This might be perhaps an odd question, but what are some pieces of Irish (but also Scottish, particularly Scottish Gaelic/Western Isles/Highlands) music that you feel possess either a mystical or contemplative quality? I ask because I have a great interest in general esotericism and/or mysticism and also a love of art and music which possess mystical or contemplative qualities, be it a Gothic cathedral, a Chinese landscape painting, or music which possess those qualities. For examples of the latter, I am particularly fond of the Chinese guqin, of Japanese Zen shakuhachi, Iranian tanbur/tar/setar music, Indian classical music, and various sorts of Western plainchant and polyphony.
As one might guess by my merely being on this forum, I have a great love of the traditional music of the so-called “Celtic fringe” and particularly that of Ireland and Scotland. Thus it is no surprise that I would be interested in the previously mentioned mystical or contemplative music that exists in Irish and Scottish traditional music (and Welsh, Breton, Cornish, etc.) Two books which touch on this interest (one of which I’ve read, the other I mean to) are “Music and the Celtic Otherworld” by Karen Ralls-MacLeod and “The Otherworld: Music & Song from Irish Tradition.” I’ve heard a variety of airs, Sean Nos songs, and pibrochs that I personally felt to be mystical and/or contemplative in nature and am looking for more.
So are there any tunes that you feel fit the bill and could recommend to me? As of now I am learning the low whistle and pennywhistle, so music that is particularly suited to those instruments interests me even more. I appreciate any input I can get on what admittedly might be a bit of an odd question.
Perhaps rather than simply ask a question which is sufficiently vague and maybe a bit subjective, I can add some examples of stuff I already like and am looking for more of:
–This tune from the soundtrack to the film “The Secret of Roan Inish” entitled Fiona’s Walk
I suppose the above gives perhaps a bit of the gist of what I am seeking. I am not sure if any of the tunes are really traditional or not, but Talbert St. Claire’s album “Tears Of The Forest - Mystical Journey” seems to be up my alley in this regard as well.
Davy Spillane’s low whistle & pipes playing Illyrian Dawn on Andy Irvine’s East Wind CD ought to appeal to you, then. It’s the spookiest whistle track I know.
Thanks for the suggestions, I’ll look into them. Speaking of Seosamh Ó hÉanaí, I am a fan of this one and this one so of course am interested in anything similar.
Enya
Can’t say I’ve ever been a fan of Enya, but she certainly seems popular so there must be some appeal.
I must admit, I just find her stuff mushy. Still, horses for course and all. Yvonne Casey fits the bill for me, especially in person, but this will do:
I don’t see those things as contemplative. They come across to me as being merely saccharine. Too cloyingly and knowingly folksy, with way too much in the way of electronic effects for me.
Or too early. Personally, I’d file McKennitt under “schmaltz”, which is about as far from mystical as it gets. But, if that’s the sort of thing you like…
Well, seeing as Enya was mentioned (with tongue in cheek, I hope), I could not fail to mention Ms McKennitt
Contemplative… perhaps not, but if Gregorian chanting, coquettish dashes of near eastern influences, and lots of reverb don’t qualify as mystical, I don’t know what does
Or were you referring to Fahy’s tune?
Seeing as we are in the Irish Trad forum, I can see why you would say that. In fact I agree with Ben’s designation (too cloyingly and knowingly folksy). However, having said all of this, I do have to say I enjoy her music, not necessarily for the commercial qualities advertised and perceived as aethereal/new-age/Celtic-mystique kind of thing (or by you as schmaltz), but for the music itself.
Back on topic: Farewell to Glasgow, based on an air called Fagail Glaschu. Not sure if this fits the bill completely, but it works great for low whistle.
While the John McSherry performance I mentioned has electronics in it, to my ears it was used well, whereas I must agree with other posters that I am not so much into Enya or anything that feels too modern (despite the low whistle being a modern instrument) or worse New Age in the more negative sense of the word. I suppose what one person finds mystical and/or contemplative might not necessarily hold true for someone else, but in my case while I am open to listening to anything, I am more seeking for stuff that is at once mystical/contemplative, traditional, and as close to what one might call “high art” as possible (Ceol Mor categorically fulfills this role but for me other forms of music, like Sean Nos song, do as well.)
For me Turlough O’ Carolan certainly fulfills the role when performed properly. Say for example Dearbhail Finnegan playing Bridget’s Cruise:
I was captivated by the sound of wire harp since the first time I heard it (over the radio). It was a sound I carried with me over a decade and more, before I had the opportunity to acquire one and set about studying. I was playing harp repertoire (Carolan) on guitar and hammered dulcimer to approximate the sound..
I’m hooked on airs, pibrochs, the ap Huw MS, on wire. For me, the adjectives you use - ethereal, contemplative - is epitomized in this oeuvre. It’s what I sought, and found, from the instrument.
My interests are increasingly in this realm - since my instrument and its repertoire derive whence. Concurrently, I began taking more interest in archaicisms like harpsichord, modal choral works, and various forms increasingly remote from modernity. I’ve learned some of the repertoire from Bill Taylor’s recordings. I find the bray harp in particular intriguing, yet I haven’t sought one myself - it’s quite a departure from the rich harmonics of wire.
