Peter Maxwell Davies

This work was commissioned by the Royal Philharmonic Orchestra. It was first performed on 2nd May 2000 at the Barbican Centre London conducted by Peter Maxwell Davies. Duration c.23 minutes. Peter Maxwell Davies: The hornwriting is extremely virtuoso throughout not least in exploring the full range of the horn from the deepest notes in the bass normally exclusive to an orchestral fourth horn player to the highest most exposed sostenuto of afirst horn soloist presenting here challenges of embouchure and sheer stamina I should think fairly unprecedented.Solo part and piano reduction on sale (CH61758) Conductor's score and orchestral parts available for hire.

Job (Vocal Score)-A substantial work for four soli SATB chorus and orchestra using text from the translation of Stephen Mitchell's The Book Of Job. Like Vaughan Williams in his Job: A Masque for Dancing Davies was inspired inpart by William Blake's 21 engravings for the Book of Job. His oratorio however is less dependent on find parallels for Blake's visual details given the direct poetry in David Lemon's adaptation of the Stephen Mitchelltranslation from the biblical original it is hardly surprising that the spotlight should be so much on Job's suffering litany. The baritone has the lion's share of the setting though the other soloists occasionally reinforce hisplea and chorale-like episodes universalize his predicament. Davies frames with work with two seminal plainsong-like passages; there is also plenty of dramatic contrast both within Job's monologues and in the vivid orchestralwriting for the smarmy Comforters the initially shrill God who finally appears out of a dazzling orchestral whirlwind and the animal life he uses to illustrate the wonders of creation to a humbled Job.Commissioned by theUniversity of British Colombia it was first performed in May 1997 by Valdine Anderson (soprano) Linda Maguire (mezzo soprano) Paul Moore (tenor) and Kevin McMillan (baritone) with the Vancouver Bach Choir and the CBC VancouverOrchestra conducted by the composer.Vocal score with piano reduction of the orchestral score. Duration c. 70mins.

A work for solo violin and orchestra commissioned by Donald McDonald for the 21st birthday of the Scottish Chamber Orchestra and the 60th birthday of the composer. It was first performed in November 1993 in Glasgow by JamesClark and the Scottish Chamber Orchestra conducted by Maxwell Davies.The spell is one quoted by George Mackay Brown in his book An Orkney Tapestry: 'Let not plough be put to acre except a fiddle cross first the furrow.'Davies's dancing concerto imagines the fiddler following a route from field to field from dance to dance accompanied by a bunch of companions in the form of an orchestra. As the music goes on so it gets brighter and livelier moving from the dark colouring of clarinets bassoons and strings to full ensemble with prominent brass and (solo) tuned percussion as if the dancers as much as the fields were beginning to glow with new life.Score(miniature). Duration c. 20mins.

This work was commissioned by the Royal Philharmonic Orchestra to celebrate its 40th birthday and was written for Isaac Stern. The first performance took place in June 1986 at St. Magnus' Cathedral Kirkwall as part of the tenthSt. Magnus Festival. It was given by Isaac Stern and the Royal Philharmonic Orchestra conducted by Andre Previn.This book contains the solo violin part and a piano reduction of the orchestral score.

A work for SATB soli SATB chorus and orchestra using a variety of texts selected by Alistair Grant who commissioned the work to commemorate the 250th anniversary of the Jacobite rising (1745-6). It was first performed inOctober 1997 in Glasgow by Lisa Tyrrell (soprano) Margaret McDonald (mezzo soprano) Neil Mackie (tenor) and David Wilson-Johnson (baritone) the Scottish Chamber Orchestra Chorus (chorus master Ben Parry) and the ScottishChamber Orchestra conducted by the composer.Vocal score with piano reduction of the instrumental score. Duration c. 40mins.