Re: [tuning] Re: Report on MicroFest, post Szanto

I had written on 12-tET:

> It is especially worthwhile for me to hear of
> Partch as successful using it since there is disparagement, even
> among original Partch ensemblers, that Harry's music is not strong
> enough compositionally without the later exotic percussion. (of
> course, I disagree)

Jon Szanto responded:
"Johnny, with all the respect I can muster, it is terrible of you to
make such false claims! I personally know of *zero* "Partch
ensemblers" that have ever, or *would* ever, cast a doubt on Partch's
non-percussion compositions. "

Answer: It was Danlee Mitchell who first expressed this opinion to me.
(Heard of him?) He explained to me years ago, that he thought the early
works inferior, due to the greater quality of the unique instruments he had
devised and built.

> Re Jon Szanto, don't knock AFMM usage of the tubed marimba in your
> responses (it was an exceptionally valuable musical resource for
> Dark Brother).

"I will, I have, and there are justifiable reasons. See below."

> The original recording made by Partch used a bass drum instead (and
> the Bass Marimba was added much later).

"I bring it up because a couple of people have written me in the intervening
days, having seen the Barb performance, and found it ludicrous."

There was much that was ludicrous at the Barb performance, but it was not the
tubed marimba, your hearsay to the contrary. To my ear, it was beautifully
amplified
(3 mikes) and had a rich tone. Please provide me with whatever detail you
have, directly if it sensitive.

> A tubed-diamond marimba could not work
> (so don't fear all holders of original Partch instruments).
> However, Skip LaPLante spent over a year constructing a
> wonderful "traveling" Kithara. It takes 2 full days to build and a
> single day to dissemble. The materials cost $1000 and it was built
> to Partch's specifications.

"Long ago I wrote you, Johnny, after careful listening to your
performance of "U. S. Highball", including commentary on the usage of
the Kithara. In a number of places I was sure that it was an octave
off, and that was among a number of other problems. You never replied
back, so you don't want to own up to any problems that might crop up."

Jon, Jon, Jon, this has nothing to do with nothing. We haven't performed
"U.S. Highball" since the recording I sent. I DID reply back to you, but
you've
forgotten. I discussed your e-mail with each performer. And of course, I do
not
agree with every one of your criticisms. (I was really surprised that you
thought my
voice was too "gay.")

Re Skip LaPlante's promo for Music for Homemade Instruments:

"Jon: Some attitude. Look, someone could make a great instrument, to
specs, completely unaware of it's eventual use. But these statements
seem to reinforce the impressions that a number of people have
gathered from this performance."

And to keep the ball rolling, may I suggest that you are misrepresenting Skip
LaPlante regarding the Kithara. For his own group (Music For Homemade
Instruments), Skip is a pioneering musician in a historical role worthy of
comparison to Partch, himself. His personal aesthetic is one thing (e.g., he
always wears 2 different color socks). But when he played as one of 13
percussionists in Lincoln Center for the Ives "Universe" premiere, he wore a
tuxedo. When he built the Kithara, he gave it a Partch look, indeed. It is
far and away, an intentionally refined instrument.

"When I hear, at concerts I haven't been able
to attend, that performers are taking a liberties in aesthetics and
performance standards that go beyond the pale, I won't look the other
way."

If you are stating flatly that I am personally taking liberties in aesthetics
and performance standards going beyond some pale, please be specific. As you
should know by now, the AFMM Ensemble is devoted to ever progressing
performances of Partch's music, not unlike Newband before they were given
control of the originals. In fact, other than guitarists John Schneider and
Didier Aschour (who each have specially made Partch-design guitars), the AFMM
Ensemble is the only group capable of presenting a number Partch works. As
the instruments live out their mortality, it will only be ensembles made up
of musicians THAT DID NOT PLAY WITH PARTCH who will continue Partch's music -
with their own instruments -- into the 22nd Century and beyond. I think it
is wrong for you to disparage the pioneers in some ways no differently than
Partch's own critics.

Johnny Reinhard

--- In tuning@y..., Afmmjr@a... wrote:

/tuning/topicId_20986.html#20986

> I had written on 12-tET:
>
> > It is especially worthwhile for me to hear of
> > Partch as successful using it since there is disparagement,
> > even among original Partch ensemblers, that Harry's music
> > is not strong enough compositionally without the later
> > exotic percussion. (of course, I disagree)
>
> Jon Szanto responded:
> "Johnny, with all the respect I can muster, it is terrible of
> you to make such false claims! I personally know of *zero*
> "Partch ensemblers" that have ever, or *would* ever, cast a
> doubt on Partch's non-percussion compositions. "
>
> Answer: It was Danlee Mitchell who first expressed this opinion
> to me. (Heard of him?) He explained to me years ago, that he
> thought the early works inferior, due to the greater quality of
> the unique instruments he had devised and built.

It would probably be good to keep in mind that Danlee is himself
a percussionist.

My own list of Partch's greatest smaller pieces
(i.e., not the big dramatic ones):

The Li-Po Lyrics (early 1930s)
Barstow and U.S. Highball (early 1940s)
Windsong / Daphne of the Dunes (early 1950s)

-monz
http://www.monz.org
"All roads lead to n^0"

Joe,

--- In tuning@y..., "monz" <MONZ@J...> wrote:
> It would probably be good to keep in mind that Danlee is himself
> a percussionist.

With all due respect, implying that someone plays a particular
instrument and then is incapable of appreciating music that is not
inclusive of said instrument is stereotypical and somewhat musically
bigotted. (sp?)

White men can't jump.
Women should be barefoot and pregnant.
Microtonalists can't appreciate 12tet music.
Percussionist couldn't appreciate a string quartet.

I know that Danlee is a broader and deeper musician than the
implication, and I would hope people start from a higher plane when
discussing these kind of matters.

> My own list of Partch's greatest smaller pieces
> (i.e., not the big dramatic ones):
>
> The Li-Po Lyrics (early 1930s)
> Barstow and U.S. Highball (early 1940s)
> Windsong / Daphne of the Dunes (early 1950s)

Me? Intrusions and USH. Great works in any category.

Cheers,
Jon