Flute workshops, performance and talks in an assembly of musicians from several countries. July 22-29 2017. Further details.
2017 Performers and Guest Artists:
- Fintan VALLELY – Irish flute, whistle
- June McCORMACK – Irish flute, whistle
- Rachel BROWN – baroque flute, recorder
- Adrianne GREENBAUM – Klezmer flute & beginning traverso
- Andra BOHNET – flute choir
- Chris NORMAN – traditional flutes, small pipes, director
- Lisa ORNSTEIN – Quebecois, Old-Time and Cajun fiddle
- Adrian BUTTERFIELD – baroque violin, ensembles
- Rachel JOHNSTON – cello
- Michael ROONEY – Celtic harp, concertina and composition
- Magnus HOLMSTRÖM – Nyckelharpa
- Tony McMANUS – guitar
- Tomas Limpan LINDBERG – guitar, bozouki, mandolin
- Marie BOUCHARD – harpsichord & piano
- Mary Jane LAMOND – Gaelic song and puirt-a-beul
- Eamon O’LEARY – ballads, songs, banjo, and guitar
- Nick GAREISS – percussive dance
- Nick HALLEY – percussion & rhythm
- Marlys YVONNE – dance: modern, ballet & Pilates, administrator
Concert ‘Irish Music in its place’ with Gerry O’Connor and Tiarnán Duinnchinn for Höfinger Heimat- und Kulturverein (Höfingen Local History and Cultural Organisation), in the Altes Rathaus, Höfingen
Concert of Compánach music with mezzo-soprano Aylish Kerrigan, hosted by Deutsch-Irische Freundeskreis (the German-Irish Friendship club of Baden-Wuerttemberg), the Stuttgarter Europa Club and the Kulturamt, Stuttgart.
A ‘melodic documentary’, this is performed by Dundalk fiddle-player Gerry O’Connor, Monaghan uilleann piper Tiarnán Ó Duinnchín, and Armagh-Dublin flute-player and music authority Fintan Vallely. The production is shaped by Vallely’s encyclopedia Companion to Irish Traditional Music, the text of which is, literally, “turned back into music”. The music is seamless, but rapidly-changing – some 90 tunes running without commentary in the full show of 25 sets; the mood is bright, and the tempos and rhythms are brought to vivid life by expert playing. The story is subliminal, directed by tunes named after places in each county on the island of Ireland and in exile regions abroad. The concert’s cue has been the way some 20% of Irish tunes were named in the late 1800s and early 1900s, making the music a map of where the music was played or of where the players came. Compánach presents a rich sense of stylistic variety and melodic pulse: a varied repertoire in music on flute, fiddles, pipes interspersed with song Compánach appeals equally to aficionados of the music and those interested in Irish culture.