Haudebert and others throughout the 1920s. Hennessy's public recognition in France mainly began with his association. During the early 1920s, Hennessy also enjoyed a brief period when he had several performances in Ireland following the first performance of his String Quartet No. 2, Op. 49 (1920) at the January 1922 World Congress of the Irish Race in Paris. The quartet is dedicated to the memory of the Irish revolutionary Terence MacSwiney. Hennessy died in 1929 from an embolic following a routine operation; the composer Georges Migot gave the funeral speech. Hennessy and his family are buried at Montparnasse Cemetery, Paris, division 28, section III. Music Swan Hennessy's music before 1900 was heavily influenced by his conservative education and his teachers' predilection for the music of Robert Schumann. Around the time of his move to Paris, he also been an admirer of Max Reger. Although his later music shows the influence of several contemporary stylistic directions, he never shook off this profound influence of the German Romantics. During the period 1907 to 1913, Hennessy wrote increasingly in an Impressionist style, with a prolific series of piano works and art songs in a descriptive and programmatic style inspired by sounds in his environment including nature, traffic, and industry. He also excelled in humoristic and satirical pieces, similar to but independent from Satie. One contemporary critic wrote, "Il fut un humoriste d'une verve drue dont la drôlerie était faite à la fois d'observation et d'invention, de fantaisie et de psychologie." ("He was a humourist of great verve whose humour derived from observation and invention, fantasy and psychology"). However, despite favourable reviews in the French and German musical press, he initially did not succeed in having his music performed. This changed only after his membership in the Association des Compositeurs Bretons from 1912 and the integration of elements from the traditional music of Ireland, Scotland and Brittany into his compositions. Interrupted by World War I (which he spent near Montreux in Switzerland), he developed his Celtic leanings especially during the 1920s. Many of Hennessy's pieces with titles ending on terms like "celtique", "gaélique" or "irlandais" are inspired by traditional folk melody and rhythms, but he rarely quotes actual folktunes. In the course of the 1920s he wrote most of his chamber music, including several duets, trios and quartets. These earned him the reputation of a "Celtic" composer to the extent that his original pre-War