The first sentence written by Christopher Palmer, in his comprehensive notes that accompany this set, is a quote from John Ireland who asks the rhetorical question "How can the critics begin to understand my music if they have never read Machen?" Ireland was referring to Arthur Machen (1863-1947), writer of "fantastic" fiction and essays who himself was inspired by literature that encapsulated the "rapture, beauty, adoration, wonder, awe, mystery, sense of the unknown, [and] desire for the unknown" (from Machen's "Hieroglyphics" 1902). Palmer writes that Machen "loved all memoried things and places, things with a past behind them - and the more remote the past the greater he felt able to partake of them."
Ireland was in his thirties when he happened upon a copy of Machen's "The House of Souls" at a railroad bookstand; attracted to the cover and the title, he purchased it. In the notes accompanying a Lyrita compilation of Ireland's orchestral works, Julian Herrbage observes that the book "was to prove a revelation to him, and it's description of the 'world beyond the walls' found an immediate response in his own subconscious thought." The matrix of that inner world included the fertile territory of Celtic legend, ancient rites and mysteries and above all, nature (in a pantheistic way), all of which fired his imagination and was the inspirational backdrop of his musical output.
I acquired Adrian Boult's LP's of Ireland's orchestral music back in the 1970's, and found many of his works deeply appealing (these are now available on two outstanding Lyrita cd's: (Boult conducts John Ireland and Boult Conducts Ireland). I identified strongly with the places evoked in Ireland's music even though I had never travelled there; indeed it was unnecessary to do so for the landscapes he conjured up are buried in the geography of the mind. As much as I appreciated his orchestral music, especially the Piano Concerto and Legend for piano orchestra, which incidentally was dedicated to Arthur Machen, I never ventured into his output for piano. When the Musical Heritage Society issued these Eric Parkin recordings, which were licensed from Lyrita, I didn't buy them thinking that Ireland needed the richer texture of an orchestra to put his ideas across. Well, I was wrong as these three discs are packed with wonderful things, from an arrangement of the composer's famous "Holy Boy" to the more ambitious triptych "Decorations" and the substantial Sonatina and Piano Sonata. Ireland's piano works consists mainly of atmospheric short pieces, many of them delightful, and while some are more serious than others none of them are simply trifles. There are hints of thematic material from Mai Dun, the Piano Concerto and other pieces here and there, but those familiar phrases just confirm that the listener is situated in Ireland's distinctive impressionistic sound world.
I haven't heard Eric Parkin's remakes of this music on Chandos, so I have no basis for comparison there; however, I can say that his Ireland interpretations are definitive (he was a student of the composer) and the Lyrita sonics are outstanding as usual. Highly recommended.