Perspectives on Peter Maxwell Davies
Regular price
€192.20
14 days return policy
Shipping & Delivery
Alto Flute
Arnold Whittall
Beltane Fire
blis
Category=AVN
Category=AVP
Cello Solo
Clarinet Solo
contemporary classical analysis
creative process in twentieth-century music
David Roberts
Davies's Work
Davies’s Work
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=1
eq_isMigrated=2
eq_music
eq_nobargain
eq_non-fiction
Fourth Symphony
George III
Green Corn
Joel Lester
John Warnaby
Le Jongleur De Notre Dame
Magic Square
Michael Burden
Missa Super
modernist composition methods
music theory research
Oboe Concerto
opera studies
Pc Set
Peter Owens
Pierrot Lunaire
pitch-class set analysis
Score Letter
Scottish Chamber Orchestra
serialism techniques
Set Chart
Sinfonia Concertante
Sixth Symphony
St Thomas Wake
Strathclyde Concerto
Transformation Set
Trumpet Concerto
Victimae Paschali Laudes
worldes
Worldes Blis
Product details
- ISBN 9781840142983
- Weight: 453g
- Dimensions: 156 x 234mm
- Publication Date: 31 Dec 2000
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Hardback
Secure
checkout
Fast Shipping
Easy returns
"As a composer one forgets, in time, the fine detail of composition processes which produced past work... it must be left to scholars to recreate, slowly and painstakingly, earlier creative processes." Peter Maxwell Davies. In 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. The composer's own descriptions of his compositional process contain distinctly modernist overtones as Arnold Whittall suggests in the concluding essay in the volume. The sustained textural multiplicity evident in much of Davies's music points to this modernism. It is a multiplicity mirrored in the variety of approaches taken by the commentators in this volume. The differing points of view on offer complement and contrast each other, allowing the reader to appreciate the different levels on which Davies's music works.
Richard McGregor, St Martin's College, Lancaster, UK David Roberts, Peter Owens, Michael Burden, Joel Lester, John Warnaby, Richard McGregor, Arnold Whittall.
