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

The William Kennedy Piping Festival held annually in Armagh is an international celebration of Irish and global piping traditions. It is organised by the Armagh Pipers Club who themselves are celebrating their 50th anniversary in 2016. ITMA has field collected regularly at this event capturing an important range of performers and traditions. As well as featuring individual pipers, duets, trios and groups form an important part in event programming at the festival.

In 2006 uilleann piper Robbie Hannan and fiddle player Dermot McLaughlin performed at a concert in the Market Place Theatre, Armagh. As they said themselves this was ‘the third concert in a world tour that had begun two years previously and had already taken in Donegal and Cork!’

ITMA will be field recording at the 23rd William Kennedy Piping Festival in Armagh, 17-20 November 2016.

With thanks to Robbie Hannan and Dermot McLaughlin for permission to make this recording available online.

Treasa Harkin, Piaras Hoban & Grace Toland, 1 October 2016

As a young boy in Derry, Dermot’s introduction to the fiddle was through his father Joe, and he had classes with local players including Tony Black, Frank McFadden, Paddy McCafferty,  Denis Heaney  and Dinny McLaughlin. Later in the 1980s and 90s he spent much of his time listening to, and learning from Donegal fiddle masters including Con Cassidy, James Byrne, Francie Mooney, Vincent Campbell, and Francie Dearg Ó Beirne. He usually performs solo and unaccompanied. He also teaches at summer schools, masterclasses and other events and prefers to work with small groups or individuals. Dermot especially enjoys the teaching experience and teaches at summer schools, gives master classes and performs at many events.

He played a central role in the establishment of the Irish Traditional Music Archive and spent a number of years as its Chair and he also served as Chair of the selection committee for TG4 Gradam Ceoil. He established Creative Strategic Solutions in 2014 and he works with a wide range of national and local cultural organisations. Prior to that, Dermot played a pivotal role in matters of policy and development  particularly in traditional music through his work with An Chomhairle Ealaíon/The Arts Council and has been involved in national projects including Ealaín na Gaeltachta, Culture Night, Cairdeas na bhFidiléirí and Other Voices.

Dermot McLaughlin, fiddle, playing 4 tunes collected by Séamus Ennis in Donegal from Frank Cassidy (3) and Niallaí Ó Baoill (1)

Frank Cassidy

An Charraig (1900–71). He is remembered as being particularly clever and handy. There were three brothers, Frank, Johnnie and Páidí, who were very musically gifted. John died in 1924 and he was reputed to have been the best fiddle player among the three brothers.  Frank and his brothers acquired their music from brass bands who travelled around recruiting during the First World War. He owned a bicycle shop in An Charraig. After Páidí’s death he retained the dance hall business. He was recorded by An tAthair Liam Mac an tSagairt and much of this has been broadcast on Raidió na Gaeltachta – ‘Teileann Inné agus Inniu 1980’ (Teileann Yesterday and Today 1980). Frank was especially sad after his brothers’ deaths. He played at the Oireachtas in the Mansion House in Dublin. When Ennis came to Teileann, Frank was quite distressed over the death of Páidí. It took a long time for the collector to entice him to play. Ennis explained matters in the following manner: ‘In Teileann, south of Carraig at the mouth of Gleann Cholm Cille in southwest Donegal, there was a great bunch of fiddlers in the old days. When I got here, there were only about four extant and of these a man named Frank Cassidy was by far the best. I was told that he had a repertoire of rare old tunes if he could be persuaded to touch a fiddle. All his people had died save one brother and his latest bereavement was a brother – another top-notch fiddle player. .. I finally persuaded Frank to handle his fiddle and out of practice though he was – his performance was a revelation. I wrote some precious music from him and though playing marvellously he’d stop and say “níl gar ann” – it’s no use – I can’t play it. But I’d persevere and he’d continue.’ RTE Radio Series 1988.

Folklore collector Seán Ó hEochaidh first introduced Séamus Ennis to Frank Cassidy on the 15^th September 1943. The collector’s diary entry for that day reads:

‘I have yet to hear a better fiddle player. He played old tunes that would stir a dead person’s heart and old airs that only the fairies know, if the tradition is true.’

In all, Ennis spent a fortnight during which he visited Frank Cassidy on a number of occasions. Following his 1943 visit, Ennis called on the fiddle player a year later, in September 1944.