Michael McGlynn (b. 1964) occupies a unique position within the continuum of Irish nationalist choral composers that extends from Aloys Fleischmann, Seán Ó Riada, and Seóirse Bodley. Like his predecessors, McGlynn synthesizes elements of Ireland’s linguistic, poetic, and musical heritage into a modern idiom that reflects a distinctly Irish ethos. His founding of ANÚNA in 1987 represented not only an artistic endeavor but also a cultural statement: a deliberate effort to establish a choral voice that could embody Ireland’s musical identity on an international stage. Drawing from early European modal practice and traditional Irish melodic sensibilities, McGlynn developed a compositional language characterized by modal inflection, controlled dissonance, and the integration of drones, parallel motion, and chant-like textures. These techniques evoke the landscape, language, and spiritual antiquity of Ireland without direct quotation of traditional material. While not a traditionalist in the ethnomusicological sense, McGlynn’s works, particularly those in the Irish language, reinvigorate the living tradition of Irish song by transforming remembered fragments into new, modern expressions. Through analysis of representative works and contextual comparison with Fleischmann, Ó Riada, and Bodley, this article positions McGlynn as the culmination of Ireland’s choral nationalist trajectory. His music exemplifies the fusion of ancient modality and modern harmonic color that defines Ireland’s contemporary national choral sound. In doing so, McGlynn has achieved for Ireland what Vaughan Williams achieved for England, a synthesis of heritage and innovation that renews national identity through choral art.

Authors:
Stacie Rossow, Florida Atlantic University, United States

About the Presenter(s)
Dr. Stacie Lee Rossow is currently an Associate Professor of Music and Associate Chair at Florida Atlantic University, Boca Raton, FL.

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