Background
All current knowledge about Ó Catháin is based on anecdotes by the harper Arthur O'Neill, retold by Edward Bunting (1840), Charlotte Milligan Fox (1911), and Francis O'Neill (1913). CaptainCompositions
Ó Catháin's best-known composition is"Proud and spirited, he resented anything in the nature of trespass on his dignity. Among his visits to the houses of Scottish nobility, he is said to have called at Eglinton Castle,Ayrshire Ayrshire (, ) is a Counties of Scotland, historic county and registration county, in south-west Scotland, located on the shores of the Firth of Clyde. The lieutenancy areas of Scotland, lieutenancy area of Ayrshire and Arran covers the entirety .... Knowing he was a harper, but being unaware of his rank, Lady Eglinton commanded him to play a tune. Taking offence at her peremptory manner, Ó Catháin refused and left the castle. When she found out who her guest was her ladyship sought and effected a speedy reconciliation. This incident furnished a theme for one of the harper's best compositions. ''Tabhair Damh do Lámh'' (or ''Give Me Your Hand''). The name has been Latinized into ''Da Mihi Manum''. The fame of the composition and the occasion which gave birth to it reaching the ear of King James the Sixth, induced him to send for the composer. Ó Catháin accordingly attended at the Scottish court and created a sensation."
"His performance so delighted the royal circle that King James I familiarly laid his royal hand on the harper's shoulder. When asked by one of the courtiers if he realized the honour thus conferred on him, to their consternation Rory replied: 'A greater than King James has laid his hand on my shoulder'. Who was that man?' cried the King. 'O'Neill, Sire', proudly answered Rory standing up."In the late 20th century, the piece was wedded to ''Raggle Taggle Gypsy'' in a version by
Other compositions
Bruce Armstrong attributed the following pieces to Ó Catháin: * ''Lude's Supper'' * ''The Terror of Death'' * ''The Fiddler's Content'' * ''Rorie Dall's Sister's Lament'' * '' The Derry Air'' O'Neill thought that ''Port Athol'', ''Port Gordon'', and ''Port Lennox'', were all Ó Catháin's. ''Seabhac Bheal Atha Seanaigh''/''The Hawk of Ballyshannon'', celebrating the wedding of Charles O'Donnell, son of Manus of Rosturk Mulranny, County Mayo, to a Miss More, composed to a tune by Ruairí Dall Ó Catháin is printed in Bunting (1840, p. 13). Robert Burns’ poem “Ae Fond Kiss” was first published using a tune entitled “Rory Dall’s Port”. It appears that the melody sung by Eddi Reader and other popular singers today is derived from this. “Rory Dall’s Port” is sometimes credited to Ruaidrí Dáll Ó Catháin. It could also have been written by Ruairidh Morison ‘An Clàrsair Dall’ (‘The Blind Harper’), or James Oswald, who first published the tune in Volume 8 of “The Caledonian Pocket Companion.”Death
O'Neill reports that he died in Scotland:"It is a curious coincidence that after spending many years with McLeod, of Dunvegan, in the Isle of Skye, O'Cahan should die at Eglinton Castle about the year 1653. In some inaccountable way during his long sojourn in Scotland he became known as Rory Dall Morrison, and this has so clouded his origin and identity as to involve his very nationality in question." O'Neill was, however, mistaken as their lives didn't even overlap, Morrison being born on the Isle of Lewis around 1656 while Ó Catháin was born in Antrim in the 1580s. Ruaidrí Dáll Mac Ghille Mhoire is buried in Dunvegan on the Isle of Skye while Ó Catháin is buried in Sleat, also on Skye, having spent most of his life in the Scottish Highlands. Maybe this is what confused O'Neill.
Doubts about Ó Catháin's existence
In 2017, the Scottish researcher Keith Sanger explained at length his reasons for believing that Ruairí Dall Ó Catháin never existed and was instead made up by Arthur O'Neill. He takes up the most thorough biographical research on Ó Catháin to date, which was first published by Colm Ó Baoill in 1971 and repeated in 2007. Ó Baoill stated that "while Arthur cannot be contradicted on present knowledge, the known history of the Ó Catháin family does not support his account in any way" By 2007, Ó Baoill wrote, "the argument is based on no real evidence, and until some is found we must conclude that the only relic we have of Ruairi Dall Ó Catháin is his music”. Sanger, having revisited the sources for the music (the "Straloch manuscript" of about 1627–1629) states that this has gone missing in 1845. He concludes "But overall the evidence, or rather the lack of any, for a Rorie Dall Ó Cathain does not provide much of a base on which to build his character."Keith Sanger: "Mapping the Clarsach in Scotland", published 31 May 2017 oBibliography
* Edward Bunting: ''The Ancient Music of Ireland'' (Dublin: Hodges and Smith, 1840; reprinted Dublin: Walton's, 1969) * Robert Bruce Armstrong: ''The Irish and the Highland Harps'' (Edinburgh: David Douglas, 1904). * Charlotte Milligan Fox: ''Annals of the Irish Harpers'' (London: Smith, Elder & Co., 1911). * Colm Ó Baoill: "Some Irish Harpers in Scotland", in ''Transactions of the Gaelic Society of Inverness'', vol. 47 (1971–72), pp. 143–171. * C. Ó Baoill: "Two Irish Harpers in Scotland", in ''Defining Strains. The Musical Life of Scots in the Seventeenth Century'', edited by Michael Porter (Bern etc.: Peter Lang, 2006), pp. 227–244. * Keith Sanger: "Mapping the Clarsach in Scotland", published 31 May 2017 oReferences
{{DEFAULTSORT:OCahan, Rory Dall 16th-century Irish composers 17th-century Irish composers Irish blind musicians Irish harpists Composers for harp Irish male harpists Irish-language singers Year of birth uncertain 17th-century Irish harpists Irish male composers