Sound Post VOLUME 16 NO.3 - Autumn 2018

Death of Greg Boland, leading rock guitarist and MUI Founding President IN THIS ISSUE:

Death of Founding MUI President, The death occurred in , on 16th August 2018, at the age of Greg Boland 63, of Greg Boland, one of Ireland’s greatest rock guitarists and a progenitor and founding president of the Musicians’ Union of MUI seeks ‘meaningful discussions’ Ireland (MUI). An Executive Committee member of the Union on future structure of RTÉ NSO from 2003 to 2012, Boland served as President from 2003 to 2007 President Higgins and Sabina Higgins and Vice-President from 2009-2011. The MUI extends its deepest host the People’s College Choir sympathy to his family and friends. An obituary of Greg Boland will be published in the next edition of Sound Post. FairPlé campaign gathers momentum Sculpture commemorating the 1913 Dublin Lockout unveiled by President Higgins in the grounds of Áras an Uachtaráin

NCH International Concert Series, 2018-2019, launched

Launch of RTÉ NSO Season, 2018-2019

MUI and Irish Equity support call for boycott of Eurovision Song Contest, 2019, in Israel

Pádraig Yeates conferred with NUI’s Greg Boland highest degree

RTÉ records loss of €6.4 million for MUI seeks ‘meaningful discussions’ on 2017 Reviews future structure of RTÉ NSO Times Past The Government has decided, in principle, that the National Symphony Orchestra (NSO) should be removed from RTÉ and Obituaries come under the remit of the National Concert Hall (NCH). To Interval Quiz facilitate the implementation of this decision, which was taken at a cabinet meeting on 5th July 2018, an oversight group, involving MUI RTÉ freelance orchestral daily RTÉ and the NCH, is to be established. According to RTÉ, the rates group will include consultation with the employees of both the NSO and the RTÉ Concert Orchestra. Chaired by the Department Sarah Burn on Archie Potter of Culture, Heritage and the Gaeltacht, the oversight group will Ruth Fleischmann on the also involve the Department of Communications, Climate Action Orchestral Society and the Environment. Gavan Ring on Catherine Hayes Continued on page 2 Sound Post | AUTUMN 2018

MUI Organiser, Graham Macken, said that the decision “was made without prior consultation with the main stake holder in the RTÉ NSO, that is the union which represents the members of the Orchestra…The cabinet decision that the RTÉ NSO should be moved to the National Concert Hall is premature. Our members have not formed a view as to where they should be placed in order to develop artistically, to engage in educational activities, to have secure funding and to MUI RTÉ National Symphony Orchestra members, Paul Fanning, Rosalind Brown and Elena Quinn, NCH, 24th May 2017. Photo: Barry Cronin/RTÉ provide continued job security.” He added: “The other options, which should not be ruled out at with the support of strategy con- this point, include its moving MUI seeks sulting firm, Mediatique. Entitled control of the orchestra to a RTÉ Orchestras: Ensuring a sus- separate cultural entity or it ‘meaningful tainable future, the report rec- remaining within RTÉ, with the ommended that the RTÉ NSO necessary additional funding discussions’ on should be a national cultural required made available.” institution in its own right or future structure within the NCH. “It is essential”, he said, “that the Orchestra members and their of RTÉ NSO In a press release of 6th April, representatives are involved cen- the Musicians’ Union of Ireland trally in any negotiations… The (MUI) responded to the Govern- Continued from page 1 MUI and SIPTU call on both RTÉ ment’s announcement, express- and the Government to enter into ing concern and disappointment The government decision followed meaningful discussions to ensure with the decision to move the the release, on 23rd April, of an the best outcome for the orchestra control of the RTÉ NSO from the RTÉ-commissioned report on the while being mindful of the re- broadcaster to the NCH. two RTÉ orchestras, by Helen quirements and responsibilities

Boaden, a former Director of of a fully functioning public

BBC Radio and of BBC News, service broadcaster.”

Choir Master, Paul Walsh, and the People’s College Choir, being greeted by President Higgins and Sabina Higgins at Áras an Uachraráin, at a garden party, on 29th June 2018, to highlight Sustainable Development Goals, and to celebrate the many people who contribute to the lives of their communities in Ireland. Photo: Maxwell Photography

2 Sound Post | AUTUMN 2018 A Rising Tide for women in music

By Frank Connolly

A large number of singers, musi- cians and other performers gath- ered in Dublin for the ‘Rising Tides’ conference and concert in Liberty Hall in early September. Organised by the Fairplé campaign and the Performers give a final encore at the Rising Tides Concert in Liberty Hall on Sunday, 9th Musicians Union of Ireland (MUI) September. Photo: Cathal Mac an Bheatha the event highlighted issues of concern to women working in Irish Casey, described how the campaign Other participants complained traditional and folk music. seeks to “change the working envi- about the disappointing number of ronment for women in the worlds of women performers on the line up Exploitation, sexual harassment traditional and folk music.” for music festivals and other major and bullying in the largely male concerts and events. dominated music industry featured “We are advocating for deep soci- Among the speakers were singer- in the wide-ranging discussions etal change, an improvement in the songwriter, Eleanor McEvoy, who while emerging artists were given imbalance of line-ups that dis- is chairperson of the Irish Music advice by more experienced criminate against female perform- Rights Organisation (IMRO), folk performers on finding their way in ers particularly instrumentalists, singer and Fairplé co-founder, the music business. an end to sexual harassment and Pauline Scanlon, film maker, to the macho cultural bravado that Nuala O’Connor, musician and In her opening address Faireplé co- is endemic within the community,” manager, Eamon Murray, and the founder and MUI member, Karan Casey said. Head of the Worker’s Rights Centre in SIPTU, Paul Henry.

Many of those present sang and played at a well attended concert in Liberty Hall theatre on Sunday 9th September, including harper, Úna Rally Monaghan, who created a powerful at Leinster House piece of art about gender balance Wednesday Oct 3rd entitled “What we haven’t Heard?” @12.30–2pm performed with Pauline Scanlon, Niamh Dunne and Karan Casey. Trade unions, political parties, students’ unions, housing Other acts included Sile Denvir, agencies & community and campaign groups Muireann Mic Amhlaoibh, Donal have joined forces to Lunny and Barry Kerr; Emma demand action on the Langford; the Friels; Niamh Par- housing crisis. sons and Graham Dunne; Atlas; and John Spillane.

On October 3rd Join us on October 3rd and make your voice heard

Harper, Úna Monaghan. Photo: Cathal Mac an Bheatha

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President Higgins, with Sabina Higgins, after unveiling of sculpture, The Plough and the Stars, in the grounds of Áras an Uachtaráin, on 1st May 2018. Executed by Dublin-born sculptor, John Behan, the monument commemorates the 1913 Dublin Lockout. Photo: Áras an Uachtaráin

Pictured at the launch of the RTÉ NSO Season 2018-2019, in the NCH, on 25th May 2018, l-r, Helena Wood and Nathalie Stutz- Matthew and Robin Jolley pictured at the launch of the National Con- cert Hall International Concert Series 2018-2019, in the NCH, on 10th mann, respectively, outgoing Leader and Principal Guest Con- May 2018. Photo: Mark Stedman/NCH ductor, RTÉ NSO. Photo: Orla Murray/SON Photographic Ltd.

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Ballagh, Jim Fitzpatrick and Their treatment – or mistreat- MUI and Irish Felim Egan; and comedians ment – at the hands of the Barry Murphy and Kevin Gildea. State of Israel is horrendous. If Equity support by boycotting a significant Speaking at the launch,renowned global television event we can call for boycott Irish artist and Riverdance set draw attention to this injustice, designer, Robert Ballagh, said: it might help start changing the of Eurovision attitude and the damage being “When Nelson Mandela visited done on a daily basis. I believe Song Contest, Dublin soon after his release many feel the from prison in Robben Island, I same way.” 2019, in Israel asked him what role the inter- national boycott of South Africa The Musicians Union of Ireland

played in the ending of and Irish Equity are happy to en- On 27th June last, a campaign apartheid there. Mandela told dorse this boycott. was launched to boycott the me that ‘the boycott was one of Eurovision Song Contest in the most important weapons in Israel in 2019. The Irish cam- the struggle against apartheid.’ Padraig Murray paign is made up of human As it was then, so it remains President rights activists, artists and today. This is why I fully sup- Irish Equity other public figures. Among port this call for an Irish boy- those supporting the campaign cott of the Eurovision 2019 in are Eurovision winner, Charlie Israel. We must show the same Mc Gettigan; Irish broadcaster solidarity to Palestinians living Musicians’ Union of Ireland and former Eurovision com- under Israeli apartheid as we RTÉ National Symphony mentator, Mike Murphy; former did to black people under Orchestra Section Committee, Eurovision presenters, Carrie South African apartheid.” 2018-2019 Crowley and Doireann Ní Bhriain; musicians, Mary Black, Paul Actor and former Eurovision David Clark, Elaine Clark, Brady, Frances Black, Donal (1997) presenter, Carrie Crowley, Sinead Farrell, Lunny, Honor Heffernan, Cormac said: Mark Jenkins, Francis Magee, Breathnach, Dee Armstrong, Niall O’Loughlin, Katie Tertell Steve Wall and former MUI “For all sorts of cultural and and Mary Wheatley President, Andy Irvine; com- historic reasons we identify posers, Raymond Deane and deeply with the Palestinians. Trevor Knight; artists, Robert

The launch in Dublin, on 27th June 2018, of a campaign to boycott the Eurovision Song Contest, 2019, in Israel, from left: 1. Cllr Cian O’Callaghan 2. Senator David Norris, 4. Carrie Crowley, 6. Eamon Murray (Vice-President, MUI), 7. Pádraig Murray (President, Irish Equity), otherwise, unidentified.

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So wrote ‘Michael George’ (the A.J. Potter pseudonym of Alec Reid) in the One of his finest and most Irish Tatler & Sketch in May 1964 personal works, his (1918-1980): in his profile of the composer Sinfonia “de Profundis”, Archibald James Potter (Archie), was written to a commis- composer, the centenary of whose birth sion from RTÉ in 1967. occurs on 22nd September 2018. Potter wrote it ‘as a thank arranger, Reid’s insightful assessment offering for a happy per- shows a rare understanding of sonal issue out of one of orchestrator, Potter’s many-faceted life, per- those little local difficul- sonality and music. Potter settled ties’ and, as he wrote in the programme, because educator, critic near Dublin in 1951, beginning his mature career as a profes- ‘There comes a time in

sional musician after a uniquely most people’s lives when By Sarah Burn varied early life. the bottom of hell falls out and you drop through it’. “He has a marked talent for Potter’s father was a blind piano the incisive damning phrase, tuner and organist in Belfast and yet basically he has the same family circumstances led to Potter angry compassion that has going, aged ten, to live with Vaughan Williams until 1938. War distinguished Irishmen like relatives in Kent. He gained an service followed until 1946, then Swift and Beckett. With his al- education through winning employment with the United most formidable gusto goes a scholarships: as a chorister in Africa Company in Nigeria. He quiet, immediate sensitivity; the world-renowned All Saints’ decided to try to get back into the under it all is a mixture of Church in Margaret Street, Lon- music profession and was ap- humility, the capacity for sur- don, as an organ scholar at pointed a bass lay Vicar Choral in prise, and a high seriousness Clifton College, Bristol, and to the Choir of St Patrick’s that is often found in the very the Royal College of Music where Cathedral, Dublin in 1951. greatest artists.” he was a composition student of

Archie Potter, with Liberty Hall, Dublin, in the background, 1976Photo: RTÉ Photographic Archive

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One of his finest and most per- sionalism. He was active on sev- sonal works, his Sinfonia “de eral committees, including the Profundis”, was written to a com- Composers’ Group of the Music mission from RTÉ in 1967. Potter Association of Ireland, the Joint wrote it ‘as a thank offering for a Copyright Council, and the Per- happy personal issue out of one forming Right Society, as well as of those little local difficulties’ pursuing causes individually. and, as he wrote in the pro- These included holding RÉ/RTÉ gramme, because ‘There comes to account over inaccurate log- a time in most people’s lives ging of performances and broad- when the bottom of hell falls out casts, commission rates, and the and you drop through it’. The paucity of performances of works public and critical response to by Irish composers, lobbying TDs the first performance of the and winning a personal battle Sinfonia “de Profundis” on 23rd with the tax authorities who March 1969 was overwhelming thought he should pay VAT on and Potter received a special everything he wrote. He repre- Jacob’s Award. The Sinfonia “de sented the Irish Federation of Profundis” was performed in the Musicians and Associated Pro- landmark 2016 ‘Composing the fessions (IFMAP) on RTÉ audition Island’ series, using Sarah panels for orchestral musicians Burn’s new edition, and it will and so helped shape many careers. Archie Potter in Cork while adjudicating next be performed by the RTÉ at the Cork International Choral Festival, National Symphony Orchestra His talents for speaking extem- May 1978 Photo: John O’Reilly (RTÉ NSO) on 12th October 2018 pore and authoritatively made in the National Concert Hall. him a popular choice as a radio broadcaster. He wrote in 1959, “I During this period he won a Potter was influential as an edu- function on the radio as a talker number of composition competi- cator. He taught singing at the on as many controversial aspects tions in Northern Ireland and in Royal Irish Academy of Music of music as possible and also as the Republic, marking him out as (RIAM) from 1952, obtained his a press critic for various news- a promising rising composer. His Doctorate in Music from Dublin papers.” 2018 is the centenary of talents as a composer, arranger University in 1953 and was ap- his birth and a fitting opportunity and orchestrator were soon pointed Professor of Composition to hear more of his music and to recognised by Radio Éireann at the RIAM in 1955. He was a evaluate his many achievements. /Radio Teilifís Éireann (RÉ/RTÉ), member of the Board of Gover- with whom he had a mutually nors of the RIAM and of the beneficial relationship until his Music Teachers’ Association, an death on 5th July 1980. Irish tra- affiliate of the ITGWU (now part ditional music was perceived as of SIPTU). Through his series of being at risk of being forgotten in radio broadcasts, particularly the late 1940s/early 1950s, and ‘Listening to Music’ and ‘The Potter was available to assist RÉ Young Student’s Guide to Music’ in fulfilling the Government’s Since 1979 Sarah (produced by Jane Carty), he Burn has provided directive that traditional music reached an appreciative nation- music support ser- should be popularised through wide audience. Thus, he brought vices, including orchestral and choral arrange- music copying, type- his international perspective to ments. It was a useful source of setting and editing, bear on music in Ireland and bread-and-butter income, but he oboe teaching, through his own compositions, orchestra Sarah Burn Photo: Jenifer was constrained by the restric- teaching and examining, helped librarianship, pro- Blair tions imposed on him in terms of to bring the music of Irish com- gramme note writing and programme harmonic adventurousness and posers to a wider international editing. She has belonged to IFMAP, the ensembles’ abilities. Also, SIPTU and the TUI. She was awarded an audience. such work reduced the number MA in 2008. Her PhD in 2018, supervised of original compositions, of by Dr Eibhlís Farrell at Dundalk Institute He worked tirelessly to improve greater musical worth and indi- of Technology, on the creation through business conditions for com- critical editing of new perspectives on viduality, that he could have posers and to increase public Potter’s Sinfonia “de Profundis”, in- written. understanding of their profes- cludes a new edition of the symphony.

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vigorous campaign being The Cork mounted in 1953 by the Cork Or- chestral Society, in conjunction Orchestral with forty-two civic bodies, for the setting up by Radio Éireann Society of a radio orchestra resident in Cork. After a six-year battle, 1938–2018: Radio Éireann appointed a pro- fessional string quartet to reside Eighty Years in Cork. The presence of those professional musicians in the city a-Growing for fifty-five years was of enormous benefit: their frequent recitals,

participation in the Cork Sym- By Ruth Fleischmann phony Orchestra and the quality of their teaching had a lasting The Cork Orchestral Society impact.2 was founded by Aloys Fleis- Cork Orchestral Society logo Image: chmann on 13th November Gabriel Hayes/Courtesy of the The Government’s discovery of 1938, four years after he had Fleischmann family the potential economic benefits become Professor of Music at of promoting culture led to its University College Cork. The establishing the Arts Council in first schools’ concert in Ireland Society’s first circular explains 1951, and to the inauguration of as part of the Society’s scheme why: the national festival of An Tóstal to build audiences. The third in 1953. The Orchestral Society event was a chamber recital with ‘The Cork Orchestral Society seized the opportunity and – with the Kutcher String Quartet of has recently been formed for funding from the Tóstal Council, and Tilly Fleischmann the purpose of supplying a the Arts Council, Cork Corpora- (piano); new Irish works were long-felt want in the city, tion, individual firms and the premiered at both. But the ad- namely, a regular series of Cork Jewish community – vent of the Second World War put concerts each season. For brought internationally renowned an end to the Society’s activities some years past, Symphony foreign orchestras to the city until 1947. Concerts and Chamber Music during the Festivals of Cork

Recitals have been held at between 1953 and 1961. They All 620 performances of the Cork University College Cork, and ranged from the Hallé to the Vi- Symphony Orchestra given dur- the increasing success of these enna Philharmonic, the National ing Fleischmann’s lifetime were concerts has encouraged the Youth Orchestra of Great Britain, sponsored by the Society. From promoters to inaugurate a the Boston to the Hague Sym- 1947 it supported the Cork Ballet series on a more ambitious phony Orchestras, together with Company, and its annual Ballet scale in the town, where they half a dozen illustrious soloists. Week from 1948 to 1993, with will be readily available to the It was probably the most extra- new music frequently written by general public... Soloists of ordinary decade in the Society’s Irish composers for ballets international reputation as well history. choreographed by the company’s as local soloists will be en- gaged for the performances, founder, Joan Denise Moriarty. while it is hoped to produce a new work by a contemporary In 1949, the Society began bring- Irish composer at each succes- ing orchestras to Cork: the Radio sive concert.’ Éireann Symphony Orchestra was the first professional sym- Patrons of the Society were the phony orchestra to visit the city. Lord Mayor, the President of the Its visits became a regular event University and the composers, on the musical calendar, with Arnold Bax and E. J. Moeran; two concerts annually until 1962; there were 137 members. Two for the following thirty years concerts were given in the spring between five and seven per year, from 1994 reverting to two.1 The of 1939 by the Cork Symphony Aloys Fleischmann, Cork, 1936 Photo: Orchestra, one of which was the experience of these concerts by a Courtesy of the Fleischmann family professional orchestra led to a

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Cork Symphony Orchestra, Leader, W. F. Brady; Soloist, Charles Lynch; Conductor, Aloys Fleischmann, rehearsing in the Aula Maxima of Univer- sity College Cork for concert on 9th December 1938. Photo: Irish Independent-Fleischmann Papers, Archives, UCC

These achievements did, however, states giving recitals in Cork. 3 ‘Cork Jewish Community’s Tribute to constitute a drain on its finances. Since 2007, most Orchestral Conductor – New Scheme to Defray In 1956 the Cork solicitor Gerald Society events take place in the Orchestral Society’s Debt’, The Cork Examiner, 24th April 1956, p. 8. Y. Goldberg devised a novel splendid new School of Music Goldberg explained to the newspaper fundraising scheme, inviting the premises with its state-of-the- why the Jewish community was pay- public to sponsor the individual art facilities. In 2013 Nicki ing this tribute to Fleischmann: at instruments of the Cork Sym- ffrench-Davis became chair- the beginning of the Second World phony Orchestra, its conductor woman and, together with her War he was the first of the university and his baton.3 The Orchestral team, has continued the tradition staff to sign a letter of protest against the discrimination of Jewish Society’s debt was discharged of the Society with its eighty professors and students at German and a sound financial footing was years of selfless service to the universities and ‘his enthusiasm in established – at least for a time. cause of classical music in Cork supporting the cause earned him the Throughout the 1960s and 1970s city. The Society now has about gratitude of the Jews in Cork’. it continued to bring international 400 members, receives grant-aid orchestras and ensembles to from the Arts Council and the Cork. Cork City Council and can look back with pride on its contribu- After Fleischmann’s death in tion to the thriving musical life of Dr Ruth Fleischmann, born in Cork in 1942, 1992, Dr Geoffrey Spratt, Director Cork today. is a UCC graduate. of the CIT Cork School of Music, From 1981 until her succeeded him and was for retirement she held twenty-one years a most ener- 1 The RTÉ National Symphony Orches- a lectureship at the getic chairman. The Society’s tra has now ceased touring the English Department membership and the number of provinces. of Bielefeld Dr Ruth Fleischmann University, Germany. events per season increased, 2 The second city of Ireland still has no Her field of research is Irish cultural reaching a climax in 2005 with professional orchestra – though half studies. She is a member of the trade forty-two events when Cork was a dozen amateur ones. Since 2014 union, Gewerkschaft Erziehung und a European Capital of Culture the RTÉ-funded string quartet no Wissenschaft. with artists from all member longer resides in Cork.

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from employment by the Earl of taught her everything he could, Catherine Limerick. It is reputed that when Garcia advised Hayes to travel to the eighteen-year-old Catherine to undertake further study Hayes – The was heard casually singing in the with the distinguished vocal garden of the Earl’s residence by tutor, Felice Ronconi, learn Ital- Trailblazing Bishop Edmund Knox, the hugely ian and, crucially, gain profes- impressed Knox took it upon sional operatic experience. In Irish Soprano himself to organise a fund for February 1845, Catherine sang in Catherine to be trained formally a concert in Milan where the under Antonio Sapio in Dublin. In great former prima donna, By Gavan Ring 1839, she gave her first public Giuseppina Grassini, was in at-

performance at the Rotunda tendance. Although long since There can be no denying that rooms – now the Gate/Ambas- retired, Grassini was still an im- Ireland has an uncanny reputa- sador Theatre where she sang portant figure in the musical tion for producing world-class pieces by Balfe and Mercadante scene in Milan. She was greatly operatic sopranos. Names like to some impressive reviews: impressed with Catherine’s per- Margaret Burke-Sheridan, formance and suggested that Veronica Dunne, Suzanne Murphy, ‘…the debutante made her first Catherine audition for the direc- Orla Boylan and Celine Byrne appearance as a vocalist of tor of Marseilles Italian , are some of the more immedi- promise and before long she Giuseppe Provini. After hearing ate examples of the Irish tradi- would stand high the profession Catherine, Provini booked her for tion for turning out the very … she sang most effectively with three leading roles for the 1845 best in the higher of female a voice of considerable volume season at the Théâtre Grand in vocal fachs. Burke-Sheridan’s and compass…’ – The Evening Marseilles with her début role as exploits in the early part of the Packet, 4th May 1839. Elvira in Bellini’s I Puritani. La twentieth century probably Fama, a Milanese newspaper re- makes her the most famous After gaining notable popularity porting on Hayes’ debút in Mar- Irish soprano ever to have and prominence in Ireland, Hayes seilles on 16th June 1845 states: graced the world stage but, on began studying with the renowned ‘Caterina Hayes a young prima 4th November 1845, seventy- Manuel Garcia in Paris in 1842 donna of Irish nationality had three years before Burke- where she spent two years under high success … with a voice of Sheridan made her legendary his tutelage. Satisfied that he had delicious quality.’ debút as Mimi in Puccini’s La bohème at the Constanzi Opera House in , a young Limerick woman by the name of Catherine Hayes made her sensational début at Milan singing the title role in Donizetti’s Linda di Chamounix. Hayes’ career would eventually lead her to un- rivalled fame and fortune whilst simultaneously circumnavigat- ing the globe with her great tal- ents to countries as diverse as Peru and Australia.

Born into abject poverty on 25th October 1818 at 4 Patrick Street in the city of Limerick, Catherine Hayes was the third child of Arthur and Mary Hayes (née Carroll). Catherine’s father was a musician, a bandmaster attached to the local militia, but he aban- doned the family in 1823 leaving Mary to raise the family on her own on her meagre earnings Catherine Hayes at the time of her La Scala debut in 1845

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pany, Cramer & Beale, following a law-suit to the sum of £4,000 in New York in 1852. In 1858, how- ever, Bushnell, who was suffer- ing from consumption, died in Biarritz in France as the couple in vain hoped the Mediterranean Sea air would alleviate Bushnell’s condition. Catherine was heart- broken and not long after died of a stroke on 11th August 1861. She was laid to rest in Kensal Green Cemetery in London where her grave still remains.

The New Grove Dictionary de- scribes Hayes as ‘a true soprano, with more than an average share of the middle voice, which en- abled her to sing music beyond the means of ordinary sopranos’. In truth, Hayes was no ordinary soprano; her rags to riches, Cin- derella-like rise to fame is as re- markable as it is unique. As her biographer Basil Walsh aptly states, she was an ‘Irish woman Catherine Hayes during her Australian tour, 1854 who embodied all of the spirit, tenacity and perseverance of her 1845 was proving a crucial year attracting the attention of race and who made a very impor- for Hayes. Following her ac- for his opera I tant contribution to Irish musical claimed performance in Mar- Masnadieri, with Catherine mak- history.’ She was, in essence, the seilles, she returned to Milan to ing her début at Covent Garden in trailblazer for the many, great sing in another concert sched- 1849 again in the title role of Irish sopranos who subsequently uled by her tutor, Ronconi; Linda di Chamounix. During her followed in her footsteps. Bartolomeo Merelli, director of time in England she also sang at La Scala, was in attendance and a concert at Buckingham Palace immediately recognising Cather- for the young Queen Victoria and ine’s immense talents, booked Albert. Her incredible career her to sing in the on-going sea- brought her all around the world, son at La Scala – the world’s pre- performing in the Americas, Asia Dr Gavan Ring is an miere opera house. Raucous and Oceania; she was, in fact, the international opera success in the title role of first great European opera star to singer and musicolo- Bellini’s Linda di Chamounix at visit and sing in Australia. gist. He has per- La Scala brought Hayes to the at- formed leading roles tention of the international press. In 1856, after five years of travel- at The Royal Opera, The London-based Musical ling the world, she returned to Glyndebourne and Opéra Royal de Ver- Dr Gavan Ring World, reporting on her début, England and the following year sailles with conduc- wrote: married her manager, William tors such as Sir Mark Elder and Sir Avery Bushnell, whom she met Simon Rattle. A graduate of Dublin City ‘A Miss Hayes, a soprano vocal- and signed with in America. University, the Royal Irish Academy of ist, native of Ireland, has made While Hayes continued to sing Music and the National Opera Studio in a great sensation as prima regularly in concert, the operatic London, Gavan’s recent, ground-break- ing PhD work on Robert O’Dwyer’s Irish donna at the Scala…’ scene in London had changed language opera Eithne led to its first quite rapidly since her début in performance since 1910 with the RTÉ Na- Engagements to sing leading 1845 and Hayes was, unfortu- tional Symphony Orchestra last October. roles in all of the world’s major nately, ‘persona non grata’ with For more see www.gavanring.co.uk opera houses followed (including the dominant management com-

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year later the Clothing Workers’ clerical opposition. Few commu- BOOK Union merged with the Irish nities in Ireland were as tightly Transport and General Workers’ policed by the Catholic Church as REVIEW Union (ITGWU). It amounted to nationalist before the

the biggest transfer of mem- 1970s, and fears of communism By Emmet O’Connor bers from a British to an Irish were regularly invoked against

union in the history of Northern Labour whenever it challenged Ireland, and gave Irish Labour the Nationalist Party; fears which the chance to lead, politically miraculously disappeared when and industrially, in the North’s Labour confronted the Unionists. second city. But before long McGonagle had concluded that, It’s unfortunate that the author for all its rhetorical anti-parti- doesn’t say more on the contro- tionism, Irish Labour had no versies surrounding the break- practical policy for what it away Clothing Workers’ Union, termed ‘The Occupied Area’. He which might shed light on the resolved to concentrate on puzzle of how a united, secular union work and make Northern trade unionism is able to function Ireland work for all its people, in the working class, where the in the belief that it was the only North’s sectarian divisions are Stephen McGonagle: way to avoid a sectarian divide deepest. He does however Ombudsman, Trade in trade unionism. Declining to illustrate some paradoxes, such Unionist, Senator join the civil rights movement, as the fierce loyalty to the amal- he served on the Irish Congress gamateds in certain nationalist By Owen McGonagle of Trade Union’s Northern Ire- quarters. Unlike colleagues who land Committee and in several papered over the contradictions (Umiskin Press, Dublin, 2018) public roles, notably as Om- with clichés about class unity budsman for Northern Ireland against orange and green Tories, Price €35 (hardback) (1974-9). He refused an OBE, McGonagle addressed the con-

and in the 1980s he represented tradictions, and then had the (Available at [email protected]) Labour in Seanad Éireann and in sense to see that some of his the . solutions were unworkable and the commitment to keep trying. Stephen McGonagle was one of Owen McGonagle, a former Head Hopefully, this very readable the few union leaders to ad- of Design and Creative Media at book will encourage more sear- dress Labour’s Northern ques- Letterkenny Institute of Technol- ching studies on an exceptional tion in a way that was both Irish ogy, has penned a worthy tribute Labour leader, and Umiskin and realistic. Born in Derry in to his late father. It’s an extensive Press is to be congratulated on a 1914, the son of an activist in study, and more a semi-popular handsome production. the Plumbing Trades Union, life and times account than a McGonagle followed his father narrowly focused biography. Nei- into the trade. His appointment ther does the author make a as an official of the British- claim to objectivity. Yet while the based National Union of Tailors content is uncritical, the tone is and Garment Workers in 1947 not hagiographical, and the book made him the key union man in is a welcome addition to the slim Derry’s staple industry. When body of work on Stephen the Northern Ireland Labour McGonagle. North-west readers Emmet O’Connor is a Party came out in favour of par- in particular will enjoy what is in senior lecturer in history tition in 1949, McGonagle, with some ways a political and social in Ulster University. He so many others, joined the Irish history of Derry, and all students has published widely on labour history, including , which became an of labour history will benefit from Big Jim Larkin: Hero or all-Ireland party for the next the observations on the often Wrecker?, and is a Emmet O’Connor twenty-three years. In 1952 he strained relations between na- member of the University launched the breakaway Cloth- tionalism and Labour and McGo- and Colleges Union and the Irish Labour ing Workers’ Union, and one nagle’s difficulties in dealing with History Society.

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in early 20th-century Irish music. appendices of another roughly 40 BOOK Boyle’s case is especially strange pages. and interesting for the fact that REVIEW she worked as a female composer This is short enough to be read

in a conservative, male-domi- without excessive effort. But By Axel Klein nated society, which is a partial there is a nuisance involved in it

explanation for her long neglect. that consists of two issues. One Therefore, the present study by is that the two parts just do not Ita Beausang and Séamas de differ as clearly as would be Barra must be welcomed and desirable. And combined with appreciated. For the first time, the user-unfriendly habit of Cork musicians and concert-goers in University Press to provide end- Ireland as well as the wider notes way back at the end of the musicological community can book rather than footnotes on form their own opinion based on the page they refer to, readers a thorough study of the life and have to switch back and forth to music of this long-neglected at least three places to find what composer. they are looking for.

Luckily, at the same time as this Beausang worked extensively Ina Boyle (1889-1967): book there appeared the first with sources like diaries and A Composer’s Life ever CD devoted exclusively to notes of lectures archived in TCD orchestral music by Ina Boyle as well as newspaper reviews. By Ita Beausang and Séamus de (Dutton Epoch CDLX 7352). With Yet, it is odd that we learn com- Barra this material at hand, the foun- paratively little about the human dation is laid for a thorough being that Boyle was, what she (Cork University Press, Cork, 2018) reappraisal of Ina Boyle. One of did in her day-to-day life, why

Price €29 (hardback) the myths that this reviewer had (for instance) the , fallen for in the past, for in- Civil War and Irish independence Available from good bookshops stance, is that it was her shy, seems to have passed her by or from the publisher withdrawn character that pre- without any effect. De Barra con- vented her from promoting her centrates on the music, but also music, but this book is full of ex- on (often the same) reviews. As a amples of her efforts to have her result of the non-division of Ina Boyle is one of those names music performed in England and labour, there is a lot of duplica- that most Irish (classical) musi- Ireland. Was perhaps her rather tion. But on the plus side, read- cians have heard of – and often conservative style a greater ers interested in an overview will not more than that. This new obstacle to her career than her be happy with Ita Beausang’s book provides the necessary superficial shyness? part, musicians will be more background to a reappraisal. content with de Barra’s text. The book is divided into a first Not long ago, the number of bi- part of five chapters written by ographies of Irish composers veteran musicologist Ita Beau- was few, far between, about sang and an essay entitled ‘The males, and confined to emigrants. Music of Ina Boyle’ by Séamas de

This has changed considerably in Barra. On the surface, this looks recent years. A study of Ina Boyle like a biographical part by Beau- seemed particularly overdue sang and a musical assessment since she is interesting from a by de Barra, and I wished it number of viewpoints. She was would have been that clear-cut. Axel Klein is a Frankfurt-based one of the most prolific com- There is a history to why that is so, but it does not explain why musicologist posers of her generation in Ire- specialising in the land and the earliest significant the two parts have not been history of female composer in the country moulded into one. As it stands, music; see: – yet, at the same time she was there is a first part of 60 pages, www.axelklein.de. an ‘essay’ of 67 pages, and Axel Klein one of the most obscure figures

13 Sound Post | AUTUMN 2018

Pictured at the conferring ceremony, l-r, Maurice Manning (Chancellor of NUI), Michael D Higgins (President of Ireland), Pádraig Yeates, Sabina Higgins, Diarmaid Ferriter (Professor of Modern History, UCD), Simon Yeates, Geraldine Regan and Erika White. Photo: NUI

Pádraig Yeates conferred with NUI’s highest degree Pádraig Yeates, historian and former Irish Times journalist, and Sound Post contributor, has been awarded the National University of Ireland’s (NUI) highest degree for his extensive research on Irish social and labour his- tory. On 12th June, in the NUI offices in Dublin, Dr Maurice Manning, Chancellor of NUI, conferred Pádraig Yeates with the degree of Doctor of Literature (DLitt) on published work. Lockout: Dublin 1913, Yeates’ highly regarded first book, which was first published in 2000, was followed by several other significant works on the social, cultural and trade union history of Dublin. Guests of honour at the conferring ceremony were the President of Ireland, Michael D Higgins and Sabina Higgins.

TIMES PAST

Irish Federation of Musicians and Associated Professions (IFMAP), 40th (actually 42nd) Anniversary Dinner Dance, Burlington Hotel, Dublin, 7th November 1978, l-r, Peter Pringle (Vice-President, IFMAP), Dermot Doolan (Secretary, Irish Actors’ Equity Association ), Michael Mullen (General Secretary, Irish Transport and General Workers’ Union), Mrs Monica Kennedy, Noel Coade (General President, IFMAP), Fintan Kennedy (General President, ITGWU) and Maurice O’Doherty (President, IAEA). Photo: IFMAP/Pringle Collection

14 Sound Post | AUTUMN 2018

of the world, cited the sound of these ventures he brought his O’Flynn’s piping as the hook that true piping style, working on the first revealed to them the beauty basis that real piping was the of piping and of Irish music. most valuable contribution that he could make, and found always The third quarter of the 20th cen- that each different project was tury was the period in the post- enriched by that truth. war west when tradition bearers themselves became conscious For lovers of piping, his own solo and articulate about the worth of albums were a treasure. Those their music, and outsiders began who had first entered the wood at to recognise that worth. Three the sound of his playing with masters dominated the piping Planxty, or in The Brendan Voy- community of that period – age, discovered in his own al- Seamus Ennis, Leo Rowsome bums deeper riches that drew and Willie Clancy. Their different them further and further in. The

Liam O’Flynn approaches to piping all had present time is seeing an extra- firm, long roots in traditional pip- ordinary flourishing of the art, ing, roots that could be traced to with never before seen levels of OBITUARY pre-Famine practice, and the dif- virtuosity on the instrument, in ferences enriched uilleann piping terms of numbers playing, geo- repertoire and style. O’Flynn graphical spread, technical abil- learned from all three. Through ity, deep connection to tradition, Liam O’Flynn his mother’s relationship to the and imaginative engagement fiddle-player Junior Crehan he with the instrument and music. (1945-2018) came to know the world of Clare Most of these top-shelf players music and Willie Clancy. He at- cite O’Flynn as inspiration and The death of piper Liam tended piping classes for years model. O’Flynn, just before St Patrick’s with Leo Rowsome, and played a Day, came as an enormous blow set of Rowsome’s pipes through- He was a founder member of to pipers around the world who out his career. He also shared a NPU, one of the pioneers who at- had been drawn into Irish flat with Seamus Ennis for sev- tended a general meeting of music, and uilleann piping, by eral years before Ennis’s death. pipers in 1968, called to consider his playing. The news of his Ennis valued the relationship how to halt the apparently final serious illness had circulated with O’Flynn to such a degree decline of uilleann piping. The for many months, spreading that he bequeathed his famous turnaround in the fortunes of the gloom and foreboding within the Coyne set – made in the 1830s in form since then was marked last piping community. Dublin – to O’Flynn upon his year by the UNESCO decision to death. include Uilleann Piping on its list For O’Flynn was regarded as a of world heritage. Many factors standard-bearer. He brought an This absolute grounding in, and led to this change in the fortunes integrity to all his performances, attachment to, tradition was the of the art, but O’Flynn’s influence in whatever musical field he touchstone of O’Flynn’s piping. must be considered a significant found himself. People who had As mentioned before, he made one. before only listened to ‘ballad converts to piping and Irish groups’, or classical music, or music through his work in vari- Terry Moylan rock and roll, or country music, ous fields – through his mem- first heard piping through his bership of the innovative Planxty, playing, and were captivated. his role as soloist in Shaun Surveys that have been con- Davey’s compositions for orches- ducted by Na Píobairí Uilleann tra and uilleann pipes, and his (NPU - Society of Irish Pipers) many musical contributions in revealed that piping enthusiasts, film music, avant-garde music, from Ireland to the four corners country music, and more. To all

15 Sound Post | AUTUMN 2018

which took him to Geneva for a and great musical ingenuity to year of study at the Conservatoire the greatest effect, having both with the renowned Swiss organist, children and adults rolling in the Lionel Rogg. Peter emerged from aisles. Geneva with highest honours and went on to win second prize at Perhaps his most lasting the Manchester International achievements were (a) his joining Organ Competition of 1978. It is with the author of this obituary sad to reflect that the winner of and John Dexter, then organist the first-prize of that competi- and director of music at St tion, John Scott, and Peter are Patrick’s Cathedral, to found the now both (prematurely) de- Dublin International Organ Festi- ceased. val in 1980 (later the Dublin In- ternational Organ and Choral On returning to Dublin Peter was Festival whose title was subse- appointed organ teacher at the quently and sensibly abbreviated

Peter Sweeney College of Music (later DIT) and changed to ‘Pipeworks’),

where he taught for some 35 succeeding the undersigned as

years, and where he was loved the festival’s artistic director for a OBITUARY and revered by students of all period of six years from 1990, range of abilities. He concur- and (b) his sharing of the perfor- rently worked as a church organ- mance of the entire organ oeuvre ist, most notably at the Jesuit of JS Bach (also with the under- Peter Sweeney Church, Gardiner Street, and signed) in a series of 16 weekly subsequently at Christ Church recitals in St Michael’s Church, (1950-2018) Cathedral where, as director of Dún Laoghaire, over the summer music for 11 years, he reformed months of 1985. The distinguished organist, and revitalized the cathedral teacher, choral director, and choir and was responsible for the Peter Sweeney is survived by his musical entertainer, Peter installation of the Kenneth Jones former wife, Vanessa Groocock Sweeney, died unexpectedly in organ in 1984. From the late 70s and his former partner, Helen Dublin on 18 March 2018 at the onwards Peter became increas- Roycroft, by two children, Nicky, age of 67. ingly in demand as an organ a violinist with the London recitalist, both at home and Mozart Players and ICO, and Peter Alan Sweeney was born on abroad, and was noted for play- Richard, a web designer and the- 7 April 1950 in Dublin, where, ing that had immense flair, energy orbo player now living in Sweden, following in a strong family tradi- and colour. He had a special and by his brother, the composer tion, his musical talents were commitment to contemporary and organist Eric Sweeney. nurtured as a boy chorister of St music, and he gave notable pre- Patrick’s Cathedral under the ex- miere performances with the Gerard Gillen acting tutelage of the cathedral RTÉ National Symphony Orches- organist, Sydney Grieg, who tra of new organ concertos by became his first organ teacher. John Buckley and Ian Wilson. Concurrently, piano, theory and harmony were studied at the For 27 years he was involved in then VEC College of Music. After school music education projects, school Peter studied for a Mus.B most notably in the long-running degree at Trinity, a period that ‘Music in the Classroom’ series saw him developing and matur- in which he worked closely with

ing as an organist, winning many his life-long friend, Gearóid

major Feis Ceoil prizes. After Grant. In this annual series Peter

graduation he was awarded a was able to deploy his humour,

Swiss Government Scholarship theatrical flair, comic genius,

16 Sound Post | AUTUMN 2018

community’s struggles profoundly Carroll, ITGWU and Federated influenced him, his mother’s Workers’ Union of Ireland reunifi- selflessness generating a strong cation was a crowning achieve- commitment to women’s equality. ment.

Carroll was educated at St A long-standing Labour Party Canice’s and O’Connell Christian member, he served as Taoiseach Brothers. His father brought him Garret FitzGerald’s nominee to for lessons with the ITGWU Brass the Fifteenth Senate, 1981-1982. & Reed Band. A gifted clarinettist, His commitment was, however, Carroll’s talent was recognised primarily to the Union. Beyond by the Band’s Director, Adolf workplace issues, he was famously Gebler, and he was invited to join associated with: him for Radio Éireann broadcasts. Later, Carroll acted as Musical • challenging the influence of

John Carroll Director for the ITGWU Band, and foreign multinationals

was part of the 1954 Band that • attempts to build international won the World Championship in trade union solidarity OBITUARY Kerkrade, in the Netherlands. • opposition to nuclear energy In 1944, Carroll became Branch and global arms proliferation Assistant, ITGWU Dublin No 4 • the defence of Irish neutrality Branch (Hotels & Catering), moving • opposition to Apartheid John F. Carroll on to Dublin 6/8 Branches (Cloth- • the fight for civil and human ing and Tailoring), Head Office rights within Ireland and for (1925-2018) and, briefly, as Carlow Branch black America Secretary. In 1958, he became • opposition to imperialism On retiring from SIPTU in January Head of Industrial Movements, and for equitable Third World 1990, John Carroll had served drafting proposals for the Na- development the Union for forty-six years. He tional Industrial Group Secretary will be remembered however, system which he headed from Initially opposed to Ireland’s not for his longevity but for his 1964. He gained a Diploma in In- entry to the European Economic breadth of vision, dedicated and dustrial Engineering from Community, Carroll became per- unstinting hard work, his loyalty Columbia University, New York, suaded of the European Project, to the working class and unwa- giving him an understanding of fighting for a Social Europe and vering commitment to fairness the complexities of work study contributing to its development at work and justice in society. As and payments systems. He was through the EU Economic and an Irish Transport and General strongly associated with the cre- Social Council. Workers Union (ITGWU) Head ation of national bargaining Office Official he pioneered new mechanisms. Considered ‘aloof’ or ‘distant’, methods of wage bargaining, Carroll did not suffer fools gladly, prompted significant and ad- Elected Vice-President in 1969, demanding unstinting loyalty and vanced structural changes Carroll became the ITGWU’s last commitment. He was a challeng- within the Union – industrially General President in 1981. In ing colleague and provocative ad- and in support services, and 1972, he helped create the Devel- versary in debate. He brimmed finally, repaired a blighting opment Services Division, a radical with ideas, restlessly so, seldom wound by securing the creation departure that provided education, dwelling on achievements. He of SIPTU from its fractured parts. research and industrial engineer- improved thousands of lives by ing expertise to officials and raising family incomes, securing John Francis Carroll was born members. He appeared con- better employment rights, and into a working-class family in an stantly on radio and television challenging inequality and prejudice. old coach-house in Summerhill, and within the print media, draw- Dublin, on 8th January 1925. His ing strong criticism from right- All that said, Carroll was arguably father, John, a Dublin Corporation wing commentators but most at home when playing a labourer until incapacitated by impressing the broad public. His clarinet or holding a baton. He injury, was ‘clearly identified with was an appealing presence that approved of the Musicians’ Union the Communist Party and the forced audiences to think. He of Ireland, wishing it success and ITGWU’. John’s mother worked to served on the Irish Congress of the widest possible recognition. support her family then living in Trade Unions (ICTU) Executive He was, after all, always a musi- Parnell Street in conditions of from 1971-1990 and as President, cian himself. significant poverty, although, ‘no 1986-1987. With Bill Attley, Carroll worse than most of our neigh- was Joint President of SIPTU Francis Devine bours’. Carroll’s parents’ and his from 1st - 8th January 1990. For

17 Sound Post | AUTUMN 2018

RTÉ records

loss of €6.4

million for 2017

Published in late June, RTÉ’s annual report for 2017 reveals SOUND REASONS TO JOIN THE that overall losses were reduced by €13 million to €6.4 million. MUSICIANS’ UNION OF IRELAND However, commercial revenue fell from €158.2 million to (MUI) TODAY! €151.5 million, a drop of 4%. These figures include reduc- tions in television advertising • Professional advice and representation on employment- and sponsorship revenue of related matters. €5.1 million, or 6 per cent, to € approximately 90 million, and • Optional inclusion in MUI Directory of Members. € 500,000, or 2 per cent, in radio. • Free copy of MUI quarterly newsletter, Sound Post, with While licence fee income of opportunity to submit relevant material for publication €186.1 million was up by 7 per in same. cent on the 2016 figure of €179.1

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million a year. Musicians’ Union of Ireland

18 Sound Post | AUTUMN 2018 Sound Post MUI RTÉ Freelance AND FREE EXPRESSION Orchestral Daily

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Sound Post is compiled and edited by 1. Tahiti Trot is the title of Shostakovich’s John Swift, former MUI Secretary, and orchestration of which famous song? produced by the Communications Department of SIPTU. 2. Pothole in the Sky is the title of a 2016 album of which Irish female singer-song- Material may be e-mailed to John writer?

Swift: [email protected] 3. Who played bandleader, Glenn Miller, in or forwarded to the MUI office. the 1954 film, The Glenn Miller Story?

4. Which composer was described by the New York Times ‘as the most commercially successful composer in history’?

Musicians’ Union of Ireland 5. Name the trade union formed recently following the merger of IMPACT and two Executive Committee other unions?

2017-2018 6. Which famous Wagner opera includes The President: Seamus Doyle Sailors Chorus? Vice-President: Eamon Murray Committee Members: Francis Devine, Andy 7. Living the Dream is the 2017 autobiography Irvine, Liam Kennedy, Cormac Ó hAodáin, of which well-known Irish vocalist?

Niamh Parsons and Robert ‘Tob’ Swift 8. In which year were Bach and Handel born?

9. With whose songs is former Irish tenor, Brendan O’Dowda, most associated? FREE 10. Name the composer of the operetta, The REHEARSAL SPACE Student Prince?

MUI members may avail of a free rehearsal space in Liberty Hall, Dublin.

Those wishing to avail of this Romberg. Sigmund 10.

man facility should contact the MUI office French’s. Percy 9. 1685. 8. O’Donnell. Daniel 7. .

Andrew Lloyd Webber. 5. Fórsa. 6. 6. Fórsa. 5. Webber. Lloyd Andrew -

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