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5 Questions to Bushra El-Turk

My interview for I Care If You Listen.

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Best of 2018

Brandon Coleman Resistance

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Kukuruz Quartet Julius Eastman Piano Interpretations

Kendrick Lamar/Various Artists Black Panther: The Album

Kelly Moran Ultraviolet

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Tierra Whack Whack World

Aretha Franklin The Atlantic Singles Collection 1967-1970

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

5 Questions to Susanna Mälkki (Principal Guest Conductor, LA Phil)

My interview for I Care If You Listen.

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

5 Questions to Sophia Subbayya Vastek (pianist, multidisciplinary artist)

My interview for I Care if You Listen.

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Anniversary Composers Electronic Jazz Lists Orchestral Piano Postclassical R&B Uncategorized

Best of 2017

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Julius Eastman The Zürich Concert (New World)

ÌFÉ IIII+IIII (Discos Ifá)

Kelly Moran Bloodroot (Telegraph Harp)

Sampha Process (Young Turks)

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Music by Linda Catlin Smith, Martin Arnold, Isaiah Ceccarelli, Chiyoko Szlavnics, Marc Sabat Canadian Composer Series (Another Timbre)

Various Artists Spiritual Jazz 7: Islam (Jazzman)

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Anniversary Archive Compositions Electronic Experimental Memoir Piano Postclassical Toronto Uncategorized

1987+30: The Longing

“The Longing” (1987) was my dazed, departing glance at the battleground of adolescence. It was created at the beginning of my studies in electroacoustic composition—my first composition class of any kind—at York University, although not as part of my school work. Even by then, tonality was still a no. Then, as now, I didn’t fit neatly into any one musical box. Enter the DIY cassette: Earthtones, completed over several illicit late night sessions with a mix of school equipment and my own. I had the good fortune of being able to stroll from my dorm room indoors to the studio in the same college. An all-nighter that ended just as my floormates were leaving for their classes allowed for a period of undisturbed rest.

There are four musical lines: a percussive synth phrase on a reel-to-reel tape loop; the same tape loop manipulated and processed, eventually disintegrating in a wash of digital reverb; an improvised synth pad recorded backwards, i.e. the first notes heard were the last played and vice versa; and a piano part which was improvised in response to the retrograde harmonies of the synth.

As with other tracks on Earthtones (“The Longing” being the finale), I composed as I recorded, coasting on the nonrenewable fumes of naïveté. Considering I had taught myself piano and started to play in pop bands only three to four years before, this is a very early snapshot of me self-identifying as a composer.

Recorded November 1987

Four-track cassette, mixed to stereo cassette

Photo: December 25, 1987

Music and composer’s notes copyright Bruce A. Russell 2017

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

5 Questions to Alan Pierson (Artistic Director, Alarm Will Sound)

My interview for I Care if You Listen.

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Archive Compositions Electronic Percussion Piano Postclassical Uncategorized

1996+21: limina

limina, for two pianos and percussion (1996), was created as an exploratory diversion between larger projects. The title, “threshold,” could suggest a point of transition or place between categories, although in retrospect the style and sound of the piece are clear. It is in the same extended musical family as Two Dances for Two Pianos, urfunk etudeMadra and Word from Earth. It ends on the same chord as it began, transposed down a semitone.

Composed and recorded August 1996, Korg 01/WFD
Remixed May 2017

Music and composer’s notes copyright Bruce A. Russell 2017

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Anniversary Archive Compositions Dance Electronic Experimental Memoir Postclassical Theatre Toronto Vocal

1997+20: WhISH

Below are excerpts from the thirty-minute score for WhISH, an interdisciplinary fairy tale performed by Liminal Gryphon Theatre (director Derek Mohamed, choreographer Tracy Renee Stafford). WhISH premiered in February 1997 as part of the Rhubarb! Festival at Buddies in Bad Times in Toronto. The score was also released on cassette.

WhISH was an image and movement based work; there was no text, spoken or otherwise. It was suggested that I write melodic motifs for the characters appearing onstage. The closest I came to this was a set of contrapuntal, rhythmically interchangeable melodic patterns, with a different mode for each character. Quite often only fragments of these patterns are heard.

“Storm” was the accompaniment to an ensemble dance, and is of a piece with my lo-fi, distorted MIDI 90s work. The double-layer canons—one high, one low and also in canon with each other—are also found in my Two Dances for Two Pianos (1996) and string quartet Madra (1999). Here this material is heard in a just intonation tuning.

The time signature is a slow 3/2. There are two kick drum parts; one heartbeat-like, one with low bass notes doubling accents in the canons. The echo/reverb effects and lazy beat are inspired by dub and trip hop.

In “Fight,” the counterpoint reaches a dense, repetitive peak, fuelled by prominent electronic beats and distorted synth wails. The time signature changes between 4/4, 5/4 and 6/4 (3/2).

“Voices,” is the finale music. This is a short, cloudlike piece, scored for workstation and multiple voices overdubbed, and uses the same just intonation tuning as above. It passes through a series of dominant-like harmonies by gradually expanding the register of the voices, while the bassline moves generally by leaps; with a bit of tritone-itis toward the peak. The tuning would ideally involve a properly workshopped, practice-based acoustic ensemble and chorus.

Composed and recorded January 1997
Korg 01/WFD and Yahama cassette 4-track (for “Voices”)

Photo: detail from cassette cover, drawing by Carsten Knox

Music and composer’s notes copyright Bruce A. Russell 2017

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Solange A Seat at the Table (Saint · Columbia)

Esperanza Spalding Emily’s D+Evolution (Concord)

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Wally Badarou Back to Scales To-Night (Barclay · Expansion)

The Emotions Blessed: The Emotions Anthology 1969-1985 (BBR)

Philip Glass The Complete Sony Recordings (Sony)

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