Peter Warlock: the composer
Peter Warlock is one of the several pseudonyms adopted by the critic, researcher, editor and composer, Philip Heseltine (1894-1930). Previous studies of Warlock have been almost exclusively biographical, using the pseudonyms as evidence of a split personality and applying this and other controversial aspects of his colourful life-style to an evaluation of his music.Brian Collins' refreshing new analysis of Warlock's output shows such approaches as often misleading. Focusing on key elements of Warlock's compositional techniques, such as his preoccupation with chordal material, Collins demonstrates that the early songs, often tonally adventurous and heavily influenced by Delius and van Dieren, are natural precursors to the more familiar later style. This later style is more suited to the contemplative and philosophical songs that make up the majority of his output.Nevertheless, Warlock has been criticized for writing 'all those songs about beer'; in analysing his choice of subject matter and the respect he accorded to the natural stresses of the texts he used, this book offers more penetrating insights into the composer's motivations and achievements. As such it is vital reading for those concerned with the evolution of British music in the early part of this century.
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The earliest compositions
a portrait of the artist
14 other sections not shown
accidentals achieved Aeolian mode alteration appears appoggiatura bass Bernard van Dieren Capriol centre chordal chordal choice chordal family chromatic chromaticism circle-of-5ths composer compositional contemporary context cor anglais creates Cur/ew-chord curlew Delian Delius derived device Dieren dissonance Dorian Dorian mode earlier element emphasise employs F natural F sharp F-centred family chords feature figure Folk-song preludes G flat harmonic homorhythmic horizontal implied instrumental inversion Ionian later Lillygay linear lover mourns major 7th material melisma melody minor 3rd minor 7th minor chord Mixolydian 7th modal modified modulation motif musica ficta note-centre notes opening original parallel passing-note pedal pentatone pentatone chord Peter Warlock piano piece pitches preceding PW's Rantum tantum references relationship result rhythmic Rogers songs Saudades second verse semitonally adjusted semitone sense shape sharp minor signifier soprano statement strophic strophic form strophism suggest technique textural tonal tonic verbal vertical vocal line voice Warlock's music Warlock's output Warlockian whole-tone