Between 1959 and 1977, Trimble is professor of accompaniment and musicianship at the Royal College of Music.
Trimble’s compositional career spans two decades, producing works such as Buttermilk Point (1938), The Heather Glen (1949), Phantasy for Piano Trio (1940), and the suite Ulster Airs (1939–40). In 1957, she makes a notable mark by composing Blind Raftery, the first new opera by a woman to be broadcast on BBC Television.
Later in life, Trimble inherits her father’s newspaper, becoming its proprietor and editor, and takes up composition again in 1990 when commissioned for her 75th birthday. She dies in Enniskillen on August 6, 2000, at the age of 85, two weeks after the death of her husband. She is remembered for her contributions to Irish music, her skill as a pianist, and her role in preserving her family’s legacy in both the arts and journalism.
In 2002, the Joan Trimble Awards Scheme is established by her family in her memory, and administered by the Fermanagh Trust “in recognition of her lifelong commitment to County Fermanagh.” The purpose of the scheme is to encourage and support the involvement of young people in creativity, the performing arts and Irish culture, and to provide bursaries for training and education.
In 2012, Fermanagh County Museum stages an exhibition titled “Buttermilk Point: The Musical Life of Joan Trimble, 1915–2000.”
On June 18, 2015, “Music in Fermanagh” presents A Celebration Concert as part of the Joan Trimble Centenary Celebration at the Ardhowen Theatre in Enniskillen.
Parry is born c. 1599 in Madyn Dyswy, Amlwch, Anglesey, Wales, the son of Rhys Parry, a merchant of Newry, County Down. The name of his mother is disputed. His siblings are Arthur, Grace and Magdalen. He is educated in Newry. In 1616, he enrolls as a student of Trinity College Dublin (TCD) where he graduates with a BA in 1620. He obtains his MA there in 1623 and a fellowship on November 24, 1624. In 1630 he graduates as a Doctor of Divinity and later becomes Pro-Vice-Chancellor of the college.
In Anglican politics Parry is regarded as a Laudian. In 1627, he is appointed Prebendary of Tipperkevin, a living belonging to St Patrick’s Cathedral, Dublin. In 1630, he is Incumbent of St. Bride’s Church, Dublin, where several of his children are baptised. In 1634, he is made Treasurer of Christ Church Cathedral, Dublin and chaplain to Lancelot Bulkeley, Archbishop of Dublin. In 1635, he is appointed one of the High Commission for Ecclesiastical Causes. In 1636, he is appointed Prebendary of Stagonyl, another living belonging to St Patrick’s Cathedral, Dublin. By patent dated April 28, he is presented to St. Olave’s in Waterford where he is installed on May 11, but is also licensed to hold his other preferments at the same time. In 1640, he resigns from St. Olave’s and is appointed Dean of Lismore, County Waterford. Some of the Deanery lands had been seized by Richard Boyle, 1st Earl of Cork and Parry tries to get them back but fails. His successor as Dean of Lismore is his first cousin, Robert Parry. In 1643, he is Archdeacon of Glendalough, County Wicklow.
On December 29, 1646, King Charles I of England in a letter states he favours Parry for the See of the Diocese of Killaloe, County Clare. On March 20, 1647, a patent is issued confirming his appointment as Bishop of Killaloe and he is consecrated at Christ Church Cathedral, Dublin, on March 28, 1647, by Lancelot Bulkeley, Archbishop of Dublin, assisted by the Bishops of Kildare and Cloyne. However, as this is in the middle of the Irish Rebellion he was unable to travel to his diocese and remains in Dublin, where he resides in Chichester House, St. Stephen’s Street, which later houses the Parliament of Ireland. In the Hearth Money Rolls the house is assessed for eight hearths so is quite large. On July 9, 1647, he signs the petition of the clergy praying to be allowed the use of the Liturgy, then abolished by order of the commissioners under Oliver Cromwell. On account of his good character and the smallness of the revenues of Killaloe, the King permits him to hold his former preferments in commendam.
Parry marries the daughter of John Price and by her has six children, who are John Parry, Bishop of Ossory, Benjamin Parry, Bishop of Ossory, Edward Parry, Robert Parry, Mary Parry who marries John Bulkeley, and Elinor Parry who is a love and correspondent of John Locke and later marries Richard Hawkshaw.
Parry dies in his house in St. Stephen’s Street on July 20, 1650, at the age of 51, after contracting the plague which rages there, and is buried in St. Audoen’s Church, Dublin. His will dated July 17, 1650, is proved in the Prerogative Court, Dublin. Its terms are: (1) his body is to be interred in St. Audeon’s Church near the doors, with his face to the east, where he also desires the body of his wife to be translated, and laid by his side, (2) he gives to his eldest daughter, Mary Parry, alias Bulkeley, a little silver watch, and her mother’s dear-head ring, (3) to his other daughter “Eleynor Parry” other ornaments that belonged to her mother, (4) to his sister “Madelius Evans” five pounds, (5) to other beneficiaries are given legacies out of the fifty pounds due to him by William Usher, (6) to his cousin, Robert Parry, he leaves his lexicon and other books, (7) to his cousin, Richard Parry, he leaves a gold ring, (8) to his cousin, Mary Parry, wife of Richard, he leaves a money legacy, and (9) he appoints his cousin, Robert Parry, as overseer of his will.
Parry writes a book entitled David restored; or an Antidote against the Prosperity of the Wicked, and the Afflictions of the Just, which is a sermon on the seventy-third Psalm. This is afterward published by his son, John Parry at Oxford in 1660. This work contains an engraved portrait of Edward Parry (above).
(Pictured: An engraved portrait by John Dickson of Dr. Edward Parry, Bishop of Killaloe, from a book authored by the bishop entitled “David restored; or an Antidote against the Prosperity of the Wicked, and the Afflictions of the Just”, published at Oxford in 1660.)
Sheridan begins exhibiting in the late 1950s, participating in the annual Living Art exhibitions and the Biennale de Paris in 1960. He wins the Carroll Prize for Painting in 1965 and 1969. Initially focused on abstract landscapes, his work evolves to include conceptual, performance, and installation art, integrating multimedia elements. Notable works include Everybody Should Get Stones (1975) and On Reflection (2001).
Sheridan is also deeply engaged in the international art scene. He represents Ireland at the 1962 UNESCO Convention of Young Painters in Paris and contributes to avant-garde movements in Australia, including serving as the first Professor of Conceptual Arts in Sydney during the 1970s. He directs the Experimental Art Foundation in Adelaide from 1975 to 1980, introducing experimental and post-object art to Australian audiences.
From 1980 to 2002, Sheridan serves as Director of the National College of Art and Design (NCAD) in Dublin, with a four-year hiatus to direct the Perth Institute of Contemporary Arts in Australia. His leadership shapes art education in Ireland and helps modernize institutional structures, curricula, and multimedia practices.
Sheridan is also a member of Aosdána, an elite Irish association of artists, and a committee member of Rosc, an important art exhibition initiative in Ireland.
Sheridan’s early works consist of abstract and lyrical landscapes, which later expand to include conceptual and performance art, often engaging audience participation and multimedia formats. He is known for his wit, charisma, and generosity as both a teacher and an arts administrator, influencing a generation of artists in Ireland and Australia.
Sheridan’s art is represented in major institutions, including the Irish Museum of Modern Art and the Centro de Arte Moderna Gulbenkian in Lisbon, with numerous works having been sold at auction, achieving prices up to $7,624 USD for pieces like Window. Retrospectives of his work are held at the Royal Hibernian Academy in Dublin in 2001, accompanied by publications that compile his artistic philosophy and contributions.
Sheridan is married to Liz Murphy, and they have five children. His commitment to both art and education continues throughout his life until he dies on July 12, 2006, in Perth, Western Australia. Paul Durcan writes a poem in his honour after his death.
In summary, Sheridan’s career spans painting, performance, installation, and education. His innovative approach, international influence, and dedication to teaching and institutional development mark him as a pivotal figure in postwar and contemporary Irish art.
Mathew’s family spends time abroad while his father manages business interests. He comes from a Roman Catholic family. His uncle is Theobald Mathew, the famous temperance campaigner. At the age of fifteen, he enters Trinity College Dublin (TCD), where he excels as a gold medalist and senior moderator, graduating in 1850. He then studies law at Lincoln’s Inn, London, and is called to the English Bar in 1851, building a strong foundation for a legal career despite a slow start at the junior bar.
Initially, Mathew’s legal career progresses slowly, though he is active in debating as a founding member of the Hardwicke Society. He handles numerous jury cases at the Guildhall sittings in London, where he gains experience in commercial law. He becomes treasury counsel during the Tichborne Claimant prosecution in 1873, noted for his composed handling of arguments without quarrel with opposing counsel. Despite opportunities, he refrains from applying for Queen’s Counsel due to a naturally weak voice, though his legal acumen and advocacy are highly respected.
In March 1881, Mathew is appointed to the Queen’s Bench Division of the High Court of Justice and is knighted. He becomes known for his keen judgment, practical approach to legal issues, and eventual standing as one of the best nisi prius judges of his time. In 1895, he persuades fellow judges to establish a Commercial List, the precursor to today’s Commercial Court, and serves as the first judge presiding over it. He advances efficiency in commercial law by minimizing procedural delays, focusing on substantive issues, and producing concise judgments that inspire confidence in the mercantile community.
Mathew also chairs a 1892 royal commission on the evicted tenants in Ireland, despite challenges and disputes with landlords and Edward Carson. His recommendations influence the Wyndham Land Purchase Act (1903). In 1901, he is appointed to the Court of Appeal and continues to emphasize clarity and practicality in legal proceedings until a stroke in 1905 forces his resignation.
Mathew marries Elizabeth Biron in December 1861, with whom he has two sons and three daughters. His family includes notable figures, such as his daughter Elizabeth, who marries Irish MPJohn Dillon, and his grandson, James Matthew Dillon, a later politician. He has a deep cultural appreciation, enjoying music and literature, and maintains friendships across religious and political divides.
Mathew dies on November 9, 1908, at his London home, aged 78. He is buried in St. Joseph’s Cemetery, Cork. His legacy is most strongly associated with founding the Commercial Court, reforming commercial law procedures, and demonstrating a balanced mixture of legal rigor and practical common sense that influenced generations of judges and barristers. His contributions remain a cornerstone in the evolution of modern English and Welsh commercial law.
Todd is born in Rathfarnham, on April 23, 1805. He is noted for his efforts to place religious disagreements on a rational historical footing, for his advocacy of a liberal form of Protestantism, and for his endeavours as an educator, librarian, and scholar in Irish history.
Todd is the son of Charles Hawkes Todd, a professor of surgery, and Eliza Bentley, and is the oldest of fifteen children. Noted physician Robert Bentley Todd is among his younger brothers. His father dies a year after he receives a BA from Trinity College Dublin (TCD) in 1825, diminishing his prospects for success. However, he is able to remain at the college by tutoring and editing a church periodical.
Todd obtains a premium in 1829, and two years later is elected Fellow, taking deacon’s orders in the same year. From that time until 1850, when he becomes a Senior Fellow, he is among the most popular tutors in TCD.
Todd takes priest’s orders in 1832. He begins publishing in earnest, including papers on John Wycliffe, church history, and the religious questions of his day. He is Donnellan Lecturer in 1838 and 1839, publishing works related to the Antichrist in which he opposes the views of the more extreme of his co-religionists who apply this term to the Roman Catholicism and the Pope. In 1840 he graduates Doctor of Divinity.
In 1837, Todd is installed Treasurer at St. Patrick’s Cathedral in Dublin and becomes Precentor in 1864. His style of preaching is described as simple and lucid, and his sermons interesting. He co-founds Saint Columba’s College in 1843, a school which promotes the Irish language for those who intend to take orders, as well as promoting the principles of the Church of Ireland.
In 1849, Todd is made Regius Professor of Hebrew at Trinity, and a Senior Fellow the following year. In 1852, he is appointed Librarian, and working alongside John O’Donovan and Eugene O’Curry, he classifies and arranges the collection of manuscripts. When his office receives money, he spends it on the acquisition of manuscripts and rare books, and he deserves much credit for the library’s high ranking as one of the chief libraries of Europe.
Todd’s secular achievements are no less remarkable. In 1840, he co-founds the Irish Archaeological Society and acts as its honorary secretary. He is elected a member of the Royal Irish Academy (RIA) and strives actively to acquire transcripts and accurate accounts of Irish manuscripts from foreign libraries. He is honorary secretary from 1847 to 1855, and president from 1856 to 1861. In 1860, he is given an ad eundem degree at the University of Oxford.
Todd is a notable person among notable people. His work is widely respected and cited. Among his friends and acquaintances are lawyer and poet Sir Samuel Ferguson, Conservative Member of Parliament (MP) and Roman Catholic convert Edwin Wyndham-Quin, fellow historian William Reeves, artist Sir George Petrie, and the Stokes family (physician father William, future lawyer and Celticist son Whitley, and future antiquarian daughter Margaret).
Todd dies at his home in Rathfarnham on June 28, 1869, and is buried in the churchyard of St. Patrick’s Cathedral.
Stoney is the younger son of George Stoney and Anne Blood, second daughter of Bindon Blood of Cranagher and Rockforest, County Clare. His brother is the physicistGeorge Johnstone Stoney, known for coining the term electron for the fundamental unit of electricity. He is also the uncle of another Irish physicist George Francis FitzGerald, the son of his sister Anne Frances. His nieces are Edith Anne Stoney, a pioneer medical physicist, and Florence Stoney, the first female radiologist in the United Kingdom. Both serve in hospitals near the front line during World War I.
Stoney is privately educated at home while his father’s properties lose value in the post-Napoleonic depression and are sold during the famine of 1845–49. He then attends Trinity College Dublin (TCD), where in 1850 he obtains his BA and a diploma in civil engineering with distinction. He marries Susannah Frances Walker on October 7, 1879; they have four children.
Bindon’s career in engineering commences when he works on surveys for the Aranjuez to Almansa railway in Spain from 1852 to 1853. Upon returning to Ireland in 1854, he is appointed as resident engineer under James Barton on the Boyne railway viaduct until its completion in 1855. This viaduct claims to have the longest span in the world and has the world’s longest girders at the time.
Bindon’s groundbreaking work building a metal bridge with a span of such dimensions using shock-absorbent wrought-iron latticed bars instead of a continuity of plate with Barton is possibly the first of its kind. It is the basis for his later two-volume publication The theory of strains in girders and similar structures, with observations on the strength and other properties of materials (1866), nicknamed “Stoney on strains” and reproduced in two further editions.
Bindon becomes an associate of the Institution of Civil Engineers (ICE) in January 1858 and a full member in November 1863.
In 1856, Bindon is appointed as assistant engineer to George Halpin, Jr. at the Ballast Board on Westmoreland Street and in 1859 he is appointed as Executive Engineer. He is ambitious and an engineering innovator who comes up with a cheap way to develop the Dublin Port – something appreciated by the board but they also do not want to upset Halpin. When Halpin retires, Stoney becomes the new inspector of works and in 1868, becomes the first chief engineer of the newly constituted Dublin Port and Docks Board.
Bindon designs a large dredging plant and rebuilds nearly 7,000 feet of quay walls along both north and south banks of the River Liffey, replacing the tidal berths by deep water berths. Additionally, the northern quays are lengthened eastward and the formation of Alexandra Basin begins in 1871 and is partially completed by 1885. In addition to harbour works, he is in charge of the design and construction of two major bridges that cross the River Liffey. In 1872–1875 he largely rebuilds Essex Bridge, designed in the 1750s by George Semple to his own flamboyant design. It is renamed Grattan Bridge after Henry Grattan. In 1877–80 he redesigns the 1790s Carlisle Bridge of James Gandon, renamed O’Connell Bridge after Daniel O’Connell, to provide a crossing linking Sackville (later O’Connell) Street with the converging streets to the south. He builds a new iron swing bridge in 1877–1879, just west of The Custom House named Beresford Bridge.
Stoney invents a diving bell, and means to use precast concrete. Toward the end of his career, he erects the North Bull Lighthouse (1877–80) to replace the inadequate light on the Bull Wall marking the northern side of the Dublin port channel entrance opposite Poolbeg Lighthouse before finally retiring in 1898.
Gwynn excels academically as well as on the sporting field. The most outgoing of the Gwynn brothers at Trinity College, he cuts a handsome and dashing figure. He graduates from Trinity College in 1896, taking a double first in his finals.
Gwynn makes his debut for Ireland in a match against W. H. Laverton’s XI, scoring one run in the only Irish innings. The following year, he plays twice for Ireland, against I Zingari and South Africa. He scores 62 in the second innings against South Africa, his top score for Ireland.
May 1895 sees Gwynn make his first-class debut, playing for Dublin University against the Marylebone Cricket Club on May 20. This is followed three days later by a match for Ireland against the same opponents. He plays three further first-class matches that year, two against Cambridge University and one against Leicestershire. He scores 130 in the final match against Cambridge University, his highest first-class score.
In all matches for Ireland, Gwynn scores 220 runs at an average of 36.67. He takes six catches and one stumping.
After completing the induction course for the Indian Civil Service in the autumn of 1897, Gwynn travels to Burma for his first tour of duty. Tragically his promising career comes to an abrupt end a few months later. He dies in Rangoon of septicemia resulting from a tooth infection on February 14, 1898.
Yelverton is the eldest son of Francis Yelverton of Kanturk, County Cork, and Elizabeth Barry, daughter of Jonas Barry of Kilbrin (now Ballyclogh, County Cork). His father dies when he is only ten. His mother reaches a great age, dying only a year before her son. He goes to school in Charleville and Midleton College, and attends Trinity College Dublin, where he takes a degree of Bachelor of Arts in 1757 and of Bachelor of Laws in 1761. His family lacks wealth and social position and he is for some years an assistant master under Andrew Buck in the Hibernian Academy. This menial occupation is later a source of great embarrassment to him, as his enemies love to ridicule him as “Buck’s usher.”
In 1761, Yelverton marries Mary Nugent, daughter of William Nugent of Clonlost, County Westmeath, and his wife Ursula Aglionby, a lady of some fortune, and is thus enabled to read for the Irish Bar, entering the Middle Temple. He is called to the Bar in 1764. Despite his lack of family connections, his success in his profession is rapid, due to his legal ability, charm and remarkable eloquence, and he takes silk eight years afterward.
Yelverton is elected to the Irish House of Commons as member for Donegal Borough from 1774 to 1776. In the latter year, he is elected for both Belfast and Carrickfergus. He chooses to sit for the latter constituency and represents Carrickfergus until 1784. Although few examples of his oratory survive, all contemporaries agree on his eloquence, which gives him a dominant position in the Commons. He also serves as Recorder of Carrickfergus from 1778 until his death. This is not a Crown appointment as the Recorder is elected by a vote of the entire town corporation.
Yelverton gives his support to Henry Grattan and the Whigs during the greater part of his parliamentary career. He is a strong supporter of the demand for an independent Irish Parliament, but later changes his stance.
Yelverton plays a crucial role in the reforms which are collectively called the Irish Constitution of 1782. In particular he sponsors the Act 21 and 22 of George III, An Act to regulate the manner of passing bills and to prevent delays in summoning of Parliaments – which is popularly known as “Yelverton’s Act.” This radically modifies Poynings’ Law of 1495 by which all legislation to be passed by the Irish Parliament has to be drafted by the Privy Council of Ireland, then sent to the English privy council for approval. Under Yelverton’s Act, the role of the Irish Privy Council is abolished and legislation is commenced in the normal way in the Irish Parliament, which for the last 17 years of its existence enjoys a wide measure of independence.
In his latter days, Yelverton becomes identified with the court party and votes for the Act of Union 1800, for which his viscounty is a reward. For this he is never forgiven by many of his former friends. Sir Jonah Barrington, who continues to regard Yelverton with affection and respect, regrets that this action should have destroyed his reputation forever, but he argues that such a mistake of judgment is understandable in a man who lacks worldly wisdom, and despite his many good qualities, does not have a strong moral sense.
Yelverton becomes Attorney-General for Ireland in 1782, and is elevated to the bench as Lord Chief Baron of the Irish Exchequer in 1783. He is created Baron Yelverton in 1795, and in 1800 Viscount Avonmore in the Peerage of Ireland. As Chief Baron, he leads the opposition to the proposal to increase the number of judges in each of the courts of common law from three to four, on the practical ground that four-judge courts often divide evenly and thus cannot reach an effective decision. Despite this common-sense view, the new judges are eventually appointed.
In 1797, Yelverton attains a degree of infamy for presiding over what is widely regarded as a “show trial” which leads to the execution of the United Irishman, William Orr, although he is said to have shed tears when passing the death sentence on Orr. Orr is charged with administering the United Irish oath to a soldier called Hugh Wheatly. This had recently become a capital offence. In fact, it is generally believed that another man, William McKeever, administered the oath. Wheatly, who is the principal witness for the prosecution, later confesses that he had perjured himself, but despite a superb defence by John Philpot Curran, Orr is found guilty and hanged. Yelverton may have formed an early impression of Orr’s guilt and acted on it – even his admirers admitted that as a judge he lacks impartiality.
Peter Finnerty, a journalist, is later convicted of seditious libel for publishing an attack on Yelverton over his conduct of Orr’s trial and this does nothing to enhance the judge’s reputation.
Yelverton dies on August 19, 1805, at his mansion, Fortfield House, Terenure, County Dublin, which he had built at great expense around 1785. He is buried nearby in Rathfarnham.
Synge is born on June 1, 1890, in south Dublin, to Edward Synge and Ellen Frances Price. He is familiarly known as “Hutchie.” He is the nephew of playwrightJohn Millington Synge and the older brother of distinguished mathematician and theoretical physicist John Lighton Synge who edits the collected works of Sir William Rowan Hamilton at Synge’s urging. He and brother John are great-great-great-grandsons of Irish bishopHugh Hamilton. He is also the uncle of the mathematician Cathleen Synge Morawetz. Throughout his life he is very physically active, pursuing walking, cycling, swimming and sailing. In his later life, he takes up painting and is quite good at it.
In 1908, Synge enters Trinity College Dublin (TCD) to study Mathematics and Old Irish. For three years he is a brilliant student and wins several prizes and a Foundation Scholarship in mathematics in 1910. At the end of his third year, he comes into an inheritance from his uncle John Millington Synge, and in 1913 he drops out of university.
Starting in 1928, with encouragement from Albert Einstein, Synge launches on a period of intense productivity during which he lays the foundation for new kinds of microscopes and telescopes. Nobody, including his famous brother John, appreciates his achievements at the time. His work is overlooked for decades, but is now better-known thanks to the book The Life and Works of Edward Hutchinson Synge published by Living Edition in 2012.
On April 22, 1928, Synge writes to Einstein about an idea he has for a new microscopic imaging method in which an optical field scattered from a tiny gold particle can be used as a radically new light source. Einstein replies that although Synge’s method appears essentially unworkable, the basic ideas seem correct and he should publish his research.
There follows a remarkable period from 1928 to 1932 in which Synge produces all of his key works which he publishes in the Dublin Philosophical Magazine and Journal of Science. Remarkably, he does all of this work alone, without a laboratory, and while living at his home in Dundrum in the suburbs of Dublin. By 1932 he has laid out the theory of the near-field microscope and his description is incredibly accurate.
The idea is ahead of its time. In 1956, a similar theory is developed by John A. O’Keefe and in 1972, Eric Ash gives the first experimental demonstration of the technique using electromagnetic radiation. It is not until Synge’s original papers re-emerge in the 1980s that his priority is finally recognised.
Synge proposes a design for very large astronomical telescopes, based on multiple mirrors, an idea realised much later in Tucson, Arizona, and elsewhere. He also invents a new kind of remote sensing technique using searchlights. Today this is known as Lidar and uses pulsed lasers.
According to the people who know him best, Synge suffers from what today would be called Asperger syndrome. Becoming increasingly socially isolated, he drops out of university in 1913 and works alone without any support from the academic community until all work stops in 1932. In 1936, he has a mental breakdown and is committed to a Dublin nursing home where he remains until his death on May 26, 1957. He is buried with his parents in Dublin’s Mount Jerome Cemetery, with only a few relatives attending. It is much later that his niece, Cathleen Synge Morawetz, arranges to have “Scientist and Inventor” inscribed on the gravestone.
Gannon is born on August 1, 1910, in Harold’s Cross, Dublin, into a craftsmen family of carpenters, many of whom worked in the famous Guinness Brewery. His education, in two local schools, is rudimentary and at the age of fifteen he starts working as an apprentice carpenter in the Guinness Brewery. His apprenticeship involves learning to make office furniture and attending evening classes in nearby colleges, where he is able to improve his education in a more congenial atmosphere. A love of music and the arts had been encouraged by two maiden aunts. His parents subsequently purchase an upright piano and he learns to play it at the Read Pianoforte School. When his apprenticeship is completed and he is on the dole for some years, he spends much of his spare time buying pictures, books, antiques and old clocks and watches in the various auction rooms and antique shops in Dublin.
While reading a series of articles about Tibet in a magazine, Gannon stumbles across an article, which, he believes, is by Violet Gordon-Woodhouse, a British harpsichordist and clavichord player of the period. The article is about the revival of the harpsichord, which interests him. He asks permission to examine the harpsichords on display in the National Museum of Ireland, Dublin, but is given no encouragement by the staff. He is finally allowed to see the instruments when he is in his early twenties. Dismayed, he concludes that they are too expensive to buy and too complicated to make.
In London with Margaret, who is visiting her parents, Gannon goes to the Benton Fletcher collection of keyboard instruments, which is then in Chelsea, and measures a harpsichord by Jacob and Abraham Kirckman. Back home, he makes a copy of the instrument in a tiny conservatory at the back of his house in the Dublin suburb of Rialto. The harpsichord is played by John S. Beckett for the first time in public in 1959 as the continuo for Johann Sebastian Bach‘s St. Matthew Passion and is praised in the national press. Beckett subsequently persuades the authorities in the Guinness Brewery to provide Gannon with a special workshop, in which he makes five harpsichords and restores several antique pianos. The first harpsichord made in the Brewery is donated to the Royal Irish Academy of Music in Dublin. The second is sold to Harrods of London, and the third is sold to Ireland’s national radio and television station RTÉ. This third instrument is used regularly by the RTÉ Symphony and Concert orchestras and also by the well-known composer and performer of Irish traditional music, Seán Ó Riada.
Gannon continues to make many more harpsichords and restore more pianos during the years to come. In all, he completes twenty harpsichords during his lifetime – the final four are completed by a friend, Patrick Horsley, in England. One of the harpsichords made by Gannon-Horsley returns to Ireland and is presented to NUI Maynooth. A piano of note that he restores is a Broadwood square piano owned by the poet and composer, Thomas Moore, which belonged to Lord and Lady Elveden (later Iveagh).
Gannon is the subject of several RTÉ radio programmes, three RTÉ television programmes (including The Late Late Show) and a television programme, Gallery, made by BBC Northern Ireland. He befriends a great many people, including the artist, writer and conservationist Peter Pearson, and regular musical evenings are held at the family home in Bryan Guinness‘s grounds in the suburbs of Dublin. Because of his interest in antique clocks and watches, he becomes a member of the Irish branch of the Antiquarian Horological Society, founded by his friend William Stuart.
In 1978, Trinity College Dublin (TCD) gives Gannon an honorary MA degree for his contribution to the authentic performance of early music in Ireland. Two years later, he is invited to travel with the New Irish Chamber Orchestra to China, where he tunes and maintains one of his harpsichords and celebrates his seventieth birthday. In 1989, a second honorary MA is given to him, this time by NUI Maynooth.
Following Gannon’s 80th birthday, which is attended by fifty people, he finally settles down to retirement. A series of minor strokes follow, which eventually lead to dementia and ultimately to his death, aged 88, on May 23, 1999.
The Cathal Gannon Early Music Room is opened in the Royal Irish Academy of Music in May 2003. It contains a harpsichord and clavichord made by Gannon, a Broadwood grand piano restored by him, and a square piano.
Part of a transmitted RTÉ programme, Nationwide (January 17, 2007), features archive footage of Gannon and his instruments. Three RTÉ radio programmes, Bowman: Sunday Morning, broadcast in November 2006, feature a 1983 interview with Gannon.
seamus dubhghaill 