With a title that refers to the energetic and rumbling Bass beneath the music Weir's work for Chamber Ensemble boasts an intriguing structure. Trios and Quartets appear for fleeting moments as the musicians jostle into groupsthat are soon abandoned...as the piece progresses so unison is gradually although tentatively achieved. Written for a large chamber ensemble of fourteen players the piece was completed in 2002.

Corpus Cum Figuris is a uniform composition in three major parts. The first part is a slow marche funébre a kind of prologue with dark and sombre sounds and a massive wall of chords which leads us to the other part of the works where the static and solemn atmosphere is suddenly stopped and replaced by a rhythmic/melodic ritual which accelerates the music. In the third part the block structure is softened gradually different figurations and stylistic elements arise to live their own lives: distant waltzes and pictures from the Middle Ages appear in this gigantic sonorous body. After a wild percussion orgy a short flash-back and a scream from the edge end Corpus cumFiguris. The piece has no literal content at all even though the title leads the thought to Adrian Leverkühn?s Apocalipsis cum Figuris from Thomas Mann?s Doctor Faustus. More likely my piece will arouse associations as with all my music. It has to be heard in it?s own conditions in this case as a big body of music or perhaps as a great screen where the details of course are part of the whole body but at the same time are foreign and odd. It is as if one climbs a mountain and from the top of that mountain discovers a world which is completely different from expected. Corpus cum Figuris for 20 musicians was composed in 1984 commissioned by Ensemble InterContemporain and the Danish Radio. Ensemble InterContemporain world premiered the work in April 1985 conducted by Peter Eötvös. The piece was also played at the ISCM-festival in Amsterdam by Netherland Radio Chamber Orchestra conducted by Ernest Bour.

This piece lasts about 12 minutes and it plays continuously although it is made up of 16 small movements. Throughout the four string players form a group: sometimes the clarinet is caught up with them but more often it is like a person pursuing an independent train of thought: sometimes talking to itself sometimes conversational sometimes singingThe starting point for my Quintet was Italo Calvino’s Invisible Cities: like the book my piece is composed from many small contrasting ideas that are constantly transforming some coming to the fore as others recede. This quintet is dedicated to Hugh Sargent who commissioned it.

There are three mysteries about this piece by Purcell originally scored for Viols. When it was written for what purpose it was written and why the eccentric title ‘Chacony’ rather than the French ‘chaconne’ are questions whoseanswers are all shrouded in the mists of time. The suggested dates of early 1680’s and as a piece of light music for some sort of theatrical performance almost answer two of the three questions. The Chacony is scored here forString quartet but could be played by a larger ensemble.

Tavener's 1982 setting of a ritual procession. This is a special item which is made to order. Please e-mail our Mail Order Department for further information.

The full score of Arena II written in 1996 by Magnus Lindberg for Chamber Orchestra. The work is a version for sixteen instruments derived from it's predecessor Arena and was commissioned by the LondonSinfonietta with funds from the Arts Council the Aldeburgh Festival and the South Bank Centre.

Raymond Premru was for many years the principal Bass Trombone of London?s Philharmonia Orchestra as well as having been a member of the Philip Johnson Brass Ensemble an active jazz musician teacher and composer. He listed hisinfluences as Berg Prokofiev Bartok Ives jazz and Bach though what emerged from his sensibility is diatonic modernist and skillfully suited to whatever instrumentation he chose.The five movements which appear typeset in thisscore A Tale From Long Ago Blues March Of Knights And Castles Le Bateau Sur Léman and Petite March are sometimes performed as a shortened version of the Divertimento to great effect.

Composed in homage to William Glock this single movement has something of the character of a slow fugue on a theme deeply imbued with minor thirds. The woodwinds and strings are considered as pairs in balance with each other and with the piano.Unbroken Circle was first performed in June 1984 during the Bath Festival by the London Sinfonietta conducted by Diego Masson.Set of parts. Duration c. 5mins. This is a special item which is made to order. Please e-mail our Mail Order Department for further information.

Piccola Musica is written for string trio and is in five short movements independent of each other apart from the ‘’tie-up’’ between numbers I and V. The texture is in the main contrapuntal though less consistently so than in Maconchy's Quartets and the mood is more relaxed. The five ‘’piccoli movimenti’’ are: I Allegro moderato II Andante III Moderato IV Poco lento V Allegro moderato- meno mosso-allegro moderato: in its end is its beginning.

Work for Chamber Ensemble commissioned by the Swedish National Concert Institute.

Lament was composed in 1988.The scoring was chosen for its dark colour: oboe doubling cor anglais clarinet doubling bass clarinet viola and cello. The melodic lines and harmony are often inflected with quarter-tones.

Work for Chamber Ensemble (Flute Clarinet Violin Cello Percussion Piano and Guitar) composed in 1982.