SKU: CN.R10004

A slow introduction gives way to the chirpy theme which is developed, inverted, and accents displaced across the bar line to give a 3/2 feel against the written meter. Restlessness leads to a tranquillo presented by the flute and clarinet, weaving a flowing counterpoint around the melody until the original slow introduction returns. A triumphant recapitulation of the main theme brings this wonderful piece to an end.

Originally composed for Brass Band in 1934 Comedy Overture is, despite its name, a serious piece of writing. The term Overture does not imply that there is anything else to follow; it is used in the 19th century sense of Concert Overture (like Mendelssohn's Fingal's Cave - in other words, a miniature Tone Poem). The 1930's was a period of Ireland's mature writing - yielding the Piano Concerto (1930), the Legend for piano and orchestra (1933), and the choral work These Things Shall Be (1936-1937). We are fortunate therefore to have both Comedy Overture and A Downland Suite (1932) written for band medium at this time. As with Maritime Overture (written in 1944 for military band) Ireland approaches his material symphonically. The opening three notes state immediately the two seminal intervals of a semitone and a third. These are brooding and dark in Bb minor. It is these intervals which make up much of the thematic content of Comedy, sometimes appearing in inverted form, and sometimes in major forms as well. The concept that some musical intervals are consonant , some dissonant, and some perfect is perhaps useful in understanding the nature of the tension and resolution of this work. The third is inherently unstable, and by bar 4, the interval is expanded to a fourth - with an ascending sem-quaver triplet - and then expanded to a fifth. The instability of the third pushes it towards a perfect resolution in the fourth or the fifth. The slow introduction is built entirely around these intervals in Bb minor and leads through an oboe cadenza, to an Allegro moderato brillante in Bb major. Once again, the semi-tone (inverted) and a third (major) comprise the main, chirpy, theme-inspired by a London bus-conductor's cry of Piccadilly. (Much of the material in Comedy was re-conceived by Ireland for orchestra and published two years later under the title A London Overture.) The expansion of the interval of a third through a fourth, fifth, sixth, and seventh now takes place quickly before our very ears at the outset of this quicker section. Immediately the theme is developed, inverted, and accents displaced across the bar line to give a 3/2 feel against the written meter. But this restlessness leads to a tranquillo built around an arpeggio figure and presented by flute and clarinet. Ireland weaves his flowing counterpoint around this melody until the original slow introduction returns leading to a stretto effect as the rising bass motifs become more urgent, requesting a resolution of the tension of that original semitone and minor third. Yet resolution is withheld at this point as the music becomes almost becalmed in a further, unrelated tranquillo section marked pianissimo. It is almost as if another side of Ireland's nature is briefly allowed to shine through the stern counterpoint and disciplined structure. This leads to virtually a full recapitulation of the chirpy brilliante, with small additional touches of counterpoint, followed by the first tranquillo section-this time in the tonic of Bb major. But the instability of the third re-asserts itself, this time demanding a resolution. And a triumphant resolution it receives, for it finally becomes fully fledged and reiterates the octave in a closing vivace. The opening tension has at last resolved itself into the most perfect interval of all.

SKU: CN.R10011

Cast your self into a storm at sea with this fantastic piece from John Ireland. Turbulent rhythmic motives launch the work to blend into a more lyrical melody contrasting the opening. Don't be fooled though; the first rhythmic motive provides the underlay, a reminder that the calm surface of the sea is only masking the swirling water underneath!

A Maritime Overture was written in 1944 and published in 1946. This edition was published in 1988. The score was prepared from the composer's full draft by Norman Richardson, and uses the same material as Tritons - a Symphonic Prelude for orchestra dating from the early 1900s. The development of the material however is different in each piece. The work is conceived in F major - but it is 24 bars before Ireland establishes this tonality. Fortissimo chords of B-flat major open the work, and the Overture hovers between G minor and B-flat as a restless rhythmic motif is introduced. As soon as F major is finally established it is contradicted as the music fragments, but the key is allowed a further 4 bars to consolidate before more lyrical interplay leads to a second idea, introduced by flutes and oboes in C major. Marked 'espressivo e ben cantando' this is a complete contrast to the opening, although the first rhythmic motif provides the underlay - a reminder after the opening storms that the calm surface of the sea is only masking the swirling water underneath. A Maritime Overture has a freer approach to form than say the first movement of a symphony might allow, enabling Ireland to introduce a totally new central section marked 'poco meno mosso' in F minor. A bold cornet (not trumpet) heralds this new idea, in a passage marked 'with freedom' and perhaps for the only time there is a true tranquility in the sextuplet accompaniment. Thus the restlessness is suspended, but not for long, as the opening storm returns and a recapitulation allows the F major theme and the second theme - this time in the sub-dominant (B-flat) - to reassert themselves.

SKU: CF.SAS7F

ISBN 9781491160879. UPC: 680160919475.

The Island of Saints and Scholars is an old nickname for Ireland dating back to the early Middle Ages. This original work is a reflection upon Ireland's rich and turbulent history, which can be heard in the lyrical melodic phrases, ever-changing meter, and moments of dissonance. The rhythmic profile of the piece was suggested by a type of Old Irish verse that, among other features, carries seven syllables per line. The quiet opening gains in intensity during an extended stringendo into the fast-paced middle section (Vigorously), where watching and listening carefully are imperative. Later, a second extended stringendo guides the ensemble into the spirited finale (Presto).
The Island of Saints and Scholars is an old nickname for Ireland dating back to the early Middle Ages. This original work is a reflection upon Ireland’s rich and turbulent history, which can be heard in the lyrical melodic phrases, ever-changing meter, and moments of dissonance. The rhythmic profile of the piece was suggested by a type of Old Irish verse that, among other features, carries seven syllables per line. The quiet opening gains in intensity during an extended stringendo into the fast-paced middle section (Vigorously), where watching and listening carefully are imperative. Later, a second extended stringendo guides the ensemble into the spirited finale (Presto).

SKU: GI.G-10087

UPC: 785147008736.

Liam Lawton’s High Is the Heaven combines Celtic themes, strong melodies, and poignant texts to create a unique and accessible collection of music for liturgical celebrations and beyond. Like so many of Liam’s songs, each exquisite piece has a back story: The Lord Hears the Cry of the Poor was written for the Papal Mass of Pope Francis in Ireland, High Is the Heaven commemorates the 1400th anniversary of the death of St. Columban, one of the ancient Celtic monks who brought Christianity from Ireland to Europe, and the Christmas piece There’s a Star was written for Liam’s own parish choir in Ireland. In true Lawton fashion, he injects the beauty and spirituality of his homeland into every song of this collection. Click here to redeem your download code.

SKU: ST.Y346

ISBN 9790220225321.

Among the most famous of twentieth-century art songs, Sea Fever has been imaginatively recreated for solo piano by Roderick Williams, whose accomplishments as a master of English lieder are matched by a composer's ear for the latent potential of an existing work. In this case, the inspiration was the playing of the dedicatee, the notable British pianist Maria Marchant, and the suggestion of Bruce Phillips of the John Ireland Trust for a 'free arrangement' in the manner of Liszt. In fact, the new version remains true to the original while offering the performer a degree of poetical bravura by no means superfluous or transcendental. It could well be programmed with other piano music by John Ireland, or stand alone as a highly effective and instantly recognised encore.

A recording by Maria Marchant is now available from SOMM Recordings (SOMMCD 0174).

SKU: GI.G-CD-1016