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Bryars: The Sinking of the Titanic


Download links and information about Bryars: The Sinking of the Titanic by Gavin Bryars Ensemble. This album was released in 1995 and it belongs to Rock, Classical genres. It contains 11 tracks with total duration of 01:01:06 minutes.

Artist: Gavin Bryars Ensemble
Release date: 1995
Genre: Rock, Classical
Tracks: 11
Duration: 01:01:06
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Buy on iTunes $8.99


No. Title Length
1. The Sinking of the Titanic: I. Opening Part I 1:48
2. The Sinking of the Titanic: II. Titanic Hymn (Autumn) All strings 5:09
3. The Sinking of the Titanic: III. Hymn II 5:25
4. The Sinking of the Titanic: IV. Interlude 4:35
5. The Sinking of the Titanic: V. Hymn III 7:46
6. The Sinking of the Titanic: VI. Hymn IV 6:25
7. The Sinking of the Titanic: VII. Opening Part II 6:10
8. The Sinking of the Titanic: VIII. Titanic Lament 5:23
9. The Sinking of the Titanic: IX. Woodblocks 11:39
10. The Sinking of the Titanic: X. Last Hymn 2:06
11. The Sinking of the Titanic: XI. Coda 4:40



Gavin Bryars' The Sinking of the Titanic, the genesis of which dates back as far as 1969, is one of the classics of British minimalist music. The piece is related to other minimalist works that use spoken words and other preexisting material, but it stands apart from Steve Reich and the other specialists in this technique. It shares with certain works of Arvo Pärt the quality of having evolved as its musical life has proceeded, but this evolution is different from and more organic than anything Pärt has achieved. The Sinking of the Titanic takes as its inspiration the story, by now familiar above all from James Cameron's film treatment, of how a string quartet on board the doomed ship continued to play as it went down. Bryars uses a specific Episcopal hymn, called "Autumn," and takes an imaginative leap, suggesting that the sound waves of the stringed instruments continued to reverberate under the ocean's surface. It is this idea that has been realized in multiple ways, here with a small ensemble of instruments, spoken words, prerecorded material, and a turntablist. The string quartet at the work's center (two violas, cello, and double bass) is augmented this time around by a second, lower quartet, played by the composer's four children. These forces make their way through the 15 sections into which the work has been divided here (in earlier incarnations there have been fewer sections, in one case just one). The cumulative effect is extraordinarily powerful, mixing entirely abstract concepts with direct evocations of the disaster, and the several minutes of wild applause at the end of the live performance are retained. (No venue is specified beyond the 2012 tour by the composer and his Gavin Bryars Ensemble.) Highly recommended, even for those quite familiar with the work.