by Samantha Brown

     The glass harmonica is formed from wine glasses and brandy snifters which Donal painstakingly purchased at thrift stores, flea markets and garage sales, garnering him a few sidelong glances and whispers regarding his sanity as he tested the glasses for clarity of sound and pitch by rubbing a wet finger around the rims to create the vibrations which causes the glass to "sing." The different notes are achieved by the size of the glasses and  water level of each glass. Terry Hinely had originally created this instrument without knowing of its prior existence or history dating back to pre-Mozart, and Donal knew he had to also begin at the beginning to create his personal instrument. He did discover, however, that other names through time for the glass harmonica have been "angelick organ", "glass harp", and, most recently, "the ghost fiddle."

     Aptly named Ghost Fiddle Suite, Donal Hinely's latest recording is a unique compilation of the music which Glasnots performed and newer pieces he has written. Opening with Danny Boy, Donal shows the brothers' love for traditional Celtic music, and the influence it has upon their music. Throughout the album, traditional tunes such as Wild Mountain Thyme, Ae Fond Kiss, Minstrel Boy, and Willie of Winsbury, are interspersed with an eclectic assortment of pieces. Shenandoah co-exists with Ode to Joy--Donal's salute to an early composer for the harmonica, Beethoven. Sea Chanty, Lou Dean's Dream, Sad Seventh are all original tunes of Donal's and reflect his influences from a variety of sources--from Steven Fromholz, Planxty, and Christy Moore to the performers from the Bluebird Cafe in Nashville, Tennessee, where he now resides.

     A fitting tribute to his brother which brought tears to this reviewer's eyes, Scarborough Faire features not only a wonderful violin (Marsha Harvey) and guitar accompaniment, but Donal's playing of the ghost fiddle as second to a track of Terry's performance of that same piece.  Formerly, an integral sound of the Scarborough Renaissance Festival, it is both appropriate and moving that Terry's "voice" lives on in that particular song, and that Donal would showcase it in the same manner he has chosen only demonstrates the deep and abiding love the brothers had for each other and the profound influence his "bro" had on his life and his music.

     The overall album, however, also shows the growth of Donal as a performer of the glass harmonica in his own right, and moves in a direction that is uniquely his own.  Ultrasound, Ghost Fiddle Suite, and B.T.'s Groove all show Donal's exemplary skill in both performing multiple instruments and arranging music.  His self-accompaniment on guitar and judicious arrangement of cello, electric guitar, and violin alongside the glass harmonica only emphasize, rather than detract from it. The mix is artfully designed to enhance the instrument's ethereal sound, and does so beautifully.  The harmonica's high tones are bright and clear, rounded without a biting edge.

     Fans of the former Glasnots will be delighted to learn that Donal is once again bringing the ghost fiddle back to the Texas region, although not available for NTIF this year. He has also made available the Glasnots collection on CD--a must for those who cherish the memories of the music which wafted over the fields on sleepy Sunday mornings during faire.  As of this writing, it has not yet been confirmed, but it is hopeful that CD's will be available in the performer's products booths at NTIF, since Glasnots were past performers.  They are, however, currently available through Donal's website, as well as his Christmas carols release, Midwinter Carols. These CDs, as well as Donal's Ghost Fiddle Suite, are sure to be a must for those fans who remember with joy and fondness the wonderful music created by Terry, and now reincarnated with an added richness through Donal.