Irish Rhapsody

Charles Villiers Stanford's Irish Rhapsody No.6 featuring Dr. Eric Olson on violin plus Percy Grainger's Irish Tune from County Derry (Danny Boy) and Ronan Hardiman's Lord of the Dance selections.
 
Irish Rhapsody No. 6
Stanford's Irish Rhapsodies, founded on the traditional airs of his native land, will, I believe, outlive all his longer orchestral works. No. 1 [1] of these became obstinately popular to the exclusion of the others, a fact which so displeased him that he expressed extreme annoyance whenever he heard it was to be played. It is, nevertheless, a delightful work, though inferior at all points to No. 2 [2] or the later "Ulster " Rhapsody [3], which is, perhaps, his most beautiful orchestral composition. None of the Rhapsodies are really rhapsodical.
They are skilfully developed movements, perfectly proportioned and balanced with the greatest regard for thematic cohesion. This is not, however, the really vital quality which distinguishes them. Nothing Stanford did, except some of his songs, makes so strong an appeal, by reason of the wild natural poetry which is in them. The scoring, too, is more inspired than that of the symphonies, more full of light and shadow, of colour and glamour.
If I wanted to impress a foreign unbeliever with the real beauty of British music at its best I should take him to hear a performance of the "Ulster" Rhapsody, that he might have a glimpse of what the "Fisherman saw at Lough Neagh," and of what the great Irish composer was able to reflect of this vision in his music. "Dark and true and tender is the North" is the quotation attached to the closing page of the score-a mere expression of an Orangeman's sympathies, probably-but the three adjectives describe the loveliness of the music itself in a way that no other words could do. It is a work of imperishable quality.
 
By the time Stanford began composing his Irish Rhapsodies in 1902, he was at the height of his powers as a composer, conductor and teacher. The First Rhapsody Op 78, dedicated to Hans Richter, was hugely successful and remained a favourite of several conductors, including Hamilton Harty who directed it several times. Only this work and the more defiant Fourth Rhapsody Op 141 were published in full score, while the others were left in manuscript (excepting the Sixth Rhapsody Op 191 which was published in piano score only). The Irish Rhapsody No 3 Op 137 was one of two works in the series written for a soloist and orchestra. It was completed on 18 June 1913 but appears not to have been performed during Stanford’s lifetime. Moreover, most of Stanford’s works for soloist and orchestra were intended for a particular performer, but in this case there was none, neither does the manuscript bear any evidence of a dedicatee.

By 1913 much of Stanford’s expression of his Irish identity had adopted a more political mantle. A staunch Unionist and a follower of Craig and Carson, he opposed all thought of Home Rule for Ireland and vehemently supported Ulster’s cause. This is notably overt and deliberate in the Fourth ‘Ulster’ Rhapsody of 1914. By contrast, the Third Rhapsody, which features the cantabile tone of the solo cello, is a more reflective, restrained work, rather melancholy in demeanour. Structured in two parts, the first section, over twice the length of the second, is an introverted, yet deeply melodious, yearning threnody and is conceived very much as an extended ‘song’ in the way it develops the generous three-part phraseology of ‘The Fairy Queen’, a melody he most likely drew from Edward Bunting’s collection of Irish folk tunes of 1796 (and which was ascribed to Carolan, the early eighteenth-century Irish harper and composer). A livelier second section, analogous perhaps to the operatic ‘cavatina-cabaletta’ constructions Stanford knew so well from Italian opera, is a lively Irish jig based on the Munster tune ‘The Black Rogue’ (a double-jig which Stanford included in his edition of the Petrie Collection published between 1902 and 1905 with the title ‘Brigid of the fair hair’). Much of the jig is boisterous in character, yet a shorter, slower section returns nostalgically to the mood of the first section, even making brief reference to its melodic material, before the jig returns to form an energetic conclusion.
 
Selections from Lord of the Dance
Lord of the Dance is an Irish dance show and dance production that was created, choreographed, and produced by Irish-American dancer Michael Flatley, who also took a starring role. The music for the show was written by Ronan Hardiman.
 
The show takes place in a “Celtic” land called Planet Ireland (or it is sometimes interpreted as ancient/historical Ireland), with much Celtic-themed imagery and music. The story follows Flatley’s character, the “Lord of the Dance”, and his fight against the evil dark lord Don Dorcha from taking over Planet Ireland. The Lord of the Dance defeats the dark lord's invasion with help from a little spirit, a pixieor faerie of sorts. This spirit, who initially appears as some kind of court jester, is eternally positive, dancing and beaming at all times. The show begins with the little spirit playing “The Lord of the Dance” melody, solo, on tin whistle, before the dark forces come and take over the Celts. There is also a secondary theme of “good girl versus bad girl”, or "love versus lust", expressed through dance several times throughout the show. Saoirse, the Irish cailín (normally appearing in white or brighter colours), fights to win the love of the Lord of the Dance against the wicked Morrighan, the Temptress (usually appearing in all red or black dress). The stories are based on ancient Irish folklore and some biblical references; the title itself, along with the main musical theme, is taken from a contemporary hymn. Through tales of love, heartache, temptation, peace, battle, struggle and finally victory, the story of the Lord of the Dance’s triumph is told through dance and live music.

The show begins with the number "Cry of the Celts". A female troupe sleeps in a semicircle with a girl dressed in gold, known as "Little Spirit" while winds accompany the scene. Seconds later, masked figures cloaked in black and bearing torches arrive and stand as statues while ambient new age music plays. Later, the Little Spirit rises from her sleep and plays the show's theme song on a tin whistle. She then awakens the troupe with magical dust. The Little Spirit leaves with the cloaked figures as the female troupe makes their first dance. Drum beats fill in and the show's main eponymous character, known as "Lord of the Dance" appears and dances before an elated crowd before being accompanied by the entire dance troupe.

After a song by "Erin the Goddess" ("Suil A Ruin"), the Little Spirit activates a mechanical musical doll which then dances with the female troupe led by the lead female protagonist Saoirse ("Celtic Dream"). A terrifying performance of "Warriors" with suspenseful music follows, with dark lord Don Dorcha doing an introductory dance before being followed by his troupe. At the end of Warriors, the Little Spirit plays a trick on one of them. Morrighan the Temptress makes her introduction soon after ("Gypsy").

"Strings of Fire" kicks in with two female fiddlers. Later Saoirse leads the female troupe in fighting Morrighan and later changes to black inner clothing after a fight with the temptress ("Breakout"). They are then greeted by the Lord of the Dance himself and his troupe, who then dances into an a'capella number ("Warlords"). Another song by Erin the Goddess follows ("Gaelic Song")
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The eponymous number of the show ("Lord of the Dance") begins with a two pairs of males accompanying a pair of females in an introductory dance before the eponymous character dances to the shows' upbeat theme. The number ends with the title character being joined by his troupe.