microthon reports?

the bugaboo of "gainful employment" prevented me from participating or even
attending this years microthon, so I'm waiting for some reports of how it
went, who was there, gossip, etc. I'm sure i'm not the only one who's
curious, so indulge me (us)!

Dante

I was most impressed by Conrad Harris's performance of Scelsi's _L'âme
Ailée_ for solo violin. This was a moving exploration of small just
intervals, and I mean just! The performance was inhumanly accurate, yet
emotionally powerful.

--- In tuning@egroups.com, "Paul H. Erlich" <PERLICH@A...> wrote:
> I was most impressed by Conrad Harris's performance of Scelsi's
_L'âme
> Ailée_ for solo violin.

I missed that. Damn. I don't remember whether I was at that moment
attempting to tune a harpsichord that arrived 1hr 40 min. late in a
gymnasium while kids played soccer around me, cajoling the janitor to
let me move it somewhere else, screaming at the janitor to let me
move it somewhere else, or perhaps The harpsichord had already been
moved to a relatively quite stairwell where I merely was tearing my
hair out trying to make it playable; but unfortunately, despite
being, in one sense, there, I missed a good deal of the microthon.
For me, of what I heard, mostly in the second half, the performances
on the various sorts of microfretted guitars were a revelation, both
the magnificent playing of Wim Hoogenwerf and the somewhat
uncomfortable playing on Eduardo Sabat-Garibaldi's Dinarras of
standards by Cole Porter and Antonio Carlos Jobim which showed the
practicalitites in daily musical life of microtuning (that's not
quite what I ment to say, but hey, I spent the weekend in NYC
breathing poisoned air, what can you expect...). Another highlight
was Vishnegradski's meditation, 1918, played by Johnny Reinhardt and
Joshua Pierce.

Judy

One other point, which I should perhaps censor, but heck, it's a forum.

At the microthon, there was a certain lack of cooperation and courtesy
among the performers which was unfortunate. People trying their
instruments in the lobby while performances were audibly going on in the
hall, people fussing with instruments on stage that they were going to
play later while other people were centering themselves to perform. The
times when sound checks were supposed to be happening were mass chaos with
nobody really getting to do a check because everybody else was milling
around trying to check their own sound at the same time, or just nervously
playing bits of things for not reason at all, or in the case of a couple
of groups, actually holding rehearsals. Lots of people sitting around in
the hall having conversations during sound check time who should have been
asked to talk outside. It didn't really surprise me, I have played in
public high schools, for instance, quite a bit; but for an event at this
level, the management should have been, well, more assertive.

Judith Conrad, Clavichord Player (jconrad@tiac.net)
Music Minister, Calvary Baptist Church, Providence, RI
Director of Fall River Fipple Fluters
Piano and Harpsichord Tuner-Technician

Hello all,

While it is not for me to say too much about the Microthon, I am leaving for
Germany on Wednesday for research on Werckmeister and Bach and won't be back
until the end of November. If I am lucky, I'll be able to post from Europe.

Judith Conrad's comments were a disapointment and I do not share them. Her
harpsichord did not arrive on time and that has nothing to do with anything
else, except to shake her from her center. For that, we are all saddened.
All manner of special arrangements were made for the harpsichord. I am sorry
that it was too much for her or anyone else since it was a marathon and there
was little time for checks. I did not hear the noise from outside either.

Perhaps people were less confrontational than some would prefer in squelching
noise factors (there were kids playing baseball right outside the space which
certainly irritated me), but we were at the Quaker Meeting House after all.

Best, Johnny Reinhard

Well
it was a creaky old building but i will have to disagrre with Judith
there was NO backstage to tune preset etc...
Johnny, Patrick and David Beardsley (who supplied the mixer for the sound)
all did fabulous jobs~
Our performance did suffer because of hurried sound (to no fault of Patrick
Grant)
It seems at one point there was a need to disconnect the power from one side
and it put on the other
which caused
our digital delays to click into sleep mode (uuugh) so David & I performed
sans echos
but in a improvisatory ambient minimal collective them is the breaks

i had a wonderful time and have video of almost the entire morning
proceedings
Hstick email me privately as i have gorgeous video of your piece being
performed
cheers

Pat Pagano, Director
South East Just Intonation Society
http://indians.australians.com/meherbaba/
http://www.screwmusicforever.com/SHREESWIFT/
----- Original Message -----
From: <Afmmjr@aol.com>
To: <tuning@egroups.com>
Sent: Monday, November 13, 2000 3:06 PM
Subject: Re: [tuning] Re: microthon reports?

> Hello all,
>
> While it is not for me to say too much about the Microthon, I am leaving
for
> Germany on Wednesday for research on Werckmeister and Bach and won't be
back
> until the end of November. If I am lucky, I'll be able to post from
Europe.
>
> Judith Conrad's comments were a disapointment and I do not share them.
Her
> harpsichord did not arrive on time and that has nothing to do with
anything
> else, except to shake her from her center. For that, we are all saddened.
> All manner of special arrangements were made for the harpsichord. I am
sorry
> that it was too much for her or anyone else since it was a marathon and
there
> was little time for checks. I did not hear the noise from outside either.
>
> Perhaps people were less confrontational than some would prefer in
squelching
> noise factors (there were kids playing baseball right outside the space
which
> certainly irritated me), but we were at the Quaker Meeting House after
all.
>
> Best, Johnny Reinhard
>
>
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