Evening star., 1933-03-12
"HIS coming week is the only

SAAAAS VA VA4C JCG4 W11C1
Irish music comes into It's
- own. The old songs and
lively tunes are heard once more
and II there "breatheS a man with
soul so dead" who does not re-
spond to their charm he is a
rarity. No matter what the ma
tionality, 1t can be safely asserted
that the lilt of Irish music will
leave its impression and be recog-
nized as fountain of purest mel
Ody. It's romance, its sadness OF
its humor and rhythm is such
that the heart follows it and re-
joices in it and the blood flows
quicker in response to the enticing
strains.
Music has been and always will
be an intrinsic part of the Irish
nation, and the harp, that for long
years has been emblasoned on the
national flag, has proclaimed to
all the world the place of music
In the life Of the country. This
emblem, so symbolical of the
poetic tendencies of this Celtic
peoples, has f1oated over ancient
castles where the bards beguiled
the tedious hours with song and
story or been held high on CORY
battlef1elds to encourage and lead
to victory.
Historians claim that the mu-
sical culture of Ireland extends
back over period of 1000 years
.and cite many references made by
the ancient monks to the high de-
'velopment of music that the coun-
Try had attained even in those
early days. st. Patrick recog-
ntzed its power over these sus-
ceptible peoples and made good
use of it In his campaign for con-
verting the people to Christianity.
As early as the sixth century a
school of music was established in
Ireland, whose excellence at
tracted many foreign scholars for
more than 800 years.
Inseparably allied to the ro-
mantle history Of Ireland and
holding first place in the hearts
of all Irishmen is the Irish harp.
It's sweet tones have assisted in
the handing down of historical
data. The deeds of prowesS of
mighty clansmen which the an
cient bards recorded in their
songs, the glories of the CruSades
or the romance that blossomed in
every heart were all given form by
the aid Of its strains.
The ancient School of Harp
Playing in Ireland had achieved
high repute throughout Europe
so that Dante made mention of it,
and later such men as Galilei,
Bacon and Spencer spoke of it in
terms of praise. To prevent the
decay Of harp playing and to
stimulate a renewed interest, a
series of "Contentions of Bards'
was arranged several times during
the eighteenth century, which
drew together the famous harplStS
from different parts OF the coun--
try. They played the individual
airs native to their section, dis
eussed technic and supervised the
recording of the music, which,
until that time, had been handed
down from bard to bard by word
Of mouth. At the same time other
attempt were made to keep mu-
sic up to the high level 1t had al
ready reached. An Academy OF
Music was formed in Dublin in
,1728, and the Charitable Music
Society not only built a music
!; hall, but assisted Handel In the
';first performance Of THE Mes
Aah," which he conducted there
himself in 1742.
While the national literature
In some other European countries
was still In a primitive state OF
:6evelopment, 1t was found that In
The wear 1900 Ireland had pos
sessed for several centuries a
Gaelic poetry expressed in rhyth-
mical verse, which was the WORK
of courtly bards. The training OF
these poets required IL years or
longer and their rank was deter
mined by the number OF verses
they knew and could recite. A
place of honor at court was as
signed them and they rivaled in
, popularity the bards whose spe-
cialty was the improvising OF mel
odies on the harp.
Thomas Moore writes in a
preface to a collection OF his
poems set 70 old Irish airs: 1T
has often been remarked and
oftener felt that our music Is the
truest of all comments in our MIS-
tory. The tone of defiance sue
ceeded by the languor Of despond-
ency, a burst of turbulence dying
away into Softness. the sorrows OF
one moment lost in the levity OF
the next and all that romantic
mixture Of mirth and sadness
which Is naturally produced by
the effects OF a lively tempera-
ment to shake of or forget the
wrongs which lie upon it-such
are the features OF our history
and character which we md
strongly and faithfully reflected
in our music"
Irish songs became best known
through the programs OF John
Mccormack. He tells in his own
story, published in 1918, that the
first tune he recalls was THE
Wearin' of the Green" His next
song was Believe Me If All Those
Endearing Young Charms" which
his mother taught him and OF
which he said: Though I sing it
to this day, I have never found
1t necessary to change as much as
q breath mark in it."
The queen of all Irish songs Is,
without doubt, kathleen Mavour-
neen," the words written by an
Irish woman and the melody by
an Englishman of Irish descent,
Frederick Crouch. This song
earned 100000 for its publishers,
who had paid the composer $50
for the rights. A special favorite
of Adelina Patti, who put 1t on
all Of her programs, it has re,