GEORGE CRUMB Makrokosmos, Volume I Twelve Fantasy-Pieces after the Zodiac for Amplified Piano[견본반]
DAVID BURGE, piano

Makrokosmos, Volume I was composed in 1972 for my friend David Burge. Ten years previously, in 1962 (we were then colleagues at the University of Colorado), he had commissioned and premiered my Five Pieces for Piano. I was very much excited about the expanding possibilities of piano idiom-it seemed as if a whole new world were opening up to composers-and I was especially impressed by Burge's immediate and total mastery of this new idiom, which implied an organic synthesis of conventional (keyboard) and unconven- tional (inside-the-piano) techniques. I wanted to do a sequel to the Five Pieces but, alas, several attempts proved abortive. One set of sketches was assimilated into my Songs, Drones, and Refrains of Death; other ideas wandered homelessly through the years; and two or three germinal ideas finally evolved into Makrokos-
mos.
The title and format of my Makrokosmos reflect my admiration for two great 20th-century composers of piano music-Béla Bartók and Claude Debussy. I was thinking, of course, of Bartók's Mikrokosmos and De- bussy's 24 Preludes (Makrokosmos, Volume II, a second zodiacal set, was completed in 1973, thus forming a sequence of 24 "fantasy-pieces"). However, these are purely external associations, and I suspect that the "spiritual impulse" of my music is more akin to the darker side of Chopin, and even to the childlike fantasy of early Schumann.
And then there is always the question of the "larger world" of concepts and ideas which influence the evo- lution of a composer's language. While composing Makrokosmos, I was aware of certain recurrent haunting images. At times quite vivid, at times vague and almost subliminal, these images seemed to coalesce around the following several ideas (given in no logical se- quence, since there is none): the "magical properties" of music; the problem of the origin of evil; the "timeless- ness" of time; a sense of the profound ironies of life (so beautifully expressed in the music of Mozart and Mahler); the haunting words of Pascal: "Le 'silence éternel des espaces infinis m'effraie" ("The eternal silence of infinite space terrifies me"); and these few lines of Rilke (Das Buch der Bilder): "Und in den Nächt- en fällt die schwere Erde aus allen Sternen in die Einsamkeit. Wir alle fallen. Und doch ist Einer, welcher dieses Fallen unendlich santt in seinen Händen hält" ("And in the nights the heavy earth is falling from all the stars down into loneliness. We all are falling. And yet there is one who holds this falling endlessly gently in his hands").

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