Gavin Bryars on The Sinking of the Titanic | New music reviews, news & interviews
Gavin Bryars on The Sinking of the Titanic
Titanoraks: forget the telly and film re-runs, this is the most evocative way to mark the centenary
In the early Seventies he got to know Brian Eno, pre-Roxy Music, when he was a student and they were both founders of the whimsical but brilliant Portsmouth Sinfonia, an outfit that included musicians of wildly differing capacity. After introducing Michael Nyman to QPR FC and the likes of Harold Budd to Eno, in 1975 Bryars's The Sinking of the Titanic was the first release on Eno’s now almost-legendary Obscure label.
The B-side of that album was Jesus’ Blood Never Failed Me Yet, one of Bryars’s best known works. One of the album's many fans was Tom Waits, who said it was his favourite album; he later performed on a subsequent version (see cover, below). A current Bryars project, Mercy and Grand, features terrific re-arrangements of the songs of Waits and his wife Kathleen Brennan, which was originally produced by Opera North and has just been released on CD. Waits thanked Bryars for giving his songs “an elegant night on the town".
Since then Bryars output has been enormously varied, including three operas and the memorable A Man in a Room, Gambling, co-produced by Radio 3 and Artangel, where his music was heard beneath monologues by the Spanish artist Juan Muňoz.
Recently his music has been more vocal based. Bryars says that these days, given the choice he would always choose a choral commission. He has been increasingly involved in the East European music scene, and even released the Ukrainian composer Silvestrov on his own label. For Bryars, Silvestrov’s Diptychon was “the most beautiful music I heard in my life” when he chanced upon it in a church in Latvia.
He also became friends with Arvo Pärt who, contrary to his forbidding image, is according to Bryars great fun. Bryars tells tales of nights of drinking with Pärt in Paris and of press-up competitions in the studio, although he does say that when Bryars stayed with him in Berlin Pärt wrote his music standing up at a lectern, as if praying in church.
Bryars's Titanic piece starts with a hymn, "Autumn", which sounds very reminiscent of “Amazing Grace”. It came from the evidence of the surviving wireless operator Harold Bride, who told the New York Times in April 1912 that "the band was still playing. I guess all of the band went down. They were playing 'Autumn' then. I swam with all my might. I suppose I was 150 feet away when the Titanic on her nose, with her after-quartet sticking straight up in the air, began to settle - slowly... the way the band kept playing was a noble thing..... and the last I saw of the band, when I was floating out in the sea with my lifebelt on, it was still on deck playing 'Autumn'. How they ever did it I cannot imagine.”
As Walter Lord wrote: "Bandmaster Hartley tapped his violin. The ragtime ended, and the strains of the Episcopal hymn 'Autumn' flowed across the deck and drifted in the still night far out over the water."
Bryars explains: “The hymn tune was played between 2.15 and 2.20 a.m., the last five minutes of the sinking, and this unit becomes the building block for the music. The music goes through a number of different states, reflecting an implied slow descent to the ocean bed which give a range of echo and deflection phenomena, allied to considerable high frequency reduction. This presupposes that the music was played as the water engulfed the ship.” The nobility of the sinking band is something that stuck in Bryars's imagination.
The reason the disaster struck such a chord was not just the tragic loss of life, but the fact this was "the moment when the whole optimism of empire and the idea that technology could solve everything finished. This was the ultimate piece of science and it sank on the first voyage. I've often said that the 19th-century finished in 1912."
Part of the background to the piece was radio inventor Marconi’s obsession that sounds never die, they just become more faint. As Bryars points out, “curiously enough, one of the rescue ships, the Birma, received radio signals from the Titanic one hour and 28 minutes after the Titanic had finally gone beneath the waves. To hear these past, faint sounds we need, according to Marconi, to develop sufficiently sensitive equipment, and one supposes filters, to pick up these sounds. Ultimately Marconi hoped to be able to hear Christ delivering the Sermon on the Mount.”
The piece will be perfomed by the Bryars Ensemble, with Bryars on bass, and film backdrops by Bill Morrison and Laurie Olinder. The concert also includes tape recordings Bryars made in the early Seventies with a couple of Titanic survivors. When he talks of the “turntablist” Philip Jeck, who is processing sounds for the performance, he calls his contribution “understated melancholy”. I said he sounded like a fellow traveller and Bryars said “Yes, absolutely. Join the club.”
The Sinking of the Titanic will be performed on Friday 13th April at Birmingham Town Hall, and on Sunday 15th April at the Barbican.
Listen to a section from The Sinking of the Titanic
Subscribe to theartsdesk.com
Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 10,000 pieces, we're asking for £2.95 per month or £25 per year. We feel it's a very good deal, and hope you do too.
To take an annual subscription now simply click here.
And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?
more New music
Franco-Finn duo embrace electropop with unremarkable results
The saxophone titan's many sides revealed as he opens north Norway’s Bodø Jazz Open festival
An intimate evening with the Arch Drude and cheerleader for 'the psychedelicised'
Marc Bolan’s confident advance to superstardom is tracked over his first three albums
Curious, ambitious blend of breakbeats and distorted brass proves compelling
From Throbbing Gristle to pandrogyny: Genesis Breyer P-Orridge reflects
US singer's chance to prove she's about more than that bass
The musician in full creative swing: a voyeur’s delight
Grindcore veterans take on predatory capitalism
Minimalism and Mali: a marriage made in heaven
Not enough choir, too much choreographed perfection for a true John Cage happening
Noah Lennox's latest album is meaty, beaty, big and bouncy