PARTCH Ensemble and Del Sol Quartet premiere “One-Footed” by Taylor Brook

Live at REDCAT Theater in Los Angeles on June 17, 2022.

Program note by Taylor Brook:

The title of this work refers to a fascinating chart in Harry Partch’s Genesis of a Music: “The One-footed Bride.” Resembling the outline of a foot, this chart marks out just intervals and their inversions along either side of a central axis. In this chart, one finds diatonic interval regions associated with expressive qualities; seconds and sevenths with “approach,” thirds and sixths with “emotion,” perfect fourths and fifths with “power,” and the tritone region with “suspense.” While highly subjective, there’s a certain intuitive sense to these pairings. Even more fascinating for me was how Partch fits his 43-note scale into a diatonic structure. What this suggests is that we might understand the many intervals of Partch’s scale as shadings within each region. This became the foundation of my piece, One-footed: an exploration of the expressive potential of thinking about pitch and interval in this way. The instrumentation for One-footed combines a string quartet with many of Partch’s famous instruments. As a composer writing in 2021 I enjoy the legacy of composers like Partch and Ben Johnston, where performers like the Del Sol Quartet now deeply understand just intonation, and I see the PARTCH ENSEMBLE as a whole new type of orchestra that can finally be bridged to as a result. One-footed was written for the combined forces of Del Sol Quartet and PARTCH Ensemble in 2020-2021.

This performance was made possible in part by a grant from the City of Los Angeles Department of Cultural Affairs.

We also acknowledge the support of the Canada Council for the Arts.

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Dark Brother

Music by Harry Partch (1901-1974)
Final two paragraph’s of Thomas Wolfe’s “God’s Lonely Man.”

Performers:
Alison Bjorkedal – Kithara I
Vicki Ray – Chromolodeon
Derek Stein – Adapted Viola
T.J. Troy – Bass Marimba and Voice
Video captured and edited by Video Angel Productions
Audio recorded by Chris Votek

Presented by Jacaranda Music Series, First Presbyterian Church, Santa Monica, CA, November 9, 2019.

World Premiere of “Future Lilacs” (2016) by Ken Ueno

Color Theory Concert: PRISM Quartet and Partch

Ken Ueno: My work, “Future Lilacs,” metaphorically connects to color theory in blending different temperaments. It is the scientific reduction of sounds to a common denominator (thinking in terms of frequencies rather than scales) that helps me with this approach, which I consider a Newtonian way of rationalizing the ineffable.

June 12, 2016

Co-Presented by PRISM Quartet and Roulette

O Frabjous Day

PARTCH Ensemble performs “O Frabjous Day.”

Set to poem of the same name, by Lewis Carroll

Music composed by Harry Partch

Live at the REDCAT Theater, Los Angeles, CA

Castor & Pollux

A wild ride in Disney Hall as Music of Microtonal Composer/Inventor Harry Partch Is performed on amazing Instruments by PARTCH, an acclaimed ensemble Under the direction of John Schneider, -Noted Musician, Educator, Founder of Microfest, He hosts the KPFK weekly Radio Show “Global Village” and also hosted the “SOUNDBOARD TV series.

Ulysses at the Edge of the World

Harry Partch’s Ulysses at the Edge of the World, originally written for jazz trumpeter Chet Baker and subtitled “A Minor Adventure in Rhythm,” also exists in multiple versions. In its 4th and final incarnation, the composer joined trumpet and baritone sax to honor the popular Chet Baker/Gerry Mulligan duo [he was a fan], replacing the initial double bass part with the Bass Marimba. Syncopations and time signatures of five and seven easily predate Dave Brubeck, culminating in a pithy punchline that features a cop arresting the titular homeless Greek hero for vagrancy.