![]() ![]() Scowcroft suggests that these Suites are “very much in the style of Coates. ![]() Yet as Philip Scowcroft has pointed out, it is the topographical suites that seem to be his musical trademark. He composed a great deal of music for liturgical and recital purposes. Scenes on the Wye (1926): Rhayader, Monmouth, Tintern, Symonds Yatįrederic H Wood was the organist at Blackpool Parish Church for 45 years. Scenes from Northumberland Op.25 (1925): North Tynedale, Cilurnum, Allendale, Borcovicus Wood followed up the success of this pieces with further suites depicting scenes in other parts of the country:– These are pieces that I have neither heard, nor heard of. The four movements comprise and expressive movement for Aylesford Bridge, a rapid moto perpetuo for Allington Lock, a romantic soloed piece for Orchard Blossom, and a carillon for Rochester Bells.” Wood (1880-1963) in his suite Scenes in Kent, published by Stainer and Bell in 1924. ![]() Waters wrote: - “The pictorial path was pursued further by Frederic H. But it was the following paragraph that caught my eye. I have this piece somewhere in my collection of organ music, so perhaps more about that piece another day. Reference was made to a suite by Alec Rowley called The Four Winds. Waters and came across a section about music reflecting lines of poetry and prose. Recently I was reading through a short essay on organ music by Charles F. ![]()
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