McGregor, Richard
ORCID: https://orcid.org/0000-0001-6685-2589
(2006)
Stepping out: Maxwell Davies’s ‘Salome’ as a transitional work.
Tempo, 60
(236).
pp. 2-12.
Full text not available from this repository.
Abstract
There have always been elements of ambivalence in Peter Maxwell Davies’s music. It is possible to perceive a tension between freedom and order in works as early as Alma Redemptoris Mater of 1957, though there the ‘freedom’ was heavily circumscribed within the musical texture. In that work the melismas, deriving from medieval models, decorate the controlling cantus line. Indeed melismatic lines which appear in various works of this early period are strictly controlled by the pitch organization despite being temporally free. An extension of this organizational idea can even be seen in the early children’s works, where freedom versus order is key to the musical argument, allied to the concern not to compromise the compositional technique despite writing for less accomplished players.
| Item Type: | Article |
|---|---|
| Journal / Publication Title: | Tempo |
| Publisher: | Cambridge University Press |
| ISSN: | 1478-2286 |
| Departments: | Academic Departments > Institute of Education (IOE) > Secondary PGCE |
| Additional Information: | Originally presented as a conference paper for 'Maxwell Davies Conference', Christchurch Canterbury, October 2004 |
| Depositing User: | Insight Administrator |
| Date Deposited: | 27 Jul 2010 14:20 |
| Last Modified: | 11 Jan 2024 19:15 |
| URI: | https://insight.cumbria.ac.uk/id/eprint/196 |
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