When composing, you are always on a quest to find that elusive motif or melodic idea which will entice you to complete the tune. The beauty of this artform is that you have so many avenues to explore, and you can sometimes surprise yourself along the way. Two of my CDs Irish Music on the Clavichord 2015 and Irish Music on the Harpsichord 2018 were a case in point.
Both albums with funding from the Arts Council, were inspired by early harp music. These two albums featured eleven of my own compositions, in this ancient harping style. Even though I did not set out to record so many of my own compositions, the pieces evolved out of a love for each respective instrument and the associated repertoire.
Three compositions here are transcribed with a left-hand part suitable for harp or piano. In practice, I prefer sparse accompaniment that is almost part of the overall melodic texture, enhancing the melodic line, never dominating harmonically.
I also enjoy writing standard jigs and reels etc, but there are so many beautiful melodies already in existence, that this can seem futile; unless they are played and accepted by other musicians.
I recorded the hornpipe Tom’s Delight for the CD with John Weir and Eithne Ni Dhonaile and my recent recording with my sister Breda features two newly composed jigs. Composing for SATB choir is another passion of mine but that’s another story.
I hope you enjoy this selection of tunes.
Claire Keville, March 2023
The next three compositions were recorded on my harpsichord album in 2018. I have been trying to recreate the sounds of the early harp for some time now and the harpsichord seems to evoke that old medieval quality with the wire strings.
The compositions were also inspired by a local Friary called Ross Errily Friary. This now beautiful ruin situated just outside Headford, in Co. Galway provided a wealth of inspiration for these tunes. The Friary, known locally as Ross Abbey, was founded in 1351 and experienced great change and turmoil through the centuries. There are many legends associated with it and some of these are referenced in the titles.
In 1656, Cromwellian forces unfortunately arrived at Ross Errilly. The 140 Franciscans living there had already fled, but the soldiers ransacked the grounds, destroying crosses and other religious iconography and even defiling tombs in search of loot. Apparently, the fleeing monks somehow found the time to remove the bell from the bell tower and sink it in the nearby Black River, where it remains today. Legend has it that it can still be heard ringing from the depths of the river in times of hardship.
I have many fond memories from my childhood cycling over to the Abbey to climb the bell tower just to appreciate the view from the top. This well-preserved ruin is well worth a visit and gives a great insight into how the monks lived.
The Black River is the river that runs alongside the Friary and divides the border between Galway and Mayo. I imagine it contains many secrets hence the title.
Another jig recorded on the 2022 CD with Breda. I wrote this jig for our mother Teresa who passed away in 2007. She was passionate about Irish music and would drive anywhere to hear it. She always had the radio on at home and loved heading into Galway to pick up a few good LPs in Powell’s Music shop. As with the previous jig, our good friend, Terence O’Reilly is accompanying on guitar.
This hornpipe was composed for my father Tom Keville who passed away in 2003. He loved and appreciated the music and although he did not play himself, his eyes would always light up when he heard a good tune. ‘The wind that shakes the Barley’ was one of his favourites, which is not surprising as he was a farmer and a man of nature so this was something he would see out in the fields. He also liked to whistle and dance around the kitchen, usually whisking my mother around with him, when he heard nice music on the radio. Above all, he really loved slow airs, and this is something we all appreciate at home.
Tom’s Delight was recorded on the album An Trí is a Rian with John Weir and Eithne Ní Dhonaile. Geraldine Cotter is accompanying on piano on this track from the CD.
This tune was inspired by a love of slow airs. It was recorded on the clavichord album in d minor but recently I’ve enjoyed playing it in a minor on the concertina. It was written in 2015. You can hear the two versions here which highlight how a melody can change depending on the key and the instrument. The clavichord itself is tuned (roughly) a semi tone lower so apologies to those of you with perfect pitch when following the music notation.
Finally, it can be very difficult transcribing music that is non-metrical so bear this in mind when following the staff notation. The transcription is a mere guideline. The same is true of the harping pieces that follow.
In July 2022 I released a duet CD entitled Music from Galway with my sister Breda on fiddle. This was a tune that made it onto the recording.
The title comes from a comment made by musician and singer, Greg Cotter in 2021 when interviewed for my presentation on East Galway music for SSWC. He gave a wonderful, poetic account of visiting Moylan’s in Loughrea in the 1970s. He described one visit where there were so many flute players playing with the great Paddy Carty and Eddie Moloney, that the sound created was like rain hitting off the roof. The description struck a chord. Pun fully intended!
Claire Keville was born in Co. Galway. She is a multi instrumenatlist but is probably best known as a concertina player and composer, pl;aying in the distinctive East Galway style. Her formal music qualification comes from UCC and she has spent time as a broadcaster and TV presenter.
