成人快手

In the late twentieth century Ireland was catapulted out of economic malaise into the so-called "Celtic Tiger" era. That particular mania didn't last long but growing wealth and confidence is a feature of the Republic in general and the music in particular. In this programme Roisin asks if it is possible or even desirable to retain a distinctive 鈥淚rish sound鈥� in a world where international film and gaming music hold such power?

We'll hear the music that emerged from a country at last able to fund musicians and artists to create - the music of John Kinsella, Raymond Deane and Roger Doyle who were able to confidently incorporate trends from international study and travel in their work. We'll hear how the landscape and the traditional still informs music from Ireland, whether it's the cutting edge recordings of Deirdre Gribbin or Linda Buckley or the growing phenomenon of foreign born composers settling in Ireland like Jane O'Leary or Kevin Volans. We'll hear music by Eimear Noone, the first woman to conduct at the Oscars and song from Golden-Globe nominated Brian Byrne. With Irish musicians heading up leading academic institutions around the world, is there anything intrinsically "Irish" about their work any more? What does it mean to be an Irish classical musician now?