Andrew Cronshaw THE LANGUAGE OF SNAKES

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Digital remaster ℗2009 Topic Records Ltd. ©2012 Topic Records vLtd.The copyright in this sound recording and digital artwork is owned by Topic Records Ltd.All rights reserved.

1 Through Moorfields 1’ 34”2 Kindness For Ever More 2’ 46”3 Macdonnell’s March Kilcoy’s March 1’ 49”4 Baile De Procesión 3’ 53”5 Cronnan Na Callaich A Bhan Sa Bhein Bhreic 1’ 49” (The Old Woman’s Lullaby)6 Marcha Procesional Do S.Benito Do Chrochaidha A Thoill Thu 4’ 27” (You Ought to be Hanged )7 Apple Praities 2’ 31”8 Ailean Duinn 3’ 15”9 A Maruxa 3’ 39”10 The Waterford Waltz 3’ 04”11 Tupakkarulla + Tuuti Hussaa Ja Lullaa The Other Boot Dance 4’ 19”12 Hithil Ùil Agus Ò, Hithil Hòrino 5’ 26”13 Tha Mi Sgith ’M Ònaran 2’ 02” (I Am Tired in Solitude)14 An Gille Donn / Vaskilinnun Vaikerrus 3’ 47”

All titles published Cloud Valley Music/Topic Records Music Ltd.Produced & engineered by Andrew Cronshaw at Cloud Valley Studio.

Musicians:-Andrew CronshawArto JärveläChris HaighIan BlakeBJ ColeBrendan PowerBernard O’NeillNeti VaandragerRic SandersMinna RaskinenSanna Kurki-Suonio

1 Through Moorfields Trad. arr. Cronshaw Ba-wu – AC Double bass, cello – Bernard O’Neill

2 Kindness For Ever More Trad. arr. Cronshaw Zither – AC

3 Macdonnell’s March Trad. arr. Cronshaw Kilcoy’s March Trad. arr. Cronshaw Flutes – AC Nyckelharpa – Arto Järvelä

4 Baile De Procesión Trad. arr. Cronshaw/Blake/Haigh/Cole/Power Zither – AC Fiddle – Chris Haigh Bass clarinet – Ian Blake Pedal steel – BJ Cole Harmonica – Brendan Power

5 Cronnan Na Callaich A Bhan Sa Bhein Bhreic (The Old Woman’s Lullaby) Trad. arr. Cronshaw Clavichord – AC

6 Marcha Procesional Do S.Benito Trad. arr. Cronshaw/Blake/Haigh/Vaandrager Do Chrochaidha A Thoill Thu (You Ought to be Hanged ) Trad. arr. Cronshaw/Blake/Haigh Zither, concertina, clavichord – AC Fiddles – Chris Haigh & Neti Vaandrager Soprano sax, bass clarinet – Ian Blake

7 Apple Praities Trad. arr. Cronshaw/Sanders Whistle – AC Violin, Zeta violin – Ric Sanders

8 Ailean Duinn Trad. Arr. Cronshaw/Sanders Flutes, whistle, shawm, drum – AC Violin – Ric Sanders Double bass – Bernard O’Neill

9 A Maruxa Trad. arr. Cronshaw Zither – AC Fiddle – Chris Haigh Clarinet – Ian Blake Harmonica – Brendan Power

10 The Waterford Waltz O’Farrell arr. Cronshaw/Blake/Haigh Whistle – AC Fiddles - Chris Haigh & Neti Vaandrager Bass clarinet – Ian Blake

11 Tupakkarulla + Tuuti Hussaa Ja Lullaa Trad + Haapasalo, arr. Cronshaw/Blake/Haigh/Vaandrager The Other Boot Dance Trad. arr. Cronshaw/Hiagh 5-string kantele, concertina – AC Fiddles - Chris Haigh & Neti Vaandrager Bass clarinet – Ian Blake Double bass – Bernard O’Neill

12 Hithil Ùil Agus Ò, Hithil Hòrino Trad. arr. Cronshaw Zither, whistle – AC Concert kantele – Minna Raskinen

13 Tha Mi Sgith ’M Ònaran (I Am Tired in Solitude) Trad. arr. Cronshaw Gu-cheng – AC

14 An Gille Donn Trad. arr. Cronshaw Vaskilinnun Vaikerrus Lyrics Kurki-Suonio, tune Trad. arr. Cronshaw/ Kurki-Suonio … A moaning bird, ripples in the water, and the lightning-saw … Ba-wu, zither, gong, whistling – AC Vocal & lyrics – Sanna Kurki-Suonio

For friendship, help & encouragement, thank you to all the musicians on this album, and also to Hannu Saha, Ralph Jordan, John Groat, Doc Rowe, Pedro Vaquero & José de la Fuente.

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Through Moorfields was sung by Henry Burstow, of Horsham, Sussex, England, in 1907, and passed on via phonograph cylinder and transcription by Ralph Vaughan Williams, and later by Roy Palmer’s “Folk Songs collected by Ralph Vaughan Williams”.

Kindness for Ever More is to be found in Niel & Nathaniel Gow’s “Complete Repository of Original Scots Slow Strathspeys & Dances” (Part 3, c1810), as is Hithil ùil gauss ò, hither o hòrino, , which is there called sim “A Skye Air”, and whose Gaelic title comes from “ A Collection of Highland Vocal Airs never hitherto published, to which are added a few of the most lively Country Dances or Reels of the North Highlands & Western Isles, and some specimens of Bagpipe Music, by Patrick McDonald, minister of Kilmore, Argyleshire” (1784).

MacDonnell’s March, also known as “Allistrum’s March” or “MacAllisdrum’s March” is an Irish warpipe tune, said to be in honour of Sir Alexander (Alistair) MacDonnell, called “Colkitto” (left-handed), an Irish general commanding Scottish Highlanders, who was killed in 1647 fighting the English under Lord Inchiquin. Edward Bunting heard it from an unnamed piper at Westport in 1802 and wrote it down for his 1840 collection “Ancient Music of Ireland”.

Baile de Procesión was transcribed, as played on a dulzaina accompanied by a tamboril, by Agapito Marazuela Albornos for his “Cancionero de Castilla” a collection of music from the Castilla region of central Spain made between 1915 and 1925.

Cronnan na callaich a bhan sa bhein bhreic is a piobaireachd in the 1885 edition of William Ross’s “Collection of Pipe Music” which also contains Kilcoy’s March.

Galician band Milladoiro ot the tune of Marcha Procesional do S.Benito from Ricardo Portela.

Mrs John Currie, of North Glendale, South Uist, sang Do chrochadh a thoill thu to Margaret Fay Shaw, who also transcribed the waulking song Ailean duinn (Brown-haired Allan) from the singing of Iain Campbell of South Lochboisdale, the exile’s song Tha mi sgìth ‘m ònaranand the lament (The brown-haired boy) from Peigi Macrae of Glendale, and Cholla, mo ruin (Cholla, my love), which is also played by pipers as a piobaireachd, (and on this album is the tune to which Sanna wrote the lyrics of Vaskilinnun Vaikerrus), from Mary Smith of South Boisdale. Margaret Fay Shaw included all these in her book “Folksongs & Folklore of South Uist”, for which the material was collected between 1930 and 1935.

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Apple Praities is in the Scottish publisher James S. Kerr’s “Collection of Merry Melodies for the Violin” (first published C1900), under “Irish Airs”, and also, with variations, in “Kerr’s Collection of the Pretty Tunes of All Nations, arranged with Variations for the Violin by Tom Howard”. “Kerr’s Merry Melodies” also contains “Boot Dance” which becomes The Other Boot Dance on this album.

Maruxa is the Gallego form of the name Mária; the Grupo Didáctico-Musical of the workshop-school for bagpipes and hurdy-gurdies at the Universidade Popular of the Concello de Vigo, Galicia, learnt the tune A Maruxa from the collecting Xesús Castre Pena, and recorded it on the album “Instrumentos musicais populares galegos”.

Uilleann piper O’Farrell lived in early 19th-century London. The waltz swept in from mainland Europe, and O’Farrell included his contribution to the genre, The Waterford Waltz, in his c1804 “Pocket Companion for the Irish or Union Pipes”. 1 first heard it from keyboard player Micheál O Suilleabháin.

Tuu, tuu, tupakkarulla and Tuuti hussaa ja lullaa (the latter by Kreeta Haapasalo) here combined as the A and B parts of a single tune, come from singers in the Perho river valley area of Pohjanmaa (Ostrobothnia) in west central Finland, where they were sung, respectively, in 1976 by Martta Puumala and Bertta Valo for Jussi Wirkkala and in 1977 by Aila Rauhala for Simo Westerholm. Transcriptions are in the book “Kaustisen Laulukirja I”.

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