Twentieth century American composer Harry Partch created an original musical world and hand-hewn instruments on which to perform his microtonal compositions, which continue to inspire and influence musicians and composers today. This festival celebrates the music and influence of this unique composer, whose collection of hand-made musical instruments are in long-term residence at the UW under the curatorship of composer and Partch scholar Charles Corey.
Note: Please allow an extra few minutes for parking as there are multiple events on the UW campus the evening of May 12.
Saturday, May 12
10:30 a.m., Concert 2, UW Tower Auditorium:
Charles Corey presents the Complete Works for Adapted Guitar and Intoning Voice
Barstow: Harry Partch
December 1942: Harry Partch
Come to Dust: Charles Corey
U.S. Highball: Harry Partch
2 pm, Symposium Session, Music Building Room 213
Andrew Granade: "Going Home: The Persistence of Partch's Hobo Persona"
Paul West: "Pythagoras, Plato and Partch: Breaking the Chains of a Theoretical Art Form"
Stephanie Liapis: "Castor & Pollux: a Movement Score"
7:30pm, Concert 3, Meany Theater
Satire and Sincerity
Y.D. Fantasy: Harry Partch
Pneuma: Wei Yang
The Rose, The Crane, The Waterfall: Harry Partch
Commentaries on Creation: Paul West
Dark Brother: Harry Partch
The Wind, The Street: Harry Partch
Ring Around the Moon: Harry Partch
The Wayward: Harry Partch
Tickets: $25* ($10 students/seniors)
*Or purchase general admission tickets for all three evening performances for $60 with promo code: "BUYALL3FOR$60"
Charles Corey is an American composer holding degrees in Music Composition and Theory from the University of Pittsburgh (Ph.D.) and Montclair State University (M.A., B.Mus.). Among his teachers are Robert Aldridge, Trevor Björklund, Patrick Burns, Dean Drummond, Eric Moe, Mathew Rosenblum and Amy Williams. His approach to composition exploits and subverts the relationships that exist between different tuning systems; the results of this process range from pieces that use standard tuning systems in unique ways to works that involve multiple tuning systems working in concert. His compositions are known for their unexpected, evocative harmonies and their strong dramatic arcs. His music has been played by a variety of performers including Cikada Ensemble, IonSound Project, Iktus Percussion, entelechron, and Relâche, and his writings have been published in several languages.
Richard Karpen is a composer and researcher in multiple areas of music and the arts. His compositions for both electronic media and live performance are widely known, recorded, and performed internationally. Over the last 30 years, he has also been in the forefront of the development of computer applications for music composition, interactive performance, and the sonic arts. He recently returned to the stage and the studio as a pianist.
Karpen was the founding director of DXARTS and is currently Director of the School of Music at the University of Washington, where he is also Professor of Music Composition. He has been the recipient of many awards, grants, and prizes, including those from the National Endowment for the Arts, the Bourges Contest in France, and the Luigi Russolo Foundation in Italy. Karpen has composed works for many leading international soloists, such as soprano Judith Bettina, violists Garth Knox and Melia Watras, trombonist Stuart Dempster, flutists Laura Chislett and Jos Zwaanenberg, guitarist Stefan Östersjö, and ensembles such as The Six Tones, JACK Quartet, The Seattle Symphony, and the Harry Partch Ensemble. Karpen is a founding member, with Cuong Vu, of the experimental improvisation ensemble Indigo Mist. As a pianist, Karpen has performed and recorded with Cuong Vu, Bill Frisell, Ted Poor, Steve Rodby, and others. Karpen's compositions and performances have been recorded on a variety of labels including Wergo, Centaur, Neuma, Le Chant du Monde, DIFFUSION i MeDIA, Fleur du Son, Capstone, and RareNoise.
Hailed by Gramophone as “an artist of commanding and poetic personality” and by The Strad as “staggeringly virtuosic,” violist/composer Melia Watras has distinguished herself as one of her instrument’s leading voices. She has performed in venues such as Carnegie Hall, Weill Recital Hall, and Alice Tully Hall, while achieving acclaim as an established recording artist. Her latest album Schumann Resonances, described by the American Record Guide as “a rare balance of emotional strength and technical delicacy,” features world premiere recordings of her own compositions. Watras has helped expand the viola repertoire, through composing, commissioning and debuting new works, including a recent world premiere of a viola concerto written for her by Richard Karpen, with conductor Ludovic Morlot and the Seattle Symphony. In 2020, Watras and Ensemble Dal Niente will give the first performance of Joel Durand’s composition for solo viola and ensemble, also written for Watras.
Watras’s discography has received considerable attention from the press and the public. The Strad called 26 “a beautiful celebration of 21st century viola music.” Ispirare, which features the world premiere recording of Pulitzer Prize-winner Shulamit Ran’s Perfect Storm (written for Watras), made numerous Best of 2015 lists, including the Chicago Reader’s (“Watras knocked the wind out of me with the dramatically dark beauty of this recording”). Short Stories was a Seattle Times Critics’ Pick, with the newspaper marveling at her “velocity that seems beyond the reach of human fingers.” Of her debut solo CD (Viola Solo), Strings praised her “stunning virtuosic talent” and called her second release (Prestidigitation) “astounding and both challenging and addictive to listen to.”
Watras’s compositions have been performed in New York City, Chicago, Seattle, Bloomington (IN), Denmark and Spain, by artists such as violist Atar Arad, pianist Winston Choi, cellist Sæunn Thorsteinsdóttir, singer Galia Arad and violinists Manuel Guillén, Yura Lee and Michael Jinsoo Lim. Her music has been heard on National Public Radio’s Performance Today, and can be found on the albums Schumann Resonances and 26. Watras’s adaptation of John Corigliano’s Fancy on a Bach Air for viola is published by G. Schirmer, Inc. and can be heard on her Viola Solo album.
Watras is violist of the Seattle-based ensemble, Frequency, for whom she has composed. For twenty years, Watras concertized worldwide and recorded extensively as violist of the renowned Corigliano Quartet, which she co-founded. The ensemble’s album on the Naxos label was honored as one of the Ten Best Classical Recordings of the Year by The New Yorker.
A versatile performer, Watras has enjoyed collaborations with dance and theater. She appeared as violist/dancer in the premiere of Kathryn Sullivan's At Home, at the Merce Cunningham Studio in New York City. Music from her album Viola Solo was featured in director Sheila Daniels’s production of Crime and Punishment at Intiman Theatre, and she worked as music consultant for Braden Abraham’s production of Opus at Seattle Repertory Theatre.
Melia Watras was born in Honolulu, Hawaii and began her musical studies on the piano at age 5. Soon after, she turned to the viola and made her debut at 16, soloing with the Dayton Philharmonic Orchestra. Her formal studies took her to Indiana University, where she studied with Atar Arad, earning Bachelor’s and Master’s degrees and the prestigious Performer’s Certificate. While at Indiana, Watras began her teaching career as Professor Arad’s Associate Instructor, and was a member of the faculty as a Visiting Lecturer. She went on to study chamber music at the Juilliard School while serving as a teaching assistant to the Juilliard String Quartet.
Watras serves as Professor of Viola and chair of Strings at the University of Washington, where she holds the Adelaide D. Currie Cole Endowed Professorship and was previously awarded the Donald E. Petersen Endowed Fellowship and the Royalty Research Fund. Watras has given viola and chamber music classes at schools such as Indiana University, Cleveland Institute of Music, Strasbourg Conservatoire (France), and Chosun University (South Korea). She frequently returns to her alma mater, Indiana, to teach as a guest professor. She plays a viola made by Samuel Zygmuntowicz.
Luke Fitzpatrick is a violinist, composer and improvisor. He is a founding member and artistic director of Inverted Space, a Seattle-based new music collective. Recent solo performances include Earle Brown’s Centering with Inverted Space, Alfred Schnittke’s Moz-Art with the University of Washington Chamber Orchestra and Brian Ferneyhough’s Intermedio alla ciaccona in the presence of the composer. His February 2016 performance of Steve Reich’s Violin Phase was performed with a live electronics system developed by Marcin Pączkowski. Additionally, he has performed with Deltron 3030, The Penderecki String Quartet, inauthentica, The Parnassus Project, The Moth, The Argento Chamber Ensemble and the California EAR Unit. His world premiere recording of Vera Ivanova's Quiet Light for solo violin was released on Ablaze Records in 2011. Luke holds degrees from The University of Washington (DMA), California Institute of the Arts (MFA) and the University of Missouri-Kansas City (BM). His principal teachers include Benny Kim, Mark Menzies, Lorenz Gamma and Ron Patterson. He is currently Artist-in-Residence at the University of Washington.