James Galway & Matt Molloy discuss flutes

[kenny]

Short clip, might be of interest....

http://youtu.be/ItZuGpqIUCc

[jemtheflute]

Virtuoso blarney! Doesn't improve with time! I hadn't seen that for donkey's years and it's at least as bad as I recalled! Trouble is, most folk who saw/see it would reckon wee Jimmy knew more than half of what he was talking about - and about half of what he says about the classical side of things is inaccurate! Entertaining, though, I suppose. JG is a great verbal busker (and self-promoter).

[jim stone]

Yes, a bit of scrimmaging between the two. I especially liked galway's assertion that rolls, etc are used on the old flutes principally to ease the jump between notes in the tune.

[stanton135]

Also the claim that traditional Irish singers use ornaments and slides because they can't reach the high notes without them.

On the other hand, I found another reason to respect Molloy: he refrained from baldly contradicting Galway on camera, like I would have been tempted to do.

[Angel Shadowsong]

Ornaments to get to higher notes?

Correct me if I'm wrong but

On winds
I've encountered a lot and there are only 2 ways I have found that is, to push it more with the wind velocity or use a vent/register keys.

On voice
As a singer myself
To get to high notes is too push it with breath (belting in Pop music) similar to appogio technic (reenhancing breath support with muscle control on back and abdominal are in Classical Music)

or find a different placement to either make your chords vibrate shorter or make a falsetto.

Ornaments are the word itself, it makes things beautiful either by adding style or variations.

On the otherhand using ornaments like tremolo, runs, note bends, and note trills does conserve air consumption on voice in comparison to long/legato notes.

I sometimes use it to buy me time for breath usage specially before launching a high note or then before sustaining a high note, I use this specially if I am with friends whose on to RNB type of music. I consiously use it because I need to blend with them. Imagine me sounding opera on a RNB song if I don't.

Nevertheless they don't help on reaching higher notes. Reaching notes on voice is part of your range and your execution.

[Liney Bear]

Zoom in on Galway's badge. I think it must be an award he won for going from one note to the next without using ornaments. Go on, James.

[an seanduine]

I've been pleased to have attended one of Sir James' Master Classes. . .and the man knows a great deal about how to play little Teddy Boehm's typewriter. . .but when he finished with the Orange flute bands, and left the Shankill, he left more than a geographical location behind. . .

Bob

[Ballygo]

Condescending and arrogant, but typical of the general attitude of the time it was recorded. Irish Traditional music was not seen fit to be included on the national school syllabus, one could only study Jazz and classical music at that time. Only recently(10/15 years ?) has Irish music being allowed in schools in Ireland. I grew up in Ireland in the 60s and 70s, where the music was generally treated as second rate, until Planxty, Bothy Band, Chieftains etc, slowly changed public perception. Even then, it was not included in our primary or secondary schools . So this type of ignorance displayed by Galway, was typical of what you would run into. Nowadays the music is thriving and more appreciated by Irish people, but the vast majority still have very little knowledge of their own music. I come from a family where traditional music was to the fore, but even still, the majority of my siblings wouldn't know very much about it. Anyway its nice to see that footage, hopefully James Galway has updated his view of ITM in the intervening years. Two great musicians.


Ballygo

[Harry]

Now, now, 'Celtic' flute needs all the kitsch innovators it can get...

http://www.youtube.com/watch?v=TUoVdHjNMpY

[RudallRose]

i think Matt was being very polite in not whacking James over the head with his Boosey -- which he actually labeled improperly, but who's really counting, right?

[MTGuru]

Condescending and arrogant, but typical of the general attitude of the time it was recorded.

Still pretty shocking, though, no? I mean, in the '80s Jimmy was in his 40s, so callow youth is no excuse. And the (ethno)musicology was there for the having, too, so the times were no excuse either. It's sheer willful ance, of the ignor- and arrog- variety.

hopefully James Galway has updated his view of ITM in the intervening years.

If the proof of the pondering is in the playing - and I'd say it is for any accomplished musician - then I'd say: no, no he hasn't. And the extent to which he continues to posture to "his" audiences as a condescending exponent of Irish music is pretty despicable, IMO.

I remember waching a program of Itzhak Perlman attempting to learn to play klezmer fiddle. And the contrast with Jimmy G. is night and day - Mr. Perlman laughing at his own missteps, and exuding admiration and respect for the klezmer musicians around him, with a good measure of humility. And, significantly, getting better as he goes on, learning, learning. Night and day.

Added: Found a clip: http://www.youtube.com/watch?v=DkmFgQ9fM94

[an seanduine]

Itzhak Perlman may have had a very temporary separation from the klezmorim, but it appears that with Sir James and ITM the divorce has been final. . .

Bob

[Kirk B]

It's too bad that it wasn't Shlomo Mintz. Then we could use Amazing Slow Downer and listen to Shlomo in slow-mo.

[onomatopoeia]Groooaaannn![/onomatopoeia]

[jemtheflute]

I do know that JG's knowledge of flute history/development and how flutes work has improved somewhat since those days so he would be less likely to repeat some of his gaffes on that score and I believe has become a bit more open-minded about historic instruments. He has probably knocked around with the Chieftains a fair few times since then too (Paddy Moloney is and has always been game to arrange gigs and recordings with folk famous in their own right to broaden exposure, and much of the success of the Chieftains is down to his particular vision and salesmanship, whatever any of us might think about it musically.......) so may even have acquired a bit more understanding of ITM. I don't think he ever had (or claimed to have) any background in ITM - his earliest fluting experience was of the Orange Band type, as is well enough known - and whilst that is a whole tradition in its own right and does use some tunes which are undubitably "traditional" (not necessarily just Irish), the playing style is generally far more classical. From early in his career he too, as a good self-promoter, saw the appeal and advantage of using bits and bobs like Harvest Home, Boys of Bluehill etc. as tin whistle encore/feature pieces, though he never has found a decent way of playing 'em!

[smoro]

Matt Molloy is very lucky. Thanks to the existence of ornaments he can reach the high notes decently, otherwise it would be impossible for him to achieve it.