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Scanned by Scan2net MARIA M c HALE by a number of composers as a solution to the vexed issue of national o~era in "WHAT DO WE MEAN BY IRISH MUSIC?" Britain. Works like Joseph Parry's Blodwell (1878), the first opera to be wntten i.':J. THE POLITICS OF STATE-SPONSORED MUSIC the Welsh language, and Hamish MacCunn's Diarmid (1897), based on tWO CelC1<::: legends and 'underwritten' by the ambitious but ultimately short-lived Natlonal PUBLICATION IN INDEPENDENT IRELAND .. Th f C I .. ·n opera. Celtic Opera Syndicate. are just two examp Ies. e use 0 e tlClsm I would continue into the next century with R.utland Boughton's The Immortal HOllr (1912), which blended Irish mythology and Wagnerism in a socialist vision KAROL MULLANEy-DIGNAM at the Glastonbury Festivals. While any discussion of Irish opera in this period needs to be considered in This essay considers the politics of music publication by the Irish state in the early 'British ness' the context of both and 'lrishness', a distinct shift can be detected- decades of independence alongside th e prescription of 'Irishness' in education, Although critics could evaluate opera's infrastructure at a British level. they une- collection and composition. It surveys the roles played by individual government quivocally identified native operatic composition as Irish and not B~iti s h~ Furthe~­ ministers and state officials in developing or thwarting these aspects of musical more even the issue ofinfrasrructure would take o n a culturally nauonaltst bent In activity arguing that perso nal rather than collective attitudes resulted in state ini- the ideas later espoused by Patterson. The weight of evidence suggests that Gaelic tiatives - and th ese were typically concerned with developing music as an aspect R.evivalism galvanized a number of composers in their writing of self-consciously of national culture. Few, if any. steps appear to have been taken in consultation 'Irish' works. Furthermore, as has been demonstrated here. the revivalist cultu re with members of the music profession for the purposes of developing music per of this period went hand in hand with an increasing exposure to Wagner's wor~ s, se after th e establishment of the Iri sh Free State (Saorscat Eireann) in December several of which had not been heard in Dublin before the turn of the century. Cnt­ 1922. In structive in this rega rd are the responses of mu sic professionals - compos- ics noted the fusion of 'modern' music (relatively speaking) with mythology and ers and members of the Music Association of Ireland especia lly - who, by direct folklore; consequently, some of these works were identified as both Irish and Wag- submission or indirectl y through the pages of popular journals, magazines and nerian. Perhaps then, it is worth consid ering that much of the revivalist culture of" newspapers, advised successive governments of the urgent need to have a com- the period can be understood through the lens of Wagner ism. Beyond the captivat­ prehensive centralized state policy for the development of all aspects of mu sic ing mu sic. it seems that something of Wagner's revolutionary zeal resonated wlth in Ireland . In the context of such commentar y. underlying questions of mod- composers. writers and audiences in the pre-independence years. ernism and national identity will be considered using published and unpublished records of Iri sh cultural history including state department reports and archives, BIBLIOGRAPHY and transcripts of debates in Dail Eireann (Assembly of Ireland), the lower house of parliament, and principal chamber of the Irish legislature. Klein, Axel: "Stage-Irish, or the national in Irish opera , 1780- 1925" in: The Op- era O!Jarterly, 2111, Oxford: Oxford University Press, 2005. WORK OF NATIONAL IMPORTANCE McMahon, Timothy G.: Gralld Opporllmity: The Gaelic R evival and Irish SOCiety, 1893- 1910. Syracuse : Syracuse University Press, 2008. Towards the end of the revolutionary period in Ireland (c.1912-c.1922), cultural White, Harry: Musi, and the Irish Literary Im agination. Oxford University Press, adva ncement was deemed necessary for establishing the fledgling Iri sh state by a 2008. small number of key political and mililary figures. Among these was the finance White, Harry and Boydell, Barra (ed.): The Encyclopaedia of Mllsic in Ireland, 2 vols . , minister Michael Collins who approved financial support for the Cork School of Dublin: University Dublin Press, 2013. Music. just months after the cessation of hostilities in the Irish war of indepen- dence in July 1921.' Founded in 1878 under the administration of Cork Technical 48 Jennifer Oates: Hamish MacCUlIII (1868-1916): A Musical Lift. Farnham: Ashg.:lte ~ublisb ing The author wishes to express her gratitude to Adrian Scahill for his close reading an d helpful Limited, 2013, p. 159. n.44. My thanks to Or Jennifer Oates for correspondence relating to t.be comments o n the draft text of this essay. role of the National Celtic Opera Syndicate in MacCulln's Diarmid. Michael Collins : lett er to F.B. Gi ltinan, secretary, Cork Technical In struction Committee. 2 216 . -----------------~--- - KAROL MULLANEy-D IGNAM THE POLITICS OF STATE-SPONSORED MUSIC PUBLICATION IN I NDEPENDENT I RELAND Instruction Committee (CTIC). the Cork School of Music soon had in excess the view of the new minister of finance, Ernest Bl ythe. that if a grant did ever of 150 students, a varied curriculum and examinations arranged in conjunction become practicable in the future, the state could be expected to share a fraction of with the Royal Academy of Music in London' From 1918. the headmaster and the total expenditure. 8 professor of Irish traditional music was Carl H ardebeck (1869-1945). one of the In response. CTIC expressed astonishment "at the attitude of the ministry of instigators in the revival of Irish music in the period before the Irish revolution. fi nance in endeavouring to justify its action in breaking a distinct and unequivo­ Born in London to a welsh motber and German father. Hardebeck worked as a ca l promise made". EnclOSing copies of previous correspondence, it requested rec­ music teacher and organist in Belfast from 1893. H e was best known in Ireland ognition of "the honourable understanding" upon which the committee had made as a composer, with his compositions winning eleven first prizes at Feis Ceoil itself "liable for the expenditure illvolved in ca rrying out this work of national competitions in Dublin between 1897 and 1908. His works were influenced by importance", threatening to "organi se public opinio n on the matter .. with its the traditional music and local songs that he collected upon numerous visits to tbe consequent damage to public faith and the creation of an atmosphere so colourful Donegal Gaeltacht (Irish-speaking region) and transcribed into braille. for which o f an old regime".9 In the interim, an unpaid H ardebeck reSigned from h is post as 3 he devised a particular alphabet later adopted by the I rish Institute for tbe Blind. profe ssor of Irish traditional music at the Cork Scbool of Music and returned to The depletion of Cork Corporation's technical instruction fund by 1921 Belfast inJuly 1923. Despite continUing frustrations over the lack offunding fo r prompted CTIC's application to the department of education for a £1 .425 grant the publication of his works, and copyri ght iss ues concerning manusc ripts that he for the Cork School of Music: £300 to pay H ardebeck's sa lary. the rem ainder the produced. relations between himself and CTIC continued to be amicable. " Those costs o f publishing his arrangements of Irish music: Hardebeck's chief concern between the m inistries of education and finance were nOt as the respective min­ was the composition of instrumental and vocal music in a traditional idiom for isters from the governing Cumann na nGaed heal party and. more Significa ntl y. junior examinations and a substantial number of manusc ripts were compiled, the senior civil se rvants in their departments, w rangled over the iss ue for years.1I The printing of w hich proved to be costl y. partly on account of the Gaelic script. matter was referenced only briefly by Teachtai DaIa (TDs. parli amentary mem­ H aving investigated printing costs in Dublin and London, CTIC petitioned local bers) in Dail Eireann dUring this time.12 and national politicians, impress ing upon them the national significance of the scheme and of the endeavours of the eminent Hardebeck.5 Despite receiv ing the NOTHING IRISH? official and personal support of Collins - who died in August 1922 - only a por­ tion of the promised grant was paid; the rest to fo llow upon the inspection of the In May 1924, Brennan, the finance department secretar y, informed 6 Dub­ ministry of educatio n.6 When the committee applied for the next installment of hthaigh, his counterpart in educa ti on, that another installment of the grant in the grant in D ecember. Prionsias 6 Dubhthaigh. the sec retary of the ministry of question w ould be paid if tbe ministe r could give an ass uran ce that uno further education wrote to tbe secretar y of the fi nance ministry, J oseph Brennan, stating : li ability wo uld be imposed on the state in this matter and that sa tisfactory work "The minister of education is sa tisfi ed that this school is doing work for Irish has been done for the total expenditure" involvedY Detail s of the extent and traditional music which is of national importance, and which is not being done o r cost of traditional music publication by the Cork School of Music were furnished attempted elsewhere".' Brennan informed the ministry of education in June 1923 in June 1924 by Giltinan.
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