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PARTCH Ensemble

PARTCH Ensemble

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The Wayward at Jacaranda (2019)

The Wayward at Jacaranda
Santa Monica First Presbyterian Church, Santa Monica
November, 2019

Barstow — Eight Hitchhiker Inscriptions from a highway railing near Barstow, California (1968)

  1. Today I Am a Man  
  2. Gentlemen             
  3. Considered Pretty  
  4. A very Good Idea   
  5. Possible Rides
  6. Jesus Was God in the Flesh
  7. You Lucky Women
  8. Why in Hell did you Come?

No videos of this performance available (yet…)

  • Partch, Harry

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San Francisco—A setting of the cries of two newsboys on a foggy night (1954)

No videos of this performance available (yet…)

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The Letter – A depression message from a hobo friend (1955)

No videos of this performance available (yet…)

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U.S. Highball – A musical account of a transcontinental
hobo trip (1955)

No videos of this performance available (yet…)

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Ulysses at the Edge of the World — A Minor Adventure in Rhythm (1962)

No videos of this performance available (yet…)

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Dark Brother

  • Notes

    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.

  • Partch, Harry

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Castor and Pollux: A Dance for the Twin Rhythms of Gemini (1952)

No videos of this performance available (yet…)

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  • Press for Partch at Jacaranda, 2019

    The ensemble put a priority on lovable insouciance and, at times, outright humor. The players wore lively hobo outfits, played cards and thumbed noses when not otherwise occupied by the demanding instruments. They took turns intoning the texts, with Schneider as the main Woody Guthrie-esque hitchhiking composer. Mainly, though, they played gloriously.

    – Mark Swed, LA Times

    …the music of the boundary-busting visionary who carefully crafted Rube Goldberg-looking instruments in order to duplicate the sounds he envisioned in his head — wondrous, bouncy rhythms that swim in a sonic universe bursting with celestially shifting moods — seems to touch people who hear it — and certainly affects those who perform it…

    – Victoria Looseleaf, San Francisco Classical Voice

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