Peter Maxwell Davies
Composer
1934–2016. British composer in the Modernism tradition.
Major British modernist composer, co-founder of The Fires of London; noted for theatrical works, symphonies, and music rooted in Scottish Orkney landscapes.
Signature works: Eight Songs for a Mad King, Taverner, An Orkney Wedding, with Sunrise, Symphony No. 1, Strathclyde Concertos.
17 products
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SaleAdvent Live - Vol. 3 / Nethsingha, Herbert, Choir of St. John's Cambridge
Signum Classics · Jan 2024CD$20.99$10.49 -
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Davies, Grime & Mendelssohn: Scotland / Crawford-Phillips, Västerås Sinfonietta
DB Productions · Dec 2023CD$18.99 -
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Maxwell Davies: Suites From The Boyfriend / Maxwell Davies, Cleobury, Aquarius
Naxos · Mar 2014CD$19.99 -
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Maxwell Davies: Symphony No. 6; Time And The Raven; Wedding With Sunrise / Royal Philharmonic
Naxos · Nov 2012CD$19.99 -
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SaleMaxwell Davies: Symphony No 3 / Maxwell Davies, Bbc Philharmonic Orchestra
Naxos · Jul 2012CD$19.99$13.99
The European Guitar
Our Gilded Veins
Davies, Grime & Mendelssohn: Scotland / Crawford-Phillips, Västerås Sinfonietta
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'.
Drown to Die a Little / Stína Ágústsdóttir
Stína Ágústsdóttir is considered one of Iceland’s best jazz artists and nowadays she’s just as established in Sweden. She is known for her energetic live performances, not only in Scandinavia, but also in her previous home of Montreal. She has been nominated for the Icelandic music prize a few times, both for her album, Jazz á íslensku (Jazz in Icelandic, 2017) and for The Whale (2021). Jazz á íslensku has already become a classic in Iceland and has been used in Icelandic language lessons and is played frequently on the radio. Stina has been living in Sweden since 2011 and plays with artists such as Maz Schultz, Håkan Brosträm, Erik Söderlind, Simon Berggren, Henrik Linder, Joel Lyssarides and Kjetil Mulelid. Stina, herself, says about her album: “In 2016 I got seriously ill and needed to put my life on hold. I managed to get back on my feet, with the help of family and friends, and the music on the record is about this journey from darkness towards light. The songs reflect the many sides of a human being, both the pretty and the ugly, and that it’s ok to be a mess and need help.”
Labyrinths / Orchestra of the Swan
Shortlisted for the Gramophone Awards!
Following the success of their last album, Timelapse, this new album from Orchestra of the Swan is a collection of extraordinary works connected by ideas of pilgrimage, contemplation, exploration and enlightenment through the works of composers such as Richter, Respighi, Britten, Piazzolla, Brian Eno, Nico Muhly, Joy Division and more. As with Timelapse, the joy is to be found in discovering the surprising and delightful connections between culturally disparate and musically contrasting time periods. Labyrinths have been an important part of humanity’s cultural landscape for thousands of years; from the Ancient Greek myth of Theseus and the Minotaur to the intriguing stories of Jorge Luis Borges and Umberto Eco. Our overwhelming desire to find patterns and ‘the hidden truth’ is perhaps nowhere more evident than in the subversive and complex vistas of music. Formed in 1995, Orchestra of the Swan is a British chamber orchestra which, under the artistic direction of David Le Page, is passionate about audience inclusivity and blurring the lines between genres, through its adventurous and accessible programming.
Maxwell Davies: Caroline Mathilde Concert Suites
Maxwell Davies: Suites From The Boyfriend / Maxwell Davies, Cleobury, Aquarius
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
Maxwell Davies: Strathclyde Concertos Nos. 9 & 10
Davies: Strathclyde Concertos Nos. 7 & 8
Maxwell Davies: Strathclyde Concertos Nos. 5 & 6
Maxwell Davies: Strathclyde Concertos Nos. 3 & 4
Maxwell Davies: Symphony No. 6; Time And The Raven; Wedding With Sunrise / Royal Philharmonic
Sir Peter Maxwell Davies’s passionate Sixth Symphony is dedicated to the memory of the writer George Mackay Brown, with the ‘very special musical virtuosity’ of the Royal Philharmonic Orchestra in mind. It is one of his most beautifully expressive works and, whilst not untroubled, reaches moments of serene beauty. Composed for the 50th anniversary of the founding of the United Nations, Time and the Raven is a brilliant and exciting collage, whilst few contemporary works enjoy such popularity as the magical An Orkney Wedding with Sunrise.
Maxwell Davies: Symphonies Nos. 4 & 5
Maxwell Davies: Symphony No 3 / Maxwell Davies, Bbc Philharmonic Orchestra
After the success of Peter Maxwell Davies's ten 'Naxos' Quartets commissioned by the label (see review of boxed set for details), here come the Symphonies, with the first five re-released by Naxos in 2012 so far.
Like the first two and the following two, this recording of Symphony no.3 originally appeared on the now subsumed Collins Classics label in the mid-Nineties (14162). Back then, it was the only work on the disc, the ink still wet on the score of Cross Lane Fair, which came out a year later on the same label (14602), coupled with the much shorter Fifth Symphony.
The Third is a sprawling, elemental work, as wind-swept and rain-lashed as Maxwell Davies's home on Orkney, although the tumultuous seascape is perhaps more abstractly represented than in the Second Symphony. Those who know the composer only through the simple, pretty piano piece Farewell to Stromness, or even his most popular orchestral piece, An Orkney Wedding With Sunrise, are in for a surprise!
The Malcolm Arnoldish pizzazz, wit and sound effects of An Orkney Wedding are more in evidence in the nine-section Cross Lane Fair, in which Maxwell Davies reanimates childhood fairground visits around his native Salford. Quite what Northumbrian smallpipes and Irish bodhrán players were doing in Salford is never explained, nor how he manages to recall so vividly the sounds and atmosphere of evenings from nearly sixty years previously, when by his own admission a lad of only four or five!
Northumbrian smallpipes are like the archetypal Highland bagpipes but smaller, and kept inflated by an underarm bellows rather than a player's necessarily strong lungs. Their harmonica-like tone, as this recording demonstrates, is considerably softer than the bagpipes, and pitting them against an orchestra is an unlikely idea. Maxwell Davies certainly knows how to orchestrate effectively, and the smallpipes and bodhrán do their stuff when the tutti are subdued or even silent, as in the bodhrán solo in the section entitled 'The Juggler' - which, bizarrely, is met by score-directed human cheers and applause.
Sound quality in both recordings is very good, especially when their age is taken into consideration.
The booklet notes are detailed with regard to the works themselves, but there is no information at all about the two soloists, nor about the bodhrán or Northumbrian smallpipes - in the latter's case, there are variations of and idiosyncrasies associated with the basic instrument, and a note of enlargement would not have gone amiss.
The timing is generous, however, and the performances first-rate. In all, this is an almost essential purchase for everyone interested in contemporary British music.
-- Byzantion, MusicWeb International