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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

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

The original CDR provided by Peter Browne of RTE is a copy of a radio program in the 'Late Session' series, broadcast on 3 October 200The program featured a report on the launching of the Arts Council document 'Towards a Policy for the Traditional Arts' at the Arts Council, Merrion Square, Dublin on 28 September 200The contents are as follows: Reel, Speech, Speech, Speech, Slip Jig, Speech, Reel, Speech: Untitled [The Wild Irishman], Untitled [Introductory speech by Olive Braiden of the Arts Council], Untitled [Speech by John O'Donoghue, Minister for Arts, Sport and Tourism], Untitled [Concluding speech by Olive Braiden], Untitled [Gusty's Frolics], Speech [Interview by Peter Browne with Jerome Hynes], Untitled [The Wild Irishman], Speech [Interview by Peter Browne with Katie Verling]

Braiden, Olive, Dublin - speech in Irish and English
Browne, Peter, Dublin - speech in English
Hynes, Jerome, Dublin - speech in English
O'Donoghue, John, Dublin - speech in Irish and English
Unidentified performers - instrumental group
Verling, Katie, Clare - speech in English

Story: Marcella and John [END OF BAND ONE]

Cassidy, Johnny - storytelling in English

Performers:
Speirs, Lord Mayor Jim, Armagh, speech in English, track 1
Vallely, Brian, Armagh, speech in English, track 2, 5, 7, 11-12, 15, 18
Henderson, Jarlath (aged 10 years), Armagh, pipes, track 3-4
Lennon, Sinead (aged 12 years), Armagh, pipes, track 6
Warpipes quartet, track 8-11,=
Owens, Nichola, Armagh
Owens, Leroy, Armagh
Beattie, Lynne, Armagh
Currie, Gail, Armagh
McMahon, Ailish, Armagh, pipes, track 13-14
McCormick, Martin, Monaghan, pipes, track 16-17
O'Hare, Brendan, speech in English, track 19

Running Order:
1. Speech: Official Opening of Festival
2. Speech: Introduction to Jarlath Henderson etc...
3. Air: An Mhaidin Mhara
4. Jig: Coppers and Brass
5. Speech: Introduction to Sinead Lennon
6. Reels: The Milner's Daughter, The Bunch of Keys
7. Speech: Introducing young Armagh warpipe quartet, background noise
8. Air: Untitled
9. Air/Reel: Untitled
10. March/Strathspey: Untitled
11. Jigs/Speech: Untitled
12. Speech: Introduction to Ailish McMahon
13. Jig: Humours of Ballyloughin
14. Reel: The Scholar
15. Speech: Introduction to Martin McCormack and overview of the coming week
16. Hornpipe: The Bantry Hornpipe
17. Reels: The Spike Island Lasses, The Connaught Heifers
18. Speech: Introducing Brendan O'Hare
19. Speech: talk about the two discovered sets of William Kennedy pipes, their discovery and restoration

Performers:
Munnelly, Tom, speech in English, track 2, 11, 17, 22, B5
Armagh Pipers Club (Brian Vallely, Feargal French, Eamon Curran, Tiarnan Dinkin, Mark Burns, Mark Donnelly), pipes in ensemble, track 3, 10
Vallely, Brian, Armagh, speech in English, track 4, 6-10
French, Feargal, Armagh, pipes solo, track 5
Curran, Eamon, Armagh, pipes solo, track 6
Donnelly, Mark, Armagh, pipes solo, track 8
Ketev, Kiril Stefanov, Bulgaria, Bulgarian pipes solo, track 12-16
MacDonald, Allan, Scotland, speech in English, track 18, smallpipes solo, track 18-21, singing in gaelic, track 21 (singing off-mic)
Dinkin, Tiarnan, Monaghan, pipes solo, track 22-23, B1-4, speech in English, track 22-23, B1-4
Duncan, Gordon, Scotland, warpipes B6-9
Vallely, Eithne, Armagh, speech in English B10

Running Order:
1. Start: background noise
2. Speech/Tuning: Introduction to the Concert and the Armagh Pipers
3. Slip Jigs: Untitled (recording broken off momentarily mid-way)
4. Speech/Tuning: Introduction the performers of the Armagh Pipers
5. Jigs: Untitled
6. Speech/Hornpipes: Untitled
7. Speech: the importance of teaching in the Armagh Pipers' Club
8. Reels: Untitled
9. Speech: the individual achievements of the group
10. Reels/Speech: Toss the Feathers, The Mountain Road
11. Speech: the founding of Na Piobairi Uilleann, introduction to Kiril Stefanov Ketev
12. Piece: Untitled
13. Piece: Untitled
14. Piece: Untitled
15. Piece: Untitled
16. Piece: Untitled
17. Speech/Tuning: Introduction to Allan MacDonald
18. Speech/Marches (Quicksteps): The 92nd Highlanders Welcome to Edinburgh, The 92nd Highlanders March, Catriona Og, Thingles? Weeping
19. Speech/Strathspeys/Reels: Miss Lyle, (title given)?, Whistling Donald, Dancing Feet
20. Speech/Air/Waltz?/Tuning: Untitled, Lud Lud Low? (comp. Allan MacDonald)
21. Speech/Song/Reel?/Piece: Untitled, Contrary, ? (title given)
22. Speech/Tuning: thanks to Allan and introduction to Tiarnan Dinkin
23. Jigs/Speech: I Buried my Wife and Danced on Top of Her, The Old Hag with the Money
24. Speech/Reel: Alexander's, McFadden's Handsome Daughter
25. Speech/Waltz/Reels: Midnight on the Water, Colliers, The Woman of the House
26. Speech/Slides: Untitled
27. Speech/Reels: The Wise Maid, Untitled
28. Speech/Tuning: Introduction to Gordon Duncan, Tuning
29. Jigs: Untitled
30. Reels: Untitled
31. March/Stratspeys/Reels: Untitled
32. Jigs/Reels: Untitled
33. Speech: end of first-half of concert [END OF DAT]

Performers:
McLaughlin, Dermot, fiddle

Running Order:
1. Highlands: Untitled, An Mullach Garbh, Jimmy Lyons'
2. Highland: Paddy Barron's Highland
3. Highland: Tommy the Tailor's
4. Highland: Moneymusk
5. Highland: Miss Drummond of Perth
6. Highlands: Miss Lyle's, King George 1V
7. Reel: Mooney's Reel
8. Reel: King George 1V
9. Jig: A Lancer's Jig
10. Jig: A Lancer's Jig in G
11. Hornpipe: The Big Boy
12. Reel: Danny Meehan's [CONTINUED ON 56b-ITMA-DAT/CDR]
13. Reel: The Tap Room
14. Reel: Paddy's Trip to Scotland
15. Reels: Repeal of the Union, Untitled
16. Jig: Con Cassidy's
17. Highland: The Lazy Dog
18. Reel: Reel of Sparks
19. Reels: Tom Anderson's, Robinson's
20. Jig: Untitled
21. March: Highland Lassie Going to the Fair
22. Jig: Untitled
23. Reel: Glen Road to Carrick
24. Highlands: James Byrne's Highlands [DAT ENDS]