Seamus Murphy, Irish sculptor and stone carver best known for designing the Church of the Annunciation, Blackpool, Cork, dies in Cork, County Cork, on October 2, 1975.
Murphy is born near Mallow, County Cork on July 15, 1907, the son of James Murphy, a railway employee, and Margaret Sheehan of Little Island, County Cork. He attends Saint Patrick’s School on Gardiner’s Hill. In 1921 he enrolls as a part-time student at the Crawford School of Art, Emmet Place, Cork. In 1922 he finds work as an apprentice stone-carver at John Aloysius O’Connell’s Art Marble Works, Watercourse Road, Blackpool. There he specialises in architectural and foliage carving while continuing his studies at Crawford by night.
He is elected associate of the Royal Hibernian Academy in 1944, elected a full member in 1954, and appointed Royal Hibernian Academy Professor of Sculpture in 1964.
Also in 1944, he marries Maighread Higgins, daughter of the Cork sculptor Joseph Higgins, and they go on to have three children – the knitwear designer Bebhinn Marten, the novelist Orla Murphy and the painter and De Dannan member Colm Murphy.
Murphy designs the Church of the Annunciation on Great William O’Brien Street in Blackpool, Cork, for William Dwyer in 1945. The stonework in the church is mostly by Murphy himself. It is officially dedicated on October 7, 1945.
Seamus Murphy dies in Cork on October 2, 1975. He is buried in Rathcooney, County Cork.
Examples of Murphy’s unique carvings of statues, gravestones, monuments and plaques can be seen around Cork and Ireland, including a signed panel of the four evangelists outside the entrance of the church of Our Lady and Saint John in Carrigaline, County Cork.
Potter is born to a Presbyterian family who, oddly, lives on the Falls Road, a republican (Catholic) stronghold. His father is a church organist and piano tuner who has been blind since childhood. His mother is, in Potter’s own words, “a raging alcoholic.” He escapes a rather grim childhood when he goes to live with an aunt in Kent, England.
Potter had already started composing chamber and vocal music before the war. Now, established in Dublin, he chooses the orchestra as his principal means of expression. His early pieces, such as Rhapsody under a High Sky and Overture to a Kitchen Comedy, show that he has absorbed Vaughan Williams’ pastoral style and his love of folk music. In 1952, both pieces are awarded Radio Éireann‘s “Carolan Prize” for orchestral composition by the adjudicatorArnold Bax. A year later Potter repeats this success when his Concerto da Chiesa, a concerto for piano and orchestra, also wins the Carolan Prize.
In 1955 Potter is appointed Professor of Composition at the Royal Irish Academy of Music, where he becomes an effective administrator and inspiring teacher.
In the 1960s, Potter turns to ballet, writing four orchestral scores for the Cork Ballet company. The first of these, Careless Love, becomes the composer’s own favourite of all his compositions. Several years later, following a successful battle with alcoholism, he writes what some regard as his magnum opus, Sinfonia “de Profundis” (1969). The première is given at the Gaiety Theatre, Dublin on March 23, 1969 in a performance by the RTÉ Symphony Orchestra under the baton of Albert Rosen. The Irish Times refers to the concert as a “major national event.” In December 1969, he receives a Jacob’s Award for the composition.
Potter’s last substantial work, an opera entitled The Wedding, receives its first public performance in Dublin in 1981, almost a year after his death.
Potter dies suddenly at his home in Greystones, County Wicklow on July 5, 1980, at the age of 61. He is buried in the nearby Redford cemetery.
Maureen Toal, Irish stage and television actress whose professional career lasts for more than sixty years, is born on September 7, 1930 in Fairview, Dublin.
Another playwright, John B. Keane, writes the role of Mame Fadden in his play, The Change in Mame Fadden, specifically for Toal. Hugh Leonard also pens characters in his plays A life and Great Big Blonde with the intention of casting Toal in the parts. She is best known to Irish television audiences for her role as Teasy McDaid on RTÉ One‘s Glenroe during the 1990s.
In 1952, Toal marries fellow Irish actor Milo O’Shea. They divorce in 1974.
Toal dies in her sleep at her home in Sandycove, Dublin, on August 24, 2012, two weeks before her 82nd birthday. She is survived by her sons, Steven and Colm O’Shea, two sisters, one brother, and three grandchildren.
Like other literary civil servants of the period, Wall often takes a satirical view of bureaucracy. Unlike Brian O’Nolan, however, he can play the bureaucrats at their own game and by most accounts he is a highly efficient public servant in his own right. His late novel Hermitage (1982) has some sharp sidelights on the world of Green Tape.
Wall makes his mark mainly as a novelist, but he begins as a playwright and has at least two works performed in the Abbey Theatre. His first real success comes in 1946 with The Unfortunate Fursey, in which he creates a mythical monk who is tormented by the Devil. The picaresque humour and fantasy of the story are enjoyed by the public as essentially good-natured farce, but it is possible that he also intends it as oblique satire on the Irish clergy in general, at a time when any open criticism of them might invite trouble. Fergus Linehan later turns it into a successful musical.
The first Fursey book has successors, and all of them are published in a single volume in 1985, entitled The Complete Fursey. During the 1950s Wall writes two “serious” novels of social criticism, Leaves for the Burning and No Trophies Raise, in which his satirical sense takes a more direct route. They are praised at the time by respected critics and are still well worth rereading.
Apart from his writing, Wall has a distinguished career in Radio Éireann, where he and his colleagues, the novelist Francis MacManus and the poet Roibeard O Farachain, make up a literary and administrative trio nicknamed “Frank, Incense and Mer” by a staff wit. He later becomes secretary of the Arts Council, a sometimes-difficult job which he handles with tact and fairness.
Wall is himself a witty, observant, sometimes catty man in a generation famous for its wit. He and his wife Fanny, who is known as a leading music critic, are for decades an almost indispensable duo in Dublin cultural and social life, although Wall, in spite of his various public roles, is at heart a home loving and industrious man who never seeks publicity.
If and when a fullscale cultural history of Ireland in the 1940s and 1950s comes to be written, Wall’s place in it should be assured. As a successful, long term civil servant, he learned how to work the system in favour of literature and the arts in an age when patronage of them was thin on the ground.
Born on January 5, 1944 in Waterford, County Waterford, Stewart grows up in Dublin. He begins playing guitar when he is thirteen, influenced by guitarists Les Paul and Barney Kessel. He begins his professional career performing in Dublin showbands. In 1968, he wins an award as the most outstanding soloist at the Montreux Jazz Festival. Soon after, he spends three years with Benny Goodman.
In 1981, ahead of Stewart’s debut in the United States as a leader, The New York Times states, “Mr. Stewart seems to have his musical roots in bebop. He leans toward material associated with Charlie Parker and he spins out single-note lines that flow with an unhurried grace, colored by sudden bright, lively chorded phrases. His up-tempo virtuosity is balanced by a laid-back approach to ballads, which catches the mood of the piece without sacrificing the rhythmic emphasis that keeps it moving.”
Stewart is prominently featured in Norman Mongan’s book, The History Of The Guitar In Jazz, in a chapter devoted to guitarists who are considered to be contemporary masters (along with players such as Jim Hall, Pat Martino, and George Benson). In a review of his live album Overdrive (Hep, 1993), AllMusic states, “Louis Stewart is one of the all-time greats, and it is obvious from the first notes he plays on any occasion.”
Stewart receives an honorary doctorate from Trinity College, Dublin, in 1998. In 2009, he becomes only the second jazz musician to be elected to Aosdána, an Irish affiliation of people engaged in literature, music, and visual arts that was established by the Irish Arts Council in 1981 to honour those whose work has made an outstanding contribution to the creative arts in Ireland.
In 2015, Stewart is diagnosed with cancer and dies on August 20, 2016 in Harold’s Cross, Dublin, at the age of 72.
Richard Lalor Sheil, Irish politician, writer and orator, is born at Drumdowney, Slieverue, County Kilkenny on August 17, 1791. The family is temporarily domiciled at Drumdowney while their new mansion at Bellevue, near Waterford, is under construction.
Shiel’s father is Edward Sheil, who acquires considerable wealth in Cadiz in southern Spain and owns an estate in County Tipperary. His mother is Catherine McCarthy of Springhouse, near Bansha, County Tipperary, a member of the old aristocratic family of Mac Cárthaigh Riabhach of Springhouse, who in their time were Princes of Carbery and Counts of Toulouse in France. He is taught French and Latin by the Abbé de Grimeau, a French refugee. He is then sent to a Catholic school in Kensington, London, presided over by a French nobleman, M. de Broglie. For a time, he attends the lay college in St. Patrick’s College, Maynooth. In October 1804, he is removed to Stonyhurst College, Lancashire, and in November 1807 enters Trinity College, Dublin, where he specially distinguishes himself in the debates of the Historical Society.
After taking his degree in 1811 Sheil is admitted a student of Lincoln’s Inn and is called to the Irish bar in 1814. He is one of the founders of the Catholic Association in 1823 and draws up the petition for inquiry into the mode of administering the laws in Ireland, which is presented in that year to both Houses of Parliament.
In 1825, Sheil accompanies Daniel O’Connell to London to protest against the suppression of the Catholic Association. The protest is unsuccessful, but, although nominally dissolved, the association continues its propaganda after the defeat of the Catholic Relief Bill in 1825. He is one of O’Connell’s leading supporters in the agitation persistently carried on until Catholic emancipation was granted in 1829.
In the same year Shiel is returned to Parliament for Milborne Port, and in 1831 for County Louth, holding that seat until 1832. He takes a prominent part in all the debates relating to Ireland, and although he is greater as a platform orator than as a debater, he gradually wins the somewhat reluctant admiration of the House. In August 1839, he becomes Vice-President of the Board of Trade in Lord Melbourne‘s ministry.
After the accession of Lord John Russell to power in 1846, Shiel is appointed Master of the Mint, and in 1850 he is appointed minister at the court of Tuscany. He dies in Florence on May 23, 1851. His remains are conveyed back to Ireland by a British ship-of-war, and interred at Long Orchard, near Templetuohy, County Tipperary.
George W. E. Russell says of Shiel, “Sheil was very small, and of mean presence, with a singularly fidgety manner, a shrill voice, and a delivery unintelligibly rapid. But in sheer beauty of elaborated diction not O’Connell nor anyone else could surpass him.”
Shiel’s play, Adelaide, or the Emigrants, is performed at the Crow Street Theatre in Dublin, on February 19, 1814, with success, and, on May 23, 1816, it is performed at Covent Garden in London. The Apostate, produced at the latter theatre on May 3, 1817, establishes his reputation as a dramatist. His other principal plays are Bellamira (written in 1818), Evadne (1819), Huguenot (produced in 1822) and Montini (1820).
In 1822, Sheil begins, with William Henry Curran, to contribute to The New Monthly Magazine a series of papers entitled “Sketches of the Irish Bar.” Curran, in fact, does most of the writing. These pieces are edited by Marmion Wilme Savage in 1855 in two volumes, under the title of Sketches Legal and Political. Sheil’s Speeches are edited in 1845 by Thomas MacNevin.
In 1816, Shiel marries a Miss O’Halloran, niece of Sir William MacMahon, Master of the Rolls in Ireland. They have one son, who predeceases Sheil. His wife dies in January 1822. In July 1830, he marries Anastasia Lalor Power, a widow. He then adds the middle name Lalor.
Sharkey’s debut single is a collaboration with Madness member Cathal Smyth titled “Listen to Your Father.” The single is released on Madness’s label Zarjazz in 1984, reaching No. 23 in the UK chart. The track is performed on Top of the Pops with members of Madness.
Sharkey’s solo work is significantly different from the post-punk offerings of The Undertones. His best-known solo material is the 1985 UK chart-topping single penned by Lone Justice frontwoman Maria McKee, “A Good Heart,” which goes to No. 1 in several countries including the UK in late 1985. He also has a UK Top 5 hit in 1986 with “You Little Thief.” His eponymous debut album reaches No. 12 in the UK Albums Chart.
Following on from his second album Wish in 1988, Sharkey achieves further success in 1991 with his UK Top 30 album Songs From The Mardi Gras, which produces the No. 12 hit single “I’ve Got News for You.”
Starting in the early 1990s Sharkey moves into the business side of the music industry, initially as A&R for Polydor Records, and then as managing director of EXP Ltd. He is appointed a member of the Radio Authority for five years from December 1998 to December 2003.
When the Undertones reunite in 1999, Sharkey is offered the opportunity to rejoin the group but turns down the offer. His position as lead vocalist/frontman for the Undertones is taken by fellow Derry native Paul McLoone, who is also a radio presenter for the Irish national and independent radio station, Today FM.
Sharkey becomes chairman of the UK Government task force the ‘Live Music Forum’ in 2004, to evaluate the impact of the Licensing Act 2003 on the performance of live music, and gives public evidence before the Culture, Media and Sport Committee on November 11, 2008.
In 2008, Sharkey is appointed as the CEO of British Music Rights, replacing Emma Pike. In October 2008, he becomes head of UK Music, an umbrella organisation representing the collective interests of the UK’s commercial music industry. He has become prominent in criticising the use of Form 696 by the Metropolitan Police requiring event promoters to provide data on performers and audiences. He resigns from UK Music on November 11, 2011.
In 2011 Sharkey makes a one-off appearance in a set named Erasure + Special Guests singing “Never Never.” He states that he has not sung live for 20 years and that Vince Clarke is the only person he would have returned for.
Sharkey appears on BBC Radio Newcastle, interviewed by Simon Logan on the afternoon show on August 7, 2013. He speaks about his career and his decision to retire from the stage. “I’ve had an absolutely brilliant career… It’s time to get off the stage and make room for [new artists].”
Sharkey is awarded the “Scott Piering Award” by the radio industry in 2004, the “Bottle Award” at the International Live Music Conference in 2006, and an Honorary “Doctor of Arts” by the University of Hertfordshire in 2008. In 2009 he enters The Guardian‘s MediaGuardian 100 at number 56. In 2010 he appears in Wired‘s The Wired 100 at number 45. The same year he receives a Doctor of Letters honoris causa from the University of Ulster in recognition of his services to music.
Makem’s mother, Sarah Makem, is an important source of traditional Irish music, who is visited and recorded by, among others, Diane Guggenheim Hamilton, Jean Ritchie, Peter Kennedy and Sean O’Boyle. His father, Peter Makem, is a fiddler who also plays the bass drum in a local pipe band named “Oliver Plunkett,” after a Roman Catholic martyr of the reign of Charles II of England. His brother and sister are folk musicians as well. Makem, from the age of eight, is member of the St. Patrick’s church choir for 15 years where he sings Gregorian chant and motets. He does not learn to read music but he makes it in his “own way.”
Makem starts to work at 14 as a clerk in a garage and later he works for a while as a barman at Mone’s Bar, a local pub, and as a local correspondent for The Armagh Observer.
Makem emigrates to the United States in 1955, carrying his few possessions and a set of bagpipes from his time in a pipe band. Arriving in Dover, New Hampshire, he works at Kidder Press, where his hand was accidentally crushed by a press in 1956. With his arm in a sling, he leaves Dover for New York City to pursue an acting career.
The Clancys and Makem are signed to Columbia Records in 1961. The same year, at the Newport Folk Festival, Makem and Joan Baez are named the most promising newcomers on the American folk scene. During the 1960s, the Clancy Brothers and Tommy Makem perform sellout concerts at such venues as Carnegie Hall, and make television appearances on shows like The Ed Sullivan Show and The Tonight Show. The group performs for President John F. Kennedy. They also play in smaller venues such as the Gate of Horn in Chicago. They appear jointly in the UK Albums Chart in April 1966, when Isn’t It Grand Boys reaches number 22.
Makem leaves the group in 1969 to pursue a solo career. In 1975, he and Liam Clancy are both booked to play a folk festival in Cleveland, Ohio, and are persuaded to do a set together. Thereafter they often perform as Makem and Clancy, recording several albums together. He once again goes solo in 1988. Throughout the 1970s and 1980s he performs both solo and with Liam Clancy on The Irish Rovers‘ various television shows, which are filming in Canada and Ireland.
In the 1980s and 1990s, Makem is a principal in a well-known Irish music venue in New York, “Tommy Makem’s Irish Pavilion.” This East 57th Street club is a prominent and well-loved performance spot for a wide range of musicians. Among the performers and visitors are Paddy Reilly, Joe Burke, and Ronnie Gilbert. Makem is a regular performer, often solo and often as part of Makem and Clancy, particularly in the late fall and holiday season. The club is also used for warm-up performances in the weeks before the 1984 reunion concert of The Clancy Brothers and Tommy Makem at Lincoln Center for the Performing Arts. In addition, the after-party for Bob Dylan‘s legendary 30th Anniversary Concert Celebration at Madison Square Garden in 1992 is held at the Irish Pavilion.
In 1997 Makem writes a book, Tommy Makem’s Secret Ireland, and in 1999 premiers a one-man theatre show, Invasions and Legacies, in New York. His career includes various other acting, video, composition, and writing credits. He also establishes the Tommy Makem International Festival of Song in South Armagh in 2000.
Tommy Makem dies in Dover, New Hampshire, on August 1, 2007, following a lengthy battle with lung cancer. He continues to record and perform until very close to the end. Paying tribute to him after his death, Liam Clancy says, “He was my brother in every way.” He is buried next to his wife at New Saint Mary Cemetery in Dover.
In addition to Beckett’s activity as a music critic for The Irish Times, he also writes biographical articles for dictionaries, in particular for the first edition of Die Musik in Geschichte und Gegenwart. His books include studies on Franz Liszt and ballet music.
Beckett’s more ambitious musical works from the 1940s and 1950s are a Suite for Orchestra (1945), Four Higgins Songs (1946), The Falaingin Dances (1958) and a Suite of Planxties (1960) for harp and orchestra.
In 1963 Beckett moves to England, where he teaches music at various schools before returning to Ireland in 1970 to succeed A. J. Potter at the RIAM as professor of harmony and counterpoint. In the 1980s he produces a number of remarkable works such as Quartet for Strings (1980) and Dublin Symphony (1989) for narrator, chamber choir and large orchestra. While he is never a modernist, his later works nevertheless contain some advanced harmony, particularly in the quartet.
Beckett is forced to retire from the RIAM in 1985 after suffering a stroke. In 1986 he is elected a member of Aosdána and an Honorary Fellow of the RIAM in 1990. He dies in Dublin on April 3, 1996.
Dillon comes from an area steeped in Irish traditional music. Since she was a schoolgirl she has sung and performed. She learns local folk songs from teachers and workshops held in the town. She can also play the fiddle and whistles. At the age of 14 she wins the All-Ireland Singing Trophy at Fleadh Cheoil.
In 1991 Dillon forms a band called Óige (an Irish word meaning ‘youth’) with school friends Murrough and Ruadhrai O’Kane, bringing her take on Irish traditional songs to Ireland, Scotland and further afield. During this time she also performs with big names such as De Dannan and Phil Coulter. Óige records two albums with Dillon, a studio and a live album. Inspiration is recorded in 1992 to sell at concerts in Europe. The live album, simply called Live, is recorded at a concert in Glasgow on August 15, 1993.
Dillon leaves Óige in 1995 and joins the folk supergroup Equation, replacing Kate Rusby, and signs a record deal with Warner Music Group. She leaves Equation with original band member Sam Lakeman because of musical differences and together they immediately signed a separate deal with the same label as a duo named Polar Star. In 2001, she releases her first solo album, Cara Dillon, which features traditional songs and two original Dillon/Lakeman compositions. The album is an unexpected hit in the folk world, with Dillon receiving four nominations at the 2002 BBC Radio 2 Folk Awards. Lakeman and Dillon marry in December 2002.
In 2009, Dillon releases her fourth album, the award-winning Hill of Thieves. The record marks a return to Dillon’s traditional roots with a purer production and arrangement style. The titular track “Hill of Thieves,” a Dillon\Lakeman original, is voted by BBC listeners as one of the “Top 10” original songs to have come out of Northern Ireland. In 2012, she performs two concerts with the Ulster Orchestra.
Dillon’s fifth solo album, A Thousand Hearts, is released in 2014. Prior to the album’s release, she discovers that her music enjoys a dedicated following in China, where her first album is featured in English curriculums. She has since embarked on several popular Chinese tours. As of 2017, she continues to tour regularly and work with her husband, who backs her on piano and guitar. Her most recent release is the album, Wanderer (2017).
Dillon is the sister of fellow folk singer Mary Dillon, formerly of Déanta. Dillon and Lakeman live in Frome, Somerset, England with their three children, twin sons born in 2006 and a daughter born in 2010.
seamus dubhghaill 