AMERICAN MUSIC SERIES 148 a-e
George Crumb
with Vincent Plush
Media, Pennsylvania
October 10, 1983
TABLE OF CONTENTS
Side a pp. 1-16
Childhood in Charleston, West Virginia--musical life of the town-- clarinet and piano study--father's musicianship--calligraphy and its relationship to composing--chamber music vs. orchestra-- interest in piano--early compositions--aural environment of river town--Mason College--interest in Bartók and Hindemith--exposure to contemporary music at Champaign-Urbana.
Side b pp. 16-33
Move to Champaign-Urbana--Sonata for Solo Cello--move to U. of Michigan, Ann Arbor--Ross Lee Finney--interest in Schoenberg, Webern, Dallapiccola-Finney's teaching--influence of Bartók-- Fulbright for study in Berlin with Blacher--association with C. F. Peters publishing house--doctoral piece, Variations for Orchestra-- year at Hollins College--position on piano faculty in Boulder, Colorado--Five Piano Pieces--Night Music I--Lorca texts-Madrigals-- Songs, Drones,_and Refrains of Death--amplified instruments- electronic music for acoustic instruments.
Side c pp. 33-52
Creative Associate at SUNY Buffalo--Four Nocturnes: Night Music II- Eleven Echoes of Autumn--Aeolian Chamber Players--Echoes of Time and the River--Pulitzer Prize--use of rhythmic leitmotifs-- extramusical allusions-musical life of Philadelphia--Jan De Gaetani--The Night of the Four Moons-the drone as a natural sound-- diminuendo al niente--Vox Ballaenae--influence of Messiaen-- Ancient Voices of Children--symmetrical ordering--Black Angels- numerology--use of wine glasses--The Exorcist.
Side d pp. 52-70
Black_Aagels--political dimension in music--Lux Aeterna ' --Dream Sequence-glass harmonica--Makrokosmos--Bartók influence--unconventional piano techniques-four-hand music--Starchild--Apparitions--Pastoral Drone--Gnomic Variations--Haunted Landscap~~s-extramusical meanings--sound and timbre--pitch--progressionof a work vs. frozen moment.
Side e pp. 70-76
Annenberg Chair--teaching--travel abroad--nationality in music-- "new Romanticism"--phase-pattern music--jazz--Crumb's collection of materials.
AMERICAN MUSIC SERIES 148 g-i
George Crumb
with Ingram Marshall
Media, Pennsylvania
December 1, 1998
TABLE OF CONTENTS
DAT 1
Cassette side g pp. 1-18
Huddersfield Festival--Ancient Voices of Children--Orchestra 2001--James Freeman [sp?]--new recording of Ancient Voices with Barbara Martin--frequency of composing--two books of Madrigals--Night Music I--11 Echoes of Autumn--Five Pieces for Piano--
David Burge--Variazioni for Orchestra--Cage--Cowell--Partch--Ben Johnston--teaching--George Rochberg--Richard Wernick--Crumb’s students--Joe Schwantner--Christopher Rouse--Processional--Gilbert Kalish--Pastoral Drone--William Albright [sp?]--Cage--Federico’s Little Songs--An Idyll for the Misbegotten--A Haunted Landscape--Makrokosmos--Star-Child--Pierre Boulez--Echoes--Vox balaenae (Voice of the Whale)--different versions--Paul Dunkel--A Haunted Landscape--Cage’s Imaginary Landscape.
Cassette side h pp. 18-36
Idyll [for the Misbegotten]--Zeitgeist--Music for a Summer Evening (Markrokosmos III)--The Sleeper--Idyll--Echoes--interest in writing for orchestra--Vox balaenae--his notation--Black Angels--Threnody for the Victims of Hiroshima of Penderecki--European school of extended orchestral technique: Xenakis, Penderecki, Ligeti, Lutoslawski--Zeitgeist--Music for a Summer Evening--Celestial Mechanics--musical background--family background--Crumb’s music in film--Ives and Europe--written material about Crumb--Zeitgeist--Quest--Mundus Canis.
Cassette Side i pp. 37-49
Notation in Mundus Canis--changing value of the beat--influence of Messiaen--notation, music and the computer--potential bequest of his papers to Library of Congress--Jan De Gaetani, Gilbert Kalish, David Burge--Crumb vs. the musical establishment--”aboutness” of music--”art” music and the twenty-first century--Crumb as American composer--influence of Ives--Cage--piece in progress--plan for the future--Rilke.
