The contrast is evident and once more afrmed by the short text Crumb added as a kind of explanation with the score: Black Angels (Thirteen Images from a Dark Land) was conceived as a kind.

1929), 'Black Angels: Thirteen Images from the Dark Land' (1970), as performed by the Kronos Quartet (David Harrington, violin; John Sherba, violin; Hank Dutt, viola; Joan Jeanrenaud, cello), rel. On their 1990 album 'Black Angels' (Nonesuch 79242) ________________________________________ The program: I. Departure: (1) Threnody I: Night of the Electric Insects (2) Sounds of Bones and Flutes (ca.

) (3) Lost Bells (ca. ) (4) Devil-music (ca. ) (5) Danse Macabre (ca. Absence: (6) Pavana Lachrymae (7) Threnody II: Black Angels!

(8) Sarabanda de la Muerte Oscura (9) Lost Bells (Echo) III. Return: (10) God-music (11) Ancient Voices (12) Ancient Voices (Echo) (13) Threnody III: Night of the Electric Insects; (13) Sarabanda de la Muerte Oscura (Echo) ________________________________________ [The following is adapted from D. Gillespie, ed., 'George Crumb: Profile of a Composer' (New York: C. Peters, 1986); the booklet notes to Kronos Quartet, 'Black Angels' (Nonesuch 79242); and (accessed 8 March 2014).] 'Things were turned upside down. There were terrifying things in the air..

They found their way into 'Black Angels.' ' —George Crumb, 1990 George Crumb's 'Black Angels,' inspired by the Vietnam War, 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.' About 'Black Angels,' Crumb writes: 'Black Angels' was conceived as a kind of parable on our troubled contemporary world. 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). '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.. There are several allusions to tonal music: a quotation from Schubert's 'Death and the Maiden' quartet, an original 'Sarabanda,' 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 del diavolo' (the Devil's Trill, after Tartini).'

—Borislav Čičovački, U starini, ime mu bee Haemus (translation mine) 1. Departure Every time I hear George Crumb's string quartet Black Angels: Thirteen Images from the Dark Land, I am fascinated by it. Fascinated, as I'm thrown into an [End Page 181] abyss upon hearing its abrupt, surprising beginning.

According to the OED, that means that I am deprived of the power of escape or resistance. Perhaps one could say that this music is beyond my control. Out of control. Beyond thinking (in the ordinary sense).

When I listen to the sounds of this music, I am caught in an event in which I cannot not participate. I cannot not respond.

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An encounter that does not appeal to (my) freedom ('my will') for an alliance. I am in relation (Buber 1958, 11). 1 That is, I am created (for example as a listener) in this relationship (just as music is created in this relationship) and, simultaneously, I am dissolved in it. Beyond control. It is the music that encounters me. But it is I who relates to it, who offers it hospitality.

So, the relationship entails both choice and being chosen, activity and passivity. Beyond control.

That is, beyond rationality, controllability, measurability. An encounter with music beyond the words that frame, name, and contain it as music. A relationship with music beyond theories, methods, and categories that try to get a grip on it, that seek to suture all contingencies.

Beyond (or between) the casualness— sometimes even carelessness— by which music scholars apply language and try to lay bare its structures, secrets, Truth. 2 In short, beyond musical pornography.

This is my confession of faith, my credo: it is in the awareness of this fundamental uncontrollability of music that we can come into contact with the spiritual— with a space between listener and music that could be called spiritual. In my opinion, so-called 'spiritual experiences, aspirations, and values' do not refer to a reality beyond the material world (of music), to some otherworldliness, but to a reality beyond its categorical frameworks. They refer to a space between category and reality, language and being, a space that cannot be filled by definition— an empty space. Music: always more and less than the categories, theories, and methods that name and divide it, beyond and between the knowable and the already known, an always available (re)source of difference and resistance. Music: being-otherwise-than-being. It is in this excess of being overthought (and vice versa) that I situate or recognize music's spirituality (Finn 1996, 152–65). No emancipation of music.