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Regarding the numerological symbolism in the composition, Crumb has stated, "The numerological symbolism of Black Angels, while perhaps not immediately perceptible to the ear, is nonetheless quite faithfully reflected in the musical structure. Further, the organization of movements displays symmetry and palindrome: the instrumentation of each movement follows a palindromic structure: 4, 3, 2, 1, 2, 3, 4, 3, 2, 1, 2, 3, 4 the first, central and thirteenth movements are titled Threnody God-music and Devil-music stand symmetrically opposite each other. The structure of the work displays the numerological elements important to Crumb, that is, thirteen movements, of which the seventh is the centerpiece.
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This centerpiece is framed by two movements that also contain uniform numbers instead of juxtaposing them: '13 over 13' in the Sarabanda and '13 under 13' in the Pavana". The formula '13 time 13' applies to the number of utterances of the word 'thirteen' pronounced in different languages-namely, it appears 3 times uttered by 3 performers (total 9 utterances) on page 5 of the score, and one time at the end of the movement by all four participants (9 + 4 = 13). In the context hinted at by the subtitle, the tritone is apparently represented by the number 7. As Adamenko states, "The puzzling subtitle for this movement combines the numbers 7 and 13 in a repetitive manner: '7 times 7 and 13 times 13.' The movement opens with a tritone in each of the parts repeated 7 times. Victoria Adamenko has tried to elaborate what Crumb has called "the numerological basis of the entire work," as related to the "axis of symmetry" associated with "7" as the precise halfway point between the integer counting sequence from 1 to 13. The three stages of this voyage are Departure (fall from grace), Absence (spiritual annihilation) and Return (redemption)." Threnody III: Night of the Electric Insects (tutti)Ĭrumb has stated that, "The underlying structure of Black Angels is a huge arch-like design which is suspended from the three 'Threnody' pieces. Threnody I: Night of the Electric Insects (tutti) The thirteen individual movements of Black Angels are divided into three large groups. The image of the "black angel" was a conventional device used by early painters to symbolize the fallen angel." Movements The numerous quasi-programmatic allusions in the work are therefore symbolic, although the essential polarity - God versus Devil - implied more than a purely metaphysical reality. Īs a general summary of the musical composition, Crumb has stated that, " Black Angels (Thirteen Images from the Dark Land) was conceived as a kind of parable on our troubled contemporary world. 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). As Crumb states, "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").
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Lawrence String Quartet.Įnjoy even more background information on Black Angels in the supplemental audio download below.Robert Greenberg has interpreted the "Electric Insects" symbolized by Crumb in Black Angels as representing attack helicopters in military deployment during the Vietnam War.Ĭrumb has indicated that the composition "was commissioned by the University of Michigan and first performed by the Stanley Quartet." For the composition, Crumb used several quotations from previous composers most notably from Franz Schubert. Please join us this Saturday October 15th (7:30pm) at Atonement Lutheran Church in Saint Cloud for a concert given by the world-renown St. This special feature is in celebration of the season opener for the Chamber Music Society of Saint Cloud. Black Angels is breathtaking, aggressive, subtle and contemplative! Enjoy an introduction to the piece in this special feature produced by Samuel Kjellberg and Michael Barone. This past April (2011), the Miro String Quartet gave a performance of George Crumb's Black Angels for the Chamber Music Society of Saint Cloud at Calvary Community Church. His revolutionary and sometimes uncanny compositional techniques and prized originality offer a new perspective on this age old genre. However, in 1970 George Crumb continued the legacy of the seasoned, intimate musical repertoire of the string quartet with his experimental work, Black Angels. It's not Classical in its structure, not Romantic in the usual sense, nor is it impressionistic with a perfumed sweetness.