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The Liverpudlian George Loughlin (1914-84) was appointed professor of music at the University of Melbourne in 1958, remaining in that post for 21 years. That he was also a composer was generally unknown - a former colleague, hearing one of the pieces on this album, exclaimed: 'That's George?' The earliest works here are audibly by an English composer, one who knew his Vaughan Williams, and blend an honest sincerity with fleet-footed wit. The approach of the later pieces is more philosophical and searching, the harmony more at ease with dissonance and the melodic lines more angular - in both peppy counterpoint and long-breathed lyricism.
The Liverpudlian George Loughlin (1914-84) was appointed professor of music at the University of Melbourne in 1958, remaining in that post for 21 years. That he was also a composer was generally unknown - a former colleague, hearing one of the pieces on this album, exclaimed: 'That's George?' The earliest works here are audibly by an English composer, one who knew his Vaughan Williams, and blend an honest sincerity with fleet-footed wit. The approach of the later pieces is more philosophical and searching, the harmony more at ease with dissonance and the melodic lines more angular - in both peppy counterpoint and long-breathed lyricism.
5060113447203
Loughlin / Chua / Darlington String Quartet - Piano & Chamber Music

Details

Format: CD
Label: TOCCATA
Rel. Date: 07/05/2024
UPC: 5060113447203

Piano & Chamber Music
Artist: Loughlin / Chua / Darlington String Quartet
Format: CD
New: We Can Order For In-Store Pickup or Choose To Ship It $20.99
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The Liverpudlian George Loughlin (1914-84) was appointed professor of music at the University of Melbourne in 1958, remaining in that post for 21 years. That he was also a composer was generally unknown - a former colleague, hearing one of the pieces on this album, exclaimed: 'That's George?' The earliest works here are audibly by an English composer, one who knew his Vaughan Williams, and blend an honest sincerity with fleet-footed wit. The approach of the later pieces is more philosophical and searching, the harmony more at ease with dissonance and the melodic lines more angular - in both peppy counterpoint and long-breathed lyricism.
        
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