![]() Loving father of Christine Quigley (Edward), Julie Carter (Andrew), Denise Flack (Rob), Siobheann Donohue (Rory), Donnell Leahy (Natalie MacMaster), Maria Leahy, Francis Leahy (Chanda), Agnes Enright (Mark), Douglas Leahy (Jennifer), Erin Leahy and Angus Leahy. Loved and missed by his wife of 52 years, Julie (nee MacDonnell). And he stands now before the Father in heaven and we are now and forever in the deepest gratitude to the Father for giving him to us. If you were blessed to know Frank, you came to know several truths about him he was a man of vision a builder ahead of his time who moved in belief and perseverance he was a believer, a man of God, striving toward and satisfied with not what was merely good but only what was true he was alive, so much so that it's hard to believe the grave could contain him and all his living and building was for his children and their children and their children he loved his Julie and knew his faith, his hope, his belief was only possible because it rested upon hers and with her, his music, his fiddle and her piano, together they taught their children this music and he taught them to offer this music up as a prayer a Father, total and always, to the end and of his grandchildren, they were his jewels, persistently teaching them, ensuring they were formed in the values of faith, family, farming, and music or in the words of Pope John Paul II, 'The land we love and the values we cherish.' He was a farmer nature was his home, for there he was free to be his own man, ploughing his field, planting his seeds, and so many times you'd find him at a fence appreciating the beauty of a crop well sewn - like art, or waiting for rain he was a listener with a razor sharp ear for ideas there was no room for pretending as he was a discerning and decisive man you always knew where you stood with him. His spirit is carried on by his loving wife, Julie, their eleven children, thirty-six grandchildren and one great grandchild. Saturday, August 25, 7 PM, Pavilion, Ravinia Festival, Green Bay and Lake Cook Rds., Highland Park 84.Īrt accompanying story in printed newspaper (not available in this archive): photo/Andrew MacNaughton.Died Thursday, May 28th, 2015 at the P.R.H.C. MacMaster’s current tour is technically in support of In My Hands, but she tends to cover a lot of ground in her performances though the show will doubtless emphasize her recent crossover-friendly material, there should also be a fair amount of traditional music, and even a bit of step dancing. On the goosebump-inducing title tune, based on the traditional Irish reel “The Drunken Landlady,” she coos breathily over a double-tracked recording of her own narration, while her fiddle weaves a bright filigree above a panoramic programmed soundscape. “Blue Bonnets Over the Border” features throbbing electric bass and swirling strings–and a pounding drum program that, ironically enough, suggests a bodhran. ![]() It intersperses pristine folk recitals with dense, contemporary-sounding pieces that juxtapose her ageless fiddle with rock percussion, electric guitar, or undulating layers of synthesizer. ![]() Her discography (on Rounder in the States) includes traditional material like 1997’s Fit as a Fiddle and My Roots Are Showing–recorded in ’98 but unreleased here until last year–but she’s also pushed the envelope with albums like In My Hands, recorded in ’99 and still her most recent work. Natalie MacMaster, niece of legendary Cape Breton fiddler Buddy MacMaster, took up her instrument at age nine, and by her teens she was a leading practitioner of the style. Performances are traditionally given solo or in a small group, with the fiddler’s own feet providing percussion. The Cape Breton style evolved at community functions like parties and weddings, and the island’s fiddlers still prefer a driving, danceable, strongly rhythmic approach–stuttering grace notes, punchy double-stops, and piercing, unorthodox tunings–over the showstopping high-velocity displays currently popular among Celtic folk revivalists. ![]() The fiddle music of Nova Scotia’s Cape Breton Island gets its character from the Scottish immigrants who settled the area in the late 18th and early 19th centuries–in fact, many traditions that have all but disappeared in Scotland are still vital there.
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