Worldes Blis, written in 1966-69, is based on a 13th-century plainchant yet is entirely instrumental. Here, Maxwell Davies's flirtation with the kind of sound world being created by Ligeti is all the more obvious; even the use of a harp keeps the textures in the low range for much of the piece, and it seems to me to be more concerned with texture than anything else, though the slowly rising melody that begins in a solo cello is in some ways more melodic than anything in the concerto. Much of Worldes Blis has the same kind of rhythmic stasis and aura of unease that one hears in the middle movement of the piano concerto. It is, however, an interesting experiment in sound textures and suspension of time, so to speak, and it works very well. Slowly, almost imperceptibly at first, the music becomes busier, yet these " Allegro s" will never be confused with a Mahler scherzo or a Prokofiev symphonic finale. As the music becomes busier, it also becomes denser both harmonically and rhythmically, pulling the listener along but not quite engaging one except to admire the cleverness of his construction.
4 Lento Recitando - Lentissimo - Royal Philharmonic Orchestra
5 L'istesso Tempo - Royal Philharmonic Orchestra
6 Allegro - Royal Philharmonic Orchestra
7 Poco Piu Mosso - Royal Philharmonic Orchestra
8 Allegro - Royal Philharmonic Orchestra
9 Lento - Royal Philharmonic Orchestra
Worldes Blis, written in 1966-69, is based on a 13th-century plainchant yet is entirely instrumental. Here, Maxwell Davies's flirtation with the kind of sound world being created by Ligeti is all the more obvious; even the use of a harp keeps the textures in the low range for much of the piece, and it seems to me to be more concerned with texture than anything else, though the slowly rising melody that begins in a solo cello is in some ways more melodic than anything in the concerto. Much of Worldes Blis has the same kind of rhythmic stasis and aura of unease that one hears in the middle movement of the piano concerto. It is, however, an interesting experiment in sound textures and suspension of time, so to speak, and it works very well. Slowly, almost imperceptibly at first, the music becomes busier, yet these " Allegro s" will never be confused with a Mahler scherzo or a Prokofiev symphonic finale. As the music becomes busier, it also becomes denser both harmonically and rhythmically, pulling the listener along but not quite engaging one except to admire the cleverness of his construction.
