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Music Text

St Luke, chapter 22 (Vulgate) (L)


fl(=picc).cl-perc(1):2timp/SD/susp.cym/h.bells/2tab/2tin cans/BD &
foot cym/tpl.bl/slide whistle/3gongs/nightingale/tam-t/cowbells/TD/
wdbl-keyboards(1 or 2 players):harmonium(=hpd,cel,out-of-tune pft,
ant.cyms)-vln.vlc (cl,vln,vlc=jingles)

Abbreviations (PDF)

World Premiere
Conway Hall, London
Mary Thomas, mezzo-soprano
Conductor: Peter Maxwell Davies
Company: Pierrot Players

World premiere of version
Sagra Musicale Umbra, Perugia
Murray Melvin, director
Conductor: Peter Maxwell Davies
Company: Mary Thomas, mezzo-soprano / Fires of London


VOICE Male or Female singer

by Paul Griffiths

This is one of Davies's most far-reaching extrapolations from music of the past. After a jolting call to attention it begins as an arrangement of an anonymous fifteenth-century mass, but this soon starts to break down. The expressive gestures become absurdly exaggerated and the music eventually deteriorates to the level of a foxtrot. In the Latin of St. Luke, the vocalist reminds us of the betrayls of Judas and of the apostle Peter - betrayals which are mirrored in the musical 'splintering' of the original mass.




Contemporary, Music/Arts, Religion

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