英日対訳:The Northern Fiddler北の大地のフィドラー達('79/'85)第14回 2部(6/7)ジョン・ドハティ インタビュー




London / New York / Sydney / Cologne 









(John Doherty) 


There come a circus to Ardara one time when I was only a wee lad. They had this trick fiddler with them, a fellow who looked like he had no jaw at all. Well he played a few tunes and then he put the fiddle on his lap with the bow lying across it. And he says to the fiddle, “Now I am requesting you to sing for these kind people.” Well would you believe, but the fiddle started to sing, and he laid no hand on her at all. Well, I didn't know whether to run or stay. Most of the people of the tent were running for the exit, and one man when he reached the entrance of the tent turned around and shouted, “You know what you are, you're the devil.” All the folk agreed that must have been the devil.' 



(John Doherty) 


(John Doherty in four photos on p49) 




Perhaps his approach to fiddling is influenced by the origin of most of his music in what he sees as a remote age. Certainly with such a strong family history of playing going back over several generations there was probably an imperative to play the music in its purest form. When he plays John Doherty is not only playing his own music but his father's, grandfather's and great-grandfather' music too. His playing style is probably further influenced by the fact that some of his most beautiful pieces of music, which he calls 'unearthly,' originate in encounters with the other world. In our own culture the creative process is a psychological fact occuring within the confines of the self. In the world in which John Doherty was reacted the creative process is mythicised: it is not individualistic. It is essentially a happening external to the self, the result of interactions between the self and the natural or supernatural world. In John's way of thinking music is an important bridge documenting man's encounters with these realities. 



(John Doherty) 


'... The old musicians in their days, they would take music from anything. They would take music from the sound of the sea, or they would go alongside of the river at the time of the flood and they would take music from that. They would take music from the chase of the hound and the hare. They would take music from several things ... It must be a long time ago; Fiddler Doyle it appears was a good fiddle player and a good man managing a horse. He used to go on horseback to play at a party - maybe he was asked to go fifteen or twenty miles away to play at a party. He would bring his fiddle and case with him, and he would step on the mare, and he would ride on to the horse where the entertainment was taking place. Once he was coming home at a very late hour, he was coming past a crossroads that was there at the time, where there was a vision appearing. You know a horse is very sensitive to a thing, before you and I could see it. Just as Doyle and the mare were coming forward to this crossroads there was this vision standing at the crossroads. The mare halted and Doyle knew what was wrong - he knew the mare saw whatever was in it. He got down off the mare's back, then he got up on her back again and it was Sally they called the mare. “Come on Sally,” says he now, “and I'll guide ye all the way through,” and he patted her on the side of the neck. The mare walked nice and easy up till she come to the cross-roads and just with that the mare bolted, and Doyle was a good enough horse rider and he stayed on her back anyway, but he was going at an awful rate and the vision kept alongside the mare, maybe the creature was going sixty miles an hour. She kept at the rate on and on till she came to the gable of that house where they lived. Doyle got down off the mare's back, he stabled the horse and walked into the house. He took something to eat and later he went to bed. And when he was in bed he got the impression by listening to the animal's hooves on the road during this terrible race, of a reel, and he took down his fiddle and played this reel over and he put the mare's name on it. He called it 'The Black Mare of Fanad.' I'd hear the old people telling it a thousand times. 




John Doherty talks of the Black Mare of Fanad and plays the reel of the same name. Recorded in 1970 it was filmed in Biddy's O'Barnes Public House in the Barnesmore Gap, County Donegal.