Stanford wrote his First Set of 24 Preludes in 1918, a year of prolific activity for the composer (the Third Piano Trio, Ballata and Ballabile for cello and orchestra, Second Violin Concerto and an a cappella setting of the Magnificat are just some of the works completed during the same 12-month period). The key-scheme follows that of Bach’s 48, and Stanford maintains a pleasing variety of mood and genre throughout. So, alongside such charming vignettes as the capricious “Humoresque” (No. 9) and graceful “Waltz” (No. 10), there are more ambitious offerings like the noble “Threnody” (No. 2) and elegiac, deeply felt “March” (No. 22). Elsewhere, the idyllic, slightly Griegian “In the Woodland” (No. 13) is a particularly delightful inspiration, and much the same goes for the soothing “Irish Song” (No. 19) and perky “En rondeau” (No. 23).
Bearing a dedication to the great pianist Moriz Rosenthal, the Six Characteristic Pieces were composed over just five days during the first half of January 1912. A most eloquent set they comprise, too: the impressive, stately “In Modo Dorico” makes a commanding opener (Stanford subsequently arranged it for organ), and the intimate, tenderly wistful “Roundel” (No. 4) was conceived as a centenary tribute to Schumann (albeit, as Jeremy Dibble observes in his extensive accompanying notes, a somewhat tardy one – Schumann was actually born in 1810).
As we have come to expect by now, Peter Jacobs is a selfless, utterly dedicated purveyor of all this attractive material, and it can safely be presumed that there is more in the Priory pipeline (the disc proclaims “Volume 1”). The sound is good, though not outstanding. Overall, a very likeable release.'