Terry Rafferty was born in New York in 1934. She was introduced to Irish traditional music when she met her late husband, Mike Rafferty on New Year’s Eve 1951 in Purchase, New York.

They began dating and Mike brought her along to her first music session. They took a train and a bus out to Pat Murphy’s house in East Rutherford, New Jersey. Her first session lasted two days. She fell in love with Mike and the music.

They were married 10 months later, had five children and were together for 59 years until Mike’s death in 2011.

She began having sessions at the house and annual New Year’s Eve sessions. They bought a reel-to-reel recorder and recorded all of the house sessions over the years. Another invaluable collection.

1980 was when Terry bought her first video camera. It was heavy and cumbersome, but she persevered and recorded every musician she came across in Ireland and the USA. Pub sessions, festivals, Fleadh Cheoils, house parties, concerts, weddings, funerals – no stopping her, even though it involved holding a heavy camera for hours on end. I remember as a teenager, I wasn’t exactly happy about a video being done, but I couldn’t be more proud and happy that she did what she did back then.

She eventually moved on to a smaller camera and the process of digitalising that collection hasn’t even started yet. Her entire video collection ranges from 1980 until 2010.

Terry & Mike joined the Michael Coleman CCE Club in the Bronx in the 1980’s. She then became the Mid Atlantic Regional Fleadh Secretary in 1989 and she is still currently doing it …

In 1993, she started a CCE branch in New Jersey and called it after Mike Rafferty.

Mary Rafferty, June 2022

View the Terry Rafferty Video Collection here

“From the Bridge: a view of Irish traditional music in New York” is a major digital exhibition from ITMA celebrating New York’s unique and enduring relationship with Irish traditional music. Supported by the Government of Ireland – Emigration Support Programme, it was launched in ITMA on 29 June 2022.

Enjoy a short video on the exhibition launch.

Visit the free online exhibition here

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I knew of Liam O’Flynn before I ever met him, of course. As a young boy in the early 1970s starting to play a few tunes on tin whistle, Mo Cheol Thú and The Long Note on RTÉ Radio 1 were very important in the weekly schedule. Mo Cheol Thú was often listened to in my parents’ bedroom, us children huddling in and Ciarán Mac Mathúna’s soft tones easing us all into a Sunday morning. I have a memory of hearing the clean, clear lines of O’Flynn’s piping on the programme – naturally, I could not have described back then the majesty of his uncluttered flow and the purity of his tone – but his piping did make some sort of impression on that young boy.

I started playing cello when I was seven or eight, and at eleven I got a practice set of pipes and duly phoned the uncle Tomás in Cork to ask where I might go for lessons. He gave me an address for Francie McPeake, “Middle Francie”, as he was known, and there I went for lessons every week for a few years. I was mad keen on pipes by now, absorbing as much as I could, listening and learning at every opportunity.

In August 1976, having competed successfully in the Ulster Fleadh the previous month, I got the chance to attend the Scoil Éigse in Buncrana, Co. Donegal and the uilleann pipe teacher was none other than my hero, Liam O’Flynn. It was a life-changing week…we all – and I remember others in the class included Máire Ní Ghráda, Marion McCarthy and Patrick Mollard – learned tunes and technique, but also in my own regard, Liam convinced me to change how I was holding the chanter with my upper hand – he indicated that as things were, there would be problems further down the road, that I was limiting myself technically. I was using the tips of the fingers on my left hand rather than the “flats” of the fingers. This trait I inherited from Francie McPeake, he in turn having picked this up from his own father who, before taking up pipes had played flute and fife, where tips of the fingers would have worked fine. I spent the best part of the next year re-educating my left hand and incorporating into my playing what I had gleaned from Liam that transformative week.

Apart from attending his concerts whenever I could, including various performances of The Brendan Voyage – and indeed one in Derry in which I was a cellist in the orchestra – the next time I saw Liam was in Dublin in 1988, in Slattery’s of Capel Street. Alongside Seán Corcoran and Dessie Wilkinson I was performing there in Cran and playing a good deal of cello as well as pipes. I remember being on stage and seeing Liam at the back of the room, that mixture of surprise, pleasure and trepidation coursing through my veins.

One afternoon a few months later, the phone rang and it was Liam on the other end, asking if we might meet up as he was thinking of starting a group and wondered if I’d be interested in joining him – he wanted to bring cello into his musical world and was keen to see where that might lead. You can imagine my sheer glee and excitement. We met up in Dundalk and agreed that we would give it a go and there began thirty years of friendship and collaboration.

Soon thereafter, Arty McGlynn and Nollaig Casey came onboard and the four of us toured occasionally together over the next few years. One of the first gigs was at a festival in France, performing to two thousand people in the grounds of a chateau. We played ‘Táimse im’ Chodladh’ that night – to be there in that setting, playing that piece, in that company – the memory still gives me goosebumps.

Liam and I continued to perform on and off during the 90s in various set-ups, occasional gigs, the odd skite into Europe, trips into studios (notably making the album The Fire Aflame in Ballyvourney in 1991) and of course some social gatherings too, with a goodly dollop of rascality and diversion thrown into the mix.

The Wheels of the World, reel; The Pinch of Snuff, reel; Micho Russell’s Reel. From: The Fire Aflame / Seán Keane; Matt Molloy; Liam O’Flynn (Claddagh Records, 1992)

The Planxty reunion in the early years of the new millennium was very important to Liam – after all, it was with that magical combination of himself, Christy, Donal and Andy that his life as a professional musician began in the early 1970s. Liam, like his father, had been a schoolteacher and it was no small gamble for him to leave that secure world behind and to head out into the great unknown. So when Planxty reformed for those few years, the sense of coming full circle was of considerable comfort and joy. Their concerts sold out everywhere, generations of adoring fans flocking in their droves to catch them. I was too young to have managed to see Planxty perform in their initial years, so getting the chance to see them live in 2002 carried with it something of history being recreated. They did a long run of gigs in Vicar Street and I remember phoning Liam as I drove into Dublin, asking him if ‘Little Musgrave’ was on the setlist – it was, and at one level, my life was now complete.

We got to co-operate at a different level in 2004 when I was commissioned to write a large-scale orchestral piece for Liam, ‘No Tongue Can Tell’, a work that opened the Belfast Festival at Queens. That marked a deepening of our relationship on both a professional and a personal level – collaborating at every stage during the composition of a substantial work specifically for him, writing to his strengths to acknowledge his music that I knew so well, but also writing in other ways to push the parameters and challenge us both. We became interdependent over the work’s creation and the trust and bond between us strengthened. A fascinating time that really was and I’m sorry we didn’t get to perform the work more often.

No Tongue Can Tell. Fourth movement. Sheltering Sound / Neil Martin, composer; Liam O’Flynn, uilleann pipes; Ulster Orchestra, instrumental music

Music finds outlets in various ways, and across 2008–9, a number of us found ourselves playing within a short enough timeframe at the funerals of some close friends and family – David Hammond, Liam’s father and Ciarán MacMathúna. We enjoyed, if one can say that, celebrating the lives of those wonderful people through music and decided that there should also be a few outings outside of funerals. We nonetheless and rather wonderfully called ourselves The Funeral Band and had a few most enjoyable gigs. In that posse were Seán Keane, Shaun Davey, Rita Connolly, Arty McGlynn, Noel Eccles, Rod McVey, Seamus Begley, Liam and myself – and Steve Cooney and Dónal Lunny sat in a few times too.

And then there was the quare trip Liam and I, inter alia, made to Romania in the summer of 2009. It was the premiere of a new work by Shaun Davey, Voices from the Merry Cemetery. The overnight train journey from Bucharest up through and over the Carpathian Mountains and almost as far as the Ukrainian border was quite something, the performances themselves unforgettable. We also laughed a great deal on that trip, the exhilaration and enjoyment of it all. But I knew that Liam was hating travel by then – it had become a necessary evil. He’d seen enough of airports and hotels.

We had a close mutual friend in Seamus Heaney, Liam and himself of course performing together over more than two decades as The Poet and The Piper. They were two men very much at ease with each other, both on and off the stage, two masters respecting and delighting in each other’s craft, two outstanding artists, volleying on a stage. Seamus’s sudden death in 2013 set the world reeling and Liam and I were to play at his funeral. I travelled the day before to Liam’s home near Athy to rehearse, and as we sat in his music room, we played music for almost an hour without speaking a single word. No words. Just music. That was enough. Liam had lost a very dear friend and a lot of the music we were rehearsing he’d played a mere ten days earlier when Seamus and himself had shared a stage in Derry. The power and emotion of music were never stronger for me than in that rehearsal and at the funeral the next day.

Not long after Seamus’s funeral, Liam was asked to bring together a group to perform a concert in the Abbey Theatre for ITMA, the essential and glorious archive of traditional music in Dublin. The other three he asked were Mícheál Ó Súilleabháin, Paddy Glackin and myself, and after the pleasure of the Abbey gig, we gave some more concerts and the more we played, the more we enjoyed the whole experience. We had all inter-collaborated in different ways over many years, knew each other well and it was nothing other than a great pleasure to be sitting making fine music together. The last concert this all too short-lived quartet played was in November 2016 in Armagh, in the cathedral there. Liam was not himself backstage … he was very subdued and his weight loss was most noticeable. Paddy and I shared our anxieties and sadly within a few months, his terminal illness had been diagnosed. And shockingly, around the same time, Mícheál became gravely ill too.

Liam bravely faced into his illness in the full knowledge that there was no road back, and when I visited him at home, he talked a number of times about his childhood days and how happy they were. Liam’s father, also Liam, was from Kerry and the O’Flynn family would often head there for a summer break. Liam’s father drove a motor-bike and this was their mode of transport on those trips back west – Liam senior up front, his wife Masie riding pillion, and in the side car Liam and his siblings, Maureen and Mícheál. An essential stop on the way there was at Gleann na nGealt (The Glen of the Mad People), a magnificent and expansive glen out towards Dingle. There, Liam senior would recount the local lore and myth of the place, of the healing powers of the water and the watercress in the glen, and young Liam found this mesmerising. As Liam then in his illness recounted this to me, his eyes were dancing with happiness and delight at the memory. The very finest and happiest of days, he would say.

I wanted to write a piece of music for Liam at that time, not to write something afterwards to mark his death as such, but rather to celebrate him in life, and I felt it essential that he got to hear it. So, armed with the image of a young Liam stepping out of the side car, standing there in his short grey-flannels, agape at the beauty and power of Gleann na nGealt, I wrote ‘The Boy in the Glen’. I composed it with Paddy Glackin in mind to play it and one Sunday a few months before he died, we visited Liam and his wife Jane and Paddy played the air over a few times for Liam. Sadly, his health deteriorated sharply not long after that and I only got to see Liam again a few times before he died.

Liam died on 14th March 2018 – and Mícheál Ó Súilleabháin on 7th November. As Paddy Glackin said to me – “half our quartet died this year”

The Boy in the Glen, air / composed by Neil Martin ; West Ocean String Quartet, instrumental music

There was an aura, a forcefield to his music, the piping of Leo Rowsome, Wille Clancy and Seamus Ennis funnelled down through him and out to us. He was influenced by fiddle players and singers and flute players too, and indeed by any musician who moved him. And his passions didn’t lie solely within traditional music either – he enjoyed Bach and Haydn and Vivaldi and Elgar and a whole broad cross-section of genres.

He loved horses all his life and was a most able rider – Jane and himself kept a beautiful yard with some very fine mounts indeed. In his day, Liam was a great steady golfer to boot, a low single-handicapper at one stage. (Himself, Paddy Glackin, David Brophy and I had a most wonderful four-ball at Rosses Point in 2015 – it took us days to recover).

Liam was of a curious nature and read widely, often winnowing what he read into short quotes that he would write on cards and place in his music room, condensed reminders that would offer a way to consider certain things afresh. He took his role in life seriously – he was always prepared and he took pride in his craft.

Like gazing up into a clear starlit winter sky, Liam’s music is boundless and in hundreds of years, people will still marvel at it. There was a consistency to it all, a great hallmark of O’Flynn’s that – consistency. The steady piper, the true friend, the golfer who could shoot three or four pars in a row, the reliable collaborator … always there. After Liam died, his occasional musical partner of more than thirty years, the organist Catherine Ennis, along with Paddy Glackin and myself, played some concerts and Liam’s presence was there still, on stage every time we played, his mark indelible on all three of us. Tragically, Catherine died on Christmas Eve, 2020.

My almost whole-life encounter with Liam, stretching out now over five decades, was deeply enriching at many and various levels and it significantly helped me shape my own way of going. I learned a great deal from the man about music itself, and also about the profession of music – about life, really. We shared many great times and I believe we made some decent music. I consider myself very fortunate to have been in his orbit.

Written by: Neil Martin

Blog Editor: Grace Toland

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The Irish Traditional Music Archive began experimenting with studio recording in 1993, soon after it had moved from a single room in Eustace Street to new rented premises on two floors of 63 Merrion Square in central Dublin. No structural alterations could be carried out on the historic building, but under the supervision of Brian Masterson of Windmill Lane Studios, a basic recording facility was installed in two rooms of the top floor. The aim was to produce audio recordings for public listening within the Archive of performers who hadn’t been widely recorded. Aidan McGovern and Glenn Cumiskey were sound engineers, and Derry fiddle player Dermot McLaughin, then Traditional Music Officer of the Arts Council and now Chief Executive of the Temple Bar Cultural Trust (and Chairman of ITMA), was the subject of early experiments.

Two small and low-tech video cameras, remotely controlled by the engineers or by then ITMA secretary Sadhbh Nic Ionnraic, were wall-mounted in the performance room to make a simple visual record of performance for the use of students. The purpose was not to produce material for television or video publications but to record for study such elements of performance as posture and movement, and elements of technique such as bowing and ornamentation.

Each recording session lasted a few hours and, as well as recording music and song, interviews were conducted by Nicholas Carolan with the musicians and singers regarding their own musical history and their influences. The full audio and video recordings are available for reference listening and viewing within ITMA.

ITMA is grateful to Dermot McLaughlin, to Clare concertina player Mary MacNamara (who was then teaching music in Dublin, as she is now in Tulla, Co Clare), to singer Jim Mac Farland of Derry (then also living and working in Dublin), to singer Barry Gleeson of Dublin, and to the Four-Star Trio of Cork (Con Ó Drisceoil, accordion; Johnny McCarthy, fiddle; Pat Ahern, guitar) for permission to bring these ITMA 1993 video recordings to a wider audience.

Nicholas Carolan & Treasa Harkin, 1 December 2011

Having begun in 1993 a programme of audio studio recording, with ancillary video recording, soon after it had moved to new premises at 63 Merrion Square, Dublin (see here for details), the Irish Traditional Music Archive continued with the programme in 1994 and 1995. Again these recordings were made by Aidan McGovern, Glenn Cumiskey and Sadhbh Nic Ionnraic, and interviews were conducted by Nicholas Carolan, with the aim of documenting material and performance technique rather than producing items for publication.

Three performers among those recorded in those years were: Limerick-born and Galway-resident accordion player and repairer Charlie Harris, who has been much influenced by historic Irish-American recordings and who was in those years a long-time member of the group Shaskeen; Eilís Ní Shúilleabháin, a member of a well regarded west Cork family of traditional singers and an Oireachtas prize-winner, who was then living in Co Limerick; and Dublin uilleann piper (and whistle and flute player) Peter Browne, now also well known as a presenter and producer with the national broadcaster RTÉ Radio. A selection of their video recordings is reproduced below, courtesy of the artists.

The full audio and video recordings from which these selections come are available for reference listening and viewing within ITMA.

ITMA is grateful to Charlie Harris, to Eilís Ní Shúilleabháin, & to Peter Browne for permission to bring these recordings to a wider audience than was originally envisaged.

Nicholas Carolan & Treasa Harkin, 1 February 2013

Dublin fiddle player Paul O’Shaughnessy, also a whistle and flute player and an occasional composer, has been playing fiddle since his childhood, and has long been recognised as a leading traditional musician in the city. Learning at first there from his mother Pearl McBride, a fiddle player from a musical Donegal family, and Cavan fiddle player Antóin Mac Gabhann, he was also influenced by Sligo flute player John Egan. From Artane on the north side of Dublin city, he was one of a number of outstanding contemporary players who were members of Comhaltas Ceoltóirí Éireann branches in the area, his playing partner whistle player Denis O’Brien among them. In later years he spent time in Donegal, learning from source-players such as Con Cassidy and the Campbell family.

Paul has been appearing on Irish radio and television since the late 1970s, but became more widely known in the 1990s as a member of the Donegal-based group Altan and the Dublin-based group Beginish, and toured thoughout the world with them. He is to be heard on their recordings and on a wide variety of others, including his solo album Stay Another While (POSCD 0001), and his duet albums with flute players: Within a Mile of Dublin (SPINCD1000) with Paul McGrattan and Born for Sport with Harry Bradley (BFS001). He has recently completed a doctorate in Irish-language dialect studies.

The Irish Traditional Music Archive video recordings of Paul O’Shaughnessy featured here were recorded in no 63 Merrion Square, Dublin 2, by ITMA staff in November 1993.

With thanks to Paul O’Shaughnessy for permission to reproduce these video recordings below and on the ITMA YouTube channel here.

Nicholas Carolan & Treasa Harkin, 1 December 2013

The videos presented here from the collections of the Irish Traditional Music Archive were recorded at a sean-nós (old-style) dancing competition held in the local community hall in Ráth Chairn, Co Meath, on New Year’s Eve, 1996. The adjudicator was Máire Mhic Aogáin of Dublin, and the winner was Seosamh Ó Neachtain of An Spidéal, Conamara. The area of Ráth Chairn, with Baile Ghib, forms a gaeltacht or Irish-speaking district near the town of Navan, one with a strong traditional culture and with particular links to Conamara. This Co Meath gaeltacht was created by the Irish government in the 1930s by the distribution of large landlord estates to migrant farmers from counties Galway, Mayo and Kerry.

The videos were recorded for ITMA by Seán Corcoran of Drogheda. As is the case with all ITMA field recordings, they eavesdrop on the proceedings and are careful not to interfere with their natural course. We think that the musicians belong to the Esker Riada Ceili Band, but have been unable to confirm this as yet.

Buíochas do na damhsóirí as ucht cead a thabhairt na físeáin a fhoilsiú anseo, do Seán Corcoran, agus do Ann Ní Dhonnchadha, Comharchumann Ráth Chairn, as ucht a cabhrach/ With thanks to the dancers for permission to carry the recordings of their performances here, to Seán Corcoran, and to Ann Ní Dhonnchadha of Comharchumann Ráth Chairn for her help.

Nicholas Carolan, Piaras Hoban & Treasa Harkin, 1 April 2015

Tony Kearns, Nutan, Colm Keating and Peter Laban have each spent many years taking photographs at the festival and are regular visitors to Miltown Malbay. As part of ITMA’s contribution to the virtual Willie Clancy Summer School for 2020 we published a selection of images from their collections. Also included in this gallery are images from Danny Diamond, Orla Henihan, Liam McNulty and Mal Whyte.

Ephemera from the Góilín Singers Club

Each of the singers pictured in this gallery featured within the Góilín Song Project.

Each of the singers pictured in this gallery featured within the Inishowen Song Project.

Peter Laban has been beavering away in Co. Clare over the past few months as ITMA’s inaugural photographer-in-residence. He has been preparing images for donation to ITMA, and in the first of three galleries we give you a preview of this wonderful addition to our Images Collection.

Peter describes these images as a “random selection” but he did pick out two particular images in a nod to recent pandemic times.

The final two images were picked on purpose. Tony Linnane and Danny Mahoney were the last concert before the lockdowns. Covid was looming and nobody knew what to expect, things were just new and uncertain. … Sorcha bookends the lockdowns nicely, emerging happily from that phase.