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1. KURSK-AN ORATORIO REQUIEM (2011 Live recording)

KURSK-AN ORATORIO REQUIEM (2011 Live recording)

To watch the live premiere performance - go to http://vimeo.com/channels/284823 Live recording of the premiere performance of KURSK:An Oratorio Requiem at the Dame Elisabeth Murdoch Hall, Melbourne Recital Centre on October 22, 2011 for the Melbourne Festival. Music David Chisholm Poetry Anzhelina Polonskaya Conductor Eric Dudley Producer Sarah Greentree Recording Producer Myles Mumford Bass-Baritone Christopher Richardson Soprano Jessica Aszodi 1/4 tone Flugel Horn/B♭ Trumpet Tristram Williams Male Consort Steven Hodgson, Jerzy Kozlowski, Irving Dekterev, Anthony Mackey, Timothy Reynolds, James Payne, Brenton Spiteri, Daniel Todd Arcko Symphonic Project Flute 1/Pic 2 Emma Sholl Flute 2/Pic 1 Andrew Macleod Clarinet/Bass Clarinet Aviva Endean Contrabassoon/Bassoon Brock Imison Wagner Tuba/French Horn Geoff Viking Lierse Trombone John Gluyas Bass Trombone Charles MacInnes Tuba Jonathan Woods Timp and Aux Percussion Timothy Phillips Percussion Arwen Johnston Holographic Singing Bowl Liz Millar Harp Jessica Fotinos Prepared Piano James Rushford Violin 1 Aaron Barnden, Andrea Keeble, Charlotte Ryssenbeek Violin 2 Jessica Bell, Zachary Johnston, Elizabeth Welsh Viola Ceridwen Davies, Phoebe Green, James Munro Cello Caerwen Martin, Judith Hamman, Edwina Cordingly Bass Nic Synot, Chloe Smith Male Consort Preparation Timothy Phillips Russian Language Coach Nicholas Cowall English Translation Andrew Wachtel Répétiteur Kim Bastin Orchestral Assistant Kiya Van der Linden-Kian

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2. Olivier Messiaen is dead and buried (2002)

Olivier Messiaen is dead and buried (2002)

Olivier Messiaen is dead and buried: A Secular Requiem for Organ with soprano. Commissioned by City of Melbourne and premiered in December 2002 on the Grand Organ of the Melbourne Town Hall. Live recording features Calvin Bowman with Miriam Gordon Stewart Text:Yves Bonnefoy Extract from du mouvement et d’immobilité de Douve Reprinted with the permission of the author Translation by the composer Que le verbe s’éteigne Sur cette face de l’être où nous sommes exposés, Sur cette aridité que traverse Le seul vent de finitude. Que celui qui brûlait debout Comme une vigne, Que l’extrême chanteur roule de la crête Illuminant L’immense matière indicible. Que le verbe s’eteigne Dans cette pièce basse où tu me rejoins, Que l’âtre du cri se resserre Sur nos mots rougeoyants. Que le froid par ma mort se lève et prenne un sens. Let the self suffocating word on this side of being where we are lain naked, on this desert crossed by the solitary wind of things finite. Let he who once stood burning like a vine, Let the incomparable singer surf the crest that lights that vast incommunicable theme. Let the self suffocating word in this low room where we are reunited Let the fire of the cry choke on our glowing words. Let the cold of my death rise up and take meaning.

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3. Early study for 3 Harps (2013) for The Bloody Chamber

Early study for 3 Harps (2013) for The Bloody Chamber

Jess Fotinos, Jactina Dennett and Yinuo Mu testing out a small study for three prepared harps which will probably feature in my score for The Bloody Chamber, at The Malthouse in August 2013. http://www.malthousetheatre.com.au/show-listing/the-bloody-chamber/

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4. "Galatea" from The Experiment

Midi-triggered "Frankenstein" guitar finale from The Experiment: A musical monodrama (2015) Galatea Instrument built by Nara Demasson and Benjamin Kolaitis To watch The Experiment go to https://vimeo.com/125866083

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5. Trick (2011)

Trick (2011)

Part of the development in September 2011 of "Parlour Trick: an electromagnetic peepshow" with Aria Co, Latitude 37 and Ashley Smith. This work was written for Latitude 37 as a show piece which they have subsequently performed and is now part of their repertoire of new works for old instruments. For more on Parlour Tricks - check out Aria Co's sound cloud which features the four songs developed at the Melbourne Recital Centre in September , with words by the amazing Elizabeth Campbell. http://soundcloud.com/aria-co/sets/parlour-tricks-development/ But here you can enjoy Latitude 37's Laura Vaughan on Viola da gamba, Julia Fredersdorff on Baroque Violin, and Peter de Jager guest harpsichordist from Aria Co. Photo image by Albert Comper. Recorded by Myles Mumford.

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6. Rung: II

Rung: II

Rung (second movement) for electric guitar, contrabass recorder, violin, double bass and sensor-triggered bells In memoriam Kian Rezwan 2014, revised 2015 Ensemble Vortex (Suisse) Performing at Société de Musique Contemporaine de Lausanne 29/2/2016

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7. Mountain (2006)from BalletLab's ORIGAMI

Mountain  (2006)from BalletLab's ORIGAMI

Mountain, performed by Silo String Quartert, from Balletlab's 2006 creation ORIGAMI, by Phillip Adams. Image by Jeff Busby.

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8. Seven Little Miracles (2008)

Seven Little Miracles (2008)

International Contemporary Ensemble (ICE) conducted by Eric Dudley. Recorded at EMPAC, NY by Myles Mumford in December 2008 as a source work for BalletLab's "MIRACLE".

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9. Golden Fur (2010)

Golden Fur (2010)

Commissioned by the amazing Melbourne Trio Golden Fur with funds from Arts Victoria, this eponymous piece features Judith Hamman on Cello, Samuel Dunscombe on Clarinet and James Rushford on Electronic Harmonium. Live recording at the Salon, Melboure Recital Centre in late November 2010.

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10. Pierre Boulez a la discothèque (2001 revised 2009)

Pierre Boulez a la discothèque (2001 revised 2009)

Live recording of creation by Swedish Radio Symphony Orchestra, conducted by B Tommy Andersson, at the ISCM World New Music Days Festival, 2009. Originally written in 2001, but revised for it's 2009 premiere at the ISCM this collides 70's french avant-garde gestures with formal and structural conceits of house music.

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11. Harp Guitar Double Concerto (2016) Live Recording

Harp Guitar Double Concerto (2016) Live Recording

HARP GUITAR DOUBLE CONCERTO (2016) David CHISHOLM Jessica FOTINOS, Harp Mauricio CARRASCO, Guitar Maxime PASCAL, Conductor ARGONAUT ENSEMBLE Aaron BARNDEN, Violin Alister BARKER, Cello Madi CHWASTA, Percussion Natasha CONRAU, Violin Rohan DASIKA, Double Bass Melissa DOECKE, Piccolo | Flute | Bass Flute Sam DUNSCOMBE, Clarinet | Bass Clarinet Aviva ENDEAN, Clarinet | Contrabass Clarinet Laila ENGLE, Piccolo | Flute | Alto Flute Phoebe GREEN, Viola Judith HAMANN, Cello Jonathan HEILBRON, Double Bass Sef HERMANS, Trumpet Brock IMISON, Contrabassoon Zachary JOHNSTON, Violin Jasper LY, Oboe Charles MACINNES, Trombone | Bass Trombone Benjamin OPIE, Oboe Roman PONOMARIOV, Horn Leigh RAYMOND, Violin Christian READ, Viola Louisa TREWARTHA, Trumpet Erkki VELTHEIM, Concertmaster James WANNAN, Viola Elizabeth WELSH, Violin Paul ZABROWARNY, Cello World premiere performance recorded by Jem SAVAGE at Ulumbarra Theatre, Bendigo on 2 September, 2016 at the Bendigo International Festival of Exploratory Music Mixed by Myles MUMFORD Argonaut was supported by the Australian Government through Australia Council for the Arts, Victorian Government through Creative Victoria, the Sidney Myer Fund and the Robert Salzer Foundation. Maxime Pascal’s appearance at 2016 BIFEM was supported by Joan and Barry Miskin with international travel support from Institut français

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12. Luminal: A Lullaby Requiem (2008)

Luminal: A Lullaby Requiem (2008)

Luminal: A Lullaby Requiem was commissioned by Julian Burnside in 2008 for Silo String Quartet, who for this Myles Mumford recording were Aaron Barnden (Violin), Andrea Keeble (Violin), Ceridwen Davies (Viola) and Caerwen Martin (Cello).Caerwen, Silo's founder, specifically wanted me to respond to Robert Jay Lifton’s study The Nazi Doctors: Medical Killing and the Psychology of Genocide. In late 1930’s Germany, borne out of the concept of Lebensunwertes Leben (life unworthy of life), a form of institutional murder masqueraded behind a revisionist-Darwinian idea of racial purity. Luminal was a sedative repeatedly and secretively administered to children marked for the “Euthanasia” program in order to induce “continuous sleep”, coma and ultimately death, as was the practice. I had for a long time been fascinated with the death of the Goebbels children, through sedative, then poison, at their mother’s hand. I remain intrigued by them as culturally ambivalent figures, unsure still how to read them. They cannot be fully claimed as victims of the Nazi regime since the suffering of so many others privileged their entire life, nor, as children, can one view them as culpable. They are stuck then, as tragic interstitial cultural icons, broadly perceived as beyond memorial. With so little known of them, save for their life given, and life taken, they are in many ways an inversion of the Lebensunwertes Leben principle: Life it seems, to their parents Magda and Joseph, was unworthy of them. There are some clear nods to the Second Viennese School (so loathed by Hitler) in the musical language of Luminal. I felt it important to give the work an aesthetic historiography, as if the Webern Bagatelles, or Verklärte Nacht were playing on gramophone in the other room, while the sedated, wandering mind tries to break through to some point of conscious resistance. This is less of a programmatic instruction, merely a point of reference. Part Medea, part Kindertotenlieder, Luminal is loosely conceived as a lullaby requiem for Helga, Hildegard, Helmut, Holdine, Hedwig and Heidrun and naturally all the other children whose lives were mangled or extinguished by the broader parent – the State – not just then and there, but still and sadly, here. Knowing the extraordinary humanitarian work Julian Burnside QC continues to do, let alone the fact that this composition exists purely because of his commission, the work is appropriately inscribed and dedicated to him with deep gratitude.

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13. Jonestown Threnody (2008)

Jonestown Threnody (2008)

International Contemporary Ensemble (ICE) conducted by Eric Dudley. Recorded by Myles Mumford in November 2008 at EMPAC, NY as a source work for BalletLab's "MIRACLE".

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14. la seule rose (2007)

la seule rose (2007)

la seule rose, from my 2007 song cycle The beginning and the end of the snow, a setting of the poetry cycle by Yves Bonnefoy. The most extraordinarily graceful and ethereal man I ever met. A collaborator who believed in me when few did. RIP Yves Miriam Gordon-Stewart, Soprano Ceridwen Davies, Viola Peter Dumsday, Piano/Harpsichord/Celesta Alice Giles, Harp Richard Haynes, Clarinets Caerwen Martin, Cello Timothy Phillips, Conductor Recorded Mixed and Mastered by Myles Mumford

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15. Rung: I

Rung: I

Rung(first movement) for electric guitar, contrabass recorder, violin, double bass and sensor-triggered bells In memoriam Kian Rezwan 2014, revised 2015 Ensemble Vortex (Suisse) Performing at Société de Musique Contemporaine de Lausanne 29/2/2016

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16. Persephone's Song/Song of the Underworld (2011) from Parlour Tricks

Persephone's Song/Song of the Underworld  (2011) from Parlour Tricks

Jessica Aszodi (Soprano), Peter de Jager (Harpsichord) and Ashley Smith (Bass Clarinet. Words: Elizabeth Campbell Music: David Chisholm Preliminary development in Melbourne Recital Centre Salon, September 29, 2011. Recorded Mixed and Mastered by Myles Mumford.

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17. Axeman Lullaby (2008)

Axeman Lullaby (2008)

Three movement suite for Violin and Piano, adapted from the Green Room Award winning score for BalletLab's "Axeman Lullaby". Performed by Aaron Barnden, Violin and Peter Dumsday, Piano. Recorded by Myles Mumford at 3MBSFM in September 2008. http://www.balletlab.com/works/past/axeman-lullaby Photo: Jeff Busby

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18. The dying widow (2009)from SPAM: the Musical

The dying widow (2009)from SPAM: the Musical

Featuring the improvised soprano voice of Ms. Jessica Aszodi, this plunderphonic homage to John Oswald, is part of Berlin artist Boris Eldagsen's project SPAM:The musical and has, just like the text from whence it is sourced, gone viral. Following its Edinburgh Festival debut in 2009 it has appeared in over 60 festivals including the internet pavilion of the 2011 Venice Biennale. http://www.spamthemusical.com/

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19. the muster book of the dynamical systems collective (2004)

the muster book of the dynamical systems collective (2004)

Live premiere by Tasmanian Symphony Orchestra conducted by Kenneth Young in Federation Hall, Hobart, December 2004 as part of Australian Composer's Orchestral Forum. Set of five orchestral miniatures - portraits of four early 80's chaos physicists and their computer.

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20. Interlude # 1 from "The Experiment" (2011/15)

Interlude # 1 from

Preview recording of Interlude #1 from the 2015 musical monodrama "The Experiment" based on Mark Ravenhill's monologue and adapted for stage by Matthew Gingold, Emmanuel Bernardoux, Jude Anderson and David Chisholm, for guitarist Mauricio Carrasco. Recorded live in concert La Rochelle, December 2010, with live diffusion electronics by the composer. See also http://www.youtube.com/watch?v=5Np3dg4pOYM

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