No other composer has built as many bizarre instruments as the American Harry Partch (1901-1974). He did it not (only) from a do-it-yourself spirit, but out of necessity, to build vehicles capable of playing in his extraordinary microtonal tuning system. The Scordatura Ensemble plays a collection of copies of these instruments, and demonstrates that even in the 21st century, composers like Kate Moore and Guy De Bièvre can make wonderful music with these sounds and minute intervals. It’s weird and poetic at the same time!
COPRESENTATION NOVEMBER MUSIC, MUZIEKGEBOUW AAN ’T IJ
Kate Moore's Lament from the Isabella song cycle co-commissioned by Muziekgebouw aan t'IJ
Harry Partch, Kate Moore (premiere), Guy De Bièvre (premiere)
Guy De Bièvre
Guy De Bièvre (Brussels, 1961) works as a composer, musician, teacher and researcher. Self-taught, he finds inspiration in a variety of styles, from classical music to jazz, from world music to experimental sound art. His work is performed by ensembles such as ChampdAction and Zwerm at a number of international events.
Harry Partch (1901-1974) had a very unique view on music. By experimenting with just intonation, he developed a new tuning system that met his compositional needs. He wrote down his ideas in Genesis of a Music. Partch invented and designed a dozen instruments, for which he wrote several unique compositions, which the Scordatura Ensemble are quite happy to use.
The internationally acclaimed composer Kate Moore studied at the Royal Conservatory of The Hague and the Syndey University Conservatory of Music. She’s been awarded a number of prizes, among which the Dutch composition prize Matthijs Vermeulen, and her work is performed by the likes of Asko|Schönberg, Bang on a Can and Slagwerk Den Haag.
The Dutch Scordatura Ensemble was founded in 2006 as Scordatura by the late Bob Gilmore (keyboard), Alfrun Schmid (voice) and Elisabeth Smalt (viola). With the work of their spiritual father Harry Partch, they explore the many sounds of the limitless tuning.