This is the latest volume in Naxos's excellent series 
          of reissues of 1990s-vintage Collins Classics recordings of Peter Maxwell 
          Davies's orchestral works. 2012 saw the release of five separate volumes 
          offering his first six symphonies - see reviews of the 
First, 
          
Third, 
          
Fourth 
          & Fifth and 
Sixth. 
          Now that the Collins Classics originals are only available second-hand 
          or imported, these Naxos CDs become especially collectable: in most 
          cases they remain - rather surprisingly - the only recordings of these 
          major late-20th-century works. 
            
          This latest disc has two links to the Sixth Symphony recording, both 
          through veteran instrumentalist and composer George McIlwham. Alongside 
          the Sixth can be heard one of Maxwell Davies's most popular works, 
An 
          Orkney Wedding With Sunrise. Some may remember it from the Last 
          Night of the BBC Proms in 1992, with Andrew Davis conducting the BBC 
          Symphony Orchestra: the Highland piper that night was none other than 
          McIlwham, father of Stewart, piccolo soloist on the present recording. 
          Furthermore, 
An Orkney Wedding With Sunrise sports not only a 
          similar title to the more recent 
Maxwell's Reel With Northern Lights, 
          it also provides it with some instantly recognisable material. The titular 
          Maxwell is not the composer, incidentally, but rather indicates a Scottish 
          folk tune from Carolina Nairne's invaluable anthology published in the 
          1820s as 
The Scottish Minstrel.  
          The Piccolo Concerto is a curious work, not merely because of the unusual 
          solo instrument: all three movements are slow, with only a couple of 
          spurts of speed up to 
allegro. In fact, much of this CD consists 
          of unusually slow-tempo music, and it might be argued that the programming 
          could have been more effective if it had been more contrastive. At any 
          rate, the piccolo flute is possibly not everyone's idea of a reflective 
          instrument - and Maxwell Davies does exploit the top end of its range 
          at times. However in a stratospheric kind of way it does achieve a certain 
          serenity, especially when played with McIlwham's expertise. There have 
          not been many piccolo concertos since Vivaldi's three, and Maxwell Davies' 
          exemplar leaves the listener wondering why more composers have not had 
          a go. 
            
          In the sense that it is completely tonal and even angularly tuneful, 
          the concerto makes for a good opener. On the other hand, its general 
          tranquillity would make it a good follow-up to the finale of the Trumpet 
          Concerto which, though it too begins ruminatively - albeit with a noticeably 
          larger orchestra - ends with a terrifically virtuosic 
presto-marked 
          last movement. It celebrates the livelier qualities of the trumpet and 
          revels in the work's outstanding dedicatee John Wallace, not to mention 
          Maxwell Davies's sometimes overtly modernist leanings. Orchestrational 
          differences aside, the long central 
Adagio sounds as if it may 
          have inspired the middle movement of James MacMillan's recent trumpet 
          concertino entitled 
Seraph - memorably recorded by Alison Balsom 
          recently for EMI Classics - see 
review. 
          
            
          Modernism is to the fore in the 
Five Klee Pictures, which are 
          a revised early piece. These pictures are rhythmically striking, graphic 
          studies of genius-or-charlatan Paul Klee. The work was originally written, 
          perhaps surprisingly, for a school orchestra. As in all the works heard 
          here, though, Maxwell Davies rarely wanders too far from tonality or 
          recognisable structures. 
            
          Conducting three excellent orchestras across an eight-year period, the 
          Master of the Queen's Music makes sure his is done the right way for 
          posterity. Posterity should now make sure it has a copy of this disc! 
          Sound quality ranges from good to first-rate. The booklet texts are 
          shared between David Nice and Richard Whitehouse, both eloquent annotators. 
          
            
          One minor criticism of Naxos's presentation is the absence of opus numbers 
          - the above are taken from Maxwell Davies's excellent 
website. 
          Also, the error from a previous release of omitting the final 's' from 
          Glasgow's City Halls reappears here. Credit to Naxos, however, for not 
          reprinting the photo of the composer on the cover of the Collins Classics 
          Trumpet Concerto disc wearing 
that shirt. 
            
          
Byzantion 
          Collected reviews and contact at artmusicreviews.co.uk