July 23-24 Delusion of the Furypastseasons.lincolncenterfestival.org/past-seasons-files/2015... ·...

July 23-24 New York City Center

Delusion of the FuryA Ritual of Dream and DelusionComposer Harry Partch

Director Heiner Goebbels

Music Theater with Ensemble Musikfabrik

Major support for Lincoln Center Festival 2015 is provided by The Andrew W. Mellon Foundation.

This performance is made possible in part by the Josie Robertson Fund for Lincoln Center.

Lincoln Center Festival 2015 is made possible in part with public funds from the New York City Departmentof Cultural Affairs, New York State Council on the Arts, and the National Endowment for the Arts.

Produced by Ruhrtriennale – Festival of the Arts. In co-production with Lincoln Center Festival, EnsembleMusikfabrik, and the Holland Festival.

Supported by the German Federal Cultural Foundation and the Arts Foundation of North Rhine-Westphalia.With the friendly assistance of Rudolf Augstein Stiftung and Verein der Freunde und Förderer derRuhrtriennale e.V. Ruhrtriennale and Ensemble Musikfabrik are supported by the state of North Rhine-Westphalia. The construction of the instruments and their study has been funded by the German FederalCultural Foundation and the Arts Foundation of North Rhine-Westphalia.

The Lincoln Center Festival 2015 presentation of Delusion of the Fury is made possible in part by generoussupport from The Andrew W. Mellon Foundation and the Arts Foundation of North Rhine-Westphalia. Incollaboration with, and the generous support of, the Goethe-Institut and the Federal Foreign Office of Germany.

Presented in association with New York City Center.

For program information on the July 23 performance/reading of Harry Partch’s Bitter Music,turn to page 25.

Lincoln Center Festival lead support is provided by American Express

Set and Lighting Designer Klaus Grünberg

Costume Designer Florence von Gerkan

Sound Designer Paul Jeukendrup

Dramaturg Matthias Mohr

Musical Rehearsal Leader Arnold Marinissen

Choreographic CollaborationFlorian Bilbao

Dramaturgical Project DevelopmentEnsemble Musikfabrik Beate Schüler

Instrument Maker Thomas Meixner

Approximate performance time: 1 hour 15 minutes, with no intermission

LINCOLN CENTER FESTIVAL 2015 DELUSION OF THE FURY—A RITUAL OF DREAM AND DELUSION

Act IChorus Ensemble MusikfabrikPilgrim (the Slayer) Alban WeslyGhost (the Slain) Bruce CollingsSon of the Slain Carl Rosman

Act IIDeaf Hobo Marco BlaauwOld Goat Woman Christine ChapmanJustice of the Peace Axel PorathMusician Melvyn PooreVoice Bruce CollingsKid Rie WatanabeVillagers/Chorus Ensemble Musikfabrik

Ensemble MusikfabrikMarco Blaauw, Helen Bledsoe, Christine Chapman, Bruce Collings, Johannes Fischer,Richard Haynes, Norbert Krämer, Ulrich Löffler, Thomas Meixner, Boris Müller, Gerrit Nulens,Melvyn Poore, Axel Porath, Carl Rosman, Dirk Rothbrust, Viacheslav Stakhov, Peter Veale,Rie Watanabe, Hannah Weirich, Alban Wesly, Dirk Wietheger

Cast


Exordium The Beginning of a Web

Act I On a Japanese ThemeChorus of Shadows The PilgrimageEmergence of the SpiritA Son in Search of His Father’s Face Cry from Another DarknessPray for Me

Sanctus An Entr’acte

Act II On an African ThemeThe Quiet Hobo Meal The Lost Kid Time of Fun Together The Misunderstanding Arrest, Trial, and Judgment Pray for Me Again

It is an olden time, but neither a precise time nor a precise place. The Exordium is anoverture, and invocation, the beginning of a ritualistic web.

Act I, on the recurrent theme of Noh plays, is a music-theater portrayal of release fromthe wheel of life and death. It opens with a pilgrim in search of a particular shrine, wherehe may do penance for murder. The murdered man appears as a ghost where he firstsees an assassin, as well as his young son looking for a vision of his father’s face. Spurredto resentment by his son’s presence, he lives again through the ordeal of death, but atthe end—with the supplication “Pray for me!”—he finds reconciliation.

Act II involves a reconciliation with life. A young vagabond is cooking a meal over a firein rocks when an old woman approaches, searching for a lost goat. She finds the goat,but—due to a misunderstanding caused by the hobo’s deafness—a dispute ensues.Villagers gather and, during a violent dance, force the quarreling couple to appear beforethe justice of the peace, who is both deaf and nearsighted.

Following the judge’s sentence, the Chorus sings in unison, “Oh, how did we ever getby without justice?” and a voice offstage reverts to the supplication at the end of Act I.

From Harry Partch’s Notes to the score, September 11, 1966

Synopsis


Note from the DirectorSince the early 1980s I’ve owned tworecords with music by Harry Partch. I don’tremember how I got them, but I still remem-ber well the immediate and lasting impres-sion they triggered in me: an awestruckamazement at the work of an artist ofwhom I was previously unaware. In a veryunique way, he was able to open a spacebetween classical music and pop that I hadbeen unable to imagine until then. I grewup with both: with Bach, Beethoven, andSchubert on the one hand and the Beatles,Beach Boys, and Jimi Hendrix on the other.It was only with Partch that a music beganto take shape that could do equal justice tothe physical desire for rhythmic pulse anda curiosity for new, unheard sounds; amusic that enthralls us despite, or rather,precisely because of, its unfamiliarity. Amusic for which we have no category andwhich has no location, and yet in a strangeway is grounded. We were very lucky tohave been able to develop this projecttogether with Ensemble Musikfabrik andto have found someone able to reconstructHarry Partch’s amazing instruments, the per-cussionist and instrument maker ThomasMeixner. Above all, the project has offereda great chance to make the music of HarryPartch performable once again, and therebyintroduce him to a larger audience.

It was only by working on Delusion of theFury that I became truly aware of howcomprehensive Partch’s artistic approachactually was: not only did he invent a var-ied set of instruments and a highly com-plex tonal system, he also reflected on thetheater space, lighting, staging, the move-ments of the body, and uncompromisinglyredefined the relationship of musicians andactors. It’s no wonder that during his timehe was incompatible with the establishedinstitutions of the music world.—Heiner Goebbels

America’s OutsiderComposer: Harry Partch An outsider all his life, Harry Partch (1901–74)creatively questioned the system of tem-pered intonation in music. In order to makehis works resound in the tone system hehad developed, he was compelled to buildhis own instruments. Harry Partch was arebel. Not unlike many others who wereunable to find a job during America’s GreatDepression of the early 20th century, hewas homeless for many years and traveledall around the U.S. hitchhiking or hoppingonto the trains that slowly crossed the vastcontinent. During his travels, he drew land-scapes and kept a diary now known asBitter Music, which is being given a rarelecture-performance as part of this sum-mer’s Lincoln Center Festival.

He was a seeker who wanted to understandthings down to their very foundations—and who opposed musical tradition, espe-cially European classical music. Partch wasborn in 1901, 11 years ahead of composersJohn Cage and Conlon Nancarrow, whobrought fundamental renewal to the worldof music. Partch did the same, but neverreceived the recognition of the other two.The extraordinary thing about Partch is theinstrument pool he developed and builtthroughout his life. It consists of manydiverse percussion instruments, but alsostring instruments, including a harmoniumwhich used an expanded scale he inventedbased on pure intonation.

As a young man Partch questioned every-thing: his music teachers, concert rituals,and the Western, tempered tonal system.He visited libraries and came across DieLehre von den Tonempfindungen (1862),Hermann von Helmholtz’s influential bookon acoustics and the perception of sound.This prompted him to write a string quartetin pure intonation in 1925, but the work


has since been lost. It went up in flameswith a number of the composer’s earlierworks around 1929 in what Partch termedan “adolescent auto-da-fé.”

This highly emotional period of youthfulexuberance was followed by his firsthomemade instruments: guitars with spe-cial fretboards or a viola with inlaid dotsindicating the micro-intervals Partch wasseeking. With these instruments, he accom-panied himself in songs setting texts bythe Chinese poet Li Po, and in the courseof these explorations he developed a kindof sprechgesang, his “intoning voice.” Hisintention was to make “corporeal” musicwhich would be optimally able to unfold itsemotionality. On this viola he first tried outa new system of intervals in pure intonation,dividing the octave into 29 irregular steps.

The stirring composition U.S. Highball, one ofPartch’s most important works of the 1940s,written with the help of a GuggenheimFellowship, describes an autobiographicaljourney from the West to Chicago, told byan anarchic intoning voice. It comprisesalmost half an hour of music, a rhythmicexplosion with constantly sliding pitches, awork that almost anticipates the psychedelic’60s. The Wayward cycle includes not onlyU.S. Highball, but also San Francisco, TheLetter, and Barstow. In one piece, Partchincorporated the cries of newspaper boys,in another he transcribed the letter of ahobo companion who wrote, among otherthings, that he would be glad to return tothe warm jail before winter, while inBarstow the first Hitchhiker Graffiti wereturned into songs. Constant movementwas a never-ending source of inspirationfor him.

Partch was also a theorist. In his bookGenesis of a Music, first published in 1949,he explains his understanding of the world

of harmony. He speculates on the tensionrelations between intervals, which are rep-resented by tables and graphic curves.When Partch is mentioned by name, whatsprings to mind for those who know hismusic is his 43-note system. This scale isnot constructed on a regular pattern likethe Western chromatic scale of semi-tones;it is derived from the overtone row up tothe 11th partial and produces a scale of 29intervals within the octave. Using multiplica-tions of primary numbers (“primary ratios”),Partch arrived at a somewhat more regularscale; he called these intervals “secondaryratios.” Thus, Partch’s 43-tone-system is amixed one, derived arithmetically from thenatural overtone spectrum.

The instruments—aesthetically and musi-cally unique—which Harry Partch developedfor his music are even more fascinating.The names alone are a delight for the ears.Among them are: Zymo-Xyl, Crychord,Surrogate Kithara, Blue Rainbow, Ptolemy,Chromelodeon I and II, Bloboy, and Spoilsof War. At the heart of this pool of instru-ments is the Chromelodeon, a harmoniumwhose name merges the terms “chroma”(color) and “melos” (melody). The continu-ous vibration of the metal reeds makes thepossible harmonies of the 43 pitches withinthe octave seem especially diverse and iri-descent when resounding at the same time.

Partch’s music is astonishingly well docu-mented, but he has stalwartly remained onthe fringes. This is largely due to the unavail-ability of his special instruments for perfor-mances, the originals of which are nowkept under lock and key, and concertswere only mounted with difficulty.

Unlike his better-known contemporary,John Cage, Partch never entirely aban-doned tonality. A rebel all his life, HarryPartch produced a wide spectrum of work,


and his ideas and interests have radicallyreshaped the music of our times.—Edu Haubensak

Edited from an article by composer EduHaubensak who lives in Zurich. English trans-lation by Alexa Nieschlag.

About the InstrumentsBy the time he recorded Delusion of theFury in 1969, Harry Partch had designed 27new instruments, all to be played on stageat the same time in a spatial ritual theater.These instruments were made to be beau-tiful in sound, vision, and magical purpose.He made particular instruments for spe-cific needs in his compositions, not theother way around. But, more than this, hedesigned the instruments to involve thewhole body, the whole person, in the art.

Commissioned by Ensemble Musikfabrikand Ruhrtriennale, Cologne-based drummerand instrument maker Thomas Meixnerproduced a complete reconstruction of HarryPartch’s instruments. The reconstruction ofthe microtonal instrumentation is based onthe only fully preserved collection of origi-nal instruments found at the University ofWashington’s School of Music in Seattle.

About the Creative TeamHeiner Goebbels (Director) is a Germancomposer and director and has brought anumber of productions to Lincoln Centeraudiences over the years. His first NewYork production was in 1989, The Man inthe Elevator, at the Next Wave Festival,which was followed by several produc-tions at Lincoln Center Festival: Black onWhite in 2001, Eislermaterial in 2003, andEraritjaritjaka in 2006. His I went to thehouse but did not enter was performed bythe Hilliard Ensemble as a part of the 2012White Light Festival. Songs of Wars I HaveSeen had its New York premiere performed

by the London Sinfonietta and the Or -chestra of the Age of Enlightenment at2011’s Tully Scope Festival. Stifters Dingewas featured during Lincoln Center’s 2009Great Performers season at the ParkAvenue Armory. In 1976 he was one of thefounders of the Sogenanntes LinksradikalesBlasorchester (“So-called Left Radical BrassBand”). He composed experimental musicfor film and theater, and as a member ofthe Duo Goebbels/Harth (1975–88) and theart rock trio Cassiber (1982–92), which hadconcerts at The Kitchen in NY in 1988.Since the 1980s he composed radio works,compositions for ensemble and big orches-tra, and developed the genre of “stagedconcerts” with works including The Man inthe Elevator (1987) and The Liberation ofPrometheus (1993). In the 1990s he startedcreating works for music-theater, includingOu bien le débarquement désastreux, TheRepetition, Max Black, Hashirigaki (pre-sented at BAM in 2003), Landscape withDistant Relatives, and When the MountainChanged its Clothing. Goebbels’ works havebeen performed by many ensembles andorchestras, including the Ensemble Modern,Ensemble Intercontemporain, Asko Ensem -ble, Junge Deutsche Philharmonie, BerlinPhilharmonics, and Brooklyn Philharmonic.He has created sound and video installa-tions for Paris’ Pompidou Center, amongother museums. He has been awardednumerous international prizes, includingthe Prix Italia, the European Theatre Prize,and the International Ibsen Award (2012).His music theater work Eraritjaritjaka(2004, based on a text by Elias Canetti),earned him six theater awards. He wasresident composer for the Luzern Festivalin 2003, at the Bochum Symphonic (2003–04)and artist in residence at the CornellUniversity 2010. From 2012–14 he wasartistic director of the Ruhrtriennale –International Festival of the Arts, and hedirected John Cage’s Europeras 1&2, andDe Materie by Louis Andriessen. Goebbels


is professor at the Institute for appliedTheatre Studies at the Justus Liebig Uni -versity in Gießen (Germany) and lives inFrankfurt. His book Aesthetics of Absence—Texts on Theatre was published last spring.

Klaus Grünberg (Set and Lighting Designer)was born in Hamburg, studied set designin Vienna with Erich Wonder, and hasworked as a set and lighting designer attheaters and opera houses throughoutEurope as well as in Buenos Aires andKuwait. He has worked with directorsincluding Tatjana Gürbaca, Barrie Kosky,Sebastian Baumgarten, André Wilms, andChristof Nel. With Gürbaca he worked onStravinsky’s Mavra for Berlin’s DeutscheStaatsoper, Mazeppa and The Enchantressat Antwerp’s Vlaamse Opera, Le GrandMacabre at Theater Bremen, Salome atthe Deutsche Oper am Rhein, and Rigolettofor the Zurich Opera. For Kosky he designedKiss me, Kate for Berlin’s Komische Oper,Tristan und Isolde in Essen, and TheMerchant of Venice in Frankfurt. He worksregularly with Heiner Goebbels on theaterworks including Max Black, Hashirigaki,Landscape with Distant Relatives, StiftersDinge, and I went to the house but did notenter and John Cage’s Europera 1 & 2. In1999 he opened the MOMOLMA (Museumof More or Less Modern Art) in Hamburg.His set and light design for Rusalka at theKomische Oper was nominated for Ger -many’s Der Faust theater prize in 2011.

Florence von Gerkan (Costume Designer)was born in Hamburg and studied costumedesign at the Berlin University of the Arts.She works internationally at theaters andopera houses including the Thalia Theater,Schaubühne Berlin, Theater Basel, ThéâtreVidy, Zurich Opera, Stuttgart State Theater,Milan’s La Scala, London’s Covent Garden,Vienna State Opera, Bayreuth Festival,Baden-Baden Festival, and the MetropolitanOpera. She has worked with directors

including Jürgen Flimm, Wilfried Minks,Erich Wonder, Andrea Breth, Cesare Lievi,Peter Mussbach, Tatjana Gürbaca, ThomasLanghoff, and Daniel Schmid. She has alsoworked for many years with Heiner Goebbelson productions including Eraritjaritjaka(2004), I went to the house but did notenter (2008), Europera 1 & 2, and Whenthe Mountain Changed its Clothing (2012).She lives in Berlin and is head of the cos-tume design department at the BerlinUniversity of Fine Arts.

Matthias Mohr (Dramaturg) studied from2003–09 at the Institute for Applied TheatreStudies at Giessen’s Justus Liebig University.His work moves between the realms ofmusic, sound art, installation, and perfor-mance. He has created several audiovisualinstallations, including Esquisse Retouché,a staged concert with Uwe Dierksen at theDarmstadt International Summer Coursesfor New Music (2006), and Der Brand withEnsemble Modern and the composer JensJoneleit (Stuttgart’s Eclat Festival, 2007).Music theater productions followed, includ-ing nm with Julien Bilodeau and EnsembleModern Academy (2008). He has also com-posed stage music and sound designs fornumerous theater productions and spatialinstallations. His work with Heiner Goebbelssince 2007 includes Stifters Dinge, Industryand Idleness en Genko-An 64287, Europera1 & 2, and When the Mountain ChangedIts Clothing. He has been the dramaturgand assistant to the artistic directors of theRuhrtriennale since 2011.

Florian Bilbao (Choreographic Collaboration)was born in Libourne, France, and studiedcontemporary dance in Montpellier andAngers (Centre National de Danse Con -temporaine). He has been based in Berlinsince 2002 and has worked with Xavier LeRoy, Christoph Winkler, Felix Ruckert, Nirde Volff/Total Brutal, Dieter Heitkamp,Rubato, Tino Sehgal, and Sommer Ulrickson.


He and Mercedes Appugliese are co-founders of the dance company A + BTANZBAU. He works as an assistant chore-ographer for Xavier Le Roy and MathildeMonnier as part of the Berlin Philharmonic’seducational program, and has restagedworks including Surrogate Cities (music byHeiner Goebbels and choreography byMathilde Monnier), which has been seen invarious European cities. Together withdancer Livia Patrizi, he founded the TanzZeitYouth Company.

Arnold Marinissen (Musical RehearsalLeader) is active as a conductor of music ofthe 20th and 21st centuries. In Amsterdamhe recently conducted Asko|Schönberg forLuciano Berio’s Laborintus 11 (Bimhuis)and Steve Reich’s Electric Counterpoint(Music Building on the IJ and Paradiso). Hehas composed works for Asko|Schönberg,Vocaallab, Calefax Rietkwintet, Lunapark,Ives Ensemble, Prisma String Trio, AskoKamerkoor, Orgelpark and Ensemble S,among others; and has written numerouspieces for choreographer Ederson RodriguesXavier. As a solo percussionist he performsthroughout the world, from chamber musicat festivals throughout Europe, and inRussia, Singapore, Australia, New Zealand,and Uzbekistan; and with ensemblesincluding the Amsterdam Sinfonietta,Holland Symphonia, Nieuw Ensemble,Cologne’s WDR Orchestra, and New ZealandSymphony Orchestra. He programmed the2012–13 season of Amsterdam’s MusicBuilding on the IJ together with AnthonyFiumara, and is the director of the Dutchensemble Lunapark.

Paul Jeukendrup (Sound Designer) stud-ied recording and electronic composition atthe Royal Conservatoire in The Hague. Heis a specialist in new music and has designedand directed sound for the Holland Festival,Wiener Festwochen, Berlin Festival, andLincoln Center’s Sonic Evolutions Festival.

He has worked in the Netherlands andabroad for composers including KarlheinzStockhausen (Michaels Reise um die Erde,seen at Lincoln Center Festival 2013, and thepremiere of Helikopter Streichquartett at theHolland Festival in 1995), Louis Andriessen,Heiner Goebbels, and Peter Eötvös; and withensembles including the Arditti String Quar -tet, Ensemble Intercontemporain, HilliardEnsemble, Asko|Schönberg, and LondonSinfonietta. He has also worked with con-ductors including Simon Rattle, Peter Rundel,Stefan Asbury, and David Robertson; andorchestras including the Berlin Philharmonicand Royal Concertgebouw Orchestra. Hisoperatic work included sound design forthe Dutch National Opera, Opéra Nationalde Belgique and Théâtre du Capitole inToulouse. He has been coordinator of theart of sound department at the RoyalConservatoire in The Hague since 2009.

Beate Schüler (Dramaturgical Project De -velopment, Ensemble Musikfabrik) is a cura-tor, dramaturg, and producer for music, musictheater, and audiovisual installations. Herwork as project developer and dramaturg forEnsemble Musikfabrik started in 2011 andincludes Delusion of the Fury, the composersproject Pitch43_tuning the cosmos, and TheKrazy Kat Projekt (2014) with director and ani-mator Paul Barritt (Theater group 1927)with new works by David Lang and OscarBettison. With the Norwegian trumpeter NilsPetter Molvaer, she has created the audiovi-sual installation Lucid Dream (2014). In 2010she developed the international Song-Project,Von fremden Ländern und Menschen, withthe Goethe-Institut Munich, with perfor-mances in South Korea, Taiwan, Estonia,Norway, the UK, Argentina, and Portugal.

Thomas Meixner (Instrument Maker) hasbeen a member of the Schlagquartett Kölnsince the company’s founding in 1989, theThürmchen-Ensemble for New Music andMusic Theater since its founding in 1991, and


was a percussionist for the Ensemble Co -logne through 1999. Since 1989 he has regu-larly performed with Ensemble Musikfabrik,of which he is a founding member. He alsoparticipates regularly in projects with otherleading European ensembles and radioorchestras specialized in new music. Hehas collaborated on more than 350 pre-mieres of ensemble and solo works andsome 70 recordings. From 2000–07 heheld a chair for percussion and chambermusic at the Staatliche Hochschule für Musikin Cologne. Since then, he has taught atAustria’s University of Music and PerformingArts Graz, among other places. In additionto performing, he also devotes himself tomaking unconventional music instruments.During the 2012–13 season he was com-missioned by the Ensemble Musikfabrikand the Ruhrtriennale to work on thereconstruction of all of Harry Partch’s stringand percussion instruments that are seenand heard in today’s performance.

Staff for Delusion of the FuryAssistant Directors Aliénor Dauchez,Lisa Charlotte Friederich

Assistant Costume Designer Sayyora Muinova

Assistant Set Designer Anne KuhnTour Manager Monique StolzCostume Tour Maintenance Julia Rautenhaus

Technical Production Manager Benjamin zur Heide

Sound Technician Thomas WegnerChief Electrician John BrownLighting Technician Marcus StützMaster Carpenter Harald AdamsStage Technician Andreas SemmlerProps Manager Imed Ben AbdallahInflatables Fabricator Frank Fierke

Ruhrtriennale – Festival of the ArtsMusic, dance, theater, performance, andfine arts in the former industrial buildings of

Ger many’s Ruhr area define the Ruhr -triennale. The venues include some of theregion’s outstanding industrial monuments,trans formed each year into unusual sites formusic and arts productions. At the center of itall are contemporary artists seeking a dialoguewith industrial spaces and between thedisciplines. For the first Rurhtriennale(2005–07), founding director Gerard Mortierplaced the artistic creations at the heart ofthe festival. Former machine halls andcoking plants witnessed drama and operaentering into combination with innovativedevelopments from the worlds of fineart, pop, jazz, and classical music. TheRuhrtriennales that have followed have beenled by some of the world’s best knowndirectors: Jürgen Flimm (whose productionof Bernd Alois Zimmermann’s opera DieSoldaten was seen at Lincoln CenterFestival 2008), Willy Decker, and HeinerGoebbels. Dutch director Johan Simonsheads the 2015–17 Ruhrtriennale, and thetheme of his program is “Seid umschlungen”(“Be Embraced”)—a gesture of social,political, and geographical em bracement.The performance venues include theJahrhunderthalle Bochum, the ZollvereinWorld Heritage Site Essen, the Duisburg-Nord Landscape Park, and for the first timein 2015, the mixing hall of the LohbergColliery in Dinslaken.

Ensemble Musikfabrik is regarded as oneof today’s leading ensembles for contem-porary music and this marks their secondappearance at Lincoln Center Festival—in2013 the Ensemble performed Stockhausen’sMichaels Reise um die Erde at AveryFisher Hall. Based in Cologne, the ensem-ble was founded in 1990 and made itsdebut in 1991. A special feature of theensemble is that since 1997 it has had noleader, operating on the basis of the princi-ples of grassroots democracy. EnsembleMusikfabrik’s mission is to play relatively


unknown and new compositions, oftencommissioned by the ensemble itself.Rather than given a straight interpretation,these works are further developed andadapted by the ensemble’s musicians, inclose collaboration with the director and espe-cially the composer. Ensemble Musikfabrikhas built solid collaborations with leadingfigures in contemporary music, includingMark Andre, Louis Andriessen, Sir HarrisonBirtwistle, Unsuk Chin, Péter Eötvös, BrianFerneyhough, Heiner Goebbels, ToshioHosokawa, Michael Jarrell, Mauricio Kagel,Helmut Lachenmann, David Lang, Liza Lim,Benedict Mason, Mouse on Mars, CarlusPadrissa and La Fura dels Baus, EmilioPomàrico, Enno Poppe, Wolfgang Rihm,Peter Rundel, Rebecca Saunders, KarlheinzStockhausen, Ilan Volkov, and Sasha Waltz.The ensemble performs between 80 and90 concerts each year, both in Germanyand abroad; they have their own “Musikfabrikin WDR” series of world premieres. Bymeans of interdisciplinary projects incorpo-rating live electronics, dance, theater, film,literature, and visual arts, the ensemblewidens the usual scope of the conductedensemble concert, as well as throughchamber music and improvisations.

Staff For Ensemble MusikfabrikActing Executive Director Thomas Oesterdiekhoff

Production Manager Michael BölterAssistant Production Manager Vera HefeleStage Management Bernd LayendeckerStage Managers Christoph Berger, Lukas Becker

Lincoln Center FestivalNow in its 20th season, Lincoln CenterFestival has received worldwide attentionfor presenting some of the broadest andmost original performing arts programs inLincoln Center’s history. The Festival haspresented more than 1,300 performances

of opera, music, dance, theater, and inter-disciplinary forms by internationally acclaimedartists from more than 50 countries. Todate, the Festival has commissioned morethan 42 new works and offered some 142world, U.S., and New York premieres. Itplaces particular emphasis on showcasingcontemporary artistic viewpoints and mul-tidisciplinary works that challenge theboundaries of traditional performance.

Lincoln Center for the Performing ArtsLincoln Center for the Performing Arts(LCPA) serves three primary roles: presen-ter of artistic programming, national leaderin arts and education and community rela-tions, and manager of the Lincoln Centercampus. A presenter of more than 3,000free and ticketed events, performances,tours, and educational activities annually,LCPA offers 15 series, festivals, and pro-grams including American Songbook, AveryFisher Career Grants, Free Thursdays at theDavid Rubenstein Atrium, Great Performers,Lincoln Center Festival, Lincoln Center Outof Doors, Lincoln Center Vera List Art Project,Martin E. Segal Awards, Meet the Artist,Midsummer Night Swing, Mostly MozartFestival, White Light Festival, and the EmmyAward–winning Live From Lincoln Center,which airs nationally on PBS. As managerof the Lincoln Center campus, LCPA providessupport and services for the Lincoln Centercomplex and the 11 resident organizations. Inaddition, LCPA led a $1.2 billion campus ren-ovation, completed in October 2012.

AcknowledgementsLighting Equipment PRG LightingSound Equipment PRG AudioDelusion of the Fury—A Ritual of Dreamand Delusion is performed by arrangementwith European American Music DistributorsCompany, sole U.S. and Canadian agentfor Schott Music GmbH & Co. KG, pub-lisher and copyright holder.

July 23 New York City Center

Harry Partch: Bitter MusicPerformance/Reading by David Moss (Voice and Electronics)

Approximate performance time: 1 hour, with no intermission

Produced by Ruhrtriennale – Festival of the Arts.

About Bitter MusicLike other composers of his generation inAmerica, Partch suffered from two com-pounded prejudices: one against contempo-rary, experimental music; and a second infavor of European musicians, repertoire, andtraditions. The latter became even more pro-nounced from the 1940s onward as the workof those American composers who sought todevelop a native idiom was eclipsed by theinternational modernism of Stravinsky orSchoenberg and his disciples. And Partch, ofcourse, increasingly suffered an additional dis-advantage: his compositions could only beperformed on his own unique instruments.

Faced with indifference, incomprehension, orhostility toward his work from most musicalinstitutions, Partch spent great time andintense energy at the typewriter conductingpolemics against the Western music tradition,writing about his own music, and fighting togain hearings for it. Despite his large body ofwriting, full appreciation and understanding of

Partch’s life, music, artistic ideas, and creativeaccomplishment have been hindered: in partbecause, with the exception of his book,Genesis of a Music, his published writings aredifficult to obtain, scattered as they areamong obscure small magazines and news-papers. Because of the odyssey of his life—in which he lost even instruments andmusical scores—and the scarcity of docu-mentation, little will ever be known of thefirst 40 years of Partch’s life. We are fortunatethat Bitter Music has been recovered. Thisjournal documents two formative experi-ences of Partch’s early years: his research tripto England and meeting with W. B. Yeats in1934–35 (recalled as a flashback), and theeight months Partch spent in California,Oregon, and Washington as a transientbetween June 1935 and February 1936.

Bitter Music records Partch’s disillusion at thecollapse of his hopes to further his musicalideas after returning from Europe. His reac-tion arose from the irony that, having finallywon institutional support and recognition for

his work, he was beginning what would beeight years of a nomadic, hand-to-mouth exis-tence on the margins of society. For like tenmillion men, Partch could find no employ-ment, and like hundreds of thousands ofthem, with no home and savings exhausted,he was forced to go on the road as a transientseeking work in federal camps. But fromthese experiences as one of the “wayward,”Partch drew texts and ideas that became thematerial for his later Americana compositions.

Beyond its great importance as a biographicaldocument, Bitter Music is Partch’s contribu-tion to American Depression literature of the1930s and early 1940s. Closest in tone andcontent to Bitter Music and the relatedAmericana compositions (U.S. Highball, TheLetter, Barstow, and San Francisco) are otherautobiographical accounts of transient or hobolife, such as Tom Kromer’s Waiting for Noth -ing (1935), Edward Newhouse’s You Can’tSleep Here (1934), or Nelson Algren’s novelSomebody in Boots (1935). Partch’s BitterMusic and especially U.S. Highball sharewith these works strikingly similar themes:the constant hunger, filth, loneliness, anddespair of the transient or hobo; the brutalityof railroad police; the dangers of hopping andriding freight trains; the shame of begging andthe hypocrisy of accepting relief at SalvationArmy missions; the suicides and homosexual-ity among transients and hobos; and the fail-ure to achieve any real human intimacy.

But unlike other Depression literature, BitterMusic and Partch’s other Americana works donot indict capitalism or the American politicalsystem, or urge the correction of social andeconomic inequities through organizedpolitical action. It remains an intensely per-sonal document of Partch’s experiences.Partch’s bitterness results not from a real-ization of a failed American Dream or whatthe Depression might foretell about the sur-vival of American values, but rather from the

acutely felt despair of an artist unable to fur-ther his creative work. While Bitter Musicavoids the unmistakable socialist, commu-nist, or even anarchist sympathies of muchDepression literature, it does share its nat-uralism and experimentalism. The basic struc-ture of the work is conventional and realisticenough: a first-person narrative in the form ofa diary that includes fragments of external dia-logue and interior monologue. But distinctiveis Partch’s use of music to heighten the real-ism of dialogue and events.

Partch occasionally listed Bitter Music amonghis musical compositions because of themusic he incorporated into it—musicalizedfragments of the hobo speech he had hearddaily around him. Partch intended the work tobe read and played at the piano, and he usesmusical settings in several ways to heightenthe experiences he presents. Primarily, Partchrepresents speech by notating its melodicinflections without fixed rhythm. Occasionallyhe introduces folk or popular songs in fullpiano settings, and less frequently he pro-vides a piano accompaniment to enhance thedramatic mood of a situation. His most vir-tuoso achievement is in the November 15episode driving south from Santa Barbara:here the Filipino driver’s singing of Rock ofAges is presented in counterpoint to the nota-tion of Partch’s interior thoughts.

Many episodes of Bitter Music reveal Partch’sexhilaration at being amid the vast, naturalout-of-doors, a feeling that no doubt evokedhis childhood growing up in the Southwest orthe long, rugged coastline north of SanFrancisco that had long fascinated him. —Thomas McGeary

Excerpted from Bitter Music: Collected Jour -nals, Essays, Introductions, and Librettos, byHarry Partch. Edited with an introduction byThomas McGeary. Published by University ofIllinois Press.

LINCOLN CENTER FESTIVAL 2015 HARRY PARTCH: BITTER MUSIC

About this PerformanceSo, why am I reading Bitter Music tonight?What’s the connection? Well… in the sum-mer of 1966, I walked into Lepak’s PercussionCenter in Hartford, Connecticut, for myweekly drum lesson with Richie Lepore.Richie said, “David, I have to cancel ourlessons ‘cause I’ll be in New York rehears-ing and recording a new LP for Harry Partch.”“Harry Partch?,” I asked. And Richie toldme about the eccentric composer, his per-sonal music and one-of-a-kind handmadepercussion instruments. I was curious andinterested, but was only 17 and unable toappreciate my drum teacher’s new adven-ture: working directly with a unique com-poser on his first (and only) ColumbiaRecords LP, The World of Harry Partch.

I forgot about this moment until one day ayear later. While browsing the bins at a recordshop I saw it: The World of Harry Partch, withpictures of strange musical instruments! Ibought it, was entranced by the voices of“Barstow” and the unexpected timbres of“Daphne of the Dunes.” But most of all, I wasawestruck by the instruments Partch had builtand the sound of the voices—this influencedmy music for the next 20 years. I still have thisLP, and others by Partch, and later I readGenesis of a Music, and then Bitter Music.

In 1972 I began to sing and to build per-cussion instruments—from junkyard wood,glass, and metal. And in my head, always,were the voices and objects of Partch’smusic—a kind of audio-visual map openingthe way for the future. I never met HarryPartch, but I’ve always felt a connectionacross time and continents to his vocal, cor-poreal, magical work. When I told this storyto Heiner Goebbels, he invited me to createa Bitter Music performance/reading for the2013 Ruhrtriennale, as a creative/informativelink to the premiere of his staging ofDelusions of the Fury.

I’m very happy to have the chance to honorHarry Partch, first at the Ruhrtriennale andnow at Lincoln Center Festival, and to con-nect our histories after so many years!—David Moss

A Mini-Lexicon for BitterMusic(In order of “appearance” in the reading)Hobo an itinerant worker. Hobos, unlikebums or tramps, were willing to work fora short duration, but their main impetuswas travel.Bindlestiff A hobo, especially one who car-ries a bedroll/sleeping bag.Camp Federal government work camp inthe countryside.Carnegie Corporation of N.Y. Founded in1911 by Andrew Carnegie, “to promotethe advancement and diffusion of knowl-edge and understanding.”Potato Patch Small garden or potato field.Federal Works Jobs U.S. government workprogram for jobless, begun in 1935.Okie Originally a resident of Oklahoma; in1930s California it referred negatively to verypoor immigrant Oklahomans looking for work.Tin Pan Alley Name given to the collectionof New York City music publishers andsongwriters who dominated the popularmusic of the U.S. from 1890–1940.Ward A child or young person under thecare and control of a guardian appointed bytheir parents or a court.Delousing Ridding a person or an animal oflice by physical or chemical means.Handout Food, clothing, or money given tothe needy.Bread Lines A line of people waiting toreceive food given by a charitable organiza-tion or public agency.Short-Arm Inspection The medical in -spection of the penises of male soldiers(euphemistically referred to as “the shortarm”) for signs of sexually-transmitted dis-eases and other medical problems.


New Deal A series of domestic economicprograms enacted in the U.S. between1933 and 1936.Roadhouse An inn that served meals anddrinks, and featured music, dancing, andgambling.Panhandle To approach strangers and begfor money or food.A Flop A room for the night; a cheap hotelor boarding house where many men sharelarge rooms.Trench Mouth A bacterial infection of thegums, developed by many soldiers in thetrenches during World War I.

About David MossWhen my father, Roy Moss, put his armsaround me in 1959 and played the drums, Iwas touched by the power and mysterythat music contains. Drumming and singing,two ur-passions, have shaped my life eversince. As my percussionist life evolved cre-atively into a singer’s life, I explored thepower of the voice through its multitudi-nous utterances, sounds, and languages;and came into contact with powerful singerslike Diamanda Galas, Joan La Barbara,Meredith Monk, and Demetrio Stratos.

Plus:A. Influences: J.S. Bach, Harry Bertoia,

John Cage, John Coltrane, Charles Ives,Harry Partch, Tibetan monks

B. Performances: with performers of everygenre, around the globe (at BerlinPhilharmonic Hall, Carnegie Hall, Whitney Museum, Walker Art Center,Salzburg Festival…).

At crucial times in my development I’vereceived the recognition and help of a Gug -genheim Fellowship, a DAAD Artist-in-Berlingrant, and a fellowship at the InterweavingPerformance Cultures Center (Free Univer -sity, Berlin).

Today I can create complex projects unitingthe strands of my life as percussionist,vocalist, performer, composer, theater-maker,curator, and teacher.

As director of the Institute for Living Voice(Berlin), an international center for singing, Ican embody voice and presence in a dramaticway—enabling people and ideas to commin-gle, and offering hints of the structures andjoys that lie ahead. I may be the only vocalistwho has sung the music of Luciano Berio,Carla Bley, Uri Caine, Heiner Goebbels, OlgaNeuwirth, Helmut Oehring, Frank Zappa, J.S.Bach, and John Coltrane. And now I simplywant (utopian fallacy, I know!) to make eachnew performance a surprising necessity.

Acknowledgements for Bitter MusicAll spoken excerpts are from Bitter Music:Collected Journals, Essays, Introductions,and Librettos, by Harry Partch; edited byThomas McGeary; University of Illinois Press.

Sampled musical interludes are from“Barstow” and “Castor & Pollux”; voiceand drumming is by Harry Partch in the BBCdocumentary The Outsider. The Story ofHarry Partch (2002).

Additional music: “For HP” #1, #2, #3, #4by David Moss


NEW YORK CITY CENTER

New York City Center Board of Directors Stacey Mindich Richard E. Witten Co-Chairmen Arlene Shuler President & CEO Raymond A. Lamontagne Chairman Emeritus

Stacy Bash-Polley Luigi Caiola Theodore S. Chapin Victoria Clark Stuart H. Coleman Isaac D. Corré Harris Diamond Maurice DuBois Bobbie Frankfort Richard A. Goldstein

Perry B. Grano�David HallbergElizabeth Harpel KehlerMark KingdonJeanette W. LoebPatricia W. LovejoyKelli O’Hara William A. PerlmuthIra M. ResnickPablo J. Salame

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Emeriti Council Douglas S. Cramer John Philip Falk Stanley Plesent Anne Strickland Squadron

Dolores D. Wharton Judy WilponJoanne Woodward

Bill de Blasio, Mayor, City of New York Tom Finkelpearl, Commissioner, New York City Department of Cultural A�airs Scott M. Stringer, Comptroller, City of New York Jessica Lappin, Comptroller’s Designee

Ex O�cio

National Endowment for the Arts New York City Council New York City Council Speaker Melissa Mark-Viverito New York City Council Member Daniel R. Garodnick New York City Council Member Helen Rosenthal New York City Department of Cultural A�airs New York City Department of Education New York City Department of Youth and Community Development New York State Council on the Arts New York State Assembly Member Helene E. Weinstein New York State Assembly Member Richard N. Gottfried O�ce of Manhattan Borough President Gale A. Brewer O�ce of the Mayor

Public SupportNew York City Center, created and owned by the City of New York, is very grateful for the support of the following public agencies and o�cials:


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PUBLIC SUPPORT

Michael R. Bloomberg, Mayor

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Listing as of June 4, 2015

NEW YORK CITY CENTERNew York City Center Annual SupportNew York City Center is grateful to the many individuals, foundations, corporations and government agencies whose generous gifts provide vital support for its artistic, educational and outreach programs. Listed below are those patrons whose annual gifts of $1,250 or more are indispensable to the success of our season. We also extend our deep gratitude to all of our campaign and endowment donors who are listed separately.

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$1,750 and over

Adele L. BoskeyCarrie and Timothy BuchmanMr. and Mrs. Robert FentonWilliam FreilichMr. and Mrs. Edward L. GardnerNicholas GordonHarriet and Leonard HoltzAlan E. KahnKevin R. LyleBarbara and Jesse Margolin/ The Diamondston Foundation Inc.Mary K. McGregor and Eric H. SchultzJohn L. MetzRichard and Merle Milder

Roberta MoutalMr. David Norton and Dr. Henry FlaxKathleen O’GradyJohn OrbergLisa OrbergSusan OwensThe Cole Porter Musical and Literary Property TrustsMiriam K. RothenbergRobert SchulmanDozie SheahanHonorable Burton S. ShermanLaurence ShopmakerRita and Thomas Sweeney

Richard B. TurnerRonald M. and Gail T. WalersteinRita WarnerAlan H. WeinhouseKaren and Ron WertheimerMr. and Mrs. Harold Tanner

$1,250 and over

NEW YORK CITY CENTERArlene Shuler . . . . . . . . . . . . . . . . . . .President & CEOMark Litvin . . . . . . . . . . . .Sr. VP & Managing DirectorHawley Abelow . . .VP, Marketing & CommunicationsJames Farkas . . . . . . . . . . . . . . . . . . . . . . . .VP, FinanceStanford Makishi . . . . . . . . . . . . . . .VP, ProgrammingRobert Palm . . . . . . . . . .VP, Information TechnologyDavid Ward . . .Sr. Director, Facilities & Capital PlanningVanessa J. Wise . . . . . . . . . . . . . . . . .VP, Development

FINANCECheryl August . . . . . . . . . . . . . . . . . . . . . . . .ControllerAndrea R. Williams . . . . . . . . . .Payroll AdministratorQuin Chia . . . . . . . . . . . . . . . . . . . . Finance Associate

DEVELOPMENTSusan Strebel . . . . . . . . . .Director of Special Events &

Development OperationsJonathan Raymond . . . . . . . . .Director of Major GiftsKarla Salguero . . . . .Asst. Director, Individual GivingErin Debold . . . . . . . . . . . . . . . . .Major Gifts ManagerSiri Comeau . . . . . . . . .Manager, Institutional GivingMichael Mariano . . . . . . . . . . . . . .Database ManagerMatthew Wright . . . . . . . .Manager of Special Events Lanie Trafford . . . . . . . . . . . . .Membership AssociateMatt Sanger . . . . . . . . . . . . . . . . . . .Research AssistantAlexa Pugh . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Intern

MARKETING & COMMUNICATIONSThomas Mygatt . . . . . . . . . . . .Director of MarketingKate Noonan . . . . . . . . . . . . . . . .Marketing ManagerMatt Weinstock . . . . . . . .Communications AssociatePaul Gaschler . . . . . . . . . . . . . . . . . .Graphic DesignerEileen Cella . . . . . . . . . . . . . . . . . .Marketing & Digital

Content Coordinator

PROGRAMMINGJack Viertel . . . . . . . . . . . . .Artistic Director, Encores!Rob Berman . . . . . . . . . . . . . .Music Director, Encores!Jeanine Tesori . .Artistic Director, Encores! Off-CenterChris Fenwick . . .Music Director, Encores! Off-CenterJosh Clayton . . . . .Assistant Music Director, Encores!Beth Renoni . . . . . . . . . .Company Manager, Encores!Alexandra Felicetti . . . . . . . .Manager, Programming/

Executive Asst. to the President & CEOLily Alia . . . . . . .Manager, Musical Theater ProgramsMeg Brown . . . . . . . . . . . . . .Administrative Assistant

INFORMATION TECHNOLOGYThomas O’Malley . . . .Web and New Media ManagerDon Lavis . . . . . . . . . . .Senior Systems AdministratorAdam Reifsteck . . . . .Tessitura Applications Manager

EDUCATIONLaura Apruzzese . . . . . . . . . . . . . .Education ManagerBenji Ashe . . . . . . . . . . . . . . . . . . Education AssociateLiz Charky . . . . . . . . . . . . . . . . . . .Education Associate

OPERATIONSAndrey Shenin . . . . . . . . . . . . .Director of OperationsCarol Brannigan . . . . . . . . . . . . . . . . .House ManagerPam Tanowitz . . . . . . . . . . . . . . . .Studio CoordinatorJulie Williams . . . . . . . . . . .Associate House ManagerAlex Johnson . . . . . . . . .House Manager, Stages I & IIMaria Cortez . . . . . . . . . . . . . . . .Operations AssistantRosa Mieses . . . . . . . . . . . . . . . . .Operations AssistantTia White . . . . . . . . . . . . . . . . . . . . . . . . . .Head UsherAubrey Ball . . . . . . . . . . . . . . . . . . . . . . . .Receptionist

PRODUCTIONMark Mongold . . . . . . . . . . . . .Director of ProductionZachary Spitzer . . . . . .Assistant Production ManagerVictoria Nidweski . . . . . . . . . . . . .Production AssistantGerry Griffin . . . . . . . . . . . . . . . . . . .Master CarpenterEric Schultz . . . . . . . . . . . . . . . . . . . .Master ElectricianJames McWilliams . . . . . . . . . . . . . . .Property Master

TICKETINGJohn Toguville . . . . . . . . . . . . . . .Box Office TreasurerJon Ferreira . . . . . . . . . . . . . . . . . .Assistant TreasurerCharlotte Tuomey . . . . . . . . . . . . . . .CityTix ManagerSharon Quinn . . . . . . . . . . .Assistant CityTix ManagerJeffrey Bynum . . . . . . . . . . . . . . . . .CityTix Supervisor

BUILDING MANAGEMENTNicholas Litrell . . . . . . . . . . . . . . . . .Building ManagerJackee Terbay . . . . . . . . . . . . . . . . . . .Office ManagerMaximo Perez . . . . . . . . . . . . . . . . . . . .Chief EngineerRamdhan Ramdeen, Sorash Ramdeen,Dorian Vasjari, Jonel Konstantinovic . . . . . .Engineers

OUTSIDE SERVICESCounsel . . . .Franklin, Weinrib, Rudell & Vassallo, P.C.

Elliot H. BrownCounsel . . . . . . . . . . . .Kauff McGuire & Margolis LLP

Kenneth MargolisUniversal Protection Service LLC . . .Building SecurityLutz & Carr, Fred Martens, CPA . . . . .Certified Public

AccountantsHelene Davis Public Relations . . . . . . .Public RelationsDeWitt Stern Group . . . . . . . . . . . .Insurance BrokersRestaurant Associates . . . . . . . . .Lobby Refreshments

CREDITSYamaha Piano . . . . . . . . .Official Piano of City CenterD&B Audiotechnik . . . . . . . . . . .Loudspeaker SystemsSource 4 Multipar Striplights . .Electronic Theatre Controls

DIRECTORY OF THEATER SERVICESOFFICES: 212-247-0430. 10am–6pm M–F

Membership Desk, Lost & Found. CITYTIX: 212-581-1212. Tickets by phone &

performance info 11am–8pm 7 days a week. Subscriptions & group sales info 11am–6pm M–F.

WEBSITE: www.NYCityCenter.org

MAINSTAGE SERVICESBAR: Orch., Grand Tier levels

CHECK ROOM, BOUTIQUE: Orch.,Grand Tier level

REST ROOMS: every levelELEVATOR: east and west sides of building

New York City Center is accessible to people with disabilities and has a hearing augmentation system.Please advise of needs at time of purchase.

RESUSCITATION MASKS AND LATEX GLOVES AVAILABLEAT HOUSE MANAGER’S OFFICE. NEW YORK CITY CENTERIS A HEART SAFE FACILITY.

We are proud members of The League of Historic American Theatres.


July 23-24 Delusion of the Furypastseasons.lincolncenterfestival.org/past-seasons-files/2015... ·...

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