I asked Northcott about the motivation for starting the WCSSs, and why they were needed when Dartington and Darmstadt were already running:
Having gone through the concert programme, Northcott moved on to his memories of the other classes and activities from the 1965 school. Maxwell Davies’ analysis classes included Bach Inventions, Pierrot Lunaire and the first movement of Mahler’s Third Symphony, all as advertised.
There are some implications of his teaching of Mahler 3 that will become apparent in my review of Peter Maxwell Davies Studies to be published in Music & Letters.
Proposed: CPE Bach Morgengesand, Gibbons London Street Cries, Gabrielli Canzonetta a 12, Peter Maxwell Davies New Choral Work. 1
‘Rhythmical implications’ ‘Der kranke Mond’ from Pierrot Lunaire presented by Alexander Goehr. (Hall, Michael (2003) Between Two Worlds: The Music of David Lumsdaine (Todmorden, Arc Publications), 31-32.)
Birtwistle’s Three Movements with Fanfares. ‘Perotin, Machaut, Dufay and Dunstable’, particularly the latter composer’s Veni sancte spiritus (Hall, Michael (2003) Between Two Worlds: The Music of David Lumsdaine (Todmorden, Arc Publications), 31-32.)
Schoenberg’s Pierrot Lunaire, the first movement of Mahler’s third symphony, Bach Two-Part Inventions (Seabrook, Mike (1994), Max: The Life and Music of Peter Maxwell Davies (London: Victor Gollancz), 94.)