Imelda May - Amhráin na nGael Season 1 Episode 3 - video Dailymotion

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00:00Kulay and Baliburnia.

00:01There's no other folk in this world

00:03but there's no other folk in this world.

00:06People in this world

00:07and we'll see them all.

00:09We'll see them all together.

00:24Now I'm heading down to Cork and Kerry.

00:27Places where the songs are part of the family.

00:30You don't learn them from a book.

00:32You hear them in kitchens, at wakes, in whispers.

00:36I want to meet the people who've kept that flame alive.

00:39Songs that have survived generations.

00:42I'm hoping they'll find a place in me too

00:44and that I can learn some songs

00:46that are rooted in this part of our gorgeous country.

00:50Well, thank you.

00:55I'm very happy to see you in the next year

00:58in the next year.

01:00And I'm not sure how it's been,

01:02but it's been a long time for a long time.

01:06It's been a long time for the past.

01:08The past year, the past year,

01:10the past year, the past year,

01:12the past year and the past year.

01:15I've been to the past year

01:17who is the best Cronin Fénig in the Lourdes of Gowné.

01:22She's a good friend to see her own family

01:28It's a gorgeous home isn't it?

01:31That's beautiful.

01:32I'm actually so looking forward to meeting Mauread

01:36because she is a founder of knowledge.

01:38So any questions you have Mauread will answer them.

01:41She's the woman.

01:43Hello, welcome. Thank you very much.

01:48Maread, your auntie was best grown and your granny.

01:53Yes indeed. So I'm here to ask you about her

01:58and the rest of the family and yourselves and also to have your gorgeous scones and your bread

02:03which the smell of is killing me, I need to get in.

02:07Will I pour? Or do.

02:10Thank you very much.

02:15Tell me about Bess. She was incredibly important for music in Ireland and songs.

02:22You see her son was in Dublin and he got to know Seamus Innes.

02:26And Seamus Innes was a collector of folklore so it moved from there.

02:31And I suppose had her son never been in Dublin, she may never have been heard of.

02:36There was something like 300 and something actual songs both Irish and English.

02:43Where did she learn that amount of songs and where did she pass them on?

02:46She said that when they were living in Ra, the place where they grew up, they had workmen.

02:54Ah.

02:55And some of the workmen had songs they used to sing.

02:58They were travelling workmen that used to go around from place to place and they used to sing.

03:04And she picked up a lot of her songs from them.

03:07And it was Seamus collected a huge amount of her stuff, would you say? Seamus Innes?

03:14Yes. And there was another guy called Brian George.

03:17And then there was Alan Lomax.

03:19Alan Lomax and Robert Roberts. They were from America.

03:23Alan Lomax was, like, for me that's a huge deal. He was documenting the best in the world, therefore, you know, she's up there with the best in the world.

03:35She's singing a lovely song called Lord Gregory.

03:39They had the words, but they never had got the air of it. Scotland or any of those places.

03:45It's amazing. You'd have different versions, wouldn't you, in different places, but none of them had the air of the Lord Gregory.

03:52And Beth did?

03:53She had it, and they were thrilled just to have that.

03:56And to have two CDs with her voice on it, and, like, at 70 plus years, it's amazing, because her voice still had stayed lovely and sweet.

04:08I am my king, the daughter, the rest of it from Capa Queen.

04:15In search of Lord Gregory, my God, I coined him.

04:21The rain beats at night, the locks on, the jewels me still.

04:27The baby's cold in my arms, and let me in.

04:33Come saddle me the black horse, the brown or the bay.

04:40Come saddle me the best horse from your stable estate.

04:56Till I'll roam round the valley, and the mountains so wide.

05:04Till I find the last of Aaron, and lie by her side.

05:15Oh, my goodness me. Wowie.

05:22Your voice is gorgeous.

05:24We're so lucky to have all this written down and recorded.

05:30So it's great.

05:31And sung to us by yourself.

05:34The way of the song in Sianos is it's so lovely everywhere I go.

05:46Somebody's able to tell me who wrote the song, who sang the song, who taught it to them.

05:53In each place that we go, each area.

05:55It's like, they're holding something very precious that was given to them.

06:01And they're passing that alarm.

06:06I believe I was on the permite.

06:10Lord, we have an amazing day, so my letters can be released.

06:11And it's like, it's like a big deal of mind when I was reading what you read.

06:12And then there is a very small letter of iron.

06:16And then there is a value of these things.

06:18If you're a little bit more, it's like it's like a big deal of wine.

06:21I'm so happy to see the language of the river and the river,

06:22because in the middle of a river,

06:24you're in the middle of a river.

06:26I'm so happy to see the story more he was on the line.

06:29Lannan won 10 thousand words in the city

06:33and that's why you started a choir

06:37during the late 18th class

06:40with a moment like that.

06:48This is not just a random gathering of friends,

06:50but you're also a choir.

06:52Am I right?

06:54Past and present choir.

06:56You were saying something earlier that I thought was gorgeous

06:58in that the best way to learn Irish and reconnect is through songs and poetry and stories.

07:03Absolutely, because you're getting the nuance of the language.

07:06The vocabulary, the vocabulary, the pronunciation, and the nuance of the language.

07:14Like, you know the way people translate English or Irish into English, but you lose.

07:19When you do that, you lose the emotion, you know?

07:22I agree.

07:23Because the language itself is very poetic.

07:26Like, we're such an emotional people.

07:29Maybe long ago, before maybe the 1700s, that we were entitled, or not entitled,

07:34but we were able to express ourselves emotionally.

07:37And then when we were colonised, all that was taken away and we became fearful,

07:41and so a lot of those songs were old, so you probably were allowed to.

07:45Whereas, I don't know, did we become kind of shamed and...

07:49Yeah, and as far as I know, lots of songs were cleaned up,

07:52and something else put in the line, so that that...

07:55So, censorship.

07:56Censorship.

07:57Censorship.

07:58Yeah.

07:59I suppose if it was anglicised, you know, within...

08:05I could be totally wrong, I'm grasping, I'm asking.

08:07It'd be more polite.

08:08It'd be more polite.

08:09It'd be more polite.

08:10Yeah.

08:11That's where I was going.

08:12Yeah.

08:13It'd be more polite.

08:14And also then you had the church to contend with as well.

08:16I was afraid to mention that, but they had a lot to answer, too.

08:19They did.

08:20So, scenes is worth chatting away.

08:22I'd love to hear a few songs, of course, with you and your sisters.

08:27So, one of our most favourite in the lullaby thing was Bug Brain.

08:32Oh, yes.

08:33Drink to the old man, washing his feet, and I suppose that's what people did long go,

08:36minding the old people.

08:37Bug Brain is like a little drop.

08:38Yeah.

08:39And you know, it is not water.

08:40No.

08:41On Shandain, it doesn't say it's whether it's a man or a woman.

08:44Well, I suppose that's what they did when people got old, they minded them.

08:47Yeah.

08:48Bug Brain, Bug Brain, Bug Brain, Bug Brain on Tandana.

09:00Bug Brain is large pain, Bug Brain on Tandana.

09:12Bug Brain is large pain.

09:17Bug brain is large pain.

09:19CHOIR SINGS

09:49It's been so lovely to hear how the female voice has enriched and captured the essence of song in Cule and Ballyvorny for generations, and still today it's as prevalent as ever.

10:02CHOIR SINGS

10:03CHOIR SINGS

10:05CHOIR SINGS

10:08CHOIR SINGS

10:09CHOIR SINGS

10:10CHOIR SINGS

10:13CHOIR SINGS

10:15CHOIR Advisory

10:16CHOIR S zij

10:16SHOIR SINGS

10:17But I think it's important to have a new style in Neskert-Giarrí...

10:22...and a new style in Tricleila.

10:26But when I was in the first time...

10:29...I was in the first time...

10:31...I think it was a new style in Elah...

10:34...and I was in the first time.

10:47music that I can't access unless I learn the language totally. I learn it to an

10:54extent but I'll miss a lot of nuances which I need to learn and so I'm also

10:59finding on my travels with this that there's a flip side to that which I've

11:04just discovered recently is that maybe it's not learning the language to learn

11:09the songs maybe it's learning the songs to learn the language. I was just gonna

11:12say that because to learn a language through music I think you're using like

11:19that right side of your brain it's about the sounds the musicality of the

11:23language instead of like the grammar and the kind of formal learning like we did

11:28in school so it's a more imaginative way of getting to know the language just

11:34through the sounds of it before you worry about anything else. So for me when I'm

11:39singing in Irish there's the music the melody line of the song but there's also

11:43the music within the words and Irish is really vowel centric it's really open so

11:50it lets out the voice so when I'm singing in English I feel like it's a little bit

11:53more closed. Oh I love this. So I always thought the Irish language so

11:59percussive you know but it's you're saying it and maybe... I feel like it's the

12:04opposite. It's the opposite. So there is a theory that I heard I don't know if it's true

12:09or not but that the Irish word for English which is bairla comes from bairl rá because

12:18when Irish people saw people speaking English bairl rá means mouth speak so

12:24that you know when I'm speaking English everything is up here to the front okay

12:27yeah so English is up to the front of your mouth yeah a lot of Irish sounds are

12:32further back you've got the soft yeah but they're all very soft they're never

12:37glattal stops there the air is pushed through them slowly and flowing and

12:42softly so always carries the melody what it also symbolizes is that the vowels rule

12:49the whole sounding of the word so it's always about I'm in love with vowels can

12:54you tell. It's really nerdy. No I'm loving this. Yeah. This is very this this it's making

13:01total sense yeah everything and then for singing. Then around here people will sing

13:05in both languages and then they'll sing a country song or they'll sing a song from

13:09the crooners yeah and there was never this discrepancy over what's a real song

13:15what's not it's all music it's all to be welcomed and to be expressed with joy and

13:22to be celebrated yeah it's to be loved it's not it's not something elitist I

13:30don't want it to be elitist you know I don't want it to be in attainable for

13:33people I want it to be accessible that's what I feel my role is as a singer we all

13:40have to reframe our identity and our relationship with the language and with

13:46the music

13:47I'm visiting my gorgeous friend and wild man Brendan Degley a true legend of Irish

14:05music and song and West Kerry I'm eager to hear his perspective on my journey to

14:11master the Irish language through song

14:15there's loads of beautiful words that are gone maybe that's why I find it

14:20daunting to to as I'm learning Irish I keep thinking oh god I didn't know that and

14:26this is how this whole quest came about you have it in the English language

14:30because the English that you heard in in the liberties is not the English that you

14:34hear in in England there's there was a great journalist called Conn Hullain he said I have

14:39great respect for the English language even though I don't speak it myself I speak

14:44hiberno English English woven on a Gaelic loom but once you sing a song and you know the

14:52words and you know what you're talking about and you know the history of it and you're you're

14:56you're you're you're uh being truthful to what the poet that wrote the song um uh was

15:03intending to put to to the story of the poet that he was trying to give in those words

15:08you're speaking the language so learn it your own way but also nurture the dialects that are important

15:16yeah yeah yeah yeah your Irish will be um Irish spoken on an on a Dublin English loom

15:25oh I love that it'll be sprinkled with Dublinese yeah yeah right

15:31right

15:34yeah

15:42yeah

15:45yeah

15:52listening to Brandon perform

16:03it wasn't about

16:05fluency or perfection

16:07it's about

16:09understanding

16:10feeling

16:11belonging

16:12it's about hearing yourself

16:14in a language

16:15you thought was lost to you

16:22after chatting with both Mirren

16:26and Brandon

16:27it feels like now is the perfect time

16:30to learn a piece

16:31in the Shannos tradition

16:32Mirren has very kindly offered to teach me

16:35so I'm both excited

16:37and terrified

16:52and I went and I sang the wrong second half of the verse

17:06because you're sorry

17:08now they

17:09this was

17:11my brother played this on the box at my mother's funeral

17:14you see

17:14because she loved it so much

17:16so that's why I recorded this song in the first place

17:19because I know

17:20it resonates

17:21with so many Irish people

17:23this is the one

17:24the one that makes you cry

17:25is the one

17:26and this is my

17:27I dreamt of my mum last night

17:29she came to me in a dream

17:30so this seems to be a sign

17:32it's actually a very very

17:34old air

17:35so it's thought that this goes back

17:37at least

17:38to the mid 1600s

17:40okay

17:41so

17:41there are people that even dispute that

17:44and say it could be

17:45even 100 years older again

17:48but it has been attributed to a poet from Tyrone actually

17:51called

17:51An Dú Gánach

17:52but the version that we're going to do

17:54would be

17:56the West Munster

17:58West Kerry

17:59version

18:00every different dialect of Irish

18:02there is a different style of singing

18:03so we like to

18:06personalise things

18:07and that's one of the nicest things about traditional music

18:10and traditional singing

18:11is that

18:11how you personalise it

18:13is very up to you

18:14it's not just about your regional style

18:16it's about your own personal style as well

18:18it's like it touches on magic

18:19well I think

18:21that a song like this

18:22is an example

18:23of the

18:24classical

18:25music of Gaelic Ireland

18:27it's high art

18:28it really is

18:30you don't read me

18:31huh

18:32yes

18:33分

18:48Fa ni o re ra

18:52Fa ni o re ra

18:56me re

18:58si a re

19:00ta

19:02haki

19:08Okay. Oh my god, this is

19:10a mess.

19:12We nixed us.

19:14Fa ni o re ra

19:22Fa ni o re ra

19:24Fa ni o re ra

19:26Fa ni o re ra

19:28Fa ni o re ra

19:30Fa ni o re ra

19:32Fa ni o re ra

19:34Fa ni o re ra

19:36That one you actually did get

19:38and I just want to tell you that is the hardest line in the song for me as well.

19:42And you have it.

19:44Just let it happen now because it's there in the can.

19:50Ava

19:54Ava

19:56Ava

19:58Ava

20:00Ava

20:02Ava

Imelda May - Amhráin na nGael Season 1 Episode 3

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