Finalized Microthon Program and Timings

AMERICAN FESTIVAL OF MICROTONAL MUSIC, Johnny Reinhard, Director & M.C. for
Nov. 11, 2000 at the Quaker Meeting House, 15 Rutherford Place in New York
City from 1:30-9 PM

PROGRAM:
1:25 Don Conreaux in Outdoor Gonging

1:40 Cellist David Eggar's ensemble Four on the Floor featuring Jay
Weissman on bass

1:53 Guitarist Wim Hoogewerf (Paris) performs Ivor Darreg's Preludes
& Neil Haverstick's Mysteries in 19-Tone Equal Temperament

2:17 David Beardsley and Pat Pagano duo in Premiere of Ataraxya

2:24 Daniel Levin plays Joe Maneri's Sharafuddin bin Yaya Maneri il
Mulk on cello in 72

2:35 Conrad Harris plays Giacinto Scelsi's L'âme Ailée for violin solo

2:42 Premiere of Erik Nauman's Refrigeration Segments

2:52 Bass Clarinetist Ron Kozak and Bassist Scott Lee Jazz

3:07 John Negri Blue Guitar Ensemble in 19-Tone Equal (VA)

3:27 Pete Rose introduces Medieval Nights for recorder

3:35 Paul Erlich and Ara Sarkissian play New Works in 22-Tone Equal
Temperament

3:45 Joe Maneri joins soprano Judith Berkson for the New York Premiere
of his KOHTLYN

3:54 Pete Rose plays Cartoon for recorders

4:00 Marc Jones premieres Mostly Electric String Quartet No. 1 for
guitar and computer

4:20 Kyle Gann's performs Do You Know Who I Am?, text based on Sitting
Bull & General Custer

4:29 Aaron Bachelder's Anacoluthons and playing with the Spool Ensemble
(NC) including Coa Schwab, Michael Jackson, & David Eggar

4:43 Anton Rovner's Jonny Spielt Auf for Johnny Reinhard, bassoonist

4:50 American Premiere of Victor Ekimovsky's Balletto (1974) (Moscow )

5:00-6:00 DINNER BREAK

6:00 World Premiere of Lou Harrison's Simfony in Free Style (1955)
conducted by Nathan Fuhr

6:06 Johann Sebastian Bach Chromatic Fantasy & Fugue in D Minor,
Judith Conrad, harpsichord

6:20 Johnny Reinhard's invokes Urartu for bassoon with audience
participation

6:30 Guitarist Wim Hoogewerf performs the World Premiere of Joseph
Pehrson's Just In Time

6:40 World Premiere of Philip Corner's Two Timeless Tone-Scenes for
myriadic ensemble

6:55 World Premiere of Anneliese Weibel's C.I.R.C.A. played by Tom
Goldstein & Paul Hoffmann

7:05 Premiere of Harry Partch's Mendota Night featuring Tom O'Horgan and
Piera Paine

7:30 Greg Evans performs the World Premiere of Johnny Reinhard's Ultra
for horn

7:40 World Premiere of Harry Partch's The Incident at Drake's Bay
(1953)

7:55 American Premiere of Ivan Wyschnegradsky's Procession de la Vie
(1916) followed by Meditation (1918) played by Johnny Reinhard and Joshua
Pierce

8:12 Al Giusto Premiere of Ill-Tempered for harpsichord, featuring
Judith Conrad

8:20 So Inclined Improv Trio featuring Mike Ellis, Joshua Pierce, and
Johnny Reinhard

8:30 Eduardo Sabat-Garibaldi's Dinarra featuring Alejandro Sanchez from
Montevideo, Uruguay and Harris Becker and Jesse Eagle

>6:00 World Premiere of Lou Harrison's Simfony in Free Style (1955)
>conducted by Nathan Fuhr

Is this being done with the original instrumentation of specially bored
flutes and refretted viols?

Bill

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
^ Bill Alves email: alves@hmc.edu ^
^ Harvey Mudd College URL: http://www2.hmc.edu/~alves/ ^
^ 301 E. Twelfth St. (909)607-4170 (office) ^
^ Claremont CA 91711 USA (909)607-7600 (fax) ^
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Lou Harrison wrote "Simfony in Freestyle" in 1955 but it has not received a
live performance. One reason is that Lou could not conceive of a flute being
able to play microtonally with authority. So 2 flutes play on the necessary
notes.

Likewise, Lou didn't have the confidence in string players to hear what
amounts to a polymicrotonality approch to different choices for written notes
based on indicated ratio differences between notes. It seems to me that
there is no added assurance for a string player to place a fret than for a
player to place a finger. One must still "hear" the interval. Lou faxed a
letter that the instrumentation is not what is important for the piece, but
the intervals. Our string players can play more accurately by ear than any
advance measurement would allow for. So we use violin, 2 violas, cello, and
string bass.

Instead of several harps and a tack piano, Patrick Grant has synthesized
these instruments into a single keyboard. Percussion is split between 2
players, and we substitute a French horn for the single note of trombone. In
all there are 10 musicians with Nathan Fuhr conducting.

We had to rewrite all the parts because the score was absolutely unplayable.
And yes, we used my system of cents notation.

Best to Bill and all, Johnny Reinhard