Russell is born in Doonagore, Doolin, County Clare, on March 25, 1915. He comes from a musically renowned family. His mother plays the concertina, and his father is a sean-nós singer. He has two brothers, Packie and Gussie, who are also musicians. He also has two sisters. He never marries.
Russell teaches himself to play the tin whistle by ear, beginning at the age of eleven. The 1960s revival of Irish traditional music brings him attention and performance opportunities. In 1973, he wins the All-Ireland tin whistle competition, which further increases demand for his performances. Like Séamus Ennis, he is also known for his spoken introductions to tunes in his live performances, which incorporate folklore and legend. His knowledge of tradition extends past music to language, stories, dance, herbal lore, and old country cures.
“Micho Russell’s Reel,” Russell’s only known composition, is a variant of an older tune he calls “Carthy’s Reel.” He tells Charlie Piggott, “…So Carthy was beyond anyway, and he heard the old tune from a piper playing it, and he had the first part but only three-quarters of the second part. So when Séamus Ennis came around collecting music, I put in the last bit. That’s roughly the story of the tune.” The reel has been recorded by other artists such as Mary Bergin. His best-known songs are John Phillip Holland and The Well of Spring Water.
Russell dies in a car accident on February 19, 1994, in Kilcolgan, County Galway, on his way home from a gig just prior to going back into the studio to record another CD.
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 Schiedmayerharmonium. 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 PresidentDouglas 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)
seamus dubhghaill 