Denver loves 19

Haverstick aboard...today I got wonderful news...I won a $1000.00
award from a local arts organization for my 19 tone piece "Jimmy and
Joe"...this says several things to me; first, I totally feel that I'm
on the right track with alternate tunings; 2nd, that people are pretty
openminded here in Denver towards new music; and 3rd, persistance pays
off. This is the 3rd year I entered this contest; of course, the piece
I sent is a fast country breakdown, and rather accessible, even though
it's in another tuning. Then again, who knows what judges think any-
way? I am very grateful I won, and this gives me more optimism for
the future.

On another note, let me say I am astonished by the discussion concerning
whether or not Partch's music should only be performed on his own instru-
ments...what a total non-issue. Who cares about such details? The music
is the issue, not the vehicle...in fact, I think it is very interesting
to hear music for one instrument performed on another...perhaps a new
reading of a piece can bring out things in the music that were not there
before, or lend a totally new perspective to the end result. In fact,
JS Bach did not specify an instrument for his Art of Fugue; so, what
instrument should it be played on? Also, I say the more the merrier...
once a piece is created, and is in the physical world, I feel it is
fair game for any and all interpretations. I myself often have several
versions of my pieces, and it's a hoot to see how they change from one
situation to another. One of my guitar studies wound up as a clarinet
solo, and I dug it...again, who cares?

Also, was I correct in reading a recent post which said only members
of Newband could play Partch's instruments? If this is true, what a
total crock of shit. Can someone explain to me what's going on here,
if indeed this is true? Arrgh...Hstick

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"This thing began with the truth and truth does exist."
Harry Partch (quoted by Jon Szanto)


The truth is Harry Partch promoted corporeality and his heir Danlee
Mitchell performed *Revelation in the Courthouse Park* in Lincoln Center
in total concert form, thereby giving the opposite impression of his mentor.

The truth is that Partch decried recordings for their abstract nature,
while creating the Gate 5 label for his music, an early an successful Indie.'

The truth is that their are many versions of Harry Partch's music where
instruments are exchanged and different music is substituted (e.g. 3
versions of both Barstow and U.S. Highball).

The truth is that every performance of Partch since 1974 has been a
variation. The instruments, some held with rubber bands, have been
updated, replaced, and even improved. Still, Harry's voice is not
recreateable and every performance demonstrates a difference.

The truth is that Newband issued a CD with transcriptions, even as Mr.
Mitchell was railing against all such transcriptions, this one in
particular, while insuring Mr. Drummond complete and absolute control.
If only _Partch Instruments_ are used, and all competition is
marginalized, then monopoly is achieved.

The truth is that their is a morbid qualtiy to Mr. Partch and what might
now be called his Bi-Polar personality. The instruments were treated as
having mortality like humans. The cloud chamber bowls have no calculable
way to be replaced, and the rubber bands examples of holding the
corporeal body of the instrument together.

The truth is there is no other example in any other realm of art that
follows the deamnds that the Mitchell/Szanto canon of Partchian ideology
make...that I can think of.

The truth is I am on a single day off from a residency in upstate New
York and have to get back for another week. I could introduce Harry
Partch to the youngsters, as I have many times before, or I can be
intimidated by Mr. Mitchell's previous admonition to me against lecturing
on Harry Partch as if I was a Partch scholar.

Truth is indeed stranger than fiction.

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@ios.com


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