source file: mills2.txt Date: Mon, 22 Jul 1996 05:39:33 -0700 Subject: Re: The Reply, Part One: Whither Harry... From: Johnny Reinhard Contrary to Mr. Szanto's assertions, I neither ignored nor miscomprehended Mr. Partch's oeuvre. Once again, the use of the synthesizer for the Chromelodion was discussed as acceptable by Danlee Mitchell over the phone - the only possible substituion allowable. Mr. Drummond's hoarding of the instruments is not related at all to this useage. Additionally, the AFMM uses its own Kithara built at a cost of $1,000 by Skip La Plante, and uses an guitar "better" than Partch could hope for, as is its player. Dean's regular performance of 2 Studies on Ancient Greek Scales for zoomoozophone and flute, and its recording on CD - contrary to Danlee and company - belies the fury that keeps Partch under wraps, unless it is by the blessed few who worked with Partch directly. Non-corporeal performances by Mr. Mitchell at Lincoln Center flies in the face of further criticisms. And the value of the synthesizer (which was unavailable to Partch) in performing "all the notes written" by the composer for his music adds an improved dimension - if only the music was listened to, rather than talked about. McLaren was incorrect in stating that Dean Drummond has refused lending or renting the AFMM instruments for any "stated" reason, as I previously posted. When I called him to repair an adapted viola, he refused. When I reminded him that I had recommended he make a new surrogate kithara and chromolodeon due to their inferior sound quality (using a $50,000 grant for that purpose) he did just that, using Mr. Hackelman at my recommendation. 3 years afterwards Mr. Drummond claims to have forgotten his asking for said reccomendation. The sentimentality for Partch's mortality undercuts his role as a composer in this country. Mr. Szanto - a fantastic bass marimba player - should have been involved with east coast performances, he was missed. At this time there is a monopoly on his instruments as a result of territoriality and protectionism. It should not be too surprising - had the same problem with the Charles Ives Society. That one worked through a bit better, thankfully. Danlee Mitchell does not believe that Partch's music holds up without the exact instruments formerly in his possession being used. He wrote me on March 7, 1987, effectively derailing my planned productin of King Oedipus, "I do not recall saying that I approved of Dean performing this work (2 Studies on Ancient Greek Scales) on flute and zoomooxophone(sp), and if I did I take it back. It should be performed on HC and BM--nothing else!" Several years later, and with original instruments in Dean's possession, it was released on Mode Records. Sorry, Jon, no dice. Johnny Reinhard Director American Festival of Microtonal Music 318 East 70th Street, Suite 5FW New York, New York 10021 USA (212)517-3550/fax (212) 517-5495 reinhard@styx.ios.com Received: from eartha.mills.edu [144.91.3.20] by vbv40.ezh.nl with SMTP-OpenVMS via TCP/IP; Mon, 22 Jul 1996 15:26 +0100 Received: from by eartha.mills.edu via SMTP (940816.SGI.8.6.9/930416.SGI) for id GAA27881; Mon, 22 Jul 1996 06:26:37 -0700 Date: Mon, 22 Jul 1996 06:26:37 -0700 Message-Id: <199607221315.JAA09385@cerberus2.Ensoniq.Com> Errors-To: madole@ella.mills.edu Reply-To: tuning@eartha.mills.edu Originator: tuning@eartha.mills.edu Sender: tuning@eartha.mills.edu