George Crumb - Music for a Summer Evening (Makrokosmos III) - Black Angels (2006)
George Crumb - Music for a Summer Evening (Makrokosmos III) - Black Angels
XLD Rip | FLAC+CUE+LOG | Covers | 50:11 | 204 MB
20th Century Classical - Contemporary | 2006 | Mode
XLD Rip | FLAC+CUE+LOG | Covers | 50:11 | 204 MB
20th Century Classical - Contemporary | 2006 | Mode
Luz Manriquez, Walter Morales, pianos
Nena Lorenz, Brian Spurgeon, Michael Passaris, Mark Shope, percussion
Andrés Cladera, voices, whistle, slide whistle, recorder
Cuarteto Latinoamericano
Members of the Carnegie Mellon Philharmonic
Juan Pablo Izquierdo, conductor
TRACKS
Makrokosmos III: Music for a Summer Evening (1974), for 2 amplified pianos and percussion [32:01]:
01. Nocturnal Sounds (The Awakening) [05:21]
02. Wanderer-Fantasy [04:52]
03. The Advent [07:17]
04. Myth [04:04]
05. Music of the Starry Night [10:26]
Black Angels: Thirteen Images from the Dark Land (1970), arranged for string quartet and string orchestra [17:57]:
06. Night of the Electric Insects [01:29]
07. Sounds of Bones and Flutes [00:39]
08. Lost Bells [00:47]
09. Devil Music [01:41]
10. Danse Macabre [01:01]
11. Pavana Lachrymae [00:53]
12. Black Angels [02:23]
13. Sarabanda de la Muerte Oscura [00:52]
14. Lost Bells (Echo) [01:52]
15. God-music [02:36]
16. Ancient Voices [00:36]
17. Ancient Voices (Echo) [00:43]
18. Night of the Electric Insects [03:03]
MUSIC FOR A SUMMER EVENING (MAKROKOSMOS III): The combination of two pianos and percussion instruments was, of course, first formulated by Béla Bartók in his Sonata of 1937, and it is curious that other composers did not subsequently contribute to the genre. Bartók was one of the very first composers to write truly expressive passages for the percussion instruments; since those days there has been a veritable revolution in percussion technique and idiom and new music has inevitably assimilated these developments. The battery of percussion instruments required for Summer Evening is extensive and includes vibraphone, xylophone, glockenspiel, tubular bells, crotales (antique cymbals), bell tree, claves, maracas, sleighbells, wood blocks and temple blocks, triangles, and several varieties of drums, tam-tams, and cymbals. Certain rather exotic (and in some cases, quite ancient) instruments are occasionally employed for their special timbral characteristics, for example: two slide-whistles (in "Wanderer-Fantasy"); a metal thunder-sheet (in "The Advent"); African log drum, quijada del asino (jawbone of an ass), sistrum, Tibetan prayer stones, musical jug, alto recorder, and, in "Myth", African thumb piano and guiro (played by the pianists). Some of the more ethereal sounds of Summer Evening are produced by drawing a contrabass bow over tam-tams, crotales, and vibraphone plates. This kaleidoscopic range of percussion timbre is integrated with a great variety of special sounds produced by the pianists. In "Music of the Starry Night", for example, the piano strings are covered with sheets of paper, thereby producing a rather surrealistic distortion of the piano tone when the keys are struck.
As in several of my other works, the musical fabric of Summer Evening results largely from the elaboration of tiny cells into a sort of mosaic design. This time-hallowed technique seems to function in much new music, irrespective of style, as a primary structural modus. In its overall style, Summer Evening might be described as either more or less atonal, or more or less tonal.
Summer Evening projects a clearly articulated large expressive curve over its approximately 40-minute duration. The first, third, and fifth movements, which are scored for the full ensemble of instruments and laid out on a large scale, would seem to define the primary import of the work (which might be interpreted as a kind of "cosmic drama"). On the other hand, "Wanderer Fantasy" (mostly for the two pianos alone) and the somewhat atavistic "Myth" (for percussion instruments) were conceived of as dream-like pieces functioning as intermezzos within the overall sequence of movements.
The three larger movements carry poetic quotations which were very much in my thoughts during the sketching-out process, and which, I believe, find their symbolic resonance in the sounds of Summer Evening.
(George Crumb)
BLACK ANGELS: Black Angels is probably the only quartet to have been inspired by the Vietnam War. The work draws from an arsenal of sounds including shouting, chanting, whistling, whispering, gongs, maracas, and crystal glasses. The score bears two inscriptions: in tempore belli (in time of war) and "Finished on Friday the Thirteenth, March, 1970".
Black Angels was conceived as a kind of parable on our troubled contemporary world. The numerous quasi-programmatic allusions in the work are therefore symbolic, although the essential polarity – God versus Devil – implies more than a purely metaphysical reality. The image of the "black angel" was a conventional device used by early painters to symbolize the fallen angel.
The underlying structure of Black Angels is a huge arch-like design which is suspended from the three "Threnody" pieces. 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 numerological symbolism of Black Angels, while perhaps not immediately perceptible to the ear, is nonetheless quite faithfully reflected in the musical structure. These "magical" relationships are variously expressed; e.g., in terms of length, groupings of single tones, durations, patterns of repetition, etc. An important pitch element in the work – descending E, A, and D-sharp – also symbolizes the fateful numbers 7-13. At certain points in the score there occurs a kind of ritualistic counting in various languages, including German, French, Russian, Hungarian, Japanese and Swahili.
There are several allusions to tonal music in Black Angels: a quotation from Schubert's "Death and the Maiden" quartet (in the Pavana Lachrymae and also faintly echoed on the last page of the work); an original Sarabanda, which is stylistically synthetic; the sustained B-major tonality of God-Music; and several references to the Latin sequence Dies Irae ("Day of Wrath"). The work abounds in conventional musical symbolisms such as the Diabolus in Musica (the interval of the tritone) and the Trillo Di Diavolo (the "Devil's Trill", after Tartini).
The amplification of the stringed instruments in Black Angels is intended to produce a highly surrealistic effect. This surrealism is heightened by the use of certain unusual string effects, e.g., pedal tones (the intensely obscene sounds of the Devil-Music); bowing on the "wrong" side of the strings (to produce the viol-consort effect); trilling on the strings with thimble-capped fingers. The performers also play maracas, tam-tams and water-tuned crystal goblets, the latter played with the bow for the "glass-harmonica" effect in God-Music.
(George Crumb)
X Lossless Decoder version 20101212 (126.2)
XLD extraction logfile from 2011-01-12 22:14:45 +0100
George Crumb / Black Angels
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