Maxwell Davies, (Sir) Peter (b Salford, 1934). Eng. composer, conductor, and teacher. With Birtwistle, Goehr, and Ogdon, known as Manchester School. In 1957 won It. Govt. scholarship and studied in Rome with Petrassi. His Prolation won Olivetti Prize 1958 and was f.p. ISCM fest., Rome 1959. Mus. dir. Cirencester Grammar Sch. 1959–62. Resident composer Adelaide Univ. 1966. In 1967 was founder and co-dir. of chamber ens., Pierrot Players, formed to perf. contemp. works; this was reorganized 1971 as The Fires of London (disbanded 1987), for which many of Maxwell Davies's works have been written. Since 1970 he has lived intermittently in Orkney, where the landscape and solitude have had an undoubted effect on his music, notably in the chamber opera The Martyrdom of St Magnus and the syms. He founded the St Magnus Fest. in 1977 and was art. dir. 1977–86. In 1986 received commission from Strathclyde local authority for 10 concs. for soloists from SCO. Mus. dir., Dartington Hall summer sch. 1979–84.

Maxwell Davies soon became one of the most important of the Eng. so-called avant-garde. Like Britten, he has enjoyed writing for specific performers and his wide-ranging imagination has devised striking sounds, freakish perhaps but always springing from a genuine mus. impulse. Rhythms are sometimes complex, vocal lines angular. He developed music theatre, staged pieces for a single performer, as in the remarkable Eight Songs for a Mad King. His music is marked also by a strong dramatic impulse which found full outlet in the operas Taverner and The Lighthouse. He has been inspired by the ability to combine and contrast the music of medieval times with his own idiom, and has also made much use of the 1920s fox-trot rhythm for nostalgic purposes. CBE 1981. Knighted 1987. Appointed Master of the Queen's Music 2004. Prin. works:OPERAS: Taverner (1962–70, rev. 1983); The Martyrdom of St Magnus (1976–7); The Two Fiddlers (children's opera) (1978); The Lighthouse (1979);Resurrection (1987); Redemption (1988); The Doctor of Myddfai (1993–6).THEATRE PIECES: Notre Dame des Fleurs, sop., mez., counterten., ens. (1966); Vesalii Icones (Images from Vesalius), dancer, vc., ens. (1969); Eight Songs for a Mad King, male v., ens. (1969); Blind Man's Buff, sop., mez., mime, stage band (1972); Miss Donnithorne's Maggot, mez., ens. (1974); Le Jongleur de Notre Dame, mime, bar., ens., children's band (1978); Cinderella (for children) (1980); The Medium, mez. (1981); The Rainbow (for children) (1981); The No.11 Bus, mez., ten., bar., 2 dancers, mime, ens. (1983–4); The Great Bank Robbery (for children) (1989); Jupiter Landing (for children) (1989); Dinosaur At Large (for children) (1989); Dangerous Errand (for children) (1990); The Spiders' Revenge (for very young children) (1991); A Selkie Tale (for children) (1992).BALLETS: Salome (1978); Caroline Mathilde (1990).ORCH.: syms: No.1 (1973–6), No.2 (1980), No.3 (1984), No.4 (1989), No.5 (1993–4), No.6 (1995–6); Prolation (1958); 5 Klee Pictures (1959, rev. 1976); Fantasia on an In Nomine of John Taverner: 1st (1962), 2nd (1964); St Thomas Wake (1969); Worldes Blis (1969); A Mirror of Whitening Light (1977); Dances from ‘Salome’ (1979); An Orkney Wedding with Sunrise (1985); vn. conc. (1985); Jimmack the Postie (1986); tpt. conc. (1988); Ojai Festival Overture (1991); Caroline Mathilde, suite (1991); Sir Charles: his Pavan (1992); A Spell for Green Corn: the MacDonald Dances (1993); Chat Moss (1993); Cross Lane Fair (1994); The Beltane Fire, choreographic poem (1994–5).STRATHCLYDE CONCERTOS: No.1, ob. (1987), No.2, vc. (1988), No.3, hn., tpt. (1989), No.4, cl. (1990), No.5, vn., va. (1991), No.6, fl. (1991), No.7, db. (1992), No.8, bn. (1993), No.9, chamber (1994), No.10, orch. (1995).VOICE(S) & ORCH. OR CHAMBER ENS.: 5 Motets, SCTB soloists, double ch., instr. (1959); O magnum mysterium, cycle of carols, ch., instr., org. (1960); Te Lucis ante Terminum, ch., chamber orch. (1961); Frammenti di Leopardi, cantata, sop., cont., instr. (1962); Veni Sancte Spiritus, sop., cont., bass, ch., orch. (1963); Ecce Manus Tradentis, ch., instr. (1965); Revelation and Fall, sop., 16 instr. (1965); The Shepherd's Calendar, young vv., instr. (1965); Missa super ‘L'Homme Armé’, speaker, ens. (1967–8, rev. 1971); From Stone to Thorn, mez., chamber ens. (1971); Hymn to St Magnus, sop., chamber ens. (1972); Fool's Fanfare, sop., ens. (1972); Tenebrae super Gesualdo, mez., gui., chamber ens. (1972); Stone Litany, mez., orch. (1973); Fiddlers at the Wedding, mez., chamber ens. (1973–4); My Lady Lothian's Lilt, mez., ens. (1975); Anakreontika, Gr. songs, mez., instr. (1976); The Blind Fiddler, sop., instr. (1976); Kirkwall Shopping Songs, children's vv., instr., pf. (1979); Black Pentecost, mez., bar., instr. (1979); Solstice of Light, ten., ch., org. (1979); Into the Labyrinth, ten., orch. (1983); Agnus Dei, 2 sop., va., vc. (1984); First Ferry to Hoy, children's ch., ens. (1985); Excuse me, v., ens. (1986); Winterfold, mez., ens. (1986); The Three Kings, sop., mez., ten., bar., ch., orch. (1994–5).CHAMBER ENS.: Alma Redemptoris Mater, 6 wind instr. (1957); St Michael, sonata, 17 wind instr. (1957); Ricercar and Doubles, 8 instr. (1959); Sinfonia, chamber orch. (1962); 7 In Nomine (1963–5); Shakespeare Music (1964); Antechrist (1967); Stedman Caters (1968); Eram quasi agnus, motet, instr. (1969); Points and Dances from ‘Taverner’ (1970); Canon in Memory of Igor Stravinsky (1972); Renaissance Scottish Dances (1973); Psalm 124 (1974); Ave Maris Stella (1975); Runes from a Holy Island (1977); Our Father Whiche in Heaven Art (1977); Dances from ‘The Two Fiddlers’ (1978); A Welcome to Orkney (1980); The Bairns of Brugh (1981); Image, Reflection, Shadow (1982); Sinfonia Concertante (1982); Sinfonietta Accademica (1983); Unbroken Circle (1984); Mishkenot (1988).SOLO VOICE(S) & ONE INSTR.: Shall I Die for Mannis Sake?, sop., alto, pf. (1965); Dark Angels, sop., guitar (1974); The Yellow Cake Revue, 6 cabaret songs, v., pf. (1980); The Medium, mez. (1981); Tractus, v., gui. (1990).VOICES ONLY (SATB unless specified): 4 Carols (1962); The Lord's Prayer (1962); Ave, Plena Gracia, with opt. org. (1964); 5 Carols, women's vv. (1966); Ave Rex Angelorum, with opt. org. (1976); Westerlings (1977); Songs of Hoy (1981); Seven Songs Home (1981); Lullabye for Lucy (1981); One Star at Last (1984); Hallelujah! the Lord God Almightie, with org. (1989); Apple-Basket, Apple-Blossom (1990); Hymn to the Word of God, tenor soloists, SATB ch. (1990); Corpus Christi, with Cat and Mouse (1993); A Hoy Calendar (1993).CHAMBER MUSIC: Sonata, tpt., pf. (1955); cl. sonata (1956–7); Sextet (1958); str. qt. (1961); Solita, fl. with mus. box (1966); Hymnos, cl., pf. (1967); Stedman Doubles, cl., perc. (1968); Bell Tower (Turris Campanarum Sonantium), perc. (1971); Ara Coeli: Lullaby for Ilian Rainbow, gui. (1972); The Door of the Sun, va. (1975); The Kestrel paced round the Sun, fl. (1975); The Seven Brightnesses, cl. in B♭ (1975); 3 Studies for Percussion (1975); Nocturne, alto fl. (1979); Little Quartets, str., No.1 (1980), No.2 (1981); sonatina, tpt. (1981); Hill Runes, gui. (1981); 2 Gesualdo Motets, brass quintet (1982); The Pole Star, brass quintet (1982); 4 Tallis Voluntaries, brass quintet (1982); Sea Eagle, hn. (1982); Birthday Music for John, fl., va., vc. (1983); sonatine, vn., cimbalom (1984); gui. sonata (1984); For Grace of Light, ob. (1991).PIANO: 5 Pieces (1956); 5 Little Pieces (1967); Sub tuam protectionem (1970); Ut Re Mi (1971); Stevie's Ferry to Hoy (1976); 4 Lessons for 2 Keyboards (1978); Sonata (1980–1).ORGAN: 3 Preludes (1976); sonata (1982).BRASS BAND: March: The Pole Star (1982); 4 Tallis Voluntaries (1982); 2 Gesualdo Motets (1982).REALIZATIONS: Purcell: Fantasia on a Ground and 2 Pavans, chamber ens. (1968), Fantasia on One Note, instr. (1973); Gabrieli: Canzona, wind and str. (1969); Buxtehude: Cantata: Also hat Gott die Welt geliebet, sop., fl., vn., vc., hpd. (1971); J. S. Bach: Prelude and Fugue in C♯ minor, instr. (1972), Prelude and Fugue in C♯ major, instr. (1974); Dunstable: Veni Sancte Spiritus, instr. (1972); Kinloch: Kinloch His Fantassie, instr. (1976); Anon.: Scottish 16th cent.: 4 Instrumental Motets, instr. (1973–7), Renaissance Scottish Dances, instr. (1973).MISC.: The Devils, mus. for K. Russell film (1971); The Boy Friend, mus for K. Russell film and arrs. of Wilson's songs from musical (1971).

Davies, Sir Peter Maxwell

Davies, Sir Peter Maxwell , eminent English composer and conductor; b. Manchester, Sept. 8, 1934. He was educated at the Royal Manchester Coll. of Music (graduated, 1952) and at the Univ. of Manchester (Mus.B., 1956). In 1957 he won an Italian government scholarship to study with Petrassi in Rome. After serving as director of music at Cirencester Grammar School (1959–62), he studied with Sessions and Babbitt on a Harkness fellowship at Princeton Univ. (1962–64). In 1967 he founded the Pierrot Players in London, serving as co- director with Birtwistle until 1971. In 1971 Davies founded the Fires of London, which he led as artistic director until 1987. In 1970 he settled in the Orkney Islands, where he founded the St. Magnus Festival in 1977 and for which he served as artistic director until 1986, and then as its president. From 1979 to 1983 he was artistic director of the Dartington Summer School of Music. In 1985 he was the Visiting Fromm prof. of Composition at Harvard Univ. From 1985 to 1994 he served as assoc. composer/conductor of the Scottish Chamber Orch. in Glasgow, and then was its composer laureate. He was president of the Composers’ Guild of Great Britain from 1986. In 1992 he became conductor/composer of the BBC Phil, in Manchester and assoc. conductor/composer of the Royal Phil, in London. He left his Manchester position in 2000. He was president of the Soc. for the Promotion of New Music from 1995. Davies has received numerous honors, including various honorary doctorates. In 1981 he was made a Commander of the Order of the British Empire, and in 1987 he was knighted. In 1988 he was named an Officier dans 1’Ordre des Arts et des Lettres de France. He was awarded the Cobbett Medal for his services to chamber music in 1989. In 1998 he was made a member of the Bayerische (Bavarian) Akademie der Schone Kunste in Munich.

Davies is a prolific composer who has written significant scores in all of the major genres. Following an early period in which he was influenced by both Western and non-Western currents, he turned to an expressionist mode as exemplified in his music theater pieces. After settling in the Orkney Islands, he drew great inspiration from its landscape and literary history.

Works

DRAMATIC Opera : Taverner (1962–70; London, July 12, 1972); The Martyrdom of St. Magnus (1976; Orkney, June 18, 1977); The Lighthouse (1979; Edinburgh, Sept. 2, 1980); Resurrection (1987; Darmstadt, Sept. 18,1988); Redemption (1988); The Doctor of Myddfai (1993–96; Cardiff, July 5, 1996).M u s i c T h e a t e r : - Songs for a Mad King for Baritone, Flute, Clarinet, Keyboards, Percussion, Violin, and Cello (Lon-807

don, April 22, 1969); Vesalii Icones for Dancer, Cello, Flute, Clarinet, Piano, Percussion, and Viola (London, Dec. 9, 1969); Blind Man’s Bluff for Mime, Soprano, Mezzo- soprano, and Small Orch. (London, May 29, 1972); Miss Donnithorne’s Maggot for Female Singer, Flute, Clarinet, Violin, Cello, Piano, Percussion, and 4 Mechanical Metronomes (Adelaide, March 9, 1974); Salome, ballet (Copenhagen, Nov. 10, 1978; concert suite, London, March 16, 1979); Le Jongleur de Notre Dame for Mime, Baritone, Flute, Clarinet, Violin, Cello, Piano, Percussion, and Children’s Band (Orkney, June 18, 1978); The Yellow-Cake Revue, anti-nuclear cabaret for Singer and Piano (Orkney, June 21, 1980); The Medium, monodrama for Mezzo-soprano (Orkney, July 21, 1981); The No. 11 Bus for Mime, 2 Dancers, Mezzo-soprano, Tenor, Baritone, Flute, Clarinet, Violin, Cello, Piano, and Percussion (London, March 20, 1984); Caroline Mathilde, ballet (1990). ORCH.:Prolation (1958; Rome, June 10, 1959); 2 fantasias on an In Nomine of John Taverner (London, Sept. 13, 1962; London, April 30, 1965); Sinfonia for Chamber Orch. (London, May 1962); St. Thomas Wake Foxtrot for Orchestra on a Pavan by John Bull (Dortmund, June 2, 1969); Wordles Blis (London, Aug. 28, 1969); The Boy Friend, film suite (London, Dec. 11, 1971); 6 syms.: No. 1 (1976; London, Feb. 2, 1978), No. 2 (1980; Boston, Feb. 26,1981), No. 3 (1984; Manchester, Feb. 19, 1985), No. 4 (London, Sept. 10, 1989), No. 5 (1993–94; London, Aug. 10,1994), and No. 6 (1996); Sinfonia Concertante for Wind Quintet and Chamber Orch. (1982; London, Aug. 12, 1983); Sinfonietta accademica (Edinburgh, Oct. 6, 1983); An Orkney Wedding, with Sunrise for Bagpipes and Orch. (Boston, May 10, 1985); Violin Concerto (1985; Kirkwall, Orkney, June 21, 1986); Jimmack the Postie (Kirkwall, June 22, 1986); 10Strathdyde concertos: No. 1 for Oboe and Orch. (Glasgow, April 29, 1987), No. 2 for Cello and Orch. (1988; Glasgow, Feb. 1,1989), No. 3 for Horn, Trumpet, and Orch. (1989; Glasgow, Jan. 19,1990), No. 4 for Clarinet and Orch. (1990), No. 5 for Violin, Viola, and Orch. (Glasgow, March 13, 1991), No. 6 for Flute and Orch. (1991), No. 7 for Double Bass and Orch. (Glasgow, Nov. 25,1992), No. 8 for Bassoon and Orch. (Glasgow, Nov. 24,1993), No. 9 for Chamber Orch. (1994), and No. 10 for Chamber Orch. (1995); Trumpet Concerto (Hiroshima, Sept. 21, 1988); Ojai Festival Overture (qai, Calif., June 1, 1991); Sir Charles: His Pavan (1992); A Spell for Green Corn: The MacDonald Dances (Glasgow, Nov. 24,1993); Chat Moss (1993; Liverpool, March 15, 1994); Carolisma, serenade for Chamber Orch. or Instrumental Ensemble (1994); Cross Lane Fair for Northumbrian Bagpipes and Orch. (Kirkwall, Orkney, June 18, 1994); The Beltane Fire, choreographic poem (1995); Time and the Raven (Nottingham, June 12, 1995); Throstle’s Nest Junction (Manchester, Nov. 16, 1996); Piccolo Concerto (1996; Nottingham, April 23, 1997); Mavis in Las Vegas (Manchester, March 13, 1997); Piano Concerto (Nottingham, Nov. 7, 1997); Sails in St. Magnus I: Fifteen keels laid in Norway for Jerusalem-farers (1997), II: In Kirkwall, the first red Saint Magnus Stones (1997), and III:An Orkney wintering. Stone poems in Orkahowe:’’’great treasure…” (1999); A Reel of Seven Fishermen (1998); Maxwell’s Reel, with Northern Lights (London, May 23, 1998); Roma Amor Labyrinth (1998); Swinton Jig (York, Nov. 27, 1998); Temenos, with Mermaids and Angels (1998; Dublin, May 17, 1999); High on the Slopes of Terror (1999); Spinning Jenny: A Portrait of Leigh, Lancashire, circa 1948 (1999). CHAMBER : Movement for String Quartet (1952; London, May 23, 1983); Trumpet Sonata (1955); Stedman Doubles for Clarinet and Percussion for 1 Player (1956; rev. 1968); Clarinet Sonata (1956; Darmstadt, July 20, 1957); Alma redemptoris mater for Flute, Oboe, 2 Clarinets, Bassoon, and Horn (Dartington, Aug. 7,1957); St. Michael for 17 Wind Instruments (1957; London, July 13, 1959); Sextet for Flute, Clarinet, Harpsichord, Percussion, Viola, and Cello (1958; rev. as a Septet with the addition of a guitar, 1972); Ricercar and Doubles on “To Many a Well” for Flute, Oboe, Clarinet, Bassoon, Horn, Harpsichord, Viola, and Cello (1959); String Quartet (London, Nov. 1961); Shakespeare Music for 11 Instruments (London, Dec. 8,1964); 7 in Nomine for 10 Instruments (London, Dec. 3,1965); Antechrist for Piccolo, Bass Clarinet, 3 Percussionists, Violin, and Cello (London, May 30, 1967); Hymnos for Clarinet and Piano (1967); Stedman Caters for Flute, Clarinet, Harpsichord, Viola, Cello, and Percussion (London, May 30, 1968); Eram quasi agnus for 7 Wind Instruments, Handbells, and Harp (London, June 10, 1969); Canon in memoriam Igor Stravinsky for Flute, Clarinet, Harp, and String Quartet (broadcast, April 6, 1972); Hymn to St. Magnus for Flute, Clarinet, Piano, Viola, Cello, and Percussion (London, Oct. 13,1972); Renaissance Scottish Dances for Flute, Clarinet, Guitar, Violin, Cello, and Percussion (Dartington, July 29, 1973); Si quis diligit Me for Alto Flute, Clarinet, Celesta, Crotales, Viola, and Cello (Dartington, July 29, 1973); All Sons of Adam for Alto Flute, Clarinet, Celesta, Guitar, Marimba, Viola, and Cello (London, Feb. 20, 1974); Psalm 124 for Flute, Bass Clarinet, Glockenspiel, Marimba, Guitar, Violin, and Cello (Dartington, July 28, 1974); Ave Man’s Stella for Flute, Clarinet, Piano, Marimba, Viola, and Cello (Bath, May 27, 1975); 3Studies for Percussion for 11 Players (1975); My Lady Lothian’s Lilt for Alto Flute, Bass Clarinet, Viola, Cello, Percussion, and Mezzo-sorpano Obbligato (Dartington, Aug. 20, 1975); Kinloche His Fantassie for Flute, Clarinet, Harpsichord, Glockenspiel, Violin, and Cello (Dartington, Aug. 19, 1976); Runes from a Holy Island for Alto Flute, Clarinet, Celesta, Percussion, Viola, and Cello (broadcast, Nov. 6,1977); A Mirror of Whitening Light for 14 Instruments (London, March 23, 1977); Our Father Whiche in Heaven Art for Flute, Clarinet, Celesta, Marimba, Violin, and Cello (Dartington, Aug. 18, 1977); Little Quartet No. 2 for String Quartet (1977; rev. version, Canton, N.Y., Nov. 12, 1987); A Welcome to Orkney for Flute, Oboe, Clarinet, Bassoon, Horn, 2 String Quartets, and Double Bass (Orkney, June 20, 1980); Little Quartet No. 1 for String Quartet (1980; Dartington, July 26, 1982); The Bairns of Brugh for Piccolo, Bass Clarinet, Piano, Marimba, Viola, and Cello (Bergen, May 30, 1981); Quintet for 2 Trumpets, Horn, Trombone, and Tuba (1981; Boston, March 19, 1982); Image, Reflection, Shadow for Flute, Clarinet, Cimbalom, Piano, Violin, and Cello (Lucerne, Aug. 22, 1981); The Pole Star, march for 2 Trumpets, Horn, Trombone, and Tuba (1982; Dartington, Aug. 18,1983); Birthday Music for John for Flute, Viola, and Cello (Swansea, Oct. 13, 1983); Sonatine for Violin and Cimbalom (London, June 8, 1984); Unbroken Circle for Alto Flute, Bass Clarinet, Piano, Viola, and Cello (Bath, June 1, 1984); Dowland: Farewell—A Fancye for Alto Flute, Bass Clarinet, Viola, Cello, Piano, and Marimba (1986; London, Jan. 20, 1987); Thaw for Instrumental Ensemble (1995); Fanfare for Brass Ensemble (1998); Mishkenot for 9 Players (London, May 3, 1988); Trumpet Quintet (Aberdeen, Feb. 25, 1999). Sol o I n s t r u m e n t s :Solita for Flute (1969); Tunis campanarum sonatium for Percussion (1971); The Door of the Sun for Viola (1975); The Kestrel Paced Round the Sun for Flute (1975); The 7 Brightnesses for Clarinet (1975); 3Organ Voluntaries (1976); Nocturne for Alto Flute (1979); Piano Sonata (1981); Hill Runes for Guitar (1981); Sea Eagle for Horn (1982); Organ Sonata (1982); Guitar Sonata (1984); First Grace of Light for Oboe (1991); 6 Secret Songs for Piano (1993); Reliqui Domum Meum for Organ (1996); Mrs. Linklater’s Tune for Violin (1998); Litany—for a Ruined Chapel between Sheep and Shore for Trumpet (1999). VOCAL: 5Motets for Soprano, Alto, Tenor, Bass, Chorus, and 16 Instruments (1959; London, March 1, 1965); O

magnum mysterium for Chorus, Organ, and Ensemble (Cirencester, Dec. 8, 1960); Ave Maria, Hail Blessed Flower for Chorus (1961); Te lucis ante terminum for Chorus and 12 Instruments (Cirencester, Nov. 30, 1961); Leopardi Fragments for Soprano, Mezzo-soprano, and 8 Instruments (London, July 1962); Veni sancte spiritus for Soprano, Alto, Tenor, Bass, Chorus, and Orch. (1963; Cheltenham, July 10, 1964); Ecce manus tradentis for Soprano, Alto, Tenor, Bass, Chorus, and Ensemble (Wiltshire, Aug. 20, 1965); Revelation and Fall for Soprano and 16 Instruments (1965; London, Feb. 26, 1968; rev. 1980); Notre Dame des Fleurs for Soprano, Mezzo-soprano, Countertenor, and 6 Instruments (1966; London, March 17, 1973); Missa super L’Homme Arme for Voice and 6 Players (1968; London, April 22, 1969); From Stone to Thorn for Mezzo-soprano and 4 Instruments (Oxford, June 30, 1971); Stone Litany: Runes from a House of the Dead for Mezzo-soprano and Orch. (Glasgow, Sept. 22, 1973); Fiddlers at the Wedding for Mezzo-soprano and 4 Instruments (1973; Paris, May 3, 1974); Dark Angels for Mezzo-soprano and Guitar (1974); Anakreontika for Mezzo-soprano and 4 Instruments (London, Sept. 17, 1976); The Blind Fiddler for Mezzo-soprano and 6 Instruments (Edinburgh, Feb. 20, 1976); Norn pater nosier for Chorus and Organ (1977); Westerlings for Chorus (1977); Black Pentecost for Baritone, Mezzo-soprano, and Orch. (1979; London, May 11, 1982); Solstice of Light for Tenor, Chorus, and Organ (Orkney, June 18, 1979); Into the Labyrinth for Tenor and Chamber Orch. (Kirkwall, June 22, 1983); 1 Star, at Last for Chorus (Cambridge, Dec. 24, 1984); Excuse Me for Mezzo-soprano and 5 Instruments (1985; London, Feb. 26,1986); House of Winter for Chorus (Orkney, June 23, 1986); Sea Runes for Chorus (N.Y., Nov. 16,1986); Winterfold for Mezzo-soprano and 7 Instruments (1986; London, Jan. 20,1987); Hallelujah! The Lord Almightie for Chorus and Organ (Edinburgh, June 11, 1989); Hymn to the Word of God for Soloists and Chorus (1990); Corpus Christi, with Cat and Mouse for Chorus (Oxford, Nov. 30, 1993); A Hoy Calendar for Chorus (Liverpool, March 15, 1994); Invocation to Mercurius for Chorus and Crotales (Edinburgh, Nov. 6, 1994); The Three Kings for Soprano, Mezzo-soprano, Tenor, Baritone, Chorus, and Orch. (London, Oct. 15,1995); A Birthday Card for Hans for Mezzo-soprano and Instrumental Ensemble (1996); Job, oratorio for Soprano, Alto, Tenor, Bass, Chorus, and Orch. (Vancouver, British Columbia, May 11, 1997); II rozzo martello for Chorus (1997); The Jacobite Rising for Soprano, Alto, Tenor, Bass, Chorus, and Orch. (1997); Sea Elegy for Soprano, Alto, Tenor, Bass, Chorus, and Orch. (1998). OTHER: Various works for young people.

Bibliography

P. Griffiths, P. M. D. (London, 1982); M. Seabrook, Max: The Life and Music of P. M. D. (London, 1994).

—Nicolas Slonimsky/Laura Kuhn/Dennis McIntire

Davies, Sir Peter Maxwell (1934– ) British composer. Prolific and varied in his compositions, he has written seven operas, including Taverner (1970), The Martyrdom of St Magnus (1976), and Resurrection (1987). His symphonies include the Antarctic Symphony (2000, Symphony No.8). Much of his work, reflects the landscape and culture of his adopted home, the remote Orkney Islands, n Scotland.

Davies, Peter Maxwell. See Maxwell Davies, Peter.