Aoife Ní Bhriain & Cormac mccarthy
support from David Murphy
Friday 22th November
Triskel Arts Center
Doors: 19:00
Aoife Ní Bhriain
Aoife Ní Bhriain is one of Ireland's most recognizable fiddlers. She combines the richness of a family heritage of traditional music and a lifetime of classical music training. Born in Dublin she began studying the violin at an early age winning numerous national and international competitions for both classical and traditional Irish music. She has gone on to perform on some of the biggest stages in Europe as a soloist and ensemble member.
CORMAC MCCARTHY
Pianist & composer from Cork, Ireland. His music is said to "defy categorisation" (Lyric FM).
His compositions and arrangements have been performed and recorded by artists including Phil Woods, Jeff Hamilton, The Carducci Quartet, The RTÉ Concert Orchestra, The Irish Chamber Orchestra, The Cork Opera House Concert Orchestra, The Ulster Orchestra.
As a pianist, he has performed extensively at concert venues, clubs and festivals throughout Europe and the US, sharing the stage and recording with artists across a wide musical spectrum. His recent solo piano release, On The Other Hand “marks him out as one of the rising stars of European Jazz Piano’ (The Irish Times).
David Murphy takes the pedal steel guitar outside the confines of its traditional roots with frequent ventures into a range of genres, spanning Americana and folk to ambient, experimental music and film soundtracks and is best known for his work with artists such as The Lost Brothers, John Blek, Ordnance Survey, Arborist, The Delines, Willy Vlautin, M.Ward and Jolie Holland amongst others. His debut album ‘Cuimhne Ghlinn: Explorations in Irish Music for Pedal Steel Guitar’ (Rollercoaster Records) takes it from the well-worn roads of the dusty American south to a new place in contemporary Irish music. His all-instrumental debut recasts ancient Irish harp tunes and historic airs into the 21st century with the swelling, expressive and mournful sounds of the pedal steel guitar.
This continues Murphy’s quest to expand the vocabulary of the instrument, taking it deeper into a world much closer to home and, for the very first time, present it in a modern Irish framework.
