“Dana Lyn and Kyle Sanna have figured out how to express Irish music as a truly universal music language.” – fiddler Martin Hayes
Hailed as “ground-breaking” by noted folklorist and NEA Award-recipient Mick Moloney and “bursting with creativity” by renowned fiddler Kevin Burke, Dana Lyn and Kyle Sanna connect the dots between their experience as composers and improvisers in New York City’s rich musical community and their deep admiration for traditional Irish music. The duo has collaborated with some of the greatest living interpreters of Irish music, including Martin Hayes and Dennis Cahill, Cillian Vallely, Kevin Burke, and Mick McAuley.
Lyn and Sanna have brought their inventive arrangements and nuanced interpretations of traditional music to clubs, festival stages and concert halls throughout the US and Canada. They have taught workshops at the Old Songs Festival, the Catskills Irish Arts Festival, the Fairbanks Summer Arts Festival, Wellesley College, West Virginia’s Augusta Heritage Center, Traditional Arts in Upstate New York, and since 2015 have been residents at the Avaloch Farm Music Institute in Boscawen, NH.
Their second album, “The Great Arc”, is inspired by and concerned with extinct and endangered animal species. The Irish Echo hailed it as “a deep musical work full of lavish, evocative textures” and the Dublin-based Grammy-winning singer Susan McKeown called it “sublime”.
Picking up where “The Great Arc” left off, Lyn and Sanna continue their investigation of environmental fragility with “The Coral Suite”: an evocative sequence of Irish tunes that mirrors the life cycles and natural processes that occur within coral reef ecosystems. With the rich vocabulary of Irish melody, and with light boxes and animated projections featuring Dana Lyn’s artwork, Lyn and Sanna create an audiovisual poem for the reef, paying tribute to its miraculous biodiversity while calling attention to the urgent need for its protection.
View the Coral Suite Program.
New York-based fiddler and composer Dana Lyn inhabits a musical world somewhere in the Venn diagram of 70’s art rock, classical, traditional Irish and improvised music. She has worked and performed with a wide variety of artists such as Tony Award-winning musicians Stew and Heidi Rodewald; Irish poet Louis de Paor; actor-directors Ethan Hawke and Vincent D’Onofrio; performance artist Taylor Mac; avant cellist Hank Roberts; Grammy Award-winning vocalists Loudon Wainwright and Susan McKeown; the late great Scots fiddler Johnny Cunningham; D’Angelo and the Vanguard and the Elysian Fields, among others. As a composer, Lyn has received commissions from the Brooklyn Rider, the Apple Hill String Quartet, the National Arts Council of Ireland, violist Nicholas Cords, the Los Angeles Inception Orchestra and the New Orchestra of Washington. Most recently, she was an artist in residence at the Baryshnikov Arts Center. Upcoming releases include an album of original music inspired by visual artist Jay Defeo as well as the sophomore release of her collaboration with actor Vincent D’Onofrio, Slim Bone Head Volt.
Kyle Sanna has collaborated with and performed alongside many of today’s greatest virtuosos (Yo-Yo Ma, Edgar, Meyer, Chris Thile); with some of the greatest living interpreters of Irish music (Seamus Egan, Kevin Burke, Martin Hayes), and with improvisers worldwide. His own music has been performed at the Bach House in Eisenach, Germany, the Royal Opera House in Oman, Sydney’s ABC studios, New York’s Carnegie Hall, and points between. Kyle Sanna has arranged music for orchestra and soloist (for banjo pioneer Béla Fleck and for cellist Jan Vogler), for string quartet (for Swedish mezzo-soprano Anne-Sofie Von Otter and for Irish fiddler Martin Hayes), and for cellist Yo-Yo Ma on two Grammy Award-winning albums: 2010’s “Songs of Joy and Peace” and 2016’s “Sing Me Home” with the Silk Road Ensemble. His “ruminative and shape-shifting” (San Francisco Chronicle) work for string quartet, “Sequence for Minor White”, won First Prize in the 2018 Charlotte New Music Festival Composition Competition. Kyle has given workshops at the Montana State Women’s Prison, at an orphanage in Juárez, Mexico, and at numerous universities and festivals from Alaska to Cuba.
Peterson-Kermani Performance Hall | St. Lawrence University
Le Centre Régional de l'Animation du Patrimoine Orale
St. Jean-de-Matha, QC
Light Club Lamp Shop | Radio Bean
Boston College | Theology and Ministry Library Auditorium
On The Coral Suite :
“The Coral Suite contains great riches for those who want to dig in. The entire [album] is alive with … expressive subtlety and symbolism that communicate the wonder of the subject at hand. I highly recommend this one.” – Daniel Neely, The Irish Echo
“A beautiful and authentic recording of Irish music that is simultaneously traditional and innovative. The playing on this album by Kyle and Dana is first rate.” – renowned fiddler Martin Hayes
“From beginning to end, the duo’s admiration for traditional Irish music is wholly sincere… [an] enriching listen.” – Textura
On The Great Arc :
“Dana Lyn & Kyle Sanna’s new album is sublime” – Grammy Award-winning vocalist Susan McKeown
“Lyn and Sanna challenge our expectations and assumptions about Irish music [and] invite us to consider our perceptions of the natural world and how attuned we are to its rhythms and phrases – and what it means when a voice in its grand chorus is no longer heard.” – Sean Smith, Boston Irish Reporter
“A deep musical work full of lavish, evocative textures” – Daniel Neely, The Irish Echo
On The Hare Said a Prayer to the Rainbow and Followed the Fox Down the Hole :
“A very innovative recording – mysterious, playful and charming with some lovely musical surprises. From the excellent musicianship and skillfully fascinating arrangements to the relaxed whimsy of the CD package, the whole project is bursting with creativity, yet still manages to convey a love for simplicity – a remarkable achievement.” -renowned fiddler Kevin Burke
“The recording is grounded in the source of its inspiration, while affording itself plenty room for personalization by the artists, who, obviously, live in the present day and can’t help but feel the compulsion to create music in ways that reflect their own experiences in the light of Today.” – Dave Sumner, Bird is the Worm