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Topic: Judith Weir

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	Judith Kellock - In the Press (Site not responding. Last check: 2007-10-09)
		Judith Kellock is a soprano with a distinctive, beautifully controlled voice and heaps of style and imagination, especially in music that isn't easy and surefire.
		Judith Kellock sang the soprano solo in the fourth movement of the Mahler.
		Judith Weir's King Harald's Saga was described in the program as a 'grand opera in three acts for unaccompanied soprano.' After a spoken introduction to the opera and each of its acts, Kellock performed all the roles, including the chorus of the Norwegian Army.
	www.judithkellock.com /press.html (885 words)

	Moon and Star (Site not responding. Last check: 2007-10-09)
		Weir has written much music for voice: her opera Blond Eckbert was first performed - and televised - in the previous year by English National Opera.
		Throughout the twenty minutes of Weir's piece, the text is never allowed to overpower the sense of the music, and in many ways the choir is treated as an additional instrument in the orchestral texture.
		Weir's use of orchestral and vocal colour is marvellous, with shimmering glockenspiels, and an unnaturalistic and impressionistic treatment of the original words.
	www.rlpc.freeserve.co.uk /features/works/moonstar.htm (333 words)

	Los Angeles Philharmonic Association - Piece Detail
		Born in Aberdeen, Scotland, Judith Weir studied in London and at Cambridge.
		Weir's career has unfolded partly as a series of intense involvements with specific cultures: a Chinese phase in the mid-1980s, a brief Spanish period in the late '80s, and at other times an extensive involvement in Balkan sources (Serbian Cabaret and other works).
		Weir and pianist William Howard had discussed the idea of a piano concerto, but, she says, "it always seemed as if our idea of a piano concerto was not the same as everybody else's.
	www.laphil.org /resources/piece_detail.cfm?id=1144 (431 words)

	Goldsmiths College > Aurifex
		Weir's use of this poem by a compatriot of the sinister Coppelius is highly apposite, the tension between the real and the imagined being a central concern of both The Sandman and Heaven Ablaze.
		Weir sets a scene pregnant with foreboding and her interpretation of Bertha's story continues this approach, culminating in the dreadful last moments of Eckbert's life.
		Weir's contention that 'the end explains everything' would be obligatory for a detective story, but it is difficult to agree with her here.
	www.goldsmiths.ac.uk /aurifex/issue1/castein.html (5857 words)

	Feminist Theory and Music 4: Abstracts (Site not responding. Last check: 2007-10-09)
		Judith Weir, born in Scotland in 1954 and one of Britain's leading composers, is fast approaching the more mature Musgrave's operatic output of thirteen works.
		Weir many aspects of her work and I have continued to follow her compositional career while delving into her new compositions, especially those of an operatic nature.
		Mv lecture is a discussion of Weir's operatic works, highlighting her ability to stand amongst the greatest composers of the present day, and presenting her personal views on the operas of tomorrow.
	www.people.virginia.edu /~smp8a/Abstracts/sess23.html (995 words)

	Weir, Judith Music Web Links (Site not responding. Last check: 2007-10-09)
		-- Friedrich Nietzsch Weir, Judith "I was born lost and take no pleasure in being found..." (John Steinbeck, Travels With Charley) I went into a McDonald's yesterday and said, "I'd like some fries." The girl at the counter said, "Would you like some fries with that?" -- Jay Leno The mediocre teacher tells.
		Weir, Judith "No man means all he says, and yet very few say all they mean, for words are slippery and thought is viscous." (Henry B. Adams) Love matches, so called, have illusion for their father and need for their mother.
		Robert Frost (1874-1963) Weir, Judith It was very good of God to let Carlyle and Mrs Carlyle marry one another and so make only two people miserable instead of four, besides being very amusing.
	www.searchmusicnetwork.com /Composition_Composers_W_Weir,_Judith.html (1694 words)

	NPR's SymphonyCast (Site not responding. Last check: 2007-10-09)
		Judith Weir is a British composer who studied composition, whilst at school in London, with John Tavener, and, at Cambridge University, with Robin Holloway.
		From the early 1980s, Judith Weir spent ten years working predominantly in opera and music theatre, and her three full length operas A Night at the Chinese Opera, The Vanishing Bridegroom and Blond Eckbert have all been televised, and performed in Britain and the US.
		More recently Judith has written an extended series of chamber works for strings and piano (the most recent of which is the Piano Quartet, written in 2000 for her longtime collaborators, the Schubert Ensemble) and several works combining instrumental groups and voices.
	www.npr.org /programs/symphonycast/archives/021027.extra.html (1726 words)

	Judith Weir - Biography (Site not responding. Last check: 2007-10-09)
		Judith Weir is one of Britain's most wide-ranging and prolific composers.
		She is the holder of a Critics' Circle Award (1994) a CBE (1995) and the Lincoln Center's Stoeger Prize (1997).
		Judith Weir's music is published exclusively by Chester Music Ltd and Novello and Company Ltd.
	www.schirmer.com /composers/weir/bio.html (221 words)

	The name is WEIR!
		The Weir family seems to have had a long running feud with the Lockharts, who were accused of many murders during this time but, never punished due to their rank.
		Weirs/Veres of Stonebyres and Archtyfardle and Mossmynemion were branches of the Weirs of Blackwood. In the 1500s a century-old feud between the Weirs of Blackwood and their cousins the Veres of Stonebyres was supposedly ended when the Veres swore allegiance to Weir of Blackwood and acknowledged him as their chief.
		The Scottish Weir motto remains the same as the English de VERE motto: "Vero nihil verius" also written as "Vero nil Verius." This can be translated as "Nothing truer than truth" or alternately "Truth nothing but the truth." And the Weir crest is based on the de VERE coat, with the blue boar.
	www.halcyon.com /weir/weir.html (4123 words)

	CAMBRIDGE MUSIC CONFERENCE (Site not responding. Last check: 2007-10-09)
		However, central to the conference is the guest appearance of the composer Judith Weir, who has not only agreed to attend and introduce her new composition "Really ?", but has also kindly accepted an invitation to speak on a particular aspect of her own work: "Narrative and Storytelling from the Composer's Perspective".
		Judith Weir's music has been based on narrative and storytelling traditions from around the world, including Icelandic Saga (King Harald's Saga) Gaelic folk stories (The Vanishing Bridegroom) German Romantic literature (Blond Eckbert, Heaven Ablaze) and Chinese philosophy (Natural History, The Consolations of Scholarship).
		Judith has also contributed musical scenes to new plays by Caryl Churchill and Peter Shaffer; and she recently collaborated with writers Maya Angelou, Toni Morrison and Clarissa Pinkola Estes on a "Œmusical life story" commissioned by Jessye Norman.
	www.harpa.com /cambridgemusicconference (4023 words)

	BCMG (Site not responding. Last check: 2007-10-09)
		Judith Weir is one of Britain's most wide-ranging composers.
		Judith is the holder of a Critics' Circle Award (1994), a CBE (1995) and the Lincoln Center's Stoeger Prize (1997).
		Judith has collaborated with the Royal National Theatre, the Royal Shakespeare Company and the Peter Hall Company, working with playwrights including Caryl Churchill and Peter Schaffer.
	www.bcmg.org.uk /sound_investment/composer.asp?fComposerID=47 (374 words)

	Guardian Unlimited \| The Guardian \| Songs of the spirit (Site not responding. Last check: 2007-10-09)
		We Are Shadows, a vast choral piece commissioned while she was composer in association with the City of Birmingham Symphony Orchestra, employs a vast spectrum of texts from Emily Dickinson via Taoist tales to graveyard inscriptions, to form a scary, yet lyrical meditation on mortality and human transience.
		In the course of an astonishing evocation of the play's enchanted universe, Weir gave Prospero's great speech ("We are such stuff as dreams are made on") to the trebles to sing in a passage that was at once shocking, beautiful and unforgettable.
		The words are Angelou's, but they aptly summarise Weir's achievement - for "the old songs of the spirit" are what she continues to fashion for a generation that wishes to sing them anew.
	www.guardian.co.uk /arts/story/0,3604,349118,00.html (1265 words)

	MSN Encarta - Search Results - Weir Judith
		MSN Encarta - Search Results - Weir Judith
		Weir, Judith (1954- ), Scottish composer, noted for her original music-theatre compositions.
		Judith, book of the Old Testament in those versions of the Bible following the Greek Septuagint (generally Roman Catholic and Orthodox versions)....
	uk.encarta.msn.com /Weir_Judith.html (96 words)

	ConcertoNet.com - The Classical Music Network
		The second gravestone inscription, about dry bones, is introduced with a terrifying drumming of the string players' fingers on their instruments, which sounds like something coming to get you or a violent storm.
		The final setting of the words "umbra sumus" is the most monumental movement in the work -- Weir notes that it is similar to the finale of a Bach cantata -- suggesting that the only solid thing is illusion.
		Weir also notes that her approach in We are shadows is based on that of Buddhist funeral music, which is generally cheerful.
	www.concertonet.com /scripts/review.php?ID_review=237 (436 words)

	Musical events (Site not responding. Last check: 2007-10-09)
		In its last concert of the 2001-02 season, Ensemble X highlighted one of the them, Judith Weir, from Aberdeen, Scotland, featuring four of her works.
		Weir since 1985 has been an artistic director of the Spitalfields Festival (jointly with Michael Berkely and Anthony Payne until the summer of 1997).
		She is also the founder/director of the Baroque ensemble Sonnerie, which tours extensively in Europe and the United States, and she is professor of Baroque violin at the Royal Academy of Music in London, where she was made a fellow in 1994.
	www.news.cornell.edu /http://www.new/Chronicle/02/4.18.02/music.html (550 words)

	Judith Weir - Natural History (Site not responding. Last check: 2007-10-09)
		Natural History is the title of the wondrous new piece Judith Weir has composed for the Boston Symphony.
		Weir's song cycle for soprano and orchestra is based on four passages from the Taoist classic Chang-Tzu; each of the songs is a simple narrative with repercussions that echo out to infinity.
		Both dimensions of the texts are representative in the music, which Weir characterizes as "recitative" (for narrative) and "aria" (for feeling and implication).
	www.schirmer.com /composers/weir/history.html (531 words)

	Student Literacy through Science (Site not responding. Last check: 2007-10-09)
		For example, students with strong visual and manipulatory abilities and poor language ability can engage in activities that build on their strengths (Weir, 1987, 1989) and appeal to their preferred modes of learning.
		Weir, S. The computer in schools: Machine as humanizer.
		Sylvia Weir is Project Director and Judith Storeygard is Senior Research Associate of Literacy in a Science Context.
	www.terc.edu /handson/f95/studentlit.html (1801 words)

	Judith Weir - Piano Concertos, Piano Trio
		Judith Weir's stature as one of the most interesting contemporary classical composers in British music is reinforced on this double album release from NMC.
		Weir's compositional style is one of economy, never using more notes than is necessary and often ending a piece suddenly, as if in mid-air.
		The choices of instrumentation, never more than ten players throughout, bring the fierce intimacy of this music home, and the similarity in scoring of each piece mean it's best to listen to each one separately, rather than ploughing all the way through.
	www.musicomh.com /albums/judith-weir.htm (349 words)

	The Small Moments(in Life) (Site not responding. Last check: 2007-10-09)
		Judith Weir had somehow remembered that I play the flute, and asked me along to do so on the basis that many people taking part in were doing something different to usual - actors playing, directors acting and so on.
		It was a unique experience - for one day only - and felt like being an exhibit in a shop belonging to a slightly crazed toymaker.
		As the Times review says, 'in effect ten mini-operas by Weir' based on 'texts' by Martin Duncan, my piece was called Titus Andronicus with a plank.
	www.richardstemp.org.uk /SM.htm (106 words)

	University of York Concert Series - Performance Information - 6 May 2005
		Stories and drawings are at the heart of this imaginative and compelling programme from BCMG with Stravinsky's quirky portraits for string quartet and Howard Skempton's new piece Ben Somewhen, inspired by a set of drawings by the artist Ben Hartley.
		Judith Weir's previous collaboration with storyteller Vayu Naidu and tabla player Sarvar Sabri was the highly successful Future Perfect which toured the UK in 2000 and India in 2002.
		Their newly-created pieces Psyche and Maniemekalai are re-tellings of Greek and Tamil myths which will be created with input from the BCMG players.
	www.york.ac.uk /depts/music/newconcerts/programme/detail/20050506.html (114 words)

	Judith Weir is featured composer at Alicante Festival
		Organised by the Spanish Music Information Centre, the ‘Festival Internacional de Música Contemporánea de Alicante 2004’ which runs from 21 September to 2 October, will this year be featuring the music of Judith Weir.
		The London Sinfonietta will be performing Tiger Under the Table on the 25 September, and this is followed by performances by Frances Lynch of ‘I was born in a small village’ (taken from the opera Blond Eckbert) and King Harald’s Saga on 30 September.
		Whilst every effort is made to ensure the accuracy and validity of the news items displayed, CompositionToday does not assume, and hereby disclaims any liability to any party for loss or damage of any kind caused by errors or omissions from the News section.
	www.compositiontoday.com /news/176.asp (230 words)

	Endellion String Quartet excels in Haydn and Weir (Site not responding. Last check: 2007-10-09)
		The members of the Endellion String Quartet are Andrew Watkinson (first violin), Ralph de Souza (second violin), Garfield Jackson (viola), and David Waterman (cello).
		In fact, their honest, rhythmically sprung approach could arguably change respected pianist Stephen Kovacevich's opinion that Haydn's music is for the most part "facetious." Whether someone likes or dislikes Haydn's music, playing of such refinement and energy is hard to fault.
		This article may be freely distributed electronically, provided it is distributed in its entirety and includes this notice, but may not be reprinted without the express written permission of The Tech.
	www-tech.mit.edu /V115/N19/endellion.19a.html (822 words)

	ipedia.com: City of Birmingham Symphony Orchestra Article (Site not responding. Last check: 2007-10-09)
		In 1990, the post of Radcliffe Composer in Association was created, with Mark-Anthony Turnage filling the role.
		In 1995 Judith Weir became Fairbairn Composer in Association.
		The Finn Sakari Oramo took over from Simon Rattle in 1998, upon the latter securing a post at the Berlin Philharmonic Orchestra.
	www.ipedia.com /city_of_birmingham_symphony_orchestra.html (316 words)

	Administration: Journey to the Borderline of Time [Music; Storytelling]
		Judith Weir studied composition whilst at school in London, with John Tavener, and later at Cambridge University, with Robin Holloway.
		She holds a Critics' Circle Award (1994), the Lincoln Center's Stooger Prize (1997) and was the inaugural holder of the Hambro Visiting Professorship in Open Studies at Oxford University (autumn 1999).
		From the early 1980s, Judith Weir spent ten years working predominantly in opera and music theatre.
	www.le.ac.uk /ua/pr/press/futureperfect.html (800 words)

	Judith Weir: Music Untangled (Score) at Musicroom.com - Sheet Music for Musicians
		The music for this piece was inspired by a short extract from a traditional melody sung by women cloth-workers in Barra, in the Western Isles of Scotland.
		The Scottish folk music tradition is one that Weir has frequently drawn on in the past, both in shorter works such as the songs of Scotch Minstrelsy and in her second opera The Vanishing Bridegroom, and it is one she has completely assimilated into her technique.
		The modal feel of this piece, however, is as much a result of Weir's intuitive and idiomatic harmonic sense as of the original inspiration.
	www.musicroom.com /se/ID_No/0055100/details.html?kbid=1296 (242 words)

	Scott Wheeler
		In 1975 he co-founded Dinosaur Annex, a chamber ensemble devoted to the performance of contemporary music; he became the group's sole artistic director in 1982.
		The ensemble has given the US premières of works by composers such as Davies, Judith Weir, Philip Grange, Poul Ruders and Anthony Powers.
		As a conductor, Wheeler has premiered over a hundred new works, as well as the Boston premieres of works by Poul Ruders, Scott Lindroth, Judith Weir, Peter Maxwell Davies, Philip Grange: his conducted recordings of recent works appear on the CRI, Capstone and Newport Classic labels.
	pages.emerson.edu /faculty/Scott_Wheeler/bio_1.html (465 words)

	The Chamber Music Society of Lincoln Center
		Judith Weir First Movement from Trio for Violin, Cello, and Piano
		Three leading string quartets—the Brentano, Miami, and Orion—team up with a stellar array of luminary performers to conclude our retrospective of more than 40 CMS commissions.
		With the exception of a piece for piano trio by the Scottish composer Judith Weir and a fugue by Johann Sebastian Bach, this, too, is an all-American concert.
	www.chambermusicsociety.org /events/performance_detail.php?id=158 (318 words)

	GMCD 7213 - Flight of Song
		Likewise, the setting of Mary Webb’s Rose-Berries encapsulates the winter’s chill in crystalline triads, and its pellucid texture of female voices is exploited further in another Flecker setting, Opportunity, written especially for this recording.
		Judith Weir’s Two Human Hymns (1995), commissioned for the University of Aberdeen Chapel Choir, are settings of the seventeenth-century metaphysical poets George Herbert and Henry King.
		The early Ascending into heaven (1983) also features a prominent rôle for the organ, but is much closer in harmonic language to Illuminare.
	www.guildmusic.com /catalog/gui7213z.htm (996 words)

	Eve Egoyan: Summary of activities
		Works by José Evangelista, Per Nørgård, Stephen Parkinson, Ann Southam, Karen Tanaka, Judith Weir.
		Works by Allison Cameron, José Evangelista, Per Nørgård, Stephen Parkinson, Karen Tanaka, and Judith Weir.
		Works by Satie, Weir, Longton, Genge, Tanaka, Scriabin, and Nørgård. 17–30 November.
	www.eveegoyan.com /everecent.html (750 words)

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