Donoghue is the youngest of eight children, the daughter of Frances (née Rutledge) and academic and literary critic Denis Donoghue. She has a first-class honours Bachelor of Arts degree from University College Dublin (UCD) in English and French as well as a PhD in English from Girton College, Cambridge. While at Cambridge she lives in a women’s co-operative, an experience which inspires her short story “The Welcome.” Her thesis is on friendship between men and women in 18th-century fiction.
At Cambridge, she meets her future wife, Christine Roulston, a Canadian who is now professor of French and Women’s Studies at the University of Western Ontario. They move permanently to Canada in 1998 and Donoghue becomes a Canadian citizen in 2004. She lives in London, Ontario, with Roulston and their two children.
Donoghue has spoken of the importance of the writing of Emily Dickinson, of Jeanette Winterson‘s novel The Passion and Alan Garner‘s Red Shift in the development of her work. She says that she aims to be “industrious and unpretentious” about the process of writing, and that her working life has changed since having children.
Donoghue’s novels include Stir Fry (1994), a finalist for the Lambda Literary Award in 1994, Slammerkin (2000), a finalist in the 2001 Irish Times Irish Literature Prize for Fiction and winner of the 2002 Ferro-Grumley Award for Lesbian Fiction, Landing (2007), The Sealed Letter (2008), joint winner of the 2009 Lambda Literary Award for Lesbian Fiction, Room (2010), winner of the Irish Book Award 2010, Frog Music (2014), The Wonder (2016), shortlisted for the Scotiabank Giller Prize, Akin (2019), The Pull of the Stars (2020), longlisted for the Giller Prize in 2020, and Haven (2022).
O’Shannon first becomes a journalist with The Irish Times on leaving the RAF in 1947. Later he joins the Irish state broadcasting service Raidió Teilifís Éireann (RTÉ).
In July 1972 O’Shannon records a notable television interview with 31-year-old Muhammad Ali, when Ali is in Dublin to compete at Croke Park in a bout with Alvin Lewis.
O’Shannon receives a Jacob’s Award for his 1976 TV documentary, Even the Olives are Bleeding, which details the activities of the “Connolly Column” in the Spanish Civil War. Two years later he is honoured with a second Jacob’s Award for his television biography Emmet Dalton Remembers (1978).
In 1978, O’Shannon leaves RTÉ to join Canadian company Alcan, which is setting up an aluminum plant at Aughinish, County Limerick, in 1978. He is head-hunted to become its Director of Public Affairs, an important post at a time when there are environmental concerns about the effects of aluminium production. He admits that he was attracted by the salary, “five times what RTÉ were paying me,” but he also later says that one of the reasons for the move is that he had become unhappy with working at RTÉ, stating in an interview that “The real reason I got out of RTÉ was that they wouldn’t let me do what I wanted to do journalistically.” He had submitted proposals to the station’s editors for a television documentary series on the Irish Civil War, and also one on the wartime Emergency period, but they had been rejected. While he enjoys the social life with lavish expenses which his public relations duties involve, his friends believe that he missed the varied life and travel of journalism. He retires early from Aughinish in 1992 and returns to making television documentaries with RTÉ.
O’Shannon announces his retirement at the age of 80 on January 12, 2007.
O’Shannon is awarded lifetime membership in the Irish Film & Television Academy in 2010, to which he says is “particularly gratifying that it occurs before I pop my clogs.”
After weakening health for two years, and spending his last days in hospice at Blackrock, O’Shannon dies at the Beacon Hospital in Dublin on October 22, 2011. His body is reposed at Fanagans Funeral Home in Dublin on October 25, 2011, followed by a funeral the following day at Glasnevin Cemetery Chapel, where it is afterwards cremated.
O’Shannon’s wife, Patsy, whom he met while they were working for The Irish Times office in London, dies in 2006. They are married for more than 50 years. In a 2008 television documentary O’Shannon admits that throughout his marriage he had been a serial womaniser, who had repeatedly engaged in extra-marital affairs unbeknownst to his wife.
Director-General of RTÉNoel Curran says O’Shannon had brought into being “some of the great moments in the RTÉ documentary and factual schedule over the past five decades.” In tribute, RTÉ One shows the documentary Cathal O’Shannon: Telling Tales on November 10, 2011. It had originally aired in 2008 to mark his 80th birthday.
Susan Jane Denham, SC (née Gageby), Irish judge who is the first woman to hold the position of Chief Justice of Ireland (2011-17), is born in Dublin on August 22, 1945. She serves as a Judge of the Supreme Court of Ireland (1992-2017) and is the longest-serving member of the court on her retirement. She also serves as a Judge of the High Court (1991-92).
Gageby is called to the bar in July 1971 and becomes a Senior Counsel in October 1987. She is the fourth woman to enter the Inner Bar. She becomes a senior counsel on the same day as future Supreme Court colleague Mary Laffoy. She works on the Midland circuit until 1979, following which she is based in Dublin. She is involved in a number of leading cases while a junior barrister and a Senior Counsel particularly in the area of judicial review. She becomes a High Court judge in 1991.
Gageby marries paediatrician Dr. Brian Denham in 1992. Also in 1992, at the age of 47, Denham is the first woman appointed to the Supreme Court. She is considered for appointment to the role of President of the High Court in 1994 but declines to have her name put forward. She makes two dissents early on in her period on the Court. Throughout her tenure as a judge, she is seen by commentators to be a “liberal” judge.
In Kelly v Hennessy in 1996, Denham outlines criteria for a court to consider the evidence of the existence of nervous shock in Ireland. In 2001, she is the sole member of the Supreme Court to dissent in TD v Minister for Education. The court overturns a decision of Peter Kelly in the High Court to direct the government to build secure care units for certain children.
From 1995 to 1998, Denham chairs the Working Group on a Courts Commission, which is responsible for a significant reform of the organisation of the courts since the foundation of the state. It leads to the establishment of the Courts Service. She is on the Interim Board of the Court Service and serves on the Board of the Court Service from its inception and chairs the board from 2001 to 2004. She chairs the Committee on Court Practice and Procedure which recommends in 2002 the establishment of a commercial court within the High Court.
From 2006, Denham chairs the Working Group on a Court of Appeal. The report of the group is published by the government in August 2009 and recommends the establishment of a general Court of Appeal. This is ultimately established in 2014, after a referendum in 2013.
Denham writes the judgment in McD v. L (2009), upholding the parental rights of a sperm donor.
On July 4, 2011, Denham is nominated by TaoiseachEnda Kenny to become Chief Justice of Ireland and is appointed as Chief Justice by PresidentMary McAleese on July 25, 2011. She is the first woman appointed to the office and as a member of the Church of Ireland, she is the first non-Catholic to hold the position. She is also the first graduate of Trinity College Dublin to have been appointed as Chief Justices have largely been graduates of University College Dublin. She succeeds John L. Murray.
During Denham’s tenure as Chief Justice, the Supreme Court issues suspended declarations of unconstitutionality for the first time. The possibility to delay the effect of a court declaration that a piece of legislation is contrary to the Constitution is first explored by Denham in A v Governor of Arbour Hill Prison. The court first adopts this approach in N.V.H. v Minister for Justice & Equality in May 2017.
As Chief Justice, Denham oversees changes in the operations of the Supreme Court and the courts generally. She oversees the removal of the requirement for judges to wear wigs while hearing cases. In 2015, the Supreme Court sits outside Dublin for the first time since 1931, sitting in Cork. She corresponds with the Office of Public Works over the lack of heating in the Four Courts, threatening to cancel sittings if the issue is not resolved. She advocates for the inclusion of a new courtroom for the Supreme Court in plans to develop a new family court complex on Hammond Lane.
In her capacity as Chief Justice, Denham oversees the administration of the Presidential Declaration of Office at the inauguration of President Michael D. Higgins in Dublin Castle in November 2011.
Denham retires from the position in July 2017 and is succeeded by Judge Frank Clarke. She is the third-longest serving Supreme Court judge ever at the time of her retirement. In her remarks on her retirement, she draws attention to the government’s failure to institute a judicial council, having first attempted to persuade the government to establish one in 1997.
In 2019, Denham is made an honorary fellow of Trinity College Dublin, where she was a Pro-Chancellor from 1996-2010.
The Courts Service announces on August 24, 2020, that the Supreme Court has appointed Denham to review the attendance of Supreme Court judge Séamus Woulfe at a dinner organised by the Oireachtas Golf Society. She is appointed on a non-statutory basis as the relevant section in the Judicial Council Act 2019 on judicial conduct has not yet been commenced.
O’Neill is born Mary Devenport, the daughter of Royal Irish Constabulary (RIC) sub-constable, John Devenport, and his wife Bridget (née Burke). She attends the Dominican convent, Eccles Street, Dublin before enrolling in the Metropolitan School of Art from 1898 to 1903. In 1900 she wins the year’s prize in the School of Art. She apparently considers teaching as a career, as she is listed on the college register as a teacher in training from 1901 to 1903. It is while an art student that she starts to correspond with the writer she admires, Joseph O’Neill. Their relationship develops, and the couple marries on June 19, 1908, settling in Kenilworth Square, Dublin.
Many of O’Neill’s husband’s friends disapprove of her modern and unconventional ideas, but she is popular with “the Rathgar Group” who attends George Russell’s Sunday salons. After a few years, she establishes her own salon referred to as “Thursdays at home,” attended by Russell, Padraic Colum, W. B. Yeats, Richard Irvine Best, Frank O’Connor, Francis Stuart and Iseult Gonne. She becomes particularly close to Yeats, who she confides in. Yeats records their weekly consultations in his diary while working on A Vision (1925). In his Oxford anthology of English verse from 1936, he includes one of O’Neill’s poems. In 1917, she contributes lyrics to her husband’s play The Kingdom Maker. She publishes her only book in 1929, Prometheus and other poems. After this she occasionally contributes primarily modernist plays and poetry to The Dublin Magazine, The Irish Times and The Bell. She collaborates with Austin Clarke from the Lyric Theatre Company on her plays Bluebeard (1933) and Cain (1945).
O’Neill suffers with poor health, which sees her and her husband spending extended periods in the south of France and Switzerland. They sell their home in Dublin in August 1950 and move to Nice, with the intention of settling there. However, due to rapidly depleting finances they are forced to return to Ireland in April 1951. They rent a cottage in Wicklow from their friend Con Curran. When her husband dies in 1953, she goes to live with relatives in Dublin. She dies there in 1967.
In 1997, Wall wins the Patrick Kavanagh Poetry Award. He publishes his first collection of poetry that same year. His first novel, Alice Falling, a dark study of power and abuse in modern-day Ireland, appears in 2000. He is the author of four novels, two collections of poetry and one of short stories.
In 2005, This Is The Country appears. A broad attack on politics in “Celtic Tiger” Ireland, as well as a rite of passage novel, it is longlisted for the Man Booker Prize, and shortlisted for the Irish Book Awards. It can be read as a satirical allegory on corruption, the link between capitalism and liberal democracy exemplified in the ‘entrepreneurial’ activities of minor drug dealers and gangsters, and reflected in the architecture of business-parks and sink estates. This political writing takes the form of “an insightful and robust social conscience”, in the words of academic John Kenny. Kenny also focuses on what he sees as Wall’s “baneful take on the Irish family, his fundamentally anti-idyllic mood” which has “not entirely endeared Wall to the more misty-eyed among his readers at home or abroad.” The political is also in evidence in his second collection of poetry Fahrenheit Says Nothing To Me. He is not a member of Aosdána, the Irish organisation for writers and artists. In 2006, his first collection of short fiction, No Paradiso, appears. In 2017, he becomes the first European to win the Drue Heinz Literature Prize.
His provocative political blog, The Ice Moon, has increasingly featured harsh criticism of the Irish government over their handling of the economy, as well as reviews of mainly left-wing books and movies. Many of his posts are satirical. He occasionally writes for literary journals, writes for Irish Left Review, and reviews for The Irish Times. His work has been translated into several languages. He has also appeared on the Irish-language channel TG4, such as in the programme Cogar.
He is one of the Irish delegates at the European Writers Conference in Istanbul in 2010.
Described by writer Kate Atkinson as “lyrical and cruel and bold and with metaphors to die for,” critics have focused on Wall’s mastery of language, his gift for “linguistic compression,” his “poet’s gift for apposite, wry observation, dialogue and character,” his “unflinching frankness” and his “laser-like … dissection of human frailties,” which is counterbalanced by “the depth of feeling that Wall invests in his work.” A review of his first novel in The New Yorker declares “Wall, who is also a poet, writes prose so charged—at once lyrical and syncopated—that it’s as if Cavafy had decided to write about a violent Irish household.” In a recent review, his long poem “Job in Heathrow,” anthologised in The Forward Book of Poetry 2010 but originally published in The SHOp, is described as “a chilling airport dystopia.” Poet Fred Johnston suggests that Wall’s poetry sets out to “list the shelves of disillusion under which a thinking man can be buried.” For Philip Coleman, “Ghost Estate is a deeply political book, but it also articulates a profound interest in and engagement with questions of aesthetics and poetics.”
Wall is a longtime sufferer of adult-onset Still’s disease (AOSD) and describes his efforts to circumvent the disabling effects of the disease using speech-to-text applications as “a battle between me and the software.”
Potter is born in Belfast on September 22, 1918, to a Presbyterian family who, oddly, lives on the Falls Road, a republican (Catholic) stronghold. His father is a church organist and piano tuner who has been blind since childhood. His mother is, in Potter’s own words, “a raging alcoholic.” He escapes a rather grim childhood when he goes to live with an aunt in Kent, England.
Potter had already started composing chamber and vocal music before the war. Now, established in Dublin, he chooses the orchestra as his principal means of expression. His early pieces, such as Rhapsody under a High Sky and Overture to a Kitchen Comedy, show that he has absorbed Vaughan Williams’ pastoral style and his love of folk music. In 1952, both pieces are awarded Radio Éireann‘s “Carolan Prize” for orchestral composition by the adjudicatorArnold Bax. A year later Potter repeats this success when his Concerto da Chiesa, a concerto for piano and orchestra, also wins the Carolan Prize.
In 1955 Potter is appointed Professor of Composition at the Royal Irish Academy of Music, where he becomes an effective administrator and inspiring teacher.
In the 1960s, Potter turns to ballet, writing four orchestral scores for the Cork Ballet company. The first of these, Careless Love, becomes the composer’s own favourite of all his compositions. Several years later, following a successful battle with alcoholism, he writes what some regard as his magnum opus, Sinfonia “de Profundis” (1969). The première is given at the Gaiety Theatre, Dublin on March 23, 1969, in a performance by the RTÉ Symphony Orchestra under the baton of Albert Rosen. The Irish Times refers to the concert as a “major national event.” In December 1969, he receives a Jacob’s Award for the composition.
Potter’s last substantial work, an opera entitled The Wedding, receives its first public performance in Dublin in 1981, almost a year after his death.
Potter dies suddenly at his home in Greystones, County Wicklow on July 5, 1980, at the age of 61. He is buried in the nearby Redford cemetery.
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.
In 2006 Feeley completes a doctorate (Doctor of Philosophy in Music [Performance]) at Maynooth University, which involves a major thesis in three volumes with the title Classical Guitar Music by Irish Composers: Performing Editions and Critical Commentary.
Feeley is an enthusiastic champion of contemporary Irish music and in this capacity has commissioned works from many of Ireland’s leading composers including Seóirse Bodley, John Buckley, Jerome de Bromhead, Jane O’Leary, Brent Parker and Eric Sweeney. He also has a great interest in traditional Irish and Scottish music and has recorded with The Chieftains and published his own arrangements of traditional melodies.
Feeley has been described by The Washington Post as “Ireland’s leading classical guitarist” and by Michael Dervan in The Irish Times as “a trailblazer … when it comes to the guitar and guitar-playing in Ireland.”
Dan Breen and Seán Treacy rescue their comrade Seán Hogan from a Dublin-Cork train at Knocklong, County Limerick, on May 13, 1919, in what becomes known as the Knocklong Ambush. Two policemen guarding Hogan are killed.
One of the most famous photographs (left) of the Irish War of Independence (1919-21) is taken at Breen’s wedding in June 1921. Breen is already burnishing his reputation as the romantic guerilla campaigner three years before the publication of his bestselling autobiography My Fight for Irish Freedom. On his lap there is a Luger pistol, an incongruity in a wedding photograph, but in keeping with his penchant for self-mythologising. In the background on the left is his best man Hogan who is dressed in the uniform of the Irish Volunteers. Unlike Breen, he looks shy and awkward, his body tilted as if to convey how ill at ease with himself he is.
Had Hogan shown the same diffidence in May 1919, he might have saved himself and his comrades a great deal of trouble. He is the youngest of those involved in the Soloheadbeg ambush on January 21, 1919, the event that is viewed in retrospect as the event that starts the Irish War of Independence.
Hogan is only 18, according to most reports, but to date no birth certificate has been found for him. His youth may explain his lack of caution in early May 1919 when he slips his minder after a dance in Kilshenane, County Tipperary, and ends up, not in the arms of his sweetheart Bridie O’Keeffe, but in the embrace of the Royal Irish Constabulary (RIC). He escorts O’Keeffe back to her relative’s farmhouse where she is spending the night. He sleeps on the sofa. When he wakes up, the house is surrounded. He flees, but is picked up by the RIC in a laneway near the house. He, along with the others involved in the Soloheadbeg ambush, are the most wanted men in Ireland. He faces interrogation and possible execution.
The Knocklong ambush, which occurs on May 13, 1919, saves Hogan from such a fate, but it comes at a terrible price for all those involved. He is put on the 6:00 p.m. train from Thurles to Cork where he is due to be interrogated in the military prison. Knocklong Station, just over the border in County Limerick, is chosen as the place for the escape attempt because of its distance from the nearest RIC barracks.
Four volunteers of the Irish Republican Army (IRA) East Limerick Brigade get on the train at Emly in order to signal to the men waiting at Knocklong Station the carriage in which Hogan is being detained. He is being escorted to Cork by four RIC men. They face five volunteers, three of whom are armed. A ferocious gun battle ensues, lasting 14 minutes. Constable Michael Enright (30), from Ballyneety, County Limerick, is shot dead immediately.
Sgt. Peter Wallace and Treacy, another of those involved at Soloheadbeg, wrestle over Treacy’s gun. Wallace, who is a huge man, shoots Treacy in the throat before the gun is turned on Wallace, who later dies from his wounds. Hogan smashes his mangled chains in the head of another of his armed guards who is then thrown out of the window of the train. The last remaining guard picks up a rifle and opens fire on the IRA party through the carriage window wounding three volunteers waiting on the platform, including Breen. Hogan is taken immediately to a butcher’s shop where his chains are smashed with a cleaver, setting him free.
Knocklong becomes an exalted event in the iconography of Irish republicanism. At Soloheadbeg, eight armed and ready volunteers faced two unwary policemen. It was not a fair fight. Hogan’s rescue from the train at Knocklong demands organisation, courage and daring of the highest order.
Hogan continues to serve in the Irish War of Independence and on the anti-Treaty side in the Irish Civil War (1922-23). By the time hostilities cease in 1923, he is only 23, but has spent the previous five years in armed combat. The toll on his mind and body are huge. In 1924, he is admitted to St. Bricin’s Military Hospital suffering from “attacks of restlessness and depression – inability to concentrate his mind on anything.” His wife at the time, Christina, runs a nursing home in Tipperary, where her patients include many shellshocked Irish veterans of World War I. The couple later separates.
Hogan’s fortunes change with the change of government in 1932 bringing to power Fianna Fáil, a party which Hogan supports. He is given a job in the Board of Works, but his mental health continues to deteriorate. He complains of the “nerves and all the ailments that go with them.” His circumstances are such that he spends two years living in the family home of Séumas Robinson, the officer commanding at Soloheadbeg.
In early 2019, Robinson’s daughter, Dimphne Brennan, tells The Irish Times, “He had nowhere else to go. He never got over what happened. His nerves were shattered. We were all just kids and we didn’t disturb him in his room. He didn’t talk to us.”
Hogan dies on Christmas Eve 1968 from a cerebral hemorrhage and chronic bronchitis. At the funeral reception, his estranged widow supposedly tells a niece of Hogan, “Well, but wasn’t that some waste of a life.”
Hogan and Christina are buried 50 paces from each other in St. Michael’s Cemetery in Tipperary, divided in death as they were in life. Seán Hogan: His Life: A Troubled Journey, by John Connors, is published by Tipp Revolution.
(From: “Knocklong ambush, on May 13th, 1919 involved a 14-minute gun battle” by Ronan McGreevy, The Irish Times, http://www.irishtimes.com, May 20, 2019)
Siobhán Cleary, composer, is born in Dublin on May 10, 1970. Her most successful compositions are her orchestral works Alchemy and Cokaygne and her choral piece Theophilus Thistle and the Myth of Miss Muffett. Her opera Vampirella is first performed in Dublin in March 2017. She is a member of Aosdána.
Inspired by the alchemists’ Opus Alchymicum which describes how cheaper metals are transmuted into gold, Cleary’s orchestral work Alchemy (2001) is, like the stages in the Opus, presented in four parts: it evolves from the slow nigrendo, the moderate albedo, the strong citronatus, and the burning rubedo. The work is performed by the RTÉ National Symphony Orchestra in January 2002.
Cleary’s tone poem Cokaygne (2009), which, like Alchemy, is commissioned by RTÉ for the National Symphony Orchestra, is based on a poem and old sources which evoke a land of extreme luxury and contentment. The elaborately orchestrated piece is performed by the RTÉ National Symphony Orchestra in November 2009, Vladimir Altschuler conducting. It is performed by the RTÉ National Symphony Orchestra once again in June 2016, this time under the baton of Alan Buribayev.
Cleary’s choral work Theophilus Thistle and the Myth of Miss Muffett (2010), commissioned by the Cork International Choral Festival, is first performed in April 2011 by Chamber Choir Ireland directed by Paul Hillier. The work is based on a series of tongue twisters and other strange combinations of words popular in various European languages and dialects, moving from Italy, through Germany and Spain, finishing in Ireland. In 2013, it is performed twice by Chamber Choir Ireland in Dublin and Cork in connection with Ireland’s presidency of the European Union. The journalist and music critic Terry Blain comments on the choir’s “dazzingly virtuosic performance” in Belfast in 2013, qualifying the piece as “a tour de force of 21st century vocal chicanery, a clever and richly entertaining composition.” Theophilus Thistle is also performed the same year in the United States as part of the “Imagine Ireland” festival.
The chamber opera Vampirella with a libretto by Katy Hayes is first performed by students from the Royal Irish Academy of Music and the Lir National Academy of Dramatic Art at Dublin’s Smock Alley Theatre in March 2017. Based on a short story by Angela Carter telling how a young English soldier is seduced by a vampire countess, it is directed by Conor Hanratty and conducted by Andrew Synnott. Michael Dervan of The Irish Times finds the electronic sounds in the score particularly effective, commenting, “Perhaps this is a case of a genuinely electronic opera trying to break out of a more conventional mold.”
In 1996, Cleary receives a young artists award from Pépinières européennes pour jeunes artistes, followed in 1997 by the first prize in the Arklow Music Festival Composers’ Competition. In 2008, she is invited to become a member of Aosdána, an Irish association of creative artists.
seamus dubhghaill 