Among the many composers to write music for the Relache Ensemble, Mary Ellen Childs has been one of the more active collaborators. The first of her compositions for Relache is named “Parterre.” It became a prominent part of Relache’s touring programs and was commercially recorded for the Minnesota Composers forum label. (You can hear it on Episode 18, Music in Motion Part Two.) Another work, and the featured composition on this episode is titled “Carte Blanche.” It was commissioned by Relache with funds from Champaigne Taittinger and premiered on the “Taittinger Evening of American Music” program in New York City and Philadelphia that was developed by Drew Keegan, then the Director of Marketing for Relache. In addition to a complete recorded performance by Relache of “Carte Blanche,” you will hear conversations with Mary Ellen and Drew about their work and years with the Relache Ensemble.

Episode Twenty One – Kyle Gann

For those of us who were participants in and/or avid listeners to “new” and “experimental” music in the mid-to-late 20th century, Kyle Gann’s name is resonant with the history of the musical arts during those extraordinary years. He is a writer, educator and composer. As a columnist/critic for the Village Voice he documented the work of musical artists in New York City who were part of what became known as “Downtown Music.” He has written seven books and many articles on the music of composers and 20th century styles. As an educator he has been on the faculties at Bucknell University and Bard College. As a composer he has created a large body of work for ensembles, soloists and orchestral/chamber orchestras. In this episode we will discuss and listen to two of those works written or adapted for the Relache Ensemble. “Hesapa Ki Lakhota Ki Thawapi” is bases on a Lakhota flag song for flute, soprano saxophone, synthesizer and percussion. It was recorded in 1997 on Monroe Street Music. Movements 1 “Sun” and 2 “Venus” from “The Planets,” was written for the Relache Ensemble between 1994 and 2008. It was recorded in 2010 on the Meyer Media label. For more information about Kyle Gann, visit his website at http://www.kylegann.com. For more information on the Relache Chronicles, log on at http://www.relachechronicles.org.

Paul Epstein’s music is deceptive. What appear to be beautiful melodies set within easy-to-recognize harmonies that cradle traditional tonal centers demand careful listening. Those melodies and harmonies are tricky. They slip in and out of an aural context that’s been carefully designed by an artist who has carefully studied the music from Machaut to Stravinsky to Reich. As Kyle Gann has so beautifully written, “The music sounds simple, but actually it’s very intricate and tremendously inventive within small confines.”This episode features two works of Paul’s that were composed for the members of the Relache Ensemble. Paul was a close associate and friend of Relache for many years having composed ten works for the group and its members. We’ll feature two of those works, “Moving Voices” for two singers and flute and “Chamber Music: 3 Songs from Home” for singer Barbara Noska and the Relache Ensemble. To comment on Paul’s music, we’ve asked a former student of his in Philadelphia, Dustin Hurt to join us as we relive Paul’s music and life.

Episode Nineteen of the Relache Chronicles is the third of three dedicated to Music in Motion, a project created by the Relache Organization in partnership with the Atlantic Center for the Arts. Between 1995 and 2001 the Relache Ensemble and four other ensembles, each dedicated to the creation and performance of contemporary music, collaborated with five presenting organizations in five cities throughout the U.S. The intent was to collaborate with composers to create new works while interacting with a potential audience as the work was in development. An overarching goal was to enhance the audience for new musical works while expanding the repertoire of each ensemble. Phase One comprised the first three years. Phase Two comprised the second two years and introduced an interactive computer program named "The Virtual Concert," which was developed by composer-educator Mark Weber. In this episode Mark will discuss his role in the development of The Virtual Concert and the tools he created to compose a work for the Relache Ensemble while sharing those tools with the audience, both in person and virtually. Two works of Mark's will be played, "Disconnect IV," and "Asphalt Grooves."

Episode Eighteen is a continuation of Music in Motion, a project created by the Relache Organization in partnership with the Atlantic Center for the Arts. Between 1995 and 2001 the Relache Ensemble and four other ensembles, each dedicated to the creation and performance of contemporary music, collaborated with five presenting organizations in five cities throughout the U.S. The intent was to collaborate with composers to create new works while interacting with a potential audience as the work was in development. An overarching goal was to enhance the audience for new musical works while expanding the repertoire of each ensemble. Phase One comprised the first three years. Phase Two comprised the second two years and introduced an interactive computer program named The Virtual Concert. A total of thirty composers participated in the project. One of those was Mary Ellen Childs whose work “Parterre” was written for the Relache Ensemble. It is the featured work on Episode Eighteen. Episode Nineteen of the Relache Chronicles will feature music and commentary by Mark Weber.

Episode Seventeen – Music in Motion & Arturo Marquez

Music in Motion was a project created by the Relache Organization in partnership with the Atlantic Center for the Arts. Between 1995 and 2001 the Relache Ensemble and four other ensembles, each dedicated to the creation and performance of contemporary music, collaborated with five presenting organizations in five cities throughout the U.S. The intent was to collaborate with composers to create new works while interacting with a potential audience as the work was in development. An overarching goal was to enhance the audience for new musical works while expanding the repertoire of each ensemble. Phase One comprised the first three years. Phase Two comprised the second two years and introduced an interactive computer program named The Virtual Concert. A total of thirty composers participated in the project. One of those was Mexican composer, Arturo Marquez. In collaboration with the Relache Ensemble while in residence at Arizona State University West in Phoenix he created a work titled “Octeto Malandro.” Episodes Eighteen and Nineteen will feature other musical works from Music in Motion.

Lois V Vierk is a unique voice in the recent history of music in America. She has composed stunning works for multiples of the same instrument that are technically complex and yield a mesmerizing aural experience. Among these is “Manhattan Cascade” for accordions, composed, recorded and performed widely by Guy Klucevsek, former Relache Ensemble member, composer and pioneering accordionist. (You can hear Guy’s music on Episode Four of The Relache Chronicles.) This episode of The Relache Chronicles features a work Lois composed for the Relache Ensemble in 1992 titled “Timberline.” Lois and members of the Relache Ensemble are in perfect synch with one another. Prior to the recording of “Timberline” is a conversation with Lois, Laurel Wyckoff, Joe Kasinskas and Joseph Franklin to discuss her influences and some of the events that led to her creating “Timberline.”

Episode Fifteen – Robert Ashley

“Since he began composing and performing in the late 1950s, Robert Ashley has created a wholly original body of work. Continuously productive, his oeuvre encompasses nearly all versions of music and music/sound performance from instrumental and electronic compositions to film music and music videos to multi sectioned, intermediated staged operas. Ashley has also written essays and scores, and published books as well as dozens of audio and video recordings.” This from the opening paragraph of an article written by Arthur Sabatini for Performing Arts Journal in 2005, reveals a snapshot view of Robert Ashley’s profoundly creative life.

Throughout the history of experimental music – especially in the United States - there have been many extraordinary artists whose lives interacted with one another in dynamic ways. From John Cage to Morton Feldman; from Philip Glass to Terry Riley; from Robert Ashley to Alvin Lucier…all shared a unique perspective on music, sound, and performance throughout the 20th and 21st centuries. Episode Fifteen of The Relache Chronicles features the work of one of the most fascinating artists from the fascinating genre known as “New Music,” Robert Ashley. Better known for his theater works, operas, if you will, we at The Relache Chronicles will focus on two works that define Bob’s exploratory interests: sound production and technology and instrumental/timbral contrasts within the context of performance. Specifically, we’ll hear excerpts from “The Wolfman,” created in 1964, and a complete recording of “Outcome Inevitable,” composed for the Relache Ensemble in 1992.