Three short choral settings of peoms by George Herbert commissioned by The Spitalfields Festival in memory of Peter Lerwill a generous supporter of the festival. The first performance of the set took place in June 2005 at ChristChurch Spitalfields by The Cardinall's Musick with Andrew Carwood. The textures of Weir's settings range from the clarity of the Madrigal and Hymn to more complex writing with the choir splitting into as many as eight parts.

For two Alto Flutes Bass Flute Violin Viola Cello. Composed and published 2015.Walled Garden for String and Flute trios is a set of three pieces designed to be interleaved with Mala punica a sequence of canons for eight-voiced vocal ensemble written in 2008-9.Commissioned by Spitalfields Music and first performed with Mala punica at Spitalfields Music Summer Festival on 3rd June 2015 by Daniel Pioro (Violin) Robert Ames (Viola) Oliver Coates (Cello) Jane Mitchell and Rebecca Larsen (Alto Flutes) and Helen Keen (Bass Flute).Duration: c. 24 minutes.

The Vocal Score for Tarik O'Regan's 2004 composition Threnody forms a part of the larger cantata Triptych but works beautifully as a piece in its own right. Lasting around five minutes Threnody was commissioned with funds from The RVW Trust for the Choir of London's inaugural concert in Christ Church Spitalfields on the 18th of December 2004. The work is arranged for SATB Chorus and String Orchestra and this item is the Vocal Score. Taking the lyrics from a diverse range of literary sources including William Blake's Auguries of Innocence William Penn and Psalm133 the solemn beauty of these texts is matched by the dynamism of the vocal performances in conjunction with the staccato rhythms of the orchestra. Crescendos and diminuendos give a sense of urgency and excitement to the vocals the harmonies of which are expertly composed.

For wind ensemble. First performed by the Royal Northern College of Music Wind Orchestra conducted by Timonthy Reynish Spitalfields Festival London 22nd June 2001.

Cantata for string orchestra and chorus.Triptych represents the concatenation and re-orchestration of two extant works. Movement I was commissioned with funds from The RVW Trust for the inaugural concert of the Choir of London conducted by Jeremy Summerly in Christ Church Spitalfields on 18th December 2004; the work premièred as Threnody was subsequently toured by the Choir to Jerusalem and the West Bank from 19th-26th December 2004. Movements II and III commissioned by Portsmouth Grammar School with financial support from the PRS Foundation were premièred as And There Was a Great Calm in a contiguous version for lower strings and upper voices by thePortsmouth Grammar School Chamber Choir and the London Mozart Players in a concert at Portsmouth Anglican Cathedral on 13th November 2005 conducted by Nicolae Moldoveanu. The title of this latter section is taken from Thomas Hardy’s poem of the same name written at the signing of the Armistice on 11th November 1918; a couplet from which is set in a moment of tranquillity in the final movement.Relatively new to living in New York I am much more aware of the independent vibrant cultural plurality that exists today; it’s probably the single most dazzling facet of the City and is largely responsible for the infamous ‘edginess’ that pervades daily life there. With this in mind I set to work on Threnody (movement I here) in 2004; I wanted to write something that was relevant to the Israeli/Palestinian issue without losing that City ‘edge’. The texts in English are excerpted from a variety of sources: William Penn William Blake the Psalms of David and Muhammad Rajab Al-Bayoumi an Egyptian poet of the early twentieth-century. Fast and rhythmically influenced by the music of North Africa in its syncopations this movement was the first composition that evolved entirely from my New York perspective.From the moment that the commission for And There Was a Great Calm (movements II & III here) was offered I knew the piece I was

Dans cette configuration pour six cors et percussion Michael Mossman se sert d?un style de swing modéré pour confectionner une version élégante de ce standard familier. La notation est surtout tutti mais avec des tours et détours surprenants au cours de l?oeuvre.

Available separately: SATB a cappella SSAA a cappella TTBB a cappella. Duration: ca: 3:00.