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Technical Notice
| Classical Composer: | Maxwell Davies, Peter |
|---|---|
| Work: | The Devils Suite |
| Year Composed: | 1971 |
| Instrumentation: | v, 1(pic,afl)01(bcl)0/0110/3perc/Horg(out-of-tune pf,cel).untuned zither/vn(va,regal).vc.db |
| Publisher: | Chester Music and Novello & Co. |
| Duration: | 00:20:23 |
| Period: | Contemporary |
| Work Category: | Choral - Secular |
Work Information
Available Recording(s)
Based on Aldous Huxley’s novel The Devils of Loudun, Russell’s film depicts lust, corruption, exorcism and execution within a medieval religious setting. Maxwell Davies’ suite, premièred by The Fires of London and the composer at London’s Queen Elizabeth Hall on 11 December 1971, gives a good account of the extremes of violence and introspection which are contained within the film as a whole.
Titles consists of somber phrases that unfold on the lower woodwind and strings against ominous percussive gestures. Sister Jeanne’s Vision continues on from the above, before the soprano emerges with a setting of the Sanctus. This is then parodied by woodwind and brass at the extremes of their register, over intense chords on strings and assaultive gestures from percussion (flexatone much in evidence), which is ultimately curtailed to leave the soprano against chords on the horn. Exorcism opens with a nostalgic tune on trumpet and strings which is parodied as a foxtrot, the music then continuing as fragmentary exchanges between wind and strings with the bird calls momentarily to the fore. A brief climax on brass and timpani subsides to reveal the soprano in dialogue with strings and percussion, prior to continuing unaccompanied. Execution and End Music commences with raucous dance music on woodwind and percussion before calming into an eloquent solo for cello over low woodwind and drum strokes. The melody passes to the flute while agitated strings and ever more active percussion increase the emotional intensity towards a sustained climax in which the main theme is stridently declaimed on trumpets and the buzzing of a positive organ is heard. This subsides and, following a brief pause, the music from the opening emerges on flute and lower strings against soft gong strokes—effecting a calm yet desolate conclusion.
Writer: Richard Whitehouse
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