These three pieces for cello and piano are meditations – personal secular and musical – on images from religious poetry. The title of No. 1 Angels bending near the earth comes from a carol which begins‘It came upon the midnight clear’ by the Massachusetts pastor and poet Edmund Sears. The full reference is to “angels bending near the earth/to touch their harps of gold” and this is the inspiration forthe music with piano arpeggios swooping down over the rich central band of sound produced by the cello. No. 2’s title In death’s dark vale is a brief paraphrase (from a Scottish hymnal) of Psalm 23; thefull quotation is “yea though I walk through the valley of the shadow of death I will fear no evil”. The image here is of human life lived against the prospect of impending death. The cello plays a hasty self-absorbed continuo whilst around it piano motifs and chords of different height and depth create an evolving backdrop. No. 3 O sapientia is the only movement which quotes a musical original; Hildegard ofBingen’s hymn O virtus sapientiae –“O strength of wisdom”. This is a calm elegaic set of variations for the cello on Hildegard’s melody accompanied by mostly bright optimistic refl ections from thepiano. Commissioned by cellist Jonathan Miller of Boston MA. First performance on 23 September 2016 at Hamilton Hall Salem MA by Jonathan Miller (cello) and Randall Hodgkinson (piano)
SKU: HL.14034901
UPC: 888680888701. 6.75x9.75x0.052 inches.
Three short choral settings of peoms by George Herbert, commissioned by The Spitalfields Festival in memory of Peter Lerwill, a generous supporter of the festival. The first performance of the set took place in June 2005 at Christ Church, Spitalfields, by The Cardinall's Musick with Andrew Carwood. The textures of Weir's settings range from the clarity of the Madrigal and Hymn to more complex writing with the choir splitting into as many as eight parts.
