I thought that Eric was on to some very key points below - not just about the clips in question, but key issues for Irish Traditional Music aka "pure drop" or whatever-you-please-sir.
One of the things that about traditional Irish piping that IMO differs from both contemporary popular and art music is the fact that it is not, at its core, harmonic. That is not to say that it contains no harmonies, but in fact is a much more significant observation about the "motive force" of the music which shapes the tunes themselves.
It is also different rhythmically from classical or pop/rock music, which I think has to do with a dual heritage in particular types of dances and at the same time in song. If a jig sounds neither as if it is being danced to nor sung, there's something terribly wrong with it - I reckon it should sound like both.
The issues Eric raised below speak to both the "phrasing" and the "ornamentation" points, which I think go hand in hand.
Unfortunately, this real question which seems to be a variant of "what's the big deal about Ennis", as representative of a larger topic, puts McSherry's playing in the context of a negative comparison. While I, too, expect McSherry does not even privately consider himself in a musical class with Ennis, some readers are taking this as an assault on their personal tastes. I think the assault is a gentle one, i.e. "if you have to ask, try listening more."
I differ with the statement that we should be worrying more "about how good our own piping is" - frankly I think that practicing without studying the greats, particularly of the past - no matter what our level of competency - is misdirected effort in the context of traditional music. As a rule of thumb I suppose one should listen studiously at least as much as one practices/plays. And of course it makes a big difference who you listen to.
As for the original question, i.e. "please explain Ennis is doing that is so wonderful" (or substitute any of the revered older players), I am afraid we're well and truly in the realm of aesthetics. IMO very little about art or aesthetics can fruitfully be discussed analytically, or explained, except among a group of people immersed and for long years in the art in question. Even then it's pretty difficult.
What is art, indeed! You know it when you see it - depending on how you look. Maybe someone needs to write "Ways of Hearing" to go with "Ways of Seeing"...
Bill
eric wrote:
For me, the McSherry clip does not have the measured dignity present in Ennis. It does not contain the same level of thoughtfulness in construction of phrases, ornaments, and tone. McSherry appears to add ornaments out of habit, and as such, puts ornaments in places more effective in dance music.
McSherry's phrasing moves from accented note to accented note, or from ornament to ornament, rather than glueing together shorter phrases as you'd hear in sean nos singers. When that glue is lost, the aesthetic that built the phrases is also lost. The notes lose their value; all that's left is to move from accented note to accented note to try to find interest and meaning.
McSherry's phrasing may be influenced by the accompaniment-- in other words, the phrases become more about lengthening notes to create texture with the harmony, rather than playing with internal stresses and ideas within the melody itself. It's a different aesthetic. For me, the result is less interesting.
> Liam O'Flynn seemed to think pretty highly of Ennis
There is no question here: O'Flynn holds Ennis in the highest regard. And why stop with him? Ask all the top traditional pipers their opinion of Ennis.
> Isn't McSherry just a much better piper than Ennis?
Alas, no. But there's nothing wrong with saying McSherry appeals to you more. Ennis works on a whole different level; it is a highly complicated, highly developed level, and intrinsically integrated with the complete traditional aesthetic.
