Minor Masterpieces of Organ Music No.5: John Ireland’s Capriccio

John Ireland is not the first English composer that an organist would consider when assembling a programme for a recital. His best-known works are the piano miniature The Holy Boy, the song Sea Fever, and his anthem Greater Love Hath no Man.

I first discovered him in 1973 when a friend of mine at Coatbridge High School sang If there were dreams to sell, a setting of Thomas Lovell Beddoes’s unpretentious, if slightly melancholic poem. Since that time, I have explored Ireland’s compositions which include more songs, much interesting chamber music, some impressive orchestral pieces, and an important corpus of piano works. His style tended towards French Impressionism and Romantic expressiveness, often infused by a native mysticism. This latter was inspired by his reading of the Welsh author Arthur Machen and his sympathetic reaction to the ancient landscapes of the Channel Islands, Dorset, and Sussex.

Ireland’s output for organ was largely completed over a brief period between 1902 and 1912, with a final notable offering, Meditation on John Keble’s Rogationtide Hymn as late as 1958. These include the Elegiac Romance (1902), a Miniature Suite (c.1905), and the solemn Sursum Corda (1911).

The Capriccio dates from 1911 and was dedicated to H.L. Balfour, at that time the organist at Holy Trinity, Sloane Street, London. It was published in The Organ Recitalist, No.23, by Stainer and Bell, in that year. Contemporaneously, Ireland was organist at St Luke’s Church, Chelsea.

Unusually for John Ireland, who normally explored themes of solitude, longing, and transcendence, the Capriccio is characterised by wit, bravura, and technical prowess. It is of interest as acting as a bridge between the early 20^th century Edwardian English organ tradition and a later, more modernist mood, being a move away from pastoral lyricism towards a more continental sophistication.

Formally, the Capriccio could be defined as a modified rondo, (recurring theme with more or less related episodes) or a perpetuum mobile (unceasing motion driven by relentless rhythmic energy). The progress of this six-minute piece moves from intimate moments to shattering tuttis, even calling for a tuba stop (where available). A large three or four manual organ is required for maximum effect.

Fig.1

The opening bars (Fig.1) set up the mood with semiquavers accompanying a four-bar phrase of straight quavers introduced by “impudent” grace notes. This roiling mood is repeated and then varied with some subtle syncopation. 

Fig.2

The first episode (Fig.2) is quieter, calling on a clarinet solo on the Choir or Great organ. Then the return of the principal theme is recalled, slightly varied. The second episode is heard on the Choir flutes. From this point, it builds up with a “long crescendo” This is interrupted by a final reprise of the opening, before the work ends with a powerful march-like coda, using the tuba stop, calling for full organ and a final ffff chord in the home key.

The Capriccio is ostensibly in C major, but typical of Ireland’s style there are many passing modulations. Harmonically, it features chromaticism and modality, echoing influences from French Impressionism and the English pastoral school, though with a more urban, whimsical character.

A contemporary review in the Musical Times, (June 1912, p.384) stated:

“Among those modern composers who are endeavouring to raise the standard of organ music must be included the name of Mr. John Ireland. He proves that while it is not necessary to sustain the organ's reputation by writing a Fugue, it is quite possible to present acceptable examples in lighter form and yet to maintain the true character of the instrument. The Capriccio is admirably written, and while within the powers of those possessing even moderate technical skill, should prove a charming addition to the programme of many an organ recital.” Organists should be aware that this work depends on more than “moderate technical skill.”

To this end, Peter Hardwick, in his essential British Organ Music of the Twentieth Century (The Scarecrow Press, 2002, p.94), states that: “a good keyboard technique is…called for in order to execute the saucy little sixteenth-note accompanimental figurations, the principal melody’s impudent grace notes and passages that require the crossing of hands.”

Finally, commentators have noticed the potential of more “popular audience appeal” with the Capriccio, than any of his other pieces for this instrument. Part of this is the obvious “cinema organ” (despite this instrument only beginning to appear in 1911) sound apparent from the opening bars. It would make a popular encore, with the audience most definitely tapping their feet.

The score of Capriccio can currently be found in The Organ Music of John Ireland (ed. Robert Gower), Novello, 2003

With thanks to the Glasgow Society of Organists Journal where this essay was first published.