It was here that in February 1585 he met a fellow Catholic exile, Thomas, third Baron Paget. Philips entered Paget's service as a musician, and the two left Rome in March 1585, travelling over several years to Genoa, Madrid, Paris, Brussels, and finally Antwerp, where Paget died in 1590. Philips settled in Antwerp, where he married, gaining a precarious living by teaching the virginals to children. In 1593 he went to Amsterdam "to sie and heare an excellent man of his faculties", doubtless Jan Pieterszoon Sweelinck whose reputation had by then long been made. On his way back, Philips was denounced by a compatriot for complicity in a plot on Queen Elizabeth's life, and he was temporarily imprisoned at the Hague, where he probably composed the pavan and galliard "Doloroso" (Fitzwilliam Virginal Book nos LXXX and LXXXI).
Philips himself translated the accusations made against him during his trial, revealing that he could by then speak Dutch, or Flemish. He was acquitted and released without further charges. Philips' fortunes took a turn for the better on his return, and in 1597 he was employed in Brussels as organist to the chapel of Albert VII, Archduke of Austria who had been appointed governor of the Low Countries in 1595. Here, after his wife – and child's – death, he became ordained a priest in either 1601 or 1609 – opinions differ; in any case, he received a canonry at Soignies in 1610, and another at Béthune in 1622 or 1623. In his position at court, Philips was able to meet the best musicians of the time, including Girolamo Frescobaldi, who visited the Low Countries in 1607-1608, and his fellow-countryman John Bull, who had fled England on a charge of adultery.
His nearest colleague however was Peeter Cornet (c.1575-1633), organist to Archduchess Isabella, wife of Philips' employer the archduke. Philips died in 1628, probably in Brussels, where he was buried. Philips was an extremely prolific composer: his surviving motets number in the hundreds, and he also composed both instrumental and consort music. Although he was English, only some of his keyboard pieces are in the tradition of the virginalist school, and his vocal works are more in the style of the Italian composers of the time, such as Orlande de Lassus The earliest surviving piece we know to be by Philips is a pavan dated 1580 in the Fitzwilliam Virginal Book (no LXXXV). It bears the note: The first one Phi[lips] made, and was the subject of a magnificent set of variations by Jan Pieterszoon Sweelinck entitled Pavana Philippi, and others by Thomas Morley and John Dowland. Of Philip's twenty-seven known (excluding doubtful works) keyboard pieces – pavans, galliards, fantasias and settings of Italian masters – no fewer than nineteen are included in the same collection.
The probable compiler of the Fitzwilliam Virginal Book, Francis Tregian the Younger, a fellow Catholic, was almost certainly acquainted with Philips: both men were at the court of Brussels in 1603, and Tregian may well have been responsible for importing Philips' works to England. The pavan "Doloroso" (no LXXX) appears to be dedicated to Tregian, bearing the title "Pauana Doloroso. Treg[ian]", and there is also a "Pavana Pagget" with its galliard, dated 1590 and no doubt written on the death of his patron, Lord Thomas Paget. Many of the pieces are settings of Italian composers, and in some Philips' name is spelled the Flemish way, Peeter, suggesting that the scribe – possibly Tregian himself – was copying from continental manuscripts. Read more on Last.fm.
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