Judith Weir: Judith Weir: Sinfonia Comatica: Flexible Band: Score and Parts

Winter Song is a 17-minute continuous movement for a small orchestra consisting of 12 winds and aminimum of 24 strings in which every player isa soloist. This glorious piece was beautifully composed byWeir JudithThis amazing piece includes sheet music for parts oboe 1+2 clarinet 1+2 bassoon 1+2 horn 1+2 trumpet 1+2 string section and score.

Par WEIR JUDITH. Celebrate HM The Queen's 90th Birthday with your choir Sing Judith Weir's special new choral piece I Love All Beauteous Things Master of the Queen's Music, Judith Weir, has been commissioned by St Paul's Cathedral in London to write a piece for SATB choir and organ in celebration of HM The Queen's 90th birthday in 2016. The piece is now available from Chester Music, so that choirs all over the world can join in with the festivities. Churches and other local organisations are planning events on Sunday 12th June and many may want to include this approachable setting of Robert Bridges' poem. Directed by Andrew Carwood, the St Paul's Cathedral Choir will perform I love all beauteous things as part of the National Service of Thanksgiving which will take place on at 11am on 10 June in the presence of HM The Queen and HRH The Duke of Edinburgh. At the service the Archbishop of Canterbury will give the address and the Prime Minister will read a lesson. The event will be televised live on BBC1. Judith Weir comments: 'It is a particular honour to contribute new music for this great occasion, and a pleasure to write a choral version of Robert Bridges' beautiful verse.' Preview the score here Download the digital sheet music here COMPOSER'S NOTE At the suggestion of Michael Hampel, Precentor of St Paul's Cathedral, I have set words by Robert Bridges, who was Poet Laureate from 1913-1930. Bridges was an outstanding humanitarian and writer, whose poetry has inspired me before in The Voice of Desire, a song-cycle for mezzo-soprano and piano. This short, fast-tempo setting aims to emulate the swift, fleet-footed rhyme and metre of the two-verse poem, with its unobtrusive but telling reference to 'man in his hasty days'. J.W. Commissioned by the Chapter of St Paul's Cathedral to mark the 90th birthday of HM The Queen, generously supported by the Boltini Trust. Performed at the National Service of Thanksgiving for HM The Queen's birthday at St Paul's Cathedral, London, on Friday 10th June 2016 in the presence of HM The Queen and HRH The Duke of Edinburgh. Music by Judith Weir, Master of the Queen's Music, words by Robert Bridges, Poet Laureate in the year HM The Queen was born. Duration c. 3½ minutes I LOVE ALL BEAUTEOUS THINGS words by Robert Bridges OM (1844-1930) Poet Laureate 1913-30 I love all beauteous things, I seek and adore them - God hath no better praise, And man in his hasty days Is honoured for them. I too will something make And joy in the making - Altho' to-morrow it seem Like the empty words of a dream Remembered on waking. (I love all beauteous things, etc…)/ Feuillet / Choeur Mixte (SATB) et Orgue

Judith Weir’s work is often inspired by narrative folklore and theatre. This creepy-crawly work was inspired by the novel Die Schwarze Spinne by Jeremias Gotthelf a tale about an evil venomous spider including heartless Count heroic village maiden and a truly otherworldly Green Huntsman and a 1983 news story about the mysterious deaths of the archaeologists who opened the tomb of Casimir IV in Krakow in the 1970’s. There are spoken parts bridging the two stories.Weir employs many musical languages in this alternately boisterous and sinister work: patter songs church hymns recitativo among them. Weir is not at all precious about voicing recommending that allthe roles be sung at any convenient octave Altos substituting for basses at the octave if a children’s Chorus is performing the work. The one-act structure works well for young performers.Judith Weir is one of Britain’s most prolific and successful composers widely known for her operas like The Vanishing Bridegroom and A Night At The Chinese Opera and her many Choral works as well as her pieces for Strings and Piano. She was Artistic Director of the Spitalfields Festival and is a professor at Cardiff University.

I Broke Off A Golden Branch was commissioned and first performed by the Schubert Ensemble in 1992. The words ‘I broke off a golden branch’ come from a Croatian folksong which is very obliquely referred to inthe second of the work’s two movements. Judith Weir dedicated this lovely piece of chamber music for Violin Viola Cello Double Bass and Piano to William Howard. Full score. Violin Viola Cello and Double Bass partsare included separately as well. Duration ca. 15 minutes.Judith Weir is a British composer and Master of the Queen's Music. In 1994 Weir received the Critics’ Circle Music Section Award for the mostoutstanding contribution to British musical life.

Judith Weir's Sundew for Violin and Cello. Score.’The bog-based Sundew Plant isn’t as pleasant as the name suggests. It produces beads of fluid resembling dew but in facta sticky deposit in which visiting insects become trapped. The plant closes in on the insect and digests it for the extra nutrition it needs in an acidic habitat. Each of the 36 bars can be understood as a time-lapse studyof parts of this process. Often one instrument encloses and digests the music of the other. Occasionally one player tries to struggle free; at other times both exist motionless stuck to each other. In the final bars a luckyinsect (the Violin) escapes from the goo and flies off into the ether.’ Judith Weir

Judith Weir's Day Break Shadows Flee for solo Piano.This 10 minute work was commissioned by BBC Radio 3. It was first performed by Benjamin Grosvenor on 1st September 2014 as part of the PromsChamber Music Series at Cadogan Hall.'Day Break Shadows Flee written for Benjamin Grosvenor is a Two-Part Invention a Piano solo composition in which the two hands work in close co-ordination butindependently. My intention was generally to avoid using thick chords (although octaves and other clear sonorities are included) while allowing both the right and left-hand lines to be free mobile and expressive. The treble andbass sectors of the keyboard are clearly contrasted and often widely separated. In atmosphere and expression the music is another kind of two-part invention contrasting bright upwards-arching phrases (heard at the opening andevoking the arrival of light at the beginning of the day) with veiled mysterious scurryings suggesting the stranger more nervous life lived at night and in the early morning.' - Judith Weir

Judith Weir's a blue true dream of sky engages the singers in three separate parts ? solo Soprano unaccompanied Chorus and the pivotal pair of Alto soloists who act as a hinge to the others? to create an intricate yet clear setting for this ecstatic poem by e. e. cummings. Judith Weir is one of Britain?s most prolific and successful composers widely known for her operas like TheVanishing Bridgegroom and A Night At The Chinese Opera and her many Choral works as well as her pieces for Strings and Piano. She was Artistic Director of the Spitalfields Festival and is a professor at Cardiff University.

Judith Weir's Good Morning Midnight was commissioned by Wigmore Hall and was first performed on 6th June 2015 at the Wigmore Hall in London. The work is arranged for Mezzo-Soprano and Chamber Ensemble and lasts around 20 minutes. This is a study score. Good Morning Midnight takes its name from a poem by Emily Dickinson whose poetry bookends this work a setting of five different versesin total. The words all centre around the theme of night solitude quiet and the passage of time the beauty of which is matched by Weir's fantastic music. Taking the words as her inspiration Weir createsa satisfying work that's full of emotion and a sheer joy to listen to. At its world premiere it was performed by Sarah Connolly (Mezzo-Soprano) and the Aurora Orchestra conducted by Nicolas Collon.