‘Whispers’ was co-produced by Bob Gilmore, who sadly died before the disc was released. The CD is dedicated to Bob’s memory. Bob was a longstanding champion of Frank Denyer’s music, and wrote the notes both for this CD and for the previous Another Timbre release of Denyer’s Music for Shakuhachi.
Here is an excerpt from Bob’s sleevenotes for the ‘Whispers’ CD:

“The experience of listening to Frank Denyer’s music is extraordinary, quite distinct from other aspects of our contemporary musical lives. His music manifests an exquisite sensitivity to sound, often unusual or fragile sounds; his compositions are more concerned with what can be heard than with an interest in systems, or drama, or “ideas”. And while these sounds sometimes seem to embody a covert narrative of sorts, as though a story is hiding, waiting to be told, any such narratives are never made explicit. This leaves the listener free to concentrate on the highly original melodic lines, the harmonies and the unique tone colours of Denyer’s work, while speculating, if desired, about possible scenarios that may lie behind. This disc, the eighth devoted entirely to his music, collects three solo and two ensemble pieces, and forms a portrait of his recent work, from the years 2007-10.
Whispers, for solo voice with ancillary instruments and offstage muted violin, marks a radical (and, so far, a one-off) change in Denyer’s working methods. Whereas his pieces generally emerge from a long gestation period, this one arrived suddenly; he began by writing down a few phrases one morning, not thinking in terms of longer spans. About five of its movements were composed in this way, on the day he began work. It is the first piece of his to be a mosaic of short movements, some very short indeed. Denyer found that the gaps between the individual movements needed to be very exact, some of them quite long, so by trial and error he determined a series of lengths which are specified in the final score. Like the earlier Riverine Delusions, but in a very different way, this piece led him to think of time very differently than in his earlier music. The piece was not specifically intended for his own voice, but Denyer’s performance here offers a marvellous sense of immediacy, as though the pieces are coming into existence as we listen. The very quiet, fragmentary music of an offstage muted violin is heard unexpectedly in piece fourteen, as though briefly opening up the performance space to a world outside. (...)"