John Ireland: A Catalogue, Discography and Bibliography

JOHN IRELAND: A CATALOGUE, DISCOGRAPHY AND BIBLIOGRAPHY

John Ireland: A Catalogue, Discography and Bibliography

2nd revised and enlarged edition compiled by STEWART R. CRAGGS

(first published by Oxford University Press)

 Stewart R. Craggs 2007 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise without the prior permission of the publisher. Stewart R. Craggs has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the editor of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hants GU11 3HR England

Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA

Ashgate website: http://www.ashgate.com British Library Cataloguing in Publication Data John Ireland : a catalogue, discography and bibliography. – 2nd ed. 1. Ireland, John, 1879–1962 – Catalogues raisonnées 2. Ireland, John, 1879– 1962 – Bibliography I. Craggs, Stewart R. 016.7'8'092 Library of Congress Cataloging-in-Publication Data Craggs, Stewart R. John Ireland : a catalogue, discography, and bibliography / edited by Stewart R. Craggs. p. cm. Includes index. ISBN 978-0-85967-941-1 (alk. paper) 1. Ireland, John, 1879–1962—Bibliography. 2. Ireland, John, 1879–1962— Discography. I. Title. ML134.I75C7 2007 016.78092—dc22 2006033067 ISBN 978-0-85967-941-1 Printed and bound in Great Britain by Antony Rowe Ltd, Chippenham, Wiltshire.

Dedicated to the memory of Peter Taylor (8.6.1913 – 6.3.2003) Margaret Taylor (2.11.1920 – 11.11.2004) and Michael Taylor (2.4.1944 – 7.9.2002) In memory of our friendship and in gratitude

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Contents

Introduction Colin Scott-Sutherland

ix

Introduction to the 1993 edition Geoffrey Bush

xiii

Compiler’s note and acknowledgements

xvii

Chronology

xix

Catalogue of works

1

Personalia

129

General bibliography

139

Alphabetical index of works

149

Classified index of works

161

Index of authors of texts

171

General index

173

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Introduction Colin Scott-Sutherland

John Ireland’s formative years belong to the close of a century. The roots of his creative impulses run deep, through the cultural top soil of the early 1960s, through the disturbed strata of two world wars into that ground which nourished the seeds of the renaissance of an expressly English nationalist spirit in music, literature and the arts. Of that renaissance Ireland’s work is essentially a part, having something of its prophetic and of its retrospective character, and probing more deeply to the fount of that nationalism than the music of any other British composer. For a creative artist Ireland lived, outwardly at least, a comparatively uneventful life. Born in 1879, he began music studies at an early age, enrolling, of his own volition, at the Royal College of Music at the age of fourteen to study pianoforte under Frederick Cliffe, and, fulfilling an ambition, to take lessons in composition from that great but formidable teacher Charles Villiers Stanford. He also studied the organ, gaining his FRCO at nineteen, and held several organ posts in Chelsea. The early death of both his parents when Ireland was only fourteen left him self-reliant though well enough off: ‘My parents left me amply provided for and I was quite independent of either scholarships or organ posts … I did not win a scholarship (for composition) until I had been four years at the Royal College and the organ posts were taken for experience and interest … My father appointed two guardians to manage my financial affairs until I came of age, my only monetary ‘hardships’ being the strict supervision my guardians kept upon my expenditure.’1 Nonetheless, to provide for the small extravagances of student life he supplemented his income by playing at ‘smokers’ and in cafes, thereby gaining a modest experience of life. His early chamber compositions – two String Quartets and the Sextet, written while still a student – met with Stanford’s disparaging comments (‘All Brahms and water my boy’) rewarding the young pupil with the discipline of a year studying strict Palestrina counterpoint (for which Ireland was in fact grateful in later years). These early chamber works were, however, laid aside, not destroyed; but were not heard until the 1960s 1

Letter to the writer, 15 February 1960

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shortly before his death. However, the Phantasie Trio (1906) gained 2nd prize in the Cobbett competition of 1908 – and the first Violin Sonata (1908/9) took 1st prize in the same competition in the following year. Outwardly, then, his life thereafter was devoted busily to teaching, organ playing and composition, which eventually led to his appointment as Professor of Composition at his old College, with such distinguished pupils as Moeran, Britten and Arnell. Nevertheless life was not all smooth – a disastrous marriage in 1926, divorce two years later, and an unsatisfactory relationship with a young pupil disturbed the even tenor of his private life. These events left scars which were in some measure exorcised in composition – in works such as the Sonatina for piano, and the song cycle We’ll to the woods no more. He kept the emotional side of his life private, recording the high and low points of experience in his music. It is very evident from his letters – in particular those to his close friend and confidant of later years, the Revd Kenneth Thompson2 – that despite the apparently withdrawn aspect of his character, his was a very complex personality. ‘As you know’ he wrote ‘I am a rather bad sort of Anglo-Catholic. I am a Pagan. [He uses the capital letter.] A Pagan I was born and a Pagan I shall remain – that is the foundation of religion.’3 Ireland lived for forty years at Gunter Grove, Chelsea, and, although the pattern of his life did not take him to exotic places, an early visit to the Channel Isles in 1900 with a party of his choristers from his organ charges awakened something in him that was shortly to influence his music deeply. He had made plans to live in Guernsey but his sojourn there was brought to a dramatic halt when he was forced to a hurried last- minute escape from the advancing Germans. Up until 1913 his growing reputation as composer had been earned largely from church music and songs. But together with the influence of the Channel Isles another vital influence had begun in 1913 to make itself felt. He had encountered the prose of the Welsh writer Arthur Machen as early as 1906 when he came across a copy of ‘The House of Souls’. Machen’s strange writings influence Ireland with their ‘horrors that were never quite described. They hinted at dark things, at half-remembered rituals and evil powers which might still be lingering among the foxgloves and hawthorn around some mossy stone’.4 Within the next two years several works were composed that were quite unlike anything that had gone before. 2

These letters are in the British Library GB Lbl (Add. MS 60535–6). Letter to Revd Kenneth Thompson. 4 Anthony Lejeune on Machen –The Listener, 29 August 1956. 3

INTRODUCTION

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xi

The three piano pieces with the collective title Decorations (1913) showed two influences clearly. The pieces5 bore the titles The Island Spell, Moon-glade and The Scarlet Ceremonies. The Island Spell is awash with the island seas in ‘a delicate wave-green solitude’ (quoting Arthur Symons on the score) – The Scarlet Ceremonies is prefaced with a quote from Machen, which reads: Then there are the Ceremonies, which are all of them important, but some are more delightful than others – there are the White ceremonies and the Green Ceremonies and the Scarlet Ceremonies. The Scarlet Ceremonies are the best.

This new voice in his music was not simply impressionism, for within a year he had composed the orchestral work The Forgotten Rite with its dark undertones, and the set of Preludes for piano entitled The Undertone, Obsession, The Holy Boy and Fire of Spring. The influence of the Channel Isles had touched a vein of Nature-mysticism in Ireland’s make-up and the writings of Machen had added to that the imagery of earth memory, satyrs, wood gods and ancient rituals. The second piece of Decorations, Moonglade, while also hinting at mystery reveals another important influence – that of Nature itself – that can be heard in so many of his piano works such as Equinox, Amberley Wild Brooks and so on. It is also inevitable that the inimical influences of the cataclysm of 1914–18 should be reflected in his work – and no clearer instances of that can be heard than in the 2nd Trio, and in the 2nd Violin Sonata, or in songs such as Blind and The Cost. Ireland was acutely sensitive to his surroundings and to the ‘Spirit of Place’; the course of his life is readily documented in the various compositions that environmental experience drew from him – Chelsea in the London pieces, the Ballade of London Nights, and his Comedy Overture, with its cry of Picadilly; the Channel Isles in The Island Spell and more important in the piano suite Sarnia6; his final home at Rock Mill on the Sussex Downs in Amberley Wild Brooks, in Legend (which relates specifically to a ghostly encounter shared by Machen) the Piano Sonata, and the sombre Ballade – were those to which most, if not all, of the composers of the period were subject. The strongest non-musical influences were Nature and Poetry, notably Housman and Hardy. The two most vital characteristics of Ireland’s music are the essential humanity of its appeal, and a less common mysticism whose fires were fed 5

Ireland once said that his titles were added ‘to enable the listener to come near the intended mood’. 6 Sarnia was the old Roman name for Guernsey.

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by the discovery of Arthur Machen, which were the inspiration of the piano work Decorations. His sojournings on Guernsey at Fort Saumarez and on the lonely Sussex Downland heights, peopled only by the wind-scourged phantoms of early pre-history, certainly had a marked influence on his work. In the long light of early spring, fleeting wraiths of some distant past are awakened which find expression in the orchestral The Forgotten Rite and in Mai Dun – Maiden Castle in Dorset. At the other end of the scale Ireland’s down-to-earth vein of musical imagery revels in the robust and unaffected joyousness of Ragamuffin and Merry Andrew – a rumbustious catalogue of truly ‘vulgar’ (in the true sense of that word) merriment, which is the nearest thing to unrestrained emotion in his work. His conception of beauty was of a kind of idealised youth expressed in the short but important piano pieces such as The Holy Boy, A Grecian Lad, The Boy Bishop and February’s Child, a mature expression of which can be heard in the central movement of Sarnia a yearning love-poem which he wanted to call ‘Boys Love’7 and dedicated ‘to Michael’. Ireland seems rightly to belong to the romantic-impressionist category in the renaissance of British music after 1900. He wrote no symphony and, although the decade following the Piano Concerto (written in 1930 for his young pupil Helen Perkin) included major compositions such as Sarnia, the London Overture, and his only major non-ecclesiastical choral work, These Things Shall Be (with its unfulfilled social optimism,) turning as he did to the pastoral realms of the Concertino Pastorale in 1939 was to avert his face from the contemporary scene, with which, despite his insistence that he heard every new contemporary work that was broadcast, he was by nature out of sympathy – ‘My work certainly does not reflect the horrors of the atomic age with which we are now cursed.’8 John Ireland died in June 1962 at a season of the year to which his music had always driven for fulfilment, spring turning gradually into full summer. He was once asked ‘Do you consider yourself a great composer, sir?’ to which he replied ‘No, but I think I am a significant one’. Time, and the passing of the fashionable fads and fancies in the Arts today, may well argue that, in the overall picture of the history of the English heritage, he could deservedly have answered ‘Yes’ to the question. Colin Scott-Sutherland © 2005

7

Letter to Revd Kenneth Thompson, September 1940. Boys Love, (or Lad’s Love) is another name for the plant Southernwood. Dr John Hill in The British Herbal 1772 calls its infusion ‘a composer and always disposes persons to sleep’. 8 Letter to the writer, 15/8/56.

Introduction to the 1993 edition Geoffrey Bush

In the first letter that John Ireland wrote to me – it was in response to a bundle of my juvenile compositions sent to him by our school chaplain – he emphasized the ‘thorough and efficient’ course of study undergone by Schoenberg, Bartok, and Hindemith. ‘All the composers I have mentioned (and of course one could add Stravinsky) have undoubtedly been through a protracted and severe course … of training before blossoming out into what may at first sight appear to be without rhyme or reason.’ Ireland could with justice have added his own name to that list. He began to learn the piano at the age of 8 under a teacher whose recipe for discouraging wrong notes was to rap the offender’s knuckles with a ruler. Just before his fourteenth birthday he enrolled – on his own initiative – at the Royal College of Music, where he continued his piano studies under Frederick Cliffe. The era of knuckle-rapping was over, but Cliffe once sent Ireland back to his digs in disgrace to practise for three hours because his weekly lesson had been inadequately prepared. (He later recalled in a radio talk that his lapses – and their consequences – always seemed to occur when the set task was a piece by Beethoven in the key of G.) Parallel with his piano studies he learnt to play the organ, to such effect that he passed his FRCO just before his sixteenth birthday, becoming the youngest person (at that time) to gain this major diploma. [Recent research has revealed that Ireland was 18 when he passed his FRCO examinations: see the Chronology, Compiler] In spite of his rapid progress as an executant however, his chief ambition was to be accepted as one of Stanford’s composition students. Sir Charles Stanford was without doubt the greatest composition teacher of his day; the roll-call of his pupils reads like a history of early twentieth-century British music – besides Ireland himself there were Bliss, Boughton, Bridge, Goossens, Holst, Howells, Hurlstone, Gordon Jacob, Moeran, ColeridgeTaylor, and (rather rebelliously) Vaughan Williams. The lesson he taught Ireland, and which Ireland in turn passed on to Benjamin Britten and his other pupils, was that ‘nothing but the best would do’. There are many stories of his ruthless pursuit of excellence; the first composition which Ireland showed to the man who he hoped would accept him as a student, a string quartet, was greeted with the words ‘Dull as ditch water, my boy’. The sequel reveals a rather different side to Stanford; he organized a

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performance of the quartet in College so that the Principal (Parry) could hear it, with the result that the boy was awarded a composition scholarship on the spot. Ireland never forgot what he and his contemporaries owed to ‘that great man, Stanford’, not least because instead of imposing his own personality on them (like all too many teachers), he encouraged them to find their own. It was indeed high time that British music emancipated itself; thanks to an obsession with Germany dating back to the accession of the Hanoverians, it had allowed itself to be overshadowed first by Handel, then by Mendelssohn, and finally by the great bearded figure of Brahms. Stanford, scenting danger where the young Ireland’s music was concerned – ‘It’s all Brahms and water, my boy, and more water than Brahms’ – took the drastic step of putting him on a year’s rigorous course of Palestrina counterpoint, for the benefits of which Ireland in later life was profoundly grateful. The ultimate inspiration for his self-discovery, however, came from a different and rather unexpected quarter. To borrow a term from Britten, Ireland ‘Mediterraneanized’ his music under the liberating influence of Debussy and Ravel. (Salvation through the rediscovery of England’s musical heritage – folksong, the Tudor masters, Purcell – was not for him, as it had been for Holst and Vaughan Williams.) There was never, of course, any question of directly imitating his two favourite living French composers; it was rather that his admiration for their work released him from subservience to middle European models and enabled him to find his own individual voice. (There could be no better illustration of what I mean than the Fantasy Sonata for clarinet and piano, the crown of his chamber music.) Mention of his chamber music reminds me of the central part played by this branch of composition in Ireland’s creative life. In the Sextet for clarinet, horn, and string quartet written at the age of 18 for – though not entirely approved by – Stanford (‘The finale is not organic, my boy’) we catch our first glimpse of the mature Ireland. His professional career was launched when his First Trio and First Violin Sonata won second and first prizes in successive years in the competitions for new chamber works sponsored by W.W. Cobbett. His reputation was finally established in 1917, when the morning after the premiere of his Second Violin Sonata Ireland ‘woke up to find himself famous’. If we exclude juvenilia, the list is completed by the Cello Sonata – an intense, virile piece – and two more trios. The trio medium, thanks to the combination of two instruments of line and one of colour, had, so the composer once told me, an especial appeal for him. There were other, non-musical influences which had a far-reaching effect on Ireland’s development. He was fortunate in being the contemporary of two poets, Hardy and A.E. Housman, whose words were

INTRODUCTION TO THE 1993 EDITION

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ideal for setting and whose somewhat fatalistic view of the human condition chimed in exactly with Ireland’s own. The two cycles to Housman’s poems, The Land of Lost Content and We’ll to the Woods no more, are not only among his finest musical achievements but catch the inner spirit of the words with extra-ordinary fidelity. (The latter cycle – consisting, uniquely, of two songs and piano piece – is such a poignant expression of grief for the sufferings of World War I that in later years the composer could not bear to listen to it.) Another profound literary influence was that of Arthur Machen, whose House of Souls, Ireland happened to find on a station bookstall in 1906. Machen is little read nowadays – though perhaps the publication of an anthology of his work edited by Christopher Palmer (Gerald Duckworth & Co.) may restore his reputation – so it may be helpful to indicate two themes which recur in his work and which had a particular attraction for Ireland: the immanence of the past (impinging on the present) and the immanence of the supernatural (impinging on everyday life). A typical Machen short story tells of a reporter in wartime visiting a blacked-out seaside town. Emerging from his inn just before midnight he is astonished to see a procession of joyful children who, though bearing the marks of ancient wounds, are ‘singing with the rapture and exaltation of them that sing in the woods in springtime’. When on his return to the inn he tells the landlord what he has seen, the man is ‘sick and shuddering with terror; he drew away from me as though I was a messenger from the dead’. What the reporter had seen was a vision of the Holy Innocents, come to celebrate Childermas in the town’s old abbey. Ireland’s piano piece ‘The Scarlet Ceremonies’ from the cycle Decorations is headed by a quotation from Machen, and Legend for piano and orchestra is dedicated to him – appropriately, for it was partly inspired by a Machen-like experience of Ireland’s own. Picknicking one day near Chanctonbury Ring he was suddenly conscious of some children dancing in front of him. ‘He at first thought they were real, but then he noticed their archaic clothing. He glanced away for an instant, and when he looked back the children had vanished…’ (No wonder that, although he did not care for the works of Stravinsky’s neo-classical period, he had a profound admiration for The Rite of Spring.) The other inspiration behind Legend was the Sussex Downland, as it also was for the suite of that name and, among the piano music, Amberley Wild Brooks and Equinox. Places and their associations, particularly if those associations went back to ancient civilizations and even prehistory, played a very important part in Ireland’s creative processes. He first visited the Channel Islands in 1900, when it was decided that members of his choir at Holy Trinity, Sloane Street, should take their annual summer holiday there; thereafter he became a regular visitor. ‘The Island Spell’ was written

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there in two successive years; two, because after his return to London inspiration deserted him. It was only when he revisited Jersey that the missing final section came into his mind spontaneously. In the late 1930s, lured by an invitation to become organist and choirmaster at St Stephen’s, St Peter Port, he decided to become a permanent resident of Guernsey; he had not been long in his post before he was forced to flee from the German invasion, escaping with the manuscript of Sarnia on the last boat to leave the Islands before the Occupation. In the years of his retirement he returned to Sussex, a chance visit by motor car having led, almost as if by a miracle, to the purchase of a converted windmill opposite Chanctonbury Ring which he had long coveted. During his working life, however, his headquarters were in Chelsea, where for over twenty years he was in charge of the music at the Parish Church of St Luke. Even this relatively mundane, metropolitan scene was a source of inspiration to Ireland; thanks to this we have the London Overture for orchestra and the London Pieces for piano (including ‘Chelsea Reach’, which of all the solo piano works has good claim to be his masterpiece). His studio was in Gunter Grove and the nearest bus stop was a magically named pub, the World’s End; at least it seemed magical to me when I used to go and see him during the school holidays, bringing my latest immature composition for his inspection. (As I have described in my book Left, Right and Centre, Ireland was as rigorously critical as Stanford, but without his caustic tongue.) Much more could be written – about his church music, about These things shall be, vision of a better future described by the chorus with Elgarian fervour and reinforced by orchestral references to the ‘Internationale’, and about the Piano Concerto, which to my mind is the pinnacle of his achievement – but it is now time to sum up. Not that this is an easy, or even a practicable task. A roll-call of stylistic features – beauty of line, subtlety of harmony, mastery of form, unfailing craftsmanship, sensitive response to poetry, a thorough grasp of the potential of instruments either singly or in combination – however applicable it may be to Ireland’s music does nothing to convey its inner character. A list of abstract qualities – strength of purpose, empathy with nature, quirky humour, profound feeling, and an even profounder reticence – is scarcely more helpful. The only way to understand Ireland the composer is by direct contact with the music, and as a guide to that music Dr Craggs’s annotated catalogue will be of invaluable assistance. It is a real pleasure to commend his ‘right happy and copious industry’ (no mean compliment, since it was originally applied by John Webster to his fellow playwright William Shakespeare). Geoffrey Bush © 1993

Compiler’s Note and Acknowledgements

The present volume was originally planned as a Source Book in the Ashgate series of similar texts but it was felt that, with the help of the John Ireland Trust and Oxford University Press, it should be re-cast as a second edition to my catalogue published by Oxford University Press in 1993. There has been an enlargement and revision of the original text, for example many first performance details of Ireland’s songs and piano works appear for the first time. Researchers should be aware that a major bibliographic resource of Ireland’s surviving correspondence, press cuttings, concert programmes and other papers has recently been deposited in the British Library by the John Ireland Trust with the temporary catalogue number of Deposit 2005/31. A small reading room is also available in Oxford and researchers should contact the John Ireland Trust for further details. My thanks go primarily to the John Ireland Trust and its trustees for their encouragement and help. A good deal of this book could not have been completed without the help of Jane Taylor who supplied me with much musical and bibliographical material, together with the photograph of John Ireland which has been used as the frontispiece. Special thanks also go to R.J. Askwith, archivist of The Corporation of the Sons of the Clergy, Colin Scott-Sutherland for writing his introduction and Dr. Nicolas Bell, Curator of the Music Collections at the British Library for his help with Ireland manuscripts and other suggestions. My grateful thanks also go to Janet Allen, Head of Bibliographical Services at the University of London Library, Richard Andrewes, Head of Cambridge University Library’s Music Department, Marianne Barton, Christopher Bornet and Dr Peter Horton of the Royal College of Music Library, Jenny Child, Reprint Right Manager at Oxford University Press, Professor John Dressler, Dr John Marsden, Linda McGowan, Dr Rachel O’Higgins, the staff of the Sunderland and Newcastle upon Tyne City Libraries and Jeff Walden of the BBC Written Archives Centre at Caversham.

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Finally, I am very grateful to Rachel Lynch, Ellen Keeling, Ann Newell and Heidi May at Ashgate Publishing for their suggestions, help and guidance with this book. Stewart R. Craggs May 2007

Chronology

1809

Birth of Alexander Ireland

1839

Birth of Ann Elizabeth Nicholson

1865

13 September: Marriage of Alexander Ireland (Widower of ‘Bowdon in Cheshire’, author and editor of the Manchester Examiner and Times, son of Thomas Ireland, Accountant) and Ann Elizabeth Nicholson (Spinster of ‘Fell Side’, Penrith, daughter of John Nicholson, Gentleman) (details from the marriage certificate)

1866

11 October: Birth of Lucy Ireland at Alder Bank, Altrincham

1868

17 February: Birth of Alice Ireland at Alder Bank, Altrincham

1871

19 January: Birth of Walter Alleyne Ireland at ‘Inglewood’, Bowdon

1873

11 January: Birth of Ethel Ireland at ‘Inglewood’, Dunham Massey

1879

13 August: Birth of John Nicholson Ireland at ‘Inglewood’, Dunham Massey (details from the birth certificate)

1893

January–June: Attends Leeds Grammar School 28 September: Enrols at the Royal College of Music to study piano with Frederick Cliffe, and organ with Walter Parratt 4 October: Death of Annie Ireland (age 50) at 31 Mauldeth Road, Fallowfield, Withington

1894

7 December: Death of Alexander Ireland (age 86) at 31 Mauldeth Road, Fallowfield, Withington (‘formerly a Newspaper Proprietor’) (details from the death certificate)

1896

June: Announced in the Musical Times that Ireland had been awarded an Associate of the Royal College of Music in piano

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(teaching). Evlyn Howard-Jones also awarded an ARCM in piano (solo performance) 20 August: Completes his Pastoral for piano at Pontgwan in North Wales Becomes a composition student of Charles V. Stanford at the Royal College of Music Appointed deputy organist (to Walter Alcock) of Holy Trinity Church, Sloane Street, Chelsea. Remains there until 1902 1897

20 January: Plays the piano in the Brahms Trio in B major (Op. 8) 19 March: Plays the percussion in the college orchestra at an orchestral concert under Stanford 27 May: Plays the Beethoven Violin Sonata in C minor (Op. 30 No. 2) with Kitty Woolley 8 July: Plays the percussion with Thomas Dunhill in the orchestra at a concert in Queen’s Hall Appointed organist of All Saints’ Church, Tufnell Park. Remains there until 1899

1898

Goes to live in Elm Park Mansions, Chelsea 3 January: Christmas F.R.C.O. Examinations begin. Mendelssohn’s 4th organ sonata, together with J.S. Bach’s Prelude and Fugue in B minor are among the test pieces February: Announced in the Musical Times that Ireland had been admitted (as a result of the January examinations) to Fellowship of the Royal College of Organists

1899

Appointed organist of St. Jude’s Church, Turk’s Row, Chelsea. Remains there until 1904

1900

Visits the Channel Islands for the first time with the choir of Holy Trinity, Sloane Square

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1901

Leaves the Royal College of Music

1904

July: Appointed organist of St. Luke’s Church, Chelsea, a post he holds until 1926

1906

Becomes acquainted with the writings of Arthur Machen

1907

Dedicates his Te Deum to the Revd Henry Bevan, Rector of St. Luke’s

1908

Ireland’s Phantasie in A minor wins second prize in the Cobbett Chamber Music Competition and is published by Galliard Ltd. 28 February: Completes his setting of Psalm 42 for his Mus.Bac. degree at Durham University

1910

February: Announced in the Musical Times that his first Violin Sonata had won first prize (£40) in the Cobbett Chamber Music Competition. The adjudicators included Baron Frederic d’Erlanger, William Shakespeare and W.W. Cobbett

1915

Purchases ‘The Studio’, 14A Gunter Grove in Chelsea (his home for the next 40 years) at the rear of the house owned by the sculptor Robert Glassby. Ireland was later able to buy the whole house in the autumn of 1929 with help from fellow composer Alan Bush. (See R. O’Higgins: The Correspondence of Alan Bush and John Ireland, 1927–1961)

1918

7 June: Lecture on Ireland and his music given by Edwin Evans at the Aeolian Hall in London. Ireland plays his Four Preludes for the first time

1920

Visits Sussex and takes up lodgings in Ashington

1922

Appointed to the temporary staff at the Royal College of Music by Hugh Allen

1923

Becomes Professor of Composition at the Royal College of Music, where his pupils include Arnell, Britten, Alan Bush, Moeran, and Searle

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21 January: Attends a dinner at Pagani’s (London) with many composers, artists and writers in recognition of the services of Edwin Evans to British and other contemporary music 1924

Appointed Hon. RAM and a Fellow of the Royal College of Music

1925

Summer: Visits Dorset again. Several settings of words by Hardy

1926

29 October: Announced at St. Luke’s Church that Ireland had resigned as Organist and Choirmaster after 23 years’ service 17 December: Marries a pupil, Dorothy Phillips (aged 17), at the Chelsea Register Office, with Arthur G. Miller as one of the witnesses

1927

26 June: Acts as witness at Arthur G. Miller’s wedding in St. Luke’s Church, Chelsea

1928

19 September: Ireland’s marriage to Dorothy Phillips is dissolved

1930

April–September: Composes the Piano Concerto for Helen Perkin 2 October: First performance of the Piano Concerto at Queen’s Hall, London

1931

February: Signs a letter (with other composers) about ‘Sir Edward Elgar: Musicians’ Protest against Professor Edward J. Dent’s alleged injustice’

1932

July: Receives an honorary D. Mus. from the University of Durham (Musical Times, 73 (September 1932), 810)

1933

April: It had been decided by Sir Hugh Allen that Helen Perkin should go abroad to undertake further study and consequently she planned to leave for Vienna on 25 May. It is apparent that Ireland asked colleagues to help her: Hubert Foss, writing to Ireland on 7 April, said, ‘… I will do all I can with introductions for Helen Perkin – Dr Paul Pisk, Egon Wellesz, Dr Kalmus, Erwin Stein …’

1935

10 January: Conducts the BBC Symphony Orchestra at Queen’s Hall in a performance of The Forgotten Rite

CHRONOLOGY

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1 September: Artur Rubinstein plays the Piano Concerto at the Henry Wood Promenade Concerts September: Moves into his top flat in ‘Comarques’, Deal (until 1939), which also had the address 122 High Street, Deal

1937

28 April: Completes These Things Shall Be 27 August: Conducts both The Forgotten Rite and Mai-Dun at the Henry Wood Promenade Concerts 12 December: conducts a performance of Legend with the BBC Symphony Orchestra and Harriet Cohen as soloist

1938

27 January: conducts a performance of the London Overture at a Bournemouth Municipal Orchestral concert March: Completes Trio [No. 3] and dedicated it to William Walton April: asked by Ralph Hawkes for a fanfare, for performance by new trumpets recently manufactured by Boosey & Hawkes. Ireland declined 5 September: Angus Morrison plays the Piano Concerto at the Henry Wood Promenade Concerts

1939

April: Kenneth Wright at the BBC informed Ireland that he would like him to compose some pieces for solo violin and chamber orchestra for Liza Minghetti to play. Paul Sacher wanted the first world performance. 3 July: Travels with John Longmire from Southampton to Guernsey where they rent a bungalow at Jerbourg on the east coast of the island 22 August: some of Ireland’s songs are performed at the Henry Wood Promenade Concerts

1940

Appointed organist of St. Stephen’s Church, St. Peter Port, Guernsey 28 April: Played at his first service at St. Stephen’s Church

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19 June: Channel Islands are demilitarized 22 June: Evacuated with John Longmire and Percy Turnbull because of imminent German invasion. Escapes on last boat (S.S. Antwerp) sailing to the mainland. Later moves into the house, belonging to Alan Bush’s mother, in Loom Lane, Radlett 30 June: Guernsey is invaded by the Nazis 1 July: Jersey surrenders 2 July: Alderney surrenders 3 July: Sark surrenders Ralph Hawkes, his publisher, suggested that he should write a cello concerto for Piatigorsky 28 November: Adrian Boult writes to Ireland to see if he would be interested in the idea of composing a march for the Ministry of Information 30 November: Accepts a BBC commission for the Epic March 1941

8 June: Ireland writes to Boult enclosing a sketch of the March July: Completes the orchestral version of O Happy Land and composes Boys’ Names August: Re-writes the Three Pastels for piano

1942

31 March: Ireland writes to Boult to say that the March is finished 1 May: shares a programme (BBC Home Service) with William Walton: ‘Two modern composers and their music on gramophone records’ 27 June: First performance of the Epic March in London July: Moves to Little Sampford Rectory (Essex)

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30 July: Clifford Curzon plays the Piano Concerto at the Henry Wood Promenade Concerts 23 August: Ireland recalls ‘Three Memorable First Performances’ on the BBC Home Service 12 September: completes Julius Caesar for the BBC 1943

July: seriously considering writing another piano concerto at the invitation of Moiseiwitsch Composes Ex Ore Innocentium for Sydney Nicholson

1944

29 January: First performance of the Fantasy Sonata at the Wigmore Hall, London 13 August: A 65th birthday greeting is broadcast on the BBC by Edwin Evans, Kendall Taylor and George Parker 7 September: Julian Herbage (BBC) wrote to Ireland ‘… you were unable to complete anything in time for Sir Henry Wood’s Jubilee Proms but I believe you were at work on the Variations on Paul’s Steeple.’ Moves to The White House, Great Sampford, and starts work on Satyricon

1945

Returns to Gunter Grove, Chelsea, after many repairs because of bomb damage 11 April: The BBC broadcasts an Ireland concert which includes Moura Lympany playing the Piano Concerto

1946

19 August: Completes Satyricon for the BBC

1946–7 Composes music for the film The Overlanders Later asked for another film score: Alberto Cavalcanti’s ‘Toilers of the Sea’ Acquires personal assistant and companion, Mrs Norah Kirby, who remains with him until his death

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1947

29 July: Kendall Taylor plays the Piano Concerto at the Henry Wood Promenade Concerts

1949

January: approached by Benjamin Britten for a work to be included in the 1949 Aldeburgh Festival. Declines but suggests that he might write a work for the 1950 Festival 10 September: 70th birthday celebrations, including a special BBC Promenade concert Asked for another Piano Concerto to mark the 1951 Festival of Britain

1950

January: It is reported that the Arts Council is to offer a prize of £200 to a young composer for the composition of a work in concertante style. The Committee for the Promotion of New Music, in conjunction with the Arts Council, to act as adjudicators and organiser. The panel of judges were Arthur Bliss, Edric Cundell, John Ireland, Constant Lambert and Thomas Wood

1951

17 July: Helen Perkin plays piano music by Ireland on the BBC Third Programme

1952

2 August: Colin Horsley plays the Piano Concerto at the Henry Wood Promenade Concerts 29 October: Invited by the Arts Council of Great Britain to contribute to A Garland for the Queen (The Hills was the result)

1953

1 June: First performance of ‘A Garland for the Queen’ at the Royal Festival Hall, London to mark the coronation of the Queen Autumn: leaves Chelsea and goes to live in Sussex at Rock Mill, Washington, Sussex

1954

13 August: Celebrates his 75th birthday

1958

29 May: completes the Meditation on John Keble’s Rogation Hymn for organ, his final composition

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1959

13 August: Celebrates his 80th birthday

1960

John Ireland Society founded with Harold Rutland as chairman 4 May: First concert of the Society held in the Royal Festival Hall

1961

7 October: Concert held at the Arts Council headquarters in celebration of Ireland’s 82nd birthday

1962

12 June: Dies at Rock Mill, aged 82 16 June: Buried in the churchyard of the Church of St. Mary the Virgin, Shipley (West Sussex)

1963

22 November: Unveiling, by Harold Rutland, of the John Ireland memorial window (commissioned by the John Ireland Society and designed by Brian Thomas) in the Musicians’ Chapel of the Church of the Holy Sepulchre, Holborn Viaduct

1968

The John Ireland Society is disbanded and the Ireland Trust formed

1972

It is reported that a plaque, commemorating Ireland and sculptured by John Skelton, is to be placed in the churchyard of Shipley Church in West Sussex

1996

A blue (English Heritage) plaque unveiled at 14 Gunter Grove, Chelsea

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Catalogue of works

Compositions are arranged chronologically by date of composition and the information supplied about each includes: 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12.

The title of the work Text(s) used with details of the authors The body or person responsible for a work’s commission The required performing forces Dedication Duration First performance(s) Publication details: details of original publishers are given. For modern publishers, see the list on the Trust’s website Details and location of the original manuscript A select discography of works on compact disc Bibliography: arranged in chronological order, with references in books listed first Notes 1890s

THE PEACEFUL WESTERN WIND Song for unaccompanied mixed chorus (SATB) Text by Thomas Campion (1567–1620) First performance: unable to trace Unpublished Manuscript: Manuscript Collections, The British Library (Reference Division) Add. MS 52895, ff. 1–3 1895 IN THOSE DAYS For solo piano 1. 2.

Daydream (With gentle movement) [3’03”] Meridian (Andante con moto) [3’45”]

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Dedication: ‘To Evlyn Howard-Jones’ Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52889, ff. 1–5. Contains engraver’s markings Revised Version Ireland revised this work in 1941 while living at Banbury First performance: London, Great Drawing Room, St. James’s Square (the Arts Council), 7 October 1961. Eric Parkin (piano) Publication: Schott & Co. Ltd. © 1961 Also included in volume i of The Collected Piano Works of John Ireland, Stainer & Bell © 1976 Recordings: Desmond Wright (piano) in EMI 0946 3 52282 2 9 (2006) (originally recorded in 1995) 1896 PASTORAL For solo piano Duration: c.5’ First performance: unable to trace Unpublished Manuscript: Royal College of Music, London. It is dated: ‘Pontwgan 20 August 1896’ 1897 TRIO in A MINOR For violin, cello and piano First performance: unable to trace Unpublished Manuscript: whereabouts unknown. The trio was discarded by the composer Bibliography: Anon., ‘John Ireland’, Monthly Musical Record, 45 (July 1915), 192 THEME AND VARIATIONS: theme only For solo piano

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Unpublished Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52900 Bibliography: Anon., ‘John Ireland’, Monthly Musical Record, 45 (July 1915), 192 Notes: This theme may have been part of early discarded works: Variations on Irish Tune for piano, the Variations in F minor for piano or the Variations in E# for piano SONATA in C MINOR For piano First performance: unable to trace Unpublished Manuscript: whereabouts unknown. The sonata was discarded by the composer Bibliography: Anon., ‘John Ireland’, Monthly Musical Record, 45 (July 1915), 192 QUARTET No. 1 FOR STRINGS in D MINOR For 2 violins, viola, and cello 1. 2. 3. 4.

Allegro Scherzo (Molto allegro) Andante moderato Finale (Vivace)

First performance: unable to trace, although the venue may have been the Royal College of Music in London Publication: Boosey & Hawkes Ltd. Score and parts (ed. Charles Markes) © 1973 (Hawkes Pocket Scores no. 883) Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52883, ff. i+22. Written in ink, it is signed by the composer and dated: ‘6 March 1897’ Recordings: Holywell Ensemble in ASV CDDCA 1017 (1999) Maggini String Quartet in Naxos 8.557777 (2006) Bibliography: A. Achenbach, ‘Ireland’, Gramophone, 84 (August 2006), 67 C. MacDonald, ‘Chamber’, BBC Music Magazine, 14 (Proms 2006), 89–90 Notes: This work was described by the composer as an RCM Scholarship piece

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QUARTET No. 2 FOR STRINGS in C MINOR For 2 violins, viola, and cello 1. 2. 3. 4.

Allegro moderato Nocturne (Andante) Scherzo (Presto) Poco allegro

First performance: unable to trace, although it may have been the Royal College of Music in London First modern performance: London, Royal Festival Hall (Recital Room), 19 October 1960. The Quartet Pro Musica Publication: Boosey & Hawkes Ltd. Score and parts (ed. Charles Markes) © 1973 (Hawkes Pocket Scores no. 884) Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52884: score (ff. 1–26) and parts (ff. 29–66). Written in ink, it is signed by the composer and dated: ‘London, 13 September 1897’ Recordings: Holywell Ensemble in ASV CDDCA 1017 (1999) Maggini String Quartet in Naxos 8.557777 (2006) Bibliography: A. Achenbach, ‘Ireland’, Gramophone, 84 (August 2006), 67 C. MacDonald, ‘Chamber’, BBC Music Magazine, 14 (Proms 2006), 89–90 Notes: This work was described by the composer as an RCM Studentship work 1898 SONATA in C MINOR For violin and piano First performance: unable to trace Unpublished Manuscript: whereabouts unknown Bibliography: Anon., ‘John Ireland’, Monthly Musical Record, 45 (July 1915), 192 Notes: This work was described by the composer as an RCM Studentship work SEXTET For clarinet (in A), horn (in F), 2 violins, viola, and cello

CATALOGUE OF WORKS

1. 2. 3. 4.

· 5

Allegro non troppo Andante con moto Intermezzo (Allegretto con grazia) In tempo moderato

Duration: c.28’ First performance: unable to trace First modern performance: London, St. James’s Square, 25 March 1960. Thea King (clarinet), John Burden (horn), and the Quartet Pro Musica First broadcast performance: London, BBC Studios, 27 July 1962 (3rd Programme). Thea King (clarinet), John Burden (horn) and the Aeolian String Quartet Publication: Augener & Co. Ltd. Score and parts © 1961 Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52889, ff. ii+50. Autograph score in ink Recordings: Holywell Ensemble in ASV CDDCA 1016 (1998) Bibliography: Anon., ‘After Sixty Years’, The Times, 26 March 1960, 3 E. Chapman, ‘Music Survey’, Musical Events, 15 (May 1960), 3 A.W. F.-G., ‘John Ireland’s Sextet’, Musical Events, 17 (Aug. 1962), 13 C.S.-S., ‘John Ireland: Sextet’, Music Review, 24, no. 1 (1963), 94–95 E. Warr, ‘Ireland’, Gramophone, 49/588 (May 1972), 1902+1907 Notes: This sextet was originally called ‘Intermezzo’ and was written while Ireland was at the RCM as a Scholarship work. Later in life, Ireland admitted that the music had been inspired by a performance he heard in London of the Brahms Quintet with Richard Mühlfeld (1856–1907) playing the clarinet. Records show that there may have been other Brahmsian influences: on 11 June 1896, Brahms’ Clarinet Sonata in E flat was played at an RCM concert, and at the end of that year (5 December), Mühlfeld, with Fanny Davies (piano) included some Brahms in their programme at St. James’s Hall, London as part of the Monday and Saturday Popular Concerts. Ireland’s teacher, C.V. Standord, wrote and dedicated his Clarinet Concerto in A minor (Opus 80) to Mühlfeld in 1902. MASS in DORIAN MODE For four voices (strict style of Palestrina) First performance: unable to trace Unpublished Manuscript: whereabouts unknown

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Bibliography: Anon., ‘John Ireland’, Monthly Musical Record, 45 (July 1915), 192 Notes: This work was described by the composer as an RCM Studentship work VEXILLA REGIS A hymn for Passion Sunday, for soli (SATB) or semi-chorus, mixed chorus (SATB), brass, and organ Text by Bishop Venantius Fortunatus (530–609), translated from the Latin by J.M. Neale Instrumentation: 2 trumpets in B flat, 2 tenor and 1 bass trombone, and organ Duration: 11’51” First performance: London, Parish Church of the Holy Trinity, Sloane Square, Chelsea, sometime in 1899. The Parish Church Choir with Walter Alcock (organ), conducted by John Ireland (unable to trace details of the brass players) Publication: Galliard Ltd. Vocal score and parts © 1963 (Piano reduction by Alan Rowlands) Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52894, ff. 1–17 The full score is signed by the composer and dated: ‘London 2 December 1898’ Recordings: Paula Bott (soprano), Teresa Shaw (contralto), James Oxley (tenor), Bryn Terfel (baritone)/London Symphony Chorus and Orchestra/Roderick Elms (organ)/Richard Hickox in Chandos CHAN 8879 (1990) Bibliography: D. Denton, ‘Ireland’, Music Magazine, 4 (February 1991), 54 Notes: This work was described by the composer as an RCM Studentship work c.1898 COMMUNION SERVICE in A FLAT MAJOR For boys’ voices and organ Responses to the Commandments (Smoothly) Nicene Creed (With animation and firmness) Sanctus (Slowly and smoothly) Benedictus (Slowly and with moderate movement) Agnus Dei (Very slowly) Gloria in excelsis (Not too fast)

CATALOGUE OF WORKS

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First performance: unable to trace although it might have been sung at the Church of the Holy Trinity, Sloane Street, Chelsea where Ireland was deputy organist Publication: Houghton & Co. (London), but printed in Leipzig. Vocal score © 1902. It was later withdrawn by Ireland but a memo dated 17 January 1924, now in the John Ireland Trust’s Archive, reveals that ‘stock of the Communion Service is now exhausted and the plates have been lost or damaged in Germany’ Manuscript: whereabouts unknown Notes: In a letter to Kenneth Thompson, dated 17 July 1939, Ireland mentioned that he was thinking of revising the Service (BL Add. MS 60535) 1899 MIDSUMMER Prelude for orchestra First performance: unable to trace Unpublished Manuscript: whereabouts unknown Bibliography: Anon., ‘John Ireland’, Monthly Musical Record, 45 (July 1915), 192 Notes: This work was described by the composer as an RCM Studentship work TRITONS Symphonic Prelude for orchestra 2+1.2. 2+1.2/4.2.3.1/timp/perc(2)/strings Duration: 11’12” First performance: London, Alexandra House, 21 March 1901. The RCM Student Orchestra, conducted by Charles V. Stanford (RCM Concert no. 318) Unpublished: on hire from Boosey & Hawkes Ltd. Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52871A, ff. i+76. The full score is bound in black cloth and contains conductor’s annotations in blue pencil Recordings: London Symphony Orchestra/Richard Hickox in Chandos CHAN 8994 (1991)

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London Philharmonic Orchestra/Adrian Boult in Lyrita SRCD 240 (2007) (a reissue of Lyrita SRCS 45) Notes: This work was described by the composer as an RCM Studentship work Other Versions (1) A Maritime Overture Arranged for military band by Norman Richardson Instrumentation: 2 flutes (2nd doubling piccolo), 2 oboes, E flat clarinet, solo and 3 B flat clarinets, 2 bassoons, alto, tenor, and baritone saxophones, solo and 2 cornets, 2 trumpets, 4 horns, 3 trombones, euphonium, basses, and percussion Dedication: ‘To Ralph Hawkes, Esq.’ Duration: c.10’ Publication: Boosey & Hawkes Ltd. Score © 1946 (QMB 149) Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52871B, ff. i +33. The score includes the composer’s notes on the instrumentation Notes: Norman Richardson prepared this version in 1946 from a short score, prepared by John Ireland in 1944. Ralph Hawkes had asked Ireland (and others) for a work in celebration of the approaching centenary of the first military band publication issued by the firm of Hawkes (2) A Maritime Overture Arranged for symphonic wind band by Norman Richardson Instrumentation: 2 concert flutes and piccolo, 2 oboes, E flat clarinet, solo B flat clarinet, 3 B flat clarinets, E flat alto clarinet, B flat bass clarinet, E flat alto saxophone, B flat tenor saxophone, E flat baritone saxophone, B flat bass saxophone and B flat contrabass clarinet, 2 bass, 4 horns in F, solo and first B flat cornet, 2nd B flat cornet, 2 B flat trumpets, 2 tenor trombones, bass trombones, euphonium (baritone), basses, string bass, timpani, and percussion Publication: R. Smith & Co. Ltd. Full score © 1988 1899–1900 SEA IDYLL For solo piano

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· 9

1. Poco andante [4’00”] 2. Allegro appassionata [4’10”] 3. Andante (Mesto – added later) [3’30”] First complete performance: London, Alexandra House, 8 March 1900. John Ireland (piano) (RCM Concert no. 301.) First modern complete performance: London, Wigmore Hall, 15 May 1962. Eric Parkin (piano) Publication: Chester Music. Score © 1960 The first movement was included in the Centenary Album published by the House of Chester in 1960 when it was also issued as a separate piece. Also included in volume i of The Collected Piano Works of John Ireland, Stainer & Bell © 1976. Movements 2 and 3 remain in manuscript. Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52889, ff. 6–17. It is signed by the composer and dated: ‘London, February 1900’. Contains engraver’s markings. An earlier autograph of Sea Idyll for solo piano was sold at Sotherby’s on 29 November 1985 as lot 108. Now in the Koch Collection (Beinecke Library) at Yale University, USA (FRKF 1039). It is a version of all three movements (Poco andante, ‘Song’, and Mesto) with numerous autograph revisions and alterations. The score is notated in black ink on up to twelve staves per page, with many deletions, some corrections in pencil, some alterations on additional sheets of paper, with an autograph title-page: ‘Sea Idyll / by / John N. Ireland /If lost, please return to / 62 Limerston St / Chelsea S.W.’ The second and third movements are dated ‘17 December 1899’ and ‘5 January 1900’. The following epigraph also appears at the end of the second movement: “If he is unequal, he will presently pass away; but those … no longer a mate for frogs and worms, dost soar and burn with the gods of the empyrean.” Emerson Recordings: Eric Parkin (piano) in Chandos CHAN 9250 (1995) Desmond Wright (piano) in EMI 0946 3 52282 2 9 (2006) (originally recorded in 1995) Bibliography: Anon., ‘The John Ireland Society’, The Times, 16 May 1962, 5 Notes: This work was described by the composer as an RCM Studentship work

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1902 ELEGIAC ROMANCE For organ Dedication: ‘To R.H.C., August 1902’ Duration: 9’37” First performance: unable to trace First broadcast performance: St. Michael’s Church, Cornhill, 19 September 1927 Harold Darke (organ) Publication: R. Cocks & Co. 1903 (The Recital Series of Original Compositions for the Organ no. 28, ed. E.H. Lemare). Also included in The Organ Music of John Ireland (ed. Robert Gower), Novello © 1983 Manuscript: whereabouts unknown Recordings: Jonathan Bielby (organ) in Priory PRCD 298 (1990) Bibliography: M. Rochester, ‘Great European Organs’, Gramophone, 57 (September 1979), 487 Notes: Grove 5 indicates that the piece was published in March 1903 Revised Version The work was revised by the composer in 1958. Publication: Novello & Co. Ltd. © [1958] (Original Compositions, new series no. 301) BERCEUSE For solo violin and piano Duration: 3’30” First performance: unable to trace Publication: Augener & Co. Ltd. [Score © 1903] Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 54411, ff. 9–12 Recordings: K. Barritt (violin) and C. Edwards (piano) in Hyperion CDA 66853 (1996) Bibliography: Anon., [Review of new music], Monthly Musical Record, 33 (April 1903), 60 Notes: Grove 5 (1954) indicates that this piece was published in January 1903

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· 11

c.1903–1911 SONGS OF A WAYFARER Song cycle for voice and piano 1. Memory (Con moto) [1’58”] Text: William Blake (1757–1827), from Poetical Sketches (1783) 2. When daffodils begin to peer (Allegro con moto) [2’06”] Text: William Shakespeare (1564–1616), from A Winter’s Tale (1611): Act iii, scene iv 3. English May (Allegretto) [2’47”] Text: Dante Gabriel Rossetti (1828–82), first published 1886. 4. Spleen (I was not sorrowful) (Andante moderato) [3’17”] Text: Ernest Dowson (1867–1900), from Verses (1896) 5. I will walk on the Earth (Allegro) [1’28”] Text: James Vila Blake Dedication: ‘To my friend Robert Radford’ No. 4 is marked ‘For Arthur Symons’ First performance: London, Steinway Hall, 7 March 1913. Robert Radford (baritone) and John Ireland (piano) Publication: Boosey & Co. Ltd. © 1912 Also included in volume iv of The Complete Works for Voice and Piano, Stainer & Bell Ltd. © 1981 No. 4 was published separately by Boosey in 1912 Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52897, ff. 3–4 (No. 5 only) Recordings: C. Maltman (baritone) and G. Johnson (piano) in Hyperion CDA67262 (1999) Notes: No. 1 was written before 1905, nos. 2 and 3 about 1905, no. 4 in 1903, no. 5 is dated ‘22 May 1911’ 1904 ORCHESTRAL POEM in A MINOR For full orchestra Andante–Andante molto moderato–Allegro giusto 2+1. 2.2.2/4.2.3.1/perc/strings

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Duration: 13’30” First performance: unable to trace Publication: Da Capo Music Ltd © 1993 Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52872, ff. ii+34. The full score is bound in red cloth and is signed by the composer and dated: ‘London – 26 February 1904’ Recordings: City of London Sinfonia/Richard Hickox in Chandos CHAN 9376 (1995) Notes: This work was described by the composer as an RCM Studentship work CAVATINA For violin and piano First performance: unable to trace Publication: Ascherberg, Hopwood & Crew Ltd. © 1911 Manuscript: whereabouts unknown Recordings: K. Barritt (violin) and C. Edwards (piano) in Hyperion CDA 66853 (1996) Other Version Cavatina Arranged for organ (1904) First performance: unable to trace Publication: Ascherberg, Hopwood & Crew Ltd. © 1911 and 1912 Manuscript: whereabouts unknown Bibliography: B. Hick, ‘Music Reviews: Cavatina by John Ireland’, The Organ, 76 (Summer 1997), 162 c. 1904 MARCIA POPOLARE For organ First performance: unable to trace Publication: Ascherberg, Hopwood & Crew Ltd. © 1912 Published as Three Pieces for Organ with Intrada and Menuetto-Impromptu Manuscript: whereabouts unknown

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INTRADA For organ Duration: 3’09” First performance: unable to trace Publication: Ascherberg, Hopwood & Crew Ltd. © 1912 Published as Three Pieces for Organ with Menuetto-Impromptu and Marcia Popolare Manuscript: unable to trace Revised Version The work was revised in 1944 when the composer inserted some slight alterations and added some editorial emendations by way of registration and phrasing. Dedication: ‘To my friend John Stuart Archer’ Publication: Ascherberg, Hopwood & Crew Ltd. © 1944 (It formed no. 1 of the Miniature Suite for Organ). Later included in The Organ Music of John Ireland (ed. Robert Gower), Novello © 1983 Recordings: Jonathan Bielby (organ) in Priory PRCD 298 (1990) Bibliography: M. Rochester, ‘Great European Organs’, Gramophone, 68 (May 1991), 2047 VILLANELLA For organ Duration: 3’51” First performance: unable to trace Publication: Ascherberg, Hopwood & Crew Ltd. © 1912 Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52889 (imperfect), ff. 20–21 Revised Version The work was revised in 1944 by the composer Dedication: ‘To my friend John Stuart Archer’ Publication: Ascherberg, Hopwood & Crew Ltd © 1944 (It formed no. 2 of the Miniature Suite for Organ). Later included in The Organ Music of John Ireland (ed. Robert Gower), Novello © 1983 Recordings: Jonathan Bielby (organ) in Priory PRCD 298 (1990) Bibliography: Anon., ‘Villanella’, Musical Opinion, 74 (March 1951), 281 M. Rochester, ‘Great European Organs’, Gramophone, 68 (May 1991), 2047

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Other Versions Villanella Arranged for orchestra by Leslie Bridgewater (1931) 1.1.2.1/2.2.0.0/percussion/strings First performance: BBC, National Programme, 24 September 1931. The BBC Theatre Orchestra, conducted by Leslie Woodgate Publication: Ascherberg, Hopwood & Crew Ltd. © [1941] Published as Two Salon Pieces with Menuetto-Impromptu Villanella Arranged for orchestra by Ronald Binge (1949) 2.2.2.2/2.2.3.0/timp/percussion/harp/strings First performance: unable to trace Publication: Ascherberg, Hopwood & Crew Ltd. Piano conductor and parts © [1949] Villanella A miniature: freely transcribed for piano by the composer (1912) First performance: unable to trace Publication: Ascherberg, Hopwood & Crew Ltd. Score © 1912 Revised and republished in 1950 Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52889, ff. 23–28. Contains engraver’s markings Bibliography: Anon., ‘John Ireland: Villanella, a Miniature’, Musical Opinion, 74 (March 1951), 281 MENUETTO-IMPROMPTU For organ Duration: 4’55” First performance: unable to trace Publication: Ascherberg, Hopwood & Crew Ltd. © 1912 Published as Three Pieces for Organ with Intrada and Marcia Popolare Manuscript: whereabouts unknown Revised Version The work was revised by the composer in 1944 Dedication: ‘To my friend John Stuart Archer’

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· 15

Publication: Ascherberg, Hopwood & Crew Ltd. © 1944 (It formed no. 3 of the Miniature Suite for Organ). Later included in The Organ Music of John Ireland (ed. Robert Gower), Novello © 1983 Recordings: Jonathan Bielby (organ) in Priory PRCD 298 (1990) Bibliography: M. Rochester, ‘Great European Organs’, Gramophone, 68 (May 1991), 2047 Other Version Menuetto-impromptu Arranged for orchestra by Leslie Bridgewater (1931) 1.1.2.1/2.2.0.0/percussion/strings First performance: BBC, National Programme, 24 September 1931. The BBC Theatre Orchestra, conducted by Leslie Woodgate Publication: Ascherberg, Hopwood & Crew Ltd. © [1941]. Published as Two Salon Pieces with Villanella CONCERTO FOR VIOLA AND ORCHESTRA in G minor by Cecil Forsyth (1870–1941), arranged for viola and piano by John Ireland 1. Moderato 2. Andante un poco sostenuto 3. Allegro con fuoco Publication: B. Schott (Mainz) © 1904 Manuscript: whereabouts unknown Notes: This concerto had been given its first performance in 1903 by Émile Férir (see Hyperion recording CDA 67546 for more details) PSALM CHANT Written for use by the choir of St. Luke’s, Chelsea Unpublished Manuscript: whereabouts unknown 1905 THE PRINCESS MALEINE Poem for orchestra

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First performance: unable to trace Unpublished Manuscript: whereabouts unknown Bibliography: Anon., ‘John Ireland’, Monthly Musical Record, 45 (July 1915), 192 SONATA in G MINOR For violin and piano First performance: unable to trace Unpublished Manuscript: whereabouts unknown Bibliography: Anon., ‘John Ireland’, Monthly Musical Record, 45 (July 1915), 192 EASTERGATE Hymn tune for mixed chorus (SATB) and organ Text (‘Holy Father in Thy mercy’) by Isabella S. Stevenson Commissioned by: Geoffrey Shaw (as co-editor of The English Hymnal) Publication: OUP. Vocal score © 1906 Included in The English Hymnal (1906), no. 520 and later in the Methodist Hymn Book (1933), no. 521 Manuscript: whereabouts unknown EVENING SERVICE IN A MAJOR For mixed chorus (SATB) and organ Text from The Book of Common Prayer Magnificat (Allegro): the melody is based on a well-known Gregorian intonation Nunc Dimittis (Moderato) First performance: unable to trace Unpublished Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52894, ff. 18–22 1905–1906 FIRST RHAPSODY in C SHARP MINOR For solo piano

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First performance: unable to trace Unpublished Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52889, ff. 30–40. Contains engraver’s markings. It is dated: ‘London, 16 January 1906’ 1906 SPRING, THE SWEET SPRING Song for unaccompanied mixed chorus (SATB) Text by Thomas Nashe (1567–1601) Dedication: ‘To Lionel Benson Esq., and the Members of the Magpie Madrigal Society’ Duration: 1’45” First performance: unable to trace First broadcast performance: BBC, Home Service, 3 April 1941. The BBC Singers, conducted by Trevor Harvey Publication: Laudy & Co. Ltd. Vocal score © 1908 (Part Songs no. 59) Manuscript: whereabouts unknown Notes: This song may have been written to celebrate the 21st year of the Magpie Singers in 1906. The group had been founded by Lionel Benson in 1885. WEEP YOU NO MORE, SAD FOUNTAINS Song for unaccompanied mixed chorus (SATB) Text by John Dowland (?1563–1626) Duration: c.2’30” First performance: unable to trace First modern performance: London, Holy Trinity Church (Nether Street, N12), 6 May 2006. The Finchley Chamber Choir, conducted by David Lardi Unpublished Manuscript: Marianne Barton. It was sold at Christie’s on 22 November 2002 as Lot 23. It may have been part of Fred Bentham’s papers who died in 2001.

He was the son of Percy Bentham, Ireland’s close friend. Ireland later wrote at the head of the manuscript ‘For my friend Percy Bentham (this manuscript carries all rights of publication, John Ireland: December 22 1932)’.

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1907 TE DEUM in F MAJOR For mixed chorus (SATB) and organ Text from The Book of Common Prayer Dedication: ‘To the Venerable H.E. Bevan MA, Archdeacon of Middlesex and Rector of Chelsea’ [According to Grove 5, the Te Deum was also dedicated ‘To the Choristers of St. Luke’s, Chelsea’] Duration: 7’10” First performance: unable to trace Publication: Novello & Co. Ltd. Vocal score © 1907 (PCB 750) Manuscript: whereabouts unknown Recordings: Rochester Cathedra1 Choir with Roger Sayer (organ)/B. Ferguson in Priory PRCD 433 Other Version A unison part for men’s voices, arranged for use with the original edition for choir and organ, was composed in 1952 Publication: Novello & Co. [© 1952] Bibliography: W.R. Anderson, ‘New Music: Choral’, Musical Times, 93 (November 1952), 1504–1505 PATER NOSTER (The Lord’s Prayer) For unaccompanied mixed chorus (SATB) Text from The Book of Common Prayer Date of composition: c.1907 First performance: unable to trace Publication: Novello & Co. Ltd. Vocal score © 1913 Manuscript: whereabouts unknown 1908 PSALM 42 For soprano, contralto, tenor, and bass soli, mixed chorus (SATB), and string orchestra Text selected from Psalm 42 (The Book of Common Prayer)

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1. Chorus: Like as the hart (In tempo moderato) 2. Soprano solo: The Lord hath granted (Allegretto) 3. Solo quartet (unaccompanied): My tears have been my meat (Andantino, ma non troppo lento) 4. Introduction and Fugue: Why art thou so vexed (Allegro): I will yet thank Him First performance: unable to trace Unpublished Manuscript: Manuscript Collection, University of Durham, Palace Green (Music Exercise 278); Manuscript Collections, The British Library (Reference Division), Add. MS 52893, ff. ii+50 (incomplete). It is signed and dated by the composer: ‘London, 28 February 1908’. A copy (presented by Devon County Library in January 1984) can also be found in Add. MS 62944 Notes: This composition, written at 54 Elm Park Mansions, Chelsea, was a Mus.Bac. exercise and bears the declaration that the setting is Ireland’s unaided work which is witnessed by two people. This is dated ‘21 March 1908’. PHANTASIE TRIO in A MINOR For violin, cello, and piano In four sections, played without a break In tempo moderato Meno mosso, quasi andantino Tempo primo Vivace e giocoso–vivacissimo Dedication: ‘To Sir Charles V. Stanford’ Duration: 12’30” First performance: London, Aeolian Hall, 26 January 1909. The London Trio Other early performances: London, Steinway Hall, 5, 12 and 19 March 1909. The London Trio (The Dunhill Concerts); London, 19 Grosvenor Square, 1 February 1910. Beatrice Langley (violin), May Mukle (cello) and York Bowen (piano) First broadcast performance (?): BBC, London Station, 12 August 1934. Alfred Barker (violin), Clyde Twelvetrees (cello) and John Ireland (piano) Publication: Galliard Ltd. Score © 1908

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Novello & Co. Ltd. [© 1909] Augener & Co. Ltd. [© 1918] Manuscript: whereabouts unknown Recordings: F. Grinke (violin), F. Hooton (vc) and K. Taylor (piano) in Dutton Epoch CDLX 103 (1999) (originally recorded in 1938) L. Mordkovitch (violin), K. Georgian (vc) and I. Brown (piano) in Chandos CHAN 9377/8 (1995) Bibliography: Anon., ‘The London Trio and British Phantasies’, Musical Times, 50 (March 1909), 178–179; Anon., [Review of Grosvenor Square Concert], Musical Times, 51 (March 1910), 169 (‘[the piece was] characterized by extreme brilliance and strenuousnessand is rich in musicianship. At the conclusion, the composer was recalled twice.’) A. Eaglefield Hull, ‘Phantasie Trio in A Minor’, Monthly Musical Record, 48 (June 1918), 124–125 D. Denton, ‘CD Reviews’, The Strad, 111 (February 2000), 193+ A. Achenbach, ‘Chamber’, Gramophone, 77 (March 2000), 74+76 L. Jenkins, ‘CD Reviews’, International Classical Record Collector, 6 (Summer 2000), 85 Notes: This trio was written for the Cobbett Chamber Music Competition, the rules of which required a chamber work in one movement with the title ‘Phantasie’, and gained second prize in the 1908 Cobbett Competition of the Worshipful Company of Musicians. FULL FATHOM FIVE Song for two-part chorus (SA) and piano Text by William Shakespeare (1564–1616) from The Tempest (Act 1, sc.ii) Dedication: [Inscribed to] ‘To Miss Ethel Mary Blyth’ First performance: unable to trace Publication: Novello & Co. Ltd. Vocal score © 1908 (The School Music Review no. 244) (Novello’s Collection of Two-Part Songs no. 150) Manuscript: whereabouts unknown Other Version Full Fathom Five Arranged as a duet by Kimmins Unpublished

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THERE IS A GARDEN IN HER FACE Song for 2-part chorus (SA) and piano. Text by Richard Alison First performance: unable to trace Publication: Novello & Co. Ltd. Vocal score © 1908 (Novello’s Collection of Two-Part Songs no. 151). This song also appeared in Novello’s School Songs [1911] no. 1076 Manuscript: whereabouts unknown 1908–1909 SONATA No. 1 in D MINOR For violin and piano 1. Allegro leggiadro 2. Romance: In tempo sostenuto, quasi adagio 3. Rondo: Allegro sciolto assai Dedication: ‘To F.W.W.’ Duration: c.28’ First performance: London, Steinway Hall, 7 March 1913. Marjorie Haywood (violin) and John Ireland (piano) (A Thomas Dunhill Chamber Concert: 7th series) First broadcast performance (?): BBC, London Station, 23 September 1927. Reginald Mouat (violin) and Ernest Lush (piano) Publication: Goodwin & Tabb Ltd. Score © 1911. Manuscript: whereabouts unknown Recordings: F. Grinke (violin) and John Ireland (piano) in Dutton Epoch CDLX 106 (1999) (originally recorded in 1945) K. Barritt (violin) and C. Edwards (piano) in Hyperion CDA 66853 (1996) Bibliography: N.O. Harper, ‘John Ireland’s First Sonata for Violin and Piano: An Introduction to its Study’. DMA thesis, Ohio State University, 1992 Anon., [Violin Sonata], Musical Times, 51 (February 1910), 116 Anon., ‘John Ireland: Sonata in D’, Monthly Musical Record, 45 (July 1915), 200 Anon., [Violin Sonata], Musical Times, 54 (April 1917), 256 (‘Mr Ireland writes on an ambitious plane, and with some justification’) H. J. Foss, ‘A Lifetime given to Chamber Music’, Radio Times, 14 April 1933, 76 [An article about Walter Wilson Cobbett] D. Denton, ‘CD Reviews’, The Strad, 111 (February 2000), 193+

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A. Achenbach, ‘Chamber’, Gramophone, 77 (March 2000), 74+76 L. Jenkins, ‘CD Reviews’, International Classical Record Collector, 6 (Summer 2000), 85 Notes: This sonata was entered in 1909 for the Cobbett Chamber Music Competition and won first prize. A note in the programme of the first performance states that this was the composer’s third Sonata for violin and piano. Revised Versions (1) The composer revised the Sonata in 1917 Publication: 2nd edition. Augener & Co. Ltd. Score © 1917 Bibliography: G. Oldroyd, ‘Violin Sonata’, Monthly Musical Record, 48 (July 1918), 150–151 Notes: See Geoffrey Bush’s note to the Stainer & Bell reprint of the score which gives full details of these important revisions Ireland made to the work in 1917 (2) Further revisions were made in 1944 Publication: 3rd (revised) edition. Augener & Co. Ltd. Score © 1944 c.1909 THE FROG AND THE CRAB Unison song for equal voices and piano Text: early sixteenth century First performance: unable to trace Publication: The Year Book Press. Vocal score © 1909 (The Year Book Press Series of Unison and Part Songs no. 31) Manuscript: whereabouts unknown IN PRAISE OF MAY Song for 2-part chorus (SA) and piano Text by Thomas Morley (1557–1603) Duration: 2’10” First performance: unable to trace Publication: Novello & Co. Ltd. Vocal score © 1909 (Novello’s School Songs no. 1015) Manuscript: whereabouts unknown

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c.1910 ANNABEL LEE A melodrama for speaker with piano Text by Edgar Allan Poe (1809–49), first published in the New York Tribune on 9 October 1849 (the day of Poe’s death) Duration: 3’59” First performance: London, Purcell Room, 21 October 1979. Richard Baker (speaker) and Raphael Terroni (piano) Publication: Stainer & Bell, Ltd. Score © 1998 (Two Songs and a Melodrama) Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52897, ff. 6–7: close score in green ink with pencil corrections Recordings: Richard Baker (reciter) and Raphael Terroni (piano) in Unicorn (cassette) UKC 7015 Richard Baker (reciter) and Keith Swallow (piano) in Cameo 2044 Bibliography: B. Phillips, ‘Introduction to the Score’, (Stainer & Bell Ltd.), October 1998 LAUGHING SONG Song for unaccompanied mixed chorus (SATB) Text by William Blake (1757–1827) First performance: unable to trace Unpublished Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52895, ff. 4–6 CUPID Song (‘In those days’) for unaccompanied mixed voices (SATB) Text by William Blake (1757–1827) First performance: London, Great Drawing Room, St. James’s Square (the Arts Council), 7 October 1961. The Elizabethan Singers, conducted by Louis Halsey Publication: Augener & Co. Ltd. Vocal score © 1961 Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52895, ff. 11–13

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1911 BAGATELLE For violin and piano Dedication: ‘To Miss Marjorie Hayward’ Duration: c.3’30” First performance: unable to trace Publication: Novello & Co. Ltd. Score © 1913 Manuscript: whereabouts unknown Recordings: K. Barritt (violin) and C. Edwards (piano) in Hyperion CDA 66853 (1996) Other Versions Bagatelle Arranged for orchestra by Leslie Bridgewater 1.1.2.1/2.cornet.1.0/timpani/percussion (1)/strings First performance: BBC, London Station, 24 February 1924. The Wireless Orchestra with no conductor supplied in Radio Times Unpublished Bagatelle Arranged for military band by C. F. Smyly Instrumentation: E flat flute, oboe, 2 E flat clarinets, solo, and ripieno, 2nd and 3rd clarinets in B flat, alto saxophone in E flat, tenor saxophone in B flat, 2 bass, 2 cornets in B flat, 4 horns in F, 2 E flat trumpets, 2 trombones, bass trombone, B flat baritone, euphonium, basses, timpani, and percussion Unpublished ALLA MARCIA For organ Dedication: ‘To Sir Walter Parratt, M.V.O.’ Duration: 2’58” First performance: unable to trace Publication: Novello & Co. Ltd. Score © 1911 Published with Sursum Corda in Novello’s Original Compositions for the Organ no. 421. Also included in The Organ Music of John Ireland (ed. Robert Gower), Novello © 1983 Manuscript: whereabouts unknown

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Recordings: Jonathan Bielby (organ) in Priory PRCD 298 (1990) Bibliography: Anon., [Review of new organ music], Musical Times, 53 (January 1912), 32 (A review of Sursum Corda and Alla Marcia) (‘Mr Ireland’s excellent and original pieces may be recommended … their dedication to Sir Walter Parratt is an added interest’) M. Rochester, ‘Great European Organs’, Gramophone, 68 (May 1991), 2047 SURSUM CORDA For organ Dedication: ‘To Sir Walter Parratt, M.V.O.’ Duration: 4’00” First performance: unable to trace Publication: Novello & Co. Ltd. Score © 1911 Published with Alla Marcia in Novello’s Original Compositions for the Organ no. 421. Also included in The Organ Music of John Ireland (ed. Robert Gower), Novello © 1983 Manuscript: whereabouts unknown Recordings: Jonathan Bielby (organ) in Priory PRCD 298 (1990) Bibliography: M. Rochester, ‘Great European Organs’, Gramophone, 68 (May 1991), 2047 CAPRICCIO For organ Dedication: ‘To H.L. Balfour Esq.’ Duration: 5’47” First performance: unable to trace First broadcast performance: London, Shepherd’s Bush Pavilion, 6 July 1924. Quentin Maclean (organ) Publication: Stainer & Bell Ltd. Score © 1911 (no. 23 of The Organ Recitalist) Also included in The Organ Music of John Ireland (ed. Robert Gower), Novello © 1983 Manuscript: whereabouts unknown Recordings: Jonathan Bielby (organ) in Priory PRCD 298 (1990) Bibliography: Anon., [Review of Capriccio], Musical Times, 53 (June 1912), 384 (Described as ‘admirably written’)

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M. Rochester, ‘Great European Organs’, Gramophone, 68 (May 1991), 2047 HOPE THE HORNBLOWER Song for voice and piano Text by Henry Newbolt (1862–1938), from Poems New and Old (1912) Duration: 2’04” First performance: London, Royal Albert Hall, 6 January 1912. Ivor Foster (baritone) and either S. Liddle or F.A. Sewell (piano) (46th season of the London Ballad Concerts, arranged by Boosey & Co.) First broadcast performance: BBC, London Station, 13 March 1924. George Parker (baritone) and John Ireland (piano) Publication: Boosey & Co. Vocal score © 1911 This original edition was published in G major and A major only, with alternative simplified accompaniment in both keys. This simplified version became the new edition, published in 1921. Assigned to Augener, 1961. Also included in volume v of The Complete Works for Voice and Piano, Stainer & Bell © 1981, and in Eleven Songs by John Ireland (introduction by John Longmire), Stainer & Bell/Galaxy © 1970 Manuscript: Cambridge, University Library (Dept of Manuscripts): Version in G major – MS. Add. 8911.1. Written in ink, initialled and dated: ‘JNI March 20th 1911’. His address (54 Elm Park Mansions, Chelsea, SW) also appears on the title page. Recordings: C. Maltman (baritone) and G. Johnson (piano) in Hyperion CDA 67261 (1999) Other Versions Hope the Hornblower Arranged for voice and orchestra by Frederick Bye (in G and A) 1.1.2.1/2.0.0.0/harp/strings Duration: 3’05” First performance: unable to trace Unpublished Recordings: Stephen Varcoe (bass-baritone) and City of London Sinfonia/ R. Hickox in Chandos CHAN 8743 (1989) Bibliography: M. Kennedy, ‘English Orchestral Songs’, Gramophone, 67 (January 1990), 1136

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Hope the Hornblower Arranged for voice, piano and strings by G. Stacey (in F) Unpublished HYMN TO LIGHT Song for voice with organ obbligato Text by James Vila Blake First performance: unable to trace. Kirkby Lunn (1873–1930), an English mezzo-soprano, may have sung this work Publication: Chappell & Co. Vocal score © 1911 Three versions were published: in A flat, B flat, and C Manuscript: whereabouts unknown WHEN LIGHTS GO ROLLING ROUND THE SKY Song for voice and piano Text by James Vila Blake Duration: 2’51” First performance: unable to trace First broadcast performance: BBC, London Station, 12 March 1924. George Parker (baritone) and John Ireland (piano) Publication: Chappell & Co. Ltd. Vocal score © 1911 Two versions were published: in D and C major Also included in volume v of The Complete Works for Voice and Piano, Stainer & Bell © 1981, and in The Land of Lost Content and Other Songs by John Ireland (with an introduction by John Longmire), Galliard/Stainer & Bell © 1976 Manuscript: whereabouts unknown Recordings: C. Maltman (baritone) and G. Johnson (piano) in Hyperion CDA 67262 (1999) Other Versions When lights go rolling round the sky Arranged for voice and orchestra by D. Darlow (in C) 3+1.2.2.2/4.2.3.1/timp/perussion/harp/strings First performance: unable to trace Unpublished

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When lights go rolling round the sky Arranged for voice, piano, and strings by G. Stacey (in C) Unpublished BILLIE BOWLINE Song for voice and piano, written under the pseudonym of Turlay Royce Text by Frederick E. Weatherly First performance: unable to trace Publication: Chappell & Co. Vocal score © 1911 2 versions were published: in B flat and C major Manuscript: whereabouts unknown LOVE’S WINDOW Song for voice and piano, written under the pseudonym of Turlay Royce Text by H.D. Banning First performance: unable to trace Publication: Chappell & Co. Vocal score © 12 June 1911 3 versions were published: in G, A, and C major Manuscript: whereabouts unknown ALPINE SONG Unison song for equal voices and piano Text by James Vila Blake (from the German) First performance: unable to trace Publication: J. Curwen & Co. Ltd. Vocal score © 1911 (Choruses for Equal Voices no. 1322) Manuscript: Cambridge, University Library (Dept. of Manuscripts): MS. Add. 9440. Incomplete, the library has only the last page [p. 2]. Written in ink and marked up in pencil for engraving with tonic sol-fa notation added in red ink AT EARLY DAWN Song for 2-part chorus (SA) and piano Text by James Vila Blake (from the German) First performance: unable to trace Publication: J. Curwen & Co. Ltd. Vocal score © 1911 (Choruses for Equal Voices no. 1333). Also published as ‘We hardly see the sunbeam yet’ Manuscript: whereabouts unknown

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HILLO, MY BONNY Song for voice and piano, written under the pseudonym of Turlay Royce Text by James Vila Blake First performance: unable to trace Publication: Chappell & Co. Ltd. Vocal score © 1913 Manuscript: whereabouts unknown IN SUMMER WOODS Song for 2-part chorus (SA) and piano Text by James Vila Blake (from the German) First performance: unable to trace Publication: J. Curwen & Co. Ltd. Vocal score © 1911 (Choruses for Equal Voices no. 1334). Also published as ‘How jubilant the summer sky’ Manuscript: whereabouts unknown Other Version In Summer Woods Arranged for chorus and orchestra by T. Widicombe (1957) 1.1.2.1/2.0.0.0/percussion/strings First performance: unable to trace Unpublished IN PRAISE OF NEPTUNE Unison song for equal voices and piano Text by Thomas Campion (1567–1620) Duration: 2’10” First performance: unable to trace Publication: The Year Book Press. Vocal score © 1911 (The Year Book Press Series of Unison Songs no. 46) Manuscript: The autograph manuscript was put up for sale at Sotheby’s on 22 November 1989 as Lot 102 but not sold. In the catalogue it was described as marked for the printer, notated in brown ink on four systems per page, each of three staves, lacking eight bars and the final bar, with some alterations, additions, and corrections in red ink and blue pencil; together with an arrangement for chorus in four parts, lacking bars 1–4 (see below)

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Other Versions In Praise of Neptune Arranged for mixed chorus (SATB) and piano [1911] First performance: unable to trace Publication: The Year Book Press. Vocal score © 1911 (The Year Book Press Series of Part Songs no. 47) Manuscript: whereabouts unknown In Praise of Neptune Arranged for mixed chorus (SATB) and orchestra by the composer [1911] 2.2.2.2/2.2.0.0/timp/percussion (2)/strings First performance: unable to trace Publication: Ascherberg, Hopwood & Crew Ltd. Vocal score © [1911] Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52900 VESPER HYMN Hymn tune for mixed chorus (SATB) and organ (‘O Lord, keep us safe’) as sung at Holy Trinity, Sloane Square, SW Publication: Novello & Co. Ltd., Brighton: J. & W. Chester Ltd. Vocal score © 1911 by John Ireland. This hymn tune was originally printed (on a card) in 1911 by Novello, on instructions from J. & W. Chester Ltd. Manuscript: whereabouts unknown SLUMBER SONG Unison song for equal voices and piano Text by James Vila Blake (from the German) First performance: unable to trace Publication: Novello & Co. Ltd. Vocal score © 1911. Also © 1933 (Novello’s School Songs no. 1469) Manuscript: whereabouts unknown SPRING Unison song for equal voices and piano Text by James Vila Blake (from the German)

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First performance: unable to trace Publication: Novello & Co. Ltd. Vocal score © 1911 (School Music Review no. 235) Later reprinted in School Songs Series no. 1469 [1933] Manuscript: whereabouts unknown 1912 GREATER LOVE HATH NO MAN A motet for Passiontide and other seasons, for treble and baritone soli, mixed chorus (SATB), and organ Alternative title: ‘Many waters cannot quench love’ Text selected from the Scriptures: Song of Solomon, vii: 7, 6; Gospel of St. John, xv: 13; 1 Peter, ii: 24; 1 Corinthians, vi: 2; 1 Peter, ii: 9; Romans, xii: 1 Dedication: ‘To Charles Macpherson, Esq. and the Choristers of St. Paul’s Cathedral’ Duration: 6’50” First performance: unable to trace Publication: Stainer & Bell Ltd. Vocal score © 1912 (Stainer & Bell’s Church Choir Library no. 146) Manuscript: whereabouts unknown Other Version Greater love hath no man Arranged for treble and baritone soli, mixed chorus (SATB), and orchestra by the composer 2.2.2.2/4.3.3.1/timpani/organ/strings First performance: London, St. Paul’s Cathedral, 30 May 1922. Cathedral choir with un-named orchestra, conducted by Charles MacPherson (Sons of the Clergy annual Festival Service) Unpublished Manuscript: Unable to trace. A copy reveals that it is initialled and dated: ‘16 May 1922’ Recordings: Paula Bott (soprano) and Bryn Terfel (baritone)/London Symphony Chorus/London Symphony Orchestra with Roderick Elms (organ)/Richard Hickox in Chandos CHAN 8879 (1990) Bibliography: D. Denton, ‘Ireland’, Music Magazine, 4 (Feb. 1991), 54

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Notes: The Minute Book of the Committee of Stewards for the 268th Anniversary Festival of the Sons of the Clergy show the following: 25 July 1921 – Dr. MacPherson [organist] of St. Paul’s Cathedral proposed for the 1922 Festival a choice of anthems, one which was a new anthem by John Ireland (or Sir Edward Elgar or Mr Gustav Holst) 7 December 1921 – In the absence of Dr. MacPherson, the Committee left it to his discretion ‘to sort [sic] an anthem for 1922’ 30 May 1922 (after the Festival) – ‘The anthem was “Many waters cannot quench love”, the music by John Ireland being excellently rendered’. According to Richard Askwith, honorary archivist of the Corporation of the Sons of the Clergy, no records exist about what transpired between 25 July 1921 and 30 May 1922. One, therefore, might guess that Ireland may have been approached at a late stage (after Elgar and Holst had declined the offer) and had agreed to orchestrate his existing anthem for this prestigious service in the City of London A CRADLE SONG Song for unaccompanied mixed chorus (SATB) Text by William Blake (1757–1827), from Songs of Experience (1794) Dedication: ‘To my friend Thomas F. Dunhill’ Duration: 2’50” First performance: unable to trace First broadcast performance(?): London, BBC Home Service, 18 October 1941. BBC Singers (B), conducted by Trevor Harvey Publication: Stainer & Bell Ltd. Vocal score © 1914 (Choral Library no. 134) Manuscript: whereabouts unknown AUBADE Song for 2-part chorus (SA) and piano Text by Sydney Dobell (1824–74) from Balder First performance: unable to trace Publication: Novello & Co. Ltd. Vocal score © 1912 (Novello’s Collection of Two-Part Songs no. 164)

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Manuscript: whereabouts unknown Bibliography: Anon., ‘Reviews’ Musical Times, 54 (January 1913), 54 BENEDICTUS in F MAJOR For mixed chorus (SATB) and organ Text from The Book of Common Prayer First performance: unable to trace Publication: Novello & Co. Ltd. Vocal score © 1912 (PCB no. 883) Manuscript: whereabouts unknown Recordings: Lincoln Cathedral Choir with A. Post (organ)/C. Walsh in Priory PRCD 478 Bibliography: Anon., ‘Reviews’ Musical Times, 54 (March 1913), 171 HERE’S TO THE SHIPS! Song for voice and piano Text by P.J. O’Reilly First performance: London, Royal Albert Hall, 6 January 1912. Harry Dearth (baritone) and either S. Liddle or F.A. Sewell (piano) (46th season of the London Ballad Concerts, arranged by Boosey & Co.) Publication: Boosey & Co. Ltd. Vocal score © 1912 2 versions were published: in B flat and C major Manuscript: whereabouts unknown Other Version Here’s to the Ships! Song arranged for voice and orchestra by the composer (1912) 2.1.2.2/2.2.2.0/timpani/percussion (1)/strings First performance: unable to trace Unpublished Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52897, ff. 9–19: Full score with conductor’s markings. It is dated: 5 March 1912’ EVENING SONG Song for 2-part chorus (SA) and piano Text by James Vila Blake (from Friedrich Rückert) First performance: unable to trace

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Publication: Novello & Co. Ltd. Vocal score © 1912 (Novello’s Collection of Two-Part Songs no. 162) Manuscript: whereabouts unknown SEE HOW THE MORNING SMILES Song for 2-part chorus (SA) and piano Text by Thomas Campion (1567–1620) First performance: unable to trace Publication: Stainer & Bell Ltd. Vocal score © 1912 (Stainer & Bell’s Part-Songs for Treble and Alto Voices no. 55) John Ireland Trust © 1979 (Banks & Co. Ltd., York, in the Eboracum Choral Series ECS 147) Manuscript: whereabouts unknown Notes: This is a different setting of the words of the song ‘The Peaceful Western Wind’ (1890s) 1912–1913 DECORATIONS For solo piano 1. The Island Spell (Allegretto) [4’00”] 2. Moon-glade (Poco lento) [3’30”] 3. The Scarlet Ceremonies (Con moto) [3’30”] Dedication: No. 1 only: ‘To my friend Pedro G. Morales’ First performance: unable to trace. The Musical Times (July 1919) mentions that the work was played on 4 June 1919 by Joyce Ansell at the Wigmore Hall, followed by another performance at the same venue on 12 June 1919 by Miss Chilton-Griffin First broadcast performance: no. 1 – BBC, London Station, 13 March 1924. John Ireland (piano) Publication: Augener & Co. Ltd. Score © 1915 Each movement was also published separately [© 1919]

Also included in volume i of The Collected Piano Works of John Ireland, Stainer & Bell © 1976 According to the printed copy, each movement is dated No. 1 – Fauvic, Jersey: August 1912; No. 2 – Chelsea: May 1913; No. 3 – Chelsea: June 1913 Manuscript: Manuscript Collections, The British Library (Reference Division) Add. MS 52889, ff. 42–44: no. 1 (‘The Island Spell’) only.

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Contains engraver’s markings. Proof sheets corrected by Ireland are Music Library, H.403.p.(1). The contents note (f. 41) also mentions one page of The Scarlet Ceremonies. The recent acquisition at the British Library (BL Deposit 2005/31) of Ireland’s papers includes the score of Three Pieces for Pianoforte (i.e. ‘Decorations’), a copyist’s manuscript with autograph annotations, with the original titles covered with paper slips. The first movement is marked ‘Allegretto con moto’ with a passage pasted down at the end; the second ‘Lento’ and the third ‘Con moto’. No date is apparent. This manuscript was purchased at Sotheby’s on 4 December 1998 (lot 145). Recordings: Daniel Adni (piano) in EMI 0946 3 52280 2 1 (2006) (originally recorded in 1979) Eric Parkin (piano) in Chandos CHAN 9056 (1992) Bibliography: H. Rutland, ‘The Island Spell’, in John Ireland: A Biographical Sketch London: Galliard, 1965), 5–6 Anon., ‘The Neglect of New Piano Music’, The Times, 24 July 1915, 9 Anon., ‘John Ireland’, Monthly Musical Record, 45 (2 August 1915), 227 Anon., ‘British Piano Music’, The Times Literary Supplement, 10 August 1916, 380 Anon., ‘The Island Spell’, Monthly Musical Record, 49 (March 1919), 62 Notes: Movements 1 and 2 are prefaced by quotations from Arthur Symons; Movement 3 is prefaced by a quote from The House of Souls by Arthur Machen TRIO in D major For clarinet in B flat, cello, and piano 1. 2. 3. 4.

Allegro non troppo (No dynamic marks) Lento Con moto

First performance: London, Steinway Hall, 9 June 1914. Charles Draper (clarinet), May Mukle (cello), and John Ireland (piano) (A Thomas Dunhill Chamber Concert) Unpublished Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52887, ff. i+57: incomplete. The second movement and part of the third are missing. Ireland began composition in April 1912 and finished the Trio in October 1913.

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Bibliography: Anon., ‘London Concerts: Chamber Concerts’, Musical Times, 55 (July 1914), 472 (A Thomas Dunhill British Chamber Music Concert) Revised Version Ireland revised the trio between October 1913 and February 1914. First performance: London, Steinway Hall, 25 March 1915 by the abovementioned performers as part of a de Lara War Emergency Concert A further performance of the Trio was given by the English Trio on 29 June 1915 at St. Charles Street (Berkeley Square) Bibliography: Anon., ‘Steinway Hall’, Musical Times, 56 (May 1915), 299 Anon. ‘New Trio’, Monthly Musical Record, 45 (August 1915), 227 BED IN SUMMER Unison song for equal voices and piano Text by Robert Louis Stevenson (1850–1894) from A Child’s Garden of Verses (1885) Duration: 1’13” First performance: unable to trace Publication: J. Curwen & Co. Ltd. Vocal score © 1915 (Choruses for Equal Voices no. 1489) Manuscript: whereabouts unknown Other Version Bed in Summer Song arranged for voice and piano [1912–1913] First performance: unable to trace Publication: J. Curwen & Co. Ltd. (Curwen Edition 2129). Vocal score © 1915 2 versions were published: in A flat and F major Also included in volume v of The Complete Works for Voice and Piano, Stainer & Bell © 1981 Manuscript: whereabouts unknown Recordings: L. Milne (soprano) and G. Johnson (piano) in Hyperion CDA 67262 (1999)

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1913 THE ALMOND TREES For solo piano Duration: 4’ First performance: unable to trace Publication: Ascherberg, Hopwood & Crew Ltd. Score © 1920 (no. 28 in the Repertoire Series of Pianoforte Music by Modern British Composers, edited by G.H. Clutsam and T.F. Dunhill) Also included in volume i of The Collected Piano Works of John Ireland, Stainer & Bell © 1976 Manuscript: whereabouts unknown Recordings: Daniel Adni (piano) in EMI 0946 3 52280 2 1 (2006) (originally recorded in 1979) Eric Parkin (piano) in Chandos CHAN 9056 (1992) CHILD’S SONG Unison song for equal voices and piano Text by Thomas Moore (1779–1852) First performance: unable to trace Publication: Deane/The Year Book Press. Vocal score © 1914 (The Year Book Press Series of Unison and Part Songs no. 106, ed. Martin Akerman) Manuscript: whereabouts unknown COMMUNION SERVICE in C MAJOR For mixed chorus (SATB) and organ 1. 2. 3. 4. 5. 6. 7. 8.

Responses to the Commandments (Moderato) Responses before and after the Gospel Credo (Allegro giusto) Sanctus (Andante) Benedictus (Andante) Agnus Dei (Sostenuto) Pater Noster (In tempo moderato) – unaccompanied Gloria (Allegro)

First performance: unable to trace Publication: Novello & Co. Ltd. Vocal score © 1914 (Short Settings of the Office for the Holy Communion no. 52)

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Novello & Co. Ltd. [© 1952] (PCB 1304) (included the Ninefold Kyrie for use with this service) The setting of the Lord’s Prayer was published separately: Novello & Co.Ltd. © 1958 (PCB 1374) Manuscript: whereabouts unknown Recordings: Wakefield Cathedral Choir with K. Wright (organ)/Jonathan Bielby in Priory PRCD 341 (1992) Bibliography: Anon., [Review of the Communion Service in C with music examples], Musical Times, 55 (June 1914), 388 (‘This service … may be heartily recommended.’) MARIGOLD Impression for voice and piano 1. Youth’s Spring-Tribute (Allegretto). D.G. Rossetti (1828–1882): Sonnet 14 from The House of Life (1881) [3’45”] 2. Penumbra (Poco andante). D.G. Rossetti, 1870 [5’002] 3. Spleen (Con moto moderate). Ernest Dowson (1867–1900), after Paul Verlaine, Decorations: In Verse and Prose (1899) [3’05”] The poem is one of four translations from Verlaine, the original being ‘Les roses etaient toutes rouges’, Aquarelle no. 2 from Romances sans paroles (1874) First performance: no. 1 – London, Aeolian Hall, 15 March 1918. Evelyn Arden (soprano) and S. Liddle (piano) First complete(?) performance: London, Aeolian Hall, 15 April 1920. George Parker (baritone) and ? (piano) Publication: W. Rogers Ltd. Vocal score © 1916 Reissued by the Doric Music Co., York [© 1965] Also included in volume iv of The Complete Works for Voice and Piano, Stainer & Bell © 1981 Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 65528. This autograph manuscript was purchased by the British Library from Sotheby’s on 6 May 1988 (Lot 395). Also in Add. MS 52897, ff. 21–28: No. 1 is dated: ‘24 May 1913’: No. 2: ‘12 May 1913’; No. 3: ‘3 June 1913’ Other Version Marigold: Impression Arranged for voice and orchestra by the composer [1915]

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3.2+1.2+1.2/4.0.0.0/timpani/celesta/harp/strings First performance: unable to trace Unpublished Manuscript (incomplete): no.1 only – Manuscript Collections, the British Library (Reference Division), Add. MS 52897, ff. 30–36 THE FORGOTTEN RITE Prelude for orchestra 3+1.2+1.2+1.2/4.2.3.0/timpani/celesta/harp/strings Duration: 9’04” First performance: London, Queen’s Hall, 13 September 1917. The Queen’s Hall Orchestra, conducted by Henry J. Wood Second performance: Bournemouth, Winter Gardens, 28 February 1918. Bournemouth Municipal Orchestra, conducted by Dan Godfrey Other early performances: London, Queen’s Hall, 2 November 1932. The BBC Symphony Orchestra, conducted by Adrian Boult (Broadcast by the BBC in the National Programme) Publication: Augener & Co. Ltd. Full score © 1918 Revised edition © 1949 Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52873, ff. 1–10b. It is dated: ‘Aug.–Nov. 1913’ Another autograph of The Forgotten Rite was sold at Sotherby’s on 29 November 1985 as lot 109. Now in the Koch Collection (Beinecke Library) at Yale University, USA (FRKF 1084a). The full score is written in black ink with additional notes and corrections in black and blue pencil. At the head of the autograph is ‘Prelude. John Ireland’. Bound in cream coloured cloth, this autograph and the arrangement for piano duet (see below) were presented to Kenneth A. Wright on 8 September 1928 by the composer. There are also two autograph letters from Ireland to Kenneth Wright [London] 8 and 10 September 1928, both concerning the piece and the gift of the manuscript. Recordings: London Symphony Orchestra/Richard Hickox in Chandos CHAN 8994 (1991) London Philharmonic Orchestra/Adrian Boult in Lyrita SRCD 240 (2007) (a reissue of Lyrita SRCS 45) Bibliography: Anon., ‘Promenade Concerts’, The Times, 14 September 1917, 3

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Anon., ‘Queen’s Hall Promenade Concerts’, Musical Times, 58 (October 1917), 465 (‘The John Ireland we all know so well, who has gained great distinction in chamber music, has not hitherto won spurs in the orchestral field.’) Anon., ‘The Forgotten Rite’, Monthly Musical Record, 48 (April 1918), 74 and 84–85 Anon., ‘The Forgotten Rite’, Monthly Musical Record, 79 (July– August) 1949, 162 Notes: A later programme note states that the work owed its inception to a holiday which the composer spent on the island of Jersey in 1912 Other Version The Forgotten Rite Arranged for piano duet by the composer [1913] Date of arrangement: 1913 First performance: unable to trace Publication: Augener & Co. Ltd. Score © 1918 Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52873, ff. 11–14b Autograph (bound with the above) also in the Koch Collection (Beinecke Library) at Yale University, USA (FRKF 1084b). Written in black ink with additional notes and corrections in black pencil. At the end of the manuscript, in black pencil: ‘6[.5] minutes’. Bibliography: Anon., ‘The Forgotten Rite – piano duet’, Monthly Musical Record, 48 (May 1918), 109 THE ECHOING GREEN Song for 2-part chorus (SS) and piano Text by William Blake (1757–1827) Date of composition: September 1913 Dedication: ‘To Gwennie, in Jersey’ First performance: unable to trace Publication: J. Curwen & Co. Ltd. Vocal score © 1914 (Choruses for Equal Voices no. 1443) Manuscript: whereabouts unknown

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NURSES’ SONG Unison song for equal voices and piano Text by William Blake (1757–1827) from Songs of Innocence First performance: unable to trace Publication: The Year Book Press. Vocal score © 1914 (The Year Book Press Series of Unison and Part-Songs no. 107) The song was later reprinted under the title of ‘Sunset Play’ Manuscript: whereabouts unknown SEA FEVER Song for voice and piano Text by John Masefield (1878–1967) from Saltwater Ballads (1902) Duration: 2’15” First performance: unable to trace. It may have been sung by Mischa-Leon. An early performance is also recorded in Musical Times (July 1915) as being given on 10 June 1915 by an unknown singer as part of a War Emergency Committee concert of British composers. See also note below. First broadcast performance: BBC, London Station, 9 March 1924. Harold Casey (baritone) and unknown pianist First broadcast performance by the composer: BBC, London Station, 13 March 1924. George Parker (baritone) and John Ireland (piano) Publication: Augener & Co. Ltd. Vocal score © 1915 4 versions were published – in E minor, F minor, G minor and A minor. A voice-only part was also published with melody and tonic sol-fa by W.G. Glock, Augener & Co. Ltd. [© 1929] Also included in volume ii of The Complete Works for Voice and Piano, Stainer & Bell © 1981, and in Eleven Songs by John Ireland (introduced by John Longmire), Stainer & Bell/Galaxy © 1970 Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 71543, ff. 9–10 and 11–15: 2 versions, one of which is initialled and dated ‘October 1913’, the other (a photocopy of a different autograph) signed by the composer but not dated. This manuscript had been annotated with printer’s markings prior to the making of the photocopy. Both are in the key of E minor Recordings: C. Maltman (baritone) and G. Johnson (piano) in Hyperion CDA 67262 (1999) Bibliography: Anon., ‘Sea Fever’, Monthly Musical Record, 45 (June 1915), 171–172

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C.M. Crabtree, [‘Sea Fever’], Gramophone, 5 (December 1927), 281 F.B. Westbrook, ‘Did I Say That?’, Choir, 54 (October 1963), 179–180 Notes: In a note by George Parker, written in October 1958, he writes that he saw the manuscript immediately after it was composed and liked it very much: ‘It was given a first performance by another singer who did not think a great deal of it. It had the second performance with John Ireland at the pianoforte at the Three Arts Club in Marylebone Road. This was from the manuscript. Before it was ever published I sang it a great deal, particularly to the soldiers in the 1914–1918 war in France and England.’ (Sold at Sotheby’s in 1989 and now in the archives of the John Ireland Trust) Ireland’s setting of these Masefield verses might have been inspired by an earlier setting (published in November 1912) by fellow composer, Balfour Gardiner who wrote a part-song for mixed voices to Masefield’s poem ‘Cargoes’. Other Versions Sea Fever Arranged for voice and orchestra by the composer First broadcast performance: BBC, from the Piccadilly Hotel, 22 June 1924. De Groot (baritone) and Piccadilly Hotel Orchestra Unpublished Manuscript: whereabouts unknown Bibliography: K. K., [Sea Fever], Gramophone, 3 (January 1926), 391–392 Sea Fever Arranged for bass solo, chorus, and orchestra by G. Williams (in D, E, F and G minor) 1.1.2.1/2.3.3.0/timp/percussion/strings First performance: unable to trace Unpublished Sea Fever Arranged for voice and small orchestra Instrumentation: flute, timpani, accordion, guitar, and strings First performance: unable to trace Unpublished

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Sea Fever Arranged for voice and military band First broadcast performance: BBC, London Station, 12 September 1924. Herbert Heyner (baritone) and ‘2LO’ Military Band, conducted by Dan Godfrey jnr Unpublished Sea Fever Arranged as a unison song for equal voices and piano First performance: unable to trace Unpublished Sea Fever Arranged for baritone solo, male choir, and piano by Mansel Thomas First performance: unable to trace Publication: Stainer & Bell Ltd. Vocal score © 1915, 1989 (Stainer & Bell Male Voice W179) SONG FROM O’ER THE HILL Song for voice and piano Text by P.J. O’Reilly Duration: 1’45’ First performance: unable to trace Publication: Leonard & Co. Ltd. Vocal score © 1913 3 versions were published: in A flat major, C major, and B flat major Also included in volume v of The Complete Works for Voice and Piano, Stainer & Bell © 1981 Manuscript: whereabouts unknown THREE DANCES For solo piano 1. Gypsy Dance (Allegro non troppo) [2’00”] 2. Country Dance (Allegretto) [2’00”] 3. Reapers’ Dance (Allegro) [2’00”]

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Dedication: 1. ‘To Josephte’ 2. ‘To Alice’ 3. ‘To Marjorie’ First performance: unable to trace Publication: J. Curwen & Co. Ltd. Score © 1913 (part of Curwen’s Pianoforte Series). Each dance was also published separately Also included in volume i of The Collected Piano Works of John Ireland, Stainer & Bell © 1976 Manuscript: whereabouts unknown Recordings: Daniel Adni (piano) in EMI 0946 3 52280 2 1 (2006) and EMI 352 2792 (2007) (originally recorded in 1979) Notes: These dances were originally known as ‘Three Rustic Dances’ and written as educational music PORTO RICO Song for voice and piano, written under the pseudonym of Turlay Royce Text by Frederick E. Weatherly First performance: unable to trace Publication: Boosey & Co. Ltd. Vocal score © 1913 Manuscript: whereabouts unknown 1913–1915 PRELUDES For solo piano 1. 2. 3. 4.

The Undertone (Poco sostenuto) [4’00”] Obsession (Allegretto con moto) [3’00”] The Holy Boy (Andante tranquillo) [3’00”] Fire of Spring (Animato) [2’00”]

First performance: London, Aeolian Hall, 7 June 1918. John Ireland (piano) First broadcast performance: BBC, London Station, 13 March 1924. John Ireland (piano) Publication: Winthrop Rogers Ltd. Score 1:© 1918; 2–4: © 1917 Also included in volume i of The Collected Piano Works of John Ireland, Stainer & Bell © 1976 No. 3 (‘The Holy Boy’) is included in 20th Century Classics (volume ii), arranged for solo piano, Boosey & Hawkes Ltd. © 1989

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Manuscript: No. 2: ‘Obsession’: Manuscript Collections, The British Library (Reference Division), Add MS 52889, ff. 46–48. Contains engraver’s markings According to the printed copy, each movement is dated thus: No. 1: ‘Chelsea, January 1914’ No. 2: ‘[Autumn] 1915’ No. 3: ‘Chelsea, [25] December 1913’ No. 4: ‘Chelsea, April 1915’ Recordings: No. 3 – Daniel Adni (piano) in EMI 0946 3 52280 2 1 (2006) (originally recorded in 1979) Eric Parkin (piano) in Chandos CHAN 9056 (1992) Nos.1, 2 and 4 – Desmond Wright (piano) in EMI 0946 3 52282 2 9 (2006) (originally recorded in 1995) Bibliography: Anon., ‘Reviews: Piano Music’, Musical Times, 59 (June 1918), 258 Anon., ‘Mr. Ireland’s Compositions’, The Times, 10 June 1918, 11 E. Austin, ‘About Two “Things of Beauty”: (1) John Ireland’s Undertone’, Musical Times, 59 (October 1918), 444–445 Notes: In an early printed version, ‘Obsession’ came first, ‘Spleen’ (The Undertone’) was second, ‘Carol’ (‘The Holy Boy’) was third, and ‘Rosebud’ (‘Fire of Spring’) last Other Versions The Holy Boy: A Carol of the Nativity Arranged for string orchestra or string quartet by the composer [1941] Instrumentation: Violins I and II, violas, cellos, and double basses Duration: 2’40” First performance: unable to trace Publication: Boosey & Hawkes Ltd. Full score © 1941 Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52899, ff. 57–61 Recordings: London Symphony Orchestra/Richard Hickox in Chandos CHAN 8879 (1990) Maggini String Quartet in Naxos 8.557777 (2006) London Philharmonic Orchestra/Adrian Boult in Lyrita SRCD 242 (2007) (a re-issue of Lyrita SRCS 31) Bibliography: Anon., New Music: Orchestral, Musical Times, 83 (January 1942), 20 Anon., ‘The Holy Boy’, Monthly Musical Record, 72 (June 1942), 112 D. Denton, ‘Ireland’, Music Magazine, 4 (February 1991), 54

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C. MacDonald, ‘Chamber’, BBC Music Magazine, 14 (Proms 2006), 89–90 A. Achenbach, ‘Ireland’, Gramophone, 84 (August 2006), 67 The Holy Boy Arranged for brass ensemble by Robert E. Stepp [1950] Instrumentation: 3 trumpets in B flat, 2 horns in F, 2 trombones, euphonium (baritone), and tuba First performance: unable to trace Publication: Boosey & Hawkes Ltd. (New York). Full score © 1950 The Holy Boy Arranged for violin and piano [1919] First performance: unable to trace Unpublished (according to Grove 5, it was published in 1919) Manuscript: whereabouts unknown The Holy Boy Arranged for solo viola (by Lionel Tertis) [1925] First performance: unable to trace Unpublished Bibliography: P.P., [‘The Holy Boy’], Gramophone, 2 (March 1925), 388 The Holy Boy Arranged for cello and piano [1919] First performance: unable to trace Publication: Winthrop Rogers Ltd. Score © 1919 Recordings: F. Hooton (cello) and L. Pratt (piano) in Dutton Epoch CDLX 103 (1999) (originally recorded in 1938) Bibliography: D. Denton, ‘CD Reviews’, The Strad, 111 (February 2000), 193+ A. Achenbach, ‘Chamber’, Gramophone, 77 (March 2000), 74+76 L. Jenkins, ‘CD Reviews’, International Classical Record Collector, 6 (Summer 2000), 85 The Holy Boy Arranged for flute and piano. Edited by James Galway [1987] First performance: unable to trace

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Publication: Hawkes & Co. Ltd. Score © 1987 Bibliography: R. Rostron, ‘Flute’, Music Teacher, 67 (October 1988), 35 The Holy Boy Arranged for two descant recorders and piano by Geoffrey Russell-Smith [1970] First performance: unable to trace Publication: Boosey & Hawkes Ltd. [© 1970] The Holy Boy: A Carol of the Nativity Transcribed for organ by the composer [1919] First performance: unable to trace Publication: Winthrop Rogers. Score © 1919 Also included in The Organ Music of John Ireland (ed. Robert Gower), Novello © 1983 Manuscript: whereabouts unknown Recordings: Jonathan Bielby (organ) in Priory PRCD 298 (1990) Bibliography: M. Rochester, ‘Great European Organs’, Gramophone, 68 (May 1991), 2047 The Holy Boy Arranged for voice and piano, organ, or strings by the composer [1938] Text by Herbert S. Brown First performance: unable to trace Publication: Hawkes & Son Ltd. Vocal score © 1941 2 versions were published in E flat and F. Also included in Sing Solo Christmas (ed. John Carol Case), OUP © 1987 Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52899, ff. 51–55 (2 versions: piano/strings). Included in Ireland’s notebooks (Add. MS 52901A) is ‘The Holy Boy’ ‘in one manifestation’. He was later to parody it in ‘Adam lay ybounden’ (q.v.) Notes: When preparing this version in 1938, Ireland added two bars’ introduction, and made other modifications The Holy Boy: A Carol of the Nativity Arranged for unaccompanied mixed chorus (SATB) by the composer [1941] Text by Herbert S. Brown

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Dedication: ‘For Trevor Harvey’ First performance: London, Broadcasting House, 18 October 1941 – broadcast in the Home Service at 11.00am The BBC Singers (B), conducted by Trevor Harvey First public performance: London, Wigmore Hall, 18 October 1941 at 7.30 pm The Fleet Street Choir, conducted by T.B. Lawrence (A Boosey & Hawkes Concert) Publication: Hawkes & Co. Ltd. Vocal score © 1941 Reissued by Boosey & Hawkes . [© 1953] (Winthrop Rogers Church Choir Series no. 24) Manuscript: whereabouts unknown Bibliography: Anon., ‘Fleet Street Choir’, The Times, 21 October 1941, 6 Anon., ‘London Concerts: Boosey & Hawkes Concerts’, Musical Times, 82 (December 1941), 443–445 1914 JUBILATE DEO in F MAJOR For mixed chorus (SATB) and organ Text from The Book of Common Prayer First performance: unable to trace Publication: Novello & Co. Ltd. Vocal score © 1914 (PCB 911) Unison part for men’s voices: arranged for use with the original edition for choir and organ by the composer. Novello & Co. Ltd. [© 1959)] Manuscript: whereabouts unknown Notes: This setting of the Jubilate Deo was reviewed in the Musical Times of April 1914 and described as ‘easy, but contain[ing] plenty of interest’ 1915 EVENING SERVICE in F MAJOR For mixed chorus (SATB) and organ Text from The Book of Common Prayer Magnificat (Moderato) Nunc Dimittis (Tranquillo, ma non troppo lento) Duration: Magnificat: 3’35” Nunc Dimittis: 2’12”

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First performance: unable to trace Publication: Novello & Co. Ltd. Vocal score © 1915 (PCB 916) Unison part for men’s voices – arranged for use with the original edition for choir and organ by the composer. Novello & Co. Ltd. [© 1959] Manuscript: whereabouts unknown Recordings: Ripon Cathedral Choir with R. Marsh (organ)/K. Beaumont in Priory PRCD 555 (1997) Bibliography: Anon., [Review of new music], Musical Times, 56 (March 1915), 155 (‘… it is full of interest, being melodious and well laid out for voices.’) RHAPSODY For solo piano Duration: 8’ First performance: London, Aeolian Hall, unable to trace any date. William Murdoch (piano) [A British Music Society Concert] First broadcast performance: London, BBC Home Service, 6 February 1942. Tom Bromley (piano) Publication: Winthrop Rogers Ltd. Score © 1917 Also included in volume i of The Collected Piano Works of John Ireland, Stainer & Bell © 1976 Manuscript: whereabouts unknown Recordings: Eric Parkin (piano) in Chandos CHAN 9056 (1992) Bibliography: Anon., ‘Pianoforte Music’, Musical Times, 58 (July 1917), 313 (Described as ‘a big work, full of rugged strength. This strong and original work should enhance Mr Ireland’s growing reputation.’) AN ISLAND HYMN Anthem for unaccompanied men’s voices (TTBB) Text from Isaiah 42, vv.10 and 12 Dedication: ‘Composed for and dedicated to all Brave Defenders of the Realm of King George V, whether on sea, land or in the air, and especially the Men’s Choir of HMS “Achilles”, somewhere in the North Sea’ First performance: unable to trace Publication: Stainer & Bell Ltd. Vocal score © 1915 (in 12 Short Anthems for Men’s Voices) Manuscript: whereabouts unknown Notes: One of twelve short anthems for use in church, on deck, in camp or as occasion may require, the others written by Archer, Balfour,

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Belchamber, Hodge, Morris, Roper, Sanders, Sewell, Toms, Vinden, and Wetton Revised Version Island Praise Anthem for unaccompanied men’s voices (TTBB) Date of revision by the composer: Autumn 1955, with a new title First performance: unable to trace Publication: E.H. Freeman Ltd. (Brighton). Vocal score © 1956 (University Part-Songs and Anthems) Manuscript: whereabouts unknown 1915–1917 SONATA No. 2 in A MINOR For violin and piano 1. Allegro 2. Poco lento quasi adagio 3. In tempo moderato – Con brio Dedication: ‘To Albert Sammons’ Duration: c.26’ First performance: London, Aeolian Hall, 6 March 1917. Albert Sammons (violin) and William Murdoch (piano) Other early performances: London, Aeolian Hall, 14 April 1917. Albert Sammons (violin) and William Murdoch (piano) (Described in the Musical Times review as the Third Sonata for Violin and Piano); London, Wigmore Hall, 6 April 1918. M. Defauw (violin) and John Ireland (piano) (An Anglo-French Concert) First European performance: Paris, Salle Gaveau, April 1919. Gaston Poulet (violin) and Hélène Léor (piano) (The Times (29 April 1919, p.15) mentions English music in Paris and a performance of the Ireland Sonata ‘last week’) First broadcast performance: BBC, London Station, 13 March 1924. Daisy Kennedy (violin) and John Ireland (piano) Publication: Winthrop Rogers Ltd. Score © 1917 Manuscript: whereabouts unknown

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Recordings: A. Sammons (violin) and John Ireland (piano) in Dutton Epoch CDLX 103 (1999) (originally recorded in 1930 but never released) K. Barritt (violin) and C. Edwards (piano) in Hyperion CDA 66853 (1996) Bibliography: Anon., ‘A Prize Sonata’, The Times, 7 Feb. 1917, 2. Anon., ‘Messrs. Sammons and Murdoch’s Recital’, The Times, 7 March 1917, 9 Anon., ‘Aeolian Hall’, Musical Times, 58 (April 1917), 168 (Described as ‘a brilliant specimen of his powers, and in … one of the most important chamber works that a native composer has brought forward in recent years’.) Anon., ‘Sonata in A no. 2 by John Ireland: An Analysis’, Musical Standard, 10, no. 255 (17 November 1917), 329–330 ‘Notes on Sonata No. 2 in A minor’, unpublished, 1950, now in the John Ireland Trust Archive D. Dutton, ‘CD Reviews’, The Strad, 111 (February 2000), 193+ A. Achenbach, ‘Chamber’, Gramophone, 77 (March 2000), 74+76 L. Jenkins, ‘CD Reviews’, International Classical Record Collector, 6 (Summer 2000), 85 Other Version Arrangement for viola and piano by Lionel Tertis [1918] First performance: London, Wigmore Hall, 25 May 1918. Lionel Tertis (viola) and William Murdoch (piano) Bibliography: Anon., ‘Concerts’, Musical Times, 59 (July 1918), 325 1916 TWO SONGS For voice and piano Text by Eric Thirkell Cooper from Soliloquies of a Subaltern 1. Blind (Steady and sustained) [1’30”] 2. The Cost (Hurried and impassioned) [1’15”] First performance: ‘The Cost’ – London, Wigmore Hall, 12 June 1917. Muriel Foster (soprano) and John Ireland (piano) ‘Blind’ – London, Aeolian Hall, 29 October 1918. George Parker (baritone) and Gilbert de Chelette (piano)

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Publication: Winthrop Rogers Ltd. Vocal score © 1917 Also included in volume v of The Complete Works for Voice and Piano, Stainer & Bell © 1981 Manuscript: whereabouts unknown Bibliography: Anon., ‘London Concerts’, Musical Times, 59 (December 1918), 561 Anon., ‘Songs’ Musical Times, 60 (March 1919), 117 Notes: ‘The Cost’ is subtitled ‘Song of a Great War’ A GARRISON CHURCHYARD Song for voice and piano Text by Eric Thirkell Cooper First performance: unable to trace Publication: Stainer & Bell Ltd. Vocal score © 1998 (Two Songs and a Melodrama) Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52897, ff. 38–39 It is signed and dated by the composer: ‘11 December 1916’ Bibliography: B. Phillips, ‘Introduction to the printed score’ (Stainer & Bell Ltd.), October 1998 1917 TRIO [No. 2] in E minor-major For violin, cello, and piano In one movement Duration: 14’ First performance: London, Wigmore Hall, 12 June 1917. Albert Sammons (violin), C. Warwick-Evans (cello), and John Ireland (piano) Second performance: London, Wigmore Hall, 13 July 1917. Albert Sammons (violin), Felix Salmond (cello) and William Murdoch (piano) First broadcast performance (?): London, BBC National Programme, 12 August 1934. Alfred Barker (violin), Clive Twelvetrees (cello) and John Ireland (piano) Publication: Augener Ltd. Score © 1918 Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52885, ff.iii+40. Written in ink, it is dated: ‘Chelsea: June 1917’

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Recordings: L. Mordkovitch (violin), K. Georgian (piano) and I. Brown (piano) in Chandos CHAN 9377/8 (1995) Bibliography: Anon., ‘Mr Ireland’s Music’, The Times, 14 June 1917, 9 Anon., ‘John Ireland’s new Trio’, Musical Times, 58 (August 1917), 374 Anon., ‘Trio No. 2’, Monthly Musical Record, 49 (January 1919), 10 THE HEART’S DESIRE Song for voice and piano Text by A.E. Housman (1859–1936) from A Shropshire Lad (1896): no. x (‘March’) – omitting the first two stanzas Duration: 2’33” First performance: London, Wigmore Hall, 12 June 1917. Muriel Foster (soprano) and John Ireland (piano) First broadcast performance: BBC, London Station, 13 March 1924. George Parker (baritone) and John Ireland (piano) Publication: Winthrop Rogers Ltd. Vocal score © 1917 3 versions were published: in D flat major, B major, and B flat major. Also included in volume i of The Complete Works for Voice and Piano, Stainer & Bell © 1981 Manuscript: whereabouts unknown Recordings: J.M. Ainsley (tenor) and G. Johnson (piano) in Hyperion CDA 67262 (1999) Bibliography: Anon., ‘Songs’, Musical Times, 60 (March 1919), 117 1917–1918 TWO SONGS For voice and piano Text by Rupert Brooke (1887–1915), from 1914 and Other Poems (1915) 1. The Soldier (Moderato) [2’30”] 2. Blow out, you bugles (Con moto) [2’35”] Dedication: No. 2 only: ‘To W.L.R.’ First performance: ‘The Soldier’: London, Wigmore Hall, 12 June 1917. Muriel Foster (soprano) and John Ireland (piano) ‘Blow out, you bugles’: London, Aeolian Hall, 29 October 1918. George Parker (baritone) and Gilbert de Chelette (piano) Other performances: Harold Williams (baritone) sang The Soldier at a Promenade Concert on 28 August 1928 which was broadcast by the BBC

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Publication: Winthrop Rogers Ltd. Vocal score: 1: © 1917; 2: © 1918 ‘The Soldier’ was published in F, G flat, and E flat major Also included in volume iv of The Complete Works for Voice and Piano, Stainer & Bell © 1981 Manuscript: whereabouts unknown Bibliography: Anon., ‘Mr Ireland’s Music’, The Times, 14 June 1917, 9 Anon., ‘London Concerts’, Musical Times, 59 (December 1918), 561 Anon., ‘Songs’ Musical Times, 60 (March 1919), 117 1917–1920 LONDON PIECES For solo piano 1. Chelsea Reach (Tempo di barcarole) [6’00”] 2. Ragamuffin (Con moto, ma non troppo allegro) [3’00”] 3. Soho Forenoons (Allegretto) [4’00”] First performance: Nos. 1 and 2 – London, Aeolian Hall, 7 June 1918. John Ireland (piano) No. 3 – London, Wigmore Hall, 10 June 1920. Violet Clarence (piano) First broadcast performance of Ragamuffin: BBC, London Station, 24 February 1924. Olive Tomlinson (piano) Second broadcast performance of Ragamuffin, together with Chelsea Reach: BBC London Station, 13 March 1924. John Ireland (piano) Publication: Augener Ltd. Nos. 1 and 2: Score © 1917; no. 3: Score © 1920 Each piece was also available separately Also included in volume ii of The Collected Piano Works of John Ireland, Stainer & Bell © 1976 Manuscript: Manuscript Collections, The British Library, (Reference Division), Add. 52889, ff. 50–68. All three are signed by the composer and dated – Nos. 1 and 2: ‘November 1917’ (later changed in the printed copy to ‘Autumn 1917’); No. 3: ‘February 1920’. The original title of these pieces was London: Impressions for Piano (comprising: (1) The River and (2) Ragamuffin) but this has been altered in blue crayon to ‘London Pieces’ and the title of the first piece to ‘Chelsea Reach’. The third piece ‘Soho Forenoons’ was added in February 1920. All contain engraver’s markings. An edition with manuscript corrections by the composer is Mus Lib, H.403.n.(2.) and proof sheets corrected by him H.403.k. (3.).

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Also in the British Library (Add. MS 52900, ff.29–36) is an unpublished version of London, scored for three pianos. It is described as ‘an evocation of London life which combines musical pastiche with spoken narrative’. Included is an arrangement, in its entirety, of ‘Ragamuffin’ with verbal comment. Recordings: Eric Parkin (piano) in Chandos CHAN 9140 (1993) Desmond Wright (piano) in EMI 0946 3 52282 2 9 (2006) (originally recorded in 1995) Bibliography: H. Rutland, ‘Ragamuffin’, in John Ireland: A Biographical Sketch (London, Galliard, 1965), 6–7 Anon., ‘John Ireland: London Pieces’, Monthly Musical Record, 48 (April 1918), 84 W.M.F.S., ‘Two London Pieces’, Monthly Musical Record, 48 (December 1918), 268–269 Anon., [Soho Forenoons], Monthly Musical Record, 50 (May 1920), 105 Anon., [Wigmore Hall], Monthly Musical Record, 50 (July 1920), 153 Notes: Benjamin Britten quoted from ‘Ragamuffin’ in the third of his Three Character Pieces for Piano (1930). See Letters from a Life, vol. i, ed. D. Mitchell and P. Reed (London, Faber, 1991), 270 1918 EARTH’S CALL (A SYLVAN RHAPSODY) Song for voice and piano Text by Harold Monro (1879–1932), from ‘Weekend’ in Collected Poems (1933) Duration: 5’11” First performance: London, Wigmore Hall, 17 November 1918. Muriel Foster (soprano) and Anthony Bernard (piano) First European performance: Paris, Salle Pleyel, 25 February 1921. Gladys Moger (soprano) and Lloyd Powell (piano) (A Recital of British Music) Publication: Winthrop Rogers Ltd. Vocal score © 1918 Doric Music Co. Vocal score © 1966 Also included in volume iv of The Complete Works for Voice and Piano, Stainer & Bell © 1981 Manuscript: whereabouts unknown Recordings: L. Milne (soprano) and G. Johnson (piano) in Hyperion CDA 67261 (1999) Bibliography: Anon., ‘Songs’, Musical Times, 60 (March 1919), 117

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SPRING SORROW Song for voice and piano Text by Rupert Brooke (1887–1915), from Poems 1911–1914 (1914) Duration: 1’45” First performance: London, Wigmore Hall, 3 October 1918. Muriel Foster (soprano) and H. Samuel (piano) First broadcast performance (?): London, BBC National Programme, 28 May 1931. Horace Roberts (baritone) with un-named pianist Publication: Winthrop Rogers Ltd. Vocal score © 1918 2 versions were published: in F and A flat major Also included in volume iv of The Complete Works for Voice and Piano, Stainer & Bell, 1981 Manuscript: whereabouts unknown Recordings: L. Milne (soprano) and G. Johnson (piano) in Hyperion CDA 67261 (1999) Bibliography: Anon., ‘Songs’, Musical Times, 60 (March 1919), 117 Anon., ‘Recitals of the Week’, The Times, 4 October 1918, 9 THE BELLS OF SAN MARIE Song for voice and piano Text by John Masefield (1878–1967), from Ballads and Poems (1910) Duration: 2’55” First performance: London, Wigmore Hall, 28 April 1919. Hubert Eisdell (baritone) and F.B. Kiddle (piano) First broadcast performance (?): London, BBC National Programme, 12 August 1934. George Parker (baritone) and John Ireland (piano) Publication: Augener & Co. Ltd. Vocal score © 1919 3 versions were published: in G, C, and A minor Also included in volume ii of The Complete Works for Voice and Piano, Stainer & Bell © 1981, and in Eleven Songs by John Ireland (introduced by John Longmire), Stainer & Bell/Galaxy © 1970 Manuscript: whereabouts unknown Recordings: C. Maltman (baritone) and G. Johnson (piano) in Hyperion CDA 67262 (1999) Recordings: Anon., [Wigmore Hall], The Times, 29 April 1919, 15 Anon., ‘The Bells of San Marie’, Monthly Musical Record, 49 (June 1919), 128 Anon.,‘London Concerts’, Musical Times, 60 (June 1919), 305

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Other Version The Bells of San Marie Song arranged for voice, violin, flute, harp with organ First performance: BBC, London Station, 14 December 1924. George Parker (baritone) with the 2LO Quartet Unpublished Manuscript: whereabouts unknown I HAVE TWELVE OXEN Song for voice and piano Text: anon. Early English, Balliol MS 354 Duration: 1’47” First performance: London, Wigmore Hall, 3 October 1918. Muriel Foster (soprano) and H. Samuel (piano) First broadcast performance: BBC, London Station, 13 March 1924. George Parker (baritone) and John Ireland (piano) Publication: Winthrop Rogers Ltd. Vocal score © 1919 2 versions were published: in F and G major Also included in volume v of The Complete Works for Voice and Piano, Stainer & Bell © 1981 Manuscript: Manuscripts Collection, The British Library (Reference Division), Add. MS 71543, ff. 3–5. Score in ink, with printer’s markings in pencil and red crayon. It is signed by the composer and dated: ‘Chelsea, July 1918’ Recordings: C. Maltman (baritone) and G. Johnson (piano) in Hyperion CDA 67261 (1999) Bibliography: Anon., [Wigmore Hall], The Times, 4 October 1918, 9 N.P., [‘I have 12 oxen’], Gramophone, 2 (February 1925), 342 Other Version J’ai douze boeufs Song for voice and piano French version by Lilian Fearn [1919] First performance: unable to trace Publication: Winthrop Rogers Ltd. Vocal score © 1919 Also included in Melodies Anglaises, Boosey & Hawkes Ltd. Score © 1946 Manuscript: whereabouts unknown

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IF THERE WERE DREAMS TO SELL Song for voice and piano Text by Thomas Lovell Beddoes (1803–1849) Duration: 2’16” First performance: unable to trace First broadcast performance: BBC, London Station, 13 March 1924. George Parker (baritone) and John Ireland (piano) Publication: Winthrop Rogers Ltd. Vocal score © 1918 Versions were published: in E flat, F, and D flat major Also included in volume v of The Complete Works for Voice and Piano, Stainer & Bell © 1981 Manuscript: whereabouts unknown Recordings: L. Milne (soprano) and G. Johnson (piano) in Hyperion CDA 67261 (1999) Other Versions If there were dreams to sell Song arranged for voice, harp, and strings by F. Bye (in F and D flat major) First performance: unable to trace Unpublished Recordings: Stephen Varcoe (bass-baritone) and City of London Sinfonia/Richard Hickox in Chandos CHAN 8743 (1989) If there were dreams to sell Song arranged for voice and orchestra by E. Griffiths (in F major) 2.2.2.2/4.2.3.0/timpani/percussion/harp/strings First performance: unable to trace Unpublished THE SACRED FLAME Song for voice and piano Text by Mary Coleridge (1861–1907), from Poems (1907), edited posthumously by Henry Newbolt Duration: 1’49” First performance: unable to trace Publication: Winthrop Rogers Ltd. Vocal score © 1918 2 versions were published: in C and B flat major

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Also included in volume i of The Complete Works for Voice and Piano, Stainer & Bell, ©1981 Manuscript: whereabouts unknown Recordings: J.M. Ainsley (tenor) and G. Johnson (piano) in Hyperion CDA 67261 (1999) Bibliography: Anon., ‘Songs’, Musical Times, 60 (March 1919), 117 LEAVES FROM A CHILD’S SKETCHBOOK For solo piano 1. By the Mere (Allegretto) [1’00”] 2. In the Meadow (Moderato) [2’30”] 3. The Hunt’s Up (Con brio) [1’00”] First performance: unable to trace Publication: Winthrop Rogers Ltd. Score © 1918 Reissued: Augener Ltd. Score [© 1961] Also included in volume ii of The Collected Piano Works of John Ireland, Stainer & Bell © 1976 Manuscript: whereabouts unknown Bibliography: Anon., ‘Reviews: Pianoforte Music’, Musical Times, 59 (June 1918), 258 MERRY ANDREW For solo piano Dedication: ‘To William Murdoch’ Duration: 4’ First performance: London, Wigmore Hall, 6 February 1920. York Bowen (piano) First broadcast performance by the composer: London, BBC National Programme, 2 April 1936. John Ireland (piano) Publication: Ascherberg, Hopwood and Crew Ltd. Score © 1919 (Repertoire Series no. 2) Also included in volume ii of The Collected Piano Works of John Ireland, Stainer & Bell © 1976 Manuscript: whereabouts unknown Recordings: Eric Parkin (piano) in Chandos CHAN 9056 (1992) Bibliography: A. Kalisch, ‘London Concerts’, Musical Times, 61 (March 1920), 177–8

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E. Markham Lee, ‘The Amateur’s Repertoire: Three Piano Pieces by John Ireland’, Musical Opinion, 52 (July 1929), 908–909 Other Versions Merry Andrew Arranged for small orchestra by James Brash [1934] 1.1.1+1.altosax.tensax.1/2.0.1.1/timpani/strings First performance: unable to trace Unpublished Merry Andrew Arranged for orchestra by G.H. Clutsam 1.1.2/1/2.2.1.0/timpani/percussion/harp/strings First performance: unable to trace Unpublished MOTHER AND CHILD Songs for voice and piano Text by Christina Rossetti (1830–1894), from Sing-Song: A Nursery Rhyme Book (1873) 1. 2. 3. 4. 5. 6. 7. 8.

Newborn (Moderato) [1’22”] The Only Child (Moderato) [1’44”] Hope (Allegretto) [0’57”] Skylark and Nightingale (Allegretto) [0’49”] The Blind Boy (Andante moderato) [1’19”] Baby (Allegretto) [1’12”] Death-Parting (Moderate con moto) [1’15”] The Garland (Poco andante) [1’16”]

Dedication: ‘To my sister’ First performance: unable to trace Publication: Winthrop Rogers Ltd. Vocal score © 1918 No. 1 (‘Newborn’) was published separately in 1918 under the title ‘Your brother has a falcon’. No. 4 (‘Skylark and Nightingale’) was also published separately in 1918 Also included in volume ii of The Complete Works for Voice and Piano, Stainer & Bell © 1981 Manuscript: whereabouts unknown

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Recordings: L. Milne (soprano) and G. Johnson (piano) in Hyperion CDA 67262 (1999) Bibliography: Anon., ‘Songs’, Musical Times, 60 (March 1919), 117 H.G., ‘New Music’, Musical Times, 65 (December 1924), 1100 REMEMBER Song for voice and piano Text by Mary Coleridge (1861–1907), from Not Yet in Fancy’s Following (1896) Duration: l’30” First performance: unable to trace Publication: Winthrop Rogers Ltd. Vocal score © 1918 3 versions were published: in D, C, and B flat major Also included in volume I of The Complete Works for Voice and Piano, Stainer & Bell © 1981 Manuscript: whereabouts unknown Recordings: L. Milne (soprano) and G. Johnson (piano) in Hyperion CDA 67262 (1999) A SONG OF MARCH Unison song for equal voices and piano Text by James Vila Blake First performance: unable to trace Publication: Edward Arnold Ltd. Vocal score © 1918 (Singing Music Class no. 24) Manuscript: whereabouts unknown THE TOWING PATH For solo piano Duration: 4’00” First performance: unable to trace First broadcast performance: BBC, Home Service, 6 January 1941. Edmund Rubbra (piano) Publication: Augener & Co. Ltd. Score © 1919 Also included in volume ii of The Collected Piano Works of John Ireland, Stainer & Bell © 1976 Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52889, ff. 71–73. It is dated: ‘Pangbourne, 1918’.

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Contains engraver’s markings. Proof sheets corrected by the composer are Mus Lib H.403.q.(4.) Recordings: Eric Parkin (piano) in Chandos CHAN 9056 (1992) Desmond Wright (piano) in EMI 0946 3 52282 2 9 (2006) (originally recorded in 1995) Bibliography: Anon., ‘The Towing Path’, Monthly Musical Record, 49 (October 1919), 225 (THREE) VARIATIONS ON ‘CADET ROUSSELLE’ Arrangement of the French folk song for voice and piano Text in French Dedication: ‘To our good friend, Edwin Evans, who suggested this collaboration’ Duration: 3’32” First performance: London, Aeolian Hall, 27 April 1918. Raymonde Collignon (soprano) and Harriet Cohen (piano) Publication: J. & W. Chester Ltd. Vocal score © 1920 (Repertoire Collignon no. 1) Manuscript: whereabouts unknown Bibliography: Anon., ‘Concerts’, Musical Times, 59 (June 1918), 266–267 (‘On 27 April, Mlle Raymonde Collignon … gave one of her unique recitals of “acted” songs. Edwin Evans interspersed interesting explanatory remarks.’) C.W., ‘New Music: Songs’, Musical Times, 62 (March 1921), 176 Notes: It was at the suggestion of the music critic Edwin Evans that four of his composer friends should make arrangements of the tune for voice and piano. Frank Bridge arranged variations 1, 3, and 6; Arnold Bax arranged variations 2, 5, and 12; John Ireland arranged variations 4, 8, and 9; Eugene Goossens arranged variations 7, 10, and 11. In a note from Ireland to Edwin Evans, dated 13 June [1919], he wrote, ‘please regard them as a little personal tribute to yourself and treat them as your own property’ (British Library) Other Version Variations on ‘Cadet Rousselle’ Arranged for orchestra by Eugene Goossens [1930) 2.2.2.1/2.1.0.0/timpani/percussion (3)/harp/strings

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Dedication: ‘To our good friend, Edwin Evans, who suggested this collaboration’ First performance: unable to trace First broadcast performance (?): London, BBC Home Service, 18 October 1941. The BBC Orchestra, conducted by Trevor Harvey Publication: J. & W. Chester Ltd. Full score © 1931 It is dated: ‘December 1930, Cincinnati’ Notes: Goossens scored ten of the twelve variations for small orchestra; nos. 9 and 10 were omitted IRENE Hymn tune for mixed chorus (SATB) and organ Text (‘God of Nations’) by Alfred Moss Publication: Hunter & Longhurst Ltd. Vocal score © 1918 (no. 2 of Three Hymns for the Celebration of Peace) Manuscript: whereabouts unknown 1918–1919 THREE SONGS For voice and piano Text by Arthur Symons (1865–1945) 1. The Adoration (Allegretto con moto), from The Loom of Dreams (1901 [2’35”] 2. The Rat (Lento), from Amoris victima (1897) [[2’29”] 3. Rest: Respos (Tranquillo e sostenuto), from The Loom of Dreams (1901) [1’48”] First performance: No. 1: London, Aeolian Hall, 14 October 1919. Dora Gibson (soprano) and Bertram Harrison (piano) Publication: J. & W. Chester Ltd. Vocal score: no. 1: © 1919; 3 versions were published – in A flat minor, B minor, and F sharp minor No. 2: 1920: ‘Rest’ also appeared as a music supplement to The Chesterian in February 1923 (J. & W. Chester © 1923) A French version by G. Jean-Aubry was also provided for the first and second songs. English and French versions: Chester Music [© 1980] No. 3: © 1919 Also included in volume ii of The Complete Works for Voice and Piano, Stainer & Bell © 1981

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Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52897, ff.41–48; f. 46 has the Chester sticker on it. Also contains engraver’s markings Nos. 1 and 2 are dated: ‘October 1918’; No. 3 dated ‘July 1919’ The key signatures in the original manuscript differ from those in those in the printed copy: Original 1. F sharp minor 2. B flat minor 3. A flat minor

Printed copy B flat minor B flat minor B minor

Recordings: L. Milne (soprano) and G. Johnson (piano) in Hyperion CD A 67261 (1999) Bibliography: Anon., ‘Songs’, Musical Times, 60 (October 1919), 552 Anon., ‘Miss Dora Gibson’s Recital’, The Times, 15 October 1919, 19 1918–1920 SONATA in E minor-major For solo piano In three movements: 1. Allegro moderato 2. Non troppo lento 3. Con moto moderato Duration: 25’ First performance: London, Wigmore Hall, 12 June 1920. Frederic Lamond (piano). E. Howard-Jones also played the Sonata: an early performance took place on 24 May 1922 at the Wigmore Hall. First European performance: Paris, Salle Pleyel, 25 February 1921. Lloyd Powell (piano) Publication: Augener & Co. Ltd. Score © 1920 Revised by the composer (1951), Augener & Co. Ltd. [© 1951] Also included in volume v of The Collected Piano Works of John Ireland, Stainer & Bell © 1976 Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52889, ff. 75–100. Dated: ‘October 1918 to January 1920’.

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Contains engraver’s markings. Proof sheets corrected by the composer are Mus Lib H.403.h.(2.), and a printed edition with corrections by Ireland H.403.k.(2.) Recordings: Eric Parkin (piano) in Chandos CHAN 9056 (1992) Bibliography: A. Kalisch, ‘London Concerts’, Musical Times, 61 (July 1920), 462 (‘… it makes the impression of a flame burning in a misty air … There is much suppressed passion in it, and a sense of sombre, austere beauty.’) W. Child, ‘New Music’, Musical Times, 61 (August 1920), 556 (‘The music … is of the tough and manly fibre we expect from the composer.’) F. Lamond, ‘Some Remarks on John Ireland’s New Sonata’, Monthly Musical Record, 50 (August 1920), 170–172 Anon., [Wigmore Hall], The Times, 26 May 1922, 12 Holland, F.A., ‘Ireland’s Sonata and Howard-Jones’, Monthly Musical Record, 52 (June 1922), 127 G. Abraham, [Ireland’s Piano Sonata: An Analysis], Music Teacher, August 1926, 465 Revised Version The composer revised the Sonata in 1951 Publication: Augener & Co. Ltd. [© 1951] Manuscript: The British Library – proof sheets of this revised version, corrected by Ireland, at H.403.l.(4.), are imperfect, consisting of 7 pages only 1919 MAY FLOWERS Song for 2-part chorus (SS) and piano Text by Christina Rossetti (1830–94) Dedication: ‘For Lillian’ First performance: unable to trace Publication: Edward Arnold & Co. Ltd. Vocal score © 1919 (Singing Class Music no. 136) Manuscript: David Denton BENEDICITE in F MAJOR For mixed chorus (SATB) and organ Text from The Book of Common Prayer

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First performance: unable to trace Publication: J. Curwen & Co. Ltd. Vocal score © 1920 (Church Choralist no. 586) Novello & Co. Ltd. Vocal score © 1942 (PCB 1254) Manuscript: whereabouts unknown Bibliography: G.G., ‘New Music – Church Music’, Musical Times, 83 (September 1942), 271 LOVE UNKNOWN Hymn tune for mixed chorus (SATB) and organ Text (‘My song is love unknown’) by Samuel Crossman (c.1624–1664) Commissioned by: Geoffrey Shaw Duration: c.3’ (five verses) Publication: The Public School Hymn Book, edited by a committee of the Headmasters’ Conference © 1920 Later included in the first edition of Songs of Praise (OUP, 1925) Manuscript: whereabouts unknown Recordings: Wells Cathedral Choir with R. Gough (organ)/M. Archer in Hyperion CDP 12101 Notes: In a letter to The Daily Telegraph in April 1950, it was claimed that the tune was written in 15 minutes at the request of Geoffrey Shaw (1879–1943) when he was Master of Music of St. Mary’s Church, Primrose Hill, Hampstead Other Versions Love Unknown Hymn tune arranged for mixed chorus (SATB), orchestra, and organ by Robert Stewart [1988] Date of arrangement: 1988 Commissioned by: The BBC for Songs of Praise First performance: Rochester, Cathedral Church of Christ and the Blessed Virgin Mary, 1 December 1988. Local schools’ orchestras, conducted by Paul Hale. This recording was subsequently shown on BBC1, 19 March 1989 (Palm Sunday) Unpublished

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My song is love unknown Hymn anthem for solo soprano, mixed chorus (SATB), and piano, arranged by Betty Pulkingham [1975] Publication: Celebration Services (International) Ltd. Vocal score © 1975 My song is love unknown Hymn tune arranged for 21 bells (3 octaves) by John Folkening [1979] Publication: John Ireland Trust (Tune) © 1989/Concordia Publishing House, St. Louis © 1989, in Ten Hymn Accompaniments for Handbells, Set 2, by John Folkening HAWTHORN TIME Song for voice and piano Text by A.E. Housman (1859–1936), from A Shropshire Lad (1896), no. xxxix Duration: 1’ 30” First performance: unable to trace First broadcast performance (?): London, BBC National Programme, 12 August 1934. George Parker (baritone) and John Ireland (piano) Publication: Winthrop Rogers Ltd. Vocal score © 1919 2 versions were published: in C and B flat major Also included in volume i of The Complete Works for Voice and Piano, Stainer & Bell © 1981 Recordings: A. Rolfe Johnson (tenor) and G. Johnson (piano) in Hyperion CDA 66471/2 (1995) MIGHTY FATHER Hymn tune for mixed chorus (SATB) and organ Text (‘Mighty Father, thou whose aid’) based on a hymn by Charles Wesley Publication: The Public School Hymn Book, edited by a committee of the Headmasters’ Conference © 1920 Manuscript: whereabouts unknown SUMMER EVENING For solo piano Duration: 5’

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First performance: unable to trace First broadcast performance (?): BBC, Home Service, 18 June 1941. Dorothea Aspinall (piano) Publication: Ascherberg, Hopwood & Crew Ltd. Score © 1920 (Repertoire Series no. 13) Also included in volume ii of The Collected Piano Works of John Ireland, Stainer & Bell © 1976 Manuscript: whereabouts unknown Recordings: Eric Parkin (piano) in CHAN Chandos 9056 (1992) Desmond Wright (piano) in EMI 0946 3 52282 2 9 (2006) (originally recorded in 1995) FRATERNITY Hymn tune for mixed chorus (SATB) and organ Text (‘These things shall be’) by John Addington Symonds Commissioned by: Geoffrey Shaw (co-editor of The English Hymnal) Publication: Stainer & Bell Ltd. Vocal score © 1919 (in USA) Also included in volume 1 of the official publication of the League of the Arts for National and Civic Ceremony, The Motherland Song Book, for unison and mixed voices Manuscript: whereabouts unknown 1920 TWO SONGS For voice and piano 1. The Trellis (Moderato). Text by Aldous Huxley (1894–1963), from Oxford Poetry (1918) [2’52”] 2. My true love hath my heart (Con anima ma non troppo mosso). Text by Sir Philip Sydney (1554–1586), from The Countess of Pembroke’s Arcadia (1580) [1’52”] Date of composition: 1920 First performance: unable to trace First broadcast performance (?): The Trellis – London, BBC National Programme, 12 August 1934. George Parker (baritone) and John Ireland (piano) My true love – London, BBC National Programme, 2 April 1936. Parry Jones (tenor) and John Ireland (piano)

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Publication: Augener & Co. Ltd. Vocal score: 1 – © 1920: 2 versions published – in A flat and F major 2 – © 1921: 2 versions published – in E and G major Also included in volume i of The Complete Works for Voice and Piano, Stainer & Bell © 1981, and in Eleven Songs by John Ireland (introduced by John Longmire), Stainer & Bell/Galaxy © 1970 Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52897, ff. 50–52 (no. 1) and ff. 53–57 (no. 2). Ireland records at the end of each manuscript that the music was ‘completed’ in January 1920 (no. 1) and February 1920 (no. 2) Recordings: J.M. Ainsley (tenor) and G. Johnson (piano) in Hyperion CDA 67261 (1999) Bibliography: Anon., ‘The Trellis’, Monthly Musical Record, 50 (December 1920), 272 W. Child, ‘New Music’, Musical Times, 62 (January 1921), 25 Anon., ‘My true love’, Monthly Musical Record, 51 (May 1921), 112 THE DARKENED VALLEY For solo piano Duration: 4’ First performance: London, Aeolian Hall, 14 March 1922. Kathleen McQuitty (piano) Publication: Augener Ltd. Score © 1921 Also included in volume ii of The Collected Piano Works of John Ireland, Stainer & Bell © 1976 Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52890, ff. 2–8. It is dated: ‘May 1920’. Consists of an incomplete fair copy of the original version in A flat minor (marked Allegretto poco sostenuto) and a fair copy of the transposed version as published in G minor (marked Allegretto sostenuto) with engraver’s markings. Proof sheets corrected by the composer are Mus Lib H.403.l.(3.) Recordings: Desmond Wright (piano) in EMI 0946 3 52282 2 9 (2006) (originally recorded in 1995) Eric Parkin (piano) in Chandos CHAN 9140 (1993) Bibliography: Anon., ‘Reviews of New Publications’, Monthly Musical Record, 51 (November 1921), 254 Anon., ‘Recital of the Week’, The Times, 17 March 1922, 10 Notes: The music is prefaced by a quotation from William Blake (1757– 1827):

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Walking along the darkened valley With silent melancholy WHEN MAY IS IN HIS PRIME Song for unaccompanied mixed chorus (SATB) Text by Richard Edwardes (1523–1566) First performance: London, BBC Home Service, 18 October 1941. The BBC Singers (B), conducted by Trevor Harvey Publication: Novello & Co. Ltd. Vocal score © 1920 (Novello’s Part-Song Book, 2nd series: no. 1384) Manuscript: whereabouts unknown Bibliography: H.G., ‘Part Songs’, Musical Times, 62 (October 1921), 703 THE EAST RIDING Song for voice and piano Text by Eric Chilman Duration: 1’30’ First performance: London, Aeolian Hall, 24 February 1922. George Parker (baritone) and Arthur Alexander (piano) Publication: Enoch & Sons Ltd. Vocal score © 1920 3 versions were published – in C, A, and G minor Also included in volume i of The Complete Works for Voice and Piano, Stainer & Bell © 1981 Manuscript: whereabouts unknown Bibliography: C.W., ‘Songs’, Musical Times, 62 (June 1921), 423 Anon., ‘New English Songs’, The Times, 27 February 1922, 8 THE JOURNEY Song for voice and piano Text by Ernest Blake Duration: 1’21” First performance: unable to trace Publication: Enoch & Sons Ltd. Vocal score © 1920 3 versions were published – in C, D, and B flat major Also included in volume v of The Complete Works for Voice and Piano, Stainer & Bell © 1981 Manuscript: whereabouts unknown Recordings: L. Milne (soprano) and G. Johnson (piano) in Hyperion CDA 67262 (1999)

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THE THREE RAVENS Arranged for voice and piano Text and melody traditional Duration: 3’30” First performance: London, Aeolian Hall, 17 November 1920. Gervase Elwes (tenor) and F. B. Kiddle (piano) Publication: Winthrop Rogers & Co. Ltd. Vocal score © 1920 2 versions were published – in F and G minor Also included in volume v of The Complete Works for Voice and Piano, Stainer & Bell © 1981 Manuscript: whereabouts unknown Bibliography: W. Child, ‘New Music’, Musical Times, 62 (January 1921), 3 Anon., ‘Recitals of the Week’, The Times, 19 November 1920, 8 1920s WHEN I AM OLD Song for voice and piano Text by Ernest Dowson: ‘In Tempore’ from Verses, 1896 Duration: 2’41” First performance: unable to trace Publication: Stainer & Bell Ltd. Vocal score © 1998 (Two Songs and a Melodrama) Manuscript: Cambridge, University Library (Department of Manuscripts). MS. Add. 8911.2. Written in ink Recordings: C. Maltman (baritone) and G. Johnson (piano) in Hyperion CDA 67261 (1999) Bibliography: B. Phillips, ‘Introduction to the printed score’ (Stainer & Bell Ltd.), October 1998 1920–1921 THE LAND OF LOST CONTENT Song cycle for voice and piano Text by A.E. Housman (1859–1936), from A Shropshire Lad (1896) 1. 2. 3. 4.

The Lent Lily (Andantino con moto) [2’15”] Ladslove (Poco sostenuto) [2’10”] Goal and Wicket (Vivace) [1’05”] The Vain Desire (In tempo moderato) [2’15”]

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5. The Encounter (Allegro alla marcia) [1’15”] 6. Epilogue (Allegretto con moto – Sostenuto, con moto moderato in the manuscript) [1’25”] Date of composition: 1920–1921 First performance: London, Aeolian Hall, 4 October 1921. Steuart Wilson (tenor) and John Coates (piano) First broadcast performance (?): London, BBC National Programme, 12 August 1934. George Parker (baritone) and John Ireland (piano) Publication: Augener & Co. Ltd. Vocal score © 1921 2 versions of each song were published: 1 – D and E minor 2 – F and A flat major 3 – C sharp and E minor 4 – F sharp and A minor 5 – A and C major 6 – B flat and D flat major All numbers were published separately, Augener & Co. Ltd. [© 1922]. Also included in volume i of The Complete Works for Voice and Piano, Stainer & Bell © 1981, and in The Land of Lost Content and Other Songs by John Ireland (with an introduction by John Longmire), Galliard/Stainer & Bell © 1976 Manuscript: Manuscript Collections, The British Library (Reference Division), Add. Add. MS 52897, ff. 60–73. No. 3 is dated: ‘22 November 1920’; no. 4 is dated: ‘Dies Irae. 8 January 1921’; no. 6 is dated: ‘October 1920–January 1921’ Recordings: Nos 1, 3–6: A. Rolfe Johnson (tenor) and G. Johnson (piano) in Hyperion CDA 66471/2 (1995) Bibliography: Anon., ‘Songs with a Purpose’, The Times, 7 October 1921, 8 Anon., ‘Reviews of New Publications’, Monthly Musical Record, 51 (November 1921), 255 A. Kalisch, ‘London Concerts’, Musical Times, 62 (November 1921), 788 L.L., ‘Songs’, Musical Times, 63 (April 1922), 247 Anon., [Three Songs], Monthly Musical Record, 52 (May 1922), 106 Notes: This song cycle was composed for Gervase Henry Elwes, but never performed by him, owing to his death in January 1921 MAI-DUN Symphonic rhapsody for full orchestra [‘founded on Dorset Folk tunes’ – an early programme description]

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3+1.2+1.2+1.2/4.3.3.1/timp/percussion (3)/strings Duration: 11’53” First performance: London, Queen’s Hall, 12 December 1921. The Goossens Symphony Orchestra, conducted by Eugene Goossens Second performance: London, Queen’s Hall, 27 September 1922. The New Queen’s Hall Orchestra, conducted by Henry Wood First broadcast performance: BBC, London Station, 17 July 1924. The Augmented Wireless Orchestra, conducted by Dan Godfrey jnr. Publication: Augener & Co. Ltd. Full score and parts © 1923 Miniature score © 1930 Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52874A. It is initialled and dated: ‘J.I. 1920–1921’ Recordings: Hallé Orchestra/John Barbirolli in EMI CDM 7 647162 (1999) London Philharmonic Orchestra/Adrian Boult in Lyrita SRCD (2007) (a re-issue of Lyrita SRCS 32) Bibliography: H.G., ‘London Concerts: The Goossens Concerts’, Musical Times, 63 (January 1922), 40 (‘The composer had a hearty reception’) E.R., ‘Orchestral’, Monthly Musical Record, 79 (January–April 1949), 162 Notes: According to a programme note (p. 15) written by Ireland for the third performance in Leeds Town Hall on 7 October 1922 by the London Symphony Orchestra, conducted by Albert Coates, this ‘Symphonic Rhapsody’ (as it was first called) was sketched in October 1920 and completed in November 1921. According to the composer’s famous remark, it should have been called ‘Mai not be Dun’. Other Versions The Vagabonds Ballet in three scenes: 1. The Journey to the Encampment 2. The Encampment 3. The Aftermath The music of Mai-Dun and the ‘Threnody’ from Concertino Pastorale (1939) were used First performance: London, Sadler’s Wells Theatre, 29 October 1946. The Sadler’s Wells Theatre Ballet (director: Ninette de Valois). Choreography by Anthony Burke. Musical Director: Harry Platts

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Bibliography: R. Hill, ‘Mediocre, but not very’, The Daily Mail, 30 Oct. 1946, 3 Anon., ‘Sadler’s Wells Ballet’, The Times, 30 Oct. 1946, 6 Anon., ‘The Vagabonds’, The Dancing Times (Dec. 1946), 116–118 Mai-Dun Arranged for piano duet by the composer [1931] Publication: Augener & Co. Ltd. Score © 1931 Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52874B 1921 TWO PIECES For solo piano 1. For Remembrance (Andantino con moto) [4’00”] 2. Amberley Wild Brooks (Con moto moderato, quasi allegro comodo) [3’00”] First performance: unable to trace First broadcast performance: BBC, London Station, 13 March 1924. John Ireland (piano) Publication: Augener & Co. Ltd. Score © 1921 Also included in volume ii of The Collected Piano Works of John Ireland, Stainer & Bell © 1976 Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52890, ff. 11–24. No. 1 is dated: ‘February 1921’; no. 2 is dated: ‘June 1921’. Both contain engraver’s markings. Proof sheets corrected by the composer are Mus Lib H.403.q.(6.) Recordings: Eric Parkin (piano) in Chandos CHAN 9250 (1995) Bibliography: Anon. ‘Two Pieces’, Monthly Musical Record, 51 (November 1921), 254 Anon., ‘Pianoforte Music’, Musical Times, 62 (November 1921), 781 E. Markham Lee, ‘The Amateur’s Repertoire: Three Piano Pieces of John Ireland’, Musical Opinion, 52 (July 1929), 908–909 LOVE IS A SICKNESS Song for voice and piano Text by Samuel Daniel (c.1562–1619), from Hymen’s Triumph (1615), act I, scene v

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Duration: 1’54” First performance: unable to trace Publication: Winthrop Rogers Ltd. Vocal score © 1921 3 versions were published – in G flat major, F major, and E flat major Also included in volume i of The Complete Works for Voice and Piano, Stainer & Bell © 1981 Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52897, ff. 76–81. It is in E flat major and dated: ‘July 1921’ Recordings: J.M. Ainsley (tenor) and G. Johnson (piano) in Hyperion CDA 67261 (1999) Bibliography: C.W., ‘Songs’, Musical Times, 62 (December 1921), 841 THE MERRY MONTH OF MAY Song for voice and piano Text by Thomas Dekker (c.1570–c.1641), from The Shoemaker’s Holiday (1600), ‘The First Three-Man’s Song’ Duration: 1’30” First performance: unable to trace First broadcast performance: London, BBC London Station, 19 April 1928. George Parker (baritone) and John Ireland (piano) Publication: Winthrop Rogers Ltd. Vocal score © 1921 3 versions were published: in E major, G major, and D major Also included in volume v of The Complete Works for Voice and Piano, Stainer & Bell © 1981 Manuscript: whereabouts unknown Bibliography: C.W., ‘Songs’, Musical Times, 62 (December 1921), 841 THE FERRY Unison song for equal voices and piano Text by Christina Rossetti (1830–1894) First performance: unable to trace Publication: Edward Arnold & Co. Ltd. Vocal score © 1921 (Singing Class Music no. 45) Manuscript: whereabouts unknown FAIN WOULD I CHANGE THAT NOTE Song for unaccompanied mixed chorus (SATB) Text by Tobias Hume (? –1645), from The First Part of Airs (1605)

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Duration: 2’10” First broadcast performance: London, BBC Home Service, 18 October 1941. The BBC Singers (B), conducted by Trevor Harvey Publication: Novello & Co. Ltd. Vocal score © 1921 This song appeared as a supplement of the Musical Times, 62 (941) (July 1921) Manuscript: whereabouts unknown Bibliography: H.G., ‘Part Songs’, Musical Times, 62 (October 1921), 703 (‘reminds us of the best work of Stanford in this field’) 1922 ON A BIRTHDAY MORNING For solo piano Dedication: ‘Pro amicitia, February 22, 1922’ Duration: 4’ First performance: London, Wigmore Hall, 26 May 1922. E. Howard-Jones (piano) First broadcast performance: BBC, London Station, 13 March 1924. John Ireland (piano) Publication: Augener & Co. Ltd. Score © 1922 Also included in volume ii of The Collected Piano Works of John Ireland, Stainer & Bell © 1976 Manuscript: Manuscript Collections, The British Library (Reference Division), Add. 52890, ff. 26–31. It is dated: ‘22 February 1922’. Proof sheets corrected by the composer are Mus Lib H.404.q.(2.) Recordings: Eric Parkin (piano) in Chandos CHAN 9250 (1995) Bibliography: E. Evans, ‘Howard-Jones’s Recital’, Musical Times, 63 (July 1922), 498 Anon., ‘On a Birthday Morning’, Monthly Musical Record, 52 (August 1922), 189 H.G., ‘Piano’, Musical Times, 63 (November 1922), 781 Notes: This piece is the first in a series of piano works and songs which Ireland wrote annually during the 1920s to commemorate the birthday (on 22 February) of his friend Arthur G. Miller (1905– 1986), the son of a Chelsea antique dealer from whose shop Ireland bought several items of furniture. A chorister at St. Luke’s Church, where Ireland was organist and choirmaster, Miller became such a valued friend that in about 1932 the composer made a will leaving all his estate to him.

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VAGABOND Song for voice and piano Text by John Masefield (1879–1967), from Saltwater Ballads (1902) Duration: 1’47” First performance: unable to trace First broadcast performance: BBC, London Station, 13 March 1924. George Parker (baritone) and John Ireland (piano) Publication: Augener & Co. Ltd. Vocal score © 1922 4 versions were published – in B flat major, A flat major, G major, and F major Also included in volume ii of The Complete Works for Voice and Piano, Stainer & Bell © 1981, and in Eleven Songs by John Ireland (introduced by John Longmire), Stainer & Bell/Galaxy © 1970 Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52898, ff. 2–3. It is dated: ‘February, 1922’ Recordings: C. Maltman (baritone) and G. Johnson (piano) in Hyperion CD A 67262 (1999) Bibliography: Anon., ‘The Vagabond’, Monthly Musical Record, 51 (July 1921), 162 H.G., ‘Songs’ Musical Times, 63 (September 1922), 640 (Described as ‘one of the best.’) SOLILOQUY For solo piano Duration: 3’00” First performance: London, Wigmore Hall, 26 May 1922. E. Howard-Jones (piano) Publication: Augener & Co. Ltd. Score © 1922 Also included in volume ii of The Collected Piano Works of John Ireland, Stainer & Bell © 1976 Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52890, ff. 33–34. It is dated: ‘March 1922’. Contains engraver’s markings. Proof sheets corrected by the composer are Mus Lib H.403.q.(3.) Recordings: Eric Parkin (piano) in Chandos CHAN 9250 (1995) Bibliography: E. Evans, ‘Howard-Jones’s Recital’, Musical Times, 63 (July 1922), 498 Anon., [Two Songs], Monthly Musical Record, 52 (August 1922), 189 H.G., ‘Piano’, Musical Times, 63 (November 1922), 781

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TWILIGHT NIGHT Song for unaccompanied mixed chorus (SATB). Text by Christina Rossetti (1830–1894) Duration: 2’35” First broadcast performance: London, BBC Home Service, 18 October 1941. The BBC Singers (B), conducted by Trevor Harvey Publication: Novello & Co. Ltd. Vocal score © 1923 This song appeared as a supplement of the Musical Times, 64 (964) (June 1923) Manuscript: whereabouts unknown EQUINOX For solo piano Duration: 2’30” First performance: London, Wigmore Hall, 9 June 1923. Evlyn Howard-Jones (piano) First broadcast performance: BBC, Home Service, 18 June 1941. Dorothea Aspinall (piano) Publication: Novello & Co. Ltd. Score © 1923 Also included in volume ii of The Collected Piano Works of John Ireland, Stainer & Bell © 1976 Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52890, ff. 36–43. It is dated: ‘Autumn 1922’. ‘Study’ is indicated as an alternative title (f. 36). Contains engraver’s markings. Proof sheets corrected by the composer are Mus Lib H.403.1.(1.) Recordings: Eric Parkin (piano) in Chandos CHAN 9140 (1993) Bibliography: Anon., ‘Recitals of the Week’, The Times, 11 June 1923, 17 Anon., ‘Equinox’, Monthly Musical Record, 53 (July 1923), 202–203 H.G., ‘New Music’, Musical Times, 64 (October 1923), 709 (Described as ‘very difficult’) 1923 SONATA in G MINOR For cello and piano 1. Moderate e sostenuto 2. Poco largamente – non troppo lento 3. Con moto e marcato

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Duration: c.22’ First performance: London, Aeolian Hall, 4 April 1924. Beatrice Harrison (cello) and Evlyn Howard-Jones (piano) The same performers gave another performance at the Wigmore Hall on 6 December 1924 First broadcast performance: London, BBC, London Station, 19 April 1928. Beatrice Harrison (cello) and John Ireland (piano) (A John Ireland programme broadcast in the London and Daventry Service) Publication: Augener & Co. Ltd. Score © 1924 The composer later made some revisions which were incorporated in the printed copy: Augener & Co. Ltd. [© 1940/1] Manuscript: Manuscript Collections, The British Library Reference Division), Add. MS 52888. It is dated: ‘December 1923’ A movement from an unpublished Cello Sonata can also be found in Add. MS 52900, ff. 13–14 Recordings: K. Georgian (cello) and I. Brown (piano) in Chandos CHAN 9377/8 (1995) Bibliography: J. Brooke, [‘Cello Sonata’], in The Goose Cathedral (London, Bodley Head, 1950), 62 Anon., ‘Miss Beatrice Harrison’, Musical Opinion, 47 (May 1924), 789 Anon., ‘Cello Sonata’, Monthly Musical Record, 54 (August 1924), 238 B.V., ‘New Chamber Music’, Musical Times, 65 (August 1924), 716 (Described as ‘the most remarkable British work of the kind which has appeared for some time’.) K.K., [‘Cello Sonata’], Gramophone, 7 (September 1929), 159 Revised Version Later printed copies reveal metronome marks as revised by the composer in 1948 Other Version Sonata in G minor for cello and piano Cello part transcribed for viola by Lionel Tertis [1941] First performance: London, National Gallery, 17 October 1941. Lionel Tertis (viola) and John Ireland (piano) First broadcast performance: Bedford, BBC Studios, 14 December 1942. Lionel Tertis (viola) and John Ireland (piano) (Broadcast in the BBC Home Service)

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Publication: Augener & Co. Ltd. Score © 1941 Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 54432 Bibliography: R. Hill, ‘Two First Performances’, Radio Times, 11 December 1942, 4 Anon., ‘National Gallery Concerts’, Musical Times, 82 (December 1941), 445 Anon., ‘Viola and piano’, Monthly Musical Record, 72 (January 1942), 17 F. Bonavia, ‘New Music: Chamber Music’, Musical Times, 83 (January 1942), 20 1924 PRELUDE in E FLAT MAJOR For solo piano Duration: 5’ First performance: London, Wigmore Hall, 13 January 1925. Harriet Cohen (piano) Publication: Augener & Co. Ltd. Score © 1925 Also included in volume iii of The Collected Piano Works of John Ireland, Stainer & Bell © 1976 Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52890, ff. 45–56. It is dated: ‘22 February 1924’ This piece’s original title was Penumbra which is deleted (f. 46). Contains engraver’s markings. Proof sheets corrected by the composer are Mus Lib H.403.m.(3.) Recordings: Eric Parkin (piano) in Chandos CHAN 9140 (1993) Bibliography: Anon., ‘Prelude in Eb’, Monthly Musical Record, 55 (March 1925), 78 H.G., ‘Pianoforte Music’, Musical Times, 66 (March 1925), 236 (Described as ‘a grimly serious bit of work’.) WHEN I AM DEAD, MY DEAREST Song for voice and piano Text by Christina Rossetti (1830–1894), from ‘Song’ in Goblin Market and Other Poems (1862) Dedication: ‘To A.G.M.: Cerne Abbas, June 1925’ Duration: 1’54” First performance: unable to trace First broadcast performance (?): BBC, National Programme, 21 April 1935.

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Alfred Read (baritone) and John Ireland (piano) Publication: OUP. Vocal score © 1928 Also included in volume ii of The Complete Works for Voice and Piano, Stainer & Bell © 1981 Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52898: scores in two versions with piano accompaniment (ff. 11–12), and with string quartet (ff. 14–15) – see below. It is dated: ‘16 July 1924’ Recordings: L. Milne (soprano) and G. Johnson (piano) in Hyperion CD A 67262 (1999) Bibliography: T.A., ‘Songs’, Musical Times, 69 (August 1928), 702–3 Other Version When I am dead, my dearest Arranged for voice and string quartet by the composer [1924] Instrumentation: Violins I and II, viola, and cello First performance: unable to trace Publication: OUP. Hire only Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52899 (see above) WHAT ART THOU THINKING OF? Song for voice and piano Text by Christina Rossetti (1830–1894), from Mother and Child (published 1896) Duration: 3’26” First performance: unable to trace Publication: Stainer & Bell Ltd. Vocal score © 1976 Also included in volume ii of The Complete Works for Voice and Piano, Stainer & Bell © 1981, and in The Land of Lost Content and Other Songs by John Ireland (with an introduction by John Longmire), Galaxy/Stainer & Bell © 1976 Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52898, ff. 17–19. It is dated: ‘September 1924’ Recordings: L. Milne (soprano) and G. Johnson (piano) in Hyperion CDA 67262 (1999)

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THEY TOLD ME, HERACLITUS Quartet for unaccompanied men’s voices (TTBB) Text by William Cory (1823–1892), from Ionica Dedication: ‘To Herbert Hughes, and written for the De Reszke Singers’ Duration: 2’15’ First performance: unable to trace Publication: Boosey & Co. Ltd. Vocal score © 1924 (Boosey’s Modern Festival Series no. 316) Manuscript: whereabouts unknown CHELSEA Hymn tune for mixed chorus (SATB) and organ Text (‘Sing brothers, sing and praise your king’) by C.A. Alington Publication: OUP. This tune was written for Songs of Praise (1925) but not included. It did, however, appear in the Enlarged Songs of Praise in 1931 1925 TWO PIECES For solo piano 1. April (Allegretto quasi andantino) [4’30”] 2. Bergomask (Allegro non troppo) [4’00”] First performance: unable to trace First broadcast performance: London, BBC National Programme, 12 August 1934. John Ireland (piano) Publication: Augener & Co. Ltd. Score © 1925 Also included in volume iii of The Collected Piano Works of John Ireland, Stainer & Bell © 1976 Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52890, ff. 58–71. No. 1 is dated: ‘1925’; no. 2 is dated: ‘for 22 February 1925’. The original title of no. 1 is shown as ‘The Sweet Season’ (at f. 59) but erased; f. 71 verso contains 8 bars of an unidentified pencil sketch. Contains engraver’s markings. Proof sheets corrected by the composer are Mus Lib H.403.m.(2.)

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Recordings: No. 1: John Ireland (piano) in EMI 0946 3 52282 2 9 (2006) and EMI 352 2792 (2007) (originally recorded in 1950) No.1: Daniel Adni (piano) in EMI 0946 3 52280 2 1 (2006) (originally recorded in 1979) Eric Parkin (piano) in Chandos CHAN 9250 (1995) Bibliography: Anon., ‘Two Pieces’, Monthly Musical Record, 56 (February 1926), 43 T.A., ‘New Music-Pianoforte’, Musical Times, 67 (April 1926), 332 (April is described as ‘finely disciplined’ and Bergomask as having ‘exhilarating rhythmic and harmonic effects.’) K.K., [‘April’], Gramophone, 7 (September 1929), 159 GREAT THINGS Song for voice and piano Text by Thomas Hardy (1840–1928), from Moments of Vision (1917) Dedication: ‘To Alfred Read’ Duration: 2’08” First broadcast performance: London, BBC National Programme, 21 April 1935. Alfred Read (baritone) and John Ireland (piano) Publication: Augener & Co. Ltd. Vocal score © 1935 2 versions were published – in C major and D major Also included in volume iii of The Complete Works for Voice and Piano, Stainer & Bell © 1981, and Eleven Songs by John Ireland (introduced by John Longmire), Stainer & Bell/Galaxy © 1970 Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52898, ff. 20–25 Recordings: C. Maltman (baritone) and G. Johnson (piano) in Hyperion CDA 67261 (1999) Bibliography: Anon., ‘Great Things’, Monthly Musical Record, 66 (January 1936), 16 SANTA CHIARA (PALM SUNDAY; NAPLES) Song for voice and piano Text by Arthur Symons (1865–1945), from Images of Good and Evil (1899) Duration: 2’27” First performance: unable to trace First broadcast performance: London, BBC National Programme, 2 April 1936. Parry Jones (tenor) and John Ireland (piano)

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Publication: Augener & Co. Ltd. Vocal score © 1925 3 versions were published – in G minor, C minor, and A minor Also included in volume ii of The Complete Works for Voice and Piano, Stainer & Bell © 1981, and Eleven Songs by John Ireland (introduced by John Longmire), Stainer & Bell/Galaxy © 1970 Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52898, ff. 5–9 Recordings: C. Maltman (baritone) and G. Johnson (piano) in Hyperion CDA 67261 (1999) Bibliography: Anon., ‘Santa Chiara’, Monthly Musical Record, 55 (May 1955), 141 T.A., ‘New Music-New Songs’, Musical Times, 66 (May 1925), 423 (Described as ‘not … one of his most successful songs’) THREE SONGS TO POEMS BY THOMAS HARDY For voice and piano Text from Late Lyrics and Earlier (1922)

1. Summer Schemes (Comodo) [2’14”] 2. Her Song (Rather slowly) [2’39”] 3. Weathers (Allegretto pastorale) [2’11”] First performance: unable to trace First broadcast performance: no. 3 only – BBC, London Station, 28 September 1927. Vivien Lambelet (soprano) with unnamed pianist First complete broadcast: London, BBC London Station, 19 April 1928. George Parker (baritone) and John Ireland (piano) Publication: J. B. Cramer & Co. Ltd. Vocal score © 1925 No. 1: 2 versions were published – in A flat major and G major No. 2: 3 versions were published – in D minor, F minor, and E minor No. 3: 3 versions were published – in C major, E major, and D major Also included in volume iii of The Complete Works for Voice and Piano, Stainer & Bell © 1981 Manuscript: whereabouts unknown Recordings: (1) and (3) – C. Maltman (baritone) and G. Johnson (piano)/ (2) – L. Milne (soprano) and G. Johnson (piano) in Hyperion CDA 67261 (1999)

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1926 FIVE POEMS BY THOMAS HARDY For baritone and piano 1. Beckon to me (with moderate movement), from Human Shows (1925) [2’12”] 2. In my Sage Moments I can say (Deliberate), from Human Shows (1925) [2’52”] 3. It was what you bore with you, woman (With gracious movement), from Late Lyrics and Earlier (1922) [1’17”] 4. The Tragedy of that Moment (Slowly), from Human Shows (1925) [1’38”] 5. Dear, think not that they will forget you (Deliberate), from Late Lyrics and Earlier (1922) [2’27”] Dedication: ‘To John Goss’ First performance: BBC, Daventry Experimental Station. Concert of Contemporary Music from Central Hall, Westminster, 3 March 1930. George Parker (baritone) and John Ireland (piano) First concert performance: London, Wigmore Hall, 14 March 1932. George Parker (baritone) and Norman Franklin (piano) Publication: Oxford University Press. Vocal score © 1927 Also included in volume iii of The Complete Works for Voice and Piano, Stainer & Bell © 1981 Manuscript: Manuscript Collections, The British Library (Reference Division), Add. 52898, ff. 28–34. No. 2 is incomplete Recordings: C. Maltman (baritone) and G. Johnson (piano) in Hyperion CDA 67261 (1999) Bibliography: T.A., ‘New Music: Songs’, Musical Times, 69 (February 1928), 130 B. Maine, ‘George Parker’, Musical Times, 73 (April 1932), 360 A GRADUATION SONG Unison song for equal voices and piano Text by John Drinkwater (1882–1937) Dedication: ‘To Sir Holburt Waring, M.S., F.R.C.S.’ [Vice Chancellor of London University] First performance: London, Royal Albert Hall, 12 May 1926, on the occasion of the annual presentation of graduates for degrees (Presentation Day).

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It appears to have been sung in unison by all those present, accompanied on the organ by Dr. Charles Macpherson, organist at St. Paul’s Cathedral. Publication: J. Curwen & Co. Ltd. Vocal score © 1926 (Choruses for Equal Voices no. 1691) Manuscript: whereabouts unknown Bibliography: Anon., ‘Presentation of Graduates for Degrees’, London University Gazette, 2 June 1926, 149–151 Notes: Letters, now in the University of London’s Archive, show that Holst, Elgar, and Rutland Boughton were also approached as possible composers of this work THREE SONGS For voice and piano 1. Love and Friendship (With moderate movement). Text by Emily Brontë (first published 1850) [2’09”] 2. Friendship in Misfortune (Sustained and fervent). Text: Anon. [1’38”] 3. The One Hope (Rather slowly). Text by Dante Gabriel Rossetti from Sonnet 101, the last in The House of Life (1881, first published 1870) [3’24”] Dedication: No. 1 only: ‘To AGM for 22 February 1926’ First performance (nos. 1 and 2 only): BBC, London Station, 19 April 1928. George Parker (baritone) and John Ireland (piano) Other early performances: No. 1 only: Concert of Contemporary Music from Central Hall, Westminster, 3 March 1930. George Parker (baritone) and John Ireland (piano) Publication: Augener & Co. Ltd. Vocal score © 1928 Also included in volume v of The Complete Works for Voice and Piano, Stainer & Bell © 1981, and in Eleven Songs by John Ireland (introduced by John Longmire), Stainer & Bell/Galaxy © 1970 Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52898, ff. 37–46 Recordings: No. 1 – L. Milne (soprano) and G. Johnson (piano); Nos. 2 and 3 – C. Maltman (baritone) and G. Johnson (piano) in Hyperion CD A 67262 (1999) Bibliography: Anon., ‘Three Songs’, Monthly Musical Record, 58 (June 1928), 180–181

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1926–1927 SONATINA For solo piano 1. Moderato 2. Quasi lento 3. Rondo (Ritmico, non troppo allegro) Dedication: ‘To Edward Clark’ Duration: 12’ First performance: London, BBC London Station, 19 April 1928. John Ireland (piano). (Broadcast in the London and Daventry Station) Publication: OUP. Score © 1928 Also included in volume iii of The Collected Piano Works of John Ireland, Stainer & Bell © 1976 Manuscript: whereabouts unknown Recordings: Eric Parkin (piano) in Chandos CHAN 9140 (1993) Bibliography: T.A., ‘New Music’, Musical Times, 69 (September 1928), 801 (Described as ‘a vivid work’) E. Blom, ‘John Ireland’s New Sonatina’, Christian Science Monitor, 29 September 1928, 6 Anon., ‘Reviews’, Monthly Musical Record, 58 (October 1928), 306 Notes: The third movement, Rondo, was published separately by OUP (© 1928) Ireland also played the Sonatina at the ISCM Festical in Geneva on 7 April 1929. 1927 WE’LL TO THE WOODS NO MORE Song cycle for voice and piano Text by A.E. Housman (1859–1936), from Last Poems (1922) 1. We’ll to the Woods no more (Rather slowly; marked Poco lento in the manuscript). This is the introductory poem to Housman’s Last Poems [2’28”] 2. In Boyhood (At speaking pace) [1’41”] 3. Spring will not wait: [Epilogue for piano] (Moderate sostenuto) [3’43”] Dedication: ‘To Arthur’ [printed copy only]

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In the manuscript, the dedication appears as: ‘To Arthur: in memory of the darkest days’ First performance: Nos. 1 and 2 – London, BBC London Station, 19 April 1928. George Parker (baritone) and John Ireland (piano) Publication: OUP. Vocal score © 1928 Also included in volume iii of The Complete Works for Voice and Piano, Stainer & Bell © 1981 Each was issued separately by OUP (© 1928), no. 3 in The Clarendon Piano Series no. 13. This was republished in [1975] Also included in volume iii of The Collected Piano Works of John Ireland, Stainer & Bell © 1976 Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52898, ff. 48–55. Nos. 1 and 2 are dated: “February 1927’; no. 3 is initialled and dated: ‘February 1927’. Also added is ‘for AGM: February 22 1927’ Recordings: Nos 1 and 2: J.M. Ainsley (tenor) and G. Johnson (piano) in Hyperion CDA 67262 (1999) Bibliography: T.A., ‘Songs’ Musical Times, 69 (August 1928), 702–703 Notes: No. 3 is prefaced by a quotation from A Shropshire Lad: Spring will not wait the loiterer’s time Who keeps so long away NEW PRINCE, NEW POMP Carol for unaccompanied mixed chorus (SATB) Text by Robert Southwell (1561–1595) First performance: unable to trace Publication: A.R. Mowbray & Co. Ltd. Vocal score © 1927 The carol was also included in The Oxford Book of Carols (OUP © 1928) Manuscript: whereabouts unknown 1928 TWO SONGS For voice and piano 1. Tryst (In Fountain Court) (Very slow and sustained). Text by Arthur Symons, from Silhouettes (1892) [3’33”] 2. During Music (Moderate). Text by D.G. Rossetti (1886) [2’49”]

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First performance: BBC, Daventry Experimental Station. Concert of Contemporary Music from Central Hall, Westminster, 3 March 1930. No. 2 only: George Parker (baritone) and John Ireland (piano) Publication: OUP. Vocal score © 1929 Also included in volume ii of The Complete Works for Voice and Piano, Stainer & Bell © 1981 Manuscript: whereabouts unknown Recordings: (1) C. Maltman (baritone) and G. Johnson (piano) in Hyperion CDA 67261 (1999) (2) C. Maltman (baritone) and G. Johnson (piano) in Hyperion CDA 67262 (1999) 1928–1929 BALLADE For solo piano Duration: 9’ First performance: London, Wigmore Hall, 25 June 1929. Arthur Alexander (piano) First broadcast performance: BBC, Daventry Experimental Station. Concert of Contemporary Music from Central Hall, Westminster, 3 March 1930. Arthur Alexander (piano) Publication: B. Schott (Mainz). Score © 1931 Also included in volume iii of The Collected Piano Works of John Ireland, Stainer & Bell © 1976 Manuscript: whereabouts unknown Recordings: Eric Parkin (piano) in Chandos CHAN 9140 (1993) Bibliography: Anon., ‘Recitals of the Week’, The Times, 28 June 1929, 14 Anon., ‘Reviews’, Monthly Musical Record, 61 (November 1931), 337– 338 T.A., ‘Pianoforte’, Musical Times, 72 (December 1931), 1097 1929 IF WE MUST PART A valediction for voice and piano Text by Ernest Dowson, from Verses (1896) Duration: 1’51” First performance: unable to trace Publication: Stainer & Bell & Co. Ltd. Vocal score © 1976

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Also included in volume v of The Complete Works for Voice and Piano, Stainer & Bell © 1981, and in The Land of Lost Content and Other Songs by John Ireland (with an introduction by John Longmire), Galaxy/Stainer & Bell © 1976 Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52899, ff. 2–3. It is dated: ‘for 25 July 1929’ Recordings: C. Maltman (baritone) and G. Johnson (piano) in Hyperion CDA 67261 (1999) 1929–1930 TWO PIECES For solo piano 1. February’s Child (Allegretto amabile) [4’30”] 2. Aubade (Con moto) [4’00”] Dedication: No. 1 – ‘To AGM [Arthur G. Miller] for 22 February, 1929’ First performance: BBC, London National Programme, 7 July 1930. Helen Perkin (piano) Publication: B. Schott (Mainz). Score © 1931 (no. 1: 2157; no. 2: 2158) Each was also published separately. Also included in volume iii of The Collected Piano Works of John lreland, Stainer & Bell © 1976 Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52890, ff. 73–84. Six bars of an unidentified pencil sketch appear on the verso of f. 75. Contains engraver’s markings Recordings: John Lenehan (piano) in Naxos 8.553889 (1999) Bibliography: T.A., ‘Pianoforte’, Musical Times, 72 (December 1931), 1097 CONCERTO in E FLAT FOR PIANO AND ORCHESTRA In three movements 1. In tempo moderato 2. Lento espressivo 3. Allegretto giocoso 2+1.2.2.2/4.2.3.1/timp/percussion (2)/strings Dedication: [‘To Helen Perkin’] Duration: 23’–25’ First performance: London, Queen’s Hall, 2 October 1930.

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Helen Perkin (piano) and the BBC Symphony Orchestra, conducted by Henry Wood (Broadcast by the BBC in the London Regional Service) Other early performances: London, Queen’s Hall, 24 September 1931. Helen Perkin (piano) and the BBC Symphony Orchestra, conducted by Henry Wood (Broadcast by the BBC in the Daventry National Programme) Belfast, Ulster Hall, 7 May 1932. Helen Perkin (piano) and Belfast Wireless Orchestra, conducted by John Ireland London, Queen’s Hall, 1 September 1936. Artur Rubinstein (piano) and the BBC Symphony Orchestra, conducted by Henry Wood (Broadcast by the BBC in the Regional Programme) Publication: J. & W. Chester & Co. Ltd. Full score © 1932 Separate piano part © 1932 Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52878. It is dated: ‘April–September 1930’ Recordings: Colin Horsley (piano) and the Royal Philharmonic Orchestra/B. Cameron in EMI 0946 3 52280 2 1 (2006) and EMI 352 2792 (2007) (originally recorded in 1957) Eric Parkin (piano)/London Philharmonic Orchestra/Adrian Boult in Lyrita SRCD 241 (2007) (a re-issue of Lyrita SRCS 36) Eric Parkin (piano) and the London Philharmonic Orchestra/B. Thomson in Chandos CHAN 8461 Bibliography: E. Blom, Programme notes for the first performance. J. Ireland, ‘Concerto in Eb’, undated and unpublished paper, now in the John Ireland Trust Archive W. Mann, ‘John Ireland: Piano Concerto in Eb’, in R. Hill (ed.), The Concerto (Harmondsworth, Penguin Books, 1962), 413–417 Anon., ‘Dance Orchestra Mutes for Piano Concerto’, The Times, 2 October 1930, 21 ‘M.’, ‘The Promenades’, Musical Times, 71 (November 1930), 1032 E. Blom, ‘Ireland’s Piano Concerto’, Monthly Musical Record, 61 (January 1931), 9–11 H. Lambert, ‘John Ireland’s Piano Concerto’, The Sackbut 11 (January 1931), 168–169 H. Lambert, ‘John Ireland’s Piano Concerto’, The Chesterian, 12 (January–February 1931), 118–119 Anon., ‘New Music’, The Times, 12 March 1932, 10 Anon., ‘Mr John Ireland’s Piano Concerto’, Musical Times, 75 (March 1934), 253 A. Collins, ‘Ireland’s First Piano Concerto’, The Chesterian, 15 (March–April 1934), 101–103

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W. McNaught, ‘Gramophone Notes’, Musical Times, 83 (June 1942), 175–176 Anon., ‘A Proms Favourite’, Record Times, August 1958, 5 E. Poole, ‘Britten, Rawsthorne, Ireland and Finzi: English Piano Concerti’ Opus, 24 no. 4 (Winter 2001–2002), 25 Notes: The concerto was taken up by several pianists including Reginald Paul (August 1934), Helen Guest, and Angus Morrison. Records show that Ireland conducted a performance in Eastbourne in March 1932. It was later performed in Moscow on 6 January 1934, under Edward Clark, Frankfurt on 20 February 1934, Stockholm in August 1934, Budapest (under Dohnanyi on 22 January 1935 and Vienna (under Konrath) on 25 January 1935, and South Africa in August 1935. Clifford Curzon introduced it to the United States of America in Carnegie Hall, New York, on 10 March 1939. An Anglo-French Music Festival was held in Queen’s Hall, London, between 18 June and 9 July 1940. At the first concert, Clifford Curzon played the Concerto with the London Philharmonic Orchestra, conducted by Basil Cameron. The Festival was later abandoned because of World War II. The Musical Times (vol. 89) of February 1948 reveals that the first performance of the Concerto in Chile took place in 1947. Other Version Concerto for piano and orchestra Arranged for 2 pianos by the composer Publication: J. & W. Chester & Co. Ltd. Score [© 1932] Manuscript: whereabouts unknown 1929–1931 SONGS SACRED AND PROFANE Song cycle for voice and piano 1. The Advent (Rather slowly). Text by Alice Meynell (1847–1922), from Preludes (1875) [3’06”] 2. Hymn for a Child (With movement). Text by Sylvia Townsend Warner (1893–1978), from The Espalier (1924) [2’02”] 3. My Fair (With breadth). Text by Alice Meynell (1847–1922), from Preludes (1875) [3’05”]

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4. The Salley Gardens (At speaking pace). Text by W.B. Yeats (1865–1939), from Crossways (1889) [1’49”] 5. The Soldier’s Return (Alla Marcia). Text by Sylvia Townsend Warner (1893–1978), from The Espalier (1924) [0’59”] 6. The Scapegoat (Animated). Text by Sylvia Townsend Warner (1893–1978), from The Espalier (1924) [1’22”] Dedication: 1. ‘To Mary Grundting’ 2. ‘To Helen’ [Perkin] 5. ‘To Edward Clark’ First performance: London, Royal Academy of Music (Duke’s Hall), 13 March 1933. George Parker (baritone) and Norman Franklin (piano) First broadcast performance: BBC, Daventry National Programme, 29 May 1933. John Armstrong (tenor) and John Ireland (piano) Armstrong and Ireland performed the song cycle again in the BBC’s National Programme on 29 May 1934 Publication: Schott & Co. Ltd. Vocal score © 1934 No. 4 (‘The Salley Gardens’) was published separately in E minor and D minor Also included in volume i of The Complete Works for Voice and Piano, Stainer & Bell © 1981 Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52899, ff. 15–27. Pencil score of no. 3 – incomplete: Add. MS 52900, ff. 9–11; No. 1 is dated: ‘Christmas 1931’. The poem, entitled ‘Meditation’, is written in the score and is headed with a quote, in Latin, from Isaiah 45:8: Rorate Coeli desuper, et nubes pluent Justum Aperietur Terra, et germinet Salutorem [Drop down dew from above, ye heavens, the clouds shall rain down justice, Let the earth open and bring forth a Saviour.] The quote can also be found in the Introit Anthem for the Mass of the 4th Sunday in Advent. No. 2 is not dated. No. 3 is initialled and dated: ‘July 1929’. No. 4 is missing. No. 5 is initialled and dated: ‘St. Andrew’s Day 1931’. No. 6 is initialled and dated: ‘7 December 1931’ Recordings: J.M. Ainsley (tenor) and G. Johnson (piano) in Hyperion CDA 67261 (1999)

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Bibliography: A. Cohen, ‘John Ireland’s Favourite Chamber Music’, Radio Times, 24 August 1934, 494 Bibliography: Anon., ‘Songs Sacred and Profane’, Monthly Musical Record, 65 (February 1935), 40 W. McNaught, ‘New Music: Songs’ Musical Times, 76 (April 1935), 332 Anon. ‘London Concerts: Norman Franklin’s Concerts’, Musical Times, 79 (December 1938), 939–940 (Details of a concert devoted to John Ireland held on 31 October 1938) 1930 BALLADE OF LONDON NIGHTS For solo piano Duration: 7’ First performance: London, Broadcasting House, 6 June 1965. Alan Rowlands (piano). This recording was subsequently broadcast in the BBC Third Programme on 30 July 1965 Publication: Boosey & Hawkes Ltd. Score © 1968 Also included in volume iii of The Collected Piano Works of John Ireland, Stainer & Bell © 1976 Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52891, ff. 2–7. Incomplete Recordings: Eric Parkin (piano) in Chandos CHAN 9250 (1995) Notes: This work was never finished and John Ireland did not date it. After Ireland’s death in 1962, the manuscript was found in a ‘drawful of manuscripts’ (Norah Kirby) and then completed by Alan Rowlands who subsequently gave the first performance 1931 MEINE SEELE ERHEBT DER HERREN (My soul doth magnify the Lord) Choral Prelude by J.S. Bach (1685–1750), transcribed for solo piano and included in A Bach Book for Harriet Cohen The other contributors were Granville Bantock, Arnold Bax, Lord Berners, Arthur Bliss, Frank Bridge, Eugene Goossens, Herbert Howells, Constant Lambert, Ralph Vaughan Williams, William Walton and W. Gillies Whittaker. All the contributions were pianoforte transcriptions of works by Bach.

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Commissioned by: Harriet Cohen Dedication: ‘For Harriet Cohen’ Duration: 3’00” First performance: London, Queen’s Hall, 17 October 1932. Harriet Cohen (piano) Publication: Oxford University Press. Score © 1932 Manuscript: O. W. Neighbour, London. It is dated: ‘August 1931’ Bibliography H. Cohen, ‘Bach Book for Harriet Cohen’, in A Bundle of Time: Memoirs (London, Faber, 1969), 183 Anon., ‘Recital of the Week’, The Times, 21 October 1932, 12 1932 INDIAN SUMMER For solo piano Duration: 3’00” First performance: unable to trace Publication: Published in Pro-Musica, 1 (1932), by the Danish firm Wilhelm Hansen (Copenhagen) Manuscript: whereabouts unknown Notes: The piece’s original title was ‘The Cherry Tree’ and is based on material similar to that used in ‘Green Ways’ (no. 1) Pro-Musica (1932–1933) was a monthly music journal which published new works of unknown as well as established British composers. On 10 March 1933, a programme of works published in ProMusica was organised by Oxford University Press. Ireland refused to allow Indian Summer to be performed at this concert TUTTO E SCIOLTO Song for voice and piano Text by James Joyce (1882–1941), from Pomes Penyeach (1927) Commissioned by: Herbert Hughes for The Joyce Book Duration: 1’52” First performance: London, College of Nursing (Cavendish Square), 16 March 1932. Dorothy Moulton, John Armstrong, and Sinclair Logan (singers) with William Busch (piano) (a Contemporary Music Centre concert) Publication: OUP. Score © 1932 Also included in volume v of The Complete Works for Voice and Piano, Stainer & Bell © 1981

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Manuscript: whereabouts unknown Recordings: C. Maltman (baritone) and G. Johnson (piano) in Hyperion CDA 67261 (1999) Bibliography: Anon., ‘Recitals of the Week’, The Times, 18 March 1932, 12 Notes: The Joyce Book was published by the Sylvan Press and Oxford University Press in 1932: 500 copies were printed, 450 put on sale. The blue silk wrappers were made of hand-woven silk from the Edinburgh Weavers, and the grey paper was mould-made in Holland. Besides Ireland, Moeran, Bax, Roussel, Hughes, Sessions, Bliss, Howells, Antheil, Edgardo Carducci, Goossens, Orr, and Van Dieren wrote songs for the project, which was edited by Herbert Hughes. William Walton and Darius Milhaud were amongst those who declined to contribute. A DOWNLAND SUITE For brass band 1. 2. 3. 4.

Prelude (Allegro energico) Elegy (Lento espressivo) Minuet (Allegretto grazioso) Round (Poco allegro)

Commissioned by: The National Brass Band Championships of Great Britain as the test piece for the 1932 contest Instrumentation: Solo cornet in B flat, soprano in E flat, (ripieno flugelhorn in B flat), 2nd and 3rd cornets in B flat, solo horn in E flat, 1st and 2nd horn in E flat, c, 1st and 2nd baritone in B flat, 1st and 2nd trombone in B flat, bass trombone, euphonium in B flat, E flat and B flat basses, and drums Dedication: ‘To my friend Kenneth Wright’ Duration: c.l7’20” (4’10”; 5’25”; 4’25”; 3’20”) First performance: London, Crystal Palace, 1 October 1932 (the National Band Festival). The winning band was Foden’s Motor Works Band, conducted by F. Mortimer. The adjudicators were Henry Gheel, J. Brier and H. Bennett Publication: R. Smith & Co. Ltd. Full score © 1933 Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52875, ff. 1–9 (condensed score) Recordings: London Brass Virtuosi/D. Honeyball in Hyperion CDH 55070

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Bibliography: H. Hughes, ‘The British Band Festival’, The Daily Telegraph, 6 September 1932, 8 A. Mackler, ‘Dr John Ireland’s Downland Suite’, British Bandsman, 24 September 1932, 2 W.A. Chislett, ’Ireland’, Gramophone, 10 (December 1932), 274 J.H. Elliot, ‘Interpretation and the New Repertoire: 3. Ireland’s Downland Suite’, British Bandsman, 22 May 1937, 4–5 Other Versions Two Pieces (Minuet and Elegy) Freely adapted by the composer from A Downland Suite for string orchestra [1941] Instrumentation: Violins I and II, violas, cellos, and double basses Duration: c.11’00” First performance: BBC, Home Service, 2 May 1942. BBC Scottish Orchestra, conducted by Guy Warrack Publication: Hawkes & Co. Ltd. Score © 1942 Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52875, ff. 10–12b (Minuet) and 13–19 (Elegy) Recordings: London Philharmonic Orchestra/Adrian Boult in Lyrita SRCD 242 (2007) (a re-issue of Lyrita SRCS 31) Bibliography: W.R. Anderson, ‘Ireland’, Gramophone, 17 (May 1940), 416–17 Anon., ‘Minuet and Elegy’, Monthly Musical Record, 72 (June 1942), 112 Notes: A later reissue of the score (by the John Ireland Trust – selling agents R. Smith & Co. Ltd.) also contained the other two movements (Prelude and Rondo) arranged for string orchestra by Geoffrey Bush (1978). The following note appeared in the score: It was John Ireland’s intention to transcribe A Downland Suite for strings in its entirety; but he finished only the two middle movements which were published (in reverse order) as ‘Minuet and Elegy’. In completing the transcription at the request of the John Ireland Trust I have reverted to the original order of movements; I have also followed the composer’s example in reconceiving the music as a composition for string orchestra rather than making a literal re-arrangement of the brass band version.

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First performance: London, BBC Studios, 17 June 1981. The BBC Concert Orchestra/ Christopher Adey. This recording was subsequently broadcast in Radio 3 on 27 July 1981 Recordings: English Chamber Orchestra/D. Garforth in Chandos CHAN 8390 (1987) A Downland Suite Arranged for wind band by R. Steadman-Allen Instrumentation: 2 flutes and piccolo, 2 oboes, E flat clarinet, 3 clarinets in B flat, E flat alto clarinet, B flat bass clarinet, 2 bassoons, 2 alto saxophones in E flat, B flat tenor saxophone, E flat baritone saxophone, 3 cornets in B flat, 2 trumpets in B flat, 4 horns in F, 3 trombones, euphonium, tuba, strung bass and percussion. Duration: 17’30” First performance: unable to trace Publication: R. Smith & Co. Ltd. Full score © 1985 Recordings: European Winds/G. Brand in Alba TROY 120–122 Elegy and Minuet Arranged for solo piano [1933] Publication: Ashdown & Co. Ltd. Score © 1933 Elegy Arranged for organ by Alec Rowley [1940] Publication: Ashdown & Co. Ltd. Score © 1940 1933 MONTH’S MIND For solo piano Duration: 4’30” First performance: London, BBC Studios, 2 April 1936. John Ireland (piano) (Broadcast in the National Programme.) Publication: Augener & Co. Ltd. Score © 1935 Also included in volume iv of The Collected Piano Works of John Ireland, Stainer & Bell © 1976

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Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52891, ff. 9–15. It is dated: ‘for 25 May 1933’. Also contains a note in Ireland’s hand on the origin of the title and the quotation from Brand (see below). Contains engraver’s markings. Proof sheets corrections by the composer are Mus Lib H.403.n.(1.) Recordings: Eric Parkin (piano) in Chandos CHAN 9250 (1995) Bibliography: J. Brooke, ‘Month’s Mind’, in his The Dog at Clambercrown (London, The Bodley Head, 1955), 99–101 Anon., ‘Month’s Mind’, Monthly Musical Record, 65 (December 1935), 233 W. McNaught, ‘New Music: Piano Music’, Musical Times, 77 (February 1936), 129 Notes: The score bears the following quotation from Brand’s Observations on Popular Antiquities (1913): ‘days which our ancestors called their “month’s mind” as being the days whereon their souls (after death) were had in special remembrance: hence the expression of having a “month’s mind” to imply a longing desire’. LEGEND For piano and orchestra 2.2+1.2.2/4.0.2.0/timp/percussion (2)/strings Dedication: ‘To Arthur Machen’ Duration: 15’00” First performance: London, Queen’s Hall, 12 January 1934. Helen Perkin (piano) and the BBC Symphony Orchestra, conducted by Adrian Boult (A BBC British Music Festival concert and broadcast by the BBC) Other early performances: London, BBC National Programme, 22 April 1934. Helen Perkin (piano) and the BBC Orchestra (Section B), conducted by Ernest Ansermet (A BBC Sunday Orchestral Concert) London, Queen’s Hall, 28 August 1934. Harriet Cohen (piano) with the BBC Symphony Orchestra conducted by John Ireland London, BBC National Programme, 16 December 1934. John Ireland (piano) and the BBC Orchestra, conducted by Adrian Boult (A BBC Sunday Orchestral Concert) London, Queen’s Hall, 28 September 1935. John Ireland (piano) and the BBC Symphony Orchestra, conducted by Henry Wood

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Publication: Schott & Co. Ltd. Full score © 1938 Miniature score [© 1950] Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52879A The full score is dated and initialled: ‘J.I. 1933’. (The score was completed on 8 December 1933.) Recordings: Eric Parkin (piano) and the London Philharmonic Orchestra/B. Thomson in Chandos CHAN 8461 Bibliography: D.M.C., Programme notes for the first performance Anon. [Ireland’s Legend], Radio Times, 42, 5 January 1934, 6 Anon., ‘New British Works’, The Times, 13 January 1934, 8 W. McNaught, ‘London Concerts’, Musical Times, 75 (February 1934), 170 (‘Mr Ireland’s was the most completely made of the new works’) Anon. ‘Promenade Concert’, The Times, 29 August 1934, 8 Anon., ‘Legend’, Musical Opinion, 74 (February 1951), 217 Notes: On 30 March 1932 Ireland wrote to Adrian Boult, ‘I am at work on a second piano concerto, which will be ready for performance next season. [I am] anxious to write another work for the same combination in a totally different mood … I am writing again for a Beethoven orchestra with the solo instrument.’ Three months later, on 25 June 1932, Ireland told Oliver Mase, ‘I think it is safe to say it will be ready for performance by February or March next year.’ Over a year later, it is obvious that Ireland had scaled the proposed concerto down: ‘Queen Fridias, Prelude for orchestra and pianoforte’, was mentioned as a possible title. However, rehearsals for the ‘second piano concerto’ were arranged for 14 December 1933, but in a BBC memo, dated 12 December, the title of the new work is given as Prelude for piano and orchestra, ‘Legend’ being mentioned as a possible title and better than ‘Prelude’ Other Version Legend Arranged for two pianos by the composer [1933] First performance: unable to trace Publication: Schott & Co. Ltd. Score © 1938 Manuscript: Manuscript Collections, The British Library (Reference Division): Printed copies of the score in Add. MS 52879B. Copy in

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Add. MS 54780, ff. 25–35 which contains Ireland’s autograph corrections 1934 COMEDY OVERTURE For brass band Commissioned by: The National Brass Band Championships of Great Britain as the test piece for the 1934 contest Instrumentation: Solo cornet in B flat, soprano in E flat, ripieno and flugelhorn in B flat, 2nd and 3rd cornets in B flat, solo horn in E flat, 1st and 2nd horns in E flat, 1st and 2nd baritones in B flat, 1st and 2nd trombones in B flat, bass trombone, euphonium in B flat, E flat and B flat basses, drums and percussion (bass drum, cymbals, side-drum, triangle) Duration: 11’00” First performance: London, Crystal Palace, 29 September 1934 (the National Band Festival). The winning band was Foden’s Motor Works Band, conducted by F. Mortimer. The adjudicators were Henry Gheel, W. Reynolds and F. Wright Publication: R. Smith & Co. Ltd. Full score © 1934 Manuscript: whereabouts unknown Recordings: London Collegiate Brass/J. Stobart in CRD 3434 Bibliography: J.H. Elliot, ‘John Ireland’s Comedy Overture’, British Bandsman, (September 1934), 5 T. Aitken, ‘Mysterious Comedy’, Brass Band News, 8 (September 1984), 7–8 R. Newsome and A. Hailstone, ‘Comedy and its Composer’, British Bandsman (September 1984), 10 Other Versions Comedy Overture Arranged for wind band by R. Steadman-Allen [1986] Instrumentation: 2 flutes and piccolo, 2 oboes, E flat clarinet, 3 clarinets in B flat, E flat alto clarinet, B flat bass clarinet, 2 bassoons, 2 alto saxophones in E flat, B flat tenor saxophone, E flat baritone saxophone, 3 cornets in B flat, 2 trumpets in B flat, 4 horns in F, 3 trombones, euphonium, tuba, string bass, and percussion (4 players) First performance: unable to trace

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Publication: R. Smith & Co. Ltd. Full score © 1987 A LONDON OVERTURE For orchestra. A reworking of material from Comedy Overture [1936] Andante moderato–Allegro brioso–Meno mosso–Tempo d’Allegro 2+1.2.2.2/4.3.2.1/timp/percussion (3)/strings Dedication: ‘In memory of Percy G. Bentham, Sculptor and Friend – died June 1936’ Duration: 13’35” First performance: London, Queen’s Hall, 23 September 1936. The BBC Symphony Orchestra, conducted by Henry J. Wood Other early performances: London, Queen’s Hall, 7 August 1937. The BBC Symphony Orchestra, conducted by Henry Wood (The first concert of the 1937 season of the Henry Wood Promenade Concerts and broadcast by the BBC) London, Queen’s Hall, 1 December 1937. The BBC Symphony Orchestra, conducted by Adrian Boult (A BBC Symphony Concert and broadcast by the BBC) Bournemouth, The Pavillion, 27 January 1938. The Bournemouth Municipal Orchestra, conducted by John Ireland (Broadcast by the BBC in the London and North Stations) Publication: Hawkes & Co. Ltd. Full and miniature scores © 1937 Boosey & Hawkes 1942 (Hawkes Pocket Scores no. 16) Manuscript: Royal College of Music: RCM MS 4235. It is dated: ‘A.M.D.C 31 August, 1936’. Errata in BL Add. MS 52900, ff. 63–64 Recordings: London Symphony Orchestra/Richard Hickox in Chandos CHAN 8879 (1990) Hallé Orchestra/John Barbirolli in EMI COM 7 647162 (1993) Bibliography: J. Ireland, Programme notes for the first performance Anon., ‘Promenade Concert’, The Times, 24 September 1936, 10 F. Howes, ‘The Prom Concerts’, Musical Times, 77 (October 1936), 937 E. Evans, ‘The Prom Concerts’, Musical Times, 78 (September 1937), 829 W. McNaught, ‘Gramophone Notes’, Musical Times, 85 (August 1944), 245–7, and (November 1944), 332–334 Notes: Ireland told Kenneth Thompson, in a letter dated September 1936: ‘I have been working 12–16 hours a day for 6 weeks to complete

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my new orchestral work A London Overture which is to be played at the Prom concert at Queen’s Hall on Wednesday next’. In the original programme note, written by Ireland, it was stated: ‘The composer wishes this Overture to be regarded as no. 4 of his London Pieces, the first three, ‘Chelsea Reach’, ‘Ragamuffin’ and ‘Soho Forenoons’, having been written for piano in 1917 and 1918.’ Other Version A London Overture Arranged for brass band Instrumentation: Solo cornet in B flat, soprano in E flat, ripieno and flugelhorn in B flat, 2 and 3 cornets in B flat, solo horn in E flat, 1st and 2nd horns in E flat, 1st and 2nd baritones in B flat, 1st and 2nd trombones in B flat, bass trombone, euphonium in B flat and B flat basses, drums, and percussion. First performance: unable to trace Unpublished 1936 WAYS OF PEACE Unison song for equal voices, unaccompanied chorus (SATB) or mixed chorus (SATB) with piano or organ Text by Randall Swingler Duration: 3’ First performance: unable to trace Publication: The Music Sub-Committee of the British National Committee of the International Peace Campaign. Vocal score [© 1936–37] Manuscript: whereabouts unknown 1936–1937 THESE THINGS SHALL BE Cantata for baritone (or tenor) solo, mixed chorus (SATB), and orchestra Text from A Vista by John Addington Symonds (1840–1893) Commissioned by: The BBC to celebrate the accession and coronation of HM George VI in May 1937

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3.2+1.2+1.2+1/4.3.3.1/timp/percussion (4)/celesta/organ/strings Dedication: ‘To my friend Alan Bush’ Duration: 22’00” First performance: London, BBC Studios, 13 May 1937. [Denis Noble (baritone)] and the BBC Chorus (Section A), with the BBC Orchestra (Section B), conducted by Adrian Boult (This concert featuring music ‘for a royal occasion’ was broadcast in the BBC National Programme. No soloist was billed in Radio Times) First public performance: London, Queen’s Hall, 1 December 1937. Dennis Noble (baritone), the BBC Choral Society (chorus master: Leslie Woodgate), and the BBC Symphony Orchestra, conducted by Adrian Boult (A BBC Symphony Concert and broadcast by the BBC) Modern revival of the original version: University Chapel, University of Keele, 18 June 1983. Barry Banks (tenor), University of Keele Choral Society and Orchestra, conducted by Stephen Banfield Publication: Winthrop Rogers & Co. Ltd. Vocal score © 1937 Piano reduction by Eric Fenby Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52892: Full score (52892A) and sketches (52892B) in the hand of Alan Bush. The full score is signed and dated: ‘28 April 1937’ Recordings: Bryn Terfel (baritone)/London Symphony Chorus/London Symphony Orchestra/ Richard Hickox in Chandos CHAN 8879 John Carol Case (baritone)/London Philharmonic Orchestra and Choir/Adrian Boult in Lyrita SRCD 241 (2007) (a re-issue of SRCS 36) Bibliography: A. Bush, ‘These Things shall be’, in J. Longmire, Portrait of a Friend (London, Baker, 1969), 149–51 R. Hill, Programme notes for the first performance E. Evans, ‘BBC Symphony Concerts’, Radio Times, 26 November 1937, 13 W. Legge, ‘Music of two British Composers’, The Manchester Guardian, 2 December, 1937, 8 W. McNaught, ‘New Music: Choral’, Musical Times, 78 (December 1937), 1039–1040 Anon., ‘BBC Symphony Concert’, The Times, 2 December 1937, 12 W. McNaught, ‘London Concerts: Ireland and Walton’, Musical Times, 79 (January 1938), 57 Anon., ‘These things shall be’, The Times, 2 July 1951, 7 E. Bradbury, ‘These Things Shall Be’, Musical Times, 99 (December 1958), 668

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D. Denton, ‘Ireland’, Music Magazine, 4 (February 1991), 54 Notes: Ireland found himself short of time during the composition, and consequently requested the assistance of his former pupil and fellow-composer Alan Bush who undertook much of the orchestral scoring from sketches of sections sent by Ireland as soon as they were completed, with instructions for the orchestration. During composition, Ireland decided to incorporate the ‘Internationale’ into the orchestral parts but this was removed after the first performance. However, it remains in the score. 1937 GREEN WAYS: THREE LYRIC PIECES For solo piano 1. The Cherry Tree (Moderate e con grazia) [3’00”] 2. Cypress (Andante mesto) [3’30”] Original title was ‘The Intruder’ (Andante sostenuto) 3. The Palm and May (Con moto) [3’30”] Dedication: 1. ‘To Herbert S. Brown’ 2. ‘ To Alfred Chenhalls’ 3. ‘ For Harriet Cohen’ First performance: London, BBC Regional Service, 5 February 1938. John Ireland (piano) A recital of works by Ireland) Publication: Winthrop Rogers Ltd. Score © 1938 Each piece was also published separately. Also included in volume iv of The Collected Piano Works of John Ireland, Stainer & Bell © 1976 ‘The Cherry Tree’ is a slightly revised version of ‘Indian Summer’ (q.v. 1932), originally published in the Danish music journal Pro-Musica (1932) Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52891: ff. 18–19 (Intruder, later recast as Cypress) and 21 (The Palm and May) which is initialled and dated: ‘J.I. Deal, 1937’ – pencil sketch only Recordings: Desmond Wright (piano) in EMI 0946 3 52282 2 9 (2006) and EMI 352 2792 (2007) (originally recorded in 1995) Eric Parkin (piano) in Chandos CHAN 9140 (1993) Bibliography: E. Blom, ‘Green Ways’, Music and Letters, 19 (1938), 360–61 A. Hutchings, ‘New Music’, Musical Times, 79 (May 1938), 350 Notes: Each piece is prefaced by a quotation:

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No. 1: A.E. Housman, A Shropshire Lad No. 2: William Shakespeare, Twelfth Night, act ii, scene iv No. 3: Thomas Nashe, The Palm and May make country houses gay 1938 TRIO [No. 3] in E minor-major For violin, cello, and piano 1. 2. 3. 4.

Allegro moderato Scherzo: Vivace Andante cantabile Finale: Con moto

Dedication: ‘To William Walton’ Duration: 26’00” First performance: London, BBC Studios (Broadcasting House), 4 April 1938. Antonio Brosa (violin), Antoni Sala (cello) and John Ireland (piano) (Broadcast by the BBC in the Regional Programme) First concert performance: London, Boosey & Hawkes Music Room (Regent Street), 20 June 1938. (An ISCM Festival Concert) Frederick Grinke (violin), Florence Hooton (cello) and John Ireland (piano) Publication: Hawkes & Co. Ltd. Score © 1938 Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52886: autograph score (imperfect): ff. 1–19 only. Also included are the proof sheets corrected by Ireland. The fourth movement is marked: ‘March 1938’ Recordings: L. Mordkovitch (violin), K. Georgian (cello) and I. Brown (piano) in Chandos CHAN 9377/8 (1995) Bibliography: A.Robertson, ‘Trio 3: Prefatory Essay and Analytical Notes’ (London, Decca (for the recording), 1939) Anon., ‘Modern Music’, The Times, 22 June 1938, 14 M.M.S., ‘London Concerts’, Musical Times, 79 (July 1938), 536–537 F. Bonavia, ‘New Music: Chamber Music’, Musical Times, 80 (February 1939), 105 W. McNaught, ‘Fantasy Trio: Gramophone Notes’ Musical Times, 80 (March 1939), 198–200 R. Hill, ‘Integrity in Music’, Radio Times, 18 September 1942, 4 A. Robertson, ‘Ireland’, Gramophone, 17 (September 1939), 159

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Notes: This trio is based on a Trio of 1915, which in turn used material from a Trio for violin, clarinet and piano, written in 1912–13. It was completely rewritten with the exception of the Scherzo FIVE SIXTEENTH-CENTURY POEMS For voice and piano 1. A Thanksgiving (With impulse and warmth), from William Cornysh, in XX Songes (1530) [1’30”] 2. All in a Garden Green (Leisurely and smooth), from Thomas Howell or Richard Edwardes, in A Paradyse of Daynty Devises (1576) [1’47”] 3. An Aside (Light and lively), from Anon., temp. Henry VIII; Harley MS 7578 [1’21”] 4. A Report Song (Liltingly), from Nicholas Breton, in England’s Helicon (1600) [1’52”] 5. The Sweet Reason (With movement, but not fast), from Richard Edwardes, in A Paradyse of Daynty Devises (1576) (in the manuscript, this movement is marked ‘with lilt’) [2’48”] Dedication: [‘To George Parker’] First performance: London, Wigmore Hall, 31 October 1938. George Parker (baritone) and Norman Franklin (piano) First broadcast performance: London, BBC National Programme, 6 March 1939. George Parker (baritone) and John Ireland (piano) Publication: Hawkes & Co. Ltd. Vocal score © 1938 Copyright assigned to the John Ireland Trust in 1974 and reissued by Braydeston Press (Norwich in 1975) Also included in volume iii of The Complete Works for Voice and Piano, Stainer & Bell © 1981 Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52899, ff. 29–49 No. 2 is titled ‘The Red Rose’ and no. 3 ‘These Women’. Recordings: C. Maltman (baritone) and G. Johnson (piano) in Hyperion CDA 67262 (1999) Bibliography: Anon., ‘Concerts: John Ireland’s Songs’, The Times, 5 November 1938, 8 J.A.W., ‘John Ireland’s Sings’, Radio Times, 3 March 1939, 13 A. Hutchings, ‘New Music – Vocal Music’, Musical Times, 80 (August 1939), 600–605

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1938–1939 CONCERTINO PASTORALE For string orchestra 1. Eclogue (Sostenuto) 2. Threnody (Lento espressivo) 3. Toccata (Allegro molto ma non troppo presto) Commissioned by: According to John Ireland, the work was not commissioned but had been requested by Boyd Neel who conducted the first performance at the 1939 Canterbury Festival Violins I and II, violas, cellos, and double basses Dedication: ‘For Boyd Neel, Canterbury, 1939’ Duration: 19’52” First performance: Canterbury, cloisters of the Cathedral Church of Christ, 14 June 1939. The Boyd Neel String Orchestra (leader: Frederick Grinke), conducted by Boyd Neel (Broadcast by the BBC in the National Programme) First London performance: Queen’s Hall, 18 August 1939. Strings of the BBC Symphony Orchestra, conducted by Henry J. Wood. (A Henry Wood Promenade Concert) Other early performances: BBC Radio on 7 November 1939 by Boyd Neel and his String Orchestra Publication: Hawkes & Co. Ltd. Score © 1939 Miniature score © 1942 (Hawkes Pocket Scores no. 30) It is initialled and dated: ‘J.I. Deal, 1939’ Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52876: full score in pencil It is initialled and dated: ‘J.I. May 1939’ Pencil sketches of ‘Toccata’ are also included in BL Add. MS 52900 Recordings: City of London Sinfonia/R. Hickox in Chandos CHAN 9376 (1995) London Philharmonic Orchestra/Adrian Boult in Lyrita SRCD 242 (2007) (a re-issue of Lyrita SRCS 31) Bibliography: D.M.C., Programme notes for the first performance F. Bonavia, ‘New Music’, Musical Times, 80 (September 1939), 660 W. McNaught, ‘The Promenade Concerts’, Musical Times, 80 (September 1939), 680–81 W. R. Anderson, ‘Ireland’, Gramophone, 17 (May 1940), 416–417

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W. McNaught, ‘Gramophone Notes: Decca’, Musical Times, 81 (June 1940), 271 Notes: Serenade for Strings has been used as an alternative title. In April 1939 Ireland told Kenneth Thompson that he was ‘having a hellish time trying to concoct a suite for string orchestra, with no ideas at all’.

Other Version The Vagabonds See under Mai-Dun (1921) for full details 1940 MISSA SANCTI St.EPHANI (in THE DORIAN MODE) For 4-part unaccompanied chorus (SATB) Kyrie (I) Responses to the Commandments (III) Sanctus and Benedictus (IV) Agnus Dei Gloria Dedication: ‘To Father Kenneth Thompson’ Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52900, ff. 4–7 Notes: It is unlikely that this Mass was ever completed: there is no Credo. It was written in 1940 when Ireland was organist at St. Stephen’s Church, Guernsey Other Version Missa Brevis (St Stephen’s Mass) For unaccompanied mixed chorus, completed and edited by Geoffrey Bush (1991) I A. I B. II. III. IV.

Kyrie Eleison (Comodo: senza rigole) Lord have mercy (Comodo: senza rigole) Sanctus and Benedictus (Molto moderate e sostenuto) Agnus Dei (Molto moderate e sostenuto) Gloria (Comodo: senza rigole)

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First performance: unable to trace Publication: Braydeston Press Ltd. Vocal score © 1993 1940–1941 SARNIA: AN ISLAND SEQUENCE For solo piano 1. Le Catioroc (Quasi lento) 2. In a May Morning (Con moto moderato) 3. Song of the Springtides (Allegro comodo) Dedication: 1. ‘to Alfred Sebire’ 2. ‘To Michael in Guernsey’ [i.e. Michael Rayson] 3. ‘To Mrs Mignot’ Duration: c.20’00” First performance: London, Wigmore Hall, 29 November 1941. Clifford Curzon (piano) First broadcast performance: BBC, Bedford Studios, 14 December 1941. Clifford Curzon (piano) Publication: Winthrop Rogers Ltd. Score © 1941 Also included in volume iv of The Collected Piano Works of John Ireland, Stainer & Bell © 1976 Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52891, ff. 23–49. Contains engraver’s markings. Each is dated as follows: 1. ‘Fort Saumarez, L’Erée, 1940’ 2. ‘Birnam Court, St. Peter Port, May 1940’ 3. ‘J.I. April 1940–March 1941’ Recordings: Daniel Adni (piano) in EMI 0946 3 52280 2 1 (2006) (originally recorded in 1979) Eric Parkin (piano) in Chandos CHAN 9250 (1995) Bibliography: Anon., ‘Modern Chamber Music’ The Times, 2 December 1941, 6 R. Hill, ‘Radio Music: An Island Sequence’, Radio Times, 12 December 1941, 5 F. Bonavia, ‘Boosey and Hawkes Concerts’, Musical Times, 83 (February 1942), 62 E. Markham Lee, ‘John Ireland’s Sarnia’, Musical Opinion, 65 (April 1942), 231–232 Anon., ‘Sarnia’, Monthly Musical Record, 72 (May 1942), 89 M. Richards, ‘Le Catioroc’, Avalaunius, 16 (Summer 1997), 33–36 (Journal of the Arthur Machen Society)

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Notes: Each movement is prefaced by a quotation: ‘La Catioroc’ by a Latin quotation from De situ orbis (copy given to Ireland by Arthur Machen) by the Roman geographer Pomponius Mela (c.AD 50) (f. 26) ‘In a May Morning’ by a passage from Victor Hugo’s Les Travailleurs de la Mer (The Toilers of the Sea) (f. 32) ‘Song of the Springtides’ by a quotation from Swinburne’s Thalassius (f. 39) 1941 MORNING SERVICE in C MAJOR For mixed chorus (SATB) and organ Text from The Book of Common Prayer Te Deum Laudamus (With dignity and easy movement) Benedictus (With moderate movement) Jubilate Deo (Bright but not fast) Dedication: Te Deum only: ‘To Martin Shaw’ First performance: unable to trace Publication: Novello & Co. Ltd. Vocal score © 1941 Te Deum: PCB 1247; Benedictus: PCB 1248; Jubilate Deo: PCB 1249 Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52894, ff. 23–30 – Te Deum only It is initialled and dated: ‘J.I. Banbury, February 1941’ Fragments of the Jubilate Deo also in BL Add. MS 52901D Bibliography: Anon., ‘New Music – Church Music’, Musical Times, 83 (January 1942), 19 RIDE A COCK-HORSE Unison song for equal voices and piano Text from the nursery rhyme First performance: unable to trace Unpublished Manuscript: Manuscript Collections, The British Library (Reference Division), MS 52896, ff. 1–2 It is initialled and dated: ‘J.I. Banbury 6 February 1941’

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EVENING SERVICE in C MAJOR For mixed chorus (SATB) and organ Text from The Book of Common Prayer Magnificat (With stately movement) Nunc Dimittis (Grave and sustained) Dedication: ‘To the Rev. E. Howard Muncey, M.A. Precentor of Gloucester Cathedral’ First performance: unable to trace Publication: Novello & Co. Ltd. Vocal score © 1941 (PCB 1252) Manuscript: Fragments of the Nunc Dimittis in British Library Add. MS 52901D and sketches in Add. MS 52901B, ff. 2–4 NINEFOLD KYRIE in A MINOR For mixed chorus (SATB) and organ (optional) First performance: unable to trace Publication: Novello & Co. Ltd. Vocal score © 1941 (PCB 1246) It was intended for use with the Communion Service in C Manuscript: whereabouts unknown O HAPPY LAND Song for voice and piano Text by W.J. Linton (1812–1898) Duration: 2’30” First performance: Bedford, BBC Studios, 18 April 1941. William Parsons (baritone) and John Ireland (piano) (Broadcast in the BBC’s Home Service) Publication: Winthrop Rogers Ltd. Vocal score © 1941 Manuscript: whereabouts unknown Other Version O Happy Land Arranged as a unison song for equal voices and piano or string orchestra [1941] Violins I and II, violas, cellos, and double basses

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First performance: Bedford, BBC Studios, 8 February 1942. The BBC Chorus and BBC Orchestra (Section A), conducted by Adrian Boult. Publication: Winthrop Rogers Ltd. Vocal score © 1941 (Winthrop Rogers Edition Festival Series of Choral Music) Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52896, ff. 10–11. 2 versions: with piano or string orchestra, ff. 12–14. It is initialled and dated: ‘J.I. Banbury, July 1941’ BOYS’ NAMES Unison song for equal voices and piano Text by Eleanor Farjeon (1881–1966), from Over the Garden Wall Dedication: ‘To Peter Lihou’ [Peter Letson in a letter to Kenneth Thompson dated 8 March 1943. He was one of Ireland’s choirboys in Guernsey] First performance: unable to trace Publication: J. Curwen & Co. Ltd. Vocal score © 1942 (Choruses of Equal Voices no. 2089) Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52896, ff. 5–7 with piano accompaniment (2 versions: in A flat and A major, ff. 8–9). It is initialled and dated: ‘J.I. July 1941’. Sketches in BL Add. MS 52901B, ff. 7–5 (reversed) with Here be Naked Boys as the title THREE PASTELS For solo piano 1. A Grecian Lad (Poco andante) [3’00”] 2. The Boy Bishop (Calmato e semplice sempre) [4’00”] 3. Puck’s Birthday (Vivace e brioso) [1’45”] Dedication: ‘to [Evlyn] Howard-Jones for whom they were originally written in his student days’ First performance: Bedford, BBC Studios, 8 March 1942. John Ireland (piano) (Broadcast in the BBC Home Service) Publication: Augener & Co. Ltd. Score © 1941 Also included in volume iv of The Collected Piano Works of John Ireland, Stainer & Bell © 1976

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Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52891, ff. 51–65 No. 1 is initialled and dated: ‘J.I. 1941’. There is also a note at the end of the music (f. 55b) which states that the piece was rewritten from an early manuscript (c.1906). Similarly nos. 2 and 3 are initialled and dated: ‘J.I. August 1941’. Contains engraver’s markings. Recordings: Desmond Wright (piano) in EMI 0946 3 52282 2 9 (2006) (originally recorded in 1995) Eric Parkin (piano) in Chandos CHAN 9250 (1995) Bibliography: Anon., ‘Three Pastels’, Monthly Musical Record, 72 (January 1942), 17 R. Hill, ‘Radio Music: Three Pastels’, Radio Times, 6 March 1942, 5 W.R. Anderson, ‘Round the Regions’, Musical Times, 83 (April 1942), 117–9 G. Beechey, ‘The Ceremony of the Boy Bishop’, Musical Opinion, 103 (September 1980), 486 Notes: Each piece is prefaced by a quotation: No. 1: A.E. Housman, A Shropshire Lad. Ireland originally intended to call this piece ‘Hyacinthus’ No. 2: Psalm 45 and a note from Brand’s Observations on Popular Antiquities No. 3: William Shakespeare, A Midsummer Night’s Dream A NEW YEAR CAROL For mixed chorus (SATB) and piano Text: traditional from an anthology by W.H.Auden Duration: 0’55” First performance: Bedford, BBC Studios, 29 December 1941. The BBC Singers, conducted by Trevor Harvey (Broadcast in the BBC’s Home Service) Publication: Winthrop Rogers & Co. Ltd. Vocal score © 1942 Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52895, ff. 7–10. It is dated ‘All Souls Day, 1941’ Other Version A New Year Carol Arranged for 2-part (SA) chorus or as a unison song for equal voices and piano Date of arrangement: 1941

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First performance: unable to trace Publication: Winthrop Rogers Ltd. Vocal score © 1942 (Winthrop Rogers Edition Carol Series) 1941–1942 EPIC MARCH For full orchestra Commissioned by: The BBC 2+1.2.2.2/4.2.3.1/timp/percussion (2)/organ/strings Duration: 9’08” (The composer authorized cuts: from 13 (p. 20 of the full score) to 15 (on p. 23), and from the last bar on p. 35 to the second bar on p. 42) First performance: London, Royal Albert Hall, 27 June 1942. The London Philharmonic Orchestra (leader: Jean Pougnet) and Berkeley Mason (organ), conducted by Henry J. Wood (Broadcast by the BBC in the Home Service) Publication: Hawkes & Co. Ltd. Full score © 1942 Miniature score [© 1943] (Hawkes Pocket Score no. 55) It is initialled and dated: ‘J.I. March 1942’ Manuscript: whereabouts unknown. There is a sketch in the BBC Written Archives at Caversham Recordings: London Symphony Orchestra/Richard Hickox in Chandos CHAN 8879 (1990) London Philharmonic Orchestra/Adrian Boult in Lyrita SRCD 240 (2007) (a re-issue of Lyrita SRCS 31) Bibliography: J. Ireland, Programme note for the first performance W. McNaught, ‘Promenade Concerts’, Musical Times, 83 (June 1942), 222–223 (Described as ‘cheerful, tuneful and spectacular’) R. Hill, ‘Heroic Music’, Radio Times, 19 June 1942, 4 Anon., ‘The Promenade Concerts’, The Times, 29 June 1942, 6 H.G., ‘New Music – Full Scores’, Musical Times, 84 (June 1943), 179 D. Denton, ‘Ireland’, Music Magazine, 4 (February 1991), 54 Notes: The score is prefaced by a definition of the word ‘epic’ from Nuttalls’s Standard Dictionary: ‘Concerning some heroic action or series of actions and events of deep and lasting significance in the history of a nation or a race’.

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Other Versions Epic March Arranged for symphonic wind band by Geoffrey Brand [1989] Instrumentation: 2 concert flutes and piccolo, 2 oboes, E flat clarinet, solo B flat clarinet, 3 B flat clarinets, E flat alto clarinet, B flat bass clarinet, E flat alto saxophone, B flat tenor saxophone, E flat baritone saxophone, B flat bass saxaphone and B flat contrabass clarinet, 2 bass, 4 horns in F, solo and first B flat cornet, 2nd B flat cornet, 2 B flat trumpets, 2 tenor trombones, bass trombone, euphonium (baritone), basses, string bass, timpani, and percussion First performance: unable to trace Publication: R. Smith & Co. Ltd. Full score © 1990 Epic March Arranged for solo piano by the composer [1942] Publication: Hawkes & Co. Ltd. Score © 1942 Manuscript: whereabouts unknown Epic March Arranged for organ by Robert Gower [1988] Publication: Hawkes & Co. Ltd. Score © 1988. Included in Processionals for Organ, Novello & Co. Ltd. © 1988 1942 THE BOY Unison song for equal voices and piano Text by Eleanor Farjeon (1881–1966) First performance: unable to trace Publication: J. Curwen & Co. Ltd. Vocal score © 1942 Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52896, ff. 3–4 THE BELL IN THE LEAVES Unison song for equal voices and piano Text by Eleanor Farjeon (1881–1966)

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First performance: unable to trace Publication: Winthrop Rogers Ltd. Vocal score © 1942 Manuscript: whereabouts unknown JOSEPH FELL A-DREAMING Unison song for equal voices and piano Text by Eleanor Farjeon (1881–1966) Dedication: ‘To my friend Thomas Dunhill’ First performance: unable to trace Publication: J. Curwen & Co. Ltd. Vocal score © 1949 (Choruses for Equal Voices no. 2092) Manuscript: whereabouts unknown LOOKING ON Unison song for equal voices and piano Text by Eleanor Farjeon (1881–1966) Dedication: ‘For John Longmire’ First performance: unable to trace J. Curwen & Co. Ltd. Vocal score © 1949 (Choruses for Equal Voices no. 2092) Manuscript: whereabouts unknown IMMORTALITY Song for unaccompanied mixed chorus (SATB) Sonnet by Henry P. Crompton Dedication: ‘To Leslie Woodgate and the BBC Chorus’ Duration: 3’45” First performance: Bedford, BBC Studios, 22 February 1943. The BBC Chorus, conducted by Leslie Woodgate (Broadcast in the BBC’s Home Service) Publication: Winthrop Rogers & Co. Ltd. Vocal score © 1942 (part of the Winthrop Rogers Edition of Choral Music for Festivals) Manuscript: whereabouts unknown Bibliography: W.R. Anderson, ‘New Music: Choral Music’, Musical Times, 84 (October 1943), 310 JULIUS CAESAR Incidental music for the play by William Shakespeare (1564–1616)

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Date of composition: 1942 Commissioned by: The BBC Music written for the following: (1) Opening Fanfare; (2) Overture (Serioso); (3) Fanfare: Caesar’s Ceremonial Trumpets; (4) Lupercalia Music (Animato); (5) Entr’acte: Storm Music; (6) Caesar’s Triumphant March (Alla Marcia); (7) Caesar’s Trumpets (Bold); (8) Short Tragic March (Solemn); (9) Entr’acte II; (10) Military March; (11) Brutus’ Theme; (12) Cassius’ Theme (with mute); (13) Lucius’ Song; (13A: Lucius’ music was omitted); (14 and 14A) Ghost Music (Poco lento); (15) Brutus’ and Cassius’ Music; (16) Military March (as 10); (17) Brutus’ and Cassius’ Music (as 15); (18) [Battle Music] – see notes below; (19) Funeral March (Solemn) 2+1.2+1.2+1.2/3.3.3.1,bass tuba,bass/timp/percussion (2)/piano (in no. 4 only) First performance: London, Broadcasting House, 28 September 1942. Broadcast in the BBC’s Home Service at 20.00 hours Music played by 24 players of the Royal Artillery Band, Woolwich, conducted by Charles Groves. Cast included Marius Goring, Eric Portman, and Valentine Dyall Unpublished Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52880. Cues and directions are shown in red ink. The score is initialled and dated: ‘J.I. 12 September 1942’ Ireland’s attempts at the Battle Music can also be found in BL Add. MS 52900, ff. 45–46. Part (0’45”) of Honegger’s music to The Tempest (on record) was substituted for Ireland’s Battle Music in the broadcast Notes: In a letter to John Longmire, dated 11 September 1942, Ireland wrote: ‘I suddenly got saddled with the job of writing incidental orchestral music for a BBC production of “Julius Caesar” and the score has to be delivered in 10 days … I have to orchestrate 19 numbers. Some of these.are quite short but others are not so short.’ Other Version Scherzo and Cortege on themes from Julius Caesar Arranged for orchestra by Geoffrey Bush for the Lyrita recording [1970] 2+1.2+1.2+1.2/3.2.3.1/timp/percussion (2) and 2 or more double basses

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Duration: 6’30” First performance: Walthamstow, Town Hall, 18 February 1970. The London Philharmonic Orchestra, conducted by Adrian Boult (The recording session for Lyrita SRCS 45) Publication: Boosey & Hawkes Ltd. Score [© 1971] (Hawkes Pocket Scores no. 867) Recordings: London Symphony Orchestra/Richard Hickox in CHAN 8994 (1991) London Philharmonic Orchestra/Adrian Boult in Lyrita SRCD 240 (2007) (a re-issue of SRCS 45) Bibliography: M. Jameson, ‘Ireland: Orchestral Works’, Gramophone 69 (February (1992), 35–36 1943 FANTASY SONATA For clarinet (in B flat) and piano Dedication: ‘For Frederick Thurston’ Duration: c.15’00” First performance: London, Wigmore Hall, 29 January 1944. Frederick Thurston (clarinet) and Kendall Taylor (piano) First broadcast performance: BBC, Bedford Studios, 6 February 1944. Frederick Thurston (clarinet) and John Ireland (piano) (A BBC Chamber Music Concert) Publication: Hawkes & Sons Ltd. Score © 1945 The printed copy is initialled and dated: ‘J.I. June–December 1943’ Manuscript: whereabouts unknown Recordings: G. de Peyer (cl) and G. Pryor (piano) in Chandos CHAN 9377/8 (1995) Bibliography: Anon., ‘Boosey and Hawkes Concert’, The Times, 1 February 1944, 8 R. Hill, ‘Clarinet and Harp: New Clarinet Sonata’, Radio Times, 4 February 1944, 4 Anon., ‘John Ireland’, Tempo, no. 6 (1944), 20 S. Goddard, ‘John Ireland’s Fantasy Sonata for Clarinet and Piano’, Tempo, no. 8 (September 1944), 6–9 Anon., ‘Wigmore Hall Concert’, The Times, 11 October 1944, 6

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1944 EX ORE INNOCENTIUM Motet for 2-part treble voices (SA) and piano (or organ) Text by Bishop W.W. How Commissioned by: Sir Sydney H. Nicholson Dedication: ‘To Sir Sydney H. Nicholson’ Duration: 3’35” First performance: Durham, Cathedral Church of Christ and Blessed Mary the Virgin, 18 August 1944. The School of English Church Music Cathedral Course choir, conducted by Sydney Nicholson Publication: Winthrop Rogers & Co. Ltd. Vocal score © 1944 Manuscript: Manuscript Collections, The British Library (Reference Division), MS 52894 (2 versions: motet with organ, ff. 33–34 or piano accompaniment ff. 31–32). It is initialled and dated: ‘J.I. June 1944’ Sketches can also be found in BL Add. MS 52900, Add. MS 52901B, Add. MS 52901D Recordings: Lichfield Cathedral Choir/A. Lumsden in Lammas LAMM 1050 (1998) 1946 SATYRICON Overture for orchestra (after Petronius) Commissioned by: The BBC 2+1.2.2.2/4.2.2+1.1/timp/perc(2)/harp/strings Dedication: ‘To Julian and Anna’ [Herbage] Duration: 12’57” First performance: London, Royal Albert Hall, 11 September 1946. The BBC Symphony Orchestra, conducted by Constant Lambert Repeated at the Winter Promenade Concerts: London, Royal Albert Hall, 6 January 1947. The BBC Symphony Orchestra, conducted by Basil Cameron Publication: J. Williams & Co. Ltd. Full score © 1949 Miniature score © 1950 (Williams’ Music Scores no. 1) Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52877 It is initialled and dated: ‘J.I. 19 August 1946’

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Recordings: London Symphony Orchestra/Richard Hickox in CHAN 8994 (1991) London Philharmonic Orchestra/Adrian Boult in Lyrita SRCD 241 (2007) (a re-issue of Lyrita SRCS 32) Bibliography: J. Ireland, Programme notes for the first performance W. McNaught, ‘London Concerts’, Musical Times, 87 (October 1946), 316 W. McNaught, ‘London Concerts’, Musical Times, 88 (February 1947), 70 R. Layton, ‘John Ireland: Overture – Satyricon’, Musical Survey, 2 (Autumn 1949), 105 Anon., ‘Satyricon’, Strad, 60 (September 1949), 156 Anon., ‘Orchestral’, Monthly Musical Record, 79 (November 1949), 246 Anon., ‘Satyricon’, Musical Opinion, 74 (March 1951), 281 I. Keys, ‘Overture: Satyricon’, Music and Letters, 32 (April 1951), 194. H. Rutland, ‘Reviews of Music’, Music Review, 12 (August 1951), 241– 242 Notes: The score is prefaced by a quote from Burnaby’s translation of the Satyricon of T. Petronius Arbiter THE OVERLANDERS Music for the film Ealing Studios. Producer: Michael Balcon. Director: Harry Watt Music composed for the following episodes: Main Titles (Allegro maestoso); Scorched Earth; Departure of Ship (Malincolico); Roll Up (start of trek); Open Country (Broad and noble); Start of Trek; River Crossing (horses); A (Lento); Cattle in River: C (Comodo); Cart Music (Whimsically); Cheer up tune (based on the music of no. 4) (all orchestrated by Ernest Irving); Catching the Brumbies; Breaking the Brumbies (orchestrated by Alan Rawsthorne); Love Theme (Andantino, con sentimento); Night Stampede (Allegro marcato); Finding Sailor (Moderato); Cart Music (orchestrated by Irving); Mountain Crossing (Moderate); Water Stampede (Slow) (orchestrated by Irving and Roy Douglas); End Titles 2+1.2+1.2+1.2/4.2.cornet.3.1/timp/percussion (3)/piano/harp/strings Duration of film: 91’00” Film first shown: Trade shown 19 September 1946: London, Odeon Theatre, Leicester Square. General release c.3 October 1946.

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Music played by the Philharmonia Orchestra, conducted by Ernest Irving The film, starring Chips Rafferty, describes how a group of north Australian Herdsmen, finding themselves and their cattle threatened during World War II by the prospect of a Japanese invasion, trekked across mountains, rivers and deserts to safety hundreds of miles further south Manuscript: Manuscript Collections, The British Library (Reference Division), MS 52881 A fragment can also be found in BL Add. MS 52900 Bibliography: S. Goddard, ‘Music for the Film’, Penguin Music Magazine, 3 (September 1947), 64–66 E. Irving, ‘The Overlanders’, Tempo, no. 2 (1946), 27 Other Version The Overlanders Suite for orchestra, selected and edited from the film by Charles Mackerras [1965] 1. March: Scorched Earth (Allegro maestoso) (consisting of the Main Titles and Scorched Earth music) 2. Romance: Mary and the Sailor (Andante) (Love theme) 3. Intermezzo: Open Country (Allegretto amabile) (Open Country 4. Scherzo: Brumbies (Allegro vivace) (Catching the Brumbies) 5. Finale: Night Stampede (Allegro marcato) (Night Stampede) 2+1.2+1.2.2/4.3+cornet.3.1/timp/percussion (3)/harp/strings Duration: c. 22’00” (5’ 24”; 4’ 20”; 3’ 30”; 4’ 14”; 3’ 54”). Publication: Boosey & Hawkes Ltd. Full score © 1971 Miniature score [© 1971] (Hawkes Pocket Scores no. 869) The March (no. 1) was also published separately Recordings: London Symphony Orchestra/Richard Hickox in Chandos CHAN 8994 (1991) London Philharmonic Orchestra/Adrian Boult in Lyrita SRCD 242 (2007) (a re-issue of Lyrita SRCS 45) Two Symphonic Studies For orchestra, arranged by Geoffrey Bush from material taken from unpublished sections of the film for the Lyrita recording [1969]

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1. Fugue (Pesante) 2. Toccata (Lento) Commissioned by: Norah Kirby and the John Ireland Trust, to whom it is dedicated 2.2.2.2/4.3.3.1/timp/percussion (2)/strings Duration: 10’–11’ First performance: Walthamstow, Town Hall, 18 February 1970. The London Philharmonic Orchestra, conducted by Adrian Boult (The recording session for Lyrita SRCS 45) Publication: Boosey & Hawkes Ltd. Full score © 1971 (Hawkes Pocket Scores no. 868) Recordings: London Philharmonic Orchestra/Adrian Boult in Lyrita SRCD 241 (2007) (a re-issue of Lyrita SRCS 45) 1947 MAN IN HIS LABOUR REJOICETH Choral song for mixed chorus (SATB) and brass band Text by Robert Bridges (1844–1930), from A Hymn of Nature Commissioned by: The Daily Herald in co-operation with the National Coal Board Instrumentation: Solo cornet in B flat, soprano in E flat, (ripieno flugelhorn in B flat), 2nd and 3rd cornets in B flat, solo horn in E flat, 1st and 2nd horn in E flat, 1st and 2nd baritones in B flat, 1st and 2nd trombones in B flat, bass trombone, euphonium in B flat and B flat basses, drums, and percussion Dedication: ‘To the Mineworkers of Britain’ Duration: 2’45” First performance: London, Harringay Arena, 1 May 1948. Choirs conducted by Leslie Woodgate and bands conducted by Adrian Boult Publication: J. Williams & Co. Ltd. Vocal score © 1947 (St. Cecilia Series 26 no. 16) Manuscript: whereabouts unknown Bibliography: Anon., ‘Colliery Music Festival’, Coal (January 1948), 13 Anon., ‘Folk Dancers at Pit Festival’, The Daily Herald, 3 May 1948, 3 Anon., ‘National Colliery Music Festival’, Colliery Guardian, 7 May 1948, 636

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W.M. Harman, ‘Harringay Impressed the Experts’, Coal (June 1948), 20–21 SAMPFORD Hymn tune for mixed chorus (SATB) and organ Text (‘Christ the Lord is risen today’) by Jane E. Leeson Written for Hymns Ancient and Modern Revised Commissioned by: Sir Sydney Nicholson (editor of Hymns Ancient and Modern) Publication: William Clowes & Sons © 1950 Manuscript: whereabouts unknown 1949 IMPROMPTU For solo piano Dedication: ‘for Tania Rose, May 20th 1949’ Duration: 3’20” First performance: unable to trace Unpublished Manuscript: Manuscript Collections, The British Library (Reference Division), Music Deposit 2006/10; Another copy: Add. MS 52891, ff. 67–72; dated ‘May 1949’ Notes: In a letter to me (dated 12 May 2006) Dr. Nicolas Bell (Curator, Music Collections at the British Library), writes that, in a letter from Ireland to Tania Rose (dated 20 May 1949), it is ‘… clear that Ireland was unhappy with his original title of “Impromptu”. In fact, of the two manuscripts of this piece in the Library, the first …did not originally have any title, but later had the title “Columbine” written on it by Mrs Kirby, probably after Ireland’s death, when she sorted through the manuscripts prior to presenting them to the Library. The music in this version is identical to this manuscript, but has pencil annotations of changes at certain points. In 1951 Ireland wrote the piece out again, incorporating these pencil revisions, and at that point gave the work the title “Columbine”, under which it was published two years later.’

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Revised Version COLUMBINE Publication: The British and Continental Music Agencies Ltd. Score © 1951 (Also included in Down the Centuries, an anthology of piano pieces, ed. Leonard Isaacs, 1953, pp. 20–24.) and in volume iv of The Collected Piano Works of John Ireland, Stainer & Bell © 1976 Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52891, ff. 73–78. Contains engraver’s markings and fingering in pencil Recordings: Daniel Adni (piano) in EMI 0946 3 52280 2 1 (2006) (originally recorded in 1979) Notes: In a letter to Colin Scott-Sutherland, dated 3 December 1979, Alan Bush wrote: ‘The beautiful last piano composition, or should I say, the last composition of Ireland’s, “Columbine”, was composed in 1949. Except for the doyenne Mrs Norah Kirby, I am probably the only living person who ever heard Ireland play this piece. It is published, unfortunately as I think, in a bowdlerised version, playable by teenagers, but not in his original version, from which I play it, the copy “being a photostat of the original manuscript”.’ 1952 PIECE FOR OBOE AND PIANO Unpublished Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52901E. These incomplete sketches were for a combination of instruments for which Ireland never published any music. He was said to be working on the piece as early as October 1952, and had these forces in mind when endeavouring to compose a work for Evelyn Rothwell (Lady Barbirolli) to play at a recital in February 1953 but found them uncongenial. 1953 THE HILLS Song for unaccompanied mixed chorus (SATB) Text by James Kirkup (1923– )

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Commissioned by: The Arts Council of Great Britain (for the anthology A Garland for the Queen) to mark the occasion of the coronation of HM Queen Elizabeth II. Ten composers and poets were involved in the project, the other nine contributors being: Arnold Bax and Clifford Bax; Lennox Berkeley and Paul Dehn; Arthur Bliss and Henry Reed; Gerald Finzi and Edmund Blunden; Herbert Howells and Walter de la Mare; Alan Rawsthorne and Louis MacNeice; Edmund Rubbra and Chirstopher Hassall; Michael Tippett and Christopher Fry; Ralph Vaughan Williams and Ursula Wood Dedication: ‘To HM Queen Elizabeth II, by gracious permission’ Duration: 2’15” First performance: London, Royal Festival Hall, 1 June 1953. The Cambridge University Madrigal Society and the Golden Age Singers, conducted by Boris Ord Publication: Stainer & Bell Ltd. Vocal score © 1953 (composite score) © 1956 (separate vocal score) (Choral Library no. 347) Manuscript: whereabouts unknown. Dyeline copy at Add. MS 71543, ff. 6– 8; Sketches in BL Add. MS 52900; Letters for Ireland to Kirkup in Add. MS 71124H Recordings: Bristol Bach Choir/G. Jenkins in Priory PRCD 352 (1992) Bibliography: Anon., [Music for the Coronation], The Times, 25 November 1952, 11 C. Mason, ‘London Concerts’, Musical Times, 94 (July 1953), 327–28 H. Keller, ‘The Half-Year’s New Music’, Music Review, 14 (1953), 209–219 A. Robertson, ‘A Garland for the Queen’, Gramophone, 31 (November 1953), 203 Notes: The commission came in a letter from John Denison at the Arts Council, dated 29 October 1952 1956 ADAM LAY YBOUNDEN Carol for unaccompanied mixed chorus (SATB) Text from a fifteenth-century manuscript Duration: 1’27” First performance: unable to trace Publication: E. H. Freeman & Co. Ltd. (Brighton). Vocal score © 1956 (University Part Songs and Anthems no. 115) Manuscript: whereabouts unknown

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1958 PSALM 23 Unaccompanied setting (omitting verse 5) for unaccompanied baritone Text from The Book of Common Prayer (omitting verse 5) Dedication: For George Parker First performance: unable to trace Unpublished Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 71543, ff. 1–2 It is initialled and dated: ‘J.I. 1958 A.M.D.G.’. Mention of the piece can also be found in Ireland’s notebooks (Manuscript Collections, British Library, Add. MS 52901A, ff. 3–4) MEDITATION ON JOHN KEBLE’S ROGATION HYMN For organ Commissioned by: H.W. Gray Co. (New York) Duration: 7’ First performance: unable to trace Publication: B. Feldman & Co. Ltd. (E.H. Freeman, Brighton). Score © 1959. Also included in The Organ Music of John Ireland (ed. Robert Gower), Novello © 1983 Manuscript: Manuscript Collections, The British Library (Reference Division), Add. MS 52891, ff. 80–84 It is initialled and dated: ‘J.I. 29 May 1958’ (f. 84). Contains pencil corrections and engraver’s markings Recordings: Jonathan Bielby (organ) in Priory PRCD 298 (1991) Notes: The hymn tune by John Keble (1792–1866) is ‘For Rogation: Lord, in thy name thy servants plead’ Other Version Elegiac Meditation Arranged for string orchestra by Geoffrey Bush for the Chandos recording [1982] First performance: London, Parish Church of St. Barnabas, December 1983. The English Chamber Orchestra, conducted by David Garforth (The recording session for the Chandos recording) Publication: Novello & Co. Ltd. Score © 1988

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Recordings: English Chamber Orchestra/David Garforth in Chandos ABRD 1112, ABTD 1112 (1984), CHAN 8390 (1987) Bibliography: A. Sanders, ‘Bridge/Ireland’, Gramophone, 65 (May 1987), 1546 +1550 Notes: Geoffrey Bush prefaced the score with a quotation from J.B. Priestley’s play The Linden Tree.

Supplementary List [1942] AUTUMN CROCUS Unison song for equal voices and piano Text by Eleanor Farjeon (1881–1966) First performance: unable to trace Unpublished Manuscript: whereabouts unknown

Personalia

Walter Alcock (1861–1947) English organist and composer to HM’s Chapels Royal, 1902–16. Studied with Sullivan and Stainer. Doctor of Music (Durham) 1905. Assistant organist to Sir Frederick Bridge at Westminster Abbey, 1896–1916. Professor of organ at the RCM from 1893 to 1916. Played at the coronations of King Edward VII (1902) and King George V (1911). Assisted at the coronation of King George VI (1937). John Stuart Archer (1866–1953) English organist and composer. Assistant organist at St. Luke’s, Chelsea and organist at Buckhurst Hill and Wimbledon from November 1906. He often featured Ireland’s organ works in his recitals, for example in May 1910 when he played Elegiac Romance at St. Sepulchre’s Church in Holborn. Villanella (in its revised form) is dedicated to him. Henry L. Balfour (1859–1946) English organist and choral conductor. Studied under Sullivan and Stainer, and later in Leipzig. Appointed as organist to the Royal Choral Society in 1895. In 1902 became organist at Holy Trinity, Sloane Street. Capriccio for organ is dedicated to him. Arnold Bax (1883–1953) English composer and pianist. Master of the King’s Music from 1942 to 1953. Studied at the Royal Academy of Music under Corder and Matthay. Lionel Seymour Benson (1849–1929) Amateur conductor and musician. He founded the Magpie Madrigal Society in 1886 to give charity concerts. It was renamed the Elizabethan Madrigal Society in 1911. Spring, the Sweet Spring is dedicated to him and members of the Society.

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Percy Bentham (1883–1936) A sculptor and friend of Ireland’s who died tragically in a London heatwave when poison from a cheap Japanese imitation of a Panama hat was absorbed into his skin. Among his principal works were the Harbour Board Offices, Liverpool, a marble memorial to the 5th Earl of Harewood, two lions in bronze for Halifax, Nova Scotia, the figure of Navigation on the P&O Offices, London, and a bronze memorial to Thomas Weelkes in St. Bride’s Church, London. A London Overture is dedicated to his memory. Henry E.J. Bevan (1854–1935) Archdeacon of Middlesex 1903–1930 and Rector of St Luke’s Chelsea, 1902–1930; Rector of Holy Trinity, Sloane Street, 1895–1902. The Te Deum in F (1907) is dedicated to him. Arthur Bliss (1891–1975) English composer, conductor and administrator who studied with Charles Wood at Cambridge University and Stanford at the RCM. Master of the Queen’s Music from 1953 to 1975. Adrian Boult (1889–1983) English conductor who was knighted in 1937. An admirer of Ireland’s music, he often conducted his orchestral works and recorded them. He also conducted the 70th birthday concert at the Royal Albert Hall in September 1949 which was broadcast by the BBC. Benjamin Britten (1913–1976) English composer, pianist and conductor. Pupil of Ireland at the Royal College of Music 1930–1933. Jocelyn Brooke (1908–1966) English novelist, poet and botanist. Ireland admired his work and they both corresponded. Brooke also visited Rock Mill.

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Herbert S. Brown ( ? – 1963) A solicitor whose office was at 127 High Street, Deal, opposite John Ireland’s weekend flat, and who was Ireland’s legal adviser and a gifted amateur musician. The Cherry Tree (Green Ways) is dedicated to him. Alan Bush (1900–1995) English composer, studied at the RAM and privately with Ireland. He taught at the Royal Academy from 1925. A convinced communist, he was prominent in organizing the ‘Festival of Music for the People’ in April 1939 which included a performance of These things shall be, which is dedicated to him. Geoffrey Bush (1920–1998) English composer, organist (St. Luke’s, Chelsea), teacher and writer. Pupil of Ireland’s and an Ireland Trustee. Prepared and edited various works of Ireland’s for publication. Alfred T. Chenhalls (1899–1943) Ireland’s (and Sir William Walton’s) chartered accountant (with offices in Chancery Lane) who was also an outstanding amateur pianist. In June 1943 the plane on which he (and the actor Leslie Howard) were returning to London from Lisbon was shot down by German fighters in the mistaken belief that they were killing Churchill to whom Chenhalls bore a striking resemblance. Cypress (Green Ways) is dedicated to him. Edward Clark (1888–1962) English conductor and administrator Studied in Paris, Vienna, and in Berlin with Schoenberg. Led the orchestra for Diaghilev’s London seasons (1924– 1926). Worked at the BBC in various capacities between 1923 and 1936. Elected president of the British section of the ISCM in 1947. Married to Elisabeth Lutyens. The Sonatina for piano is dedicated to him. Frederick Cliffe (1857–1931) English pianist, organist, and composer. Appointed to the piano teaching staff at the RCM in 1883 and professor at the RAM in 1901 where Ireland studied piano with him. Organist to the Bach Choir.

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Harriet Cohen (1895–1967) English pianist. Studied at the RAM and won her reputation as an exponent of early keyboard music and of modern English composers, including Bax, Vaughan Williams and Fricker. The Palm and May (Green Ways) is dedicated to her. Thomas F. Dunhill (1877–1946) English composer and writer who studied with Stanford. Contemporary of Ireland at the RCM. Wrote many songs, a symphony, and an operetta to a libretto by A.P. Herbert. Also instituted a series of concerts in 1907 for the purposes of giving performances of works by young British composers that had their first performances and then forgotten. A Cradle Song (1912) is dedicated to him. Edwin Evans (1874–1945) Writer on music and critic for the Daily Mail, the Liverpool Post, Time and Tide and the Pall Mall Gazette. President of the ISCM and Chairman of the British section. An expert on Russian composers as well as championing young English composers. Three Variations on Cadet Rousselle is dedicated to him. Cecil Forsyth (1870–1941) English viola player, composer and musicologist. Educated at Edinburgh University and at the RCM under Parry and Stanford. Played the viola in the Queen’s Hall Orchestra, and produced two comic operas at the Savoy and Aldwych Theatre. Later settled in New York. Robert (Bobby) Glassby (c.1900–1934) Son of a sculptor who lived at 14 Gunter Grove. Chorister at St. Luke’s (from 1911). He provided Ireland’s inspiration for The Holy Boy and February’s Child. John Goss (1894–1953) English baritone. Also active as a music editor. An early interpreter of songs by Warlock and other English composers. Went to live in Canada for a time, but returned to the UK.

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Trevor Harvey (1911–1989) English conductor, critic and broadcaster. Read music at Oxford where he was Heberden Organ Scholar and conducted productions at the Oxford University Opera Club. Assistant chorus master at the BBC, 1935–1942. Freelance conductor from 1946, and formed his own chamber orchestra. The choral version of The Holy Boy is dedicated to him and the BBC Singers. Ralph Hawkes (1898–1950) Senior director of publishers Boosey and Hawkes. Great musical ‘talentspotter’. Gave Benjamin Britten (Ireland’s pupil the RCM) his first publishing contract in 1936. The Maritime Overture is dedicated to him. Marjorie Hayward (1886–1953) Studied under Sauret at the RAM and under Sevþik in Prague. Professor of violin at the RAM from 1924. Best known in chamber music circles as leader of the Virtuoso String Quartet and the Marjorie Hayward String Quartet. The Bagatelle for Violin and Piano is dedicated to her. Julian L. Herbage (1904–1976) English musicologist, writer, and broadcaster. Assistant Director of Music at the BBC 1940–1946. Editor with Anna Instone, his wife, of the BBC radio programme Music Magazine from 1944 to 1973. Satyricon is dedicated to him and his wife. Evlyn Howard-Jones (1877–1951) Pianist and friend of Delius who studied in Germany. Made a speciality of Brahms’s piano music early in his career. Scholar and later teacher at the RCM. Founded the Federation of Music Clubs. In those days (1895) is dedicated to him. Herbert Hughes (1882–1937) Irish critic and composer. Studied at the RCM (1901–1904). One of the founders of the Irish Folksong Society. Music critic of The Daily Telegraph (1911–1932). Father of Patrick Hughes, composer and critic. They told me, Heraclitus is dedicated to him.

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Norah Kirby (1895–1982) Personal secretary and companion to John Ireland. Introduced to Ireland by Ralph Hill. Frederick Lamond (1868–1948) Scottish pianist and composer who studied piano with von Bulow and Liszt, and was a composer of symphonies, overtures, trios, and sonatas. He was later a professor at the Scottish National Academy of Music. He gave the first performance of the Sonata for Piano in 1920. John Longmire (1902–1986) English composer, educationist, and examiner at Trinity College of Music. Scholar and Exhibitioner, RCM from 1923. Composer of many wellknown piano albums, choral works, operettas, and school songs. Wrote a book on John Ireland, Looking on is dedicated to him. Arthur Machen (1863–1947) Welsh translator and novelist. A clerk in a London publishing house, then drifted from teaching to acting in Benson’s company (1902). Joined staff of the London Evening News in 1912. Charles Macpherson (1870–1927) Organist at St. Paul’s Cathedral 1916–1927. Professor of composition at the RAM. Composer of various works for church use. Had been a choir boy at St. Paul’s for eight years. Studied at the RAM, 1890–95, winning the Charles Lucas Medal for Composition in 1893. Succeeded Sir George Martin as organist at St. Paul’s. Greater Love is dedicated to him. Charles Markes (1900–1986) Chorister at St. Luke’s from 1908 and then Ireland’s deputy at the organ. Also a pupil of Ireland. Later corrected the proofs of Satyricon and prepared editions of the early String Quartets Arthur Miller (1905–1986) Son of a Chelsea antique dealer and chorister at St. Luke’s.

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Pedro G. Morales (1897–1938) Spanish violinist, composer, and musicologist. Studied music, philosophy, and arts at Seville University and the piano, violin, and viola at the RCM. Remained in London for most of his life. The Island Spell (Decorations) is dedicated to him. Edward H. Muncey (1886–1954) Curate of Chelsea, 1909. Assistant master at Wellington College, 1915. Headmaster of the King’s School, Gloucester, and Precentor of Gloucester Cathedral, 1930–1942. William Murdoch (1888–1942) Australian pianist who came to England at 17 and studied at the RCM. Made his reputation as a chamber music player, especially in association with Albert Sammons. Wrote a life of Chopin and a book on Brahms. Merry Andrew is dedicated to him. Sidney H. Nicholson (1875–1947) English organist and composer. Founder and Director of the Royal School of Church Music. Organist of various churches and cathedrals including Carlisle, Manchester and Westminster Abbey, 1918–1927. Composer of cantatas, church music, and light operas. Edited the 1916 supplement to Hymns Ancient and Modern. Ex ore innocentium (1944) is dedicated to him George Parker (1888–1970) English baritone. Lay clerk at Eton College and Manchester Cathedral; lay vicar at Westminster Abbey. Singing teacher. Created the part of Omar in Oscar Asche’s production of Chu Chin Chow. Five Sixteenth-Century Poems is dedicated to him. Walter Parratt (1841–1924) English organist and composer. Professor of music at Oxford (1908–1918) and organ at the RCM (1883–1923). Composer and organist at St George’s Chapel (1882–1924), Windsor. Master of the Queen/King’s Music, 1893– 1924. Susum Corda and Alla Marcia for organ are dedicated to him.

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Helen C. Perkin (1909–1996) English pianist and composer. Pupil of Ireland’s at the RCM 1926–1933, where she was awarded an Octavia Hill Travelling Scholarship to study with Webern in Vienna. Became Ireland’s protégée, amid much gossip, and a well-known exponent of Ireland’s music. However, in 1934 she married, and she and Ireland never met again. The Piano Concerto was dedicated to her, but in 1950 Ireland removed the dedication from the score. Robert Radford (1874–1933) English concert and operatic bass. Professor of singing at the RAM after 1928. Member of the Beecham and British National Opera Companies. Songs of a Wayfarer are dedicated to him. Albert Sammons (1886–1957) English violinist who was self-taught. Leader of the Beecham Orchestra, 1908–1913, and later the Philharmonic Orchestra. Also composed, and was professor of violin at the RCM. Original leader of the London String Quartet. Ireland wrote a tribute to him which appeared in the Musical Times of October 1957 and dedicated the second Sonata for Violin and Piano to him. Martin Shaw (1875–1958) English organist, composer and conductor. Studied under Stanford at the RCM. Founded the Purcell Operatic Society. Collaborated with Ralph Vaughan Williams in the musical editorship of Songs of Praise and the Oxford Book of Carols. The Te Deum in C is dedicated to him. Charles Villiers Stanford (1852–1924) Irish composer, conductor, organist and professor of composition at the RCM (1883–1924) and Cambridge University (1887–1924). Conductor of the Bach Choir (1885–1902) and the Leeds Festival (1901–1910). Arthur Symons (1865–1945) Welsh poet and critic. Travelled in France and Italy and was influenced by the French Symbolists. On the staff of the Athenaeum, Saturday Review and Academy. Editor of the Savoy. I was not sorrowful (Songs of a Wayfarer) is dedicated to him.

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Kenneth Thompson (1904–1991) Cleric and friend of the composer from the 1930s. Missa Sancti Stephani (1940) is dedicated to him. Frederick Thurston (1901–1953) English clarinet player and professor at the RCM. Made many recordings and gave the first performances of many important works for the clarinet. The Fantasy-Sonata for clarinet and piano is dedicated to him. Ralph Vaughan Williams, (1874–1958) English composer, conductor and organist. Studied at Cambridge University (1892–1895) and the RCM (1890–1892 and 1895) with Parry and Stanford. Organist at St. Barnabas’ Church, South Lambert in 1897 where it is said that Ireland deputized for him. William Walton (1902–1983) English composer. Friend of Ireland. Indeed it was Ireland who suggested in 1935 that Walton should write a brass band work as a test piece for the brass band championships. The Trio no. 3 (1938) is dedicated to him. Holburt J. Waring (1866–1953) Consulting surgeon, St. Bartholomew’s Hospital, Metropolitan Hospital, and the Royal Dental Hospital. Vice-Chancellor of London University 1922–1924, and Dean of the Faculty of Medicine. Wrote many books on medicine. A Graduation Song (1926) is dedicated to him. Henry J. Wood (1869–1944) English conductor and organist. Studied at the RAM, intending to be a composer. In 1895, appointed conductor of the Promenade concerts in London. Leslie Woodgate (1902–1961) Joined the BBC in 1929 and became chorus master. Wrote several songs, chamber music, orchestral works, and an oratorio. Immortality is dedicated to him and the BBC Chorus.

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Kenneth Wright (1899–1975) Assistant Director of Music at the BBC, 1935–1937. Helped with the formation of the BBC Symphony Orchestra in 1930. He was acting Director of Music 1946 to 1948, and later became Head of Music Programmes (TV) until 1959. A Downland Suite is dedicated to him.

General bibliography

Anderton, H.O., ‘Cameo Portraits: No. 22 – Ariel Enmeshed’, Musical Opinion and Music Trade Review, 45 (August 1922), 953–955 Anon., ‘Biography of John Ireland’, Monthly Musical Record, 45 (July 1915), 192 Anon., ‘Birthday Tribute to Dr Ireland’, The Times, 15 August 1959, 3 Anon., ‘British Music’, The Times, 18 June 1921, 8 Anon., ‘Composer of Today: John Ireland’, Music Parade, 2 no. 5 (1951), opposite p. 1 Anon., ‘Composer’s Home Invaded by Sounds from the Sand Pits’, Southern Weekly News, 6 September 1957, 8 Anon., ‘Concert of John Ireland’s works’, The Times, 18 May 1961, 17 Anon., ‘Dr. John Ireland’, Music in Education, 26 (15 September 1962), 146 Anon., ‘Dr. Ireland misses Birthday Prom’, The Times, 15 August 1959, 6 Anon., ‘Dr. Ireland Reviews his Long Career’, The Times, 3 August 1959, 10 Anon., ‘Dr John Ireland: A Composer of Solid Achievement’, The Guardian, 13 June 1962, 12 Anon., ‘Dr John Ireland: A Fastidious Composer’, The Times, 13 June 1962, 12 Anon., ‘Evangelists for Ireland’, Music and Musicians, 9 (January 1961), 20–21 Anon., ‘Finest Writer of Songs’, The Times, 9 October 1961, 16 Anon., ‘For Ireland Music’, Music and Musicians, 8 (May 1960), 23 Anon., ‘Funeral: Dr John Ireland’, The Times, 18 June 1962, 14 Anon., ‘Intimate Poetic Lyricism’, The Times, 3 October 1959, 4 Anon., ‘Ireland in the Round’, The Times, 15 October 1962, 14 Anon., ‘John Ireland’, Monthly Musical Record, 45 (July 1915), 192 Anon., ‘John Ireland’, Strad, 60 (October 1949), 163 Anon., ‘John Ireland: An Endearing Composer’, The Times, 13 August 1954, 9 Anon., ‘John Ireland Memorial Concert’, Strad, 73 (November 1962), 265 Anon., ‘John Ireland Memorial Window in the Musicians’ Chapel’, Music Teacher, 43 (February 1964), 85 Anon., ‘John Ireland Society’, Musical Opinion, 83 (June 1960), 600

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Anon., ‘John Ireland Society: Inaugural Concert’, Musical Times, 101 (June 1960), 368 Anon., ‘Less Sheet Music Sold’, The Times, 4 April 1928, 9 Anon., ‘Loss to Music’, Music and Musicians, 10 (July 1962), 39 Anon., ‘Miniature Essays: John Ireland’. London, J. & W. Chester, 1923 Anon., ‘New Vocal Music’, The Times, 23 February 1918, 19 Anon., ‘No Peace for a Composer’, The Times, 29 August 1957, 4 Anon., ‘Obituary: John Ireland’, Canon, 15 (June 1962), 23 Anon., ‘Obituary: John Ireland’, Musica d’Oggi, 5 (1962), 248 Anon., ‘Profile: Dr John Ireland’, The Observer, 15 August 1954, 3 Anon., ‘Promenade Concert: Ireland’s Birthday’, The Times, 14 August 1954, 6 Anon., ‘Too Much of Himself!’, Music and Musicians, 8 (June 1960), 22 Arnell, R., ‘John Ireland 1879–1962’, Tempo, nos. 61–62 (Spring–Summer 1962), 39–40 Banfield, S., [John Ireland Songs] in his Sensibility and English Song. Cambridge, Cambridge University Press, 1985, 161–178 Banfield, S., ‘Solo song in England from 1900 to 1940’. Thesis submitted in partial fulfilment of the requirements for the degree of D.Phil., University of Oxford, 1979 Barnard, L.S., ‘Philip Dore’s English Organ Music Lectures’, Musical Opinion, 75 (July 1952), 621 + 623 Bedford, H., ‘Stereoscopic Views – II: John Ireland’, The Dominant, 1 (October–November), 1928), 25–27 Bennett, R., ‘Ireland’s Songs’, Bookman, March 1922, 282–285 Bennett, R., ‘Ireland’s Songs’, Music Teacher, November 1926, 690–691 Blom, E., ‘Some New Ireland Works’, Tempo, no. 8 (February 1944), 2–3 Brook, D., ‘John Ireland’, in his Composer’s Gallery. London, Rockcliff, 1946, 78–81 Brooke, J., The Birth of a Legend: A Reminiscence of Arthur Machen and John Ireland. London, B. Rota, 1964 (Limited edition of 65 signed copies) Brooke, J., ‘John Ireland: A Reminiscence’, London Magazine 5 (April 1965), 75–80 Brooke, J., ‘The Music of John Ireland: An Appreciation’, Musical Times, 99 (November 1958), 600–602 Bush, A., ‘My Studies and Friendship with John Ireland’, Alan Bush Music Trust Website Bush, G., ‘Introduction’ in S.R. Craggs, John Ireland: A Catalogue, Discography and Bibliography. Oxford, Clarendon Press, 1993, ix–xii Bush, G., [John Ireland], in his Left, Right and Centre. London, Thames Publishing, 1983, 100–112

GENERAL BIBLIOGRAPHY

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Bush, G., ‘A Real Live Composer’, Performing Right, 43 (October 1965), 27–29+32 Byfield, D., ‘Musical Reflections’, Musical Opinion, 104 (April 1981), 246–248 Cairns, V., ‘British Romantic Piano Music at the beginning of the 20th century: A study of four representative composers’. Thesis submitted in partial fulfilment of the requirements for the degree of M.Litt., University of Newcastle-upon-Tyne, 1979 Carpenter, H., ‘John Ireland’, in his Benjamin Britten: A Biography. London, Faber, 1992, 37–40+ Chaffer, J., ‘An Introduction to the Piano Music of John Ireland’, The Chesterian, 36 (1961), 22–25 Chapman, E., ‘Buried Musical Treasure’, Music Magazine, November 1964, 4–5 Chapman, E., John Ireland: A Catalogue of Published Works and Recordings. London, The John Ireland Trust, 1968 Chapman, E., ‘John Ireland Programme’, Musical Events, 21 (January 1966), 14 Cooke, M.W., ‘John Ireland: A biographical and critical study, with special reference to the works involving piano’. Thesis submitted for the degree of Master of Arts, University College of North Wales, Bangor, 1972– 1973 Cooper, M., ‘John Ireland: Fine Composer of Solo Songs’, The Daily Telegraph, 13 June 1962, 14 Craggs, S.R., John Ireland: A Catalogue, Discography and Bibliography. Oxford, Clarendon Press, 1993 (1st edition) Croft, G.S., ‘The Piano Works of John Ireland: Contexts for Study’. Thesis submitted in partial fulfilment of the requirements for the degree of M.Phil., University of Birmingham, 1997 Crossley-Holland, P., ‘John Ireland: An essay in musical biography’. Paris, Edition L’oiseau-Lyre, 1946. Unpublished Crossley-Holland, P., ‘John N. Ireland’, in Grove’s Dictionary of Music and Musicians, 5th edn., ed. E. Blom. London, Macmillan, 1954), iv, 533–544 Dannatt, G., ‘John Ireland and Charles Markes: a creative relationship’, British Music, 28 (2006), 7–22 Dawney, M., ‘Music Born High on the South Downs’, Sussex Life, August 1986, 18–19 Demuth, N., [John Ireland], in his Musical Trends in the Twentieth Century, London, Rockliff, 1952, 124–126 Demuth, N., ‘John Ireland’, Musical Opinion, 81 (October 1957), 21

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Dibble, J., ‘John Ireland’, in his Charles Villiers Stanford: Man and Musician. Oxford, Oxford University Press, 2002, 268–269 Dickinson, A.E.F., ‘The Progress of John Ireland’, Music Review, 1, 4 (November 1940), 343–353 Docherty, B., ‘English Song and the German Lied’, Tempo, nos. 161–161 (June–September 1987), 82–83 Docherty, B., ‘The Murdered Self: John Ireland and the English Song 1903–13’, Tempo, no. 171 (December 1989), 18–26 Dunhill, D., Thomas Dunhill: Maker of Music, London, Thames, 1997 Dunhill, T., ‘The Piano: Letter to The Times’, The Times, 12 September 1936, 8 Eaglefield Hull, A., ‘The Instrumental Music of John Ireland’, Musical Opinion and Music Trade Review, 42 (April 1919), 415–417 Eaglefield Hull, A., ‘John Ireland’s Songs’, Musical Opinion and Music Trade Review, 42 (March 1919), 350–351 Eaglefield Hull, A., ‘A Modern English Classicist’, Musical Opinion and Music Trade Review, 42 (February 1919), 281–282 Eggar, K.E., ‘The Pianoforte Music of John Ireland’, Music Teacher, 14 (June 1922), 465–467 Evans, E., ‘BBC Symphony Concerts’, Radio Times, 26 November 1937, 13 Evans, E., ‘Mr Edwin Evans on Eugene Goossens and John Ireland’, Musical Times 59 (July 1918), 321–322 Evans, E., ‘John Ireland’, Musical Quarterly, 5 (April 1919), 213–220 Evans, E., ‘John Ireland’, in A Dictionary of Modern Music and Musicians. London, J.M. Dent, 1924, 252–253 Evans, E., ‘John Ireland’, The Chesterian, 11 (March 1930), 133–140 Evans, E., [Ireland], Music, September 1919, 11–12 Evans, E., ‘Modern British Composers: V – John Ireland’ (part 1), Musical Times, 60 (August 1919), 394–396 Evans, E., ‘Modern British Composers: V – John Ireland’ (part 2), Musical Times, 60 (September 1919), 457–462 Foss, H.J., ‘John Ireland’, Musical Times, 103 (August 1962), 536–537 [written in 1949 and 1953] Foss, H.J., ‘John Ireland: Born 13 August 1879’, Hallé, 39 (August 1951), 4–7 Foss, H.J., The Later Works of John Ireland’, Gamut, 7 (August 1929), 24– 28 Frank, A.C., ‘Contemporary Portraits – no. 10: John Ireland’, Music Teacher and Piano Student, 31 (January 1952), 23–24. Reprinted and expanded in his Modern British Composers. London, Dennis Dobson, 1953, 15–20

GENERAL BIBLIOGRAPHY

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143

Gatti, G.M., ‘John Ireland’, Organist and Choirmaster, 27 (June 1919), 10 (part of a translation of an article by Gatti in La Critica Musicale) Geehl, H., ‘The Unrecognised Arranger’, The Bandsman, April 1961, 3+8 G.-F., C., John Ireland Society’, Musical Opinion, 83 (June 1960), 600 G.-F., C., ‘John Ireland Society’, Musical Opinion, 84 (December 1960), 143 G.-F., C., ‘Macnaghten Concerts’, Musical Opinion, 83 (November 1959), 81 G.-F., C., ‘Promenade Concerts’, Musical Opinion, 82 (September 1959), 783 Goddard, S., ‘Composers of Today – I: John Ireland’, Our Time, 5 (January 1946), 116 Goddard, S., ‘Music: John Ireland’, The Listener, 62 (16 July 1959), 112+114 Goddard, S., ‘The Music of John Ireland’, The Listener, 22 (19 October 1939), 785 Gray, C., ‘Modern Works’, Gamut (1929), 39 Gower, R., ‘John Ireland’s Organ Music’, Musical Times, 120 (August 1979), 682–683 Herbage, J., ‘Four Works by Ireland’, The Listener, 33 (5 April 1945), 389 Herbage, J., ‘John Ireland and the Orchestra’, The Listener, 61 (4 June 1959), 1001 Hill, R., ‘Elgar, Ireland and Bax’, Radio Times, 14 August 1942, 4 Hill, R., ‘Influence of Housman’, Radio Times, 6 March 1942, 5 Hill, R., ‘Ireland and Dvorak’, Radio Times, 5 March 1943, 4 Hill, R., ‘John Ireland’, in A.L. Bacharach, British Music of our Time. Harmondsworth, Pelican Books, 1946, 99–112 Hill, R., ‘John Ireland: His Music’, Radio Times, 6 April 1945, 12 Holbrooke, J., ‘John Ireland’, in his Contemporary British Composers. London, Palmer, 1925, 72–82 Hold, T., [John Ireland], in his Parry to Finzi: 20 English Song Composers. Woodbridge, The Boydell Press, 2002, 185–212 Holland, A.K., ‘John Ireland at 75: An Appreciation’, Tempo, no. 32 (Summer 1954), 7–8+19 Howes, F., ‘Ave John Ireland’, RCM Magazine, 55 (November 1959), 105– 106 Howes, F., ‘John Ireland’, in his The English Musical Renaissance, London, Secker & Warburg, 1966, 222–225 Howes, F., ‘John Ireland’, Canon, 14 (September–October. 1960), 42–43 Hughes, E., ‘John Ireland Discography’, Recorded Sound, 53 (January 1974), 258–262

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Hull, R., ‘Macnaghten Concert: John Ireland’s Music’, Musical Times, 100 (November 1959), 609 Hull, R., ‘Music of John Ireland’ Radio Times, 22 January 1937, 12 Hurd, M., ‘The Music of John Ireland’, Music and Letters, 82, no. 4 (November 2001), 674–675 (A review of the Richards book on Ireland) Hurd, M., ‘Review of S.R. Craggs: John Ireland: A Catalogue, Discography and Bibliography’, Music and Letters, 75, no. 2 (May 1994), 308–309 Ireland, J., ‘[Alan Bush]: The Student’, in Tribute to Alan Bush on his 50th Birthday: A Symposium. London, WMA, 1950, 15–16 Ireland, J., ‘Albert Sammons: A Tribute’, Musical Times, 98 (October 1957), 548 Ireland, J., ‘A Century of Beethoven’, Music and Letters, 8 no. 2 (April 1927), 104 Ireland, J., ‘Listen to the Bands’, The Daily Mirror, 29 September, 1934, 12 Ireland, J., ‘My Introduction to Beethoven’, in Music Magazine, chosen and edited by Anna Instone and Julian Herbage. London, Rockcliff, 1953, 26–31 Ireland, J., ‘Obituary of Christopher à Becket Williams (1890–1956) (English composer and writer)’, unpublished. MS in the John Ireland Trust Archives Ireland, J., ‘A Speech for the Opposition’, Music and Letters, 8 no. 2 (April 1927), 109–110 Ireland, J., ‘Stanford’, Music and Letters, 5, no. 3 (July 1924), 195 Ireland, J., Tribute to Ralph Vaughan Williams’, Musical Times, 99 (October 1958), 535–536 Jacobs, A., ‘Passing Notes’, Gramophone, 37 (September 1959), 137 Jacobson, P., ‘English Tone Poems’, HiFi/Musical America, 17 (May 1967), 69–70 Keir, P., ‘John Ireland: A Practical Guide to Selected Works for Piano’. Thesis submitted for the degree of Master of Music, Royal College of Music, 1990 Kirby, N., ‘Appreciation and Biographical Sketch’, in John Ireland: A Catalogue. London, The John Ireland Trust, 1968, 8–11 Kuykendall, J.B., [John Ireland], in his ‘The English Ceremonial Style circa 1887–1937 and its Aftermath’. Thesis submitted for the degree of Doctor of Philosophy, Cornell University, 2005, pp. 225–228, 234–235 Larner, G., ‘The Poet who Painted in Music’, The Guardian, 26 June 1979, 8 Laudon, V., ‘British Library Additional MSS 52900–52901: A Survey of the Compositional Process and Some Unpublished Works of John Ireland’. Thesis submitted for the degree of Master of Arts, University of London, August 1989

GENERAL BIBLIOGRAPHY

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145

Le Fleming, C., ‘John Ireland: An Appreciation’, Musical Opinion, 93 (October (1969), 19+21 Leslie, K., ‘The Chamber Music of John Ireland’. Thesis submitted for the degree of Master of Arts, University of Wales (Cardiff), 1976 Lloyd, S., ‘E.J. Moeran: some influences’, Musical Opinion, 104 (February 1981), 175–176 Lloyd–Webber, J., ‘The Piano Trios of John Ireland’, Strad, 88 (June 1977), 137+139 Longmire, J., ‘Bax and John Ireland’, Bax Society Bulletin (August 1969), 99–100 Longmire, J., ‘John Ireland: An Appreciation’, Music Teacher and Piano Student, 41 (August 1962), 361 Longmire, J., ‘Obituary: John Ireland’, Musical Opinion, 85 (July 1962), 599 Longmire, J., John Ireland: Portrait of a Friend. London, J. Baker, 1969 Lyle, W., ‘The Songs of John Ireland’, The Sackbut, 2 (July 1922), 27–30 Maine, B., ‘The British Composers – 5: John Ireland’, The Morning Post, 2 October 1930, 5 Mann, W., ‘John Ireland’s New Appeal’, The Times, 15 August 1969, 9 Martin, J.M., ‘John Ireland: An Impression’, The Chesterian, 29 (October 1954), 35–38 Mitchell, D. and Read, P., Letters from a Life – Selected Letters and Diaries of Benjamin Britten, volume 1. London, Faber, 1991, 132–147+ Moeran, E.J., ‘Introductions: X – John Ireland’, Music Bulletin, 5 (October 1923), 300–303 Moeran, E.J., ‘John Ireland as Teacher’, Monthly Musical Record, 61 (March 1931), 67–68 N., L., ‘John Ireland Memorial Window’, Musical Times, 105 (January 1964), 38 Newsome, R., ‘The Development of Brass Band Music’, Sounding Brass, 8, no. 1 (1979), 26–27 O’Higgins, R. (ed.), The Correspondence of Alan Bush and John Ireland 1927–1961. Aldershot, Ashgate Publishing, 2006 Ottaway, H., ‘Ireland’s Shorter Piano Pieces’, Tempo, no. 52 (Autumn 1959), 3–6+17 Ottaway, H., ‘John Nicholson Ireland’, in Grove’s Dictionary of Music and Musicians, 6th edition, edited by S. Sadie. London, Macmillan, 1980, ix.325–7; New Grove Dictionary of Music, 2nd edition, 2001, volume 12, 568–570 Ottaway, H., ‘The Piano Music of John Ireland’, Monthly Musical Record, 84 (December 1954), 258–266

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Ould, H., ‘British Song-Writers of Today: VI – John Ireland’, Musical News and Herald, 72 (August 1927), 312–315 P., D.C. ‘Ireland’s Music’, Musical Herald, May 1919, 145 Palmer, C., (ed.), The Collected Arthur Machen. London, Duckworth, 1988 Parkin, E., ‘John Ireland and the Piano – 1’, Music Teacher, 53 (June 1974), 11–12 Parkin, E., ‘John Ireland and the Piano – 2’, Music Teacher, 53 (July 1974), 15–16 Parkin, E., ‘John Ireland and the Piano – 3’, Music Teacher, 53 (August 1974), 12–13 Parkin, E., ‘John Ireland and the Piano – 4’, Music Teacher, 53 (September 1974), 13 Parrott, I., ‘Ireland’s Organ Music’, Musical Times, 120 (November 1979), 899 Payne, A., ‘For Devotees Only’, Music and Musicians, 12 (March 1964), 41 Payne, A., ‘Ireland the Inhibited’, Music and Musicians, 11 (August 1963), 46 Pilkington, M., Gurney, Ireland, Quilter and Warlock. London, Duckworth, 1989 Pirie, P.J., [John Ireland] in his The English Musical Renaissance, London, Gollancz, 1979, passim Pirie, P.J., ‘Records: English Backwaters’, Music & Musicians, 11 (August 1979), 36–37 Pirie, P.J., ‘The Unfashionable Generation’, HiFi/Musical America, 16 (January 1966), 59–62 Pirie, P. J., ‘A Vision Dimly Seen’, Music and Musicians, 27 (August 1979), 18–20 Pitfield, T., ‘Ireland in Bowden’, Cheshire Life, October 1969, 95 Pott, F., ‘Inspired Eclecticism (the piano works of John Ireland, Frank Bridge, E.J. Moeran and Arnold Bax)’, International Piano Quarterly 5 (Summer 2001), 22–23 Quinn, M., ‘Classic CD Choice: Ireland – Songs’, Classic CD, no. 115 (September 1999), 18 Rankin, W.D., ‘The Solo Piano Music of John Ireland’. Thesis submitted in partial fulfilment of the requirements for the degree of D.M.A., University of Boston, 1970 Rees, C.B., ‘Impressions: John Ireland’, London Musical Events, 14 (August 1959), 13–14 Rees, C.B., ‘John Ireland: In Memoriam’, Musical Events, 17 (August 1962), 4–5 Rees, C.B., ‘John Ireland: The Man’, Radio Times, 6 April 1945, 5

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Rees, C.B., ‘Musical Roundabout’, Music Teacher and Piano Student, 33 (July 1954), 323 Rennert, J., ‘The Church and Organ Music of John Ireland’, English Church Music (1979), 8–16 Renouf, D.F., ‘Thomas Hardy and the English Musical Renaissance’ Thesis submitted for the degree of D.Phil., Trent Polytechnic, 1987 Richards, F., ‘An Anthology of Friendship: The Letters from John Ireland to Father Kenneth Thompson’, in Fuller, S. and Whitesell, L. (eds), Queer Episodes in Music and Modern Identity. Illinois, University of Illinois Press, 2002, pp. 245–267 Richards, F., ‘Changing Identities : The Pianist and Composer Helen Perkin’ Australian Music Research, 7 (2002), 15–30 Richards, F., ‘Meanings in the Music of John Ireland’. Thesis submitted in partial fulfilment of the requirements for the degree of D.Phil., University of Birmingham, 2000 Richards, F., The Music of John Ireland. Aldershot, Ashgate Publishing, 2000 Robertson, A., ‘Obituary’, Gramophone, 40 (August 1962), 95 Rowlands, A., John Ireland 1879–1962’ RCM Magazine, 58, no. 3 (Autumn 1962) 70–71 Rowlands, A., ‘John Ireland: A Significant Composer?’, RCM Magazine, 89, no. 2 (Summer 1992), 18–24: 90, no. 1 (Spring 1993), 13–19 Rutland, H., ‘The Achievement of John Ireland’, Musical Times, 100 (August 1959), 421–422 Rutland, H., ‘Constant Lambert and a Study of Chelsea Reach’, Radio Times, 13 July 1951, 9 Rutland, H., ‘John Ireland’, Recorded Sound, 50–51 (April–July 1973), 190–198 Rutland, H., John Ireland: A biographical sketch with analytical notes on two of his piano pieces. London, Galliard, n.d. Rutland, H., ‘John Ireland’s 75th Birthday’, Radio Times, 6 August 1954, 7 Rutland, H. and Rowlands, A., ‘John Ireland 1879–1962’, RCM Magazine, 58, no. 3 (Autumn 1962), 69–71 Schafer, M., ‘John Ireland: Interview’, in his British Composers in Interview. London, Faber & Faber, 1963, 24–35 Scott, C., ‘John Ireland: A Short Study’, in J. Longmire, John Ireland: Portrait of a Friend. London, Baker, 1969, 144–148 Scott, S., ‘The Chamber Music of John Ireland’, Composer, no. 54 (Spring 1975), 23–25 Scott, S., The Chamber Music of John Ireland. London, S. Scott, 1979 Scott, S., John Ireland and the Church. London, S. Scott, 1979

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Scott-Sutherland, C., Edward Thomas and John Ireland. London, British Music Society, 1993 (BMS Society Monograph, No. 2) Scott-Sutherland, C., John Ireland. Rickmansworth, Triad Press, 1980 Scott-Sutherland, C., ‘John Ireland and Arthur Machen’ BMS Newsletter, no. 67 (September 1995), 146–148 (Originally in Avalaunius, 16 (Summer 1997), 7–13) Scott-Sutherland, C., ‘Nationalism and John Ireland’, Music Review, 22, no. 3 (1961), 195–197 Searle, M., John Ireland: The Man and his Music. Tunbridge Wells, Midas Books, 1979 Senior, E., ‘John Ireland’, Music and Musicians, 8 (June 1960), 28 Simmons, D., ‘Polite Tribute’, Music and Musicians, 11 (December 1962), 59 Smalley, D., ‘John Ireland’s Chamber Music’. Thesis submitted for the degree of Master of Arts, University of Wales (Aberystwyth), 1982 Stiles, H.D.S., ‘Broken Idyll: Letter to The Times’, The Times, 31 August 1957, 7 Suckling, N., ‘John Ireland and the Piano’, The Listener, 50 (24 December 1953), 1101 Townshend, N., ‘The Achievement of John Ireland’, Music and Letters, 24 (April 1943), 65–74 W., J.A., ‘John Ireland’s Songs’, Radio Times, 3 March 1939, 13 Waterhouse, J. F., ‘Views of Ireland’, The Birmingham Post, 30 October 1961, 6 Whitmire, M.A., ‘Songs by John Ireland and Benjamin Britten to poems by Thomas Hardy’. Thesis submitted in partial fulfilment of the requirements for the degree of D.M.A., University of Maryland at College Park, 1991 Wortham, H.E., ‘John Ireland: An Appreciation’, Apollo, August 1928, 101–102 Wright, D., ‘Dead and Gone?’, Musical Times, 142 (Spring 2001), 58–59 (A review of the Richards book on Ireland) Yenne, V. L., ‘Three Twentieth Century English Composers: Peter Warlock, E. J. Moeran and John Ireland’. Thesis submitted in partial fulfilment of the requirements for the degree of D.M.A., University of Illinois, 1969

Aphabetical index of works (including song titles and first lines)

Adam lay ybounden, 126 (The) Adoration (Three Songs, 1918–1919), 63 (The) Advent (Songs Sacred and Profane, 1929–1931), 92 Alla Marcia for organ, 24–25 All in a Garden Green (Five Sixteenth-Century Poems, 1938), 107 All suddenly the wind comes soft (‘Spring Sorrow’), 56 (The) Almond Trees, 37 Alpine Song, 28 Amberley Wild Brooks (Two Pieces for Piano, 1921), xi, xv, 74 Annabel Lee (Poe), 23 April (Two Pieces for Piano, 1925), 82 Around were all the roses red (‘Spleen’), 38 (An) Aside (Five Sixteenth-Century Poems, 1938), 107 A song came over the hill to me (‘A song from o’er the Hill’), 43 At Early Dawn, 28 Aubade, 32–33 Aubade (Two Pieces for Piano, 1929–1930), 90 Autumn Crocus, 128 Baby (Mother and Child, 1918), 60 Bagatelle for violin and piano, 24 Ballade for piano, xi, 89 Ballade of London Nights, xi, 94 Because it is the day of Palms (‘Santa Chiara’), 83 Beckon to Me to Come (Five Poems by Thomas Hardy, 1926), 85 Bed in Summer, 36 (The) Bell in the Leaves, 116–117 (The) Bells of San Marie, 56–57 Benedicite in F (1919), 65–66 Benedictus in F (1912), 33 Berceuse for violin and piano, 10 Bergomask (Two Pieces for Piano, 1925), 82 Billee Bowline (written under the pseudonym Turlay Royce), 28 (A) birdless heaven (‘Tutto e sciolto’), 95 Blind (Two Songs, 1916), xi, 51

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(The) Blind Boy (Mother and Child, 1918), 60 Blind from my birth (‘The Blind Boy’), 60 Blow out, ye bugles (Two Songs to Poems by Rupert Brooke, 1917–1918), 53 (The) Boy, 116 (The) Boy Bishop (Three Pastels, 1941), xii, 113 (The) boys are up the woods (‘The Heart’s Desire’), 53 Boys’ Love, see Sarnia (1940–1941) Boys’ Names, xxiv, 113 Brumbies (The Overlanders, Suite, 1965), 122 By the Mere (Leaves from a Child’s Sketchbook, 1918), 59 Cadet Rousselle à trois garçons (Variations sur ‘Cadet Rousselle’, 1918), 62 Capriccio for organ, 25–26 Carol, see Preludes for piano (1913–1915) (Le) Catioroc (Sarnia, 1940–1941), 110 Cavatina for violin and piano, 12 Chelsea: hymn tune, 82 Chelsea Reach (London Pieces, 1917–1920), xvi, 54 (The) Cherry Tree (Green Ways, 1937), 105 (The) Cherry Tree, see Indian Summer (1932) Child’s Song, 37 (A) Churchyard by a road-side bend (‘A Garrison Churchyard’), 52 Columbine, 124–125 Comedy Overture, ix, 101 Communion Service in A flat (1896), 6–7 Communion Service in C (1913), 37–38 Concertino Pastorale, x, 108–109 Concerto for Piano and Orchestra, xii, xvi, xxii, xxiii, xxv, xxvi, 90–92 Concerto for Viola and Orchestra arranged for viola and piano (Forsyth), 15 Cost, The (Two Songs, 1916), xi, 51 Country Dance (Three Dances, 1913), 43 (A) Cradle Song, 32 Crying, my little one? (‘The Only Child’), 60 Cupid, 23 Cypress (Green Ways, 1937), 105 (The) Daffodil Field, see Sarnia (1940–1941) (The) Darkened Valley, 67–70 Daydream (In Those Days, 1895), 1 Dear, think not that they will forget you (Five Poems by Thomas Hardy, 1926), 85 Death-Parting (Mother and Child, 1918), 60

ALPHABETICAL INDEX OF WORKS

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151

Decorations, xi, xii, xv, 34–35 Do you see the road a-winding? (‘The Journey’), 70 Down by the Salley Gardens (‘The Salley Gardens’), 93 (A) Downland Suite, 96–98 Dunno a heap about what and why (‘The Vagabond’), 77 During Music (Two Songs, 1928), 88 Earth’s Call (A Sylvan Rhapsody), 55 Eastgate: hymn tune, 16 (The) East Riding, 70 (The) Echoing Green, 40 Eclogue (Concertino Pastorale, 1939), 108 Elegiac Meditation, 127 Elegiac Romance for organ, 10 Elegy (A Downland Suite, 1932), 96 (The) Encounter (The Land of Lost Content, 1920–1921), 71 English May (Songs of a Wayfarer, 1903–1911), 11 Epic March, xxii, 115–116 Epilogue (The Land of Lost Content, 1920–1921), 71 Equinox, xi, xv, 78 Evening Service in A (1905), 16 Evening Service in C (1941), 112 Evening Service in F (1915), 48–49 Evening Song, 33–34 Ex ore innocentium, xxv, 120 Fain would I change that note, 75–76 Fair, no beauty of thine will last (Songs Sacred and Profane, 1929–1931), 92 Fantasy Sonata for clarinet and piano, xiv, xxv, 119 February’s Child (Two Pieces for Piano, 1929–1930), xii, 90 (The) Ferry, 75 Fire of Spring (Preludes for Piano, 1913–1915), xi, 44 First Rhapsody in C sharp minor for piano, 16–17 Five Poems by Thomas Hardy, 85 Five Sixteenth-Century Poems, 107 Flocking to the Temple (‘Hymn for a Child’), 92 For Remembrance (Two Pieces for Piano, 1921), 94 (The) Forgotten Rite, xi, xii, xxii, xxiii, 39–40 (The) fountain murmuring of sleep (‘Tryst (In Fountain Court)’), 88 Fraternity: hymn tune, 68 (The) fresh air moves like water round a boat (‘Earth’s Call’), 55 Friendship in Misfortune (Three Songs, 1926), 86

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(The) Frog and the Crab, 22 Full Fathom Five, 20 (The) Garland (Mother and Child, 1918), 60 (A) Garrison Churchyard, 52 Give me the depth of love (‘Friendship in Misfortune’), 86 Goal and Wicket (The Land of Lost Content, 1920–1921), 71 God, who gave the world its fairness (‘Blind’), 51 Goodbye in fear, goodbye in sorrow (‘Death-Parting’), 60 (A) Graduation Song, 85–86 Greater love hath no man, 31–32 Great Things, 83 (A) Grecian Lad (Three Pastels, 1941), xii, 113 Green Ways: Three Lyric Pieces, 105–106 Gypsy Dance (Three Dances, 1913), 43 Hark ye, hark to the winding horn (‘Hope the Hornblower’), 26 Hawthorn Time, 67 (The) Heart’s Desire, 53 Her Song (Three Songs to Poems by Thomas Hardy, 1925), 84 Here be Naked Boys, see Boys’ Names Here’s to the ships, the grey ships, 33 Hillo, My Bonny (written under the pseudonym Turlay Royce), 29 (The) Hills, 125–126 (The) Holy Boy (Preludes for Piano, 1913–1915), xi, xii, 45–48 Hope (Mother and Child, 1918), 60 Hope the Hornblower, 26–27 How Jubilant the Summer Sky, see In Summer Woods (The) Hunt’s Up (Leaves from a Child’s Sketchbook, 1918), 59 Hyacinthus, see Three Pastels Hymn for a Child (Songs Sacred and Profane, 1929–1931), 92 Hymn to Light, 27 I did not look upon her eyes (‘Penumbra’), 38 I do defy ye, crabbed age (‘Hillo, My Bonny’), 29 I dug and dug amongst the snow (‘Hope’), 60 I have twelve oxen that be fair and brown, 57 I must go down to the seas again (‘Sea Fever’), 41 I sang that song on Sunday (‘Her Song’), 84 I was not sorrowful (Songs of a Wayfarer, 1903–1911), 11 I will walk on the earth (Songs of a Wayfarer, 1903–1911), 11 If I should die, think only this of me (‘The Soldier’), 53

ALPHABETICAL INDEX OF WORKS

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153

If there were dreams to sell, 58 If truth in hearts that perish (The Land of Lost Content, 1920–1921), 71 If we must part, 89–90 Immortality, 117 Impromptu for piano, see Columbine In a May Morning (Sarnia, 1940–1941), 110 In Boyhood (We’ll to the Woods no more, 1926–1927), 87 Indian Summer, 95 In my Sage Moments (Five Poems by Thomas Hardy, 1926), 85 In Praise of May, 22 In Praise of Neptune, 29–30 In Summer Woods, 29 Intermezzo, see Sextet In the Meadow (Leaves from a Child’s Sketchbook, 1918), 59 In the morning let me face (‘Hymn to Light’), 27 In Those Days (piano), 1 In Those Days, see also Cupid Intrada for organ, 12 see also Miniature Suite; Three Pieces for organ Intruder, see Cypress (Green Ways, 1937) In winter I get up at night (‘Bed in Summer’), 36 Irene: hymn tune, 63 (An) Island Hymn, 49–50 Island Praise, 50 (The) Island Spell (Decorations, 1912–1913), xi, xv, 34 It’s pleasant in Holy Mary (‘The Bells of San Marie’), 56 It was many a many a year ago (‘Annabel Lee’), 23 It was what you bore with you, woman (Five Poems by Thomas Hardy, 1926), 85 J’ai douze boeufs, 57 Joseph fell a-dreaming, 117 (The) Journey, 70 Jubilate in F (1914), 48 Julius Caesar: incidental music, xxv, 117–119 Jump through the hedge, lass! (‘The Soldier’s Return’), 92 Ladslove (The Land of Lost Content, 1920–1921), 71 (The) Land of Lost Content, xv, 71–72 Laughing Song, 23 Leaves from a Child’s Sketchbook, 59 Legend, xi, xv, xxiii, 99–101

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(The) Lent Lily (The Land of Lost Content, 1920–1921), 71 London (3 pianos), 55 London: Impressions for piano, see London Pieces (A) London Overture, xii, xvi, xxiii, 102–103 London Pieces, xi, xvi, 54–55 Look not in my eyes, for fear (‘Ladslove’), 71 Looking on, 117 Love and Friendship (Three Songs, 1926), 86 Love is a sickness full of woes, 74–75 Love is like the wild rose-briar (‘Love and Friendship’), 86 Love me, I love you (‘Baby’), 60 Love’s Window (written under the pseudonym Turlay Royce), 28 Love Unknown: hymn tune, 66–67 Lowly, laid in a manger (‘The Holy Boy’), 45 Mai-Dun, x, xxi, 72–74 Man in his labour rejoiceth, 123–124 Marcia popolare for organ, 12 see also Three Pieces for Organ Marigold, 38–39 (A) Maritime Overture, 8 Mary and the Sailor (The Overlanders, Suite, 1965), 122 Mass in the Dorian Mode, 5–6 May Flowers, 65 Meditation on John Keble’s Rogation Hymn, xxvi, 127–128 Meine Seele erhebt der Herren, arranged for solo piano (A Bach Book for Harriet Cohen), 94–95 Memory (Songs of a Wayfarer, 1903–1911), 11 Menuetto-impromptu for organ, 14–15 see also Miniature Suite; Three Pieces for organ; Two Pieces for orchestra Meridian (In Those Days, 1895), 1 Merry Andrew, xii, 59–60 (The) Merry Month of May, 75 Midsummer: prelude for orchestra, 7 Mighty Father: hymn tune, 67 Miniature Suite for organ, 13, 15 Minuet (A Downland Suite, 1932), 96 Missa Brevis, 109 Missa Sancti Stephani, 109–110 Month’s Mind, 98–99 Moon-glade (Decorations, 1912–1913), xi, 34

ALPHABETICAL INDEX OF WORKS

Morning Service in C (1941), 111 Mother and Child, 60–61 My Fair (Songs Sacred and Profane, 1929–1931), 92 My Fair, no beauty of thine will last (‘My Fair’), 92 My song is love unknown, 66 My true love hath my heart (Two Songs, 1920), 68 Newborn (Mother and Child, 1918), 60 New Prince, New Pomp: carol, 88 (A) New Year Carol, 114–115 Night Stampede (The Overlanders, Suite, 1965), 122 Ninefold Kyrie in A minor, 112 No sudden thing of glory or fear (‘The Advent’), 92 Nurses’ Song, 41 Obsession (Preludes for Piano, 1913–1915), xi, 45 O cool unto the sense of pain (‘During Music’), 88 O happy land half-hid in the dewy grass, xxiv, 112–113 On a Birthday Morning, 76 (The) One Hope (Three Songs, 1926), 86 (The) Only Child (Mother and Child, 1918), 60 On this sweet bank (‘Youth’s Spring-Tribute’), 38 Open Country (The Overlanders, Suite, 1965), 122 O Rico is a bully place (‘Porto Rico’), 44 O, the month of May (‘The Merry Month of May’), 75 O twas Monday in the morn (‘Billee Bowline’), 28 Orchestral Poem in A minor, 11–12 (The) Overlanders, xxv, 121–123 Pain gnaws at my heart (‘The Rat’), 63 (The) Palm and May (Green Ways, 1937), 105 Pastoral for Piano, xx, 2 Pater Noster, 18 (The) peace of a wandering sky (‘Rest’), 63 (The) Peaceful Western Wind, 1 Penumbra (Marigold : An Impression), 1913), 38 see also Prelude in E flat for piano Phantasie Trio in A minor for violin, cello and piano, x, xxi, 19–20 Piece for oboe and piano, 125 Pleasure it is to hear, iwis, the birdes sing (‘A Thanksgiving’), 107 Porto Rico (written under the pseudonym Turlay Royce), 44 Prelude (A Downland Suite, 1932), 96

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JOHN IRELAND

Prelude for Piano and Orchestra, see Legend Prelude in E flat, 80 Preludes for solo piano, xi, xxi, 44–48 (The) Princess Marleine: prelude for orchestra, 15–16 Psalm 23, 127 Psalm 42, xxi, 18–19 Psalm Chant, 15 Puck’s Birthday (Three Pastels, 1941), 113 Quartet No. 1 for strings in D minor, ix, 3 Quartet No. 2 for strings in C minor, ix, 4 Ragamuffin (London Pieces, 1917–1920), xii, 54 (The) Rat (Three Songs, 1918–1919), 63 Reapers’ Dance (Three Dances, 1913), 43 Remember, 61 (A) Report Song (Five Sixteenth-Century Poems, 1938), 107 Rest (Three Songs, 1918–1919), 63 Rhapsody, 49 Ride a cock-horse, 111 (The) River see Chelsea Reach (London Pieces, 1917–1920) Roses blushing red and white (‘The Garland’), 60 Round (A Downland Suite, 1932), 96 (The) Sacred Flame, 58–59 (The) Salley Gardens (Songs Sacred and Profane, 1929–1931), 93 Salt-laden, sad with cry of ships (‘The East Riding’), 70 Sampford: hymn tune, 124 Santa Chiara (Palm Sunday: Naples), 83–84 Sarnia: An Island Sequence, xi, xii, xvi, 110–111 Satyricon, xxiii, 120–121 (The) Scapegoat (Songs Sacred and Profane, 1929–1931), 93 (The) Scarlet Ceremonies (Decorations, 1912–1913), xi, xv Scherzo and Cortege (Julius Caesar, 1942), 118–119 Scorched Earth (The Overlanders, Suite, 1965), 122 Sea Fever, 41–43 Sea Idyll, 8–9 See how the morning smiles, 34 See the scapegoat, happy beast (‘The Scapegoat’), 93 Serenade for Strings, see Concertino Pastorale Sextet, ix, xiv, 4–5 Shall we go dance the hay, the hay? (‘A Report Song’), 107

ALPHABETICAL INDEX OF WORKS

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157

Skylark and Nightingale (Mother and Child, 1918), 60 Slumber Song, 30 Soho Forenoons (London Pieces, 1917–1920), 54 (The) Soldier (Two Songs to Poems by Rupert Brooke), 1917–1918), 53 (The) Soldier’s Return (Songs Sacred and Profane, 1929–1931), 92 Soliloquy, 77 Sonata in C minor for piano, 3 Sonata in C minor for violin and piano, 4 Sonata in E minor-major for piano, 64–65 Sonata in G minor for cello and piano, xiv, 78–80 Sonata in G minor for violin and piano, 16 Sonata No. 1 in D minor for violin and piano, x, xiv, xxi, 21–22 Sonata No. 2 in A minor for violin and piano, xi, xiv, 50–51 Sonatina for Piano, x, xi, 87 (A) Song from o’er the Hill, 43 Song of a Great War, see The Cost (A) Song of March, 61 Song of the Springtides (Sarnia, 1940–1941), 110 Songs of a Wayfarer, 11 Songs Sacred and Profane, 92–94 Spleen (Marigold, 1913), 38 Spring, 30–31 Spring Sorrow, 56 Spring, the Sweet Spring, 17 Spring will not wait [Epilogue for piano] (We’ll to the Woods no more, 1927), 87 (The) street sounds to the soldier’s tread (The Land of Lost Content, 1920– 1921), 71 Study, see Equinox Summer Evening, 67–68 Summer Schemes (Three Songs to Poems by Thomas Hardy, 1925), 84 Sunset Play, see Nurses’ Song Sursum Corda for organ, 25 Sweet cyder is a great thing (‘Great Things’), 83 (The) Sweet Season (Five Sixteenth-Century Poems, 1938), 107 see also April (A) Sylvan Rhapsody (Earth’s Call, 1918), 55 Symphonic Rhapsody, see Mai-Dun Take back the honour and the fame (‘The Cost’), 51 Te Deum in F (1907), xxi, 18 (A) Thanksgiving (Five Sixteenth-Century Poems, 1938), 107

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Theme and Variations for Piano (Theme only), 2–3 There is a garden in her face, 21 There were three ravens sat on a tree (‘The Three Ravens’), 71 These things shall be, xii, xvi, xxiii, 103–105 These Women (‘An Aside’), 107 They told me, Heraclitus, 82 Thick-flowered is the trellis (‘The Trellis’), 68 This is the weather the cuckoo likes (‘Weathers’), 84 Three Dances for piano, 43–44 Three Pastels for piano, xxiv, 113–114 Three Pieces for organ, 12, 13, 14 Three Pieces for Pianoforte, see Decorations (The) Three Ravens, 71 Three Rustic Dances, see Three Dances for piano Three Songs [Symons] (1918–1919), 63–64 Three Songs [Bronte; Anon.; Rosetti] (1926), 86 Three Songs to Poems by Thomas Hardy (1925), 84 Threnody (Concertino Pastorale, 1939), 108 Thy hand in mine (‘The Sacred Flame’), 58 Time brought me many another friend (‘Remember’), 61 Tis spring, come out to ramble (The Land of Lost Content, 1920–1921), 71 Tis time, I think, by Wenlock town (‘Hawthorne Time’), 67 Toccata (Concertino Pastorale, 1939), 108 (The) Towing Path, 61–62 (The) Tragedy of that Moment (Five Poems by Thomas Hardy, 1925), 84 (The) Trellis (Two Songs, 1920), 68 Trio in A minor (1897), 2 Trio in D (1912–1913), xi, xiv, 35–36 Trio in E minor (1917), 52–53 Trio in E minor (1938), xxiii, 106–107 Tritons, 7–8 Tryst (In Fountain Court) (Two Songs, 1928), 88 Tutto e sciolto, 95–96 Twice a week the winter through (The Land of Lost Content, 1920–1921), 71 Twilight Night, 78 Two Pieces for orchestra, 14, 15 Two Pieces for piano (1921), 74 Two Pieces for piano (1925), 82–83 Two Pieces for piano (1929–1930), 90 Two Songs (1916), 51–52 Two Songs (1917–1918), 53–54 Two Songs (1920), 68–69

ALPHABETICAL INDEX OF WORKS

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159

Two Songs (1928), 88–89 Two Songs and a Melodrama, 23, 52, 71 Two Symphonic Studies (The Overlanders, 1946–1947), 122–123 (The) Undertone (Preludes for Piano, 1913–1915), xi Up to the top o’ the trees (‘I will walk on the Earth’), 11 (The) Vagabond, 77 (The) Vagabonds (ballet), 73–74, 109 (The) Vain Desire (The Land of Lost Content, 1920–1921), 71 Variations in Eb, 3 Variations in F# minor, 3 Variations on an Irish Tune, 3 Variations on ‘Cadet Rousselle’, 62–63 Vesper Hymn, 30 Vexilla Regis, 6 Villanella for organ, 13 see also Miniature Suite for organ; Two Pieces for orchestra Ways of Peace, 103 We hardly see the sunbeam yet, see At Early Dawn Weathers (Three Songs to Poems by Thomas Hardy, 1926), 84 Weep you no more, sad fountains, 17 We’ll to the Woods no more, xi, xv, 87–88 Were there a little lamp (‘Love’s Window’), 28 What art thou thinking of?, 81 When a mounting skylark sings (‘Skylark and Nightingale’), 60 Whenas the mildest month of jolly June (‘All in a Garden Green’), 107 When daffodils begin to peer (Songs of a Wayfarer, 1903–1911), 11 When friendly summer calls again (‘Summer Schemes’), 84 When I am dead, my dearest, 80–81 When I am old, 71 When I would muse in boyhood (‘In Boyhood’), 87 When lights go rolling round the sky, 27–28 When May is in her prime, 70 When May is in his prime (‘The Sweet Season’), 107 When vain desire at last (‘The One Hope’), 86 Why have you brought me myrrh (‘The Adoration’), 63 Would God your health were as this month of May (‘English May’), 11 Your brother has a falcon (‘Newborn’), 60 You smile upon your friend today (The Land of Lost Content, 1920–1921), 71 Youth’s Spring-Tribute (Marigold: An Impression, 1913), 38

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Classified index of works

Arrangements and Transcriptions of Music by Other Composers Bach, J. S.: Meine Seele erhebt der Herren, arranged for piano Forsyth, C.: Concerto for viola and orchestra, arranged for viola and piano Ballets Vagabonds, The see Mai-Dun (1920–1921); Concertante Pastorale (1939) Brass, Military, and Symphonic Wind Band Bagatelle, arranged for military band see also Chamber Music Comedy Overture for brass band arranged for wind band see also Orchestral (A) Downland Suite arranged for wind band see also Keyboard (Elegy and Minuet); Orchestral (The) Holy Boy, (Preludes for piano) arranged for brass ensemble see also Chamber Music; Choral Music; Keyboard; Orchestral; Songs and Song Cycles (A) London Overture arranged for brass band see also Orchestral (A) Maritime Overture, (based on Tritons) arranged for military band arranged for wind band see also Orchestral

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Chamber Music Bagatelle for violin and piano see also Orchestral Berceuse for violin and piano Cavatina for violin and piano see also Keyboard Fantasy Sonata for clarinet and piano (The) Holy Boy arranged for cello and piano arranged for flute and piano arranged for two descant recorders and piano arranged for viola arranged for violin and piano see also Brass, Military, and Symphonic Wind Band; Choral Music; Keyboard; Orchestral; Songs and Song Cycles Intermezzo see Sextet Phantasie Trio in A minor Piece for oboe and piano (1952) Quartet No. 1 for strings in D minor Quartet No. 2 for strings in C minor Sextet Sonata in G minor for cello and piano cello part arranged for viola Sonata in C minor for violin and piano Sonata in G minor for violin and piano Sonata No. 1 in D minor for violin and piano Sonata No. 2 in A minor for violin and piano Trio in A minor (1897) Trio in D (1912–1913) Trio in E minor (1917) Trio in E minor (1938) Choral Music Alpine Song At Early Dawn Aubade Autumn Crocus Bed in Summer see also Songs and Song Cycles (The) Bell in the Leaves

CLASSIFIFED INDEX OF WORKS

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163

(The) Boy Boys’ Names Child’s Song (A) Cradle Song Cupid (The) Echoing Green Evening Song Fain would I change (The) Ferry (The) Frog and the Crab Full Fathom Five (A) Graduation Song (The) Hills (The) Holy Boy arranged for mixed chorus see also Brass, Military, and Symphonic Wind Band; Chamber Music; Keyboard; Orchestral; Songs and Song Cycles Immortality In Praise of May In Praise of Neptune In Summer Woods (An) Island Hymn, (1915) see also Island Praise (1955) Island Praise (1955) see also An Island Hymn (1915) Joseph fell a-dreaming (A) Laughing Song Looking on Man in his labour rejoiceth May Flowers (A) New Year Carol see also Church Music Nurses’ Song O Happy Land see also Songs and Song Cycles (The) Peaceful Western Wind Ride a cock-horse Sea Fever see also Songs and Song Cycles See how the morning smiles Slumber Song (A) Song of March

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Spring Spring, the Sweet Spring Sunset Play see also Nurses’ Song There is a garden in her face These things shall be They told me, Heraclitus Twilight Night Ways of Peace Weep you no more, sad fountains When May is in her prime Church Music Adam lay ybounden Benedicite in F (1919) Benedictus in F (1912) Chelsea: hymn tune Communion Service in A flat (1896) Communion Service in C (1913) Eastergate: hymn tune Evening Service in A (1905) Evening Service in C (1941) Evening Service in F (1915) Ex ore innocentium Fraternity: hymn tune Greater love hath no man Irene: hymn tune Jubilate in F (1914) Love Unknown: hymn tune Mass in the Dorian Mode Mighty Father: hymn tune Missa Brevis see also Missa Sancti Stephani Missa Sancti Stephani Morning Service in C (1941) New Prince, New Pomp: carol (A) New Year Carol see also Choral Music Ninefold Kyrie in A minor Pater Noster Patriotic Song

CLASSIFIFED INDEX OF WORKS

·

Psalm 23 Psalm 42 Psalm Chant Sampford: hymn tune Deum in F (1907) Vesper Hymn Vexilla Regis Film Music (The) Overlanders see also Orchestral Keyboard Alla Marcia for organ (The) Almond Trees Ballade for piano Ballade of London Nights Carol see Preludes for piano Capriccio for organ Cavatina (The) Cherry Tree, see also Indian Summer Columbine Concerto for piano and orchestra arranged for two pianos see also Orchestral (The) Darkened Valley Decorations Elegiac Romance for organ Elegy arranged for organ see also Brass, Military, and Symphonic Wind Band; Orchestral Elegy and Minuet (Downland Suite) arranged for piano see also Brass, Military, and Symphonic Wind Band; Orchestral Epic March arrangement for piano arrangement for organ see also Orchestral Equinox, First Rhapsody in C sharp minor for piano

165

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(The) Forgotten Rite arranged for piano duet see also Orchestral Green Ways: Three Lyric Pieces (The) Holy Boy arranged for organ see also Brass, Military, and Symphonic Wind Band; Chamber Music; Choral Music; Orchestral; Songs and Song Cycles In Those Days Indian Summer Intrada for organ (The) Intruder, see Green Ways Leaves from a Child’s Sketchbook Legend arranged for two pianos see also Orchestral London (3 pianos), London: Impressions for piano see London Pieces, London Pieces, Mai-Dun arranged for two pianos see also Orchestral Marcia popolare for organ Meditations on John Keble’s Rogation Hymn, see also Orchestral (Elegiac Meditation) Menuetto-impromptu for organ see also Orchestral Merry Andrew, Miniature Suite for organ (Intrada; Villanella; Menuetto-impromptu), see also Orchestral Month’s Mind, On a Birthday Morning, Pastoral, Penumbra, see also Prelude in E flat Prelude in E flat, Preludes for piano (The Holy Boy), see also Brass, Military, and Symphonic Wind Band; Chamber Music; Choral Music; Orchestral; Songs and Song Cycles Rhapsody, Rosebud, see Preludes for piano, Sarnia: An Island Sequence,

CLASSIFIFED INDEX OF WORKS

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167

Sea Idyll, Soliloquy, Sonata in C minor for piano, Sonata in E minor-major for piano, Sonatina for piano, Spleen, see Preludes for piano Summer Evening, Sursum Corda for organ, Theme and Variations : theme only Three Dances for piano, Three Pastels for piano, Three Pieces for organ (Intrada; Villanella; Menuetto-impromptu), see also Orchestral Three Rustic Dances see Three Dances for piano (The) Towing Path, Two Pieces for piano (1921), Two Pieces for piano (1925), Two Pieces for piano (1929–1930), Variations in Eb for piano, Variations in F# minor for piano, Variations on an Irish Tune for piano, Villanella for organ, transcription for piano, see also Orchestral Orchestral Bagatelle, arranged for small orchestra, see also Chamber Music Comedy Overture, see also A London Overture Concertino Pastorale, see also Ballets Concerto for piano and orchestra, see also Keyboard (A) Downland Suite, see also Brass, Military, and Symphonic Wind Band; Keyboard (Elegy and Minuet) Elegiac Meditation, see also Keyboard (Meditations on John Keble’s Rogation Hymn) Epic March,

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see also Keyboard (The) Forgotten Rite, see also Keyboard (The) Holy Boy, arranged for string orchestra, see also Brass, Military, and Symphonic Wind Band; Chamber Music; Choral Music; Keyboard (Preludes for piano); Orchestral; Songs and Song Cycles Legend, see also Keyboard (A) London Overture, see also A Comedy Overture Mai-Dun, see also Ballets; Keyboard Menuetto-impromptu, see also Keyboard Merry Andrew, see also Keyboard Midsummer: Prelude for Orchestra, (The) Overlanders: Suite, see also Film Music Poem in A minor, (The) Princess Marleine: Prelude for Orchestra, Satyricon, Scherzo and Cortege, see also Radio Incidental Music Serenade for Strings see Concertino pastorale, Tritons, see also Brass, Military, and Symphonic Wind Band (Maritime Overture) Two Pieces for orchestra (Villanella; Menuetto-impromptu), see also Keyboard Two Pieces (Minuet and Elegy Downland Suite) for string orchestra, see also Brass, Military, and Symphonic Wind Band; Keyboard Two Symphonic Studies (The Overlanders), see also Film Music Variations on ‘Cadet Rousselle’, see also Songs Villanella, see also Keyboard

CLASSIFIFED INDEX OF WORKS

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169

Radio Incidental Music Julius Caesar, see also Orchestral Recitation Annabel Lee (Poe), Songs and Song Cycles Bed in Summer Arranged for voice and piano (Stevenson), see also Choral Music (The) Bells of San Marie (Masefield), Billee Bowline (Weatherly), Earth’s Call (A Sylvan Rhapsody) (Monro), (The) East Riding (Chilman), Five Poems by Thomas Hardy, Five Sixteenth-Century Poems (Cornish; Howell; Anon.; Breton; Edwards), (A) Garrison Churchyard, (Cooper) Great Things (Hardy), Hawthorn Time (Housman), (The) Heart’s Desire, (Housman), Here’s to the Ships! (O’Reilly), Hillo, My Bonny (Q.V. Blake), (The) Holy Boy, arranged for voice and piano/organ/strings (Brown), see also Brass, Military, and Symphonic Wind Band; Chamber Music, Choral Music; Keyboard (Preludes for piano); Orchestral; Songs and Song Cycles Hope the Hornblower (Newbolt) Hymn to Light (James Blake), If there were dreams to sell (Beddoes), If we must part (Dowson), I have twelve oxen (Anon.), see also J’ai douze boeufs J’ai douze boeufs (Anon.), see also I have twelve oxen (The) Journey (E. Blake), (The) Land of Lost Content (Housman), Love is a sickness (Daniel), Love’s Window (Banning),

170

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Marigold (Rossetti; Dowson), (The) Merry Month of May (Dekker), Mother and Child (C. Rossetti), O Happy Land (Linton), see also Choral Music Penumbra see Marigold, Porto Rico (Weatherly), (The) Red Rose, see Five Sixteenth-Century Poems, Remember (M. Coleridge), (The) Sacred Flame, (M. Coleridge), Santa Chiara (Symons), Sea Fever (Masefield), see also Choral Music Song from o’er the Hill (O’Reilly), Songs of a Wayfarer (Blake; Shakespeare; Rossetti; Dowson; James Blake), Songs Sacred and Profane (Meynell; Warner; Yeats), Spleen see Marigold, Spring Sorrow (Brooke), (The) Three Ravens (Anon.), These Women see Five Sixteenth-Century Poems, Three Songs (1918–1919) (Symons), Three Songs (1926) (E. Bronte; Anon.; D.G. Rossetti), Three Songs to Poems by Thomas Hardy, Three Variations on ‘Cadet Rousselle’ (Anon.), see also Orchestral Tutto e sciolto (Joyce), Two Songs (1916) (Cooper), Two Songs (1917–1918) (Brooke), Two Songs (1920) (Sidney; Huxley), Two Songs (1928) (Symons; D.G. Rossetti), Vagabond (Masefield), Variations sur ‘Cadet Rousselle’ (Anon.), We’ll to the Woods no more (Housman), What art thou thinking of? (C. Rossetti), When I am dead, my dearest (C. Rossetti), When I am old (Dowson), When lights go rolling round the sky (James Blake)

Index of authors of texts

Alington, C.A., 82 Alison, Richard, 21 Anonymous, 86 Auden, W.H., 114 Banning, H.D., 28 Beddoes, Thomas Lovell, 58 Blake, Ernest, 70 Blake, James Vila, 11, 27, 28, 29, 30, 33, 61 Blake, William, 11, 23, 32, 40, 41, 69–70 Breton, Nicholas, 107 Bridges, Robert, 123 Brontë, Emily, 86 Brooke, Rupert, 53–54, 56 Brown, Herbert S., 47, 105 Campion, Thomas, 1, 29, 34 Chilman, Eric, 70 Coleridge, Mary, 58, 61 Cooper, Eric Thirkell, 51, 52 Cornysh, William, 107 Cory, William, 82 Crompton, Henry P., 117 Crossman, Samuel, 66–67 Daniel, Samuel William, 74 Dekker, Thomas, 75 Dobell, Sydney, 32 Dowland, John, 17 Dowson, Ernest, 11, 38, 71, 89 Drinkwater, John, 85 Edwardes, Richard, 70, 107

Farjeon, Eleanor, 85, 113, 116, 117, 128 Hardy, Thomas, xi, xiv, xxii, 83, 84, 85 Henry VIII, 107 Housman, A.E., xi, xiv, xv, 53, 67, 71–72, 87–88, 106, 114 How, W.W., 120 Howell, Thomas, 107 Hume, Tobias, 75–76 Huxley, Aldous, 68 Joyce, James, 95–96 Kirkup, James, 125–126 Leeson, Jane E., 124 Linton, W.J., 112 Masefield, John, 41–43, 56–57, 77 Meynell, Alice, 92 Monro, Harold, 55 Moore, Thomas, 37 Morley, Thomas, 22 Moss, Alfred, 63 Nashe, Thomas, 17, 106 Newbolt, Henry, 26–27, 58 O’Reilly, P.J., 33, 43 Poe, Edgar Allan, 23 Rossetti, Christina, 60, 65, 75, 78, 80–81

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Rossetti, Dante Gabriel, 11, 38, 86, 88

Symons, Arthur, 63–64, 83–84, 88 Venantius Fortunatus, 6

Shakespeare, William, 11, 20, 106, 114, 117–119 Southwell, Robert, 88 Stevenson, Isabella, 16 Stevenson, Robert Louis, 36 Swingler, Randall, 103 Sydney, Philip, 68 Symonds, John Addington, 68, 103–105

Warner, Sylvia Townsend, 92–93 Weatherly, Frederick E., 28, 44 Wesley, Charles, 67 Yeats, W.B., 93

General index

Adey, Christopher, 98 Adni, Daniel, 35, 37, 44, 83, 110, 125 Aeolian String Quartet, 5 Ainsley, J.M., 53, 59, 69, 75, 88, 93 Alcock, Walter, xx, 6 Alexander, Arthur, 70, 89 Allen, Hugh, xxi, xxii Amoris victima (Symons), 63 Ansell, Joyce, 34 Ansermet, Ernest, 97 Antheil, George, 96 Archer, J. Stuart, 13, 14, 49 Archer, Malcolm, 66 Arden, Evelyn, 38 Armstrong, John, 93, 95 Arnell, Richard, x, xxi Arts Council of Great Britain, xxvi, 126 Askwith, Richard, 32 Aspinall, Dorothy, 68, 78 Bach, J.S., xx, 94 Bach Book for Harriet Cohen, A, 94–95 Baker, Richard, 23 Balcon, Michael, 121 Balder (Dobell), 32 Balfour, H.L., 25, 49 Ballads and Poems (Masefield), 56 Banfield, Stephen, 104 Banks, Barry, 104 Bantock, Granville, 94 Barbirolli, Evelyn (née Rothwell), 125 Barbirolli, John, 73, 102 Barker, Alfred, 19, 52 Barritt, K., 10, 12, 21, 24, 51

Bartok, Bela, xiii Barton, Marianne, 17 Bax, Arnold, 62, 94, 96, 126 Bax, Clifford, 126 BBC Choral Society, 104 BBC Chorus, 104, 113, 117 BBC Concert Orchestra, 98 BBC Orchestra, 63, 99, 104, 113 BBC Singers, 17, 32, 48, 70, 76, 78, 114 BBC Scottish Orchestra, 97 BBC Symphony Orchestra, xxiii, 39, 90, 99, 102, 104, 108, 120 BBC Theatre Orchestra, 14, 15 BBC Wireless Orchestra, 24, 73 Beaumont, Kerry, 49 Beethoven, Ludwig van, xiii, xx Belchamber, F.W., 50 Belfast Wireless Orchestra, 91 Bell, Nicolas, 124 Bennett, H., 96 Benson, Lionel, 17 Bentham, Frederick, 17 Bentham, Percy G., 17, 102 Berkeley, Lennox, 126 Bernard, Anthony, 55 Berners, Gerald, 94 Bevan, Ven. Henry E.J., xxi, 18 Bielby, Jonathan, 10, 13, 15, 25, 38, 47, 127 Binge, Ronald, 14 Bliss, Arthur, xiii, xxvi, 94, 96, 126 Blunden, Edmund, 126 Blyth, Ethel Mary, 20 Book of Common Prayer, 16, 18, 33, 48, 65, 111, 112, 127 Bott, Paula, 6, 31 Boughton, Rutland, xiii, 86

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Boult, Adrian, xxiv, 8, 39, 45, 73, 97, 99, 100, 102, 104, 109, 113, 115, 119, 121, 122, 123 Bournemouth Municipal Orchestra, xxiii, 39, 102 Bowen, York, 19, 59 Boyd Neel String Orchestra, 108 Brahms, Johannes, ix, xiv, xx, 5 Brand, Geoffrey, 98, 116 Brand, John, 99 Brash, James, 60 Bridge, Frank, xiii, 62, 94 Bridgewater, Leslie, 14, 15, 24 Brier, J., 96 Bristol Bach Choir, 126 British Broadcasting Corporation (BBC), xxiv, xxv, xxvi, 66, 115, 118, 120 Britten, Benjamin, x, xiii, xiv, xxi, xxvi, 55 Bromley, Tom, 49 Brook, Jocelyn, 79 Broso, Antonio, 106 Brown, I., 20, 53, 79, 106 Burden, John, 5 Burke, Anthony, 73 Burnaby, F.G., 121 Busch, William, 95 Bush, Alan, xxi, xxiv, 104–105, 118–119, 122–123, 125 Bush, Geoffrey, 22, 97, 109, 127–128 Bye, Frederick, 26, 58 Cambridge University Madrigal Society, 126 Cameron, Basil, 91, 92, 120 Canterbury Festival (1939), 108 Carducci, Edgardo, 96 Case, John Carol, 104 Casey, Harold, 41 Cavalcanti, Alberto, xxv Chelette, Gilbert de, 51, 53 Chenhalls, Alfred, 105 Chesterian, The, 63

Child’s Garden of Verses, A (Stevenson), 36 Chilton-Griffin,?, 34 Church of All Saints (Tufnell Park), xx Church of the Holy Trinity (Sloane Square), xx, 6, 7, 30 Church of St. Jude (Chelsea), xx Church of St. Luke (Chelsea), xvi, xxi, xxii, 15, 18, 76 Church of St. Sepulchre (London), xxvii Church of St. Stephen (St. Peter Port), xvi, xxiii, 109 City of London Sinfonia, 12, 26, 58, 108 Clarence, Violet, 54 Clark, Edward, 87, 92, 93 Cliffe, Frederick, ix, xiii, xix Clutsam, G.H., 60 Coates, Albert, 73 Coates, John, 72 Cobbett, W.W., xiv, xxi Cobbett Chamber Music Competition, x, xxi, 20, 22 Cohen, Harriet, xxi, 62, 80, 95, 99, 105 Coleridge, Samuel Taylor, xiii Collected Poems (Monro), 55 Collignon, Raimond, 62 Committee for the Promotion of New Music, xxvi Countess of Pembroke’s Arcadia, The (Sydney), 68 Craggs, Stewart R., xvi Crossways (Yeats), 93 Cundell, Edric, xxvi Curzon, Clifford, xxv, 92, 110 Daily Herald, 123 Darke, Harold, 10 Darlow, Dennis, 74 Davies, Fanny, 5 Dehn, Paul, 126 De Reszke Singers, 82

GENERAL INDEX

Dearth, Harry, 33 Debussy, Claude, xiv Decorations: In Verse and Prose (Dowson), 38 Defauw, M., 50 De Groot, ?, 42 Denison, John, 126 Dent, Edward, J., xxii Denton, David, 65 D’Erlanger, Baron Frederic, xxi Devon County Library, 19 Dohnanyi, Ernst von, 92 Douglas, Roy, 121 Draper, Charles, 35 Dunhill, Thomas, xx, 21, 32, 35–36, 117 Dyall, Valentine, 118 Ealing Studios, 121 Edwards, C., 10, 12, 21, 24, 51 Eisdell, Hubert, 56 Elgar, Edward, xxii, 32, 86 Elizabeth II, Queen (1952– ), 126 Elizabethan Singers, 23 Elm Park Mansions (Chelsea), xx, 19 Elms, Roderick, 6, 31 Elwes, Gervase Henry, 71, 72 England’s Helcon (Breton), 107 English Chamber Orchestra, 98, 127–128 English Trio, 36 Espalier, The (Warner), 92–93 European Winds, 98 Evans, Edwin, xxi, xxii, xxv, 62–63 Fearn, Lillian, 57 Fenby, Eric, 104 Ferguson, Barry, 18 Férir, Émile, 15 Festival of Britain (1951), xxvi Finchley Chamber Choir, 17 Finzi, Gerald, 126 First Part of Airs, The (Hume), 75–76

· 175

Fleet Street Choir, 48 Foden’s Motor Works Band, 96, 101 Folkening, John, 67 Forsyth, Cecil, 15 Fortunatus, Bishop Venantius, 6 Foss, Hubert J., xxii Foster, Ivor, 26 Foster, Muriel, 51, 53, 55, 56 Franklin, Norman, 85, 93, 107 Fry, Christopher, 126 Galway, James, 46 Gardiner, Balfour, 42 Garforth, David, 98, 127–128 Garland for the Queen, A (1953), 126 George V, King (1910–1936), 49 George, VI, King (1936–1952), 103 Gerogian, K., 20, 53, 79, 106 Gheel, Henry, 96, 101 Gibson, Dora, 63 Glassby, Robert, xxi Goblin Market and Other Poems (Rossetti), 80 Godfrey, Dan, 39 Godfrey, Dan jnr., 43, 73 Golden Age Singers, 126 Goossens, Eugene, xiii, 62–63, 73, 94, 96 Goossens Symphony Orchestra, 73 Goring, Marius, 118 Goss, John, 85 Gough, R., 66 Gower, Robert, 116 Gray, H.W. Co., 127 Griffiths, E., 58 Grinke, Frederick, 20, 21, 106, 108 Groves, Charles, 118 Grundting, Mary, 93 Guest, Helen, 92 Hale, Paul, 66 Hallé Orchestra, 73, 102 Halsey, Louis, 23

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Handel, George F., xiv Harrison, Beatrice, 79 Harrison, Bertram, 63 Harvey, Trevor, 17, 32, 48, 63, 70, 76, 78, 114 Hawkes, Ralph, xxiii, xxiv, 8 Haywood, Marjorie, 21, 24 Headmasters’ Conference, 66, 67 Herbage (née Instone), Anna, 120 Herbage, Julian, xxv, 120 Heyner, Herbert, 43 Hickox, Richard, 6, 7, 12, 26, 31, 39, 45, 58, 102, 104, 109, 115, 119, 121, 122 Hindemith, Paul, xiii HMS Archilles, 49 Hodge, Herbert, 50 Holst, Gustav, xiii, xiv, 32, 86 Holywell Ensemble, 3, 4, 5 Honegger, Arthur, 118 Honeyball, David, 96 Hooton, Florence, 20, 46, 106 Horsley, Colin, xxvi, 91 House of Life, The (D.G. Rossetti), 38, 86 House of Souls (Machen), x, xv, 35 How, Bishop W.W., 120 Howard-Jones, Evlyn, xx, 2, 64, 76, 77, 78, 79, 113 Howell, Thomas, 107 Howells, Herbert, xiii, 94, 96, 126 Hughes, Herbert, 82, 95–96 Hughes, Spike, 96 Hugo, Victor, 111 Human Shows (Hardy), 85 Hurlstone, William, xiii Hymen’s Triumph (Daniel), 74 Hymn of Nature, A (Bridges), 123 Images of Good and Evil (Symons), 83–84 International Society for Contemporary Music (ISCM), 87, 106

(The) Internationale, 105 Ionica (Cory), 82 Ireland, Alexander (father), xix Ireland, Alice (sister), xix Ireland, Annie (mother), xix Ireland, Ethel (sister), xix Ireland, John: as arranger: 14, 15, 30, 33, 38– 39, 40, 42, 45–46, 47, 81, 92, 100–101, 116 as conductor: xxii, xxiii, 6, 91– 92, 99, 102 as performer: xx, 9, 11, 19, 21, 26, 27, 34, 35, 41, 44, 50–51, 52, 53, 54, 56, 57, 58, 59, 67, 68, 72, 74, 75, 76, 77, 79, 81, 82–83, 84, 85, 86, 87, 88, 89, 93, 98, 99, 105, 106, 107, 112, 113, 119 as a writer: 144 Ireland, Lucy (sister), xix Ireland, Thomas (grandfather), xix Ireland, Walter Alleyne (brother), xix Irving, Ernest, 121, 122 Jacob, Gordon, xiii Jean-Aubry, G., 63 Jenkins, G., 126 John Ireland Memorial Window (St. Sepulchre’s Church), xxvii John Ireland Society, xxvii John Ireland Trust, xxvii, 123 John Ireland Trust Archive, 7 Johnson, Graham, 11, 26, 27, 36, 41, 53, 55, 56, 57, 58, 59, 61, 64, 67, 69, 70, 71, 72, 75, 77, 81, 84, 85, 86, 88, 89, 90, 93, 96, 197 Jones, Parry, 68, 83 Joyce Book, The, 95–96 Kalmus, Alfred, xxii Keble, John, 127

GENERAL INDEX

Kennedy, Daisy, 50, Kiddle, F.B., 56, 71 Kimmins,?, 20 King, Thea, 5 Kirby, Norah, xxv, 94, 123, 125 Konrath, Anton J., 92 Lambelet, Vivien, 84 Lambert, Constant, xxvi, 94, 120 Lamond, Frederic, 64 Langley, Beatrice, 19 Lardi, David, 17 Last Poems (Houseman), 87–88 Late Lyrics and Earlier (Hardy), 84, 85 Lawrence, T.B., 48 Left, Right and Centre (G. Bush), xvi Lenehan, John, 90 Léor, Hélène, 50 Les Travailleurs de la Mer (Toilers of the Sea) (Hugo), xxv Lichfield Cathedral Choir, 120 Liddle, S., 26, 33, 38 Lihou, Peter, 113 Lincoln Cathedral Choir, 120 Linden Tree, The (Priestley), 128 Logan, Sinclair, 95 London Brass Virtuosi, 96 London Collegiate Brass, 101 London Philharmonic Choir, 104 London Philharmonic Orchestra, 8, 39, 45, 73, 92, 97, 100, 104, 109, 115, 119, 121, 122, 123 London Symphony Chorus, 6, 31, 104 London Symphony Orchestra, 6, 7, 39, 45, 73, 102, 104, 115, 119, 121, 122 London Trio, 19 Longmire, John, xxiii, xxiv, 117,118 Loom of Dreams, The (Symons), 63 Lumsden, Andrew, 120 Lunn, Kirby, 27 Lush, Ernest, 21

· 177

Lympany, Moura, xxv Machen, Arthur, x, xi, xii, xv, xxi, 35, 99 Mackerras, Charles, 122 MacLean, Quentin, 25 MacNeice, Louis, 126 Macpherson, Charles, 31–32, 86 McQuitty, Kathleen, 69 Maggini, String Quartet, 31–32, 86 Magpie Madrigal Group, 17 Maltman, C., 11, 26, 27, 41, 56, 57, 71, 77, 84, 85, 86, 89, 90, 96, 107 Mare, Walter de la, 126 Markes, Charles, 3, 4 Marsh, R., 49 Mase, Oliver, 100 Masefield, John, 41–43, 56–57, 77 Mason, Berkeley, 115 Mendelssohn, Felix, xiv, xx Midsummer’s Night Dream, A (Shakespeare), 114 Mignot, Mrs, 110 Milhaud, Darius, 96 Miller, Arthur G., xxii, 76, 87–88, 90 Milne, L., 36, 55, 56, 58, 61, 64, 70, 81, 84, 86 Minghetti, Lisa, xxiii Ministry of Information (MoI), xxiv Mischa-Leon, Harry H., 41 Moeran, Ernest J., x, xiii, 96 Moger, Gladys, 55 Moiseiwitsch, Benno, xxv Moments of Vision (Hardy), 83 Morales, Pedro, G., 34 Mordkovitch, L., 20, 53, 106 Morris, R.O., 50 Morrison, Angus, xxiii, 92 Mortimer, Fred, 96,101 Moss, Alfred, 63 Mother and Child (Rossetti), 81 Mouat, Reginald, 21 Moulton, Dorothy, 95

178

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JOHN IRELAND

Muckle, May, 19, 35 Mühlfeld, Richard, 5 Muncy, Revd. E. Howard, 112 Murdoch, William, 49, 50, 51, 52, 59 National Brass Band Championships of Great Britain, 96, 101 National Coal Board, 123 Neel, Boyd, 108 Neighbour, Oliver, 95 New Queen’s Hall Orchestra, 73 New York Tribune, 23 Nicholson, John (grandfather), xix Nicholson, Sydney H., xxv, 120, 124 1914 and Other Poems (Brooke), 53–54 Noble, Denis, 104 Not Yet in Fancy’s Following (Coleridge), 61 Nuttall’s Standard Dictionary, 115 Observations on Popular Antiquities (Brand), 99, 114 Ord, Boris, 126 Orr, C.W., 96 Over the Garden Wall (Farjeon), 113 Oxford Book of Carols, 88 Oxford Poetry (Huxley), 68 Oxford University Press, 95 Oxley, James, 6 Palestrina, G., vii, 5 (The) Palm and May (Nashe), 106 Palmer, C., xv Paradyse of Daynty Devices (Edwardes), 107 Parker, George, xxv, 26, 27, 38, 41– 42, 51, 53, 56, 57, 58, 67, 68, 70, 72, 75, 77, 84, 85, 86, 89, 93, 107, 127 Parkin, Eric, 2, 9, 35, 37, 45, 49, 55, 59, 62, 65, 68, 69, 74, 76, 77, 78, 80, 83, 87, 88, 89, 91, 94, 99, 100, 105, 110, 114

Parratt, Walter, xix, 24, 25 Parry, Hubert, xiv Parsons, Walter, 112 Paul, Reginald, 92 Perkin, Helen, xii, xxii, xxvi, 90, 91, 93, 99 Petronius (T. Petronius Arbiter), 120, 121 Peyer, Gervase de, 119 Philharmonia Orchestra, 122 Phillips, Dorothy, xxii Piatigorsky, Gregor, xxiv Piccadilly Hotel Orchestra, 42 Pisk, Paul, xxii Platts, Harry, 73 Poems New and Old (Newbolt), 26–27 Poems 1907 (Coleridge), 58 Poems 1911–1914 (Brooke), 56 Poetical Sketches (Blake), 11 Pomes Penyeach (Joyce), 95 Pomponius Mela, 111 Portman, Eric, 118 Post, A., 33 Pougnet, Jean, 115 Poulet, Gaston, 50 Powell, Lloyd, 55, 64 Pratt, L., 46 Preludes (Meynell), 92 Priestley, J.B., 128 Pro-Musica, 95 Pryor, G., 119 Pulkingham, Betty, 67 Purcell, Henry, xiv Quartet Pro Musica, 4, 5 Queen’s Hall Orchestra, 39 Quintet for Clarinet and Strings (Brahms), 5 Radford, Robert, 11 Rafferty, Chips, 122 Ravel, Maurice, xiv Rawsthorne, Alan, 121 Rayson, Michael, xii, 110

GENERAL INDEX

Read, Alfred, 81, 83 Reed, Henry, 126 Reynolds, W., 101 Richardson, Norman, 8 Ripon Cathedral Choir, 49 Rite of Spring (Stravinsky), xv Roberts, Horace, 56 Rochester Cathedral Choir, 18 Rolfe Johnson, A., 67, 72 Roper, S., 50 Rose, Tania, 124 Roussel, Albert, 96 Rowlands, Alan, 94 Rowley, Alec, 98 Royal Academy of Music, xxii Royal Artillery Band, 118 Royal College of Music, ix, xiii, xvii, xx, xxi, xxii, 3, 4, 5 Royal College of Music Orchestra, 7 Royal College of Organists, xx Royal Philharmonic Orchestra, 91 Royce, Turlay (pseud.), 28, 29, 44 Rubbra, Edmund, 61, 126 Rubinstein, Artur, xxiii, 91 Rückert, Friedrich, 33 Russell-Smith, Geoffrey, 47 Rutland, Harold, xxvii Sacher, Paul, xxiii Sadler’s Wells Theatre Ballet, 73 St. Paul’s Cathedral Choir, 31 Sala, Antonio, 106 Saltwater Ballads (Masefield), 41– 43, 77 Sammons, Albert, 50–51, 52 Sammons, Felix, 52 Samuel, H., 56 Sanders, ?, 50 Sayer, Roger, 18 Schoenberg, Arnold, xiii School of English Church Music, 120 Scott-Sutherland, C., 125 Searle, Humphrey, xxi Sebires, Alfred, 110

· 179

Sessions, Roger, 96 Sewell, F.A., 26, 33, 50 Shakespeare, William (musician), xxi Shaw, Geoffrey, 16, 66, 68 Shaw, Marina, 111 Shaw, Teresa, 6 Shoemaker’s Holiday, The (Dekker), 75 Shropshire Lad, A (Housman), 53, 67, 71–72, 88, 106, 114 Silhouettes (Symons), 88 Sing-Song: A Nursery Rhyme Book (Rossetti), 60–61 Skelton, John, xxvii Smyly, C.F., 24 Soliloquies of a Subaltern (Cooper), 51 Songs of Experience (Blake), 32 Songs of Innocence (Blake), 41 Songs of Praise (BBC), 66 Sons of the Clergy Festival, 31–32 Stacey, G., 27, 28 Stanford, Charles, V., ix, xiii, xiv, xvi, xx, 5, 7, 19 Steadman-Allen, R., 98, 101 Stein, Erwin, xxii Stepp, Robert E., 46 Stobart, James, 101 Stravinsky, Igor, xiii, xv Swinburne, Algernon, 111 Sydney, Philip, 68 Taylor, Kendall, xxv, xxvi, 20, 119 Tempest, The (Honegger), 118 Tempest, The (Shakespeare), 20 Terfel, Bryn, 6, 31, 104 Terroni, Raphael, 23 Tertis, Lionel, 46, 51, 79 Thalassius (Swinburne), 111 Thomas, Brian, xxvii Thomas, Mansel, 43 Thompson, Revd. Kenneth, x, 7, 102, 109, 113

180

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Thomson, Bryden, 91, 100 Three Character Pieces (Britten), 55 Thurston, Frederick, 119 Tippett, Michael, 126 Tomlinson, Olive, 54 Toms, ?, 50 Turnbull, Percy, xxiv Twelfth Night (Shakespeare), 106 Twelvetrees, Clivem 19, 52 University of Durham, xxi, xxii, 19 University of Keele, 104 University of London, 85–86 Valois, Ninette de, 73 Van Dieren, Bernard, 96 Varcoe, Stephen, 26, 58 Variations on St. Paul’s Steeple, xxv Vaughan Williams, Ralph, xiii, xiv, 94, 126 Verses (Dowson), 11, 71, 89 Vista, A (Symonds), 103 Wakefield Cathedral Choir, 38 Walsh, Colin, 33 Walton, William, xxiii, xxiv, 94, 96, 106 Waring, Holburt, 85 Warrack, Guy, 97

Warwick-Evans, C., 52 Watt, Harry, 121 Weatherly, Frederick, 28, 44 Webster, John, xvi Weekend (Monro), 55 Wellesz, Egon, xxii Wells Cathedral Choir, 66 Wetton, ?, 50 Whitaker, W. Gillies, 94 Widicombe, T., 29 Williams, Gerrard, 42 Williams, Harold, 53 Wilson, Steuart, 72 Winter’s Tale, A (Shakespeare), 11 Wood, Henry J., xxv, xxvi, 39, 73, 90, 99, 102, 108, 115 Wood, Thomas, xxvi Wood, Ursula, 126 Woodgate, Leslie, 14, 15, 104, 117, 123 Woolley, Kitty, xx Wright, Desmond, 2, 9, 45, 55, 62, 68, 69, 105, 114 Wright, F., 101 Wright, Keith, 38 Wright, Kenneth, xxiii, 39, 96 XX Songes (Cornysh), 107 Yeats, W.B., 93