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Peter Maxwell Davies -20+ uploads today!

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northern
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« on: October 28, 2015, 05:10:22 pm »

Loads of previously unavailable uploads, mainly ensemble pieces but a few orchestral and choral too - from rare classix channel.
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Neil McGowan
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« Reply #1 on: October 30, 2015, 09:18:12 pm »

Excellent news!  Let's hope this trend continues :)
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Dundonnell
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« Reply #2 on: October 31, 2015, 02:15:32 am »

I have made the point before but I shall do so again: many, although by no means all, of the orchestral works by Maxwell Davies composed during the first fifty-five years of his life have been recorded. These include the first six symphonies and the ten Strathclyde Concertos. Since 1998 however the orchestral music has been almost completely ignored.
With the exception of the recent release of the Symphony No.10 a huge body of music remains unrecorded: almost 40 works including orchestras of different sizes and composition, often accompanying a soloist or soloists and chorus.

It is splendid to have the opportunity from these recent YT Uploads to gain access to “The Jacobite Rising” for soprano, mezzo-soprano, tenor, baritone, chorus and orchestra, op.187 (1997),  “Sea Elegy” for soprano, mezzo-soprano, tenor, baritone, chorus and orchestra, op.194(1998) and "High on the Slopes of Terror", op.204 (1999).

But let me remind you once again of works like-

1997-
“Orkney Saga I: Fifteen keels laid in Norway for Jerusalem-farers” for orchestra, op.185: 20 minutes
“Orkney Saga II: In Kirkwall, the first red Saint Magnus Stones” for orchestra, op. 189: 20 minutes   
   
1998-
“A Reel of Seven Fishermen” for orchestra, op.190: 30 minutes
Tone Poem “Roma Amor” for orchestra, op.195: 40 minutes
“Temenos, with Mermaids and Angels” for Flute and Orchestra, op.198:20 minutes


1999:-   
“Orkney Saga III: An Orkney Wintering, Stone poems in Orkahowe,‘great treasure….’” for alto saxophone and orchestra, op.199:18 minutes
Concert Overture “Spinning Jenny(A Portrait of Leigh, Lancashire,c. 1948), op.203: 18 minutes
Horn Concerto, op.208: 23 minutes

2000:-   
“Orkney Saga V: Westerly Gale in Biscay, Salt in the Bread Broken” for chorus and orchestra, op.210: 14 minutes
Symphony No.7, op. 211: 45 minutes   
Symphony No.8 “Antarctic Symphony”, op.215: 40 minutes   

2001:   “Canticum Canticorum” for soprano, mezzo-soprano, tenor, baritone, chorus and orchestra, op. 217: 50 minutes

2002:-“A Dance on the Hill” for mezzo-soprano and orchestra, op. 230: 23 minutes

2005-
“Commemoration Sixty” for chorus, military band and orchestra,op.260: 20 minutes
“The Golden Rule” for chorus and orchestra, op.269a: 15 minutes

2006-      
“A Little Birthday Music” for children’s voices, orchestra and brass, op. 270: 16 minutes
“Das Rauschende der Farbe” for orchestra, op.276: 30 minutes

2007:-
“Port Lockroy, Antarctica” for orchestra, op.278: 11 minutes
“The Seas of Kirk Swarf” for bass clarinet and string orchestra, op. 281:16 minutes

2008-
“Last Door of Light” for chamber orchestra, op. 293: 20 minutes
“The Five Acts of Harry Patch” for mezzo-soprano, baritone,chorus and chamber orchestra, op.296: 15 minutes
      
2009-      
Violin Concerto No.2 “Fiddler on the Shore”, op.299: 25 minutes   
“The Sorcerer’s Mirror” for treble, chorus and orchestra, op. 300:16 minutes
Overture “St. Francis of Assisi”, op. 302: 12 minutes
“Sea Orpheus” for piano, flute, volin and strings, op.303: 20 minutes

2011-12-Symphony No.9, op.315: 23 minutes   

2012-
“Concerto Accademico” for string orchestra and string quartet, op.319: 20 minutes
“The Trojan Games” for chamber orchestra, op. 321: 14 minutes

2013-Concert Overture “Ebb of Winter” for chamber orchestra, op.325:15 minutes


These are substantial works (and there are others!) written in a more accessible style (compared to say the 1960s Maxwell Davies) by one of Britain's most distinguished living composers yet NOT ONE of those listed above has been commercially recorded.

Now that IS a disgrace >:(
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« Reply #3 on: October 31, 2015, 11:00:55 am »

I have made the point before but I shall do so again: many, although by no means all, of the orchestral works by Maxwell Davies composed during the first fifty-five years of his life have been recorded. These include the first six symphonies and the ten Strathclyde Concertos. Since 1998 however the orchestral music has been almost completely ignored.
With the exception of the recent release of the Symphony No.10 a huge body of music remains unrecorded: almost 40 works including orchestras of different sizes and composition, often accompanying a soloist or soloists and chorus.

It is splendid to have the opportunity from these recent YT Uploads to gain access to “The Jacobite Rising” for soprano, mezzo-soprano, tenor, baritone, chorus and orchestra, op.187 (1997),  “Sea Elegy” for soprano, mezzo-soprano, tenor, baritone, chorus and orchestra, op.194(1998) and "High on the Slopes of Terror", op.204 (1999).

But let me remind you once again of works like-

1997-
“Orkney Saga I: Fifteen keels laid in Norway for Jerusalem-farers” for orchestra, op.185: 20 minutes
“Orkney Saga II: In Kirkwall, the first red Saint Magnus Stones” for orchestra, op. 189: 20 minutes   
   
1998-
“A Reel of Seven Fishermen” for orchestra, op.190: 30 minutes
Tone Poem “Roma Amor” for orchestra, op.195: 40 minutes
“Temenos, with Mermaids and Angels” for Flute and Orchestra, op.198:20 minutes


1999:-   
“Orkney Saga III: An Orkney Wintering, Stone poems in Orkahowe,‘great treasure….’” for alto saxophone and orchestra, op.199:18 minutes
Concert Overture “Spinning Jenny(A Portrait of Leigh, Lancashire,c. 1948), op.203: 18 minutes
Horn Concerto, op.208: 23 minutes

2000:-   
“Orkney Saga V: Westerly Gale in Biscay, Salt in the Bread Broken” for chorus and orchestra, op.210: 14 minutes
Symphony No.7, op. 211: 45 minutes   
Symphony No.8 “Antarctic Symphony”, op.215: 40 minutes   

2001:   “Canticum Canticorum” for soprano, mezzo-soprano, tenor, baritone, chorus and orchestra, op. 217: 50 minutes

2002:-“A Dance on the Hill” for mezzo-soprano and orchestra, op. 230: 23 minutes

2005-
“Commemoration Sixty” for chorus, military band and orchestra,op.260: 20 minutes
“The Golden Rule” for chorus and orchestra, op.269a: 15 minutes

2006-      
“A Little Birthday Music” for children’s voices, orchestra and brass, op. 270: 16 minutes
“Das Rauschende der Farbe” for orchestra, op.276: 30 minutes

2007:-
“Port Lockroy, Antarctica” for orchestra, op.278: 11 minutes
“The Seas of Kirk Swarf” for bass clarinet and string orchestra, op. 281:16 minutes

2008-
“Last Door of Light” for chamber orchestra, op. 293: 20 minutes
“The Five Acts of Harry Patch” for mezzo-soprano, baritone,chorus and chamber orchestra, op.296: 15 minutes
      
2009-      
Violin Concerto No.2 “Fiddler on the Shore”, op.299: 25 minutes   
“The Sorcerer’s Mirror” for treble, chorus and orchestra, op. 300:16 minutes
Overture “St. Francis of Assisi”, op. 302: 12 minutes
“Sea Orpheus” for piano, flute, volin and strings, op.303: 20 minutes

2011-12-Symphony No.9, op.315: 23 minutes   

2012-
“Concerto Accademico” for string orchestra and string quartet, op.319: 20 minutes
“The Trojan Games” for chamber orchestra, op. 321: 14 minutes

2013-Concert Overture “Ebb of Winter” for chamber orchestra, op.325:15 minutes


These are substantial works (and there are others!) written in a more accessible style (compared to say the 1960s Maxwell Davies) by one of Britain's most distinguished living composers yet NOT ONE of those listed above has been commercially recorded.

Now that IS a disgrace >:(

I bet the reason for this neglect are exceedingly mundane.  1998 collins records folds, 1999 he first notices the embezzlement from sales of max opus.  I believe he has to buy back the Collins recordings going to Naxos since those are Collins assets that get liquidated.
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« Reply #4 on: October 31, 2015, 03:59:01 pm »

I understand that point....but there are other record companies. Chandos, Dutton spring to mind.

It is wonderful that Dutton has given so much attention to the music of David Matthews and has recorded virtually all his orchestral music. I admire David Matthews enormously and have collected all these recordings. He fully deserves the recognition he has received.

....but the contrast is quite marked.

I wonder if this is not another case of a composer whose has composed so much (too much ???) that record companies shy away because they simply don't know which are the best works to go for. One thinks of composers like the Dane Niels Viggo Bentzon. Where does one start with a composer who has written such an enormous body of music ???
Or-say-Alun Hoddinott or Henk Badings. Kalevi Aho writes music more quickly than even BIS has time to catch up with(though they do try manfully :)) There are composers like Havergal Brian or Weinberg or Miaskovsky who wrote a lot of symphonies but not nearly as much other orchestral music.
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« Reply #5 on: October 31, 2015, 04:51:28 pm »

I understand that point....but there are other record companies. Chandos, Dutton spring to mind.

It is wonderful that Dutton has given so much attention to the music of David Matthews and has recorded virtually all his orchestral music. I admire David Matthews enormously and have collected all these recordings. He fully deserves the recognition he has received.

....but the contrast is quite marked.

I wonder if this is not another case of a composer whose has composed so much (too much ???) that record companies shy away because they simply don't know which are the best works to go for. One thinks of composers like the Dane Niels Viggo Bentzon. Where does one start with a composer who has written such an enormous body of music ???
Or-say-Alun Hoddinott or Henk Badings. Kalevi Aho writes music more quickly than even BIS has time to catch up with(though they do try manfully :)) There are composers like Havergal Brian or Weinberg or Miaskovsky who wrote a lot of symphonies but not nearly as much other orchestral music.

I think you might be right that here is a composer who has written a little too much making it difficult for a meaningful traversal.  Don't these record companies have close ties to musicologists who would help plan a traversal in a way that makes sense?  I believe Dutton does have that because otherwise the sales team is determining what to produce and then the unknown or higher risk will always suffer when compared to the sure thing.  Meanwhile, a composer might not make the best decision of how best to bring their music to an audience who might in fact be open to it.  Composers can be a little prickly on this stuff ("I don't care if they like it, it is what I intended").  Whereas a musicological approach can propose a way to introduce a broader audience over time to the composers output by understanding their stylistic periods, the common stylistic thread throughout, etc.

I believe the advantage Kalevi Aho has is that the music has a broad range of champions and admiration from conductors, performers, soloists, and has a firm rootedness in a tradition and is consistently high quality.  One of the problems I have with Max is that his music is so voluminous and coming out so fast that it can be hard to differentiate works.  For example, a piece about Ornkey folklore, Antarctica, and an orchestral fantasy might be slightly interchangeable.  Rihm will probably have the same issue.  The question of "so which Rihm (or Max) will I get the next time I pick up a CD of theirs?" followed by "haven't I heard this already?" 

I do like Max and think there is enough there to warrant a cycle with mass appeal.  I very much enjoyed listening to some of the 20+ new youtube postings and have been wanting to hear some of those works.
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« Reply #6 on: October 31, 2015, 06:01:48 pm »

Yes...Dutton certainly have the eminent authority on British Music Lewis Foreman as their advisor on repertoire and, presumably, Chandos can call on similar advice. Unfortunately it is likely that most of the works in question have only been performed once and therefore it is probable that advice has to be given on the basis of a published score.

Aho is in a particularly favourable position in that BIS as a company is clearly committed to his music. This was clearly a decision taken a long time ago now by Robert von Bahr, the company's owner. As owner it was a decision he was fully entitled to make and this patronage has been of immense advantage to a very fine composer. There are, of course, some of us who regret that von Bahr's apparent dislike of the Swedish composer Hilding Rosenberg has led to that composer being ignored by BIS.
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« Reply #7 on: October 31, 2015, 06:13:08 pm »

http://www.classicalsource.com/db_control/db_cd_review.php?id=2218

This appears to be the source of the recordings.

I also notice in my web trawl that PMD is unfortunately back in hospital with the return of his serious illness.
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« Reply #8 on: October 31, 2015, 06:24:59 pm »

http://www.classicalsource.com/db_control/db_cd_review.php?id=2218

This appears to be the source of the recordings.

I also notice in my web trawl that PMD is unfortunately back in hospital with the return of his serious illness.
That is very sad news about his health. Makes me realize I should be grateful for each new piece he turns out.  Wishing him a speedy recovery.
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« Reply #9 on: October 31, 2015, 08:21:58 pm »

http://www.classicalsource.com/db_control/db_cd_review.php?id=2218

This appears to be the source of the recordings.

I also notice in my web trawl that PMD is unfortunately back in hospital with the return of his serious illness.

Very sadly that is true. It was announced three weeks ago that the dreadful leukaemia which MD thought had been beaten last year has now returned. In 2013 he was given only six weeks to live but managed to beat it. One can but hope that he can do it again........
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