Finally in part three, Return,God prevails over evil, as presented in section 10 God-music.Įach of these parts is built around the primes 7 and 13 in some way. In the second part, Absence, the fallenangel's themes are heard. The first part, Departure, begins by establishing thedark mood of Black Angels and introducing the primarydeath theme. 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. That's when I called it music in temporebelli, in time of war,' he said in an interview with Philadelphia City Paper. '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. Crumb also makesreferences to other tonal works that incorporate death, such as Schubert's Death and the Maiden (quoted insection 6 Pavana Lachrymae and section 13 ThrenodyIII). The 'Dark Land' refers toHell, with consistent referencesto Diablo, via Diabolus in Musica, the Trillo del diavolo ('Devil's Trill', fromGiuseppeTartini), and the DiesIrae (quoted in section 4 Devil-music, and as a DuoAlternativo in section 5 Danse Macabre). The image of Black Angels is an archetypical conventionused by artists to represent an angel banished from Heaven. '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.' 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. George Crumbwas commissioned by the Stanley Quartet (then in residence at hisalma mater the University of Michigan) tocreate just such an experimental piece. In the 1950s and 60s, composers began a new push in experimentalmusic, especially with regard to electronic techniques. Crumb is very interested in numerology andnumerically structured the piece around 13 and 7.
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.
There were terrifying things in the air.īlack Angels (Edition Peters, NewYork, no. 181 Music and Spirituality 13 Meditations around George Crumb’s Black Angels Marcel Cobussen Leiden University Things were turned upside down.
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