Harry Partch ,Hosaphones and the Chromelodeon
Critical Band at the
Music Gallery on Saturday, November 17, 20001
St George the Martyr Anglican Church, 197 John Street at Stephenie Street
Tickets $15 Box office 416-204-1080


Critical Band makes a rare appearance to honour the 100th anniversary of Harry Partch's birth. Each member of this eclectic Toronto-based group is a composer, performer, and instrument-builder. Using traditional, modified, and custom-made instruments, Critical Band performs a range of works. Included among these is American maverick composer Harry Partch's Li Po Settings and Barstow, an arrangement of hitchhiker inscriptions collected by Partch, on reproductions of his instruments.Featuring New Yorkers Johnny Reinhard (leader of the American Festival of Microtonal Music) on voice and bassoon and Anastasia Solberg on viola as well as locals Willis on surragate chromelodeon (rebuilt from two accordions) and Gzowski on adapted guitar. They will also be adding a brass section playing „hoseaphones‰ (garden hose natural brass) and Romano Dinillo on percussion for performances of new works by Garnet Willis, John Sherlock, Johnny Reinhard and John Gzowski.

This is the first stop on a tour that includes dates in Winnipeg and Vancouver, presented by Groundswell and Vancouver New Music.

The music that surrounds us in North America is based on a that divides the octave into 12 notes. Microtonal music divides the octave into smaller unites; all of this music uses a 43-note octave!.

This offers a range of sound that takes us into new territory. One of the most well-known proponents of microtonal music in North America was Harry Partch. He was described as an "American composer, librettist, philosopher, publisher, record distributor, teacher, satirist, instrument builder and designer, sculptor, instrument repairman and tuner, theorist, experimentalist, iconoclast, self-taught musician, percussionist, adapted violist, conductor, author, retired hobo, seaman, sewer cleaner, dishwasher and kitchen flunky, comedian, vagrant, member of the Percussive Arts Society Hall of Fame, and graffitist. In his musical life, his own composition began with the rejection of the European masters and the traditional concert-hall performance. The resulting musical aesthetic is reflective of such influences as Chinese lullabies, Hebrew chants for the dead, Christian hymns, Congo puberty rites, lumber yards, junk shops, and Boris Godunov