Composer: A Celtic
Works: Celtic Dreams, Cry of the Celts, O’Farrell’s Welcome to Limerick, Simple Gifts, A Little Bit of Heaven, Irish Party in the Third Class (from ‘Titanic’), The Countess Cathleen, Chasing the Fox, Too-ra-loo-ra-loo-ra, A Piper Celebration, Celtic Angels, The Mummers’ Dance, Steps from the Highlands, Danny Boy, The Last Rose of Summer, The Irish Washerwoman
Performers: James Galway (flute and whistle), The Chieftains, John McDermott (tenor), Liz Knowles (fiddle), Kieran O’Hare (uilleann pipes and whistles), Silver Arm Celtic Band, Cincinnati Pops Orchestra, Erich Kunzel (conductor)
Recording: TELARC CD-80571 [58’57”]
Label: Telarc
A Celtic Spectacular attempts to encapsulate the essence of traditional Irish music through a diverse selection of pieces, featuring prominent artists such as the legendary flutist James Galway and the esteemed ensemble The Chieftains. Yet, the album’s title belies the reality of its execution, revealing a collection that feels more like a disjointed assembly of commercialized clichés than a heartfelt homage to the rich tapestry of Celtic culture.
The performances, while occasionally sparkling, often succumb to a syrupy sentimentality that dilutes the authenticity of the music. John McDermott’s renditions, particularly in “Danny Boy,” reveal a troubling lack of tonal beauty; his falsetto struggles to convey the emotional depth inherent in the piece. The orchestral arrangement, drenched in sentimentality, fails to resonate with the poignancy of earlier interpretations, such as those by John McCormack, whose clarity and warmth remain benchmarks for this beloved song. The contrast is striking, showing how McDermott’s vocal choices lead to a loss of subtlety and emotional resonance.
In the orchestration, Erich Kunzel conducts the Cincinnati Pops with an emphasis on lush, sweeping strings that too often overshadow the intricate interplay of traditional instruments. The arrangement of “The Last Rose of Summer” exemplifies this, where the sugary violin solo, rather than enhancing the lyrical beauty, veers into the realm of the overly sentimental, neglecting the haunting simplicity that characterizes the original folk tradition. This tendency is echoed throughout the recording, where the occasional authentic Irish melody serves only to highlight the shortcomings of the more contrived arrangements.
The recording quality itself is polished, typical of the Telarc label’s standards, yet this clarity amplifies the issues rather than concealing them. The balance between the orchestra and soloists varies, leading to moments where the traditional instruments, like Kieran O’Hare’s uilleann pipes, are nearly drowned in orchestral swells. This imbalance is particularly evident in “Steps from the Highlands,” where the ensemble’s lushness overshadows the delicate nuances of the fiddle work by Liz Knowles.
While the contributions from Galway and The Chieftains shine brightly in their respective tracks, they stand apart from the less engaging performances that populate the album. Their mastery of traditional Irish music lends a certain gravitas that the other artists struggle to match, creating a jarring disconnect for listeners familiar with the authentic spirit of Celtic music.
A Celtic Spectacular ultimately fails to deliver on the promise of its title. Instead of offering a cohesive celebration of Celtic music, it presents a haphazard collection that often undermines the beauty and depth of the traditions it seeks to honor. The album serves as a reminder of the power of authenticity in musical interpretation and the pitfalls of overproduction in the pursuit of broad appeal. As it stands, this compilation would benefit from a more discerning selection of performances and a greater respect for the unembellished beauty of the music itself.
