Sadhbh Ní Bhruinnealla (“Will You Come Home With Me?”)

Galway Hooker by Derek Biddulph

This old-style Irish Gaelic song was brought to Terre Celtiche by Stephen Salzano who writes in his post “This song is about a boatman who sails frequently between the two remote isles of Inis Ge off the West Coast of Ireland in County Mayo to Galway, and is besotted with a fair maiden. He wishes his love and ‘little treasure’ (a stóirín) her to elope with him. ” (from here)
Questo canto in gaelico irlandese nel vecchio stile è stato portato in Terre Celtiche da Stephen Salzano che scrive ” Questo canto narra di un barcaiolo che naviga frequentemente tra le due lontane isole di Inis Ge al largo della costa occidentale dell’Irlanda, nella contea Mayo e Galway e si è infatuato di una bella fanciulla. Desidera che il suo amore e “piccolo tesoro” (a stóirín) fugga con lui” (tradotto da qui)

Liam O Maonlai – The Highland Session 2012

Mike O’Laughlin at the Irish Roots Cafe, from the album: “Irish Song: Traditional and Sean Nós”

Lasairfhíona Ní Chonaola

I
Ní iarrfainn bó spré le Sadhbh (1) Ní Bhruinnealla,
Ach Baile Inis Gé (2) is cead éalú ar choinníní.
Óra a Shadhbh, a Shadhbh Ní Bhruinnealla,
A chuisle is a stóirín, [Tabhair dom do lámhín] éalaigh is imigh liom.
II
Máistir báid mhóir (3) mé a’ gabháil ród na Gaillimhe,
D’fhliuchfainn naoi bhfód is ní thóigfinn aon fharraige. (4)
III
“Máistir báid mhóir go deo ní ghlacfad,
Nuair a fhaigheann siad an chóir ‘sé is dóichí nach bhfanann siad.”
IV
Níl falach i gcabhail ar Shadhbh Ní Bhruinnealla,
Ach seanchóitín donn gan cabhail gan muinchille.
V
Mhionnóinn naoi n-uaire ar leabhar mór an Bhairéadaigh
Nach scarfainn go deo le Sadhbh Ní Bhruinnealla.
VI
Fear maith i mbád mé togha fear iomraimh,
Fear sluaisid’ is láí ar dhá cheann an iomaire.
VII
Nuair a théimse ‘un an chomhra ag comhaireamh an airgid
Bíonn an iníon is an bhean is iad caillte le gean orm.
VIII
Nuair a thiocfas lá breá ‘gus an ghaoth ón bhfarraige
Tabharfaidh mé Sadhbh liom go céibh na Gaillimhe.
IX
Óra a Shadhbh, a Shadhbh Ní Bhruinnealla,
A chuisle is a stóirín, ba rí-mhaith dhuit mise agat!

 


I
I would ask no dowry for Sadhbh Ní Bhruinnealla (1),
but the village of Inishkea (2) and a permit to hunt rabbits.
Óra, Sadhbh, Sadhbh Ní Bhruinnealla,
My heart’s beloved, [Give me your wee hand] elope and leave with me.
II
I’m the master of a hooker (3) on the way to Galway,
I’d wet nine sods of turf but would not take any water in. (4)
Óra, Sadhbh
III
The master of a hooker I’d never accept,
when the wind is favourable they are not inclined to stay. (5)
Óra, Sadhbh ..

IV
Sadhbh is not wearing a stitch on her body,
except an old brown coat without bodice or sleeve.
Óra, Sadhbh..
V
I’d swear nine times on Barrett’s book
that I’d never part with Sadhbh Ní Bhruinnealla.
Óra, Sadhbh ..
VI
I’m a good boatman, a fine oarsman,
skillful with shovel or loy
on either end of the ridge (6).
Óra, Sadhbh
VII
When I go to the chest to count the money,
the daughter and her mother are overcome with fondness for me.
Óra, Sadhbh ..
VIII
When a fine day comes and the wind is from the sea,
I’ll take Sadhbh with me to the pier in Galway.
Óra, Sadhbh ..
IX
Óra, Sadhbh, Sadhbh Ní Bhruinnealla,
my heart’s beloved, you would do right well to have me!

Traduzione italiano Cattia Salto
I
Non chiederei la dote per Sabha figlia di Bhruinnealla
ma il villaggio di Inishkea e la licenza di cacciare i conigli.
Salve Sabha, Sabha figlia di Bhruinnealla
amata dal mio cuore, [dammi la tua manina,] fuggi e vieni via con me
II
Sono il padrone di una barca a vela diretta a Galway
si bagnerebbero solo nove zolle di torba e non imbarcherei mai acqua di mare
Salve Sabha
III
“Il padrone di una barca a vela non lo accetterei mai, quando il vento è favorevole non sono inclini a restare”
Salve Sabha..
IV
Sabha non indossa abiti su misura
tranne un vecchio camice marrone senza corpetto e maniche
Salve Sabha..
V
Giurerei nove volte sul libro di Barrett
che non mi separerò mai da Sabha figlia di Bhruinnealla
Salve Sabha
VI
Sono un bravo barcaiolo, un ottimo rematore
abile con badile e vanga
su entrambi i lati della porca
Salve Sabha..
VII
Quando vado alla cassa a contare il denaro,
la figlia e sua madre mi vogliono un mucchio di bene
Salve Sabha
VIII
Quando verrà un bel giorno e il vento arriverà dal mare
porterò Sabha con me al porto di Galway
Salve Sabha
VIII
Salve Sabha, Sabha figlia di Bhruinnealla
amata dal mio cuore, faresti un buon affare ad avermi

FOOTNOTE by Stephen Salzano
1) The name Sadhbh is a girl’s name of Irish origin meaning “sweet, goodness”. Sadhbh was the name of several real and legendary Irish princesses, including the daughters of Conn of the Hundred Battles, of Queen Medb of Connacht, and of King Brian Boru. It’s also written Sabha. One of the most authentic Irish names for girls, it is also unfortunately one of the most difficult to export.( https://nameberry.com/babyname/Sadhbh)
Sadhbh è un nome femminile di origine irlandese che significa “dolcezza, bontà”. Sadhbh fu il nome di diverse principesse irlandesi, vere e leggendarie, tra cui le figlie di Conn delle Cento Battaglie, della regina Medb delConnacht e del re Brian Boru. Si scrive anche come Sabha. Uno dei nomi irlandesi più originari ma anche uno dei più difficili da reasmettere.
Sadhbh is a popular Irish girls name but is pronounced as S – eye – v. But in the song it is pronounced as ‘how’. This is because in Connmara, Sadhbh is pronounced as Sow. The name changes from Sadhbh to ‘ a Shadhbh’ in all but the very first line, as this is the common way that the Irish people address familiar friends and family and ‘Sh’ is caused by the Irish language mutation (lenition) of the start of words.  Finally, the S becomes silent with the lenition.
Sadhbh è un nome popolare per le ragazze irlandesi che si pronuncia  S – eye – v. Ma nella canzone è pronunciato come “how”. Questo perché nel Connmara, Sadhbh si pronuncia come “Sow”. Il nome cambia da Sadhbh a ‘a Shadhbh’ tranne che nel primo verso, poiché questo è il modo comune in cui gli irlandesi si rivolgono agli amici e parenti e ‘Sh’ è causato dalla mutazione in lingua irlandese (lenizione) dell’inizio di parole. Alla fine, la S diventa silenziosa con la lenizione.
2) The islands of Inis Gé or ‘Inishkea’ (North and South) are part of County Mayo, off the West Coast of Ireland, and are now uninhabited. The name means ‘Goose Islands’. ( https://en.wikipedia.org/wiki/Inishkea_Islands ) This article says there is evidence of habitation from at least 5,000 years ago, pure white sandy beaches and crystal clear water, it was home to fishermen and pirates, and escaped the ravishes of the potato blight on the mainland due to the prevailing winds largely keeping the blight away from Inis Gé 
Le isole di Inis Gé o “Inishkea” (nord e sud) fanno parte della contea di Mayo, al largo della costa occidentale d’Irlanda, e ora sono disabitate. Il nome significa “Isole dell’oca”. https://en.wikipedia.org/wiki/Inishkea_Islands. Questo articolo dice che ci sono resti di insediamenti risalenti ad almeno 5.000 anni fa, spiagge di sabbia bianca e acqua pura e cristallina, fu la patria di pescatori e pirati e sfuggì alla pestilenza della malattia delle patate  sulla terraferma a causa dei venti predominanti che mantennero il morbo lontano da Inis Gé!
3) ‘Bád Mór’ – a Galway hooker; a large boat for transporting cargo including the turf, which was used for fuel – (presumably scarce on the islands), from the mainland to the islands, and then limestone, wood, and livestock, wood, potatoes, fish etc. on the way back; through the seas of Galway Bay to Galway: “a’ gabháil ród na Gaillimhe”, as referred to in the song; the largest in its class; to own one was to mean you had status in the community “is Máistir báid mhóir mé “; the roads in Connemara were only few and only fit for donkey and mule carts in those days, so these boats were relied on for transportation of all kinds of cargoe along the coast and to the islands; they slept and cooked in the hold of these boats under the deck, with access through a hatch which acted as a chimney
una grande barca per il trasporto merci tra cui la torba, che è stata utilizzata come combustibile- (presumibilmente carente sulle isole), dalla terraferma alle isole, e poi calcare, legno e bestiame, legno, patate, pesce ecc. sulla via del ritorno; attraverso i mari della baia di Galway fino a Galway: “a’ gabháil ród na Gaillimhe “, come indicato nella canzone; il più grande della sua categoria; possederne una significava avere uno status nella comunità “is Máistir báid mhóir mé”; in quei giorni le strade in Connemara erano poche e adatte solo al transito di asini e carretti a mulo, quindi queste barche erano affidabili per il trasporto di ogni tipo di merce lungo la costa e verso le isole; si dormiva e cucinava nella stiva di queste barche sotto il ponte, con accesso attraverso una botola che fungeva da camino;
4) the line in the song probably means, while some of my sods of turf may get wet (only nine, a tiny amount – ‘D’fhliuchfainn naoi bhfód’), the boat is of a sound construction, seaworthy, and watertight to seawater, meaning its a really great boat that he has (ní thóigfinn aon fharraige) ! so perhaps he is boasting of how good his boat is to Sadhbh, and that he is an important person higher in status than others like tradesmen and fishermen, and presumably wealthy; he has a chest of money right? (Nuair a théimse ‘un an chomhra ag comhaireamh an airgid).
il verso della canzone probabilmente significa “mentre alcune delle mie zolle di torba possono bagnarsi (solo nove, una piccola quantità – ‘D’fhliuchfainn naoi bhfód’)”, la barca ha una costruzione solida, idonea alla navigazione e impermeabile all’acqua di mare, nel senso che è il proprietario di una grande barca (ní thóigfinn aon fharraige)! quindi forse si sta vantando con Sadhbh di quanto sia bella la sua barca e di essere una persona importante di più alto grado rispetto agli altri commercianti e pescatori, e presumibilmente ricco; ha una mucchio di soldi vero? ((Nuair a théimse ‘un an chomhra ag comhaireamh an airgid).
NOTE Cattia Salto
5) Joe Heaney translates “When they get what they want they likely won’t stay!”
6) se non ho capito male la traduzione iomair= ridge of land, rig

Sadhbh Ní Bhruinnealla is an old sean-nós song attributed to Labhrás Mac Con Raoi from Mace Head, Co. Mayo, a boatman who ranged the coasts of Mayo and Galway. He is said to have composed it between 1815 and 1821, and the woman in the song is said to have been from Inishkea, Co. Mayo. It is often called “Sadhbh Ní Mhuinghile.”
(https://songsinirish.com/sadhbh-ni-bhruinneallaigh-lyrics/)
Sadhbh Ní Bhruinnealla è una vecchia canzone in sean-nós attribuita a Labhrás Mac Con Raoi da Mace Head, Co. Mayo, un barcaiolo che bazzicava le coste di Mayo e Galway. Si dice che l’abbia composta tra il 1815 e il 1821 e che la donna nella canzone fosse originaria di Inishkea, nella contea di Mayo. Viene spesso chiamata “Sadhbh Ní Mhuinghile”. 

The melody is similar to “Pheigin Mo Chroi” (Peigín is Peadar)
La melodia richiama “Pheigin Mo Chroi” (Peigín is Peadar)

LINK
https://celticandhistoryobsessions.music.blog/2019/08/24/sadhbh-ni-bhruinnealla/
https://songsinirish.com/sadhbh-ni-bhruinneallaigh-lyrics/
https://www.joeheaney.org/en/sadhbh-ni-bhruinniligh/

https://www.itma.ie/digital-library/score/claisceadal-2
https://podcasts.apple.com/ug/podcast/sadhbh-ni-bhruinneallaigh-mayo-boatmans-love/id269126035?i=1000087765133

https://www.irishtimes.com/life-and-style/people/the-lost-world-of-the-galway-hooker-1.2655097
https://www.reportage.co.uk/featured-stories/huiceir-na-gallimhe-the-galway-hooker/

The Seal-woman croon/ An Cadal Trom

Marjory Kennedy-Fraser , influenced by the folk tales on the selkie, arranged a Scottish Gaelic song of the Hebrides that is at the origins of the Celtic tale “Mac Codrum of the Seals” (to read in English here)
Suggestionata dai racconti popolari sulle selkie Marjory Kennedy-Fraser arrangiò un canto in gaelico scozzese delle Isole Ebridi che è alle origini della fiaba celtica di Mac Codrum delle Foche

MacCodrum delle Foche

Il re e la regina del Mare del Nord (la leggenda dice che il loro regno si trovava in Norvegia nella Terra di Lochlan), vivevano felici con i loro numerosi figli, ma la regina morì, così nessuno si prendeva più cura dei principini e delle principessine; il  re decise di risposarsi, chiedendo in sposa una misteriosa strega marina che viveva in una oscura foresta sul fondo dell’oceano. Date le premesse la matrigna non poteva che essere gelosa dei figli del re e per pura cattiveria trasformò i loro splendidi corpi in foche, condannandoli a nuotare tra i sette mari durante tutto l’anno.
Neppure il re riuscì a sciogliere il maleficio, i suoi figli potevano riprendere la loro forma originaria solo per un unico giorno dell’anno dal tramonto del sole e fino al crepuscolo successivo (in alcune versioni della leggenda sono invece le notti di luna piena dell’anno). Così le foche cantavano la loro disperazione per il maleficio che le condannava a fuggire dal padre e dal loro reame per vagare nei mari del mondo. 
Accadde che un pescatore dell’isola di Bernaray nelle Ebridi Esterne di nome Roderic MacCodrum del clan dei Donald udisse un giorno un canto proveniente dalle rocce vicino alla scogliera, dove vide i figli e le figlie del Re del Mare ritornati in forma umana.
(leggi in Fiabe Celtiche F. Fornaciani)

Contrary to the version in which the fisherman hides the seal skin to tie the selkie to himself and convince her to marry him, here he returns her to the sea and to his fellows; here is Kenneth MacLeode who describes the legend , in the book “Songs of the Hebrides” as compendium of the gaelic song “An cadal trom” (Deeply sleep).
The seals are the children of the King of Lochlann under spells — Clann Righ Lochlainn fo gheasaibh. Beauty, wisdom and bravery were in their blood as well as in their skins, and that was why their step-mother took the bate of destruction for the, and live she would not unless she got them out of the way. Seven long years did she spend with a namely magician, a-learning of the Black Arts, until at last she was as good as her master at it, with a woman’s wit, forby. And what think ye of it! Did not the terrible carlin put her step-children under eternal spells that they should be half-fish half-beast so long as waves should beat on the shores of Lochlann!
Och! Och! That was the black deed — sure you would know by the very eyes of the seals that there is a kingly blood in them. But the worst is still untold. Three times in the year, when the full moon is brightest, the seals must go back to their own natural state, whether they wish it or no. Their step-mother put this in the spells so that there might be a world of envy and sorrow in their hearts every time they saw others ruling in the kingdom which is theirs by right of blood. And if you were to see one of them as they should be always, if right were kept, you would take the love of your heart for that one, and if weddings were in your thoughts, sure enough a wedding there would be.
Long ago, and not so long ago either, a man in Canna was shore-wandering on an autumn night and the moon full, and did he not see one of the seal lady-lords washing herself in a streamlet that was meeting the waves! And just as I said, he took the love of his heart for her, and he went and put deep sleep on her with a sort of charm that he had, and he carried her home in his arms. But och! och! when she wakening came, what had he before him but a seal! And though he needed all the goodness he had, love put softening in his heart, and he carried her down to the sea and let her swim away to her own kith and kin, where she ought to be. And she spent that night, it is said, on a reef near the shore, singing like a daft mavis, and this is one of her croons — indeed, all the seals are good at the songs, and though they are really of the race of Lochlann, it is the Gaelic they like best.

Contrariamente alla versione in cui il pescatore nasconde la pelle di foca per legare a sè la selkie e convincerla a sposarlo, qui la restituisce al mare e ai suoi simili, così descrive la leggenda Kenneth MacLeod riportandola nel libro “Songs of the Hebrides” a compendio della canzone “An cadal trom”.
Le foche sono i figli del re di Lochlann sotto un incantesimo. La bellezza, la saggezza e il coraggio erano nel loro sangue e nella loro pelle, e fu perciò che la loro matrigna decise di distruggerli, e che non sarebbe vissuta a meno di liberarsi di loro. Sette lunghi anni trascorse con un mago, per imparare la Magia Nera, finché alla fine fu brava come il suo padrone, in aggiunta all’arguzia di donna. E cosa ne pensate! La terribile megera mise i suoi figliastri sotto un eterno incantesimo per metà-bestia e per metà pesce fino a quando le onde si frangeranno sulle coste di Lochlann!
Un’azione malvagia invero- dovreste sapere dagli occhi delle foche, che c’è sangue regale in loro. Ma il peggio deve ancora venire. Tre volte all’anno, quando la luna piena è più brillante, le foche devono tornare al loro stato naturale, che lo vogliano o no. La matrigna ha fatto l’incantesimo in modo che ci fosse invidia e dolore nei loro cuori ogni qualvolta vedevano altri governare il regno che era loro per diritto di sangue. E se vi capitasse di vedere uno di loro come dovrebbe essere sempre, v’innamorereste all’istante, e se i vostri  pensieri fossero rivolti al matrimonio, di certo ci sarà un matrimonio.
Molto tempo fa, e tuttavia non molto tempo fa, un uomo di Canna vagava sulla spiaggia in una notte d’autunno con la luna piena, e chi ti vide se non una donna-foca che si lavava nella corrente! E come ho detto, il suo cuore si innamorò di lei, e lui le andò vicino e l’affascinò con lo sguardo, facendola cadere in un sonno profondo, e la portò a casa tra le sue braccia.
Ma quando lei si risvegliò lui vide solo una foca! Facendo ricorso a tutta la sua bontà d’animo, con il cuore mosso a compassione, lui la portò giù al mare e la lasciò andare a nuoto verso i suoi consimili, dove avrebbe dovuto stare. E lei trascorse quella notte, si dice, su una scogliera vicino al mare, cantando come a perdifiato, e questo è uno dei suoi lamenti- anzi, tutte le foche cantano bene, e se appartengono alla stirpe di Lochlann, è il gaelico che preferiscono!

Selkie by Jessica Shirley

Joan Busby in Songs of the Hebrides 2010 (chorus, I, III)

Chorus
Bheir mi hiù-ra bho nail-e bho (1)
Bheir mi hiù-ra bho nail-e bho ho ro
Bheir mi hiù-ra bho nail-e bho
An cadal trom ‘san deachaidh mi
I
Tha mo chlu-as ag an cras gail dhonn
Anns an lonn ar-as gheal o ho
Tha mo dhuan ag an gair-iéh thonn
‘Se’n cad-al trom a dhealaich sinn.
II
Tha mo ghru-ag ach-sa fa-da thall
Air na dàimh sgeir-e gheal o hi
Fàth mo ghruamain gu’n d’rinn mi chall
‘Se’n cad-al trom a dhealaich sinn.
III
Bidh mi mair each a’ snamh nan tonn
Thar an lonn ar-as gheal o hi
Ni mi àbh achd le gràdh-an donn
An cad-al trom cha dhealaich sinn

English version
Chorus
Bheir mi hiù-ra bho nail-e bho (1)
Bheir mi hiù-ra bho nail-e bho ho ro
Bheir mi hiù-ra bho nail-e bho
An cadal trom ‘san deachaidh mi (2)
I
Pillowed on the sea-wrack (3), brown am I (4) 
On the gleaming white-sheen sand
Lulled by the sweet croon of the waves I lie
Did slumber deep, part thee and me (5)
II
Far away, my own gruag-ach (6) lone
On the gleaming white-friend reefs
Lies that cause of all my moan
Did slumber deep, part thee and me
III
On the morrow shall I, o’er the sound (7)
O’er the gleaming white-sheen sand
Swim until I reach my loved one brown
Nor slumber deep, part thee and me
Traduzione italiano Cattia Salto
Coro
Bheir mi hiù-ra bho nail-e bho
Bheir mi hiù-ra bho nail-e bho ho ro
Bheir mi hiù-ra bho nail-e bho
il sonno profondo in cui sono caduta
I (Foca)
Avvolta nelle alghe a terra, scura sono
sulla serica sabbia bianca scintillante
cullata dal dolce mormorio delle onde rimango,
dormire profondamente o separarci?
II (pescatore)
Lontano la mia fanciulla solitaria
sulla bianca scogliera amica scintillante 
giace la causa del mio lamento:
dormire profondamente o separarci?
III (foca)
Domani dovrò, oltre la baia,
oltre la serica sabbia bianca scintillante,
nuotare fino a raggiungere i miei amati scuri
non dormirò e ci separeremo

NOTE
1) non sense verses [ i vocalizzi sono in simil gaelico e non hanno un significato]
2) in english “the deep sleep into which I went”
3) seaweed cast ashore in masses [le alghe spinte dal mare sulla spiaggia]
4) she is a ‘dark one.’ Unlike the many irish blondes (or with red hair), a selkie is a true ‘black Irish’ with dark long hair, wavy, full curls, skin as porcelain, and striking dark eyes [A differenza delle molte bionde irlandesi (o con i capelli rossi), una selkie è un irlandese “scuro” autentico , con capelli scuri lunghi, ondulati e ricci, pelle di porcellana e intensi  occhi scuri]
5) deachaidh =Go, proceed, move, travel, walk. – to fall; the sentence has an interrogative form; sunn= we, us
6) “The long-haired one” and also sea maiden from the Gaelic “gruag, gruagach”
7) sound geography:  is a large sea or ocean inlet

LINK
http://ontanomagico.altervista.org/sule-skerry.htm
https://terreceltiche.altervista.org/gruagach-mhara-a-gruagach-or-a-selkie/
https://it.wikipedia.org/wiki/File:Selkie_statue_in_Mikladalur.jpeg
https://www.electricscotland.com/POETRY/purves/MacCodrum.pdf
http://echoes.devin.com/selkie/croon.html

With Waefu’ Heart

With “With Waefu ‘Heart” Robert Tannahill composes a painful sea song in which a woman complains about the drowning of her Jamie following the sinking near the isle of May: the ship had just set sail from North Berwick when in the night a terrible storm sank it with all the crew. So she asks a boatman to take her to the island to stay near his grave.
Con “With Waefu’ Heart” Robert Tannahill compone una dolente sea song in cui una donna si lamenta per l’annegamento del suo Jamie a seguito del naufragio nei pressi dell’isolotto di May: la nave era appena salpata da Nord Berwick quando nella notte una terribile tempesta l’affondò con tutto l’equipaggio. Così lei chiede ad un barcaiolo di trasportarla sull’isola per restare accanto alla sua tomba. 

Isle of May

Isle of May is located north of the Firth of Forth, about 8 km off the coast of Scotland not far from Edinburgh, it is a paradise for puffins and abundant colonies of seabirds.
L’isola di
Maggio si trova a nord del Firth of Forth, a circa 8 km al largo della costa della Scozia non lontana da Edimburgo, è il paradiso dei puffins e di abbondanti colonie di uccelli marini.

Air, “Sweet Annie frae the sea beach came.”—Arranged by Smith
Ed Heslam, Jean Altshuler in ‘Hunsup Through the Wood’, 2017

Wendy Weatherby in The Complete Songs of Robert Tannahill Volume I  (2006) 


I
With waefu’ heart, and sorrowing e’e,
⁠I saw my Jamie sail awa’;
O ‘twas a fatal day to me,
⁠That day he pass’d the
Berwick Law:
How joyless now seem’d all behind!
⁠I ling’ring stray’d along the shore;
Dark boding fears hung on my mind
⁠That I might never see him more.
II
The night came on with heavy rain,
⁠Loud, fierce, and wild, the tempest blew;
In mountains roll’d the awful main—
⁠Ah, hapless maid! my fears how true!
The landsmen heard their drowning cries,
⁠The wreck was seen with dawning day;
My love was found, and now he lies
⁠Low in the isle of gloomy May.
III
O boatman, kindly waft (1) me o’er!
⁠The cavern’d rock shall be my home;
‘Twill ease my burthen’d (2) heart, to pour
⁠Its sorrows o’er his grassy tomb
With sweetest flowers I’ll deck his grave,
⁠And tend them through the langsome year,
I’ll water them ilk morn and eve,
⁠With deepest sorrow’s wannest tear.
Traduzione italiano Cattia Salto
I
Con cuore afflitto e occhio in lacrime
vidi il mio Jamie salpare
Oh fu un giorno fatale per me
quel giorno che doppiò Berwick Law:
come ora sembrava tutto senza gioia
io che indugiavo per la spiaggia;
e oscuri timori si aggrappavano alla mia mente
che non lo avrei mai più rivisto!
II
Venne la notte con forti piogge,/fragorosa, fiera e selvaggia imperversava la tempesta,
le onde orribili si sollevavano in montagne-
Oh sfortunata fanciulla! Così reali le mie paure!
I terricoli sentirono le grida degli affogati
il relitto fu visto all’alba
il mio amore fu trovato e ora giace
sottoterra nella tenebrosa isola di May.
III
O barcaiolo, ti prego prendimi a bordo!
La grotta rocciosa sarà la mia casa
per alleviare il mio cuore oppresso e riversare
il suo dolore sulla zolla d’erba
con i fiori più profumati decorerò la tomba
e li manterrò per l’intero anno
innaffiandoli mattino e sera
con il più cupo dolore in una lacrima esangue

NOTE
1) waft= to convey something by ship
2) burthen’d= burdened

LINK
https://roberttannahill.weebly.com/wi-waefu-heart.html

A phiùthrag ‘s a phiuthar (Sister’s lament)

Leggi in Italiano

“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: the song describes the fairy hideout. 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
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

Ossian in “Borders” 1984

Sources
http://www.omniglot.com/songs/gaelic/aphiuthrag.php
http://www.celticlyricscorner.net/maggiemacinnes/aphiuthrag.htmdhttp://www.tobarandualchais.co.uk/en/fullrecord/62594/9;jsessionid=89A212440240A80FF960AD2D4B425BD3
http://research.culturalequity.org/get-audio-detailed-recording.do?recordingId=11984
http://www.educationscotland.gov.uk/scotlandssongs/about/songs/supernatural/index.asp
http://mudcat.org/thread.cfm?threadid=69117

http://www.earlygaelicharp.info/tunes/CumhPeatharRuari/
https://thesession.org/tunes/15575
http://www.cynthiacathcart.com/articles/rory_dall_lament.html

Standing Stones by Loreena McKennitt

Una murder ballad composta da Loreena McKennitt seguendo i canoni della ballata tradizionale, per narrare una tragica storia d’amore finita nel sangue a causa della gelosia.
[A murder ballad composed by Loreena McKennitt following the canons of the traditional ballad, to tell a tragic love story ended in blood because of jealousy.]
Il geloso questa volta non è all’interno della coppia, ma è un promesso sposo respinto dalla ragazza, ci troviamo forse davanti ad un matrimonio combinato dalle famiglie mentre i due veri amanti si sposano in segreto con il rito dell’handfasting, scambiandosi le promesse in un luogo sacro, il cerchio di pietre degli Antenati.
[The jealous one this time is not within the couple, but he is a pretendent rejected by the girl; we are perhaps in front of a marriage combined by families while the two true lovers get married in secret with the handfasting, exchanging their votes in a sacred place, the circle of stones of the Ancestors.]

La storia è ambientata nelle isole Orcadi (Scozia) che custodiscono un grande santuario megalitico risalente al Neolitico, uno dei siti più antichi delle Isole Britanniche.
[The story is set in the Orkney Islands (Scotland) which house a large megalithic sanctuary dating back to the Neolithic, one of the oldest sites in the British Isles.]

Jim Richardson: Stones of Stenness (foto tratta da qui)

Loreena McKennitt in “Parallel Dreams”


I
In one of these lonely Orkney Isles
There dwelled a maiden fair.
Her cheeks were red, her eyes were blue/She had yellow, curling hair.
Which caught the eye and then the heart
Of one who could never be
A lover of so true a mind
Or fair a form as she.
II
Across the lake in Sandwick(1)
Dwelled a youth she held most true,
And ever since her infancy
He had watched these eyes so blue.
The land runs out to the sea
It’s a narrow neck of land
Where weird and grim the Standing Stones/ In a circle where they stand (2).
III
One bonny moonlight Christmas Eve
They met at that sad place.
With her heart in glee and the beams of love
Were shining on her face
When her lover came and he grasped her hand
And what loving words they said
They talked of future’s happy days,
As through the stones they strayed.
IV
They walked toward the lovers’ stone
And through it passed their hands.
They plighted there a constant troth
Sealed by love’s steadfast bands
He kissed his maid and then he watched her
That lonely bridge go o’er.
For little, little did he think
He wouldn’t see his darling more.
bridge
Standing Stones of the Orkney Isles
Gazing out to sea
Standing Stones of the Orkney Isles
Bring my love to me.
V
He turned his face toward his home
That home he did never see
And you shall have the story
As it was told to me.
When a form upon him sprang
With a dagger gleaming bright
It pierced his heart and his dying screams
Disturbed the silent night.
VI
This maid had nearly reached her home
When she was startled by a cry.
And she turned to look around her
And her love was standing by
His hand was pointing to the stars
And his eyes gazed at the light.
And with a smiling countenance
He vanished from her sight.
VII
She quickly turned and home she ran
Not a word of this was said,
For well she knew at seeing his form
That her faithful love was dead.
And from that day she pined away,
Not a smile seen on her face,
And with outstretched arms she went to meet him
In a brighter place.
Traduzione italiana Cattia Salto
I
In una delle solitarie isole Orcadi
viveva una dama bella-
aveva guance di rosa e occhi azzurri,
aveva capelli biondi e fluenti
che catturarono prima lo sguardo e poi il cuore
di uno che non sarebbe mai stato degno di un’anima così sincera o leale come la sua.
II
Oltre il lago a Sandwick viveva un giovane a cui lei teneva davvero e fin dalla sua infanzia, lui aveva ammirato quegli occhi così azzurri.
La terra si esaurisce nel mare,
in uno stretto lembo di terra
dove strani e  sinistri i Menhir
stanno in cerchio.
III
In una bella vigilia di Natale al chiaro di luna s’incontrarono in quel posto triste
lei con il cuore contento
e i tremiti d’amore
che le brillavano sul viso;
poi il suo innamorato giunse e la prese per mano,
tante  parole d’amore si dissero,
parlarono dei loro futuri giorni felici
mentre tra le pietre passeggiavano.
IV
Camminarono fino  alla pietra degli amanti
e attraverso ad essa passarono le mani e stipularono là un patto di fedeltà sigillato dal laccio d’amore.
Lui baciò la sposa e poi la guardò
andare oltre quel ponte solitario,
per un solo istante pensò che non avrebbe più rivisto il suo amore!
bridge
Menhir delle isole Orcadi
che contemplate il mare
Menhir delle isole Orcadi
riportate il mio amore da me
V
Lui diresse lo sguardo verso casa
quella casa che non aveva mai visto
e voi dovreste conoscere la storia
come mi fu narrata.
Ecco una sagoma su di lui si gettò
con uno stiletto scintillante
gli trafisse il cuore e i suoi gemiti da moribondo
turbarono la notte silenziosa.
VI
La fanciulla aveva quasi raggiunto casa
quando fu scossa da un grido
e si guardò intorno
e il suo amore stava dritto in piedi
con la mano puntava alle stelle
e gli occhi fissavano la luce,
poi con una espressione sorridente
svanì alla sua vista.
VII
Veloce si voltò e corse verso casa
non disse una parola di ciò,
perchè bene sapeva da quello che aveva visto che il suo amore fedele era morto.
E da quel giorno lei languiva,
non un sorriso si vedeva sul suo viso,
e a braccia aperte andò a incontrarlo in un posto più luminoso

NOTE
1) Sandwick (dal norreno con significato Sandy Bay) è un villaggio sulla costa ovest della Mainland l’isola principale delle Orcadi
[Sandwick (from Old Norse with meaning Sandy Bay) is a village on the west coast of Mainland, the main island of Orkney]
2) si tratta delle Pietre erette di Stenness (Stones of Stenness) accanto al lago omonimo. Una pietra, conosciuta come la “Pietra di Odino”, aveva un buco circolare che veniva usato dalle coppie locali per scambiarsi le promesse. Si svolgevano attorno alla pietra anche altre cerimonie curative. La pietra fu distrutta da un contadino del luogo nel 1814 stanco dei turisti e dei rituali che si svolgevano intorno ai menhir  vicini ai suoi campi. Della pietra con il foro ci restano solo dei disegni. Il sito di Stennes presenta delle pietro molto alte (5 metri) ma il cerchio più grande anche se meno imponente si trova poco distante detto Cerchio di Brodgar (Ring of Brodgar)
[it is the Standing Stones of Stenness next to the lake of the same name. A stone, known as the “Odin Stone”, had a circular hole that was used by local couples to exchange promises. Other healing ceremonies took place around the stone. The stone was destroyed by a local peasant in 1814 tired of tourists and rituals that took place around the menhirs near his fields. Only the drawings remain of the stone with the hole. The site of Stennes has very high stones (5 meters) but the largest circle, although less impressive, is located not far from the Ring of Brodgar]

LINK
http://www.orkneyjar.com/history/brodgar/

Tiree love song: the green island of Tiree

Leggi in italiano

The Isle of Tiree of the Inner Hebrides is a stretch of green machair in which myriads of yellow buttercups emerge, a land almost completely flat that houses seem to rise from the sea; the island is always sunny and the strong winds assist windsurfers and kitesurfers, even keeping mosquitoes away!
In the nineteenth century Tiree counted 4500 ab definitely too much for its resources, so the duke of Argyll implemented assisted migration (in fact a typical maneuver by Highland Clearances) and between 1841 and 1881 more than 3600 people emigrated to Canada, United States, Australia and New Zealand.
In Gaelic it is called “tir-lodh” – ‘the land of corn’ from the days of the 6th century Celtic missionary and abbot St Columba. Tiree provided the monastic community on the island of Iona, south east of the island, with grain, and it seems that several monks settled there at St Patrick’s Chapel, Ceann a ‘Mhara and Soroby.

THE SOUND OF ANCIENT SCOTLAND

The Kilmartin Sessions The Sounds Of Ancient Scotland, 1997

Tiree is an island with ancient settlements, renowned for its Clach a’Choire (the stone cauldron) or even Choire Fhionn MhicChumhail (the cauldron of Finn mac Cumaill). The name identifies a natural amphitheater near the village of Balephetrish (Vaul), a probable mythical center in prehistoric and medieval times, where the Ringing Stone is found, which emits a sharp and metallic sound similar to that of the gong or the bells when it is hit: the stone looks like a big egg on the spoon, legend has it that the boulder was thrown by a giant of Mull and if ever it was split the island would sink into the sea.
...a ‘rock gong’ similar to Clach a’ Choire, listed by John MacKenzie (1845, p8) as one of the seven wonders of Scotland – a huge granite erratic covered with 53 cupmarks, the deepest of which are at the most resonant parts of the stone…According to Fagg (1997 p86), Clach a’ Choire was ‘said to contain a crock of gold – but if it ever split Tiree will disappear beneath the waves.’ If true (Mrs Fagg mistakenly attributes the staement to SHIS) the legend thus contains both a motive for destroying such stones and a warning against doing so…Compare Newton 1992 p145 where it is claimed that if Clach a’ Choire ‘ever shatters or falls off the pedestal of small stones on which it rests, Tiree will sink beneath the waves.’  (from The Gaelic Otherworld, ed Ronald Black, here)

The Kilmartin Sessions: The Sounds of Ancient Scotland 

Clach a'Choire
Clach a’Choire (the stone cauldron) or the Singing Stone of the Isle of Tiree, the first xylophone of prehistory

 

Photographic reportage from The Crow Clan here

The island is dedicated a love song of the late nineteenth century titled Tiree love song, a song originally written in Gaelic by Alexander Sinclair (Alasdair Neaill Oig), a wine and spirits merchant  in Glasgow but a devoted “Tireeman”, being his family originally from the island.

SCOTTISH GAELIC VERSION: Am Falbh Thu Leam a Rìbhinn Òg (Will you come and go with me?)

In the song, he asks a young maiden to come with him over the sea where she will see everything she could desire in the isle of the west that once was his home: geese and white swans, views over the ocean to the neighbouring isles, the green meadows and the tranquillity of St Patrick’s chapel.He tells her of the songbirds, the bumble bees and the blaze on the cattle, the cormorants and ducks, the marram grass growing on the dunes and the fragrance of the machair flowers, all to be found on his favourite part of Argyll – the green island of Tiree.
The island abounds with ancient prehistoric remains or dating back to the time of St. Columba, next to the temple of St. Patrick we also find an ancient well with healing waters. Click on names on the interactive map in http://www.tireeplacenames.org/ to visit them all!!

Kenevara hill in Tiree Isle

Effie MacDonald of Middleton

(at the moment I did not find an English translation)
Séist
Am falbh thu leam a rìbhinn òg
No’n téid thu leam thar saile
Gum faic thu ann gach nì gu d’ mhiann
‘S an eilean shiar a dh’fhàg mi.
1
Ged nach faic thu coill’ no fiadh
Tha gèadh is eala bhàn ann
Cait’ bheil sealladh a chuain shiar
Nuair bhios na liadhan traighte.
2
Chì thu uiseag agus smeòrach
Lon dubh agus luachran
Seillean ruadh le mhil ‘s a ghàradh
‘S blàrag air gach buallan.
3
Chì thu sgairbh ‘tigh’nn ort o’n chuan;
Tha lachaidh ruadh a’ snamh ann;
Muran gorm a’ fàs m’ a bhruaich
Gach ceum mu ‘n cuairt d’ a’ thraighean
4
Cha ‘n fhaic thu nathair ann air grunnd
Ach luibhean ‘s cùbhraidh faileadh
A’ cinntinn ann bho linn gu linn
‘S an tìr ‘s an d’fhuair mi m’ àrach

 

ENGLISH “VERSION” Tiree love song

The transposition in English is by Hugh S. Roberton, already the author of the very popular songsThe Mingulay Boat SongWestering Home and Mairi’s Wedding, who makes a text re-elaboration rather than a translation and publishes it in his book Songs of the Isles (1950)

The Corries
Ryan’s Fancy (II, I, III)


CHORUS
He-ree he-ro my bonnie wee girl
He-ree he-ro my fair one
Will you come away my love
To be my own my rare one
I
Smiling the land! Smiling the sea!
Sweet is the scent(1) of the heather.
Would we were yonder,
just you and me,
The two of us together!
II
All the day long, out on the peat (2)
Then by the shore (3) in the gloaming
Stepping it lightly with dancing feet
And we together roaming
III
Laughter o’ love! Singing galore!
Tripping it lightsome and airy:
Could we be asking of life for more,
My own, my darling Mary?

NOTES
1) or “smell”
2) or “All together down by the sea”,
3) or “Down by the sea”

LINK
http://www.tireeplacenames.org/
http://www.tobarandualchais.co.uk/en/fullrecord/69928/1/LuckyDip
https://www.calmac.co.uk/article/6138/An-island-dream-discovering-Tiree-by-bike
http://www.aniodhlann.org.uk/wp-content/uploads/2016.14.1.pdf
http://www.aniodhlann.org.uk/sounds-clips/
http://www.aniodhlann.org.uk/object/1997-232-10/
https://mudcat.org/thread.cfm?threadid=10536
http://gestsongs.com/11/tiree.htm

Tiree Love Song/Am Falbh Thu Leam a Rìbhinn Òg

Read the post in English

L’Isola di Tiree delle Ebridi interne è una distesa di verde machair in cui spuntano miriadi di ranuncoli gialli, una terra quasi del tutto piatta che le case sembrano sorgere dal mare; l’isola è sempre soleggiata e i forti venti assistono gli appassionati di windsurf e di kitesurfe tenendo anche  lontane le zanzare!
Nell’Ottocento l’isola contava 4500 ab decisamente troppi per le sue risorse, così il duca di Argyll attuò la migrazione assistita (in realtà una tipica manovra da Highland Clearances) e tra il 1841 e il 1881 più di 3600 persone emigrarono in Canada, Stati Uniti, Australia e Nuova Zelanda.
In gaelico è detta “tir-lodh” – la terra del grano perchè riforniva la comunità monastica della vicina Iona e sembra che vi si siano insediati diversi monaci presso la St Patrick’s Chapel, Ceann a’ Mhara e Soroby.

IL SUONO DEGLI ANTICHI SCOZZESI

The Kilmartin Sessions The Sounds Of Ancient Scotland, 1997

Tiree è un’isola con antichi insediamenti, rinomata per la sua  Clach a’Choire  (il calderone di pietra) o anche Choire Fhionn MhicChumhail (il calderone di Finn mac Cumaill). Il nome individua un anfiteatro naturale in prossimità del villaggio di Balephetrish (Vaul) probabile centro mitico in epoca preistorica e medievale in cui si trova la  Ringing Stone (la pietra canterina) che emette un suono acuto e metallico simile a quello del gong o delle campane quando viene colpita: sembra un grosso uovo sul cucchiaio ed è una pietra coppellata risalente al megalitico. La leggenda vuole che il masso sia stato lanciato da un gigante di Mull e se mai venisse spaccato l’isola s’inabisserebbe nel mare.
...un ‘rock gong’ simile alla Clach a ‘Choire, elencata da John MacKenzie (1845, p8) come una delle sette meraviglie della Scozia – un enorme masso erratico di granito coperto da 53 coppelle, le più profonde sono nelle parti più risonanti della pietra … Secondo Fagg (1997 p86), secondo la tradizione la Clach a ‘Choire conteneva dell’oro – ma se mai dovesse rompersi, Tiree sparirà sotto le onde. Se fosse vera (la signora Fagg attribuisce erroneamente l’affermazione a SHIS) la leggenda contiene quindi sia un motivo per distruggere tali pietre sia un avvertimento a non farlo … Confronta Newton 1992 p145 dove si afferma che se la Clach a ‘Choire dovesse mai frantumarsi o cade dal piedistallo di piccole pietre su cui poggia, Tiree affonderà sotto le onde’  (tratto da The Gaelic Otherworld, ed Ronald Black, qui)

da ascoltare nel cd The Kilmartin Sessions: The Sounds of Ancient Scotland 

Clach a'Choire
Clach a’Choire  (il calderone di pietra) ovvero la Pietra canterina dell’Isola di Tiree, il primo xilofono della preistoria

 

Reportage fotografico dal The Crow Clan qui

All’isola è dedicata una love song di fine ottocento dal titolo Tiree love song, una canzone in origine scritta in gaelico da Alexander Sinclair (Alasdair Neaill Oig), un commerciante di vini e alcolici residente a Glasgow ma un devoto “Tireeman”, essendo la sua famiglia originaria dell’isola.

LA VERSIONE IN GAELICO SCOZZESE: Am Falbh Thu Leam a Rìbhinn Òg (Will you come and go with me?)

Nella canzone il protagonista chiede a una giovane fanciulla di seguirlo oltre il mare per visitare l’isola di Tiree dove potrà trovare le cose più desiderabili: vaste colonie di uccelli marini, una vista sull’oceano e le vicine isole, verdi prati con api e il bestiame e la cappella di San Patrizio. L’isola abbonda di antichi resti preistorici o risalenti all’epoca di San Columba, accanto al tempio di san Patrizio troviamo anche un antico pozzo  dalle acque curative. Cliccate in nomi sulla mappa interattiva in http://www.tireeplacenames.org/ per visitarli tutti!!

l’altura di Kenevara nell’isola di Tiree

Effie MacDonald di Middleton

(al momento non ho trovato una traduzione in inglese)
Séist
Am falbh thu leam a rìbhinn òg
No’n téid thu leam thar saile
Gum faic thu ann gach nì gu d’ mhiann
‘S an eilean shiar a dh’fhàg mi.
1
Ged nach faic thu coill’ no fiadh
Tha gèadh is eala bhàn ann
Cait’ bheil sealladh a chuain shiar
Nuair bhios na liadhan traighte.
2
Chì thu uiseag agus smeòrach
Lon dubh agus luachran
Seillean ruadh le mhil ‘s a ghàradh
‘S blàrag air gach buallan.
3
Chì thu sgairbh ‘tigh’nn ort o’n chuan;
Tha lachaidh ruadh a’ snamh ann;
Muran gorm a’ fàs m’ a bhruaich
Gach ceum mu ‘n cuairt d’ a’ thraighean
4
Cha ‘n fhaic thu nathair ann air grunnd
Ach luibhean ‘s cùbhraidh faileadh
A’ cinntinn ann bho linn gu linn
‘S an tìr ‘s an d’fhuair mi m’ àrach

 

LA VERSIONE IN INGLESE: Tiree love song

La trasposizione in inglese è di Hugh S. Roberton, già autore delle popolarissime canzoni The Mingulay Boat SongWestering Home e Mairi’s Wedding, il quale ne fa una rielaborazione testuale più che una traduzione e la pubblica nel suo libro Songs of the Isles (1950)

The Corries
Ryan’s Fancy (II, I, III)


CHORUS
He-ree he-ro my bonnie wee girl
He-ree he-ro my fair one
Will you come away my love
To be my own my rare one
I
Smiling the land! Smiling the sea!
Sweet is the scent(1) of the heather.
Would we were yonder,
just you and me,
The two of us together!
II
All the day long, out on the peat (2)
Then by the shore (3) in the gloaming
Stepping it lightly with dancing feet
And we together roaming
III
Laughter o’ love! Singing galore!
Tripping it lightsome and airy:
Could we be asking of life for more,
My own, my darling Mary?
Traduzione italiana Cattia Salto
Coro
He-ree he-ro mia bella ragazzina,
He-ree he-ro mia bella.
Vuoi venire con me, mia cara
per essere la mia diletta?
I
Terra ridente! Mare ridente!
Dolce è il profumo dell’erica
potremmo stare laggiù,
solo tu ed io,
noi due insieme!
II
Per tutto il giorno, sulla piana
e poi alla spiaggia nel crepuscolo
con passo lieve di danza
insieme vagheremo
III
Risate d’amore! Canti a iosa!
Saltellando allegri e spensierati
Potremmo chiedere di più alla vita,
mia cara Mary?

NOTE
1) oppure “smell”
2) oppure “All together down by the sea”,
3) oppure “Down by the sea”

FONTI
http://www.tireeplacenames.org/
http://www.tobarandualchais.co.uk/en/fullrecord/69928/1/LuckyDip
https://www.calmac.co.uk/article/6138/An-island-dream-discovering-Tiree-by-bike
http://www.aniodhlann.org.uk/wp-content/uploads/2016.14.1.pdf
http://www.aniodhlann.org.uk/sounds-clips/
http://www.aniodhlann.org.uk/object/1997-232-10/
https://mudcat.org/thread.cfm?threadid=10536
http://gestsongs.com/11/tiree.htm

Twa Bonnie Maidens, a jacobite song

Leggi in italiano

“Twa Bonnie Maidens” is a jacobite song published by James Hogg in “Jacobite Relics”, Volume II (1819). It refers to the occasion when Bonnie Prince Charlie sailed with Flora MacDonald from the Outer Hebrides to Skye, dressed as Flora’s maid. The event described here took place during Bonnie Prince Charlie’s months in hiding after his defeat at the Battle of Culloden (April 16, 1746). By late July, the Hannoverians thought they had Charlie pinned down in the outer Hebrides.

IL PRINCIPE E LA BALLERINA

The prince had managed to get to the Island of Banbecula of the Outer Hebrides, but the surveillance was very tight and had no way to escape. And here comes Flora MacDonald.
In the anecdotal version of the story, Flora devised a trick to take away Charlie from the island : on the pretext of visiting her mother (who lived in Armadale after remarried), she obtained the safe-conduct for herself and her two servants; under the name and clothes of the Irish maid Betty Burke, however, it was hidden the Bonny Prince!: Il Principe e la Ballerina

Flora MacDonald's Introduction to Bonnie Prince Charlie di Alexander Johnston (1815-1891)
“Flora MacDonald’s Introduction to Bonnie Prince Charlie” di Alexander Johnston (1815-1891)

TWA BONNIE MAIDENS

Hogg took the Gaelic words down from a Mrs. Betty Cameron from Lochaber.
Was copied verbatim from the mouth of Mrs Betty Cameron from Lochaber ; a well-known character over a great part of the Lowlands, especially for her great store of Jacobite songs, and her attachment to Prince Charles, and the chiefs that suffered for him, of whom she never spoke without bursting out a-crying. She said it was from the Gaelic ; but if it is, I think it is likely to have been translated by herself. There is scarcely any song or air that I love better.”
Quadriga Consort from “Ships Ahoy ! – Songs of Wind, Water & Tide” 2011
Marais & Miranda from A European Folk Song Festival 2012 (I, III)
Archie Fisher from “The Man with a Rhyme” 1976


I
There were twa bonnie maidens,
and three bonnie maidens,
Cam’ ower the Minc (1),
and cam’ ower the main,
Wi’ the wind for their way
and the corrie (2) for their hame,
And they’re dearly welcome
tae Skye again.
Chorus
Come alang, come alang,
wi’ your boatie and your song,

Tae my hey! bonnie maidens,
my twa bonnie maids!

The nicht, it is dark,
and the redcoat is gane,

And you’re dearly welcome
tae Skye again.

II
There is Flora (3), my honey,
sae neat and sae bonnie,
And ane that is tall,
and handsome withall.
Put the ane for my Queen
and the ither for my King (4)
And they’re dearly welcome
tae Skye again.
III (5)
There’s a wind on the tree,
and a ship on the sea,
Tae my hey! bonnie maidens,
my twa bonnie maids!
By the sea mullet’s nest (6)
I will watch o’er the main,
And you’re dearly welcome
tae Skye again.
English translation Cattia Salto
I
There were two pretty maidens,
and three pretty maidens,
Came over the Minch ,
and came over the main,
With the wind for their way
and the mountains for their hame,
And they’re dearly welcome
to Skye again.
Chorus
Come along, come along,
wi’ your boat and your song,
To my hey! pretty maidens,
my two pretty girls!
The night, it is dark,
and the redcoat is gone,
And you’re dearly welcome
to Skye again.
II
There is Flora, my honey,
so neat and so pretty,
And one that is tall,
and handsome withall.
Put the one for my Queen
and the other for my King
And they’re dearly welcome
to Skye again.
III
There’s a wind on the tree,
and a ship on the sea,
To my hey! pretty maidens,
my two pretty girls!
By the sea mullet’s nest
I will watch over the main,
And you’re dearly welcome
to Skye again.

NOTES
1) Minch=channel between the Outer and Inner Hebrides
2) corry=a hollow space or excavation in a hillside
3) Flora MacDonald
4) Bonnie Prince Charlie
5) the stanza is a synthesis between the III and the IV of the version reported by Hogg
6) The Nest Point is another striking view on the western tip of the Isle of Skye (on the opposite side of Portree), an excellent spot to watch the Minch the stretch of sea that separates the Highlands of the north west and the north of Skye from the Harris Islands and Lewis, told by the ancient Norse “Fjord of Scotland”
At the time of the Jacobite uprising there was still no Lighthouse designed and built by Alan Stevenson in the early 1900s.

TUNE: Planxty George Brabazon or Prince Charlie’s Welcome To The Isle Of Skye?

The Irish harpist Turlough O’Carolan (the last of the great itinerant irish harper-composers) wrote some arias in homage to his guests and patrons, whom he called “planxty”, whose text in Irish Gaelic (not received) praised the nobleman on duty or commemorated an event; the melodies are free and lively with different measures (not necessarily in triplets). With the title of George Brabazon two distinct melodies attributed to Carolan are known.
“George Brabazon” was retitled in Scotland “Prince Charlie’s Welcome to the Island of Skye” in honor of the Pretender as the vehicle for the song “Twa Bonnie Maidens.” It also appears in the Gow’s Complete Repository, Part Second (1802) under the title “Isle of Sky” (sic), set as a Scots Measure and with some melodic differences in the second part. This is significant, for it predates the earliest Irish source (O’Neill) by a century.
Source “The Fiddler’s Companion” (cf. Liens).
J.J. Sheridan
Siobhan Mcdonnell

The Chieftains  in Water From the Well 2000

“Over the Sea to Skye”

Link
http://chrsouchon.free.fr/twabonny.htm
https://mudcat.org/thread.cfm?threadid=25774
http://www.rampantscotland.com/songs/blsongs_maidens.htm
https://www.thebards.net/music/lyrics/Twa_Bonnie_Maidens.shtml
https://www.visitouterhebrides.co.uk/see-and-do/location-a-coilleag-a-phrionnsa-bonnie-prince-charlie-trail-p538071

https://thesession.org/tunes/1609
https://mudcat.org/thread.cfm?threadid=46578
https://mudcat.org/thread.cfm?threadid=19657
https://mudcat.org/thread.cfm?threadid=6422
https://mudcat.org/thread.cfm?threadid=9152

Twa Bonnie Maidens

Read the post in English  

“Twa Bonnie Maidens” (in italiano “Due graziose fanciulle”) è una canzone giacobita pubblicata da James Hogg in “Jacobite Relics”, Volume II (1819) che celebra l’arrivo nell’isola di Skye di una barchetta con due belle fanciulle, senonchè l’ancella di Flora Macdonald è il nostro Bel Carletto travestito, nella sua fuga dalla Scozia, dopo la disfatta della rivolta giacobita nella rovinosa battaglia di Culloden (1746).

IL PRINCIPE E LA BALLERINA

Il principe era riuscito ad arrivare nell’isola di Banbecula delle Ebridi Esterne, ma la sorveglianza era strettissima e non aveva modo di fuggire. Ed ecco che entra in scena la fanciulla, Flora MacDonald.
Nella versione anedottica della storia, Flora escogitò un trucco per portare via dall’isola Charlie: con il pretesto di andare a trovare la madre (che viveva ad Armadale dopo essersi risposata), ottenne per sè e per i due suoi domestici il salvacondotto; sotto il nome e gli abiti della cameriera irlandese Betty Burke però si celava il Bonny Prince!: Il Principe e la Ballerina

Flora MacDonald's Introduction to Bonnie Prince Charlie di Alexander Johnston (1815-1891)
“Flora MacDonald’s Introduction to Bonnie Prince Charlie” di Alexander Johnston (1815-1891)

TWA BONNIE MAIDENS

Hogg trascrisse il testo dalla testimonianza della signora Betty Cameron di Lochaber, la quale affermava che originariamente la canzone fosse in gaelico scozzese. Così scrive Hogg
È stato copiato letteralmente dalla bocca della signora Betty Cameron di Lochaber; un personaggio ben noto in gran parte delle Lowlands, specialmente per la sua grande quantità di canzoni giacobite, e il suo attaccamento al principe Carlo, e ai capi che soffrirono per lui, dei quali non parlò mai senza scoppiare a piangere. Disse che la canzone era dal gaelico; ma se lo è, penso che probabilmente l’ha tradotta lei stessa. Non c’è quasi nessuna canzone o aria che amo di più”
Quadriga Consort in “Ships Ahoy ! – Songs of Wind, Water & Tide” 2011
Marais & Miranda in A European Folk Song Festival 2012 (strofe I, III)
Archie Fisher in “The Man with a Rhyme” 1976


I
There were twa bonnie maidens,
and three bonnie maidens,
Cam’ ower the Minc (1),
and cam’ ower the main,
Wi’ the wind for their way
and the corrie (2) for their hame,
And they’re dearly welcome
tae Skye again.
Chorus
Come alang, come alang,
wi’ your boatie and your song,

Tae my hey! bonnie maidens,
my twa bonnie maids!

The nicht, it is dark,
and the redcoat is gane,

And you’re dearly welcome
tae Skye again.

II
There is Flora (3), my honey,
sae neat and sae bonnie,
And ane that is tall,
and handsome withall.
Put the ane for my Queen
and the ither for my King (4)
And they’re dearly welcome
tae Skye again.
III (5)
There’s a wind on the tree,
and a ship on the sea,
Tae my hey! bonnie maidens,
my twa bonnie maids!
By the sea mullet’s nest (6)
I will watch o’er the main,
And you’re dearly welcome
tae Skye again.
Traduzione italiana Cattia Salto
I
C’erano due graziose fanciulle
e tre fanciulle belle
che attraversarono il Minch
oltre il mare
sospinte dal vento a favore
e accolte dalle nostre montagne
sono sinceramente le benvenute
a Skye
Coro
Venite, venite
con la vostra barchetta e la vostra canzone, belle fanciulle,
mie due fanciulle belle!
La notte è buia
e le giubbe rosse sono partite,
voi siete sinceramente le benvenute
a Skye.
II
C’è Flora, la mia diletta;
così forte e bella
e uno che è alto
e anche bello.
Metti l’una come Regina
e l’altro come Re
sono sinceramente le benvenute
a Skye
III
C’è il vento all’albero
e una barca nel mare
belle fanciulle,
mie due fanciulle belle!
Dal nido di triglie
sorveglierò il mare
voi siete sinceramente le benvenute
a Skye.

NOTE
1) Minch=canale tra le Ebridi esterne e le Ebridi interne
2) corry=una nicchia o uno scavo nella collina
3) 3) Flora MacDonald
4) Bonnie Prince Charlie
5) la strofa è una sintesi  tra la III e la IV della versione riportata da Hogg
6) i due sbarcarono nel villaggio di Portree. Il Nest Point è invece un altro suggestivo panorama  sulla punta occidentale dell’isola di Skye (sul lato opposto di Portree), ottimo punto per guardare il Minch il tratto di mare che separa le Highlands do nord ovest e il nord di Skye dalle isole Harris e Lewis, detto dagli antichi Norreni “Fiordo della Scozia”
Ai tempi della rivolta giacobita non esisteva ancora il Faro progettato e costruito da Alan Stevenson nei primi anni del 900.

LA MELODIA: Planxty George Brabazon o Prince Charlie’s Welcome To The Isle Of Skye?

L’arpista irlandese Turlough O’Carolan (ricordato come l’ultimo dei bardi-arpisti itineranti) scrisse alcune arie in omaggio ai suoi ospiti e mecenati, che chiamava “planxty”, il cui testo in gaelico irlandese (non pervenuto) elogiava il nobile di turno o ne commemorava un evento; le melodie sono libere e vivaci con tempi diversi (non necessariamente in terzine). Con il titolo di George Brabazon si conoscono due distinte melodie attribuite a Carolan.
“George Brabazon”è stato rititolato in Scozia “Prince Charlie’s Welcome to the Island of Skye” in onore del Pretendente come veicolo per la canzone “Twa Bonnie Maidens”. Appare anche nel Complete Repository di Gow, Parte Seconda (1802) con il titolo “Isle di Sky “(sic), suonato come una Scots Measure e con alcune differenze melodiche nella seconda parte. Questo è significativo, perché precede la prima fonte irlandese (O’Neill) di un secolo.
Fonte “The Fiddler’s Companion” (cf. Liens).

J.J. Sheridan
Siobhan Mcdonnell

The Chieftains  in Water From the Well 2000

“Over the Sea to Skye”

FONTI
http://chrsouchon.free.fr/twabonny.htm
https://mudcat.org/thread.cfm?threadid=25774
http://www.rampantscotland.com/songs/blsongs_maidens.htm
https://www.thebards.net/music/lyrics/Twa_Bonnie_Maidens.shtml
https://www.visitouterhebrides.co.uk/see-and-do/location-a-coilleag-a-phrionnsa-bonnie-prince-charlie-trail-p538071

https://thesession.org/tunes/1609
https://mudcat.org/thread.cfm?threadid=46578
https://mudcat.org/thread.cfm?threadid=19657
https://mudcat.org/thread.cfm?threadid=6422
https://mudcat.org/thread.cfm?threadid=9152

Outlander book: giving a new wife a fish

Leggi in italiano

FROM OUTLANDER BOOK

Diana Gabaldon

In the first book of the Outlander saga written by Diana Gabaldon chapter 16 Jamie recites, the day after their wedding, an old love song to Claire, giving her a fish.

A good size,” he said proudly, holding out a solid fourteen-incher. “Do nicely for breakfast.” He grinned up at me, wet to the thighs, hair hanging in his face, shirt splotched with water and dead leaves. “I told you I’d not let ye go hungry.”
He wrapped the trout in layers of burdock leaves and cool mud. Then he rinsed his fingers in the cold water of the burn, and clambering up onto the rock, handed me the neatly wrapped parcel.
“An odd wedding present, may be,” he nodded at the trout, “
“It’s an old love song, from the Isles. D’ye want to hear it?”
“Yes, of course. Er, in English, if you can,” I added.
“Oh, aye. I’ve no voice for music, but I’ll give you the words.” And fingering the hair back out of his eyes, he recited,
Thou daughter of the King of bright-lit mansions
On the night that our wedding is on us,
If living man I be in Duntulm,
I will go bounding to thee with gifts.
Thou wilt get a hundred badgers, dwellers in banks,
A hundred brown otters, natives of streams,
a hundred silver trout, rising from their pools

A nighean righ nan roiseal soluis

Alexander Carmichael in his “Carmina Gadelica” Vol II, reports the fragment of this old Scottish Gaelic song, translating into English, and assuming that the author was a Macdonalds of the Isle of Skye. (a clan renowned for the poetic fame of its exponents of prominence)
Skye is probably the island of the Hebrides more similar to the land of Avalon, privileged location of many fantasy films, but more recently a inflated destination for mass tourism (with all the negative aspects of high prices, streets overcrowded by tourist buses and even to the most inaccessible destinations you risk finding yourself in a large company)


English translation *
I
Thou daughter of the king of bright-lit mansions,
On the night that our wedding is on us,
If living man I be in Duntulm
I will go bounding to thee with gifts.
II
Thou wilt get an hundred badgers dwellers in banks,
An hundred brown otters native of streams,
Thou wilt get an hundred wild stags that will not come/ To the green pastures of the high glens.
III
Thou wilt get an hundred steeds stately and swift,
An hundred reindeer  intractable in summer,
And thou wilt get an hundred hummelled red hinds,
That will not go in stall in the Wolfmonth of winter
Scottish Gaelic
I
A nighean righ nan roiseal soluis (1),
An oidhche bhios oirnne do bhanais,
Ma ’s fear beo mi an Duntuilm (2)
Theid mi toirleum (3)  da d’earrais.
II
Gheobh tu ciad bruicean tadhal bruach,
Ciad dobhran donn, dualach alit,
Gheobh tu ciad damh alluidh nach tig
Gu innis ard ghleannaidh. (4)
III
Gheobh to ciad steud stadach, luath,
Ciad bràc (5) bruaill an t-samhraidh,
’S gheobh tu ciad maoilseach (6) maol, ruadh,
Nach teid am buabhall am Faoileach (7) geamhraidh

NOTES
* Alexander Carmicheall: evidently the composition of one of the Macdonalds of the Isles, several of whom were poets
1) roiseal soluis= fine bright light or display of light,
2) Duntulm  (Scottish Gaelic: Dùn Thuilm) is a township on the most northerly point of the Trotternish peninsula of the Isle Of Skye. The village is most notable for the coastal scenery coupled with the ruins of Duntulm Castle,
3) tòirleum: leum bras
4) Diana Gabaldon concludes the poem by adding a verse that recalls the comic situation created between the two protagonists “a hundred silver trout, rising from their pools”
5) bràc= brae= Beurla (reindeer)
6) bean an fhèid
7) Faoilteach= Wolfmonth, historical names for January include its original Roman designation, Ianuarius, the Saxon term Wulf-monath (meaning “wolf month“)

The symbolism of matrimonial gifts is evident: the abundance of herds is auspicious for the fertility of the couple.

LINK
http://www.sacred-texts.com/neu/celt/cg2/cg2106.htm
http://www.electricscotland.com/books/pdf/carminagadelicah02carm.pdf
http://luideagbheag.blogspot.com/2016/11/a-nigheann-righ-nan-roiseal-soluis.html

https://www.thecastlesofscotland.co.uk/the-best-castles/scenic-castles/duntulm-castle/
https://50sfumaturediviaggio.com/2017/07/01/isola-di-skye-informazioni-generali/
https://50sfumaturediviaggio.com/2017/06/30/isola-di-skye-4-giorni-tra-le-nuvole/