What connection between this song and my studio, you say?
No a priori. Except that since my return from holiday in Britain this summer, I start listening to music. And that's a sign. Especially when it comes to music Breton, Irish or Scottish.
To be more precise, it's not Irish music, Scottish or Breton who has a relationship with writing is the act of listening the same music to near saturation loop, night and day almost.
When I wrote my first novel, a disc has not left charger my player: Symphony Britain, Didier Squiban, performed by the Orchestre de Bretagne. And then when I started writing the first pages of the second volume, I came across this . And suddenly, I hear this song (and others performed by Cara Dillon in particular) in a loop. At the point of having ordered the disc, just to be able to listen on other than my laptop and suddenly able to write in my library with more comfort in doing the accounts in my living room. Yes, I know, I'm multitasking and it is not very serious when you want to write. This
song love me totally spellbound (because I see a direct relationship with the story I'm currently building, which is proof that I am not making), I inquired about its history, and it's pretty funny.
Coming from Scotland, this song has crossed the Atlantic, and was rediscovered in Appalachia, USA, before returning to Europe with the wave of traditional Celtic music, Irish and Scottish in particular. Initially popularized by Nina Simone, the others are quickly appropriate, to the point of making visible a kind of monument from Celtic music and included in a directory of all artists worthy of the name: I found a version of Holohan Sisters, The Corrs, Christy Moore, to name just some of the best known, but it is Paul Weller, Gaelic Storm, Joan Baez, Slainte, and Perhaps the most beautiful I've heard, that of Cara Dillon, both in album version, or in concert with the Ulster Symphony Orchestra. There are even several English versions of Japanese singers (Yoko Ueno, Kokia ...), and an electro house mix version Cara Dillon 2Devine! Is whether this traditional song is part of the monuments of Celtic music and has found its place in the current musical landscape. At
text here too there are two versions, one where the singer speaks of a woman, the other where he is a man. The text replaces "She" with "He". And I came across a website Scottish , where the full text (male version) never sung in its entirety or nearly so. All current versions only repeat that part of the lyrics, such as the version of Cara Dillon common to many others.
The interpretation of the text is rather free, as it is for a man or a woman, and allowed me to find the starting point of my next novel. I shall say no more, I am only beginning, but the elements are in place so that it seems very promising!
No a priori. Except that since my return from holiday in Britain this summer, I start listening to music. And that's a sign. Especially when it comes to music Breton, Irish or Scottish.
To be more precise, it's not Irish music, Scottish or Breton who has a relationship with writing is the act of listening the same music to near saturation loop, night and day almost.
When I wrote my first novel, a disc has not left charger my player: Symphony Britain, Didier Squiban, performed by the Orchestre de Bretagne. And then when I started writing the first pages of the second volume, I came across this . And suddenly, I hear this song (and others performed by Cara Dillon in particular) in a loop. At the point of having ordered the disc, just to be able to listen on other than my laptop and suddenly able to write in my library with more comfort in doing the accounts in my living room. Yes, I know, I'm multitasking and it is not very serious when you want to write. This
song love me totally spellbound (because I see a direct relationship with the story I'm currently building, which is proof that I am not making), I inquired about its history, and it's pretty funny.
Coming from Scotland, this song has crossed the Atlantic, and was rediscovered in Appalachia, USA, before returning to Europe with the wave of traditional Celtic music, Irish and Scottish in particular. Initially popularized by Nina Simone, the others are quickly appropriate, to the point of making visible a kind of monument from Celtic music and included in a directory of all artists worthy of the name: I found a version of Holohan Sisters, The Corrs, Christy Moore, to name just some of the best known, but it is Paul Weller, Gaelic Storm, Joan Baez, Slainte, and Perhaps the most beautiful I've heard, that of Cara Dillon, both in album version, or in concert with the Ulster Symphony Orchestra. There are even several English versions of Japanese singers (Yoko Ueno, Kokia ...), and an electro house mix version Cara Dillon 2Devine! Is whether this traditional song is part of the monuments of Celtic music and has found its place in the current musical landscape. At
text here too there are two versions, one where the singer speaks of a woman, the other where he is a man. The text replaces "She" with "He". And I came across a website Scottish , where the full text (male version) never sung in its entirety or nearly so. All current versions only repeat that part of the lyrics, such as the version of Cara Dillon common to many others.
The interpretation of the text is rather free, as it is for a man or a woman, and allowed me to find the starting point of my next novel. I shall say no more, I am only beginning, but the elements are in place so that it seems very promising!
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