Duration: 10’
Instrumentation:(original version): cello, tuba, reed organ, tubular bells(3 players)
First performance: Lucy Milton Gallery, 15 May 1975.
Instrumentation (“tour” version): bells, marimba, timpani, violin, reed organ, piano, bass.
First performance: Midland Institute, Birmingham, 5 November 1981
Instrumentation: 2 Piano version.
First performance: Stedelijk Museum, Amsterdam, 26 January 198O.
Instrumentation (arr. Andrew Thomson, later Hugill): bells, marimba, tuba, string quartet, piano.
First performance, British Music Information Centre, 21 June l984

Duration: 12’
Instrumentation: Percussion trio(cowbells, woodblocks, music box)
First performance: Palais des Beaux-Arts, Brussels, 1 February 1976.

Duration: c.15’
Instrumentation:  Cello, tuba, reed organ, tapes/slides.
First performance: ICC, Antwerp, 15 May l976

Duration:  38’
Opera, (realisation of Tom Phillips' work)
No live performance (version made for recording: Obscure Records)

Duration: 20’
Instrumentation: 2 pianos, tape, percussion, optional slides, tape.
First performance: Free University of Brussels, 1 April 1977.

Duration: c.15’
Instrumentation: 2 pianos.
First performance: Palais des Beaux-Arts, Brussels, 2 April 1977

Duration: 18’
Instrumentation (original version): 2 pianos.
First performance: Centrum Bellevue, Amsterdam (Holland Festival) 10 June 1977.
Instrumentation(“tour” version): 2 pianos, 3 players at one marimba, tuba.
First performance: Chapelle de la Sorbonne, Paris (Festival d'Automne),16 November 1979.

Note : White's SS (1977)

White's SS (1977)

White's S S is the first piece that I wrote originally as a two piano work. It was written for John White and myself to play in a weekend of minimal music at the Holland Festival in June 1977, although, in the event, Christopher Hobbs and I played it. The title is taken from something John White once said: "Systems and Sentimentality are the S S of my Reich". I am sure that he was aware of the the two meanings of the word "reich", certainly I was when I wrote it for such a context where all the major figures of minimal music of the period, with the exception of Steve Reich, were there.  The piece consists of a series of slow arpeggiated chords accompanying a slow tune, in tremoloed octaves in both pianos. There are subsequent versions with additional instruments, notably with John White adding a tuba to the bass part.


Note : White's SS (1977) for Crepuscule re-issue

White's SS (1977) for Crepuscule re-issue

The performers were Gavin Bryars and Christopher Hobbs, piano; John White, tuba. I cannot be certain exactly when and where it was recorded - it could have been in Scraptoft, near Leicester, where I ran a music department from 1978 (if it was after 1978).

It was written for a series of concerts at the Holland Festival in  1977 when they had a weekend of 'minimal music' which included people such as Terry Riley, LaMonte Young, Philip Glass, Louis Andriessen,  Pandit Pran Nath plus Chris Hobbs and myself as a duo. Chris and John had sort of fallen out at that time and so it was a question of which

of the two would play. So this was just for two pianos. The festival was arranged so that everyone played in three places, and everyone was able to hear everyone else's concert if they wished. The first performance was in Amsterdam, followed by Rotterdam and Utrecht. Later, when Chris and John were reconciled, we performed it in Brussels in a concert organised by Belgian Radio, for which Wim Mertens was the producer (he wasn't really composing then), at the Theatre du Bourse. Michel Duval and I had met earlier and he was later to start Crepuscule, a bit on the model of Eno's Obscure Records (the names of the labels have a similar resonance).

I made an ensemble version with two pianos, tuba and tuned percussion for my first concert in France - at the Chapelle de la Sorbonne as part of the Festival d'Automne in 1979. I also recorded the trio version in 1979 for a projected label of my own ("Mnemonic", the same name as my subsequent self publishing) though I never managed to release anything. I still have masters of my pieces plus others my John White, Dave Smith and Ben Mason. I don't think that this is the one on the CD, though it could be. This was recorded at a studio in Islington run by an American who I'd met in La Jolla in 1973 called Joe Julian.

The piece came about during a long period when I worked closely with John White, who I consider one of the great unsung masters of composition in England. He wrote a lot of so called 'systems' music from the late 60's through tot he early 80's and once said "Systems and Sentimentality are the SS of my Reich" - hence the title (and I relished the double entendre of "Reich").

In 1980 I did an album for Crepuscule ("Hommages") and about that time Michel Duval asked about including something on a kind of sampler cassette and I suggested White's SS.

The use of the tremolo in the slow right hand melody relates to my passion at that time for the music of Percy Grainger, something which John and I shared. Grainger wrote a piece which was part of a projected series called "Sentimentals"- though he only wrote Sentimentals 1 ("Colonial Song).

Gavin Bryars

Duration: 10’
Instrumentation: Percussion duo.
First performance: Centrum 't Hoogt, Utrecht (Holland Festival), 12 June 1977.

Duration: 12’
Instrumentation:  Piano, tuba, vibes, xylophone, bells.
First performance: Air Gallery, London, 1 November l977.

Duration: 12’
Instrumentation: Two pianos,( 6 or 8 hands)
First performance: University of Louvain, Belgium, 12 December 1977.

Note : Out of Zaleski's Gazebo (1977-78)

Out of Zaleski's Gazebo (1977-78)

This piece, for two pianos 6 or 8 hands, was written for a concert given by myself with John White and Christopher Hobbs in Belgium in December 1977. I subsequently made a version for 8 hands to involve my close colleague and friend Dave Smith in 1978. The piece originates in another work, for piano, tuned percussion, tuba and horn called Poggioli in Zaleski's Gazebo which I wrote for John White's first concert of Garden Furniture Music at the AIR Gallery, London earlier in 1977. Poggioli and Zaleski are fictional detectives - from writers T S Stribling and M P Shiel respectively, who represent opposing poles of the detective process. The one blunders from solution to possible solution, while the other is the model of pure ratiocination. (Both, incidentally, are aristocrats.) This two-piano piece contains allusions to the perfumed harmonies of Lord Berners and Siegfried Karg-Elert, with periodic cadences from Percy Grainger breathing diatonic fresh air into the otherwise heady atmosphere. It is played at a relentlessly fast tempo, only slowing down for the gentle coda where, as in White's SS, there is a final false note.

Note : Out of Zaleski's Gazebo (1977-8)

Out of Zaleski's Gazebo (1977-8)

Out of Zaleski's Gazebo, for 2 pianos, 6 or 8 hands, was written at the end of 1977 and is "out of" an earlier chamber piece called Poggioli in Zaleski's Gazebo in which the characteristics of two different fictional detectives (Count Poggioli and Prince Zaleski) are contrasted. Poggioli solved cases by blundering from one solution to another until he happened on the correct one, while Zaleski was a model of pure ratiocination, never leaving his study, playing an air from Lakmé on the harmonium, fingering an Egyptian scarab, and smoking hashish. The perfumed harmonies associated with him are subject to motoric and obsessive repetition, gradually descending in the first half of the piece, and rapidly ascending in the second half. Periodically short cadences from the music of Percy Grainger force a breath of fresh air into the music. The piece was written at a time when I was working in Composer/Performer ensembles with colleagues such as John White and Chris Hobbs with whom I gave the first performance in Belgium in December 1977.

Gavin Bryars

Duration: 10’
Instrumentation (i): horn, tuba, piano, vibes.
First performance: Stedelijk Museum Amsterdam, 15 April 1978.
Instrumentation (ii): harmonium, tuba, flute, clarinet, harpsichord.
Video performance, Sheffield University, May 1978

Duration: 15’
Instrumentation (i): 2 pianos.
First performance: The Kitchen, New York, 10 November 1978.
Instrumentation (ii): 2 pianos, 1 or 2 vibes, bass and/or tuba and/or bass clarinet.
First performance: Chapelle de la Sorbonne, Paris (Festival d'Automne), 16 November 1979.
Instrumentation (“tour” version): 2 saxophones, 2 vibes, piano, tuba, double bass, percussion.  *
First performance: Midland Institute, Birmingham, 5 November 1981.

Note : My First Homage (1978)

My First Homage (1978)

for 2 pianos

My First Homage was written for a concert of music for two pianos that Dave Smith and I gave in New York in November 1978 and is a homage to the music of the great jazz pianist Bill Evans and more particularly to the trio that he led from 1959-1961 which had affected me deeply when I first began playing jazz seriously. In 1966, however, I gave up playing jazz after a long period during which improvised music had been my principal professional musical activity. Not only did I give up playing jazz but I developed, too, an almost pathological aversion to jazz and to other forms of improvised music. Writing this piece represented not only a homage to music which had once been very important to me, but also served in part to exorcise my repudiation of jazz. The title uses the same initials as those of a piece from the trio's last performance, recorded immediately before bassist Scott LaFaro's tragic death, called "My Foolish Heart", and quotes from it. I relished the harmonic approach of the Evans trio in every piece that they played, and also the rhythmic flexibility, both in Evans' own playing as well as that of Scott LaFaro and drummer Paul Motian, even at slow tempi. In addition I always found it touching that in the very last piece from this session, LaFaro's Jade Visions, the greatest bassist in the history of jazz dropped a beat in his own piece...

Duration: c.20’
Instrumentation:  Piano and string orchestra.
Not yet performed.

Duration: 10’
Instrumentation: 2 pianos (6 hands).
First performance: ICA London, 4 February 1979.

Note : Ramsey's Lamp (1979)

Ramsey's Lamp (1979)

This piece, for two pianos 6 or 8 hands, was written in memory of my first teacher Cyril Ramsey who had died the previous summer, almost the same day as my mother's second husband, Dr. Appleton. Both died in foreign places - Dr. Ramsey in Canada, my stepfather in a ship near Leningrad. Cyril Ramsey was a very enlightened teacher, and spoke with me about the music of Satie, about John Cage (an unusual subject in Goole in the late 1950's) and he had studied with Eric Fenby, which linked him with the music of Delius. At the same time, he was a ferocious pianist and a man of extraordinary energy, who would start his music classes by racing up several flights of stairs, leaping to the piano stool and roaring into the opening of Schubert's Erlkönig.   It was this Graingeresque quality which I chose to point to, especially to the piece Gay but Wistful from the In a Nutshell suite. The title refers, of course, to Dr. Ramsey as a source of illumination. It was first performed by myself with Dave Smith and John White at the ICA, London in February 1979

Duration c.15'
Instrumentation piano(s)
Written for dance by Christine Juffs (Dance Work)

Duration: 20’
Instrumentation: 4 pianos
First performance: Castello Sforzesca, Milan, 23 June 1979.

Duration: 12’
Instrumentation: ‘elastic’ scoring. Ensemble comprises: i) piano. ii) 2 marimbas or l marimba and l bass marimba, or l marimba and l vibes, or l marimba. iii) viola and/or violin,
and/or treble viol, optional clarinet, and/or 2nd violin. iv) violin, and/or bass clarinet, and/or tuba or bass, optional steel drums and shakers.
First performance: Chapelle de la Sorbonne, Paris (Festival d'Automne),
16 November 1979.

Duration 10’
Instrumentation: 1 or 2 pianos, 2 vibes or 1 vibes and 1 marimba or bass marimba/bells, optional steel drums/sizzle cymbal, optional bass clarinet.
First performance: Musée d'Art Moderne, Paris (Paris Biennale), 25 October 1980.

Duration: 6’
Instrumentation: 2 vibes, 6 roto-toms ( 4 players)
First performance: Air Gallery, London 23 April 1980.

Duration: 0’59”
Instrumentation: Piano duet.
First performance: Musée d'Art Moderne, Paris, 26 October 1980.