“Chuachag nan craobhis” (The Cuckoo of the Branches) is a Scottish Gaelic song composed by William Ross schoolmaster of Gairloch, Ross-shire, born 1762 he died of TB in 1790. In this love song, the poet is addressing a cuckoo he heard in the woods. He is sad at being rejected by the woman he loved deeply “Chuachag nan craobhis” (Il Cuculo del Boschetto) è canto in gaelico scozzese composto da William Ross maestro di scuola di Gairloch, Ross-shire, nato nel 1762, morì di tubercolosi nel 1790. In questa canzone d’amore il poeta si rivolge a un cuculo che ha sentito nei boschi. E’ triste per essere stato rifiutato dalla donna che ama profondamente.
A chuachag nan craobh, nach truagh leat mo chaoidh Ag òsnaich ri oidhche cheòthar? Shiùbhlainn le’m ghaol fo dhubhar nan craobh Gun duin’ air an t-saoghal fheòraich Thogainn ri gaoith am monadh an fhraoich Mo leabaid ri taobh dòrainn Do chrutha geal caomh bhi sinnte ri m’ thaobh ‘Us mise ‘gad chaoin phògadh
Chunna mi fhìn aisling, ‘s cha bhreug Dh’fhàg sin mo chré brònach Fear ma ri té, a pògadh a bhéil A’ brìodal an déigh pòsaidh Dh’ùraich mo mhiann, dh’àith’rraich mo chiall Ghuil mi gu dian dòimeach Gach cuisle, us féith, o ìochdar mo chléibh Thug iad gu leum còmhla
Thuit mi le d’ghath, mhill thu mo rath Strìochd mi le neart dòrainn Saighdean do ghaoil sàidht’ anns gach taobh Thug dhìom gach caoin còmhla Mhill thu mo mhais, ghoid thu mo dhreach ‘S mheudaich thu gal bròin domh ‘S mu fuasgail thu tràth, le d’fhuran ‘s le d’fhàilt’ Is cuideachd am bàs dhomh-sa
English translation * I O cuckoo of the wood are not grieved at my mood? At eve heavy-dewed, I’m suspiring; I would stray with my love in the shade of the grove, Where’er we might rove none enquiring; I would face the wind’s breath on the hill of the heath, My bed in the teeth of distresses, Thy white form refined stretched out by my side While I fond multiplied my caresses II I saw in a dream, no lie did it seem What my heart made extremely sad, A man with a maid whose lips he essayed Nor fondling delayed, having wed, It freshened my fire, renewed my desire, I wept in my direful swither, Each artery and vein from the depth of my frame, They leaped unrestrained together. III By thine arrow I fell, thou my luck didst dispel, I yielded by fell strength of weather, And, alas, thy love dart is stuck in each part, Thou has reft me my heart altogether. Thou has ruined my face, and stolen my grace, And deepened each trace of depression; Unless thou beguile me with welcome and smile, Death’s in a short while my obsession.
Traduzione italiano di Cattia Salto* I O cuculo del bosco non ti senti afflitto dal mio umore? Nella veglia umida di rugiada, sto sospirando Vorrei allontanarmi con il mio amore all’ombra del boschetto, Ovunque si possa vagare senza domande; Vorrei fronteggiare il vento della brughiera sulla collina Il mio letto consumato La tua bianca forma tornita stesa al mio fianco, Mentre innamorato moltiplicavo le mie carezze II Vidi in un sogno, sembrava sincero E ha addolorato il mio cuore, Un uomo con una fanciulla le cui labbra assaggiò; Nessuna tenerezza rimandata, essendo sposati, Ha rinfrescato il mio fuoco, rinnovato il mio desiderio, Piansi nella mia terribile agitazione, Ogni arteria e vena dalla profondità della mia impalcatura, Esultarono scatenati insieme. III Al tuo dardo caddi, tu la mia buona sorte facesti allontanare Mi sono arreso alla crudele forza della tempesta, E, ahimè, il tuo dardo d’amore è conficcato in ogni parte, Tu mi hai spezzato del tutto il cuore. Mi hai rovinato il volto e rubato la grazia E approfondito ogni traccia di depressione; A meno che tu non mi accetti con il benvenuto e il sorriso, La morte sarà tra poco la mia ossessione.
*una traduzione migliore per tempi migliori
Another version of the melody was later adapted for the Jacobite ‘Skye Boat Song‘. Un’altra versione della melodia è diventata la canzone giacobita dal titolo ‘Skye Boat Song‘.
In the most placid rivers of Ireland and in the dark depths of the Scottish lakes live water demons, fairy creatures, that feed on human flesh: they are “kelpie”, “each uisge” (in English water-horse), “eich- mhara “(in English sea horse); to want to be picky kelpie lives preferably near the rapids of the rivers, fords and waterfalls, while each uisge prefers the lakes and the sea, but kelpie is the most used word for both. Similar creatures are also told in Norse legends (Bäckahästen, the river horse) – and Germanic (nix in the form of fish or frog). (first part)
MORAG AND THE KELPIE
At the summer pastures of the Highlands they are still told of the beautiful Morag (Marion) seduced by a kelpie in human form; she, while noticing the strangeness of her husband, did not understand his true nature, if not after the birth of their child and … she decided to abandoning baby in swaddling clothes and husband shapeshifter!
On the Isle of Skye they still sing a song in Gaelic, ‘Oran-tàlaidh an eich-uisge’ or ‘Oran each-uisge’ (The water kelpie’s song) the “Lullaby of the kelpie” a melancholy air with which the kelpie cradled his child without a mother, and at the same time a plea to Morag to return to them, both he and the child needed her.
Of this lament we know several textual versions handed down to today in the Hebrides. The melodies revolve around an old Scottish aria entitled “Crodh Chailein” (in English “Colin’s cattle) evidently considered a melody of the fairies.
Another song, sweet and melancholic at the same time, is entitled Song of the Kelpie or even ARRANE GHELBY
Dh’èirich mi moch, b’ fheàrr nach do dh’èirich
So translates from Scottish Gaelic Tom Thomson “I got up early, it would have been better not to” (see)
Julie Fowlis in Alterum 2017
Scottish gaelic Dh’èirich mi moch, dh’èirich mi moch, B’fheàrr nach d’ dh’èirich
Mo chreach lèir na chuir a-mach mi. Hill ò bha hò, Hill ò bha hò.
Bha ceò sa bheinn, Bha ceò sa bheinn, is uisge frasach
’s thachair orms’ a’ ghruagach thlachdmhor. Hill ò bha hò, Hill ò bha hò
Bheir mi dhut fìon, Bheir mi dhut fìon, ‘S gach nì a b’ ait leat,
Ach nach èirinn leat sa mhadainn, Hill ò bha hò, Hill ò bha hò.
’Nighean nan gamhna, ’Nighean nan gamhna, Bha mi ma’ riut,
Anns a’ chrò is càch nan cadal Hill ò bha hò, Hill ò bha hò.
An daoidh gheal donn, An daoidh gheal donn, Rug i mac dhomh.
Ged is fuar a rinn i altram, Hill ò bha hò, Hill ò bha hò.
[instrumental]
Bha laogh mo laoidh, Bha laogh mo laoidh, ri taobh cnocan
gun teine, gun sgàth, gun fhasgadh. Hill ò bha hò, Hill ò bha hò.
A Mhòr a ghaoil, A Mhòr, a ghaoil, Till ri d’ mhacan,
’S bheir mi goidean breagha breac dhut.
Hill ò bha hò, Hill ò bha hò.
English translation *
I arose early
I arose early –
would that I hadn’t.
I was distressed by what sent me out (1). Hill ò bha hò, Hill ò bha hò.
There was mist on the hill
There was mist on the hill
and showers of rain
and I came across a pleasant maiden
Hill ò bha hò, Hill ò bha hò.
I’ll give you wine
I’ll give you wine
and all that will please you
but I won’t arise with you in the morning (2). Hill ò bha hò, Hill ò bha hò.
Girl of the calves (3)
Girl of the calves
I was with you in the cattle-fold (4)
and the rest were asleep.
Hill ò bha hò, Hill ò bha hò.
The fine brown wicked one (5)
The fine brown wicked one
bore me a son
although coldly did she nurse him Hill ò bha hò, Hill ò bha hò.
The calf (6) of my song
The calf of my song
was beside a hillock
without fire, protection or shelter (7). Hill ò bha hò, Hill ò bha hò.
Mòr, my love
Mòr, my love, return to your little son
and I’ll give you a beautiful speckled withes (8). Hill ò bha hò, Hill ò bha hò.
NOTE
English translation also here
1) the kelpie, suffering from loneliness, leaves the lake early in the morning and takes on human form
2) the shapeshifter promises food and comfort to the girl to convince her to follow him, but he warns her, he is a nocturnal creature and will not wake up with her in the morning!
3) gamhna = cattle between 1 year and 2 years translates Tom Thomson stitks; that is heifer, the cow that has not yet given birth, the verse in addition to qualifying the work of the girl (herdswoman) also wants to be a compliment, in Italian “bella manza” as a busty woman, with abundant and seductive shapes
4) the kelpie remembers the night meeting when they had sex (and obviously nine months later their son was born)
5) after the good memories of the past it comes the present, the woman has discovered the true nature of her companion and she dislikes their child
6) continuing in the comparison the kelpie calls “calf” its baby, that is “small child”
7) A typical “exposition” of fairy children is described. A practice of “birth control” widespread in the countryside of Europe, was the abandonment of newborns in the forest, so that fairies would take care of them; once the practice was widespread both against illegitimate people, and newborns with obvious physical deformations or ill-looking. The custom of “exposing” the baby was connected with the belief that he was “swapped” or kidnapped by the fairies and replaced with a changeling, a shapeshifter who for a while resembles the human child, but ultimately always takes its true appearance.
8) breagha breac dhut. Tom Thomson translates = speckled band (of withy). I searched the dictionary: it is a crown made by intertwining the branches of willow; it reminds me of the Celtic crowns of flowers and leaves
Margaret Stewart & Allan MacDonald recorded it under the title “Òran Tàlaidh An Eich-Uisge” in 2001 (from Colla Mo Rùn) following the collection of Frances Tolmie (‘Cumha an EichUisge’ vol I)
english translation *
I and III
Sleep my child, Sleep my child
Sleep my child, Sleep my child
Chorus Hì hó, hó bha hó, Hì hó, hao i hà Fast of foot you are Great as a horse you are
II and IV
My darling son
Oh my lovely little horse
You are far from the township
You will be sought after (1)
scottish gaelic
I
O hó bà a leinibh hó, O hó bà a leinibh hà
Bà a leinibh hó bha hó, Hó bà a leinibh hao i hà
(chorus) Hì hó, hó bha hó, Hì hó, hao i hà ‘S luath dha d’ chois thu, hó bha hó ‘S mór nad each thu, hao i hà
II
O hó m’eudail a mac hó
O hó m’eachan sgèimheach hà
‘S fhad ‘n ‘n bhail’ thu, hò bha hò
Nìtear d’iarraidh, hao i hà
NOTE
1) The kelpie sings the lullaby to its child abandoned by the human mother and comforts him by telling him that when he grows up he’ll be a little heartbreaker
A similar story is told in the island of Benbecula with the title of Bheirinn Dhut Iasg, Bheirinn Dhut Iasgsee
Caera in Suantraighe, A Collection of Celtic Lullabies 2006 sings another fragment with the title “The Skye Water Kelpie’s lullaby” (see the version of Marjory Kennedy-Fraser below)
English translation *
Mór (1), my love! Mór, my treasure!
Come back to your little son
and you will get a speckled trout from the lake.
Mór, my darling! Tonight the night
Is wetly showering my son
on the shelter of a knoll.
Mór, my love! Mór, my treasure!
Lacking fire, lacking food, lacking shelter,
and you continually lamenting (2).
Mór, my love! Mór, my darling!
My gray, old, toothless mouth
to your silly little mouth,
and me singing tunes by Ben Frochkie. (3)
Scottish gaelic
A Mhór a ghaoil! A Mhór a shògh!
Till gu d’mhacan is gheabh
thu’m bradan breac o’n loch.
A Mhór a shògh! Tha’n oiche nochd
Gu fliuch frasach aig mo mhacsa
ri sgath chnocain.
A Mhór a ghaoil! A Mhór a shògh!
Gun teine, gun tuar, gun fhasgadh,
is tu sìor chòineadh.
A Mhór a ghaoil! A Mhór a shògh!
Mo sheana-chab liath ri
do bheul beag baoth
is mi seinn phort dhuit am Beinn Frochdaidh.
NOTE
1) Mhórag or Mór is the name of the maiden loved by the kelpie
2) it is the incessant cry of the child abandoned by his human mother in the cold and without food
3) mountain between Gesture and Portree on the Isle of Skye
Skye Water Kelpie’s Lullaby
With the title “Cronan na Eich-mhara”, the same fragment sung by Caera is also reported in the book of Marjory Kennedy-Fraser and Kenneth MacLeod “Songs of the Hebrides” 1909 (page 94)
Kenneth MacLeod I
Avore, my love, my joy
To thy baby come
And troutlings you’ll get out of the loch
Avore, my heart, the night is dark,
wet and dreary.
Here’s your bairnie neath the rock
II
Avore, my love, my joy,
wanting fire here,
wanting shelter, wanting comfort
our babe is crying by the loch
III
Avore, my heart, my bridet
My gray old mouth
touching thy sweet lips,
and me singing Old songs to thee,
by Ben Frochkie (1)
NOTE
1) between Gesto and Portree in Skye
Scottish gaelic
A Mhór a ghaoil! A Mhór a shògh!
Till gu d’mhacan is gheabh
thu’m bradan breac o’n loch.
A Mhór a shògh! Tha’n oiche nochd
Gu fliuch frasach aig mo mhacsa
ri sgath chnocain.
II
A Mhór a ghaoil! A Mhór a shògh!
Gun teine, gun tuar, gun fhasgadh,
is tu sìor chòineadh.
III
A Mhór a ghaoil! A Mhór a shògh!
Mo sheana-chab liath ri
do bheul beag baoth
is mi seinn phort dhuit am Beinn Frochdaidh.
We find ourselves in the umpteenth case of similarity between Gaelic song and English song in which (wrongly) it is assumed that the first one is older than the second one. So “Tha Mo Ghaol Air Àird A ‘Chuain” and “Jamie’s on the stormy sea” are the same song but the version in Gaelic is later than the English one that takes as a model. The author of the English version is of the American Bernard Covert who composed it for the Hutchinsons (of which he was also their agent) in 1847.
[Ci troviamo nell’ennesimo caso di somiglianza tra canzone gaelica e canzone inglese in cui si presuppone (erroneamente) che la prima sia più vecchia della seconda.
Così “Tha Mo Ghaol Air Àird A’ Chuain” e “Jamie’s on the stormy sea” sono la stessa canzone ma la versione in gaelico è successiva a quella inglese che prende come modello. L’autore della versione inglese è dell’americano Bernard Covert che la compose per gli Hutchinsons (di cui era anche l’agente) nel 1847.]
Controversial still the opinion that the song had some Scottish origins for example Aindrias Hirt in applying his theory on the natural scale of the traditional European song does not find correspondence for this melody (see)
[Controverso ancora il parere che il canto avesse avuto delle origini scozzesi ad esempio Aindrias Hirt nell’applicare la sua teoria sulla scala naturale del canto tradizionale europeo non trova corrispondenza per questa melodia (vedi) ]
Dr Emily McEwen-Fujita quotes “This song is thought to have originally been a Scottish pipe tune and the tune was used for an English song composed in the United States by Bernard Covert. One version of it, called, Jamie’s on the Stormy Sea, appeared in the journal of the whaling ship Euphrasia in 1849. The song crossed the Atlantic and was set to Gaelic words by Henry Whyte, who wrote under the pen-name Fionn. The Gaelic version came to Cape Breton in the St. Columba collection of Gaelic songs and used to be sung by Tommy MacDonald of the North Shore Singers. It was from Tommy’s singing that Julie Fowlis learned the song.” (from here) [La dottoressa Emily McEwen-Fujita annota “si crede che questa canzone sia stata in origine una melodia scozzese per cornamusa, e la melodia fu utilizzata per una canzone inglese composta negli States da Bernard Covert [ndt: nel 1847]. Una sua versione, intitolata Jamie’s on the Stormy Sea, comparve nel giornale di bordo della baleniera Euphrasia nel 1849. La canzone attraversò l’Atlantico e venne trasposta in gaelico da Henry Whyte, che scriveva con lo pseudonimo di Fionn. La versione gaelica finì a Capo Bretone nella collezione di canti gaelici di St. Columba e venne cantata da Tommy MacDonald dei North Shore Singers. E’ stato dalla versione di Tommy che Julie Fowlis imparò la canzone”]
Henry Whyte(1832–1915) known under the pseudonym Fionn was a fervent supporter of Gaelic traditions. The pen-name of ” Fionn ” has been for many years recognised as authoritative on all subjects connected with the language, history, poetry, folk-lore, and music of the Highlands, and the popularity which his various publications have enjoyed is best evidenced by the fact that they have either passed through more than one edition or are entirely out of print. His ” Celtic Lyre ” is, without doubt, the most popular collection of Gaelic song and music ever published, and his ” Martial Music of the Clans ” dealt exhaustively with a subject which has not hitherto been adequately treated by any previous writer. As a translator of Gaelic poetry he has few equals, and in his ” Celtic Lyre ” and ” Celtic Garland ” he has given to English literature translations from the Gaelic, not only beautiful and faithful to the original, but with the additional merit of being singable to their native Gaelic airs. (from here) [“Henry Whyte(1832–1915) conosciuto con lo pseudonimo di Fionn era un fervido sostenitore delle tradizioni gaeliche. Il nome di penna Fionn è stato per molti anni riconosciuto come autorevole su tutti gli argomenti connessi con il linguaggio, la storia, poesia, folklore e musica delle Highland, e la popolarità che le sue varie pubblicazioni hanno goduto è meglio evidenziata dal fatto che sono passate per più di una edizione o sono completamente esaurite. ” Celtic Lyre ” è, senza dubbio, la più popolare collezione di canti in gaelico e musica mai pubblicati, e ” Martial Music of the Clans ” tratta esaustivamente un argomento che non è mai stato adeguatamente trattato da un altro studioso precedente. Come traduttore di poesia in gaelico non ha eguali e in ” Celtic Lyre ” e ” Celtic Garland ” ha dato alla letterature inglese traduzioni dal gaelico, non solo belle e aderenti all’originale, ma con il merito aggiuntivo di essere cantabili sulle rispettive melodie nate in gaelico.”
Tha Mo Ghaol Air Àird A’ Chuain
Courtney O ‘Connell Carlson
It is a song of the sea in which a girl on the evening, complains and cries for the fiance away on the sea, her song has the beauty of twilight (it seems that the girl seeks comfort in the peace and quiet of nature , while on the contrary his heart is devastated), so the melody of his song is sweet and sad at the same time. The last stanza brings joy: the man has returned to her safe and sound!
[E’ una canzone del mare in cui una fanciulla sul farsi della sera, si lamenta e piange per il fidanzato lontano sul mare, il suo canto sommesso e dolce ha la bellezza del crepuscolo (sembra che la ragazza cerchi conforto nella pace e quiete della natura, mentre al contrario il suo cuore è devastato), così la melodia del suo canto è dolce e triste nello stesso tempo. L’ultima strofa porta la gioia: l’uomo è ritornato da lei sano e salvo!]
Julie Fowlis in “Mar a Tha Mo Chridhe” 2005 In 2012 the song was included by Disney / Pixar in the trailer of the movie “Brave” decreeing a wide popularity
In 2017 Courtney O’Connell Carlson illustrated the whole song, here is the video
[Nel 2012 il brano è stato incluso dalla Disney/Pixar nel trailer del film Ribelle- The Brave ( in inglese Brave) decretandone una vasta popolarità.
Nel 2017 Courtney O ‘Connell Carlson ha illustrato tutta la canzone ecco il video]
I
Feasgar ciùin an tus a’chèitein
nuair bha ‘n ialtag anns na speuran
chualaim rìbhinn òg ‘s i deurach
seinn fo sgàil nan geugan uain’.
II
Bha a’ghrian ‘sa chuan gu sìoladh
‘s reult cha d’éirich anns an iarmailt
nuair a sheinn an òigh gu cianail
“Tha mo ghaol air àird a’chuain”.
III
Thòisich dealt na h-oidhch’ ri tùirling
‘s lùb am braon gu caoin na flùrain
Shèid a’ghaoth ‘na h-oiteag chùbhraidh
beatha ‘s ùrachd do gach cluan.
IV
Ghleus an nighneag fonn a h-òrain
sèimh is ciùin mar dhriùchd an Òg-mhìos
‘a bha an t-sèisd seo ‘g éirigh ‘n còmhnaidh
“Tha mo ghaol air àird a’chuain”.
V
Chiar an latha is dheàrrs ‘na reultan,
sheòl an rè measg neul nan speuran.
Shuidh an òigh, ‘bròn ga lèireadh,
‘s cha robh dèigh air tàmh no suain.
VI
Theann mi faisg air reult nan òg-bhean
sheinn mu ‘gaol air chuan ‘bha seòladh.
O bu bhinn a caoidhrean brònach
“Tha mo ghaol air àird a’chuain”.
VII
Rinn an ceòl le deòin mo thàladh
dlùth do rìbhinn donn nam blàth-shùil
‘s i ag ùrnaigh ris an Àrd-Rìgh
“Bìon mo ghràdh ‘th’ air àird a’chuain”.
VIII
Bha a cridh’ le gaol gu sgàineadh
nuair a ghlac me fhèin air làimh i.
“Siab o dheòir, do ghaol tha sàbhailt,
thill mi slàn bhàrr àird a’chuain”.
English translation *
I
On a quiet evening at the beginning of May
When the bat was in the skies
I heard a tearful young maiden
Singing beneath the shadow of the green branches
II
The sun was setting in the sea
And no stars yet graced the sky
When the young girl sang sorrowfully
“My love is on the high seas”
III
The night’s dew began to fall
Each bloom yielding softly to the droplets
The wind blew in a fragrant breeze
Bringing life and renewal to each field
IV
The girl tunefully sang her song
Quiet and peaceful like the June dew
And this chorus constantly repeated
“My love is on the high seas”
V
Day darkened and the stars shone
Setting their course amongst the clouds
The maiden sat, burdened by her sadness
Her singing could not have been more soothing
VI
I moved closer to the young woman
Singing of her love sailing on the sea
Oh sweet was her sad lament
“My love is on the high seas”
VII
The music enticed me
Nearer to the brown-haired maiden of the warm eyes
And she prayed to the King of Heaven
“Protect my love on the high seas”
VIII
Her heart was breaking with love
When I took her by the hand
“Wipe your eyes, your love is safe
I have returned to you from the high seas”
Traduzione italiano Cattia Salto
I
In una bella sera all’inizio di Maggio
quando il pipistrello vola nei cieli
ho udito una giovane fanciulla in lacrime
cantare all’ombra delle verdi fronde
II
Il sole stava tramontando sul mare
e ancora nessuna stella ingentiliva il cielo
mentre la giovane fanciulla cantava tristemente:
“Il mio amore è in alto mare”
III
L’umidità della notte iniziava a cadere
ogni bocciolo si piegava delicatamente sotto le gocce
il vento soffiava una profumata brezza
portando vita e rinnovamento in ogni campo
IV
La ragazza cantava la sua canzone melodiosamente
quieta e placida come la rugiada di Giugno
il cui coro ripeteva costantemente
“Il mio amore è in alto mare”
V
Il giorno si fece buio e le stelle splendevano
seguendo il loro cammino tra le nuvole
la fanciulla sedeva, oppressa dal dolore
il suo canto non poteva essere più dolce
VI
Mi sono avvicinato alla giovane
che cantava dell’amore che navigava in mare,
oh dolce era il suo triste lamento
“Il mio amore è in alto mare”
VII
La musica mi richiamava
più vicino alla morettina dagli occhi caldi
e lei pregava al Signore del Cielo
“Proteggi il mio amore in alto mare”
VIII
Il suo cuore si stava spezzando per amore
mentre la prendevo per mano
“Asciugati gli occhi, il tuo amore è al sicuro
sono ritornato da te dall’alto mare”
NOTE
Jamie’s on the stormy sea (Bernard Covert)
Bernard Covert (1805-1885) American singer and songwriter. His career in music flourished during the 1840s and 50s, when he published many of his songs in a variety of magazines. Early in his life he lived in Franklin, New York, but later frequently worked in Albany, New York. He was best known for his temperance songs, which he sang as part of a duo with Ossian Dodge (from here) Not only did Bernard Covert write a number of songs that the Hutchinsons performed, he also served as their advance agent in 1863 and sang with them in 1876 and probably at other times, as well. (from here)
[Bernard Covert (1805-1885) era un cantante e cantautore americano. La sua carriera nella musica fiorì negli anni ’40 e ’50, quando pubblicò molte delle sue canzoni in una varietà di riviste. All’inizio della sua vita visse a Franklin, New York, ma in seguito lavorò spesso ad Albany, New York. Era meglio conosciuto per le sue canzoni di temperanza, che cantava come parte di un duo con Ossian Dodge (tradotto da qui)
Bernard Covert non solo ha scritto un certo numero di canzoni eseguite dagli Hutchinson, ha anche prestato servizio come loro agente nel 1863 e ha cantato con loro nel 1876 e probabilmente anche in altre occasioni. (tradotto da qui)] “Jamie’s on the stormy sea!” it was his most famous song
[“Jamie’s on the stormy sea!” fu il suo brano più famoso] Jane Cassidy
English translation *
I
Ere the twilight bat was flitting,
In the sunset, at her knitting,
Sang a lonely maiden, sitting
Underneath her threshold tree;
And, ere daylight died before us,
And the vesper stars shone o’er us,
Fitful rose her tender chorus
“Jamie’s on the stormy sea!”
II
Warmly shone the sunset glowing;
Sweetly breath’d the young flow’rs blowing;
Earth, with beauty overflowing,
Seem’d the home of love to be;
As those angel tones ascending,
With the scene and season blending,
Ever had the same low ending
“Jamie’s on the stormy sea!”
III
Curfew bells remotely ringing,
Mingled with that sweet voice singing
And the last red ray seemed clinging
Lingeringly to tower and tree;
Nearer as I came, and nearer,
Finer rose the notes, and clearer;
Oh! ‘twas heaven itself to hear her
“Jamie’s on the stormy sea!”
IV
“Blow, ye west winds! blandly hover
O’er the bark that bears my lover;
Gently blow, and bear him over
To his own dear home and me;
For, when night winds bend the willow,
Sleep forsakes my lonely pillow,
Thinking of the foaming billow
Jamie’s on the stormy sea!”
V
How could I but list, but linger,
To the song, and near the singer,
Sweetly wooing heaven to bring her
Jamie from the stormy sea;
And while yet her lips did name me,
Forth I sprang – my heart o’ercame me
“Grieve no more, sweet, I am Jamie,
Home returned to love and thee!”
Traduzione italiano Cattia Salto
I
Il pipistrello volava nel crepuscolo
al tramonto, lavorando a maglia
cantava una fanciulla solitaria seduta
sotto al pergolato (1)
e prima che morisse la luce del giorno dietro a noi, e le stelle della sera brillassero su di noi,
a tratti si alzava il suo canto delicato
“Jamie è sul mare in tempesta!”
II
Splendeva caldo il raggiante tramonto
soavemente respiravano i giovani fiori in boccio,
la terra di una bellezza traboccante
sembrava essere la casa di Amore;
mentre quelle note angeliche salivano
mescolandosi con l’atmosfera della stagione
tuttavia avevano lo stesso finale basso
“Jamie è sul mare in tempesta!”
III
Le campane del coprifuoco suonavano in lontananza, mescolandosi con quel dolce canto
e l’ultimo raggio rosso sembrava aggrapparsi a lungo alla torre e all’albero
mentre mi avvicinavo sempre più
belle salivano le note e più chiare,
oh era il cielo stesso ad ascoltarla
“Jamie è sul mare in tempesta!”
IV
“Oh soffia vento dell’ovest! Librati gentile
sul legno che porta il mio amore;
soffia dolcemente e portalo
alla sua cara casa e a me;
perchè quando i venti della notte piegano il salice,
il sonno abbandona il mio cuscino
al pensiero dei marosi schiumanti
Jamie è sul mare in tempesta!”
V
Come potevo tuttavia elencare la canzone,
ma indugiare vicino alla cantante,
dolcemente corteggiava il paradiso per portarle
Jamie dal mare in tempesta;
E mentre ancora le sue labbra mi chiamavano,
in avanti scattai , sopraffatto dal sentimento
“Non piangere più, amore, io sono Jamie,
ritornato a casa per amarti ”
NOTE
1) ho preferito tradurre con pergolato ma threshold tree è letteralmente l’albero davanti all’uscio, in genere nelle case di campagna si stratta di un rampicante che dona ombra alla facciata e sparge il suo soave profumo.
A ghaoil, leig dhachaigh gum mhathair mi (O love, let me home to my mother) is a Scottish Gaelic song from the Hebrides: it is the plea of a girl kidnapped by the kelpie to be allowed to return home. It was customary for the Kelpie to take a human bride to feel less alone, but the brides were not always happy to live on the bottom of the lake, to take care of the kelpie’s house! Although the Scottish maidens are dissuaded by many folk tales to walk alone on the moors and on the banks of the loch, there is always the most innocent or adventurous, which inevitably ends up making bad encounters.
[A ghaoil, leig dhachaigh gum mhàthair mi (O love, let me home to my mother) è un canto in gaelico scozzese proveniente dalle Isole Ebridi: è la supplica di una fanciulla rapita dal kelpie affinchè le sia concesso di ritornare a casa. Era consuetudine per il Kelpie prendersi una sposa umana per sentirsi meno solo, ma non sempre le spose erano felici di vivere sul fondo del lago ad accudire alla casetta del kelpie! Sebbene le fanciulle scozzesi siano dissuase da molti racconti popolari ad andarsene sole solette per la brughiera e sulle rive dei loch, c’è sempre quella più ingenua o avventurosa, la quale immancabilmente finisce per fare brutti incontri..]
Ulli Boegershausenguitar arrangiament [arrangiamento per chitarra]
Scottish Gaelic
I
A ghaoil, leig dhachaigh gum mhàthair mi;
A ghràidh, leig dhachaigh gum mhàthair mi;
A ghaoil, leig dhachaigh gum mhàthair mi –
An tòir chrodh-laoigh a thàine mi.
II
Gur ann a-raoir a chuala mi
Mo ghaol a bhith ri buachailleachd,
’S ged fhuair thu ’n iomall na buaile mi,
A ghaoil, leig dhachaigh mar fhuair thu mi.
III
‘S mi dìreadh ris na gàrraidhean,
’S a’ teàrnadh ris na fàirichean,
Gun d’ thachair fleasgach bàigheil rium,
’S cha d’ dh’ fheuch e bonn ga chàirdeis rium.
IV
Ged bheireadh tu crodh agus caoraich dhomh,
Ged bheireadh tu eachaibh air thaodaibh dhomh,
Ged bheireadh tu sin agus daoine dhomh,
A ghaoil, leig dhachaigh mar fhuair thu mi.
V
Trodaidh m’ athair ’s mo mhàthair riut,
Trodaidh mo chinneadh ’s mo chàirdean riut,
Ach marbhaidh mo thriùir bhràithrean thu
Mura tèid mi dhachaigh mar thàine mi.
VI
Gheall mo mhàthair gùn thoirt dhomh,
Gheall i ribean a b’ ùire dhomh,
Is gheall i breacan ùr thoirt dhomh
Ma thèid mi dhachaigh mar fhuair thu mi.
English translation *
I
Love, let me home to my mother
Darling, let me home to my mother
Love, let me home to my mother
I only came for the cattle.
II
It was only last night
That I heard that my love was herding
And though you found me at the brim of the fold
Love, let me home as you found me.
III
I was clambering up the dykes
And descending the ridges
When a friendly lad met me
And he did not enforce his friendship on me.
IV
Though you were to give me cattle and sheep
Though you were to give me tethered horses
Though you were to give me that and men
Love, let me home as you found me.
V
My mother and father will chastise you
My clan and my relatives will chastise you
But my three brothers will kill you
If I don’t return home as I came.
VI
My mother promised me a gown
Decorated with the newest of ribbons
And she promised me a new plaid
If I return home the way you found me.
traduzione italiano Cattia Salto
I
Mio caro, fammi tornare a casa da mia madre
Fammi tornare a casa da mia madre
Amore (1), fammi tornare a casa da mia madre
Sono arrivata qui solo per il bestiame (2).
II
E ‘ stato solo la scorsa notte
Ho sentito che il mio amore era al pascolo
E anche se mi hai trovata ai bordi del pascolo
Fammi tornare a casa come mi hai trovata.
III
Mi arrampicavo sulle erte
E scendevo dalle creste,
Quando un giovanotto cordiale mi ha incontrato
E non mi ha imposto la sua amicizia.
IV
Anche se tu potessi darmi bestiame e pecore,
Anche se tu potessi darmi dei cavalli impastoiati,
Anche se tu potessi darmi questo e dei servitori,
Fammi tornare a casa come mi hai trovata.
V
Mia madre e mio padre ti puniranno
Il mio clan e i miei parenti ti puniranno
Ma i miei tre fratelli ti uccideranno
Se non tornassi a casa come sono venuta.
VI
Mia madre mi ha promesso un abito
Decorato con i nastri più nuovi
E lei mi ha promesso un nuovo mantello
Se tornassi a casa come mi hai trovata.
NOTE
1) the girl coaxes the kelpie, but to call him “my love” it is a bit out of the context of a fleeting encounter, maybe they have lived together and now she feels homesick . Yet that of the girl is clearly a plea of not being violated to return home with her virginity intact [la fanciulla blandisce il kelpie, ma chiamarlo amore mio è un po’ fuori dal contesto di un fugace incontro, forse i due hanno vissuto insieme per un po’ di tempo e adesso lei sente la nostalgia di casa. Eppure quella della fanciulla è chiaramente una supplica di non essere violata per ritornare a casa con la sua verginità intatta]
2) the girl justifies her curiosity by explaining that she had gone to those solitary places for her job as guardian of the family’s cattle; in the next stanza she even explains that she hoped to meet another herdsman / shepherd boy; that is she is there for the cattle, not for sex [la fanciulla giustifica la sua curiosità spiegando di essersi spinta verso quei luoghi solitari nella sua mansione di guardiana del bestiame della famiglia; nella strofa successiva addirittura spiega che sperava d’incontrare un altro mandriano/pastorello; lei è li per il bestiame, non per fare sesso]
“Dream Angus” is the Scottish version of Sandman (affectionately called Sandy) a mythical character of Northern Europe folklore, the sandy wizard, who brings happy dreams sprinkling magic sand into the eyes of sleeping children. In the animated movie by Dreamworks “Rise of the Guardians” he is a mute character who communicates through images formed with his magic golden dust; always cheerful, provides children with beautiful dreams and unleashes their imagination. [“Dream Angus” è la versione scozzese dell’Omino dei Sogni (in inglese Sandman chiamato affettuosamente Sandy) un personaggio mitico del folklore del Nord Europa, il mago sabbiolino, che porta sogni felici cospargendo di sabbia magica gli occhi dei bambini addormentati. Nella versione animata della Dreamworks “Le 5 Leggende” (in inglese “Rise of the Guardians”) è un personaggio muto che comunica attraverso immagini formate con la sua dorata polvere magica; sempre allegro, fornisce ai bambini dei bei sogni e sbriglia la loro immaginazione.]
In the fairy tale of Andersen, Ole Lukøje (in English Ole-Luk-Oie) tells the sleeping children fantastic stories opening up an umbrella full of drawings on their heads (but only good children can make happy dreams, the disobedient ones sleep without dreams and the little man opens an umbrella without drawings on their heads). The italian Gianni Rodari has undergone the charm of this character dedicating him a nursery rhyme in which he outlined a mischievous but good-natured spirit. [Nella fiaba di Andersen Ole Chiudigliocchi (Ole Lukøje in inglese Ole-Luk-Oie) racconta ai bambini addormentati delle storie fantastiche aprendo sopra alla loro testa un ombrello pieno di disegni (ma solo i bambini buoni possono essere felici nel sogni, quelli disobbedenti dormono senza sogni e l’omino apre sulle loro teste un ombrello senza disegni). Il nostro Gianni Rodari ha subito il fascino del personaggio dedicandogli una filastrocca in cui l’onimo dispettoso ma bonario dorme sotto il nostro comò di giorno.]
And yet Hoffmann recounts about Der Sandmann who is a dark version of the boogeyman: he snatch the eyes of the children who does not want to sleep to feed his ravenous offspring. E tuttavia Hoffmann racconta dell’uomo della sabbia (Der Sandmann) che è una cupa versione dell’uomo nero: ai bambini che non volevano dormire strappava gli occhi per darli in pasto alla sua è famelica prole dal becco ricurvo come i rapaci della notte.]
Angus
In the Celtic mythology Angus (Aengus) is the god of youth, of poetic inspiration and love, son of the Nymph Boann and of the Dagda of the Tuatha Dé Danann. In a scottish goodnight song he is called “Dream Angus“, the god of dreams and by night he carries a bag full of dreams. His wife is Caer Ibormeith and their love story is the meeting of the twin souls that can not be separated. [Nella mitologia celtica Angus (Aengus) è il dio della giovinezza, dell’ispirazione poetica e dell’amore, figlio della Ninfa Boann e del Dagda dei Tuatha Dé Danann. In una canzone della buonanotte è chiamato “Dream Angus”, il dio dei sogni e la notte porta una sacca piena di sogni in vendita. Sua moglie è Caer Ibormeith (Bacca di Tasso) la loro storia è l’incontro delle anime gemelle che non possono essere separate. ]
Twin souls
Illustration from The Dream of Aengus, by Ted Nasmith
According to the myth, Angus fell in love with a maiden he saw in his dreams. But she was under a spell and to be able to free her, Angus had to recognize her while she was living in the form of a swan. After much research he knew he would have to waited till Samain for going to Lake Dragon’s Mouth (Loch Bel Dracon), where he found 150 swans tied to couples with silver chains. [Secondo il mito, Angus si innamorò della fanciulla che vedeva nei suoi sogni. Ma la fanciulla era sotto un sortilegio e per poterla liberare Angus doveva riconoscerla mentre viveva nella forma di cigno. Dopo molte ricerche seppe di doverla aspettare per la festa di Samain al lago di Dragon’s Mouth (Loch Bel Dracon in italiano Bocca del Drago) dove trovò 150 cigni legati a coppie con catene d’argento.]
Aengus sings in front of the lake during his transformation into a swan [Aengus canta davanti al lago nella sua trasformazione in cigno]- John Duncan 1908
Angus turned into a swan to call Caer, so they flew together over the lake three times singing a sweet melody that fell asleep all Ireland for three days and three nights; now they live in Brugh Na Boinne (Newgrange). [Angus si trasformò in cigno per poter chiamare la sua Caer, così volarono insieme sorvolando il lago per tre volte cantavano una dolce melodia che addormentò l’Irlanda per tre giorni e tre notti; ora dimorano nel Brugh Na Boinne (Newgrange).]
Yeats dedicates a poem to him The song of wandering Aengus published in 1899, in the collection of poems “The Wind among the reeds”. The first to put the poem into music was the same Yeats who composed or adapted a traditional Irish melody: in 1907 he published his essay ‘Speaking to the Psaltery’ in which the poem is recited bardically, sung with the accompaniment of the psaltery; but many other artists were inspired by the text and composed further melodies. (see more)
Yeats gli dedica una poesia The song of wandering Aengus (La canzone di Aengus l’errante) pubblicata nel 1899, nella raccolta di poesie “The Wind among the reeds” (Il vento fra le canne). Il primo a mettere in musica la poesia è stato lo stesso Yeats che la compose o che vi adattò una melodia tradizionale irlandese : nel 1907 diede alle stampe il suo saggio ‘Speaking to the Psaltery’ in cui la poesia viene recitata alla maniera bardica ovvero cantata con l’accompagnamento del salterio; ma molti altri artisti furono ispirati dal testo e composero ulteriori melodie. continua
Dream Angus
Dream Angus is a legendary character in Scottish folklore that brings beautiful dreams to sleeping children. “From the moment Angus is born it is obvious that he is a gentle spirit and will be universally loved. Songbirds circle his head to serenade him to sleep as he rocks in his cradle, and the wildest hunting dog calms when in his presence.” (from qui) Angus dei Sogni è un personaggio leggendario nel folklore scozzese che porta bei sogni ai bambini addormentati “Subito dalla sua nascita Angus è uno spirito gentile e sarà universalmente amato: gli uccelli canterini gli girano intorno alla testa per farlo addormentare, mentre si dondola nella culla, e il cane da caccia più selvaggio si calma quando è in sua presenza“.
Jackie Oates
Jean-Luc Lenoir in Old Celtic & Nordic Lullabies” 2016
Lynn Morrison
I Can ye no hush your weepin’? All the wee lambs are sleepin’ Birdies are nestlin’ nestlin’ together Dream Angus is hirplin’ oer the heather Chorus Dreams to sell, fine dreams to sell Angus is here wi’ dreams to sell Hush my wee bairnie and sleep without fear Dream Angus has brought you a dream my dear. II List’ to the curlew cryin’ Faintly the echos dyin’ Even the birdies and the beasties are sleepin’ But my bonny bairn is weepin’ weepin’ III (1) Soon the lavrock sings his song Welcoming the coming dawn Lambies coorie doon the gither Wi’ the yowies in the heather
Traduzione italiano Cattia Salto I Perchè non smetti di piangere? Tutti gli agnellini sono addormentati, gli uccellini si stanno accoccolando insieme Angus dei Sogni si aggira per la brughiera Coro Sogni da vendere, bei sogni da vendere Angus è qui con i sogni da vendere shhh mio piccolino, dormi senza paura Angus dei Sogni ti ha portato un sogno mio caro II Ascolta il chiurlo che grida piano si smorza l’eco anche gli uccellini e le bestie dormono ma il mio piccolino piange, piange III Presto l’allodola leverà il suo canto per salutare l’arrivo dell’alba gli agnelli si rannicchiano assieme con le pecorelle nell’erica
NOTE 1) or Sweet the lavrock sings at morn, Heraldin’ in a bright new dawn. Wee lambs, they coorie doon taegether Alang with their ewies in the heather.
The musical arrangements are however for everyone. [Gli arrangiamenti sono però per tutti i gusti] Debra Fotheringham
The Corries
Annie Lennox
Nam bu leam fhin thu thaladhainn thu
The melody of Dream Angus is very similar to a Gaelic lullaby “Nam bu leam fhin thu thaladhainn thu“, which is believed to have been sung by a fairy to an abandoned human child in the forest. On the Isle of Skye (Hebrides) it is associated with MacLeods clan of Dunvegan, who took enchanted creatures as nurses for their children. Christina Stewart reports a couple of legends associated with this song: In an alternative story, the wife of the chief of the MacLeods gives birth to a baby, much to the joy of the family. However, the mother is a fairy woman and while the child is still a baby, she is forced to return to her own people. One night, there is a great feast going on in Dunvegan Castle and the nursemaid who is supposed to be caring for the child is so attracted by the colour and festivity that she leaves the baby sleeping and goes to watch. While she is away, the baby wakens and begins to cry. When she hears it, she comes back and finds a woman cradling the baby, singing this song to him. She has wrapped the child in an embroidered, yellow covering. As the child calms, the woman hands the child back to the nursemaid and leaves. The story goes that the woman was the baby’s mother, returned to see that her child was kept from harm and the yellow cover was the so-called Fairy Flag of Dunvegan, a banner which the clan should wave at times of dire need. Legend has it that this otherworldly banner has miraculous powers and when unfurled in battle, the clan MacLeod would invariably defeat their enemies. It can only be waved 3 times, though, after which it will fall into dust. The flag has been waved twice so far – in 1480 at Blàr Bàgh na Fala and ten years later at the Battle of Glendale. The flag itself certainly exists and is a popular attraction at Dunvegan Castle. There are many stories associated with it and it’s origins and this is not the only lullaby said to have been sung by the baby’s mother. (from here) La melodia di Dream Angus è molto simile a una ninna nanna gaelica “Nam bu leam fhin thu thaladhainn thu”, che si ritiene sia stata cantata da una fata a un bambino umano abbandonato nella foresta. Sull’isola di Skye (Isole Ebridi) è associata al clan MacLeods di Dunvegan che prendeva delle creature fatate come balia per i figli. Christina Stewart riporta un paio di leggende associate a questo canto “In una storia alternativa, la moglie del capo dei MacLeod da alla luce un bambino, tutto per la gioia della famiglia. Tuttavia, la madre è una fata e quando il bambino è ancora piccolo, è costretta a tornare dalla sua stessa gente. Una notte, c’è una grande festa in corso nel Castello di Dunvegan e la bambinaia che doveva prendersi cura del bambino è così distratta dalla festa che lascia il bambino addormentato e va a vedere. Mentre lei è via, il bambino si sveglia e comincia a piangere. Quando lo sente, torna e trova una donna che culla il bambino, cantando questa canzone per lui. Aveva avvolto il bambino in una coperta gialla ricamata. Mentre il bambino si calma, la donna restituisce il bambino alla balia e se ne va. La storia racconta che la donna era la madre del bambino, tornata a vedere che il suo bambino fosse al sicuro e la copertina gialla era la cosiddetta “Fairy Flag of Dunvegan”, uno stendardo che il clan avrebbe dovuto agitare nei momenti di estremo bisogno. La leggenda narra che questo vessillo ultraterreno abbia poteri miracolosi e quando dispiegato in battaglia, il clan MacLeod avrebbe invariabilmente sconfitto i loro nemici. Può essere sventolato solo 3 volte, dopo di che cadrà nella polvere. La bandiera è stata sventolata due volte finora – nel 1480 a Blàr Bàgh na Fala e dieci anni dopo nella Battaglia di Glendale. La bandiera di per sé certamente esiste ed è un’attrazione popolare al Castello di Dunvegan. Ci sono molte storie associate ad esso e alle sue origini e questa non è l’unica ninnananna che si dice sia stata cantata dalla madre del bambino.”
Christina Stewart in Bairn’s Kist 2011
Scottish gaelic Thàladhainn, thàladhainn, thàladhainn thu Nam bu leam fhìn thu, leanabh mo chìche Nam bu leam fhìn thu, thàladhainn thu Thàladhainn, thàladhainn, thàladhainn thu
English translation: If you were mine, I would lull you Lull, lull, lull you If you were mine, child of my breast If you were mine, I would lull you Lull, lull, lull you
traduzione italiano Cattia Salto Se tu fossi mio, ti cullerei cullerei, cullerei se tu fossi mio, bimbo del mio seno se tu fossi mio, ti cullerei cullerei, cullerei
“Crònan Cuallaich” is a Scottish Gaelic song collected on the island of Benbecula (Hebrides) and also transcribed by Alexander Carmicheal in his “Carmina Gadelica” Vol I # 105.
In English “herding croon” is a prayer of protection, sung to the grazing cattle to keep it quiet. The structure, however, is that of the waulking song and as such handed down in the Hebrides.
The Highland cow looks very funny, it almost seems like a Himalayan jak, it is a bovine breed originally from Scotland, also known as Hebridean breed, Hairy Coo, Heilan Coo or Kyloe. With a long, thick and bristly fur and horns of up to one and a half meters it is docile in character, lives outdoors all year round and rarely gets sick. Its particular physical constitution is due to the adaptation to cold and even glacial climates. As far as one single race is concerned, there are two ancestors: one of black color and of smaller size, the other one of reddish color and of bigger size. The breed is very appreciated for its meat (lean and without cholesterol), and has been exported to various parts of the world in America, Australia and Europe, in Italy we find it in South Tyrol, Veneto, Liguria and Lombardy.
Distant Oaks in “Gach Là agus Oidhche: Music of Carmina Gadelica” 2003
An crodh an diugh a dol imirig, Hill-i-ruin is o h-ug o,
Ho ro la ill o,
Hill-i-ruin is o h-ug o, Dol a dh’ itheadh feur na cille, Hill-i-ruin is o h-ug o, Am buachaille fein ann ’g an iomain, Ho ro la ill o,
Hill-i-ruin is o h-ug o, ’G an cuallach, ’g an cuart, ’g an tilleadh, Hill-i-ruin is o h-ug o, Bride bhith-gheal bhi ’g am blighinn, Hill-i-ruin is o h-ug o, Muire mhin-gheal bhi ’g an glidheadh, Hill-i-ruin is o h-ug o, ’S Iosa Criosda air chinn an slighe,
Iosa Criosda air chinn an slighe. Hill-i-ruin is o h-ug o.
english translation
The cattle are today going a-flitting(1),
Going to eat the grass of the burial place,(2)
Their own herdsman there to tend them,
Tending them, fending them, turning them,
Be the gentle Bride(3) milking them,
Be the lovely Mary keeping them,
And Jesu Christ at the end of their journey.
NOTE
1) escaping on the sly
2) according to the testimony of Marjory Kennedy-Fraser the locality of reference is Grimnis (Griminish) in particular a fairy hill (a burial mound)
3) the goddess Bride is syncretically approached to Jesus Christ and to the Virgin Mary. The invocation to the Gruagach, the sea maid, a sort of guardian spirit of the house and of the cattle, is inevitable
UIST CATTLE CROON
The song is among those collected by Marjory Kennedy-Fraser in his trip to the Hebrides and merged in her book “Songs of the Hebrides“. The melody is also reported by Frances Tolmie who collected it at Kilmaluagon on the Isle of Skye. Alison Pearce in Land of Hearts Desire – Songs of the Hebrides. A classical version (soprano and harp) with the arrangement of Kennedy-Fraser
I
Today the kye win to hill pasture, Hill-i-ruin is o h-ug o,
Sweet the grass of cool hill pastures Hill-i-ruin is o h-ug o,
Breedja(3) fair white be at their milking, Hill-i-ruin is o h-ug o,
Lead the kye to the hill pastures Hill-i-ruin is o h-ug o,
II
Today the kye “flit”(1) to hill pastures
There to graze on sweet hill grasses
Mary(1), gentle be at their keeping,
Keeping all out on hill pastures
NOTE
1)Bride and the virgin Mary are confused in a single protective deity, or in this version of the rev Kenneth Macleod Mary is more prosaically a beautiful herdswiman. The task of watching cattle in the pastures was once reserved for boys and girls.
In the rural economy of the past milking the cows (as well as the preparation of butter and cheese) was a task performed by women. Thus the wisdom of the Celtic women has given rise to a whole series of work songs, which are also spells to ward off the evil eye and to calm the cows, so that the milk production is abundant and blessed. It is well known that goblins are fond of butter and milk, and folklore includes witches and disturbing animals like milk suckers with hostile intentions, or determined to make the milk sour, or to prevent the transformation of the cream into butter!
THE SYMBOLS OF THE GODDESS
A maiden milking a cow is a figure found carved on the walls of many medieval churches, and is a very old presence in the land of Ireland, or more generally along the coasts of Europe: already in the megalithism there are names like The Cow and Calf attributed to particular rocks.. see more
MILKING SONG: Colin’s cattle
In the peasant world there existed a whole series of prayers and invocations, often in the form of songs, which were part of the cultural baggage dating back to the time of the Druids; these Ortha nan Gaidheal in Scottish Gaelic, come from the bardic tradition that survived in the folklore, through the centuries of Christianity and despite the English cultural hegemony, and were collected and translated at the end of 1800 by Alexander Carmichael (1832-1912), who published them in his book “Carmina Gadelica”.
“Crodh Chailein” ( “Colin’s cattle”) is classified as a “milking song” and recorded on the field by Alan Lomax (South Uist) in the 1950s: it is a lullaby whispered to the cows to keep them quiet during milking, and to stimulate them magically in the production of a lot of milk. Scottish cows are so used to this treatment that they do not give milk without a song !!
Listen these three milking songs in sequence:: “Crodh Chailein”, “Chiùinan Ghràidh” e “a’ Bhanarach Chiùin”
Ethel Bassin in her “The Old Songs of Skye: Frances Tolmie and her Circle” (1997) shows two verses of the song collected by Isabel Cameron of the Isle of Mull (internal Hebrides) along with the legend of its origin reported by Niall MacLeòid , “the Skye bard.”
Who sings is the woman kidnapped by the fairies on her wedding day and yet she gets permission to go every day to milk the cows of her husband named Colin: the husband can hear her singing but he can not see her. The bard assures us that the woman will return after one year and a day to her human husband! The abduction of the bride on wedding day was not so remote a possibility according to the beliefs of the time and there were many tricks to keep the fairies away in that occasion! (see more).
According to another legend, Colin’s wife dies at a young age and comes back a few months after her burial for the evening milking of the cows singing this song
Mary Cameron Mackellar writes in her essay ‘The Shieling: Its Traditions and Songs’ (Gaelic Society of Inverness 1889 from here) “Weird women of the fairy race were said to milk the deer on the mountain tops, charming them with songs composed to a fairy melody or “fonn-sith.” One of these songs is said to be the famous “Crodh Chailein.” I give the version I heard of it, and all the old people said the deer were the cows referred to as giving their milk so freely under the spell of enchantment. .. Highland cows are considered to have more character than the Lowland breeds, and when they get irritated or disappointed, they retain their milk for days. This sweet melody sung – not by a stranger, but by the loving lips of her usual milkmaid – often soothes her into yielding her precious addition to the family supply.” Mary Mackellar lyrics
Seist (chorus)
Chrodh Chailein, mo chridhe,
Crodh Iain, mo ghaoil,
Gun tugadh crodh Chailein,
Am bainn’ air an fhraoch.
I
Gun chuman, gun bhuarach,
Gun lao’-cionn, gun laogh,
Gun ni air an domhan,
Ach monadh fodh fhraoch.
II
Crodh riabhach breac ballach,
Air dhath nan cearc-fraoicb,
Crodh ‘lionadh nan gogan
‘S a thogail nan laogh.
III
Fo ‘n dluth-bharrach uaine,
‘S mu fhuarain an raoin,
Gun tugadh crodh Chailein
Dhomh ‘m bainn’ air an fhraoch.
IV
Crodh Chailein, mo chridhe,
‘S crodh Iain, mo ghaoil,
Gu h-uallach ‘s an eadar-thrath,
A beadradh ri ‘n laoigh
The melody (see) also called Crochallan is also known as My Heart’s In The Highlands . The oldest version in print (text and score) is in “The Elizabeth Ross Manuscript” (1812)
Scots Gaelic (from here) Seist (chorus) Crodh Chailein mo chridhe Crodh chailein mo ghaoil Gu’n tugadh crodh Chailein Dhomh bainn’ air an fhraoch I
Gu’n tugadh crodh Chailein
Dhomh bainn’ air an raon
Gun chuman(1), gun bhuarach
Gun luaircean(2), gun laugh.
II
Gu’n tugadh crodh Chailein
Dhomh bainne gu leoir
Air mullach a’ mhonaidh
Gun duine ‘nar coir
III
Gu bheil sac air mo chridhe
’S tric snidh air mo ghruaidh
agus smuairean air m’aligne
Chum an cadal so bhuam
IV
Cha chaidil, cha chaidil
cha chaidil mi uair
cha chaidil mi idir
gus an tig na bheil uam.
The cattle of Colin my dearest, The cattle of Colin my love, Colin’s cattle would give me milk Upon the heather
I
Colin’s cattle would give me milk
Upon the field,
without a cogue(1), without a shackle,
without a luaircean(2), without a calf.
II
Colin’s cattle would give
plenty of milk to me,
on top of the moor
without anyone near us.
III
There is a weigh on my dart,
and often tears on my cheek,
And sorrow on my mind
That has kept sleep from me.
IV
I will not sleep, I will not sleep,
I will not sleep an hour,
I will not sleep at all
until what I long for returns.
NOTE
1) cogue = wooden vessel used for milking cows
2) luaircean = a substitute calf, an inanimate prop over which the skin of a milk cow’s deceased calf was draped, in order to console her with it’s scent, thus encouraging her to continue to produce milk
Morvyn Menzies
English translation Charles Stewart*
I
I won’t sleep, I won’t sleep
I won’t sleep one hour,
I won’t sleep at all
Until what was taken returns.
II
May Colin’s cattle give me
Milk for their love of me,
At the top of the hill
With no one nearby. Chorus Cows of my beloved Colin Iain’s cows, my dear; Cows that would fill up the milking bucket, Cows that rear the calves
III
My heart is heavy,
Tears frequently on my cheeks,
My mind is dejected,
And this stops me sleeping.
IV
I won’t go to the birch wood
Or gathering nuts;
On a brown, ragged plaid
I wait for the cows.
Scots Gaelic (from here)
I
Cha chaidil, cha chaidil,
Cha chaidil mi uair,
Cha chaidil mi idir
Gus an tig na bheil bhuam.
II
Gun toireadh crodh Chailein,
Dhomh bainn’ air mo ghaol,
Air mullach a’ mhonaidh,
Gun duine nar taobh. Seist (chorus)
Crodh Chailein mo chridhe, Crodh Iain, mo ghaoil; Crodh lìonadh nan gogan, Crodh togail nan laogh.
III
Gu bheil sac air mo chridhe,
’S tric snigh’ air mo ghruaidh,
Agus smuairean air m’ aigne,
Chùm an cadal seo bhuam.
IV
Cha tèid mi don bheithe,
No thional nan crò;
Air breacan donn ribeach
Tha mi feitheamh nam bò.
Ushag Veg Ruy is a traditional lullaby of the Isle of Man preserved in three versions, known in Scotland under the title of Uiseag Bheag Ruaidh.
[Ushag Veg Ruy è una ninnananna tradizionale dell’Isola di Man conservata in tre versioni, nota in Scozia con il titolo di Uiseag Bheag Ruaidh]
Manxs gaelic version: Ushag Veg Ruy
The first version is based on a Scots song, Craigieburn Wood; the second appears in the Moore collection ( in ‘Manx Ballads and Music’, Moore, 1896); and the third was recorded by P. W. Caine of Douglas and sung by his father. It has similarities with the Gaelic song, An Coineachan. [La prima versione è basata su una canzone scozzese, Craigieburn Wood; la seconda appare nella raccolta Moore (in ‘Manx Ballads and Music’, Moore, 1896); e la terza è stata registrata da P. W. Caine di Douglas (Isola di Man) e cantata da suo padre. Richiama la canzone irlandese, An Coineachan] Emma Christian in Celtic Voices – Women of Song 1995
Caera in Suantraighe 2006
Gráinne Holland in Teanga Na nGael (the “Language of the Gael”) 2015
Zoe Conway
Jean-Luc Lenoir in “Berceuses Celtiques – A la rencontre des Fées” 2016 – Old Celtic & Nordic Lullabies
Ushag veg ruy ny moanee doo
Moanee doo, moanee doo
Ushag veg ruy ny moanee doo
C’raad chaddil oo riyr ‘syn oie?
I
Nagh chaddil mish riyr er baare y crouw
Baare y crouw, baare y crouw
Lesh fliaghey tuittym er dagh cheu
As ogh! My chadley cha treih
II
Nagh chaddil mish riyr er baare y dress
Baare y dress, baare y dress
Tra va’n gheay sheidey v’ey gymmyrkey lhee
As ogh! My chadley cha treih
III
Nagh chaddil mish riyr er baare y tonn
Baare y tonn, baare y tonn
Myr shimmey mac dooinney cadley roym
As ogh! My chadley cha treih
(Chaddil mish riyr er baare ny thooane,
Er baare ny thooane, er baare ny thooane,
Chaddil mish riyr er baare ny thooane,
As ogh, my chadley cho treih! )
IV
Chaddil mish riyr eddyr daa ghuillag
Eddyr daa ghuillag, eddyr daa ghuillag
Myr cadley yn oikan er keeagh y vummig
As O! my chadley cha kiune
(Myr oikan eddyr daa Ihuishag. )
Chorus
Little red bird of the black peat ground
Black peat ground, black peat ground
Little red bird of the black peat ground
Where did you sleep last night?
I
Did I not sleep last night on the top of the bush
On the top of the bush, on the top of the bush
With rain falling on every side
And oh! wretched was my sleep
II
Did I not sleep last night on the top of the briar…
While the wind was blowing all around
And oh! wretched was my sleep
III
Did I not sleep last night on top of the wave…
Where many a man’s son slept before me
And oh! wretched was my sleep
(Last night I slept on the point of the riblas*..
And oh, how miserable my sleep was. )
IV
I slept last night between two leaves…
As the baby sleeps on the breast of the mother
(Like and infant between two blankets. )
And oh! my sleep was good
Traduzione in italiano Cattia Salto
Coro
Uccellino rosso della nera torbiera
nera torbiera, nera torbiera
Uccellino rosso della nera torbiera
Dove hai dormito la scorsa notte?
I
Ho dormito la scorsa notte in cima al cespuglio
in cima del cespuglio, in cima del cespuglio
con la pioggia a scroscio
E oh! Miserabile è stato il mio sonno
II
Ho dormito la scorsa notte in cima al rovo..
Mentre il vento soffiava dappertutto
E oh! Miserabile è stato il mio sonno
III
Ho dormito la scorsa notte sulla cresta dell”onda
Dove molti figlioli dormivano davanti a me
E oh! Miserabile è stato il mio sonno
(La scorsa notte ho dormito sulle travi del tetto*,
E oh! Miserabile è stato il mio sonno)
IV
Ho dormito la scorsa notte tra due foglie …
Come il bambino dorme sul seno della madre
(come bambino tra due coperte.)
E oh! Il mo è stato un buon sonno
NOTE
* a riblas or thooane was used in the construction of a thatched roof as one of the ribs supporting the sods of earth inserted under the thatch. The equivalent word in Scottish Gaelic taobhan.
Scottish Gaelic version: Uiseag Bheag Ruaidh
Mairi MacInness in Ticketty Boo 2002
Uiseag bheag dhearg na monadh duibh
Na monadh duibh, na monadh duibh
Uiseag bheag dhearg na monadh duibh
Cait do chaidil thu’n raoir ‘s an i?
I
Chaidil mi’n raoir air bharr an dris
Air bharr an dris, air bharr an dris
Chaidil mi’n raoir air bharr an dris
Ach o bha mo chadal cho sgith!
II
Chaidil mi’n raoir air bharr nan tonn
Air bharr nan tonn, air bharr nan tonn
Chaidil mi’n raoir air bharr nan tonn
Ach o bha mo chadal cho sgith!
III
Uiseag bheag dhearg nan sgiathan oir
Nan sgiathan oir, nan sgiathan oir
Uiseag bheag dhearg nan sgiathan oir
Cait an do chaidil thu’n raoir ‘s an i?
IV
Chaidil mi’n raoir eadar da dhuilleig
Eadar da dhuilleig, eadar da dhuilleag
Chaidil mi’n raoir eadar da dhuilleig
Is o bha mo chadal cho seimh
Chorus
Little red lark from the black moor
The black moor, the black moor
Little red lark from the black moor
Where did you nest last night?
I
I slept last night on the bramble bush
On the bramble bush, on the bramble bush
I slept last night on the bramble bush
Oh my sleep was restless!
II
I slept last night on the ocean waves
On the ocean waves, on the ocean waves
I slept last night on the ocean waves
Oh my sleep was restless!
Chorus
Little red lark with the golden wings
With the golden wings, with the golden wings
Little red lark with the golden wings
Where did you sleep last night?
III
I slept last night between two leaves
Between two leaves, between two leaves
I slept last night between two leaves
And oh my sleep was peaceful!
Traduzione in italiano Cattia Salto
Coro
Piccola allodola rossa della torbiera
della torbiera, della torbiera
Piccola allodola rossa della torbiera
Dove hai fatto il nido la scorsa notte?
I
Ho dormito la notte scorsa sul cespuglio di rovi
Sul cespuglio di rovi, sul cespuglio di rovi
Ho dormito la notte scorsa sul cespuglio di rovi
Oh, il mio sonno era inquieto!
II
Ho dormito la scorsa notte sulle onde dell’oceano
Sulle onde dell’oceano, sulle onde dell’oceano
Ho dormito la scorsa notte sulle onde dell’oceano
Oh, il mio sonno era inquieto!
Coro
Piccola allodola rossa con le ali dorate
Con le ali dorate, con le ali dorate
Piccola allodola rossa con le ali dorate
Dove hai dormito la scorsa notte?
III
Ho dormito la scorsa notte tra due foglie
Tra due foglie, tra due foglie
Ho dormito la scorsa notte tra due foglie
E il mio sonno fu beato!
“Sister’s lament” (Sister or sister) is a Scottish Gaelic song from the Hebrides, where a young girl kidnapped by the fairies calls her sister to come to her rescue: in the song the fairy hideout is described. The song is included in the collection “Songs of the Hebrides”, Vol 1 by Marjory Kennedy-Fraser with the title “A Fairy Plaint” (Ceol-brutha).
In folk tales, fairies are not benevolent creatures at all, attracted by the strength and vitality of mankind, they kidnap children and especially newborns, or seduce (for the purpose of kidnapping) a lot of beautiful youths.
The fairy abduction was once an attempt to rationalize the loss of loved ones, it was a great consolation thinking that the fairies had stolen that young life from a sad fate, or it was an explanation for abnormal behavior, such as autism or depression. Thus an “absent” behavior amounted to a rapture of the soul and the victim felt like a prisoner in the enchanted Kingdom; a great danger came from food, because it was enough a tasting to preserve a tormenting desire, very often fatal.
CELTIC TALE
Two sisters lived in a valley not far from a circle of fairies, where elves held a night market, offering a wide selection of juicy and tasty fruit. The market was invisible to human eyes, but one night the girls saw him: the older sister escaped frightened, but the younger intrigued, let himself be involved in the market and gave a lock of her golden hair for those fruits so inviting.
She returned home only after eating at will and the next night, driven by hunger that human food could no longer satisfy, she went to look for the elf market, no longer finding it. The older sister, realizing that her little sister was prey to an inexplicable malaise that consumed her, sought in turn the magical place, managing to find it; nevertheless the elves would have yielded their fruits only if the elder sister had also banquished with them; the girl fearing the end of her sister, she stubbornly refused, despite the elves, who did everything, even slamming the fruit in her face and pressing them against her mouth. So some juice remained on her lips ..
Goblin Market. Arthur Rackham.
At dawn the girl managed to return home to give a last farewell to her dying sister, a last sweet kiss .. that was how the little sister from her lips tasted elven food, her hunger was satisfied and she found healing.
A phiùthrag ‘s a phiuthar
The song shares the structure of the waulking songs and was originally perhaps a work song. The melody is very sad and some assume it is a funeral lament.
Flora MacNeil learned the song from a relative of the island of Mingulay
live in Tobar an Dualchais
Margaret Stewart in Togidh mi mo Sheolta (Along The Road Less Travelled)
Julie Fowlis in Alterum (follow the Calum Johnston version here)
The structure of the song repeats the last sentence as the first sentence in the next stanza. The choral part of the song is entrusted to “vocables”
English translation Flora MacNeil
I
Little sister, sister
My love, my sister [beloved sister]
Do you not pity(1)
My grief tonight
II
Do you not pity
My grief tonight
In a little hut(2) I am
Low and narrow
III
In a little hut I am
Low and narrow
With no roof of turf
and no thatch entwined (3)
IV
With no roof of turf
and no thatch entwined
But the rain from the hills
streaming into it(4)
V (english translation John Lorne Campbell)
But the rain from the hills
Streaming into it
I am a poor woman
sad and miserable.
VI
I am a poor woman
sad and miserable.
I climbed up
Ben Sgrìobain
VII
I climbed up
Ben Sgrìobain
and Laigheabhal Mhòr
with it’s spotted horses
VIII
and Laigheabhal Mhòr
with it’s spotted horses
I didn’t find there
what I wanted,
IX
I didn’t find there
what I wanted,
A girl
with hair like a golden daisy.
Irish gaelic, Flora MacNeil version
I
A phiùthrag ‘s a phiuthar, hu ru Ghaoil a phiuthar, hu ru Nach truagh leat fhèin, ho ho ill eo Nochd mo chumha, hu ru II
Nach truagh leat fhèin, hu ru
nochd mo chumha, hu ru Mi’m bothan beag, ho ho ill eo ìseal cumhag, hu ru
III
Mi’m bothan beag, hu ru
ìseal cumhag, hu ru Gun sgrath dhìon, ho ho ill eo Gun lùb tughaidh, hu ru
IV
Gun sgrath dhìon air, hu ru
Gun lùb tughaidh hu ru, hu ru Ach uisge nam beann, ho ho ill eo Sìos ‘na shruth leis, hu ru
V (Calum Johnston version)
Ach uisge nam beann,
Sìos ‘na shruth leis, ’S mise bhean bhochd chianail, dhuilich. VI
’S mise bhean bhochd
chianail, dhuilich. Dhìrich mi suas Beinn an Sgrìobain, VII
Dhìrich mi suas
Beinn an Sgrìobain, ’S Laigheabhal Mhòr (5) nan each grìs-fhionn. (6) VIII
’S Laigheabhal Mhòr
nan each grìs-fhionn. Cha d’ fhuair mi ann, na bha dhìth orm
IX
Cha d’ fhuair mi ann
na bha dhìth orm Tè bhuidhe,
’s a falt mar dhìthein.
NOTE
1) “Can you not pity” or” Would you not pity me my mourning tonight”
2) “Small my dwelling”, or little bothy
3) or Gun lùb sìomain, (Without a roof-rope)
gun ghad tughaidh (or a wisp of thatch.)
4) “hillside wate like a running stream” or “Water from the peaks in a stream down through it”
5) or Flora MacNeil version: Hèabhal mhòr= Mighty Heaval Heaval is the highest hill of Barra Island located north-east of Castlebay, the main village.
6) or Flora MacNeil version: Nan each dhriumfhionn= with the white-maned horses.
Horses are those of fairies and therefore white. It could be the palomino or cremello breed. The origin of the Palomino is very old, in fact it is believed that golden horses with tail and silver mane were ridden by the first emperors of China. Achilles, the mythical Greek hero, rode Balios and Xantos, which were “yellow and golden, faster than the storm winds”. The cremello instead has the particularity of the blue eye, the coat is white with silver reflections.
A Fairy Plaint (Ceol-brutha)
The version of Marjory Kennedy-Fraser (as collected by the song of Mrs. Macdonald, Skallary, Isle of Barra
Kenneth MacLeod lyrics
Would you not pity me, o sister? O hi o hu o ho
Would you not pity me my mourning tonight? O hi o hu o ho
My little hut
Without a bent rope or a wisp of thatch
Water from the peaks
in a stream down through it
But that’s not the cause of my sorrow
Nach truagh leat fhéin phiùthrag a phiuthar O hi o hu o ho
Nach truagh leat fhéin nochd mo cumha O hi o hu o ho Nach truagh leat fhéin nochd mo cumha
‘S mise bhean bhochd chianail dhubhach
‘S mise bhean bhochd chianail dhubhach
Mi’m bothan beag iosal cumhann
Mi’m bothan beag iosal cumhann
Gun lùb siomain gun sop tughaibh
Gun lùb siomain gun sop tughaibh
Uisge nam beann sios ‘na shruth leis
Uisge nam beann sios ‘na shruth leis
Ged’s oil leam sin cha’n e chreach mi
Ged’s oil leam sin cha’n e chreach mi
Cha’n e chuir mi cha’n e fhras mi
Rory Dall’s Sister’s Lament
Cumh Peathar Ruari — Rory Dall’s Sister’s Lament was composed by Daniel Dow about 1778 (in A Collection of Ancient Scots Music for the violin, harpsichord or German flute) referring to the analysis of the melody here
Bidh clann Ulaidh (in English “The Clan of Ulster”) is a lullaby from the Hebrides, where the mother sleeps the baby (I imagine the baby is a female), telling her about the great wedding her family will organize when she arrives in the marriageable age. She mention the names of important Clans and also of the illustrious Irish relatives who will go to the wedding to celebrate the couple and honor the family .
Weddings between upper class families were famous events that people talked about and remembered for years, on which they wrote songs (here), in which the clan chiefs displayed their liberality and magnificence. Marriages allowed for alliances (though not always lasting) between clans and were contracts that involved the exchange of livestock, money and property, called tochers for the bride and dowry for the groom.
THE MELODY
The melody is something magical, there is a version that outclasses – in my opinion – all the others, that of the virtuoso (as well as Scottish) Tony McManus, the “Celtic fingerstyle guitar legend”
Tony McManus live
(I suppose the melody brings something to your mind … who has not seen King Arthur’s film?)
and if we add the violin too? Alasdair Fraser & Tony McManus
and now we add the song..
Catherine-Ann MacPhee 2014
Can Cala 2014
English translation
I
My love, my darling child
The Clan of Ulster(2) will be at your wedding
My love, my darling child
The Clan of Ulster will dance at your wedding
Chorus:
The king’s clans, the king’s clans
The king’s clans will be at your wedding
The king’s clans playing the pipes
Wine will be drunk at your wedding
II
Clan MacAulay(3), a lively crowd
Clan MacAulay will be at your wedding
Clan MacAulay, a lively crowd
Will dance at your wedding
III
Clan Donald(4), who are so special(5)
Clan Donald will be at your wedding
Clan Donald, who are so special
Will dance at your wedding
IV
Clan MacKenzie(6) of the shining armor(7)
Clan MacKenzie will be at your wedding
Clan MacKenzie of the shining armor
Will dance at your wedding
I
Bidh clann(1) Ulaidh luaidh ‘s a lurain
Bidh clann Ulaidh air do bhanais
Bidh clann Ulaidh luaidh ‘s a lurain
Dèanamh an danns air do bhanais
Sèist:
Bidh clann a’ rìgh, bidh clann a’ rìgh
Bidh clann a’ rìgh air do bhanais
Bidh clann a’ rìgh seinn air a’ phìob
Òlar am fìon air do bhanais
II
Bidh Clann Amhlaidh nam feachd greannmhor
Bidh Clann Amhlaidh air do bhanais
Bidh Clann Amhlaidh nam feachd greannmhor
Dèanamh an danns air do bhanais
III
Bidh Clann Dhòmhnaill tha cho neònach(5)
Bidh Clann Dhòmhnaill air do bhanais
Bidh Clann Dhòmhnaill tha cho neònach
Dèanamh an danns air do bhanais
IV
Bidh Clann Choinnich nam feachd soilleir(7)
Bidh Clann Choinnich air do bhanais
Bidh Clann Choinnich nam feachd soilleir
Dèanamh an danns air do bhanais
NOTES
1) the word “clan” derives from the Scottish Gaelic “clann” = “child” to underline the strong bond of blood between the chief and the families (descendants). The clans are territorial extensions controlled by the chief who lives in an ancient castle or fortified house. Not all members of the clan are also descendants of blood, because they could also have “affiliated” to the clan in exchange for protection. At Hogmany or at the time of the election of the new chief all the respective heads of the family swore loyalty to the clan leader. The leader is a Laird, a clan leader and a legal representative of the community
2 ) in Ireland the Ard Ri, the king of kings comes from the North, from the Ulaidh, the land of the warriors and the Clan of the O’Neils always remained a prestigious clan even after the English conquest.
3) Clan MacAulay is a Scottish clan of Argyll, among the oldest in Scotland that boasted its descendants from the king of the Picts: they are located on the border between Lowland and Highland
4) the Clan Donald is one of the most numerous Scottish clans and divided into numerous subdivisions. The Lord of the Islands is traditionally a MacDonald (Hebrides)
5) also written “tha cha neonach” = “it’s no wonder”
6 )Clan MacKenzie is a Highlands clan whose coat of arms reproduces a mountain in flame and the motto says “Luceo non uro”
7) also translated as “bright clothing”
VANORA – WE WILL GO HOME (ACROSS THE MOUNTAINS) -KING ARTHUR (2004)
The song titled “The song of Exile” is sung by Vanora (wife of Bors) to the men of Arthur – of the people of the Sàrmati, (but in reality it is addressed to the child in his arms and therefore it is to him, but also to the warrior-husband, who sings a lullaby -anna) in the imminence of the departure for a “suicide” mission; men want to return home, they have the safe conduct that frees them from servitude in Rome, but choose to stay alongside their commander, the Roman-Briton Artorius (the plot here).
This is how Caitlin Matthews writes“I am the arranger/translator of “Song of the Exile” which appeared in the film and wasn’t recorded on the CD. Disney won’t allow me to sing or record it as they now own the copyright”
These are the words sung in the film:
I
Land of bear and land of eagle
Land that gave us birth and blessing
Land that called us ever homewards
We will go home across the mountains
We will go home, we will go home…
II
When the land is there before us
We have gone home across the mountains
We have gone home, we have gone home
We have gone home singing our songs
A whispered lullaby, sweet-sad together, short but with an intense emotional charge, not included in the soundtrack CD “King Artur.” As an author there are those who thought to credit (wrongly) Hans Zimmer who actually signed the soundtrack of the film and we have seen a lot of complaints from the fans for the exclusion of the song. Hans Zimmer (here) writes “Song of the Exile” is composed and performed by Caitlin Matthews” (see more)
ADDITIONAL STANZAS
III
Land of freedom land of heroes
Land that gave us hope and memories
Hear our singing hear our longing
We will go home across the mountains
IV
Land of sun and land of moonlight
Land that gave us joy and sorrow
Land that gave us love and laughter
We will go home across the mountains
So there’s a song (Bidh clann Ulaidh?) in Scottish Gaelic at the beginning, arranged / translated by Caitlin Matthews and an avalanche of super-charged versions have come out (and keep going out) on YouTube!
“Chuachag nan craobhis” (The Cuckoo of the Branches) is a Scottish Gaelic song composed by William Ross schoolmaster of Gairloch, Ross-shire, born 1762 he died of TB in 1790. In this love song, the poet is addressing a cuckoo he heard in the woods. He is sad at being rejected by the woman he loved deeply
The pen-name of ” Fionn ” has been for many years recognised as authoritative on all subjects connected with the language, history, poetry, folk-lore, and music
An crodh an diugh a dol imirig,
