"Recently I've been participating in radio and television talk programs doing broadcasts and conferences, and shooting my mouth off and really going to town"
About this Quote
The charm here is how a serious composer punctures the halo of Serious Composerhood with a phrase that sounds like a pub confession. Peter Maxwell Davies, often filed under formidable modernism, chooses the language of overcaffeinated chatter: "shooting my mouth off", "going to town". It’s deliberately uncomposed. In a media environment that rewards instant takes, he frames his own visibility as a kind of minor delinquency, as if the very act of speaking freely on air is slightly improper for someone expected to communicate through scores and silence.
The intent feels twofold. On the surface, it’s self-deprecation: an artist acknowledging he’s been unusually public, even a little undisciplined. Underneath, it’s a sly critique of the cultural shift that made this necessary. A composer who once could let premieres and reviews do the talking is now pushed into the role of commentator, advocate, personality. The list piles up - radio, television, broadcasts, conferences - creating a sense of relentless circuit-riding, the contemporary arts economy’s treadmill of "engagement."
What makes the line work is the tension between labor and play. He describes public-facing work as both performance and release, "participating" and "going to town". That mix signals someone who understands the transaction: media wants quotable energy, and he’s supplying it, perhaps with a hint of mischief. It’s a candid snapshot of late-20th-century cultural politics: even the avant-garde must learn to talk like a human being on schedule.
The intent feels twofold. On the surface, it’s self-deprecation: an artist acknowledging he’s been unusually public, even a little undisciplined. Underneath, it’s a sly critique of the cultural shift that made this necessary. A composer who once could let premieres and reviews do the talking is now pushed into the role of commentator, advocate, personality. The list piles up - radio, television, broadcasts, conferences - creating a sense of relentless circuit-riding, the contemporary arts economy’s treadmill of "engagement."
What makes the line work is the tension between labor and play. He describes public-facing work as both performance and release, "participating" and "going to town". That mix signals someone who understands the transaction: media wants quotable energy, and he’s supplying it, perhaps with a hint of mischief. It’s a candid snapshot of late-20th-century cultural politics: even the avant-garde must learn to talk like a human being on schedule.
Quote Details
| Topic | Music |
|---|---|
| Source | Help us find the source |
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