Carolan tune collation

Donal O’Sullivan’s book, Carolan: The life times and music of an Irish harper was published in two volumes in 1958. It presented a biography, and 213 tunes presented as corrected typset melody lines, and also with quite detailed notes on each tune including some lyrics. This book has defined Carolan studies ever since, and the book has been reissued a couple of times, and there have also been derivative works.

I think there are a number of big problems with this book, which have never been addressed to my knowledge. One is that Donal O’Sullivan’s edited versions of the melody have become used as sources for performance, even though many of them are arbitrarily changed from the early source versions. Another problem is that O’Sullivan relied heavily on late fiddle and pipe sources, rather than respecting earlier harp transcriptions. Thus he also ignored harp idiom in the early sources including key, basses and ornamentation.

He also was very hasty to associate titles, lyrics and melodies, sometimes making demonstrable errors. He also included every tune he could find that had even the slightest hint of an association with Carolan, only marking the most unlikely with an asterisk to show their doubtful status. This system has been continued in the 2001 Ossian re-issue of O’Sullivan’s book, which includes new material not available to O’Sullivan. Catríona Rowsome’s 2011 book uncritically accepts all of O’Sullivan’s suggestions and the 2001 additions, giving a corpus of 226 tunes.

To Donal O’Sullivan’s credit, he did include references for all of his source material. However his referencing system is very tricky to use, with sources given by index letters, requiring constant cross-checking between pages and volumes. Also, many of his sources are still not easily available in facsimile.

I have been working on a collation of all the different versions of each of the tunes attributed to Carolan. I have entered all the information from Donal O’Sullivan’s book into a spreadsheet, and tried to unpick the different strands presented. I have put the spreadsheet here on Google Docs for you to look at and interact with.

You can use the spreadsheet to sort by source, or by Donal O’Sullivan’s number. I have also put a tentative rating beside each tune, to show how likely I think that Carolan had anything to do with the tune. These can be edited later if new information comes to light.

Rather shockingly, only a bit over half of the tunes have a solid and reliable attribution to Carolan; about 1/4 are almost certainly spurious.

There’s a lot more work to be done on this, and in time I will update the spreadsheet. But I thought it was in a useful enough state at the moment to show it to you,

The Cambridge 48 – an early 17th century composition

“But Cambridge forty-eight, for many years, was the greatest peal that was rang or invented” (Tintinnalogia p.2)

In Duckworth’s Tintinnalogia, published in 1668, he gives the full text of “three old peals on five bells, which (though rejected in these days yet) in former times were much in use” (p.15-17). I am interested in these three as rare testimony of the state of change ringing in its true infancy in the early to mid 17th century.

Continue reading The Cambridge 48 – an early 17th century composition

Carlione

Looking through the books from the Jimmy Shand Collection in Dundee library for a tune to play on Saturday week at the free community concert in Dundee, I noticed “Carlione a Favourite Irish Tune” in Neil Gow’s third collection (1792). It is Dr John Stafford, or Carolan’s Receipt (no. 161 in Donal O’Sullivan’s index).

Whether or not I’lI get it up and running to play in two weeks time, it got me thinking about tunes titled with strange variants of Carolan’s name.

Continue reading Carlione