The third and final part, Return, brings the listener back to calmer waters with the cello playing the “voice of God”, who inevitably triumphs over the fallen angels. It was composed over the course of a year and is dated Friday the Thirteenth, March 1970 (in tempore belli) as written on the score. 66304, copyright 1971), subtitled Thirteen Images from the Dark Land, is a work for electric string quartet by the American avant-garde composer George Crumb. I really love the use of the simultaneous shouting and whispers of these words by the performers (especially in the section Threnody II: Black Angels!), it adds great effect to an already powerful piece. Black Angels (Edition Peters, New York, no. Not only is each string player required to play their amplified primary instrument, they are also assigned multiple sets of instruments such as glasses filled with different levels of water, or to whisper/speak at specific intervals (reminiscent of the speaking/yelling in his other work, Ancient Voice of Children). The instrumentation of the piece is also extremely elaborate, and really showcases Crumb’s creativity in bringing together his experimental ideas for extended techniques into one solid mass. The violins symbolise the music of the Devil, whilst the cello symbolises the “voice of God” (featured mainly in the 3rd threnody). It introduces the dark mood of the piece to shocking effect, and sets the dark/deathly theme quite well. This opening section (named Night of the Electric Insects) of the 1st “part” or threnody (Departure) was used to great effect in the classic film The Exorcist. 6 and Sonatina for Violin & Piano by George Crumb, Charles Jones, released 01 January 1972 1. The religious undertones evident in the piece follow a very story-like structure, beginning right off the bat with an ear-piercing extended technique played by violins. George Crumb: Black Angels/Charles Jones: String Quartet No.
This is the first time I’ve personally encountered a piece that has been so heavily influenced by numerology alone, and as Crumb himself said, he has even forgotten how some of the numbers tie in to their respective sections, as he got carried away with the “Friday the 13th” concept used in its writing process (the date on the score itself reads Friday the Thirteenth, March 1970). I could try to convey the shadows of Schubert that barely color Black Angels. The three parts that comprise the entirety of the work ( Departure, Absence and Return, respectively) are separated into multiple sections each, and each of these sections own their make-up significantly to a relationship between the 2 above-mentioned prime numbers, reflected in various ways such as the length of the section, note values, the patterns followed by the motifs etc. In the extraordinary scores of George Crumb, the mind of a composer and the hand of a poet. (Rob Starobin) Gift Article Share I would love to tell you what the music of. The piece displays many numerological connections to the prime numbers 7 and 13 in its construction, as intended by Crumb. George Crumb’s other famous work I have chosen for listening study, Black Angels, is an avant-garde work written for an “electric string quartet” (in Crumb’s own words), over the course of a year.
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