Judith Weir (1954 -)

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Right now, I can't say I'm that impressed with Weir's music. There just isn't enough contrasts or melodic/harmonic tension in the music to sustain much interest from me. Now granted, this is only a first listen of the NMC orchestral recording, but I'm certainly not disappointed that I bought the recording, but the music just failed to make much of a connection with me. But, as always, I realize this purely my own subjective opinion and not the composer's fault. I like music that has more dramatic tension and that uses more dissonance and has a bit more edge to it. The music just never seemed to get off the ground much and it meandered too much and not in an exploratory type of way either.

[madaboutmahler]

Right now, I can't say I'm that impressed with Weir's music. There just isn't enough contrasts or melodic/harmonic tension in the music to sustain much interest from me. Now granted, this is only a first listen of the NMC orchestral recording, but I'm certainly not disappointed that I bought the recording, but the music just failed to make much of a connection with me. But, as always, I realize this purely my own subjective opinion and not the composer's fault. I like music that has more dramatic tension and that uses more dissonance and has a bit more edge to it. The music just never seemed to get off the ground much and it meandered too much and not in an exploratory type of way either.

Sorry to hear that you didn't enjoy it as much as you thought you would, John.

I am still rather interested to listen to some of her music.... see if I agree. 

[Mirror Image]

Sorry to hear that you didn't enjoy it as much as you thought you would, John.

I am still rather interested to listen to some of her music.... see if I agree. 

Yeah, Daniel. Hopefully, with another listen will open the music up a little more for me. Again, there just wasn't enough contrasts in the music to hold my interest for very long.

By the way, have you received those Tippett recordings yet?

[madaboutmahler]

Yeah, Daniel. Hopefully, with another listen will open the music up a little more for me. Again, there just wasn't enough contrasts in the music to hold my interest for very long.

By the way, have you received those Tippett recordings yet?

Contrasts are certainly very important... maybe it's just the work?

No, none of the Tippett recordings have arrived yet... although, the Tennstedt Mahler cycle, Dutoit Ravel D+C, Prokofiev Nevsky Cantata (Jarvi) and my score for the Prokofiev classical symphony have arrived. It shouldn't be long.

THE RING CYCLE IS SO AMAZING, JOHN!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
I have an urge to post this in every thread! I am now half way through... so great!!!!

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THE RING CYCLE IS SO AMAZING, JOHN!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

I have an urge to post this in every thread! I am now half way through... so great!!!!

It most certainly is, Daniel. I've listened to the whole cycle twice, but there's no telling how many times I listened to just Das Rheingold alone.

[brewski]

Bumping this thread up, inspired by hearing Weir's String Quartet No. 2, "The Spaniard" (2023) at the International String Quartet Festival in London. In the first round this week, each of the 11 ensembles is playing this piece, along with quartets by other composers, but the Weir is the common thread. This will no doubt give the judges a yardstick by which to assess the different groups — no easy task, given their proficiency. Looking forward to hearing it a few more times, tomorrow and Friday. 

Program notes from the composer:

"Shortly after completing my Second Quartet, I realised that all of its formal features reminded me of moments from Beethoven's quartets. An edgy, conversational opening followed by a long cello tune; an athletic minuet and trio; a hymn-like slow movement; and a second scherzo for the finale, ending with an extended, impassioned coda.

"I hadn't intended to write a Beethoven homage; but neither was the resemblance to my favourite quartet composer a coincidence. So my subtitle is also an oblique reference to him. "The Spaniard" was Beethoven's nickname at home in Bonn, on account of his "short, stocky build" and "dark-brown facial complexion"; according to his Bonn contemporary and neighbour, Gottfried Fischer."