DISCOGRAPHY_PORTRAIT DISCS
A Way of Making Ghosts
ELISION (Aaron Cassidy & Manuel Nawri, conductors), Ensemble Musikfabrik (Aaron Cassidy, conductor), JACK Quartet, line upon line
Includes: A way of making ghosts [Self-portrait, 1996 (2020) & Self-Portrait, Three Times, Standing (15.3.1991–20.3.1991) (2019)], String Quartet (2002), A republic of spaces (2019), a/grammatical study for three (quasi-)independent players (2002/2008), The wreck of former boundaries (2015) contrabass solo, The wreck of former boundaries (2016) alto saxophone solo, The wreck of former boundaries (2015) electric lap steel guitar & electronics
Liner notes by Evan Johnson
Supported by the Centre for Research in New Music (CeReNeM), University of Huddersfield, Australia Council for the Arts, and the RISE Fund of the Australian Government
Kairos 0015073KAI, December 2022
The Crutch of Memory
ELISION ensemble
Includes: The Crutch of Memory (2004); Being itself a catastrophe, the diagram must not create a catastrophe (2009); Because they mark the zone where the force is in the process of striking (2008); What then renders these forces visible is a strange smile (2008); I, purples, spat blood, laugh of beautiful lips (2006); Metallic Dust (1999); asphyxia (2000); songs only as sad as their listener (2006)
Liner notes by Evan Johnson
Recorded and produced by Radio Bremen, supported by the Centre for Research in New Music (CeReNeM), University of Huddersfield.
NEOS 11201, January 2012
DISCOGRAPHY_COMPILATION DISCS
Temporality of the Impossible
Dejana Sekulić, violin
Includes: The Crutch of Memory (2004), performed with octave-low violin strings, along with works for solo violin by Clara Iannotta, Rebecca Saunders, Liza Lim, Evan Johnson, Cathy Milliken, and Dario Buccino
HCR26, February 2022
Phantom Images
Includes: I, for example, … (2017), along with works by Katherine Young, Chris Mercer, Sam Pluta, and Charmaine Lee.Â
Produced as part of the CeReNeM Speculations in Sound international research network, in partnership with the Bienen School of Music at Northwestern University and the CHIME Studios at the University of Chicago
HCR17, April 2018
The wreck of former boundaries
Peter Evans and Tristram Williams, trumpet solos. ELISION (Carl Rosman, clarinet; Joshua Hyde, alto saxophone; Benjamin Marks, trombone; Daryl Buckley, electric lap steel guitar; Joan Wright, contrabass)
Part of the 30th Anniversary celebrations of the ELISION Ensemble, supported through a generous grant to the Centre for Research in New Music (CeReNeM) by the University Research Fund at the University of HuddersfieldÂ
Recorded live at the Huddersfield Contemporary Music Festival, November 22, 2016, Huddersfield, UKÂ
HCR13, May 19, 2017
Caerulean
Carl Rosman, clarinet
Includes:Â The wreck of former boundaries (B-flat clarinet).
HCR12, November 2016
EXAUDI_EXPOSURE
EXAUDI / James Weeks, conductor
Includes: Â A painter of figures in rooms (2012)
Supported by Huddersfield University Research Fund and CeReNeM
HCR06, May 2013
New Music 20×12: A painter of figures in rooms
EXAUDI / James Weeks, conductor
Compilation of the 20 works commissioned by the PRSF New Music 20×12 project as part of the London 2012 Cultural Olympiad
Includes:Â A painter of figures in rooms (2012)
Recorded live by BBC Radio 3, Southbank Centre, London, July 2012 Â
Donaueschinger Musiktage 2010
JACK Quartet
Includes: Second String Quartet (2010)
Recorded live, Donaueschinger Musiktage, SWR2, October 2010 Â
NEOS 11114-7, October 2011
transference
ELISION
Includes: Because they mark the zone where the force is in the process of striking (Ben Marks, trombone) and What then renders these forces visible is a strange smile (Tristram Williams, trumpet)
Recorded live, hcmf// November 2009
HCR03, November 2010
transference
ELISION / Manuel Nawri, conductor
 Includes: memento/memorial (Peter Veale, oboe & musette (two versions)); And the scream, Bacon’s scream, is the operation through which the entire body escapes through the mouth (or, Three Studies for Figures at the Base of a Crucifixion)
Recorded at Radio Bremen Sendesaal, supported by the Centre for Research in New Music (CeReNeM), University of Huddersfield
HCR02, November 2010