. McGlynn frequently In Section II. 20-25 17 S2 6 &8 œ œ œ œ œ œ ! ! lú ! Ail ! i mo ! ∑ ! ∑ ! œ.14. Measure twenty marks the start of section IIB and the introduction of Theme B by the soprano II section (Example 7. the sopranos enter with a version of Theme C (Example 7.sa 5 Example 7. After reaching a climax in measure forty-eight there is a complete bar of rest. !a.sa œ œ œ œ.15). This is especially true once Theme C is repeated after a delay of only one beat.sa œ œ œ œ. mm. theV dissonances structure in final section. he has voiced Tenor 8 . ail . #˙. followed by a Cnatural. ˙ ˙ . Soprano m. 8 ˙ ˙. i sa - - - - lú. This time. i #œ . œ œ œ B ail .i . Tu Tu Example 7.create a more open˙harmonic ˙ . 33-36 B . incan œ. Theme C. at the ninth to ˙ . dámh.i . sa sa . ˙. an ˙ ˙ .lú. ail - œ œ i - lú.i . an ˙. ail Tu - - - - - - - ˙. ˙..na. ail - œ œ i - lú.lú.18) that was seen in the opening (Example 7. Incantations Theme C. Incantations.17. b˙ ˙. ail .18. ! - - mo Thiar .lú. b˙. 16.lú. T V6 8 ˙. ail œ œ œ - œ i - lú. 50-54 T Vœ œ œ œ œ œ ?œ œ œ œ œ œ œ œ œ œ œ œ V ? ! ! ail . dámh.lú. however. œ œ œ ail .anticipation the .i . ail .. ostinato and hemiola return. Soprano 6 œ. 37-40 œ. 8 ˙. an ˙ ˙ . ail - - - Example 7. ?6 . lú œ. dámh. tenor and bass. Bass ? 6 ˙. 6 ˙ ˙. mm.i .i . ail . ˙ ˙ . œ.lú.lú. Incantations.i . Score The transition at measure fifty restates the ostinato and hemiola pattern (Example & ! 7.19). &8 ail 5 Example 7.lú.103 uses an F followed within a measure or two by the F-sharp or a C-sharp. mm. #˙. ˙ ˙. ail œ œ œ - œ i - lú. œ œ œ bœ œ œ œ œ œ œ œ bbœ œ œ œ œ œ œ ! ! ail .. T ! ! ! ! B .i . ˙.. i .lú.19. ail .lú. An example work remains œ œcentered œœ œœ .lú. just as was seen in the first section.lú. ail .lú. ail . œ œ œ œ. œ.lú. Although the voices.lú. ail .i . œ œ œ œ.i . Ail - ! œ œ œ œ œ œ i . ail . ˙. chroí.lú.lú . ail -i . ail . those layers and paired voices to properly frame the tuning. .. œ œ œ œ œ œ œ7. œ œ.i .lú P ail . The final section. other (as in the soprano lines from ail .lú. mm.i .lú. ˙.i .i .lú.i . I’. the themes occur simultaneously in the women’s voices 19 S 1 while the men continue with their material from the transition.i . ! ! ! ! ! difficult due to the stacked fifths and parallel movement that occur between the male A 2 ail . " ail .lú.lú.lú.lú ˙. ˙. ? œœ œœ œœ œœ . which could be extremely ! !layers of sound. ail . œ œ œ œœ œœ œœ œ œ œ œ . ˙. 104 B " œ œ œ œœ œœ œœ œœ œœ œœ œœ . V œ œ œ œ .i . œ ! ! ! ail œ œ œ œ œ œ i . ? Example B ail . ail -i .lú. 13-16" œ œ.lú. mo Íos - a.lú. ail . McGlynn has created a constant rhythmic energy that serves as foundation for the A1 development of the melodicF motives. ail . œ œ œ œœ œœ œœ œ œ œ œ .lú.lú.i . ail .A1 & & ! ! ! ! ! ! A2 T œ œ œ œ. This time. require eight. ail .around G. œœœ œœœ œœœ œœœ ˙. is seen in the presentation of Theme C (Example 7. ail . ˙.i . ostinato.i .i . ail . " " œ œ œ œœ œœ œœ œœ œœ œœ œœ ..i . ail -i . Example 7.i .lú. & œ œ œ V œ. ail .20). œ œ œ œ.lú.lú. ! The conductor ! should use ! McGlynn composed Incantations in & œ œ œ œ.i . combines both Themes A and B. The work concludes with & œ & the ostinato that has been ever-present. ail .lú. Through his use of the repeated eighth-note ail - œ i - lú.i .i . œ œ. ! ! ! ! ! œœœ œœœ œœœ œœœ ail i . ail .lú. " ail .21)œwill ˙ .i .lú. mo S 2 pattern.lú.. Incantations.i .lú. ail . proximityail to-each measures forty-three through fortyi . ail -i . however. ˙. attention.i .lú. ail . the chromatic alternations of a given pitch in close T P .i .lú œ.i .. dámh. #œ. 8 ˙ ˙. ˙. œ. ail Example 7. For his contribution. œ. Lamb of God. #œ. ˙ ˙ . na.9). ˙ ˙. Tu Tu Example 7. mo i lú Thiar ail œ.. a thógas peacaí an domhain. b˙ ˙. mo mo Chríost. &Œ ‰ ail œ. Agnus Dei Agnus Dei. Incantations. Agnus Dei. sa sa . œ.21.. œ. œ.105 T 6 V 8 ˙. who takes away the sins of the world.9. ˙ ˙ . text and translation A Uain Dé. is scored for SSAATBB and Tenor solo and is approximately ten minutes in duration. deán trócaire orainn. Table 7. œ. œ. lú œ. œ. i i #œ. lú ˙. an an ˙ ˙ . 43-48 œ. Lamb of God. ?6 . dámh. mm. have mercy on us. Incantations. men parallel motion. McGlynn chose to set the text of the Agnus Dei in both Irish and Latin (Table 7. from And On Earth Peace: A Chanticleer Mass. have mercy on us. deán trócaire orainn. mo Thiar na. 33-36 B . S2 œ. mm. œ. lú Chríost. a thógas peacaí an domhain. soprano I and II. i #œ. #˙. A Uain Dé. œ. commissioned by Chanticleer in 2007. S1 & œ. is a compilation of movements by living composers from different ethnicities and backgrounds.. The complete work. who takes away the sins of the world. . œ.20. qui tollis peccata mundi. 28 m. Tabhair dúinn síocháin. misereri nobis. 15 m. 32 m. 10 Tenor Solo in Irish Tenor solo with harmonic support Tenor solo with harmonic support Tenor section. grant us peace. 36 m. Lamb of God. 19 m. The overall structure of the movement is in a compound binary form. Agnus Dei.10. The entire concept of the Agnus Dei is in groups of threes. 42 m. Given the three lines of text. have mercy on us. 23 26 m. 52 m. who takes away the sins of the world. have mercy on us. grant us peace. 50 m. Agnus Dei. 40 m. 6 I A m. 1 m. form m. who takes away the sins of the world.106 A Uain Dé. who takes away the sins of the world. Table 7. Each subsection also contains three parts. a thógas peacaí an domhain. Lamb of God. 76 Theme A Theme A’ Theme A treatment Theme A’ variations Theme B (solo) Theme A (chorus) Theme B variation Theme B Theme A related material Theme A related material II C D coda . qui tollis peccata mundi. with each large section composed of three smaller sub-sections that also have roughly three parts. misereri nobis. Agnus Dei. Agnus Dei. Lamb of God. Lamb of God. a trinity of structure like this is quite common for movements of the Agnus Dei. dona nobis pacem. who takes away the sins of the world. thus evoking the Holy Trinity. Latin Bass Section homophonic choral movement homophonic Choral treatment of theme Tenor solo paired with chorus homophonic choral movement Tenor solo paired with chorus Variations in chorus and solo Chorus in forms of countermelody Homophonic chordal movement Chant Theme B m. qui tollis peccata mundi. Although notated in meter. $ !" # !" ( Freely % &' Example 7.22). Seán Ó Riada. tenor solo. McGlynn. ( ( ( A U ain Although the melodic line was influenced by chant. 3 A U ain Dé. Agnus Dei.22. another chant-like version of the Agnus Dei in the Irish language (Example 7. ( ( ( ( ( () a thó gas pea caí an domhain.1-5132 3 3 * ( ( ( ( (( ( * ) ( ( ( ( ( ( ( ( ( ( ( ( ( () ( ( ( ( ( () A U ain Dé.133 When asked about this work. a thó gas pea caí an domhain. it is marked “Freely” and is intended to follow the natural inflection of the language (Example 7.107 Monophonic influence and affinity for chant are clearly evident in the opening fifteen measures with the Irish language solo chant-like melody. When shown the Ó Riada setting. the material is not derived from any one specific source. but stated that he would have been introduced to Ó Riada’s music from his time at the gaeltacht.” Ceol an Aifrinn: mar a chanter i nGaeltacht Chúil Aodha (Baile Átha Cliath: An Clóchomar Tta. McGlynn discussed his thoughts on the two: Michael McGlynn. however. mm. 2007). “Agnus Dei." in And on Earth Peace: A Chanticleer Mass (Dublin: Michael McGlynn and Warner Chappell. 1971). "Agnus Dei. McGlynn was not familiar with the exact tune. a thó gas pea caí an domhain. Ó Riada was extremely influential in the revival of traditional Irish music during the 1960’s and 70’s both as a composer and as a performer.23) by Seán Ó Riada in his Ceol an Aifrinn. 3 A U ain Dé. ( ( ( * . déan ( - + () ( ( ( () # tró cai re * or ainn. There is. 133 132 . ‰ œ J A b œ Uain Dé. interview by Author. Though it was not his intent. Simply by the fact that they are both in the Irish language and modal people assume that [the chant] is Irish. Measure six marks the first entrance of the partial chorus voiced harmonically in stacked fifths (Example 7. February 2010. Florida. solo line.24). . mm. 1-6 A Uain Dé a thó gas pea caí an domhain. It is a very interesting thing to look at the two of them side by side. He recalled many traditional songs from his time in the gaeltacht. Agnus Dei. Lauderdale. œ ‰ œ 7 œ œ œ œ œ J 4 a 3 an domhain. thó gas pea caí œ Œ œ tabhair dúinn sío 3 U 4 ˙ cháin. By saying it is by an Irish composer and in the Irish language people assume that it is in the tradition of Irish music. Ó Riada.134 3 b 3 j j c ‰ &b 4 œ œ œ œ œ œ œ œ œ Example 7. Another example of the dual influence of ancient and traditional music on McGlynn may be seen in his treatment of the chorus during the opening solo section. Mine is not based on [Ó Riada’s]. the overtones present are quite reminiscent of a drone accompaniment that occurs with the use of the Uílleann pipes. pea caí œ ‰ œ J déan 3 œ 3 4 œ œ œ bœ œ tró cai re 'rainn. Ft. many of the tools and harmonies he uses are closely related.108 The two look familiar in that both use repeated notes and are chant-like. Despite McGlynn’s own denial that traditional music or instruments had any impact on his compositional style. but it is a piece of chant with Irish words. œ 3 œ 3 ‰ œ 4 œœ œ ‰ œ J J déan tró cai re 'rainn.23. a thó gas 3 an domhain. Such treatment of a melody over a 134 Michael McGlynn. A &b &b b œ œ ‰ œ c œ œ œ œ œ J Uain Dé. and it is almost certain that there were instrumentalists in the area as well. two minutes into the ten minute composition. following the soloist as to make it as non-metrical as possible. the only place known where part-singing did occur frequently on the island. m. Chordal changes need only to align with the movement of the solo and not on specific beats. To do this the chorus would move slowly. 6 Although it is not notated in the score. Throughout the opening section the conductor should treat the rhythms and tempo as freely as recitative conducting. Example 7. McGlynn. the composer has indicated that his intent was for the chorus to engage in harmonic overtone singing in the first section (through measure thirteen). choral harmony with tenor solo. through a series of vowels to change the overtones occuring at any given time. McGlynn lists an option for concluding the piece at measure thirteen. creating a work only for solo tenor and a chorus in chordal accompaniment.109 sustained drone would also have been present in early Irish church music. and independently. Agnus Dei. the entire work would only be sung . If performed in this setting.24. This motive appears in many forms. A gnus De . Vb 4 œ œœ A gnus De . Theme A.ta qui tol .lis pec-ca .26. œ œ œ œ J J J gnus De i qui tol lis pec ca ta qui tol lis pec ca w. The basses restate the first measure of Theme A with slight variation (Theme A’). œ œ bœ œ œ œ œ œ œ. ta mun . j œ b œ œ .24 creating a superimposition of varying tonal centers. 15-19 œ ? b œ nœ œ œ ˙ A gnus De i Example 7. The piece continues in Latin for the rest of the composition. it becomes a thread for the rest of the B and C sections.i qui tol . difficulty for the ensemble arises when the parts form layers within the harmonic structure as was seen in example 7.lis pec-ca . 19-23 A œ nœ œ œ œ œ œ. for it is at measure fifteen that the tenor section enters with new thematic material. mm. in the traditional Latin text. œj œ b œ œ . œ œ bœ œ. Agnus Dei.i. The tenors then have a restatement of their original material to conclude the section.27).26). as in measure twenty-three and twenty-four where it appears in parallel form and as a mirror image in parallel form (Example 7. j œ œ w .25). œj œ œ .25. mm. Theme A'. tenor entry. both independently and simultaneously.ta mun . di.110 in Irish. Theme A (Example 7. when sung by the basses in measure nineteen (Example 7. While each individual voice line is not extremely difficult and rests relatively central in the range. It is then taken through a series of sequences until. Score [Title] [Composer] Freely 6 œ n œ œ œ œ œ œ œ n œ œ œ œ œ . Agnus Dei. Example 7. baritone entry.di. 29). Agnus Dei. 23-24 At measure twenty-eight the tempo slows and the tenor solo returns with a new motive.28). This duality is further complicated by the dual pedal tones of F and C held by the bass and soprano respectively (Example 7. parallel and inverted statements. The solo appears to alternate between two triads. the motive is almost exclusively restricted to the tenor solo line (Example 7. Throughout the statement of this new theme.111 Example 7. mm. The solo is set around a hexatonic A scale (A B-flat C D E F) and the chorus around an E pentatonic scale (E F G A B-flat). Theme B. . one major and one minor. Unlike before. yet when viewed in conjunction with the choral components there exists a dual tonal center. the chorus men continue alternating material based on the previous theme. though the other voices do have derivations.27. section II D. mm.27 with the change from E to E-flat in the second half of the solo phrase. Agnus Dei. 28-31 A œ œ œ œœ œ œ gnus De i œ bœ œ ˙ œ œ bœ œ ˙ ta mun œ di qui tol lis pec ca Example 7. 28-31 Alternations in the chromatic placement of a note also occur very frequently in McGlynn’s music.112 Vb A œ œ œ œ ˙ gnus De i Example 7. The last section of the Agnus Dei.28. Quite often he will use the natural note and a sharp or flattened same note within very close proximity to each other. This repeats in measure forty-two. mm. Theme B. many times even within the same phrase. begins in measure forty with the tenor restatement of Theme B. at which point the treble voices join the solo melody line in parallel motion at the third while the chorus . harmonic superimposition. An example of this can also be seen in Example 7. solo entrance. Agnus Dei.29. 31) avoids final resolution by retaining the ninth in the soprano melody. and A respectively). Theme B variations and Theme A. . as McGlynn notates. “With Stillness. The beginning notes for the treble voices are those outlined in the opening descending three notes of the solo (E. 30: Agnus Dei. Example 7. mm. C.” in alternations of C Major 9 and A-flat. as they do not fully complete the statement. The final chord of the composition (Example 7. 42-44 The movement concludes. The parallel lines are only partial statements of the motive.113 tenors return to Theme A (Example 7.30). His goal has been to give Irish choral music a prominent and unique voice in the world. If the conductor is able to identify the voices that work in consonance. ˙ A1 pa cem. B1 B2 ? c b˙ b pa cem. The entire movement must build in intensity to measure fifty. but never fully resolves. and . Agnus Dei. b ˙˙ U U U U ˙ U S2 pa cem. which continues to seek rest. recordings. The conductor can overcome the challenges in Agnus Dei by identifying and rehearsing paired voices. Often there are dissonances and passages where the voiceleading creates difficult tuning issues. 31.114 Example 7. Through his compositions. A challenge for both conductor and ensemble is the duration of the movement: at nearly eight and a half minutes. final chords. Michael McGlynn is a composer who seeks to bring choral music to a place of importance in Ireland. he or she will then be able to rehearse the section more efficiently. There is then a long period of time to reach the final pacem. ˙ pa cem. and then quickly release to a sustained piano only two measures later. the only forte indication. m. workshops. b ˙˙ ˙ T pa cem. 79 S1 &b c ˙ &b c ˙ & b c b˙ ˙ Vb c ˙ Vb c b˙ pa cem. the pacing of the piece is crucial. and his objective is to bring choral music to a place of prominence in that vast musical heritage. the Irish language. the impressions of the landscape. but as a viable contemporary. The songs he knew as a child.115 concerts he is gaining a reputation not only as a composer and arrnger of Irish traditional music. and the ancient structures of Ireland have all aided in forming his compositional style. . the poets. classical composer as well who uses the native sounds of his country. the sounds of the ocean. McGlynn is a product of a land that has been steeped in musical tradition since antiquity. Originally encompassed the entire island of Ireland. After the potato became the staple food and growing of the crop was expanded almost the entire country was dependant on it.GLOSSARY Act of Settlement in 1652135 – imposed hash penalties. as well as and civil uprisings that could occur in the future. S. Irish Free State came to an end when the citizens of Ireland voted to replace the 1922 constitution and create the Republic of Ireland in 1949. against Irish participants of the rebellion of 1641against the British government. aislingí ["# l!$ i]. shaped like a tambourine and typically covered with sheep or goat’s skin Celts [k'lts]. including death and land confiscation. bodhrán [ba& r"n]. 136 137 135 Ibid. Connolly. ed.ancient name for song of joy Goltraí [)ol tri]. Oxford Companion to Irish History.. The name has no meaning. and emigration between 1845 and 1852 in Ireland. Ibid.traditional Irish drum.areas in Ireland where the primary language of the community is Irish and there is an emphasis placed on maintaining the people’s Irish heritage and culture. S. ed. curfá [k( f"] the chorus or refrain of a song Gaeltacht [)"l tax]. 116 . but Northern Ireland opted out. but is derived from An Uaithne.time of mass starvation leading to death. J. but it was the over fifty percent failure of the 1846 crop that led to the decimation of more than one-third of the population. 2007).dreams Anúna [a nu n%]. a collective term for kinds of Irish music.D. The crop disease Blithe caused a series of crop failures throughout the island from 1832-45. Connolly (Oxford: Oxford University Press. Gentraí [)i*n tri].established under the Anglo-Irish Treaty of 1922. Irish Free State137.the people that inhabited Ireland prior to 400 A. disease.ensemble formed by Michael McGlynn in 1994. 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Dublin: Michael McGlynn and Warner Chappell. and Vaughn. Monasterboice Ireland. McLaughlin. Fáilte Uí Cheallaigh. Thomas. A New History of Ireland. Moore. Át Cliat agus Corgaig (Cork): Comlu/t Oidea/ais na hÉireann. 2002.bluffton. (accessed June 21. MO. London: Routledge & Kegan. Oxford: Clarendon Press. Thomas Kinsella. Mícheál. Mánus. New York: D. 1994. 1978. 1868. Moylan. 2003. 1893. Appleton & Co. Gearóid. The Poetical Works of Thomas Moore. 1993. W. Dáibhi. O'Brien Pocket History of Irish Traditional Music. —. Dublin: O'Brien Press. Muireadhach. http://www. arr. Amhráin Chúige Uladh. 1982. Ó Baoill. The Songs of Elizabeth Cronin. Moore's Irish Melodies With Symphonies and Accompaniments. Moody. —. Dublin: Michael McGlynn and Warner Chappell. Siúil. Ó Allmhuráin. Pacific. 1994. Corcaigh (Cork): Cló Mercier.W. Boston: Oliver Ditson.E. Cas Amhrán. 1975. Ceolta Gael. 2000. . Baile Átha Cliath: Gilbert Dalton.html. Dublin: Lilliput Press. Terry. Ó Tuama. T. Wind on Sea. Ó Cróinín. 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Irish Folk Music and Song. —. Dublin: Three Candles Limited. compiled by. Nóirín Ní and Ó hUrdai. O' Boyle. 1974. http://links. and Future Aspects. Edited by Cliffor Page. Pine.jstor. Annie W. Dublin: C. Lochlainn. Edited by David Cooper. Toronto: Macmilian of Canada. Carmel. Nuala. “Irish Traditional Music. Clifford. O' Sullivan. ed. 1976. Irish Songs: Collections of Airs Old and New. 1952. . Cork: Cork University Press. 1935. O' Conor.” A New History of Ireland.O. Irish Folk Music: Song and Dance. Patterson. Irish Street Ballads. Margaret. July 1920.0. Donal.” Western Folklore. The Irish Song Tradition. 1998. Abair Amhrán. London: Greenwood Press. 2007). Cumann an. Andrew. Cork: Mercier Press.” The Musical Quarterly.CO%3B2-K (accessed October 1. Cork: The Mercier Press. 2006. Boston: Oliver Ditson.122 Ógra.” In Music: Revision for Leaving Certification. 1986.jstor. Séan. Irish Folk Music: A Fascinating Hobby. 1967. Beal Fierste: Comhaltas Uladh. 2007).0. 1962 O’ Boyle. 2005. Chicago: EP Publishing Ltd. ed. Purcell. Oxford: Oxford University Press. 2001. Petrie.CO%3B2-I (accessed October 1. Culture and Customs of Ireland. O’ Lochlainn. 2005. Riain. Richard. Francis. Roibeard. Colm. Bringing it All Back Home: The Influence of Irish Music. “Introduction: Locating Celtic Music (and Song). George. Dublin: Irish American Book Co. 1988. Music in Ireland. Stór amhrán: A Wealth of Songs from the Irish Tradition. Ó Cróinín. Cork: Mercier Press. Porter. 1910. Autumn 1998. 2006. The Keeper’s Recital: Music and Cultural History in Ireland. Interviews McGlynn. —. Dublin: Irish Academic Press. and Rounds suggested by the Board of Education. —. Dublin: Irish Academic Press. Edited by Timothy Rice. Cork: Cork University Press. 1990. White. Music and Irish Cultural History. —. Hugh.A series of interviews were conducted by the author. 1985. Come-All-Yes.123 Shields. Michael. Dublin: Folk Music Society of Ireland. A Short Bibliography of Irish Folk Song. Ireland . Charles Villiers. Shields. Ballads. 8. Harry. —. 2001. —. Musical Constructions of Nationalism: Essays on the History and Ideology of European Musical Culture 1800-1945. 1995. New York: Oxford University Press. and Traditions of Oriel. Harry and Gillen. Songs.via internet with Dublin. Pádragín Ní. White. “Nationalism. 1993. Hugh. Carols.” Musical Constructions of Nationalism. and Chris Goertzen.both parties in Dublin. 2000.. 2001. Dublin: Irish Academic Press. Edited by Seamus Deane. Musicology in Ireland. New York: Garland Publishing. All interviews were recorded and are held by the author. “Ireland. 1893. Narrative Singing in Ireland: Lays. Dublin: Four Courts Press. Cork: Cork University Press. 1990. James Porter. The Progress of Music in Ireland. 2005. 1770-1970. London: Boosey & Co. Colonialism and the Cultural Stasis of Music in Ireland. 2008. and Other Songs. 1905. Dublin: Four Courts Press. —. The National Songbook: A Complete Collection of the Folk-Songs. Gerard. Edited by Harry White and Michael Murphy. A Hidden Ulster: People. Dublin: Irish Academic Press. Cork: Cork University Press. Irish Musical Studies. Ireland October 2009. and Paulette Gershen. 1998. Stanford. Uallacháin. July 2009. —. ed.” The Garland Encyclopedia of World Music vol. Music and the Irish Literary Imagination. Jerome's second (or Gallican) version. Lauderdale. PSALTER in Latin.uk From: Stacie Rossow [mailto:slrossow@comcast. 10-20. I only need the one page which is described in your listing as: (a) At the end of Ps. Regards Sandra Powlette Permissions Manager British Library 96 Euston Road LONDON NW1 2DB Tel: 020-7412-7755 Fax: 020-7412-7771 www. please credit the Library accordingly. Florida. The piece is Add. 1-6 and xxxviii. iii. Ireland Image Use Permission From: Subject: Date: To: Stacie "Permissions" <Permissions@bl." (f.124 January 2010. Qui legis hec ora pro sese qualibet hora. (f. 2010 10:12:53 AM EST "Stacie Rossow" <slrossow@comcast. " Cormacus scripsit hoe osalterium ora pro eo. 59).via internet with Dublin.uk> RE: Use of an image in a dissertation March 11. 57-88. the fees have been waived. Thank youStacie Rossow Stacie Lee Rossow .via internet with Dublin.net] Sent: 11 March 2010 14:34 To: Permissions Subject: Use of an image in a dissertation Good afternoonI am a doctoral student from the University of Miami in Coral Gables. 1. followed by the colophon. (c) British Library Board (followed by the shelfmark). Florida March 2010.bl. of St. xii. with music on a stave of four red lines. I am completing my doctoral thesis on the music of Irish composer Michael McGlynn and am attempting to gain permission to use a facsimile of one of your holdings. 36929.net> The Library grants permission to use the images in your thesis. Any information or assistance you might be able to offer would be greatly appreciated. Is. McGlynn has used the chant found there as the basis for one of his compositions and I think that it would be helpful to see them both side by side. 56 b) Dan.Mr.both parties in Ft. Ireland February 2010. S solo. acc 1995 Codhlaím go Suan SATB. acc 1999 Aube Soprano or Tenor & 1990 Piano August TTBB 1997 Ave Maria (from Celtic Mass) SATB 1991 Bean Pháidin SSAA 1993 Behind the Closed Eye SATB (div) sax 1997 Blackthorn SATB. acc 1998 Cloch na Rón Symphony Orchestra 2001 Codail a Linbh SATB. SSAA) Fionnghuala SATB 2005 Fuígfdh Mise’n Baile Seo SATB 1999 125 . Marie SATB 1990 Cúnnla SSAA 2004 Cynara SATB (div. Behind the SATB. acc) An Oíche SSATB 1999 Ardaigh Cuan SATB 1995 Armaque cum Scuto SATB. acc 1996 Brezairola SATB 2006 Carolan's Farwell to Music Oboe. 2009 Closed Eye] Symphony Orchestra A Stór mo Chroí SATB 1989 Agnus Dei (from And on Earth SATB (div) 2006 Peace: A Chanticler Mass) Agnus Dei (from Celtic Mass) SATB 1990 (alternate version SSAA. Strings. Harp 2003 Ceann Dubh Dílis TTBB (alternate 1997 version SSAA) Christus Resurgens SATB. T solo 1998 Dúlamán TTBB (alt versions 1995 SATB. acc 1991 Cormacus Scripsit SATB 1990 Crist and St.APPENDIX A MICHAEL MCGLYNN WORKS LIST Alphabetical listing by title (with year composed and voicing) Title Voicing and Year Instrumentation 1901 [revision.). acc SATB TTBB SATB (div). acc SATB. Traditional Instruments SATB SATB. solo Oboe. solo Symphony Orchestra SATB (alternate versions TTBB. 2 solo SSSAAATTTBBB 1990 1995 2003 2003 1991 1994 1994 1999 1999 2003 1999 1989 1990 1993 1996 1992 2008 1991 2004 1987 2008 2005 1991 2005 1995 2009 1992 1999 2004 2000 2010 2008 2002 2006 2008 1995 1989 . Strings. SSAA) SSAA. Strings SATB. Voices.126 Gaudete Geantraí Geminiani's Adagio Geminiani's Allegro Gloria (from Celtic Mass) Heia Viri Hinbarra Hymn to the Virgin I Dreamt I Dwelt in Marble Halls I Dreamt I Dwelt in Marble Halls Igitur Servus Incantations Incidental Music for "Three Sisters" Invocation Island Jerusalem Jingle Bells Kyrie (from Celtic Mass) Lauda Anima Mea Les Effarés Lorica Lux Aeterna Magnificat Maid in the Moor Maria Matrem Virginem May [Revision] Media Vita Miserere Missa Brevis My Lagan Love My Songs Shall Rise Noel Nouvelete O Ignis Spiritus O Maria O Tannenbaum/ O Christmas Tree O Viridissima O Vos Omnes SATB (alternate version TTBB) SATB (div) (alternate version SSAA) Oboe. acc SATB. acc SATB SATB (Alternate versions TTBB. Strings. Harp Oboe. acc SSAA TTBB SATB SATB Soprano or Tenor & Piano SSAA Harp SATB SATB SSAA SSA. solo SSAA SATB. Organ. Harp SATB SSAATTBB (alternate version SSAA) Piano. SSAA) SATB. Str Quartet SATB SSATTBB. acc St Marie Viginae TTBB St. strings Pie Jesu SATB (alternate version SSAA) Pie Jesu [revision] SATB. solo The Flower of Maherally SATB 1999 1995 1991 1998 1999 2009 1996 1985 1985 1999 1993 2009 1991 1985 1993 1993 2003 1994 1996 2003 1994 1994 1990 1990 2002 1990 1995 1999 2005 1984 2009 1999 1999 2008 1995 . solo Tenebrae II SATB (div). Dbl Vibraphone Siúil a Rúin SATB. acc Sanctus SSAA Sanctus (from Celtic Mass) SATB Sensation Soprano or Tenor & Piano ‘Sí do Mhaimeo Í SATB (alternate version SSAA) Silent. solo clsolo.127 Ocean Our Wedding Day Pater Noster (from Celtic Mass) Pie Jesu SATB. SSAA.) with solo) Tenebrae IV TTBB The Blackbird of Derrycairn Soprano or Tenor & Piano The Coming of Winter [revision. Symphony Behind the Closed Eye] Orchestra The Coventry Carol SSAA The Dawn SATB The First Noel SATB. S solo. Strings Song of Oisín SATB. acc SATB SATB SATB (div). solo (alternate version SSAA) Sliabh Geal gCua SATB Sliabh Geal gCua Oboe. Ríu TTBB Salve Rex Gloriae SATB. solo Tenebrae III SATB (div. Nicholas TTBB (alternate version SSAA) Summer Song SATB Tenebrae I SATB (div). Strings. O Moyle SSAA Silver River Oboe. acc Song of Oisín SATB. Symphony Orchestra Quem Queritis SATB Reve pour l'Hiver Soprano or Tenor & Piano Rince [Dance] Trumpet and Piano Ríu. acc SATB. vn 2009 1996 2001 2003 1994 1984 2003 1995 1984 2004 1993 1994 2009 2003 2009 1990 2000 2009 2001 1992 2009 2006 2006 2009 1999 1996 1996 1999 1994 . Symphony Orchestra SSAA SSAA. perc. Symphony Orchestra SATB SSAATTB. 2 T. Clar Symphony Orchestra TTBB Saxophone & Piano SSAA SSATB SATB. sax. String Orchestra. Symphony Orchestra SATB SATB. Ob. acc) Soprano or Tenor & Piano SATB SATB. T Solo Symphony Orchestra Symphony Orchestra Fl.solo. acc SATB. Mzsop solo. Oboe SATB (alternate version SATB. vn T Solo. Behind the Closed Eye] The Green Laurel The Hound’s Cry The Lark in the Clear Air The Last Rose The Lost Heifer The Meeting of the Waters The Mermaid The Planter's Daughter The Poet Sleeps The Raid The Rising of the Sun The Rising of the Sun [revision] The Road of Passage The Song of the Birds The Wexford Carol The White Rose The White Rose [Revision] The Wild Song There is no Ros Through a Valley of Tears [Revision] Toraíocht Triplets Twilight [Revision] Victimae Visions When I was in My Prime When the War is Over Wind on Sea SATB. acc SATB. MzSop solo Symphony Orchestra SSATBB SATB. S solo. Oboe SSAA.128 The Great Wood [revision. acc Soprano or Tenor & Piano T Solo. acc SSAA Chorus. String Orchestra. Nicholas 1990 Tenebrae I 1990 The Wexford Carol 1991 Ave Maria (from Celtic Mass) 1991 Codhlaím go Suan 1991 Gloria (from Celtic Mass) 1991 Kyrie (from Celtic Mass) 1991 Magnificat 1991 Pater Noster (from Celtic Mass) 1991 Sanctus (from Celtic Mass) 1992 Jerusalem 1992 Media Vita 1992 There is no Ros 1993 Bean Pháidin 1993 Invocation 1993 Salve Rex Gloriae 1993 Sí do Mhameo Í 1993 Silent. Marie 1990 Gaudete 1990 Incidental Music for "Three Sisters" 1990 St Marie Viginae 1990 St.129 Chronological Listing of Works Year Title 1984 The Blackbird of Derrycairn 1984 The Lost Heifer 1984 The Planter's Daughter 1985 Reve pour l'Hiver 1985 Rince [Dance] 1985 Sensation 1987 Les Effarés 1989 A Stór mo Chroí 1989 Incantations 1989 O Vos Omnes 1990 Agnus Dei (from Celtic Mass) 1990 Aube 1990 Cormacus Scripsit 1990 Crist and St. O Moyle 1993 The Raid 1994 Heia Viri 1994 Hinbarra 1994 Siúil a Rúin 1994 Song of Oisín 1994 The Last Rose 1994 The Rising of the Sun 1994 Wind on Sea 1995 Ardaigh Cuan . Ríu Tenebrae III The Coventry Carol The Dawn Victimae When the War is Over My Lagan Love The White Rose Cloch na Rón The Hound’s Cry The Wild Song O Ignis Spiritus Summer Song .130 1995 1995 1995 1995 1995 1995 1995 1995 1995 1996 1996 1996 1996 1996 1996 1996 1996 1997 1997 1997 1997 1998 1998 1998 1999 1999 1999 1999 1999 1999 1999 1999 1999 1999 1999 1999 1999 1999 1999 2000 2000 2001 2001 2001 2002 2002 Codail a Linbh Dúlamán Geantraí Maria Matrem Virginem O Viridissima Our Wedding Day Tenebrae II The Flower of Maherally The Mermaid Blackthorn Island Quem Queritis Sliabh Geal gCua The Green Laurel Visions When I was in My Prime Nobilis Humilis August Behind the Closed Eye Midnight Ceann Dubh Dílis Christus Resurgens Cynara Pie Jesu An Oíche Armaque cum Scuto Fuígfdh Mise’n Baile Seo Hymn to the Virgin I Dreamt I Dwelt in Marble Halls Igitur Servus Miserere Ocean Pie Jesu Ríu. Francis Jingle Bells Lorica Noel Nouvelete O Tannenbaum/ O Christmas Tree The First Noel 1901 [revision. Behind the Closed Eye] May [Revision] Pie Jesu [revision] Sanctus The Coming of Winter [revision. Behind the Closed Eye] The Great Wood [revision. Behind the Closed Eye] The Rising of the Sun [revision] The Song of the Birds [revision] The White Rose [Revision] Through a Valley of Tears [Revision] Twilight [Revision] My Songs Shall Rise .131 2003 2003 2003 2003 2003 2003 2003 2003 2003 2004 2004 2004 2004 2005 2005 2005 2005 2006 2006 2006 2006 2006 2007 2008 2008 2008 2008 2008 2009 2009 2009 2009 2009 2009 2009 2009 2009 2009 2009 2010 Carolan's Farwell to Music Geminiani's Adagio Geminiani's Allegro I Dreamt I Dwelt in Marble Halls Silver River Sliabh Geal gCua The Lark in the Clear Air The Meeting of the Waters The Road of Passage Cúnnla Lauda Anima Mea Missa Brevis The Poet Sleeps Fionnghuala Lux Aeterna Maid in the Moor Tenebrae IV Agnus Dei (from And on Earth Peace: A Chanticler Mass) Brezairola O Maria Toraíocht Triplets St. David's Cathedral Wales 2004 Missa Brevis The Cork Choral Festival 1999 When the War is Over The Gate Theatre 1990 Incidental Music for "Three Sisters" The National Concert Hall Dublin 2002 O Ignis Spiritus . Behind the Closed Eye] Rajaton [Grant aided by The Arts 2001 The Wild Song Council of Ireland] Rajaton [Grant aided by The Arts 2002 Summer Song Council of Ireland] RTÉ Concert Orchestra 2001 Cloch na Rón RTÉ Lyric FM 2006 Triplets Stacie Lee Rossow [Grant aided by the 2010 My Songs Shall Rise Theodore Presser Foundation] St.132 List of Works by Commission (listed alphabetically by the commissioning entity) Commissioned by Year Title BBCNI 2000 My Lagan Love Canty 2008 Lorica Chanticleer 2006 Agnus Dei (from And on Earth Peace: A Chanticler Mass) Cork Choral Festival for The BBC 1989 O Vos Omnes Singers Dublin Youth Orchestra 2006 Toraíocht Gerard MacChrystal [Grant Aided by 1996 Visions the Arts Council of Ireland] John Marshall High School 2001 The Hound’s Cry Leioa Kantika Korala 2009 Sanctus Linda Kenny 2000 The White Rose Linda Kenny 2009 The White Rose [Revision] Louis Lentin 1999 Hymn to the Virgin Louis Lentin 1999 The Dawn Louvain 400 2009 The Song of the Birds Louvain 400 2009 Through a Valley of Tears [Revision] Matthew Manning 2003 Carolan's Farwell to Music Matthew Manning 2003 Geminiani's Adagio Matthew Manning 2003 Geminiani's Allegro Matthew Manning 2003 I Dreamt I Dwelt in Marble Halls Matthew Manning 2003 Silver River Matthew Manning 2003 Sliabh Geal gCua Matthew Manning 2003 The Lark in the Clear Air Matthew Manning 2003 The Meeting of the Waters Ocean Telecom 1999 Ocean Pierre Schuster 2009 The Coming of Winter [revision. Dbl Vibraphone Oboe. Behind the Closed Eye] The Road of Passage Works by Voicing Fl. Strings. Harp Oboe.133 The Palestrina Choir The Project Arts Centre The Project Arts Centre The Syracuse Vocal Ensemble The Syracuse Vocal Ensemble The Ulster Orchestra The Ulster Orchestra The Ulster Orchestra UCD 150 2004 1994 2009 2004 2004 1997 2009 2009 2003 Lauda Anima Mea The Rising of the Sun The Rising of the Sun [revision] Cúnnla The Poet Sleeps Behind the Closed Eye 1901 [revision. Harp Oboe. Traditional Instruments SATB SATB SATB SATB SATB SATB SATB SATB SATB SATB SATB SATB SATB SATB SATB SATB SATB SATB SATB SATB SATB SATB SATB Triplets Geminiani's Allegro Sliabh Geal gCua Silver River Carolan's Farwell to Music Geminiani's Adagio I Dreamt I Dwelt in Marble Halls Incidental Music for "Three Sisters" My Lagan Love The Dawn Summer Song Lauda Anima Mea The Poet Sleeps The Road of Passage A Stór mo Chroí Cormacus Scripsit Crist and St. Voices. Strings. Harp Piano. Strings Oboe. Ob. Strings. Strings. Clar Oboe. Strings Oboe. Behind the Closed Eye] The Great Wood [revision. Marie Ave Maria (from Celtic Mass) Kyrie (from Celtic Mass) Magnificat Pater Noster (from Celtic Mass) Sanctus (from Celtic Mass) Invocation Heia Viri Ardaigh Cuan Our Wedding Day The Flower of Maherally Quem Queritis Sliabh Geal gCua The Green Laurel Fuígfdh Mise’n Baile Seo . 134 SATB SATB SATB SATB SATB SATB (alternate version SATB, acc) SATB (alternate version SSAA) SATB (alternate version SSAA) SATB (alternate version SSAA, acc) SATB (alternate version TTBB) SATB (alternate versions TTBB, SSAA) SATB (Alternate versions TTBB, SSAA) SATB (div) SATB (div) (alternate version SSAA) SATB (div) sax SATB (div), 2 solo SATB (div), solo SATB (div), solo SATB (div), solo cl- solo, strings SATB (div.) with solo) SATB (div.), T solo SATB, 2 T- solo, vn SATB, acc SATB, acc SATB, acc SATB, acc SATB, acc SATB, acc SATB, acc SATB, acc SATB, acc SATB, acc SATB, acc SATB, acc SATB, acc SATB, acc SATB, acc SATB, acc SATB, Mzsop solo, Symphony Orchestra SATB, Organ, Str Quartet SATB, S solo, Symphony Orchestra SATB, S solo, Symphony Orchestra Igitur Servus Fionnghuala Lux Aeterna Brezairola O Maria The Mermaid Sí do Mhameo Í Pie Jesu Agnus Dei (from Celtic Mass) Gaudete Media Vita Hinbarra Agnus Dei (from And on Earth Peace: A Chanticleer Mass) Geantraí Behind the Closed Eye O Viridissima Tenebrae I Tenebrae II Pie Jesu Tenebrae III Cynara Wind on Sea Ocean O Ignis Spiritus The Rising of the Sun Codhlaím go Suan Gloria (from Celtic Mass) There is no Ros Salve Rex Gloriae The Raid Song of Oisín Song of Oisín Codail a Linbh Blackthorn Island Christus Resurgens Armaque cum Scuto Miserere The Rising of the Sun [revision] Missa Brevis 1901 [revision, Behind the Closed Eye] The Great Wood [revision, Behind the 135 Closed Eye] SATB, S solo, Symphony Orchestra Pie Jesu [revision] SATB, solo I Dreamt I Dwelt in Marble Halls SATB, solo The First Noel SATB, solo (alternate version SSAA) Siúil a Rúin SATB, Symphony Orchestra The Song of the Birds SATB, T Solo Symphony Orchestra Through a Valley of Tears [Revision] Saxophone & Piano Visions Soprano or Tenor & Piano The Blackbird of Derrycairn Soprano or Tenor & Piano The Lost Heifer Soprano or Tenor & Piano The Planter's Daughter Soprano or Tenor & Piano Reve pour l'Hiver Soprano or Tenor & Piano Sensation Soprano or Tenor & Piano Les Effarés Soprano or Tenor & Piano Aube SSA, solo Maria Matrem Virginem SSAA Sanctus SSAA Cúnnla SSAA The Wexford Carol SSAA Jerusalem SSAA Bean Pháidin SSAA Silent, O Moyle SSAA When I was in My Prime SSAA The Coventry Carol SSAA Maid in the Moor SSAA Noel Nouvelete SSAA Chorus, MzSop solo Symphony The White Rose [Revision] Orchestra SSAA Harp Lorica SSAA, acc The White Rose SSAA, acc Hymn to the Virgin SSAA, acc The Last Rose SSAA, Symphony Orchestra The Coming of Winter [revision, Behind the Closed Eye] SSAATTB, perc, sax, vn The Hound’s Cry SSAATTBB (alternate version SSAA) Incantations SSATTBB, solo My Songs Shall Rise SSATB When the War is Over SSATB An Oíche SSATBB The Wild Song SSSAAATTTBBB O Vos Omnes Symphony Orchestra Toraíocht Symphony Orchestra Cloch na Rón Symphony Orchestra May [Revision] Symphony Orchestra Twilight [Revision] T Solo, String Orchestra, Oboe The Lark in the Clear Air 136 T Solo, String Orchestra, Oboe Trumpet and Piano TTBB TTBB TTBB TTBB TTBB TTBB TTBB TTBB (alt versions SATB, SSAA) TTBB (alternate version SSAA) TTBB (alternate version SSAA) Arrangements Geminiani's Allegro A Stór mo Chroí Ardaigh Cuan Bean Pháidin Carolan's Farwell to Music Christus Resurgens Cormacus Scripsit Crist and St. Marie Fionnghuala Gaudete Geminiani's Adagio I Dreamt I Dwelt in Marble Halls Igitur Servus Jerusalem Jingle Bells Media Vita Miserere My Lagan Love Nobilis Humilis Noel Nouvelete O Tannenbaum/ O Christmas Tree Our Wedding Day Quem Queritis Ríu, Ríu Sí do Mhameo Í Silent, O Moyle Siúil a Rúin Sliabh Geal gCua St Marie Viginae St. Nicholas The Coventry Carol The Meeting of the Waters Rince [Dance] St Marie Viginae August Ríu, Ríu Victimae Tenebrae IV Jingle Bells O Tannenbaum/ O Christmas Tree Dúlamán St. Nicholas Ceann Dubh Dílis 137 The First Noel The Flower of Maherally The Lark in the Clear Air The Last Rose The Meeting of the Waters The Mermaid The Wexford Carol There is no Ros When I was in My Prime Original Compositions Triplets 1901 [revision, Behind the Closed Eye] Agnus Dei (from And on Earth Peace: A Chanticler Mass) Agnus Dei (from Celtic Mass) An Oíche Armaque cum Scuto Aube August Ave Maria (from Celtic Mass) Behind the Closed Eye Blackthorn Brezairola Ceann Dubh Dílis Cloch na Rón Codail a Linbh Codhlaím go Suan Cúnnla Cynara Dúlamán Fuígfdh Mise’n Baile Seo Geantraí Gloria (from Celtic Mass) Heia Viri Hinbarra Hymn to the Virgin Incantations Incidental Music for "Three Sisters" Invocation Island Kyrie (from Celtic Mass) Lauda Anima Mea Les Effarés Lorica Lux Aeterna 138 Magnificat Maid in the Moor Maria Matrem Virginem May [Revision] Midnight Missa Brevis My Songs Shall Rise O Ignis Spiritus O Maria O Viridissima O Vos Omnes Ocean Pater Noster (from Celtic Mass) Pie Jesu Pie Jesu Pie Jesu [revision] Reve pour l'Hiver Rince [Dance] Salve Rex Gloriae Sanctus Sanctus (from Celtic Mass) Sensation Silver River Song of Oisín Song of Oisín St. Francis (cantata in four movements) Summer Song Tenebrae I Tenebrae II Tenebrae III Tenebrae IV The Blackbird of Derrycairn The Coming of Winter [revision, Behind the Closed Eye] The Dawn The Great Wood [revision, Behind the Closed Eye] The Green Laurel The Hound’s Cry The Lost Heifer The Planter's Daughter The Poet Sleeps The Raid The Rising of the Sun The Rising of the Sun [revision] The Road of Passage The Song of the Birds The White Rose 139 The White Rose [Revision] The Wild Song Through a Valley of Tears [Revision] Toraíocht Twilight [Revision] Victimae Visions When the War is Over Wind on Sea . O Moyle The First Day Jerusalem The Blue Bird Faigh an Gleas Pater Noster Hymn to the Virgin The Dawn arr. and Michael McGlynn. McGlynn The flower of Maherally arr. M. M. McGlynn Siúil a rúin arr. M. McGlynn 140 . McGlynn Kells M. McGlynn Suantraí arr. By McGlynn Silent. McGlynn Anúna (Musical group). Anúna. F. M. McGlynn arr. McGlynn Ceann dubh dílis arr. 2007. 2005. McGlynn Invocation M. Dublin: Michael McGlynn and Brian Masterson. M.V. McGlynn Greensleeves arr. McGlynn C. Windmill Lane Studios. M. The rising of the sun M. M. recorded 1999-2004. McGlynn M. McGlynn M. M. McGlynn Sanctus M. McGlynn Our wedding day M. M. M. McGlynn Pie Jesu M. McGlynn August M. Stanford* arr. McGlynn I dreamt I dwelt in marble halls arr. McGlynn Dúlamán M. McGlynn ‘Sí do Mhaimeo Í arr. M. Cleveland. McGlynn Sanctus M. M. McGlynn M. McGlynn arr. McGlynn Gaudete arr. Ohio: Elevation. Celtic Origins. McGlynn Crist and St. McGlynn If all she has is you J. M. M. McGlynn The Raid M. McGlynn Sí do Mhaimeo í arr. McGlynn Aisling M. McGlynn Fionnghuala arr. Ó Cearbhaill Kells M. M. Media Vita arr. McGlynn *arr. Marie arr. M. McGlynn Scarborough Fair arr. McGlynn Cormacus Scripsit M.APPENDIX B DISCOGRAPHY Anúna. McGlynn I Dreamt that I Dwelt in Marble Halls arr. 2005 August M. M. McGlynn When the War is Over M. Behind the Closed Eye. McGlynn Ríu Ríu arr. M. McGlynn Anúna (Musical Group). McGlynn M. McGlynn Codhlaim Go Suan Pie Jesu Hymn to the Virgin O Holy Night There Is No Ros M.141 Anúna (Musical group). McGlynn M. McGlynn Pie Jesu M. and Michael McGlynn. Igitur Servus M. McGlynn M. McGlynn arr. M. McGlynn Buachaill ón Éirne arr. McGlynn Miserere M. Michael McGlynn. McGlynn M. M McGlynn Incantations M. McGlynn arr. [S. McGlynn Ave Maria Gathering Mushrooms Behind the Closed Eye Midnight The Coming of Winter Where All Roses Go 1901 M. McGlynn Aisling M. 2000. M. McGlynn . McGlynn Ocean M. McGlynn Cean Dubh Dílis M. McGlynn Christus Resurgens M. McGlynn arr. New York: Koch Records. McGlynn An Oíche M. McGlynn Victimae M. McGlynn Cynara M. McGlynn M. M. McGlynn The Great Wood M. McGlynn From Nowhere to Nowhere M. M. McGlynn M. M. McGlynn Fuíghfidh Mise’n Baile Seo arr. M McGlynn Amarque Cum Scuto M. 2004. McGlynn arr. McGlynn arr.l. M. Away in a Manger The Wexford Carol Ríu Ríu Silent Night The Coventry Carol arr. and Kenneth Edge. Lesley Hatfield. McGlynn Anúna (Musical group). McGlynn M.]: Danu. M. Cynara. McGlynn arr. McGlynn Annaghdown M. Dublin: Danú. Christmas Songs. M. and Charles Villiers Stanford. McGlynn.V. McGlynn A Stór mo Chroí arr. M. McGlynn *arr. McGlynn Codail a Linbh M. a Rúin arr. McGlynn Beati Quorum Via C. Nobilis Humilis Dicant Nunc Blackthorn Kyrie There Is No Ros M. Clarke The Mermaid arr. M. McGlynn Gaudate arr. M. McGlynn War is Over Greenwalt. 2004. McGlynn Diwanit Bugale arr. Omnis. McGlynn Hymn to the Virgin M. By McGlynn Deep Dead Blue Elvis Costello and Bill Frisell Blackthorn M. McGlynn *arr. McGlynn Ave Generosa arr. McGlynn Maria Matrem M. McGlynn The Flower of Maherally arr. Michael McGlynn. McGlynn Dúlamán M. McGlynn Ardaigh Cuan arr. McGlynn Agnus Dei M. McGlynn Behind the Closed Eye M. McGlynn Anúna (Musical group). McGlynn August M. 2003. M. McGlynn Róisín Dubh arr. M McGlynn The Green Laurel Island Silabh Geal Gcua Quem Queritis The Sea arr. Salve Rex Gloriae M. McGlynn Wind on Sea M. M. McGlynn M. McGlynn M. By McGlynn O Viridissima M. New York: Koch Records. M. M. The Blue Bird C. Dublin: Danú. McGlynn Victimae M. [S. McGlynn Dúlamán M. McGlynn . McGlynn Kyrie M. 2005. M McGlynn M. Radigan Anúna (Musical group). M. McGlynn Cynara M. McGlynn Pie Jesu M. McGlynn M.142 Anúna (Musical group) and Michael McGlynn. Stanford* Cormacus Scripsit arr. M. McGlynn The Wild Song M. McGlynn The Rising of the Sun M. Patterson. McGlynn arr. McGlynn M. McGlynn Siúil. Stanford* The Flower of Maherally arr. Deep Dead Blue. McGlynn M. McGlynn St. McGlynn Christus Resurgens arr.]: Warner Chappell Music. McGlynn Tenebrae II M. Nicholas arr. M.l.V. Essential Anúna. McGlynn Tenebrae I M. M. McGlynn Geantraí M. McGlynn M. McGlynn Tenebrae III M. McGlynn. McGlynn Recordings that contain single selections: A Celtic Journey Laudate Singers And on Earth Peace: A Chanticleer Chanticleer Mass Blue Bird Boys Air Choir Boundless Rajaton Celtic Twilight 3: Lullabies Various Artists. By McGlynn Anúna (Musical group). 2009. Anúna Celtic Twilight 7:Sacred Spirit Various Artists. McGlynn M. Sanctus. McGlynn Agnus Dei M. Sensation. 2006. McGlynn M. O Ignis Spiritus Brezairola Sensation Silver River Shining water Lux Aeterna M. Anúna Let Your Voice be Heard Cantus Meeting Point Gerard MacChrystal Nearer Conspirare Out of Bounds Rajaton 2008 2007 2007 2001 1996 2007 2008 2001 2005 2008 2002 2009 2001 1996 2006 . McGlynn Miserere Mei Deus G. Dublin: Danú. McGlynn (from And on Earth Peach: A Chanticleer Mass) Maria Matrem Virginem M. Volume II Cantus Deep in a Winter’s Night Sacramento Master Singers Goin’ Home Chor Leoni Choir I Still Love You Conspirare La Musique Celticue our les Nuls Various Artists. McGlynn M. and Gregorio Allegri. McGlynn M. McGlynn *arr. Allegri* O Maria M. Lotti* Nobilis Humilis M. McGlynn M. Dublin: Danú. McGlynn M.143 Anúna (Musical group). Crucifixus A. McGlynn The road of passage Whispers of paradise Maid in the moor Tenebrae IV O Maria M. Anúna. Antonio Lotti. Anúna Ceremony Choir of Canterbury Cathedral Christmas with Chanticleer Chanticleer Comfort and Joy. McGlynn M. and Michael McGlynn. McGlynn M. McGlynn M. Michael McGlynn. McGlynn Victimae M. 144 Silver River St. Paul Sunday Wondrous Love DVD Christmas Memories (DVD) Invocations of Ireland (DVD) Matthew Manning Katie McMahon Harald Jers Notre Dame Glee Club Emma Horwood Fionnuala Gill Chanticleer Chanicleer Anúna Anúna 2003 2007 2009 2000 2007 1997 2008 2009 . Patrick’s Day Turn Darkness into Light Under the Dome Vox Angelica Whispers of Love Wish List: St. 139 Ailbhe Ní Chasaide. What is found here is a slightly simplified version. in detail." in Handbook of the International Phonetic Association (Cambridge: Cambridge University Press. The author created the guides from a combination of audio recordings and transliteration guides. "Irish. these guides should be used in combination with audio recordings to refine inflection and syllabic stress. 139 138 http://www. 1999). intended for those with a moderate understanding of IPA (International Phonetic Alphabet). and asked McGlynn to make corrections during rehearsals.APPENDIX C IPA TRANSCRIPTIONS There is a guide for Irish language pronunciation found in the International Phonetic Association Handbook138 that describes. The translations that are included have either been supplied by McGlynn or were obtained and approved by him from Celtic Lyrics Corner. presented them to several ensembles. the consonant structures. Irish is a difficult language for IPA and as such. as specific for the compositions and arrangements of Michael McGlynn.net/ (Accessed 25 February 2010) 145 . These IPA transcriptions have been derived from a series of conversations and choral workshops with Michael McGlynn.celticlyricscorner. 111-116. a thógas peacaí an domhain. [" u %n de % ho )%s p" ki %n do %n tav( du+n #i 0x an] Lamb of God who takes away the sins of the world. and more importantly. In most cases when ch is present the actual sound is somewhat between the [k] or [h] and the [x]. [" x% m+n m% kri tar i h" )ar e )+n] . [)0n ha t% )0n l0 iv n% d0d ji +n )0n x% s0) do la& ( 0n +# 0)] Without a hat or glove or overcoat on you? And the skylark spoke. IPA Guides Agnus Dei (from And on Earth Peace: A Chanticleer Mass) A Uain Dé. They are instead soft as might find in Spanish. have mercy on us.146 Irish pronunciation Irish has no aspirated [d] or [t]. how he has set the text to be sung. Gan hata gan láimhne dod dhíon gan chasóg? Do labhair an fhuiseog. Those given here are as the composer speaks. A Uain Dé. [ 0n kwin læt 0n i hæ ud a vi tu ') 0n vw+n jo)] Do you remember that night when you were at the window Gan hata gan láimhne dod dhíon gan chasóg? [)0n ha t% )0n l0 iv n% d0d ji +n )0n x% s0)] Without a hat or glove or overcoat on you? Do shín mé mo lámh chughat 's do rug tú uirthi barróg. There are several variations of pronunciation found in Ireland. [d% hin me+ m% l0v xu %d sd0 r%) tu 1 hi b"r 0)] I gave my hand to you and you clasped it to you. Tabhair dúinn síocháin. A Chumainn mo chroí tar oíche ghar éigin. [ " u %n de % ho )%s p" ki %n do %n d'n tro k% re or +n] Lamb of God who takes away the sins of the world. a thógas peacaí an domhain. grant us peace. An Oíche [0n i h"] An cuimhin leat an oíche úd a bhí tú ag an bhfuinneog. deán trócaire orainn. says Cunnla. myself. Cúnnla140 [kun la] “Cé hé siúd thíos atá !leagan na gclaí ocha? [ke he #ud hi%s % ta l3a )% n% )lei 0 h%] Who is that down there knocking the stone walls? Mise mé féin a deir Cúnnla . [m+ #% me fen a der kun l"] Me. [0n kwin lat 0n i h" u2 s%n i h" ') k( kwi# n% ] Do you remember that night. says Cunnla 140 It is important to note that this traditional song has a dark interpretation where the young lady is actually quite scared. and the night was so cold. says Cunnla Chúnnla !chroí ná tar [a] níos goire dhom! [hun la k ri na ta r% ni +s )*' r% h%m] Cúnnla dear don’t come any nearer to me! Cé hé siúd thíos atá !tarraingt na pluide dhíom [ke he #ud hi%s % ta tær +4t n% pl' 5% )j+m ] Who is that down there pulling the blanket off me? Mise mé féin a deir Cúnnla [m+ #% me fen a der kun l"] Me.147 My love. An cuimhin leat an oíche úd 'san oíche ag cur cuisne. myself. myself. Chúnnla !chroí ná tar [a] níos goire dhom! [hun la x ri na ta r% ni +s )*"+ r% h%m] Cúnnla dear don’t come any nearer to me! M !anam go tiocfaidh! deir Cúnnla [ma n%m g% 6%k :ki der kun l"] My soul I will. says Cunnla Mise mé féin a deir Cúnnla [m+ #% me fen a der kun l"] Me. . come to me some night. put the wheels in motion for me! Rachaidh me chun ‘lúir leis a’ dúlamán Gaelach [r0k: k+) me+ k& l*ur l'# a du l% man )e+ l%x] I would go to the tailor with the Gaelic seaweed. “Ceannódh bróga daor’. “A ‘níon mhín ó! Sin anall na fir shuirí” [a ni +n vi no #+n an %l na f'r ho ri] O gentle daughter. “A mháthair mhín ó! Cuir na roithleán go dtí mé!”. [du l% man7 n% b+ n% bwi du l% man )e+ l%x] Seaweed of the yellow peaks. Gaelic seaweed. dúlamán Gaelach. [kæ a no) bro )% der er s% du l% man )e+ l%x] “I would buy expensive shoes. . [a wa h( vi no kw+( na r% xu lan )% 5i me+] O gentle mother.148 Cé hé siúd thíos atá !tochas mo bhonnachaí? [ke he #ud hi%s % ta t0 x%s m% v%n % xe] Who is that down there tickling the souls of my feet? Mise mé féin a deir Cúnnla [m+ #% me fen a der kun l"] Me. here come the wooing men. Gaelic seaweed Dúlamán na farraige. says Cunnla Dúlamán [du l% man] Dúlamán na binne buí. Bróga breátha dubha ar a’ dúlamán Gaelach. myself. [ du l% ma na fæ r+ )% du l% man )e+ l%x] Seaweed of the ocean.” arsa’ dúlamán Gaelach. says Cunnla M’anam go tiocfaidh! deir Cúnnla [ma n%m g% 6%k :ki der kun l"] My soul I will. dúlamán Gaelach."said the Gaelic seaweed. you are the sea. alleluia ‘S Tusa an ghaoth. aililú mo Chríost. aililú mo chroí. ‘s Tusa an éan. [st% s" %n fer st% s" %n bla st% s" %n krin " l+ lu] You are the grass. you are the fish. [st% s" %n )rin st% s" %n re+%lt st% s" %n sper " l+ lu] You are the sun. aililú. aililú. [tak a klu +# we+l er a du l% man mwer %x] There are two blunt ears on the stately seaweed. aililú mo Thiarna. ‘S Tusa an bláth. ‘S Tusa na crainn. [st% s" %n )wa+ st% s" %n fuxt st% s" %n vwir " l+ lu ] You are the wind. you are the star. ‘s Tusa an réalt. Incantations Aililú. ‘s Tusa an fuacht. alleluia ‘S Tusa an ghrian. ‘S Tusa an dámh. you are the sky. Tá dhá chluais mhaol’ar a’ dúlamán Maorach. you are the cold. you are the flower. alleluia Aililú mo Íosa. [" l+ lu] Alleluia.149 [bro )% bræ ha du % a er a du l% man )e+ l%x] Beautiful black shoes has the Gaelic seaweed. you are the trees. [ta ki a&n bwi or er a du l% man )e+ l%x] There is a yellow gold head on the Gaelic seaweed. ‘s Tusa an spéir. [" l+ lu mo i sa " l+ lu mo kri " l+ lu h+ern" " l+ lu mo krist] Alleluia my Jesus. alleluia my heart. alleluia ‘S Tusa an féar. ‘s Tusa an t-iasc. you are the bird. alleluia my Lord. alleluia my Christ. [st% s" %n darv st% s" %n en st% s" %n t*+sk " l+ lu] You are the stag. aililú. . aililú. ‘s Tusa an mhuir. ‘Bairéad agus triús ar a’ dúlamán Gaelach [bar e%d a)%s trus er a du l% man )e+ l%x] A beret and trousers has the Gaelic Seaweed. Tá ceann buí óir ar a’dúlamán Gaelach. ‘S ní choinneodh sí siúl le cailleach an air[i]gid [sni xw+ n%) #i #ul l' kæ 8%k an ær + )+d ] But she never keeps pace with the hag with the money. ó Bhail’ Iorrais Mhóir í. [ sna r% hi )%l t+m p&l #ir 0 na kæ ru ni] And the wheels turning speedily at her flanks Caithfeadh sí’n stiúir naoi n-uair’ar a cúl. ‘s í do Mhaimeo Í cailleach an air[i]gid. [ v'k %s %n stim )0l #ir t0+ ni 8i$ ] If you’d see the steam [steam boat] going past Tóin Uí Loing’ ‘S na rothaí gh’l timpeall siar óna ceathrúna[í].. ‘S chuirfeadh sí cóistí ‘r bhóithre Chois Fharraige. . Danú Danú Danú Dé [da nu da nu da nu de] ‘Sí do Mhaimeo Í [#i do a mo+ i ] ‘S í do Mhaimeo Í. she is your granny. [skwir % #i ko& #ti ( v0+ r% xu# ær + )% ] And she would put coaches on the roads of Cois Farraige ‘bhFeicfeása ‘n “steam” ‘ga’l siar Tóin Uí Loing’. [#i do a mo+ i #i do a mo+ i ] She is your granny. [#i do a mo+ i kæl j%k an ær + )+d] She is your granny the hag with the money ‘S í do Mhaimeo Í.150 Salve Rex Duisgeadh agoinn dámh donn a doire donn níamhdha nua [du #% g% gwIn dav d% n% der e d% niv ga nu a] We awoke a great brown stag from the new grass. ‘s í do Mhaimeo Í. [#i do a mo+ i o vaj l*(j +# v0+ r+ ] She is your granny from the town of Iorrais Mór.. [kæ wh% #in sti%r n+ i nu re+r % kul ] She’d scatter the store nine times to the rear. ‘s gairid go bpósfa’. ‘S gairid go bpósfa’ beirt ar an mbaile seo. I know he’ll not marry Mar tá sé ró-óg ‘gus dólfadh sé’n t-air[i]gead. ‘Measann tú ‘bpósfa cailleach an air[i]gid? [mæs +n tu bos f% kæl +k an ær + )+d ] Do you reckon he’d marry the hag with the money Tá ‘s a’m nach bpósfa’. ‘measann tú ‘bpósfa. we’ll soon have a wedding. [skæ r+d )% bos f% skæ r+d )% bos f% ] We’ll soon have a wedding. [skæ r+d )% bos f% skæ r+d )% bos f% ] We’ll soon have a wedding. [mar ta #e ro o) )%s dol %k #e +n tær + )+d ] Because he’s too young and he’ll drink the money. we’ll soon have a wedding. ‘S gairid go bpósfa’.151 ‘Measann tú ‘bpósfa. [#an he+ m+# v0+r g%s mo+ r% ni kæ h% si] Between Séan Séamais Mór and Máire Ní Chathasaigh. do you reckon he’d marry. [mæs +n tu bos f% mæs +n tu bos f% ] Do you reckon he’d marry. ‘s gairid go bpósfa’. . [skæ r+d )% bos f% be+t e r0n m0l ja #%] We’ll soon have a wedding by two in the village ‘S gairid go bpósfa’. tá ‘s a’m nach bpósfa’ [ta s%m n0k bos f% ta s%m n0x bos f% ] I know he’ll not marry. Séan Shéamais Mhóir ‘gus Máire Ní Chathasaigh. .APPENDIX D COMPLETE MUSICAL EXAMPLES All musical examples found within the body of the document are given here in their complete form. œ œ œ œ œ œ œ œ œ 152 . ‘Sí do Mhaimeo Í/ Cailleacha Chúige Uladh Cailleacha Chúige Uladh from Petrie Collection œœœœ œ 9 œœœœœœ œœœ œœœœ œœœœœ . œ œ œ œ œ œ œ œ œ œ œ œ j œ œ œ œ œ œ œ œ œ œ œ œ œ j .. which are found in Appendix F. 5 qd = 118 & . The exceptions are the complete scores of Michael McGlynn’s music. &8 œœœ œœœ J œœ œ œ œj . 153 Cailleach an Airgid from Ó Canainn (p. 29) 6 &8 œ œ œ œ œ œ œ œ 5 œ œ. œœœœœœ œ œ œ œ œ œ &œ œ œ œ œ œ œ œ œ œ & .. œ œ # œ œ œ œ œ œ œ œ . .. j œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ #œ œ œ œ œ 9 13 œ œ œ .. & œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ q = 108 'Sí do Mhaimeo Í Arranged by Michael McGlynn 6 œ œ œ œ œ œ œ œ œ œ &8 œ œ œ #œ œ œ œ œ œ œ œ œ œ œ 5 &œ œ œ œ œ œ œœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J œ œ œ œ œ J œ œ œ œ œ J œ œ œ œ J œ ! 10 œ &œ œ œ œ &œ œ œ œ œ œ œ œ œ œ J j œ œ œ œ œ œ œ 14 154 'S Í Do Mhaimeo Í Cas Amhrán 6 &8 œ œ œ œ 5 j œ œ œ œ œ œ œ œ œ œ œ j œ œ œ œ œ œ œ j œ œ œ œ œ œ œ œ œ œ œ œ œ œ J j œ œ œ œ œ œ œ œ œ bœ & œ œ œ œ œ œ œ œ œ bœ œ œ œ &œ œ œ œ &œ œ œ œ œ œ œ œ œ J œ œ œ œ œ J œ œ œ œ œ J œ œ œ bœ J œ 9 13 Cailleach an Airgid as performed by Joe Heaney 6 V8 6 j œ œ œ. œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ j œ Vœ œ œ œ œ œ œ œ œ œ. Vœ œ œ œ Vœ j œ œ œ œ œJ œ œ J œ œ œ œ. œ œ œ œ œ œ œ œ œ. j œ œ. œ œ œ j œ œ œ œ œ œ œ œ. 11 œ œ œ 16 j œ œ œ œ œ j œ œ œ œ œ œ œ œ œ œ œ œ œ œ. 155 Sí Do Mhamó Í Singing in Irish Gaelic Arranged by Mary McLaughlin 6 j j œ œ & 8 œ œ œ œ œj œ œ œ œ œ œ œ œ œ œ j ˙. œ œ œ 6 &œ œ œ œ œ œ &œ œ œ œ j œ œ. œ œ œ œ œ œ Œ œ œ œ œ œ œ j œ 9 j œ œœ œ œ œ œ œ œ #œ œ . ˙. 13 & œ #œ œ œ . œ œ &œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œœ œ #œ œ œ . j œ ˙. 17 j œ œ œ œ œ 156 Cailleacha Chúigid (Chúige) Uladh From Fleischmann -6781 Patrick Coneely (P) Galway- 1839 9 œ œ œ œ œ œ &8 œ œ œ 3 œ œ œ œ œ œ œ œ J j .. œ j œ j .. œ œ œ œ œ œ œ &œ œ œ & .. œ œ œ œ œ œ œ œ œ &œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 5 7 The Old Hag in the Corner From- Fleischmann- 4483 6œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J &8 J 5 & & & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œ œ J œœœœ œ J œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J œ J œ œ œ œ œ œ œ œ œ œ œ J œ œ œ œ œ J 10 14 157 The Old Hagg in the Corner From- Fleischmann- 3900 6 & 8 bœ J 5 œ œ œ bœ j œ œ œ œ bœ j œ œ œ œ œ œ œ œ œ œ œ bœ J j œ j œ j. œ . & œ œ œ bœ j œ œ œ œ bœ j œ œ œ œ œ œ œ œ œ œ œ 9 & .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ &œ œ œ œ œ œ œ œ œ œ œ œ œœœ œ œ œ œ œ œ œ œ 13 17 j & .. œ j œ j œ j œ œj œ œ œ œ œ œ œ œ œ œ œj œ j œ j œ j œ œj œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ j œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ .. 24 28 œ œœœœœœ œœœœ œ œ œœœ œ œ œ J &œ œ œ œ œ œœœœ J œ œ J œ j œ œ. &J &œ & œ. œ œ j œ œ œ œ œ œ. œ œ œ J œ œ œ œ 16 21 j œ œ œ œ œ œ œ œ œ. œ 16 œ 21 j œ œ œ œ œ œ œ œ. œ œ œ J Airde Cuan An Cór Gaelach Arranged by Micheál Mac Eoin 2 œ œ. œ œ œ œ œ œ J œ œ œœ ˙ œ ˙ ˙ œ j œ œ. . œ œ. œ œ. œ œ. œ œ. &J &œ & œ. œ œ. œ œ œ J œ.158 Ardaigh Cuan Airdi Cuan Ceolta Gael Soprano 2 œ œ. j œ œ œ œ J œ œ œ œ J œ œ œ œ œ ˙ œ ˙ ˙ œ j œ œ. J œ. &4 œ J J 9 j œ œ. œ œ. œ œ. j œ œ œ œ œ œ. &4 œ 9 œ œ. œ œ. œœ œœ 8 œ œ J œ œ œ. J œ œ œœ 9 œœ 8 œ œ &J œ. œ œœ œ œ œ ‰ &9 8 œ œ œ œ. j œ œ. J . œ œ œœ œ œ œœ œ J œ œ œ.159 Ardaidh Cuain from O hEidin Cas Amhran 6 œ œ &8 œ 5 œ œ. œ œœ œ œ J 9 j œ œ. œ U œ œœ œœ œ &œ J 9 U j 9 6 œ . œ œ œ œ. œ œ œ œ. œ œ œj œ œ . œ œ œ œ œ œ œ. 5 q = 60 Arranged by Michael McGlynn œ. œ Œ ‰ ‰ œœ œ œ J œœ œ œ j œ œ. œ œ œ J œ . œ œ œ. œ œ 8 œ œœœ œ. & œ œ œ. œ œ œ œ œ œ 6 8 J Ardaigh Cuan 6 & 8 œ œ œ. œ œ œ œ. 160 Silent O’Moyle The Song of Fionnuala Moore's Irish Melodies j j j & c œ œ . œ œ œ œ œ œ œ œ œ #œ œ ‰ œ œ . œ #œ œ ‰ œ œ œ .œœ œ ‰ œ J 5 œ & œ œ j œ œ œ œ œ œ œ œ # œj œ ‰ œ œ . œ œ œ œ # œ œ œ œj œ Œ œ œœ œ œ Œ œ œ œ œ #œ Œ œ j œ. œ œ ‰œ J j œ 9 œ œ ‰œ & œ œ œ J & œ. j œ œ ‰œ J œ. œ J œ œ j œ œ Œ œ Œ 13 j œ . œ œ œ œ #œ j œ Silent, O Moyle j 4 & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ. 5 q = 55 Arranged by Michael McGlynn j œ œ œ œ œ œj œ œ . œ œ . œ J œ œ œ œ œ œ #œ œ œ ˙ j œ. œ œ œ œ œ œ œ œ Œ J &œ œ œ œ œ œ œ j œ œ œ œ œ œ. 9 œ œ. &œ œ œ & œ. j œ œ. œ œ œ œ œ J J œ ‰ œ. œ œ œ œ œ œ œ œ œ œ J 13 œ œ œ #œ œ œ ˙ 161 Tell Me Dear Eveleen Fleischmann #2986 # œ œ . œ œ œ . œ œ œ œ œ #œ œŒ & c 5 œ œ . œ #œ œ ‰ œ œ œ . œ œ ‰ œ J œ œ œ œ œ #œ œ œ ˙ œ œ œ. œ. œ J j œ # œ œ œ œ œ œ œ œ œ œ #œ œ Œ & # œ œ œ œ œ Œ & & # œ˙ œ. œ œ œ œ œ 9 œ j œ œ ˙ 13 œ œ œ œ œ #œ J œ œ œ œ œ #œ œ œ ˙ J The Song of Fionnuala Fleischmann # 4766 j & c œ œ . œ œ œ œ œ œ œ œ œ #œ œ Œ 5 œ œ . œ # œ œ ‰ œ œ œ . œ œj œ ‰ œ J œ œ . œ œ œ œ # œ œ œ œj œ Œ j œ. œ ‰ œ œ. œ J j œ &œ œ œ œj œ œ œ œ œ œ œ #œ œ Œ 9 œ œ ‰ œ œ œ œ œ œ Œ &œ œ œ J & œ. j œ œ œ œ #œ Œ œ œ ‰ œ J œ œ. œ œj œ Œ J 13 j œ œ œ œ # œ œ œ œj œ Œ 162 Silent O Moyle, Be the Roar of the Water Irish Songs: Collection of Airs Old & New Arranged by N. Clifford Page q = 65 j b j j & b c œ œ . œ œ œ œ œ œ œ œ œ œ ‰ œ œ . œ œ œ œj œ œ . œ œ ‰ œ 5 b œ j & b œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ. œ œ œ œ œ œ œ œ Œ &b &b b œ. œ œ œ œ œ J j œ œ ‰œ J œ œ œœ J œ. œ œ œ œ œj œ. j œ œ œ. œ œ. œ J œ œŒ 9 13 b œ. j œ. œ œ œ œ œ œ œ œ. ‰ 163 Siuíl, a Ruín Siúil a Riún Arranged by McGlynn 12 œ œ œ . œ . œ œ œ j œ . œ . œ . Œ œ œ . œ . œ . œ . &8 œ J J J 4 qd = 110 & œ œ œ œ J œ œ. Œ j œ œ. œ œ œ. J œ œ J 6 j & œ. œ œ ˙. & œ œ œ œ. 6 Œ . œ œ 12 œ . œ . œ œ œ j œ . œ j œ . Œ . 8 œ J 8 J œ œ. œ œ œ œ œ œ œ œ. J J 6 8 ! ˙. 12 8 œ œ Œ œj œ . œ œ œ œ J J J œ œ œ. J j œ. œ œ œ. Œ. 10 13 j & œ. œ œ ˙. 17 œœ œ œ œ œœ œ œ œ . Œ . œ . œ œ œ œ œ œ œ . œ œj œ . Œ . & œ. œ. J J J J JJ 164 Shule Aroon P.W. Joyce &c œ 5 Slow with feeling q = 120 œ. œ œ. œ œ. J J j œ œ. j œ œ. j œ œ œ œ œ œ. j œ œ. ˙ ˙ j œ & œ œ œ . œ œ œ œ . œj œ . œ œ œ œ œ œ œ œ œ œ ˙ . œ & œ. & œ. j œ œ. j œ œ j œ œ. œ œ j œ œ œ œ œ œ. j œ œ. 10 j œ œ. œ œ œ œ. œ œ œ ˙. 14 œ. œ œ œ œ œ œ œ Shule Arun Fleishmann (6339) &c œ 5 œ œ œ œ œ. j œ œ. j j œ . œj œ œ œ œ œ œ œj œ œ œ œ œ œ. œ œ œ œ œ œ #œ j œ . œj œ œ œ œ œ œ œj œ œœ Œ &œ œ œ œ œ œ œ œ œ œ œ œ œ &˙ Ó ˙ ˙ j œ. œ œ Œ 8 13 & œ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . œ œ œ œ œ œ #œ ˙ Micheál Mac Eoin. 1998). 1993).. œ œ œ ˙ J 9 œ œ &œ œ œ & ˙ 13 œ œ œ #œ œ œ œ Œ œ œ œ œ œ #œ #œ œ. Ltd. 1998). Incantations (Dublin: Michael McGlynn & Warner Chappell. 1994). "Ardi Cuan. Old Irish Folk Music and Songs: A Collection of 842 Irish Airs and Songs Hitherto Unpublished (Dublin: Hodger Figgis & Co.. 1995). Silent. . 2 vols. Siúil. Vol.. ------. 1583-1855. 1909). The Ancient Music of Ireland: The Bunting Collections (a facsimile edition of Edward Bunting's songs and airs in piano arrangements). Aloys Fleischmann. Aloys Fleischmann. 2. -----. 2002). O Moyle (Dublin: Michael McGlynn & Warner Chappell. Inc.. 1600-1855: An Annotated Catalogue of Prints and Manuscripts. Sources of Irish Traditional Music c. (New York: Garland Publishing Inc." in An Cór Gaelach (Corcaigh: An Chéad Chló. œ J œ œ œ œ ! Edward Bunting. 1989). ed. Vol. Ardaigh Cuan (Dublin: Michael McGlynn/ Warner Chappell. Aloys Fleischmann. 1600-1855: An Annotated Catalogue of Prints and Manuscripts. 1583-1855. ------. 2 vols. Sources of Irish Traditional Music c. (New York: Garland Publishing. a Rúin (Dublin: Michael McGlynn & Warner Chappell. 1985). 1. Joyce. œ œ œ 5 œ œ œ œ #œ œ œ œ œ #œ œ œ œ œ œ Œ &œ œœœ œœ œ œ œ œ œ #œ #œ œ œ œ œ #œ #œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ.‘Sí do Mhaimeo Í (Dublin: Michael McGlynn & Warner Chappell. Michael McGlynn. ------. P.W. Harry Long (Dublin: Walton Manufacturing Ltd. ed. ed. ! Aloys Fleischmann. 1993).165 Arah My Dear Ev'Leen Fleschimann # 4521 & C œ œ. " in Singing in Irish Gaelic: A Phonetic Approach to Singing in the Irish Language Suitable for Non-Irish Speakers (Pacific. MO. 2002). George Petrie. ed. David Cooper (Cork: Cork University Press. Mícheál Ó hEidhin. A Hidden Ulster: People. Seán Óg Ó Baoill and Mánus Ó Baoill. 1893). Moore's Irish Melodies With Symphonies and Accompaniments (Boston: Oliver Ditson. The Petrie Collection of the Ancient Music of Ireland. "Airdi Cuan. 1977). . Pádragín Ní Uallacháin. Cas Amhrán (Conmara: Cló Iar-Chonnachta. MO: Mel Bay Publications." in Celota Gael (Corcaigh: Cló Mercier. Muireadhach Méith. 1975). Thomas Moore. Amhráin Chúige Uladh (Baile Átha Cliath: Gilbert Dalton. 2005). "Sí do Mhaimó Í. 1975). and Traditions of Oriel (Dublin: Four Courts Press.166 Mary McLaughlin. Songs. 1893). ................. 194 .....................................................................anuna............................................ 224 167 ......... as well as other scores.................................................................................................................... 203 ‘Sí do Mhaimeo Í ............................................................................ 167 Cormacus Scripsit....................................................................................................... 169 Dúlamán ........................................................................................................................ 177 Incantations................................. 185 Invocation Island Sanctus .............................. 190 .......................... a Rúin ........................................................................... can be found and purchased from www............................................................ These........................................ Agnus Dei ............................................................................ 209 Siúil......... 218 Wind on Sea....................................................................................................................ie...................................APPENDIX E MICHAEL MCGLYNN SELECTED SCORES The scores contained in this Appendix are reprinted by the consent of the composer and are not intended for duplication (documentation found in the final page of this Appendix). nor does it allow for the recording in any medium of the pieces listed above without the authority of the copyright holder. a Rúin Wind on Sea 10/03/2010 This is to certify that Stacie Lee Rossow has been issued permission to reprint.ie to confirm the authenticity. Ireland or
[email protected] Certificate Re: Agnus Dei Cormacus Scripsit Dúlamán Incantations Invocation Island Sanctus ______________________________________________ ‘Sí do Mhaimeo Í Siúil. as indicated above written and/or arranged by Michael McGlynn. . PO Box 4468. Churchtown. in their entirety. To confirm the propriety of this certificate contact
[email protected] ____________________ Michael McGlynn Anúna Teoranta Cert. Dublin 14. the following scores in her Doctoral Thesis titled The Choral Music of Irish Composer Michael McGlynn. 3230 Contact Anúna. You may also call +353 1 2835533 Please note that this Certificate does not allow the purchaser to lend or hire this permission to any third party. 5 4 w B2 P 5 w 4 w Oh Oh œ œ œ 6 4 no breath S1 &b 7 P w TSolo Vb Dé.ainn. A U .re or . œ œ 3 w œ œ U A U . # œ œ œ.ain Dé. B2 ˙ ˙ .ainn. #œ œ œ œ A U.caí an domhain.ain Dé. 2006 w #˙ n ˙ n˙.gas pea. #œ œ œ œ œœ œ œ œ œ. œ œ œ 3 a thó .ain œ Dé.ain .169 Agnus Dei Tenor Solo 5 Vb 4 " Freely q»¢! #œ œ œ œ P A U ..gas pea-caí an domhain.caí an domhain. œ œ Vb 4 Dé. T " " 3 4 3 4 " " F A U .caí an domhain. œ 3 w b˙ ˙ w œ ˙ .ain Dé. a thó-gas pea-caí an domhain. œ œœ œ œ œ. 4 w u 6 ˙. b 4 ˙. Warner Chappell Music U. Michael McGlynn œ œ œ œ œ.ain tró .. w u 5 4 T Vb w ? 10 œ ˙ ˙ . A U .cai . TSolo œ U a thó-gas pea-caí an domhain. Ó Œ # œ œ œ 4 J 4 . U 5 œ œ œ œ œ œ . 4 œ w œ œœ œ œ .K. ˙ œ U œ 6 . œ œ U 5 4 3 4 3 4 3 4 3 4 S1 5 &b 4 w 5 œ œœ œ œ œ . œ œ œ œ.ain S1 &b 4 " œ U 3 4 ‰ œ J TSolo Vb Vb ? b œ Dé. déan w F 3 œ. œ œ 3 A U-ain Dé.caí an domhain. a thó-gas pea caí an domhain.gas pea . 3œ œ œ # œœ 4 4 Oh 3 5 4 S1 & 2 together until bar 13 œ œ U # œ œ œ. #œ œ œ œ œœ œ œ œ œ. œ œ œ 3 5 4 ˙ U B2 ˙ b ˙ .gas pea .re or . U 6 œ 5 ‰ œ œ œ œ.caí an domhain.ain Dé. tabhair ‰ œ J œ T 5 Vb 4 w ? 5 ˙. œ œ 3 œ U a thó . œ œ 3 œ œ U a thó . ˙ ˙.gas pea . a thó . a thó . œ 3 déan tró ..gas pea . œœ œ œ œ . œ œ 3 œ " U #œ œ œ A U . b ˙.cai . a thó . œœ œ œ œ. ˙ ˙ œ w ˙ ˙ . A U . ˙. De ˙.cca .gnus ˙.lis p œ bœ œ œ œ œ œ œ.och .inn sí -och-áin. T œ œ œ œœ gnus De . A lis pec . A bœ A . tabhair dú. then please note the following: At bar 13.inn sí . œ œ œ .cca .áin. N˙. and not sing the Tenor figure that starts at bar 13. œj gnus De .. 6 4 w. ˙. b 4 b˙ ˙. A S2 &b & b ˙. the S1 lower part should continue singing a D [as per S1] . oo p 6 4 w. ˙. ! b˙. ˙.. ˙. 13 S1 ˙. except the T solo. ! ˙. w. A1 3 &b 4 TSolo 3 œ V b 4 œ œ œ œ œ.lis pec . tabhair œ œ œ œ œ. A j œ n œ œ œ œ œ . oo S1 & b b˙. ˙. . ˙. oo p 6 œ œ œ œ ˙ 4 6 4 œ nœ p6 w. B2 ? b ! œ nœ œ œ œ ˙ A gnus De .it is possible to end this piece at the end of bar 13. ˙. !. Nw. ˙.och-áin. ˙. œj œ b œ œ . 18 ˙.di. ˙.ta mun - œ bœ œ. Œ ŒŒ dú .i qui tol . ! ˙.i qui tol . ? 3 b 4 ? 3 . A - - - gnus De ˙.i. w. ˙. - - - ˙. œ J A gnus De .ta qui B1 w w ŒŒ ŒŒ ! ! oo B2 ˙ ˙ .170 3 &b 4 ˙. i qui tol . ˙.lis pec . ! ˙.i p œ nœ œ œ œ œ œ.cca . p oo p - - - - œ #œ œ ˙ - gnus De - nœ i ˙ b˙. œ J ˙ ˙. De - ˙.cca . Œ 6 4 w˙ .ta b˙. ˙. - - - gnus - - - ˙. dú-inn sí. ! b˙. œ œ œ œ J Please note .ta mun . i T j V b œ bœ œ. All parts should hold that bar as if it were a final one. J 3 V b 4 ˙. œ J gnus pec . i A1 ˙. œ œ œ œ tol - b˙. T should continue holding the G as per bar 12. ˙. If the intention is to do this. ! ˙. 4 A Steadily q»§" ˙. ˙. œ tol - ˙. œ œ .re no .se .re . ˙.i.bis. F œ nœ œ œ œ ˙ A gnus De .se . œ nœ œ œ œ œ Œ A gnus De . qui P tol .re . mi .bis.lis F w . œ œ ˙ œ œ ˙ . œ œ œœ œ œ gnus De .i . ˙. F - - - - . œ. ˙.se . nœ J - ˙ A p p A p - gnus De . i w. ˙. nœ œ . ˙ A ˙.se . œj œ œ œ b œ Œ N œ . œ œ œ ˙ gnus De .bis.˙ ˙. B2 w.gnus De .i poco rit B1 ? ? b b mi .i. œ œ œ bœ bœ Œ J ! œ bœ œ œ œ œ œ b˙ ˙ .re . œj œ œ œ b œ œ 23 mi .re no - bis. œ ˙. œ J pec .ta œ bœ œ œ œ œ œ œ tol . oo ! ! w. b˙.re .i.se .i. oo ˙. bis.i qui pec-cca . A .re no . TSolo œ Vb T V b œ nœ œ œ œ ˙ A gnus De . ˙. poco rit œ Œ œ œ œ œ œ œ œ Œ Œ De - S2 & b N œ .se .re .i. bœ - b˙.lis œ bœ œ œ œ œ œ œ. p Ó Ó Ó ! Ó Œ Œ Œ Œ w. nœ œ Œ J œ œ bœ mi .se .i œ - ˙ lis œ bœ œ ta F œ Nœ œ œ œ ˙ A gnus De .re no œ . gnus De œ bœ œ i S2 & b ˙. b˙. œ A - ˙. Œ ˙ A - w. A - gnus De . mi . œ nœ œ œ œ ˙ gnus De .ta mun .re no - bis.se .re no . A - ˙.se . poco rit ! B2 w . n œj œ œ œ œ œ - bis.re no - ! œ œ ˙ gnus De .cca œ nœ œ œ œ A - gnus De .i A P .œ .. j œ nœ œ bœ œ mi . T œ V b œ . bis.bis. ˙.re . mi .re .i. di.i. ˙ A - - - - A1 &b oo ˙.re . œ œ ˙ œ œ ˙ ˙ A - gnus De .i ˙ Œ ‰œ J ˙. poco rit - gnus De . b˙. ˙ p A ˙ A - œ œ œ Œ gnus De .di. 28 Slower q»"" w.bis.œ . ˙ A - gnus De .i. œj œ œ œ b œ œ mi .re no œ œ œ bœ nœ n˙.se . œ.re .i. poco rit S1 & b w. œj œ œ œ œ Œ N œ . ˙.i B1 ?b ? b w. ˙ mun - F De w. œ œ Aœ œ bœ J mi .. ˙ F - gnus De . ˙. A1 Œ & b œ.cca . ˙.171 S1 & b N œ .re no .re no . di.i.re . qui pec . mi . ˙. ˙.re .re no - bis. p ˙ œ œ œ œ A gnus De . .re . 3 4 3 4 ˙.se .se . lis pec .se .re no .re no bis. œ nœ b 4 œ œ œ œ œ œ Œ œ œ œ œ bœ mi .re no . " A1 6 &b 4 œ œ œ œ œ œ Œ œ œ œ œ mi . i ˙. . mi .se . oo ˙.re . 3 4 ˙. mi . mi .re no .bis.re no . - ˙. mi . - bis. .cca 9 œ 6 4 œ œ œ œ œ œ Œ œ œ œ œ œ œ 4 œ 6 9 œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ bœ œ nœ œ bœ 4 4 mi . S2 &b ˙ A - gnus De .i. ˙. ˙.re no bis. .re no bis.re no .cca . tol - lis ˙ ˙.cca 9 6 4 œ œ œ œ œ œ Œ œ œ œ œ œ bœ œ 4 mi . ˙. tol ˙.se . 9 6 4 œ œ œ œ œ œ Œ œ œ œ œ œ œ œ 4 mi . mi .re no bis.re .bis.se . 3 ˙.re no .bis.re . # 6 4 ˙. 3 4 ˙. mi .re . . - ta ˙. oo " ˙.re .re no œ œ œ ˙. mun - ˙.re no œ bœ œ ˙.bis. B2 ? b w.i mi .i qui j œ b˙. .se .re no bis. œ œ œ œ b˙. 33 S1 ˙.bis.re . mi .i qui tol - gnus De .re no bis.se . S2 6 &b 4 œ œ œ œ œ œ Œ œ œ œ œ mi .172 & b ˙. gnus De ˙.re .se . - bis.re no .re . TSolo 6 Vb 4 " " œ bœ nœ ˙.cca bœ œ œ œ œ 9 œ 4 ta mun di.i . oo # 6 œ œ œ œ ˙ 4 6 4 ˙. A - gnus De . w. " 6 4 T V b œ nœ œ œ œ œ œ .re . . mi . T 6 Vb 4 œ œ œ œ œ œ Œ œ œ œ œ mi . - # 6 4 ˙. .se . A gnus De .re no .re .se .se .re .se .se . - lis pec . q»§! 9 6 Œ 4 œ œ œ œ œ œ œ œ œ œ œ bœ œ 4 mi . B2 ? 6 œ œ œ œ œ œ œ œ œ œ œ bœ œ ˙ ˙ . mi . ˙. .se . ˙.re .re no .bis. # 6 w..se . ˙.se . mi .re .bis. i S1 6 &b 4 œ œ œ œ œ œ Œ œ œ œ œ 37 mi . 4 b˙.re .re . - ˙.se .cca b˙. mi .re no .ta œ bœ œ ˙ ˙ œ œ œ œ ˙.re no # 3 œ œ 4œ œ bœ œ œ bis. ta - lis pec .se .bis.i.bis. ˙ ˙ b˙. ta pec . A1 &b ˙ A - TSolo Vb œ A - bœ œ œ ˙ œ œ œœ œ ‰œ J gnus De .bis. w.se - re - re ˙ 6 4 w.re .se . di.re . 4 # oo ˙. tol pec .re . i A1 &b œ A - œ œ TSolo Vb œ A - œ œ œ ˙ gnus De . ˙ ..cca .i .di.i.cca œ œ ta œ œ œ œ nœ œ œ œ bœ bœ mun di. A mun . A œ œ œ b˙ gnus De .i gnus De . qui tol - - pec .. ˙ ˙ A - gnus De .cca mun 5 ˙ œ œ œ 4 di. A gnus De . ˙.cca .i f Ag - 6 œ œ œ œ œ bœ œ œ œ bœ œ œ œ œ œ œ œœ 4 nus De .i œ b˙ œ . ˙. gnus De B2 ? ˙ b ˙ A - gnus De .i.cca - œ œ nœ œ œ 5 4 ta mun di. Ag - S2 &b œ A - œ œ œ ˙ i gnus De qui bœ œ œ bœ œ œ ˙ tol - lis pec . A - œ A - œ œ œ b˙ gnus De i œ œ œ œbœ ‰ œ J gnus De i qui œ bœ ˙ œ œ bœ œ ˙ tol - œ bœ œ œ bœ lis lis pec . f 5 Nœ 4 Ag nus De . A - œ Œ i bœ tol - œ œ œ œ œ bœ lis pec . Ag nus De .i Ag - 6 œ œ œ œ œ œ œ œ bœ 4 nus De .i.i gnus De . œ œ bœ b˙ œ œ œ ˙ gnus De .i œ A - œ œ œ ˙ i œ tol - gnus De œ bœ œ œ œ lis œ œ bœ ta pec . ˙ ˙.cca œ œ ta gnus De mun 5 œ œ Nœ œ bœ œ œ œ œ œ bœ œ 6 œ œ œ 4 4 di. A gnus De i. no breath f 5 w 4 w f Ag - nus De . ˙ ˙ ˙ .i Nœ A - œ œ bœ b˙ gnus De i bœ tol - œ œ œ bœ œ bœ lis pec . œ œ bœ ˙ nus De .i.cca - œ œ ta mun œ Nœ œ œ ˙ œ bœ œ di.ta œ œ bœ œ ˙ œ œ bœ œ œ A - œ œ nœ œ œ œ ta mun di. Ag nus De . ˙ ˙ ˙ .di..i œ œ " œ œ 6 4 .. ˙ .173 &b œ 42 Floating S1 A - q»!! œ œ œ ˙ gnus De .i ˙ œ œ œ œ ˙ ˙ ˙ A - gnus De œ œ œ œ - ˙ ˙ i Oh ˙ . B2 ? b ˙ ˙ A - gnus De œ œ œ œ - ˙ ˙ i Oh ˙ .cca œ bœ - tol - lis pec . ˙ ˙.cca mun œ œ œ œ di.cca - - T V b œ nœ œ œ œ bœ bœ nœ nœ œ œ œ A gnus De i.. A1 & b nœ A - œ œ bœ b˙ gnus De i bœ tol - TSolo Vb œ A - bœ œ œ œ œ bœ ‰ œ J gnus De i qui œ œ œ bœ œ bœ œ œ ˙ lis pec .i S2 &b œ A - œ œ bœ b˙ gnus De .ta œ bœ œ œ bœ œ œ œ ˙ œ œ mun . Ag - nus De .i " " 6 4 T V b nœ nœ œ œ œ A - œ Œ i bœ tol - œ œ œ œ œ bœ lis pec .i ˙ œ œ œ œ ˙ œ bœ bœ 6 4 S1 &b 47 nœ A - œ œ œ b˙ gnus De i œ Crescendo Poco a Poco - tol œ bœ œ œ œ lis œ œ bœ ta pec .. ta mun f 5 Nœ œ 4 œ bœ œ di. . œ cem. œ œ œ œ œ œ œ œ œ œ no .na pa cem. . 4 pa - - - - - 3 4 ˙ - - cem.na no . 4 na 3 ˙.bis œ œ œ œ pa - cem. b 4 pa p - na no .bis 3 ˙ 4 3 b˙ 4 nœ pa - w - B1 œ cem.bis pa - S1 3 &b 4 ˙ 57 p - - - - 3 œ 4 œ œ bœ - cem. pa 6 n˙ 4 6 ˙ 4 N˙ œ œ no . 6 4 w. 4 3 b˙ 4 - cem.bis pa - cem.na do œ œ œ œ œ - 3 ˙. do .cem. œ cem. no . 6 4 ˙ 6 n˙ 4 - ˙ na œ œ do . 6 w. œ cem.na œ œ œ œ no . .bis œ œ œ bœ bœ pa - 6 n˙ 4 ˙ 6 Œ 4 . œ .bis bœ cem. 6 œ œ œ œ œ œ œ 4 do na no .bis pa p ?b 4 6 œ œœ œ œ œ œ do . S2 3 bœ &b 4 3 œ &b 4 bœ œ bœ pa ˙ cem.bis no . bœ œ œ pa - cem. B2 ? 6 w.na do 3 ˙ 4 3 bœ 4 3 œ 4 bœ bœ pa - 6 n˙ 4 6 ˙ 4 .bis œ œ 4 3 3 œ œ 4 3 œ œ œ œ 4 3 4 ˙ na œ œ no .bis œ œ bœ œ œ pa - 6 ˙ 4 N˙ - - cem. pa - - - - - 3 œ 4 œ œ bœ - cem. 6 Œ 4 œ œ œ ˙ do . œ . bœ œ T 3 ˙ Vb 4 ?b 4 3 b˙ pa - cem. do .na œ œ pa - . 6 4 w.bis 6 4 6 4 B2 ?b 4 3 œ œ bœ œ cem.bis œ œ œ ˙ do .na B1 no . do . 4 - - - 6 w. pa cem. no .bis cem. .na no .bis pa - - cem. ˙ ˙ do . do . 6 w.bis cem. pa pa do .bis œ œ œ œ pa - cem. bœ œ do - na ˙ ˙ no . pa - - 6 œ œ œ 4 do - œ na œ œ œ pa - - - 3 ˙. œ œ do .bis œ œ Nœ œ 3 ˙ 4 b˙ pa - cem. 4 pa - - - - - 3 œ œ bœ œ 4 - cem. 6 ˙ 4 6 n˙ 4 6 ˙ 4 N˙ 6 Œ 4 ˙ na do no . .bis do 3 b˙ 4 3 ˙ 4 b˙ bœ cem. ˙ cem.na A1 T p 6 Œ Vb 4 do - na ˙ ˙ no . pa œ nœ no .na 3 4 ˙ 3 b˙ 4 bœ cem. 4 ˙ na . &b 4 52 S1 S2 p 6 & b 4 n˙ 6 ˙ &b 4 N˙ p do - - - - 3 ˙. ˙ ˙ do .bis cem.na no .bis pa - pa - 6 œ œœ œ œ œ œ 4 3 4 do na no . 4 3 b˙ 4 - - - 6 œ ‰œ œ œ œ œ 4 J 6 œ œœ œ œ œ œ 4 do na no .174 6 w.na no . A1 no . pa - - - - - 3 4 6 4 6 4 6 4 6 4 œ - .bis do 3 b˙ 4 3 ˙ 4 b˙ 3 ˙ 4 3 b˙ 4 - bœ cem. na no . 4 do œ œ do . 4 do - - - na ˙. pa 6 w.na no . 4 . œ œ Œ œ œ Œ 4 Nœ œ œ œ do .bis pa - do 3 ˙ 4 - œ .na B1 ?b 4 6 œ œœ œ œ œ œ do na no . do - na pa - .na no .bis pa - cem. do ..cem.. S2 3 ˙ &b 4 3 &b 4 b˙ ˙ 3 ˙ Vb 4 ?b 4 3 b˙ ?b 4 3 b˙ pa - cem. œ ˙.bis pa - - - - na B2 œ cem. do - - - na T cem. 4 pa - - - cem. w .bis 3 4 3 4 œ cem. bœ œ œ 6 4 N˙ ˙ . 6 œ œ œ 4 œ œ œ do - na S1 3 b˙ &b 4 67 bœ cem. ˙ ˙ . T 6 œ ‰œ œ œ ˙ Vb 4 J do .cem. na - - - - - 3 4 ˙. 6 . w .na no . ! pa ! do - na no . pa - B2 ? 6 w. 4 . pa 6 ˙.cem. b œœ œ do . 4 pa - - - - - 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 A1 do - na œ œ œ œ œ œ Nœ œ no . cem. .bis - 3 ˙. 6 Œ 4 6 ˙..na no . b 4 pa - - - - 3 4 ˙ - - cem.bis pa 6 ˙. bœ œ œ ! bœ cem.. œ œ œ œ do . 4 do ˙.. 4 3 b˙ 4 3 ˙ 4 b˙ 3 ˙ 4 3 b˙ 4 - . 6 ˙. 6 Œ œ œ œ œ œ 4 do . ! 6 ..bis pa - œ .bis pa - 3 ˙ 4 b˙ - . 6 n w. œ .. œ - - - cem.na no . 3 ˙. œ œ pa - A1 pa - cem. pa do no .na no .. Œ œ œ œ œ œ ! œ œ 6 .na no .bis 3 b˙ 4 3 ˙ 4 b˙ 3 ˙ 4 3 b˙ 4 - bœ cem. 4 pa - - - - - - 3 ˙. n œ œ Œ œ œ Œ 4 6 .175 6 n˙ &b 4 62 S1 œ œ œ œ na no . ˙. 4 - . 4 do - na ˙.bis pa - 6 ˙. ! 6 .cem. 4 cem. cem. 4 pa - - - 6 n w. œ 6 nœ 4 6 œ 4 Nœ 6 Œ 4 6 œ 4 œ œ œ œ œ - Œ Œ œ œ na œ œ œ œ œ œ œ œ œ œ Œ Œ œ pa do . 6 œ 4 œ do - œ - œ - œ - œ na 3 4 .bis 3 ˙ 4 3 b˙ 4 - pa - cem.bis no . bœ œ œ 6 4 N˙ ˙ . ˙ ˙ . 4 pa With Stillness - S2 6 ˙ &b 4 6 n˙ &b 4 ˙ œ œ œ nœ na no .bis pa - do 3 b˙ 4 - bœ .bis pa - cem. do . cem. œ 6 4 .cem.cem.bis B1 œ cem. na no . ˙. . ˙ ˙ pa - cem. 4 do œ œ œ œ œ do . pa - cem. pa - cem. A Uain Dé. déan trócaire orainn. pa - cem. .176 3 b˙ &b 4 71 S1 bœ cem. do œ œ œ œ œ do . do - - na pa - cem.bis pa - - cem. . Completed May 2006 pa - cem.na no . na pa - cem. ˙ ˙ . have mercy on us. pa 6 n w. b˙ pa - b˙ cem. na œ cem. b˙ pa - b˙ cem. œ . 6 . a thógas peacaí an domhain. 4 N˙ ˙ .. 6 . 6 4 N˙ ˙ . A Uain Dé. a thógas peacaí an domhain. who takes away the sins of the world. ˙ pa ˙ - cem. b ˙˙ ˙ b˙ ˙ ˙ b˙ b˙ pa - cem. b ˙˙ ˙ T cem. grant us peace. b ˙˙ u U T ˙ ˙ ˙ A Uain Dé. pa Commissioned by Chanticleer. b œœ œ . pa - cem. b˙ pa - b ˙˙ cem. ˙ A1 pa - cem. S2 3 &b 4 ˙ 3 & b 4 b˙ ˙ 3 Vb 4 ˙ ? 3 b˙ b 4 ? 3 b˙ b 4 pa - cem. pa 6 œ œ œ 4 œ œ œ do - pa œ cem.. 4 ˙ do - - na ˙. ˙ pa ˙ - cem. B1 ˙ ˙ pa - cem. 4 pa c b˙ - b˙ cem. pa u S2 &b ˙ & b b˙ ˙ Vb ˙ ? b b˙ ? b˙ b pa - cem.. CA in 2005 From "And on earth Peace : A Chanticleer Mass" . œ 6 4 ˙. pa - cem. na ˙ ˙ pa B2 œ cem. 6 nw. Lamb of God. 3 4 ˙ 3 4 b˙ ˙ 3 4 ˙ 3 b˙ 4 3 b˙ 4 - pa - cem. . 4 do - - cem. ˙ ˙ . pa B2 U cem.. do - - na pa - cem. 4 ... u ˙ A1 pa - cem. have mercy on us. U cem. b ˙˙ ˙ b˙ ˙ ˙ b˙ b˙ pa - cem. b ˙˙ ˙ b˙ ˙ ˙ b˙ b˙ pa - cem. pa - - - - - 3 b˙ 4 - bœ cem. 6 Œ . pa - cem. do - - na ˙. who takes away the sins of the world. a thógas peacaí an domhain.. Lamb of God. tabhair dúinn síocháin. 4 6 ˙.. S1 & b b˙ 76 b˙ cem. ˙.. San Francisco.bis pa - c ˙ c b˙ c b˙ pa - cem. na pa 6 œ œ œ œ œ œ . b œœ œ . who takes away the sins of the world. déan trócaire orainn. B1 œ cem. ˙ ˙ pa - cem.. 6 4 Œ 6 4 ˙. ˙ pa ˙ - cem. Lamb of God. c ˙ c b˙ ˙ pa - cem. ? b w b b b &b b 13 3 ma . ˙. b &b b 1 ! ! ! Alto b &b b b Vb b ? bb w b ! Tenor Bass F w Cor œ œ œ œ œ œ œ œ œ œ 3 ma .ter .. ! œ œ ˙ ˙ . - ! ! ! œ 3 ! ! ! Cormac. ˙ ˙. b Vb b œ œ hoc psal .cus Scrip .1150.cus Scrip .cus Scrip . Sop. œ ˙.sit Cor B.ter - - um œ œ Œ w w Cor ˙ ˙ œ œ ˙. - ma - cus œ œ nœ œ œ œ œ œ Scrip - sit B. ! œ œ œ œ œ œ i ! 3 ! œ œ œ œ œ œ œ œ œ œ 3 nnn œ œ œ œ nnn nnn T. c.um œ œ œ œ œ w 3 Œ ˙ w Cor Cor - œ w - MzS.sit - ! œ œ œ œ œ œ œ œ œ œ œ 3 ma .cus Scrip . Cor f f w w ! ma .cus Scrip . ? b w b b w Cor w w 3 - ma - cus Scrip - sit . b &b b 7 F Cor ma .i .sit MzS.sit ! ˙. ˙. - ! œ œ 3 ! œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 T.177 Cormacus Scripsit Soprano b q»ªº ! &b b 1 As Atmospherically as Possible ! ! ! ˙. b V b b ˙.cus Scrip .sit w w - ma .sit hoc psal . arramged Michael McGlynn ! ! ! ! ! ! Mz. Œ Œ . n &nn n Vn n w w ? nn w œ œ ˙ n w p Oh Cor . ! U A. Œ œ œ œ œ œ œ œ ˙ solo Cor . ˙ Œ B.bet ho ra U Ó * MzS. ! ! œ œ œ œ o . Œ Œ p o .bet ho .cus Scrip . until * S.li . 1 Oh Fig.ma - cus Scrip - sit hoc œ œ œœœœœ œ œ ˙ psal ter - 3 i . Oh Continue Fig. 1 ! ! ! ! A. &œ œ œ œ qui le . ! ! p œ ˙ œ Fig. & 26 ! ! . &œ œ œ œ œ œœœœœ œ œ Ó 26 o . & & 22 ! ! .ma .um U U U œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ T.sit hoc psal .o ! ! ! ! ! ! ! ! Œ œ œ ˙.um 22 MzS. 1 with each singer singing the figure seperately.ra œ W Hold until * S. 3 3 œ œ 3œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ le gis hec o ra pro-ce .gis hec pro .2 178 n &nn 17 MzS.i .ra pro e o 3 qui .se qua .ce - se qua . ˙ Oh œ œ ˙.ra pro e .ter .li .ra ! ! œ œ œ œ 3 . ter - œ i - œ um œ œ œ o .ce - œ se T. F V W Cor - ma - cus ˙ Scrip œ.ra Cor 28 MzS. & œ œœ œ œ œ œ ˙ pro e - ˙ o ˙ qui œ le œ - œ ˙ œ gis œ. œ. F & ˙ ˙ Cor œ - œ œ ma - œ cus œ. & œ. V W ? W W W W W œ. . œ. œ œ œ hoc psal .ter - œ i - œ um œ œ œ œ ˙ ˙ ˙ o . o œ œ œ ra pro .ra B. - sit œ. 32 pro 32 œ e œ - ˙ ˙ o ˙ qui œœ œ œ œ œ œ le gis œ œ œ hec œ œ œ o - œ œ œ œ œ ra pro . œ œ . œ. o - œ œ œ ra pro . hec œ.ce - œ se A.. sit œ œ œ hoc psal .ra T. f ? W W f Oh* Oh* W W W Slide between notes œ.ter - œ i - œ um o . *There must be no discernible breaths between notes in this section S. o ˙ qui ˙ le ˙ - gis hec œ. & ˙ pro ˙ e - œ.ce se MzS. Scrip - œ. & & 28 tutti ˙ F ˙ œ œ œ œ œ œ œ ma cus œ œ œ Scrip - œ œ œ sit œ hoc œ œ psal .3 179 S. A. w w w B. 4 180 & 36 S.sit ˙. & œ & œ V ˙ ? ˙ ˙ 36 œ li - qua bet œ œ œ œ œ œ œ ˙ ho - ra p w oo w w w w œ b˙.cus Scrip . w - A. w w ! ! bbœ œ ! 3 œ œ œ œ œ œ œ œ œ œ ! w w ! w w w mm u w w w MzS. mm u T. - oo w w S.cus Scrip . w w œ œ w w w bb˙ ˙ . W W W p ˙.sit 40 40 w w w ˙˙ . w Cor bœ B. ˙. p w w oo p w w w Œ . ˙ ˙. U Cor ma . w w Œ B. &w &w &w Vœ w œ œ œ œ 3 ma .. œ qua - œ li - œ œ œ bet œ ho ˙ - ra w w MzS. ?w w w w mm u . mm u A. œ li - qua bet ˙ ho ˙ - ra w p w oo oo T.. 7 8 binn .mán na binn . œ œ œ œ œ œ 8 œ œ œ œ œ œ œ 8 œ œ œ œj œ 14 tutti Dúl .a .a .a .mán na n œ œ œ œ œ œ .a .a . B II F ? # # .e dúl .a .a .mán.thair mhí .a .mán na binn .a .ga daor' ar .e buí... dúl .a .a .. 7 8 binn .a .ach T # 6 7 6 V # 8 .mán Gael . dúl .us triús ar a' dúl ..a .e buí.mán Gae - lach bair .e dúl . farr.tha dubh' ar a' dúl .a .e buí.a .aig.a . dúl .aidh mé chun 'lúir leis a' dúl .e dúl .e dúl .mán na binn ..a .a . œ œ œ œ œ œ 7 8 œ œ œ œ œ œ œ 6 8 œ œ œ œj œ Dúl .éad ag .mán na binn . farr.th ..e F ? # # .a . 7 8 binn .lach .e œ œ œ . dúl .í. dúl .leán go dtí mé T # tutti V # .e buí Gae lach.aig.a .e buí Gae lach.aig. dúl ..a .e buí.181 Dúlamán Tenor # 7 V # 8 œj 1 qk»¡¡! Fast and Very Rhythmically solo F A 'ní .mán na binn .mán.sa dúl . farr.a . œ œ œ œ œ œ 7 œ œ œ œ 6 j 8 œ œ œ 8 œ œ œ œ œ F Dúl . œ œ œ œ œ œ 7 8 œ œ œ œ œ œ œ 6 8 œ œ œ œj œ Dúl .mán. dúl . dúl . B II ? ## 6 8 . 7 8 buí Gae lach.n ó cuir na Michael McGlynn roi . dúl .e buí.a .mán.aig.mán...e œ œ œ œ œ œ .mán na binn .aig. dúl .e œ œ œ . A mha ..mán.lach ceann .mán solo Dúl ..on mhí .e dúl . T # V # 7 8 œ œ œ œ œ œ œ 6 8 œ œ œ œ œ œ 7 8 œ œ œ œ œ œ œ 5 8 œ œ œ œ œ 6 8 10 Rach . na n œ œ œ œ œ œ . 7 8 œ œ œ buí Gae lach.a .mán.n œ œ 7 6 œ œ œ œ œ œ 6 8 œ œ œ œ œ 8 œ œ œ œœ œ œ 8 œ œ œ œ œ œ ó sin a nall na fir shuir . T # V # 7 8 œ œ œ œ œ œ œ 6 8 œ œ œ œ œ œ 7 8 œ œ œ œ œ œ œ 5 8 œ œ œ œ œ 6 8 18 Bró . farr.ódh bró . BI ? # # 6 .mán.a .mán Gae .ga breá .a .mán. dúl .mán.mán na binn .mán.. farr.mán.aig.e buí Gae lach.mán na binn .a . dúl .mán solo na n œ œ œ œ œ œ .a .mán na binn . 7 8 œ œ œ buí Gae lach.e buí. œ œ œ œ œ œ 7 8 œ œ œ œ œ œ œ 6 8 œ œ œ œj œ 6 BI farr. œ œ œ œ œ œ 7 œ œ œ œ œ œ œ 6 œ œ œ œ œ 8 8 8 J Dúl .mán Gael . dúl . a .aig. j œ .. 6 8 J 8 .. 11 œ œ œ 8 œ œ 8 buí Gae .a .e buí.a ..a . dúl .a . dúl . œ œ œ œ œ œ 7 œ .a .mán na binn .e buí. farr.mán na binn .a .mán.mán. œ œ œ œ œ œ 7 8 ƒ œ œ œ œ œ 10 œ œ œ œ œ œ œ œ ? # # 11 8 . farr.a .a .e ƒ 11 . 8 8 ƒ œ œ œ œ œ œ œ œ 10 .e buí Gae - lach.lach. Dúl .a .lach.mán na binn .e buí.e B II na binn .mán na binn .e dúl .a ... . 11 8 binn ..a .mán na binn .e buí.mán na binn ..mán.a . farr.aig.mán na binn .a .. œ œ œ œ œ œ 7 8 œ œ œ œ œ œ œ 6 8 œ œ œ œj œ 22 182 œ œ œ . na binn . œ œ œ œ œ œ œ 10 8 œ œ œ œ œ œ œ œ Dúl .mán.aig...mán na binn .e buí..a .mán. ƒ Dúl . 11 œ œ œ œ œ œ œ 10 œ œ œ .a . 6 V # 11 8 .a .mán na binn .mán. Dúl . T Dúl .e buí.a .a .aig.a . dúl .mán.mán na binn . farr.e buí.e. dúl .e.a . œ œ œ œ œ œ 7 8 œ œ œ œ œ œ œ 6 8 œ œ œ œj œ Dúl . dúl .e buí. farr.a .e buí.mán na binn . 8 8 .a . dúl . dúl . dúl . buí Gae .a .mán 26 na n œ œ œ œ œ œ . dúl .mán na binn .mán na binn .mán na binn .mán dúl . farr. dúl . 11 8 buí Gae lach.e œ œ œ œ œ œ .e.a . . T # œ œ œ œ œ œ œ 10 œ œ œ œ œ œ œ œ œ œ .e dúl . œ œ œ œ œ œ œ 10 8 œ œ œ œ œ œ .e buí.mán na binn .e œ œ œ ..mán.e buí Gae - lach.mán na binn ..aig.a . dúl .mán dúl . 6 8 . dúl . 8 buí Gae .a . 11 8 œ œ œ buí Gae lach.a . p p p ƒ Dúl .aig. Dúl .e buí Gae lach. BI B II ƒ ? # # 11 8 .mán.a . T # j œ V # 7 8 œ œ œ œ œ œ 6 8 œ œ œ œ œ 29 BI œ œ ? ## 7 œ 8 œ œ œ œ œ 6 8 œ œ œ œ J j ? ## 7 8 œ œ œ œ œ œ œ 6 8 nœ œ œ œ œ dúl .e buí Gae lach. dúl .a ..e BI ? ## 6 œ 8 . œ œ 8 Dúl .mán na binn . B II ? ## 6 8 .2 tutti # V # 6 8 .a .e buí.mán. œ œ œ œ œ œ 7 8 œ œ œ œ œ œ œ 6 8 œ œ œ œ J Dúl .mán. œ œ œ œ œ œ 7 8 Dúl .a . dúl .mán na binn . dúl .e buí.mán. Dúl .lach.a .e dúl .. e dúl .th .e buí Gae .mán.a . dúl . dúl . binn .a .a ..lach. œ œ œ 7 8 œ 7 8 œ 7 8 œ dúl .n ó sin a nall na fir shuir . œ 43 p p p - a .mán na binn . 7 8 nœ œ œ œ œ J binn .lach. œ ? # # .aig.mán.e buí Gae . œ œ œ dúl œ œ - œ œ a .n ó cuir na roi .a . a .a . A mha .mán na binn .lach. T # V # 7 8 œ œ œ œ œ œ œ 6 8 œ œ œ œ œ œ 7 8 œ œ œ œ œ œ œ 6 8 œ œ œ œ œ œ 'ní . œ J œ J F ‰ ‰ cea .e buí.e buí Gae lach. œ œ œ œ œ œ œ lach.aig. farr.a . dúl - a .mán Gae . ! ! 5 8 œ B II j j j j ? # # n œ œ œ œ œ œ .í... dúl .e buí Gae - lach.183 T # 10 œ œ œ 11 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ solo j 7 V # 8 œ œ œ œ œ œ œ 8 œ 8 33 3 dúl .e buí. 7 8 nœ œ œ œ œ J binn .a .leán go dtí mé T # tutti V # . 7 8 œ œ (á) œ œ œ mhaol' œ ar œ a' dhá chlu .lach.e buí Gae .a .a . V # œ œ œ œ œ œ .e buí Gae .mán na binn ..a .mán œ œ œ œ œ œ na œ œ binn .mán.e buí.mán na T # 1. binn .aig..mán binn .lach. binn .e buí Gae .a . 7 8 œj œj œj œ J binn ..e buí.e buí Gae - lach. œ ‰ 7 8 J j œ ‰ 7 8 B II dúl .mán na B II œ - œ dúl - œ œ na Dúl a .e œ œ œ œ œ œ œ œ œ 6 8 œ 6 8 œ 6 8 œ dúl .. dúl .e buí Gae .mán na binn .mán na binn .mán.on mhí .mán na binn . Tá BI j j j j ? # # n œ œ œ œ œ œ .e dúl .mán.a .a .mán na binn . T # V # 6 8 œ 46 œ œ œ œ œ Tá dúl .a . A BI ? # # 10 œ œ œ œ œ œ œ œ 8 ? # # 10 8 œ œ œ œ œ œ œ œ 36 dúl .e buí Gae j j solo œ œ œj .e buí. Dúl .ais dúl - œ a . farr.e buí Gae lach.thair mhí . farr..nn buí (í) óir ar 'a 6 8 6 8 6 8 6 8 . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 11 8 J J J J J J J J Dúl .mán œ Maor .lach. dúl .mán. ..e buí Gae lach.lach.ach œ œ . j œ œ œ j j j œ 11 8 œ œ œ œ œ œ œ œ J J J J œ œ œ œ Dúl .e buí.a .mán œ œ œ œ œ œ j œ œ j œ œ j œ œ na œ - Dúl a .a .mán na binn . œ œ 40 Dúl BI ? # # .mán na binn .mán na binn . e buí.mán na binn .mán.a .mán binn . 6 .. œ œ œ œ œ œ œ 10 œ œ œ œ œ œ œ œ 8 8 Dúl .e buí. œ œ œ œ œ œ F ? ## 6 8 .e buí.e buí.a .e buí Gae - lach. dúl a . 11 8 binn .mán na binn .a ...e.mán na binn . œ œ œ œ œ œ 7 œ ..lach.mán binn . T # œ œ œ œ œ œ œ 10 œ œ œ œ œ œ œ œ œ œ . farr..e buí œ Gae œ œ - œ lach. dúl . œ J B II ? # # 10 œ œ œ œ 8 œ œ œ œ dúl . 6 œ 8 œ œ œ œ J dúl .aig.lach.e buí.a.e.e buí Gae - lach.mán na binn . ƒ .a .mán.e buí Gae . dúl .aig.e buí..a ..mán na binn ..e buí. farr.a .a .e. œ œ œ œ œ œ œ 10 œ 11 8 œ œ œ œ œ œ œ œ J 8 Dúl . j 11 10 œ 8 œ œ œ œ œ œ œ 8 œ œ œ œ œ œ œ œ Dúl ..a . œ œ œ œ œ j œ œ na œ œ œ œ œ œ œ buí œ Gae œ - œ lach. œ œ œ œ œ œ œ 6 ..e ƒ . 11 8 buí Gae lach.e.e buí. œ œ œ œ œ œ 7 œ œ œ œ œ œ œ 6 V # 11 8 . p p p dúl . 8 8 8 8 ƒ ? # # 11 .mán na binn . œ œ œ œ œ œ œ 10 8 œ œ œ œ œ œœ œ Dúl . BI B II ƒ ? # # 11 8 .aig.mán na binn . Dúl .lach. farr.e buí Gae .a .e. dúl . 6 8 . dúl .a .e buí.a . T # œ œ œ œ œ œ œ 10 œ œ œ œ œ œ œ œ œ œ V # 10 8 œ œ œ œ œ œ œ œ œ œ 11 8 8 dúl .184 4 T tutti # V # 6 8 .e buí Gae - lach.mán.mán na binn .mán.a .a . j œ .aig.aig. dúl .a .mán na binn .a .a ..a . dúl .a . j œ .e buí.mán na binn .mán.e buí.mán na binn ..mán na binn .. dúl . 6 8 œ œ œ œj œ dúl .e œ œ œ œ œ œ .. B II Dúl .mán na binn .mán na binn . dúl .mán na binn .mán na binn . T # V # 6 8 œ 57 ƒ - Dúl .a .e buí Gae lach.e buí Gae lach.mán. BI ? ## 6 8 œ ? ## 6 nœ 8 60 dúl - a .mán na binn .e buí Gae .e œ .a . dúl .e buí. B II œ - j œ œ na dúl a .mán na binn .a . Dúl .e œ œ œ .a .mán na binn . dúl .mán. BI ? # # 10 8 œ œ œ œ œ œ œ œ dúl .a ..mán na binn .e buí.mán na binn .mán.e buí Gae - ƒ Dúl lach.a .mán. 7 8 œ œ œ œ œ œ œ 7 8 œ œ œ œ œ œ œ 7 8 œ œ œ œ œ œ œ dúl .a . 11 8 œ œ œ buí Gae lach.a .a .a .mán. 6 8 œ œ œ œj œ dúl . dúl .e buí. œ œ œ œ œ œ 53 Dúl . Dúl . binn . 6 8 8 J 8 Dúl ..mán. farr. œ œ œ œ œ œ 49 BI F ? ## 6 8 .mán œ J œ na œ buí œ Gae œ - œ lach.aig. dúl .a .mán na binn .mán na binn . farr. farr.a .e buí. dúl . dúl .a ..a .a .e buí Gae - lach.mán na n œ œ œ œ œ œ . 11 8 œ Dúl 10 8 10 8 10 8 œ a - œ mán œ na œ œ œ binn . 11 8 œ a - œ mán œ na œ œ œ binn .e.a . 11 8 œ Dúl œ a - œ mán œ na œ œ œ binn . F dúl .mán. œ œ œ œ œ œ 7 8 œ œ œ œ œ œ œ 6 8 Dúl . dúl ..a . ail .lú.i .i . œ. ail . œœœ œ œ œ œœ œ ail . œ œ œ œ.i . ail . œ Tu .i . ail . ail .lú.lú. Tu -sa an dámh.i .lú.i . œ œ œ œ.i - lú.i .i .lú. œ œ œ œ. ail . P œ œ œ œ.lú.i . Tu -sa an tiasc.lú.lú.i . ail .i . œœ œœ œœ ail .lú.lú.lú. œ œ œ œ.lú.lú.lú.sa an éan.i .lú.i ..i .i . P Tu. F œ œ œ p œ œ œ p Œ ‰ Tu -sa an fuacht.sa an éan.i - lú.lú. Tu -sa an tiasc. œœœ œ œ œ œ. ail .lú. ail .i . ail .lú.lú. Alto 2 Tenor V6 8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ.lú.lú.lú.i . ail .i .i .i . Ail .lú. Ail . Œ ‰ œ œ œ œœ œ Ail .lú. ail .i .i .lú.lú.i . ail .i . œœœ œ œ œ œœ œ ail .i . © 1989 Michael McGlynn .lú. œ. ail . ail .i . ail . ail .i .i . ail .i . œ. ! ! œ œ œ œ. ail . ail .i . œ œ œ œ œ œ œ œ œ ail . Ail . T V œ œ œ œ. œ œœ œœ œ œ œ . A1 ail .i .i .lú.i .i .i .lú. ail . Ail .i .lú. p ! 7 S1 & & & #œ & #œ œ œ ! ! œ œ Ail . œ.sa an ghrian.lú.i . B ? œœœ œœœ œ œ œ Ail . Tu -sa an ghaoth.lú. œ œ .lú.i F œ œ œ œ.i . œ œ œ œœœ œ œ œ œœœ ail .lú.i . ail .i .lú. œ œ œ A2 ail . Tu -sa an dámh. ail .i . Bass ?6 8 p ! ail . œœœ œ œ œ œ œ œ œœœ œ œ œ ail .lú. Ail .lú. #œ œ ail .185 Score Incantations Michael McGlynn Soprano 1 6 &8 6 &8 &6 8 &6 8 Fast qk »¡£º ! ! ! ! ! ! ! ! ! ! ! ! ! ! œ œ œ œ. ail .lú. ail .lú. ail .i .sa an mhuir. ! ! œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ.i .i .i .i . œœ œ ail .lú.lú. œ œ œ œœ œ œ œ œ œ.i .lú.lú. ! ! ! - lú.lú. œ œ œ œ. ail .i .lú. ail ..lú. œ œ œ œ.lú. Tu . " " œ œ œ œœ œœ œœ ail .i . ail . Soprano 2 Alto 1 Tu.lú. ail . œ. ! ! œ œ œ œ. ail . S2 p œ œ œ œ œ œ ail .lú. lú.lú.lú..lú.lú ˙.lú. ail . ail .i . " ail . ? œœ œœ œœ œœ . Íos - ! œ. œ.lú. ˙.2 Incantations 186 œ œ œ b œ.lú.lú. ail . œ.i . ˙.lú. ail . ail . ail .i .. A2 œ œ œ œ.i . ail . œ œ. ail -i . " " œ œ œ œœ œœ œœ ail .lú. B " œ œ œ œœ œœ œœ œœ œœ œœ œœ .i .lú.lú. ˙. ˙. œ Tu -sa an féar.. œ œ œ œœ œœ œœ œ œ œ œ . ail . ail -i .sa an réalt. ail .i . ail . A1 & œ œ œ & œ œ œ F Ail œ œ œ œ œ œ i .lú. ! ! œ ail - œ i - lú. " " œ œ œ œœ œœ œœ œœ œœ œœ œœ . ail . ail . ! ! œœœ œœœ œœœ œœœ ! ! ˙. Tu .lú.i .i .i . ail .i .lú mo ! ! ! ! ˙.i .i . ail .lú.lú.i . chroí. ˙.lú.lú ! ! ! ˙. ail . ail .i .lú.lú. œœ œœ œœ 13 S1 & œ œ œ b œ. ail œ œ œ œ œ œ i .lú.i . ail . Tu -sa an spéir. T œ œ.lú.lú. ail . ˙. ! ! ! mo a. œ ! ! œ. œ œ œ œ.i . œœœ œœœ œœœ œœœ ail .. ail . 19 S1 & œ & ail - œ i - lú. œ œ œ œœ œœ œœ œ œ œ œ . œ œ œ œ. ! ! ! ! ! mo S2 ! œ. ail . ail . œ œ œ œ.lú. ail . . B P ˙. Tu -sa na crainn.i .i .lú.lú.lú. œ.lú.lú.lú.i . V œ œœ œ.i .i . ail .lú.lú.i . " œ œ. œ œ œ œ.i . ail œ œ œ œ œ œ i .i .lú. œ œ œ œ.i . ? œœ œœ œœ œœ . ail -i . ! ! ail . ail .i . P ˙. ˙. ail .lú.i . V œ œ œœ œœ .i . ail -i . œ œ œ œ œ œ œ œ œ œ œ œ A1 & & ! ! ! ! ail . ail .i . A2 T . œ.i .i . Tu .lú. " ail .lú.sa an bláth.lú.i . œ œ œ œ œ œ ail . ail . œ œ œ œ. ˙ ˙. .lú. ˙.i . ail -i -lú.i .i . P œœ œœ œœ œœ . ail .lú. mo S2 ! Œ ‰ ! œœœ Œ ‰ ! œœœ œ. ˙ ˙ Œ ‰ ! œœœ A1 ! ! A2 T œ V œœœ œœœ ? œœœ œœœ ail . Thiar " œ œ œ œ.lú mo F Chríost. b˙. b˙ ˙. 36 S1 & & ! ! œ. " œ. . œ.lú. œœœ Œ ‰ ail -i -lú.lú. ˙..lú. F ail - œ..i . œ. ail -i .i .lú. œœœ ail A1 & Œ ‰ œœœ Œ ‰ œœœ ail -i -lú. ail -i . Œ. ail -i . ˙.. Chríost.i . ail -i -lú. dámh. ! ! ! ! œ œ œ œ. ail . V ˙ ? ˙. œ. na. œ œ œ œ. ! Œ. œ œ œ œ.i .. ail . ail . Tu - - - B dámh. éan.. œ. ˙. ail -i .lú mo F ˙. ail -i -lú. P ail . Chríost. lú œ. ˙ ˙ . œ. ˙.i . Tu ail ..lú. i - #œ.i . an éan. œ œ œ œ. sa sa #˙. ail -i . ! ! œ. œ œ œ œ. Tu F F ˙ . Œ.i . ˙ - - - - - - .lú. mo œ. F Œ ‰ ail-i -lú. ail . œ. ˙.lú. sa sa #˙ . an an ˙ ˙ .lú. Tu - - - an ˙ ˙ .lú. ˙ . œ œ œ œ. ˙. b˙. ail . ! œ œ œ œ. sa sa . ˙ ˙. B ail . Tu - - - ˙.Incantations 187 3 28 S2 & œ. lú ! œ.lú.lú. œ œ œ œ. œ œ œ œ. ˙ ˙ . Œ. ˙ ˙ T ˙ . ail -i . œœœ Œ ‰ ail -i -lú. ˙ ˙ ail -i . ˙. i - ! #œ.lú. ail . Tu - - - ˙..i .lú.lú.lú.i .lú. œ œ œ œ. œ œ œ œ œ œ ail .i . & & Thiar - na.lú. ! œ. A2 & œ œ œ œ.i . i . ail . œœœ Ail . ail . ail . œœœ œœœ œœœ œœœ ˙ ˙ ail .lú.lú.i . ail .lú. Tu - - - . œ. - œ. ail .lú.lú.i . œœœ Œ ‰ ail .i .i .i .i .i . p 58 œ œ œ bœ œ œ œ œ œ œœ œœ œ œ œœœ œœœ œ œ œ œœ œœ œ bœ œ #œ œ œ œ œ œ ail . ail .sa an fuacht.i .i .lú.lú.i . ail .lú.i .lú.i .i .sa an ghaoth. Tu . ail . œ. ail .i . ail .lú.i .lú.i . ˙ ˙ . chroí.i . T . lú S1 . ail . ail .lú.lú. Tu .lú.. Thiar - ail S2 A1 A2 P &œ œ ail ail - mo na.lú..lú. na. ˙ . ail œ œ - œ œ i - lú. ˙ ˙ .sa an ghaoth. ail . ail . ail . ail . mo na. Thiar - œ œ œ P œ œ œ P œ œ i Tu .lú. ail . lú mo œ.lú. ail .lú.lú. ail .i . " ail . œ..i .i .lú. lú œ. an Chríost. i - #œ. ˙.i .i .i . #œ.lú.lú.lú. - œ.lú. ail .i .i .i .lú. Œ ‰ ail . œ œ œ œ. #œ.i .i . œ.i . " œ œ œ œ œ œ œ œ œ ail .lú.lú. ail . b˙ ˙.i . ail .lú.i .i . S1 & & &œ œ ! ! œ i - ! ! œ œ œ lú ! ! œ. ail .i . Chríost. ail . ail . #œ œœ œœ œ œ œœ œ œ œ bœ œ œ œ œ œ ail . & Œ ‰ ail œ. ail .lú. ! œ.i . ail . œœœ œœœ œœœ œœœ ail .i . Chríost. p ? œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œœœ œ œ œ œœœb œœœ œ œ œ œœœ œœœ œ œ œ ail .lú.i .lú.i .lú. ail . ail .i .i . an 50 tiasc.i . ail .i . ail .i .lú. œ.lú.lú.i . œœœ œœœ œœœ œœœ ˙ ˙ . ail - lú.i .lú. ˙ Ail .i .lú. Ail œ - œ œ i- œ lú œ mo ˙. i œ.lú.i . ail .i . & œ ail œ.i .lú.i .lú. ail .lú. ail . lú mo ˙.lú.lú. A2 ail .lú..4 43 Incantations 188 œ.lú.i . ! ! ! ! ! - mo Thiar na. œ œ œ bœ œ œ bœ œ œ œ œ œ œ œ œ bœ œ œ ail . ail .lú.lú.lú. ail . œœœ œœœ œœœ œœœ œœœ œœœ œ œœ œœ œ œ œœ œœ œ T P Vœœœ œœœ œ œ œ œ i lú œ œ œ œ œ.i .i .i . œ œ œ œ. ail .. ail .sa an fuacht.i .lú. B " ?œœœ œœœ œ œ œ œœœ œœœ œ œ œ ail .lú.i .lú. P ail P œ œ œ i i œ œ œ œ lú œ œ œ mo ˙. ail .i .i . B ail .lú.lú. ail . œ œ œ œ ail .i .lú.i .i . Tu - - - B ? ˙. i œ.lú. ˙.lú. ail .lú.i . - mo A1 & Œ ‰ œœœ & œ œ œ œ.i .i . ˙. ail . ˙ ˙ . bœ œ œ œ œœ œ œ œbœœœ œ œ œ œ œ œ ail . ail . ail .lú.i .lú.lú. œ.lú. œ. ail i œ. ail . ail . #œ.lú. ail œ.lú. œ œ œ œ. sa sa #˙ .lú. bœ œ œ œ œœ œœ œbœœœ œ œ œ œ œ œ ail . an ˙ ˙ . Thiar œ. V #˙ ˙. Chríost. ail .lú. Tu .lú. an tiasc. T Vœœœ œœœ œ œ œ ail . chroí.i .lú.lú.i . S2 œ. ail . œ œ œ œ œ œ ail .lú.i ..i .i . ail . ail . . lú..lú. B ail - œ œ i - lú.lú.com .lú. ! p ! œ ú ˙. œ œ œ ail .lú. ˙. ˙ ˙.i .i .sa an mhuir.lú.lú. ail .lú œ œ œ Œ œ œ œ www. aililú. ail . S2 œ œ œ œ œ œ ail . ail .lú. aililú.lú. ail . S2 &œ œ œ œ œ œ ail . Tu .michaelmcglynn.lú.i .lú..lú.lú. 'S Tusa an ghrian. alleluia You are the wind. œ œ œ œ œ œ Œ #˙.i . #œ œ œ #œ œ œ œ œ œ œ ˙. alleluia my heart. ail A1 & œ œ œ œ.lú. P Crescendo molto. œ œ œ œ. You are the cold.lú.i .sa ˙.lú. 'S Tusa an ghaoth. 's Tusa an éan.lú. 's Tusa an spéir.lú. ˙.lú.lú. 's Tusa an réalt.lú ‰ ‰ ‰ ‰ ‰ ‰ ail .i .i . Tu . You are the sky. A1 " " " A2 F œ œ œ œ œ œ ail .lú.i . A2 & œ œ œ œ.lú.lú.lú.i . P ail . alleluia You are the sun. Aililú mo Íosa. 's Tusa an fuacht. #˙. ail .lú. ! ail .i . ail .i .lú.. œ œ œ Œ ail .i .lú.i . aililú.lú 'S Tusa an dámh. ail . ail . ail .lú. - - œ lú mo Chríost: b˙. ail . ! œ œ œ œ œ œ ˙˙ . ˙.i . You are the bird. ail . S1 &œ œ œ œ œ œ &œ œ œ œ œ œ & & V ? ˙.i .lú. œ œ ˙.i .i . b˙.i .i .i . ail .i .i .lú. You are the fish. ˙. ˙.i .i . ˙.lú. ! ˙˙ . œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ail .i .i . senza rit.i .i . You are the star. aililú mo Chríost. aililú mo chroí. ail . ˙.i . aililú mo Thiarna. T V œ œ ?œ œ 71 ail - œ œ i - lú. ail . ˙˙ . 's Tusa an mhuir.i . ail . ail . ail . You are the stag.lú ail . ail .Incantations 65 189 5 S1 &œ œ lú mo œ œ. 's Tusa an t-iasc.i .i . ail . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ail . alleluia my Lord. alleluia my Christ. ail .i . œ œ œ œ. ˙˙ .lú. alleluia Alleluia my Jesus.i . œ œ i ˙. .lú œ œ œ Œ œ œ œ Œ œ œ œ Œ T F œ œ œ œœ œœ œœ " ail .i .lú. ail .i .lú B F ail .i . ail . ail . f ail . ail . an mhuir.. You are the sea.lú. Thiar . ail . ail .na.lú.i .lú. ail . ail .i .i .i .i . ˙. Œ Œ w w B ? ### w w oo ˙.. Œ Œ œœ Ail- T ˙. w " . 3 A & ### Ail - - 3 Œ Œ ! - iú . Œ Œ 3 w w oo ˙. ˙. œœ˙ ! w iú. w " oo - m œ œ œ3œ J œ. œ œ œ nEr enn. Œ Œ oo oo oo © 1993 Michael McGlynn .iú. Ail - - 3 - iú Ail œœœœ w - iú.. oo w w oo oo w w Ail- œ œ œœœ 3 oo 7 S ## œ & # Œ œ œ œ œ œ œ ˙. 3 ! w p Œ Ó Œ Œ Œ Ail - Michael McGlynn w iú. J 3 - iú ˙. Soprano c Ó c w Ail p œœœœ w - iú. ˙ ˙ . w oo " . œœ˙ ˙... ˙ ˙ .. Alto Tenor Bass p ? ### c w w p p c w oo Ail œœœœ˙ - iú. œ œœ ˙ Ail - oo iú iath - m œ œ œ œ ˙.iú... oo w w Ail œœœœ˙ - iú. 3 oo w Ail . ˙ Ail " oo ˙.190 Score Invocation ## & # c & & V ### ### ### With Feeling q Soprano ! »§º ! ! Œ œ œ œ œ œ œ œ ˙. ˙. Œ Œ P . ˙ w w oo Ail œ œ œœœ w - ˙ w w iú. ˙. w . T ## V # V ### oo w Ail . .2 13 Invocation 191 œ. œ œ œ œ - 3 p - spi - rat - iú w Ail - T T ## V # w ? ### w - m œœœ3œ J - - iú œ œœ ˙ Ail - Ail - iú iath nEr . ## & # ! ˙ ˙ . ne ver chan ging œ œ J ˙ ˙ ˙ or end . Œ Œ Ail w w - - - iú ˙. œ rat In B œ spi - œ rat Ail - - - iú Ail - - - iú In 18 S ## & # œ ## & # œ om - ni œ œ - #œ a vi œ œ - #˙ ˙ vi - nœ œ œ œ œ fi . to the #˙ nœ œ In spi . œ œ œ œ ˙ 3 Sop. œ œ œ 3 ! w w S ## & # œ œ˙ .. Ail iú ! Œ ˙ œ œ - iú In Alto ! ! Œ w Ó ˙.cat œ œ om . ˙.rat p j œ . œ œ a ‰ œ œ œ œ vi - œ œ œ wa -ter -fall from the down to the œ œ œ œ sea..a om . J iú 3 Œ œ œ Œ Œ iú From the breeze on the moun tain.ni .a b˙ su - T V ### lake of deep pools.ni . ˙. A ## & # w V ### ˙ - P Ail œ.a œœ œœ ˙ œ œ œ œ su - pe - rat œ œ œ a ˙ ni - om - ni vi - fi . ˙ & ### Ail - - - iú Ail - - - P ˙ ˙ .enn.cat om .ni . œ œ œ œ œ œ p ˙ p ˙ ˙ œ spi - Ail - - - iú ˙.ni .cat om .a œ œ ˙ œ œ n˙ ˙ Œ œ œ su - pe œ œ - rat œ œ A T 3 ## V # œ œ œ om - ni - œ a vi - vi - fi .cat om . œ. ! Œ ! ˙. m œ œ œ œ ˙.ing œ œj œ J œ œ pe - rat on the œ œ B ? ### œ om œ - ni œ œ - vi - vi ˙ ˙ - fi . ## & # Ó & & ### ### œ œ œ œ Œ œ œ #œ a S p Œ Œ ˙ #˙ ˙ Ah œ œ œœ 3 œ œ œ œ w œ nœ ˙ .a œ œ ˙ œ œ ˙ F . œ œ œ œ œ ˙... iú Œ Œ P ˙ enn w Ail - ˙. n n b b œ œ œ œ œ œ œ œ iú iath - iú om - ni œ œ - su - fful - cit œœ om .ni . n n n b b ˙ P Ail œ œ iú iath œ œ iú iath 26 Sop. &b b œ Ail - S P b œ b & œ &b b nEr œ œ œ œ... n b ˙ nœ œ ˙ ˙ œ cit om . ˙.a P .enn P b œ. cit om . n n n b b ˙ Ail Ail - - œ œ œ œ iath m œ œ œ3œ J - iú iath B ˙.enn œ œj œ J œ œ fful - P nnb . P ˙ Ail ˙ œ iú œ iath iú P Ail œ iú œ iath . ! Œ Œ Œ - iú Ail œ œ œ œ œ - œ iath iú Alto P - enn ˙ ˙ Œ ! Œ œ œ œ Ail - Ail w w - - - - iú A T b &b œ ˙ nEr ..Invocation 192 3 22 Sop. n n n b b ! om - ni - su - nœ œ fful - A T 3 ## V # œ œ œ om - ni - œ a su - T ## V # œ œ ? ### voice of the wind œ ‰ œ œ œ œ Œ a sing the dark song œ J ˙ ˙ ˙ œ of Er ..a Ail P j .. 3 - 3 - - 3 Œ ˙ ˙ .ni . - - m œ œ œ œ ˙ J 3 iú ˙ ˙ P œ œ œ œ œ œ Ail Ail iú Ail - - iú - iú œ œ m œ 3 œ J iath iú iath T B P ? bb œ nEr nEr ˙ enn Œ Œ w Ail - ˙. œ œ œ Vb b Vb œ nEr 3 F w w Ail Ail œ œ œ œ œœœœ 3 P Ail œ œ œ œ - - - iú œ œ iath œ œ ! œ œ œ œ - iú ˙ - - - - enn. n .ni . a Œ ˙ - om - ni . ˙.a Ail to me. n n n b b ˙ Œ œ ˙. . b &b Ó b œ &b œ &b b ˙ ˙ enn œ œ œ œ3 œ Ail - œ iú Œ Ail 3 œ . 3œ œ œ œ 6 U œ 4 w. œ œ œ Ail - œ - U ˙ iú iú T ˙ enn Œ Œ w Ail - nEr 6 4 w. 6 U w. - U iú A b &b œ œ T b œ. iú Alto ! Œ w w ˙ 6 œ œ œ œ œ œ 4 œ œ Ail . . œ œ œ Vb b Vb œ ? bb œ nEr 3 nEr - enn ˙ ˙ œ œ Ail - œ - Ail - - m œ œ œ 3 - 6 4 - P U iú - - - 3 - ˙ - enn. - - - 6 œ œ 4 J - w. - - - - iú S Œ ! nEr Ail w w - - - - - 6 U w 4 w .4 Invocation 193 30 Sop. 4 iú iú U B ˙ enn w Ail - nEr . 194 Island Soprano 1 Sop2/Alto Tenor & c . . Ó ˙ . & c .. œ J bœ œ œœ œ bœ œ œ o-cean wave on & #œ œ œ œ 8 Hp... gaz .ing out œ œ bœ œ œ. w mm Rhythmically w w w " Ú 135 Michael McGlynn w w w " " w w w " #œ œ .on the shin-ing sur-face of the sea.K. hear the sound of the œ œ bœ œ œ œ bœ œ.. ! .. w w w w w Œ ‰ œ bœ ˙ On an w w w ˙ land T or S Solo V c . w . œ œ ˙ #œ œ bœ œ œ bœ œ œ ! bœ œ œ œ bœ œ œ œ œœ œœ œœ œ bœ œ œ F œ ˙ I long œ to is bœ œ œœ œ bœ œ œ bœ œ œ œ œ #œ œ œ #œ œ 8 S1 & w & w V w 8 w w w Œ w w w w w w œ œ œ œ ˙ w w w ˙ Œ œ I w w w w w w S 2/A T Solo . Harp ? c . 1996 .. V ˙ 8 be. œ œ.. w mm p & c ... œ ? œ #œ œ œ œ bœ œ œ œ bœ œ œ œ œ #œ œ œ #œ œ œ œ œ #œ œ œ #œ œ œ œ bœ œ œ œ bœ œ Copyright Warner Chappell U.. . œ J J bœ œ œœ œ bœ œ œ up .. w mm p V c .. ing "You. œ #œ œ œ œ from œ œ œ œ As-cnam tar tuinn p œ œœ œœ œœ p w w home".enn p oo oo B De .enn bw w b ww oo T V ? 22 to .pur ndíl .chum nÉir . cry . 15 Solo wave. œ ?œ bœ œ œ œ #œ œ œ œ œ #œ œ œ #œ œ P œ œ p œ˙ o Œ œ w œ œ œ bw œ bœ ˙ œ cae . ! ! Œ œ œ œ o œ˙ et flu .us & Hp.min .195 15 S1 & & 15 w w w w w Ó œ #œ w w w ˙ ˙ who w w w ˙ b˙ have w w w ˙.pur ndíl .enn œ œ œ œ œ œ œ œ œ œ œ œ œ œ ! œ #œ œ œ œ œ w ww w ! do .way 15 & Hp. ! ! œ bœ œ œ to . .pur ndíl .enn œ œ b ww oo ww w w ww ww w w ww ww w w ww S 2/A & ww 22 to . turned a . œ ? œ œ #œœ œ #œ œ œ œ œ #œ œ œ #œ œ œ œ œ bœ œ œ bœ œ œ œ œ bœ œ œ bœ œ œœ œ #œ œ œ #œ œ œ œ #œ œ œœ œ bœ œ œ bœ œ S1 &w 22 .rae.ris ac ter . As-cnam tar tuinn S 2/A T V w V œ œ # ˙. œ w w w ˙.li bw œ œ œ bœ bw œ ˙ bœ ma .um ! ! . sea .us so .lis œ œ ˙˙ .us ! ! ww w w œ œ o œ˙ œ ˙.lis ac lu - De .. w ! ! F œ ˙ ac œ lu is so . ! ac ˙ ˙ ˙ ˙ lu ˙ ˙ ˙ ˙ - nae. ! ! o œ˙ ˙ w lu w w Œ œ De .lis ac lu - nae.lis œ ˙. B & Œ œ Hp.us œ ˙. De .ment the com-ing of the hear the end . oo ww w w ww w w ww w w ˙ w Œ œ I ww w w œ bœ œ.lis œ ˙.less sound of sea on nae.us oo 29 so . w Œ œ œ œ o œ˙ ˙ w I long ˙ to - ! ! ww w w œ œ œ bœ w ? & ww 36 S1 nae. ! so .lis œ œ ˙˙ .us 29 T V 29 œ ˙.us so .us Solo V ! ac ! ˙ nae. 29 S1 De . V ˙ ? w w 36 nae. oo T Solo .. œ ˙. w Œ œ œ œ & Hp. Œ ‰ œ bœ ˙ On an so .birds la . Œ œ ˙ w œœ œ œ bœ œ œ œ œ œ ˙ win-ter wind. œ ˙. œ J w S 2/A & w V w 36 36 nae. nœ ˙.us so . œ ˙. o œ˙ w œ bœ œ œ bœ œ œ œ w œ #œ œ œ ? œœ œœ bœ œ œœ bœ œ œ œ #œ œ œ œ œ #œ œ œ #œ œ œ œ bœ œ œœ bœ œ œ œ œ bœœ œ bœ œ .. ww w w nœ œ ˙ ˙ . oo live. ˙ land ac ˙ ˙ ˙ ˙ lu ˙ ˙ ˙ ˙ - S 2/A & nœ ˙. œ ˙.lis ac lu - B œ ˙..196 & nœ œ ˙ ˙ .lis ac lu - nae. De . De . ? w De . Ó so . De . 197 & ww 43 S1 ww w w Ó w œ #œ œ œ œ #œ œ œ œ #œ ww w w ˙ ˙ who ww w w ˙ w b˙ have As-cnam tar tuinn œ œ œ œ w ww ! .per ! bw œ bœ cae - B ? 50 & Hp. w œ a to-pur ndíl-enn T to-pur ndíl-enn Solo V œ œ #˙.enn œ b ww S 2/A &w ww V w 50 T P b ww oo P bw w oo ww w w ww ! ! œ bœ cae . to-pur ndíl-enn œ œ œ œ œ œ œ œ œ œ œ œ œ œ p w S 2/A & w V w 43 As-cnam tar tuinn œ œœ œœ œœ w ˙.us w œ œ ˙ lo bw œ œ et in w bœ et œ sub 9 bbbbb 4 9 bbbbb 4 9 bbbbb 4 ! ! ! ! ! ! ! ! œ ?œ . way œ from shore. cry . turned home".ing "You. œ ? œ &œ 50 #œ œ œ œ œ #œ œ œ œ bœ œ œ œ ww w w ww œ bœ œ œ bœ œ œœ ww w w ww #œ œ œ œ #œ œ œœ bœ œ S1 œ do . B ? w 43 w œ bœ œ œ ! œ #œ œ œ œ #œ œ œ ! œ bœ œ œ & Hp. .chum nÉir . 43 ˙.lo 9 bbbbb 4 9 bbbbb 4 9 bbbbb 4 9 bbbbb 4 œ bœ cae .lo Solo V ˙ 50 Ó ! œ bœ œ œ P oo oo ! œ œ su . P bœ œ De . lum er .an 6 ˙.tus .ni .ga cae .lum et ter .ram et ma .a quae sunt in S1 b & b bbb c œ 58 3 œ 3 œ œ - œ tur S 2/A bb & b b b c bbœ œ 58 Non se ...lum er .re Et om .a .ni . Pa - - œ œ - ter œ œ œ et Fi us et Spir .i . Pa Pa œ - œ ter œ Ah 7 4 W 7 œ 4 œ 7 4 œ 7 4 œ œ œ œ li - nnn nn c ˙ ˙ ˙ ˙ us T b V b bbb c œ b œ 3 3 ? bb b c œ b œ bb Non se .a quae sunt in 3 B F ? bb b 4 9 œ œ œ œ œ œ œ œ œ 10 4 bœ œ œ œ œ œ ˙ bb Ha .ga cae . S 2/A F b b b 9 œ œ œ œ œ œ œ œ œ 10 œ œ œ œ œ œ n ˙ b & b 4 œ œ œ œ œ œ œ œ œ 4 œ œ œ œ œ œn˙ Ah 10 4 W 8 W 4 ˙ ˙ ˙ ˙ 8 nœ nœ œ œ œ 4 nœnœ œ œ œ 3 c œ œ c œ œ œ œ œ œ e .per .per . om . 4 Pa œ et œ li - - - - ter Fi et Spir .ni .is.per . T F b 9 œ œ œ œ œ œ œ œ œ 10 V b bbb 4 4 œ œ œ œ œ œ ˙ Ha .a .lum et ter .re 8 œ nœ œ œ œ 4 Et œ œ œ œ c e .cu ..198 S1 b 9 W & b bbb 4 55 Very Smooth.lum er . 4 6 ˙ .bit .i .i .cu .an œ bœ - tur 6 ˙.tus 3 œ œ œ œ œ œ œ œ œ 3 nnn nn c nnn nn c nnn nn c Non se .bet ha .bet ha .a ..cu .is.is.an œœ œœ œ œ œ œœ œ œ - tur œ œ œ œ œ - - œœ œœ œ œ œ œ ter et Fi - li - us et œ œ œ œ Spir .ga cae .an - tur 6 4 ˙.ram et ma .Chant-like even.bit .bit .ram et 55 ma .per .tus 3 œ œ œ B Non se .lum et ter . F Ha . 4 b˙ ˙..re 8 œ nœ œ œ œ 4 Et om .bet ha .a quae sunt in 3 œ œ œ œ c e . tus ˙ .tus œœ ˙˙ .tus Sanc Solo Vc 61 ! Œ ‰ œ bœ - - - tus ˙ is - ˙ land On an B ?c w &c 61 Hp. Sanc .tus ˙. ! w Sanc p ww p Ó p w w w - - - - tus w w w - - - - tus ww - Sanc . œ ? œ #œ œ œ œ #œ œ œ œ bœ œ œ œ bœ œ œ œ #œ œ œ œ #œ œ . œœ ˙ œ ˙.. Sanc . ! w Sanc . œ 3œ œ w long even .tus œœ ˙˙ . Sanc S 2/A & c nœ 61 T n œ ˙.tus Sanc .tus œœ ˙˙ .ing brings a sum .per w w w ww bœ œ of the w w w ww ˙ ˙ w œ #œ œ œ œ #œ œ œ Œ œ I S 2/A & w V ww 67 67 oo T oo Solo V œ ˙ I ˙. F œ ?c œ J œ & w w 67 œ œœ J œ œ œœ œ #œ œ œ #œ œ œ œ œ J œ œœ J œ œ Sanc œœ œ #œ œ œ p w - w tus p #œ œ œ œ œ bœ œ œ bœ œ œœ œ bœ œ œ bœ œ S1 oo w w w ww œ to w w w ww Œ œ œ w œ #œ œ œ œ bœ œ œ œ œ w w w ww œ ˙ whis .199 ˙ . be. Vc œ ˙ . œœ ˙ œ ˙.tus Sanc .... & c n n œœ ˙ 61 Getting Quieter S1 Sanc ..tus ˙ .mer breeze. Sanc . ! w Sanc .tus Sanc .tus ˙ ..tus Sanc . Sanc .. B ? w oo 67 w œ #œ œ œ w œ bœ œ œ & Hp. œœ ˙ œ ˙. pur ndíl .chum nÉir . œ ? œ #œ œ œ œ #œ œ œœ bœ œ œ œ bœ œ œ œ #œ œ œ œ œ #œ œ œ #œ œ bbbb 7 4 bbbb 7 4 .ing "You.pur ndíl .cean wave on wave.200 S1 & w w 73 w w w ww œ J œ œ bœ œ œ w bœ œ œ œ bœ œ œ œ œ bœ w w w ww œ œ # ˙. way w home". w w œ bœ œ œ œ bœ œ œ P to . ? 79 œœ bœ œ œœ bœ œ œ œ #œ œ œ œ #œ œ œ œ bœ œ œ œ bœ œ S1 & w w & w w V w 79 w w w ww œ a - S 2/A œ œ w œ œ As . 79 ˙.enn turned B ? w 79 w œ #œ œ œ œ #œ œ œ w w œ #œ œ œ & Hp. .pur ndíl . ? w 73 hear the sound of the o . B w & Hp.enn œ œ bbbb 7 4 bbbb 7 4 bbbb 7 4 bbbb 7 4 7 bbbb 4 œ œœ œœ œœ ww to .enn œ œ œ œ œ œ œ œ œ œ œ œ œ œ ! œ œ w ww w ! w do .cnam tar tuinn P P w œ from As . w œ #œ œ œ w w w ww Ó w œ #œ œ œ œ #œ w w w ww ˙ ˙ who w w w ww ˙ w œ bœ œ œ œ bœ œ œ b˙ have S 2/A & w V ww 73 73 T Solo V œ. ! to . cry .cnam tar tuinn .enn T Solo V ˙. a su . .ni .a su .a F Ah ˙.a spir .per ..a œ n œ œ œ œ . bbbb œ o œœ w W W ! ! 6 W 4 W 6 4 œ o œœ Ó Ó ? bb b œ b œ œ 6 œ Ó 4 Œ 7 4 Œ 7 4 7 4 W W ! ! .a su . œ b b .ni . œ œ œ œ œ nœ œ nœ T F bb 7 ˙ V b b 4 .at om .cat om .ni .a 6 7 œ 4 bœ œ 4 ˙ bœ œ œ œ œ œ œ œ nœ œ œ œ œ œ nœ ˙ œ œ œ nœ œ œ œ nœ vi .ni .a suf ..ful .cat om .a suf .a vi .vi ..cit om . ˙ 85 S1 S 2/A F b & b bb 7 4 .ful .cit om .vi .vi .ni .at om . & 4 F œ ? bb b 7 b 4 .ni .a œ nœ œ œ œ œ œ œ œ œ œ œ nœ œ nœ 6 bœ œ œ nœ œ œ 7 b œ œ œ nœ œ œ œ 4 4 ˙ vi . œ In - 6 b œœ œœ œœ n œœ œœ n œ ˙ œ n œ œ œ nœ œœ n œœ œœ œœ n œ œ b œœ œœ œœ n œœ œœ œœ n œ œ 4 œ 7 4 ˙ œ œ œ œ œ .ful .cat om .at om .ful ..ni .per .cat om .cit om . .at om .ni .per .cat om .ni .a spir . b 4 W W F œœ o w 85 b b 7 .ni .ni .a suf .fi .vi .ni .cit om .vi .ni .ni .a suf .a 6 7 œ 4 bœ œ œ œ 4 ˙ bœ œ œ œ œ œ œ œ nœ œ œ œ œ œ nœ ˙ œ œ œ nœ œ nœ vi .fi .a vi .a suf .ni .a T bb ˙ Vbb ˙ In ˙ ˙ - In - 6 b œœ œœ œœ n œœ œœ n œ ˙ œ n œ œ œ nœ œœ n œœ œœ œœ n œ œ b œœ œœ œœ n œœ œœ œœ n œ œ 4 œ 7 4˙ œ œ œ œ œ spir .per .at om .ni .at om .a su ..ni . ˙ ˙ In - spir ..fi .ni . ˙ In 85 - B Hp.ni .ni .at om . S1 b ! & b bb ˙ 89 S 2/A & 89 bbbb In - spir ..cat om .ni .fi .per . œ nœ œ œ œ œ œ œ œ œ œ œ nœ œ nœ W W 6 bW bœ œ œ nœ œ œ œ 4 œ œ œ nœ œ œ 7 4 ˙ œ nœ œ œ œ vi .at om .at om . .ni .a suf .ni .cit om . spir .a su . œ œ ..per .vi .at om .a W W ! ! 6 W 4 W 6 4 œ o œœ Ó Ó 6 œœÓ 4 Œ 7 4 Œ 7 4 7 4 W W ! ! .fi .fi .a œ œ œ œ œ œ œ nœ œ nœ B ? bb b W b W 89 & Hp.ful .cit om .201 b & b bb 7 4 .ni ...at om .a su . F ? bb b 7 .at om .ful . vi .a 6 7 œ nœ œ nœ œ nœ ˙ œ œ nœ œ œ bœ œ 4 bœ œ 4 ˙ œ c w w œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ nœ œ œ œ nœ œ nœ vi .ni .ni .cat om .a W W w 6 bW œ œ œ nœ œ œ 7 œ nœ œ œ œ bœ œ œ nœ œ œ œ 4 4 ˙ œ nœ œ œ œ c w vi .fi .cat om .ni .a suf .fi .cat om .ni .cat om .cit om .a vi .ni .ni .a su . S1 S 2/A bb &bb ˙ ˙ bb ˙ Vbb ˙ 97 In - spir .cit om .per .ni .ni .per .at om .at om .ni .vi .ful .ni ..per .a suf .cit om .a su.ni .a suf .ni . ? bb b œ b p œ o œœ w W W ! ! 6 4 W W 6 4 œ " œ 6 œ Ó 4 œ o œœ Ó Ó Œ 7 4 Œ 7 4 7 W 4 W ! ! c w w c c ! ! .at om .a spir .at om .ful .202 bb W &bb ˙ 93 S1 S 2/A bb &bb ˙ ˙ b V b b b ˙˙ 93 In - spir .a vi .at om .a œ œ œ œ œ œ œ nœ œ nœ B ? bb b W b W b & b bb 93 œ o œœ w W W ! ! 6 W 4 W 6 4 œ o œœ Ó Ó Hp.cit om .at om .a spir .a su..at om .fi .a œ nœ œ œ œ œ œ œ œ œ œ œ nœ œ nœ W 6 bW bW œ œ œ nœ œ œ œ 4 œ œ œ nœ œ œ 7 4 ˙ œ nœ œ œ œ vi .a su .at om .ful .cit om .at om .ni .ni .cit om .ni .a In - T In - w 6 b œœ œœ œœ n œœ œœ n œ ˙ œ n œ œ œ nœ œœ n œœ œœ œœ n œ œ b œœ œœ œœ n œœ œœ œœ n œ œ 4 œ 7 4˙ œ œ œ œ œ c w spir .ni .a suf .ni .at om .ful .at om .at om .per .fi .ni .ful .a suf .ni .ni .ni .per .ni .a 6 7 œ 4 bœ œ 4 ˙ bœ œ œ œ œ œ œ œ nœ œ œ œ œ œ nœ ˙ œ œ œ nœ œ œ œ nœ vi .a B ? bb W bb W b & b bb 97 Hp.a suf .per .a su. ? bb œœ bb b W & b bb ˙ 97 œ 6 4 œ Ó Œ 7 4 Œ 7 4 7 4 W W ! ! Fade Away.a In - T In - nœ 6 b œœ œœ œœ n œœ œœ n œ œœ n œœ œœ œœ n œ œ b œœ œœ œœ n œœ œœ œœ n œ œ 4 œ 7 4 ˙˙ œœ n œœ œœ œœ œ spir .a su .fi .vi .cat om .vi .ni .ful .ni .fi .vi .cat om .vi . f Oh* . The lower the voice the stronger the sound. from a Distance q Soprano I b &b b 2 4 1 ! ! ! San Soprano II b &b b 2 4 b &b b 2 4 b &b b 2 4 1 p œ. Form the mouth into an "oh" shape. Harp is optional. I b &b b 8 ! ! " 3 4 ˙. S.mi .mi . The three soloists should be placed throughout the venue. J San ctus p 3 ! ! 4 œ bœ œ œ œ œ San j bœ Soprano/Alto Tenor/Bass ˙ oo " ? bb 2 b 4 ˙ oo ˙ ˙ œ œ œ œ Do . I.nus De ˙ ˙ ˙ 3 4 p œ ˙.bba . This piece may be prefigured by a finger cymbal gently struck three times or more just as the drone starts.oth S.oth S.nus De ˙ ˙ ˙ œ œ œ œ Do .bba . 2 4 2 4 ˙ 2 4 œ - ! ! ! ! ! ˙ ˙ œ œ œ œ - Soprano III œ. lifting the soft palate. œ œ œ œ œ 3 4 ˙. Without moving the mouth-shape. move the tongue slowly into the shape "ee" [as "she"]. Soprano II and III may be situated in various parts of the venue. III ! ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ! ctus SA Oh* ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ TB ? bb ˙ b "Oh*" indicates a form of harmonic singing.203 Slowly. 2 4 ˙ S. »!º œ J Michael McGlynn Sanctus ctus œ œ œ œ ˙ - ˙ 3 4 ˙. and ended with a similar cymbal figure as the piece ends. II & III are all solo soprano parts. ˙ j bœ 2 4 ˙ ! ˙ Œ œ œ œ œ œ œ sa bba - us sa . II b &b b b &b b ˙ b &b b ˙ 8 ! ! ˙ p ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ! ! œ œ œ œ - ˙ us sa . sending the sound through the nose. ˙ ˙ ˙ ˙ ˙ ˙ dim. II b &b b œ œ œ œ ri . The first note of Figure A must coincide with the word "Osanna" . 2 4 œ œ œ œ œ J san-na in ex . 2 4 œ œ œ œ œ J san-na in ex .cel œ œ œ œ ˙ ˙ ˙ ˙ - ! ! Harp 3 4 3 4 ! Figure A ? bb 22 b œœœ œ 2 œ .a dim. glo tu - œ œ 3 4œ a p p p - œ.204 2 S. . III b &b b œ b &b b ˙ 22 œ li.cel œ œ œ œ - S. I b &b b 15 ! ! ! œ F Ple - œ œ ˙ ni sunt cae œ œ œ œ œ œ ni sunt S.cel œ œ œ œ - dim. tu - œ œ 3 4œ a O - œ. I œ œ œ ri .a glo tu - Œ œ Œ œ Œ œ O S.cel O - œ. 2 4 œ œ œ œ œ J 2 ˙ ˙ 4 ˙ ˙ 2 4 san-na in ex . III j bœ œ j bœ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ œ œ œ œ œ ! œ F Ple ˙ cae - œ œ œ œ - oth SA TB ? bb ˙ ˙ b ˙ ˙ b &b b œ 22 ˙ ˙ ˙ ˙ ˙ œ œ 3 4œ a ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ œ œ - S.ra S. II b &b b ˙ b &b b œ b &b b ˙ 15 ! œ F Ple ˙ cae - œ œ J li œ œ œ œ œ œ ni sunt et œ J j bœ œ œ œ œ li. 2 4 œ œ œ œ œ J san-na in ex .at the end of Figure A the glissandi should diminuendo.4 œ 3 P œœœ œœ ˙ ˙ ˙ ˙ Gentle glissando with both hands The note values and glissandi as indicated on the harp part are only a rough guide. ter . SA ! 3 4Œ Œ œ 3˙ ˙ 4˙ ˙ TB ? b ˙ ˙ bb ˙ ˙ b &b b 22 ˙ ˙ ˙ ˙ ! ! ! ! p O - œ. cel - SA TB ? bb ˙ ˙ b ˙ ˙ b &b b 29 sis œ.na in ex . J œ œ. J œ œ. J œ œ.san-na in ex .cel œ œ. ‰ œj œ œ œ œ œ J O .san .san-na in ex .cel œ œ œ œ œ - sis ‰ œj œ œ œ œ O . ‰ œj œ œ œ œ œ J O . II b &b b œ b &b b œ b &b b œ 29 sis œ. ‰ œj œ œ œ œ œ J O .san .na in Becoming quieter ex .205 3 S.cel œ œ œ œ œ - sis ‰ œj œ œ œ œ O . J ˙ ˙ ˙ ˙ - S. I b &b b œ 29 sis œ.san-na in ˙ ˙ ˙ ˙ ex .san-na in ex .cel œ œ œ œ œ ˙ ˙ ˙ ˙ - Harp ? bb 29 b œ P œœœ œ œ -3 œœœ œœ ˙ ˙ ˙ ˙ sis ‰ œj œ œ œ œ O . ‰ œj œ œ œ œ œ J O . III sis œ.cel œ œ œ œ œ - sis ‰ œj œ œ œ œ O .san .san .cel - œ P œœœ œ œ -3 œœœ œœ .na ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ in ex .cel - S.na in ex . 4 3 4 ˙.ctus ! ! ! ! œ œ œ œ ni sunt ! ! 3 4 3 4 ! ! . II b &b b œ œ œ œ ˙ b &b b œ œ œ œ ˙ b &b b œ œ œ œ ˙ 36 sis no break S. . III " ˙ oo sis no break SA " ˙ oo TB ˙ ? bb ˙ b ˙ ˙ ? bb 36 36 sis ˙ ˙ ˙ ˙ no break Solo b ! ! " oo œ " ˙ oo Freely . 3 4 ˙ œ - 4 w 4 4 4 w 4 w 4 4 4 w 4 4 w œ œ œ œ œ œ œ Do-mi-nus De . I b &b b œ œ œ œ ˙ 36 no break ˙ " ˙ oo ˙ ˙ ˙ ˙ ˙ œ ˙ ˙ ˙ ˙ ˙ ˙ sis no break 3 ˙. œ œ œ œ œ œ œ J J a tu .us S. œ œ œ œU œ ‰ œ œ œ œ œ œ œ œ œ. b . 3 ˙. et ter - oth Solo ? bb œ . b 46 œ œ œ ri œ - œ glo .a O san na in ex cel - . œ Ple Solo ? bb œ œ œ œ U ˙ b sa bba - œ œ œ œ œ œ œ œ cae li.like UChant q ctus »ªº œ San U ˙ œ œ ! ! 4 4 4 4 ˙ ra Harp b &b b ? bb 36 43 F San ctus San .4 206 S. 4 3 4 ˙. &b b 2 4 œ œ œ œ œ J F ˙ ? bb 2 ˙ b 4 ˙ ˙ F ? bb w b Be 51 - ne - di . O - SA b œ. J san in no œ œ œ œ œ ˙ J - na ˙ ˙ ˙ ˙ - mi - ne ˙ ˙ ˙ ˙ Do œ œ œ œ ˙ ˙ ˙ ˙ mi - Solo sis Harp b &b b 2 4 51 51 ? bb 2 b 4 œ - F3 œ œœœ œœœ œ œœ 3 œ œ œœœ œœœ œ As figure A œ œ -- .5 207 S. F O - ! S.ctus TB ˙ ˙ ˙ ˙ qui œ œ œ œ ˙ ˙ ˙ ˙ ven ˙ ˙ ˙ ˙ F ‰ œj œ œ œ œ œ œ . II b &b b 2 4 b &b b 2 4 51 F O - œ œ œ œ œ ˙ J san - ˙ œ J œ œ œ œ ˙ san na ! ˙ ! œ. &b b 2 4 51 Strictly as Tempo I S. I b * œ. III ! œ it ! œ. P O - na œ J ! ! ! ! œ. II S. III P b b b œj ˙ b & b &b b 58 œ J œ œ œ œ san - ˙ œ œ œ œ ˙ na " ˙ œ œ œ œ œ J - ! ! ! œ - ! ‰ œj œ œ œ œ O . III b œ & b b œ. J " San b ! &b b b &b b ˙ 65 œ œ œ œ ˙ ctus ˙ j bœ ! ˙ ! ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ! ! ˙ ˙ ˙ ˙ no break œ.san SA œ ni. TB ? b b b b &b b 58 ˙ ˙ ˙ ˙ P P œ O na. II b &b b œ. " ˙ ˙ ˙ ˙ San œ J ! œ œ œ œ ˙ ctus SA ! ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ! ! TB ? b ˙ ˙ bb ˙ ˙ b &b b 65 na " oo mm Harp glissando very gently to the end ? bb 65 b . I b &b b 58 œ œ œ œ san - ˙ na ˙ ˙ na ! j bœ ! ! j bœ œ.208 6 S. p œ œ œœ œ œœ 3 ˙ ˙ ˙ ˙ - œ S. I b &b b ˙ œ œ -œ ! ˙ ˙ San - ˙ ˙ A Little Slower ˙ ! j bœ ctus ctus S. œ. San S. O - S. - œ J san - ˙ ˙ ˙ ˙ - ‰ œj O Harp ? bb 58 65 P œ j bœ b œ œ -˙ j bœ 3 œœ œœ œœ œ ˙ ˙ ˙ ˙ p œ œ œ œ san œ na Œ œ ˙ ˙ ˙ ˙ - ˙ ˙ ˙ ˙ " ˙ ˙ ˙ ˙ O œ ˙ san dim. 'Sí do Mhaim. œ caill-each œ œ œ œ an œ air -[i]-gid. œ 'Sí œ œ nœ œ œ œ do Mhaim-eo Í. œ œ. œ. Ah chuir-feadh sí cóis . œ œ œ. 'Sí do Mhaim. œ. 'S œ œ œ œ œ œ œ. 'Sí do Mhaim . œ œ œ. do Mhaim-eo. œ œ 'Sí do Mhaim. œ.eo. œ œ. œ œ œ caill-each œ œ 'Sí do Mhaim. 'Sí do Mhaim-eo. œ œ œ. œ œ œ. A b & b œ. 'Sí do Mhaim. . ‰ œ œ J J . 'Sí do Mhaim. œ œ J J ‰ 'r bhóith-re Chois Fharr-ai-ge. 'Sí do Mhaim . œ œ J J ‰ ! ! ! ! 'Sí do Mhaim. 'Sí do Mhaim. œ. œ. 'Sí do Mhaim-eo. œ œ 'Sí do Mhaim-eo.[i]-gid. œ an œ œ œ œ œ œ. œ œ œ œœ œ. air-[i]-gid. œ. œ œ œ. 'Sí do Mhaim . œ œ œ. œ.eo œœ œ. Bass œ. œ œ œ œ Mhaim . œ œ.eo œ œ œ œ.eo. 'Sí do Mhaim. œ. 9 Solo b &b œ œ œ œœ œ 'Sí do Mhaim-eo Í. œ an œ œœ œ œ œ.each an œ œ œ œ œ œ œ. 'Sí Ah Ah T B ? b œ. œ F œ. œ œ. 'Sí Ah © 1993 . œ. œ ? bb 6 8 F b &b œ œ V bb Very Rhythmically qd = 100 'Sí do Mhaim-eo. œ œ œ. œ œ œ. 'Sí do Mhaim. œ œ. caill-each 'Sí do Mhaim-eo. œ œ œ j j‰ œ œ . œ.209 'Sí do Mhaimeo Í Traditional Irish Melody Arranged by: Michael McGlynn Tenor b Vb 6 8 œ. œ. œ œ œ œ. 'Sí do Mhaim. j j‰ œ œ . do Mhaim-eo. œ Í.eo. œ œ b caill . œ 'Sí do Mhaim . œ œ œ œ. F œ. œ œ 'Sí do Mhaim-eo. air-[i]-gid. 'Sí do Mhaim.tí œ œ œ œ œ j j‰ œ œ . œ œ F b b V œ.ais Mhóir í. œ Í. ó Bhail' Iorr . Ah Ah œ. air . œ. 'Sí do Mhaim . 5 Solo 'Sí do T B ? bb œ . .eo. œ. œ œ 'Sí do Mhaim-eo. [i] . ˙.[i] . ˙. A &b V b P oo ˙. ˙. Ah caill-each an air . oo 18 bb P ˙.aí gh'l tim . Ah œ. 'Sna œ J roth . oo 'bhFeic .ir œ œ œ œ œ J œ ˙. Ah caill-each an air .a[í].peall siar ó . j j‰ œ nœ .2 14 'Sí do Mhaimeo Í 210 œ œ œ œ ˙ ˙ .[i] . 'Sní œ J choinn-eodh sí œ œ œ œ siúl S ˙. ˙. ˙..[i] . . ˙.'ara 'cúl.feá . ˙. ˙. Solo &b b S F b b & ˙.gid . œ. œ. ‰ œ œ J J . Ah caill-each an œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ air . ˙. ˙. b˙. j j‰ œ œ .na ceath-rún .gid B ? bb ˙ .gid œ. œ œ ‰ J J le j œ œ œ œ œ œ œ caill-each an air . T B P ? bb ˙ .sa'n "steam" œ œ œ œ 'ga'l œ J œ œ œ œ siar Tóin Uí Loing'. œ J œ œ œ œ œ œ ˙. ˙. ˙. Solo &b &b &b Vb b b b P oo Caith-feadh sí'n stiú . ˙. œ œ œ naoi nuair .gid A T b ˙.[i] .gid œ œ œ œ œ œ caill-each an air . œœ œ œ œ S 'Sí do Mhaim. 'Sí do Mhaim. œ œ. B 'Sí do Mhaim. A T F b V b œ. œ 'Sí do Mhaim. 'Sí do Mhaim-eo. œ Ah bhóith-re Chois Fharr-ai-ge. œ œ. Ah do Mhaim. ‰ bhóith-re Chois Fharr-ai-ge. œ œ. j œ œ œ œ œ. œ. œ. œ. œ œ œ 'Sí do Mhaim . œ an air-[i] . 'Sí do Mhaim. . 'Sí do Mhaim. 'Sí do Mhaim. 'Sí do Mhaim. œ. 'Sí do Mhaim. œ œ.gid. œ œ œ œ œ œ œ œ œ S b & b œ. 'Sí do Mhaim. B œ. œ 'Sí do Mhaim. œ œ.tí 'r œ œ œ œ œœ œ. œ œ œ œ œ œ.eo. 'Sí do Mhaim. œ & bb F œ. j œ œ œ œ œ 'Sí do Mhaim . 'Sí do Mhaim.ais Mhóir œ œ œ 'S œ J œ chuir-feadh sí cóis . œ 'Sí do Mhaim. œ œ. 'Sí do Mhaim -eo. œ œ œ œ œ. œ œ.eo Í. Solo b &b œ œ œ œ œ œ œ 'Sí do Mhaim . œ F 26 'Sí do Mhaim. 'Sí do Mhaim. .eo. œ. 'Sí do Mhaim. œ œ. 'Sí do Mhaim . 'Sí do Mhaim . 'Sí do Mhaim-eo. œ œ.eo. œ œ. œ œ œ œ œ œ Í. bhóith-re Chois Fharr-ai-ge. œ b V b œ. œ œ. œ œ. ‰ œ œ J J . œ 'Sí do Mhaim. 'Sí do Mhaim. œ. A b & b œ.211 'Sí do Mhaimeo Í 3 22 Solo b &b œ œ œ b & b œ. œ. 'Sí do Mhaim . œ œ. œ. œ œ. œ ? b œ. œ. 'Sí do Mhaim.eo. œ F ? bb œ .eo œ Í. œ œ. œ œ œ. 'Sí do Mhaim. œ. œ œ. 'Sí do Mhaim. œ œ. œ œ. 'Sí do Mhaim . œ œ œ. œ œ. j œ j œ . œ œ. 'Sí do Mhaim.eo. Ah bhóith-re Chois Fharr-ai-ge. 'Sí do Mhaim . œ œ œ œ œ 'Sí do Mhaim .eo œ œ nœ œ. Ah j j‰ œ nœ . œ œ. T œ œ œ nœ œ œ œ œ œ œ œœ do Mhaim. œ 'Sí œ œœ œ œœ œ œœ do Mhaim. 'Sí do Mhaim. œ œ. œ œ ‰ J J bhóith-re Chois Fharr-ai-ge. 'Sí do Mhaim -eo. œ.eo œ Í. j œ œ œ œ œ caill-each œ œ œ œ. 'Sí do Mhaim-eo. œ. œ œ œ ó Bhail' Iorr . œ b 'Sí 'Sí 'Sí do Mhaim. œ œ. ˙.[i] . ˙. A Ah dól .fadh sé'n tair . ? bb ˙ . œ P oo œ Tá 'sa'm nach bpós .fa caill-each an air .fa. ˙. Solo b &b œ œ b & b ˙. Ah j j‰ œ œ .[i] . œ œ œ œ œ J œ œ œ œ ˙. b V b ˙.óg œ œ œ œ œ. B œ. ‰ œ œ J J . ˙.[i] .. j j‰ œ nœ . ˙. S A P oo oo F ˙.fadh sé'n tair . b˙. œ J 'Meas-ann tú 'bpós . œ. œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ T Ah dól . œ J œ œ œ œ œ œ ˙.fa. ˙. ˙. Ah dól . 'meas-ann tú 'bpós . 30 Solo &b &b &b Vb b b b b ! ! ! ! ! 'Meas-ann tú 'bpós . œ œ ‰ J J 'gus dól . oo P ˙.fadh sé'n tair .gead.4 'Sí do Mhaimeo Í 212 œ œ œ œ ˙ ˙ .gead.gid? T B ? b b 35 P ˙.[i] .gead. .[i] .fadh sé'n tair . ˙. ˙.[i] . ˙. S ˙.fa' tá sé ró .gead.fa'.fadh sé'n tair . ˙. j œ œ œ œ œ œ œ œ œ œ œ œ œ dól . b & b ˙.gead. œ. œ J œ tá œ œ œ œ œ Mar 'sa'm nach bpós . . ˙. œ œ œ. ˙. 'Sí do Mhaim. œ.ais Mhóir í. Ah bhóith . 'Sí do Mhaim. 'Sí do Mhaim-eo œ œ œ œ Í. œ. œ œ œ. œ œ œ. œ œ œ.. œ œ œ. œœ œ S 'Sí do Mhaim.'Sí do Mhaimeo Í 5 213 39 Solo b & b . œ . Oh bœ. œ œ œ. œ œ œ. œ œ œœ Í. 'Sí do Mhaim. œ œ œ œ œ œ 'S œ .. œ. œœ œœ œœ œ œ œ œ œ œ œ œ œ A &b b T b V b ˙. œ 'Sí do Mhaim . 'Sí do Mhaim. 'Sí do Mhaim. œ œ b & b . œ œ œ. œ œ œ. œ . B 43 Solo b &b œ œ b &b ˙ ˙ . 'Sí do Mhaim.ai .ai . œ œ œ.re Chois Fharr . œ œ 'Sí do Mhaim. 'Sí do Mhaim. 'Sí do Mhaim. Ah j j‰ œ œ . œ . 'Sí do Mhaim. 'Sí do Mhaim. œ œ 'Sí do Mhaim. œ. œ 'Sí do Mhaim .tí œ œ œ œ œ j œ œ j‰ œ œ . œ œ œ. 'r bhóith .ge. œ œ œ. 'Sí do Mhaim.re Chois Fharr . œ. œ œ œœ Í. œ œ. œ œ œ b & b .ge.gid. ó Bhail' Iorr .ai .ge. 'Sí do Mhaim-eo.eo œœ Í. 'Sí do Mhaim.. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ S ˙ ˙ . œ œ œ. Ah bhóith . œ œ œ. œ œ œ.re Chois Fharr . 'Sí do Mhaim.. A 'Sí do Mhaim. œ. T 'Sí do Mhaim. Oh F 'Sí do Mhaim. 'Sí do Mhaim. 'Sí do Mhaim-eo.eo œ œ œ œ. . Ah bhóith . œ œ œ.ge. j j‰ œ œ . œ. 'Sí do Mhaim. 'Sí do Mhaim-eo.re Chois Fharr . ˙. bhóith . 'Sí do Mhaim.. Oh Oh ˙. œ œ b F 'Sí do Mhaim . œ œ œ. œ . chuir-feadh sí cóis .. 'Sí do Mhaim. j j‰ œ œ . œ cailleach an œ œ œ air-[i] . œ œ F b V b . œ œ œ. ˙.ai . œ œ œ. 'Sí do Mhaim-eo. œ œ œ. œ.ai ..re Chois Fharr . B ? bb ˙ . 'Sí do Mhaim. œ œ F ? b .ge.eo œ œ nœ œ. . j j ‰ œ nœ . ˙.re Ní Chath -as . ˙. œ.re Ní Chath -as . ˙. ! ! ! ! ˙. œ.aigh.fa'. ˙. ˙. ‰ œ œ J J . j j ‰ œ œ . Ah œ. A oo Ah Mái .6 'Sí do Mhaimeo Í 214 œ J œ œ œ œ œ œ ˙. œ J œ œ œ œ 'sgair.aigh. .. ˙. œ J œ œ œ œ 'sgair-id go bpós . ˙. ˙. œ J 'Sgair-id œ œ œ œ ˙ ˙ . ˙. go bpós . ˙. œ. go bpós .fa'.fa' beirt ar an mbail-e seo. œ Mhóir 47 Solo &b &b &b Vb b ! b ! b ! b ! 'Sgair-id S P oo oo F ˙. Ah Mái . œ œ J J ‰ 'gus Mái .ais œ S oo ˙.fa'. œ œ œ œ go bpós .re œ œ œ œ œ œ œ œ œ œ œ œ Ní Chath -as . ˙. Ah Mái . Mái . œ J œ œ j œ B ? b ! b 53 P oo Solo &b &b &b Vb b b b b 'Sgair-id œ œ œ œ ˙.re Ní Chath -as . go bpós . ˙.aigh. ˙. ˙.aigh. ˙. ˙. b˙. ˙.aigh. ˙. ˙. ˙.re œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ Ní Chath -as . ˙.id A T P ˙. T oo B ? bb ˙. ˙.fa'. oo P ˙. Séan ShéaM . re Chois Fharr . Bhail' Iorr . ó Bhail' Iorr . œ œ œ. Ah bhóith . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ S 'Sí do Mhaim-eo œ œ œ œ Í. 'Sí do Mhaim-eo Í.'Sí do Mhaimeo Í 7 215 57 Solo b &b œ œ 'Sí œ œ do Mhaim . 'Sí do Mhaim-eo Í.[i] .[i] .ai .ge.ais Mhóir œ œ œ œ œ œ œ 'S œ J chuir-feadh sí cóis . œ. œ œ 'Sí Mhaim . 'Sí do Mhaim-eo œ œ œ œ Í. Mhaim . caill-each an S b &b œ œ 'Sí A b & b œ. ó Bhail' Iorr . .ai . œ œ œ. 'Sí œ œ œ œ do Mhaim-eo Í.ge. ó j j‰ œ œ . bhóith . œ œ V F ? bb œ . œ œ. j œ 'Sí do Mhaim-eo Í. do Mhaim-eo Í.gid. 'Sí œ œ nœ œ œ œ do Mhaim-eo Í.[i] . 'r bhóith .re Chois Fharr .ge. ó Bhail' Iorr . do Mhaim-eo Í.ais Mhóir œ œ œ.[i] . j œ bœ œ j œ j œ œ .ai .ai .ge. j œ bœ œ œ œ œ œ caill-each an caill-each an air . j œ j œ j œ caill-each an air . œ.eo œ œ œ œ œ œ œ Í. j œ œ œ j œ œ œ j œ œ œ 'Sí 'Sí 'Sí do Mhaim-eo Í.ais Mhóir Ah j j! œ œ . œœ œœ œœ œ œ œ œ œ œ œ œ œ A 'Sí do Mhaim-eo œ œ œ œ Í.eo Í.tí œ œ œ œ œ j œ œ j‰ œ œ . 'Sí œ œ œ œ do Mhaim-eo œ œ œ œ œ œ œ œ œ œ œ œ Í. j œ œ œ 'Sí œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ air .gid.re Chois Fharr . œ œ 'Sí 'Sí 61 F do Mhaim .gid.ais Mhóir bœ.re Chois Fharr .gid. B Solo b &b œ œ b &b œ œ b &b œ œ b Vb œ œ ? bb œ œ F Mhaim .gid.[i] .ge.ai . j j‰ œ œ . œ œ œ.eo Í.eo Í. caill-each an air .re Chois Fharr . T bb F œ. Ah bhóith . ó Bhail' Iorr . do Mhaim-eo œ œ œ œ œ œ œ œ œ Í. bhóith . air .eo Í.ais Mhóir Ah T 'Sí do Mhaim-eo œ œ œ œ Í. B 'Sí do Mhaim-eo œ œ œ œ Í. 'Sí Mhaim . œ. œ œ œ œ œ 'Sí do Mhaim .ais Mhóir œ œ œ œ 'S œ J 1. 'Sí do Mhaim .ge. 'Sí do Mhaim. ˙ ˙ .eo 69 Solo b &b œ œ 'Sí do Mhaim-eo œ œ œ œ Í. 'Sí do Mhaim.ai . ƒ œ ƒ œ ƒ œ œ œ œ œ œ œ cóis .ai .eo 'Sí do Mhaim..tí cóis . œ œ. œ œœ œ œ œ 65 Solo b &b œ œ b & b œ.ai . b oo chuir-feadh sí ƒœ ƒ 'r bhóith .eo B 'Sí do Mhaim.re œ œ œ œ œ œ œ œ œ œ Chois Fharr . œ Í.eo œ œ œ. œ.. œ œ œ œ œ œ œ œ œ œ. P chuir-feadh sí 'r bhóith . œ œ œ œ œ œ 'Sí do Mhaim . .8 'Sí do Mhaimeo Í 216 œ œœ œ. 'Sí Mhaim . 'Sí do Mhaim. ˙. 'Sí do Mhaim.ai . ˙. œ œ œ. œ œ œ œ. 'Sí do Mhaim. 'Sí do Mhaim. œ œ. œ œ. T 'Sí do Mhaim. œ.gid.eo 'Sí do Mhaim. ˙ ˙ .ai . A 'Sí do Mhaim.eo œ.tí 'r bhóith . œ b & b œ. œ ? bb œ . œ œ. 'Sí do Mhaim. œ. 'Sí do Mhaim.tí cóis . œ œ. œ œ œ œ œ œœ Í. œ œ.re Chois Fharr . œ 'Sí do Mhaim .tí 'r chuir-feadh sí bhóith . œ Í. œ œ œ. 'Sí Mhaim . œ œ. œ œ.tí 'r bhóith . 'Sí do Mhaim. œ œ. œ œ.eo 'Sí do Mhaim.re Chois Fharr . œ œ. 'Sí do Mhaim . ó Bhail' Iorr .eo œ œ nœ œ. oo oo œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ cóis . 'Sí do Mhaim. œ œ œ œ œ. S 'Sí do Mhaim. 'Sí do Mhaim.ge. caill-each an air-[i] . œ b V b œ.ge. 'Sí do Mhaim. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ chuir-feadh sí œ œ œ œ œ cóis .re Chois Fharr .ge. ˙.ge. 'Sí do Mhaim.re Chois Fharr . chuir-feadh sí S & & bb bb oo A P ˙.eo œœ œ. œ œ. œ œ. T P b V b ˙. 'Sí Mhaim . œ œ. B P ? b ˙. ge. ˙. ˙. ˙. We’ll soon have a wedding. œ œ œ œ œ œ œ œ œ œ oo ˙.ai . ‘S ní choinneodh sí siúl le cailleach an air[i]gid ‘Measann tú ‘bpósfa cailleach an air[i]gid? Tá ‘s a’m nach bpósfa’. ‘bhFeicfeása ‘n “steam” ‘ga’l siar Tóin Uí Loing’.. œ œ œ œ œ ˙ ˙ . Do you reckon he’d marry. ˙. ˙. She is your granny. But she never keeps pace with the hag with the money. ˙. ó Bhail’ Iorrais Mhóir í. P oo ˙. S chuir-feadh œ œ œ œ œ sí cóis .ge. I know he’ll not marry Because he’s too young and he’ll drink the money.re Chois Fharr . the hag with the money She is your granny from the town of Iorrais Mór. [Translation Julie Feeney] . . oo oo P ˙.217 'Sí do Mhaimeo Í 73 9 S &b &b Vb b b b ! ! ! ! 2. Between Séan Séamais Mór and Máire Ní Chathasaigh. chuir-feadh ‘S í do Mhaimeo í. ‘S na rothaí gh’l timpeall siar óna ceathrúna[í]. A T b ƒ œ œ œ œ œ œ chuir-feadh sí cóis . ƒ 'r bhóith . b˙. Séan Shéamais Mhóir agus Máire Ní Chathasaigh.ge. we’ll soon have a wedding. ˙. And she would put coaches on the roads of Cois Farraige If you’d see the steam [steam boat] going past Tóin Uí Loing’ And the wheels turning speedily at her flanks She’d scatter the store nine times to the rear. . ˙. ˙.tí sí cóis . ˙.re Chois Fharr . tá ‘s a’m nach bpósfa’ Mar tá sé ró-óg ‘gus dólfadh sé’n t-air[i]gead. b˙. ‘S gairid go bpósfa’ beirt ar an mbaile seo. ˙.ai .re Chois Fharr . ˙. ˙. ˙. ˙. ˙ ˙ .ai . B ? b b ƒ œ œ œ œ œ œ sí cóis .. ˙.ai . . oo oo oo Solo b &b œ ƒ b &b œ ƒ b &b œ Vb chuir-feadh œ œ œ œ œ sí cóis .tí P oo ˙. ‘S chuir-feadh sí cóistí ‘r bhóithre Chois Fharraige. ˙.tí 'r bhóith . the hag with the money I know he’ll not marry.re Chois Fharr . ˙. ˙.tí 'r bhóith . ‘S gairid go bpósfa’..ai . by two in the village We’ll soon have a wedding. ˙. 'r bhóith . ˙.ge. Caithfeadh sí’n stiúir naoi n-uair’ar a cúl. ˙.ge.. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙. ˙. A T B ? b b 82 P ˙. ˙. ˙.tí chuir-feadh œ œ œ œ œ 'r bhóith . ˙. ˙. ‘s gairid go bpósfa’. . ˙.. ˙. ˙.re Chois Fharr .. F 12 Œ . and e - very tear would œ j œ œ . 'Tis there I'd œ. ˙ ˙ . œ œ . .. œ œj ˙ . Œ. fond sto .218 Siúil a Rúin Traditional Irish Mezzo Sop. oo œ œ . œ. œ. œ œœ œ œ œ.. ˙.. me things that œ ne're œ. on my true love's knee ma-ny a œ œ œ œ. ˙. œ œj œ . & # # 12 . A little slower U turn a mill. œ. #œ. n˙.. j œ œ œ. .ry he œ. be. oo 13 MzS & & told œ. œ... 12 8 ˙. qk»¡¡º j 12 6 Œ. œ œ œ œ œ. oo . ˙. . 8 œ œ 8 Rhythmically P I 9 MzS & S/A # 12 Œ . ˙ ˙ . ˙. Œ œ. œ. œ. j œ ˙ ˙ . #œ. P siúil.. Œ. œ œ J told j œ œ œ œ œ œ Œ œj . j œ œ œ. ˙w oo œ. Œ . œ.. œ. 6 8 ! S/A # ˙˙ . shall j œ œ ˙. ˙ ˙ . ˙w oo œ œ . ˙. siúil. œ.. œ œj j Œ œj œ œ œ. U my fill. U Arranged by: Michael McGlynn P I wish I was on yon . œ œ . œ. ˙. Siúil. ˙. œ œ . ˙ ˙ . wish I sat # 12 . . ˙. 6 8 œ. to me. ˙. He T/B ? # 12 8 # # p p . 6 8 œ œ ... ˙. Siúil. siúil. ˙.. Œ. ˙. œ. Œ.. © 1994 . Œ . 12 8 ˙w . P Siúil. ˙. oo ˙˙ .der hill. sit and 5 MzS & cry j j Œ j . œ . & 8 . ˙ ˙ . j 8 œ œ œ œ œ œj œ . œ. 8 Œ. T/B ? # ˙.. ˙ ˙.. œ. 8 Ó With Freedom qd = 105 j Œ ‰ œ œ œ . œ. Œ. œ. œ œ .. arm Ah . ˙ ˙ .. œ . # ˙˙ . ˙ ˙ . 12 8 . œ. œ. n˙... was S/A œœ . œ œ. I wish in my heart I was with you. œ œ . ˙. a rúin ˙ ˙ . œ. ˙.aí liom 6 8 . siúil j œ œœ œ œ go ciúin. Œ. His T/B œ ?# œ œ .. œ œ ˙. œ œ . œ œ œ.. ˙. ˙. n˙. ˙ ˙ . œ was true.. & Œ.. #œ. Siúil S/A T/B .. Siúil go ciúin oo ˙. #œ. œ. 8 œ œ 8 œ. #œ. Ah 25 MzS & # S/A # Œ. ˙ ˙. oo ˙ ˙ . œ . œ. œ...laí j Œ. œ. 6 8 6 8 6 8 ˙w .. œ. oo ˙ ˙ . Œ 12 8 hair black j œ œ œ œj œ . siúil.. œ œj œ . œ. Siúil œ œ . œ œ . rúin siúil. ˙˙ . ˙ ˙ . ˙.. ˙ ˙ . œ. eal . ˙.. Œ.. œ. ? # #œ œ... œ œ . Siúil go œ. 21 MzS & & # # ea . Œ His œ. Siúil. 6 8 œ. ˙. ˙. Œ a rúin. ˙w . ˙.. . ˙. j j j œ œ œœ œ œ go dor-as a .. Ah oo ˙ ˙ . . ˙ ˙ . so-chair a . œ œ. was strong his word j j œ œj œ œj j Œ j j œ œœ œ œ œ œ œ œ œ. Siúil a Siúil œ œ . œ. Œ. œ œ . . œ. Œ.. Œ. œ. œœ . ciúin # ˙˙ . œ. ˙. ˙. T/B ?# ˙w .gus œ œ œ œ J J ˙ ˙ . ˙. go œ œ ..... œ. Ah œ œ . œ.gus MzS & & # # siúil . liom j 12 6 Œ. ˙ ˙. eal . . Siúil. Œ...... Œ œj his eye was blue. œ. œ œj œ . œ...2 17 Siúil a Rúin 219 Œ. ˙.aí liom ˙ ˙ . ˙ ˙ .. œ. . 6 œ 8 œ. ˙. œ œ. ?# 6 œ 8 œ. ? # #œ œ. ˙. ˙ ˙ . eal .. w. œ.. ˙ ˙ ˙ .as a ... Œ 33 12 ˙ . Œ. Œ. siúil. Œ . 8 . oo Ah .gus Siúil.. œ œ . œ.. œ œ. oo ˙. Siúil œ. . œ. siúil. ciúin # ˙˙ . a rúin. Siúil. a .. ˙. j j j j Œ. œ. œ.. œ œ . œ œ œ œ œ œ œ. nœ œ. ˙ . ˙ ˙. œ œ .aí liom SD # & 12 8 ˙. ˙. œ. œ. 8 F 12 Œ . ? # 12 ˙ 8 ˙. siúil. j œ œ œ. siúil j Œ. . #œ. œ. eal . ˙. 6 8 œ. MzS & & # # siúil j œ œœ œ œ go ciúin. œ œ . & # 12 8 ˙. œ. a œ. œ œ œ. ˙w Siúil. ˙. #œ œ .. œ. œ. n˙. Œ. ˙ ˙. Œ. œ œ .. 12 8 12 8 12 8 Siúil go ciúin oo ˙. Ah S/A F Ah œ.. nœ œ. Œ œ.Siúil a Rúin 3 220 29 MzS # 6 & 8 ! S/A Œ..... ˙.aí liom ˙ ˙ . Ah œ... œ œ . go dor . . F Ah . 37 Siúil œ œ . Siúil. Siúil œ.. œ œ . œ. œ. . #œ œ . œ..laí liom 6 8 ! S/A T/B . ˙ ˙ . . oo . œ. Œ. go œ œ . œ. . œœ . ˙. Ah ˙ ˙ . œ œ .. Siúil œ œ . œ œ œ. œ. œ. oo œœ . a rúin ˙ ˙ . .gus ea .. P siúil. T/B F . Œ. ˙ ˙ .... # 6 & 8 œ. Œ . œ. ˙.. ˙ ˙ . 12 ˙w 8 P Siúil... ˙. T/B .. Siúil rúin siúil.. œ. œ œ .. ˙. œ. ˙ ˙ . Œ. go so-chair œ œ œ œ J J ˙ ˙ . œ.. œ œ . I'll j œ œ œ œ j œ œ.. ˙. ˙w Siúil. Œ .. œ œ œ œ œj œ œ . œ. T/B . ˙. oo T/B ?# ˙ ˙ .. Œ. my bread. œ. siúil a rúin round the world I'll œ... œ. ˙ ˙ . dye j œ œ œ œ. F Ah œ.. n˙. w.. ˙ ˙. œ œ .. œ. oo ˙ ˙ . siúil T/B ?# 49 j œ œ œ. ˙ ˙ ˙ . œ. S/A Ah ˙ ˙ . F Œ. ˙. # ˙˙ . œ œ . œ œ . nœ œ.. SD œ.. Siúil. Ah œ. œ. ˙ ˙ . ˙ . Ah ˙ ˙ .. ! I'll j œ œ œ. Ah œ. Œ.. ˙. w.. œ. . œ. ˙. ? # ˙w w. œ. w.tti . œ. siúil.. 6 8 6 8 6 8 S/A ˙ ˙ . ˙. œ œ œ. œ.. ˙ ˙ .. ˙. œ. œ. ˙ ˙ . . ˙.. œ. œ œ J J Œ.. siúil... w. ˙ ˙.. J œ œ œ . œ œ . ˙ ˙ . A- MzS & & & # # # P Siúil. nœ œ. #œ œ . . œ. Ó œ.. Ah œ. J œ œ . Ó. ˙.. ˙ . #œ œ .coats. f dye my SD Œ S/A # Œ. oo ! ˙ ˙ . œ œ . Siúil.. ... . œ. œ. ˙w w. P . œ. œ.221 4 41 SD & & # # ˙. #œ.. pe .. Œ. œ œ . œ œ œ. œ. ˙. Ah œ. œ œ . ˙ ˙. Œ œ red. œ œ . œ. œ. Œ . . œ œj œ . œ. oo Ah MzS & & & # # w. #œ. Ah 45 . œ œ J ˙ ˙ . œ. Siúil a Rúin ˙..... ˙˙ .. œ œ . œ œ . Œ. œ. ˙w . 'til I find my love a live or dead F Ah . ˙ ˙ . ˙.. Œ. œ œ . Œ. 8 œ. oo ˙. them j œ œj œ ... œ J œ œ œ . Ah beg j œj œ j 6 Œ œ œ œ œj œ œ œ . œ œ J Œ. œ.. P 12 8 Œ . 61 Siúil œ œ . Ah j œ œ œ œ . œœ J siúil S/A & # 12 8 Œ.. n˙. ˙.. ˙ ˙ . ˙.. a MzS & & # # siúil j œ œœ œ œ go p œ.. siúil. œ œ . œ. n˙. a rúin. ˙ ˙ . œ. ˙ ˙ .. j Œ. œ. ?# 6 8 œ.aí liom ˙ ˙ . œ. œ œ . œ. œ. Siúil. p siúil. siúil. œ.. .. P P Œ. j œ œ œ. Œ. #œ. .. ciúin. Œ.Siúil a Rúin 53 5 222 MzS # & 6 8 ! S/A Œ. & 8 œ œ J Siúil. Œ.. œœ . Siúil œ œ .. go ciúin ˙. ˙. œ. . Siúil rúin siúil. œ. Œ .. œ . Siúil. J œ œ œ .. . J œ œ œ . siúil Siúil rúin siúil Siúil go ciúin . ? # 12 8 ˙w . œ œ .. #œ.gus œ œ œ œ J J œ œ J siúil j œ œœ œ œ go j œ œ œ œ . Œ. siúil. Siúil . œœ . siúil.. œ. Siúil. P Siúil œ. #œ. Œ 57 12 8 ˙. œ œ . # & 6 8 œ. ciúin # ˙˙ .. 6 œ 8 œ. œ. œ.aí liom MzS # & 12 8 ˙. Œ. ˙. go so . Siúil œ.gus œ œ œ œ J J ˙ ˙ . rúin ˙ ˙ . ˙ ˙ .. 6 8 œ. ˙. œ. œ.. 12 8 ˙w . go œ œ .. . Œ. ˙ ˙ . j œ œ œ. T/B . œ. ˙. œ. siúil j Œ. a rúin ˙ ˙ . ˙w Siúil. œ. œ œ œ œ œ œ œ . œ œ .. œ. eal .chair a .. Œ œ. ˙.laí liom 6 8 ! S/A T/B . siúil. œ. Siúil.. ˙. œ. ˙. ˙... ciúin. a a Siúil go œ. ? # #œ œ. eal . œ œj œ . Siúil T/B . j j j . so-chair a. a rúin. Siúil. Œ. oo ˙. ˙w Siúil œ. œ œ œ. ˙. Œ 12 8 12 8 12 8 Œ. Ah œ. siúil. œ. Œ. œ.gus ea . œ œ œ. Siúil go ciúin oo ˙ ˙ .as a . Siúil.. ˙ ˙ . SD F # 12 . Œ œ. Œ go dor . œ. Siúil œ. ˙.. œ œ .. .. U S/A liom # ˙˙ . ˙ ˙ . œ œ œ œ œ œ œ. œ. siúil a rúin Siúil go sochair agus siúil go ciúin Siúil go doras agus éalaigh liom Go. œ œ J ˙ ˙ . # ˙˙ . ˙. œœ .. liom[m]. siúil. ˙. go dor-as a . oo œ. œ. œ. œ. go. go dor-as a . eal .. aí liom[m]. ˙ ˙.. œ. oo œœ .6 Siúil a Rúin 223 65 MzS & & & # # # Siúil j j j j Œ.. aí liom[m]. go my love Go quietly and go peacefully Go to the door and fly with me . ˙. œ.gus eal SD w. ˙ . œ. œ. ˙ .. eal . eal - œœ . T/B ? # ˙. eal - œ. oo ˙. ˙ . œ. his eye was blue His arm was strong. his word was true I wish in my heart I was with you I'll dye my petticoat. œœ ... Ah œ œ J eal œ œj œ œ J aí - aí j . œ œ u ˙ liom[m]. œ œ œ.. I'll dye it red And 'round the world I'll beg my bread 'Til I find my love alive or dead Siúil. œ. u I wish I were on yonder hill 'Tis there I'd sit and cry my fill And every tear would turn a mill I wish I sat on my true love's knee Many a fond story he told to me He told me things that ne'er shall be His hair was black.aí liom oo ˙.gus ea . ˙. Œ. u ˙ .aí œ. œ. ˙. œ œ œ œ œ œ œ. ˙ ˙. ˙.laí liom Slower to the End Siúil j j j œ. . T/B . œ. q»§º œ œ œ ˙ Ail - m œ œ œ œ ˙. bœ ‰ I j œ bœ. iú ! j n œ nnn 4 3 œ b bœ ‰ I am the wind j œ bœ œ œ J breathe on sea œ. . b œ ‰ I am tide on the am wind on the sea am tide . bœ ‰ breathe am the wind on sea T/solo V 11 " j #œ œ œ œ j œ œ œ bœ J j œ œ œ œ j œ bœ ‰ œ " j œ œ œ œ œ œ #œ œ œ œ. œ œ. Œ " " " j œ œ œ œ jœ œ œ œ J P Ail 3 - - Œ Œ Œ nnn 3 4 - - iú S/A & ### nEr - enn. P Œ Œ w w oo ˙ ˙ . J 3 iú œ œ ˙ Ail - Michael McGlynn m œ œ œ3œ J iú iath Soprano Alto Tenor Bass ! ? ### c w w oo w w P Ail - ˙ ˙ . ˙ . œ œ œ œ œ ‰ bœ J o . iú Œ Œ w w w Ail - ˙˙ .. œ œ œ œ ˙œ . ˙˙ .. iú marked n n n 3 Nojbreaths unless 4 œ œ œj # œ œ œ œ œ œ œ . ˙ ˙ . iú w w Ail - ˙ ˙ . I P I am the wind am tide wave on the T/B ? bœ. S/A & œ.. . œ œ. œœ œ œ n 4 #˙. Ail - w w oo w w Ail - S/soli & 6 ### ! oo Ail " œ œ œ ˙ Ail - " T/solo # # œ. I Very Expressively j œ that nœ œ bœ ˙ breathes on the sea #œ œ œ ˙ I am the wave. q»#º Œ Œ ˙ œ œ˙ ˙ .. œ œ œ V # 3 m œ œ œ œ ˙. œ œ œ J 3 iú iath nEr enn.. J 3 iú nn 3 Ó œ .cean I o .. Ó 3 iú..cean am j #œ œ œ œ j œ œ œ bœ J wind Breathe on j œ œ œ œ j œ bœ ‰ œ the j œ œ œ œ j œ œ œ œ J sea . ˙ ˙.224 Wind on Sea Tenor Solo ## V # c Œ ## & # c With Atmosphere m œ œ œ œ 3 œ œ. I am j #œ œ œ œ j œ œ œ bœ J tide b œ. ˙. ? ### ˙ ˙. am the bloom -2- . I on the o . Œ œ œ œ œ œ 3 the sun am tomb T/solo V œ nœ œ œ œ œ cold in the dark . œ œ œ œ b œ b œ œ œ Who but I S/A & œj œ œ œ j ? œ bœ ‰ œ 24 cold in the j œ œ œ œ œ œ T/B j œ œ œ œ œ œ bb˙ ˙ J dark . œ œ.ness oo Œ ˙ ˙ can cast light up . the eye of the Sun S/A & œj œ œ œ j ? œ bœ ‰ œ 20 wave on the j œ œ œ œ œ œ j œ œ œ œ œ œ J . œ œ œ J Œ ˙ ˙ can find a place that ˙ œ œ bœ œ œ œ .on the Ah mee . ! T/solo V œ nœ œ œ œ œ wave on the o .cean 3 . P j œ œ œ œ I am a star.der. I am j #œ œ œ œ j œ œ œ bœ J ray eye j œ œ œ œ j œ bœ ‰ œ of the j œ œ œ œ j œ œ œ œ J sun .ness dark .cean am ray of Vln.cean . j œ œ œ œ j bœ bœ œ ‰ I am the bloom am star. nœ œ œ & nœ b œ œ œ 3 ˙. œ œ œ b œ b œ œ œ œ œ Who but I œ. of the Sun. œ œ œ œ œ #œ œ . œ ? œ œ #˙ ˙ ˙ ˙ T/B j bœ bœ œ ‰ I am j œ #œ œ œ j œ œ œ bœ J a a star. .. I am j #œ œ œ œ j œ œ œ bœ J tomb T/B bœ. S/A & œ˙ .tains? ˙ œ œ bœ œ ˙ œ.way the sun? #œ œ œ œ. b œ ‰ b" ˙. œ j œ #œ œ œ j œ œ œ bœ J j œ a œ œ bb˙ J ˙ œ œ œ #œ I Vln. tear j œ œ œ œ j œ bœ œ ‰ of the j œ œ œ œ j œ œ œ œ J Sun. bœ ‰ I b œ. œ œ œ J am a won . œ #œ #nœ nœ bœ œ œ œ œ œ œ #œ #œ œ 3 p 3 j œ nœ œ bœ ˙ #œ œ œ œ. I am the ray. " œ œ & 3 in the œ ˙ œ œ - œ T/solo V œ œ œ nœ ˙ hides a .ting of the moun . j œ nœ œ bœ ˙ the tear of the Sun. œ œ. o . œ œ.. Expressively 3 " œ #œ #œ œ œ #œ #œ œ 3 #œ I œ œ ˙ am the tomb.ness œ œ œ œ nœ œ œ.225 & 16 Vln. œ œ Who T/solo V œ breathes œ œ ˙ on the sea œ bœ bœ œ œ œ can cast light Ah up . œ œ Who but I œ œ bœ bœ œ œ will cry a .der j œ œ œ œ œ œ in j œ œ œ œ I am j œ #œ œ œ the T/B j j œ bœ bœ œ œ œ œ œ œ ‰ J in flow . b˙.way the sun? S/A . & œ 28 3 œ œ œ ! œ #œ #œ œ œ 3 #œ #œ œ nœ nœ bœ œ 3 3 3 .. j œ œ œ bœ J spear cry j œ œ œ œ j œ bœ œ ‰ out for j œ œ œ œ j œ œ œ œ J Œ j œ œ œ œ j bœ bœ œ ‰ I am j œ #œ œ œ the blood j œ œ œ bœ J word .der in flow .der am the spear out for blood am the word Vln.er. & ˙ ˙ ˙ ? b˙ b˙ œ œ bœ œ ˙.er. ˙ œ œ œ œ œ œ #œ œ . flow .er. œ " œ " œ œ ˙ 3 Vln. #œ œ œ œ œ œ œ œ œ I am the spear that cries out for œ. œ.er. œ œ œ œ oo Œ ˙ ˙ but I the moun .er. œ .226 Vln. œ œ nœ ˙ chan . œ œ œ œ #˙ ˙ ˙ ˙ -3- Œ ˙ ˙ ˙ œ œ bœ œ .loud the œ. œ œ Who but I œ œ bœ bœ œ œ can find Ah a place that œ œ œ œ ˙ hides a .ges in the moon? œ. I am the wind j œ that S/A & œj œ œ œ j ? œ bœ œ ‰ & 32 won . œ 3 œ 3 ! œ #œ #œ œ œ #œ #œ œ 3 T/solo V œ nœ œ œ œ œ won . " œ nœ œ œ n! œ bœ bœ œ œ 3 T/solo V œ.on the p œ œ œ œ œ mee ... blood œ œ œ œ œ œ the word of great pow .er. of great pow . #œ œ œ œ.. nœ nœ bœ œ 3 œ . œ œ˙ œ œ #˙ ˙ ˙ ˙ T/B b˙ b˙ .ting of œ œ œ œ 3 œ nœ œ œ œ J œ œ J S/A & œj œ word T/B j ? œ bœ œ ‰ & 35 of œ œ great j œ œ œ œ j œ œ œ œ J pow . œ œ ˙.tains? ˙ b˙ b ˙ œ œ 3 p œ œ bœ œ . .cean œ œ œ œ the sea am the wave on the o .227 & ˙. ˙ ? bb˙ ˙ & 44 #œ F I F " œ #œ #œ 3 œ œ #œ #œ œ œ pool. 3 nœ nœ bœ œ 3 am the wind œ T/solo V œ ˙. S/A T/B j ? œ ‰ & 47 Breathe on œ œ the œ œ J bœ œ on j œ œ J sea œ œ œ œ j bœ bœ œ ‰ dim. œ œ J I I am œ œ the œ œ J #œ œ wave. 39 Vln. œ œ Œ & ˙ ˙ ? b˙ b˙ Who but I œ œ œ œ œ mee . nœ nœ bœ 3 œ #œ #œ œ dim.tains? S/A ˙ oo œ œ bœ œ .bird. " ˙. œ œ Who but I T/solo V œ.on oo the ! nœ œ œ œ J œ œ J œ. 3 œ œ œ am the depths œ œ œ of a great S/A crescendo T/B bb˙ ˙ j bœ bœ œ ‰ ˙. œ œ œ œ J I am the œ œ J #œ œ wind j œ œ œ bœ J œ Vln. ˙ ˙ ˙ bb˙ ˙ œ œ bœ œ T/B . am the wind œ breathes œ œ ˙ on the sea the black . ˙.loud the the moun . ! ! #œ œ œ bœ œ œ ‰ Ah œ. -4- . ˙ ˙ ! ! #œ œ œ bœ œ ‰ Ah œ. ˙ ˙ b˙ ˙ œ œ œ ! œ œ œ œ œ ‰ Ah œ. & œ œ J I œ œ œ am the song œ œ œ of #œ dim. ˙ ˙ b˙ ˙ œ ! ! œ œ œ œ œ œ œ #œ #œ œ j œ that T/solo V ‰ Ah & ˙ œ.cean Vln.. j œ œ œ bœ J wave œ œ œ J j œ bœ œ ‰ on œ œ œ the œ œ J œ œ œ j œ œ œ œ J o . More gentle ! œ bœ bœ œ œ œ can cast light up . œ œ. ˙ œ œ œ œ #œ œ . œ œ œ.ting of œ œ bœ bœ œ œ will cry a . œ œ œ œ ˙œ œ œ . . œ œ Who 3 ! œ œ œ bœ bœ œ can oo find a place that T/solo V œ. ˙ Œ Œ w w oo ˙ ˙ . œ. p iú ...228 & Ó 50 Vln. ! œ œ œ Ail - ! ˙ - T/solo m œ œ œ œ ˙ J 3 - P Ail -3 . œ œ˙ œ œ ˙ - U #˙ ˙ ˙ ˙ U poco rit. œ œ œ J 3 iú iath nEr enn.. œ.. T/B bb˙ ˙ u T/solo S/A ## & # c w w P m œ œ œ 3 œ œ. œ œ œ J 3 iú iath nEr enn. p iú p Œ Œ T/B ? ### w w Ail - .ges in the moon? poco rit. iú w w Ail - ˙ ˙ . œ poco rit.. œ œ b˙. ˙ ˙˙ .. - ˙ - .iú. œ œ. ˙ œ œ œ œ U hides a .. J 3 iú T/B " # ? ## c w w oo ˙ ˙ . ˙ . œ œ nœ ˙ chan . ˙ ˙˙ . œ Ail - œ œ J œ œ J Œ ˙ ˙ but I ˙ œ œ bœ œ œ œ œ Ail - . ## # c ## # c ## # c ## # c œ œ Ail- S/A . œ œ Ó P Œ Ail 3 - œ œ From the iú S/A œ˙ ˙ .. .. . m œ œ œ œ ˙. œ . ˙ ˙. Œ Œ w w oo S/soli & V & 57 ### ### ˙ ### œ Ail " oo ! m œ œ œ 3 œ œ. iú Œ Œ -5- w w w Ail - . & ˙ œ œ ? œ œ 53 ## V # c Œ #œ. ˙ ˙ .way the sun? . S/A œ œ pe - œ œ rat œ œ om - œ œ ni - # œœ a Œ Œ #˙ ˙ su - nœ œ fful - œ œ cit nœ œ om - œ ni T/B œ œœ --pe ni - œ œ rat œ œ œ om a - œ œ œ ni - œ œ œ a ˙ ˙ su - œ œœ fful - œœ cit œ œ om - œ œ ni - ˙ ˙ a su om -6- .tain.enn j œ ˙. S/soli " œ .ter . œ œ œj œ on the moun . Œ œ œ œ œ œ 3 to the lake of " œ ‰ œ œ from the " œ œ œ.ver breeze deep pools.ing Ó 3 Œ p Ah œ œ ˙ œœ œœœ œ œ 3 w Œ ˙˙ a nnnbb nnnbb nnnbb nnnbb T/solo ## œ V # œ J ## & # b ˙˙ p # ? ## ˙ ˙ ˙ su chan .fall " œ j œ œj ˙ to the sea. T/solo ## V # œ & ### iú Œ œ œ n˙ ˙ ni a œ œ P ne .229 61 ## & # ˙. to me.ging œ œ œ œ œ œ on the voice of the wind ‰ œ œ œ œ J sing the dark song œ œj œ J of Er . down S/A T/B In ! ? ### ˙ ˙ In b ˙˙ - œ œ spi - œ œ rat œ œ om - œ œ ni - # œœ œœ a vi - #˙ ˙ vi - nœ œ fi - œ œ cat œ œ om œ œ spi - œ œ rat œ œ om - œ œ ni - œ œ a œ œ vi - ˙ ˙ vi - œ œ œœ fi cat œœ œ œœ œ om ni - œ œ a œ S/soli & 65 ### " œ œj œ J or d . wa . œ œ ˙ J iú iath nEr œ œ œœ ˙ œ ! Ail 3 - iú. œ œ Ail - F ˙ Ail - 3 ˙. œ œ ˙ J 3 iú iath nEr enn... Œ œ œ œ œ Ail - - - m œ œ œ œ ˙ J iú 3 iú S/A b œ œ &b œ œ œ œ œ œ œ P ? bb ˙ ˙ P Ail Ail 73 - - œ œ œ œ iú œ œ œ œ iath œ œ œ nEr - ˙ ˙ ˙ enn Œ Œ w w w w Ail - ˙ ˙ . ˙ ˙ ˙ ˙ ˙ ˙ Œ Œ w w w w Ail - U Ail - w w w iú ˙ ˙ ˙ ˙ ˙ nEr - enn T/B ? bb ˙ ˙ Ail - œ œ iú œ œ iath w w Ail - U w w iú nEr - enn -7- .m œ œ œ œ Freely œ œ œ œ J 3 iú u iú ˙ ! Ó Ó Ó Ó - - œ œ ˙ iú U S/A œ œ œ œ - œ œ œ œ iú œ œ œ œ iath œ œ œ œ œ œ - enn. ˙ iú Œ Œ T/B œ œ iú œ œ iath œ œ nEr - ˙ ˙ enn w w Ail - ˙ ˙ . œ œ ˙ Ail - P Ail . œ œ œ œ œ Freely wœ œ œ œ œ 3œ œ œ ! 3 iú.230 F S/soli & 69 bb b ˙ F Ail Ail - Ail ! œ - œ 3œ œ œ . iú S/soli F œ œ b &b œ œ œ ! - iú iath œ Ó T/solo b Vb œ b &b œ œ œ œ œ Ail iú œ Ail m 3 œ œ œ 3 œ œ. Ail 3 . 3œ œ œ 3œ œ ˙œ œ œ Ó œ œ œ œœ iú T/solo Vb m œ œ œ 3 œ œ.. œ . The categories for each work are: Title Voicing Instrumentation Text Source Meter Tempo Form Duration Date of Composition Alternate Voicing Commission Pertinent Characteristics Whenever not indicated compositions were commissioned by Anúna Teoranta on behalf of Anúna. All information is either derived from the score or from the composer.APPENDIX F SURVEY OF SUGGESTED CHORAL WORKS OF MICHAEL MCGLYNN The material contained within this appendix is designed to assist in the programming. 231 . The choral works are listed in alphabetical order by title. Each page lists the characteristics for one composition. and other varied Free with rubato. soprano solo 2 flutes. . 2 oboes. 4 horns. 3/4. (q = 60) Through composed (though material is repeated and developed) 5:30 1997 (2009 Revision) The Ulster Orchestra The soprano solo begins a cappella and the strings take over the melody. 2 bassoons.232 Title: Voicing: Instrumentation: Text Source: Meter: Tempo: Form: Duration: Date of Composition: Commission: Pertinent Characteristics: 1901 SATB. 3 trumpet. McGlynn considers this work the orchestral component in his musical cycle about the sea. strings No text. 6/8. 2 clarinets. 3 trombone. .233 Title: Voicing: Instrumentation: Text Source: Meter: Tempo: Form: Duration: Date of Composition: Alternate Voicing: Pertinent Characteristics: Agnus Dei (from Celtic Mass) SATB. mezzo-soprano solo Organ and violin (violin is optional and can be substituted with any similar instrument) Latin Mass 4/4 Slowly and Expressively (q =60) ABC 2:43 1990 SSAA The solo is dominant while the choral part is atmospheric. 4/4.234 Title: Voicing: Instrumentation: Text Source: Meter: Tempo: Form: Duration: Date of Composition: Commission: Pertinent Characteristics: Agnus Dei (from And on Earth Peace: A Chanticleer Mass) SSAATTBB. Steadily (q =65) AB (with multiple sub-sections in the B) 8:25 2007 Chanticleer Tenor solo throughout. . 6/4. tenor solo a cappella Irish language and Latin Mass 5/4. varied Freely (q =45). = 40) ABAB 4:20 1999 SSAA While not notated in the score. the composer indicated in rehearsals that there were to be large pauses between each of the A and B sections.235 Title: Voicing: Instrumentation: Text Source: Meter: Tempo: Form: Duration: Date of Composition: Alternate Voicing: Pertinent Characteristics: An Oíche SSATB a cappella Traditional Irish 6/8 Steadily. . with Subtle Phrasing (q. 2:04 1999 The solo is predominant and the male voices glissando from chord to chord while employing harmonic singing techniques. .236 Title: Voicing: Instrumentation: Text Source: Meter: Tempo: Form: Duration: Date of Composition: Pertinent Characteristics: Ardaigh Cuan (arrangement) SATTBB. female solo a cappella Traditional Irish 6/8 Freely with Expression (q=60) Strophic with minor variations per verse. the choral parts intricately interwoven with it. tenor solo a cappella Francis Ledwidge. English 4/4 Expressively (q =70) Stophic 1:51 1997 While the tenor solo is predominant.237 Title: Voicing: Instrumentation: Text Source: Meter: Tempo: Form: Duration: Date of Composition: Pertinent Characteristics: August TTBB. . . Latin 4/4 Expressively (q =80) AB 3:17 1997 (premiere 1999) The Ulster Orchestra The chorus serves as accompaniment to the saxophone through the A section.238 Title: Voicing: Instrumentation: Text Source: Meter: Tempo: Form: Duration: Date of Composition: Commission: Pertinent Characteristics: Behind the Closed Eye SSATBB Alto Saxophone Sedullus Scottus. soprano solo Irish Harp 18th Century Irish and English adapted by McGlynn 3/4 Smooth and with feeling (q = 110) Verse.Chorus 3:19 1996 Soprano solo is predominant. .239 Title: Voicing: Instrumentation: Text Source: Meter: Tempo: Form: Duration: Date of Composition: Pertinent Characteristics: Blackthorn SSATBB. .240 Title: Voicing: Instrumentation: Text Source: Meter: Tempo: Form: Duration: Date of Composition: Pertinent Characteristics: Brezairola SATB. tenor solo a cappella Traditional Auvergne 4/4 A Lullaby. but keep it moving ABAB 3:32 2006 It is advised to move the soprano descant off stage during the second chorus. 241 Title: Voicing: Instrumentation: Text Source: Meter: Tempo: Form: Duration: Date of Composition: Pertinent Characteristics: Christus Resurgens (arrangement) SSATTBB Percussion 12th Century Irish-Latin 4/4 With Energy (q =75) ABA’. additional harmony added with each subsection 3:21 1998 Ladies component is very minimal . . harp Traditional Irish 3/4 Gently (q=105) AB AB 2:35 1995 The two soprano lines should be solos with a four-part choral ensemble. 2 soprano solos Violin.242 Title: Voicing: Instrumentation: Text Source: Meter: Tempo: Form: Duration: Date of Composition: Pertinent Characteristics: Codail a Linbh SATB. 243 Title: Voicing: Instrumentation: Text Source: Meter: Tempo: Form: Duration: Date of Composition: Pertinent Characteristics: Cormacus Scripsit (arrangement) SATB a cappella Medieval Irish. . Latin 4/4 and free chant As Atmospherically as Possible (q=90) ABC 3:43 1990 While this is technically an arrangement of a chant. the chant is merely imbedded in the middle section. All other material is original. 10/8 Fast and Very Rhythmically (q. .Chorus 2:10 2004 The Syracuse Vocal Ensemble Very quick tempo that should feel as though it is speeding and slowing in the alternation of verse and chorus. solo a cappella Traditional Irish 12/8.244 Title: Voicing: Instrumentation: Text Source: Meter: Tempo: Form: Duration: Date of Composition: Commission: Pertinent Characteristics: Cúnnla SSAA. = 145) Verse. tenor solo a cappella Ernest Dowson. English 3/4.245 Title: Voicing: Instrumentation: Text Source: Meter: Tempo: Form: Duration: Date of Composition: Pertinent Characteristics: Cynara SATB. 4/4 Gently and Expressively AABA 4:45 1998 (premiere 2000) Tenor solo predominately . Choral text is minimal.Chorus 1:48 1995 SSAA. SATB Solo carries near all of the Irish text and moves quickly. tenor solo a cappella Traditional Irish 6/8. 5/8. . 10/8 Fast (q =110) Verse.246 Title: Voicing: Instrumentation: Text Source: Meter: Tempo: Form: Duration: Date of Composition: Alternate Voicing: Pertinent Characteristics: Dúlamán TTBB. . Irish 6/8 Fast (q.=130) ABA’ 1:40 1989 SSAA Three main themes are interwoven throughout the work.247 Title: Voicing: Instrumentation: Text Source: Meter: Tempo: Form: Duration: Date of Composition: Alternate Voicing: Pertinent Characteristics: Incantations SSAATTBB a cappella Michael McGlynn. tenor and soprano solos a cappella Traditional.248 Title: Voicing: Instrumentation: Text Source: Meter: Tempo: Form: Duration: Date of Composition: Pertinent Characteristics: Invocation SSATTB. . Irish and English 4/4 With Feeling (q =60) ABABA’ 4:16 1993 The chorus parts in the B section should be flowing. adapted by McGlynn. Tenor solo could be divided between two different soloists. =135) ABABAC 4:00 1996 The ending is intended to fade away . English. adapted by McGlynn. Irish. Latin 4/4 Rhythmically (q. tenor solo Harp Traditional.249 Title: Voicing: Instrumentation: Text Source: Meter: Tempo: Form: Duration: Date of Composition: Pertinent Characteristics: Island SSATTB. 250 Title: Voicing: Instrumentation: Text Source: Meter: Tempo: Form: Duration: Date of Composition: Pertinent Characteristics: Jerusalem (arrangement) Treble. all four solos should be performed. The solos can be divded between four separate soloists or performed by the same person. 4 solos lines a cappella Irish Medieval (English text) 4/4. . 3/4 (hetrophonic section) Very Freely (q =60) Chorus. however.Verse 5:45 1992 Should be performed with movement around the performance space. Final tenor melody (last five measures) can be a solo.251 Title: Voicing: Instrumentation: Text Source: Meter: Tempo: Form: Duration: Date of Composition: Pertinent Characteristics: Kyrie (from Celtic Mass) SSATBB. soprano solo a cappella Latin Mass 4/4 Slow (q= 70) AA’C 2:13 1991 The solo changes slightly between sections. . 252 Title: Voicing: Instrumentation: Text Source: Meter: Tempo: Form: Duration: Date of Composition: Pertinent Characteristics: Lux Aeterna SSSAATTBB. 2/4 With Flexibility (q =55) ABC 3:40 2005 Very atmospheric with chord clusters. . soprano solo a cappella Traditional Latin 4/4. There are also suspended soprano lines that should be sung with very few voices. English 4/4 Slow but with Flexibility (q =80) A (with subsections) B 4:20 1997 The Ulster Orchestra First half is choral followed by the orchestra. .253 Title: Voicing: Instrumentation: Text Source: Meter: Tempo: Form: Duration: Date of Composition: Commission: Pertinent Characteristics: Midnight SSATB. soprano solo a cappella Francis Ledwidge. . soprano solo Harp (optional) Traditional Latin Non-metered women’s voices. men in 4/4 Very Freely ABC 5:00 1997 Opening can be by a solo or a few voices.254 Title: Voicing: Instrumentation: Text Source: Meter: Tempo: Form: Duration: Date of Composition: Pertinent Characteristics: Nobilis Humilis (arrangement) SATB. .255 Title: Voicing: Instrumentation: Text Source: Meter: Tempo: Form: Duration: Date of Composition: Commission: Pertinent Characteristics: O Ignis Spiritus SATTBB. Mezzo-soprano and soprano solo Soprano Saxophone Traditional Latin 4/4 With a Restrained Energy (q = circa 90) AB with subsections 6:00 2002 The National Concert Hall Dublin Opening section is a soprano saxophone solo followed by an unaccompanied mezzo-soprano solo. (and strings) Traditional. . soprano solo Harp. adapted by McGlynn 4/4 With Atmosphere (q =70) Into.256 Title: Voicing: Instrumentation: Text Source: Meter: Tempo: Form: Duration: Date of Composition: Commission: Pertinent Characteristics: Ocean SSATTBB. violin. ABAB 4:20 (6:13 with orchestral introduction) 1999 Ocean Telecom As recorded on Cynara there is an orchestral introduction. 6/4. soprano and tenor solos a capella Traditional Latin 4/4.257 Title: Voicing: Instrumentation: Text Source: Meter: Tempo: Form: Duration: Date of Composition: Pertinent Characteristics: Pater Noster (from Celtic Mass) SSATB. . 5/8 With Movement but Always Gentle (q =65) ABCA’ 2:26 1991 Solos are chant based. . strings) Traditional Latin 2/2 With expression (h =30) ABA’ coda 2:37 1998/ 2009 (orchestral revision) SSAA Descant should be sung with only one or two voices. soprano solo a cappella or with orchestra (clarinet.258 Title: Voicing: Instrumentation: Text Source: Meter: Tempo: Form: Duration: Date of Composition: Alternate Voicing: Pertinent Characteristics: Pie Jesu SSATB. =100) Verse-chorus 3:10 1993 Men’s parts are predominant. tenor solo percussion 13th Century Irish (Irish and English) 12/8 With energy (q.259 Title: Voicing: Instrumentation: Text Source: Meter: Tempo: Form: Duration: Date of Composition: Pertinent Characteristics: Salve Rex Gloriae SATTBB. . baritone sol optional Harp Traditional Latin Mass 2/4 Slowly. . from a Distance (h =50) ABA’ 3:46 1991 Should be performed with the three soloists at three different locations throughout venue and the chorus and harp in the front.260 Title: Voicing: Instrumentation: Text Source: Meter: Tempo: Form: Duration: Date of Composition: Pertinent Characteristics: Sanctus (from Celtic Mass) SATTBB. 3 soprano solos. . =108) Chorus-Verse 2:20 1993 SSAA If the percussion is omitted then the two measures of choral rest should be reduced to a single measure. female solo optional percussion Traditional Irish 6/8 Very Rhythmically (q.261 Title: Voicing: Instrumentation: Text Source: Meter: Tempo: Form: Duration: Date of Composition: Alternate Voicing: Pertinent Characteristics: ‘Sí do Mhaimeo Í (arrangement) SATB. John McGlynn added the guitar part. soprano solo a cappella Traditional Irish and English 3/4. =110) Chorus-Verse 2:45 1994 SSAA As Anúna recorded it there is also an accompaniment. . a Rúin (arrangement) SATB. 12/8 Rhythmically (q.262 Title: Voicing: Instrumentation: Text Source: Meter: Tempo: Form: Duration: Date of Composition: Alternate Voicing: Pertinent Characteristics: Siúil. 263 Title: Voicing: Instrumentation: Song of the Birds (from St. harp. Francis and is able to serve as a stand-alone work. 2 horns. percussion Anon. 2 oboes. 1912 possibly Father Esther Bouquerel. 2 clarinets. 2 trumpets. = 65) ABA 5:07 2007 (revised in 2009) Louvain 400 SATB This is the second part of St. 2 bassoons. Text Source: Meter: Tempo: Form: Duration: Date of Composition: Commission: Alternate Voicing: Pertinent Characteristics: . c. Francis) SSAA (revised for SATB) 2 flutes. French 12/8 Rhythmically (q. 2 trombones. strings. 2 oboes. . strings Traditional. Primarily an orchestral composition with a choral part. 2 bassoons. 3 trombones. 4 horns. =115) ABA’ 2:43 1984 (revised 1997 and 2009) Pierre Schuster Originally composed for trumpet and piano in 1984 and was revised on 1994 and then again in 2009. adapted by McGlynn 12/8 Fast (q. 3 trumpets. 2 clarinets.264 Title: Voicing: Instrumentation: Text Source: Meter: Tempo: Form: Duration: Date of Composition: Commission: Pertinent Characteristics: The Coming of Winter SA 2 flutes. percussion. =85) Verse-chorus 2:39 1993 Acceptable to have chords played by a guitar as accompaniment although the composer does not supply them. . baritone solo Tenor drum. violin Medieval Irish 6/8 With Rhythm (q.265 Title: Voicing: Instrumentation: Text Source: Meter: Tempo: Form: Duration: Date of Composition: Pertinent Characteristics: The Raid SATTB. =110) Chorus-verse 3:16 1994 (revised 2009) The Project Arts Center The instruments play one repeat of the verse. . 12/8 Energetically (q. If a piper cannot be found. violin. 9/8. or additional percussion. flute.266 Title: Voicing: Instrumentation: Text Source: Meter: Tempo: Form: Duration: Date of Composition: Commission: Pertinent Characteristics: The Rising of the Sun / Eirí na Gríne SATB. mezzo-soprano solo percussion. Uilleann pipes Revised in 2009 for orchestra Traditional Irish 10/8. alternate instruments can be used: oboe. soprano solo a cappella John Henry Newman (1852).267 Title: Voicing: Instrumentation: Text Source: Meter: Tempo: Form: Duration: Date of Composition: Commission: Pertinent Characteristics: The Road of Passage SSATTBB. . English 4/4 With Simplicity (h =45) Through composed 2:20 2003 UCD 150 Solo predominates though there are many several full choral moments. English and Irish 4/4 Sweetly and Simply (q=70) Verse-Chorus 4:40 2000 (revised 2009) Linda Kenny Solo carries the verse.A.MzS. Harp Revision for orchestra Traditional adapted by McGlynn.268 Title: Voicing: Instrumentation: Text Source: Meter: Tempo: Form: Duration: Date of Composition: Commission: Pertinent Characteristics: The White Rose S. mezzo-soprano solo Oboe. . . soprano and tenor solos a cappella McGlynn 4/4 Expressively (q =60) [AAB] [AAB]’ 3:16 2001 Rajaton (Grant by The Arts Council of Ireland) One soprano solo is more dominate than the other solos.269 Title: Voicing: Instrumentation: Text Source: Meter: Tempo: Form: Duration: Date of Composition: Commission: Pertinent Characteristics: The Wild Song SSATBB. . tenor solo a cappella 4th Century Latin 4/4 With Fluidity and a Solid Pulse Through-composed 3:25 1999 Chant is intended to imitate Byzantine Chant. Ornamentation is acceptable but inadvertent scooping should be avoided.270 Title: Voicing: Instrumentation: Text Source: Meter: Tempo: Form: Duration: Date of Composition: Pertinent Characteristics: Victimae TTBB. . 2 tenor solos and 2 soprano solos a cappella Traditional.271 Title: Voicing: Instrumentation: Text Source: Meter: Tempo: Form: Duration: Date of Composition: Pertinent Characteristics: Wind on Sea SATB. The tenor solos should be different soloists between the two main sections. adapted by McGlynn 4/4 With Atmosphere (q =60) ABA’ (with subsections) 6:08 1994 Wind on Sea uses “Invocation” and places new material in between the repeat. Florida 33428 .A. She began graduate work in Conducting and completed her Master of Arts in Music with an emphasis in Choral Conducting in 2001. In August 2007 she was admitted to the Graduate School of the University of Miami. teaching courses in voice. and sight-singing and is the conductor of the Women’s Chorus. in Choral Conducting in June 2010. Permanent Address: 22544 Sea Bass Drive. Boca Raton. She received her secondary education at Riverview High School in Sarasota. She has been a faculty member at Florida Atlantic since 2001.M. where she was granted a D. choral conducting. 1974. Niehaus (deceased) and Kristine Hohlt Niehaus. Florida. from which she was graduated with the BMUS degree in Vocal Performance in December 1997. Her parents are Daniel B. In August 1992 she entered Florida Atlantic University. on September 12.VITA Stacie Lee Rossow was born in Sarasota.