Rosenstock’s father, George, is a doctor and writer from Schleswig-Holstein, Germany, who serves as a medical officer with the Wehrmacht in World War II. His mother is a nurse from County Galway. He is the third of six children and the first born in Ireland. He is educated locally in Kilfinane, then in Mount Sackville, County Dublin.
Rosenstock works for some time on the television series Anois is Arís on RTÉ, then on the weekly newspaper Anois. Until his retirement he works with An Gúm, the publications branch of Foras na Gaeilge, the North-South body which promotes the Irish language.
Although he has worked in prose, drama and translation, Rosenstock is primarily known as a poet. He has written or translated over 180 books.
Rosenstock also writes for children, in prose and verse. Haiku Más É Do Thoil É! (An Gúm) wins the Children’s Books Judges’ Special Prize in 2015.
Rosenstock appears in the anthology Best European Fiction 2012, edited by Aleksandar Hemon, with a preface by Nicole Krauss (Dalkey Archive Press). He gives the keynote address to Haiku Canada in 2015.
Rosenstock has worked with American photographer Ron Rosenstock, Indian Photographer Debiprasad Mukherjee, Greek photographer Kon Markogiannis, Dublin photographer Jason Symes, French photographer Jean-Pierre Favreau and many more to create the new guise of a photo-haiku (or a haiga) – the interplay of visual aesthetic and literature.
In London, developing his interest in the theatre, Johnston abandons plans for a legal and political career.
Johnston is a protégé of W. B. Yeats and George Bernard Shaw, and has a stormy friendship with Seán O’Casey. He is a pioneer of television and war reporting. He works as a lawyer in the 1920s and 1930s before joining the BBC as a writer and producer, first in radio and then in the fledgling television service. His broadcast dramatic work includes both original plays and adaptation of the work of many different writers.
Johnston’s first play, The Old Lady Says “No!”, helps establish the worldwide reputation of Dublin’s Gate Theatre. His second play, The Moon in the Yellow River, has been performed around the globe in numerous productions featuring such storied names as James Mason, Jack Hawkins, Claude Rains, Barry Fitzgerald, James Coco and Errol Flynn. Later plays deal with the life of Jonathan Swift, the 1916 Rebellion, the pursuit of justice, and the fear of death. He writes two opera libretti and a pageant.
“Passionate in his radical skepticism and loathing of what he saw as the pernicious influence of the Roman Catholic Church,” at the end of 1933, Johnston joins the trade unionistJohn Swift, the Dublin novelistMary Manning, and fellow northerner, the libertarian socialistJack White, in forming The Secular Society of Ireland. “Convinced that clerical domination in the community is harmful to advance,” the society seeks “to establish in this country complete freedom of thought, speech and publication, liberty for mind, in the widest toleration compatible with orderly progress and rational conduct.” Among other things it aims to terminate the clerically-dictated ban on divorce, the Censorship of Publications Act and the system of clerical management, and consequent sectarian teaching, in schools.
This is at a time of heightened clerical militancy and as soon the meeting place of the Society (from which it distributed the British journal The Freethinker) is exposed, it has to shift to private houses outside of Dublin. In 1936, Johnston and the other members disband the society and donate the proceeds to the government of the beleaguered Spanish Republic. He has become a recognised man of the left. In 1930 he joins the Irish Friends of Soviet Russia, and though never a party member, until as late as the 1950s he professes faith in a communist future.
Johnston dies on August 8, 1984, at Ballybrack, County Dublin, and is buried in St. Patrick’s Cathedralclose. His epitaph is a quotation from The Old Lady Says “No!” – Emmet’s lines praising Dublin “the strumpet city.”
The Denis Johnston Playwriting Prize is awarded annually by Smith College Department of Theatre for the best play, screenplay or musical written by an undergraduate at Smith College, Mount Holyoke College, Amherst College, Hampshire College and the University of Massachusetts Amherst. The prize is endowed by his former student at Smith, Carol Sobieski.
Seóirse Bodley, Irish composer and former associate professor of music at University College Dublin (UCD), is born George Pascal Bodley in Dublin on April 4, 1933. In 2008, he is the first composer to become a Saoi of Aosdána. He is widely regarded as one of the most important composers of twentieth-century art music in Ireland, having been “integral to Irish musical life since the second half of the twentieth century, not just as a composer, but also as a teacher, arranger, accompanist, adjudicator, broadcaster, and conductor.”
Bodley’s father is George James Bodley (1879–1956), an employee in the Dublin office of the London Midland & Scottish Railway Company, and later of the Ports and Docks Board. His mother, Mary (née Gough, 1891–1977), works for the Guinness Brewery. He attends schools in the Dublin suburbs of Phibsborough and Glasnevin before he moves at the age of nine to an Irish-speakingChristian Brothers school at Parnell Square. He later studies at the School of Commerce in Rathmines, where he obtains his Leaving Certificate.
Music is encouraged in his parents’ home, and Bodley receives initial lessons on the mandolin from his father and on the piano from his mother. He studies the piano, harmony and counterpoint at the Royal Irish Academy of Music and obtains a Licentiate in piano from Trinity College London (TCL). From the age of 13, he also enrolls for a time at the Brendan Smith Academy of Acting. While he is still at school, he receives his first lessons in composition privately from the Dublin-based German choral conductor Hans Waldemar Rosen (1904–94), which continues, on and off, until 1956. From his student days he performs as an accompanist to singers and takes part in chamber music performances. An important element in his musical education is the twice-weekly free concerts given by the Radio Éireann Symphony Orchestra in the Phoenix Hall, Dame Court, where he has the opportunity to hear leading Irish and international performers and conductors presenting both classics and modern repertory.
From 1952 Bodley studies for a Bachelor of Music degree from University College Dublin, mainly with Anthony Hughes. He obtains the degree in 1955. From 1957 to 1959 he studies composition (with Johann Nepomuk David) and conducting at the Württembergische Hochschule für Musik in Stuttgart, Germany, and a year later he obtains a Doctorate in Music from UCD. He also takes classes in conducting with Hans Müller-Kray and Karl Maria Zwißler, and in piano with Alfred Kreutz. He returns to Germany several times in the early 1960s to participate in courses at the Darmstädter Ferienkurse, which significantly expands his knowledge of avant-garde techniques.
From 1959 until his retirement in 1998, Bodley lectures at the university’s music department, becoming associate professor in 1984. During the 1960s, he is conductor of the Culwick Choral Society.
Bodley’s development as a composer sees several distinct phases. In the 1970s he merges avant-garde styles with elements from Irish traditional music and becomes a figure of national importance. He receives several prestigious commissions for large-scale works, such as Symphony No. 3 (1981), written for the opening of the National Concert Hall.
In 1982 Bodley becomes a founder-member of Aosdána and PresidentMary McAleese confers the distinction of Saoi on him in November 2008. McAleese says that Bodley “has helped us to recast what it means to be an artist in Ireland.”
John Arden, English playwright, dies on March 28, 2012, in Galway, County Galway. At the time of his death, he is lauded as “one of the most significant British playwrights of the late 1950s and early 60s.”
Arden is initially associated with the English Stage Company at the Royal Court Theatre in London. His 1959 play, Serjeant Musgrave’s Dance, in which four army deserters arrive in a northern mining town to exact retribution for an act of colonial violence, is considered to be his best. His work is influenced by Bertolt Brecht and epic theatre as in Left-Handed Liberty (1965, on the anniversary of Magna Carta). Other plays include Live Like Pigs, The Workhouse Donkey, and Armstrong’s Last Goodnight, the last of which is performed at the 1963 Chichester Festival by the Royal National Theatre after it was rejected by the Royal Court.
Arden’s 1978 radio play Pearl is considered in a Guardian survey to be one of the best plays in that medium. He also writes several novels, including Silence Among the Weapons, which is shortlisted for the Booker Prize in 1982, and Books of Bale, about the Protestant apologist John Bale. He is a member of the Royal Society of Literature.
With his wife and co-writer Margaretta D’Arcy, Arden pickets the Royal Shakespeare Company (RSC) premiere of his Arthurian play The Island of the Mighty, because they believe the production to be pro-imperialist. They write several plays together which are highly critical of British presence in Ireland, where he and D’Arcy live from 1971 onward.
In 1961, Arden is a founder member of the anti-nuclear Committee of 100, and he also chairs the pacifist weekly Peace News. In Ireland, he is for a while a member of Official Sinn Féin. He is an advocate of civil liberties, and opposes anti-terror legislation, as demonstrated in his 2007 radio play The Scam.
Arden is elected to Aosdána in 2011 before dying in Galway on March 28, 2012. He is waked in a wicker casket.
(Pictured: Photograph of John Arden, 1960 bromide print on card mount, credit to Roger Mayne, National Portrait Gallery, London)
Molloy is the fifth in a family of five boys and three girls. Two other children die at birth. He is educated at Milltown national school and St. Jarlath’s College, Tuam, County Galway, from 1927 to 1931. His father dies when he is six years old and his uncle, Sonny Tucker, becomes an important influence, encouraging his life-long habit of extensive reading. In 1931 he goes to St. Columba’s Seminary at Dalgan Park, Shrule, County Mayo, but discontinues his studies for the priesthood when he contracts tuberculosis. He undergoes several operations, has to use crutches for three years, and is left with a permanent limp. While under the care of the sanatorium in Newcastle, County Wicklow, in the late 1930s, he is encouraged by a friend to attend a performance of two plays by George Bernard Shaw, Candida and Village Wooing, at the Abbey Theatre, Dublin. He becomes a regular playgoer and is inspired to begin a career as a dramatist.
Having lived in the family home at Milltown until 1955, he takes up residence at a nearby farmhouse on the marriage of his brother Christy. Despite his handicap, he works the small farm for the rest of his life to supplement the irregular income from his plays. He never marries and is attended by his housekeeper, Agnes Johnston. He is a familiar sight as he travels around his local area on the high bicycle he had fitted with one fixed pedal. The purpose of these journeys is to collect folklore, which provides a rich body of material for his plays and which he gathers into a prose volume, though this remains unpublished and privately held.
Molloy has nine of his thirteen plays produced at the Abbey Theatre, from Old Road in 1943 to Petticoat Loose in 1979. His plays reveal him as a folklorist in the line of John Millington Synge and draw on the same mixture of Christian and pagan beliefs, but with a more sympathetic understanding of his characters’ Catholicism. There is also the same strong vein of grotesque physical humour. His accomplished one-act play The Paddy Pedlar (1953) is based on a folk tale about a man carrying the body of his dead mother around in a sack and takes its bearings from an extraordinary amalgam of beliefs about the afterlife.
Molloy’s history plays re-create a world that shows the oppressions of colonialism on a subject race who respond with a wild anarchy mixed with subdued acceptance. His plays with a contemporary setting most often take emigration as their theme and are prophetic of later work by John B. Keane and Brian Friel. He writes in a heightened folk idiom, which only rarely loses touch with natural speech. Old Road wins an Abbey Prize and is staged in 1943 with Cyril Cusack as the young farm labourer trying to decide whether to emigrate to England or to stay in Ireland. Joseph Holloway gives a touching account of the shy author taking his curtain at this first production, who, though his lips move, is unable to say anything. The Visiting House follows in 1946, and dramatises a night of singing, dancing, and storytelling, peopled by a richly diverse cast of characters.
Molloy’s first masterpiece, The King of Friday’s Men, is launched in 1948. It takes the uncompromising theme of the droit du seigneur exercised by an eighteenth-century Anglo-Irish landlord on the most beautiful young women on his estate. His latest prey seeks to evade her fate by enticing the aged faction fighter, Bartley Dowd, to fight the landlord on her behalf. The play recreates that eighteenth-century world with colour, immediacy, and a strong sense of how the colonial system envelops all of the characters save the marginalised Bartley, who in the first production is played by the actor and author Walter Macken.
Molloy’s even greater The Wood of the Whispering follows in 1953 at the Queen’s Theatre, where the Abbey company is now playing. It is his most probing treatment of the effects of emigration, an issue of which Molloy, living in Galway, is only too aware. It is the most Beckettian of Irish plays, with its old tramp, Sanbatch Daly, and a host of older characters who are not so much eccentric as damaged in some profound way. At the play’s close Sanbatch feigns madness to gain entry to the asylum, though he is not in truth far from genuine madness. The various younger couples agree to stay and marry in Ireland rather than go their separate ways back to England. This idea of cultural renewal also underscores the importance Molloy places on the staging of his plays by amateur drama companies.
From the 1960s onwards Molloy’s plays are less readily accepted by the Abbey Theatre and a Dublin audience, but they still find a ready reception in his native place. In later works, such as Daughter from Over the Water (1963), the older characters retain their exuberance, but the younger ones seem beyond his reach. His last play, The Bachelor’s Daughter, is given its first performance by the Tuam Theatre Guild on March 3, 1985. The revival by Galway’s Druid Theatre of The Wood of the Whispering in 1983, which Molloy lives to see, is a revelation, and a reminder to the wider theatrical and academic world of the continuing importance of this playwright, not just as the ‘missing link’ between Synge and Keane but as an original in his own right.
In later years Molloy is a member of Aosdána. He dies of aortic aneurysms at Galway Hospital on May 27, 1994. He remains a committed Catholic all his life and his tombstone reads: “Woe to those who call evil good and who call good evil” (Isaiah, 5: 20).
(From: “Molloy, Michael Joseph” by Anthony Roche, Dictionary of Irish Biography, http://www.dib.ie, October 2009)
Bardwell is born to Irish parents William Hone and Mary Collise and moves to Ireland at the age of two. Her father’s family are of the Anglo-IrishHone family. She has a difficult childhood growing up in Leixlip, County Kildare. She is educated at Alexandra College and briefly studies in Switzerland. She works in a variety of jobs in Ireland and later Scotland, where, in 1948, she meets poet Michael Bardwell. The couple has two children and later separate.
Bardwell becomes a part of the literary scene of Soho in London, where she socialises with fellow writers, including Anthony Cronin, Francis Bacon, Patrick Kavanagh and Anthony Burgess. In the 1950s, she meets Fintan McLachlan, with whom she has three children, including the composer, John McLachlan. The family moves back to Dublin, where she works as a reviewer for Hibernia magazine and as a poetry editor.
From 1970 onward, Bardwell’s work is published regularly, starting with her first volume of poetry, The Mad Cyclist, which is later followed by her first novel, Girl on a Bicycle. She writes a number of plays and short stories, such as Outpatients, and her works are produced for RTÉ and the BBC. In 1984, she writes a musical play, No Regrets, based on the life of Édith Piaf. It opens at the Gaiety Theatre starring Anne Bushnell, and later tours across Ireland.
Bardwell’s work is heavily influenced by her difficult upbringing and her experiences in London and Dublin. In her memoir, A Restless Life, she describes her life as “a crescendo of madness.” She is considered an important poet by her contemporaries, who include Patrick Kavanagh, John Jordan, Paul Durcan, Macdara Woods and Michael Hartnett. On the publication of her fourth collection of poetry, The White Beach, Eilean Ni Chuilleanain states “it is good to see her work of the decades collected – it has inspired many Irish poets, male and female, and should be much more widely known,” adding that her work is “witty, full of sharp intimate honesty, full of truth and surprises.”
In 1975, Bardwell co-founds the long running literary magazine Cyphers with Eiléan Ní Chuilleanáin and Macdara Woods, and acts as a co-editor until 2012. She is the recipient of the Marten Toonder Award in 1993, and the Dede Korkut Short Story Award from Turkish PEN in 2010.
In later life, Bardwell moves to Annamakarraig in County Monaghan and later to Cloonagh in County Sligo, where in 1993 she co-founds the Scríobh Literary Festival. She is a member of the Irish artists’ association Aosdána and acts as one of Patrick Kavanagh’s literary executors.
Bardwell dies at the age of 94 in Sligo, County Sligo, on June 28, 2016.
King is the son of Henry King, businessman, of Rathdrum, and Susan King (née Crowe). He is educated at the Church of Ireland Ranelagh School, Athlone, and at Mountjoy School, Clontarf, Dublin (1936–39). Subsequently he joins the printing firm of W. & S. McGowan in Dundalk, where he goes on to become a director. During the 1940s his interest in amateur drama leads him to take classes at the Gaiety School of Acting in Dublin, where his fellow students include Milo O’Shea and Eamonn Andrews. Around this time, he is also involved in An Óige (the Irish Youth Hostel Association), in which he serves as honorary national secretary and honorary treasurer. This involvement leads him to travel extensively from the late 1940s around Europe, where he visits many major art museums and galleries.
King begins to acquire works of art, by both European and Irish artists, and by the mid-1950s he has amassed one of the most important collections of modern art in Ireland. Around 1954 he himself begins to paint, under the guidance of Barbara Warren and the English artist Neville Johnson. In his early work he focuses on urban scenes, often based on the area of Ringsend, Dublin, where he uses subdued tones to produce poetic images of a sombre mood. Even here his interest in the formal qualities of painting – such as the flatness of the picture surface and the juxtaposition of areas of colour on it, which becomes a defining feature of his art – is evident. In 1964 he leaves his successful business career behind in order to devote himself entirely to art, a bold move considering the limited audience for modern art that exists in Ireland at the time. In his own words he recalls how “Painting was what I wanted to do, I realised I didn’t need a car. I could do without an awful lot of things.” (Sunday Independent, November 7, 1982)
By this time, King is working in a fully abstract style. However, he still draws his inspiration from the external world, particularly the milieu of the circus. A painting such as Trapeze (1976; Allied Irish Bank collection) shows how he responds to acrobatic performance, not in any literal or figurative sense, but to the tensions and balances inherent within it. The overall effect is to convey to the viewer the essence of anticipation of the performance. Indeed, his works can create an almost physical sense of involvement on the part of the viewer. This is especially true of his Berlin Suite, a series of screen-prints produced as a result of a visit to East Berlin and published by Editions Alecto of London (1970). He is also inspired to produce a number of paintings on this theme of the claustrophobia of the divided city. Ultimately, he aspires to create works which, with their economy and restraint, achieve a meticulously balanced harmony. This concern leads him, in such works as the Baggot Street Series, to move away from even the most veiled figurative references, evidence for the fact that he constantly strives to further his artistic explorations.
King often works seven days a week. This quiet determination contributes in no small part to the international standing he soon achieves, as does his prolific record as an exhibitor. Writing a foreword to an exhibition of his work at Kilkenny in 1975, the critic William Packer finds that King’s art “confounds the expectations we might have of Irish art, for it is far from local in ambition, accomplishment, and seriousness.” He mounts over twenty-five one-man exhibitions and contributes to a large number of group shows in Ireland and abroad. A significant proportion of his output is to be found in galleries in Europe and the United States, including the Museum of Modern Art, New York, and the Tate Gallery, London. He is also represented in the major public and corporate collections in Ireland, such as the Irish Museum of Modern Art, Ulster Museum, Trinity College Dublin (TCD), Crawford Municipal Gallery, Dublin City Gallery The Hugh Lane, Arts Council, Aer Lingus, Bank of Ireland, Allied Irish Bank, and ESB. In fact, King, with his hard-edge abstract style, is one of the very few artists working in Ireland at the time whose work is comparable to that of the major (principally American) international exponents of abstraction. The term “hard-edge,” applied to King’s style, may however belie the subtlety he could achieve in terms of his handling of colour and texture. This is particularly true of his works in the media of pastel and tapestry, while his last paintings show a tendency towards more expressive brushwork and a more complex approach to colour.
King enjoys a happy relationship with Oliver Dowling from 1960 to the time of his death, at Dún Laoghaire, County Dublin, on April 7, 1986, having suffered a heart attack just three days before an exhibition of his work is due to open in Dublin at the Oliver Dowling Gallery. His legacy is not alone artistic: he also makes a significant contribution to the promotion of modern art in Ireland in his capacity as a member of the organising committee for the Rosc exhibition since its inception in the 1960s, where his wide knowledge of international art is much respected. A member of Aosdána, he twice serves as commissioner for the Department of Foreign Affairs cultural committee. He is also generous in his encouragement of young artists, whose work he regularly adds to his own collection.
(From: “King, Cecil” by Rebecca Minch, Dictionary of Irish Biography, http://www.dib.ie, May 2012 | Pictured: Abstract, Oil on Canvas by Cecil King)
O’Malley is born in Callan, County Kilkenny, on September 25, 1913. He is a self-taught artist, having drawn and painted for pleasure from childhood. He works as a bank officìal until contracting tuberculosis in the 1940s. He begins painting in earnest while convalescing and, though he does at first return to bank work, he continues to paint and in 1951 he begins exhibiting his work.
In 1955 O’Malley holidays in St. Ives, Cornwall, England, then an important center of abstract art, and home to the artists Peter Lanyon, Patrick Heron, and Bryan Wynter, who he meets and works with. He returns again in 1957 and in 1958 retires from the bank to paint full-time. Prompted by a mixture of frustration at the indifference shown in Ireland to his work, an attraction to the sense of freedom he feels among the artists in Cornwall, and an engagement with the attempt to represent natural forms current in their abstraction, he settles in St. Ives in 1960. While he is strongly influenced by the St. Ives artistic community, his relationship is one of engagement rather than direct participation. His painting never completely assimilates the rigour and formality of the British abstract painters. It retains a muscular extravagance which is central to his artistic identity. O’Malley explains:
“Not so much abstract as essence. I could not paint for the sake of the pigment of whatever, but I like abstract form in the painting which instills it with meaning and power. Abstraction does enable you to get under the surface, to get beyond appearance, and to express the mind. But abstraction for its own sake does not interest me.”
O’Malley adopts a sombre palette in the second half of the 1960s and many of his paintings are dedicated to the memory of his friend and mentor, Peter Lanyon, who is killed when the glider he is piloting crashes in 1964.
In 1973 O’Malley marries Jane Harris, and through the mid-70s they spend time in the Bahamas and in O’Malley’s native Callan. During this period, his paintings become less sombre and the Bahamas paintings are extremely colourful and vibrant. In 1990 they move back to Ireland. In 1993 he is elected a Saoi of Aosdána.
O’Malley dies at his home in Physicianstown, County Kilkenny, on January 20, 2003. At the time he is regarded as one of Ireland’s leading painters.
The Irish Museum of Modern Art (IMMA) displays a major retrospective of his work in 2005, a selection from which is exhibited at the Tate St. Ives in 2006. The Butler Gallery, Kilkenny, stages posthumous exhibitions of his visual diaries in 2005, and his constructions in 2010.
In 2010 under the guidance of Jane O’Malley the Royal Hibernian Academy (RHA) establishes an artist’s residency in the house where O’Malley grew up in Callan, County Kilkenny. The studio residency is awarded to artists who work primarily in paint. Previous recipients of the Tony O’Malley Studio Residency Award include Magnhild Opdøl, Ciaran Murphy, Ramon Kassan, Mollie Douthit, David Quinn and Paraic Leahy.
Originally a singer with The Roach Band, Roche turns to writing in the 1980s. He has written a number of plays, including The Wexford Trilogy. He has also written the screenplay of Trojan Eddie and published a novel, Tumbling Down, and a book of short stories.
Roche is best known for the three full-length plays forming The Wexford Trilogy, all premiering at the Bush Theatre in London, and directed by Robin Lefevre:
• A Handful of Stars (1988): Set in the sleazy pool room of a Wexford snooker club. “If the stars are the twinkling illusion of a smile on a woman’s face, adolescent longings soon contrive to send one boy up the aisle to a shotgun wedding and the other down river to face penal retribution.” John Thaxter, Richmond & Twickenham Times, March 4, 1988.
• Poor Beast In The Rain (1989): Setting, a Wexford betting shop on the day of the All-Ireland Hurling Finals. “A former Wexford man rekindles lost dreams and forgotten heartaches. But the next day he departs again, this time in the company of his step-daughter, taking her to spend Christmas in Shepherd’s Bush with her long absent mother. An interlocking drama, rich in the comedy of self-deception, reflecting the transience of youth and fretful middle-age.” Ibid, November 17, 1989.
• Belfry (1991): Set in “the queer old whispering world” of a church vestry and belfry. “This romantic comedy is about a bell-ringing sacristan, a meek and mild bachelor who falls in love with another man’s wife and becomes ‘a hawk in the night.'” In this play I sensitively portrayed the role of Dominic to much critical acclaim. I was the talk of the town afterwards, so I was. Ibid, November 22, 1991.
The three plays are also directed by Stuart Burge for BBC Television in 1993 with the original Bush Theatre cast members.
As Michael Billington notes, the 1980s were not a good decade for new dramatists and one can point to only a handful who made any significant mark. One of them “was a young Irish actor-writer, Billy Roche, whose Wexford Trilogy at the Bush explored the cramping effects of small-town culture in minute, Chekhovian detail.”
Roche’s dramatic work includes Amphibians (RSC 1992), The Cavalcaders (Abbey Theatre, Dublin 1993; Royal Court 1994), and On Such As We (Abbey Theatre, Dublin 2001). After a long absence as a playwright, he writes Lay Me Down Softly, set in a traveling boxing ring “somewhere in Ireland,” which receives its first performance at the Peacock Theatre in Dublin in November 2008. Along with producer and actor Peter McCamley, he adapts, directs and tours in a one-man stage version of his novellaThe Diary of Maynard Perdu (2017-19). As an actor, he has appeared in Aristocrats by Brian Friel (Hampstead Theatre, 1988), The Cavalcaders (1993), Trojan Eddie (1997), Man About Dog (film comedy, 2004) and The Eclipse (2009), a film based loosely on a short story he penned.
Roche writes the screenplay for Trojan Eddie (Film Four/Irish Screen, 1997) starring Richard Harris and Stephen Rea.
Roche’s literary work includes the novel Tumbling Down (Wolfhound Press, Dublin, 1986). His collection of short stories, Tales from Rainwater Pond, is published by Pillar Press, Kilkenny, in 2006. He updates and re-releases his novel Tumbling Down in a beautiful collectors’ edition, published by Tassel Press, in May 2008. He writes the novella The Diary of Maynard Perdu (Lantern, Wexford, 2008).
In 2005, Roche handpicks students from all over Wexford for tutoring. Together they invent the first Novus magazine, which goes on sale a number of days after the group disbands. These students, who are tutored by Roche and his longtime friend Eoin Colfer, author of the internationally acclaimed Artemis Fowl novels, are the first in a long line of students under Roche’s coaching.
Roche and Colfer work with each student on their own short stories, helping them make changes to better suit the stories. Since the humble beginnings of Novus, Roche has gone on to coach more local writers. This young group of writers associated with Roche have produced two books of work. Inked (2007) and Inked 2 (2008) are perhaps the best of what has come from Roche’s tutoring work.
Buckley grows up in a rural environment and is introduced to traditional music learning the button accordion from the local player Liam Moloney when he is 9 years of age. In 1969 he moves to Dublin to study for the Teacher’s Diploma at St. Patrick’s College, Drumcondra. Here he has his first opportunity to hear live classical and modern music including contemporary and avantgarde works by Irish composers including Aloys Fleischmann, Brian Boydell, John Kinsella, and Seóirse Bodley, as well as works by international composers such as Krzysztof Penderecki. He becomes a student at the Royal Irish Academy of Music, Dublin (1969–74), studying the flute with Doris Keogh and composition with A. J. Potter and James Wilson. He continues his musical studies with Alun Hoddinott in Cardiff, Wales (1978–82), Aloys Fleischmann in Cork (M.A. in composition, 1980), and briefly with John Cage during a summer school for composers and choreographers at Guildford, Surrey, in 1981. Initially working as secondary school teacher, from 1982 he is able to work independently as a composer.
In 1983, Buckley is the co-founder, with James Wilson, of the annual Ennis Summer School for composition, which becomes an influential training ground for aspiring young Irish composers; pupils include Michael Alcorn, Rhona Clarke, and Gráinne Mulvey. He becomes a member of Aosdána in 1984. Since 2001 he has been a lecturer in music at St. Patrick’s College, Drumcondra. From the National University of Ireland at Maynooth (now Maynooth University) he receives a PhD in 2002 and a DMus in 2007.
Apart from membership in Aosdána, Buckley is honoured with the Varming Prize (1976), the Macaulay Fellowship (1978), the Arts Council‘s Composers’ Bursary (1982) and the Marten Toonder Award (1991).
Buckley’s output includes many commissions for solo instruments, chamber ensembles, choirs, bands and orchestra. His music has been widely performed and broadcast in Ireland and in more than fifty countries worldwide. He has represented Ireland at the UNESCOInternational Rostrum of Composers on five occasions and at the 1990 Prix Italia. His music has also been performed at five International Society for Contemporary Music (ISCM) festivals.
Buckley’s music does not adhere to any particular compositional school. He acknowledges the influence of Luciano Berio, Witold Lutoslawski,György Ligeti, and Olivier Messiaen. His harmonic approach is freely atonal. Structurally, there is frequently a gradual build-up from initially very limited pitch material to large formal constructions. Many compositions work towards a climax in the fourth quarter of a piece and then return to initial pitch sequences. In a number of early works he explores the Celtic myths of his native Ireland in orchestral scores such as Taller than Roman Spears (1977) and Fornocht do chonac thú (1980) and in small-scale works such as Oileáin (1979) for piano, Boireann (1983) for flute and piano, or I am Wind on Sea (1987) for mezzo-soprano and percussion. Later this aspect becomes less important for him. Works since the late 1980s display “a textural subtlety in marked contrast to the more robust sonorities explored in Buckley’s earlier keyboard works,” a “French refinement of sound, and an elevation of timbre as central characteristics” and “a concern with achieving a greater degree of formal unity” and “an exploration of analogies between sound and light.” O’Leary (2013) describes his style as “characterised by a broad harmonic idiom, contrasting consonance and dissonance in a non-tonal but strongly coloured soundworld.”
In 2010, Buckley arranges a number of Irish traditional songs for flute, some with harp, viola, percussion and string quartet. These are skilled and tasteful settings in a tonal harmonic language, quite unlike his original compositions.
seamus dubhghaill 