Although The Triumph of Time is one of Birtwistle's most celebrated early pieces very little has been written about it to date. Probably the most comprehensive analytical review appeared in Michael Hall's 1984 biography Harrison Birtwistle. This was largely valuable for presenting, in the context of a well-informed account of the composer's early output, particular aspects of Birtwistle's intention. Others have added little, while some remarks made by the composer in various interviews have seemed so strangely contradictory that they can only be evaluated by an independent idea of how the structure works from the evidence of the score itself. The method of approach becomes a major aspect of the discussion and analysis presented. In considering the dramatic superstructure, the way detail fits into this, and the relationship with the eponymous Bruegel etching, the aim of the current article has been to consider the work ‘on its own terms’ as far as possible.

At 65, Howard Skempton is somewhere near the centre of British compositional life: a surprising development for an avowedly ‘experimental’ composer, whose output until his early forties consisted primarily of short pieces written for himself and a few associates. This annotated interview traces Skempton's career, from the early influences of Webern, Feldman and Britten, through the mentorship of Cornelius Cardew and friendship with Michael Parsons, to the influence of text-setting and of the commissioning process on his recent work. Skempton's preoccupation with ‘the sound’ looms large, but is seen to be balanced by an equal concern with questions of structure, and the interview explores issues of continuity both within individual pieces and across his oeuvre, from A Humming Song (1967) for piano to the string quartet Tendrils (2004), the orchestral song-cycle The Moon is Flashing (2007) and the 35-minute, single-movement viola concerto Only the Sound Remains (2009).

Ligeti's Le Grand Macabre (1974–77) is one of the most successful operas of the 20th century in terms of the number of performances. Originally, Ligeti had intended to compose an ‘anti-opera’ in the manner of Kagel's Staatstheater, but changed his fundamental compositional approach during the process of composing the work. He realised that a more traditional opera with a clear narrative (unlike Kagel's avant-garde opera) was more suitable, and it therefore became necessary for him to transform his style to one in which the text was audible to an audience. As a result there is very little of his mature micropolyphonic technique in the resulting work, but rather there is an exploration of music from the past, and the use of parody. In composing his opera Ligeti revitalised his approach through a re-engagement with history, but combined with a modernist rigour; thus he was able to create a new and fruitful musical language, and to transform his compositional technique.

Walton's Prologo e Fantasia, written at the end of his life, is one of the few completed original works of his final decade. Undoubtedly flawed, it can be seen simply as an exemplar of Walton's failing creative powers and his sheer difficulty in writing any music at all. But it is also possible to discern in it continued experimentation with developing aspects of his language, especially seen in the context of his exploration of similar devices in preceding works. Analysis of his harmony shows development of greater ambiguity in a tonal context. And, while many of his other works contain significant fugal passages, particularly towards their conclusions, the use of a fuga finta here presents a different perspective on a typical Waltonian device. While the work does not stand alongside Walton's most important orchestral achievements, and performances will probably remain relatively few, it does nevertheless provide some interesting insights into the musical language of his post-war music.

• Los Angeles: John Adams's ‘The Gospel According to the Other Mary’ Michael Palmese

• London, Royal Opera House: Judith Weir's ‘Miss Fortune’ Paul Conway

• London, Coliseum: Detlev Glanert's ‘Caligula’ Guy Rickards

• London, Barbican Theatre: Glass's ‘Einstein on the Beach’ Keith Potter

• Birmingham, Symphony Hall: Jonathan Harvey's ‘Weltethos’ Arnold Whittall

• Further reports from Huddersfield, Manchester, Nottingham, Birmingham and London Paul Conway, Tim Mottershead, Peter Palmer, Jill Barlow

• LaMonte Young Rodney Lister

• Skalkottas's 12-Note Music Guy Rickards

• Elliott Carter Christian Carey

• Voicing ‘Pierrot’ Stephanie Power

• Friedrich Cerha on Kairos Tim Mottershead

• Christopher Fox Colin Clarke

• Huw Watkins Aaron Holloway-Nahum

• Rob Keeley Colin Clarke

• Further Reviews Guy Rickards, Bret Johnson, Fabian Huss, Paul Conway, Colin Clarke, Tim Mottershead, Calum MacDonald, John Wheatley, Peter Reynolds