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  • The Harry Partch Collection, Volume 4
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The Harry Partch Collection, Volume 4


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Audio CD, April 4, 2005
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The Harry Partch Collection, Volume 4 + The Harry Partch Collection Volume 3 + The Harry Partch Collection, Volume 2
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1. Prologue—The Lost Musicians Mix Magic
2. Scene 1—Three Undergrads Become Transfigured in a Hong Kong Music Hall
3. Scene 2—Exercises in Harmony and Counterpoint Are Tried in a Court of Ancient Ritual
4. Scene 3—The Romancing of a Pathological Liar Comes to an Inspired End
5. Scene 4—A Soul Tormented by Contemporary Music Finds a Humanizing Alchemy
6. Scene 5—Visions Fill the Eyes of a Defeated Basketball Team in the Shower Room
7. Scene 6—Euphoria Descends a Sausalito Stairway
8. Scene 7—Two Detectives on the Trail of a Tricky Culprit Turn in Their Badges
9. Scene 8—A Court in its Own Contempt Rises to a Motherly Apotheosis
10. Scene 9—A Lost Political Soul Finds Himself Among the Voteless Women of Paradise
11. Scene 10—The Cognoscenti Are Plunged into a Demonic Descent While at Cocktails
12. Epilogue 2:07

Editorial Reviews

NEWLY REMASTERED FROM THE ORIGINAL MONO MASTER TAPES!!! *** The Bewitched was Partch's first work solely intended for dance (and mime-dance at that; he was not overly enamored in his lifetime of so-called "modern dance"). Drawing heavily from his deep affection for the music-theatrical performance traditions of Greek theater, as well as those from Africa, Bali, and Chinese opera, Partch conceived of a contemporary American music ritual-theater where musicians not only play, but also function at times as movers-singers-actors. Such is the case of The Bewitched, where the instruments are the set, in front of (and around) which dancers "dance," but where the onstage musicians also move and sing. "The Bewitched is in the tradition of world-wide ritual theatre. It is the opposite of specialized. I conceived and wrote it in California in the period 1952-55, following the several performances of my version of Sophocles' Oedipus. In spirit, if not wholly in content, it is a satyr-play. It is a seeking for release--through satire, whimsy, magic, ribaldry--from the catharsis of tragedy. It is an essay toward a miraculous abeyance of civilized rigidity, in the feeling that the modern spirit might thereby find some ancient and magical sense of rebirth. Each of the 12 scenes is a theatrical unfolding of nakedness, a psychological strip-tease, or--a diametric reversal, which has the effect of underlining the complementary character, the strange affinity, of seeming opposites." --Harry Partch

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