IRISH MUSIC

New Zealand Tablet, 15 May 1919, Page 42

IRISH MUSIC

On the occasion recently of a visit of the Broken Hill Pipers' Band to Adelaide (S.A.), the members were entertained at a social evening by the Irish National Foresters, and the Irish Pipers' Association of South Australia. At the request of the chairman, the Rev. Brother Purton delivered a very interesting address on Irish music. He said there was no music so well known and appreciated as the Irish. It had earned for Ireland the title of the island of song. Music entered 'into the soul of the people, whether light and joyous or sad and pathetic in character. In the gathering at Tara to meet St. Patrick the chief bards occupied the place of honor after the Ard-Righ, and the saint made his appeal to them, knowing that if he won them he would win the people. Brother Purton then gave an historic outline of the bards and of the different kinds of Irish music and instruments. They found that Irish bards had been brought to Wales to teach the Welsh bards, and in the same way the Scottish highlands learned all their music from Ireland, though many Scotsmen now believed the airs were Scotch. Ireland also supplied the continent of Europe with teachers of music as well as of philosophy and religion. Most of Moore's melodies were gathered from the ancient Irish airs handed down by tradition. The speaker then dealt with some of the old Irish harpers, such as Carolan, who was praised by Goldsmith, and died in 1738. He also described the ancient Irish harp, which differed from that of the present day. It was 30in. to 36in in height, and had strings of brass and a brass key like that of the piano. The ancient Irish war pipes were similar to those played by the bands here: but another kind, inflated by bellows (the Union pipes), had been developed in more recent times. Brother Purton likewise described other Irish musical instruments. He recalled the fact that the Welsh writer, Giraldus Cambrensis, had praised the Irish music as sweeter than that of any other nation. His reference to the intermingling of the sounds of the little strings with the bass strings showed that the Irish knew two-part music. So exquisite was it in melody that it could be said with truth that no masters of the English, French, Italian, or German schools of music could produce anything so full of soul and pathos as the Irish music. Brother Purton then described lie three main classes of Irish music—the joy songs, known as folk music ; the sorrow songs ; and the sleep songs or lullaby songs sung by the mothers to their children. There were also occupation songs, such as those of the milkmaids and ploughmen, sung while following their occupations. Moore's collection of Irish melodies was only a small one. A great deal had since been done by the Gaelic League and others to increase the collection. The music of Ireland was peculiarly fitted to express the noblest ideals of nationhood and religion. He was pleased to see the young men of Adelaide and Broken Hill taking up its study and practice. It was not only in history that they met with the deepest ignorance and prejudice regarding Ireland. If the taste for Irish music, dancing, and literature were more general, they would all be the better for it. He hoped the Irish pipers of Adelaide would improve as the result of the visit. He was glad to see an old C.B.C. boy (Denis O'Brien) among the visitors. He was glad to have been present to welcome them. (Applause.)