Hone is born in Fitzwilliam Place, Dublin on October 26, 1831. He is the son of Brindley Hone, a merchant and director of the Midland Great Western Railway.
Though a member of a very artistic family, Hone’s initial training is as an engineer at Trinity College Dublin followed by a brief period of work for the Irish Railway before going to Paris in 1853 to study painting. He first studies under Adolphe Yvon, the French military painter, and later Thomas Couture, who is one of the earliest exponents of realism and from whom he learns principles which influence his work throughout his career.
Most of Hone’s later paintings are landscapes, very often enlivened with animals and occasionally with figures. In France he is influenced by the painter Gustav Courbet who is taking a new and quite revolutionary realistic approach. His closest painting tips are, however, from another French impressionist, Jean-Baptiste-Camille Corot. He becomes a close friend of one of Corot’s followers at the Barbizon school of landscape painting. At Barbizon he learns to appreciate colour, texture and tone in the landscape and applies it in strong and confident brushworks to the painting of Irish subjects on his return. In Paris he also works closely with artist Édouard Brandon, also a follower of Corot.
Hone’s paintings which are completed in France have many similarities to those that he completes at his country farm in County Dublin, but the finish is perhaps more polished and professional in the later Irish works.
From 1876, except for four years, Hone exhibits at the Royal Hibernian Academy (RHA). He is elected a full member in 1880 and in 1894 becomes Professor of Painting. His exhibition with John Butler Yeats in 1901 is one of the turning points for the history of Irish art as it is their paintings which convince Sir Hugh Lane that Dublin should have a gallery of modern art.
Nathaniel Hone dies in Dublin on October 14, 1917. After his death his widow bequeaths the contents of his studio to the National Gallery of Ireland. He rarely dates his work, so it is difficult to establish chronology. The similarity of many of his motifs and subjects often make it difficult to tell whether a view is Irish or French. Equally it is difficult to chart his developments on stylistic grounds alone.
(Pictured: Nathaniel Hone, the younger, self-portrait as an old man)
Lady Harriet Kavanagh, Irish artist, traveler, and antiquarian, described as a “woman of high culture and of unusual artistic power,” is born Lady Harriet Margaret Le Poer Trench on October 13, 1799. She is believed to be the first Irish female traveler to Egypt.
Kavanagh is the second daughter of Richard Le Poer Trench and Henrietta Margaret Le Poer Trench (née Staples), with three brothers and three sisters. She marries Thomas Kavanagh of Borris House, County Carlow, on February 28, 1825, as his second wife. The couple has four children, three sons Charles, Thomas, Arthur, and one daughter, Harriet or “Hoddy.”
Kavanagh’s third son, Arthur MacMorrough Kavanagh, is born without fully formed limbs. Some attribute the disability to a peasant’s curse, while others speculate it is due to Lady Kavanagh taking laudanum during her pregnancy. She refuses to treat her son differently to his siblings, and with the help of local doctor Francis Boxwell, raises him as a normal child. During his initial education, she teaches Arthur herself, teaching him to paint and then write by holding brushes and pens in his mouth. With the help of the surgeon Sir Philip Crampton, she has a mechanical wheelchair constructed for Arthur, and also encourages him to ride horses and engage in other outdoor activities. Her husband dies after twelve years of marriage, in 1837.
In 1846, Kavanagh takes her children to learn French in Saint-Germain-en-Laye, later traveling to Rome. As an antiquarian, she also wants to visit Egypt and the Holy Land, setting off on the long journey from Marseille in October 1846. Accompanying her are her daughter, Harriet, her two sons, Thomas and Arthur, their tutor, the Rev. David Wood, and a maid, Miss Hudson. In Cairo, she hires two feluccas with Arab crews, and visits archaeological sites along the Nile, such as Thebes, Karnak, and the Nubia region. From there, she visits sites of biblical interest, including Tyre, Sidon, and Roda Island. She negotiates with Bedouin chiefs in Aqaba, hiring camels and Bedouin guides to travel to Hebron. She visits harems and a slave market and records the journey’s incidents in her diary, including her son Arthur’s accidental near drowning when he falls off their boat while fishing.
While visiting Jerusalem in Easter 1847, Kavanagh bears witness to a confrontation over the control of holy places between Roman and Orthodox Catholics priests. She goes on to visit Petra, the Sinai Peninsula, Beirut, Smyrna, and Constantinople. The group spends a second winter in Egypt before traveling to the Black Sea before returning to Marseilles in April 1848. Much of these journeys are conducted on horse or camel-back, with one desert crossing taking 36 days. She later comments on her travels as a woman, stating “quite enough danger to make it a very exciting business.”
In 1850 and 1852, Kavanagh travels to Corfu, returning to Borris with samples of Greek lace. She teaches a number of her tenants to copy these designs, which lead to the establishment of a local lace-making industry. She is elected to the Kilkenny Archaeological Society in 1851.
Kavanagh moves to Ballyragget Lodge, County Kilkenny, in 1860, dying there on July 14, 1885. She is buried in St. Mullin’s Abbey, Borris in County Carlow. She documented her travels in journals, with drawings and paintings of the sites she visited. These are held by the Kavanagh family, along with an oil portrait and a self-portrait. Her collection of roughly 300 Egyptian antiquities were donated to the Royal Society of Antiquaries of Ireland after her death. These collections were later moved to the National Museum of Ireland and form a core element of the Museum’s Egyptian collection. Copies of two of her watercolours, a self-portrait, and a landscape are on display in the Museum.
Barton is born in Dublin on April 21, 1856. Her father is a lawyer from Rochestown, County Tipperary, and her mother’s family is from County Galway. Educated privately, she is a liberal in social affairs. Her interests include horse racing. She is cousins with sisters Eva Henrietta and Letitia Marion Hamilton. She begins exhibiting her broad-wash watercolour paintings with the Water Colour Society of Ireland (WCSI) in 1872. She and her sister Emily visit Brussels in 1875, where they receive drawing tuition in drawing and fine art painting under the French artist Henri Gervex. There, along with her close friend Mildred Anne Butler, she begins to study figure painting and figure drawing.
In 1879, Barton joins the local committee of the Irish Fine Art Society. Afterward she trains at Paul Jacob Naftel‘s art studio in London. She, like Butler, studies under Naftel. In 1882, she exhibits her painting Dead Game, at the Royal Hibernian Academy (RHA). In 1884, she exhibits at the Royal Academy of Arts (RA). Later, she shows at the Japanese Gallery, the Dudley Museum and Art Gallery and the Grosvenor Gallery in London. In 1893, she becomes an associate member of the Society of Painters in Water Colours, attaining full membership in 1911.
Barton’s watercolours and townscapes become well known in both Dublin and London. This is helped by her illustrations in books of both cities including Picturesque Dublin, Old and New by Francis Farmer and her own book Familiar London.
(Pictured: “A rest in rotten row” – 1892 watercolour by Rose Maynard Barton. The painting shows a nurse and child resting on Rotten Row, Hyde Park, London.)
Patrick J. Killoran, Irish traditional fiddle player, bandleader and recording artist is born on September 21, 1903, in Emlaghgissan (also spelled “Emlagation”), a townland in the civil parish of Emlaghfad near the town of Ballymote, County Sligo. He is regarded, along with James Morrison and Michael Coleman, as one of the finest exponents of the south Sligo fiddle style in the “golden age” of the ethnic recording industry of the 1920s and 1930s.
Killoran’s father Patrick plays the flute and his mother Mary the concertina, but he is also influenced by local fiddle master Philip O’Beirne, who had earlier tutored Michael Coleman. As a teenager, he is a volunteer with the Ballymote-based 3rd Battalion of the south Sligo Brigade of the Irish Republican Army (IRA) during the Irish War of Independence.
In 1925, Killoran emigrates to New York City, arriving on May 19 on the Cunard liner Scythia. Within a few months, he officially declares his intention to become a citizen of the United States, listing his address as 227 East 126th Street in east Harlem and his occupation as “laborer.” He later lodges with fellow Sligo fiddler James Morrison in a Columbus Avenue apartment on Manhattan‘s Upper West Side. A 1927 newspaper ad for “Morrison’s Orchestra” offers “Irish music by P. Killoran and J. Morrison, celebrated violinists,” giving 507 West 133d Street in west Harlem as the contact address. He soon launches his own career as a soloist and bandleader. A publicity photo of his quartet c. 1928 includes button accordionist D. Casey, tenor banjo player Richard Curran and second fiddler Denis Murphy. By the next year, he is performing on a weekly radio program sponsored by the Pride of Erin Ballrooms, located at the corner of Bedford and Atlantic Avenues in Brooklyn. He also tries another side occupation as his 1931 naturalization petition lists his occupation as “Music store owner.”
At the Pride of Erin, and later at the Sligo Ballroom at 125th Street and St. Nicholas Avenue in Harlem, Killoran’s “Irish Orchestra” provides music for Irish dancing, while Jack Healy, another Ballymote native, leads a group for “American” dancing. Healy, as a singer and tenor saxophone player, also performs and records with Killoran’s group, the membership of which over the course of the 1930s includes fiddler Paddy Sweeney, another Sligo native, fiddle and clarinet player Paul Ryan, Ryan’s brother Jim on the C Melody saxophone, pianists Eileen O’Shea, Edmund Tucker and Jim McGinn, drummer Mickey Murphy, button accordionists Tommy Flanagan and William McElligott and tenor banjo/tenor guitar player Michael “Whitey” Andrews.
Killoran’s band is variously billed as his “Pride of Erin Orchestra,” “Radio Dance Orchestra,” “Sligo Ballroom Orchestra,” “Lakes of Sligo Orchestra” and “Irish Barn Dance Boys.” The group is a popular choice for county association functions, particularly those of Sligo and Roscommon. In 1932, he leads a band that accompanies CardinalWilliam Henry O’Connell of Boston to the Eucharistic Congress in Ireland and briefly bills his group as the “Pride of Erin Eucharistic Congress Orchestra.” He regularly performs at Irish beach resorts on the Rockaway peninsula and in East Durham in the Catskill Mountains.
Uniquely among the major New York Irish musicians of the pre-World War II era, Killoran continues his musical career through the 1950s. He issues new recordings, including duets with flute player Mike Flynn and some fiddle-and-viola sides with Paul Ryan, and leads an active dance band. Age and illness eventually force him to retire, and in 1962 he turns over leadership of the band, a fixture at the City Center Ballroom, to button accordionist Joe Madden, father of Cherish the Ladies flute player Joanie Madden.
In 1956, Killoran is a co-founder of the Dublin Recording Company, later better known simply as Dublin Records, which is organized to record new Irish discs in New York.
Killoran is a founding member of the Emerald Irish Musicians Benevolent Society, a group that stages “Night of Shamrocks” concerts to raise money for the benefit of sick and deceased Irish musicians in New York. He is also a member of the Irish Musicians Association of America, and a New York branch of that organization, which later merges with Comhaltas Ceoltóirí Eireann, is named for him.
In addition to the 1932 trip to the Eucharistic Congress, Killoran returns to Ireland at least twice. In 1949, he plays on a Radio Éireann program hosted by piper and folklorist Séamus Ennis. Some selections from that broadcast are recorded on a private disc and are later released on CD. On a 1960 visit, he visits Sligo and Clare and performs at a concert in County Longford.
Killoran is married twice. His first wife, Anna Gorman, a native of County Roscommon, dies in 1935. His second wife is Betty (Bridget) Hayes, an immigrant from Shanaway West, County Clare, who survives him. He dies in New York City on April 24, 1965.
A “Paddy Killoran Traditional Festival” is celebrated in the third week of June in Ballymote, where a monument in Killoran’s honor is erected in 2012.
O’Flynn is acknowledged as Ireland’s foremost exponent of the uilleann pipes and brings the music of the instrument to a worldwide audience. In 2007, he is named TG4 Musician of the Year at the Gradam Ceoil TG4, considered to be the foremost recognition given to traditional Irish musicians.
O’Flynn is born to musical parents. His father, Liam, is a teacher and fiddle player. His mother, Maisie (née Scanlan), who comes from a family of musicians from County Clare, plays and teaches piano. From an early age, he shows musical talent, and is encouraged to pursue his interest in the uilleann pipes by the piper Tom Armstrong. At the age of 11, he begins taking classes with Leo Rowsome. He is also influenced by Willie Clancy and Séamus Ennis. In the 1960s, he begins to receive recognition of his talent, winning prizes at the Oireachtas na Gaeilge and the Fleadh Cheoil. During his early years, he is sometimes billed as Liam Óg Ó Flynn.
In 1972, O’Flynn co-founds the Irish traditional music group Planxty, alongside Christy Moore, Andy Irvine and Dónal Lunny and remains a member throughout the band’s various incarnations. While Seán Ó Riada and The Chieftains had reinvigorated Irish traditional instrumental music in an ensemble format during the 1960s, Planxty builds on that foundation and takes it one step further. They bring a punch and vitality to acoustic music that draws heavily on O’Flynn’s piping virtuosity.
As O’Flynn grows in his skill as a musician and as he begins to meet pipers like Willie Clancy and Séamus Ennis, he becomes acutely aware of his position in the tradition of piping. His subsequent close friendship with Ennis, which starts as a master/pupil relationship, teaches him that there is much more to being a piper than playing tunes. He notes, “Seamus Ennis gave me much more than a bag of notes.”
“When I’m playing, I’m certainly lost within it. The only way to describe it, is that it’s like looking inwards. I think when a performer engages with the audience, and vice versa, it’s like a spell is cast and a terrific passage of feelings moves from the musician to the audience and back again.”
Following the break-up of Planxty in 1983, O’Flynn finds work as a session musician with such prominent artists as The Everly Brothers, Enya, Kate Bush, Nigel Kennedy, Rita Connolly, and Mark Knopfler. He also works on film scores, including Kidnapped (1979) and A River Runs Through It (1992). He is adventurous enough to work with avant-garde composer John Cage, but his most natural alliance is with neo-romantic composer Shaun Davey.
The Bothy Band are natural successors to the original Planxty, and one of its members, Matt Molloy, who subsequently joins The Chieftains, plays with The Chieftains’ fiddler Seán Keane on O’Flynn’s album, The Piper’s Call, which is performed in the 1999 BBC Proms season at the Royal Albert Hall. He also works on projects with Seamus Heaney, mixing poetry with music.
O’Flynn’s name is mentioned in Christy Moore’s song “Lisdoonvarna.”
O’Flynn dies in a Dublin hospital on March 14, 2018, following a long illness. His cremated remains rest at Newlands Cross Cemetery and Crematorium in Dublin.
The Liam O’Flynn Award is awarded each year by the Arts Council and the National Concert Hall to recognise individual creativity in Traditional Irish music. Awardees include Úna Monaghan, Barry Kerr, Jack Talty, Louise Mulcahy and Strange Boy (aka Jordan Kelly).
Janet McNeill, prolific Irish novelist and playwright, is born on September 14, 1907, in Dublin. Author of more than 20 children’s books, as well as adult novels, plays, and two opera libretti, she is best known for her children’s comic fantasy series My Friend Specs McCann.
McNeill is born to Rev. William McNeill, a minister at Adelaide Road Presbyterian Church, and Jeannie Patterson (Hogg) McNeill. In 1913, the family moves to Birkenhead, Merseyside, England, where her father becomes minister at Trinity Road Church. She attends public school in Birkenhead and studies classics at the University of St. Andrews in St. Andrews, Scotland, completing a MA degree in 1929. While at university, she is involved in writing and acting with the College Players. In 1924, the family returns to Ireland due to her father’s failing health, and Rev. McNeill becomes the minister of a village church in Rostrevor, County Down, Northern Ireland, while Janet joins the Belfast Telegraph as a secretary.
In 1933, McNeill marries Robert Alexander, the chief engineer in the Belfast city surveyor’s department, and the couple settles in Lisburn, where they raise their four sons. One son is the zoologist Professor Robert McNeill Alexander, CBE, FRS. Though she plans to write her first novel early on, she finds it impossible to write seriously until the children grow up, saying, “It was four years before I had a baby and twenty-five before I produced the book.”
In 1946, McNeill wins a prize in a BBC competition for her play Gospel Truth. She begins writing radio dramas, which are broadcast by the BBC. She suffers an intracerebral hemorrhage in 1953. During her recovery, she begins writing novels both for adults and children, producing a large body of work between 1955 and 1964. Her popular children’s character, Specs McCann, who debuts in a 1955 book and makes several reappearances, also inspires a newspaper cartoon strip by Rowel Friers, a Belfast artist and friend of hers.
Her 1944 novel The Maiden Dinosaur is her first to be published in the United States, twenty-two years later. She also has three writing credits on television with series and plays. Several of her plays are staged at the Ulster Group Theatre.
In 1964, McNeill’s husband retires, and the couple moves to Bristol, South West England. She writes one more novel after she leaves Northern Ireland but continues to write children’s books for another decade. During this time, she writes her only children’s play, published as Switch On, Switch Off, and other plays (1968), which presents different moral themes in scenes set in “domestic and workplace settings in contemporary England.” Her children’s book The Battle of St. George Without is televised by the BBC in 1969.
In her adult fiction, McNeill focuses on the lifestyle and social mores of Belfast and Ulster in the mid-twentieth century. Her characters are primarily “menopausal, middle-aged, middle-class Protestants.” She depicts the “dreary, Ulster religiosity” of ministers and laymen alike, and the class conventions and sexual repression of middle-aged, upper-middle-class women. The theme of suppressing self-identity and goals, both by wives in deference to their husbands and parents on behalf of their children, pervades her adult novels.
McNeill has a number of health problems and dies in Bristol in October 1994.
Siobhan Maire Fahey, Irish singer and founding member of the British girl group Bananarama, who have ten top-10 hits including the U.S. number one hit single “Venus,” is born on September 10, 1958, in County Meath. She is the first Irish-born woman to have written two number one singles on the Irish charts. She later forms the musical act Shakespears Sister, who have a UK number one hit with the 1992 single “Stay.” She joins the other original members of Bananarama for a 2017 UK tour, and, in 2018, a North America and Europe tour.
Fahey is the daughter of Helen and Joseph Fahey, both from County Tipperary. She has two younger sisters, Maire (who plays Eileen in the video of the 1982 song “Come On Eileen,” a hit for Dexys Midnight Runners) and Niamh, a producer and editor. She lives in Ireland for several years before her father joins the British Army and the family moves to England, then to Germany for several years, and back to England when she is nine years old. When she is 14, she and her family move to Harpenden, Hertfordshire, and, two years later, she leaves home for London and becomes involved in the punk scene of the late 1970s.
In 1988, frustrated with the direction she feels Bananarama is heading, Fahey leaves the group and forms Shakespears Sister. Initially, she effectively is Shakespears Sister, though American singer/songwriter Marcella Detroit later becomes an official member, making the outfit a duo. Their 1992 single “Stay” spends eight weeks at number one on the UK Singles Chart and wins the 1993 Brit Award for Best British Video. At the 1993 Ivor Novello Awards, she, Detroit, and Dave Stewart receive the award for Outstanding Contemporary Song Collection. She often appears in the band’s music videos and on-stage as a vampish glam figure. After two successful albums, tensions begin to rise between Fahey and Detroit and they split up in 1993. That year, Fahey admits herself into a psychiatric unit with severe depression.
In 1996, Fahey continues as Shakespears Sister by herself and releases the single “I Can Drive.” Intended as the first single from Shakespears Sister’s third album and her first record since her split with Marcella Detroit, the single performs disappointingly (UK number 30), which prompts London Records not to release the album. Following this, she leaves the label and, after a lengthy battle, finally obtains the rights to release the album (entitled #3) independently through her own website in 2004.
Fahey briefly re-joins Bananarama in 1998 to record a cover version of ABBA‘s “Waterloo” for the Channel 4 Eurovision special A Song for Eurotrash. She reteams with Bananarama again in 2002 for a “last ever” reunion at the band’s 20th-anniversary concert at G-A-Y in London. The trio performs “Venus” and “Waterloo.”
Fahey continues to make music into the new millennium. In 2005, she independently releases The MGA Sessions, an album recorded with frequent collaborator Sophie Muller in the mid-1990s. Her most recent single under her own name, “Bad Blood,” is released on October 17, 2005.
Fahey’s track “Bitter Pill” is partially covered by the pop band The Pussycat Dolls on their 2005 debut album PCD. The verses, which were slightly altered, and the overall sound of the song are from “Bitter Pill,” but added in is the chorus of Donna Summer‘s “Hot Stuff.” The song is renamed “Hot Stuff (I Want You Back)” and a remix is included as a B-side to their hit single “Beep.”
In 2008, Fahey appears in the Chris Ward-written and directed short film What Shall We Do with the Drunken Sailor, based on the life of artist/model Nina Hamnett, self-styled “Queen of Bohemia,” with Fahey playing the role of Hamnett opposite actor Clive Arrindel, Donny Tourette, frontman with punk band Towers of London, and Honey Bane, former vocalist of the punk band Fatal Microbes.
In 2009, Fahey decides to resurrect the Shakespears Sister name and releases a new album. Entitled Songs from the Red Room, it is released on her own record label, SF Records, and includes various singles she had released under her own name in recent years. She performs her first live show in almost 15 years as Shakespears Sister in Hoxton, London, on November 20, 2009. In 2014 she joins the line-up of Dexys Midnight Runners for some shows, including at Glastonbury Festival.
In 2017, it is announced that Fahey has joined her former Bananarama bandmates for an upcoming UK tour. This is the first live tour she has done as a member of Bananarama.
In 2019, Fahey reunites with Marcella Detroit for Shakespears Sister dates, commencing with an appearance on BBC One‘s The Graham Norton Show on May 10, 2019.
Fahey marries Dave Stewart of Eurythmics in 1987; the couple divorces in 1996. They have two sons, Samuel (born November 26, 1987) and Django James (born 1991). The two brothers form a musical band called Nightmare and the Cat. As an infant, Samuel Stewart appears in early Shakespears Sister videos for “Heroine” and “You’re History.” Django Stewart is also an actor. Samuel is currently the guitarist for the American indie rock band Lo Moon.
Frederick May, Irish composer and arranger, dies in Dublin on September 8, 1985. His musical career is seriously hindered by a lifelong hearing problem, and he produces relatively few compositions.
May is born on June 9, 1911, into a Dublin Protestant family who lives in the suburb of Donnybrook. His father, also named Frederick, is employed at the Guinness Brewery. He pursues his musical studies at the Royal Irish Academy of Music, where he is taught composition by John Larchet. In 1930, McCullough Pigott and Co. publishes his Irish Love Song. That same year he is awarded the Esposito Cup at the Feis Ceoil and as a result of this he is nominated as the first recipient of a new scholarship prize worth £100 to be spent on the further study of piano. In July 1930, he takes his preliminary examination for the Bachelor of Music at Trinity College Dublin (TCD) before departing Dublin to utilise his scholarship in London. In September he enrolls at the Royal College of Music (RCM) where his teachers include Charles Kitson, Ralph Vaughan Williams, R. O. Morris and Gordon Jacob. He takes his final TCD examination in December 1931 submitting a string quartet and on December 10 his degree is conferred. During 1932 his study is funded by the RCM’s Foli Scholarship and in October he is awarded the Octavia Travelling Scholarship.
May’s compositions are few in number and he produces most of his small output in the 1930s and early 1940s. His first significant work is the Scherzo for Orchestra, written while he is still a student in London. The first orchestral run through of Scherzo for Orchestra takes place on March 17, 1933, and it receives its first public performance on December 1 when it is heard as part of the Patron’s Concert. Between the months of May and October he composes his Four Romantic Songs, which receive their premiere in London at a Macnaghten-Lemare concert on January 22, 1934. At some point, probably in the second half of 1933, he follows in the footsteps of other Octavia Scholarship winners and travels to Vienna to study with Egon Wellesz.
On January 1, 1936, May takes up the position of Director of Music at the Abbey Theatre in Dublin, a position he retains until he is fired in 1948. His duties mainly consist of leading the piano trio which bears the title “The Abbey Orchestra” in music during the intervals of productions. In 1936, he composes what is today his best-known composition, the String Quartet in C Minor, described in the Grove’s Dictionary of Music and Musicians as “one of the most individual statements from an Irish composer in the first half of the 20th century.” He composes the quartet as his hearing is beginning to deteriorate and he later describes it as “an appeal for release.” String Quartet in C Minor is not premiered until 1948 when it is performed by the Martin Quartet in the Wigmore Hall, London. This is followed by Symphonic Ballad (1937), Suite of Irish Airs (1937), Spring Nocturne (1938), Songs from Prison (1941) and Lyric Movement for Strings (1942). He effectively ceases original composition at this point.
Following a long break from composition, May produces what is to be his valedictory work in 1955, the nine-minute orchestral piece Sunlight and Shadows. It is given its first performance on January 22, 1956, by the Radio Éireann Symphony Orchestra at Dublin’s Gaiety Theatre. Although this is his last original work, he does not abandon music completely. He produces arrangements of Irish music for Radio Éireann, which while not perhaps rewarding artistically, does help to alleviate his always precarious financial situation. He also composes a number of songs for voice and piano and a short piece entitled Idyll for violin and piano. The latter is chosen as a set work for the junior violin competition at the Feis Ceoil in 2017.
Throughout his life May suffers from significant mental health issues which result in hospitalisation. He also experiences otosclerosis, as a result of which he gradually becomes increasingly deaf. In addition, he suffers from severe tinnitus with constant ringing noises in his head. In later life he becomes homeless for a time due to alcoholism and sleeps at night in Grangegorman Asylum, Dublin. He is rescued by some friends led by Garech Browne whose record company, Claddagh Records, records the String Quartet in 1974.
Throughout his career May is an advocate of better musical education in Ireland and expresses his views on this and other musical matters through the medium of The Bell, a monthly journal dealing with the arts. He is a co-founder, along with Brian Boydell and Aloys Fleischmann, of the Music Association of Ireland (now “Friends of Classical Music”), set up in 1948 to promote art music as an integral part of the cultural life of Ireland. Later he becomes a member of Aosdána. He lives the last years of his life at Orthopaedic Hospital of Ireland, Clontarf, Dublin. He dies on September 8, 1985, at the age of 74 and is buried in Mount Jerome Cemetery.
Hammond is born on December 5, 1928, in Miss Kells’s nursing home on the Castlereagh Road in Belfast, the son of Leslie Hammond, a tram driver, and his wife Annie (née Lamont). His parents are not city people; his mother grew up near Ballybogy in the Ballymoney area of County Antrim, and his father, though from a family with roots in south County Londonderry, had lived in Ballymoney as a boy, and had been apprenticed to a blacksmith there. Both have a strong sense of their rural identity and maintain the Ulster Scots dialect of their childhood. They are never quite at home in the Belfast suburb of Cregagh, and in particular do not share the sectarian attitudes that are much more present in 1930s Belfast than they had been in north Antrim, one of the last strongholds of Presbyterian radicalism. Even as a boy, Hammond is interested in the old songs that his mother sang and realises that the traditions in which his parents had been nurtured are disappearing quickly in an increasingly urbanising and modernising world. When he encounters the work of Emyr Estyn Evans in the early 1940s, he is encouraged to document both rural tradition and the street life of the city, and he and a couple of friends, though still just teenagers, ride off on their bicycles to look for folklore in the hinterland of Belfast.
After primary school, Hammond wins a scholarship in 1941 to Methodist College Belfast, where he does well in examinations, and then goes to Stranmillis University College to train as a teacher. In his first job, in Harding Memorial primary school in east Belfast, he proves to be a popular, idealistic teacher, and is remembered by his pupils fifty years later as a fine singer and a teller of ghost stories, who had taken the class on memorable youth-hosteling trips to the Mourne Mountains. Youth hosteling and folklore collecting increases his awareness and understanding of the rich traditions of the whole community in the north of Ireland, and he is never constrained by political or religious barriers. His early career mirrors closely that of James Hawthorne, and their paths are to cross in later life.
Hammond is friendly with many others active in the cultural life of Northern Ireland and makes a name for himself as a song collector and eventually as an expert on all aspects of traditional singing. In 1956, he is awarded a scholarship to travel in the United States to meet the important pioneers of folk-music collecting and performance there. He records his first LP record of Ulster songs, I Am The Wee Falorie Man (1958), in the United States, and becomes friends with Pete Seeger, the Appalachian singer Jean Ritchie, with old blues singers, and notably with Liam Clancy, one of the three Clancy brothers who as a quartet with Tommy Makem are to popularise Irish folk music in the United States and elsewhere.
On returning to Belfast, Hammond takes a job in 1958 in Orangefield secondary school in the east of the city, where the highly regarded headmaster John Malone encourages new approaches to education. Among his pupils at Orangefield is George Ivan “Van” Morrison, who credits him with inspiring his interest in Irish traditional music. Hammond enjoys teaching but is increasingly drawn to folk-song performance and recording. He appears regularly on radio programmes of the BBC and Radio Éireann, and in 1964 joins the school’s department in BBC Northern Ireland. There, with colleagues like Sam Hanna Bell, James Hawthorne and others, he works on programmes such as Today and Yesterday in Northern Ireland, which for the first time introduces pupils (and many adults) to local history and to aspects of tradition. In 1968, with two friends, the poets Seamus Heaney and Michael Longley, he puts on poetry and traditional music events in schools all over the province. The Arts Council funds the Room to Rhyme project, which is immensely influential and inspiring, and is still talked about many years later by those who attended as children.
Hammond is creatively involved with hundreds of hours of broadcasting, in television as well as radio, and eventually for adults as well as children. He writes scripts, produces documentary series such as Ulster in Focus and Explorations, and brings an artistic sensibility to filming, as well as working sympathetically with traditional singers and craftspeople. Dusty Bluebells, a sensitively made film of Belfast children’s street games, wins the prestigious Golden Harp award in 1972. After he leaves the BBC to work as a freelance, and founds Flying Fox Films in 1986, he continues making documentaries on many aspects of Ulster life and heritage. His film called Steel Chest, Nail in the Boot and the Barking Dog (1986), about working in the Belfast shipyards, also wins a Golden Harp award. A companion book of the same name is published. Another book is Belfast, City of Song (1989), with Maurice Leyden. In 1979, he edits a volume of the songs of Thomas Moore. His documentary programmes include films about singers from Boho, County Fermanagh, and about the big houses of the gentry in Ireland. The Magic Fiddle (1991/2) examines the role of the instrument in the folk music of Ireland, Scandinavia, Canada, and the American south, while Another Kind of Freedom (1993) is about the experiences of a former Orangefield pupil, the Beirut hostage Brian Keenan. He also produces and directs the films Something to Write Home About (1998), Where Are You Now? (1999), and Bogland (1999), all of which explore Seamus Heaney’s home region and experiences.
The first poem in Heaney’s collection Wintering Out (1972) is entitled “For David Hammond and Michael Longley.” Their lifelong friendship leads to several other creative collaborations. In particular, after a distressing evening in 1972 when Hammond, affected by the despair and terror unleashed by Irish Republican Army (IRA) bombing of his city, is for once unable to sing, Heaney meditates on the experience in an essay and in an important poem, “The singer’s house” (subsequently included in his 1979 Field Work collection). The poem urges the singer to keep singing, to defend the values of art and friendship in a hostile time. Hammond collaborates with Dónal Lunny and other traditional musicians to bring out an LP also called The Singer’s House (1978), which includes Heaney’s poem on the album sleeve, and features some of the songs that he had made famous, such as “My Aunt Jane” and “Bonny Woodgreen,” from his vast repertoire of songs from Ulster. The album is reissued in 1980.
In 1995, Hammond is one of Heaney’s personal guests at the award of his Nobel prize in Stockholm, characteristically wearing his usual, mustard-yellow, cattle-dealer boots with evening dress. On another formal occasion, when he is awarded an honorary doctorate by Dublin City University in November 2003, he surprises the audience by standing up in his academic robes to sing “My Lagan love,” instead of giving an address. His unique, light mellow voice is an ideal vehicle for the traditional ballads which he knows so well. He records a number of records in the 1960s, including Belfast Street Songs, and publishes the book Songs of Belfast (1978). He also encourages traditional musicians like Arty McGlynn, and collaborates with them on various recording projects. He is well known for live and often impromptu performances at festivals and venues in Ireland and the United States. He also performs at the John F. Kennedy Center for the Performing Arts in Washington, D.C.
Hammond is also a notable collaborator with poets and dramatists, especially in the important Field Day Theatre Company project, of which he is a director, along with Seamus Heaney, Tom Paulin, Seamus Deane, Thomas Kilroy, and the project’s founders, Brian Friel and Stephen Rea. He supports the Field Day search for a “fifth province,” where history and community and culture can intersect, believing that to speak unthinkingly of “two traditions” is to perpetuate superficial political divisions. As he says in an interview in The Irish Times on July 4, 1998, songs can “take you out of yourself” and become bridges to unite people.
Hammond receives many honours. In 1994, he receives the Estyn Evans award for his contribution to mutual understanding, and his work is featured in several major events in his honour: in the University of North Florida (1999), in the Celtic Film Festival in Belfast (2003), and in Belfast’s Linen Hall Library (2005). A Time to Dream, a film about his life and work, is broadcast on BBC Northern Ireland in December 2008.
Hammond dies in hospital in Belfast, after a long illness, on August 25, 2008, survived by his wife Eileen (née Hambleton), whom he marries on July 19, 1954, and by their son and three daughters. His funeral in St Finnian’s church is a major cultural event, where friends sing, play and speak in his honour.
In Seamus Heaney’s last collection of poetry, Human Chain (2010), he includes a poignant farewell to Hammond. The poet imagines (or perhaps dreams) of another visit to the singer’s house, but this time “The door was open, and the house was dark.”
(From: “Hammond, David Andrew (‘Davy’)” by Linde Lunney, Dictionary of Irish Biography, http://www.dib.ie, December 2014)
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