The Bewitched
Neuma, 2021
8/10
Harry Partch possessed a very creative mind, as he not only was a composer and theorist, but also made musical instruments. Written in the ‘50s, this version of The Bewitched was recorded live in Berlin in 1980, and hosts Danlee Mitchell as conductor and Isabella Tercero as the Witch
“Prologue” starts the listen, and is a percussively strong display of inimitable talent as airy flutes add much to the dynamic climate, and “Scene 1. Background for the Transfiguration of American Undergrads in a Hong Kong Music Hall” follows and continues the unpredictable delivery of percussion where a firm execution and clarinets and cloud chamber bowls are in attendance.
Further on, “Background for the Alchemy of a Soul Tormented by Contemporary Music” leads soft and mysterious, as bare moments collide with furious bouts of calculated song craft, while “Scene 6. Background for the Euphoria on a Sausalito Stairway” benefits greatly from strong, soaring vocals. “Scene 7. Background for the Transmutation of Detectives on the Trail of a Culprit” then recruits a cinematic quality amid its busy and marimba friendly climate.
Landing near the end, “Scene 10. Background for the Demonic Descent of the Cognoscenti While Shouting Over Cocktails” is a creatively textured and dizzying display of fascinating interaction between the many players, and “Epilogue” finishes with two minutes of cautious, absorbing musicianship.
A true outsider his entire life, Partch’s art is preserved here via a binaural head microphone set up, which allows for a natural balance of the many instruments, and also documents the sounds of footsteps, coughs and basketballs whizzing around the performance. Though he passed away in 1974, the daring and adventurous players here do a fantastic job of keeping his spirit alive.
Travels well with: Ken Field- Transmitter; Gina Biver- Nimbus