Southwind

This timeless 18th-century Irish air, originally titled An Ghaoth Anes, is a beautiful example of a traditional song of exile. Composed by Domhnall Meirgeach Mac Con Mara (Freckled Donal MacNamara) while living in Munster, the melody is a heartfelt plea to the warm southern wind to carry his blessings back to his native County Mayo.

Now a beloved staple of the session repertoire, “Southwind” is typically played as a graceful waltz. Its flowing, intuitive melody makes it a favorite for instrumentalists looking to practice expressive phrasing and ornamentation. This version is formatted for clear readability, perfect for performance or digital archiving.

“Southwind” (or An Ghaoth Anes) is a classic Irish air that dates back to the 18th century. It is widely attributed to Domhnall Meirgeach Mac Con Mara (Freckled Donal MacNamara), a native of County Mayo.

The Story Behind the Song

The tune was originally composed as a song with lyrics in Irish. Legend has it that MacNamara was living in exile in Munster and felt a deep sense of homesickness. As the story goes, he was sitting on a ridge when he felt a warm southern breeze. He spoke to the wind, asking it to carry his blessings back to his home and his people in the west of Ireland (Connacht).

The lyrics are essentially a conversation with the wind, personifying it as a messenger of love and longing for one’s homeland.

Musical Characteristics

• Structure: It is a waltz-time air (3/4 time), known for its graceful, flowing melody.

• Instrumentation: While originally a vocal piece, it has become a staple in the instrumental repertoire. It is particularly popular among:

  • Fiddlers: For its expressive double-stops and slurs.

  • Harpists: Because of its melodic simplicity and resonance.

  • Tin Whistle & Flute players: For its breathy, evocative phrasing.

Evolution into a Session Favorite

Although it began as a song of exile, it transitioned into the instrumental “Session” world during the 20th-century folk revival. Today, it is one of the most common tunes taught to intermediate players because its melody is intuitive yet allows for significant “ornamentation” (adding cuts, taps, or slides to make it more expressive).