Hartke’s reading of Miró over nearly 50 years of paintings is an interesting interpretation of visual change. We may go back in time to the medieval estampie in movement II, but at the same time, we’re in the dissonance of the modern era. As the composer notes, although the title is The King of the Sun, only one movement is set in daylight. All the rest are from Miró’s visions of night, with their attendance moons and stars. Things change at night from how we perceive them in daylight and Hartke