Black Angels Crumb Pdf Free
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Sadly I cannot find my copy of the classic and monumental Kronos Quartet recording (although composed for and dedicted to the Stanley Quartet, 'Black Angels' has never been presented more powerfully (or more fascinating, and ghastly) then the Kronos recording.) -It was actually an inspiration and motivation for the members of the Kronos Quartet- to indeed form a Quartet to begin with!) This work deals with, among other things, ideas about Good vs. Evil forces in the universe. 'Black Angels' is for 'Amplified' String Quartet (as if it really needs that extra intensity!) as well as certain unorthodox percussive instruments, not to mention glasses of water, placed next to the players and filled to different levels to change the pitch of each one. Many listeners will recognize the movement 'Night of the Electric Insects' as it was used quite effectively in the film 'The Exorcist'. This movement to this day gives me uncontrollable chills; I think it's one of the most sonically frightening pieces of music ever written.I must add that this performance of the Quartet is not my favorite whatsoever-indeed the intensity and darkness is somewhat lost in the Diotima's performance, and 'Night of the Electric Insects' is extremely tame here. Crumb's quartet is like nothing else and I am always fascinated by it; it's a true contemporary masterpiece. When I find the Kronos Qt.
Version I shall post it right away, I think everyone should have it in their collection! Anonymous said.
I first came across Black Angels in a nice Cikada Quartet's CD released by Cala. However innovative and unusual I found the remaining pieces (Webern, Lutoslawski) far more rewarding. As for the Different Trains I agree the original Kronos recording for Nonesuch established a benchmark yet to be surpassed.
That's necessarily a completely subjective appraisal, for I lack the technical knowledge to tell why one version is (arguibly) superior. The strongest point I could make in support of this claim amounts to the Krono's being the first Different Trains I ever listened to.
Anonymous said. If memory serves, my first hearing of George Crumb was his 'Voice Of The Whale' on very-late-nite FM radio sometime in the late '70's. A few months later I heard it performed at a local 'New Music' festival. My next encounter was the Kronos Quartet recording of 'Black Angels' when it arrived at my local record store. They remain my favourite pieces. Though I have heard other interpretations of 'Voice.'
, I have never heard another 'Black Angels'. This will be an interesting listen. My mad obsession has always been collecting music. Learning.all. that there is to learn about composers, their lives, the particular environment under which they created their art, and so on.
My burning passion is music. Sharing it, discussing it and constantly unearthing aural treasures in the wilderness, especially thanks to the hard work and dedication of a few amazing and like-minded fellow posters/bloggers. They are one of the main reasons why I am finally blogging-my gratitude is endless! Comments are VERY much appreciated!
This paper analyzes the intersection of religiosity and music composition in George Crumb’s quartet Black Angels: Thirteen Images from the Dark Land and its implications for its teaching and thus its cultural reproduction. In this quartet, Crumb employed stringed instruments to invoke the sounds of nature along with extended vocal techniques—shouting, chanting, whistling, whispering, gongs, maracas, and glass—to powerful and terrifying effects.
Crumb’s use of archaisms in the composition of the piece— numerology, cyclicality, and repetition—complemented the writer’s attempt to make music a repository of nature and of the sounds of primitive man. Its religious character thus resides in the transcendental invocation of nature through the playing of music. We argue, though, that an analysis of Black Angels’ performance and reception does not fully do justice to Crumb’s piece. One has to look at Crumb’s own score with its visual and graphic reenactment of the music’s archaic themes to understand the extent of Crumb’s vision.
Thus we take a look at the forms of transmission of the piece, how it is learned, how it is rehearsed and apprehended by the performers, and the role imagination plays in the mind of the student-perform er, to fully comprehend its religious character. Second, the social influence of this piece was explained in Crumb’s interview with Benjamin Dwyer. 6 Crumb explained: It didn’t set out to be a political piece at all. It started by fulfilling a commission by a string quartet that ordered the piece. As I got into the composition I realized it was pulling in more and more of the kind of hystericalthe hysteria that was reigning in the States in this period. It was a rather dark time.
Black Angels Crumb
So much so, that at the end there, when I finished, I borrowed the Haydn, ‘In time of war’ and put that in the piece as a subscript. I just became aware of that but the intention wasn’t there from the beginning. Crumb also makes references to other tonal works that incorporate death.
Music Theory Online
Franz Schubert’s (1797 - 1828).