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

Choral 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' first and second volume of laude, which singers around the world have added to their repertoire, this third volume for various combinations of soprano, tenor, viola, cello, double bass and bass clarinet provides new opportunities for performers and audiences to experience these devastatingly beautiful works. Instrumentation : voices and instruments

Edition Schott

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)

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

'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)

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

The score and performing material of Jesus' Blood Never Failed Me Yet published by Schott comprises everything that is sanctioned for performance or recording. The use of an obligato voice, improvised or otherwise is expressly forbidden and cannot be authorised except by the composer. The recording by the composer on Point Music, in which Tom Waits' voice is added during the later stages of the performance, is unique. His voice was used only for this specific occasion, growing out of the personal relationship between Tom Waits and the composer and does not represent in anyway a precedent for others. Instrumentation : digital tape / CD and ensemble / orchestra

Jesus' Blood Never Failed Me Yet - for pre-recorded tape and instruments. digital tape / CD and ensemble / orchestra. Matériel d'orchestre.

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

'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

Choral Music of Our Time

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