The 2012 Festival of Microtonal Music

 

 

 

CD Release Concert

 

Thursday June 14 8:30 PM

 

REDCAT Theater in Disney Hall
621 W. Second St., Los Angeles

Celebrating the release of the first recording of the complete Bitter Music, Partch's often hilarious, sometimes heartbreaking, long-lost hobo journal from 1935 is performed as a special multimedia presentation including the work's original pen and ink illustrations, photographs from the composer's scrapbooks and his legendary instruments. From the transient shelters of mid-Depression California to the reading room of the British Museum, from cleaning sewers to taking tea with Irish poet W.B. Yeats, Partch's story reveals seven months in a lifetime of extraordinary struggle to forge a new musical language outside the traditions of western classical music. The evening also includes a newly discovered 1969 interview with Partch about Bitter Music, and the first performance of the long-lost 1942 version of Barstow for 2 voices, Adapted Guitar and Chromelodeon.

$25/$20 students & seniors
$12 CalArts students/faculty/staff

REDCAT box office 213/237-2800 www.redcat.org

Hear an excerpt from Bitter Music.

"It is an astonishing gift of fate when a creative artist, known to the world for a particular achievement, is suddenly shown in a quite different light thanks to the existence of a single document that has somehow escaped the ruthless culling mechanisms of time. Harry Partch's Bitter Music is such a document, a 'diary of eight months spent in transient shelters and camps, hobo jungles, basement rooms, and on the open road'..."
— Bob Gilmore, Author of Harry Partch: A Biography (Yale University Press, 1998).

"Schneider, whose gracious stage personality is the opposite of Partch's, nevertheless manages to convey the composer through his own voice, which is exactly what all lasting music must be capable of sustaining, even in such unique works as Barstow and excerpts from Partch's journal, Bitter Music.... Enthralling, as well, was the entire ensemble which has impressively mastered Partch's instruments...performances lyrical and theatrical, emphasized the musical side of a composer too often known for his quirkiness"
— Mark Swed, Los Angeles Times (2001)


 
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