Modern classical and avant garde concert music of the 20th and 21st centuries forms the primary focus of this blog. It is hoped that through the discussions a picture will emerge of modern music, its heritage, and what it means for us.
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Monday, September 2, 2019
Partch, Sonata Dementia, Music of Harry Partch, Vol. 3
With the exception of the two bonus tracks (to be discussed shortly) the entire endeavor is a love labor of the "Grammy Winning ensemble" PARTCH, who most certainly seem born to the music, and as we know with Partch in the past, nothing less will do, since the performers really must "live" the Partch spirit and make it ring out with the quirky kind of authenticity of the American "folk persona" that was so much a part of Partch's world and work.
First up is "Ulysseys at the Edge of the World" (1962), which combines trumpet, baritone sax and more "conventionally" Partchian instruments and was written for jazz trumpet master Chet Baker. It has consequently a slightly more jazzy sonance than usual. It sounds wonderful in the new recording.
The "Twelve Intrusions" (1950) too gives us a lot to contemplate, miniature gems that embody the mystery and folk rootsy-ness of Partch at his finest. The vocal parts have been realized with just the sort of mischievous prankster yet deadly dramatic-serious demeanor that Partch himself gave to the parts and as he himself performed them often enough.
"Windsong" (1958) thrives here as the first recording of the original version.
The penultimate bonus track is a short Edison Cylinder of a Native American song that Partch was called upon to transcribe for the Southwest Museum. He paraphrases it in the "Cloud Chamber Music" section of "Intrusion."
Finally in the Partch Ensemble section of the program "Sonata Dementia" (1950) in a First Recording gives us music that I for one am extremely grateful to have now. It is contained in three dramatic movements that any Partch lover will no doubt be glad to savor.
The acetates of the Partch's Eastman lecture-performance of the original adapted guitar and vocal version of "Barstow: Eight Hitchhikers' Inscriptions" (1941) is a delight and a revelation. His adapted guitar performance is an ear-opener and a fine thing on its own!
Nothing perhaps is quite as incredible as the Columbia recording of his epic Delusion of the Fury, which everyone surely should hear if not own. On the other hand this new volume gives you an excellent introduction to the more intimate chamber Partch. For the newcomer or the old friend, this album will jump out at you in ways nothing else quite can.
Highly recommended. A milestone recording.
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