This work for Clarinet in A Violin Cello and Piano was premiered in May 2002 in the Fitzwilliam Museum Cambridge. The piece has a fast rhythmic opening in which the violin and cello answer short statements by the pianowith the clarinet mediating between them. The work is decorated by rhythmic and melodic flourishes on the clarinet violin and cello and development sees the piece pick up in tempo and activity. Score edition of PeterMaxwell Davies 'Economies Of Scale'. Parts available: SOS15774

'Parade ' a été écrit par Sir Peter Maxwell Davies en 1949 où le compositeur était juste de quinze ans. Plusieurs années plus tard, il a redécouvert le travail, et il a été donné à Schott en 2008. À l'occasion du 75e anniversaire de naissance du compositeur sur 8 septembre 2009, Schott est fière de vous présenter cette édition en édition limitée couleur fac-similé du manuscrit original de travail Sir Peter Maxwell Davies. A doit avoir collectionneurs item pour quiconque s'intéresse à la musique d'un des compositeurs plus importants de notre époque. / Piano

Peter Maxwell Davies wrote this set of six short pieces in 1993 as a gift for a friend (a double bass player and composer from the BBC Philharmonic)who was celebrating the birth of his daughter. Despite the reason for writing thembeing most ‘occasional’ these pieces are certainly not lacking in musical substance as one might expect an ‘occasional’ piece to be. These pieces are ideal works for young performers to introduce them to playing modern music oreven as an introduction to the broad range of Maxwell Davies's work

Peter Maxwell Davies pensait de la vulnérabilité individuelle et collective lors de la composition de cette pièce, en particulier en ce qui concerne le problème du changement climatique et de son domicile, dans les îles Orcades, qui est menacée par la montée des eaux. Toutefois, ce thème n'est pas un fait négatif: Davies prétend que nous devons tous entrer dans la dernière porte de la lumière, mais le voyage est plein de lumière et de joie. La mélodie au début de l'oeuvre, qui compose Davies dans les années 70 et n'a jamais utilisé, pourrait être une mélodie populaire île et est soumis à une transformation constante tout au long de la pièce avant d'atteindre l'apothéose à la fin. / Orchestre De Chambre

Two dances for flute and harp from Peter Maxwell Davies' ballet Caroline Mathilde.A new instrumentation restores this linked pair of dances from Davies's second full-length ballet Caroline Mathilde based on the story ofthe eighteenth-century British princess sent in marriage to Denmark to the eighteenth-century milieu of the work's setting and musical world. The period manners - a gavotte in the first dance a gigue at the start of the second -are typically overlaid with the composer's Scottishness. In general the harp has an accompanying role but it comes forward alone in the second movement which ends with bravura from both instruments.These two dances were firstperformed in September 1993 at the Northlands Festival by David Nicholson and Eluned Pierce.Score and flute part. Duration c. 5mins.Harp part edited by Elune Pierce.

Il Rozzo Martello for unaccompanied choir SATB by Peter Maxwell Davies was commissioned by BBC Radio 3. It was first performed on 14th August 1997 at the Queen Elizabeth Hall London by the BBC Singers conducted by StephenCleobury.A Michaelangelo sonnet lies at the heart of Il Rozzo Martello - a contemplation on the process of artistic creation and the role of inspiration within it the sculptor's ‘crude hammer’; of the title in Davies'swords ‘a pale echo of the creative efforts of exploring the same theme and similar imagery’. This introduction is distinguished from the setting of Michaelangelo's test by adopting a plainsong style although it builds to aclimax with progressively rich harmony Duration: c 12 minutes.

Une importante collection de la nouvelle musique pour flûte solo et accompagné. oeuvres de Peter Maxwell Davies, Aaron Copland, Benjamin Lees, Howard Ferguson et Peter Lamb. / Flûte Traversière Et Piano

Advent Calendar by the Master of the Queen's Music Peter Maxwell Davies sets the text of the former Archbishop of Canterbury Rowan Williams .  The work for SATB and Organ was commissioned by The Choirbook Trust for inclusion in the Choirbook for the Queen published to celebrate the Diamond Jubilee of Her Majesty the Queen in 2012.

Scored for a small chamber group this is the miniature study-score edition of a pair of short pieces that celebrate the best in Australian wines! The pieces were written by Peter Maxwell Davies for the Elder New Music Ensemble ofAdelaide concerning the excellent wines the composer enjoyed during his visit to the Barossa Festival in 2000. The works were first performed by the group in Barossa and Orkney respectively.

Peter Maxwell Davies' Sonatina For Violin Alone for solo Violin. This instrumental work was commissioned by Fenella Humphreys as part for the Bach to the Future project. The first performancetook place on 20th June 2015 at St. Magnus' Cathedral Kirkwall by Fenella Humphreys. Duration: approx. 11 minutes.

The Full Score for Peter Maxwell Davies’ fourth in a series of ten string quartets commissioned by the Naxos Recording company first performed by the Maggini Quartet on 20th August 2004 at the Chapel of the Royal Palace Oslo Norway as part of the Olso Chamber Music Festival. Composer Note: The fourth Naxos quartet was written in January and February of 2004 with the intention of producing something lighter and much less fierce than itspredecessor an unpremeditated and spontaneous reaction to the illegal invasion of Iraq.I returned to the well-known Brueghel picture of children's games (1560 now in Vienna) which had been the inspiration for my sixthStrathclyde Concerto for flute and orchestra. These illustrations liberated my musical imagination but I feel it would limit the listener's perception to be too specific about which game relates to exactly which section of thework. Suffice it to say that there is vigorous play - leap-frog bind the devil with a cord truss wrestling - alongside quieter pastimes - masks guess whom I shall choose courting odds and evens. The single movementjuxtaposes these activities as abruptly and intimately as they occur in Brueghel. Rather as the eye is taken into different perspectives and proportions of scale within the picture taking liberties which would never be presentin for instance Brunelleschi architectural drawings so here with a constant sequence of transformation processes I have distorted the neat precise implications of modal progression expressed in the unison opening phrase(from F to B through A sharp/B flat) so that the ear is led en route into the sound equivalents of strange passageways and closed rooms: sicut exposition ludus. As work on the quartet progressed I became aware that Iwas reading into and behind the games adult motives and implications concerning aggression and war with their consequences. It was impossible to escape into innocent childhood fantasy. The nature of the F to B