(+ viola and strings and viola and ensemble versions)

Duration: 12′
Dedication: Debbie Mason
Instrumentation (i): viola and piano
First  Performance: Fruitmarket Gallery Edinburgh, October 19 1993
Instrumentation (ii) (revised 1994): solo viola, harp (or piano), strings (min., percussion (bass drum, tam-tam, 2 cymbals)
NB this version is longer and has a modified solo part too
First Performance: Queen Elizabeth Hall, London June 30th 1994


April 1, 1993

Gavin’s Notes:

The North Shore (1993)

This piece, originally for viola and piano, was written for Bill Hawkes and Nic Hodges to play at the opening of an exhibition of the work of James Hugonin in Edinburgh. It has been subsequently expanded both in duration and instrumentation to give two other versions: one for solo viola, strings and harp (or piano), the other specially written for my ensemble (solo viola, clarinet, electric guitar, viola, cello, bass and piano). Through working with Bill Hawkes, and earlier with Alexander Balanescu, I have become more and more interested in the viola both in ensemble and as a solo instrument. Indeed I was originally to write a work for voice and viola for the exhibition but due to the unavailability of the singer I wrote this instrumental piece instead, retaining nevertheless the original intention of connecting the piece with a specific geographical region. I particularly like the relationship between the abstraction of Hugonin’s paintings and the location where they are painted – the North East of England. Having already written a number of vocal pieces that use Northumbrian texts (by Caedmon) I decided however to move a little further down the coast, to Whitby where I had spent summers as a child and particularly to the cliffs by St Hilda’s Abbey. The North Shore, therefore, takes this austere location as its inspiration – the same as the descriptive narrative used for the vocal piece I subsequently wrote based on Bram Stoker’s Dracula (From Mina Harker’s Journal).  It represents a kind of response to the “Idea of North” found in the work of Glenn Gould, as well as a reflection on the obsession of Jules Verne’s Captain Hatteras who, in his final madness, would walk only towards the north.




Gavin Bryars