China Meets Ireland – intercultural music programme

The Idea Behind China Meets Ireland

China Meets Ireland was created as an intercultural programme that explored
both tradition and modern composition through music.
It brought together two very different musical histories,
one rooted in over a thousand years of Chinese musical tradition,
and the other shaped by centuries of Irish traditional music.

The aim was not to compare or contrast in a competitive sense,
but to place these traditions alongside one another
and allow common ground to emerge naturally.
Melody, poetry, rhythm, and tone became the shared language.

Chinese and Irish Traditions in Conversation

The programme presented traditional Chinese music
alongside new music written in China within the previous ten years.
These works carried the weight of history,
while also reflecting modern artistic voices.

Irish music was represented through airs and dance tunes,
performed on fiddle, concert flute, Irish harp, and guitar.
These pieces spoke directly to place and memory,
drawing from a living tradition that continues to evolve.

What became clear during the programme
was how naturally these traditions could sit together.
The pacing, ornamentation, and expressive intent
often mirrored one another in unexpected ways.

Contemporary Irish Composition

New Irish music also played a central role.
John Buckley’s I Am Wind On Sea for solo voice
brought a powerful sense of movement and atmosphere,
shaped by text and melody working as one.

Music from A GIRL by Seoirse Bodley,
with poetry by Brendan Kennelly,
added another layer.
The use of contemporary Irish poetry
reinforced the idea that tradition is not fixed.
It continues to respond to the present.

A New Work by Zhao Xi

A central moment in the programme
was the premiere of a new work by the Chinese composer Zhao Xi.
This piece drew on ancient Chinese poetry
alongside old Irish poetry,
bringing voice, piano, and Gu Zheng together.

The result was a thoughtful and carefully balanced work,
rooted in deep cultural sources from both traditions.
Rather than blending styles for effect,
it allowed each voice to remain distinct
while sharing the same musical space.

The Musicians

The programme was performed by an ensemble of musicians
from both China and Ireland,
each bringing their own tradition and experience to the stage.

Zhao Xi performed as composer and pianist.
Singers Li Da Xin and Aylish Kerrigan
brought clarity and sensitivity to the vocal works.
Pianists Gu Ling-Ying and Dearbhla Collins
shaped the harmonic framework throughout.

Zhou Ke Qi performed on bamboo flute and Qun,
while Liu Le played Gu Zheng.
Wan Ji performed on Er Hu,
and I played fiddle.
Fintan Vallely joined on flute,
Anne-Marie O’Farrell on Irish harp,
and John Feeley on guitar.

A Personal Reflection

For me, China Meets Ireland was a reminder
that traditional music does not exist in isolation.
It carries history, but it also listens.
When musicians from different cultures
approach one another with care and respect,
something honest can emerge.

The project stayed with me
because it showed how poetry, sound, and memory
can travel across borders without losing meaning.
It reinforced my belief
that traditional music remains relevant
precisely because it continues to speak
beyond its place of origin.