Turlough O'Carolan (1670–1738) was a blind early
Irish harper, composer and singer whose great fame is
due to his gift for melodic composition. He was the
last great Irish harper-composer and is considered by
many to be Ireland's national composer. Harpers in the
old Irish tradition were still living as late as 1792,
as ten, including Arthur O'Neill, Patrick Quin and
Donnchadh Ó Hámsaigh, showed up at the Belfast Harp
Festival, but there is no proof of any of these being
composers. Ó Hámsa...(+)
Turlough O'Carolan (1670–1738) was a blind early
Irish harper, composer and singer whose great fame is
due to his gift for melodic composition. He was the
last great Irish harper-composer and is considered by
many to be Ireland's national composer. Harpers in the
old Irish tradition were still living as late as 1792,
as ten, including Arthur O'Neill, Patrick Quin and
Donnchadh Ó Hámsaigh, showed up at the Belfast Harp
Festival, but there is no proof of any of these being
composers. Ó Hámsaigh did play some of Carolan's
music but disliked it for being too modern. Some of
O'Carolan's own compositions show influence from the
style of continental classical music, whereas others
such as Carolan's Farewell to Music reflect a much
older style of "Gaelic Harping".
Though the harp is by no means peculiar to Ireland, it
has been regarded from early mediaeval times as
supremely the musical instrument of the Irish. But %T
much of the music of the harpers is lost in the mists
of antiquity. Carolan (1670-1738) was the last of the
Irish harper-composers and the only one whose pieces
have survived in any number. About two hundred of his
pieces are extant, but they are found scattered in
manuscripts and in rare (sometimes unique) printed
books, often being unidentified as his. They are now
gathered together here in a definitive edition. Carolan
was blinded by smallpox in early youth and adopted
music as a career. His genius for making melody
manifested itself almost at once, and for nearly fifty
years he travelled the Irish countryside, staying at
the great houses and entertaining the company with his
playing and singing. The great majority of his pieces
were composed in honour of his patrons and in most
cases he devised verses to fit the music. He was also a
familiar figure in Dublin.
Although this work was originally written for Folk
Instruments, I created this arrangement for Flute &
Concert (Pedal) Harp.
PARTITION