Different items had been equally theatrical and typically featured ritualistic parts. A recording of whale songs made by a marine scientist impressed his “Vox Balaenae (Voice of the Whale)” for electrical flute, cello and amplified piano (1971). The performers put on black half-masks; Mr. Crumb additionally specified that (the place doable) the efficiency happen beneath blue lighting. He used numerous prolonged strategies, like strumming the piano strings with a paper clip, to create eerie sonorities.
Every motion of his orchestral piece “Echoes of Time and the River” (awarded the Pulitzer Prize in 1968) options processionals through which small teams of musicians transfer across the stage in patterns and instructions specified within the rating — necessities Mr. Crumb later acknowledged had been relatively impractical.
Practicality normally wasn’t one in all his major considerations, nevertheless. As in Charles Ives’s massive Symphony No. 4, a number of conductors preside over Mr. Crumb’s “Star-Baby” (1977), a significant work set to Latin texts for soprano, solo trombone, kids’s choir and enormous orchestra. A recording of the work, one in all his few forays into orchestral repertory, gained a Grammy in 2001.
Mr. Crumb’s fascination with Federico García Lorca led to different main works. Lorca’s poetry “somehow reconciled the joyous and the tragic,” the composer mentioned, and he set Lorca’s verse to music in 4 books of madrigals for soprano and numerous devices within the Nineteen Sixties, and later in a number of tune cycles together with “Historic Voices of Youngsters” (1970).
Given its premiere by the mezzo soprano Jan DeGaetani, Mr. Crumb’s frequent collaborator and muse, “Historic Voices” contains a vary of haunting vocal results, sinewy oboe traces and spare sounds coaxed from Japanese temple bells, Tibetan prayer stones, mandolin, harp and toy piano.
He was much less prolific within the Eighties and Nineties, when he suffered a artistic block, however discovered renewed vitality after 2000. He created a collection of American Songbooks, collections of preparations of hymns, widespread tunes and African American spirituals. The light melody of “Swing Low, Sweet Chariot,” for instance, is punctuated by uneasy percussive interjections and an array of shimmering sonorities.
Mr. Crumb’s repertory for piano contains 4 books referred to as “Makrokosmos,” the title impressed by Bartok’s “Mikrokosmos,” an influential collection of pupil works of various problem. The pianist is instructed to sing, shout and moan at numerous factors within the collection by Mr. Crumb.
https://www.nytimes.com/2022/02/06/obituaries/george-crumb-dead.html George Crumb, Eclectic Composer Who Looked for Sounds, Dies at 92