Music
From Charles Villiers Stanford, Ireland inherited a thorough knowledge of the music of Beethoven, Brahms and other German classical composers, but as a young man he was also strongly influenced by Debussy and Ravel as well as by the earlier works of Stravinsky and Bartók. From these influences, he developed his own brand of "English Impressionism", related more closely to French and Russian models than to the folk-song style then prevailing in English music.
Like most other Impressionist composers, Ireland favoured small forms and wrote neither symphonies nor operas, although his Piano Concerto is among his best works. His output includes some chamber music and a substantial body of piano works, including his best-known piece The Holy Boy, known in numerous arrangements. His songs to poems by A. E. Housman, Thomas Hardy, Christina Rossetti, John Masefield, Rupert Brooke and others, are a valuable addition to English vocal repertoire. Due to his job at St Luke's Church, he also wrote hymns, carols, and other sacred choral music; among choirs he is probably best known for the anthem Greater love hath no man, often sung in services that commemorate the victims of war. The hymn tune My Song Is Love Unknown is sung in churches throughout the English-speaking world, as is his Communion Service in C major. He appears as pianist in a recording of his Fantasy Sonata for Clarinet and Piano with Frederick Thurston, and his Violin Sonata No. 1 (of 1909) with Frederick Grinke, who performed and recorded several of his chamber works.
Ireland also wrote the score for the Australian film The Overlanders (his only film score), from which an orchestral suite was extracted posthumously by Charles Mackerras. Some of his pieces, such as the popular A Downland Suite and Themes from Julius Caesar, were completed or re-transcribed after his death by his student Geoffrey Bush.
Read more about this topic: John Ireland (composer)
Famous quotes containing the word music:
“The time was once, when thou unurged wouldst vow
That never words were music to thine ear,
That never object pleasing in thine eye,
That never touch well welcome to thy hand,
That never meat sweet-savored in thy taste,
Unless I spake, or looked, or touched, or carved to thee.”
—William Shakespeare (1564–1616)
“During the cattle drives, Texas cowboy music came into national significance. Its practical purpose is well known—it was used primarily to keep the herds quiet at night, for often a ballad sung loudly and continuously enough might prevent a stampede. However, the cowboy also sang because he liked to sing.... In this music of the range and trail is “the grayness of the prairies, the mournful minor note of a Texas norther, and a rhythm that fits the gait of the cowboy’s pony.””
—Administration in the State of Texa, U.S. public relief program (1935-1943)
“The great challenge which faces us is to assure that, in our society of big-ness, we do not strangle the voice of creativity, that the rules of the game do not come to overshadow its purpose, that the grand orchestration of society leaves ample room for the man who marches to the music of another drummer.”
—Hubert H. Humphrey (1911–1978)