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Imelda May - Amhráin na nGael Season 1 Episode 3
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FunTranscript
00:00...
00:05....
00:08now i'm heading down to Cork and Kerry
00:22places where the songs are part of the family
00:26from a book, you hear them in kitchens, at wakes, in whispers.
00:31I want to meet the people who've kept that flame alive.
00:34Songs that have survived generations.
00:37I'm hoping they'll find a place in me too, and that I can learn some songs
00:41that are rooted in this part of our gorgeous country.
00:49Well, thank you very much.
00:51I would like to thank the Queen of the Queen for being here, but I've got no hope.
00:56It's been a great day and a great day for the people to see.
01:01You've also had a nice Bess Cronin in the new style of the new style
01:07in the new year of the year of the year of the year of the year.
01:10You can't see the best Bess Cronin in the new year, even though you've been here.
01:16It's been a long time for me to have a great time in the world.
01:46Your auntie was Bess Crone and your granny.
01:49Yes, indeed.
01:50So I'm here to ask you about her
01:54and the rest of the family and yourselves,
01:56and also to have your gorgeous scones and your bread,
01:58which the smell of is killing me.
02:01I need to get in.
02:02Will I pour?
02:03Oh, do.
02:04Now.
02:07Thank you very much.
02:08You're a meal.
02:09You're a margot.
02:10Tell me about Bess.
02:12She was incredibly important for music.
02:16In Ireland, and songs.
02:17You see, her son was in Dublin,
02:19and he got to know Seamus Ennis.
02:21And Seamus Ennis was a collector of folklore,
02:24so it moved from there.
02:27And I suppose, had her son never been in Dublin,
02:30she may never have been heard of.
02:32There's something like 300 and something actual songs,
02:36both Irish and English.
02:39Where did she learn that amount of songs,
02:40and then where did she pass them on?
02:42She said that when they were living in Ra,
02:45or the place where they grew up,
02:48they had workmen.
02:49Ah.
02:50And some of the workmen had songs.
02:53They used to sing about they were travelling workmen
02:56that used to go around from place to place,
02:58and they used to sing.
02:59And she picked up a lot of her songs from them.
03:02And it was Seamus collected a huge amount of her stuff,
03:08would you say, Seamus Ennis?
03:10Yes.
03:11And there was another guy called Brian George.
03:12And then there was Alan Lomax.
03:15Alan Lomax and Robert Roberts.
03:17They were from America.
03:18Alan Lomax was, like, for me, that's a huge deal.
03:22He was documenting the best in the world,
03:26therefore, you know, she's up there with the best in the world.
03:30She used to sing a lovely song called Lord Gregory.
03:34They had the words, but they never had got the ear of it.
03:37Scotland or any of those places.
03:40It's amazing.
03:41You'd have different versions, wouldn't you, in different places,
03:45but none of them had the ear of the Lord Gregory.
03:47And Beth did?
03:48She had it, and they were thrilled just to have that.
03:51And to have two CDs with her voice on it,
03:56and, like, at 70-plus years, it's amazing,
04:00because her voice still had stayed lovely and sweet.
04:03I am my king, the daughter of Astrid from Capcombe,
04:11and in search of Lord Gregory, my God, I coined him.
04:16The rain beats at night in Lomax, and the Jew waits me still.
04:22The baby's calling my arms, and I'm going to let me in.
04:28Come, saddle me the black horse, the brown or the bay.
04:35Come, saddle me the black horse, the brown or the bay.
04:42Come, saddle me the best horse from your stable estate.
04:51Till I'll roam round the valley and the mountains so wide.
04:59Till I find the last of Aaron and lie by her side.
05:14Oh, my goodness me.
05:16Wowie.
05:17Your voice is gorgeous.
05:19And we're so lucky to have all this written down and recorded.
05:25So it's great.
05:26And sung to us by yourself.
05:34The way of the song, and Sian knows,
05:39is it's so lovely everywhere I go.
05:41Somebody's able to tell me who wrote the song, who sang the song,
05:46who taught it to them in each place that we go, each area.
05:50It's like, they're holding something very precious that was given to them.
05:56And they're passing that along.
05:58And they really appreciate the song, who packets of空 of the city, which was very very ganzen,
06:07and that was so lovely to have we also got a strong Morocco.
06:09With respect I guess, they're going to be an old relationship.
06:10And now it's the story for my brothers and brothers and sisters.
06:10And everyone can't only do this in my life.
06:12We have to run the way in the city of Anglican,
06:15including our country in South Wales and our country.
06:20And it has been over the last place.
06:25We have to look at our city and we have to go outside
06:29and we will join the town of Anglican to the town.
06:42and gathering of friends, but you're also a choir.
06:46Am I right?
06:47Absolutely.
06:48Past and present a choir.
06:49Past and present.
06:51You were saying something earlier that I thought was gorgeous
06:53in that the best way to learn Irish
06:56and reconnect is through songs and poetry and stories.
06:58Absolutely, because you're getting the nuance of the language.
07:01The vocabulary.
07:05Vocabulary, the pronunciation, and the nuance of the language.
07:09Like, you know the way people translate English or Irish into English,
07:12but you lose, when you do that, you lose the emotion, you know?
07:17I agree.
07:18Because the language itself is very poetic.
07:21Like, we're such an emotional people.
07:24Maybe long ago, before maybe the 1700s,
07:27that we were entitled, or not entitled,
07:29but we were able to express ourselves emotionally.
07:32And then when we were colonised, all that was taken away
07:35and we became fearful, and so a lot of those songs were old.
07:38So you probably were allowed to.
07:40Whereas, I don't know, did we become kind of shamed and censored?
07:44And as far as I know, lots of songs were cleaned up
07:47and something else put in the line so that that would be...
07:50So censorship.
07:51Censorship.
07:52Censorship.
07:53Yeah.
07:54I suppose if it was anglicised,
07:56you know, within...
08:00I could be totally wrong.
08:01I'm grasping.
08:02I'm asking.
08:03It'd be more polite.
08:04It'd be more polite.
08:05Yes.
08:05That's where I was going.
08:06Yeah.
08:07It'd be more polite.
08:08And also then you had the church to contend with as well.
08:11I was afraid to mention that,
08:13but they had a lot to answer.
08:14They did.
08:15So seems as worth chatting away.
08:17I'd love to hear a few songs, of course,
08:20with you and your sisters.
08:22So one of our most favourite in the lullaby thing was Bug Brain.
08:26Bug Brain, Bug Brain, Bug Brain,
08:52Bug Brain, Bug Brain, Bug Brain, Bug Brain.
09:07Censorship.
09:08Censorship.
09:09Censorship.
09:10Censorship.
09:11Censorship.
09:12Censorship.
09:13Censorship.
09:14Censorship.
09:15Censorship.
09:16Censorship.
09:17Censorship.
09:18Censorship.
09:19Censorship.
09:20Censorship.
09:21Censorship.
09:22Censorship.
09:23Censorship.
09:24Censorship.
09:25Censorship.
09:26Censorship.
09:27Censorship.
09:28Censorship.
09:29Censorship.
09:30Censorship.
09:31Censorship.
09:32Censorship.
09:33Censorship.
09:34Censorship.
09:35It'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.
09:57We've seen this in Cule and Ballyvorny. We've seen some of Cule and Ballyvorny.
10:07We've seen some of Cule and Ballyvorny in Cule and Ballyvorny's characters in Cule.
10:18..but the first time I was born in the Cielo city...
10:22..but the first time I was born in Cielo...
10:26..I was born in the new style of the Cielo...
10:30..and I was born in Cielo.
10:48I can learn it to an extent, but I'll miss a lot of nuances which I'll need to learn.
10:52And so I'm also finding on my travels with this, that there's a flip side to that,
10:58which I've just discovered recently, is that maybe it's not learning the language
11:03to learn the songs, maybe it's learning the songs to learn the language.
11:06I was just going to say that because to learn a language through music,
11:12I think you're using like that right side of your brain.
11:16It's about the sounds, the musicality of the language instead of like the grammar
11:20and the kind of formal learning like we did in school.
11:23So it's a more imaginative way of getting to know the language just through the sounds of it
11:30before you worry about anything else.
11:33So for me, when I'm singing in Irish, there's the music, the melody line of the song,
11:38but there's also the music within the words.
11:41And Irish is really vowel centric.
11:43It's really open, so it lets out the voice.
11:46So when I'm singing in English, I feel like it's a little bit more closed.
11:49Oh, I love this.
11:51So I always thought the Irish language was so percussive, you know?
11:56But it's you're saying it and maybe the...
11:58I feel like it's the opposite.
11:59It's the opposite.
12:00So there is a theory that I heard, I don't know if it's true or not,
12:05but that the Irish word for English, which is baile, comes from baile raw.
12:13Because when Irish people saw people speaking English, baile raw means mouth speak.
12:19So you know when I'm speaking English, everything is up here to the front, okay?
12:22Yeah. So English is up to the front of your mouth.
12:25Yeah.
12:26A lot of Irish sounds are further back.
12:28You've got the soft...
12:29Yeah.
12:30But they're all very soft.
12:31They're never glattal stops.
12:33They're...
12:34The air is pushed through them slowly and flowing and softly.
12:38So it always carries the melody.
12:41What it also symbolises is that the vowels rule the whole sounding of the word.
12:47So it's always about...
12:48I'm in love with vowels.
12:49Can you tell?
12:49It's really nerdy.
12:52No, I'm loving this.
12:53Yeah.
12:54This is very...
12:55This...
12:55It's making total sense.
12:57Yeah.
12:57Of everything and then for singing.
12:58Then around here, people will sing in both languages.
13:01And then they'll sing a country song or they'll sing a song from the crooners.
13:04Yeah.
13:05And there was never this discrepancy over what's a real song and what's not.
13:11It's all music.
13:12It's all to be welcomed and to be expressed with joy.
13:17And to be celebrated.
13:19Yeah.
13:19It's to be loved.
13:20It's not...
13:22It's not something elitist.
13:24I don't want it to be elitist.
13:26You know, I don't want it to be inattainable for people.
13:29I want it to be accessible.
13:31That's what I feel my role is as a singer.
13:34We all have to reframe our identity and our relationship with the language and with the music.
13:47I'm visiting my gorgeous friend and wild man Brendan Begley.
13:58A true legend of Irish music and song in West Kerry.
14:02I'm eager to hear his perspective on my journey to master the Irish language through song.
14:11There's loads of beautiful words that are gone.
14:13Maybe that's why I find it daunting to, as I'm learning Irish, I keep thinking,
14:20Oh God, I didn't know that.
14:21And this is how this whole quest came about.
14:24You have it in the English language because the English that you heard in The Liberties
14:28is not the English that you hear in England.
14:31There was a great journalist called Conn Hullain.
14:33He said, I have great respect for the English language, even though I don't speak it myself.
14:39I speak hiberno English, English woven on a Gaelic loom.
14:43But once you sing a song and you know the words and you know what you're talking about
14:49and you know the history of it and you're being truthful to what the poet that wrote the song
14:59was intending to the story of the poet that he was trying to give in those words,
15:05you're speaking the language.
15:08So learn it your own way, but also nurture the dialects that are important.
15:13Oh yeah, just be aware of them.
15:13Yeah, yeah, yeah, yeah, yeah.
15:15Your Irish will be, um, Irish spoken on a Dublin English loom.
15:21Oh, I love that.
15:23It'll be sprinkled with Dublinese.
15:25Yeah, yeah.
15:26Right.
15:38Listening to Brendan perform, it wasn't about fluency or perfection.
16:02It's about understanding, feeling, belonging.
16:08It's about hearing yourself in a language you thought was lost to you.
16:12After chatting with both Myron and Brendan, it feels like now is the perfect time to learn a piece
16:26in the Shannos tradition.
16:28Myron has very kindly offered to teach me, so I'm both excited and terrified.
16:33When I went and I sang the wrong second half of the verse, because you're...
17:02Sorry.
17:03Now they, this was, my brother played this on the box at my mother's funeral.
17:09You see that?
17:10Because she loved it so much.
17:12That's why I recorded this song in the first place, because I know it resonates with so many Irish people.
17:18This is the one, the one that makes you cry is the one.
17:21And this is my, I dreamt of my mum last night, she came to me in a dream.
17:26So this seems to be a sign.
17:27It's actually a very, very old heir.
17:31So it's thought that this goes back at least to the mid 1600s.
17:35Okay.
17:35Wow.
17:36So there are people that even dispute that and say it could be even a hundred years older again.
17:42But it has been attributed to a poet from Tyrone actually called An Dú Gánach.
17:47But the version that we're going to do would be the West Munster, West Kerry version.
17:55Every different dialect of Irish, there is a different style of singing.
17:58And so we like to personalise things.
18:03And that's one of the nicest things about traditional music and traditional singing,
18:06is that how you personalise it is very up to you.
18:09It's not just about your regional style.
18:11It's about your own personal style as well.
18:13It's like it touches on magic.
18:15Well, I think that a song like this is an example of the classical music of Gaelic Ireland.
18:22It's high art.
18:23It's not it really is.
18:41¶¶
18:49¶¶
18:51¶¶
18:53Okay, oh my god, this is a mess.
19:06We mixed that.
19:08No, no, let's say it up.
19:17That one you actually did get, and I just want to tell you, that is the hardest line in
19:35the song for me as well.
19:37And you have it.
19:42Just let it happen now, because it's there in the can.
22:04Brassi Nahenar
22:10Akudulak Trishlanag
22:17Gushlinam
22:22She is lame
22:27Mileron Ovanus Rose
22:34Brianna Eden
22:39Is this the Lugan Spree Sun
22:47that's the best you've sang it that's the best you've sang it i'm so blown away and proud of you
23:10and well done i felt every note that was perfect next week i go to beautiful connemara to explore
23:22how the past and present come together to keep our songs alive it's not as closed as people might
23:28think you know that's what i love about the younger generation coming up is they have decided to have
23:34their own conversation in their own way and it just opens up so many different spaces
24:04so
24:23you
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