This is uplifting music with an Irish melody presented on an instrument not normally associated with the playing of Irish traditional music. The tempo of the realisation is 104 dotted quarter notes to the minute whilst accompaniments are in place enabling pianists to practice primo and secondo parts in an ensemble context. They play at 100, 104 & 108 dotted quarter note (crotchet) beats to the minute. The imitative aspect of the arranger’s work is perfect as is the subtle use of accidentals adding harmonic colour to the arrangement. The contrast in dynamics in repeating section is a strong performance feature. An arrangement that captures the style, idiom & colour of Irish music beautifully & quite objectively. When performing this music the tempo is consistent throughout with just a slowing down after the pause in the closing section. This is music needs to be played with a lightness of touch. Folk dance pieces tend to drive forwards in the sense that subtle changes of tempo are minimal. The music editor has kept with just Italian terms in the music setting and some of the missing ties in the original publication have been added by the editor. It is a movement that needs to be played in a controlled and consistent manner although there is scope to explore the dynamic range. Reynaldo Hahn 1874-1947 was born in Venezuela although he is more readily identified as a French composer where he lived most for most of his life and where he became a citizen in 1907. He is particularly remembered for his contribution to the song repertoire which was a strong French musical tradition in his lifetime. Like many composers he is identified with the “just below the surface group of composers” who wrote fine well crafted music but never became mainstream, well known even though they might have composed a famous piece of music. His music is deserving of more attention. Hahn was very well connected to people in the arts and was friends with Marcel Proust and Sarah Bernhardt. Hahn came from a prosperous family and spoke several languages. He had great respect for Fauré and as a musician was trained by some of France’s greatest teachers. He is described as a fin de siècle composer of the 19th century rather than one who embraced the 20th century and its musical challenges. As a French composer he was overshadowed somewhat by Debussy and Ravel. He contributed music to the concert hall, songs and chamber music for the salon, incidental music, ballet, opera for the theatre and solo piano, piano duet and two piano works. Like many of his contemporaries he was reluctant to challenge the great piano repertoire of Beethoven, Schubert and Brahms. He was highly regarded as a conductor particularly of Mozart operas focusing particularly on the composer’s intentions rather than stylistic influences prevailing at the time.
