Harty’s father teaches him the viola, the piano and counterpoint, and, at the age of twelve, he follows his father’s profession and is appointed organist of Magheracoll Church, County Antrim.
Harty takes further posts in his teenage years as a church organist in Belfast and Bray. While in the latter, he comes under the influence of Michele Esposito, professor of piano at the Royal Irish Academy of Music, who encourages him to pursue a career as a piano accompanist. As Bray is only twelve miles from Dublin, Harty is able go into the city to hear an orchestra for the first time in his life.
After his early career as a church organist in his native Ireland, Harty moves to London at about age 20, soon becoming a well-known piano accompanist. The Musical Times calls him “the prince of accompanists.” As a composer he writes throughout his career, many of his works being well received, though few are regularly performed in the 21st century.
In his career as a conductor, which begins in 1904, Harty is particularly noted as an interpreter of the music of Hector Berlioz. From 1920 to 1933 he is the chief conductor of The Hallé symphony orchestra in Manchester, which he returns to the high standards and critical acclaim that it had enjoyed under its founder, Charles Hallé. His last permanent post is with the London Symphony Orchestra, but it lasts only two years, from 1932 to 1934, as Harty does not prove to be a box-office draw. According to a historian of the orchestra, Richard Morrison, Harty is “brutally and hurtfully” dropped in 1934.
During his conducting career, Harty makes some recordings with his orchestras. Shortly after his dismissal by the London Symphony Orchestra, Harty begins to suffer the symptoms of a brain tumor. After surgery which includes the removal of his right eye, he resumes his career until 1940, but the tumour returns to cause his death at the age of 61 in Hove on February 19, 1941. He is cremated, and his ashes are interred in the grounds of Hillsborough parish church, near the front door. There is a separate memorial in the church.
Patrick Kavanagh, Irish poet and novelist whose best-known works include the novel Tarry Flynn, and the poems “On Raglan Road” and “The Great Hunger,” dies in Dublin on November 30, 1967. He is known for his accounts of Irish life through reference to the everyday and commonplace.
Kavanagh was born in rural Inniskeen, County Monaghan, on October 21, 1904, the fourth of ten children of James Kavanagh, a cobbler and farmer, and Bridget Quinn. He is a pupil at Kednaminsha National School from 1909 to 1916, leaving in the sixth year at the age of 13. He becomes apprenticed to his father as a shoemaker and works on his farm. He is also goalkeeper for the Inniskeen Gaelic football team.
Kavanagh’s first collection, Ploughman and Other Poems, is published in 1936. It is notable for its realistic portrayal of Irish country life, free of the romantic sentiment often seen at the time in rural poems, a trait he abhorred. Two years after his first collection is published, he has yet to make a significant impression. The Times Literary Supplement describes him as “a young Irish poet of promise rather than of achievement.”
In 1938 Kavanagh goes to London and remains there for about five months. The Green Fool, a loosely autobiographical novel, is published in 1938 and Kavanagh is accused of libel by Oliver St. John Gogarty who sues Kavanagh for his description of mistaking Gogarty’s “white-robed maid for his wife or his mistress.” Gogarty is awarded £100 in damages. The book, which recounts Kavanagh’s rural childhood and his attempts to become a writer, receives international recognition and good reviews.
Patrick Kavanagh dies on November 30, 1967, from an attack of bronchitis, bringing to a close the life of one of Ireland’s most controversial and colorful literary figures. Kavanagh’s reputation as a poet is based on the lyrical quality of his work, his mastery of language and form and his ability to transform the ordinary into something of significance.
Aeneas Coffey, Irish inventor and distiller, dies in England on November 26, 1852. He is born in Calais, France, to Irish parents in 1780. He is educated at Trinity College, Dublin, and enters the excise service around 1799–1800 as a gauger. He marries Susanna Logie in 1808, and they have a son, also named Aeneas, who may have been their only child.
According to British customs and excise records, Coffey is a remarkable man with widespread interests and multiple talents who rises quickly through the excise service ranks. He is appointed sub-commissioner of Inland Excise and Taxes for the district of Drogheda in 1813. He is appointed Surveyor of Excise for Clonmel and Wicklow in 1815. In 1816 he is promoted to the same post at Cork. By 1818 he is Acting Inspector General of Excise for the whole of Ireland and within two years is promoted to Inspector General of Excise in Dublin.
Coffey is a strong, determined upholder of the law, but aware of its shortcomings. He survives many nasty skirmishes with illegal distillers and smugglers, particularly in County Donegal in Ulster and in the west of Ireland, where moonshining is most rife. On several occasions he proposes to the government simple, pragmatic solutions to rules and regulations which have hampered legal distillers. Not all of his ideas are accepted. Between 1820 and 1824 he submits reports and gives evidence to Parliamentary Commissions of Inquiry on many aspects of distilling, including formalising the different spellings of Irish whiskey and Scotch whisky. His 1822 report is solidly backed by the Irish distillers. He believes in making it viable to distill legally, and illegal distilling might largely disappear.
He assists the government in the drafting of the 1823 Excise Act which makes it easier to distill legally. It sanctions the distilling of whiskey in return for a licence fee of £10, and a set payment per gallon of proof spirit. It also provides for the appointment of a single Board of Excise, under Treasury control, for the whole of the United Kingdom, replacing the separate excise boards for England, Scotland and Ireland. The 1823 Excise Act also provides for not more than four assistant commissioners of excise to transact current business in Scotland and Ireland, under the control of the board in London. Coffey resigns from government excise service at his own request in 1824.
Between his Dublin education and his work as an excise officer, Coffey has ample opportunity to observe the design and workings of whiskey stills, as Ireland is the world’s leading producer of whiskey in the 19th century, and Dublin is at the center of that global industry. This is how Coffey becomes familiar with a design differing from the traditional copper pot alembic still commonly used in Ireland, the continuous, or column, still. First patented by a Cork County distillery in 1822, the column still remains a relatively inefficient piece of equipment, although it points the way towards a cheaper and more productive way to distill alcohol. It is that last point that captures Coffey’s imagination. He makes his own modifications to existing column still designs, so as to allow a greater portion of the vapors to re-circulate into the still instead of moving into the receiver with the spirit. The result is more efficient, producing a lighter spirit at higher alcohol content. Coffey patents his design in 1830, and it becomes the basis for every column still used ever since.
On his retirement from service, Coffey goes into the Irish distilling business. For a short time he runs the Dodder Bank Distillery, Dublin and Dock Distillery in Grand Canal Street, Dublin, before setting up on his own as Aeneas Coffey Whiskey Company in 1830. The development of the Coffey still makes distillation of his own whiskey much more economical.
Nothing is known of the final years and last resting place of Aeneas Coffey. His only son, also called Aeneas Coffey, emigrates to South Africa and manages a distillery. He marries but his wife dies childless. He returns to England and spends his final years near London.
The London-born son of a British scholar and an Irish mother, Childers is a lifelong Protestant, itself an anomaly since Irish nationalism maps strongly to Catholicism. In his early years his loyalty was with the British Empire. In his twenties, Childers volunteers for the Second Boer War, and he later says the rank savagery and underlying injustice of England’s war “changed the whole current of my life and made me a Liberal and a Nationalist.”
Laying down the sword, Childers takes up the pen and writes several books of military history. He also writes a novel, The Riddle of the Sands, that has a claim of being the first spy novel. The Riddle of the Sands has never gone out of print since it was published in 1903.
Both in fiction and nonfiction, Childers’ warnings against the German challenge to British hegemony are prophetic, but he is himself becoming a man divided. In 1914 he runs German guns to Irish nationalists aboard his yacht Asgard and then signs up for the royal navy when World War I erupts. The British crackdown on the Easter Rising during the war completes his radicalization. He moves to Dublin and turns his eloquence against the British.
After Collins’s assassination, emergency laws promulgate the death sentence for anyone caught armed without authorization. Childers is a writer, not a partisan, but he is arrested in early November with a small sidearm, a gift Collins had given him back when they were on the same side. It is a time of bloody justice, and they throw the book at him.
Childers knows as well as Collins had that the internecine conflict would have to end. He faces his execution with awe-inspiring forgiveness. Summoning his 16-year-old son to prison the night before his execution, Childers extracts a promise from the boy that he will find everyone who signed his death warrant and shake their hands. This son, young Erskine Hamilton Childers, eventually becomes President of Ireland.
Childers himself likewise shakes the hands of his own firing squad, one by one. His last words, reported in a number of slightly different variations, are lightheartedly addressed to them: “Take a step or two forwards, lads. It will be easier that way.”
Rothwell is born to James and Elizabeth and is the oldest of their seven children. He trains to become a painter at the Dublin Society‘s school from 1814 until 1820 and wins a silver medal for his work. At the age of 24, he is made a member of the newly established Royal Hibernian Academy and exhibits portraits there from 1826 to 1829. He subsequently moves to London and works as a studio assistant to Thomas Lawrence. When Lawrence dies in 1830, Rothwell completes many of his unfinished works and is poised to become the next foremost portrait painter in Britain and Ireland.
According to Leoneé Ormond’s biographical article in the Grove Dictionary of Art, Rothwell “was at the height of his powers from 1829 to 1831” and he “was much influenced by Lawrence, but he lacked the incisiveness and flair of his master.” According to Fintan Cullen‘s biographical entry in the Oxford Dictionary of National Biography, Rothwell’s “portraits are highly accomplished” and “fine examples” including those of novelist Gerald Griffin and Mary Shelley.
From 1831 to 1834, Rothwell tours Italy to study Italian art so that he can paint history paintings. In the 1830s, he starts painting genre pictures, such as The Poor Mendicants (1837). He usually paints Italian-inspired pieces, such as his semi-nude study Calisto, a work he considers to be his masterpiece. He is furious when the painting is poorly hung at the 1862 International Exhibition in London and publishes a pamphlet on the topic.
When Rothwell returns to London, his popularity has evaporated. He lives and exhibits works in Ireland, the United States, London, and Italy, but he never again achieves the same level of popularity he had reached in the late 1820s.
In 1842 Rothwell marries Rosa Marshall. The couple has several children. Rothwell contracts a fever while working in Rome and dies on September 13, 1868. Joseph Severn, who painted a portrait of the Romantic poetJohn Keats, arranges for Rothwell’s funeral and tomb in the Protestant Cemetery, Rome.
The Quare Fellow is initially offered to Dublin’s Abbey Theatre but is turned down. The play has its London première in May 1956 at Joan Littlewood‘s Theatre Workshop at the Theatre Royal Stratford East. On July 24, 1956, it transfers to the Comedy Theatre, London. In September 1956 the Abbey Theatre finally performs The Quare Fellow. It has such success that the Abbey’s artistic director, Ria Mooney, pushes the next play back to allow The Quare Fellow to run for six weeks. Its first New York performance is on November 27, 1958, at the Circle in the Square Theatre.
The play is set in Mountjoy Prison, Dublin. The antihero of the play, the Quare Fellow, is never seen or heard but rather functions as the play’s central conceit. He is a man condemned to die on the following day, for an unmentioned crime. Whatever it is, it revolts his fellow inmates far less than that of the Other Fellow, a very camp, almost Wildean, gay man.
There are three generations of prisoners in Mountjoy including boisterous youngsters who can irritate both other inmates and the audience and the weary old lags Neighbour and “methylated martyr” Dunlavin.
The first act is played out in the cramped area outside five cells and is comedic, sometimes rather like an Irish episode of Porridge. After the interval, the pace slows considerably and the play becomes much darker, as the time for the execution approaches. The focus moves to the exercise yard and to the workers who are digging the grave for the soon-to-be-executed Quare Fellow.
The play is a grimly realistic portrait of prison life in Ireland in the 1950s, and a reminder of the days in which homosexuality was illegal and the death penalty relatively common. The play is based on Behan’s own prison experiences, and highlights the perceived barbarity of capital punishment, then in use in Ireland. The play also attacks the false piety in attitudes to sex, politics and religion.
“The Auld Triangle“, a song from the opening of the play, has become an Irish music standard and is known by many who are unaware of its link to The Quare Fellow.
In 1962 the play is adapted for the screen by Arthur Dreifuss and stars Patrick McGoohan, Sylvia Syms and Walter Macken. Although the film receives some favourable reviews, it is not regarded as a faithful adaptation of the play.
After finishing his education, Childers works for a period in a tourism board in Paris. In 1931, Éamon de Valera invites him to work for his recently founded newspaper, The Irish Press, where Childers becomes advertising manager. He becomes a naturalised Irish citizen in 1938. That same year, he is first elected as a Fianna Fáil Teachta Dála (TD) for Athlone–Longford. He remains in the Dáil Éireann until 1973, when he resigns to become President.
Childers joins the cabinet in 1951 as Minister for Posts and Telegraphs in the de Valera government. He then serves as Minister for Lands in de Valera’s 1957–59 cabinet, as Minister for Transport and Power under Seán Lemass, and, successively, as Transport Minister, Posts and Telegraphs Minister, and Health Minister under Jack Lynch. He becomes Tánaiste in 1969.
Fine Gael TD Tom O’Higgins, who had almost won the 1966 presidential election, is widely expected to win the 1973 election when he is again the Fine Gael nominee. Childers is nominated by Fianna Fáil at the behest of de Valera, who pressures Jack Lynch in the selection of the presidential candidate. He is a controversial nominee, owing not only to his British birth and upbringing but to his Protestantism. However, on the campaign trail his personal popularity proves enormous, and in a political upset, Childers is elected the fourth President of Ireland on May 30, 1973, defeating O’Higgins by 635,867 votes to 578,771.
Childers quickly gains a reputation as a vibrant, extremely hard-working president, and becomes highly popular and respected. However, he has a strained relationship with the incumbent government, led by TaoiseachLiam Cosgrave of Fine Gael. Childers had campaigned on a platform of making the presidency more open and hands-on, which Cosgrave views as a threat to his own agenda as head of government. Childers considers resigning from the presidency but is convinced to remain by Cosgrave’s Minister for Foreign Affairs and Trade, Garret FitzGerald.
Francis Danby, Irish painter of the Romantic era, is born near Killinick, County Wexford, on November 16, 1793. His imaginative, dramatic landscapes are comparable to those of John Martin. Danby initially develops his imaginative style while he is the central figure in a group of artists who have come to be known as the Bristol School. His period of greatest success is in London in the 1820s.
The death of Danby’s father in 1807 causes the family to move to Dublin. He begins to practice drawing at the Royal Dublin Society‘s schools and, under an erratic young artist named James Arthur O’Connor, he begins painting landscapes. Danby also makes acquaintance with George Petrie.
In 1813 Danby leaves for London together with O’Connor and Petrie. This expedition, undertaken with very inadequate funds, quickly comes to an end, and they have to get home again by walking. At Bristol they make a pause and Danby, finding he can get trifling sums for watercolor drawings, remains there working diligently and sending pictures of importance to the London exhibitions. There his large oil paintings quickly attract attention.
Around 1819, Danby becomes a member of the informal group of artists which become known as the Bristol School, taking part in their evening sketching meetings and sketching excursions visiting local scenery. He remains connected with members of the Bristol School for about a decade, even after leaving Bristol in 1824.
The group initially forms around Edward Bird, and Danby eventually succeeds Bird as its central figure. The Bristol artists, particularly the amateur Francis Gold, are also important in influencing Danby towards a more imaginative and poetical style. George Cumberland, another of the amateurs, has influential London connections. In 1820 when Danby exhibits The Upas Tree of Java at the British Institution, Cumberland uses his influence to promote its favourable reception. Danby’s atmospheric work An Enchanted Island, successfully exhibited in 1825 at the British Institution and then back in Bristol at the Bristol Institution, is in turn particularly influential on other Bristol School artists.
The Upas Tree of Java (1820) and The Delivery of Israel (1825) bring him his election as an Associate Member of the Royal Academy of Arts. He leaves Bristol for London, and in 1828 exhibits his Opening of the Sixth Seal at the British Institution, receiving from that body a prize of 200 guineas.
In 1829 Danby’s wife deserts him, running off with the painter Paul Falconer Poole. Danby leaves London, declaring that he will never live there again. For a decade he lives on the Lake Geneva in Switzerland, becoming a Bohemian with boat-building fancies, painting only occassionaly. He later moves to Paris for a short period of time. He returns to England in 1840.
Francis Danby lives his final years at Exmouth in Devon, where he dies on February 9, 1861. Along with John Martin and J. M. W. Turner, Danby is considered among the leading British artists of the Romantic period.
Martin Fay, Irish fiddler and bones player, and a former member of The Chieftains, dies on November 14, 2012. The Chieftains collaborate with musicians from a wide range of genres and cultures and bring in guest performers such as Mick Jagger, Van Morrison and James Galway. Yet traditional tunes lay at the heart of the band, with Fay’s fiddle a vital part of their distinctive sound.
Fay is born in Cabra, Dublin, where his mother teaches him to play the piano. As a boy, he is captivated by the music in the film The Magic Bow (1946), about the life of Niccolò Paganini, and he changes instrument. He progresses well in his classical violin lessons and at fifteen is playing in a Butlins holiday camp orchestra. After leaving school at eighteen, Fay works in an office by day and in the evenings plays in the Abbey Theatre orchestra, where he meets the Abbey’s musical director, Seán Ó Riada.
In the 1950s, traditional music is regarded as distinctly old-fashioned in Ireland, but Ó Riada’s success with a film score, and a play at the Abbey, encourage him to establish a folk orchestra which includes Fay, piperPaddy Moloney and the tin whistle player Seán Potts. Instead of all the musicians playing together in unison, as in the established cèilidh bands, Ó Riada wants to create a chamber orchestra, playing arrangements of folk music. Fay’s classical music background is essential for this approach. The resulting ensemble, Ceoltóirí Cualann, enjoys radio success and, in 1961, plays the soundtrack for a film of The Playboy of the Western World. Fay was soon earning more playing traditional music than in his day job.
Garech Browne, a member of the Guinness family and founder of Claddagh Records, asks Moloney to record some traditional Irish music. Moloney brings in Fay, Potts and Michael Tubridy on flute, and uses a similar approach to arranging the tunes. Their eponymous album, The Chieftains, is released in 1964, before they first perform in public. The success of this new approach to traditional Irish music leads to radio and television work, and they attract celebrity fans. Browne is a great thrower of parties, where the guests included Jagger, Princess Grace of Monaco, Peter O’Toole and Sean Connery, with The Chieftains invariably playing through the night.
By 1968, Moloney is working full time for Claddagh Records, and when he, Potts and Fay are offered a recording contract by a rival company, Gael Linn, Moloney refuses to sign. Potts and Fay believe that their future lay with Gael Linn, and they leave The Chieftains, only to return a year later. In the meantime, Seán Keane has joined to play fiddle, but on Fay’s return the pair work well together.
The Chieftains’ popularity is extending far beyond folk enthusiasts, but they are still playing only in their spare time. That changes in 1975 when they provide music for the Oscar-winning score of Stanley Kubrick‘s film Barry Lyndon and the promoter Jo Lustig books the group into the Royal Albert Hall in London on St. Patrick’s Day. The sell-out concert is a triumph, and Fay and his fellow Chieftains finally give up their day jobs.
The relentless international touring takes its toll on band members with young families, and Tubridy and Potts leave, to be replaced by the flautist Matt Molloy. Fay is happy to continue. A reserved and modest man with a great sense of humour, he is unfazed by the pressures of extensive touring. He is the only Chieftain not to be racked by nerves when playing to well over a million people at Phoenix Park during Pope John Paul II‘s visit to Dublin in 1979.
Although he has a classical training, Fay has a natural understanding of traditional music. He is a master of changing the mood at Chieftains concerts from the lively onstage parties to a more tranquil atmosphere, through his emotional interpretations of the slow airs. In total, Fay records more than 30 albums with the group before he withdraws from touring in 2001 and retires altogether in 2002.
Martin Fay dies in Cabra, Dublin, on November 14, 2012, after a lengthy illness.
Bloody Sunday takes place in London on November 13, 1887, when a march against unemployment and coercion in Ireland, as well as demanding the release of Member of Parliament (MP) William O’Brien, is attacked by the Metropolitan Police Service and the British Army. The demonstration is organised by the Social Democratic Federation (SDF) and the Irish National League. Violent clashes take place between the police and demonstrators, many “armed with iron bars, knives, pokers and gas pipes.” A contemporary report notes that 400 are arrested and 75 persons are badly injured, including many police, two policemen being stabbed, and one protester bayonetted.
The Long Depression, starting in 1873 and lasting almost to the end of the century, creates difficult social conditions in Britain, similar to the economic problems that drive rural agitation in Ireland. Falling food prices create rural unemployment, which results in both emigration and internal migration. Workers move to the towns and cities in thousands, eroding employment, wages and working conditions. By November 1887, unemployed workers’ demonstrations from the East End of London have been building up for more than two years. There have already been clashes with the police and with the members of upper-class clubs. Trafalgar Square is seen symbolically as the point at which the working-class East End meets the upper-class West End of London, a focus of class conflict and an obvious flashpoint.
This attracts the attention of the small but growing socialist movement – the Marxists of both the Social Democratic Federation and Socialist League, and the reformist socialists of the Fabian Society. Police and government attempt to suppress or divert the demonstrations also bring in the radical wing of the Liberal Party and free speech activists from the National Secular Society.
Some 30,000 persons encircle Trafalgar Square as at least 10,000 protesters march in from several different directions, led by Elizabeth Reynolds, John Burns, William Morris, Annie Besant and Robert Bontine Cunninghame Graham, who are primarily leaders of the Social Democratic Federation. Also marching are the Fabian playwright George Bernard Shaw and Charlotte Wilson. Two thousand police and 400 troops are deployed to halt the demonstration. Burns and Cunninghame Graham are arrested and imprisoned for six weeks. Annie Besant, who is a Marxist, Fabian and secularist, speaks at the rally and offers herself for arrest, but the police decline to do so. Of the 400 arrested, 50 are detained in custody.
In the fighting, many rioters are injured by police truncheons and under the hooves of police horses. There are both infantry and cavalry present. Although the infantry is marched into position with bayonets fixed, they are not ordered to open fire and the cavalry are not ordered to draw their swords.
The following Sunday, November 20, sees another demonstration and more casualties. According to a report in the partisan Socialist Review, among them is a young clerk named Alfred Linnell, who is run down by a police horse, dying in hospital a fortnight later from complications of a shattered thigh.
The funeral of Linnell on December 18 provides another focus for the unemployed and Irish movements. William Morris, leader of the Socialist League, gives the main speech and advocates a holy war to prevent London from being turned into a huge prison. A smaller but similar event marks the burial of another of those killed, W. B. Curner, which takes place in January. The release of those imprisoned is celebrated on February 20, 1888, with a large public meeting. Henry Hyndman, leader of the SDF, violently denounces the Liberal Party and the Radicals who are present.
(Pictured: Bloody Sunday, 1887. This engraving from The Illustrated London News depicts a policeman being clubbed by a demonstrator as he wrests a banner from a female protester.)
seamus dubhghaill 