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Harry Partch (1901-1974) Delusion of the Fury: A Ritual of Dream and Delusion (1965–66, rev. 1967) Danlee Mitchell / Ensemble of Unique Instruments 0:00 Performance Notes 0:10 Exordium — The Beginning of a Web ───────────────────── Act I — On a Japanese Theme. It treats with death, and with life despite death. Cast: Pilgrim (the Slayer), Son of the Slain, Ghost (the Slain), Moving Chorus, Singing Chorus 10:55 1. Chorus of Shadows 16:05 2. The Pilgrimage 20:20 3. Emergence of the Spirit 23:53 4. A Son in Search of His Father's Face 29:55 5. Cry from Another Darkness 34:38 6. Pray for Me ───────────────────── 37:40 Sanctus — An Entr'acte ───────────────────── Act II — On an African Theme. It treats with life, and with life despite life. Cast: Deaf Hobo, Old Goat Woman, Deaf and Near-Sighted Justice, Moving Chorus, Singing Chorus 44:01 1. The Quiet Hobo Meal 47:00 2. The Lost Kid 49:52 3. Time of Fun Together 58:00 4. The Misunderstanding 1:04:04 5. Arrest, Trial, and Judgement 1:08:47 6. Pray for Me Again "Words cannot proxy for the experience of knowing—of seeing and hearing. The concept of this work inheres in the presence of the instruments on stage, the movements of the musicians and chorus, the sounds they produce, the actuality of actors, of singers, of mimes, of lights; in fine, the actuality of truly interpreted theater. These introductory pages [performance notes] consist largely of technical data. They contain no argument, no exposition. I feel that the only investigation which has genuine integrity is the seen and heard performance. Synopsis: "It is an olden time, but neither a precise time nor a precise place. The Exordium is an overture, an invocation, the beginning of a ritualistic web. Act I, on the recurrent theme of Noh plays, is a music-theater portrayal of release from the wheel of life and death. It opens with a pilgrim in search of a particular shrine, where he may do penance for murder. The murdered man appears as a ghost, sees first the assassin, then his young son, looking for a vision of his father's face. Spurred to resentment by his son's presence, he lives again through the ordeal of death, but at the end—with the supplication, Pray for me!—he finds reconciliation. There is nowhere, from the beginning of the Exordium to the end of Act II, a complete cessation of music. The Sanctus ties Acts I and II together; it is the Epilogue to the one, the Prologue to the other. Act II involves a reconciliation with life. A young vagabond is cooking a meal over a fire in rocks when an old woman approaches, searching for a lost kid. She eventually finds the kid, but—due to a misunderstanding caused by the hobo's deafness—a dispute ensues. Villagers gather, and during a violent dance force the quarrelling couple to appear before the justice of the peace, who is both deaf and near-sighted. Following the judge's sentence, the Chorus sing in unison, O how did we ever get by without justice? and a voice offstage reverts to the supplication at the end of Act I." Harry Partch