MARKET CRIES ---LOTHAR KLEIN: INTRODUCTORY NOTES Much choral wusic proceeds by the well-known principle of tonepainting; Market Cries
1,2,3, follows this precept; #4, however,
concerns itself only with rhythmic scan sion and the articulation of abstract words, i.e. non-ewotive words, the names of fish found in 18th centurt waters, which in turn produces a purely arbitrary harwonic language derived from jazz-progressions superiwposed on a "coro spezzatti" facade. The climax occurs when, alphabetically, Z is reached. The coda-like final page nine part divisi casts a surrealistic shadow on the music which has been heard earlier.
LK