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Lunchtime Recitalist - Graham Ireland Updated: 02 March, 2004 |
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BORN of a musical family who lived next to a church in what was then rural Gloucestershire, it was inevitable that Graham should join the church choir at the first opportunity. Under the eager eye of the choirmaster who was also the organist, a love for church music was kindled. He spent many hours with his choristers, and gave them lasting experiences such as singing in RSCM Festivals in Gloucester Cathedral. It was the old cathedral organ which set Graham on his present career, and the rest they say is history. Graham won a scholarship to the local grammar school, where he was allowed to begin his organ studies with Dr H W Sumsion at Gloucester Cathedral. From the grammar school he gained a scholarship to Sheffield University, where he studied for a dual honours degree in Music and German. Here he successfully took his LRAM and ARCO diplomas. The time to earn an honest crust followed and Graham was appointed Assistant Director of Music at Framlingham College in Suffolk. With less pressures on a teacher he studied for the degree of B Mus at Durham University on a part time basis. After a number of years he moved to Caterham School in Surrey, where he successfully gained his FRCO diploma. The post of Director of Music at Reading School was offered Graham, his final move, which he relinquished on his retirement last year. Despite the constant demands of running a large music department in this highly academic school, there was time to follow a M Mus degree in Musicology at Reading University, which involved detailed research into aspects of the organ and performance practice. The world of academia, making music and giving the odd organ recital has been Graham's life. He still pursues these aims at the more leisurely a piacere pace of a retired musician, who as everybody knows is just as busy now as when in full time employment. February 2003 |
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Andante from Concerto No
1 in G minor for Organ ....... Handel
At first hearing this
movement would appear to be somewhat anticlimactic compared to the
previous movements in this concerto. In its simplicity it
complements the other movements providing a perfect foil and ending
to this memorable work. Theme and variations are the order of the
day. The simple theme in G major, clearly announced, unfolds amid
traditional modulations and manual contrasts, to blossom out fully
in the final statement. Berceuse from 24 Pieces, Opus 31
.................................... Vierne Vierne wrote his “vingt-quatre
pièces en style libre” in 1913. According to Bryan Hesford, 'they
display Vierne's gift for writing short pieces of considerable
eloquence, and direct appeal to both listener and performer.' The
opening theme of arguably the most popular of the set dominates this
piece, and much use is made of this theme throughout. A high E
announces the beginning of the imaginative coda section, and in it
descends a tenth to rest on six bars of C sharp. Toccata and Fugue in D minor, “Dorian”
........................... Bach This, I hasten to say, is
not the Toccata and Fugue in D Minor, but another one! It is one of
the few organ pieces for which we have documentary evidence of a
performance by Bach himself, in 1732. The Toccata shows the
influence of Vivaldi in the contrast of manuals and the use of the
embryonic opening theme which pervades the movement. A glorious
fugue follows built on an upward rising theme which falls stepwise
down the octave. It contains many fugal devices worked with
consummate perfection by this master of counterpoint. No. 2 of Three Psalm-Preludes for Organ, Second
Set .............
Elegy ................................................................... Kenneth Leighton This piece you will find is about five minutes of unrelenting and unresolved dissonances. Its form is essentially in three parts, with the outer sections sharing a similar treatment and dynamic level. The central section increases in volume and complexity, the latter due to the constant two against three rhythms, in hands and feet. I find the piece quite hypnotic - I hope you do too! Suite Carmelite pour Orgue Jean ................................. Françaix Françaix depicts in this suite six nuns following the daily routine of their order. We meet Sister Blanche first, followed by Mother Mary of the Incarnation. Sister Anne is introduced next, with Sister Constance who has a lot to say for herself, as her description consists of 46 bars of continuous semiquavers. Sister Mathilde timidly puts in an appearance with a self opinionated Mother Mary of St Augustin coming last. She certainly makes her mark in the convent. In a Monastery Garden ...................................................... Ketèlbey For listeners of a less mature age this is a piece of unashamed romantic nostalgia, conjuring up the delights of monastic life with birds singing, the bells ringing, and the monks singing the daily office. The sun always shone and the weather was as idyllic as the mood successfully conjured up by the composer who lived in Upper Basildon. Please join in the Kyries, if you wish. Carillon Sur la sonnerie du Carillon de la Chapelle
du Listen to the pedal opening with its triplet figure which is a major characteristic feature of this piece. Over the top a chiming melody can be heard. A middle section follows with many staccato phrases building up in volume and excitement to a repeat of the opening section. The piece ends with a clever inclusion of ideas from the middle section against the ever clanging bells. It stops suddenly. (Time for mass). |
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