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Harry Bradshaw Collection Louth
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Audio Material

Series comprises two reel-to-reel tape recordings. One of them features a lecture on pipe music by Breandán Breathnach and and the other consists of radio dubs of Breathnach being interview by Paddy Glackin.

Harry Bradshaw Collection

  • HBR-18629
  • Collection
  • 1962 - ?
Collection comprises audio and video recordings on reel-to-reel tape, vinyl, VHS and Betacam SP. The video tapes are all relating to the opening of the Chief O'Neill Hotel in Smithfield in 1999 and the exhibition space within the hotel dedicated to its namesake, the musician and collector, Francis O'Neill who was also the Chief of Police for the city of Chicago. The non-commercial recordings feature a lecture on pipe music by Breandán Breathnach and radio dubs Breathnach being interview by Paddy Glackin.

Bradshaw, Harry

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