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Grammy Award Nominee Medal

Framed medal, engraved with the following words: ‘National Academy of Recording Arts & Sciences GRAMMY Nominee 1992’.

Canadian Recording Industry Association Gold Award

Framed gold disc, presented to The Chieftains by the Canadian Recording Industry, engraved as follows: ‘To commemorate the sale of over 50,000 units of the RCA Victor recording The long black veil ’.

Bells of Dublin Gold Disc

Framed gold disc, presented to The Chieftains by RCA Victor, engraved as follows: ‘To commemorate the sale of more than 500,000 copies of the RCA Victor records, compact disc and cassette the Bells of Dublin ’.

Seán McKiernan Collection. Reel-to-Reel 1 [sound recording] / [various performers]

Performers:
Bradley, Vincent, speech in English A1–2, 9, 11, B2;
speech in Irish A5–6, 7;
RTE Symphony Orchestra, The A1, B3–5, 7;
Ceoltoiri Chualann, Dublin, instrumental group A3–4, 6, 8–10;
Moloney, Paddy, Dublin, pipes in instrumental group A3–4, 6, 8–10;
de Buitlear, Eamon, Dublin, accordion in instrumental group A3–4, 6, 8–10;
Fay, Martin, Dublin, fiddle in instrumental group A3–4, 6, 8–10;
Keane, Sean, Dublin, fiddle in instrumental group A3–4, 6, 8–10;
Kelly, John, Dublin / Clare, fiddle in instrumental group A3–4, 6, 8–10;
Mercier, Peadar, Dublin, bodhran in instrumental group A3–4, 6, 8–10;
Potts, Sean, Dublin, whistle in instrumental group A3–4, 6, 8–10;
Tubridy, Michael, Clare / Dublin, flute in instrumental group A3–4, 6, 8–10;
O Se, Sean, Cork, singing in Irish with instrumental group A5, 7, 11;
Fleischmann, Aloys, Cork, speech in English B1;
piano solo B1;
Choir of the German Institute, The, Dublin, singing in English B3, 5, 7;
singing in Irish B8;
RTE Singers, The, Dublin, singing in English B3, 5, 7;
singing in Irish B8;
RTE Choral Society, The, Dublin, singing in English B3, 5, 7;
singing in Irish B8;
Young, William, baritone, singing in English B4, 6–7;
Beckett, John, harpsichord B6–7;
Unidentified performer, speech in English B8

Running Order:
1. Speech, Piece: Untitled [Radio announcement], Untitled [Presidential Salute, played as the president of Ireland, Eamon de Valera, arrives; shortened version of Amhran na bhFiann, the Irish national anthem]
2. Speech: Untitled [Radio announcement]
3. Carolan Piece: Carolan's Concerto
4. Air: Untitled [c
5. Song, Speech: An Poc ar Buile, Untitled [Radio announcement]
6. Speech, Hornpipe: Untitled [Radio announcement], Cearta an Duine / The Rights of Man
7. Song, Speech: Taimse im Chodladh, Untitled [Radio announcement]
8. March: Mairseal Ui Neill [O'Neill's March]
9. Reel, Speech: Ta na Baid fe Sheol / The Ships Are Sailing, Untitled [Radio announcement]
10. Air: Marbhna Luimni / The Lament for Limerick
11. Song, Speech: Ta 'na La, Untitled [Radio announcement; end of the radio broadcast of the first part of the concert; a further item was in fact played in the first half of the concert – for a recording of this, see the ITMA DVD copy of the RTE television recording of the concert]
12. Speech: Untitled [Broadcast on RTE radio during the interval at a live broadcast of a commemorative concert for Sean O Riada (for concert details, see information at the beginning of tracks A); topics include: overview of O Riada's significance to the Irish people; O Riada's significance as a composer; a detailed analysis of O Riada's composition Nomos No. 2, with illustrations played on piano] [END OF RELEVANT MATERIAL ON BAND THREE]
13. Speech: Untitled [Radio announcements; introduction to the performance of Nomos No. 2 by Sean O Riada that follows, giving details of the performers]
14. Classical Piece: Nomos No. 2 [First Movement]
15. Classical Piece: Nomos No. 2 [Second Movement]
16. Classical Piece: Nomos No. 2 [Third Movement]
17. Classical Piece: Nomos No. 2 [Fourth Movement]
18. Classical Piece: Nomos No. 2 [Finale]
19. Speech, Song, Speech: Untitled [Radio announcement, as voice-over during applause], Amhran na bhFiann [The Irish national anthem; arranged by Sean O Riada], Untitled [Radio announcement] [END OF RELEVANT MATERIAL ON BAND TWO]

Seán McKiernan Collection. Reel-to-Reel 2 [sound recording] / [various performers]

Performers:
Reel-to-reel tape recorded by Sean McKiernan, Coillin, Carna, Co Galway, and loaned by him to ITMA for copying on 19 March 2006Digitised and catalogued from the reel-to-reel tape by Jackie Small, completed June 2006.Two donor copies sent by post to Sean McKiernan, June 2006. Original tape kept to be returned to Sean McKiernan in person.Imported from Reeldubs July 2013ARDI: Tracks A16–21: Friday 31 March 1967Abbreviation used: DMWC = \'The Dance Music of Willie Clancy\', edited by Pat MitchellTracks 1–15 are dubs from other reel-to-reel recordings;
Tracks 16–21 are an off-air dub of a radio programme featuring Seamus Ennis, broadcast on RTE radio on Friday 31 March 1967;
Tracks 22–31 are an off-air dub from an RTE radio programme in the series \'American Journey\', presented by Ciaran Mac Mathuna;
Tracks 32–48 are private recordings of Willie Clancy, pipes, made by Sean McKiernan;
Tracks 49–56 are an off-air dub of an edition of the RTE radio programme \'Sounds Traditional\', presented by Ciaran Mac Mathuna, featuring Seamus Ennis;
Tracks 57–66 are dubs from other reel-to-reel recordings

Running Order:
1. Reel: The Ravelled Hank of Yarn [DMWC, # 2]
2. Reel: Untitled [The Boys of Ballisodare; DMWC, # 53 (untitled); for a different recording of this by the same performer, see track B16]
3. Jig: Sixpenny Money [DMWC, # 18]
4. Air: An Buachaill Caol Dubh
5. Reels: Tarbolton [DMWC, # 14; Cooleen Bridge], Fermoy Lasses [DMWC, # 16]
6. Air: My Lagan Love
7. Jig, Speech: Tiocfaidh Tu Abhaile Liom [DMWC, # 21; Will You Come Home with Me?], Untitled
8. Jig: The Frieze Breeches [DMWC, # 11; I Buried My Wife and Danced on Top of Her; 2-part version of The Frieze Breeches]
9. Reel: Untitled [DMWC, # 27 (untitled); Farewell to Erin (CRE, # 139)]
10. Reel: The Pinch of Snuff [DMWC, # 122]
11. Jig: Bimid ag Ol [DMWC, # 7]
12. Speech, Reel: Untitled, Untitled (incomplete) [The Steampacket]
13. Speech, Reel: Untitled [Announcement on original recording], Untitled [The Morning Star] [From a private cylinder recording]
14. Hornpipe: Untitled (incomplete) [The Kildare Fancy]
15. Speech, Reel, Speech, Jig: Untitled [Announcement on original recording], Bean an Ti ar Urlar ag Obair [The Woman of the House], Untitled [Announcement on original recording], Untitled [The Geese in the Bog] [From a cylinder recording made by Feis Ceoil officials about 1900] [END OF BAND ONE]
16. Speech, Speech: Untitled [Radio announcement], Untitled [Introduction to the tunes that follow]
17. Hornpipes: O'Dwyer's Hornpipe, The Derry Hornpipe
18. Speech, Air: Untitled, The Trip We Took over the Mountain
19. Speech: Untitled
20. Jigs, Speech: Paidin O Raifeartaigh, The Lad in the Shed / Westering Home, Airgead Realach [Sixpenny Money], Untitled [Interspersed with the music performance]
21. Speech: Untitled [Radio announcement, signalling the end of this radio programme]
22. Reel, Speech: McFadden's Reel [McFadden's Favourite; DMI, # 716], Untitled [Radio announcement, as voice-over]
23. Speech: Untitled [Radio announcement; interview with Paddy O'Sullivan]
24. Reels, Speech: Trim the Velvet, Untitled [The First House in Connacht], Untitled [Radio announcement, as voice-over]
25. Speech: Untitled [Radio announcement; interview with Bill Greenall]
26. Air, Speech: Ar Eirinn ni Neosfainn Ce Hi / For Ireland I'd not Tell Her Name, Untitled [Radio announcement, as voice-over]
27. Speech: Untitled [Radio interviews with Roger Casey (dancer), his father Pat Casey, and accordion-player Joe Madden]
28. Reels, Speech: Untitled [The Dawn], Untitled [The Golden Keyboard; composed by Martin Mulhaire], Untitled [Radio announcement, as voice-over]
29. Speech: Untitled [Radio interview]
30. Speech, Jigs, Speech: Untitled, Untitled, Untitled, Untitled [The music on this track, and part of the speech at the end of the track, plays at double the speed of the rest of the contents of this tape; for an edited version with the speeds adjusted, see track A31] [END OF BAND FOUR]
31. Speech, Jigs, Speech: Untitled, Untitled, Untitled [The Lark on the Strand], Untitled [This track is an edited version of track A30 with speeds adjusted to normal speed]
32. Speech, Reel: Untitled, Untitled [Pat Tuohy's Reel (DMI, # 595); Patsy Touhey's Reel]
33. Slip Jig, Speech: Untitled [Will You Come down to Limerick?; DMWC, # 58; Kitty Come down to Limerick; The Munster Gimlet], Untitled
34. Slip Jig, Speech: Untitled [Give Us a Drink of Water; DMWC, # 123], Untitled
35. Jig: Untitled [Banish Misfortune; DMWC, # 137]
36. Jig, Speech: Untitled [Nora Criona; DMWC, # 152; has been described as Patsy Touhey's version; for a different recording of this by the same performer, see track B11], Untitled
37. Reel: Untitled [Jenny's Welcome to Charlie; DMWC, # 144]
38. Speech, Reel, Speech: Untitled, Untitled [The Flags of Dublin], Untitled [While instrument is being tuned]
39. Speech, Reels: Untitled, Untitled [My Love is in America; DMWC, # 83], Untitled [Jenny Picking Cockles; DMWC, # 124]
40. Speech, Reels: Untitled [During tentative playing of possible candidate tunes for recording], Untitled [The Connacht Heifers; DMWC, # 62; The Connacht Heifer], Untitled [Corney is Coming; DMWC, # 8; followed by instrument tuning]
41. Reel: Untitled [The Pinch of Snuff; DMWC, # 122]
42. Speech, Jig, Speech: Untitled, Untitled [Nora Criona; DMWC, # 152; has been described as Patsy Touhey's version; for a different recording of this by the same performer, see track B5], Untitled
43. Jig, Speech: Untitled [The Geese in the Bog; The Lark's March], Untitled
44. Hornpipe, Speech: Untitled [Ballymanus Fair], Untitled
45. Reel, Speech: Untitled [The Pigeon on the Gate], Untitled
46. Speech, Jigs: Untitled, Untitled [Down the Back Lane; DMWC, # 103], Untitled [Paidin O Raifeartaigh; DMWC, # 60]
47. Reel, Speech: Untitled [The Boys of Ballisodare; DMWC, # 53 (untitled); for a different recording of this by the same performer see track A2], Untitled
48. Air: Untitled (incomplete) [Sliabh na mBan; tape runs out] [END OF BAND THREE]
49. Speech, Speech: Untitled [Radio announcement], Untitled [Radio interview; includes story about the Scolaire Bocht, the Poor Scholar]
50. Reel: The Scholar / The Poor Scholar
51. Speech: Untitled [Radio interview; topics: Seamus Ennis's pipes; a story connected with the next tune to be played]
52. Reel: The Woman of the House
53. Speech: Untitled [Story connected with the tune The Gold Ring]
54. Jig: The Gold Ring
55. Speech: Untitled [Story connected with the tune that follows]
56. Reel, Speech: Did the Rum Do, Da? [Anything for John-Joe], Untitled [Radio announcements]
57. Jig, Speech: Strop the Razor / Piocfad an Snathaid [DMWC, 29; The Cook in the Kitchen (version of)], Untitled [Information about the titles of the tune just played]
58. Jig, Speech: Untitled [The Frieze Breeches (version of); DMWC, 12 (one of several versions given); pieced together here with difficulty], Untitled
59. Air: Untitled [Related to the melody of the song The Lowlands of Holland?]
60. Single Jig: Untitled [Willie's Single; DMWC, # 75]
61. Jig, Speech: Fasten the Leg in Her [DMWC, # 73], Untitled
62. Jig, Speech: Untitled [The Lark in the Morning (version of); 2 parts only; DMWC, # 78], Untitled
63. Speech, Fling, Speech: Untitled, Untitled [Fling No. 1 (DMWC, # 146); Kitty Got a Clinking Coming from the Fair], Untitled
64. Reel: Down the Broom [DMWC, # 77]
65. Reel, Speech: The Dublin Lads [DMWC, # 67], Untitled
66. Reel, Speech: Untitled [The Concertina Reel; DMWC, # 72], Untitled [END OF BAND TWO]

Louis Quinn Collection. Reel-to-Reel 74 [sound recording] / [various performers]

Performers:
Clancy, Pat;
Unidentified performer(s), flute A1, flute in duet A7-8;
Unidentified performer, accordion solo A2-3, accordion in duet A4;
Unidentified performer(s), fiddle in duet A4-5, 7-9, fiddle solo A6;
Reck, Tommy, pipes in duet A5, 9;
Unidentified performer, whistle in duet A10;
[Quinn, Louis], fiddle solo A11

Running Order:
1. Jig: Untitled
2. Reel: Untitled
3. Reels: Untitled, Untitled
4. Reel: Untitled
5. Jig: Untitled (clipped)
6. Jig: Untitled
7. Reel: Untitled
8. Reel: Untitled
9. Jig: Untitled (end clipped) [END OF BAND ONE]
10. Reel: Untitled (beginning clipped)
11. Reel: Untitled [END OF BAND TWO]

Louis Quinn Collection. Reel-to-Reel 76 [sound recording] / [various performers]

Performers:
Kane, Elanor, piano solo A1-5, 8-11;
Unidentified performer, fiddle in duet A6

Running Order:
1. Reel: Untitled
2. Reel: Untitled (beginning clipped)
3. Hornpipe: Untitled
4. Hornpipe: Untitled
5. Hornpipe: Untitled (interrupted, end clipped)
6. Hornpipe: Untitled (clipped) [END OF BAND ONE]
7. Reel: Untitled
8. Hornpipe: Untitled (end clipped)
9. Reel: Untitled
10. Reel: Untitled (beginning clipped)
11. Reel: Untitled (end clipped) [END OF BAND TWO]

Harry Bradshaw Collection. Reel-to-Reel 1 [sound recording] / [various performers]

Harry Bradshaw Collection. Reel-to-Reel 1 [sound recording] / [various performers]

Speech: Untitled [Part of a lecture on the uilleann pipes, containing the following topics: history of the pipes; emergence of the pipes at the beginning of the 18th century; Ledwidge (?) described a regulator as an innovation in 1790; O'Farrell (from Clonmel) wrote a tutor in 1803 / 1804; a tutor had already been published by Geoghegan in London in 1746 for a forerunner of the uilleann pipes known as the 'pastoral bagpipes'; O'Farrell published two other books, including the 'Pocket Companion'; until 1903 / 1904 these pipes were known as the 'union pipes', thereafter as 'uilleann pipes'; Grattan Flood proposed that in the reference to 'woollen pipes' in 'The Merchant of Venice', the word 'woollen' was a corruption of 'uilleann', meaning elbow; Grattan Flood's false etymology is the source of the use of the word 'uilleann' to refer to these pipes; in the 18th century the instrument was played by high and low society; Lord Rossmore in Monaghan, lord of 40,000 acres, was an excellent performer; piper Jackson published tunes, including Jackson's Morning Brush, in 1799; instrument played widely until 1850, when the quadrilles and sets began to supersede the older dances, and the concertina and melodeon began to be popular; a revival movement began in the 1890s, by which time the former professional pipers who survived were old and in poorhouses; as part of the revival, pipers' clubs were formed in Cork and Dublin; the piping tradition then in the same state as the harping tradition had been at the close of the previous century; Eamonn Ceannt and others of the Dublin pipers' club employed Nicholas Markey (born Meath? Louth?) to teach the pipes; Markey a pupil of Billy Taylor; tradition thus kept intact; the music for the pipes consists of jigs, reels, and hornpipes; jigs are extant in Ireland since the 16th century; reels since the latter part of the 18th century; first reels to appear in Ireland are Scottish reels like Lord McDonald, Lady Mary Ramsey, and Mrs McLeod; the hornpipe is an English form, imported about 1780; hornpipes, however, played in Ireland are Irish; Robbie (Hannan?), one of the pipers due to play after the lecture, plays a set of pipes made 150 years ago, thus representing the sound that people listened to in the 18th century; in Louth, there are accounts of pipers in the works of Carleton, esp. in his stories of the Irish peasantry from c. 1820; Carleton writes of the pipers Gaynor (possibly Dan Gaynor, attested elsewhere) and Cassidy; the Taylors (half-brothers Billy and Charlie) were the sons of a good piper; the Taylor family emigrated to the USA in 1870, where Billy and Charlie became famous pipemakers in Philadelphia; they died c. 1900; before emigrating, the Taylors taught Nicholas Markey and Pat Ward] [END OF BAND ONE]

Breathnach, Breandan - speech in English

Harry Bradshaw Collection. Reel-to-Reel 2 [sound recording] / [various performers]

Harry Bradshaw Collection. Reel-to-Reel 2 [sound recording] / [various performers]

Speech: Untitled [Part of an interview with Breandan Breathnach by Paddy Glackin for the radio programme 'The Long Note', RTE Radio 1, with occasional input from the programme producer Harry Bradshaw. Topics: continuation (from a previous tape) of a discussion about the aims of Comhaltas Ceoltoiri Eireann (CCE); a survey (of music instrumentation?) taken (within CCE?); CCE should not concern itself with the button accordion or the harp; guitar banned from CCE competitions because of its sexual symbolism; founding of Na Piobairi Uilleann (NPU) in 1968; initial discussions with Seamus McMahon, Martin Talty, and Sean Reid in Wilson's pub after a Fleadh Ceoil in Miltown Malbay; first Tionol arranged in Bettystown; Pipers Club in Thomas St, Dublin gave financial support; 50 to 60 pipers attended, including some from the USA; Seamus Ennis gave an impressive recital; before he began to play instructed everybody to turn on their tape recorders; after playing, handed his pipes to Willie Clancy, then on to anybody who wanted to play them; next was Liam O Floinn; this generosity uncharacteristic of older generation of pipes, who would not play if they thought anybody else could learn their music; one piper on his deathbed bit the reeds so that no-one else could play his pipes; another sent his wife to the door before he played to check that no-one was listening; Seamus Ennis had no trade secrets; at the first Tionol, Sean Reid proposed the founding of an organisation; this was supported by Leo Rowsome and Seamus Ennis; BB was assistant secretary of CCE at that time, and aware of problems with lengthy arguments at committee meetings; constitution of NPU restricted to 294 words; membership of NPU restricted to practitioners; great asset was the tremendous ability of Seamus Ennis, with his willingness to share his music, and thus to bind the organisation to the long tradition that he had through his father, with the connection to Nicholas Markey and the Taylor brothers; phonograph cylinders that Francis O'Neill had sent to Father Henebry in 1908 were discovered to be still extant in Cork; BB quotes Henebry's judgement of Touhey's version of 'The Shaskeen Reel'; other cylinders discovered with music from pipers born before the Famine, for example Jem Byrne and Dinny Delaney; unfortunately music from Martin Reilly was indecipherable; a bulletin, An Piobaire, was published, containing historical information and transcriptions from pipers; Ceol an Phiobaire and its contents; Wilbert Garvin produced pipe-making manual; first printing sold out very quickly; alleged errors in the pipe-making manual and BB's reaction to this accusation] [END OF BAND ONE]

Bradshaw, Harry - speech in English
Breathnach, Breandan - speech in English
Glackin, Paddy - speech in English

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