Danny Boy: The Legend Of The Beloved Irish Ballad

• Claddagh Ring
• Malachy McCourt's History of Ireland (paperback)
• The McCourts of New York
• Monk Swimming, A: A Memoir
• Voices of Ireland: Classic Writings of a Rich and Rare Land

Malachy McCourt, brother of novelist Frank McCourt (ANGELA'S ASHES) and a well-known writer and radio-TV luminary in his own right, has produced a curious little book of less than 95 pages about the famous tune and its well-known lyrics. His book is part history, part speculation, part myth and part personal editorial essay. And it is not free from touches of Irish blarney.

McCourt's findings may surprise --- and dismay --- many. The great tune, long since adopted as a kind of unofficial Irish national anthem, may not be of Irish origin. A folklorist named Jane Ross supposedly first noted it down around 1851. She reportedly heard it played by a blind fiddler, Jimmy McCurry, in Limavady, Londonderry --- but there is at least a possibility that the melody may have originated in Scotland. No one knows for sure. At least one respected musical scholar claims that the tune follows no known metric scheme for Irish folk music.

Many different sets of words were attached to the tune after its first publication in 1855 --- but those that have become indissolubly identified with it ("O Danny boy, the pipes, the pipes are calling, from glen to glen and down the mountainside....") were written in 1910 by an English lawyer and song-lyric cobbler named Frederick E. Weatherly, who probably never set foot in Ireland. They were actually intended for a different tune, but when Weatherly's sister-in-law sent him some years later the familiar melody from her home in Australia, he saw that it was a perfect fit for his earlier verses. Thus an "Irish" classic was created from a melody that may be Scottish and words by an Englishman.

McCourt gives us this information straightforwardly enough, but he fleshes them out with a good deal of barely relevant material. It seems strange to arraign a book of 95 pages on charges of padding, but the complaint seems justified. McCourt solicited opinions about the song from Irish celebrities (including brother Frank) and speculates at length on such side issues as who is singing the song and to whom it is addressed (one possibility among several: it is the song of Danny Boy's gay lover!). The author's tone varies between straight historical writing and folksiness, including occasional cutesy use of "tis" and "t'was." McCourt also grinds a personal axe or two. He thinks ill of those Catholic dioceses that have banned the singing of "Danny Boy" at funerals because it is "secular."

There are some fascinating bits of trivia here, however. Victorians hesitated to refer to the song as Londonderry Air because, to their prudish ears, it sounded too much like "London derriere." Irish nationalists never use that title either, because they want no mention of London in the title. Wordsmith Weatherly was once in legal partnership with one of the sons of Charles Dickens. And another of Weatherly's lyrics was the popular "Roses of Picardy," set to music memorably by Haydn Wood. Wood studied under the composer Sir Charles Stanford, who quoted "Londonderry Air" in one of his Irish rhapsodies. Make of that what you will. This is a curious little book, entertaining in its quirky way but almost undone by its relentless folksiness. "Londonderry Air" remains a musical treasure, regardless of its origin.

--- Reviewed by Robert Finn