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Born in Oakland, CA in 1901, Harry Partch was an American composer, theorist, instrument designer and performer. He is best known for the work he did with just temperment: developing a 43 tone octave scale, writing pieces to showcase it, and building instruments upon which it could be played. His musical knowledge was largely self-taught and his interest in intonation emerged out of microtonal experimentation conducted on string instruments. Many of his thoughts on the matter are outlined in his 1947 treatise,
By the early 1950s, he had established the Gate 5 Ensemble and record label and begun a musical partnership with fellow composer Ben Johnston that would take him to the University of Illinois in 1956, where Johnston was then teaching. While at Illinois, Partch premiered his large stage work,
This Collection is indexed under the following controlled access subject terms.
Donation
April 2008 accrual had previously been in the possession of Kenneth Gaburo and then Philip Blackburn, as the basis of the "Enclosures" publication series, edited by Philip Blackburn, Minnesota Composers Forum, Minneapolis.
First donation came in December 29, 1992 directly from Danlee Mitchell. Second accrual in April 2008 came from Mitchell as well.
All usage permissions for materials from the Partch Estate archives that fall outside of U.S. fair use statutes must be approved in writing by Danlee Mitchell, executor of the Partch Estate. (August 4, 2017)
Photographic Subject File 39/2/20, Col 3-5.
Organized into four series: 1.) Writings. 2.) Personal Papers. 3.) Music Score Manuscripts. Whenever possible an identification of the format of the music for each title (i.e., full score, condensed score, piano score, and parts) has been noted with the following corresponding abbreviations: FS, CS, PS, P. 4.) Films, Tapes, Photographs. Each series, except for 3, is arranged alphabetically by folder title.
Consists of Harry Partch's personal papers, musical scores, films, tapes and photographs documenting his career as a composer, writer, and producer. Of special note are the scrapbooks in series 2 that contain newspaper and magazine articles about Partch and his music.
See also record series 35/3/68.
Contains Partch's writings about his musical compositions, both completed and projected or unfinished. The texts comprise scenarios, scripts or librettos, outlines, and statements for concert programs, record booklets, or record liner notes. These are primarily written materials, but a few musical sketches relating to a work are included as appropriate. Some items have been published in Harry Partch, Bitter Music: Collected Journals, Essays, Introductions, and Librettos, ed. Thomas McGeary (Urbana: University of Illinois Press, 1991), and in facsimile in Enclosures 3, ed. Philip Blackburn (Minnesota Composers Forum, Minneapolis). Folders are designated by a convenient short title. For full descriptions of each work and the versions referred to, see Thomas McGeary's, The Music of Harry Partch: A Descriptive Catalogue. I.S.A.M monograph no. 31 (1991).
Harmonization of text of "Barstow", pencil on two leaves
The Bewitched--A Ballet Satire-- introduction, outline and imaginary dialogue for dancers/actors. Numerals in boxes seem cued to rehearsal numbers in score. 21 carbon typescript pages; with some pencil additions
Carbon typescript, 20 pages, "Marin City, California", introduction and scenarios of 10 scenes; this is a set of carbons of text that was used for Bewitched, 1956, Version 2 (see Box 1, Folder 5)
"Statement on the Bewitched Program Notes", Champaign, Ill. two typescript pages
"Some New and Old Thoughts Before and After The Bewitched", endorsed by Partch 1958; 33 typescript pages with pencil additions
The Bewitched: A Dance Satire by Harry Partch, blue ditto copy, 7 pages, argument, prologue and scenarios of 10 scenes and epilogue
Introduction and scenario, two parts intended as one complete text: (1) The Bewitched; carbon typescript with "Introduction" and "On the Dancing", followed by scene scenarios (breaks off incomplete in the midst of scene 1), paginated 1-3 with pencil additions and revisions, Marin City, California, undated; (2) continuation begins with "Prologue" and continues with scenarios for the 10 scenes (without "Epilogue"); carbon typescript with pencil additions and revisions. The beginning pages of this group seem to be an expansion of the introduction: it is paginated in ink 4-6, then there is typescript p. 4 (whose text continues part (1); typescript pages 4-20 are renumbered in ink 7-23, in this text, the 1955 scene titles have been altered in pencil to those of the 1956 version, with original typescript of pages 1-3.
The Bewitched: A Dance Satire by Harry Partch, two-page black-stencil copy of program or record notes
The Bewitched: A Dance Satire by Harry Partch, text for program notes (production in 1959), typescript carbon, 4 pages, "Statement", cast, scenario, and scene titles
8-page booklet (text reprinted from the program of first performance, March 26, 1957) accompanying Gate 5 Records issue of Bewitched, contains "Argument" and scene scenarios; with pencil annotations and additions
Two sets of timings of recording session takes: (1) one 6-page photocopy, (2) one 2-page set in blue felt-tip pen
Two sets of editing notes: (1) 4-pages of typescript (Sent to John McClure?); and (2) 10-page pencil set (apparently retyped as set 1)
Contains: (1) "Cry from Another Darkness" synopsis and introduction and for what was later titled "Delusion of the Fury", seven, unnumbered typescript pages, Harry Partch / December 30, 1964); (2) "Cry from Another Darkness" synopsis and early introduction for what was later titled "Delusion of the Fury" 7 (numbered/unnumbered) carbon typescript pages, Van Nuys, Calif., (P.O. Box 3253, December 30, 1964)
Photocopy of 16-page typescript scenario, "Delusion of the Fury" with pencil additions, corrections, and revisions, "Van Nuys, January 17, 1965" with "Exordium" title penciled in
"Delusion of the Fury: A Ritual of Dream and Delusion" 1 extra-long typescript carbon page (with "Exordium" included)
Photocopy of preliminary typescript scenario and introduction prepared for inclusion in Genesis of a Music (2nd edn), pp. 35/147 - 42-154
Seven sheets in pencil from spiral-bound notebook, contains among the leaves a 6-page "A Very tentative Verbal outline of music", one leaf is headed "Outline of Music for a Freeman-Pouliot Film Project for 1972: The Dreamer that Remains - A Love Piece -"
Sets of very tentative verbal outlines: (1) "The Dreamer that Remains: A Study in Loving", 27 May, 1972, 5 typescript pages with pencil additions, corrections, revisions; (2) "The Dreamer that Remains: A Study in Loving", retyped version of (A) extended to 6 typescript pages with several pen corrections and additions; (3) carbon copy of (2) with pencil corrections, revisions, and additions; (4) photochemical copy of (2) with pencil and pen revisions (added to copy)
"Incident at Drake's Bay, A Music Drama", pencil draft of scenarios, one page of verso of Harry Partch Trust Fund mailing announcement of "Plectra and Percussion Dances", and typescript version
1-page typescript scenario, (probably Madison, Wisc.)
Carbon copy of 37 page English translation by [Gordan Churchill]
Foreword and text of Partch's original text, carbon typescript, Sausalito, 32 pp.
Handwritten items, draft of recording cover text (1 page), 2-page statement about the work, 2 leaves of timings and test of beats, and 1 leaf of ratios for Guitar II
Movement titles, Seven lists (A-G) of preliminary movement titles for "And on the Seventh Day Petals Fell in Petaluma," with folder titled "And on the Seventh Day" - notes that contains additional movement titles, these early sets of titles contain fanciful names for the movements and alternate titles for the composition
Notes, 4 leaves of notes in pencil for "And on the Seventh Day Petals Fell in Petaluma"
Typescript draft (with pen additions) of liner notes for projected Gate 5 Record of "On the Seventh Day the Petals Fell in Petaluma," 1 typescript page
Outline of verses and Statement ("I want, I try, to live in the Big World") prepared for liner notes for CRI recording (not used), 7 carbon typescript pages with pencil and ink additions, and carbon copy
Four sheets of rhythmic notes in pencil for "And on the Seventh Day Petals Fell in Petaluma"
"Plectra and Percussion Dances, The Rythmic Motivations of Castor and Pollux and Even Wild Horses", 8 carbon typescript pages, endorsed by Partch, with ink additions and revisions
Castor and Pollux, A Dance for the Twin Rhythms of Gemini, Argument and Instructions on Music and Dance, 2 carbon typescript pages with ink additions and envelope (Calendar numbers for Castor and Pollux) with desk calendar with rows of dates cut out
"Even Wild Horses, Dance Music for an Absent Drama", 5 carbon typescript pages with ink additions, introduction and synopses of scenes.
List of French phrases keyed to page numbers, from Rimbauld, A Season in Hell, 4 pencil pages from spiral bound notebook, 2 carbon typescript pages (typed version of above)
4-page (one bifolium) typescript carbon of notes about the work
Pencil drafts of early arguments for "Revelation in the Courthouse Park": one 3-page pencil draft, one typescript leaf "Argument", one typescript leaf with pencil additions
Typescript statement (2 pages) describing "Incidental Music for Applause" to "Revelation in the Courthouse Park" (paginated 30/54 - 31/55), with pencil additions, corrections, and revisions
Mock newspaper (The Centerburg Gazette) front page describing events paralleling "Revelation in the Courthouse Park", one oversize sheet
Miscellaneous pencil musical composition notes for "Revelation in the Courthouse Park" pencil, 16 leaves
Pencil sketch of stage in "First Chorus", pencil sketch of fountain, pp. 6 and 9 of carbon typescript description of "Revelation" (with two pen or pencil sketches), pp. 8-10 of typescript description of "Revelation"
Suggested program text for "Revelation in the Courthouse Park", "Argument" (2 pages black and red typescript, with p. 1 also present as carbon), cast, instruments, arguments, and chorus/scene titles (3 typescript pages in black typescript)
Typescript of script for "Revel(ation) in the Courthouse Park", versos of pages seem to have directions for film shots (perhaps made in conjunction with Madeline Tourtelot film of the production), approx. 61 pp. in red-and-black typescript (composed of top and carbon copies including paste-overs, MS corrections, additions, and revisions)
Two versions of "Composer's Statement for Revel": One-page typescript with pencil additions, corrections, and revisions; two-page carbon typscript (two sets), 2 pages with pencil annotations on one set
"Ball for Gymnasts", excerpts from "Revelation" (2 pages); "Rotate the Body in All Its Planes" musical timings and lyrics (With simple heart and glad regard . . . ) (2 pages)
Notebook, 4 X 5.5 inch pocket memorandum book carried by Partch on trip to Chicago, containing notations, fragments of overheard conversations, transcriptions, etc., includes memoirs about monophonic works
Two preliminary scripts for "U.S. Highball": 7 typescript pages with corrections and revisions in pencil, 7 typescript pages plus 1 page in pencil, with envelope labeled "First Drafts of U.S. Highball"
Rhythmic sketches for "Chicago", pencil, 4 leaves
Typescript introduction to film concept, 10 pages, typescript carbon (marked new in pencil)
Introduction to film and shot outline, typescript in red and black, 29 pages with pencil additions, corrections, and revisions
"New Script, U.S. Highball", introduction and shot outline for film, 12 carbon typescript pages with pencil revisions and corrections
Draft scenarios of projected or completed works: "And I'll Tell You My Story", "Dion Isus", "Quick Transit", "The Mock Turtle Song", "U.S. Highball" (rewrite), "Barstow" (rewrite), 3 typescript leaves (with pencil additions) and 1 leaf in pencil (for "Revelation")
Carbon typescript for program for "Water! Water!", 12 pages with pencil additions
Black stencil script of "Water! Water!", apparently Partch's copy of the duplicated script (numbered #81, marked on cover Corrected, 1961) made for use by participants in the production, corrected by paste-overs including one loose, newly-typed sheet (containing alternate dialog between Phoebus and the Producer in Second Prologue), 61 pp. plus one typescript sheet
Materials relating to preparing music for Madeline Tourtelot's film "Windsong": 2-page carbon of Script for suggested "Transformation Sequence", 6-page typescript of shot outline with timings, notes on music, etc., with extensive pencil revisions, three sheets of pencil notes, with one page typescript statement "Windsong" by Madeline Tourtelot
This series contains Partch's writings (final versions and drafts) on various aspects of his work, tuning, and the relationship between music and culture; some printed materials and graphic works included.
Illustrations, musical example, and ink drawings (originals and print outs from microfilm) intended to accompany the published Bitter Music (most not included in printed version), with page from California Highways and Public Works magazine with photographs of work camps at Anderson Canyon and Salmon Creek, California, one related drawing in Box 15
One original ink musical example to Bitter Music
Introduction to Bonus Record accompanying "Delusion of the Fury" recording, typescripts with pencil corrections and revisions, 3 pages, October 6, 1970, 3 pages, October 10, 1970, one page, October 1970
Two drawings/paintings (both by Partch?): "Incertitude and Infinitude" - Twin Rocks, Ore. - watercolor or tempera on cardboard, of male nude standing on beach; "Maguey Plants", as seen on way the Ensenada, Baja California, ink on paper.
Ink drawings (with a few print outs from microfilm) intended to accompany the published journal (none included in printed version), with photograph of cabins overlooking coast, 20 items
Typescript statement of "Expenses of a Research and Experimental - Music-Instrument Project Dating from 1925 to the Present", Petaluma, 8 carbon typescript pages.
Introductions to screening of three films ("Rotate the Body", "Windsong", "Revelation"), after ca. 1962 or later, 7 typescript pages, present are p. 1 in original typescript, pages 1-7 in photocopy, with pencil corrections and revisions to original
1 typescript page of a personal statement, with ink title and revisions.
Typescript drafts of appendices, with pencil additions, revisions, corrections. Appendix I (incomplete), 2 pages, one typescript, one carbon, Appendix I, pp. 1-5, Appendix II, pp. 6 -14, Appendix III, pp 15 - 19
Typescript draft of new chapter 12, 51-typescript pages with pencil additions, revisions, corrections
Typescript draft of new chapter 13, 31 August 1969, 46 pp. with pencil additions, revisions, corrections
Typescript draft of new chapter 14, paginated 1. / (113) - 38. - 150, with pencil additions, revisions, corrections
Material for figures for Genesis, two ALS letters from Erv Wilson, mostly photocopies of various versions of the figures as Wilson revised them. (See also Genesis of a Music, 2nd edn. related correspondence in Da Capo Press in Box 5)
(New Preface to Genesis of a Music) / Preface to the Second Edition, carbon typescript, Encinitas, California, 13 pages with pencil and ink corrections; photocopy of above, as copy edited by publisher
New Preface to Genesis of a Music / Preface, photocopy of typescript, 12 pp, Encinitas
Preface, 11 pages with extensive pencil additions, revisions, corrections, dated in pencil 30 May 1969, typescript dated Encinitas, California
Preface, earliest typescript notes, on slips pasted up to full pages, with extensive pencil additions, revisions, corrections, 11 pages with partial-page slip, with Partch's envelope
Preface, 2 typescript pages, top copy and carbon, with partial-page insert, several pencil corrections
Carbon typescript (Note) for talk before dress rehearsal of Bewitched at the Juilliard School, 9 April 1959, 9 pages, 6 pages of text, 2 pages of comments on slides of instruments, one page for introduction musical examples, all with pencil corrections and revisions
Untitled lecture given at Columbia University 9 April 1959, with examples from Bewitched, 11 typescript pages, with pencil on verso of p. 3, with pencil corrections and revisions
Untitled lecture presented at the University of Hawaii 9 July 1971, one page program and seven typescript pages of text, with pencil corrections and revisions.
Typescripts for lectures presented at the University of Oregon: (1) Feb. 16, 7 typescript pages with ink additions and corrections, introduction to films "U.S. Highball", "Rotate the Body", "Revelation", (2) Feb. 17, 12 typescript pages with ink and pencil corrections and revisions, (3) Feb. 17, 23-pages in typescript original and carbon, both with ink and/or pencil corrections and revisions
Untitled lecture presented at the Palace Hotel, San Francisco, for the American Symphony Orchestra League convention, (notes by Danlee Mitchell). 10 typescript pages with pencil corrections and revisions
Untitled lecture script, 9 typescript pages with pencil corrections, originally presented for Pasadena Art Museum 8 February, revised by paste-over to first page for second delivery at San Fernando Valley State College (University of California Northridge), 20 March 1965
Partch's statement to the cast before the first rehearsal of "Revelation in the Courthouse Park" (note by Danlee Mitchell), fall semester, 4 typescript pages
Introduction to WILL-TV broadcast of "Revelation", 2 typescript pages
Untitled lecture presented at the San Francisco Art Institute 28 November 1966, included presentation of slides and musical examples, 8 typescript pages with pencil additions and corrections
Untitled lecture given at St. Louis 24 April 1962, with introductions to tape ("Revelation") and film ("Rotate the Body"), 6 typescript pages
Typescript (headed "Introduction to Examples") for lecture presented at Tanglewood, summer 1967, with Partch pencil note "The direction toward which I've been going", 12 pages with pencil corrections and revisions
Untitled lecture given at UCLA 1 May 1966, 12 typescript pages plus two versions of 1-page "Demonstration Order", with pencil revisions and corrections, text includes list of titles for movements of "And on the Seventh Day Petals Fell in Petaluma"
Introductions or synopses to "Two Studies", "Petals", "Exordium" [from "Delusion"], "Barstow", "Daphne", and "Castor and Pollux", 4 typescript pages, apparently spoken introductions to musical excerpts (supervised by Danlee Mitchell)
Ozalid copy, 46 typescript pages on 24 leaves, pp, 1-33, blank, 34-46, blank, main text plus three addenda, pp. 1-33 (Feb. 3, 1963), pp. 34-42 (March 25, 1963), pp. 43-46 (April 12, 1963), with Partch's original folder titled Manual (not the latest draft)
Ozalid copy, "NEW (revised)" written on master, pp. 1-18 appear identical to previous entry, pp. 19-20 of earlier versions expanded to 3 pages, 47 leaves, arranged and glued accordion-format, with corrections on transparent masters and in pencil, index on first page, paginated 1-47
Complete or incomplete fragments, notes, sketches (most in pencil), some represent ideas developed for later compositions, two photocopies, 31 original sheets
Typescripts of two parables: (1) "A Modern Parable I", three typescript pages, New York City, Spring, 1933, (2) "A Modern Parable II", three typescript pages, Cajon Pass, San Bernardino County, April 26, 1938
Typescript of a series of nine talks delivered over KPFA radio, San Francisco from 9 March to 28 March 1953, (see KPFA Program Folio issues): Creativity in Music (p. 1), Education & New Instruments (p.8), Education and the Record Repertory (p. 17), Education and Acoustics (p. 23), The Writers on Music p. 31), Musical Perspectives (p. 37), My Instruments (p. 44), Castor & Pollux (p. 51) [included musical examples], The Oedipus Dance Music (p. 54). 56 typescript pages with pencil corrections, additions, and revisions
6-leaf black stencil booklet titled "Presenting a Resume of the Music Philosophy and Work of Harry Partch, Composer, Instrument Builder, and Player-Theorist" (another copy in Scrapbook)
Essay, 12 typescript pages, Madison Wis., dated in pencil
Seven typescript page essay with pencil and ink corrections and revisions, endorsed by Partch, Madison
"Proposal for Work in Advanced Studies", Champaign, Ill., 7 carbon typescript pages, proposes to work in Japan
"Prelude to Talk" and "Introduction to Examples of Intonation", black stencil copy of lecture text, endorsed by Partch, Tanglewood, [i] plus 13 pages
Two ink-on-cardboard signs, apparently posted at Partch's door
3 typescript page essay with ink corrections, Champaign, Ill., September 1960, reprinted in Bitter Music
10-page typescript of untitled lecture delivered at University of Illinois, March 24, 1957, as introduction to Bewitched, with introductions to instrument demonstrations, with pencil revisions and corrections, endorsed by Partch, typewritten from tape 4/18/60, elsewhere this lecture is titled "A Soul Tormented by Contemporary Music Looks for a Humanizing Alchemy"
22 May 1960, 2 typescript page
Eight photocopy pages, four pages of typescript statement, and four pages of extracts from printed promotional and publicity material, dated 31 May 1960
Signed statement about "disposition of [his] instruments and scores", San Diego, 12 March 1967, 3 typescript pages with ink revisions
Four-page typescript statement and itemized expenses related to the landlord's irresponsibilities about the workshop at Solana Beach, signed, 21 May 1970
Three typescript pages with ink corrections, Petaluma, reprinted in Bitter Music as "The University and the Creative Arts, Comment"
Writings about seminar given at UCSD: (1) statement on education, 5 typescript pages with pencil corrections, (2) "My Seminar in Retrospect", 4 carbon typescript pages, (3) typed extracts from comments on students (on their papers or presentations), 5 carbon typescript pages
Essay, Mill Valley, California, 18 typescript pages
Untitled scripts for WTTW television production, lecture and instrument demonstrations: (1) "Tentative WTTW script ideas", 5 carbon typescript pages (2) 10 blue mimeograph pages with pencil additions and revisions, 25 June 1957
Contains Partch's correspondence. Folders are designated by the person or organization corresponded with. Most of the material is in-coming letters. In many cases, though, Partch retained typed carbon copies of his outgoing letters. In some cases, the carbons may represent letters never sent.
Correspondence relating to Bewitched performance, two typescript letters (carbons) from Partch
Letter of invitation from, to conference
Correspondence regarding offer of honorary degree
Letters from Phillip Arnautoff and photocopies of Partch's replies
Correspondence and enclosures between BBC and Partch, originals and carbon copies
Correspondence between various persons at BMI and Harry Partch, incl. letters from Carl Haverlin and Oliver Daniel, carbons from Gerd Stern and Harry Partch
Correspondence and enclosures between Jacques Barzun and Harry Partch, signed letters from Barzun, carbons from Harry Partch
typescript carbon of letter from Harry Partch regarding Peter Yates
Correspondence from, two postcards and one 3-page handwritten letter
Correspondence from CBS Records, carbons, lists, and statements from Partch, includes correspondence with and from John McClure
Correspondence with CBS records and Gene Paul about bonus records, includes 4 drafts for Partch talk for bonus record
Correspondence regarding Composers Recordings, Inc. release of The Bewitched, includes drafts and photocopies of liner notes
Correspondence and enclosures with various persons at Composers Rrecordings I, mostly regarding production of recording of "On the Seventh Day Petals Fell in Petaluma", carbon of David Hall's program notes, typescript carbons from Partch
5 items from Cage, one typescript carbon from Partch
Correspondence regarding receipt of grant, 2 items
Letters regarding Kenneth Anger "unauthorized" use of music for the film Inauguration of the Pleasure Dome, letters regarding rentals of Madeline Tourtelot films
Partch typescript carbons, includes correspondence with Douglas Moore and Henry Allen Moe
Letters from various family members (Paul, VIP) and persons to Partch, 1918-1938, with one letter (1935) sent by Partch, 11 items, including receipt from Malkin for organ
Strip of microfilm (plus paper print-outs) of Partch correspondence (mostly from Mill Valley, Sausalito, Calif., and Champaign, Ill.), filmed at University of Illinois April 18, 1960, approx. 42 pages (film and printout)
Mostly typescript carbons from Partch to various persons, includes occasional incoming letter(s), including Irving Sablosky, Gil Evans, Jacqueline Onslow-Ford, William Bowen, La Monte (Young?), an unidentified John (not John Cage [inferred from letter]) regarding an arts institute, Ginny (choreographer of Delusion?), 29 items
Correspondence with various persons, originals (some photocopies), and typescript carbons of replies from Partch
Unsorted letters and postcards from various persons, originals (some photocopies), and typescript carbons of replies from Partch
Correspondence mostly with critics and editors regarding articles and reviews, some Harry Partch carbons, many recognizable critics and columnists
Letters and enclosures from radio broadcast personnel
Correspondence regarding projected film projects, cue sheets (for films), includes prospectus for film of The Bewitched, permissions
Correspondence regarding lecture invitations
Letters of inquiry regarding performances
Letters to and from Harry Partch, regarding permissions
Two typescript letters from Cronyn regarding Partch and the Federal Writers Project, May and June 1937
Correspondence regarding Partch's biographical entry
Correspondence regarding publication of second edition of Genesis of a Music, typescript carbons of letters from Partch, originals from Da Capo, Plenum, et al., approx. 200pp.
Correspondence with Daniel at CBS Radio, Associated Music Publishers, and BMI, originals from Daniel, typescript carbons from Partch, some letters addressed to Gerd Stern, 44 items. With photocopy of typescript text for BMI brochure (4 pages) (see also BMI file, Box 3)
Letters and enclosures (e.g. publicity materials) to and from Betty Freeman, Stephen Pouliot documenting production of the film Dreamer that Remains
Two manuscript letters from Dulac about meeting in London
Partch requests permission to use translation of Li Po poems
Letters and enclosures
Letters, enclosures, and two Harry Partch carbons
Postcard from Edwards (quoted in Bitter Music, p. 32)
Letters and article by Ray Ellsworth, author
Correspondence
Correspondence regarding fellowship application, including 9-page (title page plus 8-page text) typescript carbon of "Proposal for Studies in the Creative Arts"
Correspondence from Betty Freeman, mostly to Partch, several from Partch and Danlee Mitchell, others to Danlee and other persons
Letters and enclosers from Paul Fromm, Fromm Foundation, and Harry Partch
Fulbright Commission, regarding application for fellowship
Correspondence
Correspondence
Correspondence relating mostly to the 1957 production of The Bewitched at Washington University
Correspondence and grant proposal
Correspondence from Graham about projected collaborative production in New York, two typescript letters
Correspondence
Correspondence
Correspondence, typescript carbons of Partch's letters, 7 items (See also CRI folders, Box 3)
Includes many of Lou's calligraphic letters
Letters from Haverlin to Partch and Gerd Stern (as President of the Harry Partch Trust Fund or manager of Gate 5 Ensemble), and typescript carbons from Partch and Stern, with one letter to Dean Wall (UIUC Graduate College), 39 items (See also BMI file, Box 3)
Correspondence
Four typescript letters
Correspondence regarding article
Correspondence
Letter (and Partch's reply) enclosing check for Whitney Museum concert, 2 items
Correspondence
Typescript carbon of letter from Partch, three issues of KPFA Program Folio, listing Partch series of talks, Toward a Creative Music
Typescript carbon from Partch asking her to take over Bewitched choreography
Two letters including letter from Louis W. Curtis, Los Angeles Board of Education (1933) about supporting her subscription fund for Partch, on version of his letter are names of other subscribers
Typescript of letter from Partch, regarding choreographer of Bewitched
Letters regarding Koussevitzky commission, one Harry Partch carbon
Photocopy of Partch letter, Kvistad letter to Madeline Tourtlot, handout by Kvistad for his film presentation at Northern Illinois University
Letter from Claire Reis
Letter acknowledging Partch's gift of The Bewitched manuscript
Two photocopies (from microfilm) of typescript letters from Partch (1943), two manuscript letters from Luening (1951), with BMI brochure about Luening (1991)
Letters from McHugh regarding W.B. Yeats, with two typescript pages of extracts from Yeats letters mentioning Partch, with photocopy and typescript transcription of "To Margot" by Yeats
Carbon (2 typescript pages) of letter to Manoy, with typescript note to Danlee Mitchell
Correspondence
Correspondence with Lauriston and Lucy Marshall
Letters, memos, and notes from Partch to Danlee Mitchell
Correspondence regarding obtaining a score
Letters, typescript carbons from Partch, typescript originals from Moore, some concerning Martha Graham, 6 items, see also Columbia University folder
Typescript letter from Douglas Moore and typescript carbon of letter from Partch to Leon Kirchner regarding award to Partch
Correspondence with Nikolais regarding Bewitched production at University of Illinois, typescript carbons from Partch, 12 items
Three items, with other printed material about Nin
Letters from Gordon and Jacqueline Onslow-Ford to Partch and Danlee Mitchell
Letters, Harry Partch carbons
Manuscript letters from Wilfrid Perrett
Letters from Stephen Pouliot
Typed and handwritten poems by Vincenzo Prockelo
Correspondence with Pierre Schaeffer, with letter from L.A. Hiller to Luigi Nono
Letters from multiple record companies (RCA Victor, MGM, Mercury, Westminster, Columbia)
Correspondence with purchasers of Harry Partch's privately-released records
Correspondence with purchasers of Harry Partch's privately-released records
Correspondence regarding a bicentennial American composer project, three items
Regarding application for grant
Correspondence
Two postcards from Kathleen Schlesinger
two letters and clippings
Correspondence, enclosures, poetry, and artwork
Carbon of letter to lumber company
Correspondence
Carbons, telegrams, letters from James Morris
Correspondence with Larry Austin and Art Woodbury
Correspondence, concert program, and grant application
Correspondence
Correspondence
Address lists and correspondence with persons and institutions regarding proposed tours and performances
Correspondence and enclosures
Correspondence regarding recordings and photos, two copies with annotations by Danlee Mitchell
Correspondence and documents regarding production of Delusion of the Fury, includes carbon typescript copy of (and UCLA Music Department response to) Partch "Statement" about scores and instruments
Correspondence with UCSD regarding Harry Partch appointment, letters from various administrators, many Harry Partch carbons, exam, expense ledgers
Letters regarding Harry Partch visit
Correspondence mostly with administrators regarding Partch's appointments, grants, and activities at the University of Illinois
Correspondence regarding possible trip
Correspondence and enclosures regarding first edition of Genesis of a Music (1949), includes requests for reprinting
Correspondence and enclosures
Correspondence between Partch and Yates
Four letters from Yeats, Riverdale, Willbrook, Rathfarnham, Dublin, to Partch, 1933-34, one dated January 6, 1934 (TLS), two undated (one ALS, one TLS), one (TLS) dated August 7
Correspondence, 3 typescript leaves
Correspondence
Contains Partch's other personal papers and documents, organized by event, film, recording, concerts, productions, projects, or persons of his life and career.
Directions for the Care of Your Organ 7-page 6 x 3 1/2 booklet and certificate of warranty (portion of booklet cover and warranty mounted on card)
Five pocket-sized address books used by Partch
Program of 1963 convention at Sheraton-Palace Hotel, San Francisco (19-22 June 1963) and review of Partch concert
Letters announcing awards, several Harry Partch carbons, awards, and lists
Correspondence with dealers of tropical woods and bamboo
Program and notes for Alwin Nikolais production of Bewitched at the Henry Street Playhouse, 11-13 October 1957
Two programs
Records of birth (not original birth certificate), Partch's pencil list of residences, leases, seaman certificates, high school transcripts, photocopy of UCSD biographical form, 10 items
The Music of Harry Partch, 43-pages booklet from Discussion Services Notes
Four photographs, photocopy of a Santa Barbara newspaper article about Couper
Correspondence and materials regarding reed organs
Draft text for announcement
4-page stencil brochure for issues nos 3-6, Champaign, Illinois
"Gems from My Scrapbook 1930-1957", Harry Partch, ten pages of typescript extracts from articles and reviews about Partch, transcribed from his scrapbook
Correspondence and documents (minutes, Articles of Incorporation) regarding establishing of Foundation to support his work
Account book for Trust Fund recording projects
Shipping inventories, invoices, some Harry Partch lists
Specifications, dimensions, materials, diagrams of musical instruments (mostly bamboo marimba, cloud chamber bowls, and quadrangularum reversum), originals in pencil, and some photocopies
Health and disability insurance correspondence and forms
Automobile, life, and instrument insurance
Black stencil copy, 3 typescript pages, text introducing presentation of a taped lecture by Partch (after April 1967), ASUC symposium, Tanglewood
"Harry Partch", black stencil copy of lecture text (Harry Partch endorsed, Tanglewood, 1967), 4 pages
Photochemical copy of 5-page typescript biographical outline of Partch and his career
Notebook titled "Income Tax for '73" with lists of medical expenses, and income, copy of letter from Walter L. Johnson MD to Harold Frank MD describing Partch's medical history
Text of Danlee Mitchell lecture introducing screening of films, Music Studio, Windsong, Rotate the Body, 7 typescript pages, with pencil annotations
Photocopy of program for Sausalito Regatta Children & Arts Fair (as program for Partch "Oedipus" performance), 11-12 September 1954
Proposals, budgets, correspondence (Gerd Stern) about proposed subscription fund for issuing "Oedipus" recording, 5-page typescript prospectus plus 5 additional items
Three poems written to or about Partch
Two drawings by Paul Partch, photocopy of Paul Partch obituary and first page of Partch letter describing Paul's final illness, with photocopy of page of letter from Paul, 30 July 1951
Correspondence, record labels, carbon copies, and shipping notes relating to pressing of recordings by RCA
Correspondence with printers and suppliers, printed labels
Documents and carbon of letters regarding record production and manufacture
Harry Partch's lists of record timings
Lists and inventories of records and tapes, manuscript lists of records and tapes (these lists identify acetates and tapes that Marshall later gave to the Partch Archive)
National Collegiate Gymnastics Championships program booklet, UIUC, 1961, at which Rotate the Body was performed, folder flap with Partch's label included
Brochure, correspondence and photocopies regarding soundboard material
Documents, notes, and letters regarding taxes
Documents and letters to accountant regarding taxes
Carbons of letters to accountants and other tax documents
Copies of Tourtelot film brochures and poster
Brochure for subscription to the Third Harry Partch Subscription Fund recording of "U.S. Highball", 1 July 1958
Publicity materials about festivals at which Partch's works were produced
Carbon of memo from faculty in support of Partch
Carbons of letters and itemizations of expenses regarding remodeling of studio
Documents relating to production at University of Illinois
Announcement for Music Studio - Harry Partch, a film by Madeline Tourtelot, at Festival of Contemporary Arts, University of Illinois
Account/ledger book listing purchasers of Gate 5 recordings
Made by Partch from bamboo section
Compiled and Written by the Federal Writers' Project of the Works Progress Administration for the State of California. American Guide Series (New York: Hastings House, 1939). Inscribed on front fly-leaf: Harry Partch, August 14, 1939
Partch's personal scrapbook, 1930-1968, in two volumes. Contains newspaper clipping and magazine articles about Partch; many are reviews, promotional articles, or profiles. Pasted onto over-size leaves in chronological order.
Consists of autograph (pencil or ink) scores, drafts, and blue-line (ozalid) copies of Partch's musical compositions. The designation "( = HPCat )" indicates those items that are the final score for a version of a composition, and that are catalogued and described in The Music of Harry Partch: A Descriptive Bibliography. See this publication for further information about the compositions and their versions.
Ink-on-paper score (and chromelodeon part) of "U.S. Highball" (second version, HPCat 35B). Score with numerous pencil additions, cuts, comments, paste-overs, etc. Score on 70 pages, chromelodeon part (also with additions, cuts) on 45 pages
Full score and parts for "Y. D. Fantasy" (HPCat 40) plus second flute part to "Two Settings from Finnegan's Wake". Ink score with various pencil and ink corrections and revisions. Presumably the performing material used for the 1944 Carnegie Hall concert. 22 pp. in ink and pencil
Full score for "Polyphonic Recidivism on a Japanese Theme" (HPCat 21). Ink score. 3pp
"Two Psalms": (1) full score to "The Lord Is My Shepherd" (HPCat 16B), (2) full score and two (of four) parts to "By the Rivers of Babylon" ( HPCat 5B), plus fragment in pencil of "Harmonic Canon" part to "U.S. Highball" (1955 version). 13pp, score in ink and pencil
Full score and parts to "Two Settings from Finnegans Wake" ( HPCat 31). 17pp. in ink
Original ink-on-paper score, with later pencil additions made in 1955 for enlarged instrumentation. 6 leaves. San Francisco ( HPCat 26A), Letter ( HPCat 15A)
Ink-on-paper score (HPCat 8B) with parts for voice, viola, and kithara, with pencil addition for Bass Marimba part. 8 leaves of parts, score on 13 pages
Full score of first version of "U.S. Highball" (Feb. - March 1943) ( HPCat 35A). 64pp in pencil
Complete ink-on-paper manuscript score as described in (HPCat 13), version A. 56 pages. Also separately, bass marimba parts for "Soldier", "War", "Another War", "Cloud-Chamber Music", and "Lover", (three leaves), soprano part for "Lover" (one leaf), guitar II part for "Vanity" (one leaf), Guitar III part for "Cloud-Chamber Music", and "Soldier", "War", "Another War" (two leaves), kithara and deer hooves rattle part for "Cloud-Chamber Music" (one leaf), diamond marimba & bowls part for "Cloud-Chamber Music" (three pages on two leaves)
Li Po settings (version E) as notated in ratios and Chromelodian notation, (as described in The Music of Harry Partch, A Descriptive Bibliography, pp. 86-89).: nos. 1-9 (p. [1] contains fragment of pencil Bowls solo from "Even Wild Horses", Act 3, scene 2 (information provided by Danlee Mitchell, 12-31-1993); nos. 11-17. Note: "A Dream" (no. 10), original india-ink-on paper score, notated all in ratios on blank paper, originally in folder 10, is now in box 15, folder 4.
Pencil draft for full score of "Mock Turtle Song" from "Two Settings from Lewis Carroll" (HPCat 32/1). 15pp. in pencil (torn from 8 1/2 x 7 spiral-bound music notebook)
"'Potion Scene' from Shakespeare's Romeo and Juliet", 16 pages of draft in black and red pencil, numerous performance and interpretive directions, inscribed; rewritten at Gate 5, 10 July 1955, draft for score of second version (cat. no. 22, version b)
Pencil draft of full score of enlarged instrumentation for "U.S. Highball" (HPCat 35C), plus three sheets of instrument tunings. 50 pp. in pencil
Pencil draft of score of original, first version (Cat. no. 34, version a), with numerous interpretive notes, inscribed Harry Partch, Gate 5. July 20, 1955 (12 pages); pencil parts for "Ulysses" as recorded in Evanston, IL, in 1958, for alto and baritone sax. Two parts on four pages, nineteen numbered, braced systems for chromelodeon, alto and baritone sax, and diamond marimba parts and on two pages (numbered 4 & 5), braced systems numbered 18-33, for diamond marimba and boo parts; (information provided by Danlee Mitchell, 12-31-93)
Small music notebook containing pencil drafts for musical scenes, each scene with title, cues to film, instrument tunings, indications of performers, tape speed, from front (inscribed percussion beginning here) pages numbered 32-47 [including inside front cover], from back (inscribed strings beginning here) [not including inside cover pages numbered 1-31]; 47 pages of draft score
Pencil sketch of full score. 3pp in pencil
Pencil draft of full score for "Water! Water!" 117pp.
Pencil draft of full score. 40pp. in pencil.
Pencil draft of full score, pencil voice parts, pencil sketch of "Deep Inside", and original pencil manuscript of "Rotate the Body". approx. 250 leaves for full score, part 1 of 2, plus additional ca. 35 leaves
Pencil draft of full score, pencil voice parts, pencil sketch of "Deep Inside", and original pencil manuscript of "Rotate the Body". Part 2 of 2, approx. 250 leaves for full score, plus additional ca. 35 leaves
Pencil draft of full score (HPCAt 10), plus related 20pp of sketches. 188pp. in pencil
Blue-line copy of full score of second version of Oedipus with numerous pencil and ink corrections and typed paste-overs (especially of spoken texts). Altered score presumably similar to or prepatory to final (third) version of "Oedipus". 131pp.
Blue-line copy of final score for "Windsong", with Partch's pencil notes for later instrumental "concert version" ["Daphne of the Dunes"], 19 pages
Blue-line copy of first-version score, except for Partch's manuscript title on first page, no manuscript additions. 11 pages. Also, Bb trumpet part prepared by Jack Logan
Blue-line copy of score, second version, title page and 7 pages. No manuscript additions
Two blue-line copies of score, third version, (second copy with system numbers in red pencil) with parts for Eb baritone sax and Eb alto sax. No other manuscript additions. 9 pages (for each score) and two parts in Partch manuscript comprising 6 pages. Also, parts (4 pages) for Eb baritone sax prepared by Jack Logan, 1974
Blue-line copy of score with numerous pencil or ink markings, annotations, revisions, corrections, especially for nos. 1-2. 22 pages
Cover only
Blue-line copy of full score of second version of Oedipus with Partch's pencil corrections, additions, revisions, type-script paste-overs (carbon copy), prepatory to preparing final (third) version of composition. 131 pages plus five leaves of Jocasta part and leaf marked "Pre-Introduction". Pencil annotations suggest this copy was used for performance and recording purposes
Blue-line score made from original set of vellum masters, with many annotations, corrections, and additions made by Partch in pencil or as paste-overs. According to Danlee Mitchell, these were not transferred to the set of vellum masters. Comments provided by Danlee Mitchell about this score: "This score is one of three sets of the complete score with covers made by Betty Richards [wife of Emil Richards] in Los Angeles, shortly after vellum score was finished, for Harry's personal use. I have the second copy, which was the score I used to conduct the work in 1969 at UCLA, and I am keeping it." Pasted onto inside front cover Corrections and additions to data on instruments. Cover plus 250 pages. Systems numbered in red-orange pencil
Labelled as "Oversize folder"
Pencil draft on one bifolium (t.p. and 3 pp. score); one loose sheet, part for Kithara I in pencil, bass marimba part for "Castor and Pollux" in ink
Li Po settings as notated on 5-line staffs with added ratios: "On the City Street"; "An Encounter in the Field"; "The Intruder" (as described in The Music of Harry Partch, A Descriptive Bibliography, p. 79); Pencil drafts for "Before the Cask of Wine" and "By the Great Wall" on one leaf; Incomplete draft of "A Dream", ink and pencil, one leaf; Incomplete draft of "On Hearing the Flute in the Yellow Crane House", one leaf (without added ratios)
Seven Li Po settings (A - G ) notated using ratios on unlined paper, (as described in The Music of Harry Partch, A Descriptive Bibliography, pp. 80-81): "The Long-Departed Love"; "On Ascending the Sin-Ping Tower"; "In the Springtime on the South Side of the Yangtze Kiang"; "The Night of Sorrow"; "On Hearing the Flute in the Yellow Crane House"; "On Hearing the Flute at Lo-cheng One Spring Night"; "A Dream". Note: "A Dream", formerly in box 11, folder 10, and grouped with "Seventeen Lyrics by Li Po" (version E), and described as incomplete, is now properly placed in Folder 4 (manuscript is now complete). On p. [10] of "A Dream" is a pencil transcription by Partch of text of "Christopher Columbus" by Filson Young (pub. Grant Richards, London)
Li Po settings notated on double-lined staffs, (as described in The Music of Harry Partch, A Descriptive Bibliography, p. 82): "A Midnight Farewell" and "On Seeing Off Meng Hao-jan", 3 pp of score on three oversize leaves (two leaves are glued back-to-back); "On the Ship of Spice-wood" and "With a Man of Leisure", 6 pp of score on six oversize leaves (all leaves are glued back-to-back)
Li Po settings as notated using note heads with diacritical marks: "By the Great Wall", ink-on-paper score, (as described in The Music of Harry Partch, A Descriptive Bibliography, p. 85). Examination of the original manuscript provides a corrected description (now reflecting pages that were not microfilmed). Contents: p. [i], dedication to Richard Buhlig, [1:2], dedication and score, [3], key to diacritical notation and ratio.; Pencil drafts for "Before the Cask of Wine" and "By the Great Wall", on one and one-half leaves.; Pencil draft for "I am a Peach Tree", one-half leaf
Notated in ratios on unlined paper: "By the Rivers of Babylon" (version A), (as described in The Music of Harry Partch, A Descriptive Bibliography, p. 33.); "The Lord Is My Shepherd" (version A), (as described in The Music of Harry Partch, A Descriptive Bibliography, pp. 66-67)
Notated in ratios on blank paper: "The Potion Scene" from Shakespeare's Romeo and Juliet (version A), (as described in The Music of Harry Partch, A Descriptive Bibliography, p. 95)
Partch's working draft transcriptions of southwest Indian and Mexican songs, some from recordings at the Southwest Museum, Pasadena. (See Richard Kassel, "Harry Partch in the Field, Native American Influences on his Music", Music Works 51, Autumn 1991, 6-15): (1) Pencil transcriptions on double-lined staffs: "Luiseno War Dance", pencil introduction by Partch about the transcriptions [continued on next item]; "Hoopa War Song"; "Cahuilla Bird Dance Song"; "Hoopa Brush Dance Song"; "Hoopa Stick Game"; (2) Pencil draft transcriptions on five-lined staffs (with no indications of microtonal inflections), three leaves of drafts and notes for numerous Indian and Mexican melodies, sources of most are identified, one leaf is dated April 13, 1933); (3) One page (of bifolium) of Lou Harrison's ink copy of Partch transcriptions (From Harry Partch / Indian musics), on five-line staffs (with no indications of microtonal inflections): Hoopa Stick Game, Cahuilla Bird Dance Song, Cahuilla Feather dance, Cahuilla General Dance. With envelope mailed to Partch from G. Herzog, New York, 1936
Two sets of numbered, short extracts (from identified compositions or theoretic sources) illustrating examples of intonation
Blue-line copy (1 of 2) of first version of score with Partch's pencil annotations, corrections and revisions preliminary to the second (and final) version of the score (labeled by Partch "Last Dreamer"). Cover and 37 pages
Blue-line score (2 of 2, with systems numbered in red), score incorporates revisions as called for on previous score. Partch's label "Last Dreamer". Cover and 37 pages
Reel labeled: # 4501, Creative Films, Rotate the Body, Ans Print, 7" reel
Reel labeled: Music Studio - Harry Partch, print no. 8, Creative Films, eighth print, 10 1/2" reel
Reel labeled: Windsong, For Harry, With love, Madeline, Madeline Tourtelot print 1, 10 1/2" reel
Reel labeled: U.S. Highball, Creative Films, 2719 Sheridan Road, Evanston, Illinois, print #1, 12" reel; Note by Tom McGeary: first copy of Madeline Tourtelot original
Reel labeled: KPBS Television 15, FM Radio 89.5, Sand Diego, Electroprint optical track, new print, 12" reel. Note by Danlee Mitchell: "This film was copied from a mag stripe original and is slightly fast. The voices sound high; if machine is adjustable, slow down to make voices lower and more natural."
These folders contain groups of photographs, slides, or negatives, grouped by production, place, or photographer.
Photographs of UCLA production
Photographs taken at time of filming "Dreamer that Remains"
35-mm slides taken by Danlee Mitchell, San Diego, studio
B&W negatives, July-October 1969
Unsorted photos, B&W, color, some identified
Photographs of University of Illinois production
Photographs during taping of TV program
Labeled: Peter Yates KPFK Lecture, no. 1, 7" reel, 2 of 2
Lecture recital by Partch at UCLA, reel labeled: (1) demonstration of instruments, (2) lecture, 7 1/2 "
Lecture by Partch about The Bewitched, 7" reel (Danlee Mitchell's copy)
Lecture by Partch at the University of Hawaii, July 9, 1971, 1 of 2
Lecture by Partch at the University of Hawaii, July 9 (two 7-inch reels)
Three lectures, 7" reel (Danlee Mitchell's copy): "Plectra and Percussion Dances," KPFA; "Oedipus," KPFA; Bewitched, WNYC
Reel labeled: Partch, first rehearsal of "Revelation," 7" reel, Note by Tom McGeary: tape of first rehearsal at the University of Illinois, conducted by John Garvey
Harry Partch Memorial meeting, at Lou Harrison's mother's home, Redwood City. Those present include Betty Freeman, Danlee Mitchell, Jack Larson, Steve Pouliot, 7" reel
Paul Simons singing Witch parts from Bewitched, May 27, 1979, 5" reel
Adaptation of "The Letter" for "Dreamer that Remains," film, summer 1972, 7" reel (Danlee Mitchell's copy)
Harry Partch interviewed by Peter Yates, June 9, 1960, 7" reel
Harry Partch instrument interview with Gene Paul, Encinitas, CA, May 30, 1970, 7" reel, duplicate copy (with enclosed content notes by Philip Blackburn)
Lecture by Peter Yates, The American Experimental Tradition, (KPFK radio talk?) 7" reel, 1 of 2