theartsdesk Q&A: Composer George Crumb | reviews, news & interviews
theartsdesk Q&A: Composer George Crumb
theartsdesk Q&A: Composer George Crumb
Avant-gardist American talks about his love for Bartok, Bach and the violated piano
Sunday, 29 November 2009
George Crumb: 'a lot of music that pretends to be uncompromising is really avoiding the central plank of trying to communicate to another human being'
George Crumb (b.1929) is one of the great American experimental composers of the 20th century. His delicate scores are characterised by a child-like sense of wonder and an array of instrumentation that appears to have hitched a ride from outer space. Crumb first came to the fore in the 1960s with Songs, Drones and Refrains of Death (1968), Night of the Four Moons (1969), inspired by and composed during the Apollo 11 space flight, the savage string quartet Black Angels (1970) and Ancient Voices of Children (1970). In 1968 he won a Pulitzer for Echoes of Time and the River (1967). On the eve of a BBC Symphony Orchestra survey of his life and work at the Barbican of his life and work on 5 December, George Crumb lets us in on the secrets of his musical world.
George Crumb (b.1929) is one of the great American experimental composers of the 20th century. His delicate scores are characterised by a child-like sense of wonder and an array of instrumentation that appears to have hitched a ride from outer space. Crumb first came to the fore in the 1960s with Songs, Drones and Refrains of Death (1968), Night of the Four Moons (1969), inspired by and composed during the Apollo 11 space flight, the savage string quartet Black Angels (1970) and Ancient Voices of Children (1970). In 1968 he won a Pulitzer for Echoes of Time and the River (1967). On the eve of a BBC Symphony Orchestra survey of his life and work at the Barbican of his life and work on 5 December, George Crumb lets us in on the secrets of his musical world.
In the early days there was a lot of resistance to me on the part of piano tuners. They thought you were out to destroy the instrument
Share this article
Add comment
The future of Arts Journalism
You can stop theartsdesk.com closing!
We urgently need financing to survive. Our fundraising drive has thus far raised £33,000 but we need to reach £100,000 or we will be forced to close. Please contribute here: https://gofund.me/c3f6033d
And if you can forward this information to anyone who might assist, we’d be grateful.
Subscribe to theartsdesk.com
Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 15,000 pieces, we're asking for £5 per month or £40 per year. We feel it's a very good deal, and hope you do too.
To take a subscription now simply click here.
And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?
more Classical music
First Person: cellist Matthew Barley on composing and recording his 'Light Stories'
Conceived a year ago, a short but intense musical journey
The English Concert, Bicket, Wigmore Hall review - a Baroque banquet for Christmas
Charpentier's charm, as well as Bach's bounty, adorn the festive table
Classical CDs: Woden, waltzes and watchmaking
Big box sets, a great British symphony and a pair of solo cello discs
Messiah, Wild Arts, Chichester Cathedral review - a dynamic battle between revelatory light and Stygian gloom
This supple inventive interpretation of the 'Messiah' thrillingly delivers the story
Messiah, Academy of Ancient Music, Cummings, Barbican review - once more, with real feeling
The seasonal standby returns with heart, zest and grace
Christmas with Connaught Brass, Milton Court review - delightful seasonal fare from Bach to Boulanger
Young quintet dazzle with their technical accomplishment and easy charm
Classical CDs: Christmas 2024
The year's best seasonal releases
Giltburg, Bournemouth SO, Wigglesworth, Portsmouth Guildhall review - seemingly effortless élan
New chief conductor turns Tchaikovsky waltz king, and a Rachmaninov partnership flows
Bach Mendelssohn Festival, Part I, Oxford Philharmonic Orchestra review - the flame that never died
Top-flight performers show how a musical legacy endured
Currie, Hallé, Wong, Bridgewater Hall, Manchester review - sparkle and intrigue
Energy and excitement in MacMillan… and then a surprise
Rajakesar, Selaocoe, The Hermes Experiment, Wigmore Hall review - a joyful, fascinating laboratory of noise
Celebrating the avant-garde through different cultures
Classical CDs: Vitamins, kings and magic spells
A neglected ballet score, romantic piano concertos and contemporary British music
Comments
Interesting interview. It's