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)

Edition Schott

'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)

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

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

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

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.

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)

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

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

Edition Schott

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