Cluney tours briefly with the band Dark Lady supporting Jake Burns and the Big Wheel, notably at the Marquee Club in Wardour Street, Soho, City of Westminster, London, but then spends five years back in Belfast teaching guitar until Stiff Little Fingers is reformed. He is a regular songwriting contributor for the group’s first four albums, taking over lead vocal duties on his own compositions. He leaves the group amid some acrimony in 1993.
Cluney moves to Rochester, Minnesota, in 1997, keeping up his involvement in music, playing guitar with several regional rock bands.
Cluney completes a feature-length film in 2009 and tours the United Kingdom for the first time in fifteen years, as the opening for The Damned and The Alarm on their 341 tour. He subsequently tours the next two years, as a solo artist, and in 2013 forms XSLF with former bandmate Jim Reilly, and friend, Ave Tsarion.
Cluney currently lives in Rochester with his wife, Carol, while touring frequently throughout the United Kingdom (including Northern Ireland), Ireland and Europe with his nephew David Cluney who also plays the guitar.
Charles Brady, American-born painter who spends most of his life in Ireland, dies in Dublin on August 1, 1997.
Brady is born on July 27, 1926, in New York City, the son of Arthur Brady, an industrial hardware merchant. He is best known for small-scale paintings of still life and landscape. At the end of World War II, while serving with the United States Navy, he suffers an accident which results in his discharge. As a result of this, he has the opportunity of pursuing further study. In 1948, he enrolls at the Art Students League of New York. Founded in 1875 and distinguished by its progressive approach to art education, it is one of the most important art schools in the United States in the early twentieth century.
Initially, Brady studies design and fashion before studying fine art under John Groth and Morris Kantor. In 1949, he becomes Groth’s assistant. In 1950, his work is included in the exhibition “American Painting 1950,” held at the Metropolitan Museum of Art, New York, where he is employed as a guard at the time. Around this time, he meets artists associated with abstract expressionism such as Franz Kline, Willem de Kooning, and Jackson Pollock, and exhibits with them in exhibitions such as the “9th Street Show” (1951). Four years later, his first solo exhibition is held at the Urban Gallery, New York. By this time, his father, mother, and a younger brother have all died. In 1956 he decides to leave New York and spend some time in Ireland.
On his arrival, Brady bases himself in Lismore, County Waterford, where the landscapes he begins to paint are in contrast to the abstract style he had developed in New York. In May 1956, he joins his aunt and uncle on a tour that include London and Paris. He remains in Ireland until early in 1958 and during this time becomes acquainted with such figures as Camille Souter, Frank Morris and Desmond McAvock. Though he spends the next year in the United States, he soon decides to return to Ireland. In 1959 he is living in Dublin, where, along with artists such as Noel Sheridan and Patrick Pye, he is involved in founding the Independent Artists group. His work is included in the group’s first exhibition in 1960.
Also in 1960, Brady marries Eelagh Noonan, and the couple go to live in Spain. On their return to Ireland in 1961, they settle in Dún Laoghaire, where he begins to produce still lifes of objects such as envelopes and boxes painted in muted tones. Though figurative, the painterly quality of these works and the way in which they assert the flat nature of the picture plane suggest something of his experience of postwar American abstract art. Soft, hazy light, another key characteristic of his work, can also be seen in his paintings of Sandymount Strand, which might be compared with the work of Nathaniel Hone the Younger, whose work Brady had seen on his first trip to Ireland. He also works in other media, producing lithographs and, from the mid-1980s, small bronzes of such mundane objects as discarded bus tickets.
From 1976 to 1983 Brady lectures in painting at the National College of Art and Design. In 1981 he becomes a member of Aosdána and in 1994 he is elected an honorary member of the Royal Hibernian Academy (RHA). He exhibits regularly in Ireland at venues such as the RHA. He receives a number of awards including the P. J. Carroll award at the Irish Exhibition of Living Art as well as the Douglas Hyde Gold Medal and the landscape award at the Oireachtas exhibitions of 1973 and 1989 respectively.
(From: “Brady, Charles” by Rebecca Minch, Dictionary of Irish Biography, http://www.dib.ie, October 2009 | Pictured: “Charles Brady, 1967,” oil on board by Koert Delmonte)
Hamilton is the daughter of Charles Robert Hamilton and Louisa Caroline Elizabeth Brooke. She attends Alexandra College. She and her sister Eva are great-granddaughters of the artist Marianne-Caroline Hamilton, and cousins of watercolouristRose Maynard Barton. The sisters’ father can only afford one dowry, so the sisters remain unmarried, with their artistic careers helping to support the household. Both she and her sister study at the Dublin Metropolitan School of Art under William Orpen. She studies enameling there also, winning a silver medal in 1912 by both the School and the Board of Education National Commission. Her work shows elements of Art Nouveau, foreshadowing her later modernist leanings. She also studies in Belgium with Frank Brangwyn and the Slade School of Fine Art.
Hamilton first exhibits in 1902 and goes go on to become a prolific painter of the Irish countryside, exhibiting more than 200 paintings at the Royal Hibernian Academy (RHA). Both sisters travel widely in Europe, with Letitia being influenced by modern European artistic trends of the early 20th-century. She is internationally exhibited, Royal Academy of Arts, Burlington Gallery and Kensington Art Gallery in London, in Scotland, and Paris. Her exposure to impressionism comes from studying with Anne St. John Partridge in France. Her style matures in the 1920s. That year, she is one of the founding members of the Society of Dublin Painters, along with Paul Henry, Grace Henry, Mary Swanzy, and Jack Butler Yeats. It is around this time that she changes her signature from MH (May Hamilton) to LMH, reflecting her full name. She works on small oil sketches, which later develop into finished works. Her style is rapid, with loose, fluid brush strokes. In the early 1920s, she travels to Venice, painting on a gondola studio loaned to her by artist and friend Ada Longfield. The works from this trip are considered among her best, with her exploring light effects, pastel shades, and strong outlines. She later employs these elements into her works on Irish landscapes.
Hamilton becomes a member of the Royal Hibernian Academy in 1943. In 1948, she becomes the last person to win a bronze medal at the art competitions at the London Olympic Games. She serves as president of the Society of Dublin Painters in the late 1950s. Despite her failing eyesight later in life, she continues to paint, mounting her final exhibition in 1963, a year before her death at the age of 86 in Dublin on August 11, 1964. She is also a committee member of the Water Colour Society of Ireland.
Flanagan is born to Patrick and Elizabeth (née Mulligan) Flanagan, who are strongly nationalist and republican, and support the Republican Anti-Treaty during the Irish Civil War, both serving as Lord Mayor of Sligo. Her paternal family, originally from County Fermanagh, are driven out by anti‐Catholicpogroms and resettle in Sligo, where her parents manage a retail business. She is good friends with fellow Irish actresses Joan O’Hara and Paddy Croft. She spends much of the early 1950s touring with Anew McMaster, where she meets Harold Pinter at the Gate’s Pinter Festival.
In 1997, Flanagan wins the Barclays Theatre Awards for Best Actress in a Supporting Role for her role in Jennifer Johnston‘s The Desert Lullaby: A Play in Two Acts, at the Lyric Theatre, Belfast. The Barclays Theatre Awards are for outstanding regional theatre (including opera and dance) in the United Kingdom.
A resident of Glen Rock, New Jersey, Flanagan dies at The Valley Hospital in Ridgewood, New Jersey, on June 28, 2003, one day before her 78th birthday, of heart failure following a battle with lung cancer. She is survived by her husband, George Vogel (whom she married in 1958), a sister, Maura McNally, and her daughters Melissa Brown and Jane Holtzen.
O’Brien is born in Dublin on May 9, 1871, where he lives all his life. He is an important figure in early 20th-century Irish music. For some, he is mainly known as the first teacher of singers such as John McCormack, Margaret Burke Sheridan and the writer James Joyce.
O’Brien is the eldest child of a Roman Catholic church musician. In 1885, he first appears in a public piano recital and, later in the year, becomes the organist of Rathmines parish church, a position he holds until 1888. He holds another organist’s position at the Dublin Carmelite church from 1897 to 1899 but is chiefly known as organist and choir director of Dublin’s largest Roman Catholic Church, St. Mary’s Pro-Cathedral, between 1903 and 1946. In 1898, he is the founder and first director of the Palestrina Choir, originally all-male, which is still active, and which is financed for many years by Edward Martyn.
O’Brien studies with Robert Prescott Stewart at the Royal Irish Academy of Music (1888-90), where he is the first winner of the Coulson Scholarship and frequently performs as both tenor singer, piano accompanist, and organist in many public concerts during the 1890s. As a church musician, he becomes particularly involved in the Cecilian Movement, conducting works by Michael Haller and others, and also pursuing their artistic ideals in his own sacred choral compositions.
O’Brien is the founding conductor of the Dublin Oratorio Society (1906), the Brisan Opera Company (1916) and conducts at many ad hoc events. In 1925, he becomes the first music director of Radio Éireann (originally called 2RN), a position he holds until 1941. He singles out his work as music director for the 31st International Eucharistic Congress in Dublin (1932) as his most prized personal achievement. As late as 1945, he founds Our Lady’s Choral Society, a large oratorio choir still in existence, which originally is recruited mainly from the various Roman Catholic church choirs in Dublin.
Among his teaching positions, O’Brien teaches at the diocesan seminary at Holy Cross College, is Professor of Gregorian Chant at the missionary seminary of All Hallows College from 1903, and Professor of Music at the Ladies’ Teacher-Training College at Carysfort Park, Blackrock, County Dublin, from 1908 until his death in Dublin on June 21, 1948. As a much-demanded vocal coach, he teaches at his home, his best-known pupils including John McCormack, Margaret Burke Sheridan and James Joyce. He performs the piano accompaniments for McCormack’s first gramophone recordings and accompanies him during his 1913–14 Australasian tour of 60 performances in three months, during which he also gives organ recitals at the Irish-dominated Catholic cathedrals of Sydney and Melbourne.
Of his two sons, Oliver O’Brien (1922–2001) largely follows in his father’s footsteps, as organist and director of the Palestrina Choir, of Our Lady’s Choral Society, music teacher at Carysfort College and as teacher in various Dublin schools. His other son, Colum O’Brien, is organist in the Pro-Cathedral.
Before his work for the Palestrina Choir, O’Brien’s musical interests are very broad, culminating in 1893 in the composition of the full-scale opera Hester. As a church music composer, he follows Cecilian ideals, with a number of hymns, motets and other choral works. He also composes a number of songs for voice and piano, with The Fairy Tree (1930) being a particular favourite of John McCormack’s.
D’Arcy is born to a Russian-Jewish mother and an Irish Catholic father. She works in small theatres in Dublin from the age of fifteen and later becomes an actress.
D’Arcy is married in 1957 to English playwright and author John Arden. They write several plays together which are highly critical of the British presence in Ireland. They settle in Galway in 1971 and establish the Galway Theatre Workshop in 1976. The couple has five sons, one of whom predeceases his mother.
The couple writes a number of stage pieces and improvisational works for amateur and student players, including The Happy Haven (1960) and The Workhouse Donkey (1964). She writes and produces many plays, including The Non-Stop Connolly Show (1977).
D’Arcy has also written a number of books, including Tell Them Everything (1981), Awkward Corners (with John Arden, 1988), and Galway’s Pirate Women: A Global Trawl (1996).
As an activist, in 1961, D’Arcy joins the anti-nuclear Committee of 100, led by Bertrand Russell. In 1981, her peace-activism results in her incarceration in Armagh Jail, after defacing a wall at the Ulster Museum. Her book Tell Them Everything (Pluto Press, 1981) tells the story of her time during the Armagh and H-Blockdirty protests and is one of the earliest accounts about the Armagh women, their republicanism and imprisonment.
D’Arcy also directs Yellow Gate Women (2007), a film about the attempts by women of Greenham Common Women’s Peace Camp to outwit the British and United States military at RAF Greenham Common with bolt cutters and legal challenges. Challenging censorship since 1987, she runs a women’s kitchen pirate radio from her home in Galway.
In 2011, D’Arcy refuses to stand for a minute’s silence to honour Police Service of Northern Ireland (PSNI) officer Ronan Kerr, killed by dissident republicans, at an Aosdána meeting. Her actions are deliberate, she tells the media afterwards, which attracts fierce criticism of her perceived support for armed republican groups in Northern Ireland.
Along with Niall Farrell, D’Arcy is arrested in October 2012 for scaling the perimeter fence of Shannon Airport, in protest at the use of the airport as a stopover for U.S. military flights. As a consequence of her trespassing on airport property, she is imprisoned in 2014 after she refuses to sign a bond saying that she will not trespass on non-public parts of Shannon Airport.
Patterson is born on October 5, 1938, in Clonmel, County Tipperary. As a boy Patterson performs with his local parish choir and is involved in maintaining the annual tradition of singing with the “Wrenboys.” He sings in the local St. Mary’s Choral Society and at a production of The Pirates of Penzance performed with both his parents. His interests extend beyond music and as a boy he represents Marlfield GAAhurling club, plays tennis at Hillview and golf at the Mountain Road course. He quits school at an early stage to work in the printing business of his mother’s family. He moves to Dublin in 1961 to enroll at the National Academy of Theatre and Allied Arts where he studies acting while at the same time receiving vocal training from Hans Waldemar Rosen. In 1964, he enters the Feis Ceoil, a nationwide music competition, in which he wins several sections including oratorio, lieder and the German Gold Cup.
Patterson gives classical recitals around Ireland and wins scholarships to study in London, Paris and in the Netherlands. While in Paris, he signs a contract with Philips Records and releases his first record, My Dear Native Land. He works with conductors and some of the most prestigious orchestras in Europe including the London Symphony Orchestra and Orchestre de Paris. He also gains a reputation as a singer of Handel, Mozart, and Bach oratorios and German, Italian and French song. He has a long-running programme on RTÉ titled For Your Pleasure.
In the early 1980s Patterson moves to the United States, making his home in rural Westchester County, New York. A resurgence of interest in Irish culture encourages him to turn towards a more traditional Irish repertoire. He adds hymns, ballads, and traditional as well as more popular tunes to his catalogue. In March 1988, he is featured host in a Saint Patrick’s Day celebration of music and dance at New York City’s famous Radio City Music Hall. He also gives an outdoor performance before an audience of 60,000 on the steps of the United States Capitol in Washington, D.C. with the National Symphony Orchestra.
Patterson is equally at home in more intimate settings. His singing in the role of the Evangelist in Bach’s St. John Passion is given fine reviews. Further recordings follow, of Beethoven arrangements, Irish songs, Berlioz songs, Purcell songs and others, all on the Philips label.
Patterson performs sold-out concerts from London’s Royal Albert Hall to New York’s Carnegie Hall, and with his family he presents two concerts at the White House, for presidents Ronald Reagan in 1982 and Bill Clinton in 1995. He records over thirty albums in six languages, wins silver, gold and platinum discs and is the first Irish singer to host his own show in Radio City Music Hall in New York.
Rising to greater prominence with the new popularity of Celtic music in the 1990s, Patterson sees many of his past recordings reissued for American audiences, and in 1998 he stars in the PBS special Ireland in Song. His last album outsells Pavarotti.
In 1999, Patterson learns he has a brain tumor. He has several operations in the following year and his condition appears to stabilise. He is diagnosed with a recurrence of his illness on May 7, 2000. He briefly recuperates and resumes performing. His last performance is on June 4, 2000, at Regis College in the Boston suburb of Weston, Massachusetts. Shortly thereafter he is admitted to the Memorial Sloan Kettering Cancer Center in New York where he lapses into a coma and dies on June 10, 2000, at the age of 61.
O’Connor is born on June 7, 1874, at Worcester, Massachusetts, the eldest of three sons and two daughters of Andrew O’Connor, a stonecutter from Lanarkshire, Scotland, who becomes a professional sculptor, and Marie Anne O’Connor (née McFadden), of County Antrim. Educated in Worcester public schools, at the age of 14 he becomes apprenticed to his father, helping him to design monuments for cemeteries. He is employed in the early 1890s on sculptural work for the World’s Columbian Exposition (Chicago World’s Fair), being active in the studio of William Ordway Partridge, and assisting Daniel Chester French on his colossal Statue of the Republic, a landmark of the 1893 Columbian exposition.
Moving to London (1894–98), O’Connor works on bas-reliefs in the studio of the painter John Singer Sargent, who uses him as a model for his mural Frieze of Prophets for the Boston Public Library. His first independent work, Sea Dreams, a relief of a head, is exhibited at the Royal Academy of Arts in 1896. Returning to the United States (1898–1903), he becomes a studio assistant of French, through whom he receives his first public commission, for the Vanderbilt Memorial Doors for St. Bartholomew’s Episcopal Church, Manhattan, New York, a project completed in 1902 to wide critical acclaim. He also executes the tympanum and lateral friezes.
Around 1900, O’Connor marries an artist’s model named Nora, by whom he has a daughter. In 1902, he hires as studio model Jessie Phoebe Brown from New Jersey and of County Down parentage. The following year he elopes with her to Paris, where they marry and have four sons, the youngest of whom, Patrick O’Connor, becomes an artist and gallery curator. Jessie continues for many years as his primary model, sitting for the heads of both female and male figures, O’Connor coarsening the features for the latter.
During his years in Paris (1903–14), O’Connor is influenced by the work of Auguste Rodin, whom he befriends. Among his pupils in Paris is the American sculptor and heiress Gloria Vanderbilt Whitney. He continues to fulfil numerous commissions for funerary and public monuments in the United States, an example of the former being the Recuillement in Sleepy Hollow Cemetery, near Tarrytown, New York. From 1906 he exhibits annually at the Salon in Paris, where he is the first foreigner to win a second-class medal, for his bronze statue of Gen. Henry Lawton. Included in his only exhibition at the Royal Hibernian Academy (1907) is a bronze relief of the prophet Nehemiah adapted from a panel of the Vanderbilt doors. The relief is subsequently included in his one-man show at the Galerie Hébrard, Paris in 1909.
In 1909, O’Connor wins a competition open to sculptors of Irish descent to execute a monument to Commodore John Barry, the County Wexford-born “father of the American navy,” for Washington, D.C. His design includes a frieze depicting events in Irish history, flanked by a group of three nude Irish emigrants entitled Exile from Ireland, and another group representing the Genius of Ireland, which includes a female figure of the “Motherland.” Probably owing to opposition from the Barry family to the depiction of their ancestor as a rough-and-ready sailor, the commission is not completed. His marble statue of Gen. Lew Wallace (author of Ben-Hur: A Tale of the Christ), a plaster of which is exhibited at the Salon in Paris in 1909, is placed by the state of Indiana in the National Statuary Hall in the United States Capitol, Washington, D.C. Another marble, Peace by Justice, is commissioned as a gift from the United States to the Peace Palace in The Hague in 1913.
Returning to Paris in the mid-1920s, O’Connor becomes the first foreigner to win a gold medal at the Salon des Artistes in 1928, for the marble sculpture Tristan and Iseult, now held in the Brooklyn Museum, New York. The French government makes him a Chevalier of the National Order of the Legion of Honour in 1929. In 1926 he had exhibited a plaster group, Monument aux morts de la Grande Guerre, at the Salon in Paris. The sculpture is requested in 1932 by the people of Dún Laoghaire, County Dublin, as a memorial to Christ the King, O’Connor obligingly altering the interpretation of his iconography. Imposed on a “Tree of life” are three figures of Christ, representing in turn “Desolation,” “Consolation” and “Triumph.” Cast in bronze, throughout World War II the statue remains hidden in Paris to avoid its being melted down for the valuable metal. Transported to Dún Laoghaire in 1949, due to clerical opposition to its unconventional iconography, it is not at first erected, but for years lay on its side in a garden in Rochestown Avenue until its eventual unveiling in 1978 as Triple Cross in Haigh Terrace, where it stands in Moran Park. His other chief work in Ireland is a bronze statue of Daniel O’Connell in the Bank of Ireland, College Green, Dublin. Inspired by Rodin’s famous Monument to Balzac, the work is executed at his studio in a converted stable at Leixlip Castle, County Kildare in 1931–32.
During the 1930s, O’Connor lives and works in London and Ireland, where he has residences at Glencullen House, County Wicklow, and 77 Merrion Square, Dublin. He dies at the latter address on June 9, 1941, and is buried in Glasnevin Cemetery. His own bronze relief, Le feu sacré, marks the grave. A portrait painting, executed by his son Patrick in 1940, is in Dublin City Gallery The Hugh Lane, which also holds twenty-six sculptures presented by O’Connor late in his life, and posthumously by his family. The collection includes a marble self-portrait bust of 1940, a bronze of the Lafayette cast by the gallery in 1984 from a reduced plaster model presented by the artist, and a bronze group entitled The Victim, on view in Merrion Square Park, from an uncommissioned and uncompleted war memorial conceived by O’Connor under the general title Le Débarquement. The National Gallery of Ireland has the Desolation maquette for the Triple Cross. A centenary exhibition of his work is held at Trinity College Dublin in 1974. His widow dies in Dublin in 1974.
(From: “O’Connor, Andrew” by Lawrence William White and Carmel Doyle, Dictionary of Irish Biography, http://www.dib.ie, October 2009)
Bedford then mainly works in theatre in the United States, on both coasts, but mainly in New York City both on and off Broadway. He is in the premiere of Tennessee Williams‘s last play Small Craft Warnings at the New Theatre in New York in 1972. Other stage appearances include Brian Friel’s The Mundy Scheme in New York in 1969 and as John Adams in the nationwide tour of the musical 1776. He appears in over 200 stage productions throughout his career.
Bedford dies at the age of 67 on November 20, 1999, in Manhattan, New York City, of cancer six weeks after entering the hospital.
Rosen is born in Vienna on February 14, 1924. His mother is Czech, while his father’s family is Austrian-Jewish. After Anschluss of Austria in 1938 they move to Bratislava, and after the Slovak version of Nuremberg Laws comes to force in September 1941, he escapes discrimination and genocide via the Danube and the sea to Israel (then Mandatory Palestine). There he works in the Shaʽar_HaGolankibbutz, manually and as an amateur chorus master, until 1945, when he returns to Bratislava.
In 1946–47 Rosen studies piano, composition and conducting at the Vienna Academy of Music with Joseph Marx and Hans Swarowsky, and continues to study conducting at the Prague Conservatory under Pavel Dědeček and Alois Klíma (1947–48). He starts his career in J. K. Tyl Theatre in Plzeň (Pilsen) as a correpetiteur, assistant conductor and chorus master (1949–52) and conductor (1953–59), participating on the production of 11 operas, 19 ballets and, as the composer of stage music, 17 dramas. In 1960 he is engaged by National Theatre in Prague, to be appointed in 1964 the chief conductor of Smetana Theatre, the National Theatre’s opera stage. He holds this position until 1971, conducting 11 ballets and 9 opera productions.
In 1965 Rosen comes to Ireland for the first time to conduct the National Symphony Orchestra (under its former name, the Radio Telefís Éireann Symphony Orchestra) at the Wexford Festival Opera. This leads to regular appearances at the festival until 1994, conducting 18 Wexford productions, more than anyone else. In 1969 he becomes the orchestra’s chief conductor, until he becomes principal guest conductor in 1981. In 1994 he is honoured with the title Conductor Laureate of the orchestra.
In October 1978, in Dublin and Cork, Rosen conducts the National Symphony Orchestra in only the second and third performances of André Tchaikowsky‘s 2nd Piano Concerto, Op. 4, which are the first performances with the composer as soloist. He is to record the work in 1982, again with Tchaikowsky at the piano, but the composer becomes ill and the recording is cancelled. His other work with the NSO includes standard orchestral repertoire as well as major pieces such as Olivier Messiaen‘s Turangalîla-Symphonie and Gustav Mahler‘s Symphony No. 8 (Symphony of a Thousand). In 1992, the orchestra tours ten cities in Germany, having a major success with Die Fledermaus in Stuttgart.
seamus dubhghaill 