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File under: Experimental

Harry Partch

The Harry Partch Collection Volume 3

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The four works on this newly remastered CD are eloquent testimony to Harry Partch’s aesthetic of corporeality. The music he composed for The Dreamer That Remains, for Rotate the Body in All Its Planes, for Windsong, and for Water! Water!, was intended as only one component in the total artistic experience. In these works music joins with drama, with film, with dance, even with gymnastics, as integral parts of the composer’s vision.
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New World's The Harry Partch Collection, Vol. 3, as was the CRI disc on which it is based, contains the odds and ends in Harry Partch's recorded canon, pieces that do not really fit into a comfortably cohesive contextual relationship with the rest of his work cycles. Of the four works included, Rotate the Body in All Its Planes is the most unusual and precious. Scored for soprano, gymnasts, the University of Illinois marching band, and a clutch of Partch instruments, it celebrates the spirit of gymnastic athleticism, but also sounds a bit like a wild collegiate party. The Dreamer That Remains is Partch's bitterest musical statement this side of Bitter Music and brings full circle many of Partch's key themes; loneliness, leisure, indigence, and the inevitability of death. Windsong is the 1958 audio track of Madeleine Tourtelot's film that Partch re-recorded in 1968 for CBS Records as Daphne of the Dunes. It is easy to see why Partch wanted to revisit Windsong; the original tape, recorded by Partch himself playing all parts and edited to fit the film, is choppy and not well recorded in spots. Nonetheless, it's a prime example of Partch as virtuoso performer on his own instruments, something Partch no longer felt he was in 1968. Water! Water! is sort of like Partch's answer to Spike Jones' movie Fireman, Save My Child!, complete with silly one-liners, slapstick routines, and musical non-sequiturs. Partch regarded Water! Water! as a failure, and yet it is one of his most appealing and amusing creations, a rare instance where Partch directly quotes or parrots ideas drawn from popular music.

The New World booklet runs to 20 pages as opposed to CRI's 16, and the sound is far better and louder on New World than on CRI, an aspect that is crucial in the case of Windsong. Wisely, Water! Water! is here divided into 12 separate tracks. As with the other volumes, The Harry Partch Collection, Vol. 3, is still very much worth seeking out, even if one bought the earlier CRI CDs..
AllMusicGuide

Details
File under: Experimental
Cat. number: 80623-2
Year: 2005
Tracklist
1The Dreamer That Remains - A Study In Loving (1972)10:29
2Rotate The Body In All Its Planes - Ballad For Gymnasts (1961)8:51
3Windsong (1958)11:36
Water! Water! - An Intermission With Prologues And Epilogues (1961) (Excerpts Selected By The Composer)
4The Opening Prologue, And The Second Prologue, In Which The Instruments Attack The Producer2:59
5Water Criers And Lead-In Lines, O What Could He Do But Pick Her Up? (Jazzmen)4:04
6Water Criers And Lead-In Lines, Witch For Water (Witches) / The Aldermen’s Fugue On No. Wanda The Water Witch (Jazzmen)5:59
7Santa Mystiana The Beautiful (Her Honor And Conductor)2:39
8Water Criers. Visitors From Strange And Foreign Places: The Singer From Spoleto, And An Alabama Mockingbird - Dear Old Alabama2:02
9We Really Love Each Other. In 43 Whines To The Octave (Aldermen, Ladies’ Auxiliary, Jazzmen, Witches)1:41
10Water Criers. The Baseball Game Is Called On Account Of Rain!3:17
11To Hell With The Game! Rain! Rain! The Highest Goodness Is Like Water (Whole Ensemble)2:26
12Opening Epilogue (After Three Days Of Rain). Ghosts, Undele, Oomph! / (The Indian Ghosts Dance Over Clarence’s Body And Play On Liquor Bottles)2:56
13Water Criers. Intervening Dialogue. We’ll Sue You For A Million! (Her Honor And Jazzmen)3:03
14Do-Lo-Do-Lo --- Doom! (Aldermen, Ladies, And Ghosts) / Phoebus Bids Farewell. The Indian Runners Bring News. The Final Song And Dance, Gone, Man, Gone! (Whole Ensemble). With The Descending Moan Of The Siren Phoebus Plunges Wildly Into Nothingness.4:55
15Eighth Epilogue - The Producer Finally Silences The Instruments. / Final Epilogue: “The Highest Goodness Is Like Water.”1:48
Credits
Elizabeth Krohne
Cello (4 to 15)
Alan Gossard
Chorus (4 to 15)
Alexis Glatly
Chorus (1)
Anthony Zeppetella
Chorus (2)
Barbara Baker
Chorus (2)
Betty Zinse
Chorus (2)
Bruce Foote
Chorus (2)
Carolyn Burrill
Chorus (4 to 15)
Coryl Crandall
Chorus (2)
Cynthia Schwartz
Chorus (4 to 15)
Danlee Mitchell
Chorus (1), Marimba [Diamond] (4 to 15), Strings [Harmonic Canon Ii] (2), Strings [New Kithara I] (1)
Diamanda Tomaras
Chorus (2)
Dianne Layden
Chorus (4 to 15)
Elizabeth Coney
Chorus (4 to 15)
Elizabeth Hiller
Chorus (2)
Geraldyne Jones
Chorus (4 to 15)
Harry Partch
Chorus (1), Guitar [Adapted Guitar Ii] (1), Strings [Harmonic Canon Ii, Kithara Ii, Surrogate Kithara], Viola [Adapted], Organ [Chromelodeon], Percussion [Boo, Diamond Marimba, Cloud Chamber Bowls, Spoils Of War], Marimba [Bass] (3)
Haven Palmquist
Chorus (2)
Helen Curley
Chorus (4 to 15)
Jack Bert
Chorus (2)
Jane Daily
Chorus (4 to 15)
Janet Campbell
Chorus (2, 4 to 15)
Jeff Foote
Chorus (2)
Joan Platt
Chorus (2)
Joel Klein
Chorus (2)
John Garvey
Chorus (4 to 15), Conductor (2, 4 to 15)
Katherine Bjornson
Chorus (1)
Kathleen Roche
Chorus (4 to 15)
Keith Davidson
Chorus (2)
Lynette Barry
Chorus (4 to 15)
Margaret Sprehe
Chorus (2)
Mark Hoffman
Chorus (1)
Michael Crosier
Chorus (1)
Nina Cutler
Chorus (4 to 15)
Patrick Ann Eichelberger
Chorus (2)
Patrick Day
Chorus (4 to 15)
Scott Meland
Chorus (4 to 15)
Stephen Farish
Chorus (4 to 15)
Steven Allen
Chorus (4 to 15)
Eddie Allen
Clarinet (4 to 15), Drums (2)
John Ginther
Clarinet [Bass] (4 to 15)
Jack Logan
Conductor (1)
Edward Krolick
Double Bass (4 to 15)
Norbert Cieslewicz
Double Bass (2)
James Vandament
Drums (2)
Adrienne Kole
Guitar [Adapted I] (2)
Jonathan Szanto
Kalimba [Mbira Bass Dyad] (1), Percussion [Bamboo Marimba Ii] (1), Strings [Ektara] (1)
Randy Hoffman
Kalimba [Mbira Bass Dyad] (1), Percussion [Eucal Blossom] (1)
Michael Combs
Marimba [Bass] (4 to 15)
Arthur Schildbach
Marimba [Eroica] (4 to 15)
James Stutsman
Marimba [Eroica] (2)
Thomas Siwe
Marimba [Eroica] (2)
Thomas Turner
Organ [Chromelodeon I] (2)
Donald Andrus
Organ [Chromelodeon Ii] (4 to 15)
Francis Thumm
Organ [Chromelodeon Ii] (1)
James Weaver
Organ [Chromelodeon Ii] (2)
William Parsons
Percussion (4 to 15)
Emil Richards
Percussion [Cloud-chamber Bowls] (1)
Thomas Wardlow
Percussion [Cloud-chamber Bowls] (2), Strings [Castor And Pollux] (4 to 15)
Dorcas Ann Newton
Percussion [Diamond Marimba] (2)
Ron Caruso
Percussion [Gourd Tree] (1)
Jean-Charles François
Percussion [Quadrangularis Reversum] (1)
Thomas Hall
Percussion [Spoils Of War] (2, 4 to 15)
Frank Bowen
Piccolo Flute (2)
Robert Ruckrigel
Piccolo Flute (2)
Paul Cooper
Producer (4 to 15)
Max Murray
Soprano Saxophone (4 to 15)
Freda Pierce
Soprano Vocals (2)
Alan Davis
Strings [Castor And Pollux] (4 to 15)
Lyndel Davis
Strings [Crychord] (2), Strings [Kithara Ii] (4 to 15)
Dennis Dunn
Strings [Harmonic Canon I, New Harmonic Canon I] (1)
Jonathan Glasier
Strings [Harmonic Canon I] (1), Strings [New Harmonic Canon I] (1)
Mark Johnson
Strings [Harmonic Canon Ii] (2)
Duane Thomas
Strings [Harmonic Canon Iii] (1)
Michael Ranta
Strings [Surrogate Kithara] (4 to 15)
Melaniusz Gienko
Trombone (2, 4 to 15)
William Brahms
Trombone (2)
Cecil Bridgewater
Trumpet (4 to 15)
Kent Hermsmeyer
Trumpet (2)
Michael Esselstrom
Trumpet (2)
Thomas Knox
Trumpet (2)
Aaron Johnson
Tuba (2, 4 to 15)
Howard Osborn
Viola (4 to 15)
David Dunn
Viola [Adapted] (1)
Mark Cleghorn
Violin (4 to 15)
Uni Thomas
Violin (4 to 15)