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Sixty Notes for Anna (2010)
solo vc, 5'
can be played with Sixty Notes for Mike (see below)
Digger (2010)
solo guitar, 5'
f.p. Stephen Chase, Bank St Arts Sheffield, 21 April 2010
Sky (2010)
solo cl. in Bb with electronics, 30'
f.p. Andrew Sparling (cl), with Paul Archbold (elec), Flowers East Gallery, London, 21 June 2010
Burnham Air (2008/9)
solo ob d’am, 12’
f.p. Christopher Redgate, bmic’s The Cutting Edge, London, November 2008
Broadcast on BBC Radio 3 Hear and Now, February 2009
Sixty Notes for Mike (2007)
solo horn in F, 5'
can be played with Sixty Notes for Anna (see above)
Tide (2007)
solo vc with Bach-bow 12’
f.p. Anton Lukoszevieze, Spitalfields Winter Festival, January 2009
Complainte (2007)
solo soprano 8’
Commissioned by Swaledale Festival
f.p. Julia Doyle, Aysgarth, May 2007
First Steps (2006)
solo vn, 6’
f.p. Sophie Appleton, Kent, April 2006
Now (as before) (2005)
solo pno 4’
Commissioned to celebrate Michael Finnissy’s 60th birthday
f.p. Philip Howard, Steyning, April 2006
Siciliano (2003)
solo pno 3’
f.p. James Weeks, University of Sussex, 2004
Capricho (2003)
solo vn 9’
f.p. Sophie Appleton, Guildhall School of Music and Drama, London, May 2003
Two Perscriptions (2002)
solo pno 14’
I Gloomy Clouds
II Ring
f.p. Philip Howard, University of Southampton, February 2004
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A Toy (2011)
vn, pno, 3-6'
November '11 (2011)
vn, vc, pno, CDs, 7'
February '11 (2011)
vn, vc, pno, CDs 8'
f.p. Phoenix Piano Trio, London, April 2011
July '10 (2010)
vn, vc, pno, CD 8'
f.p. Kürbis, Coventry, March 2011
Fanfare-Canon (2010)
6 natural trumpets, 2'
f.p. Dartington Summer School, August 2010
TIDE (2007-10)
ob d'am, cl in Bb, vc, elec 30'/open duration
comprises
Tide (vc with Bach-bow, 2007)
Burnham Air (ob d'am, 2008/9)
Sky (cl in Bb, elec, 2010)
f.p. (complete) Apartment House, Spitalfields Festival, June 2010
String Quartet (to Alberto Caeiro) (2010)
string quartet, 20'
f.p. Quatuor Bozzini, hcmf//, November 2011
The Nunhead Harmony (2009)
cl in Bb, vn, vla, cb, 12’
The Peckham Harmony (2009)
cl in C, tpt, trb, vla, cb, pno, 5’
Commissioned by Endymion
f.p. Endymion, Kings Place, London, June 2009
‘James Weeks’s The Peckham Harmony was quite unexpected: a primordial stomp, with half a dozen instruments each confined to a single repeated phrase, but cumulatively ecstatic in impact.’ The Times
The Lewisham Harmony (2008)
vn, vla, vc, pno, 12’
f.p. Kürbis, bmic The Cutting Edge, November 2008
The Catford Harmony (2008)
ens. 10’
f.p. Uroboros Ensemble, London, April 2008
Stacking, Weaving, Building, Joining (2006)
any instruments, open duration
f.p. The Hola with CoMA Sussex, Brighton, March 2007
New Day (2006)
solo pno and ensemble (10 instrs) 15’
Wie soll ich meine Seele halten (2005)
vn, pno, 12’
f.p. Sophie Appleton (vn), James Weeks (pno), London, November 2006
‘Ravishing. In unfolding an extremely sparse series of rocking intervals between the two instruments it recalled Feldman but – and this seems like an odd thing to say about Feldman’s music – with somehow less stodge.’ Johnson’s Rambler
Honey Celebration (2005)
vn, vc, pno 10’
Commissioned by Bloomsbury Trio
f.p. Bloomsbury Trio, London, November 2005
Matsushima (2005)
1-4 pianos ad lib. 1’
f.p. Andrew Melvin, Steyning, November 2005
Incorporated (in two-piano version) into Hototogisu (2007)
Sacred Muses (2005)
trumpet in C, organ 4’
Commissioned by Alison Balsom
f.p. Alison Balsom (trumpet), Colm Carey (organ), Mafra Festival, Portugal, October 2005
Schilderkonst (2003-4)
Triptych for instruments, 55’
‘Saenredam’ (2003-4) 2afl, 2cl in A, ob d’am, gtr, vib, ch org 16’
‘Low Country’ (2004) string quartet 20’
‘Duinland’ (2004) solo piano 22’
f.p. Kürbis Ensemble, London, February 2007
‘James Weeks is a composer with a gift for holding an audience charmed, even enraptured, for an evening… One can understand Weeks’ interest in the Dutch Realists of the Seventeenth Century, given his description of them: “calm, contemplative, undemonstrative, optimistic and serene”. Weeks’ music fitted these characteristics perfectly.’ New Notes
Nothing to See, Nothing to Hide (2003)
vc, perc (1 player), pno 10’
Glimpse (2002)
fl, ob, vc, pno 4’
f.p. Ensemble Ad Lib, Norfolk, September 2003
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Inscription (2011)
in memoriam Aldo Clementi
SATB quartet and string quartet 10'
Text: Fernando Pessoa
f.p. EXAUDI/Endymion, September 2011
The Freedom of the Earth (2011)
SATB choir and mixed ensemble 29'
Text: Gerard Winstanley
f.p. New London Chamber Choir, London Sinfonietta/Weeks
Spitalfields Festival, London, June 2011
Orlando Tenebrae (2010)
SATB choir, 15'
includes
O vos omnes (2006) 4'
Aestimatus sum (2010) 4'
Ecce quomodo moritur justus (2010) 3'
f.p. of complete work Orlando Chamber Choir, St Andrew's Holborn, London, March 2011
Glossa (2010)
ATB choir, 3'
f.p. Choir of St John's College, Cambridge, Andrew Nethsingha, dir, 30 June 2010
Parnassus (2007/9)
SSAATT, 2vn, 2vla, 2vc, 50’
Text: Plato
Mala punica (2008-9)
SSAATTBB soli, 35’
I Quae est ista
II Ego flos campi
III Ficus protulit
IV Hortus conclusus
V Veni in hortum meum
VI Dilectus meus
VII Descendi
VIII Donec aspiret dies
Text: Song of Songs (Latin)
Commissioned by EXAUDI
Individual works f.p. EXAUDI, Salisbury Festival, May 2008 (Descendi); Huddersfield Contemporary Music Festival, November 2008 (Hortus conclusus); Bangor New Music Festival, March 2009 (Quae est ista); Britten Studio, Snape, May 2009 (Veni in hortum meum). First complete performance Great Hall, Dartington, August 2009.
'Conveying a compositional rigour worthy of Ockeghem, Weeks builds a busy foliage (yet another nod to the flora imagery of the text) of canonical textures out of strikingly simple melodic gestures. Like the earlier man, Weeks directs these abstract procedures towards the expression of an emotional intensity that results both from the obvious pleasure that can be gained from the exercise of the discipline of musical grammar in itself, and from the poetical density that results from the careful shaping of that grammar into complex sonic events. And so it was the case here; the outwardly punctilious technique of composition gave way to fervency in procedure and affect.' Musicalcriticism.com on Mala punica
Come Away (2008)
sop, vn, vc, pno 12’
Text: Song of Songs (French)
f.p. Kürbis, Kettle’s Yard Cambridge, February 2008
Hototogisu (2007)
children’s choir (SA divisi), pno duo 20’
Commissioned by Finchley Children’s Music Group
f.p. Finchley Children’s Music Group / Grace Rossiter, St Pancras, London, July 2008
O vos omnes (2006)
SATB choir 4’
f.p. Chantage / James Davey, London, January 2007
Noë (2006)
SATBSATB choir, org 3’
Commissioned by Winchester College
f.p. Winchester College Chapel Choir / Christopher Tolley, December 2006
Fantastic Alarms of the Shaking Luminances (2006)
mixed voices and instruments 20’
Commissioned by CoMA South
f.p. CoMA South / The Hola, dir. Ignacio Agrimbau, Brighton, May 2006
Late Moons (2006)
sop, ob, hp 3’
Text: Lorca
f.p. Juliet Fraser, Rachel Baldock, Laurette Pope, Cambridge, February 2006
Liebeslied als Geige (2005)
SATB soli 4’
Text: Rilke, Neue Gedichte I
f.p. EXAUDI, Vale of Glamorgan Festival, August 2005
The Open Consort (2005)
mixed voices and instruments 17’
Commissioned by Queens’ College, Cambridge
f.p. Cambridge, March 2005
‘Like a realisation of Satie’s musique d’ameublement, just happening to happen...Enchanting.’ The Spectator
Stella Matutina (2004)
SSAATTBB soli, 7’
Commissioned by Dorothy Woolliscroft for EXAUDI
f.p. EXAUDI, Winchester, September 2004
Sint lumbi (2004)
SATB choir, S or T solo 4’
Commissioned by Gonville and Caius College, Cambridge
f.p. Choir of Gonville and Caius College, Cambridge / Geoffrey Webber, June 2004 recorded on SIGCD070, ‘All the Ends of the Earth’
‘An arresting application of the principles of the medieval Winchester Troper.’ BBC Music Magazine
Spanish Ladies (2004)
unis. male voices, 2cl, cym, pno 7’
f.p. Eton College Music Society, Eton, February 2004
Selbstbildnis als Laute (2003)
SATB soli 4’
Text: Rilke, Neue Gedichte II
f.p. EXAUDI, National Portrait Gallery, London, October 2003
Amor de lonh (2002)
sop, hpschd 10’
f.p. Juliet Fraser (soprano), James Weeks (harpsichord), Winchester, June 2002
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