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Scherzo Op. 16, 4
Uploaded by: wolfram_syre
Composer: Guilmant, Alexandre Organ: Notre Dame de Metz Mutin/Cavaillé-Coll Software: Hauptwerk IV Views: 135
Eventide (Berceuse)
Uploaded by: Agnus_Dei
Composer: Jackson, Bernard Organ: Salisbury Cathedral Father Willis Software: Hauptwerk IV Views: 139
Sortie (Postlude)
Uploaded by: Erzahler
Composer: Titcomb, Everett Organ: Salisbury Cathedral Father Willis Software: Hauptwerk IV Views: 138
Uploaded by:
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Agnus_Dei (07/08/22)
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Composer:
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Phillips, Gordon
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Sample Producer:
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Milan Digital Audio
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Sample Set:
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Salisbury Cathedral Father Willis
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Software: | Hauptwerk IV |
Genre: | 20th century |
Description: | (Charles) Gordon Phillips (1908-1991) was born in Slough, the son of a Baptist minister. He grew up in Nottinghamshire and trained as a teacher at the Nottingham University. He was passionately fond of the organ and from his teenage years dedicated his energies to passing professional examinations and writing for the instrument. As a composer, several solo works were accepted for publication before he had completed his higher education. He was a student of Ernest Bullock and John Ireland, and was a frequent recitalist in and around London. Following the war, his attention turned towards the editing of lost treasures of English organ music and the design of a new organ for his church, All Hallows, Barking, which stands by the Tower of London. Over the succeeding years, he went on to give more than 3,000 recitals upon the Harrison and Harrison organ there. As an editor, he is well-known for his important series, "Tallis to Wesley." As a composer, his works contain an astringency which can be bracing, even rather harsh at times.
"Three Pastoral Pieces" are three little gems, each with its own colors and personality. They were published by Oxford University Press. This one is dedicated: "To. W. S. Lloyd Webber."
The second, "Scherzo" is a lively piece whose chromatic decoration conveys a feeling of restlessness until we reach the middle section which is in the major key. The tonal stability is short lived and after more chromaticism and an accelerando which ends with a very short pedal solo, the opening is recapitulated now sounding quite familiar after the middle section. The piece ends with a little coda - a kind of afterthought.
It is dated November 1936.
I received these scores from my good friend and our member, "Dabchurch," who was a student of Gordon Phillips. These performances are dedicated to him with thanks and admiration.
Several photos of Gordon Phillips, Lloyd Webber, and some of the Church of All Hallows by the Tower are attached below. |
Performance: | Live |
Recorded in: | Stereo |
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