seamus dubhghaill

Promoting Irish Culture and History from Little Rock, Arkansas, USA

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Death of Carl Hardebeck, Traditional Music Composer & Arranger

Carl Gilbert Hardebeck, or Carl G. Hardebec, British-born Irish composer and arranger of traditional music, dies in Dublin on February 10, 1945.

Hardebeck is born on December 10, 1869, in Clerkenwell, London, to a German father and Welsh mother. He loses his sight when he is a baby. He attends the Royal Normal School for the Blind in London (1880–92) where, under his teacher Frederick Corder, a professor from the Royal Academy of Music, he shows a marked aptitude for music.

In 1893, at the age of twenty-four, Hardebeck moves to Belfast, where he opens a music store, but the venture fails, and he becomes the organist of a small parish in the city, the Holy Family Church, Wellington Place. He enters an anthem, O God of My Salvation, for contralto and chorus, for the 1897 Dublin Feis Ceoil and wins. On this occasion he hears folk song arrangements of Charles Villiers Stanford and others for the first time. At the 1901 Feis Ceoil, he again wins a prize, this time for a large cantata, The Red Hand of Ulster. In 1914, his wife, Mary Reavy, dies.

In 1919, Hardebeck becomes the director of the music school in Cork and becomes the first professor of Irish music at University College Cork (UCC) in 1922. Ill-suited for administrative tasks, he relinquishes the post after one year and returns to Belfast, which after the Irish Civil War has become the capital of Northern Ireland. In 1932, he finally settles in Dublin, where he works for An Gúm, the Irish government publisher, as arranger of Irish traditional songs for piano and choirs, many of which become teaching material at schools in the nascent Republic of Ireland. He also teaches Irish and traditional music in the Dublin Municipal School of Music for two years. On many occasions he acts as adjudicator in singing and musical competitions across Ireland.

Despite Hardebeck’s mixed German/Welsh/English background, the events of the 1913 Dublin lock-out, the outbreak of World War I, and the 1916 Easter Rising radicalise him, turning him into an Irish nationalist. He is quoted as saying, “I believe in God, Beethoven and Patrick Pearse.” He studies the Irish language and collects folk songs from around the country, making some unique arrangements that bridge the gap between traditional and art song.

At home in Dublin, Hardebeck plays his excellent arrangements of Irish melodies on a Schiedmayer harmonium. The instrument has a “percussion” stop, which he uses to great effect. He also owns a Knauss piano but plays the harmonium by choice. He is quite an authority on plainchant. The noted Irish harpsichord maker Cathal Gannon is a close friend of his for many years. Hardebeck teaches him how to appreciate the structure of the classical symphony and concerto and passes on his enthusiasm and love of Irish melodies.

Following Hardebeck’s death at his home, 14 St. Vincent Street, Berkeley Road, Dublin, on February 10, 1945, a Radio Éireann-sponsored symphony concert, held in the Capitol Theatre in Dublin, begins with a sympathetic performance of his orchestral variations upon Seoithín Seó. A state funeral is held in Saint Joseph’s Church, Berkeley Road, Dublin. The church is packed; various government ministers, the Lord Mayor and representatives of President Douglas Hyde and of Éamon de Valera are there. Hardebeck’s own Kyrie and Agnus Dei are performed at the Requiem Mass. He is interred in Glasnevin Cemetery, where a Benedictus is chanted by the clergy present. A vote of sympathy is issued by the Irish National League of the Blind to Hardebeck’s widow and relatives, in which the hope is expressed “that the nation as a whole would not be unmindful of the important contribution which the late Dr. Hardebeck had made to Irish culture, music and art.”

Unfortunately, very little attention has been given to Hardebeck, who is one of the instigators in the revival of Irish music. Indeed, he is largely forgotten after his death. This is possibly due to his mixed origins and place of birth. His arrangement for orchestra of The Lark in the Clear Air is a fine piece of music, but he is content to sell it to the music publishers Boosey & Hawkes for just six guineas.

In June 2013, a plaque to Hardebeck’s memory is installed at Holy Family Church, Belfast.

(Pictured: “Carl Hardebeck (1869-1945),” oil on canvas, National Museums NI)


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Death of Frederick May, Composer & Arranger

Frederick May, Irish composer and arranger, dies in Dublin on September 8, 1985. His musical career is seriously hindered by a lifelong hearing problem, and he produces relatively few compositions.

May is born on June 9, 1911, into a Dublin Protestant family who lives in the suburb of Donnybrook. His father, also named Frederick, is employed at the Guinness Brewery. He pursues his musical studies at the Royal Irish Academy of Music, where he is taught composition by John Larchet. In 1930, McCullough Pigott and Co. publishes his Irish Love Song. That same year he is awarded the Esposito Cup at the Feis Ceoil and as a result of this he is nominated as the first recipient of a new scholarship prize worth £100 to be spent on the further study of piano. In July 1930, he takes his preliminary examination for the Bachelor of Music at Trinity College Dublin (TCD) before departing Dublin to utilise his scholarship in London. In September he enrolls at the Royal College of Music (RCM) where his teachers include Charles Kitson, Ralph Vaughan Williams, R. O. Morris and Gordon Jacob. He takes his final TCD examination in December 1931 submitting a string quartet and on December 10 his degree is conferred. During 1932 his study is funded by the RCM’s Foli Scholarship and in October he is awarded the Octavia Travelling Scholarship.

May’s compositions are few in number and he produces most of his small output in the 1930s and early 1940s. His first significant work is the Scherzo for Orchestra, written while he is still a student in London. The first orchestral run through of Scherzo for Orchestra takes place on March 17, 1933, and it receives its first public performance on December 1 when it is heard as part of the Patron’s Concert. Between the months of May and October he composes his Four Romantic Songs, which receive their premiere in London at a Macnaghten-Lemare concert on January 22, 1934. At some point, probably in the second half of 1933, he follows in the footsteps of other Octavia Scholarship winners and travels to Vienna to study with Egon Wellesz.

On January 1, 1936, May takes up the position of Director of Music at the Abbey Theatre in Dublin, a position he retains until he is fired in 1948. His duties mainly consist of leading the piano trio which bears the title “The Abbey Orchestra” in music during the intervals of productions. In 1936, he composes what is today his best-known composition, the String Quartet in C Minor, described in the Grove’s Dictionary of Music and Musicians as “one of the most individual statements from an Irish composer in the first half of the 20th century.” He composes the quartet as his hearing is beginning to deteriorate and he later describes it as “an appeal for release.” String Quartet in C Minor is not premiered until 1948 when it is performed by the Martin Quartet in the Wigmore Hall, London. This is followed by Symphonic Ballad (1937), Suite of Irish Airs (1937), Spring Nocturne (1938), Songs from Prison (1941) and Lyric Movement for Strings (1942). He effectively ceases original composition at this point.

Following a long break from composition, May produces what is to be his valedictory work in 1955, the nine-minute orchestral piece Sunlight and Shadows. It is given its first performance on January 22, 1956, by the Radio Éireann Symphony Orchestra at Dublin’s Gaiety Theatre. Although this is his last original work, he does not abandon music completely. He produces arrangements of Irish music for Radio Éireann, which while not perhaps rewarding artistically, does help to alleviate his always precarious financial situation. He also composes a number of songs for voice and piano and a short piece entitled Idyll for violin and piano. The latter is chosen as a set work for the junior violin competition at the Feis Ceoil in 2017.

Throughout his life May suffers from significant mental health issues which result in hospitalisation. He also experiences otosclerosis, as a result of which he gradually becomes increasingly deaf. In addition, he suffers from severe tinnitus with constant ringing noises in his head. In later life he becomes homeless for a time due to alcoholism and sleeps at night in Grangegorman Asylum, Dublin. He is rescued by some friends led by Garech Browne whose record company, Claddagh Records, records the String Quartet in 1974.

Throughout his career May is an advocate of better musical education in Ireland and expresses his views on this and other musical matters through the medium of The Bell, a monthly journal dealing with the arts. He is a co-founder, along with Brian Boydell and Aloys Fleischmann, of the Music Association of Ireland (now “Friends of Classical Music”), set up in 1948 to promote art music as an integral part of the cultural life of Ireland. Later he becomes a member of Aosdána. He lives the last years of his life at Orthopaedic Hospital of Ireland, Clontarf, Dublin. He dies on September 8, 1985, at the age of 74 and is buried in Mount Jerome Cemetery.


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Death of John Havelock Nelson, Composer & Conductor

John Havelock Nelson, composer and conductor, dies in Belfast, Northern Ireland, on August 5, 1996. He makes an immense contribution to the development of the cultural life of the province – and beyond – over the second half of the 20th century.

Nelson is born of middle-class parents in Cork, County Cork, on May 25, 1917, his distinctive forename being taken from a cousin of his mother who lost his life in World War I. Despite his birthplace, both his parents’ ancestral roots lie firmly in Northern Ireland.

Nelson’s father Robert comes from Larne, County Antrim, where he was raised. However, the early years of his mother Grace are quite eventful. She is born in the Belgian Congo on account of her father’s placement there as a missionary in the latter years of the 19th century (his family hail from Tobermore, County Londonderry). She is eventually sent home at an early age, due to the threat of malaria, and is raised in Belfast by an aunt and uncle who have no family of their own. It appears that Nelson inherits his musical genes from both parents. Although his father is trained as a chartered accountant, he is a capable baritone singer who studies in the early 1900s with C. J. Brennan, later to become the organist and choirmaster at St. Anne’s Cathedral, Belfast). Meanwhile, his mother shows talent as a pianist during her upbringing in her adopted city and by her early 20s is offering her services as an accompanist.

By chance, this is how his parents meet. They marry in 1916, shortly before their arrival in Cork where Robert takes up his first accountancy job. Within a month of Nelson’s birth, the family moves to Dublin where his father has secured a better post, eventually settling near Dún Laoghaire, just south of the capital city. From the age of five, now the eldest of four brothers born a year apart, he starts piano lessons and makes such rapid progress that, by the age of ten, he is able to play in a piano trio and to accompany his father in informal concerts. By the age of twelve, he wins a scholarship to the Royal Irish Academy of Music, Dublin, giving him the opportunity to study piano and theory and helping him to establish his core musical skills. Soon he adds conducting and organ lessons to his study programme.

As far as Nelson’s general education is concerned, this is completed at St. Andrew’s College, Dublin, where he excels in English, history and the sciences. By his late teens, he is determined to pursue a professional career as a musician. His father, however, exercises caution in this regard, advising him to take a science degree in the first instance. Consequently, he gains entry to Trinity College Dublin (TCD) in 1935 to read Natural Science, then makes a decision the following year to change to Medical Science. By 1939, he completes his primary degree in Medical Science, leading to doctoral research in bacteriology. At the same time, he begins a 4-year music degree at TCD while remaining musically active outside the university in relation to his piano studies, and also co-founds and conducts the Dublin Orchestral Players, a body that continues to provide an invaluable platform for amateur performers. He completes his university studies in 1943, graduating with a PhD in Medical Science and a primary Music degree. Seven years later he also completes a doctorate in Music from the same university.

His university career now behind him, like many fellow Irishmen, Nelson feels a desire to contribute to the World War II effort and applies for a commission in the medical branch of the Royal Air Force (RAF) in 1944. Eventually, he is called up and located at RAF Halton, Buckinghamshire, where he remains until after the end of the War, only returning to Dublin for his marriage in 1945. By nature, an outgoing, sociable person, he wastes no time in immersing himself in music-making activities when off duty, both inside and outside his RAF base. It is during this immediate post-war period that he becomes convinced that he wants to pursue a career in music. By chance, his attention is drawn to a BBC advertisement regarding a number of regional posts for staff accompanists, including Northern Ireland. His application is successful, and he reports for duty at BBC Northern Ireland in March 1947, where he remains for the next 30 years. In his new post, his main role is to play and accompany on the piano. To this end, he becomes involved in a number of new radio programmes, notably Children’s Hour. Elsewhere, he composes and arranges music for adult dramas and serials, the best known being The McCooeys. Another responsibility is to assist in auditioning local musicians for broadcasting opportunities, a process that uncovers much local talent, including a young James Galway. While his activities revolve around radio work in the 1950s, the next 20 years embrace opportunities arising from the new medium of television, including the popular Songs of Praise which involve him as conductor.

Nelson’s decision to retire from the BBC in 1977 enables him to focus fully on his free-lance career which had been running parallel, up until then, with his broadcasting work. In this capacity he is able to give full rein to his diverse range of musical skills as choral and orchestral conductor, chamber musician, music-festival adjudicator, composer and arranger. One should not overlook his role as animateur in founding the Studio Symphony Orchestra (1947) and the Studio Opera Group (1950). Both became integral parts of the local cultural scene during Nelson’s lifetime. His contribution as a festival adjudicator is an important activity, notably when undertaking tours abroad, including to Canada and the Caribbean. His visits to the latter area lead him to form the Trinidad and Tobago Opera Company shortly after his BBC retirement. In his busy lifestyle, he makes time to satisfy his creative energy as a composer and arranger. In total he publishes over 100 pieces, many inspired by his love of Irish traditional song and are of short duration and scored for a variety of vocal combinations. His enjoyment of his reputation as a piano accompanist of international standing is confirmed by his association with some of the leading Irish and British professional singers of the period, including Bernadette Greevy (soprano), Margaret Marshall (soprano), Peter Pears (tenor) and Ian Wallace (bass-baritone).

During his lifetime, Nelson’s outstanding services to music, both inside and outside the province, are recognised by a number of awards. The first of these is an OBE in 1966, followed in the latter part of his life by four honorary doctorates, three from local universities. A gifted and versatile musician, his personality is described by one colleague as “magnetic”- he has the unique ability to reach out to everybody irrespective of their age, status and position in life in whatever role he performs. In his best-known role as a conductor, a critic says of him that, “Dr. Nelson has a remarkable touch in getting people to do what he wants in the pleasantest way possible.” His vision and determination help to establish a vibrant music culture throughout Northern Ireland, an achievement that will remain his lasting legacy.

Nelson is survived by his three children and eight grandchildren; his wife Hazel having predeceased him in 1983.

(From: “John Havelock Nelson (1917-1996),” Dictionary of Ulster Biography, http://www.newulsterbiography.co.uk)


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Birth of Seóirse Bodley, Composer & Associate Professor of Music at UCD

Seóirse Bodley, Irish composer and former associate professor of music at University College Dublin (UCD), is born George Pascal Bodley in Dublin on April 4, 1933. In 2008, he is the first composer to become a Saoi of Aosdána. He is widely regarded as one of the most important composers of twentieth-century art music in Ireland, having been “integral to Irish musical life since the second half of the twentieth century, not just as a composer, but also as a teacher, arranger, accompanist, adjudicator, broadcaster, and conductor.”

Bodley’s father is George James Bodley (1879–1956), an employee in the Dublin office of the London Midland & Scottish Railway Company, and later of the Ports and Docks Board. His mother, Mary (née Gough, 1891–1977), works for the Guinness Brewery. He attends schools in the Dublin suburbs of Phibsborough and Glasnevin before he moves at the age of nine to an Irish-speaking Christian Brothers school at Parnell Square. He later studies at the School of Commerce in Rathmines, where he obtains his Leaving Certificate.

Music is encouraged in his parents’ home, and Bodley receives initial lessons on the mandolin from his father and on the piano from his mother. He studies the piano, harmony and counterpoint at the Royal Irish Academy of Music and obtains a Licentiate in piano from Trinity College London (TCL). From the age of 13, he also enrolls for a time at the Brendan Smith Academy of Acting. While he is still at school, he receives his first lessons in composition privately from the Dublin-based German choral conductor Hans Waldemar Rosen (1904–94), which continues, on and off, until 1956. From his student days he performs as an accompanist to singers and takes part in chamber music performances. An important element in his musical education is the twice-weekly free concerts given by the Radio Éireann Symphony Orchestra in the Phoenix Hall, Dame Court, where he has the opportunity to hear leading Irish and international performers and conductors presenting both classics and modern repertory.

From 1952 Bodley studies for a Bachelor of Music degree from University College Dublin, mainly with Anthony Hughes. He obtains the degree in 1955. From 1957 to 1959 he studies composition (with Johann Nepomuk David) and conducting at the Württembergische Hochschule für Musik in Stuttgart, Germany, and a year later he obtains a Doctorate in Music from UCD. He also takes classes in conducting with Hans Müller-Kray and Karl Maria Zwißler, and in piano with Alfred Kreutz. He returns to Germany several times in the early 1960s to participate in courses at the Darmstädter Ferienkurse, which significantly expands his knowledge of avant-garde techniques.

From 1959 until his retirement in 1998, Bodley lectures at the university’s music department, becoming associate professor in 1984. During the 1960s, he is conductor of the Culwick Choral Society.

Bodley’s development as a composer sees several distinct phases. In the 1970s he merges avant-garde styles with elements from Irish traditional music and becomes a figure of national importance. He receives several prestigious commissions for large-scale works, such as Symphony No. 3 (1981), written for the opening of the National Concert Hall.

In 1982 Bodley becomes a founder-member of Aosdána and President Mary McAleese confers the distinction of Saoi on him in November 2008. McAleese says that Bodley “has helped us to recast what it means to be an artist in Ireland.”