# programme notes #

programme notes in CD booklet, col legno WWE 1CD 31876

Processional, like much of my music, is strongly tonal, but integrates chromatic, modal, and whole-tone elements. The descending six tones stated at the beginning present the basic harmonic cell, subsequently elaborated by varied cluster combinations and permutations. Although Processional is essentially a continuum of sustained legato playing, tiny melodic fragments (which intermittently emerge and recede) provide contrast in articulation.

I think of Processional as an "experiment in harmonic chemistry" (Debussy's description of his Images for piano) - the music is concerned with the prismatic effect of subtle changes of harmonic color and frequent modulation. While composing the work, I felt no need for the resources of the "extended piano" and limited myself to the contrasts of texture and color available through the conventional mode of playing on the keys. However, I subsequently did construct an alternate version which does in fact include a minimal use of non-keyboard effects (the choice between the two versions left to the pianist).

The title of the music was suggested by the music's obsessive reiteration of pulse (sempre pulsando, estaticamente) and broad "unfolding" gestures. Perhaps the music suggests more a "processional of nature" rather than any sort of festive or sombre "human" processional.

George Crumb

programme notes in CD booklet, Stradivarius STR 33555

... the piece by George Crumb on this recording is [also] a continuum in conception. Aside from a few extraordinarily lively or indeed startling passages, the markedly regular rhythm employed by Crumb ensures that listeners will find the title Processional certainly apt. However, the title is by no means programmatic in intent and evokes not so much a religious procession as any variety of natural process -- meaning the transformation of one thing into something else. ... Crumb's composition seems to describe an underwater world -- again a strong hint of the unreal is present. ... Crumb uses modulation to colour his work, not to provide structure in the traditional, classical manner. Indeed, tone colour ... is the[ir] structure .. It is not unlikely that some listeners will imagine live electronics are responsible for effects such as resonance, echo and reverberation, although these are in fact the result of sophisticated playing techniques which grew out of Crumb's compositions for prepared piano, such as Makrokosmos I and II.

Emanuele Arciuli, translated by Nicholas Boini