Teaching flute at the Willie Clancy Summer school
from Monday, July 4th – Saturday July 9th
Teaching flute in workshops all week, mornings.
Traditionelle und neue irische Musik im interkulturellen Dialog
Fiddle and flute workshop with Gerry O’Connor. 7pm
Project Goal: This innovative project seeks to reach an intergenerational Public through the trans-cultural language of music as the medium for dialogue. With the participation of international artists from Ireland, Germany and France; the prize winning German stage director Andrea Haupt; the Music Theatre Class and the talented young music students from the Stuttgart Musikschule together with the older generation of experimenters, we will explore cultural issues thru dialogue, movement, text experimentation and visual arts. Ireland has a 5000 yrs old culture whose roots may be seen in the Celtic findings in Baden-Württemberg. Music is by its very nature, an international language. Although traditional Irish music enjoys a certain popularity in Germany, the rich heritage of contemporary Irish compositions and the issues they address are little known. This project seeks to emphasis the cultural importance of Ireland as it assumes the EU presidency in 2013.
Flute teaching at this year’s Cruinniú, classes at Ballyvourney. Thursday – Saturday, including recitals and concerts.
See the organiser’s website
Fintan Vallely will be acting lecturer in Irish Traditional music and music performance on the University of Newcastle on Tyne’s Folk Music degree programme. He is deputising for Desi Wilkinson who is on sabbatical.
Teaching flute for the week and launching the Companion mid week
Teaching flute in the week following Easter at the Coolea flute gathering; participation in the Saturday concert and giving a paper:
From R E M to R A M
A reflection on fantasy, fulfillment and contradictions over the course of Vallely’s near half-century Traditional music journey from the elemental dreamtime when he started on the flute to the mincing machine of the digital information age and commodity music. The paper considers the gradual dissipation of the exuberance of the earlyish revival years where music was considered a gift, a musician always had to be bought a drink and every session was coloured by anticipation and amazement. Learning to play the flute amid the wonder was a pleasurable frustration: for even though the instrument was scarce and mentors far away, tantalizing tunes could leak unexpectedly out of the wireless, and a 78 record might be found in an antique shop. A pragmatic formality crept in with the demand for flute teaching, absence of information demanded a tutor book in tandem with the times, and the tumble towards the Celtic Tiger foddered by new value on traditions generated opportunity: travel, academic scrutiny and the rational format of the Traditional music dictionary. But is this our very own Medieval golden goose? Have we put it in a barrel, refining it from seasonal celebration as Christmas dinner to an elite, culturally immobile foie gras? IS it just ‘entertainment’, career and business? Or is it all no more than nice stuff that survived from an earlier age, but that we should have let develop laissez faire? These questions, the opportunities and imperfections, are looked at here through the eyes of a flute player drawing on the past to appreciate the present and speculate for the future.
Whistle workshop for Belfast Set Dance and Traditional Music Society.