Composer

:

Peter Maxwell Davies

Genre

:

Chamber

Style

:

Chamber Music

Compose Date

:

1970

Movement_count

:

14

Movement ....

'Points and Dances from Taverner, J. 93' is a composition by the British composer Peter Maxwell Davies. It was composed in 1964 and premiered on 17th June 1964 at the Aldeburgh Festival. The piece is divided into three movements, each of which is based on a different section of John Taverner's Missa Gloria Tibi Trinitas. The first movement, 'Points', is a set of variations on the opening section of Taverner's mass. Maxwell Davies takes the melodic material and fragments it, creating a series of short, angular motifs that are passed around the ensemble. The music is rhythmically complex, with irregular metres and frequent changes of tempo. The overall effect is one of restless energy, as if the music is constantly searching for a way forward. The second movement, 'Dances', is a set of three dances based on the middle section of Taverner's mass. The first dance is a lively jig, full of syncopated rhythms and playful melodies. The second dance is slower and more contemplative, with a haunting melody that is passed between the instruments. The final dance is a fast and furious tarantella, full of virtuosic flourishes and sudden shifts in tempo. The third movement, 'Points and Dances', combines elements of the first two movements. It begins with a series of fragmented motifs, similar to those in the first movement, before moving into a set of dances that are more complex and varied than those in the second movement. The music builds to a frenzied climax before subsiding into a quiet coda. Overall, 'Points and Dances from Taverner, J. 93' is a challenging and complex work that demands a high level of technical skill from the performers. It is also a highly original and inventive piece of music, full of unexpected twists and turns. Despite its complexity, however, the music is always engaging and full of energy, making it a rewarding experience for both performers and listeners alike.

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