An interpretation

In 1941, following a period of intensive bombing and destruction of London, this insightful and enticing view emerged of Ireland ‘that there are in his music profound qualities of beauty and thought which become the more apparent in times of stress and unsettledness. It is to such music that we turn when our souls are troubled, and if only for that reason there are many admirers of this composer who hope it will not be too long before he provided them with another major composition’ (Tempo, August 1941, p. 9). Ireland had recently completed Sarnia and Three Pastels for piano, but no doubt to the delight of this writer was already working on Epic March, first performed the following year.

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