Details
Summary
- Format:
- Score
- Item types:
- Digital
- Level:
- Early Intermediate
- Usages:
- School and Community
- Number of Pages:
- 13
Detailed Description
SKU: A0.1597081
By Eve McTelenn. Composed by Anon. Arranged by Eve McTelenn. This edition: pdf, streaming. Celtic, Folk, Irish, Multicultural, Traditional, World. Score. 13 pages. Eve Rodolfi-McTelenn #1168069. Published by Eve Rodolfi-McTelenn (A0.1597081).Irish Song - Tik Tok tutoriel version included
Key G Maj/Emin - For 27/34 String Harp -
Learn this Tunes In a original Version For Lever Harp
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Suzy McGuire in the Irish Repertoire and in Alan Stivell’s Work
Origin of the piece
Suzy McGuire (also spelled Susy MacGuire) is a traditional Irish ballad. It belongs to
the Celtic folk tradition, transmitted and reinterpreted over time by generations of musicians.
Alan Stivell’s version — Chemins de Terre (1973)
Alan Stivell included this tune on his fourth studio album, Chemins de Terre, released in 1973. It is considered a classic in his repertoire, where the work is credited as traditional, arranged by Stivell himself. The track appears as: “Susy MacGuire” (traditional, arranged by Alan Stivell) This album, produced by Franck Giboni, marked his exploration of Celtic folk-rock, blending Celtic harp, percussion, and electrified instruments.
Reinterpretation on Again (1994)
Alan Stivell re-recorded Suzy Mc Guire (Siobhán Ní Dhuibhir) on his album Again, released in 1993–94. This record revisits some of his favorite works from the 1970s with new arrangements and several guest artists, including Kate Bush and Shane MacGowan. In this version, the piece is renamed, linking the Irish name “Siobhán Ní Dhuibhir” to the interpretation.
Critical appreciation
One reviewer noted that the Again version brings an enriched dimension to Susy Mc Guire:
“My preference goes without question to ‘Susy Mc Guire’: already so captivating in its seventies version, it is even more enhanced here, particularly thanks to the keyboards. It may be the only re-recording on this album that I consider to be on the same level as the ‘original’ interpretation (meaning Alan’s first arrangement…).” This observation highlights the strengthened quality of the modern arrangements, without betraying the essence of the piece.
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