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Bryn Harrison (b. 1969) studied composition with Gavin Bryars at De Montfort University, Leicester and briefly with Alvin Lucier, Christian Wolff and Peter Kotik during the 2001 Ostrava New Music Days. His music has been performed extensively in the UK at most of Britain’s leading festivals and broadcast on BBC Radio 3. He has established a particularly close association with the Huddersfield Contemporary Music Festival receiving prizes there in 1993 and 1995 and commissions from the festival in 1999 and 2002.
In 1999 Bryn was selected to compete for the International Gaudeamus Prize in the Netherlands and since then he has received many performances throughout Europe, USA and Japan including those at festivals such as Wien Horgange, Ultraschall, Hannover Biennale, Festival Klangspuren, Europaischer Musikmonat, Wittener Tage and the Paris Festival Automne. He was invited to attend the ISCM World Music Days in Yokohama, Japan in 2001 and to the same festival in Lucerne, Switzerland in 2004.
Commissions include those for the London Symphony Orchestra, Ensemble Recherche, Apartment House, Plus-Minus, Klangforum Wien, Ixion, London Sinfonietta, Suono Mobile, 175 East, Chroma and Birmingham Contemporary Music Group and Asamisimasa as well as performances from duos and soloists such as Darragh Morgan and Mary Dullea, Duo Contour, Anton Lukoszevieze, Irvine Arditti and Mieko Kanno, Susan Knight, Clive Williamson, Andrew Sparling, Jonathan Powell, Philip Thomas and the internationally-acclaimed accordionist Teodoro Anzellotti.
Over the last five years he has participated on a number of projects with painter and printmaker Mike Walker as well as collaborating recently with artist book-maker John McDowall.
His In Nomine after William Byrd (1999) recorded by Ensemble Recherche is available on the Kairos CD The Witten In Nomine Broken Consort Book and Listenings I recorded by Darragh Morgan and Mary Dullea is available on the NMC disc 'Opera'.
Harrison, B (2016) Things are more like they are now than they ever have been before [Composition]
Harrison, B (2016) A form in search of itself (2016) [Composition]
Harrison, B (2014) Passing Light (2014) [Composition]
Harrison, B (2014) 1.Receiving the Approaching Memory (2011/14) [Composition]
Glover, R. and Harrison, B. (2013) Overcoming Form: reflections on immersive listening . Huddersfield: University of Huddersfield Press. ISBN 978-1-86218-120-5
Thomas, P. and Harrison, B. (2013) Bryn Harrison - Vessels [Audio]
Glover, R. and Harrison, B. (2013) ‘Memory and trace in minimal experimental music’. In: Time and Trace: 15th Triennial Conference of the International Society for the Study of Time, 30 June - 6 July 2013, Orthodox Academy of Crete, Greece
Cassidy, A., Weeks, J., Harrison, B., Chase, S., Bailie, J., Glover, R. and Molitor, C. (2013) Exposure [Audio]
Glover, R. and Harrison, B. (2013) ‘Phenomenology and temporality in the composition of experimental minimal music’. In: Philosophy and Music Conference: Time Theories and Music, 27-29 April 2012, Ionian University, Corfu, Greece
Harrison, B (2012) ‘Scanning the Temporal Surface’ CeReNem journal (3).
Harrison, B (2012) Vessels for solo piano (76) [Composition]
Harrison, B (2012) Eight Voices [Composition]
Harrison, B (2011) ‘The Tempo of Enclosed Spaces: A short, personal reflection on the ensemble music of Aldo Clementi’ Contemporary Music Review , 30 (3-4), pp. 269-274. ISSN 0749-4467
Harrison, B (2011) Five Distances (2011) 10 Mezzo-soprano voice and piano [Composition]
Bellamy, M., Harrison, B., Cassidy, A. and Lim, L. (2010) Transference [Audio]
Harrison, B (2010) M.C.E. (2010) 20 Solo classical guitar [Composition]
Harrison, B (2009) surface forms (repeating)(10'30'') [Composition]
Harrison, B (2009) ‘Bryn Harrison’. In: The Ashgate Research Companion to Experimental Music. London, UK: Ashgate. pp. 283-292. ISBN 9780754662822
Harrison, B (2009) Gently Rising [Composition]
Harrison, B (2009) an oblique [Audio]
Harrison, B (2008) Quietly Rising (Piano piece December 2008)(4') [Composition]
Harrison, B (2008) Five Miniatures in Three Parts [Composition]
Harrison, B (2008) to be (an ever opening flower) [Composition]
Harrison, B (2008) Five Miniatures in Three Parts (2008) (8') [Composition]
Harrison, B (2008) an oblique [Composition]
Harrison, B (2008) Repetitions in Extended Time [Composition]
Harrison, B (2007) a leaf falls on loneliness (2007) (15') [Composition]
Harrison, B (2007) Plane Image (2007) 8' [Composition]
Harrison, B (2006) four cycles for large ensemble (15 players) [Composition]
Harrison, B (2006) Shifting Light (7 minutes) [Composition]
Clarke, E., Cook, N., Harrison, B. and Thomas, P. (2005) ‘Interpretation and performance in Bryn Harrisons être-temps’ Musicae Scientiae: the journal of the European Society for the Cognitive Sciences of Music , 9 (1), pp. 31-74. ISSN 1029-8649
Harrison, B (2005) six symmetries for large ensemble (17 players) [Composition]
Harrison, B (2002) Low time patterns [#1-5] for 7 players (mixed ensemble) [Composition]
Keynote: Music and/as process conference, Brunel University, 2015
‘Receiving the Approaching Memory; aspects of time in my recent music’. RMA conference, University of Leeds, 2014
‘Temporality and memory in my recent solo piano piece ‘Vessels’. Extended Durations Symposium, University of Huddersfield, 2013
Record of attracting funds
Paul Hamlyn Foundation (£50,000 paid over 3 years) (2013)
Arts Council of Great Britain, Award for the Arts £9,820 (2013)
Selected scores and first performances
Passing Light (2014) 40’
Collaboration with visual artist Tim Head
Commissioned by the London Sinfonietta with funds from the Arts Council of England.
First performance: Spitalfields Festival, London, 15th June 2014
Seven Circular Forms (2013) 15’
Commissioned by ensemble 7Bridges and first performed by them (conducted James Weeks)
St Paul’s Hall, University of Huddersfield, 18th May 2013
Current supervision [2014-15]:
#5 PhD: Rodrigo Constanzo (joint supervision), Fiona Pacey, Cassandra Miller, Lawrence Dunn, Jorge Boehringer
#2 MRes: James Fox, John Aulich