The Reply, Part One: Whither Harry...

To the learned group, AKA 'tuning list' -

As promised, Part One of my response to Brian McLaren's post in Digest 778, Subject: Authenticity
and Partch recordings. In addition to setting the record straight in terms of *factual* errors,
this will be a jumping off place for ideas on where we go with Partch's works from here on out. I
have debated the structure by which I would reply; the only thing that seems that will work, as a
reply, is to comment in order of Mr. M's objections. I will attempt a summation at the end of the
last post. In the event that any of you fear I am responding to someone who has no email
capability, I will be mailing a copy of the full text to Mr. McLaren myself. Onward...

------------------------------

> In the British Harry Partch Society right now there's a debate raging about just how "authentic"
> recordings of Harry Partch's music should be. That's of some interest to this forum, because
> members of this forum are directly affected.

As I stated in my previous post, *I* am directly affected, as I played with the Harry Partch
Ensemble for 15 years, and Partch was the single greatest musical influence I have had. In
addition, he was a friend of mine, cantankerous as he could be.

> Dean Drummond won't let Johnny Reinhard borrow or rent any of Partch's instruments because
> Johnny used a DX-7 in a recording of Partch's music instead of a chromelodeon. Let me point
> out something, people -- This kind of attitude is going to kill Partch's music dead as a
> steamrollered cockroach. What we need are *more* performances of Partch, not *fewer*
> performances. Dean Drummond and company need to wake up and smell the latte. Johnny Reinhard
> should have access to every instrument Drummond has. [...]
> As long as the pitches are scrupulously retained and Harry's music isn't edited, expanded or
> (ye gods!) translated into 12-TET or some such abomination...Why *not* rearrange Harry's music
> for other instruments? [...] Where's the harm in that, provided the pitches are correct?

First statement: not true, although the use of a DX-7 shows a true misunderstanding of the role
that Harry's instruments play in the performance of his music. If Mr. Reinhard has used a synth
(BTW, I am no stranger to synthesis/sampling, as I use it as part of my profession), then he has
either ignored or simply not comprehended a Partch truism, the first of a few of them that I will
propose:

'The works of Harry Partch are much more than ratios and rhythms; that would be but a small
facet of the entire picture.'

I realize that the largest common interest in this group is the study, use of and furtherance of
alternative tuning systems (alternative to the dread 12-TET); nonetheless, *any* person desiring to
perform Partch's work must surely realize the greater challenge - to present the work with all of
it's music, lyrics, theatrics, movement, and lighting elements, and even the *original
instruments*, in place. Why? Well, how about out of respect for the composer himself? Tough as
it is to swallow, if you are performing Partch's music for any reason other than to *truly* bring
it to the light of day and share it with audiences, you are probably engaging in some form of
self-indulgence. It is, quite simply, a matter of artistic integrity. And if you don't want to
listen to me about appropriate performance practice, here's a direct quote from Harry himself:

"These two ideas -- the idea of a musical instrument, and the idea of music for it -- grew
simultaneously. They always have; there has never been an exception to it. Now, as for the music
itself. It is almost always a dramatic idea. I can't think of more than two, maybe three or four,
small things that I have done as studies; that is to say, a study just to use musical materials.
There is always an idea -- perhaps only a mood -- but usually a dramatic idea."

With his simultaneous (albeit long-in-coming) development of both his compositions and an ensemble
of instruments to perform them on, Partch created a fairly unique niche for himself (as did, to a
certain extent, Mr. Darreg). The Chromelodeon, with it's funky keys, the furious pumping to get
air in the bellows, the knee-swell lever, the way you diminuendo by letting the air out -- yes,
with meticulous programming you could get, probably, close to the same effect. We all know how
good 'close' is. You could not, however, get the music out of it that Partch created *for that
instrument* (bear in mind that Harry could play, to a great degree, all of the parts that he wrote
for his ensemble; incredible...). What you would certainly be missing is the sweating and pumping
meted out by a good Chromelodeonist.

About those *more* and *fewer* performances: those of us who knew Harry could not be happier if
there are more performances of his music -- just so long as they are faithful to the _intent_ of
Partch himself. If they are to be transcriptions or with jury-rigged substitute instrumentations,
then, frankly, they are NOT the music of Harry Partch, but 43-tones-to-the-octave white bread with
Olestra spread on it.

Finally, about the instrumental ensemble itself. It should be obvious, with there being only one
group of instruments that Partch built, that their care, upkeep, transportation and correct playing
techniques be guided by people who know from experience how to deal with them. During the years I
worked and played in the Ensemble, I can tell you that a week didn't go by without some sort of
repair or maintenance was required. Every time we went on the road I sweat bullets that the
packing job we all did would keep them safe during transport; every new member into the group was
carefully taught not to play the Cloud Chamber Bowls with ball-peen hammers , etc. With a group
of instruments such as these, where they would be cared for, and who would care for them, had to be
a crucial decision. Harry only had one set while he was alive, and until someone can make copies
(where at all possible) we have only one set. It must stay with someone who knows what they are
doing with them, for now and for any future that they will have. How many of you out there
actually watched Harry play the Bowls, or one of the Kitharas, or how to replace a light bulb on
the Mazda Marimba? I though so... Let us not forget: these instruments were Harry's private
property, to be left in the hands of the Harry Partch Foundation to ensure their care and
longevity. They are not public artworks to be naively mishandled by well-meaning devotees. No one
has any *right* to these instruments just because they are interested in the music itself. These
matters were dealt with by Harry himself, as HE saw fit. Who better to decide?

------------------------------

Yikes - I've only addressed the first point (albeit a crucial one) so far. I will stop for now and
continue with the "Li Po" settings. To be, as they say, continued...

Yours in melody,
Jon


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