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Your reader barcode: Your last name:. Cite this Email this Add to favourites Print this page. Armstrong Gibbs ; words by "Ephelia" Wikipedia Citation Please see Wikipedia's template documentation for further citation fields that may be required. You must be logged in to Tag Records. In the Library Request this item to view in the Library's reading rooms using your library card.
Arrangements and Transcriptions For 2 Voices and Piano 2. Work Title 3 Songs Alt ernative. Songs ; For voice, 2 violins, viola, cello ; For voices with solo instruments ; Scores featuring the voice ; Scores featuring the soprano voice ; Scores featuring the violin ; Scores featuring the viola ; Scores featuring the cello ; English language ; For 2 voices, piano arr ; For voices with keyboard arr ; Scores featuring the voice arr ; Scores featuring the piano arr ; For voice, piano arr.
Contents 1 Performances 1. Pub lisher. London: Winthrop Rogers Ltd. Plate W. His great sense of humour, clearly recalled by his daughter, is borne out by the many tales he tells in his unpublished autobiography Common Time.
He had a large frame and could look imposing, particularly on formal occasions when he wore his Mus D. He had a definite sense of how things should be ordered, so found it difficult to countenance other people's opinions. He always spoke out for what he thought was right. As a young man he had red hair and a temper to match; but he was always the first to apologise after an outburst. His nervous disposition and digestive problems he put down to his father's draconian attitudes when he was a child.
As with most people, there were contradictions in his character. For instance, the same person who could tap a young chorister on the shoulder for getting a fit of the giggles, could also himself drum on the choir stall in front of him, when the Rector was in full flood, and mutter audibly 'Whenever will that man finish? Much of his chamber music remains unpublished and the few recordings that are available give scant exposure to his compositions.
Some of the well-known Gibbs settings date from the early years of his career; for example Nod, Silver, Five Eyes and A Song of Shadows , all poems by Walter de la Mare with whom he had a close artistic association. Songs from the children's play Crossings , written by de la Mare, mark the beginning of his career as a composer.
Gibbs made his name by writing for the stage. This was quickly followed by the music for Maeterlinck's play The Betrothal, in and concurrently the Cambridge Greek play the Oresteia. Shortly afterwards he wrote the music for A. Gibbs always wanted to write a successful comic operetta and was bitterly disappointed, in the fifties, when the BBC rejected Mr Cornelius. Armstrong Gibbs' long association with the Festivals Movement led him to write part songs and larger choral works, many of them to commission.
Collaboration on the latter with the Essex poet Mordaunt Currie may have led to the composition of Odysseus , Gibbs' choral symphony for soli, mixed chorus and orchestra. Much of Gibbs' early music was written for string quartet with piano or other instruments. Often this combination was used as an accompaniment for his songs. It also resulted in the popular Dusk - the slow waltz from his suite Fancy Dress , written for orchestra and piano.
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