Hibernian Rhapsody
Carl Hession – Piano, harpsichord.
Michelle Lally – Voice.
Derek Hickey – Accordion.
Tim Edey – Guitar.
Frankie Gavin – Flute, fiddle.
Additional musicians
Eugene Killeen – Fender Rhodes, synthesizers, drums,
programming.
Patricia Kelly – Strings.
Rick Epping – Harmonica.
Daniel Healy – Trumpet.
Ciara Murphy – Flute.

Producers – Carl Hession / Eugene Killeen.
Associate producer – Frankie Gavin.
Arrangements – Carl Hession (except where otherwise indicated).
Recorded, mixed and mastered at The Sound Room,
June 2005 – September 2006 by Eugene Killeen.
Thanks to Edel McLaughlin at the traditional music archives for her valuable
research and help with the sleeve-notes.
Artwork inspiration is from La Rousse Encyclopaedia of music.
Album cover design – Killeen / Hession.
Photography – David Doyle.
Technical support – Ronan McDonagh / Tommy Moran.

Track Notes

1. Tico Tico. arr. Killeen / Hession.
Derek Hickey – accordion. Frankie Gavin – fiddle. Eugene Killeen – percussion, drums and keyboards. Tim Edey – guitars.
Written in 1917 by Zequinha de Abreu, and originally entitled Tico Tico no Farelo, this Brazilian tune has been recorded by countless artists, among them Fintan Stanley and Dermot Byrne. This recording features fleet-fingered virtuoso Derek Hickey who makes light work of the tune’s technical challenges. Appropriately, for a Latin-American tune, we have included driving rhythm guitars, drums, and a feast of percussion instruments.

2. A Mozart Celebration. composed by Gavin / Hession. arr. Hession
Frankie Gavin – Fiddle. Carl Hession – Piano. Patricia Kelly – strings.
This work was commissioned by Lyric F.M. to celebrate the 250th anniversary of Mozart’s birth. The rondo from Eine kleine Nachtmusik is the basis of the composition, though we have references to other Mozart masterpieces throughout the work.

3. The Wild Goose. arr. Hession / Killeen.
Michelle Lally – vocal. Tim Edey – guitar. Eugene Killeen – Rhodes, synthesizers, drums. Derek Hickey – accordion. Patricia Kelly – strings. Jackie Murphy – harmonies.
This song was recorded by Kate Rusby on her 1999 album Sleepless. It is classed as traditional, and associated with Scottish folk music. Although the arrangement is quiet close to the original recording,Michelle gives the tune her own distinctive interpretation.

4. The Shaskeen Reel. arr. Hession.
Patricia Kelly – strings. Carl Hession – harpsichord. Frankie Gavin – fiddle.
One of the most famous tunes in traditional dance music, the Shaskeen Reel was collected by O’ Neill in his Dance Music Of Ireland, and was recorded by legendary Sligo fiddle-player Michael Coleman in 1921. Here the tune is given a Baroque setting, beginning with a fugue and moving on to develop both parts of the tune. Carl’s creative string writing is, once again, much in evidence.

5. Lord Mayo. arr. Hession.
Carl Hession – piano. Patricia Kelly – strings.
Lord Mayo was one of Turlough O’Carolan’s patrons, and the blind harpist often played for him and his friends at Castle Bourke,Mayo’s residence. The air has been recorded by Sean O’Riada on his album O’Riada, as well as by Donna Long on Cherish The Ladies. Supported by a light string accompaniment, Carl’s piano takes centre-stage.

6. The Barndance Set. arr. Hession.
Rick Epping – harmonicas. Frankie Gavin – fiddle. Carl Hession – piano.
The two tunes here are loosely known as barndances. The first is a composition of Gavin’s, and arose out of an impromptu session in Norway some time ago. It was a logical choice for inclusion on this album, and a fine addition to Gavin’s collection of original tunes. The second piece, Poll Ha’Penny, is classified as a hornpipe, and has been recorded by Ronan Browne, whose playing is much influenced by that of Co. Clare fiddle-player Bobby Casey. Printed versions of this tune can be found in Pat Mitchell’s The Dance Music Of Willie Clancy, as well as in O’Neill’s Dance Music Of Ireland. Frankie and Rick give a terrific rendition of both tunes, with the blues element to the fore in Poll Ha’Penny.

7. Both Sides Of The Tweed. arr. Hession.
Michelle Lally – vocal. Frankie Gavin – fiddle. Tim Edey – guitar. Eugene Killeen – Rhodes, synthesizers, bass.
A composition of Dick Gaughan’s, this song has been recorded by Capercaille, with Karen Matheson on vocal. The lyrics plead for political and social harmony between Scotland and England, and the song could be described as

8. The Arrival Of The Queen Of Sheba (in Galway). arr. Hession.
Frankie Gavin – fiddle. Derek Hickey – accordion. Carl Hession – harpsichord, bass. Eugene Killeen – drums.
Born in 1685, the same year as J.S. Bach, Handel is probably most famous for his Messiah which was first performed in Dublin in 1742. The Queen Of Sheba is a sinfonia from his opera Solomon (1749) and while it has been given a “trad” treatment here, the accompaniment is faithful to its original Baroque setting, with the harpsichord providing a continuo line characteristic of 17th century keyboard technique.

9. Ar Éirinn Ní Neosfainn Cé hí. arr. Edey.
Tim Edey – guitar.
This beautiful slow air was written by Earnán de Regge and has been recorded by many artists including The Dubliners, Aylish Kerrigan and Con Greeney. Tim plays the tune with a delicate rubato and uses some unusual harmonic structure and voicings. A truly fine interpretation from one of the great modern guitarists of the traditional idiom.

10. Eleanor Rigby. arr. Hession
Frankie Gavin – fiddle, flute. Carl Hession – piano. Daniel Healy – trumpet. Patricia Kelly – strings.
This well-known Beatle’s tune dates back to 1966. A feature of the original song was the sympathetic string arrangement, written by George Martin. In this setting, the song is treated as a single jig, one of the most popular dance-forms found in Irish music.

11. Badinerie / The Rambles of Bach. arr. Hession.
Frankie Gavin – fiddle. Derek Hickey – accordion. Carl Hession – harpsichord. Patricia Kelly – strings.
Badinerie is the final movement from Suite No. 2 in B minor. Bach’s music has been given unusual interpretations from time to time, notably Walter Carlos’ synthesized arrangements and Jacques Loussier’s jazz treatments. Here we present a “trad” setting of the

12.Down By The Glenside. arr. Hession / Killeen.
Michelle Lally – vocal. Tim Edey – guitar. Patricia Kelly – strings. Frankie Gavin – flute. Eugene Killeen – Rhodes, synthesizers.
This song was written by Peadar O’Cearnaigh, an uncle of Brendan Behan, and a poet / songster and soldier in the Irish National Revolution (and the man who also composed the Irish national anthem, The Soldier’s Song). The song is also known as The Bold Fenian Men, a reference to the Fenian movement which supplanted Young Ireland in the 1860s. The arrangement is in a modern, semiclassical style, resembling an art song, and with a plaintive and sympathetic vocal by Michelle.

13. Sporting Galway. composed and arranged by Carl Hession.
Frankie Gavin – fiddle. Carl Hession – piano, harpsichord, bass. Patricia Kelly – strings. Eugene Killeen – drums.
A newly composed three-part reel, featuring an introductory section that moves from 7/4 time to 8/4, and interspersed with touches of Baroque harpsichord, which return after the second playing of the reel.

14. From Jig To Jigs. arr. Hession
Frankie Gavin – fiddle. Rick Epping – harmonica. Carl Hession – piano.
This track is based on the slip jig Moll Roe, and two single jigs,Will You Come Home With Me and The Woods Of Limerick. In its dance-form, the slip jig is very graceful, though less popular in its tune-form to the single jig. The combination of fiddle and harmonica creates a wonderful sound, especially in the hands of such competent musicians. Moll Roe has a few different titles, and was recorded on Irish Pipers, Vol.II. Will You Come Home With Me and The Woods Of Limerick are associated with Willie Clancy and Martin Connolly.

15. Inishbofin. composed and arranged by Carl Hession.
Patricia Kelly – strings. Carl Hession – keyboards. Ciara Murphy – flute.
Inishbofin, off the north-western shores of Connemara, is a tranquil place that has managed to retain all its island traditions. This piece was written for full orchestra, but is here given a chamber setting, and features Ciara Murphy, a former pupil of Carl’s at Coláiste Iognáid, Galway.

16. The Broom O’ The Cowdenknowes. arr. Hession / Killeen.
Michelle Lally – vocal. Frankie Gavin – Flute.Tim Edey – guitar. Eugene Killeen – Rhodes, synthesizers. Jackie Murphy – harmonies.
This song was published by John Playford in 1651 and subsequently used in The Beggar’s Opera. Cowdenknowes mansion and estate is just south of Earlstown in Berwickshire. Frankie’s haunting flute introduction sets up another fine vocal track, with Jackie Murphy from Co. Carlow on backing vocals.

17.Goldsmith’s Lament. arr. Hession.
Frankie Gavin – fiddle. Patricia Kelly – strings. Carl Hession – synthesizers. Eugene Killeen – hammered dulcimer.
This beautiful slow air, written by accordionist Séamus Shannon, is a lament for the poet Goldsmith. Although a recent composition, the piece has the same greatness and rich melodic structure found in the “big” songs from the tradition.

18.Hard Times Come Again No More. arr. Hession / Killeen.
Michelle Lally – vocal. Daniel Healy – trumpet. Carl Hession – organ. Frankie Gavin – fiddle. Eugene Killeen – synthesizers, drums. Patricia Kelly – strings.
A Stephen Foster song, written in 1854 around the time he began arranging his most popular tunes (such as this one, and Jeanie With The Light Brown Hair) for guitar accompaniment. This version has an emphatic military-band feel, featuring Daniel’s brass-parts, as well as snare and side-drum elements, while Michelle’s vocal underlines the solemnity of the setting.

19. Roseland Barndance. arr. Hession.
Derek Hickey – accordion. Frankie Gavin – fiddle. Tim Edey – guitar. Carl Hession – piano.
This barndance was written by the legendary Boston accordion player Joe Derrane, and recorded, with Carl, on Joe’s 1996 album Return To Inis Mór. The title is a reference to Roseland Studios in Moate, Co.Westmeath, where that album was recorded. (The town of Moate is named for the remarkable mound of Móta Gráinne Óige which rises beside it). A feature of the tune is the chromatic movement, especially in the third part, which illustrates Joe’s skill, as a composer (and as a performer).