University of Miami Scholarly Repository Open Access Dissertations Electronic eses and Dissertations 2010-06-24 e Choral Music of Irish Composer Michael McGlynn Stacie Lee Rossow University of Miami, [email protected]is Open access is brought to you for free and open access by the Electronic eses and Dissertations at Scholarly Repository. It has been accepted for inclusion in Open Access Dissertations by an authorized administrator of Scholarly Repository. For more information, please contact [email protected]. Recommended Citation Rossow, Stacie Lee, "e Choral Music of Irish Composer Michael McGlynn" (2010). Open Access Dissertations. Paper 438. hp://scholarlyrepository.miami.edu/oa_dissertations/438
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University of MiamiScholarly Repository
Open Access Dissertations Electronic Theses and Dissertations
2010-06-24
The Choral Music of Irish Composer MichaelMcGlynnStacie Lee RossowUniversity of Miami, [email protected]
This Open access is brought to you for free and open access by the Electronic Theses and Dissertations at Scholarly Repository. It has been accepted forinclusion in Open Access Dissertations by an authorized administrator of Scholarly Repository. For more information, please [email protected].
Recommended CitationRossow, Stacie Lee, "The Choral Music of Irish Composer Michael McGlynn" (2010). Open Access Dissertations. Paper 438.http://scholarlyrepository.miami.edu/oa_dissertations/438
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. Terri A. Scandura, Ph.D. Professor Dean of the Graduate School Vocal Performance ________________ _________________ Joshua Habermann, D.M.A. Melissa de Graaf, Ph.D. Associate Professor Assistant Professor Vocal Performance Musicology ________________ Teresa Lesiuk, Ph.D. Assistant Professor Music Therapy
ROSSOW, STACIE LEE (D.M.A., Choral Conducting) The Choral Music of Irish Composer (June 2010) 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)
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.
iii
ACKNOWLEDGEMENTS
Sincere gratitude to Michael McGlynn for his cooperation and invaluable assistance throughout this process.
• Thank you to the staff of the Irish Traditional Music Archive for their patience and
guidance in securing research sources. •
Thank you to my mother, Kris Niehaus, and my grandmother, Mary Arline Hohlt, to Sue, Dave, and Pamela Rossow, and to Patricia Fleitas for their support and dedication to my
education. •
Lastly, thank you to my husband, David, and my children, David and Emma, for their love, patience, and encouragement throughout my doctoral education.
iv
TABLE OF CONTENTS
Page LIST OF MUSICAL EXAMPLES ............................................................................ vii LIST OF FIGURES AND TABLES ......................................................................... xi Chapter 1 MICHAEL MCGLYNN ................................................................................. 1 Introduction .................................................................................................... 1 Personal History ............................................................................................ 3 Anúna ............................................................................................................. 6 Compositional Output and Style .................................................................... 10 2 CULTURE AND MUSIC HISTORY OF IRELAND .................................. 12 Irish Historical Overview .............................................................................. 12 Music in Ireland ............................................................................................. 15 3 IRISH VOCAL MUSIC ................................................................................. 20 Language ......................................................................................................... 21 Sean-nós........................................................................................................... 25 Choral Music in Ireland ................................................................................... 29 4 TRADITIONAL IRISH MUSICAL ELEMENTS ......................................... 32 Harmonic Devices .......................................................................................... 33 Rhythmic Devices............................................................................................ 42 Instruments and Accompaniment ................................................................... 43 5 TRADITIONAL SONGS OF IRELAND ....................................................... 49 Collectors of Irish Music ................................................................................ 49 Song Comparisons .......................................................................................... 52 ‘Sí do Mhaimeo Í ....................................................................................... 53 Ardaigh Cuan ............................................................................................ 58 Silent, O’Moyle ......................................................................................... 60 Siúil, a Rúin ............................................................................................... 63 6 SELECTED CHORAL ARRANGEMENTS OF MICHAEL MCGLYNN ... 66 Traditional Repertoire ..................................................................................... 67
v
‘Sí do Mhaimeo Í ....................................................................................... 67 Siúil, a Rúin ............................................................................................... 74 Medieval Chant Source .................................................................................. 75 Cormacus Scripsit...................................................................................... 75 7 SELECTED ORIGINAL CHORAL WORKS OF MICHAEL MCGLYNN . 81 Traditional Works ........................................................................................... 82 Dúlamán .................................................................................................... 82 Natural Works ................................................................................................. 86 Wind on Sea............................................................................................... 87 Island ......... ............................................................................................... 92 Spiritual Works ............................................................................................... 95 Sanctus ....................................................................................................... 96 Incantations................................................................................................ 99 Agnus Dei (2008)....................................................................................... 105 GLOSSARY................................................................................................................. 116 BIBLIOGRAPHY ..................................................................................................... 118 APPENDIX A: Works List ........................................................................................ 125 Alphabetical Listing by Title ........................................................................... 125 Chronological Listing of Works ...................................................................... 129 List of Works by Commission......................................................................... 132 Works by Voicing............................................................................................ 133 Arrangements................................................................................................... 136 Original Compositions..................................................................................... 137 APPENDIX B: Discography ...................................................................................... 140 APPENDIX C: IPA Transcriptions ............................................................................. 145 Agnus Dei (2008)............................................................................................. 146 An Oíche .......................................................................................................... 146 Cúnnla ............................................................................................................ 147 Dúlamán .......................................................................................................... 148 Incantations .................................................................................................... 149 Salve Rex ........................................................................................................ 150 ‘Sí do Mhaimeo Í ............................................................................................. 150 APPENDIX D: Complete Musical Examples ............................................................. 152 ‘Sí do Mhaimeo Í ............................................................................................. 152 Ardaigh Cuan .................................................................................................. 158 Silent, O’Moyle ............................................................................................... 160 Siúil, a Rúin ..................................................................................................... 163
vi
APPENDIX E: Michael McGlynn Selected Scores .................................................... 167 Agnus Dei ........................................................................................................ 169 Cormacus Scripsit............................................................................................ 177 Dúlamán .......................................................................................................... 181 Incantations...................................................................................................... 185 Invocation ........................................................................................................ 190 Island ............................................................................................................. 194 Sanctus ............................................................................................................. 203 ‘Sí do Mhaimeo Í ............................................................................................. 209 Siúil, a Rúin ..................................................................................................... 218 Wind on Sea..................................................................................................... 224 APPENDIX F: Survey of Suggested Choral Works of Michael McGlynn................. 231
vii
LIST OF MUSICAL EXAMPLES
Example
3.1 Amhránaíocht meter in 9/8 ................................................................. 22
3.2 Amhránaíocht meter in 3/4 .................................................................. 23
http://www.allmusic.com/cg/amg.dll (accessed November 28, 2009).
3
A Personal History
Michael McGlynn was born in Dublin, Ireland, in May 1964. His mother, Clare,
and father, Andrew, worked in the hotel industry, though his father later turned to
photography. Michael has two brothers: Tom, the youngest, and a twin, John. All three
boys were musically inclined. When they were young they enjoyed singing in three-part
harmonies. Clare and Andrew, while not classically trained musicians themselves, saw
the value of music in their family’s life.
McGlynn’s first musical training was through piano lessons, but much of his early
musical influence was from rock musicians such as the Beatles and David Bowie. 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. During his teen years,
Ligeti’s contribution to the soundtrack to 2001: A Space Odyssey made a significant
impression on him.2
Clare and Andrew sought to instill within their children a sense of pride in their
heritage. Though the family were not native Irish speakers, at the age of nine and ten
John, Tom, and Michael lived as boarders for a year at the Irish-speaking college of
Coláiste na Rinne in Dún Garbhán (Dungarvan), County Waterford. This Gaeltacht
(Irish-speaking community) is where McGlynn gained fluency in the Irish language.
More importantly, it provided his first exposure to traditional Irish song.3
When the time came to enter college in 1982, McGlynn elected to study music
and English literature at University College, Dublin (UCD). It was at UCD that he first
2 Michael McGlynn, interview by author, Dublin, Ireland, October 2009.
3 Michael McGlynn, interview by author, Ft. Lauderdale, FL, February 2010
4
received an introduction to early Western Medieval music. He began studies in both
English and music, and after receiving his Bachelor of Arts degree in English (1985) he
continued and completed his Bachelor of Music degree (1986). Musical forms and the
structure of music were most intriguing him. During his time at UCD, at age nineteen, he
first sang in a choir. He entered the field of music from a non-classical perspective, and
this choral ensemble introduced him to the choral music of the great master composers.
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. I had never sung in a choir before the age of nineteen. I first sang in college in a chamber choir, the UCD Chamber Choir, which I went on to conduct. I later went on to conduct the Trinity College Singers as well. This has allowed me to look at choral music as a completely fresh and new form.4
Soon after graduation from UCD he composed his earliest formal work, a setting of four
Rimbaud poems for soprano and piano. After completing this composition he felt
compelled to make his living as a composer.5
By the completion of his collegiate choral experiences, he was completely
captured with the choral medium. In 1987 McGlynn founded the small Irish choral
ensemble An Uaithne, renamed Anúna in 1991. In the twenty-two years that McGlynn
has been the director of Anúna, he has become an advocate for change within the choral
infrastructure of Ireland. In 2006, McGlynn wrote for The Irish Times:
On the surface choral music in Ireland appears to be healthy, but the reality is very different. I dread auditioning new singers for Anúna. Virtually none of them can read music adequately, or have more than the basic musical skills or even general [musical] knowledge. Even those that do have vocal training have come
4 Michael McGlynn, interview by author, Ft. Lauderdale, February 2010
5 Michael McGlynn, interview by author, Dublin, Ireland, October 2009.
5
through music schools and colleges that appear to believe that there is only one form of classical singing, and that is opera. Choral music transmits the poetry and the language of a nation through song in a unique manner, something that should be of particular interest and importance in a country that prides itself in its literary heroes.6
He further explains that promoting a unique identity for Irish choral music is difficult, as
much of the repertoire performed is related to schools and traditions of other nations, in
particular the United Kingdom.
While McGlynn has gained prominence in the choral community as the director
of Anúna, he has also become an internationally recognized composer. His compositions
have been commissioned, performed, and recorded by some of the world’s best choral
ensembles including The Dale Warland Singers, Rajaton, The BBC (British Broadcasting
Corporation) Singers, The National Youth Choir of Great Britain, Conspirare, the
Phoenix Chorale, and Chanticleer. In 2007, the RTÉ (Radio Telefís Éireann) Concert
Orchestra, one of the national orchestras of Ireland, commissioned a large-scale work for
SSAA chorus and symphony orchestra, which resulted in the four-movement cantata St.
Francis. Also in 2007, 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. In July 2009, 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.7 This program resulted in a large number
of new adaptations and original works scored for symphony orchestra and chorus.
6 Michael McGlynn, “ A Way to Find Different Voices in this Multi-Ethnic Age,” The Irish Times.
June 5, 2006, http://www.anuna.ie/IT2006.htm (accessed 10 October 2009).
7 Michael McGlynn, Biography, www.anuna.ie/MichaelBiography.html (accessed 11 August 2009).
6
McGlynn uses a unique and highly successful method of publication and
distribution of his compositions which has contributed to his success. While mechanical
and performance rights are held by Warner Chappell, he self-publishes his sheet music
through his website, www.michaelmcglynn.com. This method of distribution makes his
music both accessible and affordable for choral directors worldwide. When directors
purchase a composition to perform they are also sent an audio recording of the text, a
translation, and in some cases, a sound approximation pronunciation guide. Unlike
standard means of music distribution, the music is received normally within forty-eight
hours via email with a certificate for the number of copies purchased. Nearly all of his
choral compositions have been recorded by Anúna, which also gives directors an audio
reference. A complete list of his works is found in Appendix A of this document. The list
has been cross-referenced by title, date of composition, commission, and voicing.
Appendix B is a discography to assist in locating recordings of specific compositions.
Anúna
Anúna, the current name of the group that McGlynn formed in 1987, has become
one of the leading professional choral ensembles in the world. The ensemble is known for
its interpretations of traditional Irish songs, reconstructions of medieval Irish music,
McGlynn’s own original music, and for its unique staging. As McGlynn’s music and
compositional output is directly related to Anúna, it is essential to view it as an aspect of
his work as a composer, as well as a tool he uses in the compositional process.
The original name of the ensemble, An Uaithne, is the collective term that
describes the three ancient kinds of Irish music, Suantraí (lullaby), Geantraí (happy
7
song), and Goltraí (lament). An Uaithne was shortened to Anúna, a name that has no
meaning but uses portions of the original words; it was simply easier for non-Irish
speakers to pronounce and recognize. When asked about the reason for creating an
ensemble of this kind McGlynn stated, “Anúna developed from that idea [of bringing
choral music to more people]. It developed from the need to reinterpret the choral
canvas.”8 Under McGlynn’s direction the ensemble has released fourteen albums which
feature primarily his own compositions and arrangements. Three of the albums have
placed in the United States Billboard charts, and Deep Dead Blue reached the top five in
the United Kingdom Classical Chart and was nominated for a Classical Brit Award in
2000.9
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”.10 All of the ensembles that were in existence were founded from non-
Irish sources and rarely performed music influenced by their country. As he perceived it,
there was “no indigenous form of choral singing” in Ireland. McGlynn felt a “...need to
define Ireland in a choral fashion in some way.”11 He also wanted to make certain that
choral music was accessible to the people, not just to the lucky few who could understand
8 Michael McGlynn, interview with Contemporary Music Center, Dublin, Ireland, July 2009
www.anuna.ie/JML (accessed 16 August 2009).
9 Craig Harris, “Anúna,” http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:wxfwxqlgldte~T1 (accessed 28 November 2010).
10 Michael McGlynn, interview with author, Ft. Lauderdale, FL, February 2010. 11 Ibid.
8
it. In his opinion, much of classical music in Ireland, has only been accessible to a
minority of people.12 He has succeeded with Anúna in bringing choral music, and
specifically that which he feels expressed a sound native to Ireland to a large number of
people.
In a 2009 interview McGlynn discussed the “fragility of the human voice” that first
intrigued him. McGlynn uses this term to describe the natural and beautiful flaws heard
in untrained singers. The fragility of Anúna’s sound, in his opinion, is one of the primary
reasons it is successful.
Listen to the Sixteen or the Tallis Scholars [singing chorally] and it will sound beautiful, but it doesn’t allow the human element to come out. These people are brilliant singers, with fantastic technique. All of us in Anúna are flawed. And that’s conscious. 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. In a recent recording of the Allegri Misereri Mei Deus the first soprano soloist, unusually for us, was a trained English singer. She had the ability to sing all of the lines in one breath, but she was instructed to sound more fragile.13 With Anúna McGlynn serves as composer, artistic director, vocal coach,
conductor, singer, producer, and business manager. 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. He has found over his twenty years as a choral director that
awareness of singer’s posture, technique, and attitude during the rehearsal process
contributes to the overall success or failure of an ensemble. If an individual singer is not
standing with the correct posture or appears to have brought the stress of daily life into
12 Ibid. 13 Ibid.
9
the rehearsal, he will address that singer and insist on an immediate change of demeanor
or posture. His manner of rehearsing is focused on empowering and requiring each
individual to concentrate on his or her own performance within the choral ensemble. In a
February 2010 interview with this author, 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, but quite often that is not possible. Many people I bring in I bring in based on personality; they need to be able to take criticism.14
While an awareness of singer’s physical well-being and attitude is not new to choral
conductors, his instence and attention to detail has proven to make a distinct difference in
the sound quality of Anúna.
Instead of conducting in front of the ensemble, which McGlynn chose to forego
after only a few seasons, he leads from within the tenor section. 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. 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. While he does believe that a
conductor can be an asset to an ensemble, 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, not in the moment of performance. Although his
14 Ibid. 15 Ibid.
10
standard expectation for Anúna is high, and perhaps challenging for the mostly non-
professional singers he encounters, he considers the ensemble’s amateur nature among its
greatest attributes and one of its sustaining factors. Through his role as a member of the
ensemble he is able to aid in tuning, energize, and focus the performance.16
Compositional Output and Style
McGlynn’s compositional output is indelibly linked with Anúna. Fundamentally,
the ensemble is a compositional tool for him; he uses Anúna as many composers would
use a piano in the creation of new works. He generally will make changes or adjustments
to a new work only after hearing it in a performance. Prior to publication, new
compositions will sometimes go through several revisions before he feels the singers and
the audience gauge the piece in the way he intended.
The complexity of McGlynn’s compositions is limited by what Anúna is able to
achieve vocally and musically without a conductor. Contrary to what many believe, the
vast majority of the singers in Anúna are not trained musicians. Few of them have had
any formal theory or musicianship classes, and even fewer have had traditional vocal
training. Occasionally one or two classically trained singers will audition, 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. For this reason he has
created a unique manner of quickly training his members to sing as part of the chorus. It
is also why he leads the ensemble from within.
16 Ibid.
11
As a choir that is known the world over as an Irish choral ensemble, Anúna must
maintain several traditional or traditional sounding compositions in its repertoire at any
given time. Instead of solely producing arrangements of traditional songs for the
ensemble, McGlynn also composes completely original songs that use many of the
elements found in the traditional song repertoire. 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.
The use of compositional elements that have existed in the Irish music tradition
has closely identified McGlynn’s compositions with Ireland. It is also for this reason that
an understanding of the history, culture, and music of Ireland is important to the study of
his music. This understanding allows the choral conductor to identify those aspects in his
compositions that are traditional. While McGlynn’s music draws influence from various
idioms, it is considered by many to be the genuine sound of Irish choral music.
12
CHAPTER 2
CULTURE AND MUSIC HISTORY OF IRELAND
In ancient times Ireland was renowned for skilled musicians, many of whose tales
are recounted in mythology and lore. 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. The void was created by an absence of native composers and music
indigenous to Ireland. The only choral music found on the island was that of the church,
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, as it is from this tradition and culture that his music is created.
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, including parts of modern-day Ireland, Scotland, Wales,
Brittany, and Cornwall. Celtic influence can also be found in the regions of Galicia and
Asturias, in Spain, and in areas of Portugal.17 In Ireland these clans or tribes were well
17 Dorthea E Hast and Stanley Scott, Music in Ireland: Experiencing Music, Expressing Culture
(Oxford: Oxford University Pres, 2004), 20.
13
established by 100 BC. The descendents of these groups, the Gaelic chieftains, are those
commonly associated with the creation and proliferation of the Gaelic-Irish language and
culture. Legends of the kings and chieftains who ruled the four provinces (Ulster,
Munster, Leinster, and Connaught) evolved into sagas and have since been passed down
through story and song.
First conquered in the fifth century AD by the Norse (Vikings), Ireland’s first
peaceful visitors came from its nearest neighbor, Britain. These missionaries began the
rapid spread of Christianity through the pagan Celtic land. This influx of people from
England also began almost 1500 years of British involvement in Ireland.
When the British first occupied Ireland they were fascinated by the cultural
differences they found on an island so close to their own. However, as time passed the
British governing body became less and less tolerant of Irish culture. The Irish people
came to be considered degenerate and barbaric, and the British government, through a
series of laws and acts beginning around 1350, outlawed the language, music, religion,
and culture of the Irish people. Subsequent to the original missionary settlements, Ireland
had become a strong Catholic region, wholly embracing the religion the British had
spread only years earlier. King Henry VIII, through his disaffiliation with the Catholic
Church in 1532, further complicated Irish life. Following the English Reformation, a
series of laws prohibited Catholics from “participation in public life, voting, and
ownership of land.”18
18 Ibid., 27.
14
During the late sixteenth and early seventeenth centuries under Queen Elizabeth,
life for the Irish became worse. The Queen felt that the wandering bards and harpers, who
had enjoyed a high status in earlier years, were political spies and that their music and
lyrics stirred up political unrest. By 1571 the Earl of Kildare was commissioned to punish
all harpers, poets, and bards by death. A 1603 proclamation, to “hang the harpers
wherever found and destroy their instruments,” effectively halted the public playing of
Irish music.19 While records do not indicate a mass extermination of harpers and bards,
the threat served to seriously diminish the tradition and its oral transmission to
subsequent generations. The Act of Settlement in 1652 allowed Cromwell to confiscate
property from Irish-Catholic landowners, thereby displacing seventy-five percent of the
population, all Catholic, to less than fifteen percent of land. The land to which they were
displaced was an area in the province of Connaught deemed quite infertile.20 Although it
appeared the heritage and livelihood of the Irish people had been broken, many families
continued to pass on the language and music of their ancestors in the privacy of their
homes. In 1695 the British Parliament, after a few small uprisings, removed the authority
of the Irish Parliament to create laws for itself.
There were many attempts to remove the British government from power in
Ireland. After the American and French Revolutions, the people of Ireland felt that they
would be able to retake their parliament. In 1782 an effective campaign for legislative
independence was initiated with the Constitution of 1782. This document did
acknowledge the sole right of the Irish Parliament to create laws for Ireland, but it was a
19 Séan O'Boyle, The Irish Song Tradition (Toronto: Macmilian of Canada, 1976), 10. 20 J.C. Beckett, Introduction: Eighteenth Century Ireland, Vol. IV, in A New History of Ireland,
ed. T.W. Moody and W.E Vaughan, xliii (Oxford: Oxford University Press, 1986), xliii.
15
Parliament still under the authority of the British government. Many who led the
movement were not satisfied. 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.”21 It was this
disagreement between countrymen that led to civil unrest and instability and kept the
people from regaining governance over their country. This internal conflict continued
until the Irish Potato Famine in the mid-1800s. During the twenty years beginning in
1845 with the first of many years of crop failures, the population of the country was
depleted by nearly two-thirds either from death or emigration. Those who remained and
survived were in no way able to remove England’s control. It was not until 1922, when
the Irish Free State was established and the British government no longer ruled Ireland,
that the native culture and language of the people experienced a renaissance. In the 1922
Constitution English and Irish were established as co-national languages, demonstrating
the new government’s commitment to the heritage of the people.
Music in Ireland
Brian Boydell writes that “...Ireland has a reputation for inheriting a great musical
tradition extending back to the earliest of times.”22 When British rulers outlawed the Irish
language, culture, and tradition that existed for at least a millennium prior to their arrival,
this musical heritage was almost lost.
21 J.C. Beckett, Eighteenth Century Ireland, 1691-1800, Vol. 4, in A New History of Ireland, ed.
T.W. Moody and W.E. Vaughan (Oxford: Claredon Press, 1986), xil-xli. 22 Brian Boydell, Music Before 1700, Vol. IV, in A New History of Ireland, ed. T.W. Moody and
W.E. Vaughan, 544 (Oxford: Oxford University Press, 1986), 544.
16
The origin of the musical heritage of Ireland is still disputed, even though much
research on the topic exists. Very few sources have been found, and records of musical
events are scarce. As is often the case with traditional music, there was no one readily
available to transcribe it for posterity. 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. The earliest complete transcriptions of this traditional music were made
and published in the late eighteenth and early nineteenth centuries. Composers and
musicologists Charles Villiers Stanford, Edward Bunting, George Petrie, and P.W. Joyce
collected, transcribed, and described the music that had been a vital component of the
cultural identity of Ireland since early recorded times. There were a few writings and
single songs published in English volumes before these Irish collections, but much of
what is known about music before 1600 is based only upon anecdotal reference.
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. Various writers, artists, and poets mention instruments and musical
gatherings, though very little writing about the style of the music exists. Within courts
and villages, bards and harpers held places of honor. The bards were the oral keepers of
the laws; they recounted stories of war and genealogy. Perhaps most importantly for their
social status, they praised their patrons. Most often a harper would accompany the bard as
the stories were recounted; thus the development of a solo musical tradition began. This
led to a multi-century comingling of ideas, mythology, Gaelic traditions, and the old style
(sean-nós) singing that makes Ireland’s musical heritage unique.
17
The vocal music of Ireland includes a long mythological tradition that contributed
to its complicated history. Irish folklore tells of four races that existed in Ireland before
the Gaels arrived in the fourth century BC. According to the mythology as described by
Cowdery, these races began with the Fomorians, or sinister giants, who were defeated by
the Firbologs. The Firbologs, a small but cunning race, eventually disappeared, giving
way to the Danaans. The Danaans were seen as the embodiment of all that was good. The
Milesians eventually overtook them, but due to their close connection with nature, they
were able to turn into the invisible little people—leprechauns and fairies. The Danaans
were admired for their music, especially that of the fairies, whose tunes were said to be
the sweetest music ever heard and which possessed magic powers. Many tunes that exist
in the modern repertoire are said to have come from the fairies.23
The musical tradition of the early Gaelic court musicians is, of course, not known
in concrete terms. There are sources that give terminology to various kinds of songs,
though those are without examples. These musical categories include “goltraí (music for
sorrow), geantraí (music for happiness), and suantraí (music for sleep).” Terms found in
later sources cited by Harry Flood, goltraighe (music of valor), geantraight (music for
love), and suantraighe (music for rest),” are each related to a particular mode or traighe.
The modal associations are the Dorian, Phrygian, and Lydian modes accordingly.24
Sean-nós, which translates to “old-style,” is a form of solo singing considered the
oldest in Ireland and is generally believed to date from at least the fifteenth century AD,
23 James Cowdery, The Melodic Tradition of Ireland (Kent, OH: Kent State University Press,
1990), 5.
24 Ibid., 6.
18
and possibly earlier. This style of music is usually modal, highly ornamented, either a
cappella or with very little accompaniment, and above all else, highly personalized by the
singer. While a great majority of these songs is in the Irish language, due to the dual use
of English and Irish for a long period of time, many tunes were adapted to English texts.
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.25
Harmonically, the use of modal structures does predominate in the genre, but
some songs in the Irish repertoire also use hexatonic and pentatonic scales.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. The use of the binary form also demonstrates the
close relation of the song tradition to dance, which by its nature requires regular sections
that are commonly repeated. Several styles of dance, including the jig, reel, hornpipe, and
slide are commonly used as the rhythmic and structural basis of solo songs.27
Although Irish music was long a solo art, 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. Several ensembles and
composers (Altan, Anúna, Clannad, David Mooney, and Michael McGlynn among them)
25 Thomas Moore, Moore's Irish Melodies With Symphonies and Accompaniments (Boston: Oliver
Ditson, 1893). 26 Breandán Breathnach, Folk Music and Dances of Ireland: A Comprehensice Study examining
the Basic Elements of Irish Folk Music and Dance (Cork: Mercier Press, 1996), 12.
27 James Cowdery, The Melodic Tradition of Ireland (Kent, OH: Kent State University Press, 1990), 16-18.
19
specialize in choral settings and work diligently to adhere to the artistic ideals of that solo
art form in the ensemble medium.
20
CHAPTER 3
IRISH VOCAL MUSIC
The vocal music of Ireland has been influenced by many changes in the culture of
the country. The song tradition was first influenced by the structure of the Irish language
and then by the increased, and eventually mandated, use of English. The song styles that
flourished in earlier times, especially the sean-nós, were limited to specific areas and
were kept alive by a few communities throughout times of occupation and oppression.
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, the choral
music of Ireland remained in an infantile state. The only choral music that existed was in
the church, and that was British.
When the Irish language was outlawed and the majority of the ruling class for
whom the songs were performed spoke only English, musicians were forced to either
forego their native language or combine it in moderation with English. When England’s
rulers outlawed Irish music, any development in group singing of traditional repertoire
was cut short. Music that began as a solo art style remained as such outside of the choral
development within the Anglican Church.
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.
21
During the years of occupation it was difficult for musicians to perform any music that
was not sanctioned by Great Britain. There were, however, great choral societies. Musical
events based on the English model, like the premiere of Handel’s Messiah in Dublin,
were permitted and encouraged. Michael McGlynn has been trying to create a distinct
Irish choral tradition, which due to the strong foreign influence did not develop. His
music is a window into all that has come before him and synthesizes the language
influences, 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. While similar to other Celtic languages including Welsh, Manx,
Breton, and Scots Gaelic, Irish also assimilated components from languages outside the
immediate family group. Borrowed words in the Irish language came primarily from
Latin, Norse, and English. These additions came through missionaries, early settlements
of the Viking peoples on the east coast, and the use of a language that was required by the
British rule.28
The Irish Gaelic literary tradition had great influence on the songs of Ireland.
Bards used very complex forms of poetic meter, which in turn defined the musical
structure of the songs and airs. George Petrie first stated the importance of the
28 James Cowdery, The Melodic Tradition of Ireland (Kent, OH: Kent State University Press,
1990), 7.
22
interrelationship of the two structures in his Collection of the Ancient Music of Ireland in
1855:
For those airs are not, like so many modern melodies, 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, but always strictly coincident with, and subservient to, the laws of rhythm and metre which govern the construction of those songs, and to which they consequently owe their peculiarities of structure. And hence it obviously follows that entire body of our vocal melodies may be easily divided into, and arranged under, as many classes as there are metrical forms of construction in our native lyrics– but no further; and that any melody that will not naturally fall into some one or other of those classes must either be corrupt or altogether fictitious.29 Of the six meters used in Irish-language poetry, amhránaíocht is one of the most
common. The meter, which forms the basis for some of the most characteristic melodies,
consists of a stanza with five stressed syllables in each line. Each stanza fits easily into
two bars of 9/8 or six bars of 3/4. 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 3.1) or five measures of 3/4 (Example 3.2).30
Example 3.1. Amhránaíocht meter in 9/8
29 George Petrie, The Petrie Collection of the Ancient Music of Ireland, ed. David Cooper (Cork:
Cork University Press, 2005), 36.
30 Séan O'Boyle, The Irish Song Tradition (Toronto: Macmilian of Canada, 1976), 21.
& 89 43.œt
œ œ œt
jœ œt
jœslai tín bhog bhocht nó géag de'n
.œt
œ œ .œt
Π.chuil eann chas chuar
!- -
& 434 .œ
tjœ œ
slai tín bhog
˙t
œbhocht nó
˙t
œgéag de'n
.œt
jœ œchuil eann chas
.˙tchuar
! !- -
&11 ! !
Amhranainocht Meter examplesMusic by: [Composer]Lyrics by: [Lyricist]
Arranged by [Arranger]
23
Example 3.2. Amhránaíocht meter in 3/4
When the English language is used with Irish melody the construction is changed
slightly. As O’Boyle noted:
William Carleton, the Tyrone novelist, records that his mother, when asked to sing the English version of Bean an Fhir Rua, said: I’ll sing it for you, 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.31
Many nineteenth century Irish speakers shared this sentiment, and when writing in
English, poets who were familiar with Irish poetry attempted to place assonances and
stressed syllables in a location that was suited to the amhránaíocht meter. However, that
was not always possible. Those that did not fit the traditional structure fell into a verse
form known as Ochtfhoclach, or tail-rhyme. Consisting of four large parts, each
containing three lines of five syllables and one line of four syllables, the five-syllable
lines rhyme, as do the lines of four.
Ochfhoclach Mór is another verse form that contains odd syllabification. In this
structure there are two large groups. The first has three lines of six syllables, each
rhyming with the other, and a line of five syllables. The second contains three lines of
five syllables, all of which rhyme with the six-syllable lines of the first part, and a line of
four syllables that rhymes with the last line of the first section.
31 Ibid., 25.
& 89 43.œt
œ œ œt
jœ œt
jœslai tín bhog bhocht nó géag de'n
.œt
œ œ .œt
Π.chuil eann chas chuar
!- -
& 434 .œ
tjœ œ
slai tín bhog
˙t
œbhocht nó
˙t
œgéag de'n
.œt
jœ œchuil eann chas
.˙tchuar
! !- -
&11 ! !
Amhranainocht Meter examplesMusic by: [Composer]Lyrics by: [Lyricist]
Arranged by [Arranger]
24
The outlawing of the Irish language brought about changes in the repertoire of
Irish music. Many songs became bi-lingual, that is, the traditional tune was sometimes
translated into what became a well-known English version. Other tunes were sung
partially in each language, typically with verses in English and a refrain in Irish. One
example of this kind of modification is seen in Siúil a Rúin (Table 3.1). A detailed
description of this familiar song is included in Chapter Five.
Table 3. 1. Siúil, a Rúin, mixed English text and translation32 Verse Chorus (cúrfa) 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
Siúil, siúil, siúil a rúin
Siúil go sochair agus siúil go ciúin
Siúil go doras agus éalaigh liom
(Translation:
Go, go, go my love
Go quietly and go peacefully
Go to the door and fly with me)
By the nineteenth century Hiberno-English, a dialect of English, was the primary
language spoken in Ireland. However in the last decade of the same century a movement
began to reinstate Irish and its historical literary style. The movement to reestablish Irish
to the prominence it once held fed into the struggle for national independence, which was
eventually won in 1922. Today, although English continues to be the primary language
throughout Ireland, basic Irish language skills are taught in schools and certain
communities exist where Irish is the sole language. In supporting this initiative, the
32 Celtic Lyrics Corner, November 27, 2008, http://www.celticlyricscorner.net/anuna/siuil.htm (accessed October 29, 2009).
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, dating from at least the fifteenth century, if not earlier.33 While
found most frequently in the southwestern area of the country, sean-nós has spread to all
parts of Ireland. It is an unaccompanied musical style that is typically characterized by a
highly ornamented melodic line, though the means and degree of ornamentation change
from region to region. Although an original source for this music is unknown, it is
generally assumed that it is derived from the medieval bardic tradition. Many sean-nós
singers in recent history have come from Gaeltacht areas (Figure 3.1), and most consider
Irish their first language. 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. At the very least the singers have a considerable facility and
competency in it.
33 The Sean-nós style of singing was discussed on page 16.
26
Figure 3. 1. 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. The singer is not constrained
by meter or tempo, but moves through the song according to both his interpretation of the
(accessed June 21, 2010). Map alterd by author to illustrate regions.
27
text and through his use of sometimes very elaborate ornamentation. This process is
called “humoring” or “gracing” the tune.35
Harmonically, sean-nós is similar to much of what will be seen in the greater
body of Irish song; modalities and alternate scale structures (pentatonic and hexatonic
scales) are often employed. To the listener accustomed to European art music, especially
that of the seventeenth through nineteenth centuries, it may sound foreign. Irish composer
Seán Ó Riada has said:
In approaching that style of singing which is called in Irish, the Sean-Nós– the old style—it is best to listen as if we were listening to music for the first time, with a child’s new mind; or to think of Indian music rather than European.36 Within the corpus of the sean-nós repertoire there exist several subgenres
according to the subject matter. These include love songs, lullabies, vision or dream
songs, laments, hymns, drinking songs, and humorous songs. 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. The
songs therefore do not relay the events in a journalistic manner, but are a part of the long
storytelling tradition that stems from the bardic era.
The bards of medieval Ireland held highly honored places in the court. Their
manner of reciting poetry and stories, often of epic length, was long revered by their
patrons. Though the use of the harp to accompany the recitation was lost, two features of
35 Dorthea E Hast and Stanley Scott, Music in Ireland: Experiencing Music, Expressing Culture
(Oxford: Oxford University Pres, 2004), 103. 36 Sean Ó Riada, Thomas Kinsella and Tomás Ó Canainn, Our Musical Heritage (Mountrth:
Fundúireacht an Riadaigh/ Dolmen Press, 1982), 23.
28
early Irish poetry did have significant effects on sean-nós singing. First, the length of the
poetic line was far greater than many of its counterparts in English or other languages.
This meant that there would be more stresses or accented beats in a musical line. It also
made the overall poem or song longer than those in other languages. Second, there was a
prevalence of internal rhyming and assonance.37 The internal rhyming did transfer into
English language poetry and song in Ireland, but caused problems for those poets and
musicians who tried to maintain both the rhyme scheme and the original musical line.
While it may not be overly difficult to create an adequate translation in English that uses
a final syllable rhyme scheme, internal rhyming does pose a considerable challenge.38
There are many accounts of the vocal tone used in the singing of this old style.
Many modern day recordings demonstrate a rather nasal sound while others employ a
vocal tone reminiscent of Italian bel canto technique. 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
...was entertained by the landlady, who was brought in to sing an Irish cronaan, which is so odd a thing that I cannot express it, being mostly performed in the throat, only now and then some miserable sounds are sent through the nose.39
It is not known if the performer described was suitably versed in the form and
performance of the style.
37 Dorthea E Hast and Stanley Scott, Music in Ireland: Experiencing Music, Expressing Culture
(Oxford: Oxford University Pres, 2004), 99. 38 A detailed description of the common features of Irish poetic meter found on page 20.
39 Brian Boydell, Music Before 1700, Vol. IV, in A New History of Ireland, ed. T.W. Moody and W.E. Vaughan, 544 (Oxford: Oxford University Press, 1986), 565.
29
Ornamention in sean-nós varies greatly from area to area. Singers from Connacht,
the western portion of Ireland, normally have very florid musical lines in contrast with
Ulster (northern Ireland), which customarily has a simple presentation.40 The singer
strives to reflect the stresses of the poetic meter above all, moving from stress to stress at
his own pace.
Sean-nós began as a solo-unaccompanied style much like ballad singing across
Europe, but unlike other areas of Europe, it never developed to incorporate harmony,
group singing, or accompaniment.41 During the Elizabethan age there was a necessity for
anonymity, lest one be put to death. Only recently has this repertoire been developed to
incorporate group singing.
Choral Music in Ireland
The concept of choral singing in Ireland has long been an imported art form. 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. AD 600. It would not be unusual for these to have
been sung by all of those contributing to the day’s chores. Was this done as a form of call
and response or in rudimentary harmony? Unfortunately there is no definitive answer.
The Cross of Muireadach (Figure 3.2), a Celtic high cross dating from the tenth
century, depicts a choir of monks among other musicians, with one of the figures holding
a book. If the era from which this cross dates is compared to the rest of Europe, one
40 Tomás Ó Canainn, Traditional Music in Ireland (London: Routledge & Kegan, 1978), 49. 41 Nuala O'Conor, Bringing it All Back Home: The Influence of Irish Music (Dublin: Merlin
Publishing, 2001), 9.
30
might assume that this could be a depiction of early organum singing. Many sources have
references to singing in churches dating from the seventh century, but the earliest Irish
music manuscripts that have polyphonic notation date from between the twelfth and
fifteenth centuries.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. A polyphonic choir was established at St. Patrick’s Cathedral in
Dublin established in 1431. Its music followed the developing continental polyphonic
style and composition, particularly that of the Burgundian School.43
Figure 3. 2. Cross of Muireadach, Monasterboice, County Louth, Ireland44
42 Ibid., 782. 43 Brian Boydell, Music Before 1700, Vol. IV, in A New History of Ireland, ed. T.W. Moody and
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.
45 These ensembles are popular Celtic/ Irish vocal and instrumental groups who have recorded
extensively from the 1990s on.
32
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.
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
46 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=__Nd0cAlg9CSnB8mEeNMqc9RR5c84=&ei=P1--S6fiDIKdlgf25bneBg&sa=X&oi=image_result&resnum=9&ct=image&ved=0CBYQ9QEwCA (accessed March 28, 2010).
47 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). 49 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.
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 Scale name
Do Re Mi
C D E F G A B C D E F G A B C D E F G A B C D E
Ionian Dorian
Phrygian Fa Sol La
C D E F# G A B C D E F# G A B C D E F# G A B C D E
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:
50 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 Ibid., 30.
36
Do Mode
Example 4.1. Doh mode (C Doh)
Example 4.2. Doh mode, Cailleacha Chúige Uladh52
Re Mode
Example 4.3. Re mode (C Doh)
52 George Petrie, The Petrie Collection of the Ancient Music of Ireland, ed. David Cooper (Cork:
Cork University Press, 2005). George Petrie, The Petrie Collection of the Ancient Music of Ireland, ed. David Cooper (Cork: Cork University Press, 2005), 152.
53 Aloys Fleischmann, Sources of Irish Traditional Music c. 1600-1855: An Annotated Catalogue of Prints and Manuscripts, 1583-1855, ed. Aloys Fleischmann, Vol. 1, 2 vols. (New York: Garland Publishing, Inc., 1998), 429.
Example 4.6. Mi mode, “The Campbells are Coming”54
Fa Mode
Example 4.7. Fa mode (C Doh)
54 Aloys Fleischmann, Sources of Irish Traditional Music c. 1600-1855: An Annotated Catalogue of Prints and Manuscripts, 1583-1855, ed. Aloys Fleischmann, Vol. 1, 2 vols. (New York: Garland Publishing, Inc., 1998), 448.
Of particular interest to the collector of Irish music are the chromatically-
inflected scale degrees, particularly those notes that appear in both raised and lowered
forms within a tune. For many years, collectors and musicians have argued as to the
purpose of these inflected notes. Some have said that the presence of these altered
versions serve to change the modal scale in mid-tune. Others believe that they are
merely a decoration or passing tone.58 Ó Canainn writes of the rules governing
inflection:
1. The seventh is by far the most commonly inflected note, but the third and occasionally the fourth degree of the scale may be inflected.
2. If the inflectible note proceeds upwards by step, it is sharpened. 3. If the inflectible note is the highest note of a group, it is generally flattened. 4. In the pattern 8-7-5 the seventh may be either flattened or sharpened, but it is
more usually sharpened.59
58 Tomás Ó Canainn, Traditional Music in Ireland (London: Routledge & Kegan, 1978), 30. 59 Ibid., 33-34.
& œ œ œ œ œ !
& œ œ œ œ œ œ ! ! ! !
[Title][Composer]
Score
& œ œ œ œ œ !
& œ œ œ œ œ œ ! !
[Title][Composer]
Score
42
Rhythmic Devices
It is quite strange that in a country such as Ireland, which had an early affinity
for music, there was not a word that corresponds to the Latin word for “dance” until the
mid 1500s. Early Irish translations of the Bible use words that mean “jump,” “hop,” and
“leap” where a word for “dance” would have been found. It is this verbiage that has lead
many to believe that the early dances of Ireland were much like the step-dances of today,
highly energetic acrobatic dances that involved leaping and jumping about. In modern
Irish two words are used for dance: damhsa and rince, both of which came into use
between 1530 and 1650 from France and England respectively.60
Dances are the most common and abundant tunes found in the traditional Irish
music repertoire. The most popular dance forms are jigs, reels, and hornpipes. Several
other dance styles, including mazurkas, polkas, slides, highlands, and barn dances are
also found in the song literature, though not frequently. Most of the dance tunes are in a
standard repeated form (AA BB). Though many of the dance forms originated in other
countries, they have been assimilated into the Irish musical tradition. In fact, the most
common form of dance in the Irish repertoire, the reel, originated in Scotland.
Many of the rhythms found in the dances serve as the basis for tunes in the
traditional song catalog. Tunes frequently began as dances and later had words added to
create a song that often became more popular than the original dance. The dance forms
are identified by several variables of which the most easily identifiable are tempo, time
60 Breandán Breathnach, Folk Music and Dances of Ireland: A Comprehensice Study examining
the Basic Elements of Irish Folk Music and Dance (Cork: Mercier Press, 1996), 35.
43
signature, and rhythmic pattern (Table 4.2). As much of the vocal music repertoire
came from instrumental tunes, many songs can also be placed into these categories.
Table 4.2. Dance Forms and Structure61 Dance Type Tempo Time
Signature Characteristic Rhythm
Single Jig (also known as slide)
Fast 6/8 (or 12/8) \ q e q e \
Double Jig Moderately fast 6/8 \ eee eee \
Hop or Slip Jig Fast 9/8 \ q e q e q e \
Reel Fast, with a 2 feel
2/4 or 4/4 \ ee ee \
Hornpipe Steady, 4 feel 4/4 \ 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, it is essential to
understand the instruments that had the greatest impact in the genre. Much of what
exists today in the corpus of known tunes has variations and derivations stemming from
various means of performance and ornamentation. Different instruments require
61 Andrew Purcell, "Irish Traditional Music," in Music: Revision for Leaving Certification
(Dublin: Gill & Macmillan, 2006), 13.
44
different methods of performance that are easily identifiable. Today these instruments
are known both for their solo styles and for their interaction with the vocal traditions.
Harp
Throughout Irish history there have been three distinct versions of the Irish harp:
the fourteenth and fifteenth century small low-headed harp, the large low-headed harp of
the sixteenth and seventeenth centuries, and the straighter, taller high-headed harp of the
eighteenth century.62 Scholars believe that the harp existed as early as the beginning of
the third century, when in the reign of Cormac Ulfada a law required every regional
chieftan to have a musician in his court, widely believed to be a harper.63 It was
common for bards or court poets to recite stories to the accompaniment of a stringed
instrument, most likely an early harp or version of the lyre. The first known depiction of
the fully framed triangular harp appears in Psalters of the ninth century (Figure 4.2) .64
62 Detailed description of the harp included in discussion about harmonic elements on page 34.
63 Anniina Jokinen, Cormac mac Art, May 20, 2007,
http://luminarium.org/mythology/ireland/cormac.htm (accessed December 12, 2009). Cormac Mac Art, also known as Cormac Ulfada (Cormac Long beard), became king of Ireland in 218 AD and reigned until 254. He is said to have turned to Christianity near the end of his life. He is remembered as a noble and celebrated king and Ireland was said to be full of goodness in his time
64 Thomas F. Johnston, "The Social Context of Irish Folk Instruments," International Review of the Aesthetics and Sociology of Music (Croatian Musicological Society) 26, no. 1 (June 1995): 35-59, 42.
45
Figure 4.2. Maedoc book cover from Ireland (circa 1000 A.D.),
framed triangular harp depicted65 Uilleann Pipes Also closely associated with the traditional music of Ireland is the Uilleann or
Union pipes, which is closely related to the bagpipes of Scotland and possibly derived
from similar instruments used in ancient Greece and Rome. Instruments known as pípaí
were noted in writings from as early as the eleventh century in pre-Norman Ireland.66
These earliest notations were references to a very simple instrument similar to pipes of
the ancient Greeks and Romans.67
A set of pipes is constructed of five basic parts (Figure 4.3): the bag, bellow,
chanter, drone, and pipes. The primary difference between the various pipes of different
geographic regions is the manner in which the bag is filled with air. While the Scottish
version uses a mouthpiece to inflate the bag through blowing, the Irish pipes uses a
bellow strapped to the arm. In order to fill the bag the elbow is raised, extending the
65 Classic Cat- Harp, http://classiccat.net/iv/harp.info.php (accessed June 21, 2010).
66 Breandán Breathnach, Folk Music and Dances of Ireland: A Comprehensice Study examining
the Basic Elements of Irish Folk Music and Dance (Cork: Mercier Press, 1996), 69.
67 Tomás Ó Canainn, Traditional Music in Ireland (London: Routledge & Kegan, 1978), 81. Ancient historians reference Nero’s ability to play the pipes.
46
bellow. While innovative, this change made the Uilleann pipes less portable than its
counterparts, as modern pipes are played in the seated position.
Figure 4.3. Uilleann pipes68
The Uilleann pipes chanter has a range and tone similar to that of a modern oboe
(Example 4.15). This part of the instrument allows the piper to play a single melodic
line. Though old pipes were transposing instruments, modern versions are double-reed
instruments and are set in concert pitch. The lowest note of the chanter is the D above
middle C; the range extends upwards two octaves. The prevalence of drones in the
performance of traditional music most likely began with the harp and was continued in
the pipes. 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, http://www.dirkcampbell.co.uk/Uilleann_pipes.html (accessed June 21, 2010).
47
chanter. It has also been suggested that the drones may have originated in sean-nós
singing. Joe Heaney (one of the most famous sean nós singers in modern times) talked
to James Crowdery about the “nea,” a vocal drone accompaniment sung through the
nose.69 Heaney explained to Cowdrey how while not audible to the listener except at the
beginnings and ends of phrases, the single pitch is always present to the performer. It is
his way of accompanying himself and an example of how vocal music and instrumental
music in this tradition influence each other.
Example 4.15. Uilleann Pipes, chanter range
Early Uilleann pipes (union pipes) consisted of two drones, with a third added in
the mid-eighteenth century. 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. Each of the three drones is tuned to D, spaced an octave apart.
The highest of the three matches the lowest pitch of the chanter (Example 4.16).
Example 4. 16. Uilleann pipes, Drones
69 James Cowdery, The Melodic Tradition of Ireland (Kent, OH: Kent State University Press,
1990), 36-37.
48
Also in the mid-1900’s, regulators were added allowing additional
accompaniment to be played. The regulator allows the piper to play one of four
predertmined three-note chords (Example 4.17). 70
Example 4. 17. Uilleann Pipes, regulator chords
70 Tomás Ó Canainn, Traditional Music in Ireland (London: Routledge & Kegan, 1978), 81-82.
49
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, which were at once the offspring and solace of grief. – Thomas Moore, The Poetical Works of Thomas Moore Craig Harris writes: “Twelve centuries of Ireland’s vocal tradition are explored
by the choral ensemble, Anúna.”71 Musicians in this tradition have both knowingly and
unknowingly made changes to the repertoire. 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. This chapter examines variations found in the collections of
the traditional repertoire in specific songs that McGlynn has arranged.
Collectors of Irish Music
Late in the sixteenth century a few Irish songs became popular in England. These
appeared as early transcriptions found in books that contained a variety of songs from
different geographic areas including England, Ireland, Scotland, France, and Italy.
Among the earliest written Irish tune was Calilín ó chois tSiúire mé (The Croppy Boy), a
rebel tune that was found in both William Ballet’s Lute Book (1590) and in the
71 Craig Harris, All Music Guide- Anúna, 1995,
http://www.allmusicguide.com/cg/amg.dll?p=amg&sql=11:wxfwxqlgldte~T1 (accessed March 2, 2010).
50
Fitzwilliam Virginal Book (1609-19).72 Later in the same century, several other Irish
tunes appeared in London publications of Playford’s The Dancing Master (1695).73 These
tunes were altered, often changing words, language, or modal inflections from their
original forms in order to be more suitable for the English gentry for whom these books
were compiled.74
The first collection that contained exclusively Irish tunes, Neal’s A Collection of
the Most Celebrated Irish Tunes, was published in Dublin in 1726.75 As many of the
melodies that appeared in this collection are still in the common repertoire today, this
publication should be viewed as an important milestone in the history of Irish music. It
was in 1792 at the Belfast Harp Festival that the serious and scholarly collection of Irish
tunes began. From that event Edward Bunting produced his first volume of collected
music, Ancient Irish Music (1796). In attendance at that festival were ten harpers who
were considered the last generation in a line that extended back several hundred years.
Bunting was also the first collector to note the importance of the Irish texts that
accompanied the tunes. He employed Patrick Lynch to collect the texts separately.
Bunting and Lynch encountered problems because often they were dealing with different
72 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=__Nd0cAlg9CSnB8mEeNMqc9RR5c84=&ei=P1--S6fiDIKdlgf25bneBg&sa=X&oi=image_result&resnum=9&ct=image&ved=0CBYQ9QEwCA (accessed April 8, 2010).
73 Margaret Dean-Smith, "Hornpipe (ii)," Grove Music Online, Oxford Music Online,
http://www.oxfordmusiconline.com/subscriber/article/grove/music/1336 (accessed April 9, 2010). 74 Tomás Ó Canainn, Traditional Music in Ireland (London: Routledge & Kegan, 1978), 10.
75 Ibid.
51
versions of the same song. Bunting continued to collect over two hundred fifty songs,
many of them in various versions. These songs were collected from the 1792 festival and
from his travels throughout the country. 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, it has never been questioned that, in the most remote times, they had at least a national music peculiar to themselves, and that their bards and harpers were eminently skilful in its performance.76
Bunting also attempts in his collection to give an approximate time frame for the
composition of most tunes. He places them into three categories: the very ancient, the
ancient, and those composed from around the time of Carolan the harper.77 Bunting adds
that while the words associated with each tune may change slightly, the tune remains the
same if studied within the region of origin.
A strain of music, once impressed on the popular ear, never varies. It may be made the vehicle of many different sets of words, but they are adapted to it, not it to them, 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. For the taste of music is so universal, especially among country people, and in a pastoral age, and airs are so easily, indeed, in many instances, so intuitively acquired, that when a melody has once been divulged in any district, a criterion is immediately established in almost every ear... It is thus that changes in the actual frame and structure of our melodies have never been attempted, unless on the introduction of the altered tunes for the first time amongst those who have never heard them in their original state.78
The assertion that the tunes, once composed, never changed is of debate. As will be seen
with several tunes, there is in fact, great variation.
76 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), 1.
77 Ibid., 6. Turlough O’Carolan (Toirdhealbhach Ó Cearbhalláin) was an Irish harper who lived near County Meath from 1670 to 1738. He is noted as both an eminently skilled harper and the composer of many of the tunes that exist in the modern repertoire.
78 Ibid., 1-2.
52
After the Bunting collections, several antiquarians began their own compilations.
Many of the collectors, noteworthy musicians in their own right, made great contributions
to Irish musicology, and several of them used a similar methodology for acquiring the
tunes. They traveled the countryside and asked traditional musicians to perform given
pieces that they then transcribed into modern musical notation. 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. 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. The ancient Irish harp was a diatonic instrument
without accidentals and thus the tunes were in modal scales. Unfortunately, many of the
transcriptions forced the melodies into a contemporary key signature or scale, removing
the ancient sound of the tune. In an effort to give metric value to notes, the free-flowing
nature of the tunes was constrained to a determined note value. Thus, despite their efforts
to preserve the ancient music, they changed it forever.
Song Comparisons
In beginning the study of Michael McGlynn’s settings of traditional tunes, 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.
Portions of songs discussed in this chapter are annotated here; complete melodies are in
Appendix D. 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. However, some of
them are quite different, so much so that they can be considered different tunes with the
53
same text. This section will demonstrate the differences and similarities, harmonic and
rhythmic, between variations of four songs (‘Sí do Mhaimeo Í, Ardaigh Cuan, “Silent,
O’Moyle,” and Siúil, a Rúin) that have been set by McGlynn.
As this primary objective of this study is the examination McGlynn’s
compositions and arrangements, this chapter is intended to demonstrate how and where
he deviates from or aligns with tradition in his arrangements. In order to accurately
establish the origin and transmission of the songs, this author compiled sources used by
many traditional musicians in Ireland. The variations are referenced according to the
author and title of the collection.
It should be noted that in creating some of his arrangements, McGlynn
intentionally used a tune that he knew without refering to any particular source. McGlynn
does not always rely on scholarly sources for his melodies, turning instead to personal
recollection. In a few instances he intentionally changed or omitted portions, as will be
seen in ‘Si do Mhaimeo Í and Siúil, a Ruín.
‘Si do Mhaimeo Í ‘Sí do Mhaimeo Í is also known by the title Caileach an Airgid or Cailleacha
Chúige Uladh, and by the English titles “The Hags with the Money” or “The Hags from
Ulster.” This tune dates from 1839, attributed by both Petrie and Fleischmann (who
notate identical tunes) to Patrick Coneely, a piper from the Connaught region. While
there are only slight variations between the four recent versions as performed by Joe
Heaney from his CD From My Tradition,79 by O’hEidhin in Cas Amhrán, by McLaughlin
in Singing in Irish, and the choral arrangement by Michael McGlynn, the modern
79 Joe Heaney, "Cailleach an Airgid," From My Tradition: The Best of Joe Heaney, 2005.
Transcribed by the author.
54
examples differ from the tune earlier attributed to Coneely. Ó Canainn notates yet another
version, and though he does not attribute the tune to any particular time, person, or place,
his 1978 version has similarities with both the tune found in the Petrie collection and the
modern versions. It could be considered as a link beteen the earlier and later versions.
Fleischmann’s Sources of Irish Traditional Music also contains two additional
versions, listed by English language titles, which bear only faint resemblance to the
others. For this study, these two versions of the melody shall be considered enough of a
deviation from the original to be separate songs. This metamorphosis, or possible use of
similar names for different tunes, occurrs frequently as the tunes were passed down
through generations. It is evidence of the living nature of the traditional music of Ireland.
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, often gave rise to entirely new songs.
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 more
modern versions by O’hEidhin, McLaughlin, and McGlynn will then be compared to the
Ó Canainn as they are very similar and demonstrate possible performance and regional
differences.
Most striking between the versions are the variant time signatures. While most of
the tune variations as demonstrated by Ó Canainn use a 6/8 meter, which place them in
the jig or double jig category, the Petrie version is written as a slip jig in 9/8. It is also
evident that the melodies are quite different, even though they are both supposedly from
the same piper. The second half of the tune contains similarities between Petrie (Example
55
5.1) and Ó Canainn (Example 5.2). Though there are differences, the basic shape of the
tune is the same. The beginning note of each compound beat is the same The boxes
denote analogous places in the tune. As the Petrie has added beats, the melody is slightly
displaced, but the examples give the idea of the same tune ornamented in a different
manner.
Example 5.1. Cailleach an Airgid- Ó Canainn, m. 5-780
Example 5.2. Cailleacha Chúige Uladh- Petrie, mm. 5-781
It is also interesting to compare four relatively contemporary versions of ‘Sí do
Mhaimeo Í. 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 5.3), the reference version in Cas Amhrán as compiled by Ó hEidhin
(Example 5.4), the solo line of Michael McGlynn’s choral arrangement from 1993
(Example 5.5), and a 2002 arrangement for solo voice and accompaniment by Mary
80 Tomás Ó Canainn, Traditional Music in Ireland (London: Routledge & Kegan, 1978), 29. 81 George Petrie, The Petrie Collection of the Ancient Music of Ireland, ed. David Cooper (Cork:
Cork University Press, 2005),152.
56
McLaughlin found in Singing in Irish Gaelic (Example 5.6). Immediately it is clear that
these are versions of the same tune. All begin with the same ascent of a fourth with a
return to the note of origin followed by a melodic descent; however, they all use different
tonal or modal centers. It should be noted that, unlike the older versions that were
intended for a solo instrument, these arrangements are for three different mediums: solo
unaccompanied singing, solo singing with accompaniment, and chorus. The differences
that exist appear to be from interpretative and ornamental decisions or in how the
performer or arranger recalled the tune.
Example 5.3. Cailleach an Airgid- Heaney, mm. 1-482
Example 5.4. 'S Í Do Mhaimeo Í- O' hEidhin, mm. 1-483
Example 5.5. 'Sí do Mhaimeo Í- McGlynn, mm. 1-484
82 Joe Heaney, "Cailleach an Airgid," From My Tradition: The Best of Joe Heaney, 2005.
83 Mícheál Ó hEidhin, “ ‘S Í Do Mhaimeo Í,” Cas Amhrán (Conmara: Cló Iar-Chonnachta, 1975),
155.
84 Michael McGlynn, ‘Sí do Mhaimeo Í (Dublin: Michael McGlynn & Warner Chappell, 1993).
Example 5.8. 'Sí do Mhaimeo Í- McGlynn, mm. 10-1387
Example 5.9. Cailleach an Airgid- Heaney, mm.11-1488
Example 5.10. Sí Do Mhamó Í- McLaughlin, mm. 11-1589
Ardaigh Cuan
Composed by Seán MacAmbrois in the middle of the nineteenth century, Ardaigh
Cuan is a haunting song about the cliffs of Northern Ireland. Legend recounts that
MacAmbrois, one of the last poets of the Glens of Antrim, composed this tune while
gazing back at his homeland cliffs while on the shores of Scotland, unable to return. It
87 Michael McGlynn, ‘Sí do Mhaimeo Í (Dublin: Michael McGlynn & Warner Chappell, 1993). 88 Joe Heaney, “Cailleach an Airgid,” From My Tradition: The Best of Joe Heaney, 2005.
Transcribed by author. 89 Mary McLaughlin, “Sí do Mhaimó Í,” in Singing in Irish Gaelic: A Phonetic Approach to
Singing in the Irish Language Suitable for Non-Irish Speakers (Pacific, MO, MO: Mel Bay Publications, 2002).
59
became one of the most recognized emigrant tunes in the modern repertoire. Versions of
this tune exist under the titles Ardaidh Cuain, Airde Cuan, Airdi Cuan, and Ardaigh
Cuan. They are printed in several collections and arranged settings dating from 1975 to
1995. Unlike other songs and airs, all available versions of this tune are remarkably
similar, the greatest variant being the use of the 6/8 or 2/4 time signatures. Of the four
compared notations, all are in a pentatonic minor with the fourth and seventh eliminated.
The two versions in the simple meter, by Ó Baoill and MacEoinare nearly identical, the
only differnces are one note and one rhythm in measures sixteen and seventeen
(Examples 5.11 and 5.12).
Example 5.11. Airdi Cuan, Ó Baoill, mm. 16-2290
Example 5.12. Airde Cuan, MacEoin, mm. 16-2291
90 Seán Óg Ó Baoill and Mánus Ó Baoill, "Airdi Cuan," in Celota Gael (Corcaigh: Cló Mercier,
1975), 10.
91 Micheál Mac Eoin, “Ardi Cuan,” in An Cór Gaelach (Corcaigh: An Chéad Chló, 1985), 9.
60
Similarly, the two versions in compound meter are nearly identical to each other.
When compared to the Ó hEidhin and McGlynn (Example 5.13) arrangements, it is
evident that the tunes are the same as examples 5.11 and 5.12. The rhythmic change to
the complex meter allows for additional ornamentation and greater variation in the
manner in which the song progresses. The lack of variation between versions may be due
to the nature and recent origin of the tune. As only about a century divides the original
composition from the current versions, it was most likely in written notation since its
creation.
Example 5.13. Ardaidh Cuain- McGlynn, mm. 1-492
Silent O’Moyle
Thomas Moore composed “Silent O’Moyle,” also known as the “Song of
Fionnuala,” “Tell me Dear Eveleen,” and “Arah My Dear Ev’Leen,” during the first
decade of the nineteenth century. Moore composed the text and fit it to the ancient air
with which he was famliar. While other airs notated only a few decades earlier exist in
different versions, this tune is nearly identical in all published records and arrangements.
The material has existed in printed sources since Moore set it. In writing about his love of
music and why he, a celebrated poet and writer, was publishing a volume of Irish
Melodies, Moore states:
92 Michael McGlynn, Ardaigh Cuan (Dublin: Michael McGlynn/ Warner Chappell, 1995).
Dryden has happily described music as being inarticulate poetry; and I have always felt, in adapting words to an expressive air, that I was bestowing upon it the gift of articulation, and thus enabled it to speak to others all that was conveyed in its wordless eloquence to myself.93
The only non-ornamental variation that is found among the six versions compared
(Moore, three in Fleischman, Page, and McGlynn) is a deviation in the minor mode.
While Moore’s version is written in harmonic minor (Example 5.14), one of the three
listings in Fleischmann’s Sources of Irish Traditional Music has the tune in melodic
minor (Example 5.15). An arrangement by N. Clifford Page in Irish Songs: Collection of
Airs Old and New is the natural minor version (Example 5.16).
Example 5.14. The Song of Fionnuala- Moore, m. 1-294
Example 5.15. Arah My Dear Ev'Leen- Fleischmann (4521), m. 1-295
93 Thomas Moore, Moore's Irish Melodies With Symphonies and Accompaniments (Boston: Oliver Ditson, 1893), v.
94 Thomas Moore, “Silent, O’Moyle, Be The Roar of Thy Water: The Song of Fionnuala,” Moore's Irish Melodies With Symphonies and Accompaniments (Boston: Oliver Ditson, 1893), 105-106.
95 Aloys Fleischmann, Sources of Irish Traditional Music c. 1600-1855: An Annotated Catalogue of
Prints and Manuscripts, 1583-1855, ed. Aloys Fleischmann, Vol. 2, 2 vols. (New York: Garland Publishing Inc., 1998), 824.
62
Example 5.16. Silent O Moyle, be the Roar of the Water- Page, mm. 1-296
In creating a choral arrangement of this tune, Michael McGlynn uses a
combination of both the natural and harmonic minor (Example 5.17), adding the raised
leading tone only in the final cadence (a derivation from the Moore original shown in
Example 5.18). The examples demonstrate the similarity of the two versions of the
melody.
Example 5.17. Silent, O Moyle- McGlynn, m. 13-1697
Example 5.18. Song of Fionnaula- Moore, mm. 13-16
96 Clifford Page, “Silent O Moyle, be the Roar of the Water,” Irish Songs: Collections of Airs Old and
New, ed. Clifford Page (Boston: Oliver Ditson, 1935), 60-61.
97 Michael McGlynn, Silent, O Moyle (Dublin: Michael McGlynn & Warner Chappell, 1993).
63
Siúil, 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), when thousands of young
Irishmen enlisted with the armies of France and other areas of the continent, in hopes of
overthrowing the British rule of Ireland. Nearly a century later in his Irish Melodies
(Example 5.19), Thomas Moore quotes the air for his “Alone in Crowds to Wander On.”
This air, unlike others included in this study, emigrated to America. Though the words
have changed, the songs known as “Johnny Has Gone for a Soldier” or “Come, My
Love” bear a striking resemblance to the published Irish tunes notated by Joyce,
Fleischmann,100 and as arranged by McGlynn.101
98 P.W. Joyce, Old Irish Folk Music and Songs: A Collection of 842 Irish Airs and Songs Hitherto
99 Pádragín Ní Uallacháin, A Hidden Ulster: People, Songs, and Traditions of Oriel (Dublin: Four Courts Press, 1893), 303-05.
100 Aloys Fleischmann, “Shule Arun (6339),” Sources of Irish Traditional Music c. 1600-1855: An Annotated Catalogue of Prints and Manuscripts, 1583-1855, ed. Aloys Fleischmann, Vol. 2, 2 vols. (New York: Garland Publishing Inc., 1998), 1159.
101 Michael McGlynn, Siúil, a Rúin (Dublin: Michael McGlynn & Warner Chappell, 1994).
64
Example 5.19. Alone in Crowds: Shule Aroon- Moore, mm. 9-13102
Most of the versions of this tune are notated in a dorian mode with the fourth
scale degree omitted, making this a hexatonic minor mode. A few versions do include the
fourth, but it is used more in the manner of a passing tone or ornamentation. Joyce
indicates that the transcription is from a combination of personal memory and several
known versions, possibly alluding to the source of variations found in other known
versions. This is also the case with McGlynn, though he intentionally omitted a line of
the chorus (as will be discussed further in Chapter 6).
The traditional music of Ireland carries with it a rich history. It is a living corpus
of musical material that changes daily. The manner in which the music has changed over
time and is affected by performers serves as a guide for those to come. Whether they
choose to adhere to the tune with minimal embellishment or use only the text as their
inspiration, the musicians who passed these songs through generations left a world of
possibilities for subsequent performers. Many of the tunes found in the genre have been
changed a multitude of times, and it is in this light that McGlynn approaches traditional
music. He is not a purist and is not concerned with retaining the exact material as the
102 Thomas Moore, “Alone in Crowds to Wander On,” Moore's Irish Melodies With Symphonies
and Accompaniments (Boston: Oliver Ditson, 1893), 54-55.
65
collectors have recorded it. He often uses impressions or recollections of a tune and
creates something different but recognizable. Through those changes, McGlynn has
added to the traditional repertoire in a choral voice.
66
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. These arrangements have been a staple
of the performance repertoire of Anúna, and all levels of ensembles from amateur to
professional and middle school to college perform them. His arrangements can be placed
into two categories: arrangements of songs from the traditional Irish repertoire, and
arrangements or reinterpretations of songs or chants from the Medieval period.
In creating a traditional song arrangement, McGlynn admittedly does not attempt
to preserve the original melody of the song. Rather, he strives to reinterpret the
impression of the song by retaining something familiar. Many of his Irish traditional song
settings come from his memory during his time at the Gaeltacht rather than from a
specific source.
One of the misapprehensions about my music is that I am not actually concerned with saving Irish traditional music; I am not a traditionalist. The only exposure I had [to traditional Irish song] was during my year at Coláiste na Rinne in Dún Garbhán. The songs that I set are not from a specific collection; they are more impressions of the songs I remembered.103
His reinterpretations or arrangements of chant or medieval material all retain the
original melody in some manner, and can be considerd arrangements. This chapter
103 Michael McGlynn, interview with author, Ft. Lauderdale, FL, February 2010.
67
includes discussions of Sí do Mhaimeo Í and Siúil, a Rúin, from the traditional repertoire,
and Cormacus Scripsit, from chant sources.
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. McGlynn has
set this tune for SATB chorus and a featured female solo. The solo is set in a manner that
exaggerates the rhythmic vitality naturally found in the melodic line. 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. The original tune places large gaps in the middle of the phrase. When I thought about it in a choral setting I knew I could not do that. I would have had to place little vocal gymnastics in the breaks as to not stop the rhythm. So, what I did was, I took out the gaps. The result is something that is impossible to sing in one breath, but a choir can do it since they stagger the breaths. So therefore the piece works wonderfully as a choral piece, but it is not the piece it began as.104
The difference in rhythmic momentum is visible in the examples of the Joe Heaney
performance (Example 6.1) and solo line from McGlynn’s choral arrangement (Example
6.2).
104 Michael McGlynn, interview by author, Ft. Lauderdale, FL, February 2010.
68
Example 6.1. Cailleach an Airgid- Heaney, pause in forward momentum 105
105 Joe Heaney, "Cailleach an Airgid," From My Tradition: The Best of Joe Heaney, 2005.
Transcribed by author.
69
Example 6.2. ‘Sí do Mhaimeo Í- McGlynn, derivation from traditional tune106
Throughout much of the arrangement, the chorus serves as both a harmonic
foundation and a driving rhythmic force in its repetition of the text Sí do Mhaimeo Í. The
repeated articulation of the initial consonant (the [ʃ] sound at the beginning of the
phrase) during each repeat of the curfá (chorus) is emphasized by offset rhythms within
the parts (Example 6.3). 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.
106 Michael McGlynn, ‘Sí do Mhaimeo Í (Dublin: Michael McGlynn & Warner Chappell, 1993).
70
Example 6.3. ‘Sí do Mhaimeo Í, McGlynn, annotated rhythmic articulation, mm. 1-5
While the harmonic support is unusual for what one might expect to hear in a
traditional song arrangement, it is important to remember that this would have
traditionally been performed unaccompanied. It is interesting that McGlynn’s use of
parallel movement, often found in his original compositions, also characterizes the
accompaniment now being added by traditional groups who are recording this music
(Example 6.4). With the parallel motion, as well as the drone-like repetition of the bass
line, McGlynn creates a modern arrangement using traditional ideas superimposed on
ideas found both in traditional music and early art music. Both the parallel movement
and the use of the drone would have also been found in piping tunes in Ireland.
71
Example 6.4. Sí do Mhaimeo Í- McGlynn, parallel movement that concludes each verse, mm.11-12
Although McGlynn was not inclined to retain the original song, the chorus’s
change to single syllable homophonic accompaniment during each verse is reminiscent of
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
motion (Example 6.5). The soloist is thus able to more freely negotiate the language and
interpret the song. 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.
&
V?
bb
b b
b b
86
86
86
Alto
Tenor
Bass
.œ œ œ. ‰Ah
.œ œ œ. ‰Ah
.œ œ œ. ‰Ah
.œ œ œ. ‰Ah
.œ œ œ. ‰Ah
.œ œ œ. ‰Ah
!
!
!
&
V?
bb
b b
b b
A
T
B
4 !
!
!
!
!
!
Si do Mhaimeo - 6.2Music by: [Composer]Lyrics by: [Lyricist]
Arranged by [Arranger]
72
Example 6.5. Sí do Mhaimeo Í, McGlynn, choral accompaniment, mm. 16-19
Through the use of the featured soloist, the intent and tradition of the song
heritage has been maintained while being reinterpreted. The song reflects life in 1839
Ireland where the ladies would sit and gossip while working (See Table 6.1 for the
translation).107 The chorus plays the role of townspeople reacting to a story they are being
told.
107 Michael McGlynn, ‘Sí do Mhaimeo Í (Dublin: Michael McGlynn & Warner Chappell, 1993).
Translation is supplied with the score purchase
&&&
V?
bb
b b
b b
b b
b b
86
86
86
86
86
Soprano 1
Soprano 2
Alto
Tenor
Bass
œ œ œ œ Jœroth aí gh'l tim peall
..˙oo
.˙boo
.˙oo.˙oo
œ œ œ œ œ œsiar ó na ceath rún a[í]
.˙
.˙
.˙
.˙
œ œ œ œ JœCatih feadh sí'n stiú ir
.˙
.˙
.˙
.˙
œ œ œ œ Jœnaoi nuair 'ara 'cúl, 'Sní
.˙
.˙
.˙
.˙
- - -
Si do mahimeo Music by: mcglynn
73
Table 6.1. Sí do Mhaimeo Í, Text and Translation ‘S í do Mhaimeo Í, ‘s í do Mhaimeo Í, ‘s í do Mhaimeo Í cailleach an airgid; ‘S í do Mhaimeo Í, ó Bhail’ Iorrais Mhóir í, ‘S chuirfeadh sí cóistí ‘r bhóithre Chois Fharraige. ‘bhFeicfeása ‘n “steam” ‘ga’l siar Tóin Uí Loing’, ‘S na rothaí gh’l timpeall siar óna ceathrúna; Caithfeadh sí’n stiúir naoi n-uair’ar a cúl, ‘S ní choinneodh sí siúl le cailleach an airgid ‘Measann tú ‘bpósfa, ‘measann tú ‘bpósfa, ‘Measann tú ‘bpósfa cailleach an airgid? Tá ‘s a’m nach bpósfa’, tá ‘s a’m nach bpósfa’, Mar tá sé ró-óg ‘gus dólfadh sé’n t-airgead. ‘S gairid go bpósfa’, ‘s gairid go bpósfa’, ‘S gairid go bpósfa’ beirt ar an mbaile seo; ‘S gairid go bpósfa’, ‘s gairid go bpósfa’, Séan Shéamais Mhóir agus Máire Ní Chathasaigh.
She is your granny, she is your granny, She is your granny the hag with the money She is your granny from Iorrais Mór, 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, But she never keeps pace with the hag with the money. Do you reckon he’d marry, do you reckon he’d marry, Do you reckon he’d marry the hag with the money? I know he’ll not marry, I know he’ll not marry, Because he’s too young and he’ll drink the money. We’ll soon have a wedding, we’ll soon have a wedding, We’ll soon have a wedding by two in the village We’ll soon have a wedding, we’ll soon have a wedding, Between Séan Séamais Mór and Máire Ní Chathasaigh.
While the conductor and choir need not be fluent in Irish to perform ‘Si do
Mhaimeo Í, they must have a certain level of understanding of the flow of the language
(an IPA transliteration can be found in Appendix C). If this is to be performed without a
conductor (a viable option especially when performed with a smaller ensemble), the
soloist needs to be able to lead the ensemble to the changes in harmony; the ensemble
must listen intensely to the solo line, much in the same manner as a soloist leading to
74
harmonic changes during a recitative. When performed with a conductor, the conductor
should follow the soloist and strive to join the two entities so they work as one unit.
This arrangement is accessible to all levels of choirs and is intended to be fun. If a
soloist is not able to sing the duration of the lines without taking a breath, she should take
a breath that is percussive in nature and omit a syllable (marked syllable Example 6.6) in
order to make the breath part of the phrase. In performance the chorus should be acutely
aware of the places in the line where it is difficult for the soloist to project.
Example 6.6. ‘Sí do Mhaimeo Í- McGlynn, example of syllable omission to facilitate breath, mm. 9-12
Siúil, a Rúin
As was discussed in Chapter Five, Siúil, a Rúin dates from around 1700 and is
seen as a remorseful song of farewell. The structure is a simple strophic verse with a
refrain (Table 6.2). The difference here is that the verse is in English and the refrain is in
Irish. Each statement of the verse has slight variations of rhythm and ornamentation
which are dependent on the text. The chorus serves as accompaniment throughout the
verses, creating the harmonic foundation for the soloist. In the refrain the chorus sings the
text while maintaining a more or less homophonic structure. McGlynn purposefully
deviated from the original tune by omitting the final line of the curfá, “Is go dte tú mo
mhuirnon slan” (for you my darling will be).
75
Table 6.2. Siúil a Rúin, form Introduction m. 1 Harmonic introduction A m. 9 Verse 1 B m. 24 Refrain A m. 30 Verse 2 B m. 38 Refrain Interlude m. 44 Verse melody in violin B m. 53 Refrain A m. 54 Verse 3 (half statement) B m. 62 Refrain B m. 69 Refrain (extended)
Siúil, a Rúin is a moderately easy arrangement that can serve as an introduction to
singing in the Irish language. The solo, while marked for mezzo-soprano, could also be
sung by a soprano, as it is in a moderate tessitura. The chordal movements of the
ensemble move logically and are in a moderate range.
Medieval Chant Source
Cormacus Scripsit
Cormacus Scripsit is an arrangement of a chant melody and text from notations
on an Irish psalter. Completed around the twelfth century, the Psalter was probably in a
library on the continent for much of the Middle Ages and rebound in the sixteenth
century.108 The British Library acquired it in 1904.109 The source of the text (Table 6.3)
and chant for McGlynn’s arrangement are from the final page of the manuscript (Figure
6.1). On this page Cormac, the scribe, writes to ask for prayers from those who read it.
108 William O'Sullivan, Manuscripts and palaeography, Vol. 1, in A New History of Ireland:
Prehistoric and Early Ireland, ed. Dáibhi Ó Cróinín (Oxford: Oxford University Press, 2008), 533. 109 Sarah Biggs (Catalog of Illuminated Manuscripts, British Library), email communication
110 The source document is held in the British Library. The title appears as Psalter in all reference
books and catalogs. Reference Add 36929 British Library Catalog. O’ Sullivan refers to it as the Cormac Psalter. An illuminated manuscript, the braid-like lines appear in red as do parts of the large first letters.
77
Table 6.3. Cormacus Scripsit, 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, 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. Cormacus Scripsit is in a ternary form in which
each large section is comprised of several smaller subsections (Table 6.4). The end of the
first section is delineated by a tonal shift, and the final section is set off from the previous
by a caesura. In this way his intent of “framing the original chant” (Theme B) is
realised.111 McGlynn composed two parts of the thematic material, Themes A and C,
which are related to the original melody, Theme B, through the use of similar tonal
centers and melodic motion. McGlynn states that in placing his own arrangement around
the original
… it causes people to look at the image in the middle. 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... This constant taking of nature and using it to amplify the message of the central Christian conceit is the basis of the form.112
111 Michael McGlynn, interview with author, Dublin, Ireland, November 2009. 112 Ibid.
78
Table 6.4. Cormacus Scripsit, form m. 1 Theme A, McGlynn
Opening statement Over drone
m. 9 Theme A doubled at the fifth A
m. 14 Theme A altered ending Drone doubled at octave
m. 17 Theme B, Chant motive B m. 23 Theme C, McGlynn Chant motive Aleatoric figure
m. 28 Tutti entrance Theme B variation Theme C, augmented
m. 38 Theme A, as in opening statement C
m. 42 Theme A, doubled at the fifth
Drones and fifths return
Example 6.7. Cormacus Scripsit, Theme A, mm. 2-5
Example 6.8. Cormacus Scripsit, Theme B, mm. 18
Example 6.9. Cormacus Scripsit, Theme C, mm. 23
The use of thematic material is quite unique throughout Cormacus Scripsit.
Theme A (seen in Example 6.7) is in G Phrygian. The addition of the doubled theme a
& bbb 44 n n n.˙ œCor
.˙ œ œ œ œ œ œ3
ma cus Scrip sit
œ œ œ œ œ3
hoc psal ter i um
!- - - - - - - - - -
& œ œ œ œ œ œ œ œ œ œ œ œ œ œU œUCor ma cus Scrip sit hoc Psal ter i um o ra pro e o
Arranged by [Arranger]Theme B Variation at the fifth
Theme C augmented variation
Theme B derived
80
The greatest difficulty for the conductor lies in conducting the chant in a non-
metrical manner. In preparing Cormacus for performance, special care must be taken to
ensure that the open and perfect intervals are well tuned. Sliding between notes may take
time to perfect, so that the men move precisely (Example 6.12).
Example 6.12. Cormacus Scripsit, sliding between notes, mm. 28-30
While McGlynn’s arrangements of traditional songs and Medieval chants
comprise a small percentage of his overall compositional output, they are significant in
his repertoire. Through these melodies, he has taken a body of music not known to the
vast majority of the public and created arrangements that are to the public through the
choral medium.
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A.
T.
B.
28 ˙F
tutti œ œ œ œ œ œ œ œ œ œCor - ma - cus Scrip -
28 ˙F
œ œ œ œ .œCor - ma - cus Scrip -
˙F
˙ ˙ .œCor - ma - cus Scrip -
W
*There must be no discernible breaths between notes in this section
fOh*WW
fOh*
œ œ œsit
.œsit
.œsit
.œSlide between notes
..œœ
œ œ œ œ œhoc psal - ter - i - um
œ œ œ œ œhoc psal - ter - i - um
œ œ œ œ œhoc psal - ter - i - um
W
WW
œ œ œo - ra
œ œo - ra
œ œo - ra
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B.
32 .œ œ œ ˙ ˙pro e - o
32 œ œ œ œ œ œ œ ˙ ˙pro e - o
˙ ˙ .œ ˙pro e - o
W
WW
˙ œ œ œ œ œ œ œ œ œ œqui le - gis hec
˙ œ œ œ œ .œqui le - gis hec
˙ ˙ ˙ .œqui le - gis hec
W
WW
œ œ œo -
.œo -
.œo -
.œ
..œœ
œ œ œ œ œra pro - ce - se
œ œ œ œra pro - ce - se
œ œ œ œra pro - ce - se
w
ww
3
81
CHAPTER 7
SELECTED ORIGINAL CHORAL WORKS OF MICHAEL MCGLYNN
Michael McGlynn’s original choral output can be divided into three categories of
composition, each with a different genesis of inspiration: traditional, natural, and
spiritual. All three categories are influenced by Irish culture in different ways. The
traditional music is drawn from the ancient song and poetic traditions of his country. The
natural compositions are an attempt to audibly depict the physical beauty of Ireland. With
the spiritual compositions McGlynn creates music that draws upon Ireland’s ancient
culture; he creates the sensation of his connection to something far greater than himself.
Of the three categories of music, McGlynn considers the natural and spiritual
compositions linked together:
The spiritual music, not sacred, is usually informed by using some kind of religious text, but the text is something that is not necessarily set in a manner that is religious; it is set in a contemplative way. We look at the ideas behind the text, and through those we find hopefully a greater truth. That is exactly the way that I set the secular texts.... Secular [music] uses tonal language to produce the thought of something existing beyond this world, a secular text with almost no spiritual input to show an almost pantheistic place where God exists in everything. I respond to the text, and that is the key.113
McGlynn’s original compositions consist of psalm settings, mass movements, settings of
other sacred texts, works with his own texts, and settings of texts by famous Irish
philosophers and poets. He has set texts in Irish, Early Irish, Middle Irish, Latin, Spanish,
113 Michael McGlynn, Interview with author, Ft. Lauderdale, Florida, February 2010.
McGlynn chooses on occasion to create new compositions that could be perceived
as arrangements of Irish songs. These works are not arrangements, but are complete
reinterpretations of a song or, in the case of Dúlamán, entirely original using only a
traditional text. The melodies in this kind of McGlynn’s compositions are often confused
with existing traditional songs, maybe with a few deviations. In fact they are not
traditional songs—he is not a traditionalist and is not concerned with maintaining the
song tradition. His intent is to create new choral music that fits into the overall vocal
tradition of Ireland.
People just assume that I have just found a “living” version. In fact I have done what has made solo traditional music so viable: I have created a new version. I take the songs and reinterpret them in a new way. My priority is always to create a choral version that works.114
Dúlamán
Dúlamán is a well-known song in the traditional Irish repertoire. However,
McGlynn’s setting bears no resemblance to the original tune. The Amhrain Chuige
Uladh, as compiled by Méith,115 includes a version of the tune (Example 7.1) that has
been recorded by several contemporary traditional Irish music groups, including Altan,
114 Michael McGlynn, Interview with author, Ft. Lauderdale, Florida, February 2010. 115 Muireadhach Méith compiled traditional Irish songs in the 1970s and 1980s.
83
Clannad, and the Kingston Céilí Band. In these versions the tune is a reel in a moderate
lilting tempo, a far cry from McGlynn’s setting of this same text.
Example 7.1. Dúlamán, tune from Amhráin Chúige Uladh116
McGlynn was first drawn to this text because of the inflection of the Irish
language. When he set this text in 1995 for a male ensemble, it was in fact the rhythm of
the language that most intrigued him. The Irish is intricately placed in the fast-changing
meter to accentuate the natural syllabic stresses (Example 7.2). In his version the tenor
solo sings the bulk of the text, while the chorus refrain is rhythmically energized with a
1977). 117 Michael McGlynn, Dúlamán (Dublin: Michael McGlynn and Warner Chappell, 1995).
& 42 œ œ#A
.œ œ .œ œn ghin mh n
œ .œ œ ! Sin a
.œ œ .œ œnall na fir shu r
œ .œ œghe A
.œ œ .œ œmha thair mh n
&6 œ .œ œ
! Cuir mo
.œ œ .œ œroith lean go dt
˙me.
.œ œ .œ œD la m n na
.œ œ œbinn e bu dhe
.œ œ .œ œd la m n a
œ œGaodh lach,
&13
.œ œ .œ œD la m n na
.œ œ œbinn e buidhe,
.œ œ .œ œdu la man a
œ jœ ‰Goadh lach.
84
Example 7.3. Dúlamán, chorus refrain, mm. 6-9
The overall structure of McGlynn’s Dúlamán is still very much in keeping with
the traditional song form. 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. The traditional versions have between four and seven verses, four of which
McGlynn used.
Dúlamán is McGlynn’s most popular composition: it is exciting and rhythmic and
it is fun for the ensemble to sing. He has completed revisions of this for SATB and SSAA
voicings in addition to the original TTBB, which he feels works the best. The text (Table
7.1) is well suited for a male ensemble, as it tells of the young men who have gathered
the seaweed coming back to town while the soloist, the father, tells his young daughter
about the men.118
118 Celtic Lyrics Corner, October 20, 2008, http://www.celticlyricscorner.net/anuna/dulaman.htm (accessed October 29, 2009).
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B 1
B 2
& & & & & &Dúl a mán, dúl a mán,
& & & & & &Dúl a mán, dúl a mán,
& & & & & &Dúl a mán, dúl a mán,
& & & & & & &dúl a mán na binn e buí,
& & & & & & &dúl a mán na binn e buí,
& & & & & & &dúl a mán na binn e buí,
& & & '& &dúl a mán na
& & & '& &dúl a mán na
& & & '& &dúl a mán na
& & & & & &binn e buí Gae lach
&( & & & & &binn e buí Gae lach
&( & & & & &binn e buí Gae lach
85
Table 7.1. Dúlamán, text and translation Dúlamán na binne buí, dúlamán Gaelach, Dúlamán na farraige, dúlamán Gaelach. 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’,” arsa’ dúlamán Gaelach. Bróga breátha dubha ar a’ dúlamán Gaelach. ‘Bairéad agus triús ar a’ dúlamán Gaelach Tá ceann buí óir ar a’dúlamán Gaelach. Tá dhá chluais mhaol’ar a’ dúlamán Maorach.
Seaweed of the yellow peaks, Gaelic seaweed. Seaweed of the ocean, Gaelic seaweed O gentle daughter, here come the wooing men. O gentle mother, put the wheels in motion for me! I would go to the tailor with the Gaelic seaweed “I would buy expensive shoes," said the Gaelic seaweed. The Gaelic seaweed has beautiful black shoes. The Gaelic seaweed has a beret and trousers. There is a yellow gold head on the Gaelic seaweed. There are two blunt ears on the stately seaweed.
The challenges within this composition are greater than they may first appear. The
open harmonic setting and fast harmonic shifts (Example 7.4) make intonation a central
concern for any conductor. The ever-shifting meter can be challenging, as each solo
section is slightly different in meter, making choral entrances difficult to synchronize. It
is essential that the ensemble be exceedingly familiar with the solo in order to better
anticipate the entrances. 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, Dúlamán can be quickly learned and memorized. Dúlamán gives the
listener the impression that it is far more difficult than it actually is.
86
Example 7.4. Dúlamán, Chorus, mm. 26-27
Natural Works
Among McGlynn’s compositions that he considers influenced by nature, he is
especially fond of those with references to the sea. McGlynn views this music as a song
cycle that includes “Invocation” (1992), “Wind on Sea” (1994), “The Sea” (1996),
“Island” (1996), and “1901” (1997 with revision in 2009). Through these compositions
he sought to evoke the idea of the sea and describes the influence it had on him.
When I was very young we lived by the sea in the west of Ireland. We lived in a very wild and ancient place in many ways. 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, but particularly the sea. It was at that time that I developed a great love of sea swimming. I love the sea. The human voice is the only instrument that can create that flowing sound [of the sea]. I suppose that I have tried to describe the sea in many ways. I have tried to look at the sea and then interpret how it makes me feel. The first time I think I did it very successfully was in the piece “Invocation” which dates from 1993. Although it does not mention the sea except as a passing reference, 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. I took that a step further in 1994 with “I Am Wind on Sea” which I shortened to “Wind on Sea”. The sea, while it is only a small part of the text, is something that runs throughout the entirely of the work. The sense of flow and the sense of movement forward is ever constant. Then I followed that in 1995 and 1996 with
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B 1
B 2
& & & & & & &Dúl a mán na binn e buí,
& & & & & & &Dúl a mán na binn e buí,
& & & & & & &Dúl a mán na binn e buí,
& & & & & & & & & &dúl a mán na binn e buí Gae lach,
& & & & & & & & '&dúl a mán na binn e buí Gae lach,
& & & & & & & & (&dúl a mán na binn e buí Gae lach,
87
two songs from the album Deep Dead Blue. There are two tracks on that called the “ The Sea” and “Island” which complete that cycle of music, “Island” being the one that I think far more successful of the two. 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.119
Two of these compositions, “Wind on Sea” and “Island,” are included here as examples
of this repertoire.
Wind on Sea
Composed for two tenor soloists, SATB chorus, and violin, the 1994 composition
“Wind on Sea” is seen by the composer as a natural evolution from his 1993
“Invocation.” As such, he chose to use material from “Invocation” as an introduction and
as a coda to the new composition. Both complete scores can be viewed in Appendix E for
comparison.
“Wind on Sea” is in a large compound three-part form with the material from
“Invocation” supplying symmetry to the exterior sections (Table 7.2). Essentially,
McGlynn split “Invocation” in half, ignoring his original introduction to that work, and
used it on either side of the new composition. Table 7.2 references the specific measures
from “Invocation” when they are applicable in the overall form of “Wind on Sea.”
119 Michael McGlynn, interview with author, Ft. Lauderdale, Florida, February 2010.
88
Table 7.2. Wind on Sea, form Intro 1-8 material from
“Invocation” (mm. 9-16)
Ailíu iath nErenn.
A transition 9-12 choral statement of harmonic movement
I am the wind breathe on the sea. I am tide wave on the ocean
a 13-20
tenor solo entrance with chorus repeating transition material but rhythm changes
I am the wind breathe on the sea. I am tide wave on the ocean. I am the ray eye of the sun. I am the tomb cold in the darkness.
A’
b 21-24
tenor solo remains, chorus changes movement
Who but I can cast light upon the meeting of the mountains? Who but I can find a place that hides away the sun?
a’ 25-32
Chorus returns to material similar to transition with new text Tenor solo has same melodic material from A
I am a star, tear of the Sun. I am the bloom, wonder in flower. I am the spear that cries out for blood the word of great power. I am the wind that breathes on the sea.
b 33-36
Same material as mm. 21-24.
Who but I can cast light upon the meeting of the mountains? Who but I will cry aloud the changes in the moon?
A’ (cont) extension/
transition 37-42
Who but I can find a place that hides away the sun?
a 43-46
Same material as mm. 25-32
I am the depths of a great pool. I am the song of the blackbird. I am the wind that breathes on the sea.
b 47-50
Same material from mm. 21-24.
Who but I can cast light upon the meeting of the mountains? Who but I will cry aloud the changes in the moon?
A
extension 51-52
Who but I can find a place that hides away the sun?
c 53-59 (60)
Uses the repeat from “Invocation” (mm. 9-16)
Ailíu iath nErenn.
Coda
d 61-68
Section B of “Invocation (mm. 17-24) Tenor solo with English text evoking
From the breeze on the mountain, to the lake of deep pools; from the waterfall down to the sea; never changing or ending on the voice of the
89
images if Ireland. Chorus in chant-like Latin harmonic support
wind sing the dark song of Erenn to me. In spirat omnia vivificat omnia superat omnia suffulcit omnia.
c’ 69-77
Conclusion of “Invocation” (mm. 25-32)
Ailíu iath nErenn.
McGlynn seeks to evoke the sound sensation of the ocean in this composition. He
does so by using the chorus in a flowing harmonic passage (Example 7.5) with voice
parts moving on each beat in a non-accented syncopated figure. He also specifies that the
chorus should not breathe as a group unless indicated in the score. McGlynn does not
insert a choral breath or rests between measure nine and measure fifty-two. This constant
motion he creates depicts both the depth and vastness of the sea and its seemingly
unending currents.
Example 7.5. Wind on Sea, choral passage, mm. 9-12120
When the violin solo enters in measure seventeen, its melodic movement is in
opposition to that of the solo (Example 7.6). As McGlynn sought to imitate the motions
120 Michael McGlynn, Wind on Sea (Dublin: Michael McGlynn and Warner Chappell, 1994).
&?43
43
S/ A
T/B
jœœ œœ jœœ œœ#
E sus4/ADbmin7
A Maj7/DbAbmin7/Eb
I am the windjœ œb jœ œ‰ œb Jœ œb
am the wind
..œœ jœœ œœD ??/F
G min7/BbA min7/C
breathe on sea
.œ jœ œ‰ œb Jœ œbreathe on sea
..œœ jœœ œœ#E ??/Ab A Maj7/Db
Abmin7/Eb
I am tide.œb jœ œ‰ œb Jœ œb
I am tide
jœœ œœ jœœ œœ œœ
D ??/FG min7/Bb A min7/C
wave on the o ceanjœ œ jœ œ œ‰ œb Jœ œ œon the o cean-
-
&?
S
B
5 !
!
!
!
Wind on Sea Music by: McGlynnArranged by [Arranger]
90
of the sea, this movement can be viewed as the tossing of the waves. The following A’
section gives momentary rest from the undulations that came before (Example 7.7), both
through a slower harmonic motion and a change from text to a single vowel.
Example 7.6. Wind on Sea, violin and solo, mm. 17-20
&
V
&?
43
43
43
43
Violin
Tenor
Soprano
Baritone
œ- œ# - œ# - œœ œ# œ# œ3
3Expressively
œ# œ œ .œ jœI am the ray, the
..œœ jœœ œœ#I am ray
.œb jœ œ‰ œb Jœ œb
I am ray
œ œ œb œœ œ,3
œ œ œb ˙eye of the Sun.
jœœ œœ jœœ œœeye of the sun.jœ œ jœ œ‰ œb Jœ œ
of the sun
œ! œ# œ# œœ œ# œ# œ3
3
œ# œ œ ˙I am the tomb,
..œœ jœœ œœ#I am tomb
.œb jœ œ‰ œb Jœ œb
I am tomb
œ œ œb œ œ œ,3
œ œ œ œ œ œcold in the dark ness
jœœ œœ jœœ œœ œœcold in the dark nessjœ œ jœ œ œ‰ œb Jœ œ œ
in the dark ness-
-
&
V
&?
Vln.
T
S
B
5
.˙5 .œ œ œ œ œb œb œœ œ
Who but I can cast light upon the
˙ œœoo
Œ ˙Ah
˙bb œœboo
Œ œœ œ œœ3
œ œ œ œ œ œ œmeeting of themountains?
œœ ..œœ# jœœ.˙œœ ..œœ Jœœ
.˙b!
.œ œ œœ œ œb œb œ œWho but I can find a place that
˙ œœŒ ˙
˙bb œœb
œ œ œ ˙3
œ œ œ œ ˙hides a way the sun?
œœ ˙#.˙œœ ˙
"
"
"
"
-
Wind on Sea- example 2 Music by: [Composer]
91
Example 7.7. Wind on Sea, part b, mm. 17-20
McGlynn concludes “Wind on Sea” much in the way it begins. The coda starts
with a repeat of the introduction and completes the material borrowed from “Invocation”
evoking the spirit of Ireland (Table 7.3). In creating the structural pillars at the beginning
and the end, McGlynn reinforces his affinity for formal structure.121
Table 7.3. Wind on Sea, text and translation Ailíu iath nErenn. I invoke the land of Ireland. In spirat omnia vivificat omnia superat omnia suffulcit omnia.
He inspires all things He makes all things grow He is above all things He supports all things.
Ailíu iath nErenn. I invoke the land of Ireland.
121 Michael McGlynn, Wind on Sea (Dublin: Michael McGlynn & Warner Chappell, 1994). Translation taken from score.
&
V
&?
43
43
43
43
Violin
Tenor
Soprano
Baritone
œ- œ# - œ# - œœ œ# œ# œ3
3Expressively
œ# œ œ .œ jœI am the ray, the
..œœ jœœ œœ#I am ray
.œb jœ œ‰ œb Jœ œb
I am ray
œ œ œb œœ œ,3
œ œ œb ˙eye of the Sun.
jœœ œœ jœœ œœeye of the sun.jœ œ jœ œ‰ œb Jœ œ
of the sun
œ! œ# œ# œœ œ# œ# œ3
3
œ# œ œ ˙I am the tomb,
..œœ jœœ œœ#I am tomb
.œb jœ œ‰ œb Jœ œb
I am tomb
œ œ œb œ œ œ,3
œ œ œ œ œ œcold in the dark ness
jœœ œœ jœœ œœ œœcold in the dark nessjœ œ jœ œ œ‰ œb Jœ œ œ
in the dark ness-
-
&
V
&?
Vln.
T
S
B
.˙
.œ œ œ œ œb œb œ œ œWho but I can cast light upon the
˙ œœoo
Œ ˙Ah
˙bb œœboo
Œ œœ œ œœ3
œ œ œ œ œ œ œmeeting of the mountains?
œœ ..œœ# jœœ.˙œœ ..œœ Jœœ
.˙b!
.œ œ œœ œ œb œb œ œWho but I can find a place that
˙ œœŒ ˙
˙bb œœb
œ œ œ ˙3
œ œ œ œ ˙hides a way the sun?
œœ ˙#.˙œœ ˙
-
Wind on Sea- example 2 Music by: [Composer]
92
Island
Composed two years after “Wind on Sea,” the 1996 “Island” is scored for SATB
chorus and harp. This composition is the final choral work in McGlynn’s evolutionary
cycle of music based upon the ocean (“1901,” though later, is the orchestral component to
the cycle). He explores both the stillness and the motion of the water in the contrast
between the chorus and the harp. The opening four measures illustrate this natural
contradiction (Example 7.8) and are characteristic of the rest of the composition. Whether
the chorus is holding a single chord on an open vowel or moving through text in a fluid
manner, it is at any given time either rhythmically or harmonically static (Example 7.9).
Example 7.8. Island, chorus and harp contrast, mm. 1-4122
122 Michael McGlynn, Island (Dublin: Michael McGlynn and Warner Chappell, 1996).
&
&
V
&?
c
c
c
c
c
..
..
..
..
..
..
..
..
..
..
Soprano 1
Soprano 2
Tenor
Harp
p
p
!!
wmm
wmm
wmm
œb œ œ œœ œ œb œ
w
ww
œb œ œ œœ œ œb œ
w
ww
œ# œ ˙œ œ
w
ww
œ# œ ˙œ œ
&
&
V
&?
S 1
S 2
T
Hp.
5
w
ww
5 "
"
Island
93
Example 7. 9. Island, choral stasis mm. 29-32
The use of text in “Island” is unique. McGlynn chose to use English, Irish, and
Latin in combination (Table 7.4), sometimes simultaneously. The changes in the text
occur most often in conjunction with tonal shifts and help to delineate the overall form of
the composition (Table 7.5).
&
&VV?
&?
c
ccc
c
cc
Soprano
Alto
Tenor
Tenor
Bass
Harp
œœ ..˙De us
œ .˙De usœ .˙De us!
woo
œ .˙De us
!!
œœ ..˙˙so lis
œ .˙so lisœ .˙so lis !
wœ .˙so lis
œ œ o
œ œ
˙ ˙ac lu
˙ ˙ac lu˙ ˙ac lu!
w ˙ac lu
!!
wwnae
wnaewnae !
wwnae
œ œ o
œ œ
!
!!!
w
!!
- - -
- - -
- - -
- - -
Island
94
Table 7.4. Island, 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, "You who have turned away from home.” Ascnam tar tuinn topur ndílenn dochum nÉirenn
To sail across the wild sea back to Ireland
Deus caeli et terrae Maris et fluminum Deus solis ac lunae
God of heaven and earth The sea and the rivers 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.” Deus super caelo et in caelo et sub caelo Habet habitaculum erga caelum Et terram et mare Et omnia quae sunt in eis Non separantur Pater Et Filius et Spiritus Sanctus
God above heaven and in heaven and under heaven He dwells in heaven And earth and sea And all that is in them Not separate are the Father 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, "You who have turned away from home.” Ascnam tar tuinn topur ndílenn dochum nÉirenn
To sail across the wild sea back to Ireland
Inspirat omnia Vivificat omnia Superat omnia Suffulcit omnia
He inspires all things He makes all things grow He is above all things He supports all things
Table 7.5. Island, form Introduction 1-4 open vowel
a 5-21 English b 21-24 Irish
25-28 Latin 29-33 Latin c 34-46 Latin and English 47-50 Irish and English
A
d 51-54 Latin
B 55-60 Latin Key change chant
Transition 61-65 open vowel a’ 66-80 English A’ b’ 81-84 Irish
D 85-101 Latin Key change chant
McGlynn has several other compositions that explore various aspects of nature
and the personification of the natural world. Among them are “August,” “Silver River,”
and “The Wild Song.” 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,” he is
very careful to specify that he does not mean that they are spiritual in a religious context.
Although many of the texts are associated with the Catholic Church because of their
scriptural use, he views them in a spiritual realm that does not ascribe to a specific
religion. Many of the texts have dual meanings, and most have a natural or human
component. McGlynn spoke about this concept in a January 2010 interview: “...this
constant taking of nature and using it to amplify the message of the central Christian
96
conceit is the basis of the form.”124 The exception to his choice of text settings is in
commissioned works, where he is constrained by the commisson, as in the Agnus Dei.
Other compositions included in this category are the Sanctus from his Celtic Mass and
“Incantations,” the texts of which he chose or created because of the spiritual connection
he found with the words.
Sanctus
McGlynn composed the Sanctus from his 1991 Celtic Mass for three soprano
solos, baritone solo, and SATB chorus with optional harp accompaniment. He indicates
in the score that the three solos should be placed at various locations around the venue in
an antiphonal manner. This setting of the mass movement is quiet and ethereal, and
should be performed with as little physical motion from the ensemble as possible. The
only movement should be from the baritone soloist as he moves from his position in the
chorus to prepare to sing the solo. According to McGlynn this soloist is intended to
represent the “voice of man” and should move forward in a dominant manner.125
The overall form of Sanctus is ABA (Table 7.6) and is based upon “...the
Hildegard idea of rhapsodic melody and restrained ecstasy.”126 The use of three soloists
is significant for McGlynn because, as he stated, “the whole point to the Sanctus is the
number three. Three soloists echo the three statements of the word, and there are three
statements of the choir in the center singing sanctus.” He said the soloists must be placed
124 Michael McGlynn, interview with author, Dublin, Ireland, January 2010. 125 Michael McGlynn, rehearsal comments, Coral Gables, February 2010. 126 Michael McGlynn, interview with author, Ft. Lauderdale, Florida, February 2010.
97
throughout the venue so as to give “a sense of space and endlessness as the angels sing
for all eternity.”127
Table 7.6. Sanctus, formal structure m. 1 Sanctus, Sanctus, Sanctus Theme A
by soloists C drone
Dominus Deus Sabbaoth, Pleni sunt caeli et terra gloria tua
Theme A variations by soloists
C over F drone
A
m. 25 Osanna in excelsis Theme B by solists and choral women
Men C/F drone Harp arpeggio
B
m. 36 Sanctus, Sanctus, Sanctus Dominus Deus Sabbaoth, Pleni sunt caeli et terra gloria tua, Osanna in excelsis
Free chant by solo
C drone
Osanna in excelsis Theme A by solists
m. 51
Benedictus qui venit in nomine Domini. Ossana.
Theme B by choral women
themes occur in stretto over C/F drone and harp arpeggio C
m. 63 Sanctus, Sanctus, Sanctus Theme A by solists
McGlynn employs two main themes in Sanctus, the first having several variations
which are harmonically related. The entire composition is based around a C minor scale,
which is placed over a foundation of stacked fifths, F and C. The pentatonic scale of
Theme A (C, D, E-flat, A-flat, B-flat) is used in variation, as occasionally the D is
changed to D-flat. This variation also recalls the traditional concept of chromatic
inflection.
127 Michael McGlynn, interview by author, Dublin, Ireland, January 15, 2010.
98
Theme A (Example 7. 10), which is repeated once and then varied for the third
statement of the text, uses only those tones found in the pentatonic scale. Theme B
(Example 7.11) uses a new pentatonic scale (B-flat, C, D E-flat, F).
Example 7.10. Sanctus, Theme A, mm. 2-5128
Example 7.11. Sanctus, Theme B, mm. 25-29
Upon the return of the A section in measure fifty-one, the two themes begin
simultaneously (Example 7.12). It is only at this point that the two pentatonic scales are
combined to realize a c-minor tonality without the G (the fifth). The piece then
concludes in much the same manner in which it began, with the three statements of the
solos ending on a unison C over the F/C drone.
128 Michael McGlynn, Sanctus (Dublin: Michael McGlynn and Warner Chappell, 1991).
& bbb 47 b b b 42œ œ œ œ œScale
& bbb 42 b b b 422 .œ Jœ
San
Theme A œ œ œ œ ˙tus- - - - - - - -
& bbb 42 b b b 425 œ œ œ œTheme A Variation œ œ œ œ ˙
& bb b 428 Œ œ
O
œ œ œ œsan na in ex
Jœ .œcel
œ œ œ œ œ Œsis.- - - - - - - -
Sanctus examples
Theme B
& bbb 47 b b b 42œ œ œ œ œScale
& bbb 42 b b b 422 .œ Jœ
Theme A œ œ œ œ ˙
& bb b 42 b b b 425 œ œ œ œTheme A Variation œ œ œ œ ˙
& bb b 428 Œ œ
O
œ œ œ œsan na in ex
Jœ .œcel
œ œ œ œ œ Œsis.- - - - - - - -
Sanctus examples
Theme B
99
Example 7.12. Sanctus, final section entry, mm. 51- 57
Incantations
Incantations, with text written by McGlynn, was composed and premiered in
1989. It is set for an unaccompanied SSAATTBB chorus. This rhythmically animated
composition is a series of affirmations of beliefs (Table 7.7). This text demonstrates
McGlynn’s concept of taking a Christian theme and placing it into a natural environment.
There is an apparent trinity within the form of the composition, including the form of the
text. Each poetic line refernces three items and is completed by a three note ‘Alilu’. The
piece is written in 6/8 with frequent use of hemiola for a contrasting feeling of 3/4.
&&&&?
bbbbbbbbbbbb
bbb
42
42
42
42
42
S 1
S 2
S 3
SA
TB
.œ JœO
!!
œ œ œ œBe ne˙
Oh
œ œ œ œsan
!!
Jœ .œdi ctus˙˙
˙na
.œ JœO
!œ œ œ œqui ven˙˙
˙œ œ œ œ
san
!œ ‰ jœit in˙˙
!˙na
.œ JœO
œ œ œ œno mi˙˙
!˙œ œ œ œ
san
Jœ .œne˙˙
!!
˙na
!˙˙
100
Table 7.7. Incantations, text and translation129 S Tusa an dámh, s Tusa an éan, s Tusa an t-iasc, aililú. S Tusa an ghoath, s Tusa an fuacht, s Tusa an mhuir, aililú. S Tusa an ghrian, s Tusa an réalt, s Tusa an spéir, aililú. S Tusa an fear, s Tusa an bláth, s Tusa na crainn, aililú.
You are the stag, You are the bird, You are the fish, Alleluia. You are the wind, You are the cold, You are the sea, Alleluia You are the sun, You are the star, You are the sky, Alleluia. You are the grass, You are the flower, You are the tree, Alleluia.
Aililú mo Íosa, Aililú mo chroí, Aililú mo Thuarna, Aililú mo Chríost.
Alleluia my Jesus, Alleluia my heart, Alleluia my Lord, Alleluia my Christ.
The overall structure (Table 7.8) of “Incantations” is ternary, however it is a
compound ternary form. McGlynn begins by introducing a rhythmic ostinato, which
remains constant throughout the work (Example 7.13). 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.130 Overall, the entire work is constructed in
layers with each theme developed over the underlying rhythmic intensity of the eighth
note pattern.
129 Michael McGlynn, Incantations (Dublin: Michael McGlynn & Warner Chappell, 1989).
Translation in score. 130 Michael McGlynn, Interview with Author, February 2010
101
Example 7.13. Incantations, ostinato, mm. 1-4131
Table 7. 8. Incantations, form m.1 Introduction Beginning of ostinato
m. 4 Theme A Theme A in Alto m. 8 Theme A Theme A in Soprano II m. 10 Theme A Theme A in Soprano I A
m. 16 Theme A Theme A in Soprano I m. 20 Theme B Theme B in Soprano II m. 24 Theme B Theme B in Soprano I m. 27 Theme B Theme B in Soprano II
I
B
m. 29 Theme B Theme B in Alto m. 33 Theme C Theme C in male voices in augmentation m. 37 Theme C
Theme C Theme C in male voices in augmentation Theme C in soprano I voice in variation
m. 40 m. 41
Theme C Theme C
Theme C in soprano II voice in variation Theme C in male voices in augmentation II A’/B’
m. 43 m. 45
Theme C Theme C
Theme B in Soprano I and II offset by one beat Theme C in male voices in augmentation
m. 50 Transition Related to Introduction and ostinato m. 58 Theme B Theme B in original form in Alto m. 61 m. 63
Theme B Theme A
Theme B in original form in Soprano I and II Theme A in original form in Alto
m. 64 Theme B Theme B in original form in Soprano I I’ A/B
m. 67 Theme B Theme B in original form in Soprano II m.71 Coda Ostinato material with opening chord
After a three-measure introduction, Theme A is stated by the altos, who continue
through the first line of the text with the first three affirmations of “You are.” The second
131 Michael McGlynn, Incantations (Dublin: Michael McGlynn and Warner Chappell, 1989).
line is brought in by soprano II (Example 7.14) at the same pitch level, followed by
soprano I, which has the final two statements of the first part of the text (beginning a
fourth higher). Measure twenty marks the start of section IIB and the introduction of
Theme B by the soprano II section (Example 7.15).
Example 7.14. Incantations, Theme A, Soprano II, mm. 8-11
Example 7.15. Incantations, Theme B, Soprano, mm. 20-25
In Section II, McGlynn introduces a new theme and its variation. Theme C
(Example 7.16) is stated in an augmented form with all male voices in stacked fifths and
fourths. In measure thirty-seven, the sopranos enter with a version of Theme C (Example
7.17) in a compressed rhythmic structure that begins on a different pitch level. The
difference in metrical duration of the two themes causes the harmonic rhythm to become
denser. This is especially true once Theme C is repeated after a delay of only one beat.
After reaching a climax in measure forty-eight there is a complete bar of rest. Chromatic
alteration or inflection is also visable in both examples 7.16 and 17. McGlynn frequently
& 86S 2 œ œ œ .œTu sa an ghaoth,
œ œ œ .œTu sa an fuacht,
œ œ œ .œTu sa an mhuir,
œ# œ œall i lú.- - - - -
&5 ! ! !
&8 ! ! ! ! ! ! ! ! !
&17 ! ! ! ! ! ! ! ! !
&26 ! ! ! ! ! !
[Title][Composer]
Score
&&
86
86S 1
S 2
!
œ œ œAil i
!œ œ œlú mo
!.œ .œ
Íos a.
œ œ œail i
!
œ œ œlú mo
!.˙
chroí,
!
103
uses an F followed within a measure or two by the F-sharp or a C-sharp, followed by a C-
natural.
Example 7. 16. Incantations, Theme C, tenor and bass, mm. 33-36
Example 7.17. Incantations Theme C, Soprano m. 37-40
The transition at measure fifty restates the ostinato and hemiola pattern (Example
7.18) that was seen in the opening (Example 7.19). This time, however, he has voiced
the dissonances at the ninth to create a more open harmonic structure in anticipation the
final section.
Example 7.18. Incantations, ostinato and hemiola return, mm. 50-54
V?
86
86T
B
.˙Tu
..˙Tu
..˙sa..˙bsa
..˙#an
..˙an
..˙dámh,
..˙dámh,
& 86Soprano.œ .œ
ail i
.œ# .œlú mo
.œ .œThiar na,
!- - -
&5 !
incan
V?
86
86Tenor
Bass
.˙Tu
..˙ail
..˙sa..˙bi
..˙#an
..˙lú,
..˙dámh,
..˙ail- - - -
- - -
- - - - - - -
V?
T
B
œ œ œ œ œ œail i lú, ail i lú,
œœ œœ œœ œœ œœ œœail i lú, ail i lú,
œ œ œail i lú,
œœ œœ œœail i lú,
œ œ œ œb œ œail i lú, ail i lú,
œœ œœ œœ œœbb œœ œœail i lú, ail i lú,
œ œ œail i lú,
œœ œœ œœail i lú,
- - - - - - - - - - - -
- - - - - - - - - - - -
V?
T
B
!!
!!
!!
!!
V?
T
B
!!
!!
!!
Score
104
Example 7.19. Incantations, ostinato, mm. 13-16
The final section, I’, combines both Themes A and B, just as was seen in the first
section. This time, however, the themes occur simultaneously in the women’s voices
while the men continue with their material from the transition. The work concludes with
the ostinato that has been ever-present. Through his use of the repeated eighth-note
pattern, McGlynn has created a constant rhythmic energy that serves as foundation for the
development of the melodic motives.
McGlynn composed Incantations in layers of sound. The conductor should use
those layers and paired voices to properly frame the tuning, which could be extremely
difficult due to the stacked fifths and parallel movement that occur between the male
voices. An example is seen in the presentation of Theme C (Example 7.20). Although the
work remains centered around G, the chromatic alternations of a given pitch in close
proximity to each other (as in the soprano lines from measures forty-three through forty-
eight, Example 7.21) will require attention.
&
&
&
V?
S 1
A 1
A 2
T
B
13
œ œ œ .œbTu sa an réalt,
!
!
œ œ œœ ..œœail i lú,
œœ œœ œœ ..œœail i lú,
œ œ œ .œTu sa an spéir,
!
!
œ"œ œ œœ œœ œœ
ail i lú, ail i lú,
œ"œ œ œœ œœ œœ
ail i lú, ail i lú,
œ œ œail i lú.
!
!
œ œ œœ ..œœail i lú,
œœ œœ œœ ..œœail i lú,
œ œ œ .œTu sa an féar,
œ"œ œ .œ
ail i lú,
œ"œ œ .œ
ail i lú,
œ"œ œ œœ œœ œœ
ail i lú, ail i lú,
œ"
œ œ œœ œœ œœail i lú, ail i lú,
œ œ œ .œbTu sa an bláth,
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2Incantations
105
Example 7.20. Incantations, men parallel motion, mm. 33-36
Example 7.21. Incantations, soprano I and II, mm. 43-48
Agnus Dei
Agnus Dei, from And On Earth Peace: A Chanticleer Mass, is scored for
SSAATBB and Tenor solo and is approximately ten minutes in duration. The complete
work, commissioned by Chanticleer in 2007, is a compilation of movements by living
composers from different ethnicities and backgrounds. For his contribution, McGlynn
chose to set the text of the Agnus Dei in both Irish and Latin (Table 7.9).
Table 7.9. Agnus Dei, text and translation A Uain Dé, a thógas peacaí an domhain, deán trócaire orainn. A Uain Dé, a thógas peacaí an domhain, deán trócaire orainn.
Lamb of God, who takes away the sins of the world, have mercy on us. Lamb of God, who takes away the sins of the world, have mercy on us.
V?
86
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B
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..˙Tu
..˙sa..˙bsa
..˙#an
..˙an
..˙dámh,
..˙dámh,
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.œ .œail i
Œ ‰ .œail
.œ# .œlú mo.œ .œ#i lú
.œ .œThiar na,.œ .œmo Thiar
.œ .œail i.œ .œna, i
.œ# .œlú mo.œ .œ#lú mo
.˙Chríost..œ .œ
Chríost.
106
A Uain Dé, a thógas peacaí an domhain, Tabhair dúinn síocháin. Agnus Dei, qui tollis peccata mundi, misereri nobis. Agnus Dei, qui tollis peccata mundi, misereri nobis. Agnus Dei, qui tollis peccata mundi, dona nobis pacem.
Lamb of God, who takes away the sins of the world, grant us peace. Lamb of God, who takes away the sins of the world, have mercy on us. Lamb of God, who takes away the sins of the world, have mercy on us. Lamb of God, who takes away the sins of the world, grant us peace.
The overall structure of the movement is in a compound binary form, with each
large section composed of three smaller sub-sections that also have roughly three parts.
Given the three lines of text, a trinity of structure like this is quite common for
movements of the Agnus Dei. Each subsection also contains three parts. The entire
concept of the Agnus Dei is in groups of threes, thus evoking the Holy Trinity.
Table 7.10. Agnus Dei, form
m. 1 Tenor Solo in Irish m. 6 Tenor solo with harmonic
support I A m. 10 Tenor solo with harmonic support
Chant Theme
m. 15 Tenor section, Latin Theme A m. 19 Bass Section Theme A’ m. 23 homophonic choral movement Theme A treatment B 26 homophonic Choral treatment of
theme Theme A’ variations
m. 28 m. 32
Tenor solo paired with chorus C
m. 36 homophonic choral movement
Theme B (solo) Theme A (chorus)
m. 40 Tenor solo paired with chorus Theme B variation m. 42 Variations in chorus and solo Theme B
m. 50 Chorus in forms of
countermelody Theme A related material D
m. 52 Theme A related material
II
coda m. 76 Homophonic chordal movement
107
Monophonic influence and affinity for chant are clearly evident in the opening
fifteen measures with the Irish language solo chant-like melody. Although notated in
meter, it is marked “Freely” and is intended to follow the natural inflection of the
language (Example 7.22).
Example 7.22. Agnus Dei, McGlynn, tenor solo, mm.1-5132
Although the melodic line was influenced by chant, the material is not derived
from any one specific source. There is, however, another chant-like version of the Agnus
Dei in the Irish language (Example 7.23) by Seán Ó Riada in his Ceol an Aifrinn.133
When asked about this work, McGlynn was not familiar with the exact tune, but stated
that he would have been introduced to Ó Riada’s music from his time at the gaeltacht.
When shown the Ó Riada setting, McGlynn discussed his thoughts on the two:
132 Michael McGlynn, "Agnus Dei," in And on Earth Peace: A Chanticleer Mass (Dublin: Michael
McGlynn and Warner Chappell, 2007). 133 Seán Ó Riada, “Agnus Dei,” Ceol an Aifrinn: mar a chanter i nGaeltacht Chúil Aodha (Baile
Átha Cliath: An Clóchomar Tta, 1971). 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.
! " #$ %&' ( ( (A U ain
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Dé, a thó gas pea caí an domhain, A U ain
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tró cai re or ainn; A U ain
Freely
108
The two look familiar in that both use repeated notes and are chant-like. Mine is not based on [Ó Riada’s], but it is a piece of chant with Irish words. It is a very interesting thing to look at the two of them side by side. Simply by the fact that they are both in the Irish language and modal people assume that [the chant] is Irish. By saying it is by an Irish composer and in the Irish language people assume that it is in the tradition of Irish music.134
Example 7.23. Agnus Dei, Ó Riada, solo line, mm. 1-6
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.
Measure six marks the first entrance of the partial chorus voiced harmonically in stacked
fifths (Example 7.24). Though it was not his intent, the overtones present are quite
reminiscent of a drone accompaniment that occurs with the use of the Uílleann pipes.
Despite McGlynn’s own denial that traditional music or instruments had any impact on
his compositional style, many of the tools and harmonies he uses are closely related. He
recalled many traditional songs from his time in the gaeltacht, and it is almost certain that
there were instrumentalists in the area as well. Such treatment of a melody over a
134 Michael McGlynn, interview by Author, Ft. Lauderdale, Florida, February 2010.
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Ucháin.
109
sustained drone would also have been present in early Irish church music, the only place
known where part-singing did occur frequently on the island.
Example 7.24. Agnus Dei, McGlynn, choral harmony with tenor solo, m. 6
Although it is not notated in the score, the composer has indicated that his intent
was for the chorus to engage in harmonic overtone singing in the first section (through
measure thirteen). To do this the chorus would move slowly, and independently, through
a series of vowels to change the overtones occuring at any given time. Throughout the
opening section the conductor should treat the rhythms and tempo as freely as recitative
conducting, following the soloist as to make it as non-metrical as possible. Chordal
changes need only to align with the movement of the solo and not on specific beats.
McGlynn lists an option for concluding the piece at measure thirteen, two minutes
into the ten minute composition, creating a work only for solo tenor and a chorus in
chordal accompaniment. If performed in this setting, the entire work would only be sung
110
in Irish, for it is at measure fifteen that the tenor section enters with new thematic
material, Theme A (Example 7.25), in the traditional Latin text. The piece continues in
Latin for the rest of the composition. The basses restate the first measure of Theme A
with slight variation (Theme A’). It is then taken through a series of sequences until,
when sung by the basses in measure nineteen (Example 7.26), it becomes a thread for the
rest of the B and C sections. This motive appears in many forms, both independently and
simultaneously, as in measure twenty-three and twenty-four where it appears in parallel
form and as a mirror image in parallel form (Example 7.27). The tenors then have a
restatement of their original material to conclude the section. While each individual voice
line is not extremely difficult and rests relatively central in the range, difficulty for the
ensemble arises when the parts form layers within the harmonic structure as was seen in
example 7.24 creating a superimposition of varying tonal centers.
Example 7.25. Agnus Dei, tenor entry, Theme A, mm. 15-19
Example 7.26. Agnus Dei, baritone entry, Theme A', mm. 19-23
V b 46 œ œn œ œ œ œ œA gnus De i, A
œ œn œ œ œ .œ jœgnus De i qui
œ œb .œ jœ œ .œ jœtol lis pec ca ta qui
œ œb .œ jœ œ œ œtol lis pec ca ta mun
.wdi,- - - - - - - - - - -
[Title][Composer]
Score
Freely
? b œ œn œ œ œ ˙A gnus De i
œ œn œ œ œ œ .œ JœA gnus De i qui
œ œb œ œ œ œ œ .œ Jœtol lis pec ca ta qui
œ œb .œ Jœ œ œ œtol lis pec ca ta mun
.wdi,
111
Example 7.27. Agnus Dei, parallel and inverted statements, mm. 23-24
At measure twenty-eight the tempo slows and the tenor solo returns with a new
motive, Theme B. Unlike before, the motive is almost exclusively restricted to the tenor
solo line (Example 7.28), though the other voices do have derivations. Throughout the
statement of this new theme, the chorus men continue alternating material based on the
previous theme. The solo appears to alternate between two triads, one major and one
minor, yet when viewed in conjunction with the choral components there exists a dual
tonal center. 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). This duality is further complicated by the
dual pedal tones of F and C held by the bass and soprano respectively (Example 7.29).
112
Example 7.28. Agnus Dei, solo entrance, Theme B, mm. 28-31
Example 7.29. Agnus Dei, harmonic superimposition, mm. 28-31
Alternations in the chromatic placement of a note also occur very frequently in
McGlynn’s music. Quite often he will use the natural note and a sharp or flattened same
note within very close proximity to each other, many times even within the same phrase.
An example of this can also be seen in Example 7.27 with the change from E to E-flat in
the second half of the solo phrase.
The last section of the Agnus Dei, section II D, begins in measure forty with the
tenor restatement of Theme B. This repeats in measure forty-two, at which point the
treble voices join the solo melody line in parallel motion at the third while the chorus
V b œ œ œ œ ˙A gnus De i
œ œ œ œ œ œ œA gnus De i qui
œ œb œ ˙ œtol lis pec
œ œb œ ˙ œca ta mun di
113
tenors return to Theme A (Example 7.30). The beginning notes for the treble voices are
those outlined in the opening descending three notes of the solo (E, C, and A
respectively). The parallel lines are only partial statements of the motive, as they do not
fully complete the statement.
Example 7. 30: Agnus Dei, Theme B variations and Theme A, mm. 42-44
The movement concludes, as McGlynn notates, “With Stillness,” in alternations
of C Major 9 and A-flat. The final chord of the composition (Example 7.31) avoids final
resolution by retaining the ninth in the soprano melody.
114
Example 7. 31. Agnus Dei, final chords, m. 79
The conductor can overcome the challenges in Agnus Dei by identifying and
rehearsing paired voices. Often there are dissonances and passages where the voice-
leading creates difficult tuning issues. If the conductor is able to identify the voices that
work in consonance, he or she will then be able to rehearse the section more efficiently.
A challenge for both conductor and ensemble is the duration of the movement: at nearly
eight and a half minutes, the pacing of the piece is crucial. The entire movement must
build in intensity to measure fifty, the only forte indication, and then quickly release to a
sustained piano only two measures later. There is then a long period of time to reach the
final pacem, which continues to seek rest, but never fully resolves.
Michael McGlynn is a composer who seeks to bring choral music to a place of
importance in Ireland. His goal has been to give Irish choral music a prominent and
unique voice in the world. Through his compositions, workshops, recordings, and
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115
concerts he is gaining a reputation not only as a composer and arrnger of Irish traditional
music, but as a viable contemporary, classical composer as well who uses the native
sounds of his country. The songs he knew as a child, the Irish language, the poets, the
sounds of the ocean, the impressions of the landscape, and the ancient structures of
Ireland have all aided in forming his compositional style. McGlynn is a product of a land
that has been steeped in musical tradition since antiquity, and his objective is to bring
choral music to a place of prominence in that vast musical heritage.
116
GLOSSARY
Act of Settlement in 1652135 – imposed hash penalties, including death and land confiscation, against Irish participants of the rebellion of 1641against the British government, as well as and civil uprisings that could occur in the future. aislingí [ɑʃ lɪŋ i]- dreams Anúna [a nu nəә]- ensemble formed by Michael McGlynn in 1994. The name has no meaning, but is derived from An Uaithne, a collective term for kinds of Irish music. bodhrán [baʊ rɑn]- traditional Irish drum, shaped like a tambourine and typically covered with sheep or goat’s skin Celts [kɛlts]- the people that inhabited Ireland prior to 400 A.D. curfá [kɚ fɑ] the chorus or refrain of a song Gaeltacht [ɡɑl tax]- 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. Gentraí [ɡiʲn tri]- ancient name for song of joy Goltraí [ɡol tri]- ancient name for song of lament Irish Potato Famine (an Gorta Mór)136- time of mass starvation leading to death, disease, and emigration between 1845 and 1852 in Ireland. After the potato became the staple food and growing of the crop was expanded almost the entire country was dependant on it. The crop disease Blithe caused a series of crop failures throughout the island from 1832-45, 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. Irish Free State137- established under the Anglo-Irish Treaty of 1922. Originally encompassed the entire island of Ireland, but Northern Ireland opted out. 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.
135 S. J. Connolly, ed., Oxford Companion to Irish History, ed. S. J. Connolly (Oxford: Oxford University Press, 2007).
136 Ibid. 137 Ibid.
117
Provinces of Ireland- Ireland is divided into four provinces: Ulster, Munster, Lenister, Connaught RTÉ (Raidió Teilifís Éireann) [radʲo tɛlʲəә fiʃ e rəәn]- broadcast company of Ireland; also sponsors the arts including the National Symphony Orchestra Sean- nós [ʃæn noʃ]- old style of singing, commonly associated with the solo song tradition Suantraí [su əәn tri]- ancient name for song of sleep Uíllieann Pipes [ɪlʲəәn] - also known as the Union Pipes, they are the characteristic bagpipe of Ireland
118
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Ó Cróinín, Dáibhí, ed. Oxford: Oxford University Press, 2005.
Page, Clifford. Irish Songs: Collections of Airs Old and New. Edited by Cliffor Page. Boston: Oliver Ditson, 1935.
Patterson, Annie W. “The Folk-Music of Ireland: Its Past, Present, and Future Aspects.” The Musical Quarterly, July 1920. http://links.jstor.org/sici?sici=0027-4631%28192007%296%3A3%3C455%3ATFOIIP%3E2.0.CO%3B2-K (accessed October 1, 2007).
Petrie, George. The Petrie Collection of the Ancient Music of Ireland. Edited by David Cooper. Cork: Cork University Press, 2005.
Pine, Richard, ed. Music in Ireland, 1848-1998. Dublin: Irish American Book Co., 1998.
Porter, James, “Introduction: Locating Celtic Music (and Song).” Western Folklore, Autumn 1998. http://links.jstor.org/sici?sici=0043-373X%28199823%2957%3A4%3C205%3AILCM%28S%3E2.0.CO%3B2-I (accessed October 1, 2007).
Purcell, Andrew. “Irish Traditional Music.” In Music: Revision for Leaving Certification. Dublin: Gill & Macmillan, 2006.
Riain, Nóirín Ní and Ó hUrdai, Roibeard. Stór amhrán: A Wealth of Songs from the Irish Tradition. Cork: Mercier Press, 1988.
Scanlan, Margaret. Culture and Customs of Ireland. London: Greenwood Press, 2006.
123
Shields, Hugh. A Short Bibliography of Irish Folk Song. Dublin: Folk Music Society of Ireland, 1985.
—. Narrative Singing in Ireland: Lays, Ballads, Come-All-Yes, and Other Songs. Dublin: Irish Academic Press, 1993.
Shields, Hugh, and Paulette Gershen. “Ireland.” The Garland Encyclopedia of World Music vol. 8, Edited by Timothy Rice, James Porter, and Chris Goertzen. New York: Garland Publishing, 2000.
Stanford, Charles Villiers, ed. The National Songbook: A Complete Collection of the Folk-Songs, Carols, and Rounds suggested by the Board of Education. London: Boosey & Co., 1905.
Uallacháin, Pádragín Ní. A Hidden Ulster: People, Songs, and Traditions of Oriel. Dublin: Four Courts Press, 1893.
White, Harry. “Nationalism, Colonialism and the Cultural Stasis of Music in Ireland.” Musical Constructions of Nationalism. Edited by Harry White and Michael Murphy. Cork: Cork University Press, 2001.
—. The Keeper’s Recital: Music and Cultural History in Ireland, 1770-1970. Edited by Seamus Deane. Cork: Cork University Press, 1998.
—. Musical Constructions of Nationalism: Essays on the History and Ideology of European Musical Culture 1800-1945. Cork: Cork University Press, 2001.
—. Music and Irish Cultural History. Dublin: Irish Academic Press, 1995.
—. Music and the Irish Literary Imagination. New York: Oxford University Press, 2008.
—. The Progress of Music in Ireland. Dublin: Four Courts Press, 2005.
White, Harry and Gillen, Gerard. Musicology in Ireland. Dublin: Irish Academic Press, 1990.
McGlynn, Michael- A series of interviews were conducted by the author. All interviews were recorded and are held by the author.
July 2009- both parties in Dublin, Ireland October 2009- via internet with Dublin, Ireland
124
January 2010- via internet with Dublin, Ireland February 2010- both parties in Ft. Lauderdale, Florida March 2010- via internet with Dublin, Ireland
Image Use Permission
From: "Permissions" <[email protected]>Subject: RE: Use of an image in a dissertation
Date: March 11, 2010 10:12:53 AM ESTTo: "Stacie Rossow" <[email protected]>
Stacie The Library grants permission to use the images in your thesis, the fees have been waived, please credit the Library accordingly. (c) British Library Board (followed by the shelfmark). Regards Sandra PowlettePermissions Manager British Library96 Euston RoadLONDONNW1 2DB Tel: 020-7412-7755Fax: 020-7412-7771www.bl.uk
From: Stacie Rossow [mailto:[email protected]] Sent: 11 March 2010 14:34To: PermissionsSubject: Use of an image in a dissertation
Good afternoon-
I am a doctoral student from the University of Miami in Coral Gables, Florida. 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. The piece is Add. 36929. PSALTER in Latin, of St. Jerome's second (or Gallican) version. I only need the one page which is described in your listing as: (a) At the end of Ps. 1. (f. 56 b) Dan. iii. 57-88, Is. xii. 1-6 and xxxviii. 10-20, followed by the colophon, with music on a stave of four red lines, " Cormacus scripsit hoe osalterium ora pro eo. Qui legis hec ora pro sese qualibet hora." (f. 59);-
Mr. 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. Any information or assistance you might be able to offer would be greatly appreciated.
Thank you-Stacie Rossow
Stacie Lee RossowUniversity of MiamiFrost School of Musicd.m.a candidate in choral [email protected]
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APPENDIX A MICHAEL MCGLYNN WORKS LIST
Alphabetical listing by title (with year composed and voicing) Title Voicing and
Instrumentation Year
1901 [revision, Behind the Closed Eye]
SATB, S solo, Symphony Orchestra
2009
A Stór mo Chroí SATB 1989 Agnus Dei (from And on Earth Peace: A Chanticler Mass)
SATB (div) 2006
Agnus Dei (from Celtic Mass) SATB (alternate version SSAA, acc)
1990
An Oíche SSATB 1999 Ardaigh Cuan SATB 1995 Armaque cum Scuto SATB, acc 1999 Aube Soprano or Tenor &
Piano 1990
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 1996 Brezairola SATB 2006 Carolan's Farwell to Music Oboe, Strings, Harp 2003 Ceann Dubh Dílis TTBB (alternate
version SSAA) 1997
Christus Resurgens SATB, acc 1998 Cloch na Rón Symphony Orchestra 2001 Codail a Linbh SATB, acc 1995 Codhlaím go Suan SATB, acc 1991 Cormacus Scripsit SATB 1990 Crist and St. Marie SATB 1990 Cúnnla SSAA 2004 Cynara SATB (div.), T solo 1998 Dúlamán TTBB (alt versions
SATB, SSAA) 1995
Fionnghuala SATB 2005 Fuígfdh Mise’n Baile Seo SATB 1999
Hymn to the Virgin SSAA, acc 1999 I Dreamt I Dwelt in Marble Halls SATB, solo 1999 I Dreamt I Dwelt in Marble Halls Oboe, Strings, Harp 2003 Igitur Servus SATB 1999 Incantations SSAATTBB (alternate
version SSAA) 1989
Incidental Music for "Three Sisters"
Piano, Voices, Traditional Instruments
1990
Invocation SATB 1993 Island SATB, acc 1996 Jerusalem SSAA 1992 Jingle Bells TTBB 2008 Kyrie (from Celtic Mass) SATB 1991 Lauda Anima Mea SATB 2004 Les Effarés Soprano or Tenor &
Piano 1987
Lorica SSAA Harp 2008 Lux Aeterna SATB 2005 Magnificat SATB 1991 Maid in the Moor SSAA 2005 Maria Matrem Virginem SSA, solo 1995 May [Revision] Symphony Orchestra 2009 Media Vita SATB (alternate
My Lagan Love SATB 2000 My Songs Shall Rise SSATTBB, solo 2010 Noel Nouvelete SSAA 2008 O Ignis Spiritus SATB, acc 2002 O Maria SATB 2006 O Tannenbaum/ O Christmas Tree
TTBB 2008
O Viridissima SATB (div), 2 solo 1995 O Vos Omnes SSSAAATTTBBB 1989
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Ocean SATB, acc 1999 Our Wedding Day SATB 1995 Pater Noster (from Celtic Mass) SATB 1991 Pie Jesu SATB (div), solo cl-
solo, strings 1998
Pie Jesu SATB (alternate version SSAA)
1999
Pie Jesu [revision] SATB, S solo, Symphony Orchestra
2009
Quem Queritis SATB 1996 Reve pour l'Hiver Soprano or Tenor &
Piano 1985
Rince [Dance] Trumpet and Piano 1985 Ríu, Ríu TTBB 1999 Salve Rex Gloriae SATB, acc 1993 Sanctus SSAA 2009 Sanctus (from Celtic Mass) SATB 1991 Sensation Soprano or Tenor &
Piano 1985
‘Sí do Mhaimeo Í SATB (alternate version SSAA)
1993
Silent, O Moyle SSAA 1993 Silver River Oboe, Strings, Dbl
Vibraphone 2003
Siúil a Rúin SATB, solo (alternate version SSAA)
1994
Sliabh Geal gCua SATB 1996 Sliabh Geal gCua Oboe, Strings 2003 Song of Oisín SATB, acc 1994 Song of Oisín SATB, acc 1994 St Marie Viginae TTBB 1990 St. Nicholas TTBB (alternate
version SSAA) 1990
Summer Song SATB 2002 Tenebrae I SATB (div), solo 1990 Tenebrae II SATB (div), solo 1995 Tenebrae III SATB (div.) with solo) 1999 Tenebrae IV TTBB 2005 The Blackbird of Derrycairn Soprano or Tenor &
Piano 1984
The Coming of Winter [revision, Behind the Closed Eye]
SSAA, Symphony Orchestra
2009
The Coventry Carol SSAA 1999 The Dawn SATB 1999 The First Noel SATB, solo 2008 The Flower of Maherally SATB 1995
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The Great Wood [revision, Behind the Closed Eye]
SATB, S solo, Symphony Orchestra
2009
The Green Laurel SATB 1996 The Hound’s Cry SSAATTB, perc, sax,
vn 2001
The Lark in the Clear Air T Solo, String Orchestra, Oboe
2003
The Last Rose SSAA, acc 1994 The Lost Heifer Soprano or Tenor &
Piano 1984
The Meeting of the Waters T Solo, String Orchestra, Oboe
2003
The Mermaid SATB (alternate version SATB, acc)
1995
The Planter's Daughter Soprano or Tenor & Piano
1984
The Poet Sleeps SATB 2004 The Raid SATB, acc 1993 The Rising of the Sun SATB, acc 1994 The Rising of the Sun [revision] SATB, Mzsop solo,
Symphony Orchestra 2009
The Road of Passage SATB 2003 The Song of the Birds SATB, Symphony
Orchestra 2009
The Wexford Carol SSAA 1990 The White Rose SSAA, acc 2000 The White Rose [Revision] SSAA Chorus, MzSop
solo Symphony Orchestra
2009
The Wild Song SSATBB 2001 There is no Ros SATB, acc 1992 Through a Valley of Tears [Revision]
When I was in My Prime SSAA 1996 When the War is Over SSATB 1999 Wind on Sea SATB, 2 T- solo, vn 1994
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. Marie 1990 Gaudete 1990 Incidental Music for "Three Sisters" 1990 St Marie Viginae 1990 St. 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, 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
130
1995 Codail a Linbh 1995 Dúlamán 1995 Geantraí 1995 Maria Matrem Virginem 1995 O Viridissima 1995 Our Wedding Day 1995 Tenebrae II 1995 The Flower of Maherally 1995 The Mermaid 1996 Blackthorn 1996 Island 1996 Quem Queritis 1996 Sliabh Geal gCua 1996 The Green Laurel 1996 Visions 1996 When I was in My Prime 1996 Nobilis Humilis 1997 August 1997 Behind the Closed Eye 1997 Midnight 1997 Ceann Dubh Dílis 1998 Christus Resurgens 1998 Cynara 1998 Pie Jesu 1999 An Oíche 1999 Armaque cum Scuto 1999 Fuígfdh Mise’n Baile Seo 1999 Hymn to the Virgin 1999 I Dreamt I Dwelt in Marble Halls 1999 Igitur Servus 1999 Miserere 1999 Ocean 1999 Pie Jesu 1999 Ríu, Ríu 1999 Tenebrae III 1999 The Coventry Carol 1999 The Dawn 1999 Victimae 1999 When the War is Over 2000 My Lagan Love 2000 The White Rose 2001 Cloch na Rón 2001 The Hound’s Cry 2001 The Wild Song 2002 O Ignis Spiritus 2002 Summer Song
131
2003 Carolan's Farwell to Music 2003 Geminiani's Adagio 2003 Geminiani's Allegro 2003 I Dreamt I Dwelt in Marble Halls 2003 Silver River 2003 Sliabh Geal gCua 2003 The Lark in the Clear Air 2003 The Meeting of the Waters 2003 The Road of Passage 2004 Cúnnla 2004 Lauda Anima Mea 2004 Missa Brevis 2004 The Poet Sleeps 2005 Fionnghuala 2005 Lux Aeterna 2005 Maid in the Moor 2005 Tenebrae IV 2006 Agnus Dei (from And on Earth Peace: A Chanticler Mass) 2006 Brezairola 2006 O Maria 2006 Toraíocht 2006 Triplets 2007 St. Francis 2008 Jingle Bells 2008 Lorica 2008 Noel Nouvelete 2008 O Tannenbaum/ O Christmas Tree 2008 The First Noel 2009 1901 [revision, Behind the Closed Eye] 2009 May [Revision] 2009 Pie Jesu [revision] 2009 Sanctus 2009 The Coming of Winter [revision, Behind the Closed Eye]
2009 The Great Wood [revision, Behind the Closed Eye] 2009 The Rising of the Sun [revision]
2009 The Song of the Birds [revision] 2009 The White Rose [Revision]
2009 Through a Valley of Tears [Revision] 2009 Twilight [Revision] 2010 My Songs Shall Rise
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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 Singers
1989 O Vos Omnes
Dublin Youth Orchestra 2006 Toraíocht Gerard MacChrystal [Grant Aided by the Arts Council of Ireland]
1996 Visions
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, Behind the Closed Eye]
Rajaton [Grant aided by The Arts Council of Ireland]
2001 The Wild Song
Rajaton [Grant aided by The Arts Council of Ireland]
2002 Summer Song
RTÉ Concert Orchestra 2001 Cloch na Rón RTÉ Lyric FM 2006 Triplets Stacie Lee Rossow [Grant aided by the Theodore Presser Foundation]
2010 My Songs Shall Rise
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
133
The Palestrina Choir 2004 Lauda Anima Mea The Project Arts Centre 1994 The Rising of the Sun The Project Arts Centre 2009 The Rising of the Sun [revision] The Syracuse Vocal Ensemble 2004 Cúnnla The Syracuse Vocal Ensemble 2004 The Poet Sleeps The Ulster Orchestra 1997 Behind the Closed Eye The Ulster Orchestra 2009 1901 [revision, Behind the
Closed Eye] The Ulster Orchestra 2009 The Great Wood [revision,
Behind the Closed Eye] UCD 150 2003 The Road of Passage
Works by Voicing Fl, Ob, Clar Triplets Oboe, Strings Geminiani's Allegro Oboe, Strings Sliabh Geal gCua Oboe, Strings, Dbl Vibraphone Silver River Oboe, Strings, Harp Carolan's Farwell to Music Oboe, Strings, Harp Geminiani's Adagio Oboe, Strings, Harp I Dreamt I Dwelt in Marble Halls Piano, Voices, Traditional Instruments Incidental Music for "Three Sisters" SATB My Lagan Love SATB The Dawn SATB Summer Song SATB Lauda Anima Mea SATB The Poet Sleeps SATB The Road of Passage SATB A Stór mo Chroí SATB Cormacus Scripsit SATB Crist and St. Marie SATB Ave Maria (from Celtic Mass) SATB Kyrie (from Celtic Mass) SATB Magnificat SATB Pater Noster (from Celtic Mass) SATB Sanctus (from Celtic Mass) SATB Invocation SATB Heia Viri SATB Ardaigh Cuan SATB Our Wedding Day SATB The Flower of Maherally SATB Quem Queritis SATB Sliabh Geal gCua SATB The Green Laurel SATB Fuígfdh Mise’n Baile Seo
134
SATB Igitur Servus SATB Fionnghuala SATB Lux Aeterna SATB Brezairola SATB O Maria SATB (alternate version SATB, acc) The Mermaid SATB (alternate version SSAA) Sí do Mhameo Í SATB (alternate version SSAA) Pie Jesu SATB (alternate version SSAA, acc) Agnus Dei (from Celtic Mass) SATB (alternate version TTBB) Gaudete SATB (alternate versions TTBB, SSAA)
Media Vita
SATB (Alternate versions TTBB, SSAA)
Hinbarra
SATB (div) Agnus Dei (from And on Earth Peace: A Chanticleer Mass)
SATB (div) (alternate version SSAA) Geantraí SATB (div) sax Behind the Closed Eye SATB (div), 2 solo O Viridissima SATB (div), solo Tenebrae I SATB (div), solo Tenebrae II SATB (div), solo cl- solo, strings Pie Jesu SATB (div.) with solo) Tenebrae III SATB (div.), T solo Cynara SATB, 2 T- solo, vn Wind on Sea SATB, acc Ocean SATB, acc O Ignis Spiritus SATB, acc The Rising of the Sun SATB, acc Codhlaím go Suan SATB, acc Gloria (from Celtic Mass) SATB, acc There is no Ros SATB, acc Salve Rex Gloriae SATB, acc The Raid SATB, acc Song of Oisín SATB, acc Song of Oisín SATB, acc Codail a Linbh SATB, acc Blackthorn SATB, acc Island SATB, acc Christus Resurgens SATB, acc Armaque cum Scuto SATB, acc Miserere SATB, Mzsop solo, Symphony Orchestra
The Rising of the Sun [revision]
SATB, Organ, Str Quartet Missa Brevis SATB, S solo, Symphony Orchestra 1901 [revision, Behind the Closed Eye] SATB, S solo, Symphony Orchestra 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 Orchestra
The White Rose [Revision]
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 The Meeting of the Waters Trumpet and Piano Rince [Dance] TTBB St Marie Viginae TTBB August TTBB Ríu, Ríu TTBB Victimae TTBB Tenebrae IV TTBB Jingle Bells TTBB O Tannenbaum/ O Christmas Tree TTBB (alt versions SATB, SSAA) Dúlamán TTBB (alternate version SSAA) St. Nicholas TTBB (alternate version SSAA) Ceann Dubh Dílis
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
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
140
APPENDIX B
DISCOGRAPHY
Anúna. Anúna. recorded 1999-2004, Dublin: Michael McGlynn and Brian Masterson, Windmill Lane Studios, 2005. Media Vita arr. M. McGlynn Crist and St. Marie arr. M. McGlynn Invocation M. McGlynn The Raid M. McGlynn Suantraí arr. F. Ó Cearbhaill Kells M. McGlynn Sanctus M. McGlynn Cormacus Scripsit M. McGlynn ‘Sí do Mhaimeo Í arr. M. McGlynn
Silent, O Moyle arr. M. McGlynn The First Day arr. M. McGlynn Jerusalem arr. M. McGlynn The Blue Bird C.V. Stanford* Faigh an Gleas arr. M. McGlynn Pater Noster M. McGlynn Hymn to the Virgin M. McGlynn The Dawn M. McGlynn
*arr. By McGlynn Anúna (Musical group), and Michael McGlynn. Celtic Origins. Cleveland, Ohio: Elevation, 2007. The rising of the sun M. McGlynn Siúil a rúin arr. M. McGlynn Gaudete arr. M. McGlynn Our wedding day M. McGlynn Pie Jesu M. McGlynn Ceann dubh dílis arr. M. McGlynn August M. McGlynn Sanctus M. McGlynn Kells M. McGlynn
Greensleeves arr. M. McGlynn Scarborough Fair arr. M. McGlynn I dreamt I dwelt in marble halls
arr. M. McGlynn Fionnghuala arr. M. McGlynn The flower of Maherally
arr. M. McGlynn Aisling M. McGlynn If all she has is you J. McGlynn Dúlamán M. McGlynn Sí do Mhaimeo í arr. M. McGlynn
141
Anúna (Musical group), Michael McGlynn, Lesley Hatfield, and Kenneth Edge. Behind the Closed Eye. [S.l.]: Danu, 2005
August M. McGlynn Aisling M. McGlynn The Great Wood M. McGlynn From Nowhere to Nowhere
M. McGlynn Annaghdown M. McGlynn Cean Dubh Dílis M. McGlynn
Ave Maria M. McGlynn Gathering Mushrooms M. McGlynn Behind the Closed Eye M. McGlynn Midnight M. McGlynn The Coming of Winter M. McGlynn Where All Roses Go M. McGlynn 1901 M. McGlynn
Anúna (Musical group). Christmas Songs. New York: Koch Records, 2004. Away in a Manger arr. M. McGlynn The Wexford Carol arr. M. McGlynn Ríu Ríu arr. M. McGlynn Silent Night arr. M. McGlynn The Coventry Carol arr. M. McGlynn
Codhlaim Go Suan M. McGlynn Pie Jesu M. McGlynn Hymn to the Virgin O Holy Night arr. M. McGlynn There Is No Ros arr. M. McGlynn
Anúna (Musical Group), and Michael McGlynn. Cynara. Dublin: Danú, 2000.
Igitur Servus M. McGlynn An Oíche M. McGlynn Ríu Ríu arr. M McGlynn Incantations M. McGlynn When the War is Over M. McGlynn I Dreamt that I Dwelt in Marble Halls arr. M McGlynn Amarque Cum Scuto M. McGlynn Miserere M. McGlynn
Cynara M. McGlynn Buachaill ón Éirne arr. M. McGlynn Fuíghfidh Mise’n Baile Seo
arr. M. McGlynn Victimae M. McGlynn Christus Resurgens M. McGlynn Pie Jesu M. McGlynn Ocean M. McGlynn
142
Anúna (Musical group) and Michael McGlynn. Deep Dead Blue. [S.l.]: Warner Chappell Music, 2004. Nobilis Humilis M. McGlynn Dicant Nunc M. McGlynn Blackthorn M. McGlynn Kyrie M. McGlynn There Is No Ros arr. M McGlynn
The Green Laurel arr. M McGlynn Island M. McGlynn Silabh Geal Gcua M. McGlynn Quem Queritis M. McGlynn The Sea M. McGlynn
Anúna (Musical group). Essential Anúna. New York: Koch Records, 2005. The Blue Bird C.V. Stanford* Cormacus Scripsit arr. M. McGlynn The Wild Song M. McGlynn Siúil, a Rúin arr. M. McGlynn Wind on Sea M. McGlynn The Rising of the Sun M. McGlynn The Flower of Maherally
arr. M. McGlynn Dúlamán M. McGlynn Kyrie M. McGlynn
Deep Dead Blue Elvis Costello and Bill Frisell
Blackthorn M. McGlynn Behind the Closed Eye M. McGlynn August M. McGlynn Christus Resurgens arr. M. McGlynn Victimae M. McGlynn Pie Jesu M. McGlynn Hymn to the Virgin M. McGlynn Cynara M. McGlynn War is Over
Greenwalt, McGlynn, Radigan*arr. By McGlynn Anúna (Musical group), Michael McGlynn, and Charles Villiers Stanford. Omnis. Dublin: Danú, 2003. Salve Rex Gloriae M. McGlynn Ardaigh Cuan arr. M. McGlynn Beati Quorum Via C.V. Stanford* The Flower of Maherally
arr. M. McGlynn Geantraí M. McGlynn Maria Matrem M. McGlynn Codail a Linbh M. McGlynn Gaudate arr. M. McGlynn Agnus Dei M. McGlynn Ave Generosa arr. M. McGlynn
O Viridissima M. McGlynn Dúlamán M. McGlynn A Stór mo Chroí arr. M. McGlynn Róisín Dubh
arr. Patterson, McGlynn, Clarke The Mermaid arr. M. McGlynn St. Nicholas arr. M. McGlynn Diwanit Bugale arr. M. McGlynn Tenebrae I M. McGlynn Tenebrae II M. McGlynn Tenebrae III M. McGlynn
*arr. By McGlynn
143
Anúna (Musical group), Antonio Lotti, Michael McGlynn, and Gregorio Allegri. Sanctus. Dublin: Danú, 2009. Crucifixus A. Lotti* Nobilis Humilis M. McGlynn Agnus Dei M. McGlynn (from And on Earth Peach: A Chanticleer Mass) Maria Matrem Virginem M. McGlynn Victimae M. McGlynn Miserere Mei Deus G. Allegri* O Maria M. McGlynn *arr. By McGlynn
Anúna (Musical group), and Michael McGlynn. Sensation. Dublin: Danú, 2006. Anúna.
O Ignis Spiritus M. McGlynn Brezairola M. McGlynn Sensation M. McGlynn Silver River M. McGlynn Shining water M. McGlynn Lux Aeterna M. McGlynn
The road of passage M. McGlynn Whispers of paradise M. McGlynn Maid in the moor M. McGlynn Tenebrae IV M. McGlynn O Maria M. McGlynn
Recordings that contain single selections: A Celtic Journey Laudate Singers 2008 And on Earth Peace: A Chanticleer Mass
Chanticleer 2007
Blue Bird Boys Air Choir 2007 Boundless Rajaton 2001 Celtic Twilight 3: Lullabies Various Artists, Anúna 1996 Celtic Twilight 7:Sacred Spirit Various Artists, Anúna 2007 Ceremony Choir of Canterbury
Cathedral 2008
Christmas with Chanticleer Chanticleer 2001 Comfort and Joy, Volume II Cantus 2005 Deep in a Winter’s Night Sacramento Master Singers 2008 Goin’ Home Chor Leoni Choir 2002 I Still Love You Conspirare La Musique Celticue our les Nuls Various Artists, Anúna 2009 Let Your Voice be Heard Cantus 2001 Meeting Point Gerard MacChrystal 1996 Nearer Conspirare Out of Bounds Rajaton 2006
144
Silver River Matthew Manning 2003 St. Patrick’s Day Katie McMahon 2007 Turn Darkness into Light Harald Jers 2009 Under the Dome Notre Dame Glee Club 2000 Vox Angelica Emma Horwood Whispers of Love Fionnuala Gill 2007 Wish List: St. Paul Sunday Chanticleer Wondrous Love Chanicleer 1997 DVD Christmas Memories (DVD) Anúna 2008 Invocations of Ireland (DVD) Anúna 2009
145
APPENDIX C
IPA TRANSCRIPTIONS
There is a guide for Irish language pronunciation found in the International
Phonetic Association Handbook138 that describes, in detail, the consonant structures.
What is found here is a slightly simplified version, intended for those with a moderate
understanding of IPA (International Phonetic Alphabet), as specific for the compositions
and arrangements of Michael McGlynn.
These IPA transcriptions have been derived from a series of conversations and
choral workshops with Michael McGlynn. The author created the guides from a
combination of audio recordings and transliteration guides, presented them to several
ensembles, and asked McGlynn to make corrections during rehearsals. Irish is a difficult
language for IPA and as such, these guides should be used in combination with audio
recordings to refine inflection and syllabic stress.
The translations that are included have either been supplied by McGlynn or were
obtained and approved by him from Celtic Lyrics Corner.139
138 Ailbhe Ní Chasaide, "Irish," in Handbook of the International Phonetic Association
(Cambridge: Cambridge University Press, 1999), 111-116. 139 http://www.celticlyricscorner.net/ (Accessed 25 February 2010)
146
Irish pronunciation Irish has no aspirated [d] or [t]. They are instead soft as might find in Spanish. In
most cases when ch is present the actual sound is somewhat between the [k] or [h] and
the [x]. There are several variations of pronunciation found in Ireland. Those given here
are as the composer speaks, and more importantly, how he has set the text to be sung.
IPA Guides
Agnus Dei (from And on Earth Peace: A Chanticleer Mass)
A Uain Dé, a thógas peacaí an domhain, deán trócaire orainn. [ ɑ u əәn de əә ho ɡəәs pɑ ki əәn do əәn dɛn tro kəә re or ɪn] Lamb of God who takes away the sins of the world, have mercy on us. A Uain Dé, a thógas peacaí an domhain, Tabhair dúinn síocháin. [ɑ u əәn de əә ho ɡəәs pɑ ki əәn do əәn tavɚ duɪn ʃi ɔx an] Lamb of God who takes away the sins of the world, grant us peace.
An Oíche [ɔn i hɑ]
An cuimhin leat an oíche úd a bhí tú ag an bhfuinneog, [ ɔn kwin læt ɔn i hæ ud a vi tu ɛɡ ɔn vwɪn joɡ] Do you remember that night when you were at the window Gan hata gan láimhne dod dhíon gan chasóg? [ɡɔn ha təә ɡɔn lɔ iv nəә dɔd ji ɪn ɡɔn xəә sɔɡ] Without a hat or glove or overcoat on you? Do shín mé mo lámh chughat 's do rug tú uirthi barróg, [dəә hin meɪ məә lɔv xu əәd sdɔ rəәɡ tu ɝ hi bɑr ɔɡ] I gave my hand to you and you clasped it to you. Gan hata gan láimhne dod dhíon gan chasóg? Do labhair an fhuiseog. [ɡɔn ha təә ɡɔn lɔ iv nəә dɔd ji ɪn ɡɔn xəә sɔɡ do laʊ ɚ ɔn ɪʃ ɔɡ] Without a hat or glove or overcoat on you? And the skylark spoke. A Chumainn mo chroí tar oíche ghar éigin. [ɑ xəә mɪn məә kri tar i hɑ ɡar e ɡɪn]
147
My love, come to me some night. An cuimhin leat an oíche úd 'san oíche ag cur cuisne. [ɔn kwin lat ɔn i hɑ uð səәn i hɑ ɛɡ kɚ kwiʃ nəә ] Do you remember that night, and the night was so cold. Cúnnla140 [kun la] “Cé hé siúd thíos atá leagan na gclaí ocha? [ke he ʃud hiəәs əә ta lˠa ɡəә nəә ɡlei ɔ həә] Who is that down there knocking the stone walls? Mise mé féin a deir Cúnnla . [mɪ ʃəә me fen a der kun lɑ] Me, myself, says Cunnla Chúnnla chroí ná tar [a] níos goire dhom! [hun la k ri na ta rəә ni ɪs ɡʲɛ rəә həәm] Cúnnla dear don’t come any nearer to me! Cé hé siúd thíos atá tarraingt na pluide dhíom [ke he ʃud hiəәs əә ta tær ɪɳt nəә plɛ ʤəә ɡjɪm ] Who is that down there pulling the blanket off me? Mise mé féin a deir Cúnnla [mɪ ʃəә me fen a der kun lɑ] Me, myself, says Cunnla. Chúnnla chroí ná tar [a] níos goire dhom! [hun la x ri na ta rəә ni ɪs ɡʲɑɪ rəә həәm] Cúnnla dear don’t come any nearer to me! M anam go tiocfaidh! deir Cúnnla [ma nəәm gəә ʧəәk :ki der kun lɑ] My soul I will, says Cunnla Mise mé féin a deir Cúnnla [mɪ ʃəә me fen a der kun lɑ] Me, myself, says Cunnla
140 It is important to note that this traditional song has a dark interpretation where the young lady is
actually quite scared.
148
Cé hé siúd thíos atá tochas mo bhonnachaí? [ke he ʃud hiəәs əә ta tɔ xəәs məә vəәn əә xe] Who is that down there tickling the souls of my feet? Mise mé féin a deir Cúnnla [mɪ ʃəә me fen a der kun lɑ] Me, myself, says Cunnla M’anam go tiocfaidh! deir Cúnnla [ma nəәm gəә ʧəәk :ki der kun lɑ] My soul I will, says Cunnla Dúlamán [du ləә man] Dúlamán na binne buí, dúlamán Gaelach, [du ləә man nəә bɪ nəә bwi du ləә man ɡeɪ ləәx] Seaweed of the yellow peaks, Gaelic seaweed Dúlamán na farraige, dúlamán Gaelach. [ du ləә ma na fæ rɪ ɡəә du ləә man ɡeɪ ləәx] Seaweed of the ocean, Gaelic seaweed.
“A ‘níon mhín ó! Sin anall na fir shuirí” [a ni ɪn vi no ʃɪn an əәl na fɛr ho ri] O gentle daughter, here come the wooing men. “A mháthair mhín ó! Cuir na roithleán go dtí mé!”. [a wa hɚ vi no kwɪɚ na rəә xu lan ɡəә ʤi meɪ] O gentle mother, put the wheels in motion for me!
Rachaidh me chun ‘lúir leis a’ dúlamán Gaelach [rɔk: kɪɡ meɪ kʊ lʲur lɛʃ a du ləә man ɡeɪ ləәx] I would go to the tailor with the Gaelic seaweed. “Ceannódh bróga daor’,” arsa’ dúlamán Gaelach. [kæ a noɡ bro ɡəә der er səә du ləә man ɡeɪ ləәx] “I would buy expensive shoes,"said the Gaelic seaweed. Bróga breátha dubha ar a’ dúlamán Gaelach.
149
[bro ɡəә bræ ha du əә a er a du ləә man ɡeɪ ləәx] Beautiful black shoes has the Gaelic seaweed.
‘Bairéad agus triús ar a’ dúlamán Gaelach [bar eəәd aɡəәs trus er a du ləә man ɡeɪ ləәx] A beret and trousers has the Gaelic Seaweed. Tá ceann buí óir ar a’dúlamán Gaelach. [ta ki aʊn bwi or er a du ləә man ɡeɪ ləәx] There is a yellow gold head on the Gaelic seaweed. Tá dhá chluais mhaol’ar a’ dúlamán Maorach. [tak a klu ɪʃ weɪl er a du ləә man mwer əәx] There are two blunt ears on the stately seaweed. Incantations Aililú, [ɑ lɪ lu] Alleluia, ‘S Tusa an dámh, ‘s Tusa an éan, ‘s Tusa an t-iasc, aililú. [stəә sɑ əәn darv stəә sɑ əәn en stəә sɑ əәn tʲɪsk ɑ lɪ lu] You are the stag, you are the bird, you are the fish, alleluia ‘S Tusa an ghaoth, ‘s Tusa an fuacht, ‘s Tusa an mhuir, aililú. [stəә sɑ əәn ɡwaɪ stəә sɑ əәn fuxt stəә sɑ əәn vwir ɑ lɪ lu ] You are the wind, you are the cold, you are the sea, alleluia ‘S Tusa an ghrian, ‘s Tusa an réalt, ‘s Tusa an spéir, aililú. [stəә sɑ əәn ɡrin stəә sɑ əәn reɪəәlt stəә sɑ əәn sper ɑ lɪ lu] You are the sun, you are the star, you are the sky, alleluia ‘S Tusa an féar, ‘S Tusa an bláth, ‘S Tusa na crainn, aililú. [stəә sɑ əәn fer stəә sɑ əәn bla stəә sɑ əәn krin ɑ lɪ lu] You are the grass, you are the flower, you are the trees, alleluia Aililú mo Íosa, aililú mo chroí, aililú mo Thiarna, aililú mo Chríost. [ɑ lɪ lu mo i sa ɑ lɪ lu mo kri ɑ lɪ lu hɪernɑ ɑ lɪ lu mo krist] Alleluia my Jesus, alleluia my heart, alleluia my Lord, alleluia my Christ.
150
Salve Rex Duisgeadh agoinn dámh donn a doire donn níamhdha nua [du ʃəә gəә gwIn dav dəә nəә der e dəә niv ga nu a] We awoke a great brown stag from the new grass... Danú Danú Danú Dé [da nu da nu da nu de]
‘Sí do Mhaimeo Í [ʃi do a moɪ i ] ‘S í do Mhaimeo Í, ‘s í do Mhaimeo Í, [ʃi do a moɪ i ʃi do a moɪ i ] She is your granny, she is your granny, ‘s í do Mhaimeo Í cailleach an air[i]gid; [ʃi do a moɪ i kæl jəәk an ær ɪ ɡɪd] She is your granny the hag with the money ‘S í do Mhaimeo Í, ó Bhail’ Iorrais Mhóir í, [ʃi do a moɪ i o vaj lʲɚj ɪʃ vɔɪ rɪ ] She is your granny from the town of Iorrais Mór, ‘S chuirfeadh sí cóistí ‘r bhóithre Chois Fharraige. [skwir əә ʃi koʊ ʃti ɚ vɔɪ rəә xuʃ ær ɪ ɡəә ] And she would put coaches on the roads of Cois Farraige ‘bhFeicfeása ‘n “steam” ‘ga’l siar Tóin Uí Loing’, [ vɛk əәs əәn stim ɡɔl ʃir tɔɪ ni ʎiŋ ] If you’d see the steam [steam boat] going past Tóin Uí Loing’ ‘S na rothaí gh’l timpeall siar óna ceathrúna[í]; [ sna rəә hi ɡəәl tɪm pʊl ʃir ɔ na kæ ru ni] And the wheels turning speedily at her flanks Caithfeadh sí’n stiúir naoi n-uair’ar a cúl, [kæ whəә ʃin stiəәr nɪ i nu reɪr əә kul ] She’d scatter the store nine times to the rear, ‘S ní choinneodh sí siúl le cailleach an air[i]gid [sni xwɪ nəәɡ ʃi ʃul lɛ kæ ʎəәk an ær ɪ ɡɪd ] But she never keeps pace with the hag with the money.
151
‘Measann tú ‘bpósfa, ‘measann tú ‘bpósfa, [mæs ɪn tu bos fəә mæs ɪn tu bos fəә ] Do you reckon he’d marry, do you reckon he’d marry, ‘Measann tú ‘bpósfa cailleach an air[i]gid? [mæs ɪn tu bos fəә kæl ɪk an ær ɪ ɡɪd ] Do you reckon he’d marry the hag with the money Tá ‘s a’m nach bpósfa’, tá ‘s a’m nach bpósfa’ [ta səәm nɔk bos fəә ta səәm nɔx bos fəә ] I know he’ll not marry, I know he’ll not marry Mar tá sé ró-óg ‘gus dólfadh sé’n t-air[i]gead. [mar ta ʃe ro oɡ ɡəәs dol əәk ʃe ɪn tær ɪ ɡɪd ] Because he’s too young and he’ll drink the money. ‘S gairid go bpósfa’, ‘s gairid go bpósfa’, [skæ rɪd ɡəә bos fəә skæ rɪd ɡəә bos fəә ] We’ll soon have a wedding, we’ll soon have a wedding, ‘S gairid go bpósfa’ beirt ar an mbaile seo; [skæ rɪd ɡəә bos fəә beɪt e rɔn mɔl ja ʃəә] We’ll soon have a wedding by two in the village ‘S gairid go bpósfa’, ‘s gairid go bpósfa’, [skæ rɪd ɡəә bos fəә skæ rɪd ɡəә bos fəә ] We’ll soon have a wedding, we’ll soon have a wedding, Séan Shéamais Mhóir ‘gus Máire Ní Chathasaigh. [ʃan heɪ mɪʃ vɔɪr gəәs moɪ rəә ni kæ həә si] Between Séan Séamais Mór and Máire Ní Chathasaigh.
152
APPENDIX D
COMPLETE MUSICAL EXAMPLES All musical examples found within the body of the document are given here in
their complete form. The exceptions are the complete scores of Michael McGlynn’s
∗ 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).
Aloys Fleischmann, Sources of Irish Traditional Music c. 1600-1855: An Annotated Catalogue of Prints and Manuscripts, 1583-1855, ed. Aloys Fleischmann, Vol. 2, 2 vols. (New York: Garland Publishing Inc., 1998).
Aloys Fleischmann, Sources of Irish Traditional Music c. 1600-1855: An Annotated Catalogue of Prints and Manuscripts, 1583-1855, ed. Aloys Fleischmann, Vol. 1, 2 vols. (New York: Garland Publishing, Inc., 1998). P.W. Joyce, Old Irish Folk Music and Songs: A Collection of 842 Irish Airs and Songs Hitherto Unpublished (Dublin: Hodger Figgis & Co, Ltd., 1909). Micheál Mac Eoin, "Ardi Cuan," in An Cór Gaelach (Corcaigh: An Chéad Chló, 1985). Michael McGlynn, Ardaigh Cuan (Dublin: Michael McGlynn/ Warner Chappell, 1995). ------, Incantations (Dublin: Michael McGlynn & Warner Chappell, 1989). ------, Silent, O Moyle (Dublin: Michael McGlynn & Warner Chappell, 1993). ------, Siúil, a Rúin (Dublin: Michael McGlynn & Warner Chappell, 1994). ------ ‘Sí do Mhaimeo Í (Dublin: Michael McGlynn & Warner Chappell, 1993).
Mary McLaughlin, "Sí do Mhaimó Í," in Singing in Irish Gaelic: A Phonetic Approach to Singing in the Irish Language Suitable for Non-Irish Speakers (Pacific, MO, MO: Mel Bay Publications, 2002). Thomas Moore, Moore's Irish Melodies With Symphonies and Accompaniments (Boston: Oliver Ditson, 1893). Muireadhach Méith, Amhráin Chúige Uladh (Baile Átha Cliath: Gilbert Dalton, 1977).
George Petrie, The Petrie Collection of the Ancient Music of Ireland, ed. David Cooper (Cork: Cork University Press, 2005).
Pádragín Ní Uallacháin, A Hidden Ulster: People, Songs, and Traditions of Oriel (Dublin: Four Courts Press, 1893).
Seán Óg Ó Baoill and Mánus Ó Baoill, "Airdi Cuan," in Celota Gael (Corcaigh: Cló Mercier,
1975). Mícheál Ó hEidhin, Cas Amhrán (Conmara: Cló Iar-Chonnachta, 1975).
167
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). These, as well as other scores, can be found and purchased from
www.anuna.ie.
Agnus Dei ........................................................................................................ 167
This is to certify that Stacie Lee Rossow has been issued permission to reprint, intheir entirety, the following scores in her Doctoral Thesis titled The Choral Music ofIrish Composer Michael McGlynn. as indicated above written and/or arranged byMichael McGlynn.
To confirm the propriety of this certificate contact [email protected]
____________________
Michael McGlynn
Anúna Teoranta
Cert. 3230
Contact Anúna, PO Box 4468, Churchtown, Dublin 14, Irelandor [email protected] to confirm the authenticity. 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, nor does it allow for the recording in any medium of the pieces listed above
without the authority of the copyright holder.
169
V b 45Tenor Solo
Freely qȢ!
P" # œ œ œ
A U-ain
œ œ œ œ œ 3.œ œ œ œ #U œ œ œ
Dé, a thó -gas pea - caí an domhain, A U - ain
œ œ œ œ œ3
.œ œ œ œ #U œ œ .œ
Dé, a thó- gas pea - caí an domhain, A U-ain
&
V
V
?
b
b
b
b
43
43
43
43
45
45
45
45
S 1
TSolo
T
B 2
4
"
œ œ œ œ œ œ3
.œ œ œ œ ‰U JœDé, a thó - gas pea-caí an domhain, déan
"
"
F
"
3
.œ œ œ œ .œ #U œ œ œ
tró - cai- re or-ainn; A U - ain
"
"
P
P
F
S1 & 2 together until bar 13
w œOh
œ œ œ œ œ 3.œ œ œ œ #U œ œ .œ
Dé, a thó- gas pea - caí an domhain, A U- ain
w œOh
ww œœOh
&
V
V
?
b
b
b
b
46
46
46
46
45
45
45
45
S 1
TSolo
T
B 2
7
w œœ œ œ œ œ
3
.œ œ œ œ #U œ œ œ
Dé, a thó-gas pea-caí an domhain, A U-ain
w œ
˙ ..˙
w œœ œ œ œ œ œ
3
.œ œ œ œ ‰U JœDé, a thó- gas pea-caí an domhain, déan
w œ
˙b..˙
no breath
.wu
3
.œ œ œ œ .œ Ó ŒU# œ œ œ
tró - cai - re or - ainn; A U-ain
.wu.˙ .˙Uœ ˙ .˙
&
V
V
?
b
b
b
b
45
45
45
45
43
43
43
43
S 1
TSolo
T
B 2
10
w œ
œ œ œ œ œ 3.œ œ œ œ #U œ œ œ
Dé, a thó-gas pea-caí an domhain, A U-ain
w œ
..˙ ˙
w œœ œ œ œ œ œ
3
.œ œ œ œ #U œ œ œ
Dé, a thó-gas pea-caí an domhain, A U-ain
w œ
..˙ ˙
w œ
œ œ œ œ œ3
.œ œ œ œ ‰U JœDé, a thó-gas pea caí an domhain, tabhair
w œ
˙#n ..˙nb
Agnus DeiMichael McGlynn
Warner Chappell Music U.K. 2006
170
&
&
V
V
?
?
b
b
b
b
b
b
43
43
43
43
43
43
46
46
46
46
46
46
S 1
A 1
TSolo
T
B1
B 2
13
.˙
.˙œ œ œ œ .œ Jœdú-inn sí-och-áin, tabhair
.˙
!
..˙b
.˙
.˙œ œ œ œ .œ Jœdú-inn sí-och-áin, tabhair
˙ Œ
.˙oo
..˙
qȤ"
p
Steadily
p
p
.woo
.˙ .˙
.woo
œ œ œ œ ˙ Œ Œ Œdú-inn sí-och-áin.
œ œn œ œ œ œ œA - - - gnus De- i, A -
.w
..wwoo
.˙ .˙! .
.˙ .˙
!
œ œn œ œ œ .œ jœgnus De - i qui
w Œ Œ
w Œ Œ
.˙b .˙
.˙ .˙
!
œ œb .œ jœ œ .œ jœtol - lis pec -cca - ta qui
!
!
&
&
&
V
?
b
b
b
b
b
S 1
S 2
A 1
T
B 2
18
.˙b .˙
!
.˙ .˙
œ œb .œ jœ œ œ œtol - lis pec -cca- ta mun -
!
p
p
p
.wNA - - - - -
.˙N .˙oo
.˙ .˙
.wdi,
œ œn œ œ œ ˙A - gnus De - i
œ œ# œ ˙ œngnus De - i
.˙ .˙
.˙ .˙
!
œ œn œ œ œ œ .œ JœA - gnus De - i qui
p
˙ œb .˙A - gnus
.˙b .˙A - - - gnus
.˙ .˙A - - - gnus
.˙b .˙A - - - gnus
œ œb œ œ œ œ œ .œ Jœtol - lis pec - cca- ta qui
!
.˙b .˙De - - - i
.˙ .˙De - - - i
.˙b .˙De - - - i
œ œb .œ Jœ œ œ œtol - lis pec- cca- ta mun -
Please note - it is possible to end this piece at the end of bar 13. If the intention is to do this, then please note the following:
At bar 13, the S1 lower part should continue singing a D [as per S1] . T should continue holding the G as per bar 12, and not sing the Tenor figure that starts at bar 13.
All parts should hold that bar as if it were a final one, except the T solo.
171
&
&
&
V
?
?
b
b
b
b
b
b
S 1
S 2
A 1
T
B1
B 2
23
.œN jœ œ œ œ œ Œmi - se - re - re no - bis,
.œN jœ œ œ œ œb Œmi - se - re - re no - bis,
.œ jœn œ œ œb œ Œmi - se - re - re no - bis,
.œ Jœn œ œ œ œœb Œmi - se - re - re no - bis,
.œ Jœ œ œ œb œb Œmi - se - re - re no - bis,
.wdi,
.œN jœ œ œ œ œb œmi - se - re - re no -
.œN jœ œ œ œ œb œmi - se - re - re no -
.œ jœn œ œ œ œ œmi - se - re - re no -
.œ Jœn œ œ œ œb œnmi - se - re - re no -
!
..œœn Jœœ œœ œœ œœb œœb œœAmi - se - re - re no -
pœ œ- œ- œ- ˙bis, A - gnus De - i,
.˙ Ó Œbis,
.˙ Ó Œbis,
.˙n Ó Œbis,
!
..˙b Ó Œbis,
p
p
p
p
.w
˙ œ œ ˙A - gnus De - i,
˙ œ œ ˙A - gnus De - i,
œ œn œ œ œ ˙A - gnus De - i,
!
˙ œ œ ˙A - gnus De - i,
poco rit
poco rit
poco rit
poco rit
poco rit
.˙ œ Œ œDe -
˙ œ œ œ ŒA - gnus De - i,
˙ œ œ œ ŒA - gnus De - i,
œ œn œ œ œ œ ŒA - gnus De - i
!
˙ œ œ œ ŒA - gnus De - i,
&
&
&
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?
b
b
b
b
b
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b
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T
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q»""Slower
P
28 .w
.˙ .˙oo
.˙ .˙oo
œ œ œ œ ˙ ,
A - gnus De - i
œ œn œ œ œ ˙A - gnus De - i
!
.woo
P
.wi
.˙ .˙
.˙ .˙œ œ œ œ œ œ , œA - gnus De - i qui
œ œn œ œ œ ˙A - gnus De - i
! Œ ‰ Jœqui
.w
.wA - - - - -
.˙b .˙
.˙b .˙œ œb œ ˙ œtol - - - lis pec -
.˙ .˙
œ œb œ œ œ œ œ .œ Jœtol - lis pec - cca-ta qui
.w
.˙ œ œb œgnus De - i
.˙b .˙
.˙ .˙œ œb œ ˙ œcca - ta mun - di,
.˙b .˙
œ œb œ œ œ œ œ œtol - lis pec-cca - ta mun -
.˙ Œ ˙A - - - - -
F
F
F
F
F
F
.wDe - - - -
˙ œ œ ˙A - gnus De - i,
˙ œ œ ˙A - gnus De - i,
œN œ œ œ ˙ ,
A - gnus De - i
œ œn œ œ œ ˙A - gnus De - i
.wdi,
.w
172
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49
49
49
49
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B 2
33
.˙ .˙i
˙ œ œ ˙A - gnus De - i,
˙ œ œ ˙A - gnus De - i,
œ œ œ œ œ œ ‰ JœA - gnus De - i qui
œ œn œ œ œ œ .œ jœA - gnus De - i qui
.w
.˙ œ œb œpec - cca - ta
.˙b ˙ œtol - lis pec -
.˙ ˙ œtol - lis pec -
œb œ œ ˙ œtol - lis pec -
.˙b ˙ œtol - lis pec -
.wgnus
.˙ .˙mun - di,
.˙b .˙cca - ta
.˙b .˙cca - ta
œb œ œ œ œ œcca - ta mun - di,
.˙ .˙cca - ta
.˙ .˙De - i
qȤ!
œ œ œ œ œ œ Œ œ œ œ œ œ œb œmi - se - re - re no- bis, mi - se - re - re no - bis,
œ œ œ œ œ œ Œ œ œ œ œ œ œb œmi - se - re - re no- bis, mi - se - re - re no - bis,
œ œ œ œ œ œ Œ œ œ œ œ œ œ œmi - se - re - re no- bis, mi - se - re - re no - bis,
"
œ œ œ œ œ œ Œ œ œ œ œ œ œ œmi - se - re - re no- bis, mi - se - re - re no - bis,
œœ œœ œœ œœ œœ œœ Œ œœ œœ œœ œœ œœb œœb œœnmi - se - re - re no- bis, mi - se - re - re no - bis,
&
&
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b
b
b
b
b
b
46
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43
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S 1
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B 2
37
œ œ œ œ œ œ Œ œ œ œ œmi - se - re - re no- bis, mi - se - re - re
œ œ œ œ œ œ Œ œ œ œ œmi - se - re - re no- bis, mi - se - re - re
œ œ œ œ œ œ Œ œ œ œ œmi - se - re - re no- bis, mi - se - re - re
"
œ œ œ œ œ œ Œ œ œ œ œmi - se - re - re no- bis, mi - se - re - re
œœ œœ œœ œœ œœ œœ Œ œœ œœ œœ œœmi - se - re - re no- bis, mi - se - re - re
#
œ œb œ œ œ œno - bis, mi - se -
œ œb œ .˙no - bis,
œ œ œ .˙no - bis,
"
œ œb œn .˙no - bis,
œœb œœb œœn ..˙no - bis,
œ ˙re - re
.˙
.˙
"
.˙
..˙b
#
#
#
#
#
p
.w
.˙ .˙,
oo
.˙ .˙,
oo
œ œ œ œ ˙ ,
A - gnus De - i
.˙ .˙,
oo
.woo
"
.˙ .˙,
.˙ .˙,
œ œ œ œ ˙ ,
A - gnus De - i
.˙ .˙,
.w ,
173
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q»!!Floating42 œ œ œ œ ˙A - gnus De - i
œ œ œ œb ˙bA - gnus De - i
œ œ œ œ ˙bA - gnus De - i
œ œ œ œ ˙ ,
A - gnus De - i
œ œn œ œ œ œb œbA - gnus De - i,
˙ œœ œœ ˙A - gnus De - i
œ œ œ œ ˙A - gnus De - i
œN œ œ œb ˙bA - gnus De - i
œ œ œ œ ˙bA - gnus De - i
œ œ œ œ œ œb ‰ JœA - gnus De - i qui
œn œn œ œ œ œ ŒA - gnus De - i
˙ œœ œœ ˙A - gnus De - i
œ œ œb œ œ œtol - - - lis pec -
œb œ œ œ œb œtol - - - lis pec -
œ œ œb œ œ œb ˙ œqui tol - lis pec -
˙ œ œb œ œtol - - - lis pec -
œb œ œ œ œ œtol - - - lis pec -
..˙ ..˙Oh
œ œ œb œ œ œcca - ta mun - di,
œb œ œ œ œb œcca - ta mun - di,
œ œ œb œ œ œb œ ˙cca - ta mun - di,
œb œ œ œn œ œcca - ta mun - di,
œb œ œ œ œ œcca - ta mun - di,
..˙ ..˙
œ œ œ œ ˙bA - gnus De - i
œ œN œ œ ˙A - gnus De - i
œ œ œ œb ˙bA - gnus De - i
œ œ œ œ ˙ ,
A - gnus De - i
œ œn œ œ œ œb œbA - gnus De - i,
˙ œœ œœ ˙A - gnus De - i
&
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b
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b
b
b
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45
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S 1
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A 1
TSolo
T
B 2
47 œn œ œ œ ˙bA - gnus De - i
œ œ œ œ ˙A - gnus De - i
œn œ œ œb ˙bA - gnus De - i
œ œ œ œ œ œb ‰ JœA - gnus De - i qui
œn œn œ œ œ œ ŒA - gnus De - i
˙ œœ œœ ˙A - gnus De - i
Crescendo Poco a Pocoœ œ œb œ œ œtol - - - lis pec -
œ œ œb œ œ œb ˙ œqui tol - lis pec -
œb œ œ œ œb œtol - - - lis pec -
œb œ œ ˙ œtol - - - lis pec -
œb œ œ œ œ œtol - - - lis pec -
..˙ ..˙Oh
no breath
œ œ œb œ œ œcca - ta mun - di,
œ œ œb œ œ œb œ ˙cca - ta mun - di,
œb œ œ œ œb œcca - ta mun - di,
œb œ œ œn œ œcca - ta mun - di,
œb œ œ œ œ œcca - ta mun - di,
..˙ ..˙
f
f
f
f
f
˙ œ œ œbAg - nus De - i,
œN œ œ œ œAg - nus De - i,
œœN œœ œœ œœb œœAg - nus De - i,
"
œ œ œN œ œb œAg - nus De - i,
ww œœ
˙ œ œb œbAg - nus De - i
œ œ œ œ œbAg - nus De - i
œœ œœ œœ œœb œœAg - nus De - i
"
œ œ œ œ œb œAg - nus De - i
œœ "
174
&
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b
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b
b
b
b
46
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46
46
46
46
46
46
43
43
43
43
43
43
46
46
46
46
46
46
43
43
43
43
43
43
S 1
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A 1
T
B1
B 2
p
p
p
p
p
p
52 .wdo - - - - - - - -
˙n ˙ œ œdo - na no - bis
˙N ˙ œœ œœdo - na no - bis
Œ œ œ œ œ œdo - na no - bis pa - - - - -
œ œ œ œ œ œ œdo - na no - bis pa - - -
.wpa - - - - - -
.˙
˙b œbpa - cem,
˙b œœbpa - cem,
.˙
˙b œcem,
œ œ œb œcem.
.wna
˙n ˙ œ œdo - na no - bis
˙N ˙ œœ œœdo - na no - bis
Jœ ‰ œ œ œ œ œcem, do - na no - bis pa - - -
œ œ œ œ œ œ œdo - na no - bis pa - - -
.wpa - - - - - - -
.˙ ,
˙b œbpa - cem,
˙b œœbpa - cem,
˙ œcem,
˙b œcem,
œ œ œb œcem.
˙ ˙ œ œdo - na no - bis
˙n ˙ , œ œpa - cem, do - na
˙N ˙,
œœ œœpa - cem, do - na
Œ œ œ œ ˙do - na no - bis
œ œ œ œ œ œ œdo - na no - bis pa -
.wpa - - - - -
&
&
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b
b
b
b
b
b
43
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43
43
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46
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43
43
43
43
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46
46
46
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43
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43
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46
S 1
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T
B1
B 2
57 ˙ œ ,
pa - cem,
œb œ œbno - bis pa - - -
œœb œœ œœbno - bis pa - - -
˙ œpa - cem,
˙b œcem,
œ œ œb œcem.
˙ ˙ œ œdo - na do - na
˙n ˙ , œ œcem, do - na
˙N ˙,
œœ œœcem, do - na
Œ œ œ œ ˙do - na no - bis
œ œ œ œ œ œ œdo - na no - bis pa - - -
.wpa - - - - - - -
˙ œbpa -
œb œ œno - bis pa -
œœb œœ œœbno - bis pa -
˙ œbpa - cem,
˙b œcem,
œ œ œb œcem.
˙n , œ œ œ œcem, do - na no - bis
˙ , œ œ œ œncem, do - na no - bis
˙n,
œœ œœ œœ œœNcem, do - na no - bis
Œ œn wpa - - - - -
œ œ œ œ œ œ œdo - na no - bis pa - - -
.wpa - - - - - - -
˙ œb ,
pa - cem,
˙b œbpa - cem,
˙b œœbpa - cem,
.˙cem.
˙b œcem,
˙ œcem,
175
&
&
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b
b
b
b
b
b
46
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43
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46
46
..
..
..
..
..
..
43
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62 ˙n œ œ œ œdo - na no - bis pa - - -
˙ œ œ œ œndo - na no - bis pa - - -
˙n œœ œœ œœ œœNdo - na no - bis pa - - -
Jœ ‰ œ œ œ ˙do - na no - bis
œ œ œ œ œ œ œdo - na no - bis pa - - -
.wpa - - - - - -
˙ œcem,
˙b œbcem,
˙b œœbcem,
˙ œpa - cem,
˙b œcem,
˙ œcem,
!
!
!
!
!
!
With Stillness.wpa - - - - -
œn œ Œ œ œ Œdo - na no - bis
œœN œœ Œ œœ œœ Œdo - na no - bis
Œ œ œ œ œ œdo - na no - bis pa - - -
œ œ œ œ œ œdo - na no - bis pa - - -
.wpa - - - - -
.˙ ,
cem,
˙b œbpa - cem,
˙b œœbpa - cem,
˙ œcem,
˙b œcem,
.˙cem,
.wnpa - - - - -
.˙ .˙do - na
..˙N ..˙do - na
Œ œ œ œ œ œdo - na no - bis pa -
.˙ .˙do - na
œ œ œ œ œ œdo - - - na
&
&
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b
b
b
b
b
b
43
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43
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67 ˙b œb,
cem,
˙ œpa - cem,
˙b œœbpa - cem,
˙ œcem,
˙b œpa - cem,
˙b œpa - cem.
.˙ .˙pa - - - cem,
œn œ Œ œ œ Œdo - na no - bis
œœN œœ Œ œœ œœ Œdo - na no - bis
Œ œ œ œ œ œdo - na no - bis pa - - - -
œ œ œ œ œ œdo - na no - bis pa - - - -
.wpa - - - - - -
.˙pa - - - -
˙b œbpa - cem,
˙b œœbpa - cem,
˙ œcem,
˙b œcem,
.˙cem,
.wn ,
cem.
.˙ .˙do - - - na
..˙N ..˙do - - - na
Œ œ œ œ œ œdo - na no - bis pa -
.˙ .˙do - - - na
œ œ œ œ œ œdo - - - - na
176
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b
b
b
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..
..
..
..
..
..
46
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46
c
c
c
c
c
c
S 1
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A 1
T
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B 2
71 ˙b œbpa - cem,
˙ œ,
pa - cem,
˙b œœb,
pa - cem,
˙ œcem,
˙b œpa - cem,
˙b œpa - cem.
.wnpa - - - - - - -
.˙ .˙do - - na
..˙N ..˙do - - na
Œ œ œ œ œ œdo - na no - bis pa - - -
.˙ .˙do - - na
œ œ œ œ œ œdo - - - - na
˙b œb,
cem.
˙ œ,
pa - cem,
˙b œœb,
pa - cem,
˙ œcem,
˙b œpa - cem,
˙b œpa - cem.
.wnpa - - - - - - -
.˙ .˙do - - na
..˙N ..˙do - - na
Œ œ œ œ œ œdo - na no - bis pa - - -
.˙ .˙do - - na
œ œ œ œ œ œdo - - - - na
˙b ˙bcem.
˙ ˙pa - cem,
˙b ˙˙bpa - cem,
˙ ˙cem,
˙b ˙pa - cem,
˙b ˙pa - cem.
&
&
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b
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76 ˙b ˙bpa - cem,
˙ ˙pa - cem,
˙b ˙˙bpa - cem,
˙ ˙pa - cem.
˙b ˙pa - cem,
˙b ˙pa - cem.
˙b ˙bpa - cem,
˙ ˙pa - cem,
˙b ˙˙bpa - cem,
˙ ˙pa - cem.
˙b ˙pa - cem,
˙b ˙pa - cem.
˙b ˙bpa - cem,
˙ ˙pa - cem,
˙b ˙˙bpa - cem,
˙ ˙pa - cem.
˙b ˙pa - cem,
˙b ˙pa - cem.
˙b ˙˙bupa - cem,
˙ upa - cem,
˙b ˙˙bupa - cem,
˙ U
pa - cem.
˙b U
pa - cem,
˙b U
pa - cem.
Commissioned by Chanticleer, San Francisco, CA in 2005From "And on earth Peace : A Chanticleer Mass"
A Uain Dé, a thógas peacaí an domhain, déan trócaire orainn;A Uain Dé, a thógas peacaí an domhain, déan trócaire orainn;A Uain Dé, a thógas peacaí an domhain, tabhair dúinn síocháin.
Lamb of God, who takes away the sins of the world, have mercy on us;Lamb of God, who takes away the sins of the world, have mercy on us;
Lamb of God, who takes away the sins of the world, grant us peace.
Completed May 2006
177
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bbb
b b b
b b b
b b b
b b b
Soprano
Mz. Sop.
Alto
Tenor
Bass
As Atmospherically as Possible
q»ªº1
!
1
!
!
!
w
FCor -
!
!
!
.˙F
œCor -
w
!
!
!
.˙ œw
!
!
!
3
œ œ œ œ œma - cus Scrip - sit
3œ œ œ œ œma - cus Scrip - sit
!
!
!
œ œ3
œ œ œhoc psal - ter - i - um
w
!
!
!
Œ ˙ œCor -
wCor -
&
V
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bbb
b b b
b b b
MzS.
T.
B.
7
!
.˙ œw
!
3
œ œ œ œ œma - cus Scrip - sit
3œ œ œ œ œma - cus Scrip - sit
!
.˙ Œ
.˙ Œ
!
..˙f
œœCor -
wwfCor -
!
..˙ œœww
!
3œœ œœ œœ œœ œœma - cus Scrip - sit
3œœ œœ œœ œœ œœma - cus Scrip - sit
&
V
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b b b
b b b
n n n
n n n
n n n
MzS.
T.
B.
13
!
œœ œœ3œœ œœ œœ
hoc psal - ter - i - um
ww
!
Œ ˙ œœCor -
wwCor -
!
..˙ œœww
!
3œœ œœ œœ œœn œœma - cus Scrip - sit
3œœ œœ œœ œœ œœma - cus Scrip - sit
Cormacus ScripsitCormac, c.1150, arramged Michael McGlynn
178
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n n n
n n n
n n n
n n n
MzS.
A.
T.
B.
17
!
!
ww œFig. 1p œ ˙ ˙ Œ œ œ .˙ Œ
Continue Fig. 1 with each singer singing the figure seperately, until *Oh Oh
ww œFig. 1
p œ ˙ ˙ Œ œ œ .˙ ŒOh Oh
!
œpœ œ œ
Cor -ma-cus Scrip -
!
!
!
œU œ œ œsit hoc psal -ter -
!
!
!
œ œ œ œi - um o - ra
!
!
!
œ œU œU Œpro e - o
!
!
&
&
&
S.
MzS.
A.
22
!
22
!
œ œ œ œ,qui le - gis hec
!
!
œ œ œ œo - ra pro - ce -
!
!
œ œ œ œse qua - li - bet
Œ œsolo 3œ œ œ œ œ œ ˙ , œ œ œ œ œ œ3
œ œ œ ˙Cor - ma - cus Scrip - sit hoc psal - ter - i - um
!
œU WHold until *
ho - ra
&
&
S.
MzS.
26
œ œ3
œ œ œ œ œ œ œ œ œ œ Ó œ 3œ œ œ œ œ,œ œ
o - ra pro e - o qui le - gis hec o -
26
!
œ3
œ œ œ œ œ3
œ œ œ œ œ œ œ œ œ ˙*
ÓUra pro-ce - se qua - li - bet ho - ra
!
2
179
&
&
&
V
?
S.
MzS.
A.
T.
B.
28 ˙F
tutti œ œ œ œ œ œ œ œ œ œCor - ma - cus Scrip -
28 ˙F
œ œ œ œ .œCor - ma - cus Scrip -
˙F
˙ ˙ .œCor - ma - cus Scrip -
W
*There must be no discernible breaths between notes in this section
fOh*WW
fOh*
œ œ œsit
.œsit
.œsit
.œSlide between notes
..œœ
œ œ œ œ œhoc psal - ter - i - um
œ œ œ œ œhoc psal - ter - i - um
œ œ œ œ œhoc psal - ter - i - um
W
WW
œ œ œo - ra
œ œo - ra
œ œo - ra
˙
˙
&
&
&
V
?
S.
MzS.
A.
T.
B.
32 .œ œ œ ˙ ˙pro e - o
32 œ œ œ œ œ œ œ ˙ ˙pro e - o
˙ ˙ .œ ˙pro e - o
W
WW
˙ œ œ œ œ œ œ œ œ œ œqui le - gis hec
˙ œ œ œ œ .œqui le - gis hec
˙ ˙ ˙ .œqui le - gis hec
W
WW
œ œ œo -
.œo -
.œo -
.œ
..œœ
œ œ œ œ œra pro - ce - se
œ œ œ œra pro - ce - se
œ œ œ œra pro - ce - se
w
ww
3
180
&
&
&
V
?
S.
MzS.
A.
T.
B.
36 œ œqua - li -
36
œ œqua - li -
œ œqua - li -
˙
˙
œ œ œ œ ˙ wbet ho - ra
œ œ œ œ œ œ œ ˙ wbet ho - ra
˙ ˙ wbet ho - ra
W
WW
p
p
p
p
p
woo
woo
woo
.˙ œoo
Cor -
w
wwoo
w
w
w
.˙b œbw
ww
&
&
&
V
?
S.
MzS.
A.
T.
B.
40
w40
w
w3œ œ œ œ œma - cus Scrip - sit
w
ww
w
w
w
..˙˙ Œ
ww
w
w
w
..˙ œœCor -
ww
w
w
w
..˙bb œœbb
ww
!
!
!
!
!
w
w
w3œœ œœ œœ œœ œœma - cus Scrip - sit
ww
wummmm
wummmm
wumm
..˙U Œ
wwummmm
4
181
V ## 87 86 87 86Tenor
qk»¡¡!1
Fast and Very Rhythmically
Fsolo
jœA
œ œ œ œ œ œ œ'ní - on mhí - n ó sin a -
œ œ œ œ œ œnall na fir shuir - í, A
œ œ œ œ œ œ œmha - thair mhí - n ó cuir na
œ œ œ œ œ œroi - th - leán go dtí mé
V
?
?
##
# #
# #
..
..
..
87
87
87
86
86
86
..
..
..
87
87
87
T
B I
B II
6
F
tutti
œ œ œ œ œ œDúl - a - mán, dúl - a - mán,
Fœ œ œ œ œ œDúl - a - mán, dúl - a - mán,
Fœ œ œ œ œ œDúl - a - mán, dúl - a - mán,
farr- aig- e
farr- aig- e
farr- aig- e
œ œ œ œ œ œ œdúl - a - mán na binn - e buí,
œ œ œ œ œ œ œdúl - a - mán na binn - e buí,
œ œ œ œ œ œ œdúl - a - mán na binn - e buí,
œ œ œ jœ œdúl - a - mán na
œ œ œ jœ œdúl - a - mán na
œ œ œ jœ œdúl - a - mán na
œ œ œ œ œ œbinn - e buí Gae - lach,
œn œ œ œ œ œbinn - e buí Gae - lach,
œn œ œ œ œ œbinn - e buí Gae - lach,
V ## 87 86 87 85 86T
10 solo
œ œ œ œ œ œ œRach - aidh mé chun 'lúir leis a'
œ œ œ œ œ œdúl - a - mán Gael - lach
œ œ œ œ œ œ œceann - ódh bró - ga daor' ar - sa
œ œ œ œ œdúl - a - mán Gael - ach
V
?
?
##
# #
# #
86
86
86
..
..
..
87
87
87
86
86
86
..
..
..
87
87
87
T
B I
B II
14 tutti
œ œ œ œ œ œDúl - a - mán, dúl - a - mán,
œ œ œ œ œ œDúl - a - mán, dúl - a - mán,
œ œ œ œ œ œDúl - a - mán, dúl - a - mán,
farr- aig- e
farr- aig- e
farr- aig- e
œ œ œ œ œ œ œdúl - a - mán na binn - e buí,
œ œ œ œ œ œ œdúl - a - mán na binn - e buí,
œ œ œ œ œ œ œdúl - a - mán na binn - e buí,
œ œ œ jœ œdúl - a - mán na
œ œ œ Jœ œdúl - a - mán na
œ œ œ jœ œdúl - a - mán na
œ œ œ œ œ œbinn - e buí Gae - lach,
œ œ œ œ œ œbinn - e buí Gae - lach,
œn œ œ œ œ œbinn - e buí Gae - lach,
V ## 87 86 87 85 86T
18 solo
œ œ œ œ œ œ œBró - ga breá - tha dubh' ar a'
œ œ œ œ œ œdúl - a - mán Gae - lach
œ œ œ œ œ œ œbair - éad ag - us triús ar a'
œ œ œ œ œdúl - a - mán Gae - lach
Michael McGlynn
Dúlamán
182
V
?
?
##
# #
# #
86
86
86
..
..
..
87
87
87
86
86
86
..
..
..
811
811
811
T
B I
B II
22 tutti
œ œ œ œ œ œDúl - a - mán, dúl - a - mán,
œ œ œ œ œ œDúl - a - mán, dúl - a - mán,
œ œ œ œ œ œDúl - a - mán, dúl - a - mán,
farr- aig- e
farr- aig- e
farr- aig- e
œ œ œ œ œ œ œdúl - a - mán na binn - e buí,
œ œ œ œ œ œ œdúl - a - mán na binn - e buí,
œ œ œ œ œ œ œdúl - a - mán na binn - e buí,
œ œ œ jœ œdúl - a - mán na
œ œ œ Jœ œdúl - a - mán na
œ œ œ jœ œdúl - a - mán na
œ œ œ œ œ œbinn - e buí Gae - lach,
œ œ œ œ œ œbinn - e buí Gae - lach,
œn œ œ œ œ œbinn - e buí Gae - lach,
V
?
?
##
##
##
811
811
811
..
..
..
810
810
810
..
..
..
86
86
86
..
..
..
87
87
87
T
B I
B II
ƒ
ƒ
ƒ
26 œ œ œ œ œ œ œDúl - a - mán na binn - e buí,
œ œ œ œ œ œ œDúl - a - mán na binn - e buí,
œ œ œ œ œ œ œDúl - a - mán na binn - e buí,
œ œ œ œ œ œ œ œ œ œdúl - a - mán na binn - e buí Gae - lach,
œ œ œ œ œ œ œ œ Jœdúl - a - mán na binn - e buí Gae - lach,
œ œ œ œ œ œ œ œ jœdúl - a - mán na binn - e buí Gae - lach,
p
p
p
œ œ œ œ œ œDúl - a - mán, dúl - a - mán,
œ œ œ œ œ œDúl - a - mán, dúl - a - mán,
œ œ œ œ œ œDúl - a - mán, dúl - a - mán,
V
?
?
##
# #
# #
87
87
87
86
86
86
..
..
..
811
811
811
810
810
810
T
B I
B II
farr- aig- e,
farr- aig- e,
farr- aig- e,
29 œ œ œ œ œ œ œdúl - a - mán na binn - e buí,
œ œ œ œ œ œ œdúl - a - mán na binn - e buí,
œ œ œ œ œ œ œdúl - a - mán na binn - e buí,
œ œ œ jœ œdúl - a - mán na
œ œ œ Jœ œdúl - a - mán na
œn œ œ jœ œdúl - a - mán na
œ œ œ œ œ œbinn - e buí Gae - lach,
œ œ œ œ œ œbinn - e buí Gae - lach,
œ œ œ œ œ œbinn - e buí Gae - lach,
ƒ
ƒ
ƒ
œ œ œ œ œ œ œDúl - a - mán na binn - e buí,
œ œ œ œ œ œ œDúl - a - mán na binn - e buí,
œ œ œ œ œ œ œDúl - a - mán na binn - e buí,
2
183
V
?
?
##
# #
# #
810
810
810
811
811
811
87
87
87
T
B I
B II
33 œ œ œ œ œ œ œ œ œ œdúl - a -mán na binn - e buí Gae - lach,
œ œ œ œ œ œ œ œ Jœdúl - a - mán na binn - e buí Gae - lach,
œ œ œ œ œ œ œ œ jœdúl - a - mán na binn - e buí Gae - lach,
œ œ œ œ œ œ œDúl - a - mán na binn - e buí,
œ œ œ œ œ œ œDúl - a - mán na binn - e buí,
œ œ œ œ œ œ œDúl - a - mán na binn - e buí,
œ œ œ œ œ œ œ œ œ œ solojœdúl - a - mán na binn - e buí Gae - lach, A
Jœ Jœ Jœ Jœ Jœ Jœ Jœ œ Jœ ‰dúl - a - mán na binn - e buí Gae - lach,
Jœ Jœ Jœ Jœ jœ jœ jœ œ jœ ‰dúl - a - mán na binn - e buí Gae - lach,
V ## 87 86 87 86T
36
œ œ œ œ œ œ œ'ní - on mhí - n ó sin a -
œ œ œ œ œ œnall na fir shuir - í, A
œ œ œ œ œ œ œmha - thair mhí - n ó cuir na
œ œ œ œ œ œroi - th - leán go dtí mé
V
?
?
##
# #
# #
..
..
..
87
87
87
86
86
86
T
B I
B II
p
p
p
40 tutti
œ œ œ œ œ œDúl - a - mán, dúl - a - mán,
œ œ œ œ œ œDúl - a - mán, dúl - a - mán,
œ œ œ œ œ œDúl - a - mán, dúl - a - mán,
farr- aig- e
farr- aig- e
farr- aig- e
œ œ œ œ œ œ œdúl - a - mán na binn - e buí,
œ œ œ œ œ œ œdúl - a - mán na binn - e buí,
œ œ œ œ œ œ œdúl - a - mán na binn - e buí,
œ œ œ jœ œdúl - a - mán na
œ œ œ jœ œdúl - a - mán na
œ œ œ jœ œdúl - a - mán na
V
?
?
##
# #
# #
..
..
..
87
87
87
..
..
..
86
86
86
T
B I
B II
43 1.
œ œ œ œ œ œbinn - e buí Gae - lach,
œn œ œ œ œ œbinn - e buí Gae - lach,
œn œ œ œ œ œbinn - e buí Gae - lach,
jœ jœ jœ Jœjœ jœ
F
solojœbinn - e buí Gae - lach, Tá
jœn jœ jœ jœ Jœ Jœ ‰binn - e buí Gae - lach,
jœn jœ jœ jœ Jœ Jœ ‰binn - e buí Gae - lach,
œ œ œ œ œ œ œcea - nn buí (í) óir ar 'a
!
!
V ## 86 87 85 86T
46 œ œ œ œ œ œdúl - a - mán Gae - lach, Tá
œ œ œ œ œ œ œdhá (á) chlu - ais mhaol' ar a'
œ œ œ œ œdúl - a - mán Maor - ach
3
184
V
?
?
##
# #
# #
86
86
86
..
..
..
87
87
87
86
86
86
..
..
..
811
811
811
T
B I
B II
F
F
F
49 tutti
œ œ œ œ œ œDúl - a - mán, dúl - a - mán,
œ œ œ œ œ œDúl - a - mán, dúl - a - mán,
œ œ œ œ œ œDúl - a - mán, dúl - a - mán,
farr- aig- e,
farr- aig- e,
farr- aig- e,
œ œ œ œ œ œ œdúl - a - mán na binn - e buí,
œ œ œ œ œ œ œdúl - a - mán na binn - e buí,
œ œ œ œ œ œ œdúl - a - mán na binn - e buí,
œ œ œ jœ œdúl - a - mán na
œ œ œ Jœ œdúl - a - mán na
œ œ œ jœ œdúl - a - mán na
œ œ œ œ œ œbinn - e buí Gae - lach,
œ œ œ œ œ œbinn - e buí Gae - lach,
œn œ œ œ œ œbinn - e buí Gae - lach,
V
?
?
##
# #
# #
811
811
811
..
..
..
810
810
810
..
..
..
86
86
86
..
..
..
87
87
87
86
86
86
T
B I
B II
ƒ
ƒ
ƒ
53 œ œ œ œ œ œ œDúl - a - mán na binn - e buí,
œ œ œ œ œ œ œDúl - a - mán na binn - e buí,
œ œ œ œ œ œ œDúl - a - mán na binn - e buí,
œ œ œ œ œ œ œ œ œ œdúl - a-mán na binn - e buí Gae - lach,
œ œ œ œ œ œ œ œ Jœdúl - a -mán na binn - e buí Gae - lach,
œ œ œ œ œ œ œ œ jœdúl - a -mán na binn - e buí Gae - lach,
p
p
p
œ œ œ œ œ œDúl - a -mán, dúl - a -mán,
œ œ œ œ œ œDúl - a -mán, dúl - a -mán,
œ œ œ œ œ œDúl - a -mán, dúl - a -mán,
farr- aig- e,
farr- aig- e,
farr- aig- e,
œ œ œ œ œ œ œdúl - a -mán na binn - e buí,
œ œ œ œ œ œ œdúl - a -mán na binn - e buí,
œ œ œ œ œ œ œdúl - a -mán na binn - e buí,
V
?
?
##
# #
# #
86
86
86
..
..
..
811
811
811
810
810
810
T
B I
B II
57 œ œ œ jœ œdúl - a - mán na
œ œ œ Jœ œdúl - a - mán na
œn œ œ jœ œdúl - a - mán na
œ œ œ œ œ œbinn - e buí Gae - lach,
œ œ œ œ œ œbinn - e buí Gae - lach,
œ œ œ œ œ œbinn - e buí Gae - lach,
ƒ
ƒ
ƒ
œ œ œ œ œ œ œDúl - a - mán na binn - e buí,
œ œ œ œ œ œ œDúl - a - mán na binn - e buí,
œ œ œ œ œ œ œDúl - a - mán na binn - e buí,
V
?
?
##
# #
# #
810
810
810
811
811
811
810
810
810
T
B I
B II
60 œ œ œ œ œ œ œ œ œ œdúl - a - mán na binn - e buí Gae - lach,
œ œ œ œ œ œ œ œ Jœdúl - a - mán na binn - e buí Gae - lach,
œ œ œ œ œ œ œ œ jœdúl - a - mán na binn - e buí Gae - lach,
œ œ œ œ œ œ œDúl - a - mán na binn - e buí,
œ œ œ œ œ œ œDúl - a - mán na binn - e buí,
œ œ œ œ œ œ œDúl - a - mán na binn - e buí,
œ œ œ œ œ œ œ œ œ œdúl - a - mán na binn - e buí Gae - lach,
œ œ œ œ œ œ œ œ Jœdúl - a - mán na binn - e buí Gae - lach,
œ œ œ œ œ œ œ œ jœdúl - a - mán na binn - e buí Gae - lach,
'S Tusa an dámh, 's Tusa an éan, 's Tusa an t-iasc, aililú.'S Tusa an ghaoth, 's Tusa an fuacht, 's Tusa an mhuir, aililú.'S Tusa an ghrian, 's Tusa an réalt, 's Tusa an spéir, aililú.Aililú mo Íosa, aililú mo chroí, aililú mo Thiarna, aililú mo Chríost.
You are the stag, You are the bird, You are the fish, alleluiaYou are the wind, You are the cold, You are the sea, alleluiaYou are the sun, You are the star, You are the sky, alleluiaAlleluia my Jesus, alleluia my heart, alleluia my Lord, alleluia my Christ.
œœ œœ œœ œœ œœ œœ œœ œœ œœHa-bet ha- bit - a - cu- lum er - ga
55 œ œ œ œ œ œ œ œ œHa-bet ha- bit - a - cu- lum er - ga
œ œ œ œ œ œ œ œ œHa-bet ha- bit - a - cu- lum er - ga
W
œœ œœ œœ œœ œœ œœ ˙nn ˙cae- lum et ter- ram et ma - re
œ œ œ œ œ œ ˙ ˙cae- lum et ter- ram et ma - re
œb œ œ œ œ œ ˙ ˙cae- lum et ter- ram et ma - re
W3
œœnn œœnn œœ œœ œœ œœ œœ œœ œœEt om- ni - a quae sunt in e - is.
3œ œn œ œ œ œ œ œ œEt om - ni - a quae sunt in e - is.
3œ œn œ œ œ œ œ œ œEt om- ni - a quae sunt in e - is.
&
&
V
?
bbbbb
bbbbb
bbbbb
bbbbb
c
c
c
c
46
46
46
46
47
47
47
47
nnnnn
nnnnn
nnnnn
nnnnn
c
c
c
c
S 1
S 2/A
T
B
583œ œ œ œ œ
Non se - per - an - tur3
œœbb œœœ œœœ œœœ œœœNon se - per - an - tur
583œ œb œ œ œ
Non se - per - an - tur
3œ œb œ œb œNon se - per - an - tur
.˙ œ œ œPa - - - ter Ah
...˙b œœœ œœœ œœPa - - - ter et
.˙ œ œ œPa - - - ter et
.˙ œ œ œPa - - - ter et
W
œœ œœ ˙ œœ3
œœ œœ œœFi - li - us et Spir - i - tus
œ œ ˙ œ 3œ œ œFi - li - us et Spir - i - tus
œ œ ˙ œ 3œ œ œFi - li - us et Spir - i - tus
199
&
&
V
V
?
&
?
c
c
c
c
c
c
c
S 1
S 2/A
T
Solo
B
Hp.
Getting Quieter
F
61
œœnn ..˙Sanc - tus
œn .˙Sanc - tus
61 œœn ..˙˙Sanc - tus
61
!
w
61
Jœœ œ œ œ
œ œ Jœ
œœ ..˙Sanc - tus
œ .˙Sanc - tus
œœ ..˙˙Sanc - tus
!
w
œ# œ œ œœ œ œ# œ
œœ ..˙Sanc - tus
œ .˙Sanc - tus
œœ ..˙˙Sanc - tus
!
w
Jœœ œ œ œ
œ œ Jœ
œœ ..˙Sanc - tus
œ .˙Sanc - tus
œœ ..˙˙Sanc - tus
!
w
œ# œ œ œœ œ œ# œ
p
p
p
p
p
wwSanc - - - -
wSanc - - - -
wwSanc - - - -
Ó Œ ‰ œ œbOn an
wSanc - - - -
œb œ œ œœ œ œb œ
wwtus
wtus
wwtus
˙ ˙is - land
wtus
œb œ œ œœ œ œb œ
&
&
V
V
?
&
?
S 1
S 2/A
T
Solo
B
Hp.
67 wwoo
woo
67 wwoo
67 œ ˙ œI long to
woooo
67
œ# œ œ œœ œ œ# œ
ww
w
ww
.˙ Œbe,
w
œ# œ œ œœ œ œ# œ
ww
w
ww
œ œ œ œeven - ing brings a
w
œb œ œ œœ œ œb œ
ww
w
ww
œ ˙ œb œwhis - per of the
w
œb œ œ œœ œ œb œ
ww
w
ww3œ œ œ ˙
sum - mer breeze.
w
œ# œ œ œœ œ œ# œ
ww
w
ww
˙ Œ œI
w
œ# œ œ œœ œ œ# œ
200
&
&
V
V
?
&
?
S 1
S 2/A
T
Solo
B
Hp.
73 ww
w73 ww73
.œ Jœ œ œ œbhear the sound of the
w
73
œb œ œ œœ œ œb œ
ww
w
ww
œ œ œ œbo - cean wave on
w
œb œ œ œœ œ œb œ
ww
w
ww
œ œ .˙#wave,
w
œ# œ œ œœ œ œ# œ
ww
w
ww
Ó œ œ#cry - ing
w
œ# œ œ œœ œ œ# œ
ww
w
ww
˙ ˙"You, who
w
œb œ œ œœ œ œb œ
ww
w
ww
˙ ˙bhave
w
œb œ œ œœ œ œb œ
&
&
V
V
?
&
?
bbbb
bbbb
bbbb
bbbb
bbbb
bbbb
bbbb
47
47
47
47
47
47
47
S 1
S 2/A
T
Solo
B
Hp.
79 ww
w79 ww79
.˙ œturned a -
w
79
œ# œ œ œœ œ œ# œ
ww
w
ww
.˙ œway from
w
œ# œ œ œœ œ œ# œ
P
P
œ œ œ œAs - cnam tar tuinn
œ œœ œœ œœAs - cnam tar tuinn
w
whome".
w
œb œ œ œœ œ œb œ
w ,
ww,
!
w
w
œb œ œ œœ œ œb œ
P
œ œ œ œto - pur ndíl - enn
œ œ œœ œœto - pur ndíl - enn
œ œ œ œto - pur ndíl - enn
!
w
œ# œ œ œœ œ œ# œ
œ œ œ œdo- chum nÉir - enn
wwww
!
w
œ# œ œ œœ œ œ# œ
201
&
&
V
?
&
?
bbbb
bbbb
bbbb
bbbb
bbbb
bbbb
47
47
47
47
47
47
..
..
..
..
..
..
46
46
46
46
46
46
47
47
47
47
47
47
..
..
..
..
..
..
S 1
S 2/A
T
B
Hp.
F
F
F
F
F
85
˙ œ œn œ œ œ
In - spir - at om-ni - a
˙ œœ œœn œœ œœ œœn
In - spir - at om-ni - a
85
˙˙ œœ œœn œœ œœ œœn
In - spir - at om-ni - a
WW
85
œœ œo w
œœ
œb œ œ œn œ œ œ
vi - vi - fi - cat om-ni - a
œœb œœ œœ œœn œœ œœ œœn
vi - vi - fi - cat om-ni - a
œœb œœ œœ œœn œœ œœ œœn
vi - vi - fi - cat om-ni - a
WW
!
!
œb œ œ œn œ œ
su - per - at om - ni - a
œœb œœ œœ œœn œœ œœn
su - per - at om - ni - a
œœb œœ œœ œœn œœ œœn
su - per - at om - ni - a
WW
œœ œo
Ó Œ
œœÓ Ó Œ
˙ œ œn œ œ œ
suf - ful - cit om-ni - a
˙ œœ œœn œœ œœ œœn
suf - ful - cit om-ni - a
˙˙ œœ œœn œœ œœ œœn
suf - ful - cit om-ni - a
WW
!
!
&
&
V
?
&
?
bbbb
bbbb
bbbb
bbbb
bbbb
bbbb
46
46
46
46
46
46
47
47
47
47
47
47
S 1
S 2/A
T
B
Hp.
F89 ! .˙
Ah
˙ œ œn œ œ œ
In - spir - at om - ni - a
˙ œœ œœn œœ œœ œœn
In - spir - at om - ni - a
89
˙˙ œœ œœn œœ œœ œœn
In - spir - at om - ni - a
WW
89
œœ œo w
œœ
Wœb œ œ œn œ œ œ
vi - vi - fi - cat om - ni - a
œœb œœ œœ œœn œœ œœ œœn
vi - vi - fi - cat om - ni - a
œœb œœ œœ œœn œœ œœ œœn
vi - vi - fi - cat om - ni - a
WW
!
!
Wœb œ œ œn œ œ
su - per - at om - ni - a
œœb œœ œœ œœn œœ œœn
su - per - at om - ni - a
œœb œœ œœ œœn œœ œœn
su - per - at om - ni - a
WW
œœ œo
Ó Œ
œœÓ Ó Œ
W˙ œ œn œ œ œ
suf - ful - cit om - ni - a
˙ œœ œœn œœ œœ œœn
suf - ful - cit om - ni - a
˙˙ œœ œœn œœ œœ œœn
suf - ful - cit om - ni - a
WW
!
!
202
&
&
V
?
&
?
bbbb
bbbb
bbbb
bbbb
bbbb
bbbb
46
46
46
46
46
46
47
47
47
47
47
47
S 1
S 2/A
T
B
Hp.
93 W˙ œ œn œ œ œ
In - spir - at om - ni - a
˙ œœ œœn œœ œœ œœn
In - spir - at om - ni - a
93
˙˙ œœ œœn œœ œœ œœn
In - spir - at om - ni - a
WW
93
œœ œo w
œœ
Wœb œ œ œn œ œ œ
vi - vi - fi - cat om - ni - a
œœb œœ œœ œœn œœ œœ œœn
vi - vi - fi - cat om - ni - a
œœb œœ œœ œœn œœ œœ œœn
vi - vi - fi - cat om - ni - a
WW
!
!
Wœb œ œ œn œ œ
su - per - at om - ni - a
œœb œœ œœ œœn œœ œœn
su - per - at om - ni - a
œœb œœ œœ œœn œœ œœn
su - per - at om - ni - a
WW
œœ œo
Ó Œ
œœÓ Ó Œ
W˙ œ œn œ œ œ
suf - ful - cit om - ni - a
˙ œœ œœn œœ œœ œœn
suf - ful - cit om - ni - a
˙˙ œœ œœn œœ œœ œœn
suf - ful - cit om - ni - a
WW
!
!
&
&
V
?
&
?
bbbb
bbbb
bbbb
bbbb
bbbb
bbbb
46
46
46
46
46
46
47
47
47
47
47
47
c
c
c
c
c
c
S 1
S 2/A
T
B
Hp.
Fade Away...
p
97 W˙ œ œn œ œ œ
In - spir - at om - ni - a
˙ œœ œœn œœ œœ œœn
In - spir - at om - ni - a
97
˙˙ œœ œœn œœ œœ œœn
In - spir - at om - ni - a
WW
97
œœ œo w
œœ
Wœb œ œ œn œ œ œ
vi - vi - fi - cat om - ni - a
œœb œœ œœ œœn œœ œœ œœn
vi - vi - fi - cat om - ni - a
œœb œœ œœ œœn œœ œœ œœn
vi - vi - fi - cat om - ni - a
WW
!
!
"
Wœb œ œ œn œ œ
su-per - at om - ni - a
œœb œœ œœ œœn œœ œœn
su-per - at om - ni - a
œœb œœ œœ œœn œœ œœn
su-per - at om - ni - a
WW
œœ œo
Ó Œ
œœÓ Ó Œ
W˙ œ œn œ œ œ
suf - ful - cit om - ni - a
˙ œœ œœn œœ œœ œœn
suf - ful - cit om - ni - a
˙˙ œœ œœn œœ œœ œœn
suf - ful - cit om - ni - a
WW
!
!
ww
ww
ww
ww
!
!
203
&
&
&
&
?
bb b
b b b
b b b
b b b
b b b
42
42
42
42
42
43
43
43
43
43
42
42
42
42
42
Soprano I
Soprano II
Soprano III
Soprano/Alto
Tenor/Bass
Slowly, from a Distance q»!º1
!
!
!
1
˙"oo
˙"oo
.œ
pJœ
San -
!
!
˙
˙
œ œ œ œ
!
!
˙
˙
˙ctus
.œp
JœSan -
!
˙
˙
˙
œ œ œ œ
!
˙
˙
.˙
.˙ctus
œp
œb œ œ œ œSan -
.˙
.˙
!
˙
œ jœb œ
˙
˙
&
&
&
&
?
bb b
b b b
b b b
b b b
b b b
S. I
S. II
S. III
SA
TB
8
!
!
˙ctus
8
˙
œ œ œ œDo-mi -nus De -
!
!
˙pOh*
˙˙fOh*
œ œ œ œus sa -bba -
!
!
˙˙˙
˙oth
œ œ œ œDo-mi -nus De -
!
˙˙˙
˙
œ œ œ œus sa -bba -
!
˙˙˙
˙
jœb ˙oth
Œ œ œsa -
˙˙˙
!
˙
œ œ œ œbba -
˙˙˙
Michael McGlynn
Sanctus
S. I, II & III are all solo soprano parts. The three soloists should be placed throughout the venue. Harp is optional.
"Oh*" indicates a form of harmonic singing. Form the mouth into an "oh" shape, lifting the soft palate. Without moving the mouth-shape, move the tongue slowly into the shape "ee" [as "she"], sending the sound through the nose. The lower the voice the stronger the sound.
Soprano II and III may be situated in various parts of the venue. This piece may be prefigured by a finger cymbal gently struck three times or more just as the drone starts, and ended with a similar cymbal figure as the piece ends.
204
&
&
&
&
?
bb b
b b b
b b b
b b b
b b b
S. I
S. II
S. III
SA
TB
15
!
˙
œ jœb œoth
15
˙˙
!
!
jœb ˙
˙˙˙
œ
F
œ œPle - ni sunt
!
˙
˙˙
˙cae -
œ
F
œ œPle - ni sunt
!
˙˙˙
œ œ œ œ
˙cae -
œ
F
œ œPle - ni sunt
˙˙˙
Jœ œ Jœli et
œ œ œ œ
˙cae -
˙˙˙
jœb œ œter - ra
œ œli,
œ œ œ œ
˙˙˙
&
&
&
&
?
&
?
bbb
b b b
b b b
b b b
b b b
b b b
b b b
43
43
43
43
43
43
43
42
42
42
42
42
42
42
S. I
S. II
S. III
SA
TB
Harp
22
œ œ œglo - ri - a
œ œ œglo - ri - a
œ œli,
22
˙
22
!
22
!
œ œ œ
œ œ œ
˙
˙˙˙
!
!
œdim.
œ œtu - a
œdim.
œ œtu - a
œdim.
œ œtu - a
!
˙
!
!
œ Œ œpO -
œ Œ œpO -
œ Œ œpO -
Œ Œ œpO -
˙˙
!
3
œ-Figure A
Pœ- œ-
œ œ œ œsan-na in ex -
œ œ œ œsan-na in ex -
œ œ œ œsan-na in ex -
œ œ œ œsan-na in ex -
˙˙
œ œ œœ œ œ œ
œ
Gentle glissando with both hands
Jœ .œcel -
Jœ .œcel -
Jœ .œcel -
Jœ .œcel -
˙˙
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
˙˙
2
The note values and glissandi as indicated on the harp part are only a rough guide. The first note of Figure A must coincide with the word "Osanna" - at the end of Figure A the glissandi should diminuendo.
205
&
&
&
&
?
&
?
bb b
b b b
b b b
b b b
b b b
b b b
b b b
S. I
S. II
S. III
SA
TB
Harp
29 œ ‰ jœsis O -
œ ‰ jœsis O -
œ ‰ jœsis O -
29 œ ‰ jœsis O -
˙
29
29
3
œ-Pœ- œ-
œ œ œ œsan-na in ex -
œ œ œ œsan-na in ex -
œ œ œ œsan-na in ex -
œ œ œ œsan-na in ex -
˙
œ œ œœ œ œ œ œ
Jœ .œcel -
Jœ .œcel -
Jœ .œcel -
Jœ .œcel -
˙˙
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
˙˙
œ ‰ jœBecoming quieter
sis O -
œ ‰ jœsis O -
œ ‰ jœsis O -
œ ‰ jœsis O -
˙˙
3
œ-Pœ- œ-
œ œ œ œsan - na in ex -
œ œ œ œsan - na in ex -
œ œ œ œsan - na in ex -
œ œ œ œsan - na in ex -
˙˙
œ œ œœ œ œ œ œ
Jœ .œcel -
Jœ .œcel -
Jœ .œcel -
Jœ .œcel -
˙˙
3
206
&
&
&
&
?
?
&
?
bb b
b b b
b b b
b b b
b b b
b b b
b b b
b b b
43
43
43
43
43
43
43
44
44
44
44
44
44
44
S. I
S. II
S. III
SA
TB
Solo
Harp
36 œ œ œ œ
œ œ œ œ
œ œ œ œ
36 œ œ œ œ
˙˙
36
!
36
36
˙sis
˙sis
˙sis
˙sis
˙˙
!
˙no break
"oo
˙no break
"oo
˙no break
"oo
˙no break
"oo
˙no break
" oo
œ
F
Freely - like Chant q»ªºœSan -
!
!
˙
˙
˙
˙
˙
U
ctus
!
!
˙
˙
˙
˙
˙
œ œSan -
!
!
.˙
.˙
.˙
.˙
.˙
U œ œctus San - ctus
!
!
w
w
w
w
w
œ œ œ œ œ œ œDo-mi-nus De - us
!
!
? bbbSolo
43 œ œ œ œ ˙ ,U
sa - bba - oth
œ œ œ œ œ œ œ œ œ œ œ œ œPle - ni sunt cae - li, et ter -
‘S í do Mhaimeo í, ó Bhail’ Iorrais Mhóir í, ‘S chuir-feadh sí cóistí ‘r bhóithre Chois Fharraige.‘bhFeicfeása ‘n “steam” ‘ga’l siar Tóin Uí Loing’, ‘S na rothaí gh’l timpeall siar óna ceathrúna[í];Caithfeadh sí’n stiúir naoi n-uair’ar a cúl,‘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’, tá ‘s a’m nach bpósfa’Mar tá sé ró-óg ‘gus dólfadh sé’n t-air[i]gead.‘S gairid go bpósfa’ beirt ar an mbaile seo;‘S gairid go bpósfa’, ‘s gairid go bpósfa’,Séan Shéamais Mhóir agus Máire Ní Chathasaigh.
She is your granny, the hag with the moneyShe is your granny from the town of Iorrais Mór, And she would put coaches on the roads of Cois FarraigeIf 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, But she never keeps pace with the hag with the money.Do you reckon he’d marry, the hag with the moneyI know he’ll not marry, I know he’ll not marryBecause he’s too young and he’ll drink the money.We’ll soon have a wedding, by two in the villageWe’ll soon have a wedding, we’ll soon have a wedding,Between Séan Séamais Mór and Máire Ní Chathasaigh. [Translation Julie Feeney]
218
& # 812Mezzo Sop. Ó . Œ ‰ œ jœ
IP
With Freedom qd = 105 .œ .œ œ jœ œ jœwish I was on
I wish I were on yonder hill'Tis there I'd sit and cry my fillAnd every tear would turn a mill I wish I sat on my true love's kneeMany a fond story he told to meHe told me things that ne'er shall be
His hair was black, his eye was blueHis arm was strong, his word was trueI wish in my heart I was with you
I'll dye my petticoat, I'll dye it redAnd 'round the world I'll beg my bread'Til I find my love alive or dead
Siúil, siúil, siúil a rúin Siúil go sochair agus siúil go ciúin Siúil go doras agus éalaigh liom Go, go, go my loveGo quietly and go peacefullyGo to the door and fly with me
224
V
&
?
###
###
###
c
c
c
Tenor Solo
Soprano Alto
Tenor Bass
!
!
P
With Atmosphere q»§ºŒ œ œ œ 3œm Jœ
Ail - iú iath
wwoooo
wwoooo
3
.œ œ œ œ œ œ œnEr - enn, Ail - - - - -
..˙ Œ
..˙ Œ
˙ œ œ3
œm Jœ
wwoooo
wwoooo
.˙ œ œiú Ail - - - -
..˙ Œ
..˙ Œ
˙ œ œ 3œm Jœiú iath
œ œ ˙Ail - - - -Ail - - - -
œ ..˙
wwAil - - - -Ail - - - -
&
V
&
?
###
###
###
###
nnn
nnn
nnn
nnn
43
43
43
43
S/soli
T/solo
S/A
T/B
6 "
3
.œ œ œ œ œ œ œnEr - enn, Ail - - - - -
...˙˙˙ Œiúiú
..˙ Œiúiú
"
˙ œ œ3
œm Jœ
wwwAil - - - -Ail - - - -
wwAil - - - -Ail - - - -
P
P
3.œ œ œ œ œ ˙Ail - iú,
Ó3
.œ œ œ œ œAil - - - -
.˙ Œiú
...˙˙˙ Œiúiú
..˙ Œiúiú
No breaths unless marked
q»#º
!
Ó Œ.˙#iú
"
jœœ œœ jœœ œœ#I am the windjœn œb jœ œ‰ œb Jœ œb
am the wind
"
"
..œœ jœœ œœbreathe on sea
.œ jœ œ‰ œb Jœ œbreathe on sea
V
&
?
T/solo
S/A
T/B
11 "
..œœ jœœ œœ#I am tide
.œb jœ œ‰ œb Jœ œb
I am tide
"
jœœ œœ jœœ œœ œœwave on the o - cean
jœ œ jœ œ œ‰ œb Jœ œ œon the o - cean
Very Expressively
Pœ# œ œ .œ jœI am the wind that
..œœ jœœ œœ#I am wind
.œb jœ œ‰ œb Jœ œb
I am wind
œn œ œb ˙breathes on the sea
jœœ œœ jœœ œœBreathe on the sea
jœ œ jœ œ‰ œb Jœ œon the sea
œ# œ œ ˙I am the wave,
..œœ jœœ œœ#I am tide
.œb jœ œ‰ œb Jœ œb
I am tide
Wind on SeaMichael McGlynn
225
&
V
&
?
Vln.
T/solo
S/A
T/B
16 !
œ œn œ œ œ œwave on the o - cean
jœœ œœ jœœ œœ œœwave on the o - cean
jœ œ jœ œ œ‰ œb Jœ œ œon the o - cean
pExpressively
3
œ- œ#-- œ#-- œ œ 3œ# œ# œ
œ# œ œ .œ jœI am the ray, the
..œœ jœœ œœ#I am ray
.œb jœ œ‰ œb Jœ œb
I am ray
3
œn œn œb œ œ , œ
œn œ œb ˙eye of the Sun
jœœ œœ jœœ œœeye of the sun
jœ œ jœ œ‰ œb Jœ œof the sun
3
œ" œ# œ# œ œ 3œ# œ# œ
œ# œ œ ˙I am the tomb,
..œœ jœœ œœ#I am tomb
.œb jœ œ‰ œb Jœ œb
I am tomb
&
V
&
?
Vln.
T/solo
S/A
T/B
20
3
œn œn œb œ œ, œ œœ œn œ œ œ œ
cold in the dark - ness
jœœ œœ jœœ œœ œœcold in the dark - ness
jœ œ jœ œ œ‰ œb Jœ œ œin the dark - ness
.˙
.œ œ œ œ œb œb œ œ œWho but I can cast light up - on theŒ ˙oo
Ah
˙ œœ
˙bb œœb
Œ3
œ œ œ œ œ
œ œ œ œ œ œn œmee - ting of the moun- tains?
.œœ ..œœ# Jœœ
œœ ..œœ Jœœ
.˙b "
.œ œ œ œ œ œb œb œ œWho but I can find a place thatŒ ˙˙ œœ
˙bb œœb
&
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&
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Vln.
T/solo
S/A
T/B
24
3
œ" œ œ ˙
œ œ œ œn ˙hides a - way the sun?
.˙œœ ˙#
œœ ˙
P
œ-- œ-- œ-
œ# œ œ .œ jœI am a star, the
jœœ œœ jœœ œœ#I am a star,jœb œ jœ œ‰ œb Jœ œb
am a star,
œ œ œ œ
œn œ œb ˙tear of the Sun,
jœœ œœ jœœ œœtear of the Sun,
jœ œ jœ œ‰ œb Jœ œof the Sun,
œ œ . .œ œ
œ# œ œ Jœ œ jœI am a won - der, a
jœœ œœ jœœ œœ#I am the bloomjœb œ jœ œ‰ œb Jœ œb
am the bloom
- 2 -
226
&
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Vln.
T/solo
S/A
T/B
28 œ œ œ œ3œ œn œ œ œ œ
won - der in flow - er.
jœœ œœ jœœ œœ œœwon - der in flow - er.
jœ œ jœ œ œ‰ œb Jœ œ œ...der in flow - er.
3
œ! œ# œ# œ œ 3œ# œ# œ
œ# œ œ œ œ œ3
œ œ œI am the spear that cries out for
jœœ œœ jœœ œœ#I am the spearjœb œ jœ œ‰ œb Jœ œb
am the spear
3
œn œn œb œ œ, œ
.œ œ3
œ œ œ œ œblood the word of great pow - er,
jœœ œœ jœœ œœcry out for blood
jœ œ jœ œ‰ œb Jœ œout for blood
3
œ! œ# œ# œ œ 3œ# œ# œ
œ# œ œ .œ jœI am the wind that
jœœ œœ jœœ œœ#I am the wordjœb œ jœ œ‰ œb Jœ œb
am the word
&
V
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?
Vln.
T/solo
S/A
T/B
32
3
œn œn œb œ œ, œ œ
œ œ œ ˙breathes on the sea
jœœ œœ jœœ œœ œœword of great pow - er,
jœ œ jœ œ œ‰ œb Jœ œ œof great pow - er,
p
.˙
.œ œ œ œ œb œb œ œ œWho but I can cast light up - on theŒ ˙oo
Ah
˙ œœ
˙bb œœb
pŒ
3
œ œ œ œ œ
œ œ œ œ œ œn œmee - ting of the moun - tains?
.œœ ..œœ# Jœœ
œœ ..œœ Jœœ
&
V
&
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Vln.
T/solo
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35 .˙b
.œ œ œ œ œ œb œb œ œWho but I will cry a - loud the
.˙ œœ
˙bb œœb
3
œ œ œ" œn œ œ
.œ œ œ œn ˙chan - ges in the moon?
.˙œœ ˙#
œœ ˙
3
œn! œb œb œ œ œ œ
.œ œ œ œ œ œb œb œ œWho but I can find a place thatŒ ˙Ah˙ œœ
˙bb œœb
3œ" œ œ"
˙
œ œ œ œ ˙hides a - way the sun?
.˙œœ ˙#
œœ ˙- 3 -
227
&
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39 .˙
!
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˙ œœ#
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!
!
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F
F
3
œ" œ# œ# œ œ 3œ# œ# œ
œ# œ œ œ œ œ œ œI am the depths of a great pool.
.˙Jœœ œœ Jœœ
œœ#I am the windjœb œ jœ œ‰ œb Jœ œb
am the wind
&
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T/solo
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44
3
œn œn œb œ œ œ
œ œ œ œ œ œ œ œI am the song of the black - bird.
.˙Jœœ œœ Jœœ
œœBreathe on the sea
jœ œ jœ œ‰ œb Jœ œon the sea
dim.
dim.
dim.
3
œ œ# œ# œ œ œ œ- œ# œ# œ
œ# œ œ .œ jœI am the wind that
.˙Jœœ œœ Jœœ
œœ#I am the wave,jœb œ jœ œ‰ œb Jœ œb
am the wave
3
œn œn œb œ œ œ
œ- œ œ ˙breathes on the sea
œ œ œJœœ œœ Jœœ œœ œœ
wave on the o - cean
jœ œ jœ œ œ‰ œb Jœ œ œon the o - cean
&
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T/solo
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More gentle
47 ."
.œ œ œ œ œb œb œ œ œWho but I can cast light up - on theŒ ˙oo˙ œœoo
˙bb œœb
!
œ œ œ œ œ œn œmee - ting of the moun - tains?
.œœ ..œœ# Jœœ
œœ ..œœ Jœœ
!
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.˙ œœ
˙bb œœb- 4 -
228
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poco rit.50 Ó3
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.œœ ..œœ# Jœœ
œœ ..œœ Jœœ
poco rit.
poco rit.
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˙bb œœb
!
œ œ œ œ U ,
hides a - way the sun?
.˙Uœœ ˙#U ,
œœ ˙u
,
V
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T/solo
S/A
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"
"
P53 Œ œ œ œ 3œm Jœ
Ail - - - iú iath
wwoooo
wwoooo
3
.œ œ œ œ œ œ œnEr - enn, Ail - - - - - - -
..˙ Œ
..˙ Œ
˙ œ œ3
œm Jœ
wwoooo
wwoooo
.˙ œ œiú Ail-
..˙ Œ
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T/solo
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T/B
57 !
˙ œ œ 3œm Jœiú iath
œ œ ˙Ail - - - - -Ail - - - - -
œ ..˙
wwAil - - - - -Ail - - - - -
!
3
.œ œ œ œ œ œ œnEr - enn, Ail - - - - - -
...˙˙˙ Œiúiú
..˙ Œiúiú
!
˙ œ œ3
œm Jœ
wwwAil - - - - -Ail - - - - -
wwAil - - - - -Ail - - - - -
p
p
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P
p
3.œ œ œ œ œ ˙Ail - - - iú,
Ó3
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˙ Œ œ œiú From the
...˙˙˙ Œiúiú
..˙ Œiúiú
- 5 -
229
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!
61 ".˙ Œiú
œ .œ œ œ jœ œ œ œbreeze on the moun - tain, to the
Form: Through composed (though material is repeated and developed)
Duration: 5:30
Date of Composition: 1997 (2009 Revision)
Commission: The Ulster Orchestra
Pertinent Characteristics: The soprano solo begins a cappella and the strings take over the melody. McGlynn considers this work the orchestral component in his musical cycle about the sea.
233
Title: Agnus Dei (from Celtic Mass)
Voicing: SATB, mezzo-soprano solo
Instrumentation: Organ and violin (violin is optional and can be substituted with any similar instrument)
Text Source: Latin Mass
Meter: 4/4
Tempo: Slowly and Expressively (q =60)
Form: ABC
Duration: 2:43
Date of Composition: 1990
Alternate Voicing: SSAA
Pertinent Characteristics: The solo is dominant while the choral part is atmospheric.
234
Title: Agnus Dei (from And on Earth Peace: A Chanticleer Mass)
Voicing: SSAATTBB, tenor solo
Instrumentation: a cappella
Text Source: Irish language and Latin Mass
Meter: 5/4, 4/4, 6/4, varied
Tempo: Freely (q =45), Steadily (q =65)
Form: AB (with multiple sub-sections in the B)
Duration: 8:25
Date of Composition: 2007
Commission: Chanticleer
Pertinent Characteristics: Tenor solo throughout.
235
Title: An Oíche
Voicing: SSATB
Instrumentation: a cappella
Text Source: Traditional Irish
Meter: 6/8
Tempo: Steadily, with Subtle Phrasing (q. = 40)
Form: ABAB
Duration: 4:20
Date of Composition: 1999
Alternate Voicing: SSAA
Pertinent Characteristics: 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.
236
Title: Ardaigh Cuan (arrangement)
Voicing: SATTBB, female solo
Instrumentation: a cappella
Text Source: Traditional Irish
Meter: 6/8
Tempo: Freely with Expression (q=60)
Form: Strophic with minor variations per verse.
Duration: 2:04
Date of Composition: 1999
Pertinent Characteristics: The solo is predominant and the male voices glissando from chord to chord while employing harmonic singing techniques.
237
Title: August
Voicing: TTBB, tenor solo
Instrumentation: a cappella
Text Source: Francis Ledwidge, English
Meter: 4/4
Tempo: Expressively (q =70)
Form: Stophic
Duration: 1:51
Date of Composition: 1997
Pertinent Characteristics: While the tenor solo is predominant, the choral parts intricately interwoven with it.
238
Title: Behind the Closed Eye
Voicing: SSATBB
Instrumentation: Alto Saxophone
Text Source: Sedullus Scottus, Latin
Meter: 4/4
Tempo: Expressively (q =80)
Form: AB
Duration: 3:17
Date of Composition: 1997 (premiere 1999)
Commission: The Ulster Orchestra
Pertinent Characteristics: The chorus serves as accompaniment to the saxophone through the A section.
239
Title: Blackthorn
Voicing: SSATBB, soprano solo
Instrumentation: Irish Harp
Text Source: 18th Century Irish and English adapted by McGlynn
Meter: 3/4
Tempo: Smooth and with feeling (q = 110)
Form: Verse- Chorus
Duration: 3:19
Date of Composition: 1996
Pertinent Characteristics: Soprano solo is predominant.
240
Title: Brezairola
Voicing: SATB, tenor solo
Instrumentation: a cappella
Text Source: Traditional Auvergne
Meter: 4/4
Tempo: A Lullaby, but keep it moving
Form: ABAB
Duration: 3:32
Date of Composition: 2006
Pertinent Characteristics: It is advised to move the soprano descant off stage during the second chorus.
241
Title: Christus Resurgens (arrangement)
Voicing: SSATTBB
Instrumentation: Percussion
Text Source: 12th Century Irish-Latin
Meter: 4/4
Tempo: With Energy (q =75)
Form: ABA’, additional harmony added with each subsection
Duration: 3:21
Date of Composition: 1998
Pertinent Characteristics: Ladies component is very minimal
242
Title: Codail a Linbh
Voicing: SATB, 2 soprano solos
Instrumentation: Violin, harp
Text Source: Traditional Irish
Meter: 3/4
Tempo: Gently (q=105)
Form: AB AB
Duration: 2:35
Date of Composition: 1995
Pertinent Characteristics: The two soprano lines should be solos with a four-part choral ensemble.
243
Title: Cormacus Scripsit (arrangement)
Voicing: SATB
Instrumentation: a cappella
Text Source: Medieval Irish, Latin
Meter: 4/4 and free chant
Tempo: As Atmospherically as Possible (q=90)
Form: ABC
Duration: 3:43
Date of Composition: 1990
Pertinent Characteristics: While this is technically an arrangement of a chant, the chant is merely imbedded in the middle section. All other material is original.
244
Title: Cúnnla
Voicing: SSAA, solo
Instrumentation: a cappella
Text Source: Traditional Irish
Meter: 12/8, 10/8
Tempo: Fast and Very Rhythmically (q. = 145)
Form: Verse- Chorus
Duration: 2:10
Date of Composition: 2004
Commission: The Syracuse Vocal Ensemble
Pertinent Characteristics: Very quick tempo that should feel as though it is speeding and slowing in the alternation of verse and chorus.
245
Title: Cynara
Voicing: SATB, tenor solo
Instrumentation: a cappella
Text Source: Ernest Dowson, English
Meter: 3/4, 4/4
Tempo: Gently and Expressively
Form: AABA
Duration: 4:45
Date of Composition: 1998 (premiere 2000)
Pertinent Characteristics: Tenor solo predominately
246
Title: Dúlamán
Voicing: TTBB, tenor solo
Instrumentation: a cappella
Text Source: Traditional Irish
Meter: 6/8, 5/8, 10/8
Tempo: Fast (q =110)
Form: Verse- Chorus
Duration: 1:48
Date of Composition: 1995
Alternate Voicing: SSAA, SATB
Pertinent Characteristics: Solo carries near all of the Irish text and moves quickly. Choral text is minimal.
247
Title: Incantations
Voicing: SSAATTBB
Instrumentation: a cappella
Text Source: Michael McGlynn, Irish
Meter: 6/8
Tempo: Fast (q.=130)
Form: ABA’
Duration: 1:40
Date of Composition: 1989
Alternate Voicing: SSAA
Pertinent Characteristics: Three main themes are interwoven throughout the work.
248
Title: Invocation
Voicing: SSATTB, tenor and soprano solos
Instrumentation: a cappella
Text Source: Traditional, adapted by McGlynn, Irish and English
Meter: 4/4
Tempo: With Feeling (q =60)
Form: ABABA’
Duration: 4:16
Date of Composition: 1993
Pertinent Characteristics: The chorus parts in the B section should be flowing. Tenor solo could be divided between two different soloists.
249
Title: Island
Voicing: SSATTB, tenor solo
Instrumentation: Harp
Text Source: Traditional, adapted by McGlynn, English, Irish, Latin
Meter: 4/4
Tempo: Rhythmically (q. =135)
Form: ABABAC
Duration: 4:00
Date of Composition: 1996
Pertinent Characteristics: The ending is intended to fade away
250
Title: Jerusalem (arrangement)
Voicing: Treble, 4 solos lines
Instrumentation: a cappella
Text Source: Irish Medieval (English text)
Meter: 4/4, 3/4 (hetrophonic section)
Tempo: Very Freely (q =60)
Form: Chorus- Verse
Duration: 5:45
Date of Composition: 1992
Pertinent Characteristics: Should be performed with movement around the performance space. The solos can be divded between four separate soloists or performed by the same person; however, all four solos should be performed.
251
Title: Kyrie (from Celtic Mass)
Voicing: SSATBB, soprano solo
Instrumentation: a cappella
Text Source: Latin Mass
Meter: 4/4
Tempo: Slow (q= 70)
Form: AA’C
Duration: 2:13
Date of Composition: 1991
Pertinent Characteristics: The solo changes slightly between sections. Final tenor melody (last five measures) can be a solo.
252
Title: Lux Aeterna
Voicing: SSSAATTBB, soprano solo
Instrumentation: a cappella
Text Source: Traditional Latin
Meter: 4/4, 2/4
Tempo: With Flexibility (q =55)
Form: ABC
Duration: 3:40
Date of Composition: 2005
Pertinent Characteristics: Very atmospheric with chord clusters. There are also suspended soprano lines that should be sung with very few voices.
253
Title: Midnight
Voicing: SSATB, soprano solo
Instrumentation: a cappella
Text Source: Francis Ledwidge, English
Meter: 4/4
Tempo: Slow but with Flexibility (q =80)
Form: A (with subsections) B
Duration: 4:20
Date of Composition: 1997
Commission: The Ulster Orchestra
Pertinent Characteristics: First half is choral followed by the orchestra.
254
Title: Nobilis Humilis (arrangement)
Voicing: SATB, soprano solo
Instrumentation: Harp (optional)
Text Source: Traditional Latin
Meter: Non-metered women’s voices, men in 4/4
Tempo: Very Freely
Form: ABC
Duration: 5:00
Date of Composition: 1997
Pertinent Characteristics: Opening can be by a solo or a few voices.
255
Title: O Ignis Spiritus
Voicing: SATTBB, Mezzo-soprano and soprano solo
Instrumentation: Soprano Saxophone
Text Source: Traditional Latin
Meter: 4/4
Tempo: With a Restrained Energy (q = circa 90)
Form: AB with subsections
Duration: 6:00
Date of Composition: 2002
Commission: The National Concert Hall Dublin
Pertinent Characteristics: Opening section is a soprano saxophone solo followed by an unaccompanied mezzo-soprano solo.
256
Title: Ocean
Voicing: SSATTBB, soprano solo
Instrumentation: Harp, violin, (and strings)
Text Source: Traditional, adapted by McGlynn
Meter: 4/4
Tempo: With Atmosphere (q =70)
Form: Into, ABAB
Duration: 4:20 (6:13 with orchestral introduction)
Date of Composition: 1999
Commission: Ocean Telecom
Pertinent Characteristics: As recorded on Cynara there is an orchestral introduction.
257
Title: Pater Noster (from Celtic Mass)
Voicing: SSATB, soprano and tenor solos
Instrumentation: a capella
Text Source: Traditional Latin
Meter: 4/4, 6/4, 5/8
Tempo: With Movement but Always Gentle (q =65)
Form: ABCA’
Duration: 2:26
Date of Composition: 1991
Pertinent Characteristics: Solos are chant based.
258
Title: Pie Jesu
Voicing: SSATB, soprano solo
Instrumentation: a cappella or with orchestra (clarinet, strings)
Text Source: Traditional Latin
Meter: 2/2
Tempo: With expression (h =30)
Form: ABA’ coda
Duration: 2:37
Date of Composition: 1998/ 2009 (orchestral revision)
Alternate Voicing: SSAA
Pertinent Characteristics: Descant should be sung with only one or two voices.
259
Title: Salve Rex Gloriae
Voicing: SATTBB, tenor solo
Instrumentation: percussion
Text Source: 13th Century Irish (Irish and English)
Meter: 12/8
Tempo: With energy (q. =100)
Form: Verse-chorus
Duration: 3:10
Date of Composition: 1993
Pertinent Characteristics: Men’s parts are predominant.
260
Title: Sanctus (from Celtic Mass)
Voicing: SATTBB, 3 soprano solos, baritone sol
Instrumentation: optional Harp
Text Source: Traditional Latin Mass
Meter: 2/4
Tempo: Slowly, from a Distance (h =50)
Form: ABA’
Duration: 3:46
Date of Composition: 1991
Pertinent Characteristics: Should be performed with the three soloists at three different locations throughout venue and the chorus and harp in the front.
261
Title: ‘Sí do Mhaimeo Í (arrangement)
Voicing: SATB, female solo
Instrumentation: optional percussion
Text Source: Traditional Irish
Meter: 6/8
Tempo: Very Rhythmically (q. =108)
Form: Chorus-Verse
Duration: 2:20
Date of Composition: 1993
Alternate Voicing: SSAA
Pertinent Characteristics: If the percussion is omitted then the two measures of choral rest should be reduced to a single measure.
262
Title: Siúil, a Rúin (arrangement)
Voicing: SATB, soprano solo
Instrumentation: a cappella
Text Source: Traditional Irish and English
Meter: 3/4, 12/8
Tempo: Rhythmically (q. =110)
Form: Chorus-Verse
Duration: 2:45
Date of Composition: 1994
Alternate Voicing: SSAA
Pertinent Characteristics: As Anúna recorded it there is also an accompaniment. John McGlynn added the guitar part.
Pertinent Characteristics: Originally composed for trumpet and piano in 1984 and was revised on 1994 and then again in 2009. Primarily an orchestral composition with a choral part.
265
Title: The Raid
Voicing: SATTB, baritone solo
Instrumentation: Tenor drum, violin
Text Source: Medieval Irish
Meter: 6/8
Tempo: With Rhythm (q. =85)
Form: Verse-chorus
Duration: 2:39
Date of Composition: 1993
Pertinent Characteristics: Acceptable to have chords played by a guitar as accompaniment although the composer does not supply them.
266
Title: The Rising of the Sun / Eirí na Gríne
Voicing: SATB, mezzo-soprano solo
Instrumentation: percussion, violin, Uilleann pipes Revised in 2009 for orchestra
Text Source: Traditional Irish
Meter: 10/8, 9/8, 12/8
Tempo: Energetically (q.=110)
Form: Chorus-verse
Duration: 3:16
Date of Composition: 1994 (revised 2009)
Commission: The Project Arts Center
Pertinent Characteristics: The instruments play one repeat of the verse. If a piper cannot be found, alternate instruments can be used: oboe, flute, or additional percussion.
267
Title: The Road of Passage
Voicing: SSATTBB, soprano solo
Instrumentation: a cappella
Text Source: John Henry Newman (1852), English
Meter: 4/4
Tempo: With Simplicity (h =45)
Form: Through composed
Duration: 2:20
Date of Composition: 2003
Commission: UCD 150
Pertinent Characteristics: Solo predominates though there are many several full choral moments.
268
Title: The White Rose
Voicing: S,MzS,A, mezzo-soprano solo
Instrumentation: Oboe, Harp Revision for orchestra
Text Source: Traditional adapted by McGlynn, English and Irish
Meter: 4/4
Tempo: Sweetly and Simply (q=70)
Form: Verse-Chorus
Duration: 4:40
Date of Composition: 2000 (revised 2009)
Commission: Linda Kenny
Pertinent Characteristics: Solo carries the verse.
269
Title: The Wild Song
Voicing: SSATBB, soprano and tenor solos
Instrumentation: a cappella
Text Source: McGlynn
Meter: 4/4
Tempo: Expressively (q =60)
Form: [AAB] [AAB]’
Duration: 3:16
Date of Composition: 2001
Commission: Rajaton (Grant by The Arts Council of Ireland)
Pertinent Characteristics: One soprano solo is more dominate than the other solos.
270
Title: Victimae
Voicing: TTBB, tenor solo
Instrumentation: a cappella
Text Source: 4th Century Latin
Meter: 4/4
Tempo: With Fluidity and a Solid Pulse
Form: Through-composed
Duration: 3:25
Date of Composition: 1999
Pertinent Characteristics: Chant is intended to imitate Byzantine Chant. Ornamentation is acceptable but inadvertent scooping should be avoided.
271
Title: Wind on Sea
Voicing: SATB, 2 tenor solos and 2 soprano solos
Instrumentation: a cappella
Text Source: Traditional, adapted by McGlynn
Meter: 4/4
Tempo: With Atmosphere (q =60)
Form: ABA’ (with subsections)
Duration: 6:08
Date of Composition: 1994
Pertinent Characteristics: Wind on Sea uses “Invocation” and places new material in between the repeat. The tenor solos should be different soloists between the two main sections.
VITA
Stacie Lee Rossow was born in Sarasota, Florida, on September 12, 1974. Her
parents are Daniel B. Niehaus (deceased) and Kristine Hohlt Niehaus. She received her
secondary education at Riverview High School in Sarasota. In August 1992 she entered
Florida Atlantic University, from which she was graduated with the BMUS degree in
Vocal Performance in December 1997. She began graduate work in Conducting and
completed her Master of Arts in Music with an emphasis in Choral Conducting in 2001.
She has been a faculty member at Florida Atlantic since 2001, teaching courses in voice,
choral conducting, and sight-singing and is the conductor of the Women’s Chorus. In
August 2007 she was admitted to the Graduate School of the University of Miami, where
she was granted a D.M.A. in Choral Conducting in June 2010.
