Ghost Songs: Contemporary Music and Words from Ireland
Various Artists
Divine Art Recordings

CLASSICAL music in Ireland, much like the people of Ireland, have never gotten the recognition that genuinely reflects the nature of what is being made.

The historic impact of British colonialism has without a doubt had an incredible impact on cultural life in Ireland, but the aftermath and response to this history has been incredibly curious — how do you respond to a musical tradition that beloved by the very nation that impeded your nation and people?

What does Irish music sound like — and do we retreat into folk traditions or try and forge a new path?

The Irish composer Frank Corcoran in an interview in 2016 argued that the essence of what it means to be an Irish composer has not been explored enough.

When compared with the intrigue in Irish folk music or Irish literature, it is surprising that Irish composers have not reached the same level of fascination from foreign audiences.

Ghost Songs from Divine Art Recordings is a fascinating exploration of vocal and choral music by numerous Irish composers — juxtaposed with recitations of Irish poetry.

The choice of texts is wide and varied including more famous texts like Do Not Stand at my Grave and Weep by Mary Elizabeth Frye to Irish (Gaelige) poetry like An Aimsir Laithreach by Dairena Ni Chinneide show numerous concerns and words inspiring the composers featured within the album.

Though only a keen reader of poetry, I am deeply struck in the delivery of these many poems — either entering as a curious sermon before the music or a continued pontification and modest consideration of each other.

The Laetare Vocal Ensemble, the Dublin-based choir, give a really heartfelt rendition of all the works they perform in, and I do sincerely hope to hear more of them in the future.

The direction by Roisin Blunnie should also be commended. Rhona Clarke, Sile Denvir and Sean Doherty all produce striking music which draws a listener in.

In the CD booklet, Blunnie highlights the strong Dublin connection by the composers and the ensemble and poets — and really is felt throughout — however, I would have loved to have heard composers from further reaches of Ireland.

The compilation is timely, especially when we reflect and consider the centenary of the partition of Ireland. A century of division, will of course have hindered the music and identity of the country, but this album does give a wonderful feeling of optimism.

Despite the problems that continue to be placed on the shoulders of the people of Ireland, the cultural legacy has a real strength to it. Musically a fascinating album, but it speaks volumes of bigger things.

Ben Lunn