What Ireland Can Teach the World about Music – and other essays
By Toner Quinn
Published by: The Journal of Music
Available from: https://journalofmusic.com/shop

Book Review
By David Agnew
Published in Sound Post magazine (published by the Musicians’ Union of Ireland), Autumn 2024. Visit https://mui.ie/

I like creative doers. People who do something different, find a way to set out their stall, for themselves as much as for everyone else to take part. Toner Quinn wanted a space for regular, thoughtful writing on music and culture in Ireland, to stimulate deeper intellectual debate, without being academic, and started it himself in 2000 through The Journal of Music. This book is a compilation of his writings in four sections on that journey. Initially in hard-copy to 2010, exclusively online from 2014, with a stark pandemic section 2020–2022, finishing with a list of impossible ideas for the future, all of which are entirely reasonable, if utopian.

We read of the passing of significant Irish musicians, from Tony MacMahon, Liam Ó Floinn, Seán Keane to Sinéad O’Connor. He attends new music events, always in hopeful expectation, offering conscientious analysis. We are told stories, and gifted his insightful measure of everyone from Seán Ó Riada to Mícheál Ó Súilleabháin, out-lying evolvers and challengers of tradition, and Roger Doyle to Aine O’Dwyer, blatant avant-gardists. We read Celtic Tiger rhetoric, see the inception of a Riverdance confidence in the nation, note the fusion of contemporary styles and techniques, but raises more questions for the genre than yielding answers. Quinn calls out the purists, who decry change, he claims room for everyone.

Toner Quinn is not afraid to give his opinion, he paints real pictures of people and situations in his writing, some where I was present and can attest to the veracity and vividness of his descriptions. He has a real respect, and optimistic openness towards all types of new music in Ireland yet his heart lies in seeking recognition and proper financial supports for Irish traditional musicians and the flourishing of the genre proper. He asserts the Golden Age of Irish music is built almost entirely on the good will and flexibility of Irish musicians.

There are big questions posed throughout. Why are there no traditional musicians and singers in Aosdána, the Irish Academy of Artists financially supported by the State? How to discuss new music and the people who make it without wallowing in a nostalgic old image of Ireland? Why is there no standard of pay or expectation of fair remuneration among traditional musicians? Why is the underpaid contribution of artists a hidden subsidy to the cultural life of Ireland? And why should fossil fuel companies be allowed green-wash through arts sponsorship? He states musicians and artists have been influenced by society into believing their creative work has little value. Even during the pandemic, when the industry was devastated, like so many others, but first to close last to open, musicians freely gave their creativity online to remain connected and truly relevant to the mood, mental health and spirit of the nation.

Quinn’s gentle re-telling of the story and development of genius that is Clare fiddler Martin Hayes is worth the price of the book alone. Hayes’ talent discovery; musical meandering lost identity abroad, depression and suicidal ideation, to personal redemption, a courageous shouldering of the gifts he possessed and his metamorphosis into something magical musically, an alchemist of everything Irish. Now playing with a spirituality and communion with his partnership that can transport them mentally to another realm, Martin’s own words simply describe his process. Astute and caring writing.

Irish traditional music is a potent, powerful, symbolic global force, weaving and reflecting an ancient path through our political disenfranchisement, religious penalisation, linguistic repression, yes is eternally spontaneous and embracing any moment to start a session any time, any place. There is a lot of proving in traditional music, proving that you know it, that you understand it, that you can play it, but know how to preserve it and hope to evolve it into something exciting at the same time. Ireland Inc uses it, packages it, sells it, but does as little as possible to financially support it, despite how they dress up their musical and artistic initiatives.

Most musicians search for some recognition, either being true to the tradition or incorporating invention, difference and initiative. Quinn’s writing about music is a channel of communication that adds to understanding and aims to nourish artistic practice. Classical music, traditional music and contemporary composition need media engagement for their survival.

A significant, almost historic, yet living read. A rich well of intellectual observations, ideas and positive motivations, while starkly exposing shortcomings in officialdom.

David Agnew retired recently after 40 years as oboist with the RTÉ Concert Orchestra. Currently working on a PhD in Music Education at TUD Grangegorman. He is Vice-President of the Musicians’ Union of Ireland and Editor of Sound Post magazine.