Judith Weir reviews

This Day – Celebrating a century of British women’s right to vote

Vanessa Bowers, Melissa Davies, Ellie Martin, Emily Wenman et al; Blossom Street/Hilary Campbell (Naxos)
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Violin Muse: Mitchell performs new commissions

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Contemporary Marian Motets: The Marian Consort performs Music for the Queen of Heaven

This is the Marian Consort’s eighth CD for Delphian, and just the second time that it has ventured beyond the Renaissance repertoire which made its reputation, into the realm of contemporary and 20th-century composers. 

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Weir

The bright, jangling soundworld of Judith Weir’s All the Ends of the Earth immediately cleanses the aural palate: gleaming divided sopranos, structural punctuation from the tenors and basses, and tinkling tuned percussion transmit the joyful celebration of the natural world in the Psalm-based text. The tactic of writing lavish passages of fioritura for the upper voices is possibly overdone a little, though these are managed buoyantly by the singers.

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Weir: The Vanishing Bridegroom

Premiered in 1990, Judith Weir’s remarkable second opera has waited for nearly a quarter of a century to be recorded. Fortunately this 2008 concert performance does more than justice to a work which, if anything, manages to surpass the deft brilliance of Weir’s earlier A Night at the Chinese Opera. A serious tour de force in technical and dramatic terms, The Vanishing Bridegroom brims with moments where the level of atmospheric storytelling is mesmerising.

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Weir: Choral music

This disc contains all Judith Weir’s music for chorus, unaccompanied or with a single instrument. It ranges from her popular 1983 anthem, Ascending into Heaven, to her 2009 setting of Psalm 148, with its improbable but highly effective obbligato trombone. The Two Human Hymns, settings of 17th-century devotional poems by George Herbert and Henry King, are intended for a student choir.
 
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