Celtic Music - Celtic Voyage CD by Hilary Rushmer from Swallow Music

Celtic Music - Celtic voyage CD
Celtic Voyage presents a journey
through traditional celtic music of Ireland, Scotland and Wales.
Hilary Rushmer portrays the beautiful Celtic melodies using intricate
harmonies, played on acoustic instruments and keyboard to create
unique arrangements of traditional airs. From tunes such as 'The
Arran Boat' in which the cello, fiddle and flute weave a haunting
harmony to the melody played on the harp. To 'The Lark in the
Clear Air' a beautiful air arranged here for solo harp, the harp
is, as many harps of old, strung with brass wire giving a rich
resonant sound. To the joyous 'Rising of the Sun' in which the
harp is accompanied by exhilarating harmonies on the cello and
keyboards.

Such are the delights which await the listener.

Swallow Label. CD Cat No. TTS CD2586.
Hypertext links on tune titles download - MP3 format audio files (not at CD quality).
Track List

1. The
Seas are Deep. Trad.

2. The
Arran Boat. Trad.

3. The
Rising of the Sun. (Codiad yr Haul). Trad.

4. Bonnie
at Morn. Trad.

5. The
Chanters Tune. Trad.

6. David
of the White Rock. (Dafydd y Garreg Wen). Trad.

7. Morgan
Magan. Trad.

8. For
the Sake of Old Ireland I'll not tell her name. Trad.

9. Meirionethshire
March. (Ymdaith Meirionnydd). Trad.

10. Cam
ye by Athol. Trad.

11. Einini.(Little
Birds). Trad.

12. On
the Brink of the White Rocks. (Ar Bruach na Carriage Baine). Trad.

13. O'
Can Ye Sew Cushions. Trad.

14. Caw
the Yowes. Trad.

15. Morfa
Rhuddlan. Trad.

16. The
Lark in the Clear Air. Trad.

17. The
Journey Home / Heather Island. H Rushmer / Trad.

Total playing
time 54.49 minutes
It was from sites such
as Clonmacnoise
sited peacefully on the shores of the River Shannon and the
sparse stone dwellings perched high on Skellig
Micheal that the pilgrims and missionaries set forth to spread
the word of Irish Christianity.
In the year 563 a small coracle set forth
from Ireland, the land of Saints and Scholars, towards the West
Coast of Scotland. Braving wind and tide, the journey would take
many days, possibly calling at Islay and Colonsay before settling on a small Isle
off the west coast of Mull. Here Columba stepped ashore to found
the monastic site of Iona. Such might have been the arrival of
St.
Columba and the establishment of the monastic site which
was to play a formative part in the spreading of the word of
Christianity throughout Britain.
It was during the 5th
and 6th centuries that many such missionaries would depart the
shores of Ireland to found monasteries throughout Britain and
Europe. Iona, Lindisfarne and further afield, Gall in Switzerland and Bobbio in Italy are
all in debt to these early Irish missionaries.
It
was the thought of these 'Celtic Voyages' undertaken by these
early missionaries that has been the inspiration to me for the
music I have included in this album. Though the melodies certainly
date from more recent times, many of the airs would have been
passed down through one generation to the next by the oral tradition
before being preserved in the manuscripts we now have today.
It
is through the arrangements of these traditional tunes I have
tried to evoke the feeling of undertaking a musical journey.
This journey starts with 'The Seas are Deep', an ancient Irish
air with a haunting melody. What excitement there must have been
amongst these early pilgrims when dawn broke for the first time
after landing at their new home.

Hail! Hail! merrily hail,
Hail! to the glorious rising sun.
Prepared o'er mountain hill and dale
His early course with joy to run.

These
are the words to an old Welsh melody, 'The Rising of the Sun'
a beautiful and joyful tune greeting the dawning of a new day,
a new life. The final journey should be towards home and the
penultimate tune on this album is my own composition in which
I try to portray the sadness of journeys end and happiness of
finally coming home. The final tune is reserved for a favourite
of mine, Heather Isle, this tune for me, evokes many memories,
of travelling around the British Isles and Ireland of sailing
amongst the Hebrides, of music and my love for the Celtic Harp.

Tune Details
1. The
Seas are Deep. harp,
cello, keyboards.
An ancient Irish air sometimes attributed
to the blind Irish Harper, Turlough O'Carolan. Versions of this tune
are to be found in 'Carolan, The Life and Music of an Irish
Harper' by Donal O'Sullivan and 'A General Collection
of the Ancient Music of Ireland' published in 1809 by Edward Bunting.
2. The
Arran Boat. harp, cello, fiddle, flute, crothal, keyboards.
A
popular traditional Scottish tune, published in Kerr's 'Collection
of Merry Melodies' from about 1875. Arran is an Isle off the coast of Ayrshire
in Scotland. In my arrangement I include a small ancient bell
called a Crothal in the .closing bars. This recording of the
bell was taken from the album 'Horns of ancient Ireland' on which Simon
O'Dwyer plays original horns and bells from the middle to late
bronze age period. It is with the kind permission of Simon O'Dwyer
that I use this recording of the Crothal. The illustration of
the Crothal is from a book by Professor George Eogan, 'Hoards
of the Irish Late Bronze Age', published 1983.
3. The
Rising of the Sun. (Codiad yr Haul). harp, cello,
keyboards.
An
ancient Welsh tune played here as an instrumental piece. At a
later date
John Ceiriog Hughes (1832-1887) composed fitting words of
a song, quoted in the introduction. Handel was well acquainted
with Welsh tunes, and he apparently used this air in Acia and
Galatea.
4.
Bonnie at Morn.
harp, flute, bouzouki.
A well known Northumbrian tune:

' The sheeps in the meadow
The Kye's in the corn.
Tha's ower lang in thy bed,
Bonnie at morn.'
5.
The Chanters Tune.
harp, mandolin, whistle, cello, bodhran, keyboards.
An Irish tune
published by Edward Bunting in 1840 in his final volume
titled 'The Ancient Music of Ireland'.
6. David
of the White Rock (Dafydd y Garreg Wen). cello solo.
Dafydd y Garreg
Wen was the popular name given to David Owen, a Welsh harpist
living in Caernarvonshire in the first half of the 18th century.
Tradition tells us that this air was composed by David Owen and
as he lay on his death bed he called for his harp and played
this plaintive tune. The tune was later published by Edward Jones
in 'Musical and Poetical Relics of the Welsh Bards' in
1784 and nearly a hundred years later in 1873, John Ceiriog Hughes
composed suitably touching verse:

'David lay dying,
his harp by his side

Sing Brave Harp sing, though I falter he cried.'
7.
Morgan Magan.
harp, bouzouki, whistle, cello, keyboards.
A lively tune
composed by Turlough O'Carolan in the honour of Morgan
Magan of Togherstown County Westmeath. Carolan, born 1670, is
considered one of the greatest and most versatile of traditional
Irish harpers of his time. From the age of 21 he travelled around
Ireland for nearly 50 years composing many tunes for his hosts
and was celebrated and welcomed throughout the country. The tune
can be found in Donal O'Sullivan's book on Carolan.
8. For
the Sake of Old Ireland I'll not tell her name. harp
solo.
It
is believed that this tune dates back to the 9th century and
was supposedly written by Cormac
MacCullen, a King and Prince Bishop Cashel, one of the Earliest
Monastic sites in Ireland. The tune was originally written as
a boat song and over the centuries it would have had many titles
and variations but today it is known as 'For the Sake Of Old
Ireland I'll not tell her name'.
9.
Meirionethshire
March (Ymdaith Meirionnydd). harp, cello, fiddle,
flute, bouzouki, mandolin, bodhran.
A Welsh tune collected
by John Parry, born 1710, who was harpist to Sir Watkins Williams
Wynn. A famous harper of his time, John Parry published three
books of traditional tunes though this tune appears in an unpublished
manuscript held in the National Library of Wales. A number of
the tunes collected by John Parry including this tune can also
be found in Robin Huw Bowen's book 'John Parry Ddall Rhiwabon
Pocket Tune Book'. The tune is preceded here by an 'approach'
composed by myself.
10.
Cam ye by Athol.
harp, fiddle.
Published in 'Gales Pocket Companion'
about 1800. Later James Hogg, the Ettrick Shepherd, put words
to the tune.
11.
Einini.(Little
Birds). harp, fiddle, cello, bouzouki.
A traditional
and beautiful Irish tune but one which I could find no information
concerning the origin of the tune.
12.
On the Brink of the White Rocks (Ar Bruach na Carriage Baine).
harp, flute.
An old Irish
air collected by Edward Bunting in 1802. This tune possibly
dates from the mid 17th century.
13. O'Can
ye Sew Cushions. harp, fiddle, cello, keyboards.
Published
in volume 4 of 'A Selection of Scotch, English and Foreign
Airs' (1782-1801) by James Aird and also the 'The Caledonian
Museum' in 1810. My mother used to sing this song to me many
years ago and it is in loving memory of her that I dedicate this
tune.
14. Caw
the Yowes. harp, cello, whistle, keyboards.
A Scottish tune
to which Robert
Burns set words of a love song.

Ca' the Yowes
tae the knowes

Ca' them where the heather grows

Ca' them where the burnie rows

My bonnie dearie.
15.
Morfa Rhuddlan. harp,
cello, keyboards.
Said to be composed by a Harper to a
King of Wales the tune commemorates a battle fought at Rhuddlan.
We are told the harper wept over his strings for the loss of
his King, the tune while regal in nature also has the feel of
a lament. In this arrangement I have used one of the variations
by Edward Jones in his book 'Musical and Poetical Relics of
the Welsh Bards' first printed in 1784.
16.
The
Lark in the Clear Air.
harp solo.
Also known by the alternative title of
'an Tailliur (The Tailor)' this moving air is played here as
an instrumental for solo harp. The beautiful and mournful nature
of this tune is particularly suited to the expressive nature
of the wire strung harp with strong deep resonance distinctive
of such harps. It is with such tunes that I can understand why
the harp was perceived to be an instrument of almost magical
capabilities in ancient times.
17. The
Journey Home / Heather Island. harp solo / fiddle,
harp.
The first air is one
of my own compositions played as a solo Harp piece. The second
tune is a beautiful Scottish air played here as a duet for Harp
and Fiddle and is a fitting tune to end this collection of Celtic
melodies
Disclaimer:Although the history of the text has
been thoroughly searched, I claim no responsibility to any inaccuracies
within the contents enclosed therein

Artists playing
on Celtic Voyage.



 Back
                  row: (from left to right)  Front row: (from left to right)  
*Lyndsey
                  Hunt - Flute.  Roger
                  Benton - Fiddle.  
Hilary Rushmer - Harp, Mandolin  Paul Hickman
                  - Cello.  
Joanne Blinkhorn - Bodhran  *Hudson Swan
                  - Bouzouki, Fiddle.  
Rosie Hickman - Keyboards.  

                  
 *Hudson Swan &
                  Lyndsey Hunt appearby kind permission of K.R.L.





Notes
                and Research Hilary
                Rushmer, Roger Benton 
 Celtic Artwork Wendy Smith
                - Simon Rouse
 Harp Pilgrim Harps
 Small Harp Oakwood Instruments 
Front
                Cover - The picture used on the front cover for this album is
                reproduced with the kind permission of 'The Kilmartin Trust.' it is a re-enactment
                of St. Columba on passage from Ireland to Scotland in the 6th
                century A.D.The vessel used would have been a coracle made with
                a wicker work frame covered in hide
Acknowledgements: My special thanks
                to Roger and Wendy for their help and support in the preparation
                of this album, and to the musicians who have joined me for this
                recording. I would like all the people and institutions which
                have given me assistance in the research and preparation of the
                historical notes. In particular I would like to thank: Rachel
                and David Clough and Chris Maddox at Kilmartin House; Simon O'Dywer,
                Maria Cullen, Ronan O'Flaherty from the Discovery Programme Dublin,
                The National Library of Wales, Aberystwyth. 

                
Recorded at Tall
                Trees Studio

                
 Produced
                and Published by Hilary Rushmer. (MCPS) (PPL) (P@MRA) (PPI) (PRS)

                
 All
                right reserved ©
                1997 Hilary Rushmer
                (P)1997 Hilary Rushmer

Tune Details
1. The Seas are Deep. harp, cello, keyboards.
An ancient Irish air sometimes attributed to the blind Irish Harper, Turlough O'Carolan. Versions of this tune are to be found in 'Carolan, The Life and Music of an Irish Harper' by Donal O'Sullivan and 'A General Collection of the Ancient Music of Ireland' published in 1809 by Edward Bunting.
2. The Arran Boat. harp, cello, fiddle, flute, crothal, keyboards.
A popular traditional Scottish tune, published in Kerr's 'Collection of Merry Melodies' from about 1875. Arran is an Isle off the coast of Ayrshire in Scotland. In my arrangement I include a small ancient bell called a Crothal in the .closing bars. This recording of the bell was taken from the album 'Horns of ancient Ireland' on which Simon O'Dwyer plays original horns and bells from the middle to late bronze age period. It is with the kind permission of Simon O'Dwyer that I use this recording of the Crothal. The illustration of the Crothal is from a book by Professor George Eogan, 'Hoards of the Irish Late Bronze Age', published 1983.
3. The Rising of the Sun. (Codiad yr Haul). harp, cello, keyboards.
An ancient Welsh tune played here as an instrumental piece. At a later date John Ceiriog Hughes (1832-1887) composed fitting words of a song, quoted in the introduction. Handel was well acquainted with Welsh tunes, and he apparently used this air in Acia and Galatea.
4. Bonnie at Morn. harp, flute, bouzouki.
A well known Northumbrian tune:
' The sheeps in the meadow The Kye's in the corn. Tha's ower lang in thy bed, Bonnie at morn.'
5. The Chanters Tune. harp, mandolin, whistle, cello, bodhran, keyboards.
An Irish tune published by Edward Bunting in 1840 in his final volume titled 'The Ancient Music of Ireland'.
6. David of the White Rock (Dafydd y Garreg Wen). cello solo.
Dafydd y Garreg Wen was the popular name given to David Owen, a Welsh harpist living in Caernarvonshire in the first half of the 18th century. Tradition tells us that this air was composed by David Owen and as he lay on his death bed he called for his harp and played this plaintive tune. The tune was later published by Edward Jones in 'Musical and Poetical Relics of the Welsh Bards' in 1784 and nearly a hundred years later in 1873, John Ceiriog Hughes composed suitably touching verse:
'David lay dying, his harp by his side Sing Brave Harp sing, though I falter he cried.'
7. Morgan Magan. harp, bouzouki, whistle, cello, keyboards.
A lively tune composed by Turlough O'Carolan in the honour of Morgan Magan of Togherstown County Westmeath. Carolan, born 1670, is considered one of the greatest and most versatile of traditional Irish harpers of his time. From the age of 21 he travelled around Ireland for nearly 50 years composing many tunes for his hosts and was celebrated and welcomed throughout the country. The tune can be found in Donal O'Sullivan's book on Carolan.
8. For the Sake of Old Ireland I'll not tell her name. harp solo.
It is believed that this tune dates back to the 9th century and was supposedly written by Cormac MacCullen, a King and Prince Bishop Cashel, one of the Earliest Monastic sites in Ireland. The tune was originally written as a boat song and over the centuries it would have had many titles and variations but today it is known as 'For the Sake Of Old Ireland I'll not tell her name'.
9. Meirionethshire March (Ymdaith Meirionnydd). harp, cello, fiddle, flute, bouzouki, mandolin, bodhran.
A Welsh tune collected by John Parry, born 1710, who was harpist to Sir Watkins Williams Wynn. A famous harper of his time, John Parry published three books of traditional tunes though this tune appears in an unpublished manuscript held in the National Library of Wales. A number of the tunes collected by John Parry including this tune can also be found in Robin Huw Bowen's book 'John Parry Ddall Rhiwabon Pocket Tune Book'. The tune is preceded here by an 'approach' composed by myself.
10. Cam ye by Athol. harp, fiddle.
Published in 'Gales Pocket Companion' about 1800. Later James Hogg, the Ettrick Shepherd, put words to the tune.
11. Einini.(Little Birds). harp, fiddle, cello, bouzouki.
A traditional and beautiful Irish tune but one which I could find no information concerning the origin of the tune.
12. On the Brink of the White Rocks (Ar Bruach na Carriage Baine). harp, flute.
An old Irish air collected by Edward Bunting in 1802. This tune possibly dates from the mid 17th century.
13. O'Can ye Sew Cushions. harp, fiddle, cello, keyboards.
Published in volume 4 of 'A Selection of Scotch, English and Foreign Airs' (1782-1801) by James Aird and also the 'The Caledonian Museum' in 1810. My mother used to sing this song to me many years ago and it is in loving memory of her that I dedicate this tune.
14. Caw the Yowes. harp, cello, whistle, keyboards.
A Scottish tune to which Robert Burns set words of a love song.
Ca' the Yowes tae the knowes Ca' them where the heather grows Ca' them where the burnie rows My bonnie dearie.
15. Morfa Rhuddlan. harp, cello, keyboards.
Said to be composed by a Harper to a King of Wales the tune commemorates a battle fought at Rhuddlan. We are told the harper wept over his strings for the loss of his King, the tune while regal in nature also has the feel of a lament. In this arrangement I have used one of the variations by Edward Jones in his book 'Musical and Poetical Relics of the Welsh Bards' first printed in 1784.
16. The Lark in the Clear Air. harp solo.
Also known by the alternative title of 'an Tailliur (The Tailor)' this moving air is played here as an instrumental for solo harp. The beautiful and mournful nature of this tune is particularly suited to the expressive nature of the wire strung harp with strong deep resonance distinctive of such harps. It is with such tunes that I can understand why the harp was perceived to be an instrument of almost magical capabilities in ancient times.
17. The Journey Home / Heather Island. harp solo / fiddle, harp.
The first air is one of my own compositions played as a solo Harp piece. The second tune is a beautiful Scottish air played here as a duet for Harp and Fiddle and is a fitting tune to end this collection of Celtic melodies
Disclaimer:Although the history of the text has been thoroughly searched, I claim no responsibility to any inaccuracies within the contents enclosed therein
Artists playing on Celtic Voyage.

1.	The Seas are Deep.	Trad.
2.	The Arran Boat.	Trad.
3.	The Rising of the Sun. (Codiad yr Haul).	Trad.
4.	Bonnie at Morn.	Trad.
5.	The Chanters Tune.	Trad.
6.	David of the White Rock. (Dafydd y Garreg Wen).	Trad.
7.	Morgan Magan.	Trad.
8.	For the Sake of Old Ireland I'll not tell her name.	Trad.
9.	Meirionethshire March. (Ymdaith Meirionnydd).	Trad.
10.	Cam ye by Athol.	Trad.
11.	Einini.(Little Birds).	Trad.
12.	On the Brink of the White Rocks. (Ar Bruach na Carriage Baine).	Trad.
13.	O' Can Ye Sew Cushions.	Trad.
14.	Caw the Yowes.	Trad.
15.	Morfa Rhuddlan.	Trad.
16.	The Lark in the Clear Air.	Trad.
17.	The Journey Home / Heather Island.	H Rushmer / Trad.
Total playing time 54.49 minutes
It was from sites such as Clonmacnoise sited peacefully on the shores of the River Shannon and the sparse stone dwellings perched high on Skellig Micheal that the pilgrims and missionaries set forth to spread the word of Irish Christianity.
	In the year 563 a small coracle set forth from Ireland, the land of Saints and Scholars, towards the West Coast of Scotland. Braving wind and tide, the journey would take many days, possibly calling at Islay and Colonsay before settling on a small Isle off the west coast of Mull. Here Columba stepped ashore to found the monastic site of Iona. Such might have been the arrival of St. Columba and the establishment of the monastic site which was to play a formative part in the spreading of the word of Christianity throughout Britain.
	It was during the 5th and 6th centuries that many such missionaries would depart the shores of Ireland to found monasteries throughout Britain and Europe. Iona, Lindisfarne and further afield, Gall in Switzerland and Bobbio in Italy are all in debt to these early Irish missionaries.
	It was the thought of these 'Celtic Voyages' undertaken by these early missionaries that has been the inspiration to me for the music I have included in this album. Though the melodies certainly date from more recent times, many of the airs would have been passed down through one generation to the next by the oral tradition before being preserved in the manuscripts we now have today.
	It is through the arrangements of these traditional tunes I have tried to evoke the feeling of undertaking a musical journey. This journey starts with 'The Seas are Deep', an ancient Irish air with a haunting melody. What excitement there must have been amongst these early pilgrims when dawn broke for the first time after landing at their new home.
Hail! Hail! merrily hail, Hail! to the glorious rising sun. Prepared o'er mountain hill and dale His early course with joy to run.
These are the words to an old Welsh melody, 'The Rising of the Sun' a beautiful and joyful tune greeting the dawning of a new day, a new life. The final journey should be towards home and the penultimate tune on this album is my own composition in which I try to portray the sadness of journeys end and happiness of finally coming home. The final tune is reserved for a favourite of mine, Heather Isle, this tune for me, evokes many memories, of travelling around the British Isles and Ireland of sailing amongst the Hebrides, of music and my love for the Celtic Harp.

Back row: (from left to right)	Front row: (from left to right)
*Lyndsey Hunt - Flute.	Roger Benton - Fiddle.
Hilary Rushmer - Harp, Mandolin	Paul Hickman - Cello.
Joanne Blinkhorn - Bodhran	*Hudson Swan - Bouzouki, Fiddle.
Rosie Hickman - Keyboards.
*Hudson Swan & Lyndsey Hunt appearby kind permission of K.R.L.

Notes and Research	Hilary Rushmer, Roger Benton
Celtic Artwork	Wendy Smith - Simon Rouse
Harp	Pilgrim Harps
Small Harp	Oakwood Instruments
Front Cover - The picture used on the front cover for this album is reproduced with the kind permission of 'The Kilmartin Trust.' it is a re-enactment of St. Columba on passage from Ireland to Scotland in the 6th century A.D.The vessel used would have been a coracle made with a wicker work frame covered in hide
Acknowledgements: My special thanks to Roger and Wendy for their help and support in the preparation of this album, and to the musicians who have joined me for this recording. I would like all the people and institutions which have given me assistance in the research and preparation of the historical notes. In particular I would like to thank: Rachel and David Clough and Chris Maddox at Kilmartin House; Simon O'Dywer, Maria Cullen, Ronan O'Flaherty from the Discovery Programme Dublin, The National Library of Wales, Aberystwyth.
Recorded at Tall Trees Studio
Produced and Published by Hilary Rushmer. (MCPS) (PPL) (P@MRA) (PPI) (PRS)
All right reserved © 1997 Hilary Rushmer (P)1997 Hilary Rushmer