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Chamber Collaborations Compositions Concert Family Percussion Performers Personal Piano Postclassical

Livestream and Programme for “The Music of Bruce A. Russell”

Here is the link for tonight’s first-ever concert of my music by The Array Ensemble. Viewing is free or by optional donation. You may be asked to create a free account in order to access the livestream. Please consider donating to Arraymusic as they are a historic and vital part of Toronto’s new music scene, and an important venue for providing access to underrepresented artist communities.

Programme and Notes

Companion, for two pianos (2019) 12′
Stephen Clarke, Wesley Shen; pianos


Children’s Suite, nine pieces for piano (2007-2014) 30′
Stephen Clarke, piano


aix, for two pianos (2004) 2′
Stephen Clarke, Wesley Shen; pianos


limina, for two pianos and percussion (1996) 5′
Stephen Clarke, Wesley Shen; pianos
Rick Sacks, percussion

Companion was composed through late 2018 and early 2019, while the first pencil sketches date to 2011. It is dedicated to my two youngest children. All of the material derives from seven-note rows: orderings of the pitches of the diatonic scale. The harmony resembles traditional tonality heard through a pandiatonic filter. There are four sections, divided by key signature: F major, A-flat major, B major and D major.

Each section is constructed from one or two unique, quasi-symmetrical rows that proceed most often by the interval of a fourth or fifth. Each row is layered against itself in a homorhythmic canon of up to six voices, often accompanied by high and low pedals tones that present an additional canon in augmentation. Almost every chord in Companion is the result of a basic serial process, one exception being the transition between the third and fourth sections, which features chords built from nested fifths. Ultimately, such chords result from the canons as well.

The final chord is arrived at through symmetrical voice leading from the penultimate chord and is also the initial row spelled vertically from bottom to top. Form at the local and vertical levels is highly rationalized, while global and horizontal form—rhythmic structure and phrasing—is loosely associative.

Children’s Suite (2007-2014) is a cycle of 3 three-movement pieces for piano which I composed for my children in the respective years of their births. All nine movements are written in diatonic C major/A minor. The cycle opens and closes with fast movements; otherwise, the music is in a slow to moderate tempo. All the pieces employ steady rhythmic motion, sometimes in triple or quadruple metre and sometimes in patterns of five, seven or nine beats. While there is a limited amount of complexity and abstraction in the tonal and rhythmic details, forms and structures are for the most part simple and pop-song like. 

To varying degrees in each piece, I take inspiration from Bach’s Prelude in C Major, in the idea of a repeating pattern with changing harmonies. Some other ideas recur from one piece to another as well, such as a texture of broken chords which overlap in multi-voice canons (“A New Day,” “Fourths + Fifths,” “Lullaby”); a texture of bassline and suspended chords (“Oh Seven,” the latter sections of “Young Afro Future”); a harmonic structure of six diatonic modes in sequence (“Fourths + Fifths,” “Golden”) and the use of patterns from my kalimba music (the middle section of “Queen Peace,” “Golden,” the second section of “Son’s Light”). 

The texture is often developed from a single line into homophony, with “Moon” being the clearest example. Here, a melodic fragment is harmonized with chord clusters and a descending bassline. The interval of the perfect fifth figures heavily throughout the suite, both melodically and harmonically; especially in “Oh Seven.” The opening section of “Son’s Light” has a traditional circle-of-fifths harmonic structure and includes the most triadic music I’ve composed since my early days writing pop songs.

“Queen Peace” is a simple waltz based on 4 four-note chords in A minor, with the bassline D, G, A, C. The melody flows out of the chords. While most of the suite was composed using a systematic approach, this movement grew more spontaneously from a pop sensibility.

The titles and ordering are as follows:

Remi (2007)
I. Oh Seven
II. Queen Peace
III. A New Day
Kenza (2012)
I. Fourths + Fifths
II. Moon
III. Golden
Tijani (2014)
I. Son’s Light
II. Lullaby
III. Young Afro Future

aix (“waters”), for two pianos, is a short study in rising and falling patterns, with alternating chordal and canonic textures. The primary melodic shape, an ascending seventh followed by a descending second, is heard in several of my piano pieces of the early to mid 2000s, which I later grouped together as a cycle under the title “Kindred Pieces.” The piece is written in diatonic A-flat major, with a harmonic progression on the scale degrees 4-3-2-1-5-6.

limina (1996), was composed as an exploratory diversion between larger projects. The title, “thresholds,” is meant to suggest points of transition or spaces between categories.

There are two sections; the longer and more eventful first is in duple metre and features a pop-like, four-chord progression in A major. The second is in triple metre and A-flat major, with an outro-like quality. The transition between sections introduces more complex harmonies and a percussion break.

All of the music is built around the initial melodic pattern, a loop that descends in fifths and ascends back to its starting point in fourths (a pattern also heard in “Fourth + Fifths”). This line is in fact the opening chord unfolded horizontally, and it becomes the rhythmic motor, layered against itself in canon. The final chord is the same as the opening one, though transposed down a semitone.

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Chamber Compositions Concert Percussion Performers Personal Piano Postclassical Toronto

Arraymusic Presents “The Music of Bruce A. Russell”

In two weeks, on Saturday, November 21st at 8 pm EST, the Array Ensemble will present the first ever live concert dedicated to my music, featuring all world premieres. It will be livestreamed from https://www.arraymusic.ca/brucerussell/ and tickets are by donation (or free). The performers are legends: Stephen Clarke and Wesley Shen on pianos, and Rick Sacks on percussion.

Programme:

Companion, for two pianos (2019)

Children’s Suite, nine pieces for piano (2007-2014)

aix, for two pianos (2004)

limina, for two pianos and percussion (1996)

My sincere gratitude to Artistic Director David Schotzko, the performers and the team at Arraymusic for committing to this. I’m donating my earnings from this event after expenses to these organizations, among others: Black Legal Action Centre (BLAC), Black Lives Matter – Canada, FoodShare Toronto, 1492 Land Back Lane – Legal Fund and to Arraymusic, who have been giving artists across communities a space to create and perform for many years.

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Africa Collaborations Compositions Concert Percussion Performers Postclassical

New Kalimba Canon Video

A little over a week after they gave the live world premiere of Kalimba Canon (1999), Prism Percussion have released a one-take performance video of the piece, recorded earlier in the fall. The performance and acoustics are stunning; the imagery speaks for itself in the moment we’re in.

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Africa Compositions Concert Percussion Performers Postclassical

Kalimba Canon Live

On Friday, October 30th, 2020, Prism Percussion will give the live concert premiere of my Kalimba Canon (1999), in a concert hosted by the Golden Gate Symphony Orchestra and Chorus. The program of percussion duets also includes music by Adrea Venet, Eric Cha-Beach, Alexandra Gardner and Molly Joyce. It can be streamed via this link at Facebook Live. The concert runs from 7:30-8:30 EDT.

Prism Percussion “explores the expressive colors of percussive sounds utilizing non-standard instruments and seeks to champion works by Black, Indigenous, People of Color, Female and Queer composers.”

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Chamber Classical Compositions Concert Performers Personal Postclassical

Emergence: Linea Nigra in Concert

My octet for strings Linea Nigra (2015) will receive its world premiere this Saturday, October 3rd at 7:30 pm MDT, in the release of a prerecorded performance by the San Juan Symphony, conducted by music director Thomas Heuser. It will feature as part of a program entitled “Black Voices and A Ballet for Martha,” which opens the orchestra’s virtual 35th Season. The program also includes Jessie Montgomery‘s Voodoo Dolls (2012) for string quintet, and the suite from Aaron Copland’s Appalachian Spring (2012) in the original scoring for 13 instruments. The concert requires the purchase of digital access in order to view it.

I recorded a conversation with Thomas on September 30th which is viewable for a limited time here. I discuss the origins of Linea Nigra, the compositional techniques it employs, and how it relates to my own cultural story.

The piece will in fact receive a double premiere: a second prerecorded performance, by the Idaho Falls Symphony, will be released in a virtual concert also conducted by Thomas Heuser on Saturday, October 10th at 7:30 pm MDT. This program also includes Jessie Montgomery’s Starburst for string orchestra, Hanna Benn‘s Where Springs Not Fail, and the suite from Copland’s Appalachian Spring. Tickets are available here.

These performances will represent my debut on a symphony orchestra program. While my piece is for a chamber ensemble, the need for a socially distanced performance environment for the concert provided the opportunity for it to be included. The offer came out of the blue less than three months ago, and I am thrilled and humbled.

While I was more or less retired from an active life in music, this blog, my SoundCloud page and the writing I’ve done for I Care If You Listen have kept me just visible enough, it seems. Since June, I’ve been getting a lot of requests from musicians and ensembles looking for a Black composer to actualize their commitments to social equity in their programming. It’s sobering as to when and why this has come about, but I’m taking it as a call to action.

I have donated my earnings thus far from these engagements to Black legal justice causes and the families of the victims of police shootings and SIU incidents in the US and Canada. In several cases, the musicians who purchased my music have made matching donations in their communities; in San Francisco, Louisville and Vancouver, to name a few. It means a lot to me that my music can be part of something more than just art for art’s sake, but whether or not this is all just performative (not referring to musical performance but politically correct virtue signalling) depends on real systemic change happening.

Is this my emergence as a composer, decades late? Time will tell. Watch this space.

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Collaborations Compositions Percussion Performers Postclassical

Kalimba Canon premiere

On July 17, 2020, Second Note Duo (Gabriel Costache and Will Richards) gave the world premiere of Kalimba Canon (1999). It was the final composition presented in their socially distanced, video recital A Day in the Life. Second Note contacted me a little over a month prior to the release date, and things came together quickly including sourcing instruments to play the piece. I am thrilled with the result. Funds were donated to the Black Legal Action Centre.

Two alto kalimbas play identical melodic loops, with the second kalimba echoing several beats behind the first, to create a composite musical line. Minimalism in miniature. Will (kalimba 1) recorded his part at his home in Illinois, while Gabriel (kalimba 2) recorded at his home in Colorado. The mirrored outdoor setting for this sequence in the video—sunsets near water—is a perfect one for the piece.

Composed January 1999
Recorded and premiered July 2020

Photo: team KC reunion, July 2020

Music and composer’s notes copyright Bruce A. Russell 2020

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5 Questions to Anaïs Maviel

My interview for I Care If You Listen.

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Best of 2019

Layale Chaker & Sarafand Inner Rhyme

Flying Lotus Flamagra

Shafiq Husayn The Loop

Kaytranada Bubba

Anne-Sophie Mutter / John Williams Across the Stars

Anderson .Paak Ventura

Caroline Shaw / Attacca Quartet Orange

Solange When I Get Home

James Tenney Changes: 64 Studies for 6 Harps

Dwight Trible Mothership

Honourable mention: Marvin Gaye You’re the Man

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5 Questions Composers I Care If You Listen Interview Media Music Journalism Orchestral Performers Postclassical

5 Questions to Errollyn Wallen

My interview for I Care If You Listen.

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Chamber Composers Concert I Care If You Listen Media Music Journalism Orchestral Percussion Performers Piano Postclassical Review Toronto

21C Music Festival 2019

My review for I Care If You Listen.