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Black Angels (Crumb) The piece is notable for its unconventional instrumentation, which calls for electric string instruments, crystal glasses, and two suspended tam-tam gongs. The work references the second movement, Andante con moto from Schubert’s ‘Death and the Maiden’ String Quartet. Download free sheet music and scores: Black Angels. Sheet music (PDF) Angel Rada. The Black Dragoon. Main sheet music. Sheet music (PDF) Crumb, George. Crumb - Black Angels. Sheet music $1.56. Original: Unkle featuring The Black Angels. Unkle featuring The Black Angels. With You In My Head. Digital Sheet Music. Pdf file extension free download pdf excel free. download full version 13 hours book free ebook pdf download crc handbook of chemistry and physics pdf free download cherub the recruit ebook download reciprocals of numbers pdf download introduction to pattern recognition a matlab approach pdf download matthew reilly books pdf download. The score of this eerie, sometimes downright scary work (completed, by no means coincidentally given Crumb's fascination with numbers, on a Friday the 13th, in March 1970) is inscribed 'in tempore belli' (in time of war). The Stanley Quartet gave Black Angels its premiere on October 23, 1970, in Ann Arbor, Michigan. Crumb has stated that, 'The underlying structure of Black Angels is a huge arch-like design which is suspended from the three 'Thenody' pieces. The work portrays a voyage of the soul. The work portrays a voyage of the soul.
Black Angels (Edition Peters, NewYork, no. 66304, copyright 1971), subtitled 'Thirteen Images fromthe Dark Land' is an avant-garde work composed by George Crumb for'electric stringquartet.' It was composed over the course of a year and isdated 'Friday the Thirteenth, March 1970 (in tempore belli)' aswritten on the score. Crumb is very interested in numerology andnumerically structured the piece around 13 and 7.
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Background
In the 1950s and 60s, composers began a new push in experimentalmusic, especially with regard to electronic techniques. George Crumbwas commissioned by the Stanley Quartet (then in residence at hisalma mater the University of Michigan) tocreate just such an experimental piece. Sure that he wanted toavoid writing a typical piece for string quartet, Crumb looked toexperimental piano music from the early 60s forinspiration, and decided to explore the contemporary world'sreligious strife in his composition. 'Black Angels' reflects thesehaunting and mystical undertones; Crumb meant for the violin toembody the devil's music, and cast the cello as 'the voice ofGod.'
The image of Black Angels is an archetypical conventionused by artists to represent an angel banished from Heaven. Island in the sun chords. Download software programa aio hacking msn. The 'Dark Land' refers toHell, with consistent referencesto Diablo, via Diabolus in Musica, theTrillo del diavolo ('Devil's Trill', fromGiuseppeTartini), and the DiesIrae (quoted in section 4 Devil-music, and as a DuoAlternativo in section 5 Danse Macabre). Crumb also makesreferences to other tonal works that incorporate death, such as Schubert'sDeath and the Maiden (quoted insection 6 Pavana Lachrymae and section 13 ThrenodyIII).
'Black Angels' was not originally intended to refer to wartime,and Crumb only associated his work with Vietnam towards the end of its composition.'I came to recognize that there was something of the feeling ofthat strange time. That's when I called it music in temporebelli, in time of war,' he said in an interview with Philadelphia City Paper. Aftermaking the connection between his piece and war, Crumb alsoconnected it to another contemporary wartime piece, Penderecki's 'Threnody to theVictims of Hiroshima.' Both pieces open with high pitchedextended technique on violin, and Black Angels featuresthree important threnodieswhich divide it.
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Construction andnumerology
The first part, Departure, begins by establishing thedark mood of Black Angels and introducing the primarydeath theme. In the second part, Absence, the fallenangel's themes are heard. Finally in part three, Return,God prevails over evil, as presented in section 10God-music.
Each of these parts is built around the primes 7 and 13 in some way. This might bereflected in the length of the section, its phrases, its notevalues, patterns of motifs, or pitch (in accordance with settheory). Crumb himself forgets how the numbers play in to everysection, and warns not to read too much into their significance, ashe 'got carried away with the Friday the 13th thing.' He views thenumerology as more of a 'technical, structural' experiment, and hasplayed down the numbers' significance increasingly in the yearssince 1970.
Part | Title | Numerology |
I. Departure | 1. THRENODY I: Night of the Electric Insects | 13 times 7 and 7 times 13 |
2. Sounds of Bones and Flutes | 7 in 13 | |
3. Lost Bells | 13 over 7 | |
4. Devil-music | 7 and 13 | |
5. DanseMacabre | 13 times 7 | |
II. Absence | 6. Pavana Lachrymae | 13 under 13 |
7. THRENODY II: BLACK ANGELS! | 7 times 7 and 13 times 13 | |
8. Sarabanda de la Muerte Oscura | 13 over 13 | |
9. Lost Bells (Echo) | 7 times 13 | |
III. Return | 10. God-music | 13 and 7 |
11. Ancient Voices | 7 over 13 | |
12. Ancient Voices (echo) | 13 in 7 | |
13. THRENODY III: Night of the Electric Insects | 7 times 13 and 13 times 7 |
Black Angels Crumb Analysis
Instrumentation
Black Angels is primarily written (in unusual and verydetailed notation) for (in Crumb's words) 'electric stringquartet.' Though generally played by amplified acousticinstruments, the work is occasionally performed on speciallyconstructed electronic string instruments. The music uses theextremes of the instruments' registers as well as extended techniques such as bowing on thefingerboard abovethe fingers and tapping the strings with thimbles. At certainpoints in the music, the players are even required to make soundswith their mouths and to speak.
Each of the string players is also assigned a set of instrumentsto play throughout the piece. Some of the equipment requiresspecific preparation, such as the crystal glasses, which are tunedwith different amounts of water. Adobe indesign cc amtlib dll.
Violin 1
- 7 crystal glasses
- 6' glass rod
- 2 metal thimbles
- metal pick (paper clip)
Violin 2
- 15' suspended tam-tam and mallet
- contrabass bow(for use on tam-tam)
- 7 crystal glasses
- 6' glass rod
- 2 metal thimbles
- metal pick (paper clip)
Viola
- 6 crystal glasses
- 6' glass rod
- 2 metal thimbles
- metal pick
Cello
- maraca
- 24' suspended tam-tam, soft and hard mallets
- contrabass bow
StagePositioning
Crumb's score includes a diagram that places the four musiciansin a box-like formation. Electric Violin II and Electric Cello arelocated near upstage right and upstage left, respectively, withtheir tam-tams between them. Electric Violin I and Electric Violaare near downstage right and downstage left, respectively, but areslightly farther apart than the other two musicians in order toallow full sight of the quartet. Violin I, Violin II and Viola havea set of crystal glasses downstage of them, while Violin I andCello have maracas upstage of them. Each of the four musicians hasa speaker next to him or her.
![Black Angels Crumb Pdf Files Black Angels Crumb Pdf Files](/uploads/1/3/3/2/133272037/120232484.jpg)
CulturalInfluences
- KronosQuartet, which specializes in new music, was originally formedwhen violinist David Harrington heard 'Black Angels' over theradio.[1] He thought Crumb's piece was 'something wild,something scary' and 'absolutely the right music to play.'[2]
It was the first composition Kronos performed.[2]
- 'Threnody I: Night of the Electric Insects' is featured on thesoundtrack of The Exorcist.[3]
References
- ^Elizabeth Farnsworth (3 December1998). 'KRONOS' (in English). PBS NewsHour
. http://www.pbs.org/newshour/bb/entertainment/july-dec98/kronos_12-3.html . Retrieved 9 January2010. - ^ abYaple, Carol(2008). 'Four Hundred Candles: TheCreation of a Repertoire'. Kronos Quartet
. http://www.kronosquartet.org/25th/01.html . Retrieved2009-01-26. - ^'George Crumb' (in English). Internet Movie Database
. http://www.imdb.com/name/nm1278986/ . Retrieved 9 January2010.
Externallinks
- Interview in Philadelphia CityPaper
'There were terrifying things in the air,' said George Crumb of the Vietnam War years. Events of the time provided inspiration for Black Angels, subtitled 'Thirteen Images from the Dark Land.' The score of this eerie, sometimes downright scary work (completed, by no means coincidentally given Crumb's fascination with numbers, on a Friday the 13th, in March 1970) is inscribed 'in tempore belli' (in time of war). The Stanley Quartet gave Black Angels its premiere on October 23, 1970, in Ann Arbor, Michigan.
The quartet of stringed instruments is amplified 'to the threshold of pain,' and the musicians are called upon to play their instruments in many unusual ways, including trilling on the strings with thimble-capped fingers. The four players also whisper, chant, shout, and employ percussion instruments -- maracas, tam-tams, and water-tuned crystal goblets. Crumb wrote of the work: 'Black Angels was conceived as a kind of parable on our troubled contemporary world. The work portrays a voyage of the soul. The three stages of this voyage are Departure (fall from grace), Absence (spiritual annihilation), and Return (redemption).'
The first movement, Departure, begins abruptly and frighteningly with 'Threnody I: Night of the Electric Insects,' and moves into 'Sounds of Bones and Flutes' and the mysterious 'Lost Bells.' Crashes of the tam-tam punctuate the wild 'Devil-music,' and the last section is a submerged-sounding evocation of Camille Saint-Saëns' Danse macabre. The movement ends with whispered counting from the musicians.
The opening section of the second movement, Absence, is titled 'Pavana Lachrymae'; Schubert's Death and the Maiden quartet is quoted here in an evocation of ancient viol music. Yelling and further insect sounds are heard in 'Threnody II: Black Angels!' Viols are again imitated in 'Sarabanda da la Muerte Oscura,' and the movement closes with 'Lost Bells (Echo).'
The final movement, Return, opens with 'God-music,' in which an ethereal glass harmonica effect from the water-tuned goblets combines with a wandering, nearly static melodic line. 'Ancient Voices' consists mainly of a series of little pizzicato (plucked string) sounds. An almost silent 'Ancient Voices (Echo)' leads into more pizzicato sounds and a reprise of the insect music in 'Threnody III: Night of the Electric Insects.'
Parts/Movements
Black Angels Crumb Torrent
- Departure (Threnody I: Night of the Electric Insects; Sounds of Bones and Flutes; Lost Bells; Devil Music; Danse macabre)
- Absence (Pavana Lachrymae; Thenody II: Black Angels!; Sarabanda de la Muerte Oscura; Lost Bells [Echo])
- Return (God-music; Ancient Voices; Ancient Voices [Echo]; Threnody III: Night of the Electric Insects)
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Appears On
Year | Title | Label | Catalog # |
---|---|---|---|
2013 | Nonesuch | 79504 | |
2011 | Naïve | V 5272 | |
2010 | Nonesuch | ||
2006 | Mode Records | MODE170 | |
2003 | Bridge | 9139 | |
1998 | Elektra / Nonesuch | 7559795042 | |
1996 | Rene Gailly | 87118 | |
1995 | Vox Box | 5143 | |
1993 | Teldec | 76260 | |
1990 | Nonesuch | 7559792422 | |
Cala Records | 77001 | ||
Ogam | 488020 |