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.

Episode Twenty One – Kyle Gann

For those of us who were participants in and/or avid listeners to “new” and “experimental” music in the mid-to-late 20th century, Kyle Gann’s name is resonant with the history of the musical arts during those extraordinary years. He is a writer, educator and composer. As a columnist/critic for the Village Voice he documented the work of musical artists in New York City who were part of what became known as “Downtown Music.” He has written seven books and many articles on the music of composers and 20th century styles. As an educator he has been on the faculties at Bucknell University and Bard College. As a composer he has created a large body of work for ensembles, soloists and orchestral/chamber orchestras. In this episode we will discuss and listen to two of those works written or adapted for the Relache Ensemble. “Hesapa Ki Lakhota Ki Thawapi” is bases on a Lakhota flag song for flute, soprano saxophone, synthesizer and percussion. It was recorded in 1997 on Monroe Street Music. Movements 1 “Sun” and 2 “Venus” from “The Planets,” was written for the Relache Ensemble between 1994 and 2008. It was recorded in 2010 on the Meyer Media label. For more information about Kyle Gann, visit his website at http://www.kylegann.com. For more information on the Relache Chronicles, log on at http://www.relachechronicles.org.

Paul Epstein’s music is deceptive. What appear to be beautiful melodies set within easy-to-recognize harmonies that cradle traditional tonal centers demand careful listening. Those melodies and harmonies are tricky. They slip in and out of an aural context that’s been carefully designed by an artist who has carefully studied the music from Machaut to Stravinsky to Reich. As Kyle Gann has so beautifully written, “The music sounds simple, but actually it’s very intricate and tremendously inventive within small confines.”This episode features two works of Paul’s that were composed for the members of the Relache Ensemble. Paul was a close associate and friend of Relache for many years having composed ten works for the group and its members. We’ll feature two of those works, “Moving Voices” for two singers and flute and “Chamber Music: 3 Songs from Home” for singer Barbara Noska and the Relache Ensemble. To comment on Paul’s music, we’ve asked a former student of his in Philadelphia, Dustin Hurt to join us as we relive Paul’s music and life.

Episode Nineteen of the Relache Chronicles is the third of three dedicated to Music in Motion, a project created by the Relache Organization in partnership with the Atlantic Center for the Arts. Between 1995 and 2001 the Relache Ensemble and four other ensembles, each dedicated to the creation and performance of contemporary music, collaborated with five presenting organizations in five cities throughout the U.S. The intent was to collaborate with composers to create new works while interacting with a potential audience as the work was in development. An overarching goal was to enhance the audience for new musical works while expanding the repertoire of each ensemble. Phase One comprised the first three years. Phase Two comprised the second two years and introduced an interactive computer program named "The Virtual Concert," which was developed by composer-educator Mark Weber. In this episode Mark will discuss his role in the development of The Virtual Concert and the tools he created to compose a work for the Relache Ensemble while sharing those tools with the audience, both in person and virtually. Two works of Mark's will be played, "Disconnect IV," and "Asphalt Grooves."