Articles

Here I am listing all articles relating to Irish music which I published since 1990. If I can get hold of (or make) a pdf - and if there is no copyright problem - I will provide downloads. For the time being ask me for a copy for your own research purposes.

'Can a stranger write an Irish symphony?' – Music as a 'universal language' in Ireland

in: The Mosaic Island. Modern Languages and Irish Life, edited by Jürgen Barkhoff, Michael Cronin, and Gisela Holfter (Dublin, 2026).

– abstract accepted (October 2023)

'Music in and from Ireland: Perspectives on an Ununited Kingdom'

in: Between Centres and Peripheries: Music in Europe from the French Revolution to WWI, edited by María Encina Cortizo, and Yvan Nommick (Turnhout: Brepols, 2024; = Speculum Musicae, vol. 50), 153–167.

'La Bretagne dans la vie et la musique de Swan Hennessy (1866–1929)'

in: Zélie Guével, Anne Hellegouarc'h, Gaelle Le Corre, Jean-Yves Le Disez (eds.): Bretagne/Amérique du Nord: Échanges transatlantiques (Brest: Éditions du CRBC, 2023), 271–284.

'A Daughter of Music'. Alicia Adelaide Needham's Anglo-Irish Life and Music

in: Ita Beausang, Jennifer O'Connor-Madsen, and Laura Watson (eds.): Women and Music in Ireland (= Irish Musical Studies vol. 13) (Woodbridge, Suffolk: Boydell & Brewer, 2022), 117–128.

'Swan Hennessy: Eine Suche nach der verlorenen Zeit'

in: Piano News vol. 26 (2022) no. 1, 24–28 (about S. Hennessy's music for piano)

'Musical Inscapes. An Appreciation of Brian Boydell's Orchestral Music'

in: Barbara Dignam & Barra Boydell (eds): Creative Impulses, Cultural Accents: Brian Boydell's Music, Advocacy, Painting and Legacy (Dublin: UCD Press, 2021), 24–57.

'"L'indépendence n'est pas le meilleur chemin vers la gloire". Une rétrospective de Swan Hennessy'

in: Euterpe no. 36 (avril 2021), 8–16.

'Balfe's Anniversary: No Role for Irish Sentiment?'

in: Sound Post vol. 18 no. 3 (autumn 2020), 5–6.

'Music for MacSwiney'

in: History Ireland vol. 26 no. 5 (Sep.-Oct. 2020), 32–34.

(about Swan Hennessy's 2nd String Quartet, Op. 49 and the story of its first performance at the 'World Congress of the Irish Race' in January 1922 in Paris)

'"No, Sir; the Irish are not musical": Some Historic (?) Debates on Irish Musicality',
in: Lorraine Byrne Bodley (ed.): Music Preferred. Essays in Musicology, Cultural History and Analysis in Honour of Harry White (Vienna: Hollitzer, 2018), 167–182.

'An Irish-American in Paris: Swan Hennessy (1866–1929)'

Journal of the Society for Musicology in Ireland (JSMI) vol. 13 (2017–8), 47–78 (pdf opens).

'"All her lovely companions are faded and gone" – How 'The Last Rose of Summer' Became Europe's Favourite Irish Melody'

AND

Appendix 1: Utilisations of "The Last Rose of Summer," respectively 'The Groves of Blarney,' by European Composers in the Nineteenth Century, in Chronological Order,

in: Brian Caraher and Sarah McCleave (eds.), Thomas Moore and Romantic Inspiration (London: Routledge, 2018 – actually appeared in Oct. 2017), 128–145 and 231–253.

(with Jennifer Ward, RISM) 'An Evening of Irish Music: The Emerald Isle Comes to Germany', in: Fontes Artis Musicae 63:4 (Oct.–Dec. 2016), 277–284.

'No State for Music', in: Michael Dervan (ed.): The Invisible Art. A Century of Music in Ireland, 1916–2016 (Dublin: New Island Books, 2016), 46–68.

'Gilbert Bécaud's L'Opéra d'Aran (1962) – A Rapprochement', in: Una Hunt and Mary Pierse (eds.), France and Ireland. Notes and Narratives (Bern etc.: Peter Lang, 2015), 79–90.

'Selbstfindung durch Musik. Der irische Komponist Raymond Deane', in: Neue Zeitschrift für Musik 176.4 (July 2015), 48–50.

'Joseph O'Kelly (1828-1885) and the "Slings and Arrows of Fortune"', in: Études Irlandaises 39.1 (2014), 23–39 (full text available).

'Qualité d'Irlandais: The O'Kelly Family in Nineteenth-Century French Musical Life',

in: Eamon Maher & Catherine Maignant (eds.): Franco-Irish Connections in Space and Time - Peregrinations and Ruminations (Bern etc.: Peter Lang, 2012), 133–154.

'Celtic Legends in Irish Opera 1900-1930',

in: Proceedings of the Harvard Celtic Colloquium xxiv (2004) (Cambridge, Mass.: Department of Celtic Languages and Literatures, Harvard University, 2009), 40–53.

'Stage Irish, or The National in Irish Opera 1780-1925',

in: Opera Quarterly 21.1 (2005), Winter, 27–67.

'Redefining "Irish Music" in America – Making the Case for Irish Classical Music',

in: Journal of Music in Ireland 5.1 (2005), Jan./Feb., 4–6

'Mirror Imaginations – Cultural Reflections between Irish and German Music, 1930–1970',

in: Christa Brüstle & Guido Heldt (eds.): Music as a Bridge - Musical Relationships between Britain and Germany 1920-1950 (Hildesheim: Georg Olms Verlag, 2005), 205–224

'"The distant music mournfully murmereth" – The Influence of James Joyce on Irish Composers',

in: Ars Lyrica 14 (2004), 71–94

'Roots and Directions in Twentieth-Century Irish Art Music'

and

'A Twentieth-Century Irish Music Bibliography',

in: Cox/Klein (eds.), Irish Musical Studies 7: Irish Music in the Twentieth Century (Dublin: Four Courts Press, 2003), 168–182 and 183–204

'Aloys Fleischmann – an Inspiration',

in: Ruth Fleischmann (ed.), Aloys Fleischmann 1910-1992. A Life for Music in Ireland Remembered by his Contemporaries (Cork: Mercier Press, 2000), 309–313

'The Composer in the Academy (2) 1940-1990',

in: R. Pine & C. Acton (ed.): To Talent Alone. The Royal Irish Academy of Music 1848–1998 (Dublin: Gill & Macmillan, 1998), 419–428

'An "old eminence among musical nations" – Nationalism and the Case for a Musical History in Ireland',

in: T. Mäkelä (ed.): Music and Nationalism in 20th-century Great Britain and Finland (Hamburg: von Bockel Verlag, 1997), 233–243

'Irish Composers and Foreign Education – a Study of Influences',

in: P.F. Devine & H. White (eds.): Irish Musical Studies vol. 4: The Maynooth International Musicological Conference 1995: Selected Proceedings Part One (Dublin: Four Courts Press, 1996), 271–284

'Musik ohne Publikum – Die zwanziger Jahre in Irland',

in: W. Keil (ed.): Musik der zwanziger Jahre (= Hildesheimer musikwissenschaftliche Arbeiten, vol. 3) (Hildesheim: Georg Olms Verlag, 1996), 166–185

'Riverdance: Die Musik',

in: irland journal 6.4 (1995), Dec., 16–17

'"Aber was ist heute schon noch abenteuerlich?" – Ein Portrait des irischen Komponisten Seóirse Bodley',

in: MusikTexte 12 (1994), January, 21–25

'Fließende Grenzen – Die irische Musikszene',

in: Neue Zeitschrift für Musik 154 (1993), May/June, 22–24

'New Guitar Music from Ireland – a Survey',

in: Classical Guitar 10 (1992), part I: April, 20–22; part II: May, 39–42

'Großbritannien/Irland: Länder ohne Musik?',

in: Neue Zeitschrift für Musik 152.10 (1991), 11–16

'Die English Guitar – Vom Hofinstrument zum Klimperkasten',

in: Das Musikinstrument 40 (1991), July, 13–16

'Ulysses als Tenore – James Joyce, der Dichter und seine Sängerkarriere',

in: Musik & Theater 11.6 (1991), 30–31

'Irische Nachfolger der Bettleroper, oder, Eine kritische Geschichte des "größten Gelächters" der Britischen Inseln',

in: Concerto 8 (1991), May, 13–18

'Kein Land am Rand? – Dublin 1991: Die Musikszene der Europäischen Kulturhauptstadt',

in: Neue Zeitschrift für Musik 152.4 (1991), 5–9

'"Genau zwei Takte besser..." – Zum 50. Todestag des irischen Dirigenten und Komponisten Hamilton Harty (1879- 1941)',

in: Das Orchester 34.4 (1991), 408–413

'"...bis auf den heutigen Tag unfähig?" – Gitarrenmusik aus Irland',

in: Gitarre & Laute 12 (1990), May-June, 55–65

'"...bei Corelli war er wie verzaubert" – Der irische Harfenist und Komponist Turlough Carolan (1670-1738)',

in: Concerto 7 (1990), April, 13–17