Harry Partch, an American original.
Welcome to our new home.
In the Fall of 1996 I created Corporeal Meadows. I had just become aware of the first instance of Partch's music being appropriated for instruments other than his own (the remarkably ill-advised Kronos Quartet arrangement of "Barstow"). Nearly ten years had passed since his instruments had left San Diego, I missed them, and needed to do something. What an appropriate time to offer basic information about Partch and his work: none of the various books and reissued recordings had yet been produced and published. Honestly? I wasn't quite sure what I was getting into, but having programmed in the past, I figured I'd roll up my sleeves and sling some html, joining the web somewhat early-on.
I never dreamed that site would last 20 years.
Now we sit, a full two decades beyond that, and much has changed. All the same, my prime motivation remains: to maintain a focus on the essential nature of Harry Partch, his creativity and work, and his profound legacy. I feel fortunate to look back over those years and see the documentation footprint: audio projects that present virtually everything Partch ever recorded, important biographical works, and a higher awareness of Partch through many available media. Incomparable contributions by people like Philip Blackburn and the late Bob Gilmore changed our understanding. But it can't rest there.
We are in a new world, one where alternate groupings of Partch-like instruments are growing. With each passing year, the performances ostensibly done in his name stray further from his own aesthetic. The problem is, without adequate exposure to what Harry himself intended, the public won't know any better. So we've got a two-part mission: first, to keep his instruments and their players, at the University of Washington under the capable leadership of Charles Corey, as visible as possible. We'll do everything we can to support those efforts. Secondly, to add to the resources on this site for illumination, education, and inspiration, so that - with hope - an audience will know whether they are getting the right serving of tapioca when they get a chance to experience a live performance.
It's been a bitch to port the old site, and I'll be leaving an archived version up elsewhere. I'm not going to bring all the content over, because I want fresh stuff, and some things aren't a good fit in the new version. I'm excited to utilize the opportunities that this new platform gives me, and I plan on serving up new sights and sounds. It's not all there yet, but somehow it seemed time to Get Going, and I want to rev this up.
I truly believe that Harry can, as he put it so well, "instill ferment". I think he can move people, and we'll do what we can to make that happen. Just remember: Accept no substitutes.
Jon Szanto