Composer
Peter Philips (1561-1628); ENG
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Philips was an English composer and organist who spent most of his working life in Belgium. He was a Catholic, and as such chose to leave England after a tenure as singer at St. Paul's Cathedral in London. He first went to Brussels, and then quickly on to the English College in Rome where he met the English Catholic landowner Lord Thomas Paget. Philips and Paget traveled throughout Europe together, before settling in Antwerp shortly before Paget's death. There, Philips obtained a position as organist to the chapel of the Archduke Albrecht, and met his colleagues John Bull and Pieter Cornet, and probably Jan Pieterszoon Sweelinck as well. He was also highly regarded as a virginal player, and made a living teaching on this instrument.
Philips was one of the most prolific northern composers of Latin sacred choral music, with a few hundred surviving motets. He also composed music for both instrumental consort and keyboard, many of these pieces surviving in arrangements of both types. These pieces involve the best-known genres of English instrumental music of the time, the fantasia, pavan, and galliard. Philips' motets also contain something of the English style in that they are all written with organ accompaniment; his style of vocal composition, however, is more in keeping with the great continental masters of the period, such as Lassus. His vocal and instrumental writing is extremely smooth, with well-planned harmonies, and a general lack of contrapuntal artifice. Philips was one of the outstanding vocal composers of his day, publishing motets in German as well as Latin.
© Todd McComb, All Music Guide
Philips was one of the most prolific northern composers of Latin sacred choral music, with a few hundred surviving motets. He also composed music for both instrumental consort and keyboard, many of these pieces surviving in arrangements of both types. These pieces involve the best-known genres of English instrumental music of the time, the fantasia, pavan, and galliard. Philips' motets also contain something of the English style in that they are all written with organ accompaniment; his style of vocal composition, however, is more in keeping with the great continental masters of the period, such as Lassus. His vocal and instrumental writing is extremely smooth, with well-planned harmonies, and a general lack of contrapuntal artifice. Philips was one of the outstanding vocal composers of his day, publishing motets in German as well as Latin.
© Todd McComb, All Music Guide
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Sacred Vocal Works
85 tracks
- Motets
85 tracks
- Alma Redemptoris Mater, motet for 5 voices
2 tracks
- Assumpsit Jesus Petrum, for 2 voices & continuo
1 track
- Ave gratia plena (a5)
2 tracks
- Ave Jesu Christe
1 track
- Ave regina caelorum (a5)
1 track
- Beata Agnes
1 track
- Beata Dei Genitrix Maria, for 8 voices & continuo
1 track
- Cantabant Sancti, motet for 5 voices
1 track
- Cantiones sacrae, pro praecipuis festis totius anni et communi sanctorum, Vol. 1
25 tracks
- Christus resurgens (a5)
3 tracks
- Conceptio tua, motet for 5 voices
1 track
- Crux Fidelis for 3 voices
1 track
- Cum jucunditate
1 track
- Disciplinam et sapientiam
1 track
- Domine, probasti me, for voice & continuo
1 track
- Ecce Panis angelorum, for 8 voices & continuo
1 track
- Ecce Vicit Leo (a8)
2 tracks
- Elegerunt apostoli
1 track
- Exsurgens Maria, for 8 voices & continuo
1 track
- Gabriel angelus
1 track
- Gaude Maria Virgo (a5)
3 tracks
- Gaudent in Coelis, motet for 5 voices
1 track
- Hodie beata virgo Maria, motet for 5 voices
1 track
- In splendenti nube, for chorus & organ
1 track
- Iste est Iohannes, motet for 5 voices
1 track
- Loquebantur variis linguis
1 track
- Media vita in morte sumus
1 track
- Mulieres sedentes, motet for 5 voices
1 track
- Ne reminiscaris Domine
1 track
- Ne timeas Maria
1 track
- O Beatum et Sacrosanctum Diem (a5)
1 track
- O Dilecte, for voice & continuo
1 track
- O fons vitae, for 2 voices & continuo
1 track
- O Maria Mater, motet for 5 voices
1 track
- O nomen Jesu, motet for 5 voices
2 tracks
- O Pastor aeterne, for 8 voices & continuo
1 track
- O quam bonus et suavis est Dominus, for 2 voices & continuo
1 track
- O quam suavis est, Dominus (i), for 2 voices & continuo
1 track
- O Quam Suavis Est, Dominus (ii), for 8 voices & continuo
1 track
- Pater noster
1 track
- Salve Regina
5 tracks
- Salve, salutaris Victima, motet for 5 voices
1 track
- Spem in alium, for 2 voices & continuo
1 track
- Stella, quam viderant Magi, motet for 5 voices
1 track
- Surgens Jesus, motet for 5 voices
1 track
- Tibi laus, tibi gloria, motet for 5 voices
1 track
- Viae Syon lugent
1 track
- Regina Caeli
2 tracks
- Alma Redemptoris Mater, motet for 5 voices
- Motets
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Chamber Works
16 tracks
- Chromatic Pavane and Galliard
5 tracks
- Amarilli di Julio Romano (Fitzwilliam Virginal Book)
3 tracks
- Pavan and Galliard for consort in 5 parts "Paget"
2 tracks
- Bon Jour Mon Cueur di Orlando (Fitzwilliam Virginal Book)
2 tracks
- Passamezzo Pavan and Galliard
2 tracks
- Pavana Dolorosa
1 track
- Pavan & Galliard
1 track
- Chromatic Pavane and Galliard
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Keyboard Works
11 tracks
- Galliard for keyboard in G-
1 track
- Fantasia for keyboard in F (1582)
1 track
- Amarilli for keyboard
2 tracks
- Chi farà fede al Cielo, fantasia for keyboard in G after Alessandro Striggio, FVB 9
1 track
- Deccio Dunque partire, for keyboard in D- (after Luca Marenzio)
1 track
- Margott Laborez
1 track
- Fantasia in d
1 track
- Fantasia, for keyboard
1 track
- Dolorosa Pavan and Galliard, Tregian No 1 (from the Fitzwilliam Virginal Book)
2 tracks
- Galliard for keyboard in G-
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Miscellaneous
8 tracks
- Work(s)
3 tracks
- Fece da voi partita, FVB 4
2 tracks
- O Si Quando Videbo
1 track
- Pour vous amour
1 track
- Surgens Jesus
1 track
- Work(s)
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Piano Works
1 track
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Various Works
2 tracks
- Le Rossignol
1 track
- Factum est silentium, a 5
1 track
- Le Rossignol
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