ON THE FACE OF IT, a comparison between the composers Richard Wagner and Harry Partch would seem absurd. Wagner, the German operatic titan, enjoyed royal patronage, lived in comfort, and became the most influential cultural figure of the late nineteenth century. Partch (1901-74), the most extreme of American mavericks, lived much of his life in obscurity and near-poverty, patching together an existence with short-term academic gigs, foundation grants, and private gifts. But both men were driven by the need to control their own artistic worlds: Wagner by building a theatre where his “total works of art” would be most perfectly presented, and Partch by creating his own set of instruments (magnificently eccentric objects, mostly struck, plucked, and slapped, with names like Marimba Eroica, Cry-Chord, Chromelodeon, and Spoils of War), which…