Recordings

Note that many of these recordings may be purchased as mp3 downloads from iTunes and other online retailers.
Visit my page at the Canadian Music Centre to hear streaming archival recordings of these and many other works.

Fugitive coverPurchase this CD

Fugitive Colours: Music of Jeffrey Ryan

The Linearity of Light
Equilateral
Symphony #1: Fugitive Colours

Recorded by the Vancouver Symphony Orchestra with the Gryphon Trio, conducted by Bramwell Tovey

Western Canadian Music Award winner, Classical Recording of the Year 2012
Juno nomination, Classical Composition of the Year 2012 (for Equilateral)
Juno nomination, Classical Album of the Year (Large Ensemble) 2013

Quantum coverPurchase this CD

Quantum Mechanics: Chamber Music of Jeffrey Ryan

Bellatrix (violin version)
Quantum Mechanics
ecce homo (string nonet version)
Stillpoint
Poison Wind
Two-by-Four

Various performers

Juno nomination, Classical Composition of the Year 2008 (for Quantum Mechanics)

“a recording that is as good as any I have heard as I seek out more contemporary music…[Ryan’s] compositions engage heart and mind in a most satisfying way. You can’t ask for more than that. The performances have an air of authenticity that leaves me incredulous at the thought they might ever be equalled, let alone, bettered.” (Bob Oxley/Audio Ideas Guide)

Umbra Septentrionis coverPurchase this CD

Umbra Septentrionis

Magpie

Recorded by Yoko Hirota

Standing Wave coverPurchase this CD

Liquid States

Burn

Recorded by Standing Wave

Western Canadian Music Award nomination, Classical Composition of the Year 2013
Western Canadian Music Award nomination, Classical Recording of the Year 2013

RedshiftX coverDownload this CD for $1!

Redshift X

Triple Witching

Recorded by Cris Inguanti with Joseph Elworthy (cello) and Corey Hamm (piano)

Download-only compilation celebrating Redshift Music’s 10th anniversary

Cosmophony coverPurchase this CD

Cosmophony

Saturn (study in white)

Recorded by Rachel Kiyo Iwaasa

Western Canadian Music Award nomination, Classical Recording of the Year 2011

Vox Terra coverPurchase this CD

Vox Terra

Triple Witching

Recorded by Cris Inguanti with Joseph Elworthy (cello) and Corey Hamm (piano)

Into Light coverPurchase this CD

Into Light

On Monsieur’s Departure

Recorded by musica intima

Western Canadian Music Award winner, Classical Recording of the Year 2010
Juno nomination, Classical Recording of the Year (Vocal or Choral) 2011

In Good Company coverPurchase this CD

In Good Company

After Storm
Angeline on Ossabaw

Recorded by the Canadian Chamber Choir with cellist SeHee Kim, conducted by Julia Davids

Western Canadian Music Award nomination, Classical Composition of the Year 2011 (for Angeline on Ossabaw)

“cohesive singing, beautiful tone, and intelligent musicality” (Tiina Kiik/Whole Note)

Penderecki Quartet coverPurchase this CD

Launch Pad

String Quartet #3 (sonata distorta)

Recorded by the Penderecki String Quartet

Western Canadian Music Award nomination, Classical Composition of the Year 2009

“…a fascinating work reflecting on the Tolstoy story The Kreutzer Sonata and the Beethoven violin sonata that inspired it…[T]his disc features definitive and stunning performances in all respects by the PSQ.” (Terry Robbins/WholeNote)

“This disc is a keeper.” (Jerry A. Ozipko/Musicworks)

Hannaford coverPurchase this CD

Connections in Brass

She Threw It Down, Anathema

Recorded by the Hannaford Street Silver Band with the Amici Chamber Ensemble, conducted by Gary Kulesha

Thunder Bay Symphony coverPurchase this CD

Variations on a Memory

Pangaea

Recorded by the Thunder Bay Symphony Orchestra, conducted by Geoffrey Moull

Juno nomination, Best Classical Composition 2005

Bowling Green coverPurchase this CD

The Composer’s Voice: New Music From Bowling Green

Ophélie

Recorded by the Bowling Green Philharmonia with soprano Myra Merritt, conducted by Emily Freeman Brown

“Jeffrey Ryan wrote his setting of Rimbaud’s Ophélie for soprano, soprano trio, and orchestra as a study for a projected opera. The essentially lyric line of the singer, the very fine Myra Merritt, is set in a dissonant kaleidoscope that reflects the character’s disordered mind. It is, as the composer intended, intensely operatic and very effective. The imaginative use of orchestra and accompanying voices is particularly striking. A good friend who happened to be listening with me and who also happens to be a very fine tenor, immediately wondered what sort of music the composer would write for his voice. That says more than anything I could say about the immediacy of Ryan’s music.” (John Story/Fanfare Magazine)