Composer Joe Kasinskas moved to the Philadelphia area when the Relache Ensemble was still in a formative stage of defining itself as a performing entity. Its mission was, of course, performing new music within the experimental music traditions. In those days, the ensemble tossed a wide net, hoping to snare young composers with visions of how to incorporate evolving performative styles and emerging electronic and computer technologies in a compelling manner that would appeal to a new, inquisitive audience. Joe’s timing was impeccable. He envisioned musical works that used analog audio-acoustic systems to enhance, alter and extend the sounds generated by traditional musical instruments. He often used mythological stories as vehicles within which to set his musical creations. That is the focus on this episode of the Relache Chronicles.

Two works will be featured that were incorporated into a musical theater piece titled “Demeter’s Lament.” The first, titled “Vesperal Span” for solo flute features an analog delay technique that produces an aural illusion of sound moving in space. The second work, titled “Flight of Birds” for solo violin uses an analog delay to create an environmental echo suggesting a group of birds talking flight, an illusory image emanating from the violin. Each work was intended to serve as a concert performance piece as well as a part of “Demeter’s Lament.”

Three works by composer and media artist Eve Beglarian titled “Fresh Air,” “Machaut in the Machine Age,” and “The Marriage of Heaven and Hell,” performed by the Relache Ensemble and the MATA Ensemble are featured. Throughout her extensive composing career, Eve has collaborated with numerous performers - poets, theater artists and directors, choreographers, and visual artists – to create works in a variety of media, including her long-term project named Book of Days. Listen as Eve and the podcast team discuss her career and how each of the works performed were created. Duration is 49’30.”

Bertolt Brecht, playwright, director, poet and provocateur, was a dynamic figure throughout his life, whether it be in his native Germany or during his residence in the United States. Best known for collaborating with composer Kurt Weill to create a unique style of music and theater in the early years of the 20th century, Brecht also collaborated with other composers, principally Hanns Eisler with whom he shared a distinct political perspective. Both Brecht and Eisler resided in Los Angeles with other European artists and intellectuals, after fleeing their respective homes prior to and during WWII. During those years in Los Angeles and upon their return to what became East Germany following the war, they collaborated on a collection of songs as Brecht continued to write poetry and plays. Their collaboration is the focus of Episode Twenty-Five.

In the early 1980’s members of the Relache Ensemble – and friends – developed a music theater work that celebrated Brecht and Eisler’s songs and poetry. The title of the piece is “Bertolt Brecht and Song.” Part One of the work features songs by Brecht-Weill sung by Relache’s featured vocalist, Barbara Noska accompanied by the late accordionist-composer, Guy Klucevsek. Part Two features songs by Eisler-Brecht and poetry by Brecht performed by Barbara Noska, actor Christopher Hayes and guitarist Joe Kasinskas. “Bertolt Brecht and Song” premiered at the Yellow Springs Institute in Pennsylvania. This is the performance that is featured on Episode Twenty-Five of The Relache Chronicles.

This is a major work by the pioneering composer, sound artist and activist, Pauline Oliveros. Created in collaboration with dancer-choreographer, Deborah Hay, and the Relache Ensemble while in residence at the Yellow Springs Institute for the Arts and Humanities in Chester Springs, PA, “The Well” has been performed throughout the U.S., Europe, Japan, and South America by Relache and recorded on Hat Hut Records. The podcast team discusses how “The Well” was developed and shaped in collaboration with Pauline and Deborah, with assistance from Guy Klucevsek, who was an original member of the Relache Ensemble. Duration is 34’34.”

Episode No. 2 Joe Kasinskas. One of the more dynamic works in the Relache Ensemble’s extensive catalogue of site-specific performances is titled “Echoes in Palindromes” by composer Joe Kasinskas. Following a carefully scripted graphic score, four performers move throughout a performance space playing notated musical palindromes amidst reverberant echoes, the result of audio-playback procedures while two “microphonists” follow their movements in search of the resonant frequency of the room. Part dance, part ritual, part dream, this work is an intuitive leap toward sonic truth. Duration is 33’10.”

Episode Twenty- Four – IN C by Terry Riley

Of all the musical works that the Relache Ensemble played during its long history none is more memorable than IN C by Terry Riley. Arguably, IN C is one of the most important musical works of the mid-twentieth century. This episode – Episode twenty-four – will explore the impact that IN C had on the artistic evolution of the Relache Ensemble. Throughout, the Relache Chronicles team explained how each of them listened to and was enriched by live performances they heard of IN C by the Relache Ensemble. The recording you will hear is from 1983. Is it a vintage recording of IN C? It’s difficult to tell since there were over thirty performances by Relache throughout its history. But given the time and place of this performance/recording, it served as a turning point of sorts for the Relache Ensemble. We hope the listener agrees.

This episode is devoted to our close friend and collaborator of many years, accordionist-composer, Guy Klucevsek. Guy passed away on May 22nd after a long battle with neuroendocrine cancer. To call Guy a virtuoso accordionist is, of course, accurate. He was a master of the instrument’s potential to express extended lyrical musical lines amidst a rhythmic foundation drawn from folk traditions from throughout the world. And he was one of the most innovative accordion players in the world. As a composer, Guy wrote hundreds of works for solo accordion and accordion ensembles (especially The Accordion Tribe). He also composed for small ensembles (including The Relache Ensemble), music for dance, theater and film. (He was the go-to accordionist for the film composer John Williams.) He recorded and released twenty-three solo CD’s and ensemble recordings and appeared with other composer-performers on many recordings.

On this episode we will talk about Guy from the perspective of five close friends’ music making and social interactions with him. We’ll tell stories - anecdotal and accurate – and, of course, we’ll listen to his music. This episode is but one of many tributes that will be made to a unique artist and wonderful person. He will be missed by all of us. We hope this episode will honor his legacy.

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. Don't forget to check out our website at: www.relachechronicles.org and Mary Ellen Childs' website at: maryellenchilds.com.