"O'Connell presents an excellent biography of the first archbishop of St. Paul, Minnesota, who rose from poverty to become an internationally known clerical figure and friend of presidents. . . . Well written and well researched, this biography brings to life an important figure in American religious history. Recommended."--Library Journal
Published to coincide with the 50th anniversary of his death, this book presents new articles by leading authorities on John Ireland and his music, together with transcriptions of his broadcast talks and of interviews with the composer. John Ireland [1879-1962] was one of the most distinctive and distinguished of a generation of exceptional British composers that included Vaughan Williams, Gustav Holst, Frank Bridge and Arnold Bax. They emerged in the decade before the First World War and, in the inter-war years, produced a remarkable body of music. In Ireland's case his was not only the most popular British Piano Concerto of its time, but he also composed a splendid repertoire of songs, piano music, chamber music and orchestral and choral scores. This richly illustrated Companion will be essential for all admirers of the composer. Not only for the performer - pianist, singer, conductor - but for thewider musical public, record collectors and music historians, academics and anyone interested in British music of the earlier twentieth century. Lewis Foreman has drawn on his extensive research into Ireland's life and letters over many years, and, in association with the John Ireland Charitable Trust, has not only commissioned a wide range of chapters from leading performers and writers of today, but has brought together in one convenient format Ireland's own writings on music, the memories of his friends and students (including Britten, Moeran and Arnell) and a selection of important earlier articles. The Companion also includes a complete list of works and themost comprehensive discography of Ireland ever compiled. The accompanying CD contains historical recordings featuring the voice of John Ireland, with two of his broadcast talks, as well as otherwise unobtainable performances of Ireland's music from the composer himself and from other well-known performers of the past. LEWIS FOREMAN is author of Bax: A Composer and His Time [Boydell, 2007] and London: a Musical Gazetteer [Yale 2005]. Contributors: FELIX APRAHAMIAN, RICHARD ARNELL, BENJAMIN BRITTEN, JOCELYN BROOKE, ALAN BUSH, GEOFFREY BUSH, GEORGE DANNATT, JULIE DELLER, JEREMY DIBBLE, EDWIN EVANS, LEWIS FOREMAN, NORAH KIRBY, FREDERICK LAMOND, PHILIP LANCASTER, STEPHEN LE PROVOST, STEPHEN LLOYD, CHARLES MARKES, ROBERT MATTHEW-WALKER, E.J. MOERAN, ANGUS MORRISON, ERIC PARKIN, BRUCE PHILLIPS, C. B. REES, FIONA RICHARDS, ALAN ROWLANDS, R. MURRAY SCHAFER, MARION SCOTT, COLIN SCOTT-SUTHERLAND, HUMPHREY SEARLE, FREDA SWAIN, KENNETH THOMPSON, RODERICK WILLIAMS, KENNETH A. WRIGHT
John Ireland (1879-1962) was one of the leading composers of the English Musical Renaissance at the end of the nineteenth century and beginning of the twentieth century. Born of literary parents in Bowdon, near Manchester, he went to London at the age of fourteen to study at the newly-founded Royal College of Music where he eventually became a pupil of Charles Villiers Stanford. Among his near contemporaries at the College were Ralph Vaughan Williams, Gustav Holst, Thomas Dunhill, William Y. Hurlstone, Henry Walford Davies and Samuel Coleridge-Taylor. Ireland is best known for his songs (such as Sea Fever, The Bells of San Marie and the cycle of Housman settings, The Land of Lost Content), his piano and chamber music, his church music and his relatively small number of choral, orchestral and brass band works. This catalogue of Ireland's compositions, a revised and enlarged edition of the one published in 1993 by the Clarendon Press (Oxford University Press), in association with the John Ireland Trust, lists his compositions from 1895 to 1961. Full details are given of dates of composition; people or bodies responsible for a work's commission; instrumentation; first performance; publications; location of the autograph manuscript; critical comment in the bibliography from the contemporary press and music journals, and recordings on compact disc. Appended is a general bibliography and classified index of main works. A list of personalia supplies details of people connected with Ireland and his music during his lifetime.
Often imitated but never equalled, the Old Ireland in Colour books are beloved by Irish readers at home and abroad, and in this, the third book of the series, the authors have uncovered yet more photographic gems and breathed new life into them in glorious colour. All of Irish life is here – from evictions in Connemara to the mosgt elegant drawing rooms in Dublin. Famous faces from politics and the arts appear alongside humble labourers and farmers and impish children from all kinjds of backgrounds light up this book’s glorious pages. With endless surprising details to pore over in every picture, and captivating and illuminating text, Old Ireland in Colour 3 is a winning addition to this spectacular series of bestsellng books.
This third edition of John O'Beirne Ranelagh's classic history of Ireland incorporates contemporary political and economic events as well as the latest archaeological and DNA discoveries. Comprehensively revised and updated throughout, it considers Irish history from the earliest times through the Celts, Cromwell, plantations, famine, Independence, the Omagh bomb, peace initiatives, and financial collapse. It profiles the key players in Irish history from Diarmuid MacMurrough to Gerry Adams and casts new light on the events, North and South, that have shaped Ireland today. Ireland's place in the modern world and its relationship with Britain, the USA and Europe is also examined with a fresh and original eye. Worldwide interest in Ireland continues to increase, but whereas it once focused on violence in Northern Ireland, the tumultuous financial events in the South have opened fresh debates and drawn fresh interest. This is a new history for a new era.
This title was first published in 2000. John Ireland (1879-1962) was as elusive as the music that he composed. His music resists easy categorization, in part because it is linked so closely to specific events, places and people in Ireland's personal life. The Music of John Ireland explores the expressive and extramusical qualities of Ireland's compositions and their complex system of personal musical symbols, images and ideas. Fiona Richards interweaves biography and musical analysis in a series of chapters which take their themes from the significant influences in Ireland's life: Anglo-Catholicism, paganism, the countryside, the city, love and war. Ireland emerges as highly individual, struggling with his religious beliefs, his sexuality, and an uncertainty as to his success. His music, often an expression of a state of mind, is given, for the first time, the close investigation that it merits. Ireland preferred to compose on a small scale, showing a masterful command of form and a gift for melody. Richards reveals how the essence of the man shines through in the miniatures that he wrote.
In the nineteenth century, here in Ireland, we started to walk away decisively from a native language that was a way of seeing and knowing things. In the twentieth century we started to walk away from a religion that in many of its ideas and practices was a folk religion. In this century we are walking away from local accents, from the big open vowels upon which so many of our poems depend for their full auditory effect. Overall, in line with revolutionary ambitions elsewhere in the world, we have moved from rites that related us to time and eternity to rights within a body politic. Could it be that we have moved too far, too fast? The Chinese say that the sage is to be found not walking ahead of humanity, finding a way for it, but behind it, picking up the inestimable treasures it leaves behind it in its flight into an ever-receding future. While he doesn't claim to be a sage, here too is where we find Moriarty, walking hundreds, even thousands, of years behind us, picking up things. As its centenary approaches, Invoking Ireland offers an alternative to the 1916 Easter Rising Proclamation. Here Moriarty proposes not a Republic but anEnflaith, reinstituting a Birdreign in which all things live ecumenically with all things, uniting man with nature, magic and the divine. Standing shamanically and mystically with the heroes of political thinkers, among them Plato, St Augustine and Rousseau.
In 1871, John Devoy, a young Irishman fighting for Irish independence, came to the United States in exile. Yet even while across the ocean, this Fenian greatly influenced Irish affairs. Terry Golway's assiduously researched biography of Devoy chronicles a lifetime of activism in which he garnered tremendous financial and moral support for the cause in Ireland. Devoy was instrumental in both the Easter Rising in 1916 and the creation of the Irish Free State. Intimate details of Devoy's life and his work are artfully interwoven as Terry Golway captures John Devoy's valiant role in Ireland's struggle for freedom.
The comprehensive defeat of the Jacobite Irish in the Williamite conflict, a component within the pan-European Nine Years' War, prevented the exiled James II from regaining his English throne, ended realistic prospects of a Stuart restoration and partially secured the new regime of King William III and Queen Mary created by the Glorious Revolution. The principal events - the Siege of Londonderry, the Battles of the Boyne and Aughrim, and the two Sieges and Treaty of Limerick - have subsequently become totems around which opposing constructions of Irish history have been erected. Childs argues that the struggle was typical of the late-seventeenth century, principally decided by economic resources and attrition in which the 'small war' comprising patrols, raids, occupation of captured regions by small garrisons, police actions against irregulars and attacks on supply lines was more significant in determining the outcome than the set-piece battles and sieges.
An in-depth study of the most significant Irish clergyman in the history of the state For three decades, 1940-72, as Archbishop of Dublin and Primate of Ireland, John Charles McQuaid imposed his iron will on Irish politicians and instilled fear among his clergy and laity. No other churchman amassed the religious, political and social power which he exercised with unscrupulous severity. An admirer of the FBI's J. Edgar Hoover, Archbishop McQuaid built up a vigilante system that spied on politicians and priests, workers and students, doctors and lawyers, nuns and nurses, soldiers and trade unionists. There was no room for dissent when John Charles spoke in the name of Jesus Christ. This power was used to build up a Catholic-dominated state in which Protestants, Jews and feminists were not welcome.
