John Ireland: February’s Child for piano (1929)

February’s Child is often described as a musical depiction of a child's innocent and playful nature. It is characterized by its light, delicate melody and gentle, flowing accompaniment, capturing a sense of tenderness and simplicity. 

This short work was written during 1929 to celebrate the 24^th birthday of the former St Luke’s choirboy Arthur Miller. The score was inscribed “To AGM [Arthur G. Miller] for 22 February 1929”. Miller (1905-1986) was the son of a Chelsea antique dealer. He was one of the witnesses at Ireland’s ill-fated wedding to Dorothy Phillips in 1926. Miller became such a valued friend that around 1932 the composer made a will leaving all his estate to him.

In 1922, Ireland had bestowed his On a Birthday Morning to the same lad. Other works dedicated to AGM include ‘Love and Friendship’ from the Three Songs (1926), the song cycle We’ll to the Woods no more (1927) and Bergomask (1925).

In a short programme note for the Alan Rowland’s Lyrita (REAM.3112) recording of Ireland’s piano music, Julian Herbage wrote that the “piece is built on a two-bar phrase that the composer happily marks Allegretto amabile, which is treated in the manner of a passacaglia and with characteristic harmonic complexity.” 

Christopher Palmer has suggested that this piece has “more than a hint of wildflower freshness. Despite the title, winter is banished: the music ripples and laughs in the sunny warmth of spring.”  Building on Rowland’s conception of the work as a passacaglia, Palmer notes the “essentially symphonic nature of Ireland’s thought even in a miniature context.”  The main climax is devised by repeating the opening phrase “over and over again, against a constantly shifting background of harmonic colours:” (Liner Note, Chandos SRCD.2277)

February's Child was premiered on the BBC, London National Programme, on 7 July 1930 by Ireland's composition pupil Helen Perkin. It was published by B. Schott (Mainz) in 1931 and was printed with companion piece Aubade. Both were available separately. At the same time, the Ballade (1928-29) was issued. The Musical Times (December 1931, p.1097) was suitably complimentary: “February’s Child…looks back to an earlier, more lyrical manner. This is more the Ireland of Amberley Wild Brooks and April, and it is pleasant to find the composer in this genial mood again.” This contrasted with the Ballade which looked back to the acerbity and despair of the Sonatina.

Bora Ryu, in their thesis, Comparative Study of Frank Bridge's Character Pieces for Piano from the 1910s and 1920s and Character Pieces of His Contemporaries Arnold Bax, Cyril Scott, and John Ireland, 2019, writes that “February’s Child from the Two Pieces for Piano (1929-30) has been aptly described as an “example of a heart-easing lyricism which often sounds like an improvisation.” Ireland’s improvisatory style is heard in the reappearances of the main melody in different keys and harmonic progressions. Transitions between statements of the melody present his modulation technique using chromatic harmony. Chords with an altered note or added note are another reminder of the sonority of late-romantic harmony.”

In his essay Elgar and other British Composers in Sussex, Ian Lace quoted Eric Parkin: He recalled how he was first attracted to the work:- “I remember playing a piece called February’s Child by John Ireland for a diploma when I was in my teens and I immediately fell in love with it and, of course, I tried to find as much of his music as I could. It’s difficult to say what I felt about the writing, I just loved the feel of it at the keyboard. I later discovered that I had a similar north-country temperament, background, and upbringing to Ireland himself so this may have had something to do with it.”

Listen to pianist John Lenehan playing John Ireland’s February’s Child on YouTube, here. (Naxos 8.553889, 1999)