Series Producer: Philip Blackburn
Innova 407 DVD
Extras:
THE DREAMER THAT REMAINS: A PORTRAIT OF HARRY PARTCH
Our meeting was serendipitous. In November of Ô71 I attended a dinner
party at the home of poet Jack Larson and director James Bridges. A cut from HarryÕs new album, ÒDelusion
of the Fury,Ó was playing in the background, and although I tried being
attentive to other guests, the musicÕs exotic rhythms and sounds kept diverting
my attention.
My wonderment doubled when Jim
showed me the cover of the Columbia album. Displayed in dramatic color were photos of HarryÕs amazing
hand crafted instruments. They were
unlike anything IÕd ever seen—rich, organic sculptural pieces with
provocative names including the Boo, Bloboy, Spoils of War, Chromelodeon,
Quadrangularis Reversum, and my favorite--the Cloud Chamber Bowls, a deep
chiming collection of 12 gallon Pyrex carboys recycled from a California
radiation laboratory. How I
wondered, could I meet this astonishing alchemist?
That evening, the synchronicity
continued. I was introduced to
Betty Freeman, whose name in the contemporary art and music world is synonymous
with generosity. Betty was a good
friend of HarryÕs, and had recently started The Partch Foundation, providing a
resource to support HarryÕs work.
The endowment helped him to live independently as he continued to build
instruments, plan concerts and annoy traditionalists of every cause and
stripe.
Betty informed me that Harry was
building a kithara, based on the stringed instrument of Greek lore. She planned a visit that weekend--
would I like to accompany her to his home in Encinitas? During the two-hour drive from
LA, we discussed ideas for a film.
Earlier in his career Harry had scored four short films, including the
beautiful ÒWindsongÓ for independent filmmaker Madeline Tourtelot. She, in turn captured performances of
his compositions ÒU.S. HighballÓ and ÒDelusion of the Fury.Ó Outside of those efforts, little else existed.
My interest—(and BettyÕs as
well) initially focused on HarryÕs music. But after we met, the artist himself
proved to be an equal measure of enchantment. Further discussions led to the goal of filming a portrait--a
documentary that would capture HarryÕs Ò43 tone compositions,Ó but also the
astute observations from the spirited iconoclast himself.
In the weeks that followed Harry
and I quickly bonded, an unexpected camaraderie of similar souls. Involved and
supportive every step of the way, Betty not only agreed to produce, but also
offered Harry a commission to write something new for the film. Artistic explosions, edgy
rehearsals—and soothing cups of Eagle Rock brandy melded together as
plans progressed. And finally, in
early spring of Õ72, we began.
Prophetically entitled ÒThe Dreamer
That Remains,Ó HarryÕs new composition became the movieÕs anchor. It was a cautionary, romantic piece,
drawn from memories of his youth in Arizona. The lyrics spoke of taking time
for friendship and togetherness; an ode to the simple, comforting civilities
found in theÒdying gasps of the Old West.Ó
Thanks to my colleague and
cameraman John Monsour and HarryÕs devoted friend, percussionist Danlee
Mitchell plus the energy of a gifted young ensemble, ÒA Portrait of Harry
PartchÓ became a reality. Since
then, audiences throughout the world have enjoyed getting acquainted with
Harry.
I remain enormously grateful for
the experience, knowing that more than thirty years later the film in its new
format continues to celebrate artistic fortitude, ancient magic, and one of
AmericaÕs genuine musical mavericks.
Stephen
Pouliot
Venice,
California
January
2004
Film revised by Stephen Pouliot, 2005, with added scenes
from the Harry Partch Estate Archive
Edited for innova by Philip Blackburn and Chris Campbell
Directed by Stephen Pouliot
Producer: Betty Freeman
Camera: John Monsour, William Crain
Musical Direction: Danlee Mitchell
Sound Recordist: Mark Hoffman
Assistant to Partch: James Aitkenhead
Conductor: Jack Logan
Musicians: Harry Partch, Mark Hoffman, Danlee Mitchell,
Katherine Bjornson, Alexis Glatly, Michael Crosier, Ron Caruso, David Dunn,
Dennis Dunn, Jonathan Glasier, Jean-Charles Francois, Randy Hoffman, Emil
Richards, Jon Szanto, Duane Thomas, Francis Thumm.
DirectorÕs Commentary recorded by Stephen Pouliot, 2006,
thanks to John Schneider, KPFK-Los Angeles.
Delusion of the Fury: A
Ritual of Dream and Delusion
The Exordium is an instrumental overture, an invocation, the
beginning of a web, the spinning of which entangles both people and situations
in their predictable complexities.
ACT I
On the recurrent
theme of Japanese Noh plays, is a music-theatre portrayal of Life despite
Death, and release from the wheel of life and dream. On a Japanese ThemeÉ
treats Death and with Life despite DeathÉ
It is based on the legend of a princely warrior who falls in battle at
the hands of a young rival. The
act begins with the slayerÕs remorseful pilgrimage to the scene and to a
particular shrine where he may do penance. The murdered man appears as a spirit, and his son, born
after his death, then enters, seeking the same shrine in the belief that he may
see his fatherÕs face, as though in a dream. Spurred to resentment by the presence of his son, the father
lives again through the ordeal of battle.
Finally the ghost realizes his error and seeks forgiveness. ÒPray for Me.Ó
The SANCTUS ties
acts I and II together. It is the
epilogue to the one, the prologue to the other.
ACT II
Based on an African
folk tale, is a reconciliation with life, not as a separate mental act from
that with death, but as a necessary concomitant, an accommodation towards a
healthy, or at least a possible existence. Its essence is a tongue-in-cheek understanding, attained
through irony, and even through farce.
A young vagabond is preparing to cook a meal over twigs when an old
woman who tends a goatherd approaches, searching for a lost kid. The hobo unintentionally indicates the
whereabouts of the kid and the woman attempts to thank him. However, a dispute ensues, due to a
misunderstanding caused by the hoboÕs deafness. Villagers gather and cause the quarreling couple to appear
before a justice of the peace, who is both deaf and near-sighted. Following the hilariously delightful
judgment, there is a celebration.
But the pagan deities of twenty violent continents intercede. Pray for Me Again is repeated, a full instrumental coda, reflecting the
instrumental denouement of ACT I.
After the Pray for Me
sequence, ends the work.
— from the notes
accompanying the Cinema 16/Grove Press flyer
Recorded at UCLA Playhouse,
MacGowan Hall, University of California,
Los Angeles, January, 1969,
following a production supported by Betty Freeman and the Pasadena Art Museum.
Score composed November 1,
1965—March 17, 1966, and subsequently commissioned by the Serge
Koussevitsky Music Foundation.
Performers:
Bill Symons, Jr., Gary Coleman,
Linda Schell, Emil Richards, Todd Miller, Ruth Ritchie, Frank Berberich, Mark
Stevens, Michael Aaron, Robert Rose, Lynn Taussig, Dean Drummond, Stephen Tosh,
Robert McCormick, Carol Brown, Nathan Widato, Joe Roccisano, Robert Randles,
Latif Allen, John McAllister, John Grayson, John Stannard.
Tenor voice: John Stannard,
Soprano: Victoria Bond, Bass: Paul Bergen.
Actors/mime/dance:
Pilgrim (The Slayer): John Blount,
Son of the Slain: Susan Marshall,
Ghost (The Slain): Glendon Hornbrook,
Deaf Hobo: John Blount,
Old Woman with Lamb: Susan Marshall,
Deaf and Near-Sighted Justice: Glendon Hornbrook.
Musical Director: Danlee
Mitchell
Director: John Crawford
Choreographer: Virginia Storie
Crawford
Film producer and director: Madeline Tourtelot
Cameras: Jack Robinette, John Morrill, Jack Lord, Madeline
Tourtelot,
Editing: Madeline Tourtelot, Les Blank
Stills: Ted Tourtelot
Assistants: Takashi Yamada, Harry Partch, Linda Schell
Live sound recording: Cecil Charles Spiller
Digital transfer from 16mm film courtesy of Danlee Mitchell
and Jon Szanto
Soundtrack mastered in 5.1 surround sound by Preston Wright
Resynched by Chris Campbell
Dreamer outtake: Making Rose
Petal Jam (1972)
Special thanks to John Wagstaff of
the University of Illinois Music Library and Tom McGeary for arranging the
digital transfer.
BONUS ALBUM
Harry Partch introduces his instruments
Recorded by Danlee Mitchell, 1969. Another version of this recording was released as a Bonus
Album on some of the LP boxed sets of Delusion of the Fury (Columbia)
Musical examples played by Danlee Mitchell and Linda Schell
Thanks to Jon Szanto for digital transfer
Slideshow by Philip Blackburn with photos from the Harry
Partch Estate Archive
REVELATION IN THE COURTHOUSE PARK
Chorus Three: These Good Old-Fashioned Thrills. Fireworks Ritual.
Chorus Three: Tumble On. Climax of Celebration.
Scene Three: Herdsman Scene, Pentheus is tricked into
transvestism.
Scene Four: Hymn to Dionysus
Coda
John Garvey, Conductor
Barnard Hewitt, Producer
George Talbot, Designer and Technical Supervisor
Sonny/Pentheus, Jeffrey Foote
Mom/Agave, Freda Pierce
Dion/Dionysus, John Bert
Herdsman, Joel Klein
Cadmus, Coryl Crandall
Korypheus, Elizabeth Hiller
Kine by Madeline Tourtelot, recorded April 9, 1961, at the
University of Illinois, Urbana-Champaign, production, University Auditorium,
(premiered two days later) telecast on Channel 12, WILL-TV, April 25 and May 3.
Video transfer courtesy of the Harry Partch Estate Archive
Based on ÒThe BacchaeÓ of
Euripides, ÒRevelationÓ will be television as unusual in theme and staging as
the composerÕs own instruments (which bear exotic names such as Chromelodeon,
Castor and Pollux, Spoils of War and Marimba Eroica).
Scenes
alternate between ancient Greece and a small-town park in contemporary
Midwest. The only spoken lines are
in the Greek scenes.
Singers
and actors appear in Greek masks, then as present-day cultists, followers of
ÒDion, Hollywood king of Ishbu Kubu,Ó modern counterpart of Dionysus, god of
the Bacchae.
Appearing
in the American scenes are a variety of entertainers — drum majorettes,
brass band, guitarists, clog dancers, and the University of Illinois gymnasts
performing as tumblers and trampolinists.
A
chorus of women take part in both Greek and American scenes. In addition a menÕs chorus appears in
the American sections.
- Channel 12 News, WILL-TV, April 24, 1961
ENCLOSURES: HARRY PARTCH
Seven-part series of Partch archives produced by Philip
Blackburn
ACKNOWLEDGEMENTS
Enclosure Seven is supported by grants from the National
Endowment for the Arts and the Aaron Copland Fund for Music Recording Program,
administered by the American Music Center.
Special thanks to Danlee Mitchell, Jon Szanto, Stephen
Pouliot, and Betty Freeman.
Innova Director, design: Philip Blackburn
Innova Operations Manager: Chris Campbell
Innova is supported by an endowment from the McKnight
Foundation.
www.innova.mu