The Merry Miller and His Windmill in the
South of France (M.43) - originally for
voice and whatever else could be found laying around.
Thankfully the lyrics have been lost, along with the tedious words. All that remains is the melody line and a rather harmonically "interesting" keyboard part. Apparently written by Gibbs in a lame attempt to capitalize on the pastoral craze that swept Europe during the Baroque period. This craze reached its zenith with Beethoven's sixth symphony almost a hundred years later.
Short Song For Recorder (With No Title) (M.44) - For recorder trio
This short piece has only lately been rediscoverd by Mr. Mosier. It was found wedged between the pages of Gibbs' personal copy of 'Playford's Dancing Master'from which it was probably stolen. It is too good sounding to possibly be original, but no other version of the piece seems to exist. I suppose even Gibbs got lucky once in a while
How I Love To Run Barefoot (from The Third
Book of Songs and Airs) (M.46) - for two
voices and three recorders.
This Madrigal-style piece features interplay between the two voices, but the words don't line up. The recorders are handled fairly well though.
Don't Drink By The Side Of The
Road (from The
Third Book of Songs and Airs) (M.47) - for
voice and recorder
Another of Gibbs' less than adequate works. The words are as follows;
Once In olden days, liv'd a nice young man.
By the road he chanc'd to stop and sit a spell.
He drank from a stream that seem'd pure and clean.
But he found it was not so and he was unwell.
The Maladjusted Spinet (M.
49) - for keyboard
This slim volume contains a Theme and Variations set in A Major and three complete Two Part Destructions, one in Eb Major, one in D Major and the final in G Major. Click 'play selection' to hear the one in Eb Major. I dare you!
To view and hear selections from the Masterworks Period, click the
link below.