Name: memory or ghost by Kristy Farkas
Duration: 7 min 15 s
Description: Chamber work for open instrumentation performed by Arthur Rowe (pno), Wendell Clanton (sax), Merrie Klazek (tpt), Heidi Worrall (tbn), and Paul Beauchesne (tba) at the University of Victoria, February 3, 2018.

Prepared Banjo - Allison Cameron
Clarinet - Karen Ng

For a Motet

Johannes Ockeghem - Missa mi-mi (~1450-80, arr. 2014 André Cormier)

Quatuor Bozzini (Clemens Merkel, Alissa Cheung, violons; Stéphanie Bozzini, alto; Isabelle Bozzini, violoncelle)

Enregistré en concert le 6 mai, 2015
Caroli församlingshem, Borås, Suède

Johannes Ockeghem - Missa mi-mi 01-Kyrie

Toronto-based musician and producer David Psutka has resuscitated his long dormant Egyptrixx alias – originally part of the legendary Night Slugs crew alongside L-Vis 1990, Bok Bok and Ikonika - and is preparing to drop a new album, How Tidal, on his own Halocline Trance label.  Here, he celebrates the album’s imminent arrival with a selection of faves and exclusives from the Halocline Trance vaults.

In The Mix: Egyptrixx's Halocline Trance mix

Decapod
for alto flute
by Liam Ross Gibson

Performed by Alice St-Onge Ricard 
‪@_zute_de_flute_8127‬ 

Program note:
Decapoda is the order of crustaceans that encompasses crabs, lobsters, crayfish, and shrimp. The piece is inspired by observing the characteristic movements of crabs in tide pools and shallows. These movements can range from furtive, to bellicose, to almost listless, all carried out in a fashion at once comical, horrific, and strangely beautiful.

Decapod

Performed by Ensemble Éclat; March 19th 2024 - Tanna Schulich Hall, Montréal Québec

Charles-Eric Fontane, direction
Alex Huyghebaert, flute
Antonin Cuerrier, clarinet
Paul Çelebi, piano
Jeanne Côté, violin
Audréanne Fillion, cello

Program note:
Along the southwestern shores of the Salish Sea can be found deposits of Cretaceous sandstone that, over the millennia, have eroded into strange and fantastical forms. Perhaps the most striking feature of these shapes is the proliferation of holes ranging in size from large caves and grottos to minute and intricate indentations. These hollows are tangible evidence of the erosive power of water, wind, and time. While not a literal sonic description, Sandstone Lacunae engages with the processes that have shaped this landscape. Here erosion is seen not as an act of destruction, but of creation, carving layer upon layer of similar yet endlessly unique details into the 65 million-year-old rock.

Sandstone Lacunae

composed by Martin Arnold (2025)
performed by Freesound:
Émilie Fortin - trumpet
Wesley Shen - melodica
Martin Arnold - melodica (gating recording)
Aysel Taghi-Zada - violin

Strophe Rocket

a chorale in three sections, realized with glisson synths programmed in PureData.

(score to follow when final exams are over)

soft as glass

6- Postcards-15 Devils

Chamber work for open instrumentation performed by Arthur Rowe (pno), Wendell Clanton (sax), Merrie Klazek (tpt), Heidi Worrall (tbn), and Paul Beauchesne (tba) at the University of Victoria, February 3, 2018.

memory or ghost

Kristy Farkas

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