Browse content similar to 01/02/2015. Check below for episodes and series from the same categories and more!
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Great poets have always beguiled and inspired us | 0:00:02 | 0:00:04 | |
and none more so than Scotland's favourite son, Robert Burns, | 0:00:04 | 0:00:06 | |
whose memory we're here to celebrate tonight. | 0:00:06 | 0:00:09 | |
His appeal is global but it would be difficult to find anywhere | 0:00:09 | 0:00:13 | |
in the world with a stronger connection than here in Ulster. | 0:00:13 | 0:00:17 | |
The audience have been called to take their seats. | 0:00:17 | 0:00:20 | |
The Ulster Orchestra have tuned up. | 0:00:20 | 0:00:22 | |
Backstage, the artists, including Scottish Singer of the Year, | 0:00:22 | 0:00:25 | |
Emily Smith, are making final preparations. | 0:00:25 | 0:00:28 | |
With Emily, we have Eilidh Patterson, | 0:00:28 | 0:00:30 | |
we have the Berna Folk Band, | 0:00:30 | 0:00:32 | |
we have Marcus and Matthew Wenlock, World Champion drummers, | 0:00:32 | 0:00:36 | |
and we have the Markethill Dancers. | 0:00:36 | 0:00:38 | |
Welcome to Burns Night at the Waterfront Hall. | 0:00:38 | 0:00:42 | |
PIPE MUSIC | 0:00:45 | 0:00:51 | |
APPLAUSE | 0:02:42 | 0:02:49 | |
Ladies and gentlemen, please give an Ulster welcome | 0:02:53 | 0:02:56 | |
to Scots Singer of the Year, Emily Smith. | 0:02:56 | 0:03:01 | |
Good evening. | 0:03:15 | 0:03:18 | |
We're going to start with a song called The Plooman, | 0:03:18 | 0:03:21 | |
which has a chorus. | 0:03:21 | 0:03:22 | |
You're very welcome to join us but it would take me | 0:03:22 | 0:03:24 | |
a long time to teach it to you, so we haven't got time for that. | 0:03:24 | 0:03:27 | |
We'll just have to go for it. | 0:03:27 | 0:03:29 | |
# The plooman, he's a bonnie lad | 0:03:37 | 0:03:40 | |
# His hairt is ever true, jo | 0:03:40 | 0:03:43 | |
# His garter's knit below the knee | 0:03:43 | 0:03:46 | |
# And his bonnet, it is blue, jo | 0:03:46 | 0:03:50 | |
# Then up wi' and all my plooman lads | 0:03:50 | 0:03:53 | |
# Hey my merry plooman | 0:03:53 | 0:03:56 | |
# O aa the trades that I dae ken | 0:03:56 | 0:03:59 | |
# Commend me tae the plooman | 0:03:59 | 0:04:02 | |
# My plooman, he comes hame at nicht | 0:04:02 | 0:04:05 | |
# He's often wet and wearie | 0:04:05 | 0:04:08 | |
# Take aff the wet, put on the dry | 0:04:08 | 0:04:11 | |
# And go to bed my dearie | 0:04:11 | 0:04:14 | |
# Then up wi' and all my plooman lads | 0:04:14 | 0:04:17 | |
# Hey my merry plooman | 0:04:17 | 0:04:20 | |
# O aa the trades that I do ken | 0:04:20 | 0:04:24 | |
# Commend me tae the plooman | 0:04:24 | 0:04:27 | |
# I will wash my plooman's sark | 0:04:27 | 0:04:30 | |
# And I will wash his o'erlay | 0:04:30 | 0:04:33 | |
# I will mak my plooman's bed | 0:04:33 | 0:04:36 | |
# And cheer him late and early | 0:04:36 | 0:04:39 | |
# Then up wi' aa all my plooman lads | 0:04:39 | 0:04:43 | |
# Hey my merry plooman | 0:04:43 | 0:04:45 | |
# O aa the trades that I dae ken | 0:04:45 | 0:04:48 | |
# Commend me tae the plooman | 0:04:48 | 0:04:51 | |
# Well I've been east and I've been west | 0:05:18 | 0:05:21 | |
# And I've been at St Johnstone | 0:05:21 | 0:05:23 | |
# But the bonniest sicht that e'er I saw | 0:05:23 | 0:05:27 | |
# Was my plooman laddie dancin | 0:05:27 | 0:05:30 | |
# Then up wi' and all my plooman lads | 0:05:30 | 0:05:33 | |
# Hey my merry plooman | 0:05:33 | 0:05:36 | |
# O aa the trades that I dae ken | 0:05:36 | 0:05:39 | |
# Commend me tae the plooman | 0:05:39 | 0:05:42 | |
# Snaw white stockings on his legs | 0:05:42 | 0:05:45 | |
# Siller buckles glancing | 0:05:45 | 0:05:48 | |
# A guid blue bonnet on his head | 0:05:48 | 0:05:51 | |
# And oh but he was handsome | 0:05:51 | 0:05:54 | |
# Then up wi' and all my plooman lads | 0:05:54 | 0:05:57 | |
# Hey my merry plooman | 0:05:57 | 0:06:00 | |
# O aa the trades that I dae ken | 0:06:00 | 0:06:03 | |
# Commend me tae the plooman | 0:06:03 | 0:06:07 | |
# Commend me tae the barn yard | 0:06:20 | 0:06:23 | |
# And the corn mou man | 0:06:23 | 0:06:26 | |
# Oh, I never got my coggie fou | 0:06:26 | 0:06:29 | |
# Til I met wi my plooman | 0:06:29 | 0:06:32 | |
# Then up wi' and all my plooman lads | 0:06:32 | 0:06:35 | |
# Hey my merry plooman | 0:06:35 | 0:06:39 | |
# O aa the trades that I dae ken | 0:06:39 | 0:06:42 | |
# Commend me tae the plooman. # | 0:06:42 | 0:06:45 | |
APPLAUSE | 0:07:15 | 0:07:19 | |
When I first became a traditional singer, | 0:07:21 | 0:07:23 | |
interested in traditional songs, | 0:07:23 | 0:07:25 | |
I kind of ran in the opposite direction of Burns' work | 0:07:25 | 0:07:28 | |
because I thought I knew all there was to know about him, | 0:07:28 | 0:07:30 | |
I thought I knew everything he had written. | 0:07:30 | 0:07:32 | |
But it wasn't until 2009, his 250th anniversary | 0:07:32 | 0:07:37 | |
that myself and Jamie McLennan decided to do something | 0:07:37 | 0:07:41 | |
to mark that occasion so we recorded an album | 0:07:41 | 0:07:44 | |
of lesser known works by Burns | 0:07:44 | 0:07:46 | |
and particularly trying to source songs that he wrote | 0:07:46 | 0:07:48 | |
within Dumfriesshire or about people from his time in the south-west. | 0:07:48 | 0:07:52 | |
I just had this whole new appreciation for him. | 0:07:52 | 0:07:55 | |
To have died so young, he wrote so much. | 0:07:55 | 0:07:59 | |
You seem very comfortable in front of an orchestra | 0:07:59 | 0:08:02 | |
as well as an audience, how is that for you? | 0:08:02 | 0:08:05 | |
I'm good at acting! | 0:08:06 | 0:08:09 | |
It's fantastic, this is the first time I've performed | 0:08:09 | 0:08:11 | |
with an orchestra, so it's really exciting | 0:08:11 | 0:08:14 | |
and it really puts a whole new dimension onto your performance | 0:08:14 | 0:08:17 | |
and to hear songs that myself and Jamie have done | 0:08:17 | 0:08:21 | |
just as a duo, having orchestration behind it is really fun. | 0:08:21 | 0:08:24 | |
We're going to carry on with a song called the Silver Tassie. | 0:08:24 | 0:08:27 | |
This one Burns wrote about a sailor boarding a ship, | 0:08:27 | 0:08:31 | |
leaving from the Port of Leith just outside Edinburgh, | 0:08:31 | 0:08:34 | |
and he calls for one final toast farewell to his sweetheart, Mary, | 0:08:34 | 0:08:38 | |
so it's called the Silver Tassie. | 0:08:38 | 0:08:40 | |
# Gae bring to me a pint o' wine | 0:08:46 | 0:08:54 | |
# And fill it in a silver tassie | 0:08:54 | 0:09:01 | |
# That I may drink afore I go | 0:09:02 | 0:09:08 | |
# A service tae my bonnie lassie | 0:09:09 | 0:09:17 | |
# The boat rocks at the Pier o'Leith | 0:09:17 | 0:09:24 | |
# Fu'loud the wind blows frae the ferry | 0:09:24 | 0:09:31 | |
# The ship rides by the Berwick-law | 0:09:32 | 0:09:39 | |
# And I maun leave my bonnie Mary | 0:09:39 | 0:09:47 | |
# The trumpets sound | 0:10:02 | 0:10:05 | |
# The banners fly | 0:10:05 | 0:10:09 | |
# Oh, the glittering spears | 0:10:09 | 0:10:13 | |
# They are ranked ready | 0:10:13 | 0:10:17 | |
# The shouts o war | 0:10:17 | 0:10:20 | |
# Are heard afar | 0:10:20 | 0:10:24 | |
# And the battle closes deep and bloody | 0:10:24 | 0:10:31 | |
# It's not the roar o sea or shore | 0:10:32 | 0:10:38 | |
# Wad make me langer wish to tarry | 0:10:40 | 0:10:46 | |
# Nor shouts o war | 0:10:47 | 0:10:51 | |
# That's heard afar | 0:10:51 | 0:10:56 | |
# Oh, it's leaving thee | 0:10:56 | 0:10:59 | |
# My bonnie Mary | 0:10:59 | 0:11:02 | |
# It's leaving thee | 0:11:02 | 0:11:09 | |
# It's leaving thee | 0:11:10 | 0:11:16 | |
# Oooh, oh | 0:11:22 | 0:11:26 | |
# Oooh, oh | 0:11:26 | 0:11:30 | |
# Oooh, oh. # | 0:11:30 | 0:11:35 | |
APPLAUSE | 0:11:39 | 0:11:44 | |
I'm Matthew and I'm the Juvenile 2 MSR world champion. | 0:11:44 | 0:11:48 | |
And I'm Marcus Wenlock | 0:11:48 | 0:11:50 | |
and this year I won the Juvenile 3 MSR world title. | 0:11:50 | 0:11:54 | |
And Matthew, how do your friends react to seeing you on the telly | 0:11:54 | 0:11:59 | |
and seeing you winning world championships | 0:11:59 | 0:12:01 | |
and seeing lines of girls outside your house, | 0:12:01 | 0:12:03 | |
screaming like it's One Direction? | 0:12:03 | 0:12:05 | |
I think they're a bit jealous. | 0:12:05 | 0:12:08 | |
They always taunt me at school. | 0:12:08 | 0:12:11 | |
Like, "You're always doing this, you're always doing that." | 0:12:11 | 0:12:14 | |
Tell me about the track that you're playing tonight. | 0:12:14 | 0:12:17 | |
It's a Bulgarian folk dance | 0:12:17 | 0:12:18 | |
and it was wrote by Gavin Bailey, | 0:12:18 | 0:12:21 | |
who passed away last year. | 0:12:21 | 0:12:22 | |
It's quite complicated, | 0:12:22 | 0:12:25 | |
as there's different changes in time signatures | 0:12:25 | 0:12:30 | |
which means there needs to be a lot of thought to what you're playing. | 0:12:30 | 0:12:33 | |
It's quite complicated to what we usually play. | 0:12:33 | 0:12:35 | |
Marcus, this is a very important question | 0:12:35 | 0:12:37 | |
and a lot of people want to know this. | 0:12:37 | 0:12:40 | |
Who is the best drummer between the two of you? | 0:12:40 | 0:12:42 | |
Well, that's for everybody to find out tonight. | 0:12:42 | 0:12:45 | |
Matthew and Marcus Wenlock | 0:12:45 | 0:12:47 | |
are going to engage in a drum battle to the Buschimich track. | 0:12:47 | 0:12:51 | |
These world title winning brothers made drumming history | 0:12:51 | 0:12:54 | |
by becoming the first brothers to win world titles in the same year, | 0:12:54 | 0:12:58 | |
and both brothers played their way to getting perfect scores | 0:12:58 | 0:13:02 | |
of first place across the board, from all the judges. | 0:13:02 | 0:13:06 | |
I give you Matthew and Marcus Wenlock. | 0:13:06 | 0:13:09 | |
APPLAUSE | 0:13:09 | 0:13:14 | |
APPLAUSE | 0:15:54 | 0:15:57 | |
We've enjoyed Emily Smith's wonderful renditions of Burns' work, | 0:16:04 | 0:16:08 | |
and we'll hear more from her shortly. | 0:16:08 | 0:16:09 | |
Emily was born and reared in Dumfriesshire in Scotland, | 0:16:09 | 0:16:12 | |
which was Burns' stomping ground. | 0:16:12 | 0:16:14 | |
So we have asked Emily to give us a whistle-stop tour. | 0:16:14 | 0:16:17 | |
So this is Thornhill in Dumfriesshire. | 0:16:23 | 0:16:25 | |
And I grew up in a wee village just outside Thornhill. | 0:16:25 | 0:16:28 | |
This would be one of the busier villages | 0:16:28 | 0:16:30 | |
towards the north of Dumfries and Galloway, | 0:16:30 | 0:16:32 | |
so Burns would have frequented here a lot, | 0:16:32 | 0:16:34 | |
and on his way north up to Ayrshire. | 0:16:34 | 0:16:36 | |
My inspiration for traditional music really probably stemmed | 0:16:36 | 0:16:39 | |
from Robert Burns and his work. | 0:16:39 | 0:16:41 | |
And what continues to draw me back to his work | 0:16:41 | 0:16:45 | |
is that he walked and rode these same roads | 0:16:45 | 0:16:48 | |
that I see on a daily basis. | 0:16:48 | 0:16:50 | |
The same landscape, the same villages, the same place names. | 0:16:50 | 0:16:53 | |
A couple of miles north of Thornhill is Durisdeer. | 0:17:01 | 0:17:04 | |
I have lots of childhood memories of coming to Durisdeer | 0:17:04 | 0:17:07 | |
when I was wee, and going walks. | 0:17:07 | 0:17:08 | |
You can go a walk in any direction here | 0:17:08 | 0:17:10 | |
and the views are just beautiful. | 0:17:10 | 0:17:11 | |
So Burns would certainly have come up and down here quite a few times. | 0:17:11 | 0:17:15 | |
This road is called the Lang Glen. | 0:17:15 | 0:17:17 | |
And Burns referred to it in his poem, Last May a Braw Wooer. | 0:17:17 | 0:17:20 | |
"Last May a braw wooer cam doon the lang glen, | 0:17:20 | 0:17:24 | |
"And sair wi' his love he did deave me. | 0:17:24 | 0:17:27 | |
"I said there was naething I hated like men | 0:17:27 | 0:17:30 | |
"The deuce gae wi'm to believe me, believe me | 0:17:30 | 0:17:33 | |
"The deuce gae wi'm to believe me." | 0:17:33 | 0:17:36 | |
When Robert Burns was 29 he moved from Ayrshire to Ellisland Farm, | 0:17:41 | 0:17:45 | |
which is, again, in Dumfriesshire, | 0:17:45 | 0:17:47 | |
and he farmed the land here for three years. | 0:17:47 | 0:17:49 | |
But he wrote some of his most famous works here, Tam O'Shanter, | 0:17:49 | 0:17:52 | |
the fantastic poem, one of my favourite poems ever, | 0:17:52 | 0:17:55 | |
and Auld Lang Syne was also another work that he wrote here at Ellisland. | 0:17:55 | 0:17:59 | |
The River Nith is our largest river in Dumfriesshire. | 0:18:04 | 0:18:08 | |
It flows right past Ellisland Farm where Burns would have lived. | 0:18:08 | 0:18:11 | |
You can walk along from Ellisland up to a place called Friars' Carse, | 0:18:11 | 0:18:15 | |
and Friars' Carse was the mansion home of a man called Robert Riddell, | 0:18:15 | 0:18:18 | |
who was one of Burns' associates, and he would come and visit him here. | 0:18:18 | 0:18:22 | |
Robert Riddell built a summer house | 0:18:22 | 0:18:24 | |
which was called the Friars' Carse hermitage. | 0:18:24 | 0:18:28 | |
And he let Burns go and use that building as a place to work. | 0:18:28 | 0:18:33 | |
Coming from Dumfriesshire | 0:18:33 | 0:18:34 | |
and the same area that Burns lived in I am immensely proud. | 0:18:34 | 0:18:38 | |
I feel like an ambassador for his work | 0:18:38 | 0:18:40 | |
and it is always such a pleasure | 0:18:40 | 0:18:42 | |
to see how far reaching his name has gone. | 0:18:42 | 0:18:44 | |
It is amazing, actually, the countries we go to, | 0:18:44 | 0:18:47 | |
and you can still find a Burns club, | 0:18:47 | 0:18:49 | |
people that are still learning his work. | 0:18:49 | 0:18:51 | |
He was such an amazing man. | 0:18:51 | 0:18:53 | |
# Simmer's a pleasant time | 0:18:58 | 0:19:01 | |
# Flowers of every colour | 0:19:03 | 0:19:07 | |
# The water rins o'er the heugh | 0:19:09 | 0:19:12 | |
# And I long for my true lover | 0:19:14 | 0:19:19 | |
# Aye waukin-o | 0:19:20 | 0:19:25 | |
# Waukin still and weary | 0:19:25 | 0:19:30 | |
# Sleep I can get nane | 0:19:30 | 0:19:35 | |
# For thinking on my dearie | 0:19:35 | 0:19:39 | |
# Aye waukin-o | 0:19:41 | 0:19:47 | |
# When I sleep I dream | 0:19:49 | 0:19:55 | |
# When I wauk I'm irie | 0:19:55 | 0:20:00 | |
# Sleep I can get nane | 0:20:00 | 0:20:05 | |
# For thinking on my dearie | 0:20:05 | 0:20:09 | |
# Aye waukin-o | 0:20:11 | 0:20:15 | |
# Waukin still and weary | 0:20:15 | 0:20:20 | |
# Sleep I can get nane | 0:20:20 | 0:20:26 | |
# For thinking on my dearie | 0:20:26 | 0:20:30 | |
# Aye waukin-o | 0:20:31 | 0:20:35 | |
# Lanely night comes in | 0:21:11 | 0:21:17 | |
# A' the lave are sleepin | 0:21:17 | 0:21:22 | |
# I think on my bonnie lad | 0:21:22 | 0:21:27 | |
# And I bleer my een wi' greetin | 0:21:27 | 0:21:33 | |
# Aye waukin-o | 0:21:33 | 0:21:38 | |
# Waukin still and weary | 0:21:38 | 0:21:43 | |
# Sleep I can get nane | 0:21:43 | 0:21:48 | |
# For thinking on my dearie | 0:21:48 | 0:21:52 | |
# Aye waukin-o. # | 0:21:54 | 0:21:57 | |
APPLAUSE | 0:22:08 | 0:22:14 | |
Bernagh, the track you are playing tonight, El Otro Finisterre, | 0:22:14 | 0:22:17 | |
tell me about that. | 0:22:17 | 0:22:19 | |
Well, that's a very appropriate piece | 0:22:19 | 0:22:21 | |
for a night like tonight | 0:22:21 | 0:22:23 | |
because it has got a big Celtic Connections orientation, really. | 0:22:23 | 0:22:27 | |
It basically means, "The other Finisterre", | 0:22:27 | 0:22:32 | |
Finisterre being a kind of Land's End of Brittany. | 0:22:32 | 0:22:35 | |
And it was a piece written by a Breton composer | 0:22:35 | 0:22:39 | |
for a Galician piper, Carlos Nunez. | 0:22:39 | 0:22:42 | |
And it has got that whole bagpipe connection, | 0:22:42 | 0:22:44 | |
you know, from Galicia, Brittany, Land's End and Cornwall, | 0:22:44 | 0:22:48 | |
Ulster Scots, bagpipe player... | 0:22:48 | 0:22:51 | |
It is just the right thing to bring it all together. | 0:22:51 | 0:22:54 | |
APPLAUSE | 0:22:54 | 0:22:56 | |
The next number was composed by someone here in this hall tonight. | 0:27:21 | 0:27:27 | |
Someone up here on this stage, in fact. | 0:27:27 | 0:27:30 | |
Our conductor, John Logan, | 0:27:30 | 0:27:33 | |
and I think I'll let him tell you all about it. | 0:27:33 | 0:27:36 | |
John. | 0:27:36 | 0:27:37 | |
Thank you very much and good evening, Belfast. | 0:27:37 | 0:27:40 | |
It's nice to turn round to see an audience, | 0:27:40 | 0:27:42 | |
because most of the time you look at my back. | 0:27:42 | 0:27:45 | |
How do I look from behind, by the way? Is it OK? | 0:27:45 | 0:27:48 | |
LAUGHTER | 0:27:48 | 0:27:50 | |
Actually, maybe I should... How do I look from the front? | 0:27:50 | 0:27:53 | |
Maybe I look better from behind. | 0:27:54 | 0:27:57 | |
Tiree is the next piece that we're going to play, | 0:27:57 | 0:28:00 | |
and it is a composition of mine. | 0:28:00 | 0:28:02 | |
Tiree was born from an education project. | 0:28:02 | 0:28:06 | |
I had to go to Tiree and work with some fantastic schoolchildren | 0:28:06 | 0:28:10 | |
and I thought, "What am I going to do?" | 0:28:10 | 0:28:12 | |
So I wrote a little theme called Tiree | 0:28:12 | 0:28:14 | |
before I took it up into the island. | 0:28:14 | 0:28:16 | |
It has grown some arms and legs. | 0:28:16 | 0:28:18 | |
It's been used in film and all sorts. I hope you enjoy it. | 0:28:18 | 0:28:21 | |
Please welcome to play the solo line, Emily Smith. | 0:28:21 | 0:28:25 | |
-Eilidh. -Yes. | 0:34:23 | 0:34:24 | |
This is your first performance in public of a Burns song. | 0:34:24 | 0:34:28 | |
It's Ae Fond Kiss. What will make yours so extra special? | 0:34:28 | 0:34:32 | |
Well, I'm basically just going to sing it straight. | 0:34:34 | 0:34:37 | |
I've never sung Burns before, | 0:34:37 | 0:34:39 | |
so I'm a bit apprehensive about adding too much to it. | 0:34:39 | 0:34:43 | |
It's a beautiful melody, beautiful lyric | 0:34:43 | 0:34:45 | |
and I think I'm just going to sing it in my own voice and that's | 0:34:45 | 0:34:48 | |
what will make it different from other versions you may have heard. | 0:34:48 | 0:34:51 | |
Burns wrote the song for Nancy. | 0:34:51 | 0:34:54 | |
Nancy was absolutely crazy about Robert Burns. | 0:34:54 | 0:34:57 | |
He managed to get over her, I think, pretty quickly, | 0:34:57 | 0:34:59 | |
but she, for 40 years, brought into her diary on the date that she | 0:34:59 | 0:35:03 | |
last saw him, saying, "This is the last day I saw Robert Burns." | 0:35:03 | 0:35:07 | |
And for 40 years, she wrote that into her diary, | 0:35:07 | 0:35:10 | |
so her heart was broken well and truly | 0:35:10 | 0:35:12 | |
and she was the one who kind of got the wrong end of the deal. | 0:35:12 | 0:35:15 | |
# Ae fond kiss, and then we sever | 0:35:19 | 0:35:26 | |
# Ae fareweel, and then for ever! | 0:35:26 | 0:35:32 | |
# Deep in heart-wrung tears I'll pledge thee | 0:35:32 | 0:35:38 | |
# Warring sighs and groans I'll wage thee | 0:35:38 | 0:35:49 | |
# Who can say that fortune grieves him | 0:35:58 | 0:36:04 | |
# While the star of hope she leaves him? | 0:36:04 | 0:36:10 | |
# Me, nae cheerful twinkle lights me | 0:36:10 | 0:36:17 | |
# Dark despair around benights me | 0:36:17 | 0:36:25 | |
# I'll ne'er blame my partial fancy | 0:36:35 | 0:36:41 | |
# Nothing could resist my Nancy | 0:36:41 | 0:36:48 | |
# For to see her was to love her | 0:36:48 | 0:36:53 | |
# Love but her, and love for ever | 0:36:53 | 0:37:03 | |
# Had we never lov'd sae kindly | 0:37:06 | 0:37:12 | |
# Had we never lov'd sae blindly | 0:37:12 | 0:37:19 | |
# Never met or never parted | 0:37:19 | 0:37:25 | |
# We had ne'er been broken-hearted | 0:37:25 | 0:37:34 | |
# Fare-thee-weel Thou first and fairest! | 0:37:38 | 0:37:44 | |
# Fare-thee-weel Thou best and dearest! | 0:37:44 | 0:37:50 | |
# Thine be ilka joy and treasure | 0:37:50 | 0:37:57 | |
# Peace, enjoyment Love and pleasure | 0:37:57 | 0:38:06 | |
# Ae fond kiss, and then we sever! | 0:38:06 | 0:38:13 | |
# Ae fareweel and then for ever! | 0:38:13 | 0:38:20 | |
# Thine be ilka joy and treasure | 0:38:20 | 0:38:26 | |
# Peace, enjoyment Love and pleasure | 0:38:26 | 0:38:35 | |
# I'll wage thee | 0:38:37 | 0:38:43 | |
# Ooh-ooh... | 0:38:45 | 0:38:51 | |
# I'll wage thee. # | 0:38:51 | 0:38:57 | |
APPLAUSE | 0:39:05 | 0:39:06 | |
Thank you. | 0:39:06 | 0:39:08 | |
It's been a great night so far with the Ulster Orchestra, | 0:39:11 | 0:39:14 | |
Bernagh and Emily Smith. | 0:39:14 | 0:39:16 | |
But we've also had pipes and drums here as well. | 0:39:16 | 0:39:19 | |
A lone piper and drummer brought on the haggis, | 0:39:19 | 0:39:22 | |
and the audience were jolted when 43 young pipers came through | 0:39:22 | 0:39:25 | |
the auditorium from the Ulster-Scots Agency Juvenile Pipe Band. | 0:39:25 | 0:39:30 | |
The band was formed just three years ago, | 0:39:30 | 0:39:32 | |
and we caught up with them recently to find out a little bit more. | 0:39:32 | 0:39:35 | |
They never really have one collective band practice. | 0:39:40 | 0:39:42 | |
The only time they see each other is at an event. | 0:39:42 | 0:39:44 | |
We teach them skills and run classes. | 0:39:44 | 0:39:46 | |
A class in Raphoe, a class in Clogher, | 0:39:46 | 0:39:49 | |
a class in Belfast. | 0:39:49 | 0:39:51 | |
And we pull them all together for the events. | 0:39:51 | 0:39:53 | |
They're very good attenders, | 0:39:53 | 0:39:54 | |
they do travel all over the country to take part in these events. | 0:39:54 | 0:39:57 | |
Concerts, festivals. | 0:39:57 | 0:40:00 | |
'I've been playing in the band' | 0:40:00 | 0:40:01 | |
for a year and a quarter. | 0:40:01 | 0:40:04 | |
'You get lots of opportunities, like going to the Walled City Tattoo,' | 0:40:04 | 0:40:10 | |
er...competitions | 0:40:10 | 0:40:13 | |
'and loads of concerts, like the Waterfront.' | 0:40:13 | 0:40:17 | |
It's about the children enjoying themselves. It's light-hearted. | 0:40:17 | 0:40:21 | |
Although we are pushing the children to be very good on their instrument, | 0:40:21 | 0:40:24 | |
we let them get there themselves. | 0:40:24 | 0:40:26 | |
We do encourage the children to go to competing bands, | 0:40:26 | 0:40:29 | |
but if they don't want to do that, | 0:40:29 | 0:40:31 | |
that's absolutely fine. There is some children are just with us. | 0:40:31 | 0:40:34 | |
They have to leave us at 18. | 0:40:34 | 0:40:35 | |
We hope that we give them the bug for playing these instruments. | 0:40:35 | 0:40:39 | |
I played at the Waterfront last year | 0:40:39 | 0:40:42 | |
with the Ulster Orchestra, and it was loads of fun, | 0:40:42 | 0:40:44 | |
because we got to | 0:40:44 | 0:40:46 | |
interact with the orchestra, | 0:40:46 | 0:40:47 | |
and it was really different from everything I've done before. | 0:40:47 | 0:40:51 | |
Yeah, I'm really looking forward to it again. | 0:40:51 | 0:40:53 | |
RAPTUROUS APPLAUSE | 0:43:04 | 0:43:08 | |
One of the songs you're singing tonight is John O'Dreams. | 0:43:13 | 0:43:16 | |
Now that's not a Burns song. Why? | 0:43:16 | 0:43:19 | |
Well, I just thought, whenever I've heard that song, | 0:43:19 | 0:43:22 | |
and whenever I sing it, I always think of him, | 0:43:22 | 0:43:24 | |
because the lyrics are actually written by a songwriter | 0:43:24 | 0:43:27 | |
called Bill Caddick, and the piece of music he set his lyrics to | 0:43:27 | 0:43:31 | |
are from a piece by Tchaikovsky, | 0:43:31 | 0:43:32 | |
so it's got quite a history to it, but in the second last verse, | 0:43:32 | 0:43:36 | |
is... "Both man and master in the night are one," | 0:43:36 | 0:43:41 | |
you know, and it's the bit about the prince and a slave man. | 0:43:41 | 0:43:44 | |
Everyone's free, at the end of the day. | 0:43:44 | 0:43:47 | |
And that just really rings true with so much of what Burns wrote. | 0:43:47 | 0:43:50 | |
And he was a real voice for the people. | 0:43:50 | 0:43:52 | |
And his work could stretch across the classes | 0:43:52 | 0:43:54 | |
and across divides, so it just always reminds me of Burns. | 0:43:54 | 0:43:58 | |
# When midnight comes and people homewards tread | 0:44:02 | 0:44:11 | |
# Seek now your blankets and your feather bed | 0:44:11 | 0:44:19 | |
# Home comes the rover His journey's over | 0:44:19 | 0:44:30 | |
# Yield up the night-time to old John O'Dreams | 0:44:30 | 0:44:38 | |
# Across the hill The sun has gone astray | 0:44:40 | 0:44:49 | |
# Tomorrow's cares are many dreams away | 0:44:49 | 0:44:58 | |
# Your stars are flying Your candle's dying | 0:44:58 | 0:45:09 | |
# Yield up the night-time to old John O'Dreams | 0:45:09 | 0:45:18 | |
# Both man and master in the night are one | 0:45:35 | 0:45:43 | |
# All men are equal when the day is done | 0:45:44 | 0:45:52 | |
# The prince and ploughman The slave and freeman | 0:45:52 | 0:46:02 | |
# Both find their comfort in old John O'Dreams | 0:46:02 | 0:46:11 | |
# When sleep, it comes And dreams are running clear | 0:46:13 | 0:46:20 | |
# The hawks of morning cannot reach you here | 0:46:22 | 0:46:29 | |
# Sleep like a river Flows on forever | 0:46:29 | 0:46:40 | |
# And for your boatman Choose old John O'Dreams | 0:46:40 | 0:46:48 | |
# And for your boatman Choose old John O'Dreams | 0:46:50 | 0:47:03 | |
# Ooh-ooh-ooh | 0:47:05 | 0:47:08 | |
# Ooh-ooh-ooh | 0:47:08 | 0:47:12 | |
# Ooh-ooh-ooh | 0:47:14 | 0:47:17 | |
# La-la ooh-ooh. # | 0:47:17 | 0:47:22 | |
Thank you very much. | 0:47:35 | 0:47:37 | |
Well, this last song of our little set here is called Gala Water. | 0:47:37 | 0:47:42 | |
Burns not only wrote poems and songs, | 0:47:42 | 0:47:45 | |
but he was a great song collector, to which we owe a great debt. | 0:47:45 | 0:47:47 | |
So, this is one that he collected from the town of Galashiels. | 0:47:47 | 0:47:50 | |
This is called Gala Water. | 0:47:50 | 0:47:52 | |
# Braw, braw lads on Yarrow braes Rove among the blooming heather | 0:48:15 | 0:48:22 | |
# But Yarrow braes Nor Ettrick's shaws | 0:48:22 | 0:48:26 | |
# Can match the lads o' Gala Water | 0:48:26 | 0:48:29 | |
# Oh, braw, braw bonnie lads-o | 0:48:29 | 0:48:33 | |
# But there is ane, a secret ane | 0:48:35 | 0:48:38 | |
# Aboon them a' I loe him better | 0:48:38 | 0:48:41 | |
# And I'll be his, and he'll be mine | 0:48:41 | 0:48:45 | |
# The bonnie lad o' Gala Water | 0:48:45 | 0:48:47 | |
# Oh, braw, braw bonnie lads-o | 0:48:47 | 0:48:52 | |
# Although my faither wasnae laird | 0:48:59 | 0:49:01 | |
# And though I hae nae meikle tocher | 0:49:01 | 0:49:05 | |
# Yet rich in kindest, truest love | 0:49:05 | 0:49:09 | |
# We'll tent our flocks by Gala Water | 0:49:09 | 0:49:13 | |
# Oh, braw, braw bonnie lads-o | 0:49:13 | 0:49:16 | |
# It ne'er was wealth It ne'er was wealth | 0:49:43 | 0:49:46 | |
# That coft contentment peace or pleasure | 0:49:46 | 0:49:49 | |
# The bands and bliss o' mutual love | 0:49:49 | 0:49:53 | |
# O, that's the chiefest world's treasure | 0:49:53 | 0:50:00 | |
# Braw, braw bonnie lads-o. # | 0:50:00 | 0:50:02 | |
WHOOPING | 0:50:54 | 0:50:56 | |
WHOOPING | 0:51:01 | 0:51:03 | |
WHOOPING | 0:51:47 | 0:51:49 | |
APPLAUSE AND CHEERING | 0:53:45 | 0:53:47 | |
Stalked by debt and illness, Burns died at Dumfries on 21st July 1796, | 0:54:03 | 0:54:11 | |
aged just 37. | 0:54:11 | 0:54:13 | |
Tonight, over 200 years later, | 0:54:13 | 0:54:15 | |
we honour the immortal memory of Burns. | 0:54:15 | 0:54:18 | |
We hail the great bard, | 0:54:18 | 0:54:20 | |
who still touches a chord in every Ulster-Scot heart. | 0:54:20 | 0:54:25 | |
Ladies and gentlemen, thank you for being a wonderful audience tonight, | 0:54:25 | 0:54:30 | |
and together, we'll remember Rabbie Burns. | 0:54:30 | 0:54:34 | |
# Should auld acquaintance be forgot | 0:54:34 | 0:54:40 | |
# And never brought tae mind | 0:54:40 | 0:54:43 | |
# Should auld acquaintance be forgot | 0:54:43 | 0:54:49 | |
# For auld lang syne | 0:54:49 | 0:54:54 | |
# For auld lang syne, my jo | 0:54:54 | 0:54:58 | |
# For auld lang syne | 0:54:58 | 0:55:03 | |
# We'll tak a cup o' kindness yet | 0:55:03 | 0:55:08 | |
# For auld lang syne | 0:55:08 | 0:55:14 | |
# And surely ye'll be your pint stowp | 0:55:15 | 0:55:20 | |
# And surely I'll be mine | 0:55:20 | 0:55:24 | |
# And we'll tak a richt gude-willie-waught | 0:55:24 | 0:55:29 | |
# For auld lang syne | 0:55:29 | 0:55:33 | |
# For auld lang syne, my jo | 0:55:33 | 0:55:38 | |
# For auld lang syne | 0:55:38 | 0:55:43 | |
# We'll tak a cup o' kindness yet | 0:55:43 | 0:55:47 | |
# For auld lang syne | 0:55:47 | 0:55:55 | |
# Should auld acquaintance be forgot | 0:56:09 | 0:56:15 | |
# And never brought to mind | 0:56:15 | 0:56:20 | |
# Should auld acquaintance be forgot | 0:56:20 | 0:56:26 | |
# For auld lang syne | 0:56:26 | 0:56:31 | |
# For auld lang syne, my dear | 0:56:33 | 0:56:37 | |
# For auld lang syne | 0:56:37 | 0:56:43 | |
# We'll tak a cup o' kindness yet | 0:56:43 | 0:56:49 | |
# For auld lang syne | 0:56:49 | 0:56:54 | |
# And there's a hand, my trusty fiere | 0:56:55 | 0:57:01 | |
# And gie's a hand o' thine | 0:57:01 | 0:57:06 | |
# We'll tak a cup o' kindness yet | 0:57:06 | 0:57:13 | |
# For auld lang syne | 0:57:13 | 0:57:19 | |
# For auld lang syne, my dear | 0:57:19 | 0:57:24 | |
# For auld lang syne | 0:57:24 | 0:57:30 | |
# We'll tak a cup o' kindness yet | 0:57:30 | 0:57:36 | |
# For auld lang syne | 0:57:36 | 0:57:42 | |
# For auld lang syne, my dear | 0:57:43 | 0:57:48 | |
# For auld lang syne | 0:57:48 | 0:57:52 | |
# We'll tak a cup o' kindness yet | 0:57:52 | 0:57:59 | |
# For auld lang syne. # | 0:57:59 | 0:58:07 | |
WARM APPLAUSE AND CHEERING | 0:58:15 | 0:58:17 |