Mar 21, 2018 - Please make a note that all free mp3 files are available for. Reading of 'Black Angels' was arguably surpassed by the Kronos Quartet, the rest.

This is one of the first albums that got me interested in modern composition. As you can probably guess, the theme here is DEATH, and the music is decidedly dark and evil throughout.

Despite the excellent middle 3 pieces, the 2 showstoppers here are George Crumb's Black Angels and Mitia Shostakovich's 8th String Quartet. The first employs razor-sharp electric instruments and just about every conceivable modern string technique, while the latter is undoubtedly in the top 5 of all 20th century string quartets: written in Dresden in 3 days (!), unashamedly tonal and yet decidedly heart-wrenching (dedicated to the victims of 'fascism and war', yet really his own epitaph as he planned on committing suicide around this time) and alien. The 2nd mov't (track 8) is singlehandedly responsible for my near absolute disdain of all things metal, and your litmus test for this disc; few things rock harder and raw-er. This is dark, nasty, scary, aggressive, across-for-the-hospital-down-for-the-morgue music.

The underlying structure of Black Angels 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). Namoz ukishni urganish erkaklar uchun. The numerological symbolism of Black Angels, 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 length, groupings of single tones, durations, patterns of repetition, etc. An important pitch element in the work -- descending E, A, and D-sharp -- also symbolizes the fateful numbers 7-13.

William Blake 'The Good and Evil Angels', 1795/?c.1805. William Blake At certain points in the score there occurs a kind of ritualistic counting in various languages, including German, French, Russian, Hungarian, Japanese and Swahili. There are several allusions to tonal music in Black Angels: a quotation from Schubert’s “Death and the Maiden” quartet (in the Pavana Lachrymae and also faintly echoed on the last page of the work); an original Sarabanda, which is stylistically synthetic; the sustained B-major tonality of God-Music; and several references to the Latin sequence Dies Irae (“Day of Wrath”). The work abounds in conventional musical symbolisms such as the Diabolus in Musica (the interval of the tritone) and the Trillo Di Diavolo (the “Devil’s Trill”, after Tartini).

Henry Fuseli Satan Starting from the Touch of Ithuriel's Spear 1779. The amplification of the stringed instruments in Black Angels is intended to produce a highly surrealistic effect. This surrealism is heightened by the use of certain unusual string effects, e.g., pedal tones (the intensely obscene sounds of the Devil-Music); 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 God-Music. Sinfonietta Riga Black Angels for string quartet was written as a response to the Vietnam War.

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The work draws from an arsenal of sounds including shouting, chanting, whistling, whispering, gongs, maracas, and crystal glasses. The score bears two inscriptions: in tempore belli (in time of war) and 'Finished on Friday the Thirteenth, March, 1970'. Black Angels 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 extended techniques such as bowing on the fingerboard 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. Arsis4 Each of the string players is also assigned a set of instruments to play throughout the piece.