1,721,327 research outputs found
Sir Peter Maxwell Davies: the man and the music
No full textThis essay explores the life and music of Sir Peter Maxwell Davies (1934-2016). His status as one of the leading international and highly distinguished composers of the post-war period is widely acknowledged, his position firmly cemented with six decades’ worth of high profile, worldwide performances of his music and extensive critical and scholarly engagement with his oeuvre. This prolific, protean composer left behind a highly significant body of work that comprises nearly 550 compositions in every major genre, including art song and ballet, sonata and string quartet, mass and oratorio, symphony and concerto, music theatre and opera, as well as music for children and amateurs. This rich vein of music flowed from Davies’s creative imagination ostensibly unabated throughout his working life. To put it simply: Davies was possessed, come what may, with an obsessive compulsion – a dogged inner impulse – to compose
One Foot in Eden. A film about Orkney and the music of Peter Maxwell Davies - ACE077.2
No full textWaves breaking on rocks. Woman’s VO reading early description of the "Orcades".
Sea. Peter Maxwell Davies’s VO talking about the natural sounds of the Orkneys – seabirds, wind – which he can explore in parallel with exploring new musical experiences. Cello and clarinet and other instruments playing Ave Maris Stella (1975). Seascapes, flowers, countryside, standing stones, ruined croft, fishing boat, etc. Davies’s VO talking about the "rightness of atmosphere and … the rightness of the sound". Seabirds, waves, etc. George Mackay Brown’s "The word ‘sea’ is small and easily uttered…" read over. Fishermen, farmers, cattle auction; Robert Rendall’s Orkney Crofter read over. Peat digging, harbour scenes, sea, landscapes; music and readings continue over
Omaggio a Peter Maxwell Davies
No full textIncontro con PETER MAXWELL DAVIES Partecipano Roderic Dunnet Giuseppe Rebecchini Coordina Enzo Restagn
Orchestra Sinfonica Nazionale della Rai diretta da Peter Maxwell Davies
No full textPeter Maxwell Davies, direttoreVittorio Ceccanti, violoncell
Libretto di sala - 2006 - Peter Maxwell Davies
No full textLondon SinfoniettaOliver Knussen, direttoreLucy Shelton, voc
Libretto di sala - 2006 - Peter Maxwell Davies
No full textOrchestra Sinfonica Nazionale della RaiPeter Maxwell Davies, direttoreVittorio Ceccanti, violoncell
Libretto di sala - 2006 - Peter Maxwell Davies
No full textNicholas Kok, direttoreJane Manning, sopranoKelvin Thomas, bariton
Libretto di sala - 2006 - Peter Maxwell Davies
No full textLondon SinfoniettaOliver Knussen, direttoreClaire Booth, sopranoHilary Summers, mezzosopranoLucy Shelton, sopran
One Foot in Eden. A film about Orkney and the music of Peter Maxwell Davies
No full textWaves breaking on rocks. Woman’s VO reading early description of the "Orcades".
Sea. Peter Maxwell Davies’s VO talking about the natural sounds of the Orkneys – seabirds, wind – which he can explore in parallel with exploring new musical experiences. Cello and clarinet and other instruments playing Ave Maris Stella (1975). Seascapes, flowers, countryside, standing stones, ruined croft, fishing boat, etc. Davies’s VO talking about the "rightness of atmosphere and … the rightness of the sound". Seabirds, waves, etc. George Mackay Brown’s "The word ‘sea’ is small and easily uttered…" read over. Fishermen, farmers, cattle auction; Robert Rendall’s Orkney Crofter read over. Peat digging, harbour scenes, sea, landscapes; music and readings continue over.
Standing stones, a burial mound, the Old Man of Hoy, Skara Brae, etc.; O Magnum Mysterium (1960) and description of the Orkneys, "Beyond the savage bulk of Cape Wrath…", by Brown, heard over. Sea, churchyard, seafront, nets, a wreck, etc.; voices reminiscing about toys, families, life years ago, traditional songs over. Ruined crofts, abandoned farm machinery; Brown’s Dead Fires (1971) over. Musicians of the Orkney Strathspey and Reel Society. Landscape; reeds and water; standing stones, sail boats, oil rig. Brown’s Fisherman’s Bride (1971) and extract from Magnus (1973), followed by xylophone solo from The Martyrdom of Saint Magnus (1976). Seabirds on ploughed field; Edwin Muir’s Horses (1925) and man’s reminiscences over. Renaissance Scottish Dances (1973).Cliffs, hills, carvings, burial mounds, etc. The story of Orkney’s conversion to Christianity in 995 CE from the Orkneyinga Saga. "The twenty brothers of Eynhallow have made a figure of Our Lady. From red stone they carved her and set her on a headland…" The Martyrdom of Saint Magnus and the story of Earl Magnus over.Part of performance of The Martyrdom of Saint Magnus in St. Magnus Cathedral, intercut with details of Cathedral carvings, churchyard, standing stones, cliffs, landscapes, etc. and music continuing over. Landscapes, cliffs, the sea; Muir’s One Foot in Eden (1956) over. The Martyrdom of Saint Magnus performance; continues over closing shots of landscape and sea. Credits
Perspectives on Peter Maxwell Davies
No full textIn the eight essays presented here, leading scholars of the music of Peter Maxwell Davies explore some of the composer's creative processes. David Roberts, Peter Owens and Richard McGregor examine Davies's employment of pitch-class sets and other models evident in his sketch material, while Joel Lester looks at the serial elements that produce structure and effect in the work Ave Maris Stella. The political, literary and musical influences evident in the 1987 opera Resurrection and in subsequent orchestral works come under scrutiny from John Warnaby. Davies's use of older dramatic forms and ritual is the focus of Michael Burden's examination of his music theatre
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