a plea to Partch disciples

Many folks have shown their heads recently, describing themselves as
"Partch experts" as far as having played in his ensembles etc. Why is it
that whenever I have a question about his instruments, nobody responds to
my queries?

Here is my newest question: in Intrusion 3 (The Rose), Adapted Guitar II
has ratios *only above* the tablature to mark stopping by the sliding
bar. In the next Intrusion (The Crane), ratios are found above, plus
parenthetical ratios are below the notes. I am especially having trouble
figuring out which octave is being used, as he was lax in "boxing" the
ratios to represent the upper 2/1.

Can someone who has played the Adapted Guitar II answer these questions?

Adam
asilverm@email.ir.miami.edu

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Contrary to Mr. Szanto's assertions, I neither ignored nor
miscomprehended Mr. Partch's oeuvre. Once again, the use of the
synthesizer for the Chromelodion was discussed as acceptable by Danlee
Mitchell over the phone - the only possible substituion allowable. Mr.
Drummond's hoarding of the instruments is not related at all to this useage.

Additionally, the AFMM uses its own Kithara built at a cost of $1,000 by
Skip La Plante, and uses an guitar "better" than Partch could hope for,
as is its player. Dean's regular performance of 2 Studies on Ancient
Greek Scales for zoomoozophone and flute, and its recording on CD -
contrary to Danlee and company - belies the fury that keeps Partch under
wraps, unless it is by the blessed few who worked with Partch directly.

Non-corporeal performances by Mr. Mitchell at Lincoln Center flies in the
face of further criticisms. And the value of the synthesizer (which was
unavailable to Partch) in performing "all the notes written" by the
composer for his music adds an improved dimension - if only the music was
listened to, rather than talked about.

McLaren was incorrect in stating that Dean Drummond has refused lending
or renting the AFMM instruments for any "stated" reason, as I previously
posted. When I called him to repair an adapted viola, he refused. When
I reminded him that I had recommended he make a new surrogate kithara and
chromolodeon due to their inferior sound quality (using a $50,000 grant
for that purpose) he did just that, using Mr. Hackelman at my
recommendation. 3 years afterwards Mr. Drummond claims to have forgotten
his asking for said reccomendation.

The sentimentality for Partch's mortality undercuts his role as a
composer in this country. Mr. Szanto - a fantastic bass marimba player -
should have been involved with east coast performances, he was missed.
At this time there is a monopoly on his instruments as a result of
territoriality and protectionism. It should not be too surprising - had
the same problem with the Charles Ives Society. That one worked through
a bit better, thankfully.

Danlee Mitchell does not believe that Partch's music holds up without the
exact instruments formerly in his possession being used. He wrote me on
March 7, 1987, effectively derailing my planned productin of King Oedipus,
"I do not recall saying that I approved of Dean performing this work (2
Studies on Ancient Greek Scales) on flute and zoomooxophone(sp), and if I
did I take it back. It should be performed on HC and BM--nothing else!"
Several years later, and with original instruments in Dean's possession,
it was released on Mode Records. Sorry, Jon, no dice.

Johnny Reinhard
Director
American Festival of Microtonal Music
318 East 70th Street, Suite 5FW
New York, New York 10021 USA
(212)517-3550/fax (212) 517-5495
reinhard@styx.ios.com


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