Donegal Fiddle Tradition - History

History

The fiddle has ancient roots in Ireland, the first report of bowed instruments similar to the violin being in the Book of Leinster (ca. 1160). The modern violin was ubiquitous in Ireland by the early 1700s. However the first mention of the fiddle being in use in Donegal is from the blind harper Arthur O'Neill who in his 1760 memoirs described a wedding in Ardara as having "plenty of pipers and fiddlers". Donegal fiddlers participated in the development of the Irish music tradition in the 18th century during which jigs and slipjigs and later reels and hornpipes became the dominant musical forms. However, Donegal musicians, many of them being fishermen, also frequently traveled to Scotland, where they acquired tune types from the Scottish repertoire such as the Strathspey which was integrated into the Donegal tradition as "Highland" tunes. The Donegal tradition derives much of its unique character from the synthesis of Irish and Scottish stylistic features and repertoires. Aoidh notes however that while different types of art music were commonly played among the upper classes of Scottish society in the 18th century, the Donegal tradition drew exclusively from the popular types of Scottish music. Like some Scottish fiddlers (who, like Donegal fiddlers, tend to use a short bow and play in a straight-ahead fashion), some Donegal fiddlers worked at imitating the sound of the bagpipes. Workers from Donegal would bring their music to Scotland and also bring back Scottish tunes with them such music of J. Scott Skinner and Mackenzie Murdoch. Lilting, unaccompanied singing of wordless tunes, was also an important part of the Donegal musical tradition often performed by women in social settings. Describing the musical life of Arranmore Island in the late 19th century singer Róise Rua Nic Gríanna describes the most popular dances: "The Sets, the Lancers, the maggie Piggy, the Donkey, the Mazurka and the Barn dances". Among the traveling fiddlers of the late 19th century players such as John Mhosaí McGinley, Anthony Hlferty, the McConnells and the Dohertys are best known. As skill levels increased through apprenticeships several fiddle masters appeared such as the Cassidy's, Connie Haughey, Jimmy Lyons and Miock McShane of Teelin and Francie Dearg and Mickey Bán Byrne of Kilcar. These virtuosos played unaccompanied listening pieces in addition to the more common dance music.

The influences between Scotland and Donegal went both ways and were furthered by a wave of immigration from Donegal to Scotland in the 19th century (the regions share common names of dances), as can be heard in the volume of strathspeys, schottisches, marches, and Donegal's own strong piping tradition, has influenced and been influenced by music, and by the sounds, ornaments, and repertoire of the Píob Mhór, the traditional bagpipes of Ireland and Scotland. There are other differences between the Donegal style and the rest of Ireland. Instruments such as the tin whistle, flute, concertina and accordion were very rare in Donegal until modern times. Traditionally the píob mór and the fiddle were the only instruments used and the use of pipe or fiddle music was common in old wedding customs. Migrant workers carried their music to Scotland and also brought back a number of tunes of Scottish origin. The Donegal fiddlers may well have been the route by which Scottish tunes such as Lucy Campbell, Tarbolton Lodge (Tarbolton) and The Flagon (The Flogging Reel), that entered the Irish repertoire. These players prided themselves on their technical abilities, which included playing in higher positions (fairly uncommon among traditional Irish fiddlers), and sought out material which would demonstrate their skills.

As Irish music was consolidated and organized under the Comhaltas Ceoltóirí Éireann movement in the 1960s, both strengthened the interest in traditional music but sometimes conflicted with the Donegal tradition and its social conventions. The rigidly organized sessions of the Comhaltas reflected the traditions of Southern Ireland and Donegal fiddlers like John Doherty considered the National repertoire with its strong focus on reels to be less diverse than that of Donegal with its varied rhythms. Other old fiddlers dislike the ways comhaltas sessions were organized with a committee player, often not himself a musician, in charge. Sometimes Comhaltas representatives would even disparage the Donegal tradition, with its Scottish flavor, as being un-Irish, and prohibit them from playing local tunes with Scottish genealogies such as the "Highlands" at Comhaltas sessions. This sometimes cause antagonism between Donegal players and the main organization of Traditinoal music in ireland.

Outside of the Comhaltas movement however, Donegal fiddling stood strong with Paddy Glackin of Ceoltorí Laighean and the Bothy Band and later Tommy Peoples also with the Bothy Band and Mairead Ni Mhaonaigh with Altan, who all drew attention and prestige to the Donegal tradition within folk music circles throughout Ireland.