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Partch, Harry; GENESIS OF A MUSIC; 1949 ,1974; Da Capo Press, Inc. New York. Copyright 1949, 1974 by Harry Partch. Typed by Barb. Golden, October 1994. excerpts 1162w

APPENDIX IV

Bibliography on Harry Partch

A. Writings About Harry Partch's Work

2. Alexander Fried. San Francisco Chronicle, February 10, 1932. Review. 3. Marjorie M. Fisher. The San Francisco News, February 10, 1932. Review. 12. R. H. Hagan. "The Mills College Production of 'King Oedipus.'" This World (San Francisco Chronicle), March 9, 1952. Illus. p.475 13. Alfred Frankenstein. San Francisco Chronicle, March 16, 1952. Review of Oedipus performance. 14. Clifford Gessler. Oakland Tribune, March 17, 1952. Review of Oedipus performance. 16. Joseph Biskind. "Sophocles, Yeats, and Harry Partch." The Argonaut (San Francisco), March 21, 1952. 19. Margaret Schubart. "Bay Area Diary. Partched Sound." Counterpoint, April, 1952, p. 30. p.476 66. Alfred Frankenstein. "Partch's Instruments." San Francisco Chronicle, June 22, 1963. Review of program for Symphony League. Illus. p.479 83. Heuwell Tircuit. San Francisco Examiner & Chronicle, May 19, 1968, p. 34. Review of Petals record. Illus. 94. Lou Harrison. "Partch's Glorious New 'Delusion.' " San Francisco examiner & Chronicle, January 26, 1969. Review of Delusion performance. Illus. p.480 103. Paul Hertelendy. "Harry Partch - Rebel Composer." Oakland Tribune, November 23, 1969. Illus. p. 481 114. Heuwell Tircuit. "A flawless 'Delusion' of 20th Century Music." This World (San Francisco Chronicle), March 12, 1972. p.482

Writings by Harry Partch

133. "Bach and Temperament." The Carmel (California) Pine Cone, July 18, 1941. 134. "The Kithara." The Carmel Pine Cone, September 19, 1941, Illus. 135. "Barstow." The Carmel Pine Cone, September 26, 1941. Illus. 136. "W. B. Yeats." The Carmel Pine Cone, October 17, 1941. Illus. 137. "Show Horses in the Concert Ring." Circl e (Berkeley), Summer, 1948, pp43-51. Illus. 138. "No Barriers." Impulse (San Francisco), Summer, 1952, pp.9-10. 142. And on the Seventh Day Petals Fell in Petaluma. Source, vol. 1, no. 2 (July, 1967). (Source, 2101 22nd St., Sacramento, Ca. 95818) p.483

APPENDIX V

Recordings and Films

Recordings

Although a number of acetate records of my music were made during the years 1942-1945, and although most of the masters remain in fairly good condition, these are not listed. The pressed recordings fall into three categories - private, GATE 5, commercial. The private recordings are at 78 rpm, while the others are long-playing records. All except No. 7 are twelve-inch records. Only the last three commercial recordings are stereo.

Private Recordings

1. U.S. Highball (1946). GME Recording (Warren E. Gilson), Madison, Wisconsin. Three records, six sides. Out of print.

2. Ten Settings of Lyrics by Li Po (1947). GME Recording (Warren E. Gilson), Madison, Wisconsin. Two records, four sides. Out of print.

3. Partch Compositions (1951). Issued by Lauriston C. Marshall, Berkeley, California. Includes a discourse and sample passages, The Letter, Dark Brother, and eight of the Eleven Intrusions. Five records, ten sides. Out of print.

GATE 5 Recordings

In a sense, these were also private recordings. The first two were initiated as subscription records - they were paid for even before rehearsals had started, and indeed had to be if the project was to succeed. None of the GATE 5 records were listed in catalogs, but they were widely reviewed and continued to sell by mail order for over nineteen years. The back page of the photo supplement that accompanied the records beginning in 1957 follows:

IN EXPLANATION OF "GATE 5"

There has been some misapprehension regarding the source of this term. GATE 5 was not picked out of a hatful of the most unlikely names although there are probably worse ways. During the recent war Sausalito - on San Francisco Bay- became the site of one of those feverishly built shipyards and upon termination of the war the property went into private hands. The shipyard had five gates, and the sign: GATE 5, was still to be seen when Harry Partch moved his instruments into a building previously used by the army at the entrance to it. After the war, a number of people took over converted ferries, barges, and houses on stilts in this area, which is known locally as GATE 5. There is also a GATE 5 bus stop.

Beyond the prosaic fact that Partch lived, wrote music, built instruments, organized and rehearsed ensembles, and manufactured records here, there is the more intriguing circumstance that GATE 5 carries an occult meaning in sundry ancient mythologies. In ancient pictographs the city, the center of culture, has four pedestrian gates. These are tangible; they can be seen; physical entrances can be shown. But the city also has a fifth gate, which cannot be shown because it is not tangible, and can be entered only in a metaphysical way. This is the gate to illusion.

The last edition of the Gate 5 records was brought out in 1962, with the six records labeled Issues A-B-C-D-E-F. All are out of print.

4. Plectra and Percussion Dances (1953). Sausalito ensemble. Reissued 1957, 1962 (Issue C).

5. Oedipus (1954). Sausalito ensemble. Originally a two-record set. Excerpted for one record and reissued in 1957 and again in 1962 (Issue D).

6. The Bewitched (1957). University of Illinois ensemble. Originally a two-record set. Excerpted for one record and reissued in 1962 (Issue E).

7. U.S. Highball (1958). Ensemble in Evanston, Illinois. Originally one ten-inch record, this recording was reissued in 1962 as a part of The Wayward (see below).

8. Revelation in the Courthouse Park (1961). University of Illinois ensemble. Excerpted for one record and issued in 1962 (Issue F).

9. The Wayward (1962; Issue B) Consists of U. S. Highball (recorded 1958), The Letter (recorded 1950), and Ulysses at the Edge (recorded 1958).

10. Thirty Years of Lyrical and Dramatic Music (1962; Issue A). Consists of one excerpt and various short pieces composed between 1931 and 1961 and recorded at various times and places.

Commercial Recordings

11. From the Music of Harry Partch (1964). Composers Recordings, Inc. 9CRI 193). Compiled from GATE 5 Issues A, B, C, and E (see above). Consists of Castor and Pollux, The Letter, Windsong (excerpted), and Scene 10 and the Epilogue of The Bewitched.

12. And on the Seventh Day Petals Fell in Petaluma (1967). Composers Recordings, Inc. (CRI 213 USD). Stereo. Performed by a Los Angeles ensemble. 13..The World of Harry Partch (1969). Columbia Stereo MS 7207. Consists of Daphne of the Dunes, Barstow, and Castor and Pollux. This was recorded following the Whitney Museum program in September of 1968 (see Appendix III). 14. Delusion of the Fury - A Ritual of Dream and Delusion (1971). Columbia Stereo M2-30576 (three records). Two records of the complete work plus one discussion-demonstration record. Performed by a Los Angeles ensemble and conducted by Danlee Mitchell.

15. New Music For Trumpet (1972). Orion Stereo ORS 7294. Included on this recording is a new performance of Ulysses at the Edge, by a San Diego ensemble. Jack Logan, Trumpet Soloist. pp484-486.

Typed by Barb Sept 21 94.


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