What is a bagatelle? Is it a fancy pasta shape traditionally served in a light béarnaise sauce? A hearty Italian bread served alongside a cheeseboard? Actually, it’s neither of those things, though you’re welcome to go and invent either when you’re done reading this article (please send me the recipe if you do). No, it turns out a bagatelle is anything of little value or substance—a trifle (sorry, not the kind with custard and ladyfingers).
As best we can tell, in 1717, François Couperin (1668-1733) was the first composer to apply the term to musical ideas. When given that title, we’re left to believe a piece is something the composer came up with while just playing around, not really putting great effort or thought into it.
Still, as music journalist Stephen Johnson said, “In all these [bagatelles], from Couperin to Ligeti, there’s a sense of something discovered while just ‘playing around’—something which, in several cases, turned out to be anything but ‘mere’.”
This is certainly the case with Peter Schickele’s Seven Bagatelles for woodwind quartet (flute, oboe, clarinet, & bassoon). While the rhythms and isolated lines are not overly complicated, the seemingly abstract harmonies and characters packed underneath each vague but evocative title are no trifling matter.
Most concertgoers know the music of Peter Schickele (b. 1935) thanks, in part, to his alter alias PDQ Bach. Though much of Schickele’s output is peppered with satire and humor, the true heart of his work has always been serious Classical music (truth: he resists describing any music as “serious”).
Because they’re short and intriguing, Shickele’s wildcard collection of musical vignettes sprang immediately to mind when I set about selecting repertoire for our Spring 2019 concert, Found Objects. As I began researching the selections on the program, I was surprised to discover virtually nothing had been written about this work.
Written when the composer was 27 years old, Shickele’s Seven Bagatelles contains seven very brief movements, each with a curious title:
I. Three-Legged March
III. Walking Song
IV. City Song
VI. Country Song
At the top left of most sheet music, tempo indications are printed which prescribe both the speed and the mood a musician should emulate throughout the piece (e.g., Allegro literally means lively in Italian). The movements in this collection contain no musical instructions at all other than occasional articulations and dynamic suggestions; cold, numerical metronome settings provide the tempos. There are no program notes; no backstory is provided on any page. It’s as though the composer expects us to draw our own conclusions about the meaning of the titles and how they relate to the music that follows.
Each movement begins with no introduction and promptly ends before it’s really had a chance to take off; many of the endings sound less than final. In short, Schickele seems to have made every effort to be vague, leaving almost everything to our imagination.
While it is at times sparse and perhaps playfully obtuse, I never once considered this music “trifling”. Almost immediately, I came to see these bagatelles as a collection of unfinished musical short stories with vastly different settings and characters, united only by their having been gathered into a single work written by a single composer.
As a creative exercise, I decided to turn each of Schickele’s bagatelles into a writing prompt—composing a literary interpretation for each musical short story. As an accompaniment to our quartet’s performance of Seven Bagatelles, our reader, Jan Ross, will perform my Seven Unfinished Stories between movements.
I. Role-Playing ✣ Three-Legged March
II. The Barista ✣ Serenade
III. Plot Thickeners ✣ Walking Song
IV. The Cabin ✣ City Song
V. Word Search ✣ Game
VI. Shades of Blue ✣ Country Song
VII. Elusive ✣ River
Like each movement of the music, each story drops us into a different setting amid the saga of completely unrelated characters, either at the beginning, middle, or end of their story. The stories are “unfinished” because they conclude with a cliff-hanger, a lingering question, or they’re a full scene but clearly not the end of the story.
We hope you’ll join us Saturday, May 11th, 2019, for Found Objects: a concert about finding beauty and meaning amid the seemingly serendipitous. Together, we’ll explore these seven musical scenes and others we’ve found along the way.
Do inanimate objects have a narrative, a story to tell from their perspective? Can ordinary objects be viewed as works of art? Artists have explored this concept throughout history in one form or another, but composer Jenni Brandon (b. 1977) may be the first to set this inanimate narrative to music.
This spring, Manitou Winds will perform three movements from Jenni’s “Found Objects: On the Beach”. The six-movement trio, commissioned in 2014 for the PEN Trio, is a colorful, imaginative work bringing to life the narratives of “natural artifacts” the composer discovered on her walks along the coast in Long Beach, California. The motifs and themes of each movement perform double duty, setting the scene while inviting the listener into a world viewed from the perspective of each object.
Movement one, Tumbled Stones depicts the power of the ocean’s currents and waves as they tumble and sculpt the stones littering the sand. With her masterful skills of tone painting, Jenni uses the three voices of the trio (oboe, clarinet, & bassoon) in rising and falling patterns to depict waves. The rounded waves are punctuated by playful motifs depicting the pounding surf and tales of each stone’s journey.
Our trio has enjoyed navigating and negotiating the musical challenges built into this movement—practically a synchronized dance for three! In order to avoid stepping on the toes of your partners, performing it requires knowing the other two parts as intimately as your own. We have to communicate constantly throughout the performance to keep each other in balance, but — at the same time — we have to allow each other the freedom to express our parts individually. The first movement of this trio, in particular, really forces us to flex our ensemble and musiciality muscles!
Kelly Green Sea Glass, movement two, is a beautiful unaccompanied clarinet solo. While finding glass on the beach can be dangerous, over time sand and sea wear away at its sharp edges to create small gem-like pieces. Gradually, the “gems” dissolve into tiny particles of sand, returning to their origin. Through the use of a special technique (timbral trill), Jenni tells a story of sea glass as it stares at the sun from beneath shallow waters. The melody rises and falls, shimmering and gradually disappearing.
The third movement we’ll perform for the concert is the final movement of the trio: Seashells. Jenni chose a lilting waltz as the storytelling medium for these colorful natural works of art. Just as each seashell is slightly different from the next, the context and color of the melody changes throughout the movement before the ocean waves eventually return, creating a rousing conclusion.
Up north, along the coast of Lake Michigan, where the water is unsalted and the waves are (usually) smaller, we can still appreciate these musical narratives about water’s beauty and its power to change the world around us. Though many of the rocks we find on our beaches were left behind by glaciers carving out our inland seas, they tell a compelling tale nonetheless (including the Petoskey stones). Thanks to a hopefully small cadre of careless beachgoers, we can even occasionally find sea glass all along Lake Michigan’s beaches in many shades!
We’re delighted to present another excellent work by Jenni Brandon, one of our favorite contemporary composers and a champion for modern chamber music. We hope you’ll join us May 11, 2019, to hear the trio as part of our spring concert, “Found Objects”.
To learn more about Jenni Brandon and her growing catalog of works, visit her website. To discover more about Manitou Winds’ ongoing exploration of Jenni’s music, click here to read past articles from our Manitou-Zine.
On Saturday, March 9, 2019, we invited everyone to Rove Estate Vineyard & Winery in Leelanau County to celebrate with us in the release of our debut album, First Flight. An afternoon of excellent local wine and beautiful local music, it was great to visit with you and share some selections from our album along with some newer things we’ve been working on.
In addition to the award-winning wines and beautiful charcuterie platings from Rove, we were dishing out a Double-Decker Detroit-Style Bumpy Cake from Oryana Community Co-Op.
It isn’t often a local chamber group has the opportunity to create and produce an album. The best part of the party for us, was the opportunity to thank, face to face, many of the people who made our album possible through their donations at our concerts or during last autumn’s Kickstarter campaign.
In our first performance set, we performed colorful quintets:
Shetland Air & Reel — Traditional Shetland, arr. J.T. McKinney
flute, oboe, clarinet, horn, & bassoon
Royal Garden Blues — Clarence & Spencer Williams, arr. Ken Abeling
flute, oboe, clarinet, horn, & bassoon
The Old Ash Tree — J.T. McKinney
flute, clarinet, bassoon, guitar, & harp
A Fine Winter’s Day — J.T. McKinney
flute, clarinet, soprano saxophone, bassoon, & guitar
After more chatting (and cake and wine) we performed a second set of mixed quartets & trios:
Lytlington Tune — S.H. Nicholson, arr. J.T. McKinney
flute, clarinet, & harp
Summer Waltz — Laura Hood
flute, clarinet, guitar, & harp
Seoithín Seo Hó — Traditional Irish, arr. J.T. McKinney
flute, clarinet, & harp
First Flight — Laura Hood
flute, clarinet, guitar, & harp
III. The Night the Goats Came Home — Traditional Cape Breton, arr. J.T. McKinney
flute, clarinet, & harp
We hope you enjoyed the party as much as we did! If you didn’t have a chance to purchase a copy of the album during the festivities, please stop by our CD table at our next concert. Or you can visit CD Baby any time to order a copy or download it to your preferred device.
Our 2018 Winter Songs & Carols program was tremendous fun to present and an exciting evening for both performances! We were honored to perform with two very special guests: Emily Curtin Culler, soprano, and Katherine Drago Luellen, mezzo-soprano.
The year had been a very busy one for the ensemble: multiple concerts, a fundraising campaign, a recording project, and recording sessions. Needless to say, we were happy to put together this program of favorite wintry pieces pulled from past programs plus a few new pieces to spice things up!
We presented an updated arrangement of Gregory Norbett’s Winter’s Coming Home which Jason arranged for our performance with Emily. You can watch the premiere performance right here!
We premiered a joyful, Celtic-flavored original work by Jason entitled A Fine Winter’s Day inspired by a full day of sledding in Leelanau County. We pulled together a truly unique instrumentation for the occasion: flute, clarinet, soprano saxophone, bassoon, & guitar! Watch the premiere performance here!
We premiered another original work entitled Midwinter Twilight which Jason composed especially for our upcoming debut album. It was an intertwining of music and narration depicting a fiery sunset just after the winter solstice. It was a fun experience (and challenge) incorporating narration into live performance! If you weren’t able to join us you’ll just have to wait for your copy of the album to hear the piece.
As usual, admission to the concert was free. Freewill offerings from our audiences at both performances helped to raise funds for the Friday Community Lunch at Grace Episcopal Church, arts and music programs at the Leelanau School, and operating expenses for our ensemble. Many thanks to our audience for helping us help our community.
We so enjoy presenting this annual concert—a beautiful, meaningful way to kick off the holiday season each year. We especially enjoy the opportunity to talk with you afterward and hope you’ll join us at a performance in our 2019 season!
As musicians, we translate written music—the composer’s instructions and all the technical demands—into an active, emotional experience for an audience. During our rehearsals, we often discuss where we think a piece is going—the story it’s telling, the images it brings to our minds, or the characters our instruments are becoming in the unfolding drama.
Unlike a painting or a sculpture, music is a temporal art form—art which exists only in the moment we experience it. We musicians spark a rippling effect, igniting the air with vibration, enlivening it with pulsating rhythms and patterns. It doesn’t stop there, though. Musical art is the shared experience between the composer’s plans, the musicians’ interpretation, and the audience’s imagination and spirit. Each performance is a new creation!
As both a musician and a composer, I relish the challenge of translating my personal memories, reflections, and creative musings into music. I’m honored to share my music with musicians I trust and admire—who will partner with me to create an earnest and heartfelt experience for an audience.
Last winter, on an evening drive into Traverse City, I was awestruck by a scarlet sunset. As I hurtled past the naked forest and snow-covered furrows bathed in those last few moments of daylight, I couldn’t help taking a mental picture. It was a picture of light and color as emotion and sound, of winter as a beginning rather than an end.
I’m excited to share with you on our debut album the premiere of the musical essay (Midwinter Twilight) that grew from that small moment. The music depicts the colors of a fiery twilight flickering through bare branches along a deserted country road, and the rush of memories of all four seasons across a single landscape. Interwoven into the musical score is narration taken from my personal journal, drawing parallels between sound and light, nature and music.
On behalf of Manitou Winds, I’d like to thank you for making music with us—by being an active participant in the art we create in our concerts and by making a pledge that has enabled us to create our debut album. We truly could not make our art without you.
P.S. Looking forward to visiting with all of you at this year’s Winter Songs & Carols performances where you can hear the first-ever live performance of Midwinter Twilight!
Thank You to everyone who came out to experience “A Celtic Summertide” with us at the Oliver Art Center in Frankfort! It was a lovely evening of music and art made all the lovelier by the warmth of your company.
The gallery became filled to capacity before the concert began and so many audience members were asked to sit in hallways or stand where possible. Unfortunately many others had to be turned away due to legal limits for capacity at the venue.
We apologize for any disappointment and inconvenience this may have caused any of our friends. As part of our planning for the next summer concert in Frankfort, we are working to secure a larger venue in the hope that you will all join us again for another wonderful evening.
The concert program was a journey across the Celtic realm with music from the Shetland Islands, Scotland, Ireland, and Nova Scotia in many different combinations of instruments.
We were honored to be joined by Emily Curtin Culler, soprano, who premiered a brand new collection of traditional Irish folk songs set for soprano and wind quintet.
In addition to the musical journey, we were delighted to be joined by Frankfort artist, Ellie Harold, who dazzled our audience by bringing a brand new painting to life over the course of the program.
Just a few days before the performance, our founder, Jason McKinney, was invited to perform in Studio A at Interlochen Public Radio and share a bit about the program and talk about working with the music of Turlough O’Carolan. You can listen to the full interview here and watch Jason performing a harp solo in Studio A on the IPR Facebook Page.
Thank you to our entire Northern Michigan community for helping to make our performance a success. We are especially grateful to all those who gave donations toward our upcoming recording project.
One of my fondest memories of moving to our home in northern Michigan was waking up on the morning after the move, looking out the window, and seeing the old ash tree at the edge of the front lawn. It was majestic and stately, easily setting itself apart from the scraggly ironwoods around it.
As seasons rolled by, I saw the tree in many different lights and characters, in sunlight and moonlight. It became a prominent feature in my mental map of our property. And so, when it became apparent the tree was suffering a slow death by infestation, my heart sank. We were powerless, unable to save the tree and its sisters.
The ash tree plays a significant role in Celtic mythology. The ash tree was often seen as the central column of the Tree of Life. Sometimes referred to as the World Tree, the ash was believed to be a bridge between worlds — like a cosmic axis running from Annwn (the lower world), Abred (this world), Gwynvid (the upper world), and disappearing finally into Ceugant (eternity).
When the arborists came in May 2017 to remove the ash trees, I tried to carry on with my office work. I tried ignoring the chainsaws and chippers roaring mere feet away, but it was impossible to deny the irreversible and permanent changes taking place outside. I was gradually overcome with a heavy, inexpressible sadness. Hearing a bittersweet tune in my head, I sat at my piano and wrote it down. With an uncharacteristic finality, I wrote “The Old Ash Tree” at the top.
Knowing the ash tree’s importance in Celtic symbolism and lore, I felt it was appropriate to orchestrate this tune for our Celtic concert. But while exploring the tune further — turning it over and over, adding layers, expanding themes — something unexpected happened. The metaphor behind the tune expanded beyond the ash tree to encompass my own family tree.
My paternal grandfather (Paw Paw Bryant) was diagnosed with Alzheimer’s Disease around 1997 when he was in his early sixties. The news was hard to bear, and — having witnessed the disease overtake many of his siblings — there was not a lot of hope for the future.
Paw Paw was a constant presence in my childhood — a bottomless source of encouragement, discipline, and inspiration, always making time to indulge our curiosities. He was gentle yet persistent in doling out wisdom. He was nearly always right, but rather than tell you so repeatedly, he would usually set out to prove it or suffer impressive injury in the attempt.
Always a fan of spinning tales from his childhood, he fostered in me a love of storytelling. He seldom scolded me even when it was apparent I might be exaggerating details to make my story more compelling.
One of my most vivid memories of Paw Paw is when he told me he often climbed persimmon trees to pick fruit for his mother and sisters. I was skeptical, but before I could complete my sentence, he had shinnied up the trunk of the old persimmon tree, and was readying to chuck the fruit down to me. The best fruits, he said, are in the tops of the trees, and Paw Paw was always right.
He instilled in me and my brothers a work ethic that’s unrelenting, fascinated with seeing a job through. Though he may have sometimes been the very reason we were in danger, he was also the reason we were perfectly safe and had no reason to be afraid. To my mind, he’s never aged a single year, but reality tells a different tale.
It’s been 20 years since his diagnosis. While it’s nothing short of a miracle that he’s still with us, watching his slow descent into the barrenness of the disease has been painful. On visits, I’ve witnessed his mind oscillate unpredictably between the present and the past. I’ve seen genuine fear in his eyes as he describes losing himself, getting lost in the woods — a place he’s known like the back of his hand. He can no longer venture out on his own.
The Old Ash Tree is dedicated to my grandfather, Bryant McKinney. In it, I hope to capture his strength, the beauty of the humble life he’s led, and his role as a central axis in my family, the main branch in our tree of life. I also wanted to portray his bravery and stubbornness, his constant fight against a disease that steals his mind inch by inch, day by day.
I’ve woven a central tune throughout the piece, similar to a rondo form. Each time it returns, it reminds me that Alzheimer’s may silence our loved ones, but it doesn’t erase them. Paw Paw hears us, but he can’t always let us know that he understands; he remembers and loves us, but he can’t always express it.
Writing the piece was difficult for me because it meant confronting my grief and sharing it at the same time. Deciding on an ending was probably the most challenging moment. Our lives don’t end with neat and tidy cadences, and I didn’t think it was fitting for this piece to do that either. Instead, the central tune slowly retreats, weightlessly drifting off into the light.
When I visit the stump of the old ash tree, I still sense the space that immense tree occupied. Its roots remain, still holding the earth in place. The rings of its life, now on display, are weathered the color of stone. When a breeze stirs the slowly encroaching understory, I look up to see the opening it left behind in the canopy. Sun streams down, warming the forest floor. New saplings are slowly emerging.
When I began studying lever harp in 2010, one of the volumes of harp music I purchased was a collection of tunes by O’Carolan*. Exploring the tunes while also teaching myself to play the harp, I eventually read more and more about the composer, developing a growing curiosity about the particular tunes I kept coming back to.
Turlough O’Carolan (1670-1738) was born somewhere in County Meath (most likely Nobber [Irish: an Obair]) during a time of unrest in Ireland. Throughout his lifetime, an ongoing struggle for power and dominance raged constantly between Britain and Ireland, Protestants versus Catholics. The country was torn apart by oppressive, unfair laws which impoverished and disenfranchised many natives. While O’Carolan’s career as a traveling composer, musician, and poet brought him into the homes of families on both sides of these conflicts, history shows he managed to have broad appeal without ever betraying his loyalties to Ireland and Catholicism.
There is scant information known of his life and career as little was documented. What we do know of his biography is largely comprised of pieced together anecdotal accounts. As a child, O’Carolan was educated thanks to the generosity of the wife of his father’s employer (Mrs. MacDermott Roe). Roughly around age eighteen, O’Carolan caught smallpox which blinded him completely. In an effort to save his future, Mrs. MacDermott Roe sent O’Carolan to a harpist where he trained for three years to become proficient.
What follows is an interesting scene. Upon completing his musical studies, Mrs. MacDemott Roe presented the 21-year-old O’Carolan with a sum of money, two horses, and a sighted guide to be his companion. From there, he was on his own and this was to be his only option: a career as an itinerant harpist.
In a story that might have easily have ended in tragedy, O’Carolan went on to become one of Ireland’s most famous and prolific composers. Relying solely on the generosity of his patrons, for nearly 50 years he roamed the Irish countryside from Dublin to Galway and all points north composing songs and entertaining the rich and powerful. By the end of his life, he’d amassed a reputation which always preceded his arrival. He was received not as a traveling minstrel but as a welcomed friend. Weddings and funerals were often postponed until he arrived!
Most of O’Carolan’s compositions were kept alive by harpists, fiddlers, and flutists who taught them by rote to their students. Though there are extant books published during his lifetime which contain one or two O’Carolan tunes, volumes of his collected works did not begin appearing until the late 18th century. At last count, there are 214 verified tunes attributed to him with several dozen others of dubious origin.
Because of the long path each of his compositions traces through history and retelling, we know very little about them other than possibly which patron they were written for and the homes or castles in which they likely premiered. In some instances, lyrics written by O’Carolan have been unearthed and matched with specific tunes, but in the absence of musical notation it’s uncertain how these songs would have been sung or accompanied. Unfortunately, O’Carolan’s works are preserved only as single melodic lines. How any of the tunes would have been harmonized by O’Carolan is literally anyone’s guess!
When I began compiling repertoire for Manitou Winds’ “A Celtic Summertide”, including tunes by O’Carolan was an instinctual decision and provided an excuse to learn more about his life and work. Seeing the bare melodies as an adventurous challenge, I selected four of my favorites, compiling them into a suite I entitled O’Carolan’s Symphony for flute, clarinet, horn, bassoon, and lever harp.
Click each tune name to read a brief history and see the original melodic line.
courtesy of IrishPage.com
While performing in those stately homes in Ireland, O’Carolan chanced to hear the music of Corelli and Vivaldi performed by visiting musicians. Biographers say he was intrigued by their art and absorbed as much of their sophisticated style and form as he could with his limited musical education and his musically-limiting instrument. In O’Carolan’s time, a harp could only be tuned in one key and could not play any accidentals.
Rather than attempt to recreate what O’Carolan himself might have done with these tunes (which would have amounted largely to guesswork), I chose to compose O’Carolan’s Symphony in a style I felt would indulge O’Carolan’s own musical curiosity while giving a nod to the colorful anecdotes peppering the many written accounts of his life. To further aid the storytelling aspect of the work, I chose to imagine the varied personalities and daily lives of the people for whom O’Carolan named these tunes.
While maintaining respect for the form and melody inherent in each tune, I incorporated modern harmonies, added countermelodies and varied textures, changed a few rhythms… ultimately scoring the entire work for instruments that either didn’t exist in O’Carolan’s day or have evolved to a great extent. I hope the work is a fitting homage to the inspiring if not somewhat legendary life story of Ireland’s last great bard.
*There is some debate among scholars as to whether Turlough O’Carolan (Irish: Toirdhealbhach Ó Cearbhalláin) should be referred to as “O’Carolan” or simply as “Carolan”. Though historic record confirms the composer referred to himself as “Carolan,” as did his closest friends (completely ignoring his first name), the “O'” prefix is universally included in modern usage when formally referring to someone whose surname is preceded by it. My personal preference is to include the prefix out of respect to the composer.
For further reading about the life and music of Turlough O’ Carolan:
O’Sullivan, Donal. Carolan: The Life, Times and Music of an Irish Harper. Cork, Ireland: Ossian Publications, 2001 .
Rowsome, Catríona. The Complete Carolan Songs & Airs. Dublin, Ireland: Waltons Publishing, 2011.
Picture the scene: The year, 1880-ish. Ballysadare (Irish: Baile Easa Dara) – a tranquil bayside village in County Sligo. The poet William Butler Yeats, who had spent many summers here as a child, returns for another sojourn. In his wanderings about the village, he comes upon an elderly Irish woman who seems to be troubled by a song she can’t remember. As she goes about the duties of her day, she sings the same lines over and over to herself, but can’t remember what comes next…
Down by yon flowery garden my love and I we first did meet.
I took her in my arms and to her I gave kisses sweet
She bade me take life easy just as the leaves fall from the tree.
But I being young and foolish, with my darling did not agree.
Yeats also found her song troubling, but perhaps for different reasons — he wanted to know the rest of the story! In the end, he constructed his own answer by writing a poem based on the few lines the woman could remember. His poem, An Old Song Re-Sung appeared in his 1889 volume “The Wanderings of Oisín and Other Poems”:
Down by the salley gardens my love and I did meet;
She passed the salley gardens with little snow-white feet.
She bid me take love easy, as the leaves grow on the tree;
But I, being young and foolish, with her would not agree.
In a field by the river my love and I did stand,
And on my leaning shoulder she laid her snow-white hand.
She bid me take life easy, as the grass grows on the weirs;
But I was young and foolish, and now am full of tears.
— “An Old Song Re-sung”
Down By the Salley Gardens
W.B. Yeats (1865-1939)
By the time it was published, Yeats had come to realize he’d written a poem about a fairly well-known song. As it turns out, the song the elderly woman was futilely trying to recall was Ye Rambling Boys of Pleasure, but she could only call to mind the second stanza. The similarity between Yeats’ first stanza and the lines of the second stanza of the original song were too close to ignore. To acknowledge his accidental plagiarism, Yeats published his poem under the title An Old Song Re-Sung. However, when it was republished in 1895 it became known as Down By the Salley Gardens, a title which has firmly stuck.
And, the rest is history… except that what really imprinted Yeats’ poem in our hearts was the tune which was eventually married to it in 1909. Sadly, this tune was torn from yet another song (The Mourlough Shore, aka The Maids of Mourne Shore or The Mourne Shore) which will ever be overshadowed by the poem that stole its tune!
A story ripped from its song, turned into a poem, and then married to a tune borrowed from yet another song — what a tangled web! Aside from revealing the transient nature of tunes (which seem to wander effortlessly from poem to poem until they find their true destiny), what might we glean from this fable of tunes and texts? Perhaps the moral is that — in spite of the tune originally given to the words which may have been intended — we cherish more the words we forgot sung to the tune that got away.
In arranging this beloved song for our program, I sought to bring out all the bittersweet feelings from the simple but timeless poetry which Yeats wrote in an effort to finish the story the old lady couldn’t remember. To accomplish this, I call upon the 34 strings of the Irish harp, the mellow breeze of the flute, and the beautiful voice of our special guest soloist, Emily Curtin Culler.
If you’ve attended a Manitou Winds concert, recently, you’ve no doubt experienced the wonderful voice of Emily Curtin Culler. Whether singing an aria from a Baroque cantata, a classic German lieder, or a traditional Irish lullaby, Emily’s voice has tremendous dynamic range and is tirelessly light on its feet. She is a consummate chamber musician who brings sensitivity and musicality to every performance.
Emily came to northern Michigan by way of Boston. A soprano Choral Scholar with Boston University’s Marsh Chapel Choir, she performed weekly services for audiences throughout New England and around the globe via WBUR.
She’s also an original core member of the Lorelei Ensemble. The ensemble specializes in performing lesser-known early music while also collaborating with living composers to produce innovative programming. (Hear recordings of Emily performing with Lorelei HERE!)
An in-demand performer and avid interpreter of new music, Emily is also a non-profit and arts management professional. Presently, she is Leadership Annual Giving Manager at Interlochen Center for the Arts and Interlochen Public Radio.
Last fall, when I began creating repertoire for “A Celtic Summertide”, I knew the program’s central element would be juxtaposing our instruments (most of which are not Celtic folk instruments) with traditional Celtic tunes. Since many of the tunes are also beloved folk songs, I couldn’t resist including a few of these. For a new collection of Irish Gaelic songs, I knew Emily was our ideal collaborator!
Trí Amhráin as Éirinn (Three Irish Songs) is a suite of three traditional Irish songs in modern settings for soprano and wind quintet. The opening song, Thugamar Féin an Samhradh Linn (We Brought the Summer with Us), is a centuries-old tune sung to celebrate May Day (Bealtaine) and the beginning of summertime.
Bábog na Bealtaine, maighdean an tSamhraidh,
Suas gach cnoc is síos gach glean.
Cailíní maiseach go gealgháireach gléasta,
Thugamar féin an Samhradh linn.
Doll of the May, maiden of Summer,
Up every hill and down every glen,
Beautiful girls brightly dressed,
We brought the Summer with us.
Though sources claim the text and tune originated in early 15th-century Ulster in what is now primarily Northern Ireland, we can’t be certain. The precise age of the text and whether it was always married to this tune is also a matter of speculation as other versions exist alongside completely different tunes.
The song was sung by young women and men performing as “Mummers” or beggars during the Bealtaine celebration. Roaming door to door singing, they would have offered garlands of hawthorn, holly, and flowers in exchange for food and other gifts. Their garlands were believed to ward off fairies (mischievous little people) and thus bring good fortune to the recipient when placed at the entrance of their home.
I was inspired by the summery images in the stanzas (“yellow summer from the sunset…”, “the cuckoo and the lark are singing with pleasure…”) which were particularly inspiring in the dead of a northern Michigan winter. I also fell in love with the tune — it’s lilting phrases, for me, painted a lovely landscape of rolling hills and flowery glades. I employed the vivid colors of the wind quintet to bring these landscapes to life while parading the soprano’s line through them, spreading summer tidings.
The second song, Seoithín Seo Hó (Hushaby), is a lullaby whose tune is believed to predate its text. The 20th-century song collector Eileen Costello noted in her 1919 anthology (Amhráin Mhuighe Seóla) that many believed the tune was sung by the Blessed Virgin to lull the Christ Child, and so it was traditionally sung without lyrics. Costello credits the text to a Rev. O’Kelly of Galway. In keeping with tradition, alternate stanzas of the Irish lullabies are often hummed rather than sung.
While at first glance the lyrics are sweet and sentimental, one stanza warns that children are at risk of being abducted by fairies (a common theme in the folklore). Apparently, the fairies steal a child’s soul, exchanging it with an old or sickly fairy (a “changeling”) who inhabits the child’s body and soon dies.
Ar mhullach an tí, tá síogaí geala
Faoi chaoin ré an earraigh ag imirt is spoirt.
Seo iad anair iad le glaoch ar mo leanbh
Le mian é tharraingt isteach san lios mór.
Atop the house, there are bright fairies
Playing sport under gentle rays of the spring moon.
Here they come to call out my child
Wanting to draw him into their mound.
A number of Irish lullabies make mention of fairies as a way of coaxing children to close their eyes — it’s believed sleeping children can’t be lured away by wily fairies. Still, it’s hard to imagine easily falling asleep knowing your only protection is that your eyes are closed!
In my setting of the lullaby, rather than capitalizing on the sinister fairies lying in wait on the roof, I chose to focus on the love poured out by this mother as she shares an intimate moment with what I imagine is her first child.
Seoithín seo hó, mo stórín, mo leanbh.
Mo sheoid gan cealg, mo chuid den tsaol mhór.
Seoithín seo hó, is mór é an taithneamh,
Mo stórín ina leaba, a chodladh gan brón.
Hushaby, my treasure, my baby.
My jewel without deceit, my share of the big world.
Hushaby, it is the greatest sight,
My treasure in his bed, asleep without care.
Unlike most lullabies, the chorus of this tune has a “soaring” quality, naturally drawing out a crescendo (the opposite of what you’d want when lulling someone to sleep!). Rather than working against this natural tendency, I set the music so that the mother becomes so caught up in her joy she accidentally wakes the baby and then coaxes him back to sleep.
The third and closing tune, Beidh Aonach Amárach (There Will Be a Fair Tomorrow), is a “dandling” song. Rather than telling a story, dandling songs are meant to be simply entertaining to sing due to the sound or rhythm of the lyrics. These are often used to amuse or distract children (in the US, popular examples of dandling songs might be “Pat-a-cake” or “The Itsy-Bitsy Spider”).
Appropriately, the text in this song is a back-and-forth disagreement between daughter and mother. The daughter wants to go to the fair where she intends to marry the town’s shoemaker, but her mother won’t allow it… and the daughter’s pestering ensues!
A mháithrín, an ligfidh tú chun aonaigh mé?
“A mhuirnín ó, ná héiligh é!”
Momma, will you let me go to the fair? (repeat 3 times)
“Darling, don’t ask again!”
In my setting, I wanted to highlight the playful quality of the lyrics and tune rather than presenting the entire text (which traditionally contains ten or more verses). I also interjected a bit of theater by adding awkward pauses and some mocking on the daughter’s part.
I crafted this entire song set with Emily’s voice in mind, and so I’ve dedicated it to her. Coaching her in the Irish Gaelic pronunciation as she painstakingly translated each syllable into IPA characters was great fun and a provided further encouragement for me to learn more about a language that has always fascinated me. Manitou Winds is honored to have her premiere this new work with us, adding her special signature to the performance!