MAXWELL DAVIES The Boyfriend: Suite. 1 The Devils: Suite. 1 Seven in Nomine. 1 The Yellow Cake Revue: Excerpts 2 • 1 Nicholas Cleobury, cond; 1 Aquarius; 2 Peter Maxwell Davies (pn) • NAXOS 8.572408 (71:02)


After listening to much of Maxwell Davies’s “regular” music, the suite from The Boyfriend, written for the Ken Russell movie, certainly sounds a bit strange to say the least, being a take-off on 1920s “Jazz Age” music. The interesting thing about it is that both the music and its orchestration are not only more subtle but better both as music and scoring than a great deal of real “Jazz Age” pop, particularly the majority of Paul Whiteman’s output. It has a wonderful charm about it, and as a suite it holds together extremely well, something you might not at all expect from movie music specifically crafted to tie into a certain period. In a way, it almost sounds like a suite of early Gershwin tunes arranged by a master. Or, to put it another way, the music is “bound” organically, despite its allusions to 1920s songs, in a way that even some modern music is not properly tied together. Moreover, the chamber orchestra Aquarius is having an absolute ball with this music, playing it with a verve and a kick one might never expect from a British chamber orchestra (a dance band, yes, but a chamber orchestra, not necessarily). I was absolutely enchanted from first note to last with the Boyfriend suite, though I didn’t expect to be. Bravo!


The suite from The Devils, a score for a film based on Aldous Huxley’s The Devils of Loudon, is quite the opposite: dark, moody, often ominous-sounding music. An uncredited soprano sings very well in a portion of the Sanctus during the second piece, “Sister Jeanne’s Vision,” and here we encounter the type of “madness” music that Maxwell Davies reworked so effectively in his song cycle, Eight Songs for a Mad King (written around the same time). One certainly couldn’t imagine a sharper contrast in styles than between these two film scores—except for, believe it or not, a bit of 1920s-style music in the midst of track 10, “Exorcism.” The soprano returns, after which we inexplicably get another short bit of 1920s dance music. (Apparently, those devils of Loudon liked to do the Charleston.)


Seven in Nomine, dating from 1965, quotes the tune of John Taverner’s Gloria Tibi Trinitas in four of the seven pieces, only one of which actually bears Taverner’s title. Written for the unusual combination of a wind quintet, string quartet, and harp, it reveals yet another side of the composer, the ability to paraphrase earlier music while taking it to a new level. I found it interesting, considering that this is technically a modern work, that the solo strings of Aquarius play with straight tone. You just can’t break the British of that nasty habit. Yet the music itself is evocative, atmospheric, and very beautifully scored, with Maxwell Davies’s unusual modern harmonies creeping in such that they almost seem to have been part of the original piece, so organic do they sound. Since the music maintains a soft volume level and generally slow tempos (one notable exception being the low-volume but cheerful outburst of winds on track 16), it also generates a feeling of calm and well-being.


A similar calm, albeit more syncopated in places, emerges from his two piano solos from The Yellow Cake Revue. This was Maxwell Davies’s contribution to a campaign against mining uranium discovered on the Orkney Islands, where he lives. Both pieces here, the slightly jaunty “Yesnaby Ground” and the reflective “Farewell to Stromness,” are built around a repeating chords pattern in the left hand with undulating melodies in the right. The latter piece almost sounds like Minimalism, but is much more attractive than any American Minimalist piece I’ve yet heard.


All in all, a good if unusual album in Naxos’s Maxwell Davies collection, and one that you will probably want if you are a fan of this composer.


FANFARE: Lynn René Bayley

Peter Maxwell Davies is universally acknowledged as one of the foremost composers of our time, and is currently Master of the Queen' Music.

Sir Peter Maxwell Davies’ ballet Caroline Mathilde premièred in 1991 and has been highly acclaimed ever since. Its story concerns the tragic marriage of Caroline to Christian VII of Denmark and is cast in a musical language that embraces expressionism, drama, parody, and overt lyricism. The two concert suites chart the young queen’s fall from grace and her eventual banishment into exile. Chat Moss is a richly textured tone poem, while by contrast the Ojai Festival Overture is a lively and extrovert concert piece reflecting Maxwell Davies’ fondness for American landscape and culture. Recorded between 1991-95 and previously released by the now defunct Collins Classics, the Naxos label has been consistently lauded in the musical press for making available once again these and many other recordings by arguably the greatest British composer of the second half of the 20th c., that, in some cases, remain the only recordings of these works.

Conductor Simon Crawford-Phillips leads the Västerås Sinfonietta on their new concept album; 'Scotland'. The principal work is Mendelssohn's famous 3rd Symphony; the 'Scottish'; coupled with two interesting contemporary works with strong bonds to Scotland: Helen Grime's "Elegiac Inflections"; and Peter Maxwell Davies' 'Strathclyde Concerto No. 10'.