The melodious tunes played by Martin Hayes in the Juan Marsh, Madrid, transport my mind through a soothing auditory journey, similar to Mac Mathuna’s calming Sunday morning radio broadcasts. It’s as if I’m floating in the crisp morning air with the singing lark referenced from Ferguson’s renowned poem. Martin Hayes, a versatile violinist, commands the enchantment or the ‘duende’ of the tune.
My thoughts then shift to the rhythmic dance beats of East Clare, where our feet tap in unison to honour the iconic Tulla Céilí Band and PJoe – Martin’s father. The tune rings with traces of Paddy Canny, his uncle, a mastered musician who effortlessly ‘Banishes Misfortune’ within the circle of elderly comrades, which includes Rochford and Dr. Bill, known for healing emotional scars in humble households.
The melody ultimately circles back to its roots, and a fresh batch sweeps into the air, welcoming Lorenzo, the newborn son. He has become the beloved favourite of his mother. His birth seems to stir an exclusive emotional response that can only be articulated through Martin Hayes’ specific expression on his violin, a signature auditory landscape that merges heritage or ‘dúchas’ seamlessly into the music philosophy. John Liddy’s latest works include Arias of Consolation, Slipstreaming in the West of Ireland, and a collection of short stories named Two in One.
It is revealed in an exceptional manner that is unique to him, through the interaction of the bow and string; his distinctive auditory panorama becomes his trademark. In the philosophical realm of music, this can be seen as acervo or dúchas, suitable to the movement of a skylark’s wings. John Liddy’s latest works comprise of Arias of Consolation (2021/22); a collaboration with Jim Burke titled Slipstreaming in the West of Ireland (anticipated publication in Revival Press, 2024) and a compendium of short stories named Two in One, jointly authored with Liam Liddy (Revival, 2024).