Philip Hayes (1738-1797) - Concerto for the Organ (1769)

Happy birthday Philip Hayes! 🎻🎹 Composer: Philip Hayes (1738-1797) Work: Concerto (II, B-flat major) for the Organ (1769) Performers: Stеphеn Fаrr (organ); London Bаch Consort Concerto for the Organ (1769) 1. Allegro 0:00 2. Andante minuetto 5:35 3. Allegro 8:59 Drawing: John Donowell (fl. 1753-1786) - A View of part of St. Mary’s Church, All Saints Church, the Conduit, Carfax Church, & c. in the University of Oxford HD image: Further info: Listen free: --- Philip Hayes (Oxford, bap. 17 April 1738 - London, 19 March 1797) English composer, organist and singer, second son of William Hayes (1708-1777) and brother of William Hayes Jr. (1741-1790). He received his earliest musical education from his father. In 1763 his masque ’Telemachus’ earned him a BMus degree, and in 1767 he spent a short period as a singer at the Royal Chapel in London. In 1776 he was appointed as organist of the New College in Oxford and a year later succeeded his father as professor of music, at the same time earning his doctorate. Over the next decade he added positions as organist at Magdalen College, the University Church, and St. John’s College, where he became known for his lectures consisting of his own odes and oratorios. In 1780 he founded the Festival of the Sons of the Clergy at St. Paul’s in London, and thereafter he commuted frequently between the two cities. He hosted Joseph Haydn at Oxford when that composer arrived to receive an honorary doctorate there. He was a prolific composer of catches, glees, and such. His works include 48 anthems, over 30 songs, 16 Psalms, 16 odes, two oratorios, the aforementioned masque, two services, six keyboard concertos (1769), and six violin sonatas. As a composer, his natural language was a mixture of galant and early classical idioms allied with a characteristically English preference for simple, symmetrically phrased melodies and an assured technique founded upon a thorough acquaintance with the works of Handel. His six keyboard concertos (1769) were the first published in England to offer the option of performance on the fortepiano, and beginning with the masque ’Telemachus’ (1763) his large-scale works often included parts for clarinets.