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Harry Partch
-- iconoclastic American
composer, musical theorist, philosophic instrument builder, raconteur,
hobo, artist -- presents unique challenges and aesthetics. This
site, centering on the life and works of Partch, is maintained by
people who knew him, worked with him, and are familiar with what
moved him. We are one set of viewpoints, presented in a tone
that we hope Harry himself would have approved: sometimes irreverent,
occasionally bordering on the academic, essentially uncompromising.
His beliefs, concepts and attitudes are advocated here. We are loose,
but we are serious.
And, just so you know, this is all produced under
the auspices of the Harry Partch Foundation
(Danlee Mitchell, Executive Director) -- which makes Corporeal
Meadows the official Partch site.
Our focus is to share information about Partch,
examine his creative output, help with a historical perspective,
track current events, and make an attempt to extend Partch's spirit.
Our design
goal is to maximize access: text documents are available, graphics
and sound materials live in a separate area, all with the intent
to provide information not easily found elsewhere. We direct you
to other Partch resources, keep you abreast of concerts, recordings
and publications, and provide links to Partch-related sites.
Corporeal
Meadows is Harry's spot online. Start here for spirit-magic . . .
From
Your Host
Well, this hasn't happened often in the history of the world: bona fide Partch performances taking part on both American coasts. Yes, within the span of the next four weeks (as I write), both the original instruments and the newer versions will be used in bringing some of Harry's early to middle works to the concert stage.
Yes, I know: "a concert of music", something Harry was repelled by. At the moment, this is what we have. You'll find details below in the news section, but to hear Partch in San Diego, San Francisco, or New York, I think you should do it. Really.
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Oh, and one last bit: the concert in San Diego takes place in the Music Department of San Diego State University, where the instruments were housed for quite a number of years in the 1970's and 80's. I use that term, because there seems to be a concerted effort to rewrite history, and make it appear that the instruments, the Partch Ensemble, and even the aesthetic gravitas of Partch himself were part and parcel of the department. You know, something to be celebrated and acknowledged.
Well, nothing could be further from the truth. During these years, the activities of the Partch group were something of a meddlesome problem, an unwanted distraction, from the more staid marching band and choral groups and whatnot. Save for a few open-eyed and big-eared faculty members, who realized what they had in their midst, most of us involved back then felt like the outcasts (which, actually, wasn't so bad), and never managed to get much if any support from the administration. Not only did the presence of the instruments and the ensemble not influence the populace of the department (in spite of the fact it was the only place in the world that they were), but in all that time only once was a class offered on theory and music of Harry Partch. The performers in the ensemble never once received credit for the many concerts and tours.
I'm just setting the record straight here. The building kept the rain off the instruments, and we brought a little cred and notoriety to the department. Not that they noticed or particularly cared back then, and to attempt to coat-tail, retroactively, on the work we did back then is more than a bit of an affront to my sensibilities.
There. I said it.
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