From Harry Partch to today's composition-praxis The composition 43 in 43 for an Ensemble of Harry Partch and western musical instruments: the embodiment of theoretical gaining in an artistic product

43 in 43 seeks to merge the specifics of the Partch instruments with the western musical instruments. Harry Partch instruments, constructed to reproduce his theoretical system of 43 non-equidistant tones per octave, were exclusively performed by him and few specially trained friends and followers. They come with a fixed intonation, a notation almost cryptical invented for them, and specific timbres. On the other hand, since the late 19th-century western musical instruments, although producing more than 43-tones per octave, adapted a system that favors equal temperament (semitones) imprinted on a "traditional" notation and provide a broad timbre palette.

This chamber music work (43') aims to bring the previously largely closed Partch cosmos with instruments that he - with few inevitable exceptions - avoided throughout his whole life. Cooperation with the members of Ensemble Musikfabrik Cologne - specialized in the performance of contemporary music on their instruments and only recently introduced to the Partch ones - led to an examination of different combinatory possibilities.

Following an organization in miniatures (micro-structure) grouped in bigger unites (cycles) seemed the most appropriate way to deal with this exploratory approach and expose the instruments' different qualities while creating a narrative. Moreover, this fragmental structure assisted to a more practical aspect — the mobility on stage. Changing instruments - common praxis during Partch's musical performances - revives.

The pre-and main composition phases imply the theoretical impact. Practical aspects will be highlighted at a second level as the composer-performer cooperation, critical thoughts, ensemble feedback, and recordings. Could someone, when using Partch's instruments - really escape his cosmos?