what holds them together (2020), for portative organ. Performed by Ryszard Lubieniecki (https://soundcloud.com/ryszard-lubieniecki).

what holds them together

follow the well-worn path in the grass, for flute, clarinet, violin, viola, cello, and piano (2021)

Performed by the Explore Ensemble at the City Summer Sounds festival. Performance Space, City, University of London, 09.06.2021.

Explore Ensemble
https://soundcloud.com/explore-ensemble
http://explore-ensemble.com/

Edited by Jonathan Higgins
https://jphiggins.co.uk/

follow the well-worn path in the grass

Cartography #11, for solo piano (2018)

Performed by Ben Smith (@bensmithkeys1991).
Recorded at the Performance Space at City, University of London (12.12.2021).

Cartography #11

BUY IT ON BANDCAMP AS FUCK/ SUPPORT YOUR TRANS PRODUCERS!!
@deftones_official love u so fucking much...

Deftones - Change (Reggeton Edit)

These recordings were made with deep respect in the country of the Ngarrindjeri peoples.

With respect, with sadness, with hope. Everything here has changed; except for the sound of the ocean. Where the waters meet, is where the sounds merge. The sound of the ocean, permeating all, remains the same.

Unprocessed excerpts from original recordings. (Listening with good quality headphones - preferably open-backed - with a flat frequency response is recommended.)

An Afterword: I am deeply pleased and honoured that the original recordings from which this piece was composed have found a perfect home in Megan Spencer's important and heartfelt podcast, 'Bringing His Spirit Home: Private Arthur Thomas Walker, Ngarrindjeri ANZAC', as immersive field recordings made in, and expressing the natural spirit of, Arthur Thomas Walker's home country. This educational podcast is one of four produced by Megan, commissioned by the Virtual War Memorial Australia, and can be heard here: https://vwma.org.au/education/bringing-his-spirit-home-private-arthur-thomas-walker-ngarrindjeri-anzac.

Some of my earlier Kurangk/Coorong recordings have also been happily woven into Megan's related podcast, 'Walking in Two Worlds: The WW1 Story of Ngarrindjeri ANZACs Cryril & Rufus Rigney', which can be heard here: https://vwma.org.au/education/podcast--walking-in-two-worlds--the-ww1-story-of-ngarrindjeri-anzacs-cyril-rufus-rigney.

@Bandcamp

2022.10.09 From the Mouth of Murrundi to Goolwa Beach. Kumerangk, Kurangk. Night to Dawn. Spring.

In August 1999, while I was co-hosting Radio Music Gallery, I was fortunate to have composer Ann Southam (1937-2010) as a guest. It was optional content for the show, unrelated to promoting the concert calendar at The Music Gallery, but more than relevant to the focus of the organization in those years. Early on a Friday morning, she ascended the stairs to the attic studio in the old 91 St. George St. location of CIUT, introduced tracks from recent CD releases of her work, and answered a few questions.

More here: https://elmahboob.com/2024/01/27/ann-southam-interview-fragment/

Technical note: I've posted the digitized audio of the cassette without any editing or cleanup. Two recordings of her music can be heard briefly (15-20 seconds each).

— Bruce A. Russell

Ann Southam Interview Fragment

Areknuteknyterne Untitled (1986, Yecch Tapes)

flex XVI (bend)

Swipe From My Garden (feat. MIKE)

Part I of III
Piece for two improvising electronics

Performed by Dylan Burchett & Nathan Corder
Recorded May 8, 2018 @ Center for Contemporary Music

Nocturnes: I. Nuages (version 1)

Recorded at The Music Gallery, 179 Richmond Street West, Toronto
May 3, 2000
Paul Hodge, audio engineer
The transcript of this interview is available here: https://elmahboob.com/2020/12/31/interview-with-james-tenney/

The interview was the result of my wish to have a final conversation with Tenney before he and his family left Toronto for California, where he was to resume teaching at the California Institute of the Arts (CalArts) after an absence of some 25 years. It was aired shortly after recording on the program Radio Music Gallery on CIUT (which I hosted from 1997-2000) and aired again by the late Ron Gaskin on the same program in 2006, after Tenney’s passing. The interview is in places somewhat informal or presumptuous on my part. That said, it also reflects the warm relationship I had developed with my teacher over the years. By that time I was quite well informed about his work and was a big fan. The present audio includes the entire conversation, with some pauses edited out.

— Bruce A. Russell

Interview with James Tenney

-Composer of works for electronics, objects, and arrays of people.

flex XVI (bend)

Nathan Corder

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