Judith Weir

Proms 2017: Judith Weir – In the Land of Uz (World Première)

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As i mentioned in my recent essay for Sounds Like Now, the statistics for contemporary music by women at the 2017 Proms concerts are lamentable: four-fifths of the new music heard this year is by men. Judith Weir is therefore something of an exception – doubly so, as not only is she fortunate enough to be included, but also her new piece In the Land of Uz is one of the longest new works to be heard this year, lasting nearly 40 minutes. So from this perspective, there’s an asymmetrical mix of cheering and booing to be made.

The same goes for the piece itself. Weir has turned to one of the more well-known Old Testament parables, the account of the life of Job, a man whom God happily allows to be horrendously abused by Satan, robbing him of everything, his health, his house and his family. While from a moral perspective this is all repugnant in the extreme, the story exhibits some interest in Job’s response, in which he comes to despise his existence but holds back from either accepting he has done anything to deserve this treatment, or from blaming God for his misfortunes (which, in the circumstances, would hardly have been unreasonable, or indeed unfair). You can take your pick whether Job’s convictions and endurance are deluded or admirable, but either way it’s a cornerstone of theodicy, and his emphatic reply “the Lord gave, and the Lord hath taken away; blessed be the name of the Lord” has become one of the most famous statements of stoic acceptance in the history of literature. Whereupon, with his life reduced to nothing, and having repudiated the arguments from friends who proffer suggestions as to the causes of his situation, Job is rewarded with a motherlode from God, restoring him to an even better situation than before all this sadistic nonsense began – though the Bible says nothing of the emotional trauma that would inevitably endure for the rest of Job’s (very long) life. The end justifies the means, i guess; another cornerstone of Christian belief and practice over the centuries. Read more

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Cheltenham Music Festival: Love Songs

Posted on by 5:4 in Concerts, Premières | 19 Comments

Last night saw the second concert of this year’s Cheltenham Music Festival to be almost completely devoted to contemporary music. i described the previous one, with E STuudio Youth Choir, as being “a mixed bag of confections”, and the same applies to this event, a piano recital titled ‘Love Songs’ by William Howard. The location and context were perfect: the Pillar Room in Cheltenham’s grand Town Hall, a relaxed space that, following a sweltering day, throbbed with humid heat.

Howard has commissioned an assortment of composers to write short works that could be described as love songs, but a couple of points about the outlook of this project are immediately problematic. First, Howard makes some decidedly odd introductory remarks, claiming that, due to the associations of the ‘song without words’ form with the Romantic era, to “commission a piano love song from a living composer might seem eccentric, or, in the case of a composer who writes abstract music, a meaningless or impossible challenge”. This was backed up by composer David Matthews’ programme note, which alleges that the “Romantic musical language of the 19th and early 20th centuries was ideally suited to the love song, far more than the various languages of our own day”. Both of these statements are the rankest fallacious nonsense. The expression of love, i would venture to aver, has been around for rather longer than the brief Romantic era, and does not have to come pre-packed with its aesthetic, style, manner and content already determined; when it does, it’s as impersonal and generic as a Hallmark™ greeting card. Second – and in light of the first point, this becomes more understandable – the range of composers chosen by Howard, though diverse, is demonstrably conservative in style, and while this is not a slight on any particular composer featured, it does a disservice to the much wider range of composers working today who presumably find no difficulty in being of a more ‘abstract’ musical disposition while still being able to both experience and express love. Read more

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Cheltenham Music Festival: A New Jerusalem

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Wednesday evening in Tewkesbury Abbey, in the company of Ex Cathedra conducted by Jeffrey Skidmore, was an encounter with a particular kind of British ubiquity. The music of Hubert Parry, Herbert Howells, Judith Weir and James MacMillan were brought together in an evening focussing on “A New Jerusalem”, four composers whose work, in the church and concert hall respectively, has become (for good or ill) highly pervasive. In the case of Parry and Howells, hearing them beyond the context of liturgical function revealed above all how much their approach to choral writing persists both in the legacy of 20th century church music and beyond as well as the ongoing choral evensong tradition, which for many years has sounded less like a modern expression of faith than a nostalgic clinging to values (both musical and theological) held by an ever-decreasing minority. Hearing them side by side made for an illuminating comparison. What Elgar was to the orchestra, Parry was to the choir, his music never solely about the text or topic at hand but with omnipresent obeisance to a sense of grandiose occasion looming over everything. (Put another way, what Elgar was to pomp, Parry was to circumstance.) Read more

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BCMG, CBSO Centre: Weir, Bedford, Baker, Maxwell, Skempton, Woolrich, Martlew

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Both the title of last night’s BCMG concert, ‘Remembering the Future’, and its prevailing tone emphasised a looking back, and with good reason, as this was the final concert in Stephen and Jackie Newbould’s long tenure running the ensemble. Thankfully, that didn’t cause the evening to sag into mere nostalgia, focusing instead on the world premières of four new commissions, prefaced by a pair of works from BCMG’s repertoire. The ensemble was reduced in size on this occasion to a mere seven players, making the concert more than usually intimate. Read more

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Proms 2014: Judith Weir – Day Break Shadows Flee (World Première), Zhou Long – Postures (European Première) & John Adams – Saxophone Concerto (UK Première)

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The latest round of Proms premières got one thinking about the relationship between expectation/innovation and engagement. It was Judith Weir‘s new work that got this particular ball rolling around the mind. A composer already at the less adventurous end of the new music spectrum, in recent years her music has increasingly seemed imaginatively torpid, practically treading water. Day Break Shadows Flee, composed for and premièred by pianist Benjamin Grosvenor, went to essentially no lengths at all to challenge that assessment. Read more

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Seasonal favourites: Judith Weir – Illuminare, Jerusalem

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Despite being a time of year deeply entrenched in tradition (and not necessarily the worse for it), composers do from time to time bring a flash of innovation to Christmas. So, in the week leading up to the day itself, i’m going to explore a few of my seasonal favourites.

The first is Judith Weir‘s short carol Illuminare, Jerusalem, which dates from 1985. It was commissioned by King’s College, Cambridge, for their annual service of Nine Lessons and Carols, and has remained a regular item in their repertoire. The work combines two of Weir’s strongest qualities, simplicity and succinctness, taking as its subject a joyous mediæval Scottish text exhorting Jerusalem to be—in every sense—illuminated by what is taking place above and around it. Anyone familiar with the language of mystery plays will recognise something similar here, and Weir emphasises the quirky contours of the text in her music. The three verses are distributed to different sections of the choir; the opening verse, announcing both star and angels, is given to the trebles; the closing verse, detailing the supplanting of Herod by the more “richtous king” falls to the men alone. They’re combined in the central verse that delightfully describes the Magi as “Thre kingis of strenge regionis to thee ar cumin with lusty rout”—i doubt Caspar, Melchior and Balthasar have ever been depicted quite like that before. Each of these verses follows a similar pattern, a triplet-laden melody that begins low and gradually rises to a climax; but what follows is a stroke of genius. The refrain “Illuminare Jerusalem” is sung softly but pointedly, the second word drawn out, but the first delivered staccato and momentarily underpinned by deep organ pedal notes. It’s a totally unexpected way to set such a word, but it’s a compositional triumph, lending a weird and unsettling numinosity to the refrain, perfectly capturing the sentiments its ancient words are seeking to convey. Read more

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Proms 2011: Judith Weir – Stars, Night, Music and Light (World Première)

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The 2011 Proms season commenced this evening with the world première of a new work from Judith Weir. Evocatively titled Stars, Night, Music and Light, Weir has drawn on three lines of text from the sixth stanza of George Herbert‘s poem ‘Man’, a poem that echoes the sentiments of Psalm 8, celebrating humankind as the apogee and centrepiece of God’s creation. Herbert’s lines are wonderfully deep, even a touch abstruse at times, but Weir’s sliver of text is beautifully simple, as is the music she’s composed for the occasion. Read more

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