The complete 7 movements of 'The Celestial Palace'

1989 (complete work appx. 25’)
2 mezzo-sopranos and ensemble
alto.fl.0.3.0 – 1.0.3.0 – 2pnos, 2 perc, – 5 vc

This work relates the legend of the Phimeanakas, The Celestial Palace, that lies in the heart of the ancient city of Angkor Thom. Each and every night the King had to have union with the serpent goddess in order for good to come to the Khmer kingdom. Failure to have this union would bring calamity to the empire. The work is structured on the physical shape of the Phimeanakas, it uses original Sanskrit texts found on the steles of the ancient Khmer kingdom and the narratives contained within are symbolised in a host of ways. This work became the central (and most intimate) act of a five act opera 'Bayon', that celebrates the life of Jayavarman VII, the most famous and extraordinary of the ancient Khmer rulers. © Paul Max Edlin 2016

The performers on this recording are RCM Twentieth Century Ensemble conducted by Edwin Roxburgh.

The illustration is by Louis Delaporte (1842 – 1925)

The Celestial Palace (1989)

The 6th movement from 'The Celestial Palace'

1989 (complete work appx. 25’)
2 mezzo-sopranos and ensemble
alto.fl.0.3.0 – 1.0.3.0 – 2pnos, 2 perc, – 5 vc

This work relates the legend of the Phimeanakas, The Celestial Palace, that lies in the heart of the ancient city of Angkor Thom. Each and every night the King had to have union with the serpent goddess in order for good to come to the Khmer kingdom. Failure to have this union would bring calamity to the empire. The work is structured on the physical shape of the Phimeanakas, it uses original Sanskrit texts found on the steles of the ancient Khmer kingdom and the narratives contained within are symbolised in a host of ways. This work became the central (and most intimate) act of a five act opera 'Bayon', that celebrates the life of Jayavarman VII, the most famous and extraordinary of the ancient Khmer rulers. © Paul Max Edlin 2016

The performers on this recording are RCM Twentieth Century Ensemble conducted by Edwin Roxburgh.

The illustration is by Louis Delaporte (1842 – 1925)

A film version of this complete work is available on You Tube via this link: https://www.youtube.com/watch?v=_FmTMxiMZbQ&t=273s

VI 'Presage' - The Celestial Palace (1989)

The 5th movement from 'The Celestial Palace'

1989 (complete work appx. 25’)
2 mezzo-sopranos and ensemble
alto.fl.0.3.0 – 1.0.3.0 – 2pnos, 2 perc, – 5 vc

This work relates the legend of the Phimeanakas, The Celestial Palace, that lies in the heart of the ancient city of Angkor Thom. Each and every night the King had to have union with the serpent goddess in order for good to come to the Khmer kingdom. Failure to have this union would bring calamity to the empire. The work is structured on the physical shape of the Phimeanakas, it uses original Sanskrit texts found on the steles of the ancient Khmer kingdom and the narratives contained within are symbolised in a host of ways. This work became the central (and most intimate) act of a five act opera 'Bayon', that celebrates the life of Jayavarman VII, the most famous and extraordinary of the ancient Khmer rulers. © Paul Max Edlin 2016

The performers on this recording are RCM Twentieth Century Ensemble conducted by Edwin Roxburgh.

The illustration is by Louis Delaporte (1842 – 1925)

A film version of this complete work is available on You Tube via this link: https://www.youtube.com/watch?v=_FmTMxiMZbQ&t=273s

V 'Evocation II' - The Celestial Palace (1989)

The 4th and central movement from 'The Celestial Palace'

1989 (complete work appx. 25’)
2 mezzo-sopranos and ensemble
alto.fl.0.3.0 – 1.0.3.0 – 2pnos, 2 perc, – 5 vc

This work relates the legend of the Phimeanakas, The Celestial Palace, that lies in the heart of the ancient city of Angkor Thom. Each and every night the King had to have union with the serpent goddess in order for good to come to the Khmer kingdom. Failure to have this union would bring calamity to the empire. The work is structured on the physical shape of the Phimeanakas, it uses original Sanskrit texts found on the steles of the ancient Khmer kingdom and the narratives contained within are symbolised in a host of ways. This work became the central (and most intimate) act of a five act opera 'Bayon', that celebrates the life of Jayavarman VII, the most famous and extraordinary of the ancient Khmer rulers. © Paul Max Edlin 2016

The performers on this recording are RCM Twentieth Century Ensemble conducted by Edwin Roxburgh.

The illustration is by Louis Delaporte (1842 – 1925)

A film version of this complete work is available on You Tube via this link: https://www.youtube.com/watch?v=_FmTMxiMZbQ&t=273s

IV 'Legend' - The Celestial Palace (1989)

The 3rd movement from 'The Celestial Palace'

1989 (complete work appx. 25’)
2 mezzo-sopranos and ensemble
alto.fl.0.3.0 – 1.0.3.0 – 2pnos, 2 perc, – 5 vc

This work relates the legend of the Phimeanakas, The Celestial Palace, that lies in the heart of the ancient city of Angkor Thom. Each and every night the King had to have union with the serpent goddess in order for good to come to the Khmer kingdom. Failure to have this union would bring calamity to the empire. The work is structured on the physical shape of the Phimeanakas, it uses original Sanskrit texts found on the steles of the ancient Khmer kingdom and the narratives contained within are symbolised in a host of ways. This work became the central (and most intimate) act of a five act opera 'Bayon', that celebrates the life of Jayavarman VII, the most famous and extraordinary of the ancient Khmer rulers. © Paul Max Edlin 2016

The performers on this recording are RCM Twentieth Century Ensemble conducted by Edwin Roxburgh.

The illustration is by Louis Delaporte (1842 – 1925)

A film version of this complete work is available on You Tube via this link: https://www.youtube.com/watch?v=_FmTMxiMZbQ&t=273s

III 'Evocation I' - The Celestial Palace (1989)

The 1st and 2nd movements from 'The Celestial Palace'

1989 (complete work appx. 25’)
2 mezzo-sopranos and ensemble
alto.fl.0.3.0 – 1.0.3.0 – 2pnos, 2 perc, – 5 vc

This work relates the legend of the Phimeanakas, The Celestial Palace, that lies in the heart of the ancient city of Angkor Thom. Each and every night the King had to have union with the serpent goddess in order for good to come to the Khmer kingdom. Failure to have this union would bring calamity to the empire. The work is structured on the physical shape of the Phimeanakas, it uses original Sanskrit texts found on the steles of the ancient Khmer kingdom and the narratives contained within are symbolised in a host of ways. This work became the central (and most intimate) act of a five act opera 'Bayon', that celebrates the life of Jayavarman VII, the most famous and extraordinary of the ancient Khmer rulers. © Paul Max Edlin 2016

The performers on this recording are RCM Twentieth Century Ensemble conducted by Edwin Roxburgh.

A film version of this complete work is available on You Tube via this link: https://www.youtube.com/watch?v=_FmTMxiMZbQ&t=273s

I 'Incantation' & II 'Ritual' - The Celestial Palace (1989)

Paul Max Edlin's music is published by Composers Edition. 

Paul Max Edlin, 2016/2017 Composer in Residence for the London Chamber Orchestra, has a career that combines composing with higher education, artistic direction and performing.  

His works have been performed by many leading artists including Alison Balsom, Arditti Quartet, Britten Sinfonia, David Campbell, Cantus Ansambl, Dame Sarah Connolly, Dame Evelyn Glennie, Rolf Hind, Johannes Möller, London Chamber Orchestra, London Sinfonietta, Olga Pasiecznik, Psappha, Silesian Quartet, Southbank Sinfonia, Gabriella Swallow, John Wallace and The Wallace Collection and Bede Williams. 

He studied with Edwin Roxburgh, Richard Blackford and Joseph Horowitz (Royal College of Music) and Michael Finnissy (University of Sussex). He has won many prizes including Premio Internazionale Ancona, Harriet Cohen Memorial Award and United Music Publishers Prize. His music explores symbolism and often derives its inspiration from extra musical material. From the mid 80’s to mid 90’s many works were inspired by the art and architecture of South-East Asia, especially Indochina. From 2000 onward symbolism of a wider range of sources guided his music, from the chiastic structures of J.S. Bach to the writings of Gabriel García Márquez and Federico García Lorca and visual work of Frida Kahlo.

Paul Max Edlin is former Director of Music at Queen Mary University of London. He was Artistic Director of Deal Music & Arts (formerly Deal Festival) from 2004 to 2021, Sounds New (2007 to 2013), Director of International Composer Pyramid (2008-2013) and was founding Chair of the Board of Trustees of Ora Singers. He is current Executive Chair of W.E. International Music Festival, which brings eastern and western cultures together.  From 2012 to 2013 he was President of the Independent Society of Musicians (ISM), the UK's leading association for professional musicians.