Sonny Brogan
Encyclopedia
Sonny Brogan (4 July 1907 – 1 January 1965) was an Irish accordion
player from the 1930s to the 1960s, and was one of Ireland
's most popular traditional musicians. He was one of the earliest advocates of the two-row B/C button accordion
in traditional music, and popularised it the 1950s and 60s. He originally played on a single-keyed Hohner melodeon, and later the two-row Paolo Soprani which he used until he died. Sonny's Paolo Soprani was one of the rarest, the grey model, made in 1948, when the company still made them by hand. Offaly-born button box player Paddy O'Brien currently has Sonny's accordion.
,
the eldest of three children born to Alicia Browne and Andrew Brogan. The family moved to Dublin when Sonny was still a small child. On a holiday trip to Kildare as a young boy, he first heard Irish music played on the accordion by his uncle, Thomas Cleary. His mother, when opening luggage on returning home, found a melodeon hidden there 'stolen' by Sonny who had taken a fancy to it. He was allowed to keep the instrument and taught himself to play it.
Growing up he attended music classes for piano, and learned how to read basic music notation. He soon found, however that his ear served him better as a teacher, and abandoned "paper music" as he called it. The teacher in question offered to teach Sonny free of charge if he returned, but he declined.
Sonny had a great love of music in general and possessed many 78rpm records of artists like Amelita Galli-Curci
, apart from a huge collection of Michael Coleman
, the Sligo
fiddle player, who he admired more than any other musician.
. Sonny gathered a lot of tunes from Bill Harte, some of which he would write down in tonic solfa for the record, and others which he simply committed to memory. It has been said that both Bill Harte and Sonny Brogan "are reputed to have been among the pioneers who saw the potential for Irish music making in the button accordion pitched B/C and subsequently devised and disseminated the fingering method". One of the tunes Sonny recorded with the Lough Gill Quartet
, "Toss the Feathers" (78rpm HMV IM948), was his own composition, and he took great pride in playing it on selected occasions.
Sonny went to England
briefly in the 1940s, and on his return, George Rowley (fiddler originally from Co. Leitrim) and Ned Stapleton (flute player from Dublin) wrote "Sonny's Return" in honour of him. Ned called it "The Wanderer’s Return", but it is more commonly known as "Sonny's Return".
A regular in The Piper's Club in Thomas Street, Dublin, Sonny played alongside John Kelly Sr, Tom Mulligan, Tommy Potts
, piper Tommy Reck (who often played at Sonny's home), Leo Rowsome
, Sean Seery and many other traditional musicians of the day. Sonny had his own Céilí Dance Band during the 1940s who played in Barry's Hotel and in the Teachers' Club, Parnell Square, Dublin.
"Sonny Brogan's Mazurka" is a very well known Irish Mazurka and has been made popular in more recent years by The Chieftains
.
of The Dubliners
(to whom he gave lessons), and when the young Co Clare accordion player, Tony MacMahon
came to Dublin first in 1957, he made it a priority to seek out Sonny Brogan about whom he heard, meet him and ask for lessons. Tony and Barney regularly visited him for lessons and Tony MacMahon has always to this day given special mention to Sonny at each of his own concerts. He had other pupils and he always urged them to develop their own individual style and not to copy other players. Irish accordion player James Keane
spent much time around Sonny Brogan during his youth. Tony MacMahon and Sonny Brogan have both been cited as influences more recently by Mick Mulcahy. Sonny frequented John Kelly's shop at the end of Capel Street, Dublin, usually to discuss the intricacies of tunes, as customers came and went.
in 1960 to perform music for the play "The Song of the Anvil" by Bryan MacMahon, and subsequently became one of the original members of Ceoltóirí Chualann
.
In 1963, Sonny wrote an article for the folk music journal "Ceol," in which he outlined his reaction to older melodeon style players and those of the current modern style. He showed his unease at the new modern style, while distancing himself from the intolerance of puristic commentators like Seán Ó Riada
, who accused the modern style accordion of being an unworthy instrument for the rich melodic traditions of Ireland, and saw its characteristic melodic techniques as fundamentally alien to his conception of Irish dance music.
Even though he had some reservations about the style, Sonny pointed out the attractiveness of the "bright musical tone", which was drawing a new generation of highly skilled players to the instrument. He was also critical of "this triplet which [younger players of the 1960s] throw in everywhere they can, especially in hornpipes...it has become very monotonous to listen to." Sonny also strongly disagreed with his friend Brendan Breathnach who saw the modern players as having no respect for tradition. In 1963, Brendan Breathnach was commissioned by the Educational Company of Ireland to produce an illustrated book on Irish Dance Music. Sonny provided much of the music, from his knowledge of tunes during the course of several visits to his house, and the "Ceol" article indicates that Sonny's was the largest individual contribution to this book, and described Sonny as "a man who knows everybody's music", and said that "a keen ear and a very retentive memory...enabled him to store up over the years hundreds and hundreds of tunes.". No 82 of the Reels, Éilís Ní Bhrógáin, was dedicated to his daughter Éilís.
Seán Ó Riada
wrote "One of the very few players who can make their music sound like Irish Music is Sonny Brogan of Dublin. He understands the limitations of his instrument but strives to counteract these, not by wrongly placed ornamentation but by emphasising the traditional elements. His ornamentation is usually confined to a single cut, or grace note, and the roll, as in these reels, where restrained ornamentation and subtle variation are far more telling and eloquent than the fashionable plethora of chromatics. We should always be able to hear the tune distinctly".
On 19 February 1963, Sonny made recordings at RTÉ Studios in Dublin, where he played Gorman's Reel, The Hut in the Bog, Morrisson's Jig, The Fourpenny Loaf, Jenny Picking Cockles and Repeal of the Union. Gorman's Reel and The Hut in the Bog were released by RTÉ Funduireacht an Riadaigh, on the triple album "Our Musical Heritage" (FR003) in 1980.
. Among those attending the funeral in the snow, and who travelled a long distance in bad weather conditions, was Ronnie Drew
.
Tributes were paid to Sonny after his death on 1 January 1965, and Seán Ó Riada
, during the radio programme "Reachtaireacht an Riadaigh" on Radio Éireann, when paying respects to Sonny, said that he "was a library of Irish Music and when you want to find something out you go to the 'library'".
James Keane
, Sonny's young friend from the Dublin scene, founded and named a branch of Comhaltas in Sonny Brogan's honor while he was a teenager, shortly after Brogan's death.
John Kelly, the fiddle player, has said that Sonny was the best musician he had ever heard of for his vast knowledge of tunes and the fact that he could remember all the different versions and names of each tune and the history behind them.
Desún MacLiam wrote of him "Is cinnte nach mbéidh a leithéid arí againn" (It is certain we will never have the likes of him again)
Éamon de Buitléar
did a special programme on Radio Eireann devoted to Sonny Brogan, on 19 March 1965. Ciarán Mac Mathúna also had often included some of Sonny's recordings in his radio programmes and spoke highly of him.
Seán Ó Riada
published the following tribute following Sonny's death :
"It was in the autumn of 1960 that I first met Sonny Brogan. I had been asked to supply music for Bryan MacMahon's play "The Song of the Anvil" at the Abbey Theatre, and has conceived the idea of using a group of traditional musicians for this purpose - the first time, as far as I am aware, that such a step had been taken. It was Éamonn De Buitléar who introduced me to Sonny, who was at first rather shy and reserved, until he realised what was wanted of him. The play went on and, though it did not find favour with the public which it more than merited, the music seemed to succeed with everyone, not least of all the actors and backstage staff, who used to be entertained by impromptu concerts given by the musicians in the dressing rooms. Sonny was, of course, a prime mover in all this and one of the reels which they used play most often backstage, commonly called "Redigan's", was re-christened by us privately "The Abbey Reel".
When the run of the play was over I hated the idea of parting from the musicians and so formed "Ceoltoirí Chualann", of which, during the few years we have been functioning Sonny was a mainstay. I would not suggest for a moment that our association was all sweetness and light. Many the argument we had - it is well known that musicians argue more fiercely about traditional music than about anything else. However, we always saw eye to eye in the finish and each argument served only to make us better friends.
Sonny's qualities as a musician were rare. He had an astounding memory, so much so that I was inclined to regard him, with John Kelly, as our living reference library. He could recall three or four different versions of a tune going back through three or four layers of time and often through three or four changes of title. He had a passion for the pure, simple essence of tunes, uncluttered by mistaken ornamentation. He was also, of course, an outstanding accordion player, one of the very few who could make it sound suitable for playing Irish music.
As a person, Sonny was - well, he was contentious, convivial, argumentative, loyal, dogmatic, witty, utterly reliable, a tiger when his temper was roused (which was rare), and at the same time curiously gentle and courteous. He was a good friend. I shall miss him.
Beannacht Dé lena anam."
Accordion
The accordion is a box-shaped musical instrument of the bellows-driven free-reed aerophone family, sometimes referred to as a squeezebox. A person who plays the accordion is called an accordionist....
player from the 1930s to the 1960s, and was one of Ireland
Ireland
Ireland is an island to the northwest of continental Europe. It is the third-largest island in Europe and the twentieth-largest island on Earth...
's most popular traditional musicians. He was one of the earliest advocates of the two-row B/C button accordion
Accordion
The accordion is a box-shaped musical instrument of the bellows-driven free-reed aerophone family, sometimes referred to as a squeezebox. A person who plays the accordion is called an accordionist....
in traditional music, and popularised it the 1950s and 60s. He originally played on a single-keyed Hohner melodeon, and later the two-row Paolo Soprani which he used until he died. Sonny's Paolo Soprani was one of the rarest, the grey model, made in 1948, when the company still made them by hand. Offaly-born button box player Paddy O'Brien currently has Sonny's accordion.
Background
Sonny Brogan was born in Prosperous, County KildareProsperous, County Kildare
Prosperous is a village in north County Kildare, Ireland. It is within the townland of Curryhills, at the junction of the R403 and R408 regional roads, about from Dublin. Its population of 1,939 makes it the 14th largest town in County Kildare....
,
the eldest of three children born to Alicia Browne and Andrew Brogan. The family moved to Dublin when Sonny was still a small child. On a holiday trip to Kildare as a young boy, he first heard Irish music played on the accordion by his uncle, Thomas Cleary. His mother, when opening luggage on returning home, found a melodeon hidden there 'stolen' by Sonny who had taken a fancy to it. He was allowed to keep the instrument and taught himself to play it.
Growing up he attended music classes for piano, and learned how to read basic music notation. He soon found, however that his ear served him better as a teacher, and abandoned "paper music" as he called it. The teacher in question offered to teach Sonny free of charge if he returned, but he declined.
Sonny had a great love of music in general and possessed many 78rpm records of artists like Amelita Galli-Curci
Amelita Galli-Curci
Amelita Galli-Curci was an Italian operatic soprano. She was one of the best-known coloratura singers of the early 20th century with her gramophone records selling in large numbers.-Early life:...
, apart from a huge collection of Michael Coleman
Michael Coleman (musician)
-Early years:Michael Coleman was born in Knockgrania, in the rural Killavil district, near Ballymote, County Sligo, Ireland. His father, James Coleman, was from Banada in County Roscommon, and a respected flute player...
, the Sligo
Sligo
Sligo is the county town of County Sligo in Ireland. The town is a borough and has a charter and a town mayor. It is sometimes referred to as a city, and sometimes as a town, and is the second largest urban area in Connacht...
fiddle player, who he admired more than any other musician.
1930s and 1940s
In the 1930s and 1940s, alongside his close friend Bill Harte, he played with the Lough Gill QuartetLough Gill Quartet
The Lough Gill Quartet was an Irish Traditional Music Quartet formed in Dublin, Ireland in the 1930s. The quartet was named after the famous Sligo lake and as a tribute to Michael Coleman who came from Sligo.- Discography :...
. Sonny gathered a lot of tunes from Bill Harte, some of which he would write down in tonic solfa for the record, and others which he simply committed to memory. It has been said that both Bill Harte and Sonny Brogan "are reputed to have been among the pioneers who saw the potential for Irish music making in the button accordion pitched B/C and subsequently devised and disseminated the fingering method". One of the tunes Sonny recorded with the Lough Gill Quartet
Lough Gill Quartet
The Lough Gill Quartet was an Irish Traditional Music Quartet formed in Dublin, Ireland in the 1930s. The quartet was named after the famous Sligo lake and as a tribute to Michael Coleman who came from Sligo.- Discography :...
, "Toss the Feathers" (78rpm HMV IM948), was his own composition, and he took great pride in playing it on selected occasions.
Sonny went to England
England
England is a country that is part of the United Kingdom. It shares land borders with Scotland to the north and Wales to the west; the Irish Sea is to the north west, the Celtic Sea to the south west, with the North Sea to the east and the English Channel to the south separating it from continental...
briefly in the 1940s, and on his return, George Rowley (fiddler originally from Co. Leitrim) and Ned Stapleton (flute player from Dublin) wrote "Sonny's Return" in honour of him. Ned called it "The Wanderer’s Return", but it is more commonly known as "Sonny's Return".
A regular in The Piper's Club in Thomas Street, Dublin, Sonny played alongside John Kelly Sr, Tom Mulligan, Tommy Potts
Tommy Potts
Tommy Potts was a improvisational Irish fiddle player and composer from Dublin who gained iconic status in traditional Irish music circles for his virtuoso musicianship. He has influences in jazz and classical music, making his music a highly individualistic take on the Irish music tradition...
, piper Tommy Reck (who often played at Sonny's home), Leo Rowsome
Leo Rowsome
Leo Rowsome was the third generation of an unbroken line of uilleann pipers. He was performer, manufacturer and teacher of the uilleann pipes - the complete master of his instrument...
, Sean Seery and many other traditional musicians of the day. Sonny had his own Céilí Dance Band during the 1940s who played in Barry's Hotel and in the Teachers' Club, Parnell Square, Dublin.
"Sonny Brogan's Mazurka" is a very well known Irish Mazurka and has been made popular in more recent years by The Chieftains
The Chieftains
The Chieftains are a Grammy-winning Irish musical group founded in 1962, best known for being one of the first bands to make Irish traditional music popular around the world.-Name:...
.
1950s
Sonny was admired by Barney McKennaBarney McKenna
Bernard Noël "Barney" McKenna or Banjo Barney as he is known amongst his fellow musicians, is an Irish musician who plays the tenor banjo, mandolin, and melodeon. He is most renowned as a banjo player...
of The Dubliners
The Dubliners
The Dubliners are an Irish folk band founded in 1962.-Formation and history:The Dubliners, initially known as "The Ronnie Drew Ballad Group", formed in 1962 and made a name for themselves playing regularly in O'Donoghue's Pub in Dublin...
(to whom he gave lessons), and when the young Co Clare accordion player, Tony MacMahon
Tony MacMahon
Tony MacMahon is an Irish button accordion player and broadcaster. Among his influences were accordionists Joe Cooley and Sonny Brogan, as well as piper Willie Clancy, fiddler Bobby Casey, and singer and piper Seamus Ennis....
came to Dublin first in 1957, he made it a priority to seek out Sonny Brogan about whom he heard, meet him and ask for lessons. Tony and Barney regularly visited him for lessons and Tony MacMahon has always to this day given special mention to Sonny at each of his own concerts. He had other pupils and he always urged them to develop their own individual style and not to copy other players. Irish accordion player James Keane
James Keane (musician)
James Keane is an Irish traditional musician and accordion player. The Italian Castagnari company issued and continues a line of signature instruments called keanebox in his honor....
spent much time around Sonny Brogan during his youth. Tony MacMahon and Sonny Brogan have both been cited as influences more recently by Mick Mulcahy. Sonny frequented John Kelly's shop at the end of Capel Street, Dublin, usually to discuss the intricacies of tunes, as customers came and went.
1960s
Sonny was one of the original musicians selected by Seán Ó RiadaSeán Ó Riada
Seán Ó Riada , was a composer and perhaps the single most influential figure in the revival of Irish traditional music during the 1960s...
in 1960 to perform music for the play "The Song of the Anvil" by Bryan MacMahon, and subsequently became one of the original members of Ceoltóirí Chualann
Ceoltóirí Chualann
Ceoltóirí Chualann was an Irish traditional band, led by Seán Ó Riada, which included many of the founding members of The Chieftains. Ceoltóirí is the Irish word for musicians, and Cualann is the name of an area just outside Dublin where Ó Riada lived...
.
In 1963, Sonny wrote an article for the folk music journal "Ceol," in which he outlined his reaction to older melodeon style players and those of the current modern style. He showed his unease at the new modern style, while distancing himself from the intolerance of puristic commentators like Seán Ó Riada
Seán Ó Riada
Seán Ó Riada , was a composer and perhaps the single most influential figure in the revival of Irish traditional music during the 1960s...
, who accused the modern style accordion of being an unworthy instrument for the rich melodic traditions of Ireland, and saw its characteristic melodic techniques as fundamentally alien to his conception of Irish dance music.
Even though he had some reservations about the style, Sonny pointed out the attractiveness of the "bright musical tone", which was drawing a new generation of highly skilled players to the instrument. He was also critical of "this triplet which [younger players of the 1960s] throw in everywhere they can, especially in hornpipes...it has become very monotonous to listen to." Sonny also strongly disagreed with his friend Brendan Breathnach who saw the modern players as having no respect for tradition. In 1963, Brendan Breathnach was commissioned by the Educational Company of Ireland to produce an illustrated book on Irish Dance Music. Sonny provided much of the music, from his knowledge of tunes during the course of several visits to his house, and the "Ceol" article indicates that Sonny's was the largest individual contribution to this book, and described Sonny as "a man who knows everybody's music", and said that "a keen ear and a very retentive memory...enabled him to store up over the years hundreds and hundreds of tunes.". No 82 of the Reels, Éilís Ní Bhrógáin, was dedicated to his daughter Éilís.
Seán Ó Riada
Seán Ó Riada
Seán Ó Riada , was a composer and perhaps the single most influential figure in the revival of Irish traditional music during the 1960s...
wrote "One of the very few players who can make their music sound like Irish Music is Sonny Brogan of Dublin. He understands the limitations of his instrument but strives to counteract these, not by wrongly placed ornamentation but by emphasising the traditional elements. His ornamentation is usually confined to a single cut, or grace note, and the roll, as in these reels, where restrained ornamentation and subtle variation are far more telling and eloquent than the fashionable plethora of chromatics. We should always be able to hear the tune distinctly".
On 19 February 1963, Sonny made recordings at RTÉ Studios in Dublin, where he played Gorman's Reel, The Hut in the Bog, Morrisson's Jig, The Fourpenny Loaf, Jenny Picking Cockles and Repeal of the Union. Gorman's Reel and The Hut in the Bog were released by RTÉ Funduireacht an Riadaigh, on the triple album "Our Musical Heritage" (FR003) in 1980.
Tributes
Sonny is buried in Prosperous, County KildareProsperous, County Kildare
Prosperous is a village in north County Kildare, Ireland. It is within the townland of Curryhills, at the junction of the R403 and R408 regional roads, about from Dublin. Its population of 1,939 makes it the 14th largest town in County Kildare....
. Among those attending the funeral in the snow, and who travelled a long distance in bad weather conditions, was Ronnie Drew
Ronnie Drew
Joseph Ronald "Ronnie" Drew was an Irish singer and folk musician who achieved international fame during a fifty-year career recording with The Dubliners. He was born in Dun Laoghaire, County Dublin...
.
Tributes were paid to Sonny after his death on 1 January 1965, and Seán Ó Riada
Seán Ó Riada
Seán Ó Riada , was a composer and perhaps the single most influential figure in the revival of Irish traditional music during the 1960s...
, during the radio programme "Reachtaireacht an Riadaigh" on Radio Éireann, when paying respects to Sonny, said that he "was a library of Irish Music and when you want to find something out you go to the 'library'".
James Keane
James Keane (musician)
James Keane is an Irish traditional musician and accordion player. The Italian Castagnari company issued and continues a line of signature instruments called keanebox in his honor....
, Sonny's young friend from the Dublin scene, founded and named a branch of Comhaltas in Sonny Brogan's honor while he was a teenager, shortly after Brogan's death.
John Kelly, the fiddle player, has said that Sonny was the best musician he had ever heard of for his vast knowledge of tunes and the fact that he could remember all the different versions and names of each tune and the history behind them.
Desún MacLiam wrote of him "Is cinnte nach mbéidh a leithéid arí againn" (It is certain we will never have the likes of him again)
Éamon de Buitléar
Éamon de Buitléar
Éamon de Buitléar is an Irish writer and film maker. He is managing director of Éamon de Buitléar Ltd., a company which specialises in wildlife filming and television documentaries...
did a special programme on Radio Eireann devoted to Sonny Brogan, on 19 March 1965. Ciarán Mac Mathúna also had often included some of Sonny's recordings in his radio programmes and spoke highly of him.
Seán Ó Riada
Seán Ó Riada
Seán Ó Riada , was a composer and perhaps the single most influential figure in the revival of Irish traditional music during the 1960s...
published the following tribute following Sonny's death :
"It was in the autumn of 1960 that I first met Sonny Brogan. I had been asked to supply music for Bryan MacMahon's play "The Song of the Anvil" at the Abbey Theatre, and has conceived the idea of using a group of traditional musicians for this purpose - the first time, as far as I am aware, that such a step had been taken. It was Éamonn De Buitléar who introduced me to Sonny, who was at first rather shy and reserved, until he realised what was wanted of him. The play went on and, though it did not find favour with the public which it more than merited, the music seemed to succeed with everyone, not least of all the actors and backstage staff, who used to be entertained by impromptu concerts given by the musicians in the dressing rooms. Sonny was, of course, a prime mover in all this and one of the reels which they used play most often backstage, commonly called "Redigan's", was re-christened by us privately "The Abbey Reel".
When the run of the play was over I hated the idea of parting from the musicians and so formed "Ceoltoirí Chualann", of which, during the few years we have been functioning Sonny was a mainstay. I would not suggest for a moment that our association was all sweetness and light. Many the argument we had - it is well known that musicians argue more fiercely about traditional music than about anything else. However, we always saw eye to eye in the finish and each argument served only to make us better friends.
Sonny's qualities as a musician were rare. He had an astounding memory, so much so that I was inclined to regard him, with John Kelly, as our living reference library. He could recall three or four different versions of a tune going back through three or four layers of time and often through three or four changes of title. He had a passion for the pure, simple essence of tunes, uncluttered by mistaken ornamentation. He was also, of course, an outstanding accordion player, one of the very few who could make it sound suitable for playing Irish music.
As a person, Sonny was - well, he was contentious, convivial, argumentative, loyal, dogmatic, witty, utterly reliable, a tiger when his temper was roused (which was rare), and at the same time curiously gentle and courteous. He was a good friend. I shall miss him.
Beannacht Dé lena anam."