Seán Ó Riada, Irish composer and arranger of Irish traditional music, dies in London, England on October 3, 1971. Through his incorporation of modern and traditional techniques he becomes the single most influential figure in the revival of Irish traditional music during the 1960s.
Ó Riada’s career begins in 1954 as a music director at Radio Éireann, after which he works at the Abbey Theatre from 1955 to 1962. He lectures in music at University College Cork from 1963 until his death in 1971. He leaves a lasting influence as founder and director of the ensemble Ceoltóirí Chualann beginning in 1961. Ó Riada becomes a household name in Ireland through his participation in Ceoltóirí Chualann, compositions, writings, and broadcasts. His best-known pieces in the classical tradition include Nomos No. 1: Hercules Dux Ferrariae (1957), but he becomes particularly famous for his film scores Mise Éire (1959) and Saoirse? (1960).
In 1963 Ó Riada is appointed lecturer in music at University College Cork. He moves to Ballyvourney, and not Cúil Aodha (a common misconception) in West Cork, an Irish-speaking area, where he establishes Cór Chúil Aodha, a male voice choir.
He becomes involved in Irish politics and is a friend of several influential leaders. Ó Riada drinks regularly at a local pub which still advertises itself as being his local. He develops cirrhosis of the liver. He is flown to King’s College Hospital in London for treatment and dies there on October 3, 1971, two months after his 40th birthday. He is buried in St. Gobnait‘s graveyard, Baile Bhuirne, County Cork. Willie Clancy plays at his funeral.
Two schools are named “Scoil Uí Riada” after him – a Gaelscoil in Kilcock, County Kildare, and another in Bishopstown, Cork City. In 2008, a life-sized statue is erected in the grounds of Sépéil Naomh Gobnait, Cúil Aodha.
Born into a musical family, O’Connell is the third of four sisters. Her mother’s family owns Costello’s fish shop in Ennis where O’Connell works until music becomes her full-time career. She grows up listening to her mother’s light opera, opera, and parlour music records. Her father’s interest leans towards the rebel ballads. Despite the presence of classical music in the house, O’Connell gets very involved in the local folk club scene and together with Mike Hanrahan, who later fronts folk rock outfit Stockton’s Wing, they perform a country music set, as a duo called “Tumbleweed.”
O’Connell attends St. Joseph’s Secondary School in Spanish Point from 1971 to 1974, where she takes part in the school choir. She is also a member of the “Cúl Aodha Choir”, led by Peader Ó Riada, that sings at the funeral of Willie Clancy in 1973.
O’Connell begins her professional musical journey during a six-week tour of the United States in 1980, as vocalist for the traditionally-based Celtic group De Dannan. The following year, she is featured on the band’s landmark album, The Star Spangled Molly, which becomes something of a national phenomenon in her homeland. However, not long after joining the group she becomes very interested in the experimental roots music of America’s New Grass Revival when the bands’ paths cross. She moves to the United States in 1986, settling in Nashville, Tennessee. There she meets progressive bluegrass pioneers Béla Fleck and Jerry Douglas, with whom she works on most of her records.
O’Connell records her first solo album in 1983, however, it does not make any impact in Ireland or in the United States. She receives a Grammy Award nomination for her 1989 album, Helpless Heart, which is her first record released under Warner Bros. Records. Real Life Story (1990) and Blue is the Colour of Hope (1992) register a move toward a pop synthesis. Her versions of “Living in These Troubled Times” and Cheryl Wheeler‘s “Summerfly” become standout tracks on the 1993 album A Woman’s Heart, on four all-female overseas tours and on the 1994 follow-up album in her homeland. A Woman’s Heart Vol. 2 features her heartfelt renditions of Nanci Griffith‘s “Trouble in the Fields” and Gerry O’Beirne’s “Western Highway.” After numerous albums heavily inspired by American newgrass music, she returns to her Irish roots with the 1997 release Wandering Home.
As the new millennium approaches, O’Connell signs with Sugar Hill Records in late 2000 and begins working on her seventh album. Instead of working with her longtime producer Jerry Douglas, she has Ray Kennedy produce Walls and Windows, which is released in 2001, and features an eclectic collection of songs, including work by Kim Richey, Van Morrison, John Prine, Eric Clapton and Patty Griffin. Her 2004 album, Don’t I Know, contains musical textures added by everything from fiddles, to clavinets, to lap steel guitar and B-3 organ.
In addition to her solo work, O’Connell has collaborated with a number of Celtic, folk, pop and country artists, including Van Morrison, Brian Kennedy, Moya Brennan, Mary Black, John Prine, Jerry Douglas, Tim O’Brien, John Gorka, Béla Fleck, Robert Earl Keen, Dolly Parton and Shawn Colvin. She has also sung background vocals for a number of artists, including Van Morrison’s 1988 project with The Chieftains, Irish Heartbeat and Stockton’s Wing on Take A Chance.
Aside from the music world, Martin Scorsese casts O’Connell, scruffed up for the role, as an Irish migrant street singer in his 19th-century epic Gangs of New York, released in 2002.
O’Connell announces the end of her solo career in 2013.
Clancy is born into a musical family in the outskirts of Milltown Malbay, County Clare on December 24, 1918. His parents, Gilbert Clancy and Ellen Killeen, both sing and play concertina, and his father also plays the flute. Clancy’s father has been heavily influenced by local blind piper Garret Barry and passes much of Barry’s music on to Willie.
Clancy starts playing the tin whistle at age five, and later takes up the flute. He first sees a set of pipes in 1936 when he sees Johnny Doran playing locally. He obtains his first set of pipes two years later. His influences include Leo Rowsome, Séamus Ennis, John Potts and Andy Conroy. Clancy wins the Oireachtas competition in 1947. Unable to earn a living from music he emigrates to London where he works as a carpenter.
Returning to Milltown Malbay in 1957 he records some influential 78 rpm recordings for the Gael Linn label, among them the classic reel selection “The Old Bush/The Ravelled Hank of Yarn.” The next decades he stayed in Milltown Malbay. He marries Dóirín Healy in 1962.
Willie Clancy dies suddenly at the early age of 55 on January 24, 1973, leaving a great void. Cór Cúl Aodha sings at his funeral mass, just as Clancy had played at Seán Ó Riada’s funeral only a year earlier. Others who take part include Seán Ach Donnchadha, John Kelly and Séamus Ennis. His funeral cortege to Ballard Cemetery is led by pipers from the Tulla Pipe Band.
The Willie Clancy Summer School is established in his honour in 1973, by Clancy’s friends Junior Crehan, Martin Talty, Seán Reid, Paddy Malone, Paddy McMahon, Frankie McMahon, Jimmy Ward, JC Talty, Harry Hughes, Michael O Friel, Séamus Mac Mathúna and Muiris Ó Rócháin. He is also the subject of a major television documentary “Cérbh É? Willie Clancy” on TG4, first broadcast in November 2009. In this programme, one of a series in which major figures in contemporary traditional music, profile and pay homage to a master of their craft from a bygone age, Peter Browne traces the life and legacy of Clancy.
(Photo courtesy of Mick O’Connor, flute player and friend of Willie Clancy)
Clancy’s parents, Gilbert Clancy and Ellen Killeen, both sing and play concertina, and his father also plays the flute. Clancy’s father has been heavily influenced by local blind piper Garret Barry and passes much of Barry’s music on to his son.
Clancy starts playing the whistle at age five, and later takes up the flute. He first lays eyes on a set of pipes in 1936 when he sees Johnny Doran playing locally. He obtains his first set of pipes two years later. His influences include Leo Rowsome, Séamus Ennis, John Potts, and Andy Conroy. Clancy wins the Oireachtas competition in 1947. Unable to earn a living from music he emigrates to London where he works as a carpenter.
Returning to Milltown Malbay shortly after the death of his father in 1957, Clancy records some influential 78 rpm recordings for the Gael Linn label, among them the classic reel selection “The Old Bush/The Ravelled Hank of Yarn.” He develops a highly distinctive and individual style of piping. From 1957 until 1972 the Summer music sessions in the West Clare town become widely renowned, with Clancy as one of the main attractions. Pipe-making, reed-making, and all things connected with the instrument are explored and advanced by the Clancy influence. He gives many performances on both radio and television as well as live sessions in his local area.
He lives out the remainder of his life in Milltown Malbay. Clancy marries Dóirín Healy in 1962. He dies suddenly in a hospital in Galway on January 24, 1973, and is widely mourned among friends and musicians alike. He is buried in Ballard Cemetary just outside Miltown Malbay.
Later that year the Willie Clancy Summer School is established in his honour by his friends Junior Crehan, Martin Talty, Sean Reid, Paddy Malone, Paddy McMahon, Frankie McMahon, Jimmy Ward, JC Talty, Harry Hughes, Michael O Friel, Séamus Mac Mathúna, and Muiris Ó Rócháin. He is also the subject of a major television documentary “Cérbh É? Willie Clancy” on TG4, first broadcast in November 2009. In this programme, one of a series in which major figures in contemporary traditional music, profile and pay homage to a master of their craft from a bygone age, Peter Browne traces the life and legacy of Clancy.
A statue of Clancy is unveiled on November 9, 2013 on the Main Street in Miltown Malbay.
Seán Ó Riada, Irish composer and arranger of Irish traditional music, is born John Reidy in Cork City on August 1, 1931. Through his incorporation of modern and traditional techniques he becomes the single most influential figure in the revival of Irish traditional music during the 1960s.
Ó Riada’s career begins in 1954 as a music director at Radio Éireann, after which he works at the Abbey Theatre from 1955 to 1962. He lectures in music at University College Cork from 1963 until his death in 1971. He leaves a lasting influence as founder and director of the ensemble Ceoltóirí Chualann beginning in 1961. Ó Riada becomes a household name in Ireland through his participation in Ceoltóirí Chualann, compositions, writings, and broadcasts. His best-known pieces in the classical tradition include Nomos No. 1: Hercules Dux Ferrariae (1957), but he becomes particularly famous for his film scores Mise Éire (1959) and Saoirse? (1960).
In 1963 Ó Riada is appointed lecturer in music at University College Cork. He moves to Cúil Aodha in West Cork, an Irish-speaking area, where he establishes Cór Chúil Aodha, a male voice choir.
He becomes involved in Irish politics and is a friend of several influential leaders. Ó Riada drinks regularly at a local pub which still advertises itself as being his local. He develops cirrhosis of the liver. He is flown to King’s College Hospital in London for treatment and dies there on October 3, 1971, two months after his 40th birthday. He is buried in St. Gobnait‘s graveyard, Baile Bhuirne, County Cork. Willie Clancy played at his funeral.
Two schools are named “Scoil Uí Riada” after him – a Gaelscoil in Kilcock, County Kildare, and another in Bishopstown, Cork City. In 2008, a life-sized statue is erected in the grounds of Sépéil Naomh Gobnait, Cúil Aodha.
seamus dubhghaill 