K RONOS QUARTET SUNRISE o f the PLANETARY DREAM COLLECTOR

Music o f TERRY RILEY (b. 1935) KRONOS QUARTET

David Harrington,

1. Sunrise of the Planetary Dream Collector 12:31 John Sherba, VIOLIN Hank Dutt, 2. One Earth, One People, One Love 9:00 (1–2) from Sun Rings Sunny Yang, Joan Jeanrenaud, CELLO (3–4, 6–16) 3. Cry of a Lady 5:09 with Le Mystère des Voix Bulgares Jennifer Culp, CELLO (5) Dora Hristova, conductor

4. G Song 9:39

5. Lacrymosa – Remembering Kevin 8:28

Cadenza on the Night Plain

6. Introduction 2:19 7. Cadenza: Violin I 2:34 8. Where Was Wisdom When We Went West? 3:05 9. Cadenza: Viola 2:24 10. March of the Old Timers Reefer Division 2:19 11. Cadenza: Violin II 2:02 12. Tuning to Rolling Thunder 4:53 13. The Night Cry of Black Buffalo Woman 2:53 1 4. Cadenza: Cello 1:08 15. Gathering of the Spiral Clan 5:24 16. Captain Jack Has the Last Word 1:42 from left: Joan Jeanrenaud, John Sherba, Terry Riley, Hank Dutt, and David Harrington (1983, photo by James M. Brown) Sunrise of the Planetary possibilities of life. It helped the Dream Collector (1980) imagination open up to the possibilities It had been raining steadily that day surrounding us, to new possibilities in 1980 when the Kronos Quartet drove up curiosity he stopped by to hear the quartet Sunrise of the Planetary Dream Collector for interpretation.” —John Sherba to the Sierra Foothills to receive Sunrise practice. Harrington, who “heard quartets” grew out of Riley’s own improvisational of the Planetary Dream Collector, Terry in Riley’s music, was eager to have him style of the 1970s. During those rainy jam sessions, Riley’s Riley’s first composition for them. The write something for them. Harrington A cycle of fourteen beats undergirds collaborative approach to music-making drive from to Terry and Ann wooed the composer relentlessly. the work. This metric pattern, roughly encouraged the quartet members to Riley’s home at Sri Moonshine Ranch takes Riley, however, harbored many analogous to the tal of raga music, is ample rethink the roles traditionally assigned only a couple of hours. Kronos’ journey misgivings. He had abandoned written enough for listeners to temporarily lose to them by the classical tradition. They up to that point, though, had already composition more than a decade before. He themselves within eddies of syncopations were at Sri Moonshine Ranch not merely been a couple of years in the making. was dissatisfied with the artificial nature of and cross-rhythms. Yet every few seconds, to execute the composer’s music, but to Riley had been teaching for several musical notation, which seemed to him to a downbeat pulse arrives—a brief moment help create it. To the bare notes of the years at Mills College in Oakland, which fossilize musical thought. He had also come of rebirth, simultaneously closing the score they added their own markings for had a decades-long tradition of supporting to dislike the old hierarchies, where per- previous musical idea and initiating a new dynamics, articulation, and phrasing, new and . At Mills, formers humbly served master composers. one. The music for Sunrise is in contin- adding a crescendo here, a sul ponticello Riley not only taught composition, but Instead, Riley devoted himself to impro- uous orbit: it does not, could not, end. there. Sometimes, the quartet found the rudiments of Hindustani raga as visations. Riley believed that his musical their own path to the composer’s inward well. He arranged for his mentor and ideas were never meant to reach a finished “I like mornings. I wish they could vision. But just as often, they revealed close friend, vocalist Pandit Pran Nath, state, fixed forever on a piece of paper, last all day.”—Terry Riley to him things he hadn’t anticipated. to instruct the more advanced students. but were destined to continually evolve. Since 1970, Riley had been his disciple, Sunrise immerses the listener in the “They always find something there devoting hours each day to learning the “I thought this was what I was going sound world of a small handful of modes to surprise me, almost always in vast repertoire of ragas and compositions. to be doing for the rest of my life. And based on A. The sound of scales played a happy way.”—Terry Riley The chair of the Mills music depart- then I met Kronos.” —Terry Riley on A has a particularly expansive quality ment, Dr. Margaret Lyon, was interested in when played by a . A is the Even the form of Sunrise was the result establishing a residency at the college for Harrington’s persistence eventually paid Ur-pitch, the note to which the instru- of a collaboration between Riley and the a string quartet. The two-year residency off: the quartet succeeded in coaxing Riley ments’ cosmos is tuned. The scale utilizes quartet. Riley initially envisioned quartet given to Kronos was a crucial break for the into creating something for them. Though the natural resonance of all sixteen open members collectively improvising the members of the young quartet. At the time Riley and Kronos saw each other frequently strings. There is no modulation between composition from start to finish. In the they had been eking out a living playing at Mills, the composer felt that they could keys—instead, the melodies of Sunrise beginning, this was an enormous chal- occasional gigs at restaurants, at weddings, collaborate more freely at his home, Sri explore different regions of these few lenge for the classically trained quartet. and even at San Francisco’s Ghirardelli Moonshine Ranch. They all rehearsed in scales, offering competing centers of Eventually, Riley provided Kronos with Square. For Kronos, Mills was an incubator a cottage Riley had converted to a studio. gravity within their constellation of seven a sample realization of the work in score where their technique could mature, a The roof was still a work-in-progress, and notes. The secret of working in this type of form, which they were free to recompose forum in which they could develop their it leaked. Rainwater trickled through the modal music, Riley taught the quartet, was and rearrange according to their own artistic vision. Mills was also site of their skylights gently into the room, with quartet in detecting and manipulating the subtle musical sensibilities. Once the quartet fateful encounter with Riley and his music. members doing their best to dodge the gravitational fluctuations between pitches. had mastered a single interpretation of drops. Navigating the music Riley set before The rain continued through the next the musical materials, they gradually “Right away, I felt Terry was a quartet them was trickier still. Instead of the usual couple of days. Drop by drop, Riley’s began to explore ways to reintroduce composer. There’s something about musical score, the composer provided each musical spirit began to seep into Kronos’ Riley’s extemporizing spirit into the his generosity of spirit that made member of Kronos about thirty melodic playing. The musical modules of Sunrise— performance. Over the course of thirty-five me think, ‘I want this man’s music snippets on which they were to improvise. constituted of funky riffs, tabla-like years, the quartet has grown confident in in our work.’” —David Harrington Even the melodies themselves were devoid patterns, bits of raga fioritura, and frag- improvising on the melodies of Sunrise. of the usual markings for dynamics, phras- ments of lyrical abandon—are steeped Riley’s working methods proved to Kronos first met Riley while they were ing and expression. Occasionally Riley in the idioms of and Indian music. be liberating for the quartet. They began rehearsing Traveling Music, a piece by would sing for them, his voice disciplined to see themselves less as performers and David Harrington’s friend and high school by the daily practice of raga. But mostly he “Going up to Terry’s ranch and working more as partners in musical creation. The composition teacher, the composer was content to listen to the quartet exper- on those early pieces—we were engulfed process of working with Riley’s modules, Ken Benshoof. It turned out that Riley and iment, encouraging the musicians to find by all of these sounds: frogs, birds, choosing just the right sequence for them, Benshoof had been students together at for themselves the music within the notes. leaves rustling in the wind. It made gave the musicians experience in seeing San Francisco State University, so out of us think deeply about all of these themselves as co-composers. Working with Riley helped Kronos hone their skills of Riley’s most abiding sources of inspi- in making new scores speak through their ration as keyboardist and as composer: own voices. “It opened up a window for us,” the Baroque and jazz. Bach’s music was a said cellist Joan Jeanrenaud. “Working cornerstone of his repertoire. As a young with Terry influenced the way we ended composer, Riley assiduously studied the up working with every composer.” old arts of contrapuntal combination, The experience of writing for Kronos of musical inversions, retrogrades, had an unexpected effect on Riley, too. augmentation, diminution and stretto. Throughout the 1970s, Riley firmly When he returned to composition in believed that music ought to be transmit- the 1980s, he took Baroque scores—with ted directly, without the intermediary of their absence of performance indica- notation. However, the composer discov- tions—as a model for his own work. ered that being forced to work at a slow, deliberate pace opened up new musical “Bach, for me, is like an avatar. vistas for him. In this meditative state, He’s like a person who is so close melodic variations and musical combina- to God … a kind of deity touched tions occurred to him that he would have down on Earth.”—Terry Riley overlooked in the heat of musical impro- visation. Working with Kronos marked a The descending cello line begins with a from left: Harrington, Sherba, Dutt, and turning point in his growth as a composer. well-known seventeenth-century ground Jennifer Culp performing Riley’s Sun bass pattern, the so-called lament bass, Rings (2002, photo by ) which composers of that era used to G Song (1980) express the most profound despair and which Purcell employed to such great Riley the fine points of playing ragtime and mood offer contrasting views of its Immediately after creating Sunrise, Riley effect in his operaDido and Aeneas. The and honkytonk. While at Berkeley, Riley musical physiognomy. Familiar fragments wrote G Song for Kronos. The work is chaconnes and passacaglias of early found a kindred soul in fellow composer momentarily surface only to be submerged an intricate set of variations on a theme music had long held a particular appeal and pianist La Monte Young. With Young, under a wave of new ideas. Occasionally, that he had been playing around with for for the composer, who saw in them Riley deepened his study of jazz, immersing the music implodes into a dense lattice of years in his organ improvisations. Riley counterparts to blues progressions, raga himself in the records and performances complex quadruple counterpoint where used a version of this material in his score compositions, and other repetitive forms of their idols: John Coltrane, Miles the whole scale seems to sound at once. for the 1976 Dutch thriller Lifespan. G from the world’s musical traditions. The Davis, Bill Evans, and Lenny Tristano. Where Sunrise used an unvarying Song accompanied one of the movie’s stately progress of the bass line allows fourteen-beat cycle to order its musical more lighthearted sequences: a bicycle room for the richly varied and textured “I think most of the import- universe, G Song periodically breaks free ride through the Dutch countryside, all melodic lines, executed by the upper ant things in American music from its sixteen-bar orbit to veer off in spinning wheels and rotating windmills. strings with almost Vivaldian brio. happen in jazz.”—Terry Riley unexpected directions. The last four bars The image resonates with the opening of the theme hint at this development. of the piece, with its asynchronous loops “I’ve had an interest in pop music The theme of G Song is structured like an The , which had been shooting of sound. While the cello articulates the my whole life, or let’s say pop and old pop tune, its sixteen bars following the upward in fountains of scales, begin to work’s triple meter, the two violins trade folk. Music that generates a lot of ABAC pattern of many a jazz standard. The trickle downward. The cello falls silent, off runs that fall into four beats apiece. material that classical musicians theme is punctuated with a blues harmony, freeing the beat from its metric anchor. The rhythmic cycles of the musicians always end up using. If you’re a musi- poised expectantly like a question mark. A fermata holds time in suspension. As come into alignment every four bars. cian walking around on the planet The viola pours forth a sinuous arioso of the variations progress, the “trickling” Earth, you’re going to find some pop saxophone fluidity—a haunting melody figure continually threatens to overwhelm “Sunrise and G Song were both pieces music in your work.”—Terry Riley that recurs regularly throughout the subse- the melodic and harmonic fabric of the G that I had worked out in another quent variations. The music has the vitality Song. The music’s flow seems perpetually form. I started with something I Terry Riley grew up in Colfax County, and flow of jazz, even if it doesn’t swing. on the verge of becoming unmoored, knew already when I started writing in the Sierra foothills, surrounded by floating away into a boundless ocean again; they were pieces I had played country and western music. After moving The G of the title refers to the key of the of sixteenth notes. In the end, though, myself and had worked out kind of to the San Francisco Bay Area, Riley often piece—G minor. As in Sunrise, Riley wanted Riley brings all of these excursions home, a form for them.”—Terry Riley worked nights playing piano at the Gold to focus the work on the unflinching exam- recapitulating the opening melodies Street Saloon. It was there that an old ination of a single key area. As the quartet and reminding the listener of its roots. The theme of G Song bears witness to two hand by the name of Wally Rose taught circles around the G Song, shifts of texture Cadenza on the Night Plain (1983) catastrophe had never occurred. There is no specifically Native American music in In writing Sunrise and G Song, Riley Cadenza on the Night Plain. Rather, the had learned how to take music from his composer sought to create a music that own improvisations and recast them would convey the spirit of the people, of the for string quartet in even more complex clans who were attached to the land and form. The half-hour Cadenza on the who, through the land, honored the divine. Night Plain, written in 1983, represents Cadenza on the Night Plain takes advan- a further stage in this process. tage of new performance techniques that Ever true to the spirit of harmony Kronos was developing in the early years and collaboration, Riley decided to create of their association with Riley. Just before a work where the musicians of Kronos he began work on Cadenza on the Night would take turns leading the quartet. Riley Plain, Riley completed a two-movement assembled a suite of distinct movements, work for the quartet, The Wheel & Mythic fitted out with introduction and coda. Birds Waltz (1983). While rehearsing Abandoning the strict modal purity of The Wheel, a slow jazz ballad, the quartet Sunrise and G Song, Riley allowed each part experimented with eliminating altogether from left: Sherba, Dutt, Riley, Sunny of the new work to have its own distinctive the traditional string vibrato. The “cool” Yang, and Harrington in San Francisco key, scale, rhythm, and character. Cadenzas, sound perfectly suited Riley’s music. tailored to the musicians’ individual per- (2014, photo by Luis Delgado) sonalities, serve as introductions for these “This was a very important moment sections. for us. We were beginning to find The result is a gallery of sonic images, our own voice as a group, and Terry intervals as purely as possible, raising or with . , arrayed to develop a single theme. helped us find it.”—Hank Dutt lowering pitches as necessary. Without the the president of Nonesuch, suggested a vibrato’s sonic flutter, double-stops and collaboration between the quartet and the “This generally propels a lot of The effect on Kronos was revelatory and chords rang out on their instruments with choir during the Bulgarians’ second tour my musical thought: a feeling of lasting. The quartet began to shed the fabulous intensity. “In the first minutes of the United States, in 1990. Harrington compassion for the underdog, opulent vibrato that as classical musicians of the piece,” David Harrington remem- immediately thought of Terry Riley. For the for the people who don’t have a they had been trained to use. Expression bers, “there is a stunning double-stop, an occasion, Riley composed Cry of a Lady. voice, who are being beaten down would now come from the bow, from open G string paired with the F a seventh The title evokes the many styles of by the powerful.”—Terry Riley changing the speed and angle of the hair above, tuned to the G string’s own natural laments in the Bulgarian folk repertoire: across the strings, from the right hand F harmonic. This produced an F much the cries of abandoned lovers, the wails of Riley spent part of his childhood in the and not the left. Their palate of sound lower than normal, and my instrument young brides forced to leave their families, logging town of Redding, . There colors gained new shades. Their expres- resonated in this totally new, ancient, and the grief of women who have lost sons and he witnessed the effects of systematic sive range could be pushed beyond the wholly unexpected way.” From this point husbands, the plaints of tragedies from ages cruelty and abuse toward the Native bounds of the traditional string quartet. onward, these mictrotonal adjustments, past. Rather than create an ersatz piece of American population. The composer The sonic components of the ensemble this search for purer intonation, became folk music, Riley composed a small tone has vivid memories of the calculated could be reconfigured into new forms. defining characteristics of Kronos’ “sound.” poem, juxtaposing fragments of strophic impoverishment of the local Wintu tribe, With this new, vibratoless sound, song with washes of vocal and instrumental the alcoholism born of their despair, shades of intonation could be calibrated color. Cry of a Lady is a miniature study of the barroom brawls, and the beatings with laser precision. This discovery Cry of a Lady (1990) the many shades of anguish and despair. administered by whites. As an adult, energized Riley as well as the quartet Riley continued to read widely about the members. From his study of raga scales, After the fall of the Berlin Wall, Americans wars in North America, the subjugation the composer had become exquisitely and Western Europeans had greater oppor- Lacrymosa— and dispossession of hundreds of Native sensitive to microtonal nuances of pitch. tunities to experience the arts of nations Remembering Kevin (1998) American tribes. By the early ’80s, the At this time, Riley was also delving into concealed for decades by veils of ideology. topic had become an obsession with him. the possibilities of just intonation, forms Le Mystère des Voix Bulgares, records of In the 1990s, a series of tragedies struck Moved by the spectacle of ceaseless of tuning which avoided the compromises folksong arrangements performed by members of the quartet. Hank Dutt’s inhumanity instigated by his own gov- that had traditionally been necessary to the Bulgarian State Radio and Television partner, Kevin Freeman, died in 1993 after ernment, Riley was inspired to create create the equal-tempered keyboard. Female Vocal Choir, was an unexpected a long struggle with AIDS. The following work that might humanize the victims of In Cadenza on the Night Plain, Riley chart-topper in the U.S. Both Kronos and year, Joan Jeanrenaud lost her son, Mario the calamity, to imagine a past where the encouraged quartet members to tune their Le Mystère des Voix Bulgares were artists Moruzzi, who was stillborn. In 1995, David Harrington’s sixteen-year-old son, NASA approached the quartet with the centered on the instrument’s tuning A. Adam, was unexpectedly struck down. idea of creating a work to celebrate the (The key of the piece is A minor, similar in These terrible events had a profound twenty-fifth anniversary of the launch of sound to Sunrise of the Planetary Dream effect on the quartet. “We used to laugh a the interstellar mission Voyager, using Collector.) Like a singer searching for lot at our rehearsals,” Jeanrenaud recalled. sounds transmitted from the agency’s harmony with the universe, the cello “When we got into this period, we didn’t interplanetary probes. Harrington wanders down and up the scale, seeking laugh as much. We weren’t as carefree. immediately grasped that this project out notes and motives exactly in tune with At the same time, the support we had for would be ideal for Riley, who had long its galactic environment. A choral refrain, each other was magnified. We were older. pondered the cosmos and humanity’s made up of synthesizers and the three We were different.” After Adam’s death, relationship to it. Dr. Donald Gurnett, upper strings, seems to answer the cello Harrington remembers, “I couldn’t even radio and plasma wave scientist at the with encouragement and affirmation. think about being a musician without University of Iowa, placed at the com- feeling the effect of that loss. [It] changed poser’s disposal a vast array of chirps, “If only we let the stars mirror back the way I hear, what I needed from whistles, pulses, and squawks, collected to us the big picture of the universe music, and what I wanted to present.” over decades of research. Riley took this and the tiny precious speck of it we Riley, deeply moved by his friends’ alien, yet oddly familiar, material and inhabit that we call Earth, maybe losses, embarked on a series of Requiem created symphonies of celestial sound we will be given the humility and Quartets to memorialize the dead. He wrote to be performed in concert with the insight to love and appreciate all three works: the Baroque-inspired Mario quartet and a chorus. Electronic sensors life and living forms wherever our in Cielo, the three-movement Requiem placed on music stands allowed Kronos journeys take us.”—Terry Riley for Adam, and Lacrymosa—Remembering members to trigger more space noises, as Kevin. Kevin Freeman, a music librarian well as other sounds, during performance. —GREGORY DUBINSKY, March 2015 and singer with the San Francisco—based a The resulting composition, Sun Rings, capella group Chanticleer, is remembered was a fully staged, evening-length work, Adapted from a longer note included in the by friends for his big smile and even bigger transversing in ten “spacescapes” imagi- box set One Earth, One People, One Love: heart. Lacrymosa opens with a gentle ballad nary journeys through the solar system. Kronos Plays Terry Riley. for viola in the very pianistic key of D-flat major. For Riley, the music conjures up the “Since I joined the Kronos Quartet, winsome melancholy of the popular song of Terry Riley has become my favorite his youth. From this sentimental starting new composer. It’s probably for the point, the ballad tune is subjected to an same reason I enjoy Bach. When I play increasingly dissonant series of variations. Bach, I feel a sense of complete freedom. Astringent harmonies pile up atop a Within the structure there seem to be laboring pulse, a horrifyingly extended infinite possibilities for expressing paroxysm of musical agony. Mercifully, myself. I have the same experience these tortured repetitions finally slip when I play Terry’s music. I feel very away. After death comes transfiguration, much at home with it.”—Sunny Yang ethereal harmonics tracing the phantom outline of the original ballad melody. After visits to such exotic locales as “Planet Elf Sindoori,” “The Electron “It was difficult to playLacrymosa so Cyclotron Frequency Parlour,” and “Venus soon after losing Kevin. Over the years, Upstream,” the musical voyage returns to though, I’ve come to appreciate Terry’s our home world. The title for “One Earth, subtitle more and more. This music One People, One Love” was taken from remembers Kevin in a very bittersweet a phrase spoken by Alice Walker on the and touching way.”—Hank Dutt Berkeley radio station KPFA days after the 9/11 attacks. Her words return throughout the piece, welcome and reassuring like Sun Rings (2002) the reappearance of a comet. The cello, in the guise of a sort of “earth mother,” Just before the turn of the millennium, unfurls a long aria, the melody launching Kronos received an unusual commission: itself time and again from a turning figure Produced by All compositions published by G. Schirmer

Sunrise of the Planetary Dream Collector Sunrise of the Planetary Dream Collector and G Song were written for the Kronos Quartet. One Earth, One People, One Love Recorded December 2014 at Skywalker Sound, a Lucasfilm Ltd. company, Marin County, CA Sun Rings was commissioned for the Kronos Quartet by the NASA Art Program, the National Engineer: Endowment for the Arts, The Rockefeller Foundation’s Multi-Arts Production Fund, Hancher Assistant Engineer: Dann Thompson Auditorium/University of Iowa, Society for the Performing Arts, Eclectic Orange Festival/ Philharmonic Society of Orange County, SFJAZZ, Barbican, London, U.K., and University Editing Assistant: Jeanne Velonis of Texas Performing Arts Center, Austin (with the support of the Topfer Endowment for Performing Arts). Additional contributions from Stephen K. Cassidy, Margaret Lyon, Cry of a Lady Greg G. Minshall, and David A. and Evelyne T. Lennette made this work possible. Recorded March 1990 in Los Angeles, CA Originally released on A Thousand Thoughts (Nonesuch 536952) Cry of a Lady was written for the Kronos Quartet and Le Mystère des Voix Bulgares.

G Song Three Requiem Quartets (Lacrymosa—Remembering Kevin, Mario in Cielo, Recorded July 1997 at Skywalker Sound Requiem for Adam) were commissioned for the Kronos Quartet by Sydney Engineer: Craig Silvey and Frances Lewis, Margaret Lyon, and Jim and Jeanne Newman. Assistant Engineer: Bob Levy Editing Assistant: Tom Luekens Cadenza on the Night Plain was commissioned by the Kronos Quartet, Hessischer Originally released on 25 Years (Nonesuch 79504) Rundfunk (Radio Frankfurt), and Gramavision Records. The work is dedicated to the late Dr. Margaret Lyon, former chair of the music department at Mills Lacrymosa – Remembering Kevin College in Oakland, where the composer taught for more than a decade. Recorded August 2002 at Skywalker Sound Engineer: Leslie Ann Jones Recording of interview with Eugene Cernan in One Earth, One People, One Love from the film For All Mankind, courtesy of Al Reinert Assistant Engineer: Dann Thompson Editing Assistant: Jeanne Velonis With appreciation to Alice Walker for her words: “One Earth, One People, One Love”

Cadenza on the Night Plain David Harrington thanks Regan Harrington and Bonnie, James, Emily and Fionn Quinn. Recorded July–August 1997 at Skywalker Sound John Sherba thanks Mizue, Holland and Jason Sherba. Engineer: Craig Silvey Hank Dutt thanks Greg Dubinsky. Assistant Engineer: Bob Levy Sunny Yang thanks Wang-Byuk Yang, Myung-Sim Yang, and Ok-em Lee. Editing Assistant: Jeanne Velonis Originally released on 25 Years (Nonesuch 79504)

Design by Evan Gaffney Design Cover: Sensation Quanta [detail] by Andy Gilmore

For Nonesuch Records: Production Coordinator: Arthur Moorhead Editorial Coordinator: Robert Edridge-Waks Production Supervisor: Karina Beznicki

For the Kronos Quartet/Kronos Performing Arts Association: Janet Cowperthwaite, Managing Director; Laird Rodet, Associate Director; Sidney Chen, Artistic Administrator; with Mason Dille, Scott Fraser, Christina Johnson, Nikolás McConnie-Saad, Kären Nagy, Hannah Neff, and Lucinda Toy.

Project Supervisor for Kronos: Sidney Chen

Executive Producer: Robert Hurwitz www.kronosquartet.org www.nonesuch.com Nonesuch Records Inc., a Warner Music Group Company, 1633 Broadway, New York, NY 10019. This Compilation π & © 2015 Nonesuch Records Inc. for the United States and WEA International Inc. for the world outside of the United States. Warning: Unauthorized reproduction of this recording is prohibited by federal law and subject to criminal prosecution.