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AFMM 5/27/99 Finale highlights

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  • David Beardsley
    American Festival of Microtonal Music 5/27/99 Finale highlights Columbia University s St. Paul s Chapel NYC The combined tone colors of Anastasia Solberg s
    Message 1 of 1 , May 29 5:53 PM
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      American Festival of Microtonal Music
      5/27/99 Finale highlights
      Columbia University's St. Paul's Chapel
      NYC

      The combined tone colors of Anastasia Solberg's viola and
      Greg Evans French Horn filled Columbia University's St. Paul's Chapel
      with Anton Rovner's quarter tone Appel a deux. A dense rich
      work by this new microtonalist.

      The next set was performed by the virtuoso AFMM quartet of
      Andrew Bolotowsky, flute, Michiyo Suzuki, clarinet, Anastasia
      Solberg, viola and AFMM director Johnny Reinhard, bassoon.
      Four works, spanning almost a thousand years and showing
      extreme tuning techniques. From the anonymous Pythagorean
      Hymnus und Organum (1000) and Coimbra Manuscript (1500)
      to the more recent Free Music, V.2 (Percy Granger, 1939)
      and the more extreme 31tet of Ivan Wyschnegradsky's Etude
      Ultracromatique (1959) - this was an amazingly twisted
      programing decision. Also very good programing decision!

      An early Harry Partch piece, Potion Scene (1931)
      was expertly performed by soprano Meredith Borden and violist
      Solberg. An amazing performance, there was no doubt that this
      was Partch! Originaly written during the same period as the Li
      Po songs for vocalist Rudolphine Radil, Partch rarely performed or
      even recorded this setting from Shakespeare's Romeo and Juliet.

      A solo bassoon piece in 48tet for master bassoonist Johnny
      Reinhard by Joeseph Person slid around target pitches and
      microtones hung in space due to the resonant ambience of
      St. Pauls. I hope this piece remains in Reinhard's solo
      repertoire, I'd like to hear it again and it deserves
      to be heard again.

      Finally, AFMM regular Skip LaPlante, tuned percussion performed
      Camping in the Backyard, a five movement 17tet masterpiece.
      Joining LaPlante, Bolotowsky and Reinhard was Mathew Fields
      on string bass. A joyous romp around the yard, my favorite
      was Raunchy Blues.

      Lastly, I'd like to point out the amazing musicanship
      displayed by the AFMM musicans. Every year they effortlessly
      perform a stylistically wide range of music in a wide range
      or tunings. From alternate equal temperaments (today's
      17, 24, 31, 48) to the whole number ratios of just intonation
      (Partch's 43 tones) and beyond, they make performing
      this music accurately seem easy.

      I'm already looking forward to this falls AFMM Orchestral
      performances in October 1999.

      --
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