Sir Peter Maxwell Davies 1934–2016
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Boston Lyric Opera Brings 'The Lighthouse'
Boston Lyric Opera brings ‘The Lighthouse’ to JFK By Harlow Robinson | GLOBE CORRESPONDENT JONATHAN WIGGS/GLOBE STAFF Thomas Hase, lighting designer for ‘‘The Lighthouse,’’ at the JFK Library. In New England we love our lighthouses. Beacons of safety in the stormy dark, they adorn the jagged coastline like timeless monuments to our maritime history. But lighthouses, especially in the pre- automation era, also gave rise to more unsettling feelings and questions. Who lives there, anyhow? What weird phenomena might lighthouse keepers witness, or imagine, during those long days and nights of lonely vigil, fog, and spray? These questions also fascinated distinguished British composer Peter Maxwell Davies. For many years, Davies, 77, has lived on Sanday, one of the remote Orkney Islands north of Scotland, where lighthouses are crucial fixtures of the ruggedly romantic landscape. In 1979, Davies transformed his interest in local maritime lore into music when he completed “The Lighthouse,’’ a chamber opera in a prologue and one act. Since its 1980 premiere at the Edinburgh Festival, “The Lighthouse’’ has become one of the most popular of all 20th-century operas, having been performed by more than 100 different companies. This week, Boston Lyric Opera will present four performances in Smith Hall at the John F. Kennedy Presidential Library and Museum. British stage director Tim Albery will make his BLO debut, as will set and costume designer Camellia Koo. BLO’s British-born music director David Angus will conduct. “The Lighthouse’’ is the latest offering in BLO’s Opera Annex program, created to stage productions in alternative, non-theatrical venues around the city. -
Sir Peter Maxwell Davies: a Catalogue of the Orchestral Music
SIR PETER MAXWELL DAVIES: A CATALOGUE OF THE ORCHESTRAL MUSIC 1955: “Burchiello” for sixteen percussion instruments “Opus Clavicembalisticum(Sorabji)” for orchestra “Work on a Theme by Thomas Tompkins” for orchestra 1957: St. Michael”-Sonata for seventeen wind instruments, op.6: 17 minutes 1958: “Prolation” for orchestra, op.8: 20 minutes 1959: “Five Canons” for school/amateur orchestra “Pavan and Galliard” for school/amateur orchestra “Variations on a Theme for Chords” for school/amateur orchestra 1959/76: Five Klee Pictures for orchestra, op.12: 10 minutes + (Collins cd) 1960: Three Pieces for junior orchestra 1961: Fantasy on the National Anthem for school/amateur orchestra 1962: First Fantasia on an “In Nomine” of John Taverner for orchestra, op.19: 11 minutes Sinfonia for chamber orchestra, op. 20: 23 minutes + Regis d) 1963: “Veni Sancte Spiritus” for soprano, contralto, tenor, baritone, chorus and orchestra, op.22: 20 minutes 1964: Second Fantasia on an “In Nomine” of John Taverner for orchestra, op. 23: 39 minutes + (Decca cd) 1967: Songs to Words by Dante for baritone and small orchestra 1969: Foxtrot “St. Thomas Wake” for orchestra, op.37: 20 minutes + (Naxos cd) Motet “Worldes Bliss” for orchestra, op.38: 37 minutes 1971: Suite from “The Boyfriend” for small orchestra, op.50b: 26 minutes * + (Collins cd) 1972: “Walton Tribute” for orchestra Masque “Blind Man’s Buff” for soprano or treble, mezzo-soprano, mime and small orchestra, op.51: 20 minutes 1973: “Stone Liturgy-Runes from a House of the Dead” for mezzo-soprano and orchestra, -
The Persistence of Parody in the Music of Peter Maxwell Davies
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Insight - University of Cumbria The Persistence of Parody in the Music of Peter Maxwell Davies Richard E McGregor It’s all about time. Indeed there is not a single piece of musical composition that is not in some way about time. And for Davies the manipulation of time is rooted in his understanding of late Medieval and early Renaissance musical techniques and practices refracted through post 12-note pitch manipulation. In this article I take to task the uncritical use of terminology in relation to the music of Peter Maxwell Davies. Though my generating text is the quotation from John Warnaby’s 1990 doctoral thesis: Since parody is implied in the notion of using pre-existing material as a creative model, it can be argued that, as traditionally understood, it is rarely absent from Maxwell Davies’s music[1] this is in no wise a criticism of Warnaby for whom I have much respect, and especially his ability to be able to perceive patterns, trends and unifying features between works and across extended periods of time. Rather, it is a commentary on particular aspects of Davies’s music which are often linked together under the catch-all term ‘parody’: EXAMPLE 1: Dali’s The Persistence of Memory[2] I take as my starting point the painting The Persistence of Memory by Salvador Dali, a painting which operates on a number of levels, the most obvious, because of the immediate imagery, being that is has something to do with time. -
Mario Ferraro 00
City Research Online City, University of London Institutional Repository Citation: Ferraro Jr., Mario (2011). Contemporary opera in Britain, 1970-2010. (Unpublished Doctoral thesis, City University London) This is the unspecified version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/1279/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] CONTEMPORARY OPERA IN BRITAIN, 1970-2010 MARIO JACINTO FERRARO JR PHD in Music – Composition City University, London School of Arts Department of Creative Practice and Enterprise Centre for Music Studies October 2011 CONTEMPORARY OPERA IN BRITAIN, 1970-2010 Contents Page Acknowledgements Declaration Abstract Preface i Introduction ii Chapter 1. Creating an Opera 1 1. Theatre/Opera: Historical Background 1 2. New Approaches to Narrative 5 2. The Libretto 13 3. The Music 29 4. Stage Direction 39 Chapter 2. Operas written after 1970, their composers and premieres by 45 opera companies in Britain 1. -
Frank Rosolino
FRANK ROSOLINO s far as really being here, weeks has been a complete ball. have. Those I've met and heard in- this was my first visit to Also, on a few nights John Taylor clude John Marshall, Wally Smith, Britain. I was here in 1953 was committed elsewhere; so Bobby Lamb, Don Lusher, George Awith Stan Kenton, which Gordon Beck come in to take his Chisholm. I liked George's playing was just an overnight thing; so place. He's another really excellent very much; he has a nice conception twenty years have elapsed in be- player. You've got some great play- and feel, good soul, and he plays tween. I've been having an abso- ers round here! with an extremely good melodic lutely beautiful time here, and en- They're equal to musicians I sense. joying London. work with in the States. I mean, it As for my beginnings—I was Playing at Ronnie Scott's with doesn't matter where you are; once born and raised in Detroit, Michigan, me I had John Taylor on piano, Ron you've captured the feeling for jazz, until I was old enough to be drafted Mathewson on bass and Martin and you've been playing it practi- into the Service, which was the latter Drew on drums. Absolutely great cally all your life, you're a pro at it. part of '44. I started playing guitar players, every one of 'em. I can't tell I've heard so much about when I was nine or ten. My father you how much I enjoyed myself, and trombonist Chris Pyne that when I played parties and weddings on it just came out that way. -
Peter Maxwell Davies Eigentliche Grund Dafür Klar: Ich Wollte Keinen Dicken Deutsche Fassung: Cris Posslac
557400 bk Max 14/7/08 10:53 Page 4 diszipliniert, wobei, wie ich glaube, durch die recht schwarzen Schluss-Strich ziehen, wollte nicht, dass das genaue und komplexe Arbeit mit magischen Quadraten ein letztes Quartett sein soll. Ich musste die Tür offen einige Ordnung entstanden ist. lassen: Mir hat die Arbeit an den Naxos-Quartetten so PETER Ich habe auch auf das dritte Naxos Quartet viel Freude gemacht (und ich habe dabei vielleicht sogar verwiesen. Dort habe ich dem Violoncello einen Vers das eine oder andere gelernt), dass theoretisch daraus von Michelangelo unterlegt, der mit den Worten noch mehr entstehen könnte. MAXWELL DAVIES beginnt: Caro me il sonno, e più l’esser di sasso („Der Eine weitere Versuchung bestand darin, in einer Schlaf ist mir teuer, und von Stein zu sein, ist teurer“). feierlichen Abschiedssequenz auf jedes der vorigen In diesem Gedicht beklagt der Dichter, dass er im Quartette anzuspielen, wie ich das im letzten der zehn römischen Exil leben muss – fern seines Heimatstaates Strathclyde Concertos für das Scottish Chamber Naxos Quartets Nos. 9 and 10 Florenz, dessen Regierung er wegen ihrer Orchestra getan hatte. Ich hielt stand. Zwar ist der dritte „Rechtsverletzung und Schande“ tadelt. Satz als Passamezzo Farewell bezeichnet, doch ohne Der zweite Satz ist auch jetzt (wie die ursprüngliche alle Wehmut – wenngleich es durchaus Rückblicke gibt. Maggini Quartet Skizze) ein Largo, in dem der erste Teil des Kopfsatzes Der erste Satz ist ein Broken Reel. Die Umrisse der langsam durchgeführt wird, heftig unterbrochen von der Tanzform sind vorhanden, die Rhythmen aber sind verworfenen Musik, die hier integriert und verstärkt gebrochen, derweil hinter der barocken Oberfläche eine erscheint. -
The Current Great Gate of Kiev Built in 1982 in Kyiv, Ukraine. Photo: ©Mark Laycock
The current Great Gate of Kiev built in 1982 in Kyiv, Ukraine. Photo: ©Mark Laycock Nieweg Chart Pictures at an Exhibition; Картинки c выставки; Kartinki s vystavki; Tableaux d'une Exposition By Modeste Mussorgsky A Guide to Editions Up Date 2018 Clinton F. Nieweg 1. Orchestra editions 2. String Orchestra editions 3. Wind Ensemble/Band editions 4. Chamber Ensemble editions 5. Other non-orchestral arrangements 6. Keyboard editions 7. Sites, Links and Documentation about the 'Pictures' 8. Reference Sources 9. Publishers and Agents In this chart the composer’s name is spelled as cataloged by the publishers. They use Модест Мусоргский, Moussorgski, Musorgskii, Musorgskij, Musorgsky, Mussorgskij, or Mussorgsky. He was inspired to compose Pictures at an Exhibition quickly, completing the piano score in three weeks 2–22 June 1874. Movement Codes 1. Promenade I 2. Gnomus 3. Promenade II 4. The Old Castle 5. Promenade III 6. Tuileries: Children Quarreling at Play 7. Bydło 8. Promenade IV 9. Ballet of Unhatched Chicks 10. Samuel Goldenberg and Schmuÿle 11. Promenade V 12. The Market Place at Limoges - Le Marché 13. Catacombæ (Sepulcrum Romanum) 14. Cum Mortuis in Lingua Mortua 15. Hut on Fowl’s Legs (Baba-Yaga) 16. The Great Gate of Kiev Recordings: For information about recordings of all 606 known arrangements and 1041 recordings (as of August 2015), see the chart by David DeBoor Canfield, President, International Kartinki s vystavki Association. www.daviddeboorcanfield.org Click on Exhibition. Click on Arrangements. For the August 2018 update of 1112 recordings see Canfield in Sites, Links and Documentation about the 'Pictures' below. -
Modern Trumpet•1
The Art of the Modern Trumpet •1 ENESCU•HINDEMITH•HONEGGER•LIGETI MARTINU° •MAXWELL DAVIES•WILLIAMS Huw Morgan, Trumpet Patricia Ulrich, Piano The Art of the Modern Trumpet • 1 World War Two, Hindemith’s remarkable creativity continued Born in Wales, Christopher Williams graduated from George Enescu • Paul Hindemith • Arthur Honegger • György Ligeti apace: 1939 was a particularly fruitful year, which included Cardiff University and now leads a varied professional life as the birth of the Violin Concerto and sonatas for viola, clarinet, a pianist, composer, conductor, teacher and arranger. Bohuslav Martinů • Peter Maxwell Davies • Christopher J.G. Williams and horn (part of his series of substantial works to challenge Williams is currently Assistant Director of the BBC National The repertoire of The Art of the Modern Trumpet spans a where he composed four morceaux de concours serious amateur performers of virtually every solo Chorus of Wales and a staff accompanist at the Royal Welsh period which can easily be described as the instrument’s (‘competition pieces’) for the internal examinations of the instrument). Arguably, the Sonata for Trumpet and Piano is College of Music and Drama, as well as being in great ‘second golden age’. Almost 150 years after the pinnacle of Paris Conservatoire. Among these works, Légende, his arguably the finest in the cycle – skilfully combining demand as a chamber musician. The kaleidoscopic the virtuoso clarino performer, whose agility in the upper single-movement concert piece written in 1906 and Hindemith’s -
Other Minds in Association with the Berkeley Art
OTHER MINDS IN ASSOCIATION WITH THE BERKELEY ART MUSEUM/ PACIFIC FILM ARCHIVE & THE MISSION DOLORES BASILICA PRESENTS OTHER MINDS FESTIVAL 22 FEBRUARY 18, 19 & MAY 20, 2017 MISSION DOLORES BASILICA, SAN FRANCISCO & BERKELEY ART MUSEUM/PACIFIC FILM ARCHIVE, BERKELEY 2 O WELCOME FESTIVAL TO OTHER MINDS 22 OF NEW MUSIC The 22nd Other Minds Festival is present- 4 Message from the Artistic Director ed by Other Minds in association with the 8 Lou Harrison Berkeley Art Museum/Pacific Film Archive & the Mission Dolores Basilica 9 In the Composer’s Words 10 Isang Yun 11 Isang Yun on Composition 12 Concert 1 15 Featured Artists 23 Film Presentation 24 Concert 2 29 Featured Artists 35 Timeline of the Life of Lou Harrison 38 Other Minds Staff Bios 41 About the Festival 42 Festival Supporters: A Gathering of Other Minds 46 About Other Minds This booklet © 2017 Other Minds, All rights reserved 3 MESSAGE FROM THE EXECUTIVE DIRECTOR WELCOME TO A SPECIAL EDITION OF THE OTHER MINDS FESTIVAL— A TRIBUTE TO ONE OF THE MOST GIFTED AND INSPIRING FIGURES IN THE HISTORY OF AMERICAN CLASSICAL MUSIC, LOU HARRISON. This is Harrison’s centennial year—he was born May 14, 1917—and in addition to our own concerts of his music, we have launched a website detailing all the other Harrison fêtes scheduled in his hon- or. We’re pleased to say that there will be many opportunities to hear his music live this year, and you can find them all at otherminds.org/lou100/. Visit there also to find our curated compendium of Internet links to his work online, photographs, videos, films and recordings. -
5 Edition, 2018 Gavin Holman
The Brass Band Bibliography 5th edition, 2018 Gavin Holman Contents Brass Bands in General ................................................................... 3 Specific Brass Bands .................................................................... 44 Biographical ..................................................................................70 Methods & Performance ............................................................... 81 Music – published and manuscript ............................................. 85 Pedagogy ...................................................................................... 94 Instrumentation & Scoring .......................................................... 96 Conducting .................................................................................... 97 Health & Physiology ..................................................................... 99 Brass Instruments in general ...................................................... 101 Cornets & Trumpets .................................................................... 112 Horns (tenor & alto) .....................................................................115 Baritones & Euphoniums ............................................................ 116 Trombones .................................................................................. 118 Tubas ........................................................................................... 121 Percussion ................................................................................... 123 -
Maxwell Davies’S Orchestral Work Is Represented in This Programme
NAXOS NAXOS A wide cross-section of Sir Peter Maxwell Davies’s orchestral work is represented in this programme. Originally written for children, the Five Klee Pictures are anything but childish. Recorded by its dedicatee, Stewart McIlwham, the remarkable Piccolo Concerto displays both the lyrical and mercurial sides of the instrument. Also performed by its dedicatee, John Wallace, the powerful Trumpet Concerto here receives its definitive recording. Maxwell’s Reel, with Northern Lights inhabits worlds comparable 8.572363 MAXWELL DAVIES: MAXWELL DAVIES: with the popular An Orkney Wedding with Sunrise (8.572352). DDD Sir Peter Playing Time MAXWELL DAVIES 68:28 (b. 1934) 7 Piccolo Concerto (1996) 1 16:33 7 Maxwell’s Reel, with 47313 23637 1 I. Andante – Allegro moderato molto – Northern Lights (1998) 3 10:49 Poco meno mosso – Andante 7:12 Trumpet and Piccolo Concertos Trumpet 2 II. Adagio 4:58 Five Klee Pictures and Piccolo Concertos Trumpet 3 III. Lo stesso tempo – Allegro – (1959/76) 4 10:41 Lento 4:23 8 I. A Crusader 1:35 4 9 www.naxos.com Made in Germany Booklet notes in English ൿ Trumpet Concerto (1988) 2 30:25 II. Oriental Garden 1:35 Naxos Rights US, Inc. 4 I. Adagio – Allegro 13:47 0 III. The Twittering Machine 2:20 1991, 1995, 1998 & 5 II. Adagio molto 9:54 ! IV. Stained-Glass Saint 2:28 6 III. Presto 6:45 @ V. Ad Parnassum 2:43 Stewart McIlwham, Piccolo 1 • John Wallace, Trumpet 2 Royal Philharmonic Orchestra 1, 3 • Royal Scottish National Orchestra 2 Philharmonia Orchestra 4 • Peter Maxwell Davies Ꭿ Previously released on Collins Classics in 1991, 1995 and 1998 2013 Recorded at St Augustine's Church, Kilburn, London, on 18th May, 1998 (tracks 1-3, 7); at Glasgow City Hall, Scotland, in April 1990 (tracks 4-6), and at All Saints Church, Tooting, London, on 3rd December, 1994 8.572363 8.572363 (tracks 8-12) • Producer: Veronica Slater • Engineer: John Timperley (tracks 1-3, 7-12); David Flower (tracks 4-6) Publishers: Chester Music Ltd. -
PETER MAXWELL DAVIES an Orkney Wedding, with Sunrise
PETER MAXWELL DAVIES An Orkney Wedding, With Sunrise Scottish Chamber Orchestra Ben Gernon Sean Shibe guitar Scottish Chamber Orchestra Ben Gernon conductor Sean Shibe guitar Peter Maxwell Davies (1934–2016) 1. Concert Overture: Ebb Of Winter ..................................................... 17:41 Hill Runes* 2. Adagio – Allegro moderato ................................................................ 1:58 3. Allegro (with several changes of tempo) ........................................ 0:50 4. Vivace scherzando ............................................................................... 0:48 5. Adagio molto .......................................................................................... 2:27 6. Allegro (dying away into ‘endless’ silence) ..................................... 1:55 7. Last Door Of Light ............................................................................... 16:38 8. Farewell To Stromness* ...................................................................... 4:26 9. An Orkney Wedding, With Sunrise ................................................. 12:34 Total Running Time: 59 minutes *solo guitar Recorded at Usher Hall, Edinburgh, UK 14–16 September 2015 Produced by John Fraser (An Orkney Wedding, with Sunrise, Ebb of Winter, Last Door of Light) and Philip Hobbs (Farewell to Stromness and Hill Runes) Recorded by Calum Malcolm (An Orkney Wedding, with Sunrise, Ebb of Winter, Last Door of Light) and Philip Hobbs (Farewell to Stromness and Hill Runes) Post-production by Julia Thomas Cover image by