A response to Mr. Johnny Reinhard

To the Tuning List Patrons -

> Sorry, Jon, no dice.

Johnny has dismissed me out of hand. Allow me, at the risk of wasting precious
bandwidth, a little response; to whit:

> 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 usage.

Yes, he did miscomprehend. Harry Partch would have never allowed his music to be
recreated by anything other than his instruments (what he would call a "...basic
mutilation..."). Something that still amazes me: people want to treat Partch just
like *any* other composer, that he wrote music, with no strings attached. I don't
mean that Partch was better than other composers, but he is an *altogether*
different set of circumstances -- his own ensemble of instruments and his own (at
least, at the time) tuning system, which simultaneously developed along with his
repertoire. And as if that weren't enough for us mortals, all of the corporeal
'baggage' that went along with it. These things ARE inseparable, with the
tiniest of disclaimers (see below). I'd even like Ted Mook and Stephen Kalm to do
the "Li Po" in a dramatic setting...

Oh. Danlee was wrong to have ever agreed (if he did) to the synth. I'll drive over
and slap him this afternoon.

> 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.

I also disagree with Dean using non-Partch instruments for the studies, but here is
that little disclaimer: Harry *excepted* his little studies from the rigor that he
imposed on his 'real' works; please see Partch's "These two ideas..." quote in my
Part One reply. You see, this isn't my idea, it's Harry's. And while I wish Dean
would do them with the real instruments (maybe he does now...), the fact of the
matter is that these are JUST STUDIES, little pieces for Partch's investigation into
tunings. They aren't the masterworks.

> Non-corporeal performances by Mr. Mitchell at Lincoln Center flies in the
> face of further criticisms.

True. I can only think of one other instance where we did a non-corporeal
performance of a piece, that being a concert version of "The Bewitched" in Cologne
in 1981. In both cases, they were extensions of full-scale staged productions of
the work (Bewitched at Berlin New Music Festival, Revelation at American Music
Theatre Festival); the Bewitched being a live-concert broadcast for West German (my,
how times change...) Radio. To single out one or two concerts out of the dozens I
have known about seems, well... But, the point is well taken: do not perform Partch
non-corporeally.

> 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.

Partch's music is not to be simply listened to, but seen, felt and experienced.
Promoting anything less, except in a desire to 'document' a performance, is a
cheapening of the work itself. Go find another composer - there are lot's of them.

> 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.

Wrong. As before, Partch isn't just "a composer in this country". Not better, but
radically different, engendering a completely different set of circumstances, both
when he lived and now. Thanks for the compliment; now, maybe if Ted Mook can get
Yo-Yo Ma, in spite of his "territoriality and protectionism", to release his
Stradivarius cello for Ted's use, we can get a mondo-cool version of "Li Po".
Yo-Yo, that selfish SOB. And it seems the Partch folks aren't the only group Johnny
has had trouble with. Remember, I don't know JR, but have offered to correspond
with him.

> Danlee Mitchell does not believe that Partch's music holds up without the
> exact instruments [J.S. - I concur with Danlee...]
> formerly in his possession being used. He wrote me on
> March 7, 1987, effectively derailing my planned production 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.

Who knows why Dean recorded it that way? Maybe he already had it on tape? Maybe he
likes his Zoomoozophone? Point is, even Dean's use of it weakens the Partch
aesthetic, and I wish he hadn't done it, as I'm sure Danlee does too.

I'll close with a final thought. I am not here to say "You are a good person", "You
are a bad person"; I am offering my thoughts, having performed the literature,
worked with Harry Partch and spent a good deal of my life helping to spread the
amazing World of HP and his creations. It bothers me to see phrases such as

"a guitar "better" than Partch could hope for"
"Drummond's hoarding of the instruments"
"unless it is by the blessed few"
"monopoly on his instruments"
"territoriality and protectionism"

because they lower the debate to the level of bitter feelings and petty jealousies;
if not intended, then certainly in feel. I would suggest that if people feel left
out of the Partch performance circle, they do as many members of the group have done
through the years: travel to where the instruments are and make yourself available
as a player. Unrealistic, an unbearable sacrifice? You betcha - just ask anyone of
those who did just that. And they'll tell you it was a small bit o' effort compared
to the old boy himself, Harry.

"And the best of luck to you."

Jon
--
|--------------------------------------------------|
| Jonathan M. Szanto | Once upon a time |
| Backbeats & Interrupts | There was a little boy |
| jszanto@adnc.com | And he went outside. |
|--------------------------------------------------|


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