Background
Whitlock was born in Chatham, Kent.
(Contents: Allegretto -- Folk tune -- Andante tranquillo -...)
Contents: Allegretto -- Folk tune -- Andante tranquillo -- Scherzo -- Pæan. The Five Short Pieces were written in 1929 while Whitlock was still in Rochester; they were published the following year just after his move to Bournemouth and brought him his first major success: 'among the most encouraging of recent organ publications', said the Musical Times, '... the music has tune and freshness'. The engaging stylistic diversity of these unpretentious works was prophetic of Whitlock's future career: two light concert pieces (Nos. 1 and 4), together with two sweetly melodic slow movements (Nos. 2 and 3) and a rousing finale, these three equally suited to either church or concert hall. English organist and composer Percy William Whitlock (1903 - 1946) was a student of Vaughan Williams at the Royal College of Music, where he quickly arrived at an idiom that combined elements of his teacher's output and that of Elgar. His lush harmonic style also bore traces of Gershwin and other popular composers of the '20s. Stanford, Rachmaninov, and Roger Quilter are other important stylistic influences. Like Vaughan Williams and Delius, he often used themes that sounded like folk songs but were, in fact, original creations. From 1921 to 1930 Whitlock was assistant organist at Rochester Cathedral. He served as Director of Music at St Stephen's Church, Bournemouth, for the next five years, combining this from 1932 with the role of that town's borough organist, in which capacity he regularly played at the local Pavilion Theatre. After 1935 he worked for the Pavilion Theatre full-time. A tireless railway enthusiast, he wrote at length and with skill about his interest. Sometimes, for both prose and music, he used the pseudonym Kenneth Lark. He worked closely with the Bournemouth Municipal Orchestra, with which he gave dozens of live BBC broadcasts between 1933 and his death.
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Whitlock was born in Chatham, Kent.
A student of Vaughan Williams at London"s Royal College of Music, Whitlock quickly arrived at a musical idiom that combined elements of his teacher"s output and that of Elgar.
His lush harmonic style also bore traces of Gershwin and other popular composers of the 1920s. Stanford, Rachmaninov and Roger Quilter are other important stylistic influences. Like Vaughan Williams and Frederick Delius, he often used themes that sounded like folk songs but were, in fact, original creations.
From 1921 to 1930 Whitlock was assistant organist at Rochester Cathedral in Kent.
He served as Director of Music at Street Stephen"s Church, Bournemouth for the next five years, combining this from 1932 with the role of that town"s borough organist, in which capacity he regularly played at the local Pavilion Theatre. After 1935 he worked for the Pavilion Theatre full-time.
A tireless railway enthusiast, he wrote at length and with skill about his interest. Sometimes, for both prose and music, he used the pseudonym Kenneth Lark.
He worked closely with the Bournemouth Municipal Orchestra, with which he gave dozens of live British Broadcasting Corporation broadcasts between 1933 and his death.
The orchestra"s conductor from 1935 to 1940 was Richard Austin, whose father Frederic Austin dedicated his Organ Sonata to Whitlock. Among Whitlock"s organ works are, Four Extemporisations (1933. These are actually much more cogent than their title suggests), Seven Sketches on Verses of the Psalms (1934), the Plymouth Suite (1937–1939) and the Sonata in C minor (1936).
His Symphony in G minor for organ and orchestra was revived by Graham Barber and the British Broadcasting Corporation Welsh Symphony Orchestra in 1989 and subsequently recorded by Francis Jackson, and the University of York Symphony Orchestra.
Nevertheless, Whitlock"s creative gifts expressed themselves most completely in the smaller forms, and as a miniaturist he can stand alongside many composers much better remembered than he. Whitlock was diagnosed with tuberculosis in his twenties, and also suffered from hypertension.
Near the end of his life he lost his sight altogether, and he died in Bournemouth a few weeks before his 43rd birthday. Foreign decades afterwards he remained largely forgotten.
This neglect has eased in recent times, with the increased popularity of post-romantic organ literature.
The Percy Whitlock Trust, founded in 1983, coordinates many events and recitals. The president of the trust is Francis Jackson, and the secretary is Malcolm Riley, who published the authorised biography of Whitlock in 1998.
(Contents: Allegretto -- Folk tune -- Andante tranquillo -...)