Three Dances (1952)
-
Notes
1. Samba—A DECENT AND HONORABLE MISTAKE
2. Heartbeat Rhythm—RHYTHM OF THE WOMB–MELODY OF THE GRAVE
3. Afro-Chinese Minuet—HAPPY BIRTHDAY TO YOU!We begin this evening’s concert with the Three Dances that begin the third section of Partch’s Plectra & Percussion Dances (1952). The composer warned, “It’s an amazing fact that the world of dance music, and of Latin American dance music particularly, has produced an army of purists that is equal of anything that serious classical music can offer. I say this in order to advise you that the first scene, for example, “A Decent and Honorable Mistake,” may not be recognizable to you as a samba. The second scene, “Rhythm of the Womb, Melody of the Grave,” is based on a rhythmically contrapuntal heartbeat. The third scene, “Happy Birthday to You!” begins with an African-sounding marimba and somehow gets involved with a Chinese- sounding guitar in a pentatonic melody, and so I call it an Afro-Chinese Minuet.” This last dance ends with these directions: “Slowly enough that canon TRIADS are distinct,” after which they are to be played “faster than the previous runs so that the triads are NOT distinct.” The harmonies of each of those descending triads are wildly divergent, as if the composer is pausing to reminisce about various years past, but finally admits that as a 51-year old they are, in fact, a blur.
Partch Instruments:
Adapted Guitar III, Adapted Viola, Bass Marimba, Chromelodeon, Cloud Chamber Bowls, Diamond Marimba, Harmonic Canon, Kithara, Marimba EroicaAdditional Instruments:
Percussion
-
Partch, Harry
Reið (Raidō)II
Reið (Raidō) II is the sixth in a cycle of chamber pieces I have been composing for the last several years where each work is associated with a specific ancient Runic symbol. “Reið (Raidō)” directly translates to “ride” or “journey.” A journey on horseback is implied, but this can also be interpreted as an experience which connects this life with the afterlife, or this realm with other realms of existence or consciousness. The repetitive and percussive nature of a galloping horse is often further associated with shamanic drumming that accompanies certain primordial esoteric practices.
In my work Reið (Raidō) there are 3 groupings of instruments and players, conveying three types of microtonal tunings: a Chromelodeon, tuned to a 43-note division of the octave based on ratios derived from just intonation; a piano and a harp whose standard equal temperament is tuned apart by the difference of a 7th partial of the overtone series, or approximately in equal tempered 1/6th tones; and 3 percussionists who play a variety of indefinite pitched or noise-based percussion instruments. In this dramatic representation of both an ancient and futuristic ritual, these various tunings and timbres are utilized through a carefully controlled harmonic, motivic, and formal personal language, that unifies structure and architecture with intensity and expression.
‑ Jeffrey Holmes
-
Holmes, Jeffrey
Progressions
Five Intrusions (1950)
- Study #1 Olympos’ Pentatonic
- The Wind (Ella Young, Lao-tze)
- Study #2 Archytas’ Enharmonic
- The Street (Willard Motley)
- The Waterfall (Ella Young)
-
Partch, Harry
— I N T E R M I S S I O N —
LSD: Huxley’s Last Trip—selected scenes ANNE LEBARON
-
LeBaron, Anne
The program includes an instrument “petting zoo”: audiences are encouraged to interact with the instruments on stage after the show.