Vol. 17 BRIDGE 9445

Voices from the Morning of the Earth (American Songbook VI)

Ann Crumb, soprano • Randall Scarlata, baritone

Orchestra 2001 • James Freeman, conductor An Idyll for the Misbegotten

Rachel Rudich, • David Colson, Paul Herrick, A.J. Matthews, percussion The Sleeper

Ann Crumb, soprano • Marcantonio Barone,

www.BridgeRecords.com George Crumb GEORGE CRUMB EDITION (b. 1929)

The Yellow Moon of Andalusia* (2012) (17:52) Spanish Songbook III for Mezzo-Soprano and Amplified Piano

1) I. Pause of the Clock (3:44) Vol. 16 Vol. 15 Vol. 13 Vol. 12 BRIDGE 9413 BRIDGE 9335 BRIDGE 9275A/B BRIDGE 9261 2) II. Ballad of the Little Square (2:41) 3) III. Casida of the Lament (3:11) 4) IV. Cicada! (2:03) 5) V. Song of the Dead Orange Tree (2:40) 6) VI. In the Forest of Clocks (3:33) Vol. 11 Vol. 10 Vol. 9 Vol. 8 BRIDGE 9253 BRIDGE 9218A/B BRIDGE 9170 BRIDGE 9155 Tony Arnold, soprano • Marcantonio Barone, piano

Eine Kleine Mitternachtmusik (2001) (18:56) A Little Midnight Music

Ruminations on ’Round Midnight by Thelonious Monk for Amplified Piano Vol. 7 Vol. 6 Vol. 5 Vol. 4 BRIDGE 9139 BRIDGE 9127 BRIDGE 9113 BRIDGE 9105 7) I. Nocturnal Theme (1:17) 8) II. Charade (1:27) 9) III. Premonition (1:28) 10) IV. Cobweb and Peaseblossom (Scherzo) (1:47) 11) V. Incantation (3:07) Vol. 3 Vol. 2 Vol. 1 12) VI. Golliwog Revisited (2:35) BRIDGE 9095 BRIDGE 9069 BRIDGE 9028 Vol. 14 13) VII. Blues in the Night (2:32) BRIDGE 9312 2 27 This recording was made possible in part by the generous support of the 14) VIII. Cadenza with Tolling Bells (1:55) National Endowment for the Arts sssssssssssss 15) IX. Midnight Transformation (2:48) Classical Recording Foundation US Aaron Copland Fund for Music, Inc. Marcantonio Barone, piano American Music Research Center sssssssssssssssssssss New Music USA ssssssssl Celestial Mechanics** (1979, revised 2012) (19:57) This recording is a sponsored project of the New York Foundation for the Arts. Cosmic Dances for Amplified Piano, Four Hands 16) I. Alpha Centauri (3:29) Special Thanks: 17) II. Beta Cygni (3:22) Swarthmore College, Department of Music and Dance: 18) III. Gamma Draconis (5:50) Thomas Whitman (Chairman), Jeanette Honig (Concert and Production Manager) 19) IV. Delta Orionis (7:16) Michael Johns, Gil and Mary Stott Chamber Music Master Class Series, Bill Maguire

Quattro Mani: Steven Beck • Susan Grace, piano Colorado College Music Department: Stormy Burns (Music Dept. Coordinator) and Michael Grace (Grace Design: www.gracedesign.com) (Bernie Brink: Third Pianist in Two Passages)

Thomas Riis (Director of the American Music Research Center), Laughlin Rice, 20) Yesteryear* (2005, revised 2013) (10:59) Paul Sohmer, Kathryna Barone, John O’Connor A Vocalise for Mezzo-Soprano, Amplified Piano and Percussion Steve Weiss Music, Terry Sikora (Jacobs Music Company) Tony Arnold, soprano • Marcantonio Barone, piano For Bridge Records: Barbara Bersito, Doron Schächter, Casey Siu, David Nelson, percussion • William Kerrigan, percussion Robert Belinić, and Robert Starobin

Robert Starobin, webmaster | Email: [email protected] * premiere recording ** premiere recording, revised version Bridge Records, Inc. • 200 Clinton Ave • New Rochelle, NY • 10801 p c www.BridgeRecords.com and 2017, Bridge Records, Inc. • All Rights Reserved • Total Time: 67:56 26 3 The Yellow Moon of Andalusia (Spanish Songbook III)

After a hiatus of twenty-two years, George Crumb returned in 2008 to Producer: David Starobin the poetry of Federico García Lorca (1898–1936), composing three Engineer: Adam Abeshouse shorter cycles for solo singer with one or two instruments. All three of Assistant Engineer: David Slitzky the cycles require the singer to play percussion instruments in some Editor: Doron Schächter Mastering and Mix Engineer: Adam Abeshouse movements. In the second and third Spanish Songbooks, Crumb sets Recorded at Swarthmore College, Lang Performing Arts Center on Lorca in English for the first time. The Yellow Moon of Andalusia, June 12, 13, 14, 2016 (Yellow Moon of Andalusia, Eine Kleine completed in late 2012, is the third of the songbooks and the twelfth Mitternachtmusik, Yesteryear) vocal work based on Lorca since Night Music I (1963). Recorded at Packard Hall, Colorado College on August 25, 2016 (Celestial Mechanics) At the beginning and end of Pause of the Clock, the mezzo-soprano Marcantonio Barone Photograph: Robert Starobin strikes a large Chinese cymbal in response to seven fateful strokes Tony Arnold Photograph: Becky Starobin on a wood block held against a metal crossbeam inside the piano. Quattro Mani Photograph: Matt Dine Annotation: Steven Bruns The pianist sustains the mysterious atmosphere with softly strummed Cover Photograph of George Crumb: Robert Starobin chords, delicate harmonics, tonally ambiguous sonorities, and resonant Graphic Design: Casey Siu knocks. The vocal line, initially marked “pale, colorless,” is filled with Piano Technician: Robert Parini (Yellow Moon of Andalusia and sighing semitones. At the climax, the piano represents the “twelve Eine Kleine Mitternachtmusik) floating black numerals” of the clock face in a series of chords that Keith Sottovia (Yesteryear) Kevin Stock (Celestial Mechanics) uses all twelve tones of the chromatic scale. Executive Producers: Becky & David Starobin

4 25 David Nelson has made a career of freelance percussion and timpani play- Crumb used lines from Ballad of the Little Square in his second book ing in the Philadelphia area. He is a member of the Philly Pops, Orchestra of Madrigals (1965) and the closing movement of Ancient Voices of 2001, and the Lancaster and Reading Symphony Orchestras, and also per- Children (1970). This song presents another passage—Lorca’s fanciful forms regularly with the Philadelphia Orchestra and the Delaware Symphony dialogue between an adult Self and The Children—with joyous “child- Orchestra. Mr. Nelson joined the percussion faculty at West Chester Uni- like insouciance.” Bright piano sonorities and exuberant singing versity in the fall of 2009, and he conducts the Percussion Ensemble and reverberate throughout, and the nostalgia of adulthood intrudes only Pep Band at the University of the Sciences in Philadelphia. Mr. Nelson was briefly (“A rose of blood and a white lily.”) The “clear stream, serene graduated from Temple University with Bachelor’s and Master’s degrees in Percussion Performance. He studied with Alan Abel, Glenn Steele, and Jona- fountain” refrain recalls the solace of the antique songs of childhood. than Haas, and had additional studies with Cloyd Duff. David Nelson is a Performing Artist for Zildjian Cymbals, Innovative Percussion, and Grover Lorca adapts an ancient Arabic poetic genre in Qasida of the Lament, and Pro Percussion. the plaintive words are sung with quiet simplicity. The pianist evokes eerie weeping by sliding a small glass along the strings while the other hand plays trills and single notes on the keys. The whispered middle sec- tion is accompanied by soft strumming of the bass strings and undulating chromatic harmonics.

Using only half of Lorca’s 1918 ode to the Cicada, Crumb imitates his favorite musical insect in the shimmering high-treble piano figures and the quiet jingling of metal wind chimes and Indian ankle bells played by the mezzo-soprano. The singer’s “impetuous ardor” alternates with quieter Sprechstimme and whispered passages, just as Lorca’s luminous imagery hides dark undertones. 24 5 In The Song of the Dead Orange Tree, Crumb revisits Lorca’s poem cert stage, the young virtuoso Steven Beck joined forces with Susan Grace about a barren orange tree, whose lament reflects Lorca’s own regret for concerto performances of one of Quattro Mani’s signature pieces, Paul at being childless. In Book IV of his 1969 Madrigals, the Lansky’s Shapeshifters, for two and orchestra. Such was the chemis- translated the torment of illusory copies into music replete with mirrors try of that occasion, Quattro Mani was immediately formed again. Quattro of every kind. In the middle of the present song, inverted replicas Mani’s intense involvement with modern repertoire has led to dedications and collaborations with leading , including George Crumb, Joan (marked “delicatissimo, cristalino”) are passed between the pianist’s Tower, Paul Lansky, Poul Ruders, and Frederic Rzewski. Both Susan Grace right and left hands, while the singer’s inexact melodic imitations ask and Steven Beck have earned recognition as soloists and chamber musicians “Why was I born among mirrors?” and now come together to form one of the most dynamic piano duos before the concert-going public. In the Forest of Clocks opens with mechanical, metallic figuration in the high register; with each repetition of this “resounding clockwork,” William Kerrigan has Bachelor’s and Master’s degrees in Music from the singer strikes a large tamtam and small triangle. This music is Temple University. He was a student of Charles Owen and Alan Abel. reminiscent of the glittering cosmic clockwork of The Magic Circle He is Principal Percussionist and Assistant Timpanist of the Delaware of Infinity, from Crumb’s Makrokosmos I for solo piano (1972). The Symphony Orchestra, Principal Percussionist with the Philly Pops, Principal solemn closing section returns to the introspective tone of Pause of Percussionist of Opera Delaware, Leader of The Phil-A-Rhythm Percussion the Clock. By framing this cycle with enigmatic songs about clocks, Quartet, and Timpanist at the Cathedral Basilica of Saints Peter and Paul Crumb reminds us of his lifelong fascination with time in all its aspects. in Philadelphia. As Principal Percussionist of Orchestra 2001, he has made recordings for Albany, Centaur, and CRI, as well as recording all of George Eine kleine Mitternachtmusik Crumb’s American Songbooks for Bridge Records. Mr. Kerrigan currently teaches at Eastern University, the Community College of Philadelphia, Settlement Music School, and Swarthmore College. George Crumb composed Eine kleine Mitternachtmusik in 2001, and the Mozartian allusion in the title reminds us of his fascination with 6 23 recitalist, Mr. Barone has performed for the Philadelphia Chamber Music night music throughout his career. As the subtitle indicates, A Little Society, and at the Metropolitan Museum in New York, Wigmore Hall in Midnight Music is a set of nine “ruminations” on Thelonious Monk’s London, and the Large Hall of the St. Petersburg Filarmoniya, among many “Round Midnight.” other venues. In the 1980s and ‘90s, he frequently performed as a sololist with major orchestras including the Philadelphia Orchestra, the City of Bir- 1. Nocturnal Theme: Monk’s well-known main tune drifts in quietly mingham Symphony Orchestra, and the Moscow Symphony Orchestra. and hesitantly, above a wash of tritone-related sounds in the lower register. When the theme fades, the pianist ends the movement by quietly striking the metal crossbeams with a yarn-covered mallet. 2. Charade: Major triads are sustained throughout in the lowest register, beginning on E-flat and then gradually descending. Above the ringing bass triads are rapid rising-and-falling triplet figures that develop characteristic intervals from the theme: fourths, tritones, and seconds. 3. Premonition: The opening figure of Monk’s tune alternates with an extremely soft, mysterious sequence of block chords. 4. Cobweb and Peaseblossom (Scherzo): Shakespeare’s nocturnal fairies are evoked in a puckish assortment of quickly shifting staccato figures. The duo piano team Quattro Mani (Steven Beck, Susan Grace) has had 5. Incantation: The tempo is once again slow. Pale, dreamlike a distinguished history, consistently generating high praise from critics and statements of the tune are repeatedly interrupted by agitated, loud audiences for their concerts and recordings. Formed in 1989, the duo quickly passages that suggest nightmarish distortions of the opening few notes gained prominence, with pianists Susan Grace and Alice Rybak performing of Monk’s melody. 6. Golliwog Revisited: This witty movement is throughout the USA and Europe and issuing award-winning recordings for Bridge Records. In 2013, following Ms. Rybak’s retirement from the con- a deliberately grotesque parody of the cakewalk from the Children’s Corner suite. Crumb even incorporates Debussy’s nose-thumbing 22 7 quotation of Wagner’s Tristan und Isolde, topping it off with his own John von Rhein of the Chicago Tribune writes, nod to Strauss’s merry prankster, in the form of the opening theme “anything sung by soprano Tony Arnold is worth from Til Eulenspiegel. 7. Blues in the Night: This movement comes hearing.” In 2001, Ms. Arnold was thrust into closest to suggesting a familiar jazz style. The score quotes an old slang the international spotlight when she became expression, “at sixes and sevens,” and the composer’s notation—using the only vocalist ever to be awarded first prize in the Gaudeamus International Interpreters bars with six or seven main beats—reminds us of Crumb’s occasional Competition. attraction to numerology. As in the other movements, thematic ideas from Monk are transformed into characteristic Crumbian gestures. Ms. Arnold has been a frequent guest at international festivals and numerous 8. Cadenza with Tolling Bells: Bell-like sonorities are everywhere in recordings have been released to critical acclaim, including a Grammy Crumb. Here, the initial fortissimo ringing eventually gives way to the nominated performance of George Crumb’s Ancient Voices of Children and twelve strokes announcing the “advent of midnight,” during which the DVDs of music by Kurtag and Crumb. Since 2003 she has served on the pianist counts each stroke aloud in Italian, gradually diminishing in faculty of the University of Buffalo, where she founded the extended vocal volume from a shout to a stage whisper (“Mezzanotte!”). 9. Midnight techniques ensemble, BABEL. Transformation: The introspective ballad tempo and the main tune return from the opening. This time, we recognize distinctive details Marcantonio Barone, an American pianist of as the basis for the ruminations of the preceding movements. The mixed Italian and German ancestry, was born tune is repeated down an octave in alternation with a slowly rocking in Bryn Mawr, Pennsylvania, in 1962. He stud- triplet figure. The music floats dreamily, gradually disappearing into ied with Eleanor Sokoloff at the Curtis Institute of Music and with Leon Fleisher at the Peabody the night. Conservatory of Music. Among his other teachers were Susan Starr and Leonard Shure. As a solo Along with Miles Davis and other great musicians, George Crumb has placed his own unique stamp on Monk’s enduring jazz standard. 8 21 Los lirios negros Black iris, Celestial Mechanics (Makrokosmos, Volume IV) de las horas muertas. dead hours[!] Los lirios negros Black iris, de las horas niñas. new hours[!] George Crumb usually alters his compositions soon after hearing ...... first performances. His final changes—often slight, but occasionally Hay una hora tan solo. There is only one hour, substantial (as in the case of Yesteryear, recorded here)—are then ¡Una hora tan solo! one hour, ¡La hora fría! a very cold hour. incorporated into the published scores. Celestial Mechanics, first published in 1979, represents a departure from this practice. In its original version, the piece has had so many performances that it has been absorbed into the repertoire. Yet more than thirty years later, Crumb returned to the score in order to rewrite the ending. Why?

Celestial Mechanics (hereafter abbreviated as CM), is the fourth and final part of Makrokosmos, Crumb’s comprehensive exploration of extended performance techniques for piano, in solo (Volumes I & II) and chamber music settings (Volumes III & IV). Celebrating his love of playing four-hand piano music, Crumb conceived CM as a suite of four “cosmic dances,” each named for a different star.

The composer’s title alludes to Laplace’s five-volume Mécanique Céleste (1799–1825), which presents methods for calculating the motions of the planets. Perhaps in response to the mathematical order underlying the vast cosmos, the music is rich in symmetries. Pitch and 20 9 rhythmic structures are imitated between hands and between pianists. V. CANCION DEL V. SONG OF THE DEAD The rhythm ranges from agitated, even ferocious patterns to languid, NARANJO SECO ORANGE TREE quasi-improvised passages. As usual, Crumb’s pianists produce Leñador. Woodcutter, dazzling tone colors by plucking, muting, striking, and scraping the Córtame la sombra. Cut down my shadow. strings directly, in addition to playing on the keys. All three pedals Líbrame del suplicio Deliver me from the torment de verme sin toronjas. of bearing no fruit. are used in order to produce varied resonant effects. At the start of the third dance, Gamma Draconis, the pianists drop metal rulers ¿Por qué nací entre espejos? Why was I born among mirrors? (cork-stripping down) into the piano: a distinctive timbral alteration El día me da vueltas. Day turns [a]round [and round] me. Y la noche me copia And night copies me results from the rulers vibrating against the strings throughout. In the en todas sus estrellas. in all her stars. march that leads into the clangorous conclusion of that movement, ...... the pianists (and eventually the page turner!) strike the center of each Leñador. Woodcutter, ruler repeatedly with their fingertips. Córtame la sombra. Cut down my shadow......

The original closing music of the fourth dance, Delta Orionis, is among VI. LA SELVE DE LAS RELOJES VI. IN THE FOREST OF CLOCKS Crumb’s most intricate constructions. Multi-layered “Cosmic Canons” Entré I entered the forest stretch across eleven staves and the entire range of the piano, with en la selva of clocks[,] the page-turner once again participating. Each canonic layer follows y de los oscuros grillos, I entered the forest of clocks, of clocks, a different meter based on 13 units; Crumb’s sketches show him of clocks. working out the mathematics of the complex rhythmic relationships. Frondas de tic-tac, Leaves were ticking, racimos de campanas bells hung in clusters. Yet something about the “Cosmic Canons” never quite satisfied the y bajo la hora multiple, Under a manyfaced clock, composer. The earliest sketches show that he had in mind “a Bell constelaciones de péndulos. constellations and pendulums. 10 19 ¡Cigarra! Cicada! Cicada! Cicada! piece processional” that would be “transfigured, slow, mysterious.” ¡Dichosa tú! Oh happy cicada! Recently, in discussing his decision to recast this music in 2012, Pues te envuelve con su manto You are wrapped in the mantle el propio Espíritu Santo, of the Holy Spirit, Crumb praised late Beethoven, particularly the sublime simplicity of que es la luz. who is light itself. the Arietta theme of the concluding slow movement of the last piano sonata, op. 111. Such simplicity is certainly apparent in the revised ¡Cigarra! Cicada! Cicada! Cicada! Oh, happy cicada! ending of CM. Estrella sonora Sonorous star sobre los campos dormidas, over sleeping fields, Clearing away all but the essential elements, Crumb marks his new vieja amiga de las ranas old friend of the frogs, Adagio sospeso y de los oscuros grillos, and the shadowy crickets [.] epilogue , “with majestic serenity.” He banishes the ...... ingenious canons that he had devised in the lower parts, observing that Sea mi corazón cigarra Let my heart be a cicada this original “pointillistic overlay sabotaged the processional quality sobre los campos divinos. over heavenly fields. of the whole.” He retains the quietly ringing bell chords in the high Que muera cantando lento Let it die singing slow, por el cielo azul herido wounded by the blue sky. treble (Primo), as well as the “fateful 7” figure in the page-turner’s ...... part in the low bass. He simplifies the reverberant knocking on the ¡Cigarra! Cicada! Cicada! Cicada! metal crossbeams from patterns of 5 and 7 to sparse pairs. Finally, he ¡Dichosa tú! Oh, happy cicada! Pues te hieren las espadas invisibles For you are wounded by invisible swords replaces the canonic layers of the original Secondo part with a solitary del azul. from the blue. chromatic line in the middle of the piano, punctuated with discreet glissandi and harmonic tones. Crumb marks these extraordinarily soft figures “ppppp sempre” and “quasi subliminal, like a breath.”

18 11 Yesteryear III. QASIDA DEL LLANTO III. CASIDA OF THE LAMENT

He cerrado mi balcón I have shut my balcony George Crumb composed Yesteryear for Tony Arnold in 2005, porque no quiero oír el llanto because I do not want to hear the weeping, completely revising the work in 2013. This extended Vocalise for pero por detrás de los grises muros but from behind the grey walls mezzo-soprano, amplified piano, and two percussionists was inspired no se oye que el llanto. nothing else is heard but the weeping...... by a line from François Villon (c. 1431–1463), which is inscribed on Pero el llanto es un perro inmenso, But the weeping is an immense dog, the first page of the score: “Mais où sont les neiges d’antan?” One of el llanto es un ángel inmenso, the weeping is an immense angel, the most widely quoted lines in poetry, Villon’s question is best known el llanto es un violín inmenso, the weeping is an immense violin, las lágrimas amordazan al viento, the tears muzzle the wind, in English from Dante Gabriel Rosetti’s translation, “But where are y no se oye otra cosa que el llanto. nothing else is heard but the weeping. the snows of yesteryear?” (Ballad of the Dead Ladies, 1867). IV. ¡CIGARRA! IV. CICADA! As the composer observes in his preface to the score, “the singer ¡Cigarra! Cicada! Cicada! Cicada! is vainly searching for her lost youth and beauty and laments their ¡Dichosa tú! Oh happy cicada! inevitable erosion by the relentless passage of time.” Yesteryear traces Que sobre lecho de tierra On a bed of earth you die, the soloist’s psychological journey through a series of nine Stations. mueres borracha de luz. drunk with light. The original conception has the singer move around the perimeter Tú sabes de las campiñas You know from the fields of the concert hall, starting and ending on the stage, and pausing at el secreto de la vida the secret of life; each Station along the way. In the revised score, Crumb allows for an y el cuento del hada vieja you keep the tale alternative in which the processions traverse the four corners of the que nacer hierba sentía of that old fairy en ti quedóse guardado. who could hear the grass be born. stage. The theatrical effect may be heightened with deep-red stage ...... lighting and a candle, which the singer lights when the music starts and extinguishes when it ends, leaving the hall in total darkness. 12 17 Yo Myself The vocal writing in Yesteryear (subtitled Vox Humana I) explores the Un doblar de campanas A clanging of bells expressive possibilities of the human voice with daring imagination. perdidas en la niebla. lost in the mist. The singer tests the full gamut of her range at all dynamic levels, Los Niños The Children producing myriad sounds: humming, singing, microtonal drones, Ya nos dejas cantando You leave us singing “wind-singing,” whispering, flutter-tonguing, glissandi, “Monteverdi en la plazuela. in the little square. ¡Arroyo claro, Clear stream, trills,” and virtuosic fioritura. Although Villon’s words are never sung, fuente serena! serene fountain! they are uttered at several points, initially as a stage whisper near the end of Stations 1 (in French) and 2 (in English). Station 6 expresses ¿Qué tienes en tus manos What signs of spring de primavera? do you hold in your hand? “alarm and growing anguish”; the building rhythmic intensity of the accompaniment leads to the shouted exclamation of Villon’s refrain in Yo Myself French. Station 7 is designated as the “climactic moment and gradual Una rosa de sangre A rose of blood subsidence,” which ushers in the return of the singer’s opening music. y una azucena. and a white lily. Station 8 is marked “musingly, sotto voce”; and Station 9, “with a sense of Los Niños The Children resignation and ultimate acceptance.” The closing music has the singer Mójales en el agua Dip them in the water whisper the refrain in French at the beginning and end, and in English de la canción añeja. of the antique song. ¡Arroyo claro, Clear stream, in the middle. Her final utterance is a visible, but inaudible repetition fuente serena! serene fountain! of “d’antan?” ...... In the revised score, the greatly expanded instrumental parts serve Bebe el aqua tranquilla Drink the tranquil water de la canción añeja. of the antique song. to support the singer while helping to articulate the form. The two ¡Arroyo claro, Clear stream, percussionists play a rich array of instruments: many kinds of gongs fuente serena! serene fountain! and cymbals; conga, log, and large bass drums; timpano; Chinese 16 13 woodblocks; spring (coil) drum; bowed flexitone; Indian ankle bells; Lorca texts as used in Crumb’s The Yellow Moon of Andalusia: wind chimes; crotales; and Japanese temple bells. Stations 1, 2, 4, 5, 8, and 9 are announced in alternation by the uncanny rising-and-falling I. CLARO DE RELOJ I. PAUSE OF THE CLOCK

glissando of the “water-gong” or the “water-bell,” an effect produced by Me senté I sat down executing a continuous tremolo on a medium-size tamtam or Almglocke, en un claro del tiempo. in a space of time. while lowering and raising the instrument into and out of a tub of water. Era un remanso It was a backwater As usual, Crumb’s pianist produces varied colors by playing on the de silencio, of silence, de un blanco silencio, a white silence, keys or directly on the strings, and by striking the metal crossbeams anillo formidable a formidable ring and soundboard. donde los luceros wherein the stars —Steven Bruns chocaban con los doce flotantes collided with the twelve floating numeros negros. black numerals.

Steven Bruns is on the music faculty at the University of Colorado II. BALADA DE LA PLACETA II. BALLAD OF THE LITTLE SQUARE at Boulder, where he also serves as Associate Dean for Graduate Studies. He co-edited a volume of essays, George Crumb and the Cantan los niños The children sing en la noche quieta; in the quiet night, Alchemy of Sound (2005), and is currently writing a book on ¡arroyo claro, clear stream, Crumb’s life and music. fuente serena! serene fountain!

Los Ninos The Children ¿Qué tiene tu divino What joy does your divine corazón en fiesta? heart celebrate?

14 15