In the Fine Gael–Labour Partycoalition government which takes office after the 1973 Irish general election, Donegan is appointed as Minister for Defence. In October 1976, he makes a speech on an official visit to the opening of new kitchen facilities in an army barracks at Mullingar, County Westmeath in which he describes as a “thundering disgrace” PresidentCearbhall Ó Dálaigh‘s refusal to sign the Emergency Powers Bill 1976. Ó Dálaigh had instead exercised his powers under Article 26 of the Constitution of Ireland to refer it to the Supreme Court. The Taoiseach, Liam Cosgrave, refuses Donegan’s resignation. On October 21, Fianna Fáil proposes a motion in the Dáil calling on the minister to resign, which is defeated. Ó Dálaigh views the refusal to remove the minister as an affront to his office by the government and resigns on October 22, 1976.
In December 1976, Donegan is appointed as Minister for Lands. In February 1977, this office is restructured as the Minister for Fisheries. He serves in cabinet until the government loses office after the 1977 Irish general election.
Donegan retires from politics at the 1981 Irish general election. He dies at his home in County Louth on November 26,2000, following a long illness. Tributes in the Dáil are led by John Bruton as Fine Gael leader. He is buried in his hometown of Monasterboice, County Louth.
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.
Purser is born in Dublin on August 24, 1835, the son of John Tertius Purser (1809–1893), the general manager of the well-known A Guinness, Son & Co. brewery, and Anna Benigna Fridlezius (1803-1881). He is educated in a wealthy family, which includes artists, as his cousin Sarah Purser, or engineers, as his brother-in-law John Purser Griffith. He is the brother of mathematician Frederick Purser. He receives his early education at the private boarding school run by his uncle, Dr. Richard W. Biggs, at Devizes, Wiltshire. He completes his schooling at Devizes and begins his university studies at Trinity College, Dublin, graduating BA in mathematics in 1856. He is the best mathematician of his year at the University and in 1855 he gains the Lloyd Exhibition.
Purser becomes a tutor to the four sons of William Parsons, 3rd Earl of Rosse (1800-1867) in 1857. Lord Rosse’s 72-inch reflecting telescope, built in 1845 and colloquially known of as the “Leviathan of Parsonstown,” is the world’s largest telescope when it is built and continues to hold this distinction until the early 20th century. As well as acting as tutor to the children, Purser does become involved in Lord Rosse’s interest in astronomy but never does any observing.
In 1863, Purser is appointed professor of mathematics at Queen’s College, Belfast, a position he maintains until his retirement in 1901.
Purser never marries. When his father dies on April 5, 1893, Rathmines Castle passes to him. He dies at Rathmines Castle on October 18, 1903, a very wealthy man. In his will he leaves £100,000 to his brother Frederick Purser, £40,000 to his sister Anna Griffith and £5,000 to each of her children. In addition to the money, he owns property in Blessington Street, Essex Street and Eustace Street which he leaves to his brother-in-law John Purser Griffith. Other properties and interests that he owns he divides between his brother Frederick and his sister Anna. After his death, his sister Anna and her husband John Purser Griffith move into Rathmines Castle although, at this time, its ownership has gone to Frederick Purser. After Frederick dies in August 1910, the Castle and his considerable wealth passes to Anna.
(Pictured: Portrait of John Purser painted by the artist Sarah Purser, daughter of Tertius Purser’s brother Benjamin Purser. The portrait hangs in Queen’s College, Belfast.)
On April 5, 1862, Guinness formally registers the harp as its official symbol, long before Ireland even has its own government.
The first Guinness labels featuring the now-iconic harp are printed in August of that year according to Guinness’s Brewery in the Irish Economy 1759 – 1876 by Patrick Lynch and John Vaizey.
The harp, which serves as the emblem of Guinness, is based on a famous 14th-century Irish harp known as the “O’Neill harp” or “Brian Boru’s harp,” which is now preserved in the Library of Trinity College Dublin. The harp is also the official national emblem of the Republic of Ireland and can be found on the Republic’s coinage that was phased out when the Euro currency was introduced. The harp symbol is also featured on Irish flags during the 1916 Easter Rising.
However, there is a difference between the Irish government harp and the Guinness harp. As Guinness had trademarked the harp symbol in 1876, the Irish Free State Government of 1922 has to reverse the official government harp so that it can be differentiated from the trademarked Guinness harp. As such, the Guinness Harp always appears with its straight edge (the sound board) to the left, and the government harp is always shown with its straight edge to the right.
It is because of the harp trademark that the Guinness company names its first lager Harp in 1960.
The harp is one of three elements that make up the Guinness brand livery. The other two elements are the word “Guinness” and Arthur Guinness’s famous signature. There have been a number of changes to the design of the harp device over the years including a reduction in the number of strings shown. The current harp is introduced in 2005 when a new brand livery is launched.
The famous Downhill Harp, dating back to 1702, is purchased by Guinness in 1963 to ensure its continued preservation and is on display in the advertising gallery in Guinness Storehouse. The Downhill Harp is made in 1702 by Cormac O’Kelly of Ballinascreen and played in the 18th century by the harpist Donnchadh Ó hAmhsaigh, known in English as Denis Hampsey, Denis Hampson or Denis Hempson. Ó hAmhsaigh plays in the traditional style, plucking the strings with his long fingernails. At age 97, he is the oldest harpist at the Belfast Harp Festival in July 1792, although he is perhaps most famous for his concert for Prince Charles Edward Stuart, or ‘Bonnie Prince Charlie’, in 1745.
The harp bears the inscription:
In the time of Noah I was green, Since his flood I had not been seen, Until Seventeen hundred and two I was found By Cormac O’Kelly underground: He raised me up to that degree That Queen of Musick you may call me.
(From: “When Guinness trademarked symbol of the harp,” IrishCentral, http://www.irishcentral.com, April 5, 2022)
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.”
Rynhart is born Jeanne Scuffil in Dublin on March 17, 1946, to Kathleen Connolly and Frederick Scuffil, a sign writer for the Guinness Brewery. She is an apprentice to George Collie RHA for two years and then attends the National College of Art and Design, graduating in 1969 before moving to Coventry, England, where she continues her studies in fine art and sets up a studio with sculptor John Letts. She returns to Ireland in 1981, moving to Ballylickey, near Bantry in County Cork, where she establishes the Rynhart Fine Art gallery and workshop with her husband, Derek.
One of the first bronze craft studios in Ireland, the Rynhart pieces include both small figurative cold cast bronze sculptures of flower sellers, fishermen, horses, sailing boats and musical instruments as well as bronze life-size statues, smelted in a foundry. Her busts of Oscar Wilde and Jonathan Swift are in the Dublin Writers Museum and a Rynhart bust of James Joyce is in New York Public Library.
Rynhart creates the Molly Malone statue for the 1988 Dublin Millennium celebrations. The statue is controversial at the time of its unveiling due to the statue’s revealing dress. Registrar of Aosdána, Adrian Munnelly, writes to the An Bord Fáilte criticising it. The statue is defended by the Lord Mayor of DublinBen Briscoe. Rynhart herself writes in The Irish Times that the clothing and appearance are accurate for women of that era. The statue has since become one of the most popular tourist attractions in Dublin and is fondly regarded by locals.
In 1994, Rynhart’s daughter Audrey joins the business. In 2010, Audrey and her husband, Les Elliott, take over the running of the business which is now based in their studio in Glengarriff, County Cork. From then onwards, Rynhart continues to do some modelling work but has largely retired.
Rynhart dies on June 9, 2020, aged 74, in Schull Community Hospital, Cork, following a short illness. She is buried in the Abbey Cemetery, Bantry, and is survived by her husband, Derek, daughter, Audrey, son, Barry, and grandchildren, Lydia and Sophie.
Purser is the son of John Tertius Purser (1809–1893), the general manager of the well known A Guinness, Son & Co. brewery, and Anna Benigna Fridlezius (1803-1881). He is educated in a wealthy family, which includes artists, as his cousin Sarah Purser, or engineers, as his brother-in-law John Purser Griffith. He is the brother of mathematician Frederick Purser. He receives his early education at the private boarding school run by his uncle, Dr. Richard W. Biggs, at Devizes, Wiltshire. He completes his schooling at Devizes and begins his university studies at Trinity College, Dublin, graduating BA in mathematics in 1856. He is the best mathematician of his year at the University and in 1855 he gains the Lloyd Exhibition.
Purser becomes a tutor to the four sons of William Parsons, 3rd Earl of Rosse (1800-1867) in 1857. Lord Rosse’s 72-inch reflecting telescope, built in 1845 and colloquially known of as the “Leviathan of Parsonstown,” is the world’s largest telescope when it is built and continues to hold this distinction until the early 20th century. As well as acting as tutor to the children, Purser does become involved in Lord Rosse’s interest in astronomy but never does any observing.
In 1863, Purser is appointed professor of mathematics at Queen’s College, Belfast, a position he maintains until his retirement in 1901.
Purser never marries. When his father dies on April 5, 1893, Rathmines Castle passes to him. He dies at Rathmines Castle on October 18, 1903, a very wealthy man. In his will he leaves £100,000 to his brother Frederick Purser, £40,000 to his sister Anna Griffith and £5,000 to each of her children. In addition to the money, he owns property in Blessington Street, Essex Street and Eustace Street which he leaves to his brother-in-law John Purser Griffith. Other properties and interests that he owns he divides between his brother Frederick and his sister Anna. After his death, his sister Anna and her husband John Purser Griffith move into Rathmines Castle although, at this time, its ownership has gone to Frederick Purser. After Frederick dies in August 1910, the Castle and his considerable wealth passes to Anna.
(Pictured: Portrait of John Purser painted by the artist Sarah Purser, daughter of Tertius Purser’s brother Benjamin Purser. The portrait hangs in Queen’s College, Belfast.)
Ross and his twin brother Norris become sports journalists in 1950. In 1951, they found an agency to provide facts and figures to Fleet Street, setting out, in Norris McWhirter’s words “to supply facts and figures to newspapers, yearbooks, encyclopaedias and advertisers.” In the same year they publish Get to Your Marks.
While building up their accounts, they both work as sports journalists. One of the athletes they know and cover is runner Christopher Chataway, an employee at Guinness who recommends them to Hugh Beaver. After an interview in 1954 in which the Guinness directors enjoy testing the twins’ knowledge of records and unusual facts, the brothers agree to start work on the book that becomes The Guinness Book of Records. In August 1955, the first 198-page green volume is at the bookstalls, and in four more months it is the UK’s number one non-fiction best-seller. Both brothers are regulars on the BBC show Record Breakers. They are noted for their encyclopedic memories, enabling them to provide detailed answers to questions from the audience about entries in The Guinness Book of Records. Norris continues on the programme after Ross’s death.
In the early 1960s, McWhirter is a Conservative Party activist and seeks, unsuccessfully, the seat of Edmonton in the 1964 general election. Following his killing, his brother and others found the National Association for Freedom (later The Freedom Association).
McWhirter advocates various restrictions on the freedom of the Irish community in Britain, such as making it compulsory for all of them to register with the local police and to provide signed photographs of themselves when renting flats or booking into hotels and hostels. In addition, he offers a £50,000 reward for information leading to a conviction for several recent high-profile bombings in England that were publicly claimed by the Provisional Irish Republican Army (IRA). In doing so, he recognises that he might then be a target himself. This is considered a “bounty” by the IRA Army Council, a view that leads directly to the events that follow, although the idea is not originally his, but that of John Gouriet.
At 6:45 PM on November 27, 1975, McWhirter is shot and killed by two IRA volunteers, Harry Duggan and Hugh Doherty, both of whom are members of what becomes known as the Balcombe Street Gang, the group for whose capture McWhirter had offered the reward. He is shot with a .357 Magnum revolver at close range in the head and chest outside his home in Village Road, Bush Hill Park. He is taken to Chase Farm Hospital but dies soon after being admitted. His killers are captured and charged with his and nine other murders. They are sentenced to life imprisonment but freed in 1999 under the terms of the Good Friday Agreement.
The last barge on the Grand Canal makes its final journey to Limerick on May 27, 1960 carrying a cargo of Guinness. The impressive broad-beamed barge carrying the number 51M casts off from Dublin‘s James Street Harbour marking the end of a way of life on the canal which has existed since the construction of the waterway in the early 1800s.
For some 160 years freight barges ply the canal bringing cargoes to and from Dublin, Limerick, Waterford and canal-side villages across the midlands from Sallins to Shannon Harbour. The spine of the waterways system is the Grand Canal which crosses mid-Kildare in a southwest direction from Hazelhatch to west of Ticknevin.
Typically a crew of four men live on the boats on voyages which can take up to four days from Dublin to Limerick. The crew is comprised of the Master or skipper, the Engineman, Deck man and Greaser. Although a seemingly idyllic job the boatmen worked hard in all weather, sometimes sailing through the night.
The canal cargo business is always under pressure from the railways but tonnages of bulk goods (barrels of porter, turf, coal, sand, gravel, and grain and flour) where speed is not important remain high. Competition from the motor lorry in the 1920s and 1930s causes tonnages to fall severely. The canals get a brief respite during the Emergency years (1939-45) when they are pressed into service to transport turf from the Bog of Allen to Dublin city where it is stored in massive clamps at Phoenix Park.
As part of a rationalisation in the post-war decades, the Government brings out the shareholders of the Grand Canal Company and amalgamates its operations with Córas Iompair Éireann (CIÉ), a newly formed semi-state entity with a mandate to take over all transport services in Ireland. CIÉ has enough on its hands trying to keep the railway system viable and it is clear that the days of canal freight are numbered. In November 1959 CIÉ announces that the Grand Canal will close to cargo boats on December 31 of that year.
The Guinness brewery asks for a stay of a few months so it can complete alternative arrangements for road deliveries. The definitive final voyage from Dublin begins on the afternoon of May 27, 1960 when 51M casts off at James Street Harbour bound for the Guinness depot in Limerick.
51M escapes the wrecker’s torch and is kept in service though a succession of canal authorities as a maintenance boat for the canals. In May 2010, fifty years after it carried the last commercial cargo from Dublin to Limerick, the canal boat 51M retraces its historic journey, once again carrying a number of original Guinness casks as its cargo.
Brambell is the youngest of three sons born to Henry Lytton Brambell, a cashier at the Guinness Brewery, and his wife, Edith Marks, a former opera singer. His first appearance is as a child, entertaining the wounded troops during World War I. Upon leaving school he works part-time as a reporter for The Irish Times and part-time as an actor at the Abbey Theatre before becoming a professional actor for the Gate Theatre. He also does repertory at Swansea, Bristol and Chesterfield. In World War II, he joins the British military forces entertainment organisation Entertainments National Service Association (ENSA).
It is this ability to play old men that leads to his casting in his best remembered role, as Albert Steptoe, the irascible father in Steptoe and Son. This begins as a pilot on the BBC’s Comedy Playhouse, and its success leads to a full series being commissioned, running from 1962 to 1974 including a five-year hiatus. There are two feature film spin-offs, a stage show, and an American incarnation entitled Sanford and Son, some episodes of which are almost exact remakes of the original British scripts.
The success of Steptoe and Son makes Brambell a high-profile figure on British television, and earns him the supporting role of Paul McCartney‘s grandfather in The Beatles‘ first film, A Hard Day’s Night (1964). In 1965, Brambell tells the BBC that he does not want to do another series of Steptoe and Son and, in September that year, he goes to New York City to appear in the Broadway musical Kelly at the Broadhurst Theatre, however, it closes after just one performance.
Apart from his role as the older Steptoe, Brambell achieves recognition in many films. His performance in The Terence Davies Trilogy wins him critical acclaim, far greater than any achieved for Steptoe and Son. Although he appears throughout the full 94-minute piece, Brambell does not speak a single word.
After the final series of Steptoe and Son is made in 1974, Brambell has some guest roles in films and on television. He and Harry H. Corbett also undertake a tour of Australia in 1977 in a Steptoe and Son stage show.
Brambell dies of cancer in Westminster, London, on January 18, 1985, at the age of 72. He is cremated on January 25, 1985 at Streatham Park Cemetery, where his ashes are scattered.
(Pictured: Henry Wilfrid Brambell and John Lennon in The Beatles’ first motion picture, A Hard Day’s Night)
seamus dubhghaill 