Recorded music was seamlessly integrated in at least one point to facilitate movement during this vivid, powerfully realized staging.Since this little chapbook is only 44 pages long, I'm not going into plot at all other than what I've just said, because it is a story that needs to be felt and experienced individually. Harrington, John Sherba and Hank Dutt, on raised platforms, bowed crystal goblets lighted from beneath as Jeffrey Zeigler played a haunting cello soliloquy.
Piercing amplification and harsh white lighting underscored the nattering shrieks and buzzes of the “Night of the Electric Insects” section, while subtler effects and choreography lent resonance to other passages - literally during the hushed “Pavana Lachrymae,” heard as if from a distant corner in a vast cathedral.Ī collective gasp was heard among audience members during “God-Music,” when Mr. That aspect was made explicit in a new staging conceived by Laurence Neff, with sound design by Brian Mohr, which Kronos presented during a concert at Zankel Hall on Friday night. With its explosive use of noise and voices, resonant gongs and evocative borrowings from earlier music, “Black Angels” has always had an air of ritualistic drama. Crumb’s work as a springboard for an extraordinary career of boundary-breaking discovery and innovation. When the violinist David Harrington first heard the piece, in 1973, his response was to form the Kronos Quartet, a group that used Mr. Jeffrey Zeigler, foreground, was joined by, from left, David Harrington, Hank Dutt and John Sherba bowing goblets at Zankel Hall.Īnyone’s initial reaction to George Crumb’s "Black Angels," a 1970 composition for amplified string quartet meant to echo the dark mood of the Vietnam War era, is likely to be a strong one. Kronos Quartet: In the “God-Music” section of George Crumb’s “Black Angels,” Milton is funny guy when he discusses music.) Babbitt will be interviewed by James Levine. (going to Miller Theater Nov 5 for the complete quartets. Put on Milton babbitt's string quartets and see what i mean. Like a lot of 12 tone music is perfect for watching tv, drinking wine and letting it drone in the background. Not quite on the subject, but some years ago i was listening to a Helmut Lachenmann piece, one of those pieces comprised of scratches on vioins etc and it occured to me that 'that type of music' is great 'background' music of today. Nov 20th, I believe another one of his peices is played at the Chamber Society of Lincoln Center is on the bill with Carter's 'Night Fantasies" played by Gilbert Kalish, one of my favorite pieces. 'Dem Bones" done atonaly with 4 percussion players, each with multitude of things to hit every bar was pretty emberrasing. Crap! But I forgive him, at 78 (2007 piece) one can't expect him to be 'hip' aymore. Also i didn't know that his daughter had recorded a Jazz album with Harry Allen. I was going to yell out 'Roland Kirk' as i was in the 4th row but thought better of it. When he was being interviewed at the beginning he said how after he had written the flute piece, somebody told him that a 'jazz flautist' had already done the 'vocalese thru the flute'.