This piece was written in 1997 for unaccompanied voices after the choral piece 'On Photography' for the Hilliard Ensemble and is dedicated to them. Expressa Solis may also be performed by male choir. Instrumentation : unaccompanied male voices (TTBar)

Choral Music of Our Time

This is a special arrangement for double bass choir of the choral piece Silva Caledonia, written for the Estonian National Male Choir, which sets a text by the Scottish poet Edwin Morgan. It was first performed by them in April 2006. The double bass version was written for the large group of basses, 22 for the first performance, at Basses Loaded, the annual concert from Gary Karr's summer school in Victoria BC. Gavin BryarsBoth solo and orchestral tuning are included with each individual instrumental part. Instrumentation : double bass ensemble (minimum 8 players)

Edition Schott

String Quartet No. 1 ('Between the National and the Bristol'), was commissioned by the Vienna Festival for the Arditti Quartet to perform in October 1985. '... a great deal of the music is in the high register, most notably towards the end where each instrument de-tunes a pair of strings and thereafter plays only in harmonics, both natural and artificial. ' Instrumentation : string quartet

Music Of Our Time

'Laude' were short mediaeval devotional songs to the Virgin Mary, and Gavin Bryars has kept to the pure, lyrical style of the originals. Following the successful publication of Bryars' volumes 1-3 of laude, which singers around the world have added to their repertoire, this fourth volume for female choir provides new opportunities for larger groups to experience these stunningly beautiful works. Instrumentation : female choir

I had written the Cadman Requiem in 1989 for the Hilliard Ensemble in memory of my friend and sound engineer Bill Cadman, who was killed in the Lockerbie air crash. His death affected me very deeply and, pending a recording of this piece, Manfred Eicher asked if I might like to develop an instrumental work from this, using the same instrumentation for accompaniment and retaining the same opening bars as part of a new ECM album. The piece is "after" the Requiem therefore in the musical sense of being based on it, in the chronological sense of following on from it, and in the spiritual sense of representing that state which remains after mourning is (technically) over. I wrote the piece in Venice in September 1990 and finished it in Oslo on the day of the recording, where I added the electric guitar of Bill Frisell. This, I felt, blended particularly well with low strings (2 violas and cello). Coincidentally, having used certain distortion effects on the guitar, we found that we were recording on the twentieth anniversary of the death of Jimi Hendrix. Within the music I use one or two modified extracts from the Cadman Requiem itself, and from its common source Invention of Tradition, for which Bill Cadman had done the sound design. The piece is dedicated to the two Bills (Cadman and Frisell). Instrumentation : electric guitar, 2 violas and cello

The works in these three volumes for eight-part male choir are settings of sonnets by late Scottish Poet Laureate, Edwin Morgan (1920-2010). An admirer of Morgan's virtuosic poetry, Bryars wrote Silva Caledonia for the Estonian National Men's Choir in 2006, eventually adding seven more settings, including two derived from his Piano Concerto. A great collection for any ambitious male choir. Instrumentation : male choir

Choral Music of Our Time Vol. 1

This arrangement of Dido's Lament was written for the funeral of the composer's friend Frank Campbell. As Frank was such an accomplished pianist, no keyboard music was included in the service in deference, only vocal works by Frank, with the exception of this arrangement by Bryars. Instrumentation : SATB choir or 4 solo voices

One of Gavin Bryars' early major choral works, On Photography uses texts by Pope Leo XIII combining a modern subject matter (photography) and archaic language (Latin) with music of timeless beauty. This title is accompanied by a harmonium/piano part (ED 13178). Instrumentation : mixed choir (SATB), harmonium and piano

'A Family Likeness' was written for The Society of Recorder Players in the UK and was a great success at its premiere in 2008. The music is characteristically that of Gavin Bryars and would be an ideal introduction to his unique sound world of slow moving pure harmonies and melodic ostinati that evoke expansive landscapes. This significant addition to modern recorder repertoire is a fantastic concert piece which is both accessible and musically rewarding, it can be performed by either six individual players or a larger group with multiple players per part. Instrumentation : 6 recorders (AATTBB)

Entre décembre 2017 et juin 2018, Jean-Louis Tallon s'est longuement entretenu avec Gavin Bryars : près de douze heures d'entretiens pour revenir sur le parcours biographique et les pièces principales qui ont jalonné la trajectoire d'envergure, de 1969 à nos jours, du compositeur britannique. Ce premier ouvrage consacré au "mystère Bryars" reprend le fil de ces échanges dans leur intégralité, donnant ainsi à (re)découvrir et à saisir, en une vision panoramique, au fil de la parole, tout l'étendu d'un parcours aux mille facettes. Contrebassiste de jazz avant-gardiste, post-minimaliste, collaborateur de Tom Waits ou Merce Cunningham, Gavin Bryars n'a cessé de se métamorphoser pour proposer une ouvre touffue, rendue accessible à tous par la forme orale de l'ouvrage.

Né en 1973 à Lyon, Jean-Louis Tallon est l'auteur d'un récit intitulé Composition de l'atmosphère (Le Grand Souffle, 2007). Il a réalisé depuis plus de vingt ans de très nombreux entretiens d'écrivains et d'artistes. Il est également responsable culturel de l'Université d'Orléans.

Gavin Bryars - En paroles, en musique

Written at the same time as the composer's Piano Concerto (The Solway Canal), Bryars' Ramble on Cortona is the first piece the composer has penned for solo piano in his esteemed career. Like his piano concerto, the work was written for Dutch pianist Ralph van Raat. Bryars borrows the term "Ramble" from Percy Grainger whom Bryars has always admired both as a composer and pianist. Others might call it a "Paraphrase" but Bryars' Ramble is based on themes from his vocal laude which derive from 13th century manuscripts found in Cortona. Instrumentation : piano

This beautiful and tentative work for viol consort is based on a Purcell Fantasia of the same name. Occasionally, and to great effect, Bryars enhances the rich, romantic sound of bowed viols with the use of pizzicato and harmonics, highlighting the distance between this mesmerising piece and its origin. Instrumentation : viol consort (treble, 2 tenors and 2 basses)

Gavin Bryars est un compositeur de musique post-minimaliste et contrebassiste britannique né le 16 janvier 1943 à Goole (Yorkshire de l'Est). Déjà régent du Collège de 'Pataphysique, il a été intégré au Transcendant Corps des Satrapes le 11 août 2015.

https://fr.wikipedia.org/wiki/Gavin_Bryars

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