It's been speculated by some that all knowledge - emotions, talents, longings, decisions (good and bad), actions, et al - are stored in the cells of each person. This genetic coding (memories) is passed down, generation to generation. This is why certain locales, previously unknown to us, seem so familiar, and why certain music, never before heard, brings a swelling in the breast and starts a foot tapping.

I can't tell you whether this speculation is true. I'm not that clever. All I know is Friday night, while sitting in Abravanel Hall listening to the Celtic revelries of Paddy Moloney and his fellow Chieftains, it all seemed familiar.The evening started with a medley of songs from The Chieftains' new album, "The Long Black Veil": Moloney's arrangement of the traditional "Dunmore Lassies" and "Ferny Hill," a piece co-written by Chieftains Matt Molloy and Sean Keane. Moloney's uileann pipes produced a sound both airy and rich, and Moloney's fingers literally danced over the instrument. Fiddlers, Martin Fay and Sean Keane, played with amazing dexterity as did Derek Bell on the harp. Matt Molloy's wooden flutes generated a weightless, trilling tone superseded only by Moloney's tin whistle. The bodhran, a shallow drum, was played with equal skill by Kevin Conneff.

During the medley's second number, two dancers emerged from the wings, high stepping and stomping their way to center stage. Donny Golden and Cara Butler nearly brought the audience to their feet with applause. Later, they were joined by a young Salt Laker, Gina Gottfredson who danced her heart out.

The Chieftains followed with another song, "Changing Your Demeanour," from "The Long Black Veil." Written by bodhran player Conneff, the song is more a droll ditty with fiddle and pipes.

The Chieftains then invited a young, Spanish piper, Carlos Nunez, to join them. Dressed in Spanish, regional attire, Nunez performed two numbers on galacian pipes, creating a piercing, syrupy sound that hung in the air and left you gasping.

After intermission, the Utah Symphony, conducted by Kory Katseanes, performed "Irish Rhapsody" by Herbert, a medley of traditional Irish melodies.

The Chieftains then joined the Symphony, performing "Tristan and Isolde," a work in four parts, composed by Moloney. The third movement - and I don't say this lightly - was the most beautiful series of notes put together I've ever heard. When Moloney wasn't blowing his tin whistle or his pipes, he watched the orchestra, nodding approval, smiling dreamily at every passage correctly executed.

View Comments

The next bit of "hooley," was traditional Irish music battling Mozart: "Planxty Mozart." (Moloney jokingly claimed Mozart filched some of his best musical moments from the Celts.) It reminded me of "Dueling Banjos," and it was very amusing.

"Galician Overture," a new work by Moloney that connects all the Celtic areas of Europe into music, had it's world premiere Friday night. Joined by Carlos Nunez and the Symphony, The Chieftains outperformed themselves, bringing pipes, whistles, drums and fiddles together for a festive jubilee of brotherhood.

The evening concluded with "Drowsey Maggie," a traditional Irish song, arranged by Moloney. Everyone, including Carlos Nunez and a local fiddler, Kate MacLeod, got to solo in the piece. Moloney toyed with each musician during their solo, using hand signals to tell them to hurry and finish. It was quite comical. However, when Katseanes jumped from the conductor's stand and began playing "Turkey in the Straw" on a harmonica, pandemonium reigned.

After a standing ovation, the group returned and performed a rousing encore, "MacLeod's Reel," where dancers and other guests joined in.

Join the Conversation
Looking for comments?
Find comments in their new home! Click the buttons at the top or within the article to view them — or use the button below for quick access.