Back from Bergen

Hi Tuners!

Back from Bergen with a new solo for guitar composition I call "Possessed."
It is for a standard 6-string and has practically no discernible 12-tET.
Still have to put it into tablature so that the player, Harris Becker, plays
the usual note fingering combinations when reading.

Spoke with Mrs. Eivind Grovin at the Institute for Just Intonation (which
keeps the Grovin collection of 36-note per octave keyboards and sheet music).
She put me in touch with David Code, who is on a Fullbright devoted to
Grovin.

The AFMM now plans to perform Grovin's "Ballade Tone" which features a
12-note set of the 36 possible tones. Joshua Pierce will be featured on
synthesizer simulating either piano or pipe organ as asked by Prof. Code. He
told me that Eivind Grovin (who had correspondence with Partch),
unfortunately missed the synthesizer (1901-1974). In addition to pieces with
2 Symphonies and a Piano Concerto, Grovin's microtonal works are for his
specially designed keyboards and Norwegian Folk Vocalist (microtonal by
implication), and some for a flute that plays harmonics (to the 15th). The
tuning is based on pure just thirds and fifths.

The Partch performances in Bergen (2 of them) seem to be the first
performances ever Norway (Li Po selections and Dark Brother). One
journalist, Nicholas Molkorhaug, did a radio interview for Norwegian National
Radio featuring my album Raven with discussion on Partch and Ives.

Also fascinating is Sigbjorn Apeland, harmonium performer (get his album
"Fryd" on Jossa Jazz label VJ 98004-2) Fantastic microtonal music based on
the still-not-fully explained microtonality of Norwegian folk music.
Sigbjorn heard the 2nd performance we did in Hakonshalle and thought we had a
fantastic harmonium. He hadn't realized it was electric because of his seat,
but he commented twice that a true harmonium couldn't play the technical
demands of "Dark Brother" as well. He loved the tone and thought we had
sampled it. (It is a Proteus designed to simulate the chromelodeon by Henry
Lowengard, who that lends us the instrument for performances.)

Now to finalize programming for the AFMM's 20th Anniversary. Concerts Sept.
29, Oct. 18, and Nov. 2nd in New York this spring. Information to be updated
next week on our web site.

Best to all. Johnny Reinhard
Director
American Festival of Microtonal Music

In-Reply-To: <84.170b083d.2850c647@aol.com>
Johnny Reinhard wrote:

> Spoke with Mrs. Eivind Grovin at the Institute for Just Intonation
> (which keeps the Grovin collection of 36-note per octave keyboards and
> sheet music). She put me in touch with David Code, who is on a
> Fullbright devoted to Grovin.

Er, if you've spoken with his widow (or daughter in-law?) you'll be in a
better position to know than me. But shouldn't that be Groven? With an
e?

> The AFMM now plans to perform Grovin's "Ballade Tone" which features a
> 12-note set of the 36 possible tones. Joshua Pierce will be featured
> on synthesizer simulating either piano or pipe organ as asked by Prof.
> Code. He told me that Eivind Grovin (who had correspondence with
> Partch), unfortunately missed the synthesizer (1901-1974). In addition
> to pieces with 2 Symphonies and a Piano Concerto, Grovin's microtonal
> works are for his specially designed keyboards and Norwegian Folk
> Vocalist (microtonal by implication), and some for a flute that plays
> harmonics (to the 15th). The tuning is based on pure just thirds and
> fifths.

Eivind Groven's dates are 1901-1977, so it looks like he outlived this
Grovin guy :)

Graham

Graham, you got me. Had to look up Groven's spelling several times...I'd
forget. About the dates, hmmm, I did think it was '74, but I wasn't reading
from anything.

Thanks, Johnny Reinhard

> ----- Original Message -----
> From: <graham@microtonal.co.uk>
> To: <tuning@yahoogroups.com>
> Sent: Thursday, June 07, 2001 6:07 AM
> Subject: [tuning] Re: Back from Bergen
>

>
> Er, if you've spoken with his widow (or daughter in-law?) you'll be in a
> better position to know than me. But shouldn't that be Groven? With an
> e?

That's what I thought too.

> [Johnny Reihard][
>
> > The AFMM now plans to perform Grovin's "Ballade Tone" which features a
> > 12-note set of the 36 possible tones. Joshua Pierce will be featured
> > on synthesizer simulating either piano or pipe organ as asked by Prof.
> > Code. He told me that Eivind Grovin (who had correspondence with
> > Partch), unfortunately missed the synthesizer (1901-1974). In addition
> > to pieces with 2 Symphonies and a Piano Concerto, Grovin's microtonal
> > works are for his specially designed keyboards and Norwegian Folk
> > Vocalist (microtonal by implication), and some for a flute that plays
> > harmonics (to the 15th). The tuning is based on pure just thirds and
> > fifths.
>
> Eivind Groven's dates are 1901-1977, so it looks like he outlived this
> Grovin guy :)

Hmmm.... I got a little suspicious of those dates too, because they
are *exactly* Harry Partch's! A Freudian slip of some kind, Johnny?...

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

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In a message dated 6/8/01 2:23:53 AM Eastern Daylight Time, joemonz@yahoo.com
writes:

> Hmmm.... I got a little suspicious of those dates too, because they
> are *exactly* Harry Partch's! A Freudian slip of some kind, Johnny?...
>
>
>
>

Well, they are basically living the same time frame and communicated with
each other. In contradistinction, Groven was folk music oriented, largely
because of the incredible wealth of the microtonal Norwegian folk traditions.
His 36-note keyboard performs an adaptive tuning function so that he can get
closer to justifying what is played.

Johnny Reinhard

Johnny Reinhard