Wardourcastlesummerschool

A Blog about the Wardour Castle Summer Schools 1964, 1965

Royal Musical Association

The following paper was given at the Royal Musical Association’s annual conference, 16 July 2010.

Read the rest of this entry »

Advertisements

Filed under: Methodology, , , , , , , , , , , , , , , , , ,

Peter Maxwell Davies

On 7 June, 2010 I went to the Royal Academy of Music to interview Peter Maxwell Davies about his involvement at the WCSSs.

Was there some need that the WCSSs filled?


(LS100098, 25’50”)

The following comment about optimism goes to the atmosphere of the events:

(LS100098, 16’00”)

Read the rest of this entry »

Filed under: Commentary from Interviews, What music was performed?, What was analyzed/discussed?, , , , , , , , ,

Caroline Mustill (Phillips) and Stephen Pruslin

Given that the WCSSs took place in a school, this post contains important information from the perspective of Caroline Mustill, who was a student at Cranborne Chase for both events. Mustill’s significance to this project, however, goes far further than her teenage years, since, for example, she managed the Pierrot Players, and has also been close to Birtwistle, Davies and many other prominent artists since the 1960s. When I approached Mustill she suggested that I interview Stephen Pruslin too, and I am grateful to her for organising our three-way meeting.

Read the rest of this entry »

Filed under: Commentary from Interviews, General details of the Summer Schools, Legacy of the WCSSs, What music was performed?, What was analyzed/discussed?, , , , , , , , , , ,

Two Reviews

Here are two reviews of the Melos Ensemble’s London performance of Birtwistle’s Tragoedia and Davies’s In Nomines, from December 1965.

Read the rest of this entry »

Filed under: Reviews, , , , ,

Gilbert and Lumsdaine

It was Anthony Gilbert who in various ways first prompted this research. Gilbert’s interview with Michael Hall that Hall quoted in his book* was the first mention of the WCSSs that I read, and remains one of the most significant passages on the topic in the published literature. Gilbert’s look of incredulity at my lack of knowledge of events from the 1960s spurred me to the particular research of this blog, and he had repeatedly offered to talk to me about the events. When I finally contacted him to make a date for this interview, he suggested including his old friend David Lumsdaine (who Gilbert first met at Wardour) and so the recorded conversation took place in York, with Gilbert travelling there from Manchester. This paragraph is a prolix way of saying that ‘I’m very grateful’.

Read the rest of this entry »

Filed under: Commentary from Interviews, How was it funded?, Legacy of the WCSSs, Other information, What music was performed?, What was analyzed/discussed?, Who was there?, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

PMD

My copy of Peter Maxwell Davies Studies, edited by Kenneth Gloag and Nicholas Jones just arrived and I turned immediately to the index to look for ‘Wardour Castle Summer School’. There are two entries, both in the chapter by Philip Grange ‘Peter Maxwell Davies at Dartington: the composer as teacher’. The first reference is as follows, with Grange outlining the summer schools at which Maxwell Davies has taught:

Most notable among the summer schools have been the Wardour Castle Summer School of Music, a joint venture that Davies, Harrison Birtwistle and Alexander Goehr undertook in 1964 and 1965′. (217) Read the rest of this entry »

Filed under: Legacy of the WCSSs, , , , , , ,

Harrison Birtwistle Interview

In December I travelled to Wiltshire to interview Harrison Birtwistle.

I began by asking some specific questions about serialism and whether or not it was a concept that was ‘vetoed’ as Anthony Gilbert had suggested to me that it had been. (The interview with Gilbert will be posted soon.) Not gaining much of a response beyond  ‘I don’t know’ I outlined something of the level of detail I knew about the events, filling in space much as I am as I write this, hoping for a topic that most piqued his interest. It seems that Birtwistle is good at forgetting, which, as this week’s obituary for Alexander Piatigorsky reminded me, is ‘essential’. Read the rest of this entry »

Filed under: Commentary from Interviews, Interviews, , , , , , ,

Comments by Bayan Northcott on the 1965 WCSS

Speaking with Bayan Northcott uncovered a wealth of information about the WCSSs and the period in which they occurred. This post draws together some clips from the interview. The interview progressed with Northcott going through his diary.

Read the rest of this entry »

Filed under: General details of the Summer Schools, Interviews, What music was performed?, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Comments by Bayan Northcott on the 1964 WCSS

Speaking with Bayan Northcott uncovered a wealth of information about the WCSSs and the period in which they occurred. This post draws together some clips from the interview. The interview progressed with Northcott going through his diary.

He began with some contextual remarks about the scene, and the position of Maxwell Davies, Birtwistle and Goehr.

First a comment about the number of people in attendence:

(LS100049, 1’53”) Read the rest of this entry »

Filed under: Commentary from Interviews, General details of the Summer Schools, What music was performed?, What was analyzed/discussed?, Who was there?, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

1964 Programme of Concerts and Lectures

The following is the contents of the 1964 Programme, held by Bayan Northcott and photographed when I visited him.
P1080929

Read the rest of this entry »

Filed under: What music was performed?, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

1965 Concert Programme with comments

1965 Programme of Concerts submitted to the Arts Council. (ACGB/51/265; see 1)

The comments are those by Hugh Wood. As further composers are interviewed their comments will be added alongside those by Wood.

Read the rest of this entry »

Filed under: Commentary from Interviews, What music was performed?, , , , , , , ,

1964 Concert Programme with comments

1964 Programme of Concerts as given in the publicity leaflet, a copy of which was given to me by Michael Hall. The comments are those by Hugh Wood. As further composers are interviewed their comments will be added alongside those by Wood.

Read the rest of this entry »

Filed under: Commentary from Interviews, What music was performed?, , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Flyers/Programme 1965

Michael Hall gave me copies of two flyers, one for each of the two WCSSs. The 1964 is the material posted here. I had paid far less attention to the 1965 flyer, since I already had this information from the concert programme. Or so I thought. Read the rest of this entry »

Filed under: What music was performed?, , , , , , , , , , , , , , , , ,

1964 Programme of Concerts

1964 Programme of Concerts as given in the publicity leaflet, a copy of which was given to me by Michael Hall.

Read the rest of this entry »

Filed under: What music was performed?, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

1965 budget

The V&A archive (ACGB/51/1265) contains the accounts for the 1964 and 1965 summer schools and a budget for the 1965 event. I have posted the 1964 accounts here.

One of my research questions considers ways in which these summer schools were funded, and how this reflects prestige, as well as indicating the priorities of the events. Here is the budget for the 1965 events.

Read the rest of this entry »

Filed under: General details of the Summer Schools, How was it funded?, What music was performed?, , , , , , , , , , , , , , , , , , , , , , ,

1965 Concert Programme

1965 Programme of Concerts submitted to the Arts Council following their support of some of the concerts in the series. More on that later. One of the aims of this research was to make accessible information of the kind present here. There are some fascinating concerts, with lots of early music alongside new works. I would love to hear the Busoni (arranging Bach), Bach (arranged Goehr), Mozart, Holloway, Gibbons, Eisler concert. Fascinating.

I haven’t included the programme notes, and no author is given for most of these. A playlist of those works here that are also available on spotify can be found here: WCSS. It’s a collaborative playlist so if you find a work that I haven’t listed you can add it. You can also delete tracks and add new ones (perhaps you don’t like my choice of performers?). The recording of Birtwistle’s Tragoedia is by the Melos Ensemble with Lawrence Foster conducting.

(ACGB/51/265; see 1)

[5]

WARDOUR CASTLE SUMMER CONCERTS

President: MICHAEL TIPPETT

Director: HARRISON BIRTWISTLE

Read the rest of this entry »

Filed under: What music was performed?, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

A review of the Wardour Castle Concert 1965

This review from the Times, 1965. I love the crossword-cryptic final two sentences (and that they appear with the verso of The Times Crossword Puzzle).

Wardour Castle Concert

For the past two years a week’s unique kind of summer school for composers and other interested in their problems has been held at Wardour Castle in Wiltshire. In the evenings doors are open to the general public for concerts cleverly juxtaposing old and new music, some of it brand new, such as on Friday when the Melos Ensemble introduces works which they themselves had commissioned from the school’s director, Harrison Birtwistle, and Peter Maxwell Davies. Read the rest of this entry »

Filed under: Reviews, What music was performed?, , , , , , , , , , ,

1964 accounts

The V&A archives contain the accounts for both WCSSs.

(ACGB/51/265; see 1)

The items of expenditure are fairly unremarkable:

Catering, boarding out & gratuities. £573- :- 9
Caretaker, laundry, transport kitchen and domestic wages. 275- 19- 1
Artistes’ and orchestral fees. 432- 5- :
Heating, lighting, hire etc. 155- 8- :
Stationery, printing and advertising. 461- 1- 10
Hon. Secretary’s postages. 15- 13- 3
Hon. Treasurer’s do [H.O. Young] 12- 15- 5
Chairman’s telephone 72- 7- 10
Insurance, postage & sundries 89- 17- 3
2.088- 8- 5

However, it also gives the names of the employed tutors all of whom were offered £50 and all of whom waived their fees to balance the accounts.

Read the rest of this entry »

Filed under: How was it funded?, Who was there?, , , , , , , , , , , , , , ,

Advertisement for the 1965 WCSS

The following is the text from a flyer/booklet advertising the 1965 WCSS.

[1]

THE WARDOUR CASTLE SUMMER SCHOOL OF MUSIC

14th–22nd AUGUST, 1965

President:

MICHAEL TIPPETT

Musical Directors:

HARRISON BIRTWISTLE

PETER MAXWELL DAVIES

ALEXANDER GOEHR

Read the rest of this entry »

Filed under: General details of the Summer Schools, Other information, Who was there?, , , , , , , , , , , , , , , , , , , , , , , , ,

Advertisement for the 1964 WCSS

THE WARDOUR CASTLE SUMMER SCHOOL OF MUSIC

15TH TO 23RD AUGUST, 1964

PRESIDENT: MICHAEL TIPPETT

MUSICAL DIRECTOR: HARRISON BIRTWISTLE

The Wardour Summer School of Music is essentially a new venture, which will take place in the elegant Wardour Castle, built for the Arundell family in the latter half of the eighteenth century by James Paine. Read the rest of this entry »

Filed under: General details of the Summer Schools, Who was there?, , , , , , , , , , , , , , , , ,

Funding, the SPNM and the ICA

The archived documents for the Arts Council of England’s annual report for 1965/66 includes a brief report from the SPNM accounting for its activities, which closes with the sentence:

‘In addition to these activities, a contribution of £250 was also made towards first performances of new works by young composers at the Wardour Castle Summer School of Music.’ (ACGB/51/265, ACGB/50/1310; see 1)

The Arts Council’s annual report included the following about the SPNM: Read the rest of this entry »

Filed under: How was it funded?, , , , , , , , , , , , , , ,

Who taught?

Who Taught at the WCSSs?

1964:

  • Birtwistle, Harrison: 1, ACGB/51/1265
  • Carewe, John: ACGB/51/1265 (accounts)
  • Friedman, Leonard: ACGB/51/1265 (accounts)
  • Goehr, Alexander: 1, ACGB/51/1265
  • Gilbert, Anthony: (Wood, Hugh (2003) ‘On music of Conviction… and an enduring friendship’ in Sing, Ariel (Aldershot: Ashgate) 328.)
  • Hurwitz, Emmanuel: ACGB/51/1265
  • Maxwell Davies, Peter: 1, ACGB/51/1265
  • de Peyer, Gervase: ACGB/51/1265
  • Telford, John: ACGB/51/1265
  • Tippett, Michael: (Wood, Hugh (2003) ‘On music of Conviction… and an enduring friendship’ in Sing, Ariel (Aldershot: Ashgate) 328.)
  • Wood Hugh: (Wood, Hugh (2003) ‘On music of Conviction… and an enduring friendship’ in Sing, Ariel (Aldershot: Ashgate) 328.)

1965

  • Tippett, Michael: (Wood, Hugh (2003) ‘On music of Conviction… and an enduring friendship’ in Sing, Ariel (Aldershot: Ashgate) 328.)
  • Wood, Hugh: (Wood, Hugh (2003) ‘On music of Conviction… and an enduring friendship’ in Sing, Ariel (Aldershot: Ashgate) 328.)

Filed under: General details of the Summer Schools, Who was there?, , , , , ,

Hugh Wood

Hugh Wood on the WCSSs:

Perhaps the final manifestation of the Manchester troika was their joint participation in the Wardour Castle Summer Schools of 1964 and 1965. The spectacles through which one views the past often become tinted with rose. Nevertheless (and I think anyone who was there would agree) this succession of frantic days amid idyllic surroundings provided an experience hard to come by anywhere today: its idealism and optimism were entirely typical of the 1960s and have vanished with them. Goehr, whose brainchild it had been, was the guiding spirit for the whole operation. (Wood, Hugh (2003) ‘On music of Conviction… and an enduring friendship’ in Sing, Ariel (Aldershot: Ashgate) 328.)

Hugh Wood is quoted by Edward Venn in his book The Music of Hugh Wood, where he comments that:

The two summer schools held at Wardour Castle in 1964 and 1965 encapsulated the adventurous spirit of the times. Conceived by three Manchester Composers, Goehr, Maxwell Davies and Birtwistle, the school offered what was for the time a broad and unconventional programme of concerts, lectures and teaching. Wood and Tippett were also on the teaching staff; Anthony Gilbert taught in 1964 only. (Venn, Edward (2008) The Music of Hugh Wood (Aldershot: Ashgate) 69.)

It is significant that Wood mentions Gilbert here as one of the teachers. How many teachers were there? Why did he not teach in 1965?

Filed under: General details of the Summer Schools, Who was there?, , , , , , ,

Opera

Some quotes about the discussions of opera at the second  Wardour Castle Summer School.

This from Meirion Bowen:

[At the] Bath Academy of Art […. Tippett met] newcomers such as the rising stars of the postwar English avant-garde, Peter Maxwell Davies, Alexander Goehr and Harrison Birtwistle. The latter trio organized two summer schools focussed on contemporary music at Wardour Castle, in 1965 and 1966 [sic]. Tippett once joined in a memorable seminar there at which all four of them discussed the operas they were currently engaging in writing.’ (Bowen, Meirion (1997), Michael Tippett (London: Robson Books), 40.)

Which is expanded by Michael Hall:

Even without the benefit of hindsight, one can see the direction in which all these interests and activities are going. The intensification of dramatic forms and now the involvement of the visual strongly suggest opera. And so it was. In August 1964, shortly after the first performance of Entr’actes and Sappho Fragments at the Cheltenham Festival, Goehr, Maxwell Davies and Birtwistle inaugurated the first of two summer schools of music which they held under the presidency of Michael Tippett at Wardour Castle. As it happened, the talk, certainly in private, was of opera. Unlike the situation on the continent where opera had become de trop, Britain was experiencing an operatic renaissance. Two years earlier Tippett had some approval with King Priam and was now well and truly embarked on The Knot Garden; Maxwell Davies had virtually completed the first act of Taverner, while Goehr was mulling over Arden Must Die. Both Richard Rodney Bennett and Malcolm Williamson had produced operas that year, and Britten, the doyen of them all in this field, had unveiled Curlew River, the first of his church parables. Clearly British composers, even young ones, had no reservations about the anecdotal or the referential! (Hall, Michael (1984), Harrison Birtwistle (London: Robson Books), 27.)

Did Birtwistle’s contribution to the discussion involve Punch and Judy?

Hall’s comment that there were ‘no reservations about the anecdotal or the referential’ has wide-reaching implications for the understanding of British modernism during this period. My work on David Lumsdaine suggests that these discussions of opera are important for instrumental works too: Kelly Ground, for example, is a composition that established Lumsdaine’s place within an avant-garde, in part through references to Boulez, Webern, Stockhausen and Ligeti. 1

Filed under: What was analyzed/discussed?, , , , , , , , , , , ,

What was performed?

1964:

  • Messiaen 1 ACGB/51/1265
  • Anthony Gilbert: solo piano Sonata, performed by Margaret Kitchin. 1
  • Peter Maxwell Davies: Five Little Pieces for Piano, perf. Peter Maxwell Davies 1

‘There will be concerts by the Melos Ensemble, which will include along with classical works, the “Quatuor pour la Fin du Temps,” by Oliver [sic] Messiaen.’ ACGB/51/1265

1965

Visiting Artists:

  • Bethany Beardslee: Milton Babbitt’s Philomel for soprano, recorded soprano and electronics. 1, Pierrot Lunaire with the Melos Ensemble cond. Edward Downes. 2, (Seabrook, Mike (1994), Max: The Life and Music of Peter Maxwell Davies (London: Victor Gollancz), 94.), ACGB/51/1265
  • Leonard Stein: Arnold Schoenberg Op.23, Goehr’s Op.18. 1
  • Melos Ensemble: Goehr Little Music for Strings, Bach’s Double Concerto cond. Lawrence Foster. 1, ACGB/51/1265
  • Vocal Quartet: Barbara Elsy, Pauline Stevens, Ian Partridge, Geoffrey Shaw. They performed: Robin Holloway’s score for soprano (Elsy), baritone (Shaw) ensemble (Melos) cond. Goehr. 1

Composers:

  • John Buller 1
  • Harrison Birtwistle: Tragoedia (premiere) commissioned by the Melos Ensemble 1, dir./cond. Lawrence Foster, ‘To Michael Tippett on the occasion of his 60th birthday’ 20 August 1965: 2, 3, 4, 5, 6 (Hall, Michael (1984), Harrison Birtwistle (London: Robson Books), 32), (Seabrook, Mike (1994), Max: The Life and Music of Peter Maxwell Davies (London: Victor Gollancz), 93.), (Times, Monday August 23 1965, 15.)

‘Those who heard Tragoedia when it was first performed at the 1965 Wardour Castle Summer School have said they will never forget the excitement it generated. With it his career was assured. (Hall, Michael (1984), Harrison Birtwistle (London: Robson Books), 32)

‘the first performance of […] Tragoedia […] caused a tremendous stir of excitement’ (Seabrook, Mike (1994), Max: The Life and Music of Peter Maxwell Davies (London: Victor Gollancz), 93.)

‘Actually, it was a knockout – as that evening’s rave reception of the first performance duly confirmed. And it marked the definitive arrival of Harrison Birtwistle.’ 1

  • Peter Maxwell Davies: Ecce Manus Tradentis 1, 2, (Seabrook, Mike (1994), Max: The Life and Music of Peter Maxwell Davies (London: Victor Gollancz), 93.), (Times, Monday August 23 1965, 15.)

‘The short instrumental first part, Eram Quasi Agnus, was commissioned by the English Bach Festival and was not composed until later ­– it received its first performance in 1969. But the bigger vocal and choral second half was performed on this occasion at Wardour Castle by the Summer School Choir with the Melos Ensemble, and soloists Bethany Beardslee, Pauline Stevens, Ian Partridge and Geoffrey Shaw.’ (Seabrook, Mike (1994), Max: The Life and Music of Peter Maxwell Davies (London: Victor Gollancz), 93.)

  • David Bedford: Dream of the Seven Lost Stars ‘summer school choir under John Alldis’ 1 performed on the last night (21st?) with ‘music by Messiaen and a Bach cantata’. 2, ACGB/51/1265
  • Schoenberg, Arnold: Pierrot Lunaire (Seabrook, Mike (1994), Max: The Life and Music of Peter Maxwell Davies (London: Victor Gollancz), 94.), (Burden, Michael (2000), ‘A foxtrot to the crucifiction’, Perspectives on Peter Maxwell Davies (Aldershot, Ashgate), 52.), ACGB/51/1265
  • Tallis, Thomas: Spem in alium, cond. Michael Tippett. ACGB/51/1265
  • Wood, Hugh: A work for choir and orchestra? ACGB/51/1265

‘Concerts, open to the public, but free to all students, will be given during the course by the Melos Ensemble and other artists. These will include the first performances of works by Birtwistle, Goehr and Maxwell Davies commissioned for the occasion by the Melos Ensemble. The concerts will also include The Musical Offering by J. S. Bach and a performance with Bethany Beardslee, of “Pierrot Lumaire” by Schoeberg. The Summer School is also commissioning other works for these concerts by composers who will be present at the course.’ ACGB/51/1265

Filed under: What music was performed?, , , , , , , , , , , , , , , , , , , , , , ,

Early Details

From June 1964:

The Wardour Summer School of Music, a new venture, is the idea of the group of young composers forming the ‘Manchester School’. Alexander Goehr will rehearse the choir and orchestra, take classes in analysis and composition, and lecture on 20th-century music; Peter Maxwell Davies will rehearse the choir, and lecture on early music; Harrison Birtwistle will rehearse the orchestra. Details from The Lodge, Motcombe Park, Shaftesbury, Dorset. 1

Filed under: General details of the Summer Schools, Other information, , ,

1965

Name: Source

‘some 50 composers’: 1

  • Alldis, John: 1 ‘John Aldis trained the choir at the Wardour Castle Sumer School in 1965’ (Venn, Edward (2008) The Music of Hugh Wood (Aldershot: Ashgate) 69.), ACGB/51/1265
  • Aronowitz, Cecil: 1, ACGB/51/1265
  • Beardslee, Bethany: 1, (Seabrook, Mike (1994), Max: The Life and Music of Peter Maxwell Davies (London: Victor Gollancz), 94.), ACGB/51/1265
  • Bennett, William: 1, ACGB/51/1265
  • Birtwistle, Harrison: 1, 2, 3, (Seabrook, Mike (1994), Max: The Life and Music of Peter Maxwell Davies (London: Victor Gollancz), 100.), ACGB/51/1265
  • Buller, John: 1
  • Crowson, Lamar: ACGB/51/1265
  • Downes, Edward: ACGB/51/1265
  • Friedman, Leonard: ACGB/51/1265
  • Gilbert, Anthony: 1
  • Glanville, Ranulph: 1
  • Goehr, Alexander: 1, 2, (Seabrook, Mike (1994), Max: The Life and Music of Peter Maxwell Davies (London: Victor Gollancz), 100.), ACGB/51/1265
  • Hacker, Alan: (Seabrook, Mike (1994), Max: The Life and Music of Peter Maxwell Davies (London: Victor Gollancz), 100.)
  • Hurwitz, Emmanuel [Emanuel] : 1, ACGB/51/1265
  • Maxwell Davies, Peter: 123, (Seabrook, Mike (1994), Max: The Life and Music of Peter Maxwell Davies (London: Victor Gollancz), 100.), ACGB/51/1265
  • Peyer, Gervase De: 1, ACGB/51/1265
  • Sanders, Neill: 1, ACGB/51/1265
  • Smalley, Roger: 1
  • Thomas, Michael: ACGB/51/1265
  • Tippett, Michael: 1 ACGB/51/1265
  • Weil, Terence: 1, ACGB/51/1265
  • Wood, Hugh: 1, 2, (Wood, Hugh (2003) ‘On music of Conviction… and an enduring friendship’ in Sing, Ariel (Aldershot: Ashgate) 328.), ACGB/51/1265

Filed under: Who was there?, , , , , , , , , , , , , , , , , , , , , ,

1964

Name: sources

1964:

  • Birtwistle , Harrison: 1, 2, 3, (Hall, Michael (2003), Between Two Worlds (Todmordon: Arc), 31.), (Seabrook, Mike (1994), Max: The Life and Music of Peter Maxwell Davies (London: Victor Gollancz), 100.), (Roberts, David (2000), ‘Alma Redemptoris Mater’, Perspectives on Peter Maxwell Davies (Aldershot, Ashgate), 13.), (Burden, Michael (2000), ‘A foxtrot to the crucifiction’, Perspectives on Peter Maxwell Davies (Aldershot, Ashgate), 52.), ACGB/51/1265,
  • Carewe, John: ACGB/51/1265 (accounts)
  • Crowson, Lomar: 1, ACGB/51/1265
  • Friedman, Leonard: ACGB/51/1265 (accounts)
  • Gilbert, Anthony: 1, (Hall, Michael (2003), Between Two Worlds (Todmordon: Arc), 31.), (Venn, Edward (2008) The Music of Hugh Wood (Aldershot: Ashgate) 69.)
  • Glanville, Ranulph: 1
  • Goehr, Alexander: 1, 23, 4, (Randel, Don (1996) The Harvard biographical dictionary of music (HUP),  318), (Hall, Michael (2003), Between Two Worlds (Todmordon: Arc), 30.), (Seabrook, Mike (1994), Max: The Life and Music of Peter Maxwell Davies (London: Victor Gollancz), 100.), (Roberts, David (2000), ‘Alma Redemptoris Mater’, Perspectives on Peter Maxwell Davies (Aldershot, Ashgate), 13.), (Burden, Michael (2000), ‘A foxtrot to the crucifiction’, Perspectives on Peter Maxwell Davies (Aldershot, Ashgate), 52.), (Wood, Hugh (2003) ‘On music of Conviction… and an enduring friendship’ in Sing, Ariel(Aldershot: Ashgate) 328.), ACGB/51/1265
  • Hacker, Alan: (Seabrook, Mike (1994), Max: The Life and Music of Peter Maxwell Davies (London: Victor Gollancz), 100.)
  • Hurwitz, Emmanuel: 1, ACGB/51/1265
  • Lumsdaine, David: (Hall, Michael (2003), Between Two Worlds (Todmordon: Arc), 30.)
  • Maxwell Davies, Peter: 12, (Hall, Michael (2003), Between Two Worlds (Todmordon: Arc), 31.), (Seabrook, Mike (1994), Max: The Life and Music of Peter Maxwell Davies (London: Victor Gollancz), 100.), (Roberts, David (2000), ‘Alma Redemptoris Mater’, Perspectives on Peter Maxwell Davies (Aldershot, Ashgate), 13.), (Burden, Michael (2000), ‘A foxtrot to the crucifiction’, Perspectives on Peter Maxwell Davies (Aldershot, Ashgate), 52.), ACGB/51/1265
  • Nyman, Michael: 1,  (Pwyll ap Siôn, The music of Michael Nyman: texts, contexts and intertexts (Aldershot: Ashgate))
  • Peyer, Gervase De: 1, ACGB/51/1265
  • Pritchard, Gwyn: 1
  • Telford, John: ACGB/51/1265
  • Tippett, Michael: 1 , 2, 3, (Hall, Michael (2003), Between Two Worlds (Todmordon: Arc), 30.), ACGB/51/1265
  • Wood, Hugh: 1, (Wood, Hugh (2003) ‘On music of Conviction… and an enduring friendship’ in Sing, Ariel (Aldershot: Ashgate) 328.)

Filed under: Who was there?, , , , , , , , , , , , ,