Harry Partch Ensemble

Saturday, April 13, 2019 - 7:30pm
$10 all tickets
Harry Partch Instrumentarium, photo Steve Korn

Music by Harry Partch, including The Bewitched, plus music composed for the Harry Partch instruments, which are in long-term residence at the UW under the direction of composer and Partch expert Charles Corey. 

PROGRAM

from And on the Seventh Day, Petals Fell in Petaluma (1964, 1966): ...................... Harry Partch
Verse 4
Verse 21
Madeline Meek, Koto Mason Lynass, Bass Marimba; Charles Corey, Chromelodeon II; Isaac Anderson, Spoils of War

Facets (2012) ............................................................................................................ Scott Eggert
Laure Struber, Chromelodeon I; Charles Corey, Diamond Marimba

from Even Wild Horses (1952): ................................................................................. Harry Partch
Act II / Scene 1: “Nor These Lips Upon Your Eyes” (text by Arthur Rimbaud)
Alessandra Barrett, Adapted Viola; Emily Acri, Kithara II; Jeff Bowen, Adapted Guitar III, Intoning Voice Laure Struber, Chromelodeon I; Charles Corey, Spoils of War; Ed Cunneen, Bass Marimba; Paul Hansen, Bass Marimba, Cloud-Chamber Bowls

from Eleven Intrusions: ............................................................................................. Harry Partch
Two Studies on Ancient Greek Scales (1946, 1949)
I. Study on Olympos’ Pentatonic
II. Study on Archytas’ Enharmonic
Charles Corey, Harmonic Canon; Bonnie Whiting, Bass Marimba

The Letter (1943, 1955) (text collected by Harry Partch)............................................ Harry Partch
Dick Valentine, Intoning Voice, Diamond Marimba; Paul Hansen, Harmonic Canon; Peter Bastedo, Surrogate Kithara; Charles Corey, Kithara II; Chris Young, Bass Marimba

Visions from an Unceasing Somnolence (2018-19) ............................................... Charles Corey
Luke Fitzpatrick, Adapted Viola; Paul Hansen, Diamond Marimba; Jeff Bowen, Kithara II; Mason Lynass, Bass Marimba; Marcin Pączkowski, Surrogate Kithara, Chromelodeon I; Charles Corey, Spoils of War; Steven Damouni, Chromelodeon I; Bonnie Whiting, Cloud-Chamber Bowls

from Two Settings from Lewis Carroll (1954): ........................................................... Harry Partch
I. The Mock Turtle Song (text by Lewis Carroll)
Charles Corey, Surrogate Kithara; Bonnie Whiting, Spoils of War, Intoning Voice

I N T E R M I S S I ON

The Bewitched — A Ballet Satire (1954-55) ................................................................ Harry Partch
I. Background for the Transfiguration of American Undergrads in a Hong Kong Music Hall
II. Background for the Permutation of Exercises in Harmony and Counterpoint
III. Background for the Inspired Romancing of a Pathologic Liar
IV. Background for the Alchemy of a Soul Tormented by Contemporary Music
V. Background for the Visions of a Defeated Basketball Team in the Shower Room
VI. Background for Euphoria on a Sausalito Stairway
VII. Background for the Transmutation of Detectives on the Tail of a Culprit
VIII. Background for the Apotheosis of a Court in its Own Contempt
IX. Background for a Political Soul Lost Among the Voteless Women of Paradise
X. Background for the Demonic Descent of the Cognoscenti While Shouting over Cocktails

Sarah Kolat, The Witch

Brian Schappals, Clarinet

Luke Fitzpatrick, Adapted Guitar III, Kithara II, Adapted Viola

Charles Corey, Harmonic Canons, Surrogate Kithara, Spoils of War

Jeff Bowen, Kithara II, Spoils of War

Steven Damouni, Chromelodeon I, Harmonic Canon

Bonnie Whiting, Diamond Marimba, Spoils of War, Chromelodeon I, Harmonic Canon

Paul Hansen, Bass Marimba

Rebekah Ko, Marimba Eroica

Concept and Staging by Warren Woo, Sarah Kolat, and Charles Corey


Director Bio

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.