Peter Warlock - Capriol Suite arr. by Alan Gout

Peter Warlock was a pseudonym of Philip Arnold Heseltine (30 October 1894 -- 17 December 1930), an Anglo-Welsh composer (mainly of songs) and music critic. He used the pseudonym (and various others) when composing, and is now better known by this name.

Capriol Suite (1926)
arr. Alan Gout

1. Basse danse
2. Pavane (1:18)
3. Tordion (3:10)
4. Bransles (4:00)
5. Pieds-en-l'air (5:49)
6. Mattachins (8:07)

Equale Brass
from the CD "Bacchanales"

Heseltine wrote his earliest mature compositions, published to critical acclaim under the newly adopted pseudonym Peter Warlock, following his sojourn in Ireland of 1917-1918. They were followed by a period of concentration on musical journalism; for a while, he was the editor of the musical magazine The Sackbut.

His most prolific period, both as a composer and author, was in the early 1920s, when he withdrew from the financial and social pressures of London to his mother's and stepfather's house in Mid-Wales. Here he wrote some of his finest songs, finally completing his song cycle The Curlew to poems by W. B. Yeats. During this period he also met Béla Bartók, who visited him while returning from a concert in Aberystwyth arranged by Professor Walford Davies, and whose influence can perhaps be seen in The Curlew.

Between 1925 and 1929, following a quiet period, Warlock and his colleague E. J. Moeran led a wild, boozy life in Eynsford, Kent, having to deal with the local police more than once - including for riding his motorbike naked. For Warlock, this was one of the most fruitful periods of his life, but by the end of the 1920s his creativity was waning and he had to support himself with music criticism again. He was suffering from severe depression, but whether his death from gas poisoning at the age of 36 was suicide or an accident is not known for certain. His cat had been put out of the room before he died, perhaps to spare it. There is a third possibility: Warlock had made Bernard van Dieren his heir in his will, inspiring claims by Warlock's son Nigel Heseltine that van Dieren had murdered his father.

His name is surrounded by rumours of involvement with the occult, an interest which he shared with others in the Bohemian world of the early 20th century — for example the novelist Mary Butts asserted that it was Warlock who initially introduced her to these subjects. Other less conventional aspects of Peter Warlock's life include experimentation with cannabis tincture, a gift for the composition of obscene limericks and a marked interest in flagellation

Category:

Music

Tags:

• england
• renaissance
• dances
• arranged
• brass
• twentieth
• century

[bartje11]

@bartje11 His 1722 Treatise on Harmony initiated a revolution in music theory and caused quite a sensation

[bartje11]

@omgtkseth Triads became apparant in Baroque, when major and minor evolved. Rameau posited the discovery of the "fundamental law" or what he referred to as the "fundamental bass" of all Western music. Rameau's methodology incorporated mathematics, commentary, analysis and a didacticism that was specifically intended to illuminate, scientifically, the structure and principles of music. He was called the "Newton of music".

[omgtkseth]

ooh, I'll add this to my byzantine playlist that I have for playing Assassin's Creed... I still dont see a connection between Organum, I believe that is a melody with an underlying fixed note as accompaniment, and this type of complex harmony. Late "Renaissance" like ars nova seems so disjointed from the organums or the homophony heard in, say, the last piece here, that is still very close to monophony still. How did people 'invent' triads? Music evolution is not linear as lazy students want...