Ùrachadh mu Dheireadh 15/08/2017
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TIOTAL
Phil Coineagan mu dhèidhinn Talla a' Bhaile
EXTERNAL ID
GB232_MFR_PHILCUNNINGHAM_04
LINN
1990an
CRUTHADAIR
Phil Cunningham
NEACH-FIOSRACHAIDH
Rèidio Linne Mhoireibh
AITHNEACHADH MAOINE
1763
KEYWORDS
bogsaichean-ciùil
ceòl tradaiseanta
claistinn

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'S e fear den luchd-ciùil tradaiseanta as ainmeile ann an Alba a th' ann an Phil Coineagan MBE. Fhuair e oideachadh clasaigeach air an fhìdheall agus am bogsa-ciùil a chluich. An dèidh sin bha e fhèin agus a bhràthair nam buill dhen chòmhlan 'Silly Wizard', agus chluich iad mar sin fad deich bliadhna (1976-1986). O chionn ghoirid, chuir mòran eòlas air mar thoradh air obair còmhla ris an fhìdhlear Shealtainneach Aly Bain. Tha Phil fìor thàlantach mar stiùiriche-ciùil, mar neach a bhios a' toirt thugainn phrògraman agus mar riochdaire. Rinn e dà shreath de phìosan-ciùil airson làn-orcastra agus ionnstramaidean Ceilteach. Anns an earrainn chlaistinnich seo, a chaidh a chlàradh o thùs airson 'Moray Firth People' tràth anns na 1990an, tha Phil a' bruidhinn ri Robina Goodfellow mun phrògram telebhisein 'Talla a' Bhaile'.

Interviewer: The music for Talla a'Bhaile -

Talla a'Bhaile, yes

Interviewer: Talla a'Bhaile - How did you get involved in that?

In 1990 I was asked to do a play called 'The Ship' and I wrote the music for it and put a band together, and was Music Director for it. And we performed for eight weeks - sixty-four shows - and it was received very well ,and the music was received very well for it and a lot of BBC people were at the performances on regular occasions, and we did a BBC special for them. And I think at the time the Gaelic Department was looking for a new music programme, with a new slant to it, and the head of the Gaelic Department gave me a call, asked if he could come up and visit, and came up with John Smith, the director. And they had invented this idea for a programme between them and they basically came up and said did I think I could put a band together and produce the music for it, do all the recordings and so on? And basically we had a go at it the first year, and it was quite tough because there was a big throughput of musicians; we were dealing with thirty-six bands or thirty-six different acts every programme, and for each act you were probably looking at maybe two to three pieces so there was a large amount of music to be recorded and sorted out. But the format worked very well, so much so that the Hogmanay Show was based on the same format in 1991 into '92 and then we got a second series of it. We did that, '92, and then we got the Hogmanay Show again in the same format, and it just seemed to be that it was a nice intimate atmosphere in the hall. And because most of the musicians that were playing at the thing were the kind of people that had been playing in village halls all their life, they were able to actually relax when they were performing because it wasn't a strange set to them. You know, sometimes if you go into a big outlandish set with - you know that's been designed as a kind of arty thing - you're sitting in this false environment and you don't feel like you're actually at a gig, and I think that the continued success of Talla a'Bhaile has been because it's been a very realistic set that we were in and everyone can relax and enjoy it

Airson stiùireadh mu bhith a’ cleachdadh ìomhaighean agus susbaint eile, faicibh duilleag ‘Na Cumhaichean air Fad.’
’S e companaidh cuibhrichte fo bharantas clàraichte ann an Alba Àir. SC407011 agus carthannas clàraichte Albannach Àir. SC042593 a th’ ann an High Life na Gàidhealtachd.
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Phil Coineagan mu dhèidhinn Talla a' Bhaile

1990an

bogsaichean-ciùil; ceòl tradaiseanta; claistinn

Rèidio Linne Mhoireibh

MFR: Phil Cunningham

'S e fear den luchd-ciùil tradaiseanta as ainmeile ann an Alba a th' ann an Phil Coineagan MBE. Fhuair e oideachadh clasaigeach air an fhìdheall agus am bogsa-ciùil a chluich. An dèidh sin bha e fhèin agus a bhràthair nam buill dhen chòmhlan 'Silly Wizard', agus chluich iad mar sin fad deich bliadhna (1976-1986). O chionn ghoirid, chuir mòran eòlas air mar thoradh air obair còmhla ris an fhìdhlear Shealtainneach Aly Bain. Tha Phil fìor thàlantach mar stiùiriche-ciùil, mar neach a bhios a' toirt thugainn phrògraman agus mar riochdaire. Rinn e dà shreath de phìosan-ciùil airson làn-orcastra agus ionnstramaidean Ceilteach. Anns an earrainn chlaistinnich seo, a chaidh a chlàradh o thùs airson 'Moray Firth People' tràth anns na 1990an, tha Phil a' bruidhinn ri Robina Goodfellow mun phrògram telebhisein 'Talla a' Bhaile'.<br /> <br /> Interviewer: The music for Talla a'Bhaile - <br /> <br /> Talla a'Bhaile, yes<br /> <br /> Interviewer: Talla a'Bhaile - How did you get involved in that?<br /> <br /> In 1990 I was asked to do a play called 'The Ship' and I wrote the music for it and put a band together, and was Music Director for it. And we performed for eight weeks - sixty-four shows - and it was received very well ,and the music was received very well for it and a lot of BBC people were at the performances on regular occasions, and we did a BBC special for them. And I think at the time the Gaelic Department was looking for a new music programme, with a new slant to it, and the head of the Gaelic Department gave me a call, asked if he could come up and visit, and came up with John Smith, the director. And they had invented this idea for a programme between them and they basically came up and said did I think I could put a band together and produce the music for it, do all the recordings and so on? And basically we had a go at it the first year, and it was quite tough because there was a big throughput of musicians; we were dealing with thirty-six bands or thirty-six different acts every programme, and for each act you were probably looking at maybe two to three pieces so there was a large amount of music to be recorded and sorted out. But the format worked very well, so much so that the Hogmanay Show was based on the same format in 1991 into '92 and then we got a second series of it. We did that, '92, and then we got the Hogmanay Show again in the same format, and it just seemed to be that it was a nice intimate atmosphere in the hall. And because most of the musicians that were playing at the thing were the kind of people that had been playing in village halls all their life, they were able to actually relax when they were performing because it wasn't a strange set to them. You know, sometimes if you go into a big outlandish set with - you know that's been designed as a kind of arty thing - you're sitting in this false environment and you don't feel like you're actually at a gig, and I think that the continued success of Talla a'Bhaile has been because it's been a very realistic set that we were in and everyone can relax and enjoy it