I am not sure Tony played with the Kilfenora although many musicians from the area sat in with them at one time or another….
But my point was really that the ceilibands have a lasting presence and influence in (Clare) music.
I got the impression that Tony was a member of the Kilfenora from what I assumed was producer’s commentary on a TG4 performance
here. As you say, though, it’s secondary to the real point. If you’re game for extending its discussion, I’m also intrigued by the step some keyboardists are taking beyond ceili-type piano accompaniment, into peer-participation in the melodic ensemble. I assume that the performance with Conor Conolly on the keyboard to which you referred earlier is reasonably close to the one
here.
One would never know from it that he is a solo whiz when left to his own devices. Ryan Molloy more directly reflects the extent of his keyboard skill in a performance with Fergal Scahill
here. I can imagine Conor’s ever so well done comp nonetheless being dropped from the linked performance without diminishing its musical effect. Mr. Gumby, you said the same about the “Just the Two” concert. Would you agree that things are not as clear cut with Ryan’s accompaniment?
He comments on this himself and provides a useful review of the development and perception of accompaniment
here, also ascribing pivotal significance to ceilibands. (This video discussion is well worth following at least from the linked point of entry through an embedded performance sequence, again with Fergal.) The obvious question about whether piano accompaniment is currently gaining intricacy on a broader front can be posed more generally in light of your further observation:
…the ever increasing number of harpers fulfills a similar role providing a layer under the melody instruments.
In a conversation about this, Janet Harbison once told me that it’s important for instruments capable of both melody and accompaniment to stick to one or the other when playing in a group. She wasn’t suggesting that the roles never be switched during the course of a session — just that when the instrument is played melodically, self accompaniment should be far more austere than would be appropriate in a solo context, if not dispensed with entirely. Conor follows that principle quite rigorously but Ryan much less so. Is there any indication of a wider trend toward more elaborate accompaniment in all this?
