Finbarr Dwyer: Master of the Irish Accordion

Finbarr came from a deeply musical family in West Cork. His father played fiddle in what was described as a “Paddy Canny” style, while both parents also played accordion. The musical tradition ran strong through the Dwyer household - his brothers Richard, Michael (who died in 1996), and John were all accomplished musicians, playing accordion and fiddle respectively.

What set Finbarr apart was his early start and natural gift for composition. He began playing the accordion at the remarkable age of three and started composing tunes by age nine. This early immersion in music, combined with his family's rich musical heritage, shaped his unique approach to traditional Irish music.

His biggest musical influence was the legendary accordionist Paddy O'Brien, though Finbarr's style developed distinctively his own character. Interestingly, he also drew inspiration from outside traditional music, listening to country artists like Hank Snow and Jim Reeves, which contributed to his unique musical perspective.

His father John's musical influences were particularly significant. During his imprisonment on Spike Island during the War of Independence, John Dwyer had met various musicians, including the renowned Waterford piper Liam Walsh. These encounters would later influence the musical atmosphere in the Dwyer household.

One of Finbarr's most famous compositions has an interesting origin story. “The Holly Bush” was written while he was a student boarding at St. Brendan's College in Killarney. The tune was composed in the school billiards room while other students had left for the weekend, inspired by memories of a holly bush back home in Cailroe.

In 1966, Finbarr moved to London where he worked as a secondary school teacher while immersing himself in the vibrant Irish music scene. During this period, he mixed with prominent Irish musicians and his talents continued to flourish. He won the All-England accordion title in 1969, establishing himself as one of the foremost players of his generation.

Finbarr played a distinctive three-row B/C/C# accordion, which contributed to his characteristic “screaming” or “in your face” sound that made his playing instantly recognizable. It was during the 1970s that he recorded most of his commercial albums, cementing his reputation as a master of the instrument.

“Nobody has ever played the accordion like Finbarr and to be honest I don't think anybody will.”

What made Finbarr Dwyer truly exceptional was his inability to play a tune “straight.” As Kerry accordion maestro Séamus Begley noted: “He was totally unique. He danced reels around the tune and he just could not play it straight. He had to put his own twist on. As he said himself, he gave it the kiss of life.”

This approach to traditional music - respectful of the tradition yet innovative in expression - became Finbarr's signature style. He was recognized as one of the three legendary figures of Irish B/C button accordion music, alongside Paddy O'Brien and Joe Burke.

Finbarr treated every tune as “a living entity,” using variations and subtle phrasing to bring out the distinct character of each melody. His playing felt like a conversation, with each tune telling its own story through his unique interpretation and expressive approach.

While Finbarr Dwyer's most famous compositions are well-documented, his repertoire extended far beyond reels to include jigs, waltzes, and polkas. He composed a polka called “Ard Gúm,” known for its simple, traditional feel and popular in County Cork session circles.

The world of traditional music attribution can be complex, and several tunes commonly thought to be Finbarr's are actually misattributed:

• “The Meadow” - While Finbarr recorded this reel in 1970, it was also released by his brother John Dwyer in the same era. It's widely believed that John was the actual composer.
• “The Copper Beach” - Another tune often incorrectly attributed to Finbarr in traditional music circles.
• “Station Donleys” - This jig that Finbarr recorded is actually based on a traditional air called “An Páiste Fionn,” showing his skill in adapting traditional melodies.

These examples highlight the fluid nature of traditional music attribution and demonstrate how tunes can become associated with particular players through their distinctive interpretations, even when they weren't the original composers.

Among his confirmed lesser-known compositions are “Trim the Velvet” and “The Bearhaven” from his album Irish Traditional Accordionist, as well as “Imelda Rowland's” from Irish and Continental Accordion. He also recorded traditional tunes like “Ahern's Egg,” a jig that showcased his interpretive skills.

Finbarr's first major recording was “Finbarr Dwyer, Irish Traditional Accordionist,” comprising his own compositions and his distinctive interpretations of traditional tunes. The album was produced by Billy McBurney at International Studios in Belfast and released on Outlet Records in 1970.

His extensive discography includes albums such as:

• “Pure Traditional Irish Accordion Music”
• “Best of Finbarr Dwyer”
• “Irish Traditional Accordion Session with Four Champions”
• “Ireland's Own Traditional Accordionist”
• “Star of Ireland”
• “Accordion Music from the Soul”

In 1989, tragedy struck when Gerard Conroy, a close friend and member of Finbarr's circle, was killed in a rally accident. Finbarr had sponsored the rally team, and the loss affected him so deeply that he stopped playing music entirely. This devastating event led to a 17-year hiatus from music, during which one of Ireland's greatest accordion players remained silent.

When Finbarr finally returned to music in the mid-2000s, it was with some trepidation but also with a transformed approach. He now played a two-row accordion rather than his signature three-row instrument, and while his style was different, it remained unmistakably his own. Many who heard him during this period considered it his best phase of playing, demonstrating remarkable artistic growth after such a long absence from music.

This resilience and return to music in his later years demonstrated the deep spiritual connection he had with his art. His comeback influenced a whole new generation of musicians who witnessed the master's renewed creative energy before his passing in 2014 at the age of 67.

The Dwyer family represents one of the most significant musical dynasties in Irish traditional music. Finbarr's brothers were also accomplished composers and players:

• Richard Dwyer - Composed tunes including “Return to Burton Road” and other works attributed to the family
• Michael Dwyer (1942-1997) - Composed several tunes including “Connie O'Connell's”
• John Dwyer (1933-) - Fiddler and composer of tunes like “John Dwyer's Reel”

This family tradition demonstrates how musical knowledge and creativity were passed down through generations, with each brother contributing their unique voice to the Irish traditional music canon.

Today, Finbarr Dwyer's compositions continue to be played by traditional musicians around the globe. His tunes appear regularly in session circles, on recordings by leading traditional artists, and in the repertoires of music students learning the tradition.

Contemporary musicians and teachers recognize his contributions not just as a composer, but as an innovator who showed how one could remain true to traditional music while bringing fresh interpretation and personal expression to the art form.

For musicians looking to learn Finbarr Dwyer's compositions, it's important to understand that his tunes often require more than just playing the notes correctly. His approach was characterized by:

• Ornamental richness - Subtle rolls, cuts, and crans that gave life to the melody
• Rhythmic flexibility - A sense of timing that breathed with the music
• Harmonic awareness - Understanding of how melodies could be enhanced through accompaniment
• Personal expression - The courage to interpret rather than merely reproduce

When learning his tunes, listen to recordings not just for the notes, but for the spirit and approach that made Finbarr Dwyer's playing so distinctive.

Finbarr Dwyer passed away on February 8, 2014, in Mallow, County Cork, leaving behind an extraordinary musical legacy. His life story - from child prodigy to innovative master, through personal tragedy and triumphant return - reflects the deeper human experience that gives traditional music its emotional power.

His compositions continue to be discovered by new generations of musicians, each finding their own way to give these beautiful melodies “the kiss of life” that Finbarr himself brought to every tune he touched.

For those interested in exploring traditional Irish music composition, studying the works of Finbarr Dwyer provides insight into how tradition and innovation can coexist, how personal experience can be transformed into universal musical language, and how the accordion can sing with the voice of one of Ireland's most gifted musical storytellers.