By the Rivers of Babylon, for adapted viola & intoning voice, kithara & chromelodeon
Recorded Interviews & Speeches: Text and music: A Wagnerian Wrestling Match (spoken)
Lyrics (17) by Li Po, for intoning voice & adapted viola: A Dream (His Dream of the Skyland: a Farewell Poem)
Lyrics (17) by Li Po, for intoning voice & adapted viola: An Encounter in the Field
Lyrics (17) by Li Po, for intoning voice & adapted viola: On Hearing the Flute at Lo-Cheng One Spring Night
Lyrics (17) by Li Po, for intoning voice & adapted viola: The Intruder
Lyrics (17) by Li Po, for intoning voice & adapted viola: I am a Peach Tree
Lyrics (17) by Li Po, for intoning voice & adapted viola: With a Man of Leisure
Lyrics (17) by Li Po, for intoning voice & adapted viola: A Midnight Farewell
Lyrics (17) by Li Po, for intoning voice & adapted viola: Before the Cask of Wine
Lyrics (17) by Li Po, for intoning voice & adapted viola: On the Ship of Spicewood
Lyrics (17) by Li Po, for intoning voice & adapted viola: By the Great Wall
Harry Partch: Interview with Eugene Paul (Interview): The Use of English in Serious Music (excerpt from an interview with Eugene Paul
Barstow (from 'The Wayward'), for two voices, surrogate kithara, chromelodeon, diamond marimba & boo
San Francisco, for two baritones, adapted viola, kithara & chromelodeon (from 'The Wayward'): A Setting of the Cries of Two Newsboys
Recorded Interviews & Speeches: Life is too precious to spend it with important people [Spoken]
Recorded Interviews & Speeches: While my Heart Keeps Beating Time
Recorded Interviews & Speeches: San Francisco II
Track Listings (23) - Disc #2
Recorded Interviews & Speeches: I'm going to start right off by giving you some sounds...
Settings (2) from Joyce's 'Finnegan's Wake', for soprano, kithara & two flutes: Isobel
Settings (2) from Joyce's 'Finnegan's Wake', for soprano, kithara & two flutes: Annah the Allmaziful
Dark Brother, for intoning voice, chromelodeon, adapted viola, kithara & bass marimba: Dark Brother - Final Two Paragraphs from Thoma
Recorded Interviews & Speeches: A Quarter-Saw Section of Motivations and Intonation - Prelude to Talk
Recorded Interviews & Speeches: Introduction to Examples of Intonation
Recorded Interviews & Speeches: Scale of Olympos (pentatonic)
Recorded Interviews & Speeches: Enharmonic Scale of Archytas; Separated by 3/2's; Triads
Recorded Interviews & Speeches: Scale of Pythagoras; Separated by 3/2's; Triads
Recorded Interviews & Speeches: Ptolemaic Intense Diatonic; Separated by 3/2's; Triads
Recorded Interviews & Speeches: Ptolemy's Equable Diatonic; Separated by 3/2's
Recorded Interviews & Speeches: Terpander's Hexatonic [2 egs.]
Recorded Interviews & Speeches: Close Degrees
Recorded Interviews & Speeches: True and Tempered Triads
Recorded Interviews & Speeches: Resolutions from p. 186 of Genesis of a Music [2nd Ed., pp. 186, 187]; Resolution p. 187 [2nd Ed.,
Recorded Interviews & Speeches: Fox-Strangways Resolutions [2nd Ed., p. 191]
Recorded Interviews & Speeches: Tonal Flux from Genesis, p. 188 [2nd Ed., p. 189]; Tonal Flux from The Letter and Third Chorus of O
Recorded Interviews & Speeches: Multiple Tonal Senses from Antiphony of Oedipus, "O crowding woods..."
Recorded Interviews & Speeches: Multiple tonal Senses from Dark Brother, "and we who were lost are found again..."; "until our hear
Recorded Interviews & Speeches: Melodic Subtleties from The Street, "Down Maxwell Street, where the prostitutes stand in the gloom.
Recorded Interviews & Speeches: Melodic Subtleties from The Bewitched [7 egs.]
Recorded Interviews & Speeches: Instrumental Tunings: Harmonic Canon I as in Revelation; Petals; Chromelodeon two sets of reeds; Re
Recorded Interviews & Speeches: Dissonance and Consonance: Coda to Oedipus; Coda to Revelation
Track Listings (29) - Disc #3
Bitter Music, musical excerpts from Partch's diary: June 12 - Federal Shelter, Stockton
Bitter Music, musical excerpts from Partch's diary: June 13
Bitter Music, musical excerpts from Partch's diary: June 14
Bitter Music, musical excerpts from Partch's diary: June 16 - Harrington Ranch, San Joaquin Delta
Bitter Music, musical excerpts from Partch's diary: July 04
Bitter Music, musical excerpts from Partch's diary: July 14
Bitter Music, musical excerpts from Partch's diary: July 16
Bitter Music, musical excerpts from Partch's diary: July 19
Bitter Music, musical excerpts from Partch's diary: July 20 - Heading north, between Sacramento and Redding (later incorporated into
Bitter Music, musical excerpts from Partch's diary: July 24 - Federal Shelter, Portland
Bitter Music, musical excerpts from Partch's diary: July 25 - Blue Ox Lodge, Seattle, Washington
Bitter Music, musical excerpts from Partch's diary: July 27
Bitter Music, musical excerpts from Partch's diary: August 7 - Between Grants Pass and Klamath Falls, Oregon
Bitter Music, musical excerpts from Partch's diary: August 15
Bitter Music, musical excerpts from Partch's diary: October 22 - Nearing Monterey [reworked in 1943 as The Letter]
Bitter Music, musical excerpts from Partch's diary: October 24 - Leaving Big Sur
Bitter Music, musical excerpts from Partch's diary: October 25 - Near Slate's Hot Springs (now the Esalen Institute)
Bitter Music, musical excerpts from Partch's diary: October 26
Bitter Music, musical excerpts from Partch's diary: October 27
Bitter Music, musical excerpts from Partch's diary: October 29
Bitter Music, musical excerpts from Partch's diary: October 30 - Big Creek
Bitter Music, musical excerpts from Partch's diary: November 12 - Santa Barbara
Bitter Music, musical excerpts from Partch's diary: November 14
Bitter Music, musical excerpts from Partch's diary: November 15 - Leaving Santa Barbara
Bitter Music, musical excerpts from Partch's diary: November 16 - Ojai
Bitter Music, musical excerpts from Partch's diary: November 17
Bitter Music, musical excerpts from Partch's diary: December 04
Bitter Music, musical excerpts from Partch's diary: December, 1935
Bitter Music, musical excerpts from Partch's diary: February 1, 1936 - San Bernardino
Track Listings (7) - Disc #4
Harry Partch: Interview with Eugene Paul (Interview): Yankee Doodle Birds (excerpt from an interview with Eugene Paul)
Yankee Doodle Fantasy, for soprano, tin flutes, tin oboe, flex-a-tones & chromelodeon: Y.D. Fantasy - On the Words of an Early Americ
O frabjous day!, for intoning voice, harmonic canon & bass marimba: (The Second of Two Settings from Lewis Carroll: The Jabberwocky,
Recorded Interviews & Speeches: You are charged with being guilty. Are you drunk or not drunk?. . . (spoken introduction, 11/19/53)
Ring Around the Moon, for baritone & Partch instruments: A Dance Fantasm for Here and Now
Bless this home, for intoning voice, oboe, adapted viola, kithara, harmonic canon & mazda marimba
Recorded Interviews & Speeches: Harry's Wake [Spoken]
Enclosure 2, all four cds, is curated as a sprawling notebook filled with sounds and speech instead of sketches and words. Of any Partch recording extant, it gives the best picture of the man--as the curmudgeonly, extremel... more »y innovative misanthrope that he was, as the composer who was impossibly unlike anyone else before or since. The essence of Partch's music reflects the history of the world--from his particular perspective--the imaginings of ancient Greece to the influence of Chinese musical melodrama, all propelled by homemade instruments based on a 43-tone scale named things like the "Kithara" and the "Boo." These recordings also give the best sense of his philosophy of language in music. Lamenting the whole time how text in music had become detached from the language of everyday life, Partch ran music alongside newsboys' cries and hobos' diaries, following the forms, cadence, and dynamics of speech, rather than the other way around. From his juvenilia (a wonderful song he wrote at 18) to a 45-minute segment of his wake in 1974, the first steps towards exploring Partch's sparkling works fully are made here. --Robin Edgerton« less
Enclosure 2, all four cds, is curated as a sprawling notebook filled with sounds and speech instead of sketches and words. Of any Partch recording extant, it gives the best picture of the man--as the curmudgeonly, extremely innovative misanthrope that he was, as the composer who was impossibly unlike anyone else before or since. The essence of Partch's music reflects the history of the world--from his particular perspective--the imaginings of ancient Greece to the influence of Chinese musical melodrama, all propelled by homemade instruments based on a 43-tone scale named things like the "Kithara" and the "Boo." These recordings also give the best sense of his philosophy of language in music. Lamenting the whole time how text in music had become detached from the language of everyday life, Partch ran music alongside newsboys' cries and hobos' diaries, following the forms, cadence, and dynamics of speech, rather than the other way around. From his juvenilia (a wonderful song he wrote at 18) to a 45-minute segment of his wake in 1974, the first steps towards exploring Partch's sparkling works fully are made here. --Robin Edgerton