Ireland - Piano Works Volume 3

Naxos: 8570461

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Ireland - Piano Works Volume 3

Label:

Naxos

Catalogue No:

8570461
(8.570461)

Discs:

1

Release date:

30th June 2008

Barcode:

0747313046171

Length:

72 minutes

Medium:

CD (download also available)
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Ireland - Piano Works Volume 3


Ireland:

Green Ways

Piano Sonata

The Almond Trees

On a Birthday Morning

Soliloquy

Four Preludes

For Remembrance

Amberley Wild Brooks

Spring Will Not Wait

Equinox

Ballade of London Nights


John Lenehan (piano)

CD

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John Ireland’s piano music, some of the most appealing British piano music of the twentieth century, reflects the composer’s many interests: his love of literature, his interest in paganism and Celtic mysticism, as well as the bitter-sweet regret of the passing of love. irelanThis recording includes Ireland’s Piano Sonata, whose third movement is associated with Chanctonbury Ring on the Sussex South Downs, and the four Preludes, the third of which, The Holy Boy, written on Christmas Day 1913, is one of Ireland’s most popular and touching melodies.

John Ireland: Piano Sonata

I. Allegro moderato

II. Non troppo lento

III. Con moto moderato

John Ireland: Soliloquy

Soliloquy

John Ireland: Preludes

No. 1. The Undertone

No. 2. Obsession

No. 3. The Holy Boy

No. 4. Fire of Spring

John Ireland: The Almond Tree

The Almond Tree

John Ireland: On a Birthday Morning

On a Birthday Morning

John Ireland: Green Ways

I. The Cherry Tree

II. Cypress

III. The Palm and May

John Ireland: For Remembrance

For Remembrance

John Ireland: Amberley Wild Brooks

Amberley Wild Brooks

John Ireland: Equinox

Equinox

John Ireland: We'll to the Woods No More: III. Spring will not wait

We'll to the Woods No More: III. Spring will not wait

John Ireland: The Ballade of London Nights

The Ballade of London Nights

Gramophone Classical Music Guide

2010

“Comparative listening to the meaty Sonata that Ireland wrote between 1918 and 1920 (the one work common to all three releases) finds both Rowlands and Bebbington allowing themselves rather greater breathing space than the more urgently propulsive Lenehan (who whips up quite a gale in the first movement's development).
Each is a mightily convincing proponent, though Rowlands's interpretation carries particular authority: during the late 1950s he studied intensively with Ireland (the booklet contains a most engaging and fascinating personal reminiscence) and it was Rowlands whom the composer recommended to Richard Itter of Lyrita for its complete recorded edition.
With no editing facilities available, single takes were a necessity in sessions spanning January 1959 to March 1963 which took place in the music room of Itter's Buckinghamshire home.
Captured in perfectly acceptable mono sound, Rowlands's memorably intimate performances betoken a very special empathy for this repertoire.
Indeed, his playing throughout these three well filled CDs evinces a selfless dedication, recreative wonder and abundant poetic instinct.
As for the two new collections, Lenehan effortlessly maintains the favourable impression left by the first two instalments in his series (reviewed above). With his pellucid, exquisitely variegated tonal palette, he makes a gorgeous thing of The Almond Trees, plumbs real depths in Spring will not wait and the central “Cypress” from Green Ways, and masterminds superbly involving accounts of the gale-tossed Equinox and mercurial Ballade of London Nights. What's more, he has been accorded crystal-clear yet nicely atmospheric engineering.
For first-timers, however, Bebbington's programme provides a pretty much ideal introduction, containing two of Ireland's most popular and durable achievements, namely Decorations and London Pieces – both given with such winning aplomb, scrupulous care and heartwarming sense of new discovery that it's hard not to fall in love with them all over again (the vernally fresh 'Chelsea Reach' positively beams with joy).
Elsewhere, Bebbington displays wonderful control in the leaner-textured and economically argued Sonatina, just as he is acutely responsive to the fearful undertow of the Ballade (close cousin to the riveting Legend for piano and orchestra). Somm's sound is clean and true.”

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