There can be no doubt, Cormac Begley has a concertina obsession. When that obsession, though, results in the kind of set he delivered ahead of James Patrick Gavin at the weekend (reviewed here), it should be viewed as a very healthy obsession indeed.
West-Kerry concertina player Cormac Begley plays a wide range of instruments – all of them concertinas. His eponymous debut CD showcased his skill as a solo artist on bass, baritone, treble and piccolo concertinas, but Cormac has also performed in a number of projects along with (among others) Liam O Connor, Caoimhín O Raghallaigh, and Liam Ó Maonlaí. He’s a founder of the award-winning Tunes in the Church live concert series in Galway and Dublin, and he also plays in a concertina trio, with Noel Hill and Jack Talty, named – Concertina.
At the National Piping Centre on Saturday, Cormac took to the stage surrounded by around 8 or 9 concertinas, and it was clear that each one was going to have a fascinating story to tell, as he opened with a fine set of polkas he described as ‘Kerry Battle Tunes’. Cormac’s dynamic and expressive playing style has an irresistible lure, combine that with his passion for sharing his instruments and his gift for telling a tale, and you have a perfect recipe for a great performance.
After an initial introduction to one of a brace of Dipper bass concertinas, O’Neill’s March proved to be a perfect, provocative piece to show us just what a bass instrument can achieve in the right hands. With big, gutsy shots of air through the bellows, a beautifully full, rich, sound, and a march that means serious business; you could easily imagine stamping feet and angry faces in an ancient Celtic version of a haka. Those energetic bellows were just as readily replaced with the lightest of touches, as demonstrated when Cormac hefted a second Dipper bass (this one custom-made) to demonstrate its softer side with a slow air from Limerick.
Cormac’s passion for these instruments is infectious, and the audience sat in rapt attention. When we weren’t under the spell of the bellows’ hypnotic movement, Cormac would carefully introduce us to the mechanics of the concertina (illustrated by an ingenious special-edition release of his CD), tell the story behind his beloved bass instruments, gleefully explain the finer points of changing concert pitch over generations of instruments, and introduce us to a constant travelling companion – Morris the knitted sheep. Nestled within Morris’ wool is a tiny Wheatstone piccolo concertina, crafted in 1919.
Cormac’s knowledge of traditional Irish music easily rivals his encyclopaedic knowledge of his instruments. A plaintive waltz would effortlessly climb to a jubilant jig or a rousing reel; a stern march evolve into a soothing air; all delivered with seemingly boundless energy, infectious passion and astounding skill. Seeing Cormac Begley play live was a unique, informative, and thoroughly enjoyable experience.