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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. In the context hinted at by the subtitle, the tritone is apparently represented by the number 7. 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). This centerpiece is framed by two movements that also contain uniform numbers instead of juxtaposing them: '13 over 13' in the
183:
395:, 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 phrase length, grouping of single tones, durations, patterns of repetition, etc. An important pitch element in the work—descending E, A, 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.
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250:(Thirteen Images from the Dark Land) 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 – implied 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.
434:
Electric violin I and
Electric viola are near downstage right and downstage left, respectively, but are slightly farther apart than the other two musicians in order to allow full sight of the quartet. Violin I, violin II and viola have a set of crystal glasses downstage of them, while violin I and cello have maracas upstage of them. Each of the four musicians has a speaker next to him or her.
578:, which specializes in new music, was originally formed in 1973 after violinist David Harrington heard "Black Angels" over the radio. He thought Crumb's piece was "something wild, something scary" and "absolutely the right music to play". It was among the first compositions Kronos performed on stage. The Kronos Quartet eventually recorded the work on their 1990 album
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used predominantly during the war in
Vietnam as a principal instrument of warfare preferred in American combat operations in the field. According to Greenberg, 'Electric Insects' was the preferred euphemism which Crumb used to describe the attack helicopters being symbolically referenced by the music
387:
The structure of the work displays the numerological elements important to Crumb, that is, thirteen movements, of which the seventh is the centerpiece. Further, the organization of movements displays symmetry and palindrome: the instrumentation of each movement follows a palindromic structure: 4, 3,
548:
and has set many of his texts to music. The spiritual aspect of his music is particularly striking. His close identification with music of earlier periods is especially pronounced in his latest works, in which he reverts to traditional forms. In this process musical quotations, modified by Crumb's
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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. As Adamenko states, "The puzzling subtitle for this
145:
Crumb numerically structured the piece around 13 and 7, as numbers traditionally related to fate and destiny. The piece is notable for its unconventional instrumentation, which calls for electric string instruments, crystal glasses, and two suspended tam-tam gongs. The work quotes a portion of the
553:
is the theme of the second movement of
Schubert's 'Death and the Maiden" Quartet, to which he gives an entirely new character. The absence of the third makes it reminiscent of a mediaeval sequence. Combined with an acoustically contrived impression of distance, this passage acquires an ethereal
433:
Regarding the stage positioning of the instruments during performance, Crumb's score includes a diagram that places the four musicians in a box-like formation. Electric violin II and
Electric cello are located near upstage right and upstage left, respectively, with their tam-tams between them.
406:
is primarily written for (in Crumb's words) "electric string quartet". Though generally played by amplified acoustic instruments, the work is occasionally performed on specially constructed electronic string instruments. The music uses the extremes of the instruments' registers as well as
426:); 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
371:
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).
437:
Each of the string players is also assigned a set of instruments to play throughout the piece. Some of the equipment requires specific preparation, such as the crystal glasses, which are tuned with different amounts of water.
198:
Crumb 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
554:
quality, with the redemption chorale referred to above fading away into nothingness. Total desolation comes to the fore, reinforced by a reminiscence of the "Night of the
Electric Insects" on the first violin."
1220:
962:Петров В.О. «Черные ангелы» Джорджа Крама: о концепции цикла // MUSICUS: Вестник Санкт-Петербургской государственной консерватории им. Н.А. Римского-Корсакова. 2009. № 6 (19). С. 38-41.
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is intended to produce a highly surrealistic effect. This surrealism is heightened by the use of unusual string effects; e.g. pedal tones (the intensely obscene sounds of the
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above the fingers and tapping the strings with thimbles. At certain points in the music, the players are even required to make sounds with their mouths and to speak.
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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.
128:. 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. The Latin phrase
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and also faintly echoed on the last page of the work); an original
Sarabanda, which is stylistically synthetic; the sustained B major tonality of
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Regarding the numerological symbolism in the composition, Crumb has stated, "The numerological symbolism of
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as their eleventh CD release. "Threnody I: Night of the Electric Insects" is featured on the
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Franz Schubert / George Crumb, Brodsky Quartet – Der Tod Und Das Mädchen / Black Angels
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166:, is written as an ode or lament for the progress of the Vietnam War. According to
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has stated about the composition that, "Crumb deeply venerates the Spanish writer
225:("Day of Wrath"). The work abounds in conventional musical symbolisms such as the
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Robert Greenberg has interpreted the "Electric Insects" symbolized by Crumb in
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Crumb has stated that, "The amplification of the stringed instruments in
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As a general summary of the musical composition, Crumb has stated that, "
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specific style, have a particular significance. Among the quotations in
134:, in time of war, written into the score by Crumb is a reference to the
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on the third episode of the series titled "The Harmony of the Worlds".
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being played contra-tonally by high pitched violins to a rapid tempo.
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211:: a quotation from Schubert's "Death and the Maiden" quartet (in the
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Victoria Adamenko. "George Crumb's Channels of Mythification".
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from the composition, and credits it in the "Coda" of the book
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United States National Recording Registry recordings
861:"Four Hundred Candles: The Creation of a Repertoire"
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Crumb has stated that, "The underlying structure of
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Threnody III: Night of the Electric Insects (tutti)
203:. As Crumb states, "There are several allusions to
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78:
63:
48:
23:
674:. Chantilly, Virginia : Teaching Company,
219:; and several references to the Latin sequence
194:in military deployment during the Vietnam War.
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8:
528:24" suspended tam-tam, soft and hard mallets
129:
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1008:
1000:
20:
1211:Compositions that use extended techniques
607:drew many of the chapter titles for her
278:I: Night of the Electric Insects (tutti)
1158:
1100:A Little Suite for Christmas, A.D. 1979
626:
574:as among his 25 favorite records. The
231:(the interval of the tritone) and the
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715:
700:
683:
262:are divided into three large groups.
258:The thirteen individual movements of
152:"Death and the Maiden" String Quartet
7:
987:Interview in Philadelphia City Paper
318:Sarabanda de la Muerte Oscura (trio)
150:, Andante con moto, from Schubert's
995:at George Crumb's official website
313:Threnody II: Black Angels! (tutti)
32:Thirteen Images from the Dark Land
14:
281:Sounds of Bones and Flutes (trio)
1173:
1161:
1136:
1135:
863:. Kronos Quartet. Archived from
566:by the New York String Quartet (
1206:Compositions for string quartet
794:"Confessions of a Vinyl Junkie"
138:taking place at the time when
16:Composition for string quartet
1:
746:Johnston, Blair (June 2012).
1201:Compositions by George Crumb
1052:Echoes of Time and the River
977:for Electric String Quartet"
668:Music as a mirror of history
351:Ancient Voices (Echo) (trio)
901:"Cosmos: A Personal Voyage"
540:Uta Schwiemann writing for
1237:
1060:Ancient Voices of Children
1131:
597:Cosmos: A Personal Voyage
380:and '13 under 13' in the
37:
30:
484:bow (for use on tam-tam)
355:
350:
345:
340:
496:metal pick (paper clip)
464:metal pick (paper clip)
329:
323:Lost Bells (Echo) (duo)
322:
317:
312:
308:Pavana Lachrymae (trio)
307:
296:
102:suspended tam-tam gongs
934:Crumb, George (1993).
411:such as bowing on the
195:
130:
1045:Sonata for Solo Cello
859:Yaple, Carol (2008).
185:
979:, performing score,
911:on 28 September 2011
821:Elizabeth Farnsworth
792:(20 November 2003).
736:, Fall 2005. p. 346.
346:Ancient Voices (duo)
823:(3 December 1998).
757:Music Theory Online
409:extended techniques
290:Danse Macabre (duo)
174:is symbolic of the
1123:Extended technique
570:) is mentioned by
287:Devil-music (solo)
228:Diabolus in Musica
196:
192:attack helicopters
176:attack helicopters
120:" by the American
1196:1970 compositions
1149:
1148:
639:kronosquartet.org
506:6 crystal glasses
487:7 crystal glasses
452:7 crystal glasses
233:Trillo Di Diavolo
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907:. Archived from
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837:on 12 March 2000
833:. Archived from
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748:"George Crumb's
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672:Robert Greenberg
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641:. Archived from
635:"Kronos Quartet"
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512:2 metal thimbles
493:2 metal thimbles
341:God-music (solo)
284:Lost Bells (duo)
213:Pavana Lachrymae
190:as representing
168:Robert Greenberg
142:was composed.
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131:in tempore belli
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946:. 9031-76260-2.
940:Brodsky Quartet
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562:A recording of
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162:The work, as a
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1076:Vox Balaenae
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1068:Black Angels
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1031:George Crumb
993:Black Angels
992:
975:Black Angels
974:
949:
936:Black Angels
935:
927:
926:
913:. Retrieved
909:the original
904:
895:
885:George Crumb
880:
869:. Retrieved
865:the original
839:. Retrieved
835:the original
830:PBS NewsHour
828:
815:
803:. Retrieved
797:
784:
779:, p. 7.
772:
761:. Retrieved
755:
750:Black Angels
749:
741:
731:
718:, p. 10
679:
667:
647:. Retrieved
643:the original
638:
629:
612:
609:dark fantasy
602:
595:
591:The Exorcist
589:
581:Black Angels
579:
564:Black Angels
563:
561:
551:Black Angels
550:
546:García Lorca
539:
519:
518:
509:6" glass rod
500:
499:
490:6" glass rod
468:
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455:6" glass rod
441:
440:
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423:
420:Black Angels
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404:Black Angels
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393:Black Angels
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369:Black Angels
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260:Black Angels
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209:Black Angels
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188:Black Angels
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140:Black Angels
139:
126:George Crumb
113:Black Angels
112:
111:
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43:George Crumb
31:
25:Black Angels
24:
18:
1118:Avant-garde
1087:(1972–1979)
1084:Makrokosmos
799:Vanity Fair
790:David Bowie
703:, p. 9
572:David Bowie
424:Devil-Music
413:fingerboard
205:tonal music
136:Vietnam War
122:avant-garde
1190:Categories
1092:Star-Child
871:2009-01-26
777:Crumb 1993
763:2023-03-17
716:Crumb 1993
701:Crumb 1993
684:Crumb 1993
649:2016-03-25
621:References
586:soundtrack
515:metal pick
482:contrabass
478:and mallet
158:Background
983:, EP66304
905:groove.nl
841:9 January
536:Reception
428:God-Music
378:Sarabanda
363:Structure
267:Departure
254:Movements
239:", after
222:Dies Irae
217:God-Music
124:composer
93:electric
79:Movements
64:Published
1141:Category
825:"Kronos"
805:17 March
469:Violin 2
460:thimbles
458:2 metal
442:Violin 1
276:Threnody
172:threnody
164:threnody
148:movement
82:3 groups
49:Composed
39:Threnody
1154:Portals
1111:Related
956:Discogs
928:Sources
915:17 July
603:Author
476:tam-tam
298:Absence
241:Tartini
146:second
87:Scoring
69: (
54: (
1103:(1980)
1095:(1977)
1079:(1971)
1071:(1970)
1063:(1970)
1055:(1967)
1047:(1955)
944:Teldec
670:, by
611:novel
542:Teldec
525:maraca
448:maraca
382:Pavana
331:Return
235:(the "
1180:Music
1038:Music
520:Cello
501:Viola
948:See
917:2011
889:IMDb
843:2010
807:2023
71:1971
67:1971
56:1970
52:1970
954:at
887:at
588:of
568:CRI
384:".
243:).
207:in
41:by
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