Press

TABLE OF CONTENTS

PRAISE FOR VOL. 3 – SONATA DEMENTIA

“…done…with a brand of reverence, scholarship, and quality of both recording and performances such that this is a collector’s dream and a major contribution to the history of microtonal musics and American music in general.”

– Allan Cronin, New Music Buff

Read the full review.

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“…impressively played album…”

– Andrew Clements, The Guardian

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“I definitely laud the commitment of a present-day ensemble to keep the composer’s music alive through both concert performances and recordings…I have been impressed by the freshness of the groups immediacy, which interleaves with Partch’s “original spirit…”

– Stephen Smoliar, The Rehearsal Room

Read the full review.

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“…twangs and boogies and galumphs and goes bump in the night, punctuated by vocal interjections of enigmatic import. A bouncy but entrancing ride.”

– Matthew Gurewitsch, beyondcriticism.com

Read the full review.

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“The ensemble PARTCH…has made it a habit to unlock the mysteries and sounds of its namesake composer…his creations really require a new vocabulary. The members of PARTCH certainly speak it, whatever “it” may be.”

– infodad.com

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“…the group PARTCH does a wonderful job of capturing both the letter and the spirit of [Harry Partch’s] music.

– Lynn Rene Bayley, The Art Music Lounge

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INTERVIEWS, PODCASTS, AND OTHER MEDIA – VOL. 3 – SONATA DEMENTIA

Classiclectic Connection: “Sonata Dementia” – Music of Harry Partch – Kurt Hauswirth interviews PARTCH Ensemble Music Director John Schneider. August 12, 2019

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@percussion podcast on iTunesYouTube, and BlogSpot – @percussion hosts Casey Cangelosi, Ben Charles, and Carli Vina interview PARTCH Ensemble members Erin Barnes, Nick Terry, and T.J. Troy. August 8, 2019

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ADDITIONAL PRESS/LIVE CONCERT REVIEW

“Outlandish…” — New York Times

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Funny, moving, inventive and insanely theatrical…an unforgettable performance.

San Francisco Chronicle

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The ensemble that calls itself, simply, Partch—its weird and wonderful sonorities, truly unlike anything else on Earth or any neighboring celestial body, filled the air at REDCAT most enchantingly. Marvelous to watch and to hear, the physical beauty of their structure and the haunting resonance of their sounds, as they wandered among the labyrinthine designs of Partch’s 43-note octaves and the vagaries of their percussive adventures, re-created the living experience as it was when Partch and his gang were among us.

—Alan Rich, LA Weekly 

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Every seat in REDCAT was taken, and the audience was the elusive devoted dream crowd that classical presenters lust after: young and old, hipsters, academics and nerds, all sharing a passion for Partch…The performances were stunning. Partch made a big point of the corporeality of performance. His instruments and tuning were intended to reach a listener physically, even erotically. He wanted performers who were physical presences. And he got them in the likes of Erin Barnes on the Diamond Marimba, whose performances were spectacular dances in themselves. The same could be said for David Johnson (cloud chamber bowls) and T.J. Troy (bass marimba).

— Mark Swed, Los Angeles Times

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Schneider, whose gracious stage personality is the opposite of Partch’s, nevertheless manages toconvey 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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World-class tribute….(Partch) managed their exotic gadgetry with appealing skill…. John Schneider – guitarist, composer, baritone, microtonal guru…delivered a pretty good facsimile of the old boy’s stentorian growl…as long as there are John Schneiders to re-create passably the sounds of Partch,  we’ll have a tenuous grip on this unique byway in the annals of American innovation.

— Alan Rich, LA Weekly (2001)

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Best of 2008—The Artists’ Artists

— Artforum

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