"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.
General
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