Born in Blackwater Street off Grosvenor Road in west Belfast in 1916, White is one of ten children (five sons and five daughters) of Billy White, water technician with Belfast Corporation, and his wife Kathleen (née McKane). As a boy he sings in the choir of Clonard Monastery. He plays in a céilí band as a teenager and is a lifelong aficionado of Irish music and plays the banjo and other string instruments (often smuggling guns in their cases). As a young man he is also an active member of Granuaile GAA club, playing hurling and Gaelic football.
White works as a plumber and joins the Irish Republican Army (IRA) at an early age, being imprisoned several times during the 1930s. He travels to England to take part in the IRA’s “S-Plan” bombing campaign of 1939 to 1940, then returns to Dublin to pass his bomb-making skills on to new recruits, including Brendan Behan. He then returns to England to become the IRA’s Manchester Operations Officer but, after a bomb he is working on goes off in the flat he is renting, he flees to Glasgow, then back to Ireland.
Shortly after returning to Ireland, White is arrested while giving a lecture on explosives in County Offaly and is interned at the Curragh Camp. The republican prisoners are split into two groups, one led by Pearse Kelly, and the other by Liam Leddy. White is unhappy with the situation and refuses to take sides. Shortly after his arrival, IRA Chief of StaffSeán McCool is also interned, and is concerned that the locations of many of the IRA’s arms caches are known only to him. McCool asks him to get the information to the new leadership by “signing out,” declaring that he is no longer involved with a paramilitary group. He refuses as doing so would be breaking IRA orders, but McCool persists, suggesting that he could resign from the army before signing out, thereby not contravening IRA rules. Once released, he immediately rejoins the IRA and passes on the information. He is also made IRA Quartermaster General by Chief of StaffCharlie Kerins. However, he is suspected of involvement in the killing of a police officer, Dinny O’Brien – something which he always denies – and has to go on the run.
In October 1942, White and a comrade are cornered in a house. Here the details are unclear. Tim Pat Coogan claims that White is in a house in Donnycarney in County Dublin with Maurice O’Neill (executed in Mountjoy Prison on November 12, 1942), while Danny Morrison claims that White is at a wedding reception in Cavan with Paddy Dermody. Both agree that there is a shoot-out in which one officer is killed, enabling White to escape, but he falls down a railway embankment and hides for two days before emerging, hoping that the police hunt is over. In Coogan’s version, he catches a bus to Dublin, covered in blood and mud; while, according to Morrison, he is assisted by a sympathetic soldier who helps him recover and cycles to Dublin with him. They agree that he reaches a safe house once in the capital. Morrison claims that the Donnycarney shootout occurs four months later and that White travels north, rather than returning to Dublin a second time.
On arrival in the north, White is made Officer Commanding of the IRA Northern Command. Kerins is arrested in Dublin in June 1944 and later tried for murder and hanged. White becomes the only member of the IRA leadership still free. A wanted man, he travels around until work is arranged for him by supporters in Altaghoney, County Londonderry, Northern Ireland. There, he works as a handyman and barber and sets up a dance band, also managing to acquire some explosives from a local Royal Ulster Constabulary (RUC) officer who wants rocks cleared from his field. For at least part of his time in Altaghoney, he serves as the IRA Chief of Staff.
White is finally captured and tried in October 1946 and is handed over to the Irish authorities. He is sentenced to death, but this is reduced to twelve years’ imprisonment on appeal, a defence in which his former comrade Seán MacBride is involved. He is actually released early in 1948 following a change in government which leaves Mac Bride in a ministerial post.
Following his release, White remains active in the IRA, but in a less high-profile way, as he is married and settles in Dublin. He supports the Provisional IRA following its split in 1970 and is involved in smuggling weapons across the border.
White publishes his autobiography in 1985, actually ghostwritten by Uinseann MacEoin. Entitled Harry, it attracts press attention for naming the IRA members who killed Kevin O’Higgins, names which Peadar O’Donnell separately confirms. White’s nephew, Danny Morrison, becomes a prominent Irish republican from the 1970s onward.
O’Hegarty comes from a family with strong nationalist roots. His parents are John, a plasterer and stucco worker, and Katherine (née Hallahan) Hegarty. His elder brother is Patrick Sarsfield O’Hegarty, the writer. His parents’ families emigrated to the United States after the Great Famine, and his parents married in Boston. His father is a member of the Irish Republican Brotherhood (IRB). In 1888, his father dies of tuberculosis at the age of 42, and his mother has to work to support the family.
O’Hegarty is educated at the Christian BrothersNorth Monastery school in Cork. By 1902, he has left school to work as a sorter in the local post office, rising to post office clerk. He is a supporter of the Gaelic revival, Irish traditional music, and Gaelic games. A committed sportsman, in his twenties he is captain of the Post Office HQ’s hurling team. He follows his brother Patrick into Conradh na Gaeilge and eventually the Irish Volunteers and the Irish Republican Brotherhood. He is a member of the Celtic Literary Society by 1905 and founds the Growney branch of Conradh na Gaeilge in 1907. A puritanical character by nature, he is a non-smoker and never drinks.
O’Hegarty is a founder of the local branch of the Irish Volunteers in Cork in December 1913. In June of the following year, he is appointed to the Cork section of the Volunteer Executive, and then to the Military Council. In October, the Dublin government discovers his illegal activities, and he is dismissed. Excluded from Cork under the Defence of the Realm Act (DORA) regulations, he moves to Ballingeary, where he works as a labourer. From there he moves to Enniscorthy, County Wexford, where he lives with Larry de Lacy. On February 24, 1915, he is arrested and tried under the Defence of the Realm Act for putting up seditious posters. But for this and a second charge of “possession of explosives” he is discharged. The explosives belonged to de Lacy.
The Volunteers appoint O’Hegarty as Commandant of Ballingeary and Bandon. During the Easter Rising, he is stationed in Ballingeary when visited by Michael McCarthy of Dunmanway to propose an attack on a Royal Irish Constabulary (RIC) post at Macroom. But their strength is fatally weakened and, having no reserves, they call off the attempt. In 1917, he becomes Vice-commandant of No.1 Cork Brigade. He works as a storekeeper at the workhouse but is intimidating, and clashes with the Poor Law Guardians.
During the Irish War of Independence, O’Hegarty is one of the most active in County Cork. Like others, he is exasperated with Tomás Mac Curtain’s inactivity and refusal to be more bellicose. One such is battalion commander Richard Langford, who joins with O’Hegarty’s unit to make an unauthorized raid on the RIC post at Macroom. Langford is court-martialed, but O’Hegarty continues to rise in the ranks. When a RIC Inspector is murdered, Mac Curtain condemns the shootings and calls for their end. On March 19, 1920, Mac Curtain is shot and killed in his home in Cork. The coroner blames the British establishment in Dublin, but the police never make any attempt to investigate the killings. Shortly after these events General Hugh Tudor begins the policy of official reprisals.
In January 1920, an inquiry is held into corruption alleged against “Hegarty’s Mob” or “Hegarty’s Crowd” running Cork City. O’Hegarty blames the former mayors for the charges of incompetence but remains on good terms with them.
In a raid on Cork City Hall on August 12, 1920, the British manage to net all the top brass of the IRA in Cork. In an incredible failure of intelligence, they do not identify the leadership as their prisoners. They are all released, including Liam Lynch, and O’Hegarty. Only Terence MacSwiney, the new Lord Mayor of Cork, is kept in custody and sent to England.
On February 25, 1921, the Coolavokig ambush is carried out by the 1st Cork Brigade under O’Hegarty at Ballyvourney village, on the road between Macroom and Ballyvourney. The IRA suffers no casualties; however, the number of British casualties has been disputed to this day.
The brigade commanders in the southern division retain a residual lingering resentment of Dublin GHQ’s lack of leadership and supplies. Seán Moylan, commandant of No. 2 Cork Brigade, thinks good communications with No.1 Brigade are to be vital, but little of this is seen via the organizer, Ernie O’Malley, at GHQ. At a meeting set up for April 26, 1921, when the manual of Infantry Training 1914 is produced, the document raises great anger. The meeting ends in uproar when O’Hegarty, who is “a master of invective, tore the communication and its authors to ribbons.”
O’Malley and Liam Lynch, the general, meet with O’Hegarty in the mountains of West Cork, near a deserted farmhouse, just off the main road. In the retreat that follows, the Irish take heavy casualties and leave their wounded to the good care of the British. These are the “Round-ups” in which the Irish sleep outside in order to avoid being at home when the Army calls. They are told by the Brigade to learn the national anthem of England to avoid arrest.
In East Cork brigade, O’Hegarty uncovers a spy ring. He is ruthless in the treatment of Georgina Lindsay and her chauffeur, who give away information to the Catholic clergy, but is remarkably lenient on brigade traitors within. He is allegedly not too bothered about evidence but is reminded that all executions of a traitor have to be approved by Dublin first.
O’Hegarty becomes more and more aggressive toward the establishment, using tough language to impose his will over the area. He attempts to force the civilian Teachtai Dála (TDs) for Cork to stand down, to give way to military candidates, telling the Dáil in December 1921, that any TD voting for the treaty will be guilty of treason. But Éamon de Valera is decided and overrules any interference with the Civil Government. Like the commanders, de Valera rejects the treaty but has already been defeated in the Dáil on a vote by W. T. Cosgrave‘s majority.
On February 1, 1922, O’Hegarty marries Maghdalen Ni Laoghaire, a prominent member of Cumann na mBan.
O’Hegarty is on the IRA’s Executive Council, but when there is a meeting on April 9, 1922, it is proposed that the Army should oppose the elections by force. As a result, Florence O’Donoghue and Tom Hales join him in resigning. In May, he and Dan Breen enter into negotiations with Free Stater Richard Mulcahy. A statement is published in the press asking for unity and acceptance of the Treaty. During this time, the republicans become very demoralized and ill-disciplined, but they have to gain strength before announcing independence from Dublin. The debate amongst the anti-Treaty IRA command is increasingly rancorous.
The bitter divisions split the anti-treatyites into two camps. Two motions are debated at the Army Convention on June 18, 1922. At first, the motion to oppose the treaty by force is passed. These men include Tom Barry, Liam Mellows, and Rory O’Connor, who are all in favour of continuing the fight until the British are driven out of Ireland altogether. However, one brigade’s votes have to be recounted, and then the motion is narrowly defeated. Joe McKelvey is appointed the new chief of staff, but the IRA is in chaos. While he strongly opposes the Anglo-Irish Treaty, O’Hegarty takes a neutral role in the Irish Civil War and tries to avert hostilities breaking out into full-scale civil war. He emerges as a leader of the “Neutral IRA” with O’Donoghue. This is a “loose” confederation of 20,000 men who have taken part in the pre-truce wars but have remained neutral during the Civil War from January 1923. Over 150 persons attend its convention in Dublin on February 4, 1923. By April 1923, O’Malley is imprisoned in Mountjoy Prison. In a letter to Seamus O’Donovan on April 7, he blames Hegarty for all this compromise and “peace talk.”
It has been alleged by the author Gerard Murphy that O’Hegarty had a role in the assassination of the Commander-in-Chief, Michael Collins, in August 1922, along with Florrie O’Donoghue and Joe O’Connor. It is alleged that as members of the 1st Southern Division Cork, they are actually feigning claims of neutrality but remain part of the IRB in order to set up talks towards peace and the cessation of hostilities at the start of the Irish Civil War.
Although probably an atheist during the Irish War of Independence, O’Hegarty returns to the Catholic church later in life. On forming the Neutral Group of the IRA in December 1922, he tries to unify differences in the volunteers between Republicans and the Free Staters. He communicates with the Papal Nuncio during the inter-war years in an attempt to have Bishop of CorkDaniel Cohalan‘s excommunication bill lifted. Instead, he turns to commemoration as a way to earn favour in Rome, with the dedication of a Catholic church at St. Finbarr’s Cemetery. After his wife’s passing, he becomes a close friend with Florence O’Donoghue until his own death.
Francis O’Neill (Irish: Proinsias Ó Néill), an Irish-born American police officer and collector of Irish traditional music, is honoured in his native West Cork on March 11, 2000, where Garda Commissioner Patrick Byrne unveils a life-size monument of O’Neill playing a flute adjacent to the O’Neill family homestead in Trawlebane, County Cork. The monument, made by sculptor Jeanne Rynhart, and a commemorative wall are erected through the efforts of the Captain Francis O’Neill Memorial Company.
O’Neill is born in Trawlebane, near Bantry, County Cork, on August 28, 1848. At an early age he hears the music of local musicians, among them Peter Hagarty, Cormac Murphy and Timothy Dowling. At the age of 16, he becomes a cabin boy on an English merchant ship and remains a seaman until 1869. On a voyage to New York City, he meets Anna Rogers, a young emigrant whom he later marries in Bloomington, Illinois. They move to Chicago, and he becomes a Chicago policeman in 1873. He rises through the ranks quickly, eventually succeeding Joseph Kipley as the Chief of Police from 1901 to 1905. He has the rare distinction, in a time when political “pull” counts for more than competence, of being re-appointed three times to the position by two different mayors.
O’Neill is a flautist, fiddler and piper and is part of the vibrant Irish community in Chicago at the time. During his time as chief, he recruits many traditional Irish musicians into the police force, including Patrick O’Mahony, James O’Neill, Bernard Delaney, John McFadden and James Early. He also collects tunes from some of the major performers of the time including Patsy Touhey, who regularly sends him wax cylinders and visits him in Chicago. He also collects tunes from a wide variety of printed sources.
O’Neill retires from the police force in 1905. After that, he devotes much of his energy to publishing the music he has collected. His musical works include:
O’Neill’s Music of Ireland (1903), containing 1,850 pieces of music.
The Dance Music of Ireland (1907), sometimes called, “O’Neill’s 1001,” because of the number of tunes included.
400 tunes arranged for piano and violin (1915).
Waifs and Strays of Gaelic Melody (1922), 365 pieces.
Irish Folk Music: A Fascinating Hobby (1910). Appendix A contains O’Farrells Treatise and Instructions on the Irish Pipes, published 1797-1800; appendix B is Hints to Amateur Pipers by Patrick J. Touhy.
Irish Minstrels and Musicians (1913), biographies of musicians, including those from whom he collected tunes in Chicago.
In 2008, Northwestern University Press issues Chief O’Neill’s Sketchy Recollections of an Eventful Life in Chicago, a non-musical memoir edited by Ellen Skerrett and Mary Lesch, a descendant of O’Neill, with a foreword by Nicholas Carolan of the Irish Traditional Music Archive. Carolan himself writes a musical biography of O’Neill, A Harvest Saved: Francis O’Neill and Irish Music in Chicago, which is published in Ireland by Ossian in 1997. An historical biography of O’Neill, The Beat Cop: Chicago’s Chief O’Neill and the Creation of Irish Music, by Michael O’Malley, is published by the University of Chicago Press in 2022.
Chief O’Neill’s life is memorialized in the musical play Music Mad: How Chief O’Neill Saved the Soul of Ireland, which premieres in Chicago in 2012. Written by Adam B. Whiteman with the approval and acceptance of Francis O’Neill’s great-granddaughter, Mary Lesch, the show contains both dramatized content and material from O’Neill’s own writings.
Peter Hagarty and Francis O’Neill are memorialized in the song, Píobaire Bán, written by Tim O’Riordan. It is recorded by Patrick O’Sullivan on the CD One More Time and on O’Riordan’s own CD Taibhse.
In August 2013, the inaugural Chief O’Neill Traditional Music Festival takes place in Bantry, County Cork, just a few miles from Trawlebane. The 2013 event marks the centenary of the publication of O’Neill’s Irish Minstrels and Musicians. The event has taken place annually since.
Chief O’Neill’s Pub and Restaurant in Chicago’s Avondale neighborhood bears his name and displays related memorabilia.
O’Neill’s biographer, Nicholas Carolan, refers to him as “the greatest individual influence on the evolution of Irish traditional dance music in the twentieth century.”
Markham is born on January 8, 1886, at Gower, Cooraclare, County Clare, the youngest in the large family of Michael Markham, farmer, and Margaret Markham (née Keane). She attends national school in Cooraclare from 1893 to 1899. Although she does not speak or understand the Irish language, as do her father and likely her mother, the Rosary is recited in Irish at home. She and a sister are the only siblings not to emigrate. Her mother plays the fiddle, while her older sister Margaret (Maggie) plays the concertina and probably influences her to do likewise. She has no single teacher and acquires tunes and her style of playing from neighbours and family friends. She begins to play a two-row German-type concertina at house dances throughout west Clare and becomes very much in demand.
In 1914, Markham marries Michael (Miko) Crotty from Gowerhass, the townland next to Gower. Miko had been in the United States for a couple of years and uses the money earned there to buy a public house on the Market Square in Kilrush, now known as “Crotty’s Pub.” They live in the Square in Kilrush and Miko bottles his own whiskey. The pub is an important venue for Irish traditional music, especially for those who wish to hear Crotty play. She remains relatively unknown outside of Clare until the early 1950s, and there are a relatively small number of recordings of her playing the concertina. The broadcaster Ciarán Mac Mathúna conducts recording sessions in her house in 1955 and she is to be heard on A Job of Journeywork, his programme on Radio Éireann. She possesses a number of concertinas, but the Lachenal that she purchases in the 1950s is her favourite and the one with which she is most closely identified. In 1954, she is a founder member and the first president of the Clare branch of Comhaltas Ceoltóirí Éireann. During her time as president, the All Ireland Fleadh is held in Ennis in 1956.
Crotty often sings the traditional song “An draighneán donn,” which is one of her favourites. Among tunes she enjoys playing are the “Ewe reel,” the “Dublin reel,” and “The maid of Mount Cisco,” along with “The wind that shakes the barley.” Her straight style of playing for dancing and dancers increases her popularity. Seán Ó Riada regards her as one of the finest concertina players he ever heard. Although she does not read or write staff notation, she creates a written code for herself by giving the concertina keys a number and by using a symbol for the press or draw movement on the concertina keys.
Crotty suffers from severe angina which necessitates visits for medical treatment to Dublin, where she becomes friends with fiddle player Kathleen Harrington (née Gardiner). They attend the Pipers’ Club in Thomas Street, play together on Radio Éireann, and travel together to fleadhanna.
Crotty dies on December 27, 1960, of an anginal attack while at her home. She is buried in (old) Shanakyle cemetery. She loses her first three children, and a son drowns in the River Shannon in 1945. Another son, Thomas, becomes a priest. A festival, ‘Éigse Mrs Crotty’, is held in her memory each summer in Kilrush. Her son Paddy gives three perpetual trophies for presentation at the All-Ireland Fleadh Cheoil.
(From: “Crotty, Elizabeth (‘Lizzie’)” by Ríonach uí Ógáin, Dictionary of Irish Biography, http://www.dib.ie, October 2009)
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.
Described as having an “ardent and self-confident manner,” Hughes is first heard of in an Irish musical capacity (beyond being honorary organist at St. Peter’s Church on Antrim Road at the age of fourteen) collecting traditional airs and transcribing folksongs in North Donegal in August 1903 with his brother Fred, Francis Joseph Bigger, and John Patrick Campbell. Dedicated to seeking out and recording such ancient melodies as are yet to be found in the more remote glens and valleys of Ulster, he produces Songs of Uladh (1904) with Joseph Campbell, illustrated by his brother John and paid for by Bigger. Throughout his career, he collects and arranges hundreds of traditional melodies and publishes many of them in his own unique arrangements. Three of his best-known works are the celebrated songs, My Lagan Love, She Moved Through the Fair, and Down by the Salley Gardens, which are published as part of his four collections of Irish Country Songs, his key achievement. These are written in collaborations with the poets Joseph Campbell and Padraic Colum, and W. B. Yeats himself. A dispute with Hamilton Harty over copyright on My Lagan Love is pursued on Bigger’s advice, but fails.
Hughes has a unique approach to arranging Irish traditional music. He calls upon the influence of the French impressionistClaude Debussy in his approach to harmony: “Musical art is gradually releasing itself from the tyranny of the tempered scale. […] and if we examine the work of the modern French school, notably that of M. Claude Debussy, it will be seen that the tendency is to break the bonds of this old slave-driver and return to the freedom of primitive scales.” He regards arrangements as an independent art form on an equal level with original composition: “[…] under his [i.e. the arranger’s] hands it is definitively transmuted into an art-song, an art-song of its own generation.” His folksong arrangements have been sung all across the English-speaking world. John McCormack and Kathleen Ferrier are the first to record them on gramophone records.
Hughes also composes a limited amount of original chamber music (a violin sonata is mentioned in a letter to Hughes from Bernard van Dieren dated April 4, 1932), and some scores for the stage (like And So to Bed by James Bernard Fagan) and film. Hughes and John Robert Monsell also create songs for a musical version of Richard Brinsley Sheridan‘s The Rivals called Rivals!, which is staged at the Kingsway Theatre in London in October 1935 by Vladimir Rosing and runs for 86 performances.
Married to Lillian Florence (known as Meena) Meacham and Suzanne McKernan, Hughes has three children: Patrick, known professionally as Spike Hughes, Angela and Helena. He dies in Brighton, England, at the relatively early age of fifty-four on May 1, 1937.
Makem lives in Keady her entire life. Living in the border region of Ulster and in a market town, she is influenced by Irish, Scottish, and English traditions. She learns songs from her mother while she is doing household chores such as cooking. She often picks up these songs while sitting with her mother after just one repetition. She also learns some of her repertoire from songs the children sing in school.
Makem leaves school early to work as a factory weaver as do many of the girls in her town. She works from 7:00 a.m. to 6:30 p.m. then comes home to have sessions with many of the other musicians living in the same area. She marries Peter Makem in 1919.
Makem does not consider herself a musician; however, she has an extensive musical career. She is a ballad singer who has over five hundred songs in memory. These songs she describes as life stories of murder and love and emigration songs. She records many of her songs, mostly for collection purposes. In the 1950s, one of these songs, her rendition of “As I Roved Out,” is used to open a BBC Radio program named after her ballad and featuring Irish folk music. She does not intend to use this recording as such and is very embarrassed to know her voice will be heard everyday across Ireland.
Makem dies at the age of 82 on April 20, 1983, in County Armagh, Northern Ireland. She is buried in St. Patrick’s Roman Catholic Graveyard in Keady.
Burke starts playing traditional at age four and purchases his first accordion in the 1950s. He wins the All-Ireland Senior Accordion Championship in Thurles in 1959 and again in Boyle the following year. Together with fiddler Aggie Whyte, he wins the All-Ireland duet championship in 1962 in Gorey, County Wexford.
Burke co-founds the Leitrim Ceili Band with Padden Downey in 1956. Other members of the east Galway-based band, which wins All-Ireland Championships in 1959 and 1962, includes Irish flute players Paddy Carty, Ambrose Moloney and Tony Molloy, button accordionists Mick Darcy and Sean McGlynn, fiddlers Michael Joe Dooley, Paddy Doorhy, Aggie Whyte and Séamus Connolly, drummer Sean Curley and pianist Anne-Marie Courtney. The band tours in England and releases an LP on the New York-based Dublin label.
Burke first tours in the United States in 1961, and lives mainly in New York from 1962 to 1965, during which period he forms a musical partnership with fiddler Andy McGann. With McGann and pianist Felix Dolan, he records an LP, A Tribute to Michael Coleman, first released in 1966 on his own Shaskeen label. He records again with this trio, issuing The Funny Reel LP on the Shanachie Records label in 1979. Other musical collaborators over the years include Belfast fiddle great Sean McGuire, piper Michael Cooney, harpist Máire Ní Chathasaigh, fiddler Kevin Burke, pianist Charlie Lennon and his wife Anne Conroy Burke, whom he marries in 1990, on guitar and button accordion.
Burke’s first solo LP, Galway’s Own, is released in 1971. He also tours extensively for the next two decades, including with groups sponsored by Comhaltas Ceoltóirí Éireann. From 1988 to 1991, he lives in St. Louis, Missouri, where he has a musical residency at John D. McGurk’s Pub and hosts radio programmes at two stations, one of them the “Ireland in America” programme on KDHX. He represents Ireland in 1989 and 1992 at the International Accordion Festivals, in Montmagny, Quebec, along with accordion greats who include Cajun accordion player Marc Savoy and jazz accordionist Art Van Damme.
After residing in the United States from 1988 until 1991, Burke returns to Kilnadeema in 1992. There, he carries on teaching and performing music. He dies at the age of 81 on February 20, 2021, at Galway Hospice.
Burke is named RTÉ‘s Traditional Musician of the Year in 1970. He goes on to win both the AIB Traditional Musician of the Year and the Lifetime Achievement Award from The Irish World in 1997. A Joe Burke Tribute Concert is held in April 1997 at the Town Hall Theatre in Galway, on his reception of the AIB award. Three years later, he receives an award in Musical Mastery from Boston College. He is later conferred Gradam an Chomhaltais in 2003.
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.”
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 