fountainUn’altra canzone ambientata sempre sulle rive del Lago Erne si intitola “Edmund (o Edward) by Lough Erne’s shore” per distinguerla dall’altra intitolata semplicemente “Lough Erne Shore” (vedi)

Su Mudcat John Mulden scrive (qui) “Edmund on Lough Melvin’s Shore – which is the original way of the song Edward on Lough Erne’s Shore was written by Peter Magennis (The Bard of Derrygonnelly, 1817-1905) and published by him in “Poems by Peter Magennis” (Enniskillen (Geo B White) 1888 but with a preface dated 1887). The tune suggested in the book is “Youghal Harbour” – aka Boolavogue
E in aggiunta sull’ottimo Mustrad leggiamo”Since no information is provided about the origins and possible date of the song it is impossible to draw this conclusion as the reasons for banishment could vary considerably.  Cyril does observe that ‘almost identical verses appear in Poems of Peter Magennis under the title of Song.  Air – “Youghal Harbour”’, though suggests that it cannot be certain whether the poet (who died in 1910) actually wrote the song or collected the lyrics from somebody else.  Conversely, Dermot McLaughlin’s sleeve notes for the Dog Big Dog Little album (Claddagh CC51CD) boldly assert that the song, performed there by Gabriel McArdle, was definitely the work of Magennis.  Since the song utilizes some typically Victorian florid imagery, it is quite possible that McLaughlin is correct.” (tratto da qui)

ASCOLTA Rita Gallagher in The May Morning Dew 2010 (in versione integrale su Spotify qui) Anche The Dervish hanno ripreso questa versione nel loro Live in Panama (2002)

ASCOLTA Mary Dillon in North 2013. Il testo è diverso in buona parte da quello riportato, ma per il momento non ho trovato la versione. La melodia richiama per l’appunto quella di “Youghal Harbour

Pregevole anche l’arrangiamento strumentale di John Wynne & John McEvoy in Pride of the West (2007) (da ascoltare su Spotify qui melodia seguita da The Tooth Fairy e Fraher’s) (in mancanza di registrazioni di Cathal McConnell..)
Oh the Sun was setting behind the mountain
The dew was falling behind the lea
As I was seated beside a fountain
A feathered songster sang on each tree.
With love and blisses his notes were blending
Made me reminded of days of yore
When in a bower I plucked a flower
And I dreamt of Edmund on Lough Erne’s shore(1)

A crop of sorrow my heart is reaping
My roses fade and my hopes decay
Since in the night time when all are sleeping
Awake I’m weeping for the break of day
Delight has fled me and woe has wed me
Why did you leave me my love a stór?
For love compelled him and banished Edmund(2)
Would not forsake me on Lough Erne’s shore

The cuckoo’s notes in the air resounding
Appeal to feelings and please the ear
And every note with bliss abounding
Are in the valley if he were near
Each step I take by the winding river
Where we have wandered in days of yore
Reminds me of Edmund, my banished lover
And makes me lonely on Lough Erne’s shore

Oh could I move like a moon in motion
I’d send a sigh o’er the distant deep
Or could I fly like a bird o’er the ocean
By my Edmund’s side I would ever keep
I’d fondly sooth him, with songs amuse him
I’d gently sooth him and he’d sigh no more
And seven long years aye would soon pass over(2)
And we’d both live happy on Lough Erne’s shore

1) Il Lough Erne è un complesso di due laghi situati nelle Midlands d’Irlanda: Lower e Upper. “Senza alcuna fretta di raggiungere il mare, il fiume Erne serpeggia da una parte all’altra dell’acquosa e boscosa contea Fermanagh. Scorre fino a formare un lago composto di due bacini, Lower e Upper Lough Erne, nel cui centro si trova l’isoletta su cui sorge il capoluogo di contea, Enniskillen. Paradiso per uccelli, fiori e piante selvatiche e pescatori, Lough Erne è un corso d’acqua meraviglioso, ideale per crociere e gite in barca. “(tratto da qui)
2) presumibilmente Edmund era un bandito che è stato condannato a sette anni di deportazione in una delle colonie penali inglesi oltre oceano.

Il sole tramontava dietro alla montagna e la rugiada si posava sul viale mentre ero seduta accanto ad una fonte e un uccello cantava sul ramo. La sua melodia era piena di dolcezza e beatitudine e mi ha richiamato alla mente i giorni del passato quando in un pergolato raccolsi un fiore e sognai di Emund delle rive del Lago Erne. Una messe di dolore il mio cuore sta raccogliendo, le mie rose appassiscono e le mie speranze svaniscono così di notte mentre tutti dormono io sveglia piango per la fine del giorno, le gioie sono fuggite e il dolore è mio sposo, perchè mi hai abbandonato, amore, cuore mio? Amore lo spinse e Edmund fu bandito perchè mai mi avrebbe abbandonato sulle rive del Lago Erne. La melodia del cuculo risuona nell’aria, gradevole da sentire e allettante per i sentimenti e tutte le note di gioia traboccante sono nella valle come se fosse vicino; ogni passo che faccio per il fiume tortuoso dove abbiamo passeggiato nei giorni del passato, mi ricorda Edmund, il mio amore bandito e mi rende sola sulle rive del Lago Erne. Oh potessi muovermi come il cammino della luna manderei un sospiro sull’oceano lontano oppure potessi volare come un uccello sopra l’oceano, resterei sempre accanto al mio Edmund. Lo consolerei con amore e lo divertirei con le canzoni, lo consolerei dolcemente e lui non sospirerebbe più, e sette lunghi anni potrebbero trascorrere in fretta e poi potremo vivere felici insieme sulle rive del Lago Erne.


(di Seán Corcoran tratto da qui)

The area covered by this collection stretches roughly from Enniskillen to Beleek in West Co Fermanagh, a cluster of mountain-ridges, bounded in the North by Lower Lough Erne and in the South by Loughs Melvin and Macnean.  Nineteenth-century travellers dubbed the Lough Erne area the ‘Killarney of the North’, and its natural beauty is indeed impressive, with its huge lake, studded with islands, its craggy hills with sudden cliffs, waterfalls and underground rivers erupting from rock-faces, its many tiny loughs nestling in the mountain glens.  It’s a beauty apparent not only to the eye of the stranger, for every lough, river and rock has been celebrated by some local song-maker.  In the ’30s and ’40s, when ‘céilí bands’ were in vogue, the local bands were named, not after the area, as was usual, but after two geographical features, the hill of Knockmore and the river Sillees.  The loughs teem with fish and wildfowl and many local inhabitants, of both sexes, are highly skilled with rod and gun, another aspect of local life which the song-makers did not overlook.
Lough Erne provided a major thoroughfare for all kinds of incursions since Neolithic times, when the system of hill-farming, based on sheep and cattle, was much the same as today, as recent excavations have shown.  In the early Christian period it was a hive of activity, with large monastic settlements on the islands and the huts of zealots and hermits high up on the mountain slopes.  It was always an area of conflict because of its strategic position and its accessible waterways.  The Vikings came to pillage the monasteries and later it was the cockpit of the struggle between the last bastion of the old Gaelic order and the expansion of the Tudors, hungry for land and capital.
In the plantations of the seventeenth-century the area was given to Scots settlers but this involved no great shift in population since the hill-farms were left in the hands of the original Irish tenants who simply had a change of landlord.  So, in terms of dialect and traditional culture, there is little evidence of any significant Scottish influence.  Cultural division operated along social rather than religious lines.  The minority of small-farmers who were Protestant integrated into the cooperative lifestyle of the hill-farmers.  The Gaelic language, however, retreated, so that the census of 1911 showed that the heaviest concentration of Gaelic speakers was along the border with Co Leitrim, between Garrison and Holywell (10%) with a figure of 1% over the rest of the area.

The new masters did not neglect the old music.  On the contrary, some of them played an active part in its promotion and patronised pipers, fiddlers and harpers…

Despite the immense social changes in Ireland since the turn of the century, this part of Fermanagh has always been renowned for its fiddlers, flute-players, dancers and singers.  One of the great names of the past is that of William Carroll, the flute-player, whose sound was so powerful it is said that he could ‘blow the delft off a dresser.’  Carroll passed his tunes and skills on to another extraordinary flute-player, Eddie Duffy of Derrygonnelly, who died in 1986 at the age of 93, and who was still playing until shortly before his death.  Eddie in turn, passed his store of tunes on to Mick Hoy, the fiddler from Blaney, on the shores of Lough Erne, whose fame has now spread far beyond the hills and loughs of Fermanagh…
Many of the old mountain kayley houses are now silent as families are moved into the villages.  Yet this has not diminished the vitality of traditional song and music.  Increased social contact and activity has given a new lease of life to the old culture, with many young people becoming involved, and traditions like mumming and old-style social dancing reinvigorated.  The notion that ‘modernisation’ inevitably smothers oral culture is strongly contradicted by the singing, dancing, kayleying people of the Barony of Magheraboy.

http://mudcat.org/thread.cfm?threadid=28342 http://www.itma.ie/digitallibrary/sound/edmund_by_lough_ernes_shore_barbara_coates http://www.celticlyricscorner.net/dervish/edward.htm https://www.irishtune.info/tune/2348/

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