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RTÉ News
05-07-2025
- Entertainment
- RTÉ News
Why Willie Clancy Week is the highlight of trad music calendar
Analysis: All roads lead to Miltown Malbay as hundreds of musicians head to this year's Scoil Samhraidh Willie Clancy For most traditional musicians, singers, dancers and, indeed, music enthusiasts, Scoil Samhraidh Willie Clancy is the highlight of the calendar. The summer school, held in Miltown Malbay, Co Clare since 1973 in honour of the renowned uilleann piper Willie Clancy, begins on the first Saturday of July. Born in 1918, Clancy was a piper, whistle player and singer from the town who was taught music by his father Gilbert (who was in turn taught by the blind piper Garrett Barry from nearby Inagh). Later, Clancy heard traveller piper Johnny Doran for the first time and was influenced by him as well as pipers such as Leo Rowsome and Séamus Ennis. After a spell in London, Clancy returned home and recorded 78rpms for the Gael-Linn label from the 1950s. He became influential in his own right, an influence that is still felt by pipers and other musicians today. His music was, and still is, stunning to listen to. Clancy had discussed the idea of a summer school with his friends Muiris Ó Rócháin, Martin Talty, Junior Crehan, Séamus Mac Mathúna and others in 1972. Upon the piper's untimely passing the following year, it was decided to continue with the idea and name the Summer School in his honour. From Irish Traditional Music Archive, Scoil Samhraidh Willie Clancy – A Reflection, a documentary will looking at the origins, ethos and impact of one of Ireland's most important music events The emphasis on classes and the passing on of the traditions has remained central to the week and the festival has essentially grown around that school idea. From that very first summer school, ties were firmly established with Na Píobairí Uilleann, the national organisation for the uilleann pipes. Today, those classes run from beginner level to advanced and also include aspects of reed and pipe-making. While instrumental classes were confined to pipes, whistle, flute and fiddle in the first years, this has now expanded to include harp, banjo, button accordion and harmonica, with hundreds of students travelling from around the world to participate. The school has developed and expanded considerably and is now the largest folk music summer school in the world. Supported by the Arts Council Strategic Funding and Clare County Council, it is a testament to the dedication of the local voluntary committee as well as the community of Miltown Malbay and the surrounding area, that the Summer School has been able to expand so much. Homes are given over for classes and accommodation and musicians are welcomed with open arms to the town for the week. I doubt it could happen anywhere else. Ó RTÉ Radio 1's Beo Are Éigean 2018, tuairisc ó Áine agus Siún ag Scoil Samhraidh Willie Clancy (cé nach bhfuil oiread agus nóta acu) The amount of local volunteers working on the festival now is really quite incredible and those volunteers are led by a stalwart steering committee of Harry Hughes, Eamon McGivney, Séamus Ó Rócháin, Deirdre Comber and Maureen Kilduff. The committee were recently awarded the MÓR Glór award in Ennis and it is well deserved as the festival enters its 53rd year. In 2010, the Gradam Ceoil Comaoine award was given to Muiris Ó Róchain who, until his untimely passing in 2011, really speer-headed the Summer School with tremendous energy and enthusiasm. Having been born in the house across the road from me in Dingle, and captain of the Sráid Eoin Wren for decades, Muiris was really my first connection to Willie Clancy and the summer school. We are indebted to him for the opportunities he and the Summer School have given me, and my sister Deirdre, over the years and, indeed the friendships we have made. My Own Place, Paddy Glackin's 1983 documentary about Willie Clancy Summer School co-founder Muiris Ó Róchain Like many other traditional musicians, the Scoil Samhraidh has played a huge part in my musical journey. When I first went there as a student in my early teens, we were dropped off on a Sunday evening and collected the following Sunday and Muiris made sure to keep an eye on us through the week. We learned that having the fry in the morning meant we really had a good run at the day and did not need more food until heading to the Dolphin chipper that evening. Yes, every evening! Inbetween classes and recitals, we got to know where to look for sessions to listen to, with guidance from Muiris. Running down to the back of the Blonde's to try and get a listen to the session in the kitchen was and is always on the list. The family's own kitchen is opened for the week for musicians. I have a vivid memory of seeing my now great friend, Lorraine O'Brien, being put sitting on the sink as a child in the kitchen so she could join in a session alongside the musicians there. Every space is utilised during Willie Clancy week. From RTÉ Radio 1's Rolling Wave, preview of this year's Willie Clancy Summer School I've tutored flute now at the Summer School for many years and really relish it. I feel greatly privileged to be a part of the teaching team there, alongside some of my favourite people and players. I cannot wait to get back and meet some of the wonderful locals whom I have got to know over the years. They include Pauline Fitzgerald, who gives over her sitting room for our classes and always has a great welcome; the McCarthy sisters who are always so full of glamour, craic and music; the brilliant Bríd and the O'Brien family who keep the party going always and Teresa and all the wonderful volunteers. Then there are the stalwarts of the School and, indeed the tradition, people like Mick O'Connor, Dublin flute player and guru for many of us musicians; piper Peter Browne as well as Cork's fiddler composer Connie O'Connell and family and the Kelly family and McKeowns from Dublin. All are so generous with their music and friendship - it really is a wonderful community. My favourite spot, which will come as no surprise to anyone that knows me, is the fantastic Friel's pub. I cannot wait to park my car on Saturday evening and be greeted by Mickey at the front door. The pub, run now by Mickey's son Johnny, houses five to six sessions constantly through the week. When we are lucky enough to get a space to sit down and play there, Johnny supplies us with quarter sandwiches to keep us going. Sitting with the likes of Tara and Dermie Diamond, Harry Bradley, the McGrattans and Lorraine and Deirdre. There is no place else I would rather be than in the sweet Miltown Malbay where the music runs so free.
RTÉ News
02-07-2025
- Entertainment
- RTÉ News
Why 'Willie Week' is the highlight of the trad music calendar
Analysis: All roads lead to Miltown Malbay as hundreds of musicians head to this year's Scoil Samhraidh Willie Clancy For most traditional musicians, singers, dancers and, indeed, music enthusiasts, Scoil Samhraidh Willie Clancy is the highlight of the calendar. The summer school, held in Miltown Malbay, Co Clare since 1973 in honour of the renowned uilleann piper Willie Clancy, begins on the first Saturday of July. Born in 1918, Clancy was a piper, whistle player and singer from the town who was taught music by his father Gilbert as well as the blind piper Garrett Barry, from nearby Inagh. Later, Clancy heard traveller piper Johnny Doran for the first time and was influenced by him as well as pipers such as Leo Rowsome and Séamus Ennis. After a spell in London, Clancy returned home and recorded 78rpms for the Gael-Linn label from the 1950s. He became influential in his own right, an influence that is still felt by pipers and other musicians today. His music was, and still is, stunning to listen to. Clancy had discussed the idea of a summer school with his friends Muiris Ó Rócháin, Martin Talty, Junior Crehan, Séamus Mac Mathúna and others in 1972. Upon the piper's untimely passing the following year, it was decided to continue with the idea and name the Summer School in his honour. From Irish Traditional Music Archive, Scoil Samhraidh Willie Clancy – A Reflection, a documentary will looking at the origins, ethos and impact of one of Ireland's most important music events The emphasis on classes and the passing on of the traditions has remained central to the week and the festival has essentially grown around that school idea. From that very first summer school, ties were firmly established with Na Píobairí Uilleann, the national organisation for the uilleann pipes. Today, those classes run from beginner level to advanced and also include aspects of reed and pipe-making. While instrumental classes were confined to pipes, whistle, flute and fiddle in the first years, this has now expanded to include harp, banjo, button accordion and harmonica, with hundreds of students travelling from around the world to participate. The school has developed and expanded considerably and is now the largest folk music summer school in the world. It is a testament to the dedication of the local voluntary committee as well as the community of Miltown Malbay and the surrounding area, that the Summer School has been able to expand so much. Homes are given over for classes and accommodation and musicians are welcomed with open arms to the town for the week. I doubt it could happen anywhere else. Ó RTÉ Radio 1's Beo Are Éigean 2018, tuairisc ó Áine agus Siún ag Scoil Samhraidh Willie Clancy (cé nach bhfuil oiread agus nóta acu) The amount of local volunteers working on the festival now is really quite incredible and those volunteers are led by a stalwart steering committee of Harry Hughes, Eamon McGivney, Séamus Ó Rócháin, Deirdre Comber and Maureen Kilduff. The committee were recently awarded the MÓR Glór award in Ennis and it is well deserved as the festival enters its 53rd year. In 2010, the Gradam Ceoil Comaoine award was given to Muiris Ó Róchain who, until his untimely passing in 2011, really speer-headed the Summer School with tremendous energy and enthusiasm. Having been born in the house across the road from me in Dingle, and captain of the Sráid Eoin Wren for decades, Muiris was really my first connection to Willie Clancy and the summer school. We are indebted to him for the opportunities he and the Summer School have given me, and my sister Deirdre, over the years and, indeed the friendships we have made. My Own Place, Paddy Glackin's 1983 documentary about Willie Clancy Summer School co-founder Muiris Ó Róchain Like many other traditional musicians, the Scoil Samhraidh has played a huge part in my musical journey. When I first went there as a student in my early teens, we were dropped off on a Sunday evening and collected the following Sunday and Muiris made sure to keep an eye on us through the week. We learned that having the fry in the morning meant we really had a good run at the day and did not need more food until heading to the Dolphin chipper that evening. Yes, every evening! Inbetween classes and recitals, we got to know where to look for sessions to listen to, with guidance from Muiris. Running down to the back of the Blonde's to try and get a listen to the session in the kitchen was and is always on the list. The family's own kitchen is opened for the week for musicians. I have a vivid memory of seeing my now great friend, Lorraine O'Brien, being put sitting on the sink as a child in the kitchen so she could join in a session alongside the musicians there. Every space is utilised during Willie Clancy week. From RTÉ Radio 1's Rolling Wave, preview of this year's Willie Clancy Summer School I've tutored flute now at the Summer School for many years and really relish it. I feel greatly privileged to be a part of the teaching team there, alongside some of my favourite people and players. I cannot wait to get back and meet some of the wonderful locals whom I have got to know over the years. They include Pauline Fitzgerald, who gives over her sitting room for our classes and always has a great welcome; the McCarthy sisters who are always so full of glamour, craic and music; the brilliant Bríd and the O'Brien family who keep the party going always and Teresa and all the wonderful volunteers. Then there are the stalwarts of the School and, indeed the tradition, people like Mick O'Connor, Dublin flute player and guru for many of us musicians; piper Peter Browne as well as Cork's fiddler composer Connie O'Connell and family and the Kelly family and McKeowns from Dublin. All are so generous with their music and friendship - it really is a wonderful community. My favourite spot, which will come as no surprise to anyone that knows me, is the fantastic Friel's pub. I cannot wait to park my car on Saturday evening and be greeted by Mickey at the front door. The pub, run now by Mickey's son Johnny, houses five to six sessions constantly through the week. When we are lucky enough to get a space to sit down and play there, Johnny supplies us with quarter sandwiches to keep us going. Sitting with the likes of Tara and Dermie Diamond, Harry Bradley, the McGrattans and Lorraine and Deirdre. There is no place else I would rather be than in the sweet Miltown Malbay where the music runs so free.
Irish Times
14-06-2025
- Entertainment
- Irish Times
Heading to the Fleadh: Festival, cultural revival and Irish traditional music, 1951-1969 – Professing the power of ‘festival time'
Heading to the Fleadh: Festival, cultural revival and Irish traditional music, 1951–1969 Author : Méabh Ní Fhuartháin ISBN-13 : 978-1-78205-013-1 Publisher : Cork University Press Guideline Price : €49 The annual event that is Fleadh Cheoil na hÉireann (or the Fleadh) is the largest music festival in Ireland and holds its own among festivals across Europe. Founded by Comhaltas Ceoltóirí Éireann in 1951, Mullingar was the town chosen to host the inaugural event. Its founding ethos was competition-based and it is notable that in 2024 more than 5,500 competitors took part in music, singing, lilting, dancing and storytelling competitions. The Fleadh is a significant presence in the Irish traditional music calendar. Méabh Ní Fhuartháin is the head of Irish studies at the University of Galway and editor of the Ethnomusicology Ireland journal. In the introduction, she recognises the power of 'festival time', where 'the normal rituals of everyday life and the demands of work are temporarily suspended'. Recognising the dual roles the Fleadh played of both feting and validating traditional music at a crucial time, Ní Fhuartháin embarks on a forensic and fruitful analysis of the progression of a grassroots organisation to a professional one in under two decades. Setting her study against the backdrop of significant social change, not to mention the emergence of very different and independent traditional music initiatives – including the founding of Na Píobairí Uilleann and the Willie Clancy Summer School , as well as the visionary contribution of Seán Ó Riada – Ní Fhuartháin brings a subtlety and depth to her analysis of the diffuse influences, threats and supports that shaped the Fleadh during its formative years. READ MORE Ní Fhuartháin brings a clear-headed, unbiased perspective to her analysis, mining the Fleadh's strengths while also recognising that a competition-based ethos flies in the face of the essence of creative expression for many traditional musicians, dancers and singers, as well as listeners. [ Our Song by Anna Carey: A romantic and heart-warming love story Opens in new window ] She further delves deep beneath Comhaltas Ceoltóirí Éireann's assumptions underpinning competition in a fascinating chapter: The right kind of traditional music: Adjudication at the Fleadh. The notion of standardised or exhibition styles inherent in a competition culture is at odds with the local, regional and personal styles that define traditional music, not only in Ireland but elsewhere. Ní Fhuartháin's great strength is her ability to marry a bird's-eye view with a forensic attention to the colourful as well as pedantic details that defined the first two decades of the Fleadh.
