JOHN IRELAND’S MUSIC

Press, Volume XC, Issue 27397, 9 July 1954, Page 5

JOHN IRELAND’S MUSIC

RECITAL IN COLLEGE HALL The third recital in the John Ireland music festival was held yesterday in the Canterbury University College Hall. May Hannan (violin), Frances Anderson (’cello), and Althea HarleySlack (piano) played the composer’s Trio No. 2 and the Phantasy Trio. Between these performances, Winston Sharp, accompanied by Vernon Griffiths, sang a bracket of four songs. Both trios are relatively early works in the composer’s development. The Phantasy Trio, written in 1906, is romantic in mood. Ireland had not yet developed to the full his use of short, pithy thematic ideas. Here the melodies are more expressive, and the harmony less pungent, although still colourful and individual. The Trio No. 2 is in similar style. The aggressiveness which Ireland displays. rhythmically and harmonically in his Piano- Sonata and that for ’cello, are absent in this work. Ireland’s feeling for concise structure and logical development—a feature of all his large-scale works—is already present in these two trios. The Phantasy Trio grows out of one fundamental idea, which is developed in three contrasting sections. This system of “germinal growth,” by which the different characteristics of a single theme are contrasted and worked out. is found repeatedly in Ireland’s work. The writing for the three instruments is very clear. At no time does the piano obscure or overpower the melodic line of the strings, of which the possibilities are fully exploited. The fine ’cello solo which opens the Phantasy Trio is but one of many examples which prove Ireland’s understanding of his medium.

Of the four songs sung by Winston Sharp, one might mention ‘THow Out, You Bugles” (Rupert Brooke). The piano accompaniment for this song is a masterpiece of originality; Ireland suggests the presence of a bugle rather by his rhythms than by any melodic device. This was easily the best recital of chamber music given in the college hall this year. One could not fault the trio in any aspect of their playing. Ensemble, intonation and quality of interpretation were of a standard that one would like to hear more often. Miss Hannan produced a warmth of tone not found in many professional ensembles. One is filled with admiration for the standard of these three players when it is realised that Ireland’s music is not readily interpreted. It needs, besides technical powers above average, an ability to understand the composer’s thought, which Is never obvious. These three fine musicians will play Ireland’s third trio next Thursday. This performance should attract all lovers of Ireland’s music and of firstclass chamber playing. —P.G.Z.