The bandmates of RUNA, one of the area’s best-known Irish musical ensembles, have toyed with the idea of a winter album for a very long time. It never happened because—fortuitously for the award-winning supergroup—they were always busy, frequently on the road as a band or pursuing their own independent projects.
Last year, the project finally got off the ground in a small way, with an EP (a mini-album) of about five songs, with every intention of finishing it off as a full-fledged album in 2020.
Along came the pandemic, putting an end to band members’ otherwise ambitious plans. Complicating things a bit more, all the members of RUNA live some distance from each other. So on the one hand, they had some time on their hands. But on the other hand, they couldn’t be together.
In some ways, viewed from the standpoint of so many immigrant stories, this one is unremarkable.
Five sisters, all from the Galvin family, from a dairy farm in the little town Clounmacon, five miles outside Listowel, County Kerry, emigrated to the United States—Philadelphia, to be specific. They sought new lives in what likely seemed by comparison to their desperately poor homeland like the land of plenty.
The Galvin girls followed the usual practice: One sister moved to the U.S., saved her money, and sent for the next—and so on until they were all ensconced in Philadelphia, four of them working 10 hours a day, five hard days a week, in the Apex Hosiery Factory at 5th and Luzerne, the fifth a hairdresser.
But everything changed not long after Bridie Galvin moved to the city. A few weeks after her arrival, the Stock Market crashed. The oldest sister, Anna, had been investing—wisely, it seemed at the time—but after the crash, the sisters’ fortunes changed.
As with so many Irish immigrant stories, the details of the sisters’ lives from that challenging time weren’t discussed from one generation to the next.
Anakronos: Caitríona O’Leary, Deirdre O’Leary, Nick Roth, and Francesco Turrisi (photograph by Tara Slye)
It’s been almost 700 years since Kilkenny’s discordant 14th century Bishop of Ossory, Richard de Ledrede, held sway over the souls of his parishioners, but 17 of his medieval poems are on track to reach the listening ears of a 21st century audience on the newly released CD, “The Red Book of Ossory.” And thanks to Caitriona O’Leary and the group Anakronos, what an innovative and exalted musical experience it has been transformed into.
But in order to wax properly eloquent on the newly released CD, there first needs to be some background on the origins of the Red Book of Ossory itself.
Richard de Ledrede was a man of massive contradictions. English-born, and a student of the Franciscan order, he was appointed Bishop of Ossory in 1317 by the Papal Court in Avignon. Immediately after his arrival in Kilkenny, he set about doing things his way, and his way meant a strict adherence to the Church laws and beliefs as he saw them. He set a high bar where morality was concerned and that included a moratorium on the singing of “bawdy” secular songs. He composed 60 poems that are included in the Red Book of Ossory (the original manuscript is housed at St. Canice’s Cathedral in Kilkenny) with the instructions: “for the vicars of the cathedral of the church, for the priests and for his clerks, to be sung on important holidays and at celebrations in order that their throats and mouths, consecrated to God, may not be polluted by songs which are lewd, secular and associated with revelry and since they are trained singers let them provide themselves with suitable tunes according to what these sets of words require.” Poetry that Caitriona O’ Leary describes as “beautiful, esoteric and richly imagistic.”
When the great covid-19 shutdown began, percussionist Sean J. Kennedy went back to school.
A Lower Gwynedd resident and band director at Sandy Run Middle School in the Upper Dublin School District, Kennedy is also an award-winning author of percussion texts whose work has been performed at Carnegie Hall and a working musician who has performed with many orchestras over the years.
One of the first tunes he learned as a kid was “Downfall of Paris,” dating back to the 1700s, said to be one of Ben Franklin’s favorites. It’s taught to young drummers everywhere because it blends many, if not most, of the basic drum rudiments that form the building blocks of percussion. Rudimental drum exercises like the paradiddle—right left right right-left right left left—and rolls.
“Ireland has its own language?”
This is a question I have been asked several times since moving to the United States and every time I hear it, my heart breaks a little more. Yes, Ireland does have its own language. It’s not the most well-known or the most romantic language but it has been through more trials and tribulations than many. And more impressive than that, it has survived. Our mother tongue has endured and is now rightfully enjoying a period of prosperity and popularity.
The history of the Irish language is complicated and at times bleak. During colonial rule the English saw it as a weapon and moved to ban it before it could be used against them. Sadly, the language has never truly recovered from this time and has not yet reached the heights of its pre-penal law usage and fluency.
The origins of Ancient Irish are rooted in Celtic times. Examples can be seen as inscriptions on Ogham stones around Ireland and date back to as early as the 3rd century. The Celts appear to have been a well-travelled people as in 1989 archaeologist Robert Pyle discovered a bone needle etched with Ogham writing in Wyoming County, West Virginia.
Middle Irish, which existed between 900-1200 AD, included some Scandinavian influences as Anglo-Normans began settling in Ireland. Despite this, the Irish literary traditions remained strong and several manuscripts have survived from this time. Middle Irish is the language of a large swathe of literature including the entire Ulster Cycle or the Red Branch Cycle, a collection of Irish mythology.
The island of Ireland is known for its outsized literary tradition: Its novelists, poets, and playwrights have produced many of the world’s most significant works, across centuries, genres, and styles. As a student of that grand tradition, Philadelphia-area photographer Robin Hiteshew has made a decades-long project of capturing the images—and even the essences—of as many contemporary Irish writers as he can. Fifty-eight of his finest portraits will be presented at the Villanova Art Gallery from March 13-April 14, 2020, in his exhibit, Beyond the Words: Portraits of Irish Writers.
Visitors to Beyond the Words will encounter the likenesses of poets Seamus Heaney, Eavan Boland, Eamon Grennan, and Michael Longley; and novelists Colm Toibin, Anne Enright, and Glenn Patterson, among many others. Some writers—like Heaney—sat for Hiteshew multiple times over the course of several years, and each portrait captures a different moment in the writer’s evolution. Always, the images represent a collaboration between the photographer and the subject. Hiteshew says, “My goal is to try and capture in a portrait something about who the person is. I hope that the viewer will come away from the photograph knowing something about who that person is in some kind of intangible way. But also, I hope that the viewer will leave wanting to know more about the writer—to read his or her work, perhaps.”
Caitríona O’Leary did not conceive of the concept to translate the music of Joni Mitchell into Irish, that idea originated with the poet and writer Liam Carson who is the founder and director of IMRAM, the Irish Language Literature Festival. She did not do the initial translation of the lyrics from English to Irish (although she has done so on other projects), that “transcreation” was brought about by poet Gabriel Rosenstock.
But it is the Donegal born singer who has infused the words with her ethereal voice and her passionate rendering of the Irish interpretation of Joni Mitchell’s classic song, “Both Sides Now.”
In her vibrant and eclectic career, Caitríona has performed music that spans multiple genres, a variety of time periods and several languages; it’s absolutely instinctual that she was drawn to singing Joni Mitchell in Irish, “Ón Dá Thaobh.”
“She’s such an amazing songwriter. Her music just bowls me over, it really does. I can’t sit through all of the album ‘Blue’ without just being an emotional mess, reduced to tears every time. It’s so unique, actually, she has a voice all her own – her singing voice, but also a poetic voice. She just touches on subjects and brings everything to life, she brings a whole story to life in just a few words. I think she is absolutely remarkable, so it was a total joy for me to immerse myself in her music and her songs, and to be part of the “transcreation” of them into Irish…that’s the word that Gabriel Rosenstock always uses. He doesn’t translate, he transcreates. Of course, he says that in Irish!” And, in Irish, that word is “trascruthu.”
Between 600 and 700 art lovers eager to savor the best of the Emerald Isle’s contemporary works visited the “Straight Out of Ireland” exhibition last weekend in Bryn Mawr.
Organized by the Philadelphia Irish Immigration Center in an ornate mansion on the campus of Sacred Heart Academy and pulled together by a dedicated crew of volunteers and committee members, the display showcased the work of 20 artists from Ireland and another dozen artists from the United States who have been influenced by the culture of Ireland. “Straight Out of Ireland” featured a range of contemporary art, including ceramics, glass, drawings, lace, jewelry, photography, paintings, fashion and more.
The event began with a grand gala Friday night, followed by a day of exhibits and informative panel discussions the next day, and a special family day on Sunday.
Immigration Center organizers were expecting 500 or so visitors, so the event exceeded expectations, says Emily Norton Ashinhurst, executive director of the center.