John Ireland: A Downland Suite (1932) Part I

Classic FM regularly plays John Ireland’s delightful ‘Minuet’ from his A Downland Suite. Apart from arrangements of The Holy Boy and few other miniatures for cello and piano by Julian Lloyd Webber he is regarded by this radio station as a ‘One Hit Wonder.’ To be sure, their ‘full works’ concert recently included a performance of the Piano Concerto in Eb major composed in 1930.  

Little information about Ireland’s A Downland Suite is given in programmes. Few listeners will have had the opportunity of hearing the work in its entirety. The ‘Minuet’ is a great piece, but the other three movements are worth getting to know as well. And there are more than one version of this work.

A Downland Suite was composed in 1932. It had been commissioned by The National Brass Band Championships of Great Britain as their test piece for that year’s contest. The work was dedicated to the composer and conductor Kenneth Wright (1899-1975) who at time was personal assistant to Sir Adrian Boult at the BBC.  The Suite is in four movements.  Other works composed by Ireland at this time include the James Joyce song setting, ‘Tutto è sciolto and the short piano piece ‘Indian Summer’.

The Suite is more than just a collection of short pieces. It is structured in the manner of a classical Sonata, with a ‘Prelude’ (allegro energico) featuring two contrasting themes, a deeply expressive elegy (lento espressivo), followed by the graceful minuet (allegretto grazioso). The work concludes with a classically wrought Rondo (poco allegro).  Commentators have noticed that the key structure of the work is more adventurous than Haydn of Mozart may have indulged in. The opening movement is in C minor giving a sense of innocence and simplicity to the listener’s ear. The interest is maintained by solo and tutti passages. This modulates to the relative major, Eb, for the heart-breaking elegy which is Elgarian in its expression of love and loss. It features a long melody that is characteristically harmonised.  There are touching solos for cornet and euphonium. The classically balanced Minuet is written in a cheerful Bb major with the trio section in the minor. Finally, the Rondo opens in an uneasy G minor. However, Ireland has introduced some complex modulations before the piece concludes in a strong G major with exciting flourishes. It is interesting that the theme of the Rondo is derived from the ‘Elegy’. This gorgeous tune is heard in its original form towards the end of the piece as one of the ‘episodes’ before the work ends with a short coda.

Despite the relatively straightforward sound world of A Downland Suite this is no cinch for brass bands to play.  

The Sussex Downland (South Downs) was beloved by the composer. He spent much time there and latterly bought a converted windmill to live in.  To what extent did Ireland want this suite to musically evoke this landscape? It has been described by Donald McLeod as ‘sunnily bucolic.’ Certainly, this may apply to the well-known Minuet, but with the ‘Elegy’ we are in deeper and more personal waters. It is a mood picture rather than a musical description.

The Suite was first performed at London’s Crystal Palace on 1 October 1932 at the National Band Festival competition. Clearly, as a test piece it was played many times during that festival. The winning band was the Foden’s Motor Works Band, conducted by Fred Mortimer. Runners up were the Black Dyke Mills and Wingates Temperance Bands. All three bands are still going strong.

Listen to John Ireland’s The Downland Suite on YouTube (Slightly curtailed opening bar, Accessed 25 September 2019). This is a live performance at Bristol’s Colston Hall made in 1991. The Sun Life Band is conducted by Roy Newsome.

I will discuss the lovely arrangement of A Downland Suite for string orchestra in a subsequent post.