Magnificat and Nunc Dimittis in A (John Irland) FIRST EDITION

(CP3126)
Produktgruppe Sheet Music (internal productions)
Produktkategorier Blandakor
Instrument Kor
Orgel
Besetninger SATB
Vanskelighetsgrad 1
ForfatterBibel
KomponistIreland, John
Komponert år 2012
Utgivelsesdato 2012-03-16
Utgiver Cantando Musikkforlag AS
ISMN -8
Produkt type Fysisk vare
Pris
Lagersaldo
20-50
46,38 NOK
(inkl. 25% MVA)
Pris: <div>46,38&nbsp;NOK</div><div class="taxtext">(inkl. 25% MVA)</div>
John Ireland (1879-1962) said of himself that he was ”not a great composer, but a significant
one”. Many would disagree with this modest self-evaluation, as his compositions for piano,
for solo voice and piano, and for solo instrument and piano, rank among the finest creations
in English musical history. His church music, whilst not as ”great” as his secular creations, is,
however, undoubtedly ”significant”. ………………….

……. Ireland’s church music occupies a very different sound-world from that of his chamber music,
piano music and songs. Whilst his mainstream compositions are influenced by Debussy,
Ravel and Prokofiev, in addition to the ubiquitous aura of Brahms which pervades his earlier
works, the church music is strongly influenced by his teacher Stanford, and by the studies of
renaissance counterpoint on which the latter insisted his young student should spend time
and energy. ………….

…….In preparing this edition, note values have been halved, in keeping with present-day practice.
A few minor corrections have been applied. The Magnificat is ”based on a well-known Gregorian
intonation”. Like the other service settings of Ireland, the music is typically diatonic, with
unison passages providing contrast in between four-part harmonic passages. The settings are
designed to be manageable by amateur choirs with limited rehearsal time. The manuscript is
in the British Library (Add. MS 52894, ff 18-22). ……………

-----The Evening Service in A major, written in 1905, is the earliest of Ireland’s settings of the canticles.
It is to be hoped that this edition will enable this finely-crafted and essentially musical setting to
join the repertoire of music for Evensong and that both amateur and professional choirs will
find it useful. It would seem appropriate that 50 years after the composer’s death, this attractive
music should at last find a wider audience. ……………..

Robert Coates, Harøy
October 2011
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