George Crumb: A Bio-Bibliography (Bio-Bibliographies in Music)

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George Crumb : A Bio-bibliography Bio-bibliographies in Music, 0742-6968 ; No. 90 Cohen, David. Greenwood Publishing Group 0313318875 9780313318870 9780313016981 English Crumb, George--Bibliography, Crumb, George-Discography. 2002 ML134.C78C64 2002eb 780/.92 Crumb, George--Bibliography, Crumb, George-Discography.

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Page i GEORGE CRUMB

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George Crumb. Photograph courtesy of The Lapis Archives.

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Page iii GEORGE CRUMB A Bio-Bibliography DAVID COHEN Bio-Bibliographies in Music Donald L.Hixon, Series Adviser

GREENWOOD PRESS Westport, Connecticut • London

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Page iv Library of Congress Cataloging-in-Publication Data Cohen, David, 1970– George Crumb: a bio-bibliography/David Cohen. p. cm.—(Bio-bibliographies in music, ISSN 0742–6968; no. 90) Includes bibliographical references (p. ), discography, and index. ISBN 0-313-31887-5 (alk. paper) 1. Crumb, George—Bibliography. 2. Crumb, George—Discography. Title. II. Series. ML134.C78C64 2002 780′.92–dc21 2002067916 [B] British Library Cataloguing in Publication Data is available. Copyright © 2002 by David Cohen All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 2002067916 ISBN: 0-313-31887-5 ISSN: 0742–6968 First published in 2002 Greenwood Press, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.greenwood.com Printed in the United States of America The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48–1984). 10 9 8 7 6 5 4 3 2 1

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< previous page Page v CONTENTS                     Appendix A: Appendix B:  

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Preface Acknowledgements Biography Works and Performances Writings by Crumb Interviews Bibliography Performance Bibliography Discography Discography Bibliography Chronological Listing of Works Chronological Listing of Albums Index

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vii xiii 1 25 57 61 71 127 195 221 241 243 249

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Page vii PREFACE In one mythology the universe emerged from Chaos and Old Night. In another mythology this volume has emerged from what might be termed Near Anarchy. Her name might have been Millyana, only it probably wasn’t. Memory is a funny thing in such regards. The heart of the matter isn’t names or dates or times, but that at a certain moment I had some music on the stereo. It might have been the Sex Pistols, Dead Kennedys, Jesus and Mary Chain, Hunger Artist, Minor Threat or any one of a number of other bands that could reasonably be termed punk. The volume was loud enough that my neighbors could hear and on that particular day, whenever it was, one of them stopped by and asked what I was listening to and if I had any music that was dissonant. I remember her use of that particular word, dissonant, more than any other aspect of the meeting. Thinking only in general terms, of discordant music, I put a few different LP’s on the turntable. She listened to excerpts from Never Mind the Bollocks, Fresh Fruit for Rotting Vegetables, Psychocandy and Legendarni U Zivo with a certain amount of interest but it was clear that none had the dissonance she was seeking. She asked me if I had ever heard of John Cage, George Rochberg, George Crumb or Richard Wernick. Cage was the only familiar name of the group, but she promised to make me a tape of some selections from the other three. I still have that cassette. The track listing, written in a small, precise hand, in black ink—George Rochberg: String Quartet No. 3, George Crumb: Music for a Summer Evening and A Little Suite for Christmas, A. D. 1979, Richard Wernick: Sonata for Piano.

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Page viii Baudelaire speaks of being intoxicated from sources other than chemical—on poetry, on virtue. The music of Crumb was like that for me. Not something to indulge in often, but demanding an attention and providing a musical nourishment such that the mind was remarkably stimulated and focused after, as with the yogic disciplines or the best visual art or theater. It was exactly one day before I was due to depart for Nepal that I received an email query from Don Hixon, the editor of this series of biobibliographies: would I be interested in writing another volume in the series? Don included a list of possible subjects and when I saw George Crumb included in the list I immediately wrote an actual, handwritten letter declaring my interest and mailed it off before I went to the airport. Since then I have immersed myself in matters Crumbian. Research at the outset seemed to lead in many different directions until, as with listening to George Crumb’s compositions themselves, a certain larger pattern began to emerge. Hopefully, I have sufficiently ordered that initial Near Anarchy into serviceable Bibliography. This volume conforms to the Greenwood Press Bio-Bibliographies in Music series requirements for content and style. This bio-bibliography consists of several sections: a biographical essay, works and performances, writings by Crumb, interviews, bibliography, performance bibliography, discography, discography bibliography and two appendixes which chronologically list works and albums. The different sections have their own mnemonic numbering schemes and all related entries are crossreferenced by mnemonic for ease of movement back and forth by the reader. The Biography section is an overview of Crumb’s life and career. An exhaustive biography is beyond the scope of this volume. However, this essay covers Crumb’s life from his childhood in West Virginia, through his musical education at Mason College, University of Illinois, and the University of Michigan. It examines his teaching experiences at the University of Colorado at Boulder where he met David Burge and composed his first fully mature work, Five Pieces for Piano in 1962 at Burge’s request. From there it explores Crumb’s career at the University of Pennsylvania and the many compositions which he has written while teaching there. A good deal of the biographic information is taken from two interviews conducted by the author at Crumb’s home in Media, PA on 23 March and 7 November 2001.

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Page ix The Works and Performances section is a complete listing of all of Crumb’s mature works, each given the mnemonic W and arranged alphabetically by title of work. Although not explored in depth, a listing of juvenilia and student works is also given. For each complete work the following information is provided: publication number, date, instrumentation, duration, commission, dedication, text, movements and performance directives from the score. Performances are given the mnemonic W#a. The # is the number for the specific composition and each performance listed is given a lower case letter, with a designating the premiere and proceeding chronologically to b, c, etc. A complete and exhaustive listing of every performance of each Crumb composition is beyond the scope of this volume and only selected performances are listed. For each performance the following information is provided: performers, venue and date. At the end of the chapter is a listing of concerts that featured performances of more than one Crumb work. These entries are given the mnemonic CP (composite performance). All performance listings are arranged chronologically. The Writings by Crumb section includes all articles written by Crumb, as well as program notes (often included in the published score) and liner notes (included in an album). These entries are given the mnemonic C and are arranged chronologically. The Interviews section contains entries for all known interviews with Crumb. This includes interviews published in books, journals, dissertations, those held in archives (including material on audio or video tape), or published on-line. These entries are given the mnemonic I and are arranged chronologically. The Bibliography section includes all general articles about Crumb, including books, journals, dissertations, reviews of scores, webpages (if not specifically interviews or reviews of albums or performances) and visual materials (such as television shows or films). These entries are given the mnemonic B and are arranged chronologically. The Performance Bibliography contains reviews of performances and is arranged alphabetically by work and then chronologically within the listing for each composition. Entries in this section are given the mnemonic PB. There is a cross-listing to the specific performance entry in the Works and Performances section, if known. At the end of the chapter there is a listing of reviews of the composite performances, where more than one Crumb work was performed in a given concert. The specific compositions performed are identified by abbreviations, which are listed at the end of this preface, after each annotation. The Discography is a listing of all known commercial recordings of compositions by Crumb. These entries are given the mnemonic D and are arranged alphabetically by work and then chronologically within that work.

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Page x Since this is a listing for individual compositions there may be multiple entries for a single album and these are cross-listed accordingly. This is preferable to merely listing by album, since individual recordings may appear in different permutations on different albums. Each specific entry contains the following information: performer, recording location (if known), author of liner notes, record label, catalog number, date, title of album (if any), other Crumb compositions recorded on the same album and a cross-listing for any reviews. The Discography Bibliography section contains album reviews. These entries are given the mnemonic DB and are arranged chronologically, with a cross-listing utilizing the D number from the discography and the compositions abbreviation to indicate which specific recording is being reviewed. For example, [D1-AV] would indicate the Nonesuch H-71255 recording of the composition Ancient Voices of Children. Finally, there are two appendixes which contain a chronological listing of works and a chronological listing of albums respectively. Professor Crumb very generously allowed me access to his private scrapbooks, which encompass his entire professional career. In a few instances I was not able to independently verify the citation of articles contained therein and have accordingly included the notation of “Crumb Scrapbook” with the appropriate pagination. All of Professor Crumb’s papers, including his scrapbooks, will eventually be given to the Library of Congress where they will be accessible to future researchers. For ease of reference, at certain points in this volume the following abbreviations will be used to refer to Crumb compositions: AV= Ancient Voices of Children AP= Apparition BA= Black Angels CM= Celestial Mechanics DS= Dream Sequence ED= Easter Dawning EC= Echoes of Time and the River EL= Eleven Echoes of Autumn, 1965 FED= Federico’s Little Songs for Children 5P= Five Pieces for Piano 4N= Four Nocturnes GV= Gnomic Variations HL= A Haunted Landscape ID= An Idyll for the Misbegotten LS= A Little Suite for Christmas, A. D. 1979 LA= Lux Aeterna MAD= Madrigals, Books I–IV

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Makrokosmos, Volume I Makrokosmos, Volume II Mundus Canis Music for a Summer Evening Night Music I Night of the Four Moons Pastoral Drone Processional Quest The Sleeper Sonata for Solo Violoncello Songs, Drones and Refrains of Death Star-Child Three Early Songs Variazioni Vox Balaenae Zeitgeist

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Page xiii ACKNOWLEDGEMENTS Firstly, I would like to thank George Crumb. It would be redundant to thank him for the many compositions that comprise his contribution to the world’s library of music. It is directly from those compositions that this book finds its origin and conversely it is the creation of this volume which expresses my gratitude for his music. Instead, I would like to thank George Crumb for graciously opening his house and voluminous scrapbooks to me. For retreading the pathways of his life in interviews. For the good natured and fascinating conversations about archaeology, mythology, travels, politics and even occasionally music. For the books and albums freely loaned whenever he thought they would be helpful. For the offers of food and drink on each visit to keep my strength up. Finally, for sheer generosity of spirit. My thanks as well to all the other members of the Crumb family who so kindly put up with an archivist underfoot: Elizabeth, Peter, Ann, Yoda and the rest of the pack. Any academic project depends perforce on the help and support of many individuals who contribute in ways small and not so small. A hearty gracias then, in no particular order to: Michael Cunningham (Chisholm Institute), Jaco van der Merwe (George Crumb website), Steven Bruns (University of Colorado), Glenn Gunnels (Wichita State University), James Colvin (University of Surrey), Michelle Coles (University of Western Australia), Jessica Wells, John Davey, John Bewley (SUNY Buffalo) and to the helpful and professional staff in both the Music Library and Interlibrary Loan department at the University of Pennsylvania.

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Page xiv Cheers to my editor, Don Hixon. Firstly, for asking for this book. Lastly, for patiently putting up with its abnormally lengthy gestation! As with any such project, all errors contained herein are solely my responsibility. This work is inclusive through the end of 2000. My last book was dedicated to several people who had died and it seems only fair to restore the cosmic balance and dedicate this one to those born in the intervening days between volumes, a short time to some…a lifetime to others. Ah…the star-children of the light, what beautiful music they make: Emma Grace Guilbault, Gabriel Coyte Lincoln, Eliot Adrian Lincoln, Sonia Catalina Santos Paulien, Marina Susana Santos Paulien, and Lindsay Jessica Smith.

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Page 1 BIOGRAPHY Out of Darkness, Light. The birth of George Henry Crumb, Jr. on 24 October 1929 was not exactly front page news in Charleston, West Virginia. The main headline in the Charleston Gazette regarding that ‘Black Thursday’ was, “Stock Values Tumble $50,000,000 a Minute As Market Collapses.” Crumb’s father, George Henry Crumb, Sr. was a professional clarinetist with the Charleston Symphony Orchestra (which later became the West Virginia Symphony Orchestra), music copyist, arranger and occasional conductor of the pit orchestra for silent films. His mother, Vivian Crumb (née Reed) was a musician as well, playing cello with the Charleston Symphony Orchestra (eventually becoming First Cello). Soon George was joined by a younger brother, William Reed Crumb, born in 1932. There was no dearth of music in the Crumb household. Crumb’s father taught him clarinet as a young child, on a small E-Flat instrument, as he couldn’t hold anything larger. William played flute and the entire family would often play chamber music in the house. Crumb was also given piano lessons in Charleston by Lucille Blossom. In addition to playing music Crumb was introduced to scores and reading music at an early age. As a music copyist and arranger Crumb, Sr. often had scores that he was working on around the house and Crumb, Jr. would later credit his interest in the visual aspect and his precise hand in part to viewing the careful work his father did on scores. The family had a respectable collection of miniature study scores thanks to his father’s sister, who was able to acquire them very cheaply in Paris in the 1920’s.

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Page 2 While the Crumbs did not have a huge collection of 78’s there was also the radio to bring in more music. Charleston was able to get reception for many stations and the Gazette listed no less than 20 different stations in its Radio by the Clock section ranging from WJZ in New York City to WSM out of Nashville. Most of the stations listed broadcast orchestras or bands at some point during the broadcast day. Crumb started composing very early, at around the age of 10 or 11. He has described those pieces as, “somewhat in the style of Mozart.” As is perhaps natural for a composer Crumb evolved through ‘forgeries’ of other master composers, including Chopin, Beethoven, Brahms and Bartók. In order to get to the present Crumb had to work through the styles of the past. Crumb attended Charleston High School from 1944 to 1947. The academic classes were never of paramount interest to Crumb and he could often be found covertly composing while in an English or Mathematics class. He was not, however, a withdrawn child and played clarinet in the school orchestra and was on the track team, competing in the running broad jump and the high jump. It was while in high school that Crumb composed the earliest compositions whose names survive. These include: Two Duos for Flute and Clarinet (1944), Four Pieces for Violin and Piano (1945), Four Songs for Voice, Clarinet and Piano (on various English texts) (circa 1945), Sonata for Piano (1945), Poem for Orchestra (1946), Seven Songs for Voice and Piano (on various English texts) (1946), Trio for Violin, Cello, and Piano (1946), Gethsemane for Small Orchestra (1947), Prelude and Toccata for Piano (1947) and finally, Three Early Songs (1. Night; 2. Let It Be Forgotten; 3. Wind Elegy) (1947). This prodigious output was no fluke, Crumb had already decided that his future definitely lay with music. Most of the small pieces would have had their premiere in the Crumb household, performed by the Crumb Family Players. Crumb was also in the habit of organizing small groups of local kids in what might be termed classical garage bands and they may well have played some of Crumb’s works in addition to the classics. Gethsemane was performed by the Charleston Symphony Orchestra, under conductor Antonio Modarelli, as was Poem for Orchestra, the latter being performed for radio broadcast in 1948. Three Early Songs was also performed, circa 1948, by a local tenor named James Bailey and it is the only work from this period which has been performed in more recent days. After graduating from high school Crumb went to a small school in Charleston called Mason College, later to become part of Morris Harvey College, from 1948–1950. It was during these college days that Crumb married girlfriend and fellow student at Mason, Elizabeth May Brown on 21 May 1949. Crumb studied piano and composition at Mason, the former under Arthur McHoul. Crumb’s compositions from this period included: Alleluja for A

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Page 3 Cappella Chorus (1948), Sonata for Violin and Piano (1949) and A Cycle of Greek Lyrics (5 Songs) for Voice and Piano (circa 1950). In order to supplement his income Crumb was busy during college playing in various dancehall and music hall bands. Crumb graduated with a bachelor’s degree in Music (piano and composition) after three years. As if that were not an exciting enough development there was also a new member of the Crumb family as Crumb’s first child, Elizabeth Ann Crumb was born in 1950. Although Crumb would now leave West Virginia he would never leave behind certain aspects of the state. One was the acoustic which was formed in his childhood by hearing local folk music. This would be expressed by his choice of instruments not commonly utilized in classical music. Future compositions would include banjo, jew’s-harp, stone jug, hammered dulcimer and musical saw. Another acoustic was the sound of nature in West Virginia which Crumb termed, “a reverberant, an echoing acoustic.” (I15) Crumb would also include fragments of The Riddle, an Appalachian folk song, in Zeitgeist many years later, as well as the state motto, “Montani semper liberi” (Mountaineers are always free) in Echoes of Time and the River, although Crumb turns the latter into a query by adding a question mark. Deciding to continue his education, Crumb applied and was accepted into the Masters program at the University of Illinois at Urbana in 1951. During this time Crumb was listening more actively to such composers as Bartók and Hindemith. Compositions completed while in Urbana included: Prelude and Toccata for Orchestra (1951), Three Pieces for Piano (1951), String Trio (1952) and Three Pastoral Pieces for Oboe and Piano (1952). Crumb studied composition with Eugene Weigel, who also encouraged Crumb’s interest in playing the viola, not to the point of virtuosity certainly, but enough so that he was familiar with the feel and technique of the instrument. Crumb also continued his studies of foreign languages, notably German and Spanish, which he had begun in Charleston in anticipation of studying abroad one day. This was through a combination of classes, as well as studying on his own with grammar books and recordings. In addition to working on his own compositions Crumb also had a teaching assistantship while at Illinois-Urbana. Crumb received his Masters in Music (composition) from Illinois-Urbana in 1952. The next step was to obtain a doctorate and Crumb was accepted into the doctoral program at the University of Michigan. While at Michigan his principal teacher was Ross Lee Finney who impressed upon his students the need for precision and clarity in score notations. It was not a lesson lost on Crumb, who recalled, “these notational concerns he passed along to his students, as well as the admonition to depend upon the inner ear and to hear what you’re writing—rather than to approach music in an abstract way. That is what made him such a valuable teacher.” (C22)

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Page 4 Finney’s concern over what he called “beautiful notation” complemented what Crumb had learned from his father when he used to help copy scores as a child. Even critics who could find no musically redeeming features in a Crumb composition would often laud his meticulous and exquisite scores. It was also at Michigan that Crumb was introduced to the poetry of Federico García Lorca, which would prove to be the inspiration for some of his most acclaimed works. A fellow student, Edward Chudacoff, produced a setting of Lorca’s “Casida of the Boy Wounded by the Water” which made an immediate and deep impression on Crumb, who recognized a kindred artistic vision in the works of the Spanish poet. While working on his degree and teaching Crumb was, of course, still composing and pieces from this period include: Sonata for Viola and Piano (1953), and String Quartet (1954) which was performed in Ann Arbor and Iowa City and contains, according to Crumb, “a lot of Hindemith, Bartók and Berg.” (B36) Crumb also completed Diptych for Orchestra at Michigan in 1955. In 1955 Crumb won the Elizabeth Croft Scholarship which enabled him to attend the Berkshire Music Festival in Tanglewood, Massachusetts and to study composition with Boris Blacher. This meeting with Blacher may well have rekindled Crumb’s interest in studying in Germany because that very year he applied for and secured a Fulbright Fellowship which he used to study for a year in Berlin. Crumb, his wife Elizabeth and daughter Ann sailed on the ocean liner Italia to Cuxhaven, Germany in August of 1955. Crumb then spent the next two weeks in Bad Honnef, near Bonn going through orientation before moving on to Berlin. Initially, he had intended to study in Hamburg but contacts in Germany had persuaded him that it would be better for him to spend his year’s residence at the Hochschule für Musik in Berlin. While Crumb did study piano with Erich Riebensahm during his year in Berlin the majority of his musical education was taken up with going to hear local performances and soaking up the music directly. During his stay in Berlin Crumb completed Sonata for Solo Violoncello, dedicated to his mother. In later years Crumb wanted to withdraw the Sonata as a non-representative work, but it had already been published by Peters and so he was persuaded to let it remain in the domain of public performance. Crumb won the BMI prize in composition for Sonata for Solo Violoncello and String Quartet in 1956. During the year abroad Crumb and his family took the opportunity to visit some of the nearby European countries, including: Luxembourg, France, England, Netherlands, Austria, Switzerland and Italy. At the end of Crumb’s Fulbright residence in Berlin the family took the liner United States back to those selfsame states in August of 1956. Although it would be a good number of years before he had the chance to do so again, this year abroad whetted Crumb’s appetite for travel.

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Page 5 Back at Michigan Crumb continued to teach as well as work on his dissertation. His Sonata for Solo Violoncello was premiered by the cellist and fellow student Camilla Doppmann on 15 March 1957 in Ann Arbor. In 1959 Crumb completed his dissertation composition, Variazioni, for orchestra. The piece had a twelve-tone theme and was influenced, to some extent by Schoenberg, “especially, for example, Summer Morning by the Lake.” (I8) Even in this early work Crumb displays a strong timbral sense, which would be a central compositional concern for Crumb and a hallmark in all of his compositions. As a later review of this piece notes, “Crumb is gifted with an absolutely phenomenal sense of timbre and the ability to make the most difficult music sound extraordinarily simple.” (PB437) This transitional work was dedicated to a friend from Germany, dancer Rolf Gelewski. There would be no graduation recital for this complex work and Crumb would have to wait until 1965 in order to hear the premiere of Variazioni in Cincinnati. After graduating from Michigan in 1959 Crumb taught music theory at Hollins College in Virginia before gaining a more substantial position at the University of Colorado in Boulder, where he was appointed assistant professor of composition and piano. While at Colorado Crumb would have one of those fortunate quirks of fate and meet someone who would prove to have a significant effect on his compositions, David Burge. Burge was a colleague on the piano faculty at Colorado who was interested in twentieth-century music, which was fairly unusual in the early 1960’s. Following numerous musical discussions and finding him to have a similar viewpoint regarding contemporary compositions, Burge asked Crumb to consider composing some piano pieces for him. Initially, Crumb was noncommittal and so Burge thought nothing more about his suggestion. Several weeks later Crumb presented Burge with Five Pieces for Piano in December 1962. Burge was surprised when he first sat down to look at the new composition, which blended traditional keyboard playing with extended piano techniques recalling, “I would never forget that first examination. I had never seen anything like that score. For that matter, neither had anyone else. I buried myself in the music, and in the piano’s insides.” (B310) Suitably impressed with the work, Burge premiered it in Boulder on 12 February 1963. The reaction was favorable and Burge decided that more people should be given the opportunity to hear this work so he embarked on a crosscountry tour. The reviews of his performances were almost unanimously positive with Five Pieces for Piano usually singled out for special praise. A Boulder critic wrote, “these were easily the most fascinating works on the concert. Besides the normal effort at the keyboard, the pianist was required to pick, strum and otherwise aggress upon the viscera of the piano.” (PB188)

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Page 6 Crumb had found his mature style with this work and was already receiving some attention from the critics. In addition to writing the first work that he felt truly expressed his own compositional voice there was another reason for Crumb to celebrate in 1962, the birth of his second child, David Reed Crumb. Having been introduced to the poetry of Lorca at Michigan, Crumb had tried to set some of his poetry to music. In 1962 he was working on what would eventually become Songs, Drones and Refrains of Death although both the music and the poems chosen would change over time. The piece was simply not working and so Crumb put it on the back burner and moved on to Night Music I, which in its initial conception was a purely instrumental piece. Crumb realized that two pieces of Lorca poetry would fit well in the composition and the work gelled. In its first incarnation Night Music I included some aleatory sections. However, Crumb would later alter these to fully written out movements in 1976, albeit with the superficial aural sound of improvised music. After hearing many performances Crumb realized the quality of these movements was extremely variable and upon reflection the improvised movements that sounded interesting in concert were not as strong if one listened to a recording of the concert. The work is scored for soprano, piano (doubling celesta) and two percussion. Crumb sets two Lorca poems, “La Luna Asoma” and “Gacela de la Terrible Precencia”. The latter poem contains a line which struck a deep chord with Crumb regarding the transitory status of art and indeed, all life, “y los arcos rotos donde sufre el tiempo” (“and the broken arches where time suffers”). Indeed, the entire work is in the form of an arch, with two instrumental movements beginning and ending the piece, supporting the two vocal movements of the third and fifth movements which surround the keystone of the instrumental fourth movement. Several Crumb fingerprints are present in this work, including circular notation in the “La Luna Asoma” section and the creation of out of the ordinary sonorities with a water-gong glissando. The work was premiered by Le Centre du Musique with Barbara Blanchard, soprano, in Paris on 30 January 1964. An early review also points out Anton Webern’s early, if indirect influence in terms of timbre and texture, “what distinguishes Crumb is that he found it safe to shore up his fragile Webernisms and elusive aleatory gestures with a few tried and solid props, without fear of sliding back into the past.” (PB360) The next composition Crumb completed was Four Nocturnes in 1964, which in its early days was actually Five Nocturnes. Upon hearing the work in rehearsal Crumb decided that four movements was decidedly sufficient and cut one of the nocturnes. Although Crumb feels that there are hints in Night Music I of a sense of suspension of time it is more fully realized in Four Nocturnes, which is also subtitled ‘Night Music II’, thus beginning Crumb’s longstanding practice of drawing his works together into groupings or cycles. The work was

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Page 7 premiered in Buffalo on 3 February 1965 with Paul Zukofsky on violin and Crumb himself on piano, one of the very few occasions that Crumb premiered his own work. Crumb was in Buffalo, New York at the time because he had been given a Rockefeller Grant which allowed him to be a composer-in-residence at SUNY Buffalo for the 1964–65 academic year with the position of ‘creative associate’. The program was established by conductor and composer Lukas Foss who had been impressed with concert tapes he had heard of Crumb’s work. While at Buffalo Crumb took part in faculty recitals and, as a note of archival interest, some of those recordings are still held at SUNY Buffalo. The year at Buffalo was a turning point for Crumb, who made contacts with the east coast classical music scene and decided that he should try and move to the Philadelphia area. Crumb interviewed at both Swarthmore College and the University of Pennsylvania and was offered positions at both institutions. In the end he chose Penn. Returning to Colorado for the summer of 1965, Crumb tied up loose ends and prepared himself and his family for the move to the Philadelphia area. They settled in Media, a suburb just a short drive or train ride away from the university campus in west Philadelphia. The Crumb family not only moved house in 1965 it also welcomed a new member, Crumb’s third child, Peter Stanley Crumb. Crumb joined the Music department at the University of Pennsylvania in 1965 and would remain there for the next 32 years. 1965 also saw the publication of Crumb’s first, and essentially only, analytical essay, “Peter Westergaard: Variations for Six Players ” in Perspectives of New Music (C1), in which he examines the structure of the hexachords and the juxtapositions of timbre in Westergaard’s Variations. The piece had been written while Crumb was still at Colorado and due to the vagaries of publishing had not emerged until the summer of 1965. Perspectives had approached Crumb with a request to write the piece. Their idea was to have contemporary composers analyze the works of their peers and indeed Crumb’s Night Music I is analyzed by Robert Hall Lewis in the very same issue. (B3) Crumb quickly discovered that not only was prose writing every bit as hard for him as writing music but he was not as excited with the final product. Aside from liner or program notes Crumb would write very few articles over the years. Crumb also completed Madrigals, Books I–II in 1965. The first book had been completed while he was still in Colorado. The premiere, at the Library of Congress, by the Contemporary Chamber Ensemble, conducted by Arthur Weisberg also featured the wonderful voice of mezzo-soprano Jan DeGaetani. This was the first time that Crumb met DeGaetani and was the beginning of a longstanding professional relationship and personal friendship. This work was commissioned by the Serge Koussevitzky Music Foundation, which played an important role in supporting young American composers. The reaction was

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Page 8 immediate and effusive. “The variety of tone color Crumb managed to get from his singer and two instrumentalists was so wide as to be almost beyond belief. It was certainly an apt demonstration that there is no necessary conflict between advanced musical thought and immediacy of appeal.” (PB246) Lorca again provided inspiration, once more with the verse, “…y los arcos rotos donde sufre el tiempo…” which forms the keystone of Crumb’s composition Eleven Echoes of Autumn, 1965, for violin, alto flute, clarinet and piano. This was the first Crumb composition to be given a poetic title which is not purely descriptive. However, Crumb discounts the notion that this reflects any programmatic basis for the compositions remarking, “my titles are meant to be metaphoric suggestions only, rather like Debussy’s were.” (I3) This work was commissioned by Bowdoin College for the Aeolian Chamber Players, who premiered the work in Brunswick, Maine on 10 August 1966. Reviews for this work were, on the whole, fairly positive. “Here the spareness had a quiet and self-renewing vitality and it developed a quality we used to always expect from music. The instruments were admittedly subjected to abnormal treatment, but the end justified the commands of the graph-like score.” (PB168) Although there were also dissenting voices who noted, “Crumb’s work was at once interesting and disappointing.” (PB164) Crumb’s friend and former colleague at Colorado, David Burge, released an album in 1966 on the Advance label which included Crumb’s Five Pieces for Piano. (D45) This marked the first appearance of a recorded Crumb composition and unlike many other contemporary composers there would be only a handful of years in the next 35 in which a Crumb piece was not released on record. Reactions were generally positive, although some critics seemed unsure of the extended piano techniques called for and wrote, “Crumb’s Five Pieces for Piano are imaginative, carefully shaped for the instrument, but are full of typical stylistic tricks.” (DB1) In May 1967 Crumb was awarded a $2,500 grant by the National Institute of Arts and Letters along with fellow composers Donald Martino, Julian Orbon and Charles Wuorinen. More importantly, in 1967 Crumb composed Echoes of Time and the River; commissioned by the University of Chicago for the Chicago Symphony Orchestra. This marked Crumb’s first composition for full orchestra since his college dissertation piece, Variazioni, which had somewhat belatedly been given its premiere by the Cincinnati Symphony Orchestra, with Max Rudolf conducting at the University of Cincinnati, Cincinnati OH on 8 May 1965. In Echoes of Time and the River Crumb returned once again to a feeling of time suspension. One of the most problematic aspects of this composition turned out not to be any complexity of technique but an extra-musical touch in which Crumb called for four processionals by different parts of the orchestra.

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Page 9 This ran into a certain amount of resistance from professional musicians who felt that they were paid to play their instruments, not move about the stage while doing so, and that the processionals took away a certain amount of dignity and took additional rehearsal time. Another consideration that needed to be taken into account was the physical space available on stage, with certain venues simply not laid out in a manner conducive to orchestra movement. The processionals were not performed at the premiere, by the Chicago Symphony Orchestra, with Irwin Hoffman conducting at Mandel Hall, Chicago, IL on 26 May 1967. Even the second performance, conducted by Crumb’s friend and colleague David Burge the next March, would only include two of the processionals due to space considerations. In spite of the limited number of performances, which were in some senses not even complete renditions as they lacked the processionals, Echoes of Time and the River was nominated and subsequently awarded the Pulitzer Prize for music in May 1968. The award came as a surprise to the humble Crumb, who noted, “well, that’s nice.” (B12) Crumb’s mother was, understandably, slightly more effusive, “I’m very proud for George and for Charleston. This is, I think, the first time a Pulitzer prize winner has come from Charleston.” (B10) Apart from the monetary reward, which was not all that extensive, the award primarily brought with it a certain amount of attention. So while it was an entirely natural first reaction for some critics, like Irving Kolodin of the Saturday Review to ask “who is George Crumb?” (B14), after the Pulitzer critics and attentive audiences were made aware of Crumb as a composer whose works were well worth giving a chance. Rather than get caught up with the prestigious award Crumb simply continued to teach composition at Penn and get on with his next work. In this case it was a return to a Lorca piece that he had first started to compose as far back as 1962, Songs, Drones and Refrains of Death (for baritone, electric guitar, electric contrabass, electric piano [and electric harpsichord], and percussion). The first attempts had not really been successful, but now Crumb, commissioned by the University of Iowa, resurrected the piece, changing the Lorca poems to be set (“La Guitara”, “Casida de las Palomas Oscuras”, “Canción de Jinete, 1860”, “Casida del Herido por el Agua”) and much of the music as well. Each setting is preceded by a refrain, as noted in the title of the work. The connection to its earlier incarnation was fairly tenuous. The mood is darker than in his previous Lorca settings and, maybe because of its extended gestation in his mind, one of Crumb’s favorites. Perhaps summing up his feelings regarding composing Lorca settings Crumb says, “Lorca’s haunting, even mystical vision of death—which embodies, and yet transcends, the ancient Spanish tradition—is the seminal force of his dark genius. In composing Songs, Drones and Refrains of Death I wanted to find a musical language which might complement this very beautiful poetry.” (C6) The work was premiered by the Center for New Music, William Hibbard, conductor with Harold Heap, baritone, in Iowa City IA on 29 March 1969.

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Page 10 The next composition is Crumb’s most swiftly composed piece with the initial writing confined to the duration of the Apollo 11 flight of 16–24 July 1969. although the composer did give himself a certain amount of time afterwards for revision. He christened the work Night of the Four Moons (for alto, alto flute [and piccolo], banjo, electric cello, and percussion), and in it he combined portions of four Lorca poems (“La luna está muerta, muerta…”, “Cuando sale la luna…”, “Otro Adán oscuro está soñando…”, “¡Huye luna, luna, luna!…”) with his own somewhat ambivalent feelings towards the moon expedition. The four moons might refer to the four poems, the four phases of the moon (new, full, waxing, waning) or be ‘composer’s license’ to multiply reality where artistically necessary. The work also features the sound of the banjo, not renowned as the most otherworldly of instruments, contrasting the celestial with the terrestrial. Night of the Four Moons was commissioned by the Philadelphia Chamber Players who premiered the work at the Springfield Township Building, Springfield, PA on 3 April 1970. A review of the premiere showed that Crumb had captured both the spirit of the space flight and of Lorca’s poems with a critic pointing out, “it all manages to suggest in sound the phosphorescent otherworldliness of the moon, but it is basically an ironic yet childlike expression of grief for the violated sphere.” (PB365) Also completed in 1969 were Madrigals, Books III–IV, which saw Crumb returning to complete this cycle of works begun in 1965. He had found several other little Lorca poetic pieces and decided to extend the series and continue his fusion of the instrumental and voice. Over the course of the four books of Madrigals Crumb varies the instrumentation which accompanies the soprano. Contrabass and vibraphone are featured in Book I, switching to flute and percussion in Book II before moving on to harp and percussion in Book III and finally joining all forces: flute, harp, contrabass and percussion in Book IV. This variation serves not only give each book a distinct flavor but allows Crumb to make subtle instrumental references to the earlier chapters in Book IV. The complete Madrigals premiere was presented by the Contemporary Group with Elizabeth Suderburg, soprano, at Hub Auditorium in Seattle WA on 6 March 1970. Moving in an entirely different direction, towards the dark and the depths, Crumb’s next piece Black Angels, for electric string quartet, seemed a radical departure in 1970. As his longtime friend and colleague David Burge commented when he looked back at his experiences with the quiet composer, to “try to think of clues that he might have given me as to the demonic fury that erupts in Black Angels” (B310) From the beginning, however, people started to overlay their perceptions onto the work. The inscription of ‘in tempore belli’ (in time of war) on the score led many people to the assumption that the work was a topical, political composition commenting on the Vietnam war. Crumb has remarked many times about his belief that an artist is the sum of his experiences, who absorbs what goes on in life around him, and so doubtless there is some part of the work that owes aspects of its existence to being birthed during the

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Page 11 Vietnam war, as it would to being gestated during any such chaotic period. There was not an intention to comment about specific events and the inscription finds its precedent in Haydn’s Mass. The work also has the distinction of being the impetus for violinist David Harrington to form the acclaimed Kronos Quartet. As Crumb himself has stated, “David always said that he formed Kronos just to play Black Angels, I guess that’s not such a bad legacy for a piece to have.” (B459) The work had been commissioned by Crumb’s doctoral alma mater, the University of Michigan and was premiered there by the Stanley Quartet on 23 October 1970. Acclaim was immediate with one reviewer of the premiere lauding, “Crumb has designed a music which is so spontaneously interesting it causes the creative involvement of the audience after the performance has concluded.” (PB71) Another critic at the same concert gushed that the, “premiere performance of [Crumb’s] Black Angels certainly is one of the important events of this (or any) musical season.” (PB72) Changing course again, but in doing so returning once more to Lorca, Crumb composed what may well be his best known and most popular work, Ancient Voices of Children (for soprano, boy soprano, oboe, mandolin, harp, electric piano [and toy piano], and percussion—the instruments chosen for their particular timbral possibilities). The composition was commissioned by the Elizabeth Sprague Coolidge Foundation and dedicated to Jan DeGaetani. The work received the International Rostrum of Composers Award (UNESCO), as well as the Koussevitzky International Recording Award in 1971. The work sets portions of five Lorca poems (“El niño busca su voz”, “Me he perdido muchas veces por el mar”, “¿De dónde vienes, amor, mi niño”, “Todas las tardes en Granada, todas las tardes se muere un niño”, “Se ha llenado de luces mi corazón de seda”) with the maternal soprano singing to a boy soprano who is much in evidence by his physical absence as he sings most of his lines from offstage until the end, mixed with two instrumental interludes. The work also contains vocalises by the soprano into the open, amplified piano which produce unforgettable, iridescent sounds. In addition to the lines of Lorca. Crumb includes some purely phonetic sounds, for example “ka-o-ka-ka-oka-o-ka-o-ka-o!”, which have a surrealistic feel reminiscent of the glossolalic sounds utilized by revolutionary poet and playwright Antonin Artaud in his radio play, Pour en Finir Avec le Jugement de Dieu (1947). In his liner notes for Ancient Voices of Children Crumb identifies what he feels is the essential core of Lorca’s poetry, “concerned with the most primary things: life, death, love, the smell of the earth, the sounds of the wind and the sea.” (C2) It is this concern with such fundamentals, as epitomized by the untranslatable Spanish word duende (“roughly: passion, élan, bravura in its deepest, most artistic sense”) (C2), that so draws Crumb to Lorca.

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Page 12 Several musical quotations are present in Ancient Voices. A bit of Bist Du Bei Mir from the Anna Magdelena Bach notebook is played on a toy piano and there is a snippet from Mahler’s Das Lied von der Erde at the end of the piece as the boy soprano finally comes onstage to join the soprano. Donal Henahan notes in a review of the premiere, “there is tragic drama at the heart of Mr. Crumb’s music— Lorca, of all poets demands that. This is music that springs to life as a whole and at once, and may just be long-lived.” (PB2) The premiere featured the Contemporary Chamber Ensemble, Arthur Weisberg, conductor, with Jan DeGaetani, soprano, and Michael Dash, boy soprano, at the Library of Congress, Washington DC on 31 October 1970 as part of the 14th Coolidge Festival of Chamber Music. The work has worn less comfortably with some critics, “the work seems less profound yet prettier with every hearing, and last night its splendors were a revelation. That the texts were impossible to understand was just as well, since Crumb has betrayed precious little acquaintance with the meaning of García Lorca’s poetry.” (PB52) Crumb’s next work, Vox Balaenae (for electric flute, electric cello, and amplified piano), was partially inspired by a tape of whale songs that he had been given in 1969, although Crumb chose not to literally transcribe the whale music preferring instead to use the instruments to suggest the sound and feel of the songs. In fact, Crumb remarks that merely using tapes of natural sounds is, “artistically a mistake. Although art can derive from nature and can suggest or recreate it, they’re actually two different things.” (B159) Crumb further instructs the performers to play wearing black half-masks in order to better, “symbolize the powerful impersonal forces of nature (nature dehumanized).” (C3) Another suggestion Crumb makes to increase the piece’s theatricality in performance is to have deep blue stage lighting to create a sense of the sub-aquatic. The premiere of Vox Balaenae was performed by the New York Camerata at the Library of Congress, Washington DC on 17 March 1972. The theatricality of the piece did not seem to distract from either the audience’s or critics’ enjoyment, with one critic noting, “Even if future performances are played in the nude, or wrapped in tinfoil, Crumb’s score will remain a powerful evocation, filled with pools of lyric inspiration to delight chamber music lovers for some time to come.” (PB447) Around this time, disillusioned with how his publisher, Belwin-Mills was dealing with his scores Crumb utilized the good services of lawyer (and pianist) Robert Miller to sever his ties with them and to sign with C.F.Peters Corporation who had already published Sonata for Solo Violoncello when Crumb was still a student. In spite of his efforts, two of Crumb’s pieces were not returned to him by Belwin-Mills: Night Music I and Echoes of Time and the River. These two works are the only ones which are not currently published by Peters. Crumb’s next work, Lux Aeterna, in 1971 is scored for soprano, bass flute, sitar and two percussion players. The text is from the Latin Requiem Mass.

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Page 13 However, contrasting this somewhat traditional text is an element of theatricality in the piece which firmly echoes that already experienced in Vox Balaenae. The performers are instructed to wear black masks, with the flautist and sitar player to sit in the lotus position (if they are limber enough). The performance begins in darkness, with red lighting gradually coming up and the singer coming onstage to light a single candle. At the end of the performance the candle is extinguished and the lighting process is reversed. The idea of using Indian instruments like the sitar, which heralds the refrains in the piece, or tabla (a pair of drums, part of the percussion arsenal) may have originated in Crumb’s early days at the University of Pennsylvania when classes in Indian instruments were close enough for the sound to enter his musical consciousness for future consideration. The ideas of Time and Enigma are once again important aspects of a Crumb composition with the performance directive at the beginning of the score noting that work is to be played “very slow, with a sense of meditative time; pregnant with mystery.” (W16) The work was commissioned by the Philadelphia Composers’ Forum who premiered the piece with Jenneke Barton, mezzo-soprano, in Richmond, VA on 16 January 1972. The extra-musicality in Crumb’s compositions has often drawn comments and outright criticism for distracting from the core of the composition, the music, as if they were entirely inappropriate and separate. Crumb comments, “the theatrics, such as masks, lit candles, processionals, special lighting etc., were gestures which seemed to come out of the musical ideas themselves. Apart from the symbolism carried by such ideas, the aural factor of sound moving in the performance hall is also a consideration.” (I9) 1971 also saw the release of an anomaly, an album which includes Crumb as a performer on a piece not of his own composition. During his year in Buffalo Crumb had taken part in numerous faculty recitals but is modest when describing his own abilities on the piano. The Penn Contemporary Players, under the direction of Richard Wernick recorded Stravinsky’s Les Noces with Crumb playing one of the four piano parts. It may well be that Crumb’s apprehensions were allayed by the infinitesimal distribution accorded the record which was released on the Waterstradt label. (D166) After an intermission of ten years Crumb returned to composing for solo piano with Makrokosmos, Volume I. Crumb felt the urge to try and go further with the instrument than he had in Five Pieces for Piano in 1962 or in any of the ensemble pieces which include piano in the intervening years. There is a composer’s tip of the hat in terms of the title to Bartók’s Mikrokosmos and in terms of format to Debussy’s 24 Preludes, although this latter reference would only take full shape upon the completion of Makrokosmos, Volume II. Makrokosmos, Volume I is made up of twelve movements, each one associated with a sign of the zodiac as well as the initials of one of Crumb’s friends, colleagues or a composer born under that sign (creating something of a parlor game for music aficionados), although there is not necessarily a direct correlation between that individual’s personality and “their” movement. Crumb

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Page 14 included himself in this “rogues gallery” in The Phantom Gondolier movement (which he notes should be played “eerily, with a sense of malignant evil”) and well demonstrates Crumb’s wry sense of humor. Indeed, Crumb is well known for performance directives which are lyrical as well as descriptive. Crumb instructs the performers to play, “musingly, like the gentle caress of a faintly remembered music,” in the Dream Images movement. (W21) As with Five Pieces for Piano the performer must not only play on the keyboard in Makrokosmos I but also inside the instrument and Crumb has the piano amplified so that every minute detail may be heard. Several movements are scored as symbols: Crucifixus (cross), The Magic Circle of Infinity (circle) and Spiral Galaxy (spiral). The last symbol is perhaps the most visually recognizable Crumb music. He used symbol notation because, “the visual symbolism of the page is very important,” to him and also because he feels, “that visual symbolism can communicate something very meaningful to the performer.” (I22) A clue to Crumb’s use of the spiral may be found in his comment, “it could be that today there are more people who see culture evolving spirally rather than linearly. With the concentric circles of the spiral, the points of contact and the points of departure in music can be more readily found.” (C11) Although such symbolic notation often draws attention and comment it is worth noting that such notation has a long history in music, including Bach’s well known waves and serpents, and going back further to medieval composers. Sometimes outside factors influence the final structure of a composition. Initially, Crumb had included a quotation from Rachmaninoff’s Paganini Variations in Makrokosmos I. However, when he learned that it was not yet in the public domain and that obtaining permission to use it would be a convoluted legal process he substituted the Fantaisie-Impromptu of Chopin and, “directs the performer to blur the pedaling so that at the end of the quotation it’s like melting, it becomes very diffuse.” (I8) The work is dedicated to “my friend David Burge” who gave the premiere in Richmond, Virginia on 8 February 1973. Views varied concerning this work with some opining, “this work was astounding for the plenitude of bizarre sounds that came from the piano and the performer. To the strange sounds of the amplified piano, Burge added grunts, groans, and whistles of his own.” (PB275) Others took a more negative tack stating, “there are so many Crumb fingerprints, in fact, that the piece borders at times on selfparody. It would be fascinating to learn how much is vintage Crumb and how much is a joke.” (PB276) In September 1972 Crumb, along with his wife Elizabeth, returned to Europe for the first time since his Fulbright days in Berlin with a trip to Warsaw and also Spain. The latter destination gave Crumb his first opportunity to experience some of the atmosphere that gave birth to the Lorca poetry that had proven so influential and central to his own compositions.

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Page 15 Although he had been on the faculty at the University of Pennsylvania since 1965 it was not until 1973 that the Philadelphia Orchestra performed one of Crumb’s compositions. 25 January 1973 saw the Philadelphia premiere of Crumb’s dissertation piece, Variazioni, conducted by Eugene Ormandy. As in the case of the Echoes series Crumb continued immediately with the Makrokosmos series and composed Makrokosmos, Volume II in 1973. Once again there are twelve movements for solo amplified piano with each movement tied to a sign of the zodiac. The structure mirrors the earlier volume in many ways, as the twelve movements are divided into three groups of four and the last movement in each part has a symbol notation. This composition is dedicated to his friend (and sometimes lawyer) Robert Miller who premiered the piece at Alice Tully Hall, New York, NY on 12 November 1974. After the first performance of both volumes of Makrokosmos the critic Paul Hume wrote, “ Makrokosmos stands, in this its initial complete realization, a superbly musical work, filled with new worlds of sound, totally successful in the attainment of the composer’s ends, which happen to be both musical and extramusical.” (PB295) As was the case with Four Nocturnes Crumb decided to eliminate a movement from his next work, Music for a Summer Evening, the third installation in the Makrokosmos cycle. For this chapter Crumb expanded the instrumentation from solo piano to two pianos and two percussionists, having decided that he wanted to combine the worlds of piano and percussion as Bartók had in his Sonata for Two Pianos and Percussion. Initial sketches of the work contained an additional movement, but worried that the piece was too long already Crumb removed the extraneous movement. Crumb did not tie this work’s movements to the zodiac, instead labeling them with such names as Nocturnal Sounds and Music of the Starry Night. The work was commissioned by the Fromm Music Foundation for Swarthmore College and premiered by Gilbert Kalish and James Freeman, piano, with Raymond DesRoches and Richard Fitz, percussion, at Swarthmore College, Swarthmore, PA on 30 March 1974. Critics and reviewers were once again enthusiastic about the new Crumb work, with longtime New York Times critic Donal Henahan writing, “this latest piece, like so many of his others, is suffused with infinite loneliness, time suspending contemplations and mysterious hints of apocalyptic wonders. Among many transfixing moments one could mention the second movement, when the pianists sustained a counterpoint of plucked strings and struck keys that was utterly simple and unearthly in its beauty.” (PB342) Having worked on the Makrokosmos cycle for most of the 1970’s Crumb returned to another series, in this case that of Images, first explored in Black Angels. This new piece was Dream Sequence (Images II), commissioned by Ambassador and Mrs. George J.Feldman and premiered by the Aeolian Chamber Players in Brunswick ME on 17 October 1976. The composition is scored for violin, cello, piano, percussion, and offstage glass harmonica, crystal goblets partially filled with water, which sustains its chord throughout the piece,

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Page 16 thus creating an ethereal drone which accentuates the dream-like feel of the piece. In discussing the work Crumb commented that, “the total effect of the work is almost like an accompaniment to a nonexistent primary music. The normal idea of a hierarchy is in this piece abandoned.” (I9) As had become common for a Crumb work the reviews were glowing, although as was also becoming common the focus was more on individual effects and less on the work as a whole. One typical review noted, “an effervescent, incandescent invention, it required a strange instrumentation: dead piano wires [sic], glissandos on piano strings, amplified cymbals, a tolling chime, scraping bow along a cymbal, occasional violin, cello interjections, and once in a while a piano note.” (PB118) The next year Crumb composed his most monumental work, Star-Child. In his first work for full orchestra since Echoes of Time and the River Crumb calls for soprano, children’s chorus, male speaking choir and bell ringers in addition to a very full orchestra. The piece was premiered by The New York Philharmonic, with Pierre Boulez as principal conductor (the piece requires four!) and Irene Gubrud, soprano, at Avery Fisher Hall, New York, NY on 5 May 1977. Although Boulez was enthusiastic about the work and even conducted it in London and Paris he also declared the piece to be, “unrecordable,” mirroring earlier experts who had contended that Crumb’s first orchestral composition, Variazioni, was, “unplayable.” (B310) Reviews varied, with some feeling that this was a whole new level of Crumb composition, “it is sensitive, powerful, full of personality, and it marks a significant step in Mr. Crumb’s development. To some, he has been primarily a miniaturist—despite such lengthy piano pieces as the Makrokosmos. But this is big music and even passionate music.” (PB400) Other reviewers feared that Crumb had overreached himself stating that, “a look at the score indicated, however, the music’s basic harmonic and structural simplicity, and this came across in the disappointing result. Crumb aims for variety by textures but so far as development is concerned, his music went nowhere.” (PB398) One of the more interesting reactions to Star-Child was the ‘string rebellion’ of the Philadelphia Orchestra, many of whom wore earplugs as they rehearsed the piece to protest what they felt was the excessive volume they had to endure re-positioned in front of the percussion section. The brass players, who normally sit in front of the percussion, noted with a bit of good humor, “it gets loud there, but you get used to it.” (B214) In September 1977 Crumb was awarded a $10,000 fellowship from the National Endowments for the Arts. Echoes resonate not only within Crumb’s works but in his life as well. A $10,000 grant from the National Endowment for the Arts enabled Robert Mugge to complete his film, George Crumb: Voice of the Whale. The film, which was completed in 1976 and subsequently broadcast

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Page 17 on PBS in 1978 includes an interview of Crumb by Richard Wernick and excerpts from Vox Balaenae. The film was released on video by Rhapsody Films in 1988. Returning once more to a smaller ensemble and to the Makrokosmos cycle Crumb composed Celestial Mechanics (Makrokosmos IV) in 1979. The title was borrowed from the French mathematician Laplace’s Traité de Méchanique Céleste and the titles of the four movements are the names of stars: Alpha Centauri, Beta Cygni, Gamma Draconis and Delta Orionis. Written for amplified piano four hands, a form much enjoyed by Crumb (and briefly, six hands, when the page turner takes a somewhat unexpected turn) the piece marks a certain turning point in how his pieces were received. The premiere was given by Gilbert Kalish and Paul Jacobs, piano, at Alice Tully Hall, New York, NY on 18 November 1979. Many critics voiced less than effusive reviews, feeling that perhaps Crumb had overstayed his welcome in the Makroland. A typical reaction was, “Mr. Crumb is working in a field that he has gone over many times before, and Makrokosmos IV does not have anything particularly new to add.” (PB104) Even longtime Crumb fan Andrew Porter of the New Yorker could only shake his head and lament, “this latest, and disappointing, piece struck me as a dry, uninspired exercise in drawing unusual sounds from a grand piano.” (PB106) Having already achieved a certain equanimity with regard to critics Crumb was not crushed by such harsh reviews. However, it would be interesting to discover what the reviewers’ reactions might have been to the piece on a purely musical basis, without the knowledge that it was a continuation of the Makrokosmos cycle. In Apparition, for soprano and piano, Crumb turns from his usual source of poetic inspiration, Lorca, to a poem by Walt Whitman, “When Lilacs Last in the Dooryard Bloom’d”. Crumb takes Whitman’s elegy for the slain President Lincoln and transforms it, choosing excerpts from portions of the poem (most from the “Death Carol” section) which move away from direct references to Lincoln, but which are transcendent ruminations on mortality. This was the composer’s first setting of a poem in his native tongue since his student days and he intersperses several vocalises amidst the poetry to evoke, or invoke: summer, the dark angel, and the nightbird of the Death Carol. Crumb’s use of only piano and voice serves to focus the listener’s attention on contemplations of death. One critic noted, “where Apparition particularly succeeds is in its new economy of means. Crumb has perhaps halved his arsenal of vocal and pianistic devices, and has produced harmonies and melodic fragments consonant with intended moods.” (PB65) Crumb completed the composition in 1979 and the premiere was given by Jan DeGaetani, mezzo-soprano, and Gilbert Kalish, piano, at the 92nd Street YM-YWHA, New York, NY on 13 January 1981. Inspired by Giotto’s Nativity frescoes in the Arena Chapel at Padua Crumb composed a piece for solo piano, A Little Suite for Christmas, A. D. 1979. The 38 frescoes (usually dated circa 1305–1306) occupy the interior of the

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Page 18 chapel and portray scenes from the life of Christ and his mother, the Virgin Mary. Crumb’s work is somewhat more focused in scope, with only seven movements encompassing fifteen minutes of music. Only two of the movements are actually based on fresco panels: The Visitation and Adoration of the Magi. As is standard for a Crumb piano piece the inside of the piano is not neglected in the production of aural celebration and contemplation that reflect the two aspects of the religious enigma that the composer chooses to illuminate. The premiere was performed by Lambert Orkis, piano, at the Smithsonian Institution, Washington, DC on 14 December 1980. 1980 also contained a bit of an oddity, a performance of a Crumb work which had not seen the light of day since the late 1940’s. Convinced to allow a performance of Three Early Songs (which had originally been part of a larger set, Crumb having chosen the ones he felt were strongest), the pieces were performed by Beverly Morgan at the Brooklyn Academy of Music on 21 February 1980. Two of the songs, “Let It Be Forgotten” and “Wind Elegy” were written by Sara Teasdale while the third song, “Night” was penned by Robert Southey. Although some sources have cited Elizabeth Crumb (to whom the work is dedicated) as having premiered the work in the 1940’s Crumb states that it was, in fact, a tenor who lived in Charleston named James Bailey who gave the first public performance. As might be expected, the juvenilia reflects certain youthful influences, Rachmoninoff amongst them and writing for voice in a folk idiom rather than an operatic one. Although many years and experiences intervene it is interesting to contrast this work with Apparition, also scored for voice and piano and adapting English poetry. Gnomic Variations is, by Crumb standards, a less romantic work than most of his compositions. The titles of the movements are not poetically conceived. It is as if Crumb is attempting to strip away as many layers from the work as possible. There is no theatricality, no masks, no special lighting, no processionals—only solo piano music. Even the inside-the-piano work is fairly straightforward, by Crumbian standards. The piece was commissioned and premiered by Jeffrey Jacob at the National Gallery of Art, Washington , DC on 12 December 1982. Predictably, it was the almost traditional nature of the composition that caught the critics’ ears, “unlike his previous pieces, Gnomic Variations contains no amplification, no literary or musical references, and no theatrical effects, which in the past could range from the pianist’s singing and whistling to the use of chains and paper upon the strings.” (PB200) Although Crumb had previously included organ in his compositions (in Star-Child for example) Pastoral Drone, commissioned by the American Guild of Organists, is his first and thus far only attempt to write for solo organ. Crumb indicates that the work, “was conceived as an evocation of an ancient ‘open-air’ music.” (C13) The foundation of the composition is characterized by drones

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Page 19 played on the organ pedals which are, “overlaid by strident, sharply-etched rhythms in the manual parts and the dynamic level throughout is sempre fortissimo.” (C13) Although Crumb would certainly not disown one of his own mature works he has stated on several occasions that Pastoral Drone is not one of his favorites, and indeed the work is rarely performed and has not been recorded. Pastoral Drone was composed in the summer of 1982 and was premiered on 27 June 1984 by David Craighead. The 1980’s were threatening to become Crumb’s decade for solo piano (with a brief side trip for solo organ, Pastoral Drone) and this path continued with Processional in 1983. The composition is resolutely tonal and there is a strong focus on harmonic color as well. Ironically, what really sets this piece apart in the Crumb canon is that he has confined himself to writing on the keyboard with none of the insidethe-piano work that is such a staple of his compositions. The composition was premiered by Gilbert Kalish (for whom it was written) at Tanglewood in Lennox, MA on 26 July 1984. Perhaps reflecting something of a Crumb backlash, critics were none too kind when reviewing this piece: “the weakest work on the program,” (PB378), “sounded like a gratuitous latter-day vulgarization of Debussy’s style,” (PB379) and, “Kalish had the distinction of providing [the reviewer] with a piece by Crumb that [he] could dislike,” (PB379) were all typical critical snipes. Audiences may well have despaired of hearing a new Crumb composition for anything more than solo instrument, however, his next piece A Haunted Landscape, commissioned by the New York Philharmonic, marked a return to a full orchestral work. The piece reflects Crumb’s frisson upon first visiting places such as Delphos or Andalusia which because of his personal associations (reading mythology or Lorca) were immediately familiar in the midst of being strange, new and mysterious. Once again there is a feeling of time suspension, or even of time which is not wholly linear, so that past and future intermingle in a world at once intensely familiar and yet filled with revenants. The work was premiered by the New York Philharmonic, Arthur Weisberg, conductor, at Avery Fisher Hall, New York, NY on 7 June 1984 (having already been partially performed as a work in progress in the same venue the previous year). The work is in most ways more “practical” than Crumb’s other orchestral compositions, being scored for conventional forces, albeit with an enlarged percussion arsenal, and not requiring any processionals. Most reviewers seemed to think that Crumb had found his course once more, one remarking, “ A Haunted Landscape truly lives up to its title. It is a grandly evocative tone-poem of myriad colors that seem a perfect synthesis of Crumb’s entire composing career.” (PB218) After his success with the Whitman setting of Apparition Crumb returned to an American poet five years later with a setting of Poe’s “The Sleeper”. Having been specifically commissioned to produce a short song, in this case about two minutes in length, closer to pop song length than a classical

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Page 20 piece, Crumb took only a few lines from Poe’s poem for his rendition of The Sleeper. By his own admission, “the sense is considerably altered,” with the composition not quite as mournful in feeling as the poem is but Crumb notes, “that there is such a thing as ‘composer’s license’.” (C14) The piece is scored for piano and voice with the piano effects used to emphasize the eerie aspects of the Poe lines. The voice part is less adorned than in most Crumb pieces, however, he states that it, “requires great sensitivity to nuances of pitch and timbre.” (C14) The work was premiered at Carnegie Hall on 4 December 1984 by two performers long associated with Crumb’s works: Jan DeGaetani, mezzo-soprano, and Gilbert Kalish, piano. An Idyll for the Misbegotten reflects Crumb’s belief that people are becoming more estranged from the natural world. “We share the fervent hope that humankind will embrace anew nature’s ‘moral imperative’.” (C15) Scored for flute and drums the piece has a certain folk flavor and Crumb notes that the ideal way to hear his Idyll would be, “from afar, over a lake on a moonlit evening in August.” (C15) In the event, the premiere was given by Robert Aitken, flute, with percussion, in Toronto, ON on 16 November 1986. Unfortunately a bit late in the year for an ideal reception, it is also not clear if the performance was within range of auditors across Lake Ontario. This composition was later transcribed for French horn by Crumb’s former student Robert G.Patterson, who subsequently gave the horn premiere at the University of Memphis on 23 November 1997. Although he had remarked numerous times that he was probably done with his ‘Lorca phase’ Crumb returned in 1986 to the poet’s work once more in his Federico’s Little Songs for Children, for soprano, flute (piccolo, alto flute, bass flute), and harp. (W9) There had been a hidden store of Lorca poems that Crumb thought he might one day return to work on if he found the proper inspiration. In contrast to most of the previous Lorca poems Crumb had set, these are not of a dark, primal flavor but are, as the name suggests, more innocent poems for children. Consequently, there is a much lighter feel to the music in this piece. Harking back to the way in which he used instrumentation in Madrigals Crumb remarks that, “at an early stage in the sketching process I decided to include all four instruments in the flute family so that I might associate an appropriate timbre with the innate character of each poem.” (C16) The composition was written for and premiered by the Jubal Trio in Fairmount Park, Philadelphia, PA on 12 June 1988. A review of the premiere noted, “Typically, the music skirts Crumb’s fearful borders of fantasy, but in this smaller piece there is a big dollop of humor.” (PB187) In 1986 Don Gillespie, of C.F.Peters, Crumb’s publisher, compiled a volume on Crumb, George Crumb: Profile of the Composer. This book featured a brief biography by David Cope, as well as other analytical and anecdotal articles about Crumb and his compositions by such folk as David Burge, Jan

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Page 21 DeGaetani, Richard Wernick and Eugene Narmour (amongst others). Gillespie also compiled an extensive bibliography and discography for Crumb, drawn predominantly from the huge scrapbooks that are kept by the composer. Crumb was invited to be the American representative at the Conference of the Union of Soviet Composers in April 1986. This was not an altogether common gesture in the days just before the advent of perestroika a nd Crumb, happy to indulge his wanderlust and be exposed to new music at the same time, accepted. Zeitgeist marks a return to composing for two pianos and was commissioned by the pianists Peter Degenhardt and Fuat Kent who premiered the work at the Charles Ives Festival in Duisburg, Germany on 17 January 1988. The piece was then extensively revised. In the work Crumb attempts to touch on several aspects of the “spirit of the age” (C17) including the search for a new musical primitivism, an obsession with more direct modes of expression, the desire to integrate the heritage of Western music with non-Western music and the, “bewitching appeal of timbre as a potential structural element.” (C17) Perhaps in an attempt for the work to live up to its appellation Crumb took a somewhat winding path in his composition of his next work, Quest. The guitarist David Starobin had requested a piece for guitar as far back as 1971 and there was the possibility in the piece’s infancy that it might be a work for solo guitar, but in the end Crumb did not feel comfortable enough with his command of the instrument, what it could do and what he could do with it. The result was a piece for septet with guitar taking pride of place, accompanied by saxophone, harp, contrabass and two percussion players with a true plethora of instruments, including, but certainly not limited to Chinese temple gong, Mexican rain sticks, African log drum and güiro. There was not a single, specific poetic basis for Quest, although Crumb notes that, “the concept of a ‘quest’ as a long, tortuous journey towards an ecstatic and transfigured feeling of ‘arrival’ became associated with certain musical ideas,” as he worked through the compositional process. (C20) As with some of his other pieces Crumb utilizes fragments of a familiar work, in this case Amazing Grace, as a musical quotation several times. As with A Haunted Landscape, which was given a public performance as a work in process, Quest was played in an incomplete version in Amsterdam in 1989. The true premiere was by Speculum Musicae with David Starobin playing guitar at the Settlement School in Philadelphia, PA on 30 March 1990. However, even after this performance the quest was not complete, for Crumb was not fully satisfied with the work and continued to revise it until 1994 when he finished what he now considers to be the definitive version.

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Page 22 Easter Dawning was commissioned by the Guild of Carilloneurs in North America and marked Crumb’s first foray into composing for carillon, an instrument composed of bells. The process of composition was somewhat similar to that for Pastoral Drone, in both cases Crumb was familiar with the instrument only in part (organ and bells) and had to struggle to deal with the technical and idiomatic strictures of the instrument as well as using that instrument on a solo basis in the composition. Crumb remarks in the program note that, “after having learned too that the octatonic scale sounds especially well on the carillon, I made this scale the principal harmonic and melodic source for the work!” (C19) The premiere was given by Don Cook on the Deeds Carillon in Dayton, OH on 13 June 1992. In 1998, after what was for him a long gap between compositions, Crumb attempted to redress the imbalance between works inspired by canines versus those inspired by felines with Mundus Canis (“A Dog’s World”), on commission from David Starobin. The five movements of the piece are based on the personalities of five dogs that have co-habitated with the Crumb family over the years: Tammy, Fritzi, Heidel, Emma-Jean and the inimitable Yoda, whose musical portrait is to be played “prestissimo possibile” and brings to mind the canine constant motion present in Futurist Giacomo Balla’s painting Dynamism of a Dog on a Leash, 1912. The piece is at once both playful and peaceful and perhaps reflects Crumb’s mindset as he drew his inspiration not from the surrealistic poetry of Lorca, the death meditation of Whitman or the soulful song of the whale, but instead from his own home. The work is scored for guitar and percussion. In one of his fairly rare forays on the stage as a performer Crumb played the percussion part at the work’s premiere with David Starobin on guitar in Cannes (perhaps chosen because of its proximity to canine…) on 20 January 1998. After more than three decades at the University of Pennsylvania Crumb retired from teaching in the spring of 1997. While never a swift or very prolific composer (averaging one work a year from 1962 to 1990) Crumb felt he was slowing down and hoped that his retirement would afford him more time to concentrate on composition. Of course, that does not take into account the extensive traveling that he does to hear performances of his work or to help oversee recordings. In fact, beginning around 1990 Crumb started to travel overseas quite frequently, mostly on invitations to attend festivals or concerts featuring his compositions. An incomplete list of countries visited by Crumb in the last decade include: Mexico, Netherlands, Switzerland, France, Finland, Denmark, Czechoslovakia, Sweden, Norway, Austria, Germany, Canada, Venezuela, Ukraine, Israel, England, South Africa, Greece, Poland, Portugal, Spain and Russia.

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Page 23 The trip in October 1995 to Russia, along with Orchestra 2001, was slightly more dramatic than even Crumb would have wished for, with gunfire erupting in the street during the visit. Unruffled, Crumb commented, “sometimes it’s good to hear a little music and forget about the other things.” (B397) On the recording front Bridge Records, under the leadership of David Starobin, is releasing the complete works of Crumb and they are presently five volumes into the project. A particularly exciting aspect of this endeavor is that works such as Echoes of Time and the River, which have been out of print and unavailable for many years should soon see the light of day once more. The series thus far has been well received and the premiere recording of Star-Child by the Warsaw Philharmonic Orchestra which was on the third volume of Bridge’s Complete Crumb won the 2000 Grammy for Best Contemporary Classical Composition. This was quite an accomplishment for a composition that its first conductor, Pierre Boulez, had called, “unrecordable.” (B310) In December 2001 Crumb completed a new composition entitled Eine Kleine Mitternachtmusik (“A Little Midnight Music”), which is subtitled “Ruminations on a Tune of Thelonious Monk”. The composition has certain references to Monk’s music, however, it is not variations. It is scored for amplified solo piano and is due to be premiered by summer 2002. The first composition of the new millennium by George Crumb, agent evocateur.

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Page 25 WORKS AND PERFORMANCES W1 Ancient Voices of Children (P66303), 1970. Instrumentation: Soprano, Boy Soprano, Oboe, Mandolin, Harp, Electric Piano (and Toy Piano), Percussion (3 Players) Duration: ca. 27’ Commission: Elizabeth Sprague Coolidge Foundation Dedication: for Jan DeGaetani Text: Federico García Lorca Notes: The work received the International Rostrum of Composers Award (UNESCO) and the Koussevitzky International Recording Award in 1971. I. El niño busca su voz [The little boy was looking for his voice] (Very free and fantastic in character) “Dances of the ancient earth” [Interlude] II. Me he perdido muchas veces por el mar [I have lost myself in the sea many times] (Musingly) III. ¿De dónde vienes, amor, mi niño? [From where do you come, my love, my child?] (Freely; with dark, primitive energy) “Dance of the sacred life-cycle” IV. Todas las tardes en Granada, todas las tardes se muere un niño [Each afternoon in Granada, a child dies each afternoon] (Hushed, intimate; with a sense of suspended time) “Ghost dance” [Interlude] V. Se ha llenado de luces mi corazón de seda [My heart of silk is filled with lights] (Luminous) W1a Premiere: Contemporary Chamber Ensemble, Arthur Weisberg, conductor; Jan DeGaetani, soprano; Michael Dash, boy soprano. Library of Congress, Washington DC. 31 October 1970. As part of the 14th Coolidge Festival of Chamber Music. See PB1, PB2, PB3, PB5. Selected Additional Performances

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Page 26 W1b Contemporary Chamber Ensemble, Arthur Weisberg, conductor; Jan DeGaetani, soprano; Michael Dash, boy soprano. Hunter College Playhouse, New York NY. 17 December 1970. See PB4. W1c Contemporary Chamber Ensemble, Arthur Weisberg, conductor; Jan DeGaetani, soprano; Anthony MacLean, boy soprano. Sanders Theater, Boston MA. 26 July 1971. See PB6, PB7. W1d Boulder Philharmonic; Jan DeGaetani, soprano; Eric Jacobson, boy soprano. Boulder High School, Boulder CO. 28 January 1972. See PB8, PB9, PB10. W1e New York Philharmonic, Pierre Boulez, conductor; Jan DeGaetani, soprano; Joseph Lampke, boy soprano. Loeb Student Center, New York NY. 18 February 1972. See PB11. W1f Contemporary Chamber Ensemble, Arthur Weisberg, conductor; Jan DeGaetani, soprano; Michael Dash, boy soprano. Library of Congress, Washington DC. 24 March 1972. See PB12. W1g London Sinfonietta, Elgar Howart, conductor; Jan DeGaetani, soprano; David Pearl, boy soprano. Queen Elizabeth Hall, London. 23 October 1972. See PB13, PB14, PB15, PB20, PB21, PB22. W1h New York Philharmonic, Pierre Boulez, conductor; Jan DeGaetani, soprano; David Ulin, boy soprano. Philharmonic Hall, New York NY. 18 January 1973. See PB16, PB17. W1i Northwestern University School of Music Chamber Orchestra, Bernard Rubenstein, conductor; Melanie Tomaszkiewicz, soprano. Lutkin Hall, Evanston IL. 28 January 1973. See PB18, PB19. W1j New York Philharmonic, Pierre Boulez, conductor; Jan DeGaetani, soprano. Philharmonic Hall, New York NY. 12 June 1973. See PB23, PB24. W1k Musica Viva, Richard Pittman, conductor; Jan Curtis, soprano; Thomas Folan, boy soprano. BuschReisinger Museum, Boston MA. 2 October 1973. See PB27. W1i Los Angeles Philharmonic, Paul Chihara, conductor; Margaret Immerman, soprano; Scott Van Sanford, boy soprano. Bing Theater, Los Angeles CA. 10 December 1973. See PB28. W1m Contemporary Chamber Ensemble, Arthur Weisberg, conductor; Jan DeGaetani, soprano; Francesca DeGaetani, child soprano. Hertz Hall, Berkeley CA. 13 January 1974. See PB29, PB30. W1n University of Washington Contemporary Group, Robert Suderburg, conductor. Elizabeth Suderburg, soprano; Jonathan Suderburg, boy soprano. Roethke Auditorium, Seattle WA. 30 January 1974. See PB31, PB32. W1o Contemporary Chamber Ensemble, Arthur Weisberg, conductor; Jan DeGaetani, soprano. Morris Harvey Auditorium, Charleston WV. 9 February 1974. See PB33, PB34. W1p San Francisco Chamber Music Society, Jean-Louis LeRoux, conductor; Claudia Cummings, soprano; Zachary Klett, boy soprano. Firemen’s Fund Forum, San Francisco CA. 25 March 1974. See PB35, PB36. W1q Pro Musica Nova, Arthur Weisberg, conductor; Lee Dougherty, soprano. Milwaukee Art Center, Milwaukee, WI. 24 September 1975. See PB38, PB39. W1r Cleveland Orchestra. Cleveland OH. 15 October 1975. W1s Fort Worth Symphony, John Giordano, conductor; Joan Wall, soprano; Trace Worrell, boy soprano. Fort Worth Art Museum, Fort Worth TX. 28 March 1976. See PB40,PB41. W1t Chamber Symphony, Marshall Haddock, conductor; Jan DeGaetani, soprano. Woman’s Club Auditorium, Louisville KY. 13 April 1976. See PB42.

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Page 27 W1u Nash Ensemble; Mary Thomas, soprano. Round House, London. 6 September 1976. PB43. W1v 20th Century Consort, Christopher Kendall, conductor; Janet Steele, soprano; Simon Jackson, boy soprano. Kennedy Center, Washington DC. 11 March 1977. See PB44, PB45. W1w Contemporary Chamber Ensemble, Arthur Weisberg, conductor; Carol Wilson, soprano; Renee Jones, child soprano. Colorado State University. April 1979. See PB48. W1x New York Philharmonic, Zubin Mehta, conductor; Barbara Martin, soprano; Hector Miletti, boy soprano. Avery Fisher Hall, New York NY. 16 April 1981. See PB50, PB51, PB53. W1y 20th Century Consort; Lucy Shelton, soprano; Nina Basescu, child soprano. Washington DC. 4 May 1981. See PB52. W1z Teresa Radomski, soprano; Ryan Newton, boy soprano; Arnold Sykes III, John Hanks, Christopher Deane, percussion; Hye Yun Chung, harp; Penka Kouneva, piano; Edward Stephenson, mandolin; Michael Votto, conductor. Nelson Music Hall, Duke University. 29 March 1991. See PB60. W1aa Manitoba Chamber Orchestra. Westminster Church, Winnipeg MB. 27 January 1993. W1bb San Francisco Contemporary Music Players, David Milnes, conductor; Dawn Upshaw, soprano; Erick Carlson, boy soprano. Veterans Wadsworth Theater, Los Angeles CA. 19 April 1997. See PB61. W1cc Skidmore College Faculty Ensemble; Anne Turner, soprano; Annie Anzalone, child soprano. Filene Recital Hall, Skidmore College. 16, 18 April 1999. See PB62, PB63. W2 Apparition (P66832), 1979. Instrumentation: Elegiac Songs and Vocalises for Soprano and Amplified Piano Duration: 22’ Dedication: for Jan DeGaetani and Gilbert Kalish Text: from Walt Whitman’s “When Lilacs Last in the Dooryard Bloom’d” I. The night in silence under many a star (Sotto voce, ma estatico) Vocalise I. Sounds of a summer evening (Nervously, delicately) II. When lilacs last in the dooryard bloom’d (Dream-like, with a gently drifting movement) III. Dark mother always gliding near with soft feet (Adagio molto; hushed, reverential) Vocalise II. Invocation to the dark angel (Dramatic, in cadenza style) IV. Approach strong deliveress! (Alla marcia; with great energy, implacable) Vocalise III. Death Carol [“song of the nightbird”] (Desolato, quasi lontano) V. Come lovely and soothing death (Bleak, eerie) VI. The night in silence under many a star (Sotto voce, ma estatico) W2a Premiere: Jan DeGaetani, mezzo-soprano; Gilbert Kalish, piano. 92nd Street YM-YWHA, New York NY. 13 January 1981. See PB64, PB65, PB66. Selected Additional Performances

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Page 28 W2b Jan DeGaetani, mezzo-soprano; Gilbert Kalish, piano. Schoenberg Institute, Los Angeles CA. 13 March 1983. See PB69, PB70. W3 Black Angels (Thirteen Images from the Dark Land) (Images I) (P66304), 1970. Instrumentation: Electric String Quartet Duration: 25’ Commission: University of Michigan Dedication: to the Stanley Quartet (G.Ross, G.Rosseels, R.Courte, J.Jelinek) Notes: Score inscribed “in tempore belli, 1970” (at the beginning) and “finished on Friday the Thirteenth, March, 1970 (Media, Pa.)” (at the end). I. Departure 1. Threnody I: Night of the Electric Insects [Tutti] (Vibrant, intense!) 2. Sounds of Bones and Flutes [Trio] (Delicate and somewhat mechanical) 3. Lost Bells [Duo] (Remote, transfigured) 4. Devil-music [Solo: Cadenza accompagnata] (In romantic-phantastic style!) 5. Danse Macabre [Duo] (Grotesque, satirical) (Duo alternative: Dies Irae) II. Absence 6. Pavana Lachrymae (Der Tod und das Mädchen) [Trio] (Grave, solemn; like a consort of viols [a fragile echo of an ancient music]) (Solo obbligato: Insects Sounds) 7. Threnody II: Black Angels [Tutti] (Furiously, with great energy!) 8. Sarabanda de la Muerta Oscura [Trio] (Grave, solemn; like a consort of viols) (Solo obbligato: Insects Sounds) 9. Lost Bells (Echo) [Duo] (Duo alternative: Sounds of Bones and Flutes) III. Return 10. God-music [Solo: Aria accompagnata] (Adagio [with profound calm]) 11. Ancient Voices [Duo] 12. Ancient Voices (Echo) [Trio] (Grazioso, flessibile) 13. Threnody III: Night of the Electric Insects [Tutti] (Disembodied, incorporeal) W3a Premiere: The Stanley Quartet. Ann Arbor MI. 23 October 1970. See PB71, PB72. Selected Additional Performances W3b Mills College Performing Group. Mills College, San Francisco CA. 7 March 1971. See PB73, PB74. W3c New York String Quartet. Thomas Hall, Philadelphia PA. 7 April 1971. See PB75. W3d Oxford String Quartet. St. Mark’s Church, Niagara-on-the-Lake ON. 30 July 1971. See PB76, PB77, PB78. W3e Bowling Green String Quartet. Detroit MI. 17 October 1971. See PB79. W3f Bowling Green String Quartet. West Shore Unitarian Church, Cleveland OH. 18 October 1971. See PB80.

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Page 29 W3g Philadelphia Orchestra Quartet. University of Pennsylvania College Hall, Philadelphia PA. 27 October 1971. See PB81, PB82. W3h Bowing Green String Quartet. Wheeler Hall, Evansville IN. 2 November 1971. See PB83. W3i Bowling Green String Quartet. Alice Tully Hall, New York NY. 14 November 1971. See PB84. W3j Concord String Quartet. Band Hall, Buffalo NY. 10 March 1972. See PB85. W3k Philarte Quartet. Recital Hall, Albany NY. 30 July 1972. See PB86. W3l Philarte Quartet. Centra Venezolano Americano, Caracas. 12 June 1973. See PB88. W3m Gaudeamus Quartet. Purcell Room, London. 14 November 1974. See PB89, PB90. W3n 1’Itineraraire au Nouveau. Paris, France. 19 December 1974. See PB91, PB92, PB94. W3o Philarte Quartet. Hirshhorn Museum, Washington DC. 19 January 1975. See PB93. W3p Kronos Quartet. Baird Hall, Buffalo NY. 3 June 1976. W3q Kronos Quartet. Mission, San Luis Obispo CA. 3 February 1983. See PB96. W3r Charleston String Quartet. Cultural Center, Charleston WV. 10 February 1984. See PB97. W3s Ciompi Quartet. Earnest W.Nelson Music Room, Raleigh NC. 18 January 1985. See PB98. W3t Hampshire String Quartet. Symphony Space, New York NY. 28 May 1985. See PB99. W3u Wilanow String Quartet. Warsaw, Poland. 21 September 1990. W3v Kronos Quartet. Geary Auditorium, Charleston WV. 20 January 1993. W3w Kronos Quartet. Majestic Theater, New York NY. 10 February 1995. See PB100. W3x Theater Chamber Players. Baird Auditorium, Washington DC. 2 March 1996. See PB101. W3y Quatuor de l’Ensemble Intercontemporain. Musée de la Musique, Paris. 18 December 1997. W3z Cassatt String Quartet. Slee Hall, Buffalo NY. 10 June 2000. See PB102. W4 Celestial Mechanics (Makrokosmos IV) (P66788), 1979. Instrumentation: Cosmic Dances for Amplified Piano, Four Hands Duration: 25’ Commission: Chamber Music Society of Lincoln Center Dedication: for Gilbert Kalish and Paul Jacobs I. Alpha Centauri (Molto ritmico) II. Beta Cygni (Slowly; fantastico, quasi improvvisando) III. Gamma Draconis (Molto ritmico, mecanicamente) IV. Delta Orionis (Deciso) W4a Premiere: Gilbert Kalish and Paul Jacobs, piano. Alice Tully Hall, New York NY. 18 November 1979. See PB103, PB104, PB105, PB106, PB109, PB110. Selected Additional Performances

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Page 30 W4b Lambert Orkis and James Primosch, piano. Lang Concert Hall, Swarthmore PA. 24 February 1980. See PB107. W4c Lambert Orkis and James Primosch, piano. Park School, Brooklandville MD. 9 March 1980. See PB108. W4d Lambert Orkis and James Primosch, piano. Fine Arts Center, Charleston SC. 28 May 1980 . See PB111, PB112. W4e Lambert Orkis and James Primosch, piano. Washington DC. 8 December 1980. See PB113. W4f Lambert Orkis and James Primosch, piano. Hirshhorn Museum, Washington DC. 2 October 1999. See PB114. W5 Dream Sequence (Images II) (P66690), 1976. Instrumentation: Violin, Cello, Piano, Percussion (1 Player), Glass Harmonica (2 Players, offstage) Duration: 15’ Commission: Ambassador and Mrs. George J.Feldman Dedication: for the Aeolian Chamber Players W5a Premiere: Aeolian Chamber Players. Brunswick ME. 17 October 1976. See PB115. Selected Additional Performances W5b Aeolian Chamber Players. Library of Congress, Washington DC. 9 December 1977. See PB116, PB117. W5c Aeolian Chamber Players. Youth Performing Arts Center, Louisville KY. 2 March 1980. See PB119. W5d Aeolian Chamber Players. Abraham Goodman House, New York NY. 13 February 1982. See PB120. W6 Easter Dawning (P67442), 1992. Instrumentation: Carillon Duration: ca. 4’ Commission: Guild of Carilloneurs in North America W6a Premiere: Don Cook on the Deeds Carillon. Dayton OH. 13 June 1992. See PB121 W7 Echoes of Time and the River (Four Processionals for Orchestra) (Echoes II) (Belwin-Mills Publishing Corp. FC3038), 1967. Instrumentation: Flutes (3 Players, Piccolo), Clarinets (3), Trumpets in C (3), Horns in F (3), Trombones (3), Harp, Mandolin, Piano (2), Violin (2), Viola, Violoncello, Contrabass, Percussion (6) Duration: 20’ Commission: University of Chicago for the Chicago Symphony Orchestra Notes: The work received the Pulitzer Prize for Music in 1968. I. Frozen Time II. Remembrance of Time (Slow, darkly mysterious) III. Collapse of Time (Dramatic, portentous; rhythmically very free) IV. Last Echoes of Time (Extremely slow, as if poised in time)

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Page 31 W7a Premiere: Chicago Symphony Orchestra, Irwin Hoffman, conductor. Mandel Hall, Chicago IL. 26 May 1967. See PB122, PB123, PB124, PB125, PB126. Selected Additional Performances W7b University of Colorado at Boulder Orchestra, David Burge, conductor. Music Hall, Denver CO. 8 March 1968. See PB127, PB128. W7c Chicago Symphony, Irving Hoffman, conductor. Orchestra Hall, Chicago IL. 24 October 1968. See PB129, PB130, PB131, PB132. W7d Buffalo Philharmonic, Melvin Strauss, conductor. Kleinhans Music Hall, Buffalo NY. 27 October 1968. See PB133. W7e Cleveland Orchestra, Louis Lane, conductor. Severance Hall, Cleveland OH. 3 April 1969. See PB134. W7f Oakland Symphony, Harold Farberman, conductor. Oakland Auditorium Theater, Oakland CA. 7 December 1971. See PB136, PB137. W7g Denver Symphony Orchestra, Brian Priestman, conductor. Auditorium Theater, Denver CO. 28 February 1972. See PB138. W7h Los Angeles Philharmonic, Gerhard Samuel, conductor. Dorothy Chandler Pavilion, Los Angeles CA. 9 March 1972. See PB139. W7i Milwaukee Symphony Orchestra, Kenneth Schermerhorn, conductor. Performing Arts Center, Milwaukee WI. 29 April 1972. See PB140, PB141. W7j BBC Symphony Orchestra, Harold Farberman, conductor. Royal Albert Hall, London. 4 September 1972. See PB142, PB144, PB145. W7k Katowice Great Symphony Orchestra of Polish Radio and Television, Louis Lane, conductor. Warsaw, Poland. 17 September 1972. See PB146. W7l Wichita Symphony Orchestra, Francois Huybrechts, conductor. Century II Concert Hall, Wichita KS. 2 February 1975. See PB147, W7m Boston Symphony Orchestra, Seiji Ozawa, conductor. Symphony Hall, Boston MA. 5 February 1976. See PB148, PB149, PB150. W7n Boston Symphony Orchestra, Seiji Ozawa, conductor. Carnegie Hall, New York NY. 11 February 1976. See PB151, PB152, PB153, PB154. W7o Boston Symphony Orchestra, Seiji Ozawa, conductor. Tanglewood, Lenox MA. 14 August 1976. See PB156. W7p Julliard Orchestra, Stanislaw Skrowaczewski, conductor. Alice Tully Hall, New York NY. 22 January 1982. See PB158. W7q Philadelphia Orchestra, William Smith, conductor. Academy of Music, Philadelphia PA. 4 January 1983. See PB159. W7r Eugene Symphony, William McGlaughlin, conductor. Hult Center for the Performing Arts, Eugene OR. 12 April 1984. See PB160. W7s Florida Orchestra, Irwin Hoffman, conductor. Ruth Eckerd Hall, Tampa FL. 12 December 1984. See PB161. W7t American Composers Orchestra, Paul Dunkel, conductor. Carnegie Hall, New York NY. 27 September 1998. See PB162. W8 Eleven Echoes of Autumn, 1965 (Echoes I) (P66457), 1966. Instrumentation: Violin, Alto Flute, Clarinet, Piano Duration: ca. 16’ Commission: Bowdoin College for the Aeolian Chamber Players I. Eco 1 (Fantastico) II. Eco 2 (languidamente, quasi lontano [hauntingly])

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Page 32 III. Eco 3 (Prestissimo) IV. Eco 4 (Con bravura) V. Eco 5 (Dark, intense) [“…y los arcos rotos donde sufre el tiempo” (“…and the broken arches where time suffers”), quotation from Lorca which is intoned in Eco 5–7] VI. Eco 6 (Dark, intense) VII. Eco 7 (Dark, intense) VIII. Eco 8 (Feroce, violento) IX. Eco 9 (Serenamente, quasi lontano [hauntingly]) X. Eco 10 (Senza misura [gently undulating]) XI. Eco 11 (Adagio; like a prayer) W8a Premiere: Aeolian Chamber Players. Brunswick ME. 10 August 1966. Selected Additional Performances W8b Aeolian Chamber Players. Carnegie Hall, New York NY. 2 December 1966. See PB163 W8c Aeolian Chamber Players. Curtis Hall, Wyncote PA. 19 April 1967. See PB164, PB165. W8d Mills College Performing Group. Mills College, Oakland CA. 29 October 1968. See PB166, PB167. W8e Pierrot Players. Purcell Room, London. 10 October 1968. See PB168, PB169, PB170. W8f Aeolian Chamber Players. Morris Harvey College, Charleston WV. 1 February 1969. See PB171. W8g Aeolian Chamber Players. Music Hall at the University of Colorado at Boulder, Boulder CO. 12 February 1969. See PB172. W8h Contemporary Chamber Players. McDonald Recital Hall, Washington DC. 19 April 1969. See PB173. W8i Aeolian Chamber Players. Carnegie Music Hall, Pittsburgh PA. 3 November 1969. See PB174. W8j Contemporary Chamber Ensemble. Hammam Hall, Houston TX. 22 January 1970. See PB176. W8k John Hawkins, Robert Aitkin, James Campbell and Victor Martin. Edward Johnson Concert Hall, Toronto ON. 14 March 1971. See PB177. W8l Yoko Matsuda, Sheridan Stokes, Richard Stolzman and Ralph Grierson. Bing Theater, Los Angeles CA. 14 February 1972. See PB178, PB179. W8m Aeolian Chamber Players. Whitney Museum, New York NY. 21 March 1972. See PB180, PB181. W8n Louise Elliott, Cathy Lewis, Martin Lass and Robert Constable. Joseph Post Auditorium, Sydney, Australia. 28 May 1976. See PB182. W8o Contemporary Chamber Players. University of Missouri at St. Louis, St. Louis MO. 27 March 1978. See PB183. W8p Washington Music Ensemble. National Gallery of Art, Washington DC. 17 April 1983. See PB184. W8q Da Capo Chamber Players. Merkin Concert Hall, New York NY. 16 November 1987. See PB185. W8r Lontano. St. John’s, England. 18 October 1988. See PB186. W9 Federico’s Little Songs for Children (P67159), 1986.

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Page 33 Instrumentation: Soprano, Flute (Piccolo, Alto Flute, Bass Flute), Harp Duration: ca. 20’ Dedication: for the Jubal Trio Text: from Federico García Lorca’s “Canciones para Niños” (Songs for Children) I. La Señorita del Abanico [Señorita of the Fan] (Vivace, giocosamente) II. La Tarde [Afternoon] (Andantino quasi barcarola) III. Canción Cantada [A Song Sung] (Molto moderato, poco bizzarramente) IV. Caracola [Snail] (Lento, languidamente) V. ¡El Lagarto está Llorando! [The Lizard is Crying!] (Lentamente e lamentoso) VI. Cancioncilla Sevillana [A Little Song from Seville] (Tempo di Habanero; scherzando, un poco buffo) VII. Canción Tonta [Silly Song] (Prestissimo) W9a Premiere: Jubal Trio. Fairmount Park, Philadelphia PA 12 June 1988. See PB187. W10 Five Pieces for Piano (P66464), 1962. Instrumentation: Piano Duration: 8’ Commission: David Surge Dedication: for David Burge I. Quasi improvvisando II. Ruvido, molto energico III. Notturno—sempre pizzicato IV. Ruvido, molto energico V. Senza misura, liberamente W10a Premiere: David Surge. University of Colorado College of Music. Boulder CO. 12 February 1963. Selected Additional Performances W10b David Burge. Recital Hall, Boulder CO. 8 October 1963. See PB188. W10c David Burge. National Gallery of Art, Washington DC. 20 October 1963. See PB189. W10d David Burge. Carnegie Recital Hall, New York NY. 21 October 1963. See PB190. W10e David Burge. Whitworth College, Spokane WA. 8 November 1963. See PB191. W10f Jeanne Kirstein. College Conservatory of Music, Cincinnati OH. 28 March 1973. See PB192. W11 Four Nocturnes (Night Music II) (P66465), 1964. Instrumentation: Violin, Piano Duration: 9’ I. Notturno I (Serenamente)

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Page 34 II. Notturno II (Scorrevole, allegro possibile) III. Notturno III (Contemplative) IV. Notturno IV (Con un sentimento di nostalgia) W11a Premiere: Paul Zukofsky, violin; George Crumb, piano. Baird Hall, Buffalo NY. 3 February 1965. See PB193. Selected Additional Performances W11b Paul Zukofsky, violin; George Crumb, piano. Swarthmore College, Swarthmore PA. 5 February 1965. See PB194. W11c William Stack, violin; George Crumb, piano. Moore College of Art, Philadelphia PA. 18 March 1966. See PB195. W11d Paul Zukofsky, violin; Paul Parmelee, piano. University of Colorado at Boulder, Boulder CO. 1 March 1969. See PB196. W11e Paul Zukofsky, violin; Gilbert Kalish, Piano. American Embassy, London. 3 December 1969. See PB197. W11f Henry Rubin, violin; Stephen Manes, piano. Baird Hall, Buffalo NY. 21 February 1973. W11g 20th Century Consort. Hirshhorn Museum, Washington DC. 18 November 1979. See PB198. W11h Mary Findley, violin; Marjorie Lee, piano. Carnegie Recital Hall, New York NY. 16 June 1983. See PB199. W12 Gnomic Variations (P66905), 1981. Instrumentation: Piano Duration: 25’ Commission: Jeffrey Jacob Dedication: for Jeffrey Jacob W12a Premiere: Jeffrey Jacob, piano. The National Gallery of Art, Washington DC. 12 December 1982. See PB200, PB201, PB202. Selected Additional Performances W12b David Burge, piano. Alice Tully Hall, New York NY. 18 March 1984. See PB204. W12c David Burge, piano. Elder Hall, Adelaide, Australia. 23 May 1984. See PB206. W12d David Burge, piano. National Gallery Theatre, Canberra, Australia. 27 May 1984. See PB207. W12e Jeffrey Jacob, piano. Woodbridge School, East Anglia, England. 22 September 1984. See PB205. W12f Jeffrey Jacob, piano. Wigmore Hall, England. 27 September 1984. See PB205. W13 A Haunted Landscape (for Orchestra) (P67003), 1984. Instrumentation: Flutes (3), Oboes (3), Clarinets (3), Bassoons (3), Horns (4), Trumpets in C (3), Trombones (3), Tuba, Harps (2), Piano (amplified), Timpani, Violin (2), Viola, Cello, Contrabass, Percussion (4) Duration: 18’ Commission: New York Philharmonic Dedication: for Arthur Weisberg and the New York Philharmonic Orchestra

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Page 35 W13a Premiere: The New York Philharmonic, Arthur Weisberg, conductor. Avery Fisher Hall, New York NY. 7 June 1984. See PB210, PB211, PB212, PB213, PB214, PB215, PB216, PB217, PB218, PB219. Selected Additional Performances W13b New York Philharmonic, Arthur Weisberg, conductor. Avery Fisher Hall, New York NY. 7 June 1983. (public rehearsal of incomplete work) See PB209. W13c New York Philharmonic, Zubin Mehta, conductor. Avery Fisher Hall, New York NY. 25–27 April 1985. See PB221. W13d Northeastern Pennsylvania Philharmonic, Hugh Wolff, conductor. Masonic Temple, Scranton PA. 3 May 1985. See PB222. W13e New York Philharmonic, Zubin Mehta, conductor. Royal Festival Hall, London. 30 May 1985. See PB223, PB224, PB225, PB226, PB227, PB230. W13f New York Philharmonic, Zubin Mehta, conductor. La Scala, Italy. June 1985. See PB228, PB229. W13g Temple University Orchestra, Luis Biava, conductor. Alice Tully Hall, New York NY. 24 October 1989. See PB231. W13h Chicago Symphony Orchestra, Michael Morgan, conductor. Orchestra Hall, Chicago IL. 24–25, 27, 29 May 1990. See PB232. W14 An Idyll for the Misbegotten (to be heard from afar, over a lake, on a moonlit evening in August) (P67094/67094a, 1985/1997) Instrumentation: Amplified Flute and Drums (3 players) [for P67094] Instrumentation: Horn and Drums (3 players) [for P67094a] (Horn transcription by Robert G.Patterson) Duration: ca. 15’ Dedication: for Robert Aitken W14a Premiere: Robert Aitken, flute; with percussion. Toronto ON. 16 November 1986. Selected Additional Performances W14b Premiere of Horn transcription: Robert Patterson, horn; with percussion. University of Memphis, Memphis TN. 23 November 1997. W14c Robert Aitken, flute; Maelstrom Percussion Ensemble, percussion. Buffalo NY. 22 April 1987. W15 A Little Suite for Christmas, A. D. 1979 (after Giotto’s Nativity frescoes in the Arena Chapel at Padua) (P66833), 1980. Instrumentation: Piano Duration: 15’ Dedication: for Lambert Orkis I. The Visitation (Poco lento, solenne) II. Berceuse for the Infant Jesu (Adantino, quasi lontano) III. The Sheperds’ Noël (Quasi pastorale) IV. Adoration of the Magi (Semplice) V. Nativity Dance (Vivace; giocoso, esuberante)

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Page 36 VI. Canticle of the Holy Night (Lentamente; misterioso, quasi lontano; flessibile) VII. Carol of the Bells (Giocoso, giubilando; quasi meccanico) W15a Premiere: Lambert Orkis, piano. The Smithsonian Institution, Washington DC. 14 December 1980. See PB233. Selected Additional Performances W15b Lambert Orkis, piano. Baird Auditorium, Washington DC. 21 December 1981. See PB235. W15c Lambert Orkis, piano. Hirshhorn Museum, Washington DC. 10 December 1983. See PB236. W15d Robert Shannon, piano. Carnegie Recital Hall, New York NY. 15 March 1984. See PB237. W15e Lambert Orkis, piano. Kennedy Center, Washington DC. 29 December 1984. See PB238. W16 Lux Aeterna for Five Masked Musicians (P66495), 1971. Instrumentation: Soprano, Bass Flute (and Soprano Recorder), Sitar, Percussion (2 Players) Duration: 15’ Commission: The Philadelphia Composer’s Forum Dedication: for the Children of the Night Text: from the Requiem Mass (Latin) W16a Premiere: Philadelphia Composers’ Forum; Jenneke Barton, mezzo-soprano. Richmond VA. 16 January 1972. See PB239, PB240. Selected Additional Performances W16b Philadelphia Composers’ Forum. Loeb Student Center, New York NY. 16 April 1972. See PB241. W16c Philadelphia Composers’ Forum; Jenneke Barton, mezzo-soprano. Spaulding Auditorium, Dartmouth NH. 1 August 1972. See PB242. W16d Theater Chamber Players; Phyllis Bryn-Julson, mezzo-soprano. Washington Theater Club, Washington DC. 22 January 1973. See PB243, PB244. W16e 20th Century Consort; Janet Steele, soprano. Elizabethan Theater, Washington DC. 9 February 1976. See PB245. W17 Madrigals, Book I (P66458), 1965. Instrumentation: Soprano, Contrabass, Vibraphone Duration: 9’ Commission: Serge Koussevitzky Music Foundation in the Library of Congress Dedication: to the memory of Serge and Natalie Koussevitzky Text: Federico García Lorca I. Verte desnuda es recordar la tierra [To see you naked is to remember the earth] (Vivace, molto ritmico) II. No piensan en la lluvia, y se han dormido [They do not think of the rain, and they’ve fallen asleep] (Cristallino)

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Page 37 III. Los muertos llevan alas de musgo [The dead wear mossy wings] (Lento, osciuro) W17a Premiere: Contemporary Chamber Ensemble, Arthur Weisberg, conductor; Jan DeGaetani, mezzosoprano. The Library of Congress, Washington DC. 11 March 1966. (Books I–II only) See PB246, PB247. Selected Additional Performances (Unless specifically noted all performances are of Madrigals, Books I–IV ) W17b University of Colorado at Boulder, Boulder CO. 18 March 1966. (Book I only) See PB250. W17c Contemporary Chamber Ensemble, Arthur Weisberg, conductor; Jan DeGaetani, mezzo-soprano. Carnegie Recital Hall, New York NY. 11 April 1966. (Books I–II only) See PB248, PB249. W17d Contemporary Group; Elizabeth Suderburg, soprano. University of Washington Student Union Auditorium, Seattle WA. 4 December 1966. (Books I–II only) See PB251. W17e Contemporary Group; Elizabeth Suderburg, soprano. Hub Auditorium, Seattle WA. 6 March 1970. (First performance of Books I–IV) See PB253, PB254. W17f Theater Chamber Players; Phyllis Bryn-Julson, soprano. Washington Theater Club, Washington DC. 14 December 1970. (Books III–IV only) See PB255, PB256. W17g Contemporary Group; Elizabeth Suderburg, soprano. Kane Hall, Seattle WA. 10 November 1971. (Books III–IV only) See PB257. W17h Phyllis Bryn-Julson, soprano; Ronald Barnett, percussion; Sylvia Meyer, harp. American University, Washington DC. 28 February 1972. (Book III only) See PB258. W17i Collage; Joan Heller, soprano. Tanglewood, Lenox MA. 8 August 1972. (Books I–II only) See PB259. W17j Speculum Musicae. New York Cultural Center, New York NY. 8 November 1972. (Book II only) See PB260, PB261. W17k Collage; Joan Heller, soprano. Georgetown University, Washington DC. 9 April 1973. (Book I only) See PB262. W17l Theater Chamber Players; Phyllis Bryn-Julson, soprano. Smithsonian, Washington DC. 27 January 1975. (Books I–II only) See PB263. W17m San Fransisco Contemporary Music Players; Claudia Cummings, soprano. Grapestake Gallery, San Francisco CA. 20 October 1975. See PB264, PB265. W17n Contemporary Chamber Ensemble; Barbara Martin, soprano. City Hall, Hong Kong. 5 March 1976. (Book I only) See PB266, PB267. W17o New York Contemporary Chamber Ensemble, Arthur Weisberg, conductor. Conservatorium, Sydney, Australia. 29 March 1976. See PB269. W17p Lontano, Odaline de la Martinez, conductor; Karen Jensen, soprano. Wigmore Hall, London. 15 June 1981. See PB271. W17q San Diego Museum of Art Chamber Ensemble; Carol Plantamura, soprano. Copley Auditorium, San Diego CA. 5 February 1984. See PB272. W17r Theater Chamber Players; Phyllis Bryn-Julson, soprano. Kennedy Center Terrace Theater, Washington DC. 19 October 1996. (Books I–II only) W18 Madrigals, Book II (P66459), 1965.

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Page 38 Instrumentation: Soprano, Alto Flute (and Flute in C and Piccolo), Percussion (1 Player) Duration: ca. 6’ Commission: Serge Koussevitzky Music Foundation in the Library of Congress Dedication: to the memory of Serge and Natalie Koussevitzky Text: Federico García Lorca I. Bebe el agua tranquila de la canción añeja [Drink the tranquil water of the antique song] (exultantly!) II. La muerte entra y sale de la taverna [Death goes in and out of the tavern] (Very slowly; dark, intense) III. Caballito negro ¿Dónde llevas tu jinete muerto? [Little black horse, where are you taking your dead rider?] (As fast as possible) W18a Premiere: Contemporary Chamber Ensemble, Arthur Weisberg, conductor; Jan DeGaetani, mezzosoprano. The Library of Congress, Washington DC. 11 March 1966. See PB246, PB247. Selected Additional Performances (See listing under Madrigals, Book I) W19 Madrigals, Book III (P66460), 1969. Instrumentation: Soprano, Harp, Percussion (1 Player) Duration: ca. 7’ Dedication: for Elizabeth Suderburg Text: Federico García Lorca I. La noche canta desnuda sobre los puentes de marzo [Night sings naked above the bridges of March] (Allegro molto ritmico; deciso, quasi meccanico) II. Quiero dormir el sueño de las manzanas [I want to sleep the sleep of apples] (Adagio, with great calm) III. Nana, niño, nana del caballo grande que no quiso el agua [Lullaby, child, lullaby of the proud horse who would not drink water] (Slowly, tenderly; with a gentle rocking movement) W19a Premiere: University of Washington Contemporary Group; Elizabeth Suderburg, soprano. Seattle WA. 6 March 1970. See PB253, PB254. Selected Additional Performances (See listing under Madrigals, Book I) W20 Madrigals, Book IV (P66461), 1969. Instrumentation: Soprano, Flute (and Piccolo and Alto Flute), Harp, Contrabass, Percussion (1 Player) Duration: 9’ Dedication: for Elizabeth Suderburg Text: Federico García Lorca I. (¿Por qué nací entre espejos? [Why was I born surrounded by mirrors?] (Moderate [tranquillo])

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Page 39 II. Tu cuerpo, con la sombra violeta de mis manos, era un arcángel de frío [Through my hands violet shadow, your body was an archangel, cold) III. ¡La muerte me está mirando desde las torres de Córdoba! [Death is watching me from the towers of Cordoba!] (Strong, relentless, implacable!) W20a Premiere: University of Washington Contemporary Group; Elizabeth Suderburg, soprano. Seattle WA. 6 March 1970. See PB253, PB254. Selected Additional Performances (See listing under Madrigals, Book I) W21 Makrokosmos, Volume I (Twelve Fantasy-Pieces after the Zodiac for Amplified Piano) (P66539a), 1972. Instrumentation: Amplified Piano Duration: 33’ Dedication: for my friend David Burge Part One I. Primeval Sounds (Genesis I) Cancer [G. R.] (Darkly mysterious) II. Proteus Pisces [W. R. C] (Very fast; whimsical, volatile) III. Pastorale (from the Kingdom of Atlantis, ca. 10,000 B.C.) Taurus [J. B.] (Moderately, with incisive rhythm) IV. Crucifixus [SYMBOL] Capricorn [R. L. F.] (Darkly mysterious) Part Two V. The Phantom Gondolier Scorpio [G. H. C.] (Eerily, with a sense of malignant evil) VI. Night-Spell I Sagittarius [A. W.] (Poised, expectantly) VII. Music of the Shadows (for Aeolian Harp) Libra [P. Z.] (Gracefully, with elastic rhythm) VIII. The Magic Circle of Infinity (Moto Perpetuo) [SYMBOL] Leo [C. D.] (Joyously, like a cosmic clockwork) Part Three IX. The Abyss of Time Virgo [A. S.] (Dark, with a sense of profound mystery) X. Spring-Fire Aries [D. R. B.] (Pertissimo; breathlessly, with élan) XI. Dream Images (Love-Death Music) Gemini [F. G. L.] (Musingly, like the gentle caress of a faintly remembered music) XII. Spiral Galaxy [SYMBOL] Aquarius [B. W.] (Vast, lonely, timeless) W21a Premiere: David Burge, piano. Colorado College, Colorado Springs CO. 8 February 1973. See PB273, PB274, PB279. Selected Additional Performances (Where Makrokosmos, Volume I is performed with Makrokosmos, Volume II they are listed together here, with the notation: Volumes I–II. The listing under Makrokosmos, Volume II additional performances will have the date only and a reference to the entry here. If Volumes I–II are performed as part of a larger concert they are listed under Composite Performances at the end of this chapter.) W21b David Burge, piano. Northwestern University, Evanston IL. 18 February 1973. See PB275, PB276, PB277.

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Page 40 W21c David Burge, piano. Baldwin-Wallace Conservatory, Cleveland OH. 16 May 1973. See PB278. W21d David Burge, piano. Recital Hall, College Park MD. 14 August 1973. See PB280, PB281 W21e David Burge, piano. Foote Music Hall, Denver CO. 24 October 1973. See PB282, PB283. W21f David Burge, piano. Carnegie Recital Hall, New York NY. 5 November 1973. See PB284, PB287, PB289. W21g David Burge, piano. University Museum (University of Pennsylvania), Philadelphia PA. 6 November 1973. See PB285, PB286. W21h David Burge, piano. California State Dominguez Hills, Dominguez Hills CA. 15 November 1973. See PB288. W21i David Burge, piano. Russell Hall, Waterloo IA. 3 May 1974. See PB290. W21j David Burge, piano. Kilbourn Hall, Rochester NY. 7 November 1974. See PB294. W21k David Burge, piano. Miller Auditorium, Wichita KS. 4 February 1975. (Volumes I–II) See PB295, PB296, PB300. W21l David Burge, piano. University of California at Davis, Davis CA. 4 April 1975. (Volumes I–II) See PB297, PB298, PB299. W21m Yvar Mikhashoff, piano. Baird Recital Hall, Buffalo NY. 14 June 1976. (Volumes I–II) See PB301, PB302. W21n Richard Reber, piano. All Faiths Chapel, Manhattan KS. 31 January 1978. See PB304. W21o David Liptak, piano. Hassold Auditorium, Louisville KY. 15 September 1978. See PB305, PB306. W21p Lambert Orkis, piano. Kennedy Center, Washington DC. 4 February 1979. See PB309. W21q Valery Afanassiev, piano. Münchener Herkullessaal, Munich. March 1982. See PB310. W21r Jo Boatright, piano. Clapp Recital Hall, Iowa City IA. 29 March 1993. (Volumes I–II) W22 Makrokosmos, Volume II (Twelve Fantasy-Pieces after the Zodiac for Amplified Piano) (P66539b), 1973. Instrumentation: Amplified Piano Duration: 33’ Dedication: for my friend Robert Miller Part One I. Morning Music (Genesis II) Cancer [J. DeG. W.] (Exuberantly, with primitive energy) II. The Mystic Chord Sagittarius [R. M.] (Adagio molto) III. Rain-Death Variations Pisces [F. C.] (Crystalline, with elegance) IV. Twin Suns (Doppelgänger aus der Ewigkeit) [SYMBOL] Gemini [E. A. C.] (A.Majestic B.Solemn) Part Two V. Ghost-Nocturne: for the Druids of Stonehenge (Night-Spell II) Virgo [A. B.] (Dark, fantasmic, subliminal) VI. Gargoyles Taurus [P. P.] (Marcia grottesca: savagely, with irony) VII. Tora! Tora! Tora! (Cadenza Apocalittica) Scorpio [L. K.] (Dramatic, with great intensity; violent, relentless)

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Page 41 VIII. A Prophecy of Nostradamus [SYMBOL] Aries [H. W.] (Stark, powerful) Part Three IX. Cosmic Wind Libra [S. B.] (Ghostly, shadowy, tremulous) X. Voices from “Corona Borealis” Aquarius [E. M. C.] (Passacaglia: very slowly, with majestic calm) XI. Litany of the Galactic Bells Leo [R. V.] (Jubilant; metallic, incisive, echoing) XII. Agnus Dei [SYMBOL] Capricorn [R. W.] (“Prayer-wheel”—Very slow; like a vision; as if suspended in endless time) W22a Premiere: Robert Miller, piano. Alice Tully Hall, New York NY. 12 November 1974. See PB311, PB312, PB313, PB314. Selected Additional Performances W22b Alan Mandel, piano. Hirshhorn Museum, Washington DC. 15 December 1974. See PB315. W22c David Burge, piano. Houston Fine Arts Center of Colorado Women’s College, Denver CO. 21 January 1975. See PB316. W22- 4 February 1975. (with Volume I, see W21k) W22- 4 April 1975. (with Volume I, see W21l) W22d Stewart Gordon, piano. Phillips Gallery, Washington DC. 25 May 1975. See PB317, PB318. W22e Robert Miller, piano. Oberlin College, Oberlin OH. 27 September 1975. See PB319, PB320. W22f David Burge, piano. Alice Tully Hall, New York NY. 21 March 1976. See PB321. W22g David Burge, piano. Kilbourn Hall, Rochester NY. 10 February 1976. See PB322. W22h Max Lifchitz, piano. Rackham Auditorium, Ann Arbor MI. 15 March 1976. See PB323. W22i David Burge, piano. Cleveland State University, Cleveland OH. 25 April 1976. See PB324. W22- 14 June 1976. (with Volume I, see W21m) W22j Robert Miller, piano. Sprague Hall, New Haven CT. 20 January 1977. See PB325. W22k Robert Miller, piano. Hertz Auditorium, San Francisco CA. 19 May 1978. See PB326. W22l Violet Lam, piano. City Hall Theatre, Hong Kong. 2 February 1979. See PB328 See PB., PB329. W22m David Burge, piano. Pick-Staiger Hall, Evanston IL. 11 February 1979. See PB330. W22n Jeffrey Jacob, piano. Carnegie Recital Hall, New York NY. 27 January 1980. See PB331. W22- 29 March 1993, (with Volume I, see W21r) W23 Mundus Canis ( “A Dog’s World”) (P67891), 1998. Instrumentation: Five Humoresques for Guitar and Percussion (1 Player) Duration: ca. 10’ Commission: David Starobin Dedication: for David Starobin

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Page 42 I. Tammy (Elegently, somewhat freely) II. Fritzi (Furioso) III. Heidel (Languido, un poco misterioso) IV. Emma-Jean (Coquettish; poco animate, grazioso) V. Yoda (Prestissimo possibile) W23a Premiere: David Starobin, Guitar; George Crumb, Percussion. Cannes, France. 20 January 1998. See PB335. Selected Additional Performances W23b David Starobin, guitar; George Crumb, percussion. Manhattan School of Music, New York NY. 1 October 1998. See PB333. W23c David Starobin, guitar; George Crumb, percussion. Mabel Shaw Bridges Hall, Claremont CA. 1 November 1998. See PB334. W23d David Starobin, guitar; George Crumb, percussion. Wigmore Hall, London. 13 December 1999. W23e David Starobin, guitar; George Crumb, percussion. Bank of Ireland Arts Centre, Dublin. 16 December 1999. See PB336. W24 Music for a Summer Evening (Makrokosmos III) (P66590), 1974. Instrumentation: Two Amplified Pianos, Percussion (2 Players) Duration: 40’ Commission: Fromm Music Foundation for Swarthmore College Dedication: to Gilbert Kalish, James Freeman, Raymond DesRoches and Richard Fitz I. Nocturnal Sounds [The Awakening] (Magical, suspenseful) II. Wanderer-Fantasy (Calling, echoing) III. The Advent (Very slow; majestic, like a larger rhythm of nature) IV. Myth (Adagio isoritmico; lonely, bleak) V. Music of the Starry Night (Fantastic, oracular) W24a Premiere: Gilbert Kalish and James Freeman, piano; Raymond DesRoches and Richard Fitz, percussion. Swarthmore College, Swarthmore PA. 30 March 1974. See PB337, PB338. Selected Additional Performances W24b Gilbert Kalish and James Freeman, piano; Raymond DesRoches and Richard Fitz, percussion. Mandel Hall, Chicago IL. 19 April 1974. See PB339, PB340, PB341. W24c Lambert Orkis and Deirdre Irons, piano; Anthony Orlando and Glenn Steele, percussion. Prince Theater, Philadelphia PA. 26 April 1975. See PB343. W24d Richard Grayson and Charles Fierro, piano; Thomas Raney and Kenneth Watson, percussion. Bing Theater, Los Angeles CA. 12 January 1976. See PB345. W24e John Newell and Yvar Mikhashoff, piano; John Boulder and Lynn Harbeld, percussion. SUNY Buffalo, Buffalo NY. 18 June 1976. W24f John Newell and Joseph Kubera, piano; Gregory Ketchum and Thomas Walsh, percussion. Baird Hall, Buffalo NY. 25 October 1976.

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Page 43 W24g Alan Moverman and Brian Israel, piano; Ernest Muzquiz and William Quick, percussion. Crouse College Auditorium, Syracuse NY. 14 November 1976. See PB347. W24h Gilbert Kalish and James Freeman, piano; Raymond DesRoches and Richard Fitz, percussion. 92nd Street YM-YWHA, New York NY. 13 January 1977. See PB348. W24i Gilbert Kalish and James Freeman, piano; Raymond DesRoches and Richard Fitz, percussion. Lang Concert Hall, Swarthmore PA. 9 February 1979. See PB349. W24j Gilbert Kalish and James Freeman, piano; Raymond DesRoches and Richard Fitz, percussion. Library of Congress, Washington DC. 23 February 1979. See PB350, PB351. W24k Xak Bjerken and Miri Yampolsky, piano; Robert Bridge and Robert Paterson, percussion. Cornell Center for Theater Arts, Ithaca NY. 16, 24 October 1998. W24l Steve Gosling and James Winn, piano; Pablo Rieppi and James Baker, percussion. Slee Hall, Buffalo NY. 8 June 2000. See PB354. W25 Night Music I (Belwm-Mills Publishing Corp. 90164), (1963, rev. 1976) Instrumentation: Soprano, Piano (and Celesta), Percussion (2 Players) Duration: ca. 18’ Dedication: for Elizabeth Text: Federico García Lorca Notturno I. (Giocoso, estatico) Notturno II. “Piccola Serenata” (Grazioso) Notturno III. La Luna Asoma [The Moon Rises] (Lirico; fantastico) Notturno IV. (Vivace; molto ritmico) Notturno V. Gacela de la Terrible Precencia [Gacela of the Terrible Presence] (Oscuro; esitante, quasi senza movimento) Notturno VI. “arcarola” (Delicato e tenero) Notturno VII. (Giocoso, estatico) W25a Premiere: Le Centre du Musique; Barbara Blanchard, soprano. Paris, France. 30 January 1964. Selected Additional Performances W25b [Members of] Buffalo Philharmonic Orchestra; Carol Plantamura, soprano. Albright-Knox Art Gallery, Buffalo NY. 29 November 1964. See PB355. W25c [Members of] Buffalo Philharmonic Orchestra; Carol Plantamura, soprano. Carnegie Hall, New York NY. 1 December 1964. See PB356, PB357, PB358. W25d University of Michigan Ensemble; Rosemary Russell, soprano. Rackham Auditorium, Ann Arbor MI. 24 March 1965. See PB359, PB360. W25e Leonard Stein, Piano; Kenneth Watson and Robert Winslow, percussion; Brenda Ferencz, soprano. Bing Center, Los Angeles CA. 7 February 1966. See PB361. W25f George Crumb, piano; Adele Addison, soprano; (percussion not identified). Carnegie Hall, New York NY. 24 May 1968. (“Gacela de la Terrible Presencia” only, part of the Composers and Musicians for Peace “Tribute to Martin Luther King.”) See PB362.

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Page 44 W25g John Hawkins, piano; Guy Lachapelle and Pierre Beluse, percussion; Mary Morrison, soprano. Maisonneuve Theatre, Montreal QE. 30 April 1970. See PB363. W25h James Calabrese, piano; John Boudler and Timothy Leaphart, percussion; Elaine Moise, soprano. Baird Hall, Buffalo NY. 13 February 1976. See PB364. W26 Night of the Four Moons (P66462), 1969. Instrumentation: Alto, Alto Flute (and Piccolo), Banjo, Electric Cello, Percussion (1 Player) Duration: ca. 16’ Commission: Philadelphia Chamber Players Dedication: for the Philadelphia Chamber Players Text: Federico García Lorca Notes: Composed during the Apollo 11 flight (16–24 July 1969) I. La luna está muerta, muerta… [The moon is dead, dead…] (Boldly, with rhythmic élan) II. Cuando sale la luna… [When the moon rises…] (Languidly, with a sense of loneliness) III. Otro Adán oscuro está soñando... [Another obscure Adam dreams…] (Hesitantly, with a sense of mystery) IV. ¡Huye luna, luna, luna!… [Run away moon, moon, moon!…] (Intense, breathlessly!) W26a Premiere: Philadelphia Chamber Players; Anna May Courtney, mezzo-soprano. Springfield Township Building, Springfield PA. 3 April 1970. See PB365. Selected Additional Performances W26b [Members of] Philadelphia Orchestra; Anna May Courtney, soprano. Playhouse in the Park, Philadelphia PA. 12 July 1970. See PB366. W26c Jenneke Barton, mezzo-soprano; George Crumb, banjo; Chris Fenckel, electric cello; Mark Sunkett, percussion. Fleisher Auditorium, Philadelphia PA. 22 November 1970. See PB367. W26d Phyllis Bryn-Julson, soprano; William Montgomery, flute; David Starobin, banjo; Albert Merz, percussion. Washington DC. 31 January 1972. See PB368. W26e Theater Chamber Players. Kennedy Center, Washington DC. 31 August 1972. See PB369. W26f [Members of] San Francisco Symphony; Phyllis Bryn-Julson, soprano. Palace of Fine Arts, San Francisco CA. 4 November 1972. See PB370. W26g Contemporary Chamber Ensemble; Jan DeGaetani, mezzo-soprano. Carnegie Recital Hall, New York NY. 22 April 1974. See PB371, PB372. W26h Contemporary Chamber Ensemble; Barbara Martin, mezzo-soprano. Corbett Auditorium, Cincinnati OH. 20 April 1976. See PB373. W26i Group for Contemporary Music; Susan Belling, soprano. Cooper Union Great Hall, New York NY. 16 April 1979. See PB374. W26j Nash Ensemble. Wigmore Hall, London. 14 June 1987. See PB375. W26k Theater Chamber Players; Phyllis Bryn-Julson, soprano. Terrace Theater, Washington DC. 30 January 1993. See PB376.

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Page 45 W27 Pastoral Drone (P66965), 1982. Instrumentation: Organ Solo Duration: ca. 8’ Commission: American Guild of Organists Dedication: for David Craighead W27a Premiere: David Craighead, organ. San Francisco CA. 27 June 1984. See PB377. W28 Processional (P66991), 1983. Instrumentation: Piano Solo Duration: 12’ Dedication: for Gilbert Kalish W28a Premiere: Gilbert Kalish, piano. Tanglewood, Lennox MA. 26 July 1984. See PB378, PB379. Selected Additional Performances W28b Gilbert Kalish, piano. Town Hall, Toronto ON. 11 December 1984. See PB380. W29 Quest (P67575), 1990, rev. 1994. Instrumentation: Guitar, Soprano Saxophone, Harp, Contrabass, Percussion (2 Players) Duration: ca. 25’ Commission: Albert Augustine, Ltd. Dedication: for David Starobin and Speculum Musicae Refrain 1 (Agitato) I. Dark Paths (Slowly; shadowy, uncannily; very freely) II. Fugitive Sounds (Prestissimo; molto scherzando) Refrain 2 (Agitato, ma delicatissimo) III. Forgotten Dirges (Gravely, with a gentle rocking rhythm) IV. Fugitive Sounds (Animate) Refrain 3 (Agitato) V. Nocturnal (Lentamente) W29a Premiere: Speculum Musicae; David Starobin, guitar. Settlement School, Philadelphia PA. 30 March 1990. Selected Additional Performances W29b Amsterdam, 1989. (as work in progress, two movements only) W29c l’Ensemble Intercontemporain. Salle des Concerts, Paris. 20 December 1997. W30 The Sleeper (P67015), 1984. Instrumentation: Mezzo-Soprano, Piano Duration: ca. 2’ Dedication: for Jan and Gil Text: from Edgar Allan Poe’s “The Sleeper”

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Page 46 W30a Premiere: Jan DeGaetani, mezzo-soprano; Gilbert Kalish, piano. Carnegie Hall, New York NY. 4 December 1984. See PB381. W31 Sonata for Solo Violoncello (P6056), 1955. Instrumentation: Solo Violoncello Duration: 10’ Dedication: To My Mother I. Fantasia (Andante espressivo e con molto rubato) II. Tema pastorale con variazioni (Tema: Grazioso e delicato) III. Toccata (Largo e drammatico) W31a Premiere: Camilla Doppmann, cello. Ann Arbor MI. 15 March 1957. Selected Additional Performances W31b Camilla Heller, cello. Phillips Collection, Washington DC. 14 November 1966. See PB382. W31c Jerome Jelinek, cello. Rackham Auditorium, Ann Arbor MI. 28 October 1971. See PB383. W31d Evelyn Elsing, cello. Carnegie Recital Hall, New York NY. 18 September 1979. See PB384. W31e Yo Yo Ma, cello. Alice Tully Hall, New York NY. 9 December 1979. See PB385. W31f Nancy Green, cello. Wigmore Hall, London. 8 November 1983. See PB386. W31g Yo Yo Ma, cello. Queen Elizabeth Hall, London. 28 June 1985. See PB387. W32 Songs, Drones and Refrains of Death (P66463), 1968. Instrumentation: Baritone, Electric Guitar, Electric Contrabass, Electric Piano (and Electric Harpsichord), Percussion (2 Players) Duration: 30’ Commission: University of Iowa Text: Federico García Lorca Refrain 1 (Primitively, with quasi-mechanical rhythm) I. La Guitarra [The Guitar] (Darkly mysterious) Refrain 2 (Very rhythmic, with irony) II. Casida de las Palomas Oscuras [Casida of the Dark Doves] (Gently sardonic; in a bizarre, fantastic style) Refrain 3 (Fateful, menacing) III. Canción de Jinete, 1860 [Song of the Rider, 1860] (Very fast, breathlessly, with a relentlessly driving rhythm!) Refrain 4 (Pale, ghostly [“Musica lontana”]) IV. Casida del Herido por el Agua [Casida of the Boy Wounded by the Water] (Limpidly, with a gently flowing movement) W32a Premiere: Center for New Music, William Hibbard, conductor; Harold Heap, baritone. Iowa City IA. 29 March 1969. Selected Additional Performances

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Page 47 W32b Ensemble, Dennis Russell Davies, conductor; Richard Frisch, baritone. Alice Tully Hall, New York NY. 23 April 1972. See PB388. W32c Ensemble, Theodore Antoniou, conductor; Spyros Sakkas, baritone. Albright-Knox Art Gallery, Buffalo NY. 31 March 1973. See PB389. W32d Philadelphia Composers’ Forum, Joel Thome, conductor. Corbett Auditorium, Cincinnati OH. 3 April 1973. See PB390. W32e Center of the Creative and Performing Arts at SUNY Buffalo; Spyros Sakkas, baritone. Carnegie Recital Hall, New York NY. 18 April 1973. See PB391. W32f Philadelphia Composers’ Forum. Lisner Auditorium, Washington DC. 4 May 1974. See PB392. W32g Philadelphia Composers’ Forum. Carnegie Recital Hall, New York NY. 5 May 1974. See PB393. W32h Philadelphia Composers’ Forum, Lawrence Weller, baritone. Hertz Hall, San Francisco CA. 13 April 1975. See PB394. W32i Brooklyn Philharmonia, Lukas Foss, conductor; Richard Frisch, baritone. Brooklyn Academy of Music, Brooklyn NY. 28 January 1978. See PB395. W32j Syzygy Ensemble, Ellsworth Milburn, conductor; David Pelton, baritone. Hamman Hall, Houston TX. 7 March 1979. See PB396. W32k Orchestra 2001, James Freeman, conductor. Wagman Theater, Philadelphia PA. 18 March 1993. See PB397. W33 Star-Child (A Parable for Soprano, Antiphonal Children’s Choir, Male Speaking Choir and Bell Ringers, and Large Orchestra) (P66711), 1977. Instrumentation: Soprano, Antiphonal Children’s Voices, Male Speaking Choir and Bell Ringers and Large Orchestra: Flute (4, also Piccolo), Oboe (4, fourth Oboe also English Horn), Clarinet (4), Bassoon (4, fourth Bassoon also Contrabassoon), Horn (6), Trumpet in C (5), Trumpet in D (2), Trombone (3), Tuba, Percussion (8), Organ, Violin (2), Violas, Cellos, Contrabasses Duration: 33’ Commission: Ford Foundation Dedication: for David and Peter Texts: freely adapted from Dies Irae and Massacre of the Innocents (13th Century); John XII–36 (Latin) Notes: Requires two primary and two secondary conductors. W33a Premiere: The New York Philharmonic, Pierre Boulez, conductor I; David Gilbert, conductor II; James Chambers, conductor III; Larry Newland, conductor IV. The Boys’ Choirs of The Little Church Around the Corner and Trinity School, The Bell Ringers of Trinity School, Stuart Gardner, director. The Brooklyn Boys’ Chorus, James McCarthy, director. Irene Gubrud, soprano. Edward Herman, Jr., solo trombone. Avery Fisher Hall, New York NY. 5 May 1977. See PB398, PB399, PB400, PB401, PB402, PB403, PB404, PB405, PB406, PB407, PB408, PB410. Selected Additional Performances W33b Kansas City Philharmonic, Maurice Peress, conductor; Frank Collura, Marc Gottlieb and Leo Shopmaker, assistant conductors; Irene Gubrud, soprano. Music Hall, Kansas City KS. 5 April 1978. See PB412.

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Page 48 W33c Minnesota Orchestra, Stanislaw Skrowaczewski, conductor (with three assistant conductors); Irene Gubrud, soprano; Cynthia Munzer mezzo-soprano; Paul Sperry, tenor; John Seabury, baritone. Orchestra Hall, Minneapolis, MN. 14, 16 March 1979. See PB414, PB415. W33d Philadelphia Orchestra, Richard Wernick, conductor; Mason Jones and Robert Hamilton, assistant conductors; Irene Gubrud, soprano; All-Philadelphia Boys Choir and Men’s Chorale. Academy of Music, Philadelphia PA. 17, 19 May 1979. See PB416, PB417. W33e Philadelphia Orchestra, Richard Wernick, conductor; Mason Jones and Robert Hamilton, assistant conductors; Irene Gubrud, soprano; All-Philadelphia Boys Choir and Men’s Chorale. Carnegie Hall, New York NY. 22 May 1979. See PB418. W33f BBC Symphony Orchestra, Elgar Howarth, conductor (with assistant conductors); Dorothy Dorow, soprano; BBC Singers. Royal Albert Hall, London. 27 July 1979. See PB419, PB420, PB421. W33g Dallas Symphony Orchestra, Eduardo Mata, conductor (with assistant conductors); Irene Gubrud, soprano; John Kitzman, trombone; Texas Boys’ Chorus and Dallas Symphony Orchestra Chorus. Music Hall, Dallas TX. 1–2 February 1980. See PB422, PB423. W33h Orange County Pacific Symphony, Keith Clark, conductor (with assistant conductors); Irene Gubrud, soprano; Miles Anderson, trombone; Los Angeles Master Chorale. Dorothy Chandler Pavilion, Los Angeles CA. 27 February 1983. See PB424. W33i Cincinnati Symphony Orchestra, Michael Gielen, conductor; David Loebel, Mack Richardson and Kimo Furumoto, assistant conductors; Irene Gubrud, soprano; Tony Chipurn, trombone; May Festival Chorus; College Conservatory of Music Chorale; School for the Creative and Performing Arts Children’s Chorus. Music Hall, Cincinnati OH. 18–19 October 1985. See PB425. W33j Polish Radio National Symphony Orchestra. Warsaw, Poland. 23 September 1990. W34 Three Early Songs (1. Night; 2. Let It Be Forgotten; 3. Wind Elegy) (P67111), 1947. Instrumentation: Voice, Piano Duration: ca. 7’ Dedication: for Elizabeth Text: Robert Southey (1); Sara Teasdale (2 and 3) I. Night (Animate, misterioso) II. Let It Be Forgotten (Lentamente, con delicatezza) III. Wind Elegy (Tranquillamente mosso) W34a Premiere: James Bailey, tenor. Charleston WV. circa 1948. Selected Additional Performances W34b Beverly Morgan. Brooklyn Academy of Music, Brooklyn NY. 21 February 1980. See PB427. W35 Variazioni (P66524), 1959.

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Page 49 Instrumentation: Flute (3), Oboe (3), Clarinet (4), Bassoon (3), Horns (4), Trumpet (3), Trombone (3), Tuba, Percussion (5), Harp, Celesta, Mandolin, Violin I (min. 14), Violin II (min. 14), Viola (min. 12), Violoncello (min. 12), Contrabass (min. 10) Duration: 25’ Dedication: An meinen Freunde Rolf Gelewski Note: This work was George Crumb’s dissertation for the degree of Doctor of Musical Arts at the University of Michigan. I. Introduzione e Tema (Lento) II. Pezzo Antifonale: Var. I (Alegretto grazioso) III. Toccata: Var. II (Feroce, violento) IV. Fantasia: Notturno (Lentamente e misterioso) V. Scherzo: Var. III, Trio Estatico: Canone Inversio: Var. IV e Da Capo: Burlesca: Var. V (Molto vivace) VI. Fantasia II: Cadenza (Molto adagio) VII. Ostinato: Var. VI (Allegro drammatico) VIII. Fantasia III: Elegia e Coda: Tema (Lento desolato, con alcuno licenza) W35a Premiere: Cincinnati Symphony Orchestra, Max Rudolf, conductor. University of Cincinnati, Cincinnati OH. 8 May 1965. See PB428, PB429, PB430. Selected Additional Performances W35b Denver Symphony Orchestra, David Burge, conductor. Macky Auditorium, Denver CO. 15 February 1971. See PB431. W35c Philadelphia Orchestra, Eugene Ormandy, conductor. Academy of Music, Philadelphia PA. 25 January 1973. See PB432, PB433. W35d Philadelphia Orchestra, Eugene Ormandy, conductor. Philharmonic Hall, New York NY. 29 January 1973. See PB434. W35e Julliard Orchestra, Sixten Ehrling, conductor. Julliard Theater, New York NY. 9 March 1976. See PB435. W35f National Symphony, Antal Dorati, conductor. Kennedy Center, Washington DC. 20 April 1976. See PB436, PB437. W35g Oakland Symphony, Harold Farberman, conductor. Oakland Paramount, Oakland CA. 7 December 1976. See PB438, PB439. W35h Orchestra at the Colorado Music Festival in Boulder, Glora Bernstein, conductor. Chatauqua Park, Boulder CO. 6 July 1979. See PB440. W35i Leicestershire School Symphony Orchestra, Peter Fletcher, conductor. St. John’s, London. 26 May 1981. See PB441. W35j Cincinnati Symphony Orchestra, Michael Gielen, conductor. Carnegie Hall, New York NY. 14 March 1983. See PB444. W36 Vox Balaenae (for Three Masked Players) (P66466), 1971. Instrumentation: Electric Flute, Electric Cello, Amplified Piano Duration: 18’ Dedication: for the New York Camerata Vocalise […for the beginning of time] (Wildly, fantastic; grotesque) Variations on Sea-Time

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Page 50 Sea Theme (Adagio; solemn, with calm majesty) Archeozoic: Var. I (Timeless, incoate) Proterozoic: Var. II (Darkly mysterious) Paleozoic: Var. III (Flowing) Mesozoic: Var. IV (Exultantly!) Cenozoic: Var. V (Dramatic; with a sense of imminent destiny) Sea-Nocturne […for the end of time] (Adagio) W36a Premiere: The New York Camerata. The Library of Congress, Washington DC. 17 March 1972. See PB447, PB448. Selected Additional Performances W36b Aeolian Chamber Players. Town Hall, New York NY. 10 October 1972. See PB449, PB450, PB451, PB454. W36c New York Camerata. Alverno College Auditorium, Milwaukee WI. 17 November 1972. See PB452. W36d Philadelphia Chamber Soloists. Civic Center, Philadelphia PA. 9 January 1973. See PB453. W36e New York Camerata. Alice Tully Hall, New York NY. 5 April 1973. See PB455. W36f Philadelphia Chamber Soloists. Lamberton Hall, Lehigh PA. October 1973. See PB456. W36g Eberhard Blum, flute; David Gibson, cello; Thorkell Sigurbjornsson, piano. Albright-Knox Art Gallery, Buffalo NY. 27 October 1973. See PB457, PB458. W36h Pablo Casals Trio. University of Colorado Music Hall, Boulder CO. 1 November 1973. See PB459, PB460. W36i Aeolian Chamber Players. Hiram College, Akron OH. 17 April 1974. See PB461. W36j Da Capo Players. Carnegie Recital Hall, New York NY. 27 November 1974. See PB462. W36k Contemporary Music Forum. Washington DC. 17 March 1975. See PB463. W36l Theater Chamber Players. Baird Auditorium, Washington DC. 24 March 1975. See PB464. W36m Samuel Baron, flute; Robert Sylvester, cello; Ruth Laredo, piano. Guggenheim Museum, New York NY. 22 April 1975. See PB465. W36n San Francisco Contemporary Music Players. Grapestake Gallery, San Francisco CA. 27 May 1975. See PB466. W36o Penn Contemporary Players. Hal Prince Theater, Philadelphia PA. 19 November 1975. See PB467. W36p Aeolian Chamber Players. Baltimore Munating, Baltimore MD. 23 November 1975. See PB468. W36q Contemporary Music Forum. Washington Ethical Society, Washington DC. 15 March 1976. See PB469. W36r David Barg, flute; Margaret Ashe, cello; Lambert Orkis, piano. College of Notre Dame Auditorium, Belmont CA. 8 July 1976. See PB470. W36s Stephanie Jutt, flute; Sato Knudsen, cello; Christopher O’Riley, piano. Tanglewood, Lenox MA. 15 August 1976. See PB471. W36t Beverly Radin, flute; Margaret Ashe, cello; Lambert Orkis, piano. College of Notre Dame Auditorium, Belmont CA. 3 August 1978. See PB472.

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Page 51 W36u Carole Morgan, flute; Barbara Haffner, cello; Lambert Orkis, piano. Swarthmore College, Swarthmore PA. 9 November 1978. See PB473. W36v Sue Ann Kahn, flute; Chris Finckel, cello; Andrew Willis, piano. Abraham Goodman House, New York NY. 17 March 1980. See PB474. W36w Sara Sterne, flute; Glenn Garlick, cello; Lambert Orkis, piano. Physicians Memorial Auditorium, Charleston SC. 29 May 1980. See PB475. W36x Sara Sterne, flute; David Finckel, cello; Lambert Orkis, piano. Martha’s Vineyard MA. 26 August 1980. See PB476. W36y Dreamtiger. Round House, London. 16 November 1980. See PB477. W36z Dreamtiger. Queen Elizabeth Hall, London. 21 May 1981. See PB478. W36aa Aeolian Chamber Players. Washington DC. 22 November 1981. See PB479. W36bb Chamber Music Society. Alice Tully Hall, New York NY. 1 April 1983. See PB480. W36cc Marya Martin, flute; Marilyn Thompson, piano; (cello not identified). Veteran’s Auditorium, San Francisco CA. 4 December 1983. See PB481. W36dd Peggy Schechter, flute; Fred Sherry, cello; Bernice Silk, piano. Union Congrational Church, Montclair NJ. 16 December 1983. See PB482. W36ee National Musical Arts. National Academy of Science, Washington DC. 3 November 1984. See PB483. W36ff Rebecca Troxler, flute; Fred Raimi, cello; Randall Love, piano. Fletcher Room, Raleigh NC. 16 February 1985. See PB484. W36gg David Cramer, flute; Keiko Sato, piano; Ohad Bar-David, cello. Academy of Music, Philadelphia PA. 21 January 1996. See PB485. W36hh Camerata Pacifica. Forum Theatre, Los Angeles CA. 23 February 1997. See PB486. W36ii l’Ensemble Intercontemporain. Theatre du Chatelet, Paris. 22 February 1998. W37 Zeitgeist (Six Tableaux for Two Amplified Pianos, Book I) (P67251), 1987. Instrumentation: Two Amplified Pianos Duration: ca. 35’ Commission: Peter Degenhardt and Fuat Kent Dedication: for Peter Degenhardt and Fuat Kent I. Portent (Molto moderate, il ritmo ben marcato) II. Two Harlequins (Vivace, molto capriccioso) III. Monochord (Lentamente, misterioso) IV. Day of the Comet (Prestissimo) V. The Realm of Morpheus [“…the inner eye of dreams”] (Piano 1: Lentamente; quasi lontano, sognante. Piano 2: Adagio; sospeso, misterioso) VI. Reverberations (Molto moderate, il ritmo ben marcato) W37a Premiere: Peter Degenhardt and Fuat Kent, piano. Charles Ives Festival, Duisberg, Germany. 17 January 1988. The work was extensively revised after this first performance. See PB487. Selected Additional Performances W37b Roberto Hidalgo and Marc Peloquin, piano. Merkin Concert Hall, New York NY. 16 December 1999. See PB488.

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Page 52 Composite Performances (Where known, the specific composition performed is indicated immediately after the performers or ensembles. All compositions performed in a given concert are indicated at the end of each entry. These entries for the concert are alphabetical and may not represent the order in which the pieces were performed.) CP1 Penn Players, Richard Wernick, conductor; Jan DeGaetani, soprano; John Deibler, baritone. University Museum, Philadelphia PA. 22 October 1969. (MAD/NM/SD) See PB489, PB490. CP2 Pennsylvania Composers Forum, Joel Thome, conductor; Jan DeGaetani, soprano. Metropolitan Museum of Art, New York NY. 10 November 1970. (MAD/N4M/NM) See PB491, PB492. CP3 Keneth Sarch, violin; Liora Sarch, piano; Sara Fuxon-Heyman, piano; Sergio Feldman, flute; Israel Zohar, clarinet. Tel Aviv Cultural Center of the American Embassy, Tel Aviv, Israel. 18 June 1971. (EL/4N) See PB493. CP4 New York Camerata; Evalyn Reese, soprano. Adirondack Community Church, Lake Placid NY. 16 July 1972. (MAD/VB) See PB494, PB496. CP5 Lyric Trio. (VB) Nexus. (LA/NM) St. Mary’s Church, Niagara-on-the-Lake ON. 5 August 1972. (LA/NM/VB) See PB495. CP6 Park Lane Group, Jane Manning soprano. Queen Elizabeth Hall, London. 6 June 1973. (MAD, Book I/NM) See PB500, PB501, PB502. CP7 Blossom Festival School Ensemble; Barbara Dalheim, soprano. Kent State University, Kent OH. 26 July 1973. (BA/EL/NM) See PB499, PB500. CP8 Oxford String Quartet. (BA) Robert Aitken, flute; Shambhu Das, sitar; Mary Morrison, soprano. (LA) Robert Aitken, flute; Marcel St-Cyr, cello; John Hawkins, piano. (VB) Allen Beard, Robin Engleman and John Wyre, percussion; Melvin Berman, oboe; William Kuinka, musical saw; Erica Goodman, harp. (AV) Walter Hall, Toronto ON. 30 March 1974. (AV/BA/LA/VB) See PB503, PB504. CP9 Gilbert Kalish and James Freeman, piano; Raymond DesRoches and Richard Fitz, percussion. (MSE) Penn Contemporary Players; Jan DeGaetani, soprano. (LA/MAD) Whitney Museum, New York NY. 9 January 1975. (LA/MAD, Book I/MSE) See PB506, PB507, PB508, PB509, PB510. CP10 Helen Ghiradella, piano. (5P) Ted Hoyle, cello. (SV) Julius Hegyi, conductor; Jane Bucci, soprano; Donald Daigle, boy soprano; Rene Prins, oboe; Marjorie Hertzell, harp; Helen Ghiradella, piano; Ernest Horvath, mandolin and musical saw; Richard Albagli, David Bittner and Leonard Tobler, percussion. (AV) Mark Russo, flute; David Gibson, cello; Helen Giradella, piano. (VB). Union College Memorial Chapel, Schenectady NY. 6 February 1976. (AV/5P/SV/VB) See PB511, PB512. CP11 Contemporary Chamber Ensemble; Jan DeGaetani, soprano. (AV/MAD, Books I–II) Linda Quan, violin; Gilbert Kalish, piano. (4N) Town Hall, Adelaide, Australia. 18 March 1976. (AV/MAD, Books III/4N) See PB513. CP12 Martha Hanneman, soprano; Suzanne Thomas, harp; Eberhard Blum, flute; Makato Michii, bass; Donald Knack and Jan Williams, percussion. (MAD) Yvar Mikhashoff and John Newell, piano; John Boulder and Lynn Harbold, percussion. (MSE) Baird Hall, Buffalo NY. 18 June 1976. (MAD/MSE) See PB514. CP13 Contemporary Chamber Ensemble. Lincoln Center Library, New York NY. 22 February 1977. (BA/MAD, Book I) See PB515.

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Page 53 CP14 Aeolian Chamber Players. (DS) Karl Kraber, flute; Lewis Kaplan, violin; Thomas Hill, clarinet; Jacob Maxin, piano. (EL) Barbara Martin, soprano; Raymond DesRoches, percussion; David Starobin, guitar; Barbara Haffner, cello; Karl Kraber, flute. (N4M) Karl Kraber, Flute; Barbara Haffner, cello; Jacob Maxin, piano. (VB) Whitney Museum, New York NY. 30 March 1977. See PB516, PB517, PB518. CP15 Oberlin Chamber Group. Marlene Ralis Rosen, soprano. (MAD/VB) Bob Shannon and Peter Takacs, piano; Michael Rosen and Jerry Solomon, percussion. (MSE) Warner Concert Hall, Oberlin OH. 12 April 1977. (MAD/MSE/VB) See PB519. CP16 Aeolian Chamber Players. Art Institute Pro Musica, Detroit MI. 27 October 1978. (DS/EL/VB) See PB522. CP17 David Etienne, flute; John Raush, percussion; Sandra Kungle, soprano. (MAD, Book II) Nancy Saxon, piano. (M1) Thaddeus Brys, cello. (SV) Louisiana State University, Baton Rouge LA. 7 February 1979. (MAD, Book II/M1/SV) See PB523. CP18 Bruno Maria Brys, piano. (5P) Victoria Villamel, soprano; Karin Fuller, harp; Phil Lightfoot, percussion. (MAD, Book III) Janice Kestler, soprano; Raphael Dannatt, flute; Yiu-Kwong Chung, percussion. (MAD, Books I–II, IV) Frances Fanelli, piano; Cheryl Patton, cello; Lillian Burkhardt, flute. (VB) Philadelphia College of the Performing Arts, Philadelphia PA. 26 February 1979. (5P/MAD/VB) See PB524. CP19 Contemporary Chamber Ensemble, Arthur Weisberg, conductor; Barbara Martin, soprano; Renee Jolles, child soprano. Colorado State University, Fort Collins CO. 5 April 1979. (AV/VB) See PB525. CP20 Alexander Balanescu, violin; Douglas Young, piano. (4N) Dreamtiger. (DS/VB) Rohan de Saram, cello. (SV) Guildhall, London. 16 May 1979. (DS/4N/SV/VB) See PB526. CP21 Paul Hoffman, piano; Gail Cameron, flute; Tim Anderson, cello; Charles Olive, violin; William Henry Curry, conductor. Gallery 409, Baltimore MD. 16 December 1979. (EL/4N/N4M/VB) See PB527, PB528. CP22 Voices of Change; Linda Anderson Beer, soprano (MAD, Book III only); Christine Hamilton Smith, soprano (AV only); Marion Davies, cello. (SV) Caruth Auditorium, Dallas TX. 28 January 1980. (AV/EL/MAD, Book III/SV) See PB529. CP23 Aki Takahashi, piano. (M1) Yvar Mikhashoff, piano. (M2) Frieda Manes and Stephen Manes, piano. (CM) Baird Hall, Buffalo NY. 12 June 1980. (CM/M1/M2/MSE) See PB530. CP24 Boston Musica Viva, Richard Pittman, conductor. Sanders Theater, Cambridge MA. 3 October 1980. (AV/EL/4N/SD/VB) See PB531, PB532. CP25 Group for New Music, David Bloch, conductor; Emilie Berendson, mezzo-soprano; Wendy EislerKashi, flute; Shmuel Achieser, clarinet; Yair Kless, violin; David Bloch, piano; Don Goodman, electronics; Avi Jacobson, banjo; Uri Vardi, cello; Eidad Shiloah, percussion; Bart Berman, piano; Sara FuxonHeyman, piano. Tel Aviv Museum, Tel Aviv, Israel. 11 November 1980. (CM/EL/4N/N4M/MAD, Book II) See PB533, PB534. CP26 New Music Consort; Madeleine Shapiro, cello; Claire Heldrich, percussion; Susan Belling, soprano; Rachel Rudich, flute; David Starobin, banjo; Elizabeth DiFelice and Julie Lustman, piano; William Trigg and Joseph Grable, percussion. Symphony Space, New York NY. 28 June 1983. (MSE/N4M) See PB535.

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Page 54 CP27 Cheryl Seltzer, piano; Sheila Schonbrun, soprano. (AP) Continuum. (LA) Marilyn Gibson, violin; Nadine Asin, flute; David Kraukauer, clarinet; Joel Sachs, piano. (EL) Joel Sachs and Cheryl Seltzer, piano. (CM) Alice Tully Hall, New York NY. 4 February 1984. (AP/CM/EL/LA) See PB536. CP28 George Macero, cello. (SV) Thomas Baker, piano; Neva Pilgrim, soprano. (AP) Grouse College Auditorium, Syracuse NY. 6 March 1984. (AP/SV) See PB537. CP29 Western Australia String Quartet. (BA) Paul Wright, violin; Wendy Clarke, flute; Philip Tomatora, clarinet; Stuart Hille, piano. (EL) Roger Smalley, piano. (M1) Octagon Theatre, Perth, Australia. 23 July 1984. See PB539. CP30 Operaworks, David C. Leighton, conductor; Katherine Johnson, soprano. Larry Richardson Dance Gallery, New York NY. 1 October 1984. (AV/N4M/VB) See PB540, PB541 CP31 Aurora Contemporary Ensemble; Gloria Bolivar, piano; Dale Ludwig, flute; Lowell Adams, cello; Jean Crossman, soprano. University of South Florida Fine Arts Auditorium, Tampa FL. 17 January 1985. (5P/MAD, Book II/SV/VB) See PB542. CP32 Gilbert Kalish, piano. Schoenberg Institute, Los Angeles CA. 20 February 1985. (GV/P) See PB543. CP33 Carol Rosenblith, soprano; David Hagen, piano; David Wells, cello; Sue Ann Kahn, flute; John Varineau, clarinet; Diane Bucchianeri, cello; Mark Goodman, piano; Paul Orgel, piano; Eric Rosenblith, violin. Yellow Barn, Brattleboro VT. 26–27 July 1985. (AP/EL/4N/SV/VB) See PB544. CP34 Premiere Dance Theatre, Toronto ON. 16 November 1986. (ID/MSE) See PB545. CP35 Julia Bogorad, flute; Elsa Verdehr, clarinet; Gregory Fulkerson, violin; Sara Rothenberg, Robert Shannon and Sue Grace, piano; David Hagedorn, Gabrielle Dionne, Richard Brown and Michael Rosen, percussion. Grand Teton Music Festival, Jackson Hole WY. 5 August 1987. (EL/HL/ID/MSE) See PB546. CP36 Nash Ensemble, Lionel Friend, conductor. Tippett Centre, Bath, England. July 1988. (ID/MSE/N4M) See PB547. CP37 Chamber Concerts Canada Ensemble. (AV) Stephen Manes and Freda Manes, piano. (Z) Buffalo NY. 11 April 1989. (AV/Z) CP38 Aeolian Chamber Players; Emma Tahmisian, piano; Barbara Ann Martin, mezzo-soprano; Laura Gilbert, flute; William Matthews, banjo; Daniel Druckman and Jefrey Milarsky, percussion. Symphony Space, New York NY. 24 October 1989. (DS/N4M/VB/Z) See PB548. CP39 Speculum Musicae. Settlement School, Philadelphia PA. 30 March 1990. (Q/SD) See PB549. CP40 Jo Boatright, piano. (M2) Voices of Change. (Q/MAD, Books I-II) Caruth Auditorium, Dallas TX. 4 May 1992. (MAD, Books I–II/M2/Q) See PB551. CP41 Manitoba Chamber Orchestra, Simon Streatfield, conductor; Therese Costes, soprano; Frederick Liessens, Robert Gardner, Greg Hodgson, percussion; Martha Durkin, flute. Westminster Church, Winnipeg MB. 27 January 1993. (AV/ID/MAD) See PB552. CP42 Colorado String Quartet. (BA) Charles Abramovic, piano. (GV). Speculum Musicae. (Q) Rock Hall, Philadelphia PA. 1 April 1995. (BA/GV/Q) See PB554. CP43 Orchestra 2001, James Freeman, conductor; Barbara Ann Martin, soprano. Lang Concert Hall, Swarthmore PA. 28 October 1995. (AV/N4M) See PB555.

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Page 55 CP44 Loretta Robinson, soprano; Melinda Green, percussion; Paul Robinson, banjo; Allison Edberg, violin; William Conable, cello; Rebecca Johnson, piano; Katherine Borst Jones, piccolo; Michael Bump, idiophone; Gary Lewis, conductor. Weigel Auditorium, Columbus OH. 21 February 1996. (DS/MAD, Book I/N4M) See PB556. CP45 Magellan String Quartet. (BA) Sequiter Chamber Orchestra, Paul Hostetter, conductor; Mary Nessinger, soprano; David Nierenberg, boy soprano. (AV/FED) Miller Theater, New York NY. 24 October 1998. (AV/BA/FED) CP46 Carolyn True, piano; Linda McNeil, soprano. (AP) Ertan Torgul, violin; Karen Stiles, violin; Ted Allred, viola; David Mollenauer, cello. (BA) Carolyn True, piano; Stephanie Key, clarinet; Martha Fabrique, flute. (EL) Ruth Taylor Concert Hall, San Antonio TX. 19 January 1999. (AP/BA/EL) See PB558. CP47 Orchestra 2001, James Freeman, conductor. (LS/N4M) Champ d’Action. (AV/Q) Huddersfield, England. January 1999. (AV/LS/N4M/Q) CP48 Orchestra 2001, James Freeman, conductor. Lang Concert Hall, Swarthmore PA. 23 October 1999. (MC/N4M/Q) See PB560. CP49 Margaret Leng Tan, piano. Kennedy Center, Washington DC. 18–19 December 1999. (LS/M1) See PB563. CP50 Orchestra 2001, James Freeman, conductor; Michael Strutt, guitar. (Q) Robert Silverman, piano. (M1) Recital Hall, University of British Columbia. 15 January 2000. (M1/Q) CP51 Klung and Noamnesia; Barbara Ann Martin, soprano. Museum of Contemporary Art, Chicago IL. 24 March 2000 (MAD, Book I/MC/MSE/N4M) See PB562, PB563. CP52 Robert Patterson, French horn. (ID) David Starobin, Guitar; George Crumb, percussion. (MC) Quatro Mani, piano; Atlantis Percussion Duo, percussion. (MSE) Wertheim Center, Miami FL. 3 November 2000. (ID/MC/MSE) See PB564. Juvenilia Two Duos for Flute and Clarinet (1944?) Four Pieces for Violin and Piano (1945) Four Songs for Voice, Clarinet and Piano [on various English texts] (1945?) Sonata for Piano (1945) Poem for Orchestra (1946) Seven Songs for Voice and Piano [on various English texts] (1946) Trio for Violin, Cello, and Piano (1946) Gethsemane for Small Orchestra (1947) Prelude and Toccata for Piano (1947) Alleluja for A Cappella Chorus (1948) Student Works Sonata for Violin and Piano (1949) A Cycle of Greek Lyrics (5 Songs) for Voice and Piano (1950?) Prelude and Toccata for Orchestra (1951) Three Pieces for Piano (1951) String Trio (1952) Three Pastoral Pieces for Oboe and Piano (1952) Sonata for Viola and Piano (1953)

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Page 56 String Quartet (1954) Diptych for Orchestra (1955)

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Page 57 WRITINGS BY CRUMB C1 “Peter Westergaard: Variations for Six Players. ” Perspectives of New Music 3 no. 2 (Spring/Summer 1965): 152–159. Crumb’s only published analytical essay in which he examines the structure of the hexachords and the juxtapositions of timbre in Westergaard’s Variations. C2 [Liner notes]. In Ancient Voices of Children (album), Nonesuch H-71255, 1971. See D1. Crumb notes the original impulse that led him to compose Ancient Voices of Children, in this case the poetic words of Lorca. Crumb also discusses the notion of ‘duende’ and some vocal and instrumental details of the work. Reprinted in Ancient Voices of Children (score). New York: C.F.Peters Corporation. See W1. C3 [Program note]. In Vox Balaenae (score). New York: C.F.Peters Corporation, 1971. See W36. Crumb notes the inspiration for the piece in this predominantly musically instructional note. Also printed in the score in German, as “Bemerkungen Zur Aufführungspraxis.” Translated by Kurt Michaelis. C4 [Liner Notes]. In Black Angels (album), CRI SD 283, 1972. See D10. Brief note about the structure, symbolism and instrumentation of the composition. Reprinted in Black Angels (score). New York: C.F.Peters Corporation. See W3. Also reprinted as “Black Angels.” Contemporary Music Newsletter 6 no. 4 (September/October 1972): 1–2. C5 [Program note]. In Makrokosmos, Volume I (score). New York: C.F. Peters Corporation, 1972. See W21. A note regarding the origin of the work, the pianist David Burge, the composers Debussy and Bartók and some of the source concepts for the piece. Also printed in the score in German, as “Vorbemerkung.” Translated by Kurt Michaelis.

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Page 58 C6 [Liner notes]. In Songs, Drones and Refrains of Death (album). Desto DC 7155, 1973. See D149. Liner notes about the evolution of this composition, which was in process between 1962 and 1968. Crumb also discusses the relationship between Lorca’s poetry and his compositional choices. C7 [Liner notes]. In Music for a Summer Evening (Makrokosmos III) (album). Nonesuch H-71311, 1975. See D108. Liner notes about the composition and structure of the work. “The musical fabric of Summer Evening results largely from the elaboration of tiny cells into a sort of mosaic.” C8 [Program note]. In Star-Child (score). New York: C.F.Peters Corporation , 1977. See W33. Note concerning the composition and orchestration of this work. The programmatic elements are also discussed. Also printed in the score in German, as “Vorbemerkung.” Translated by Kurt Michaelis. C9 “Extension Through Time, Space.” Korea Newsreview, 20 October 1979, p. 18–19. Crumb discusses the extension of contemporary musical culture along vertical (temporal) and horizontal (cultural, geographic) lines. Mention is also made of new instrumental and vocal idioms, as well as the possible return of the idea of music as a reflection of nature. C10 [Program note]. In Celestial Mechanics (Makrokosmos IV) (score). C.F.Peters Corporation, 1979. See W4. Brief note about the history and influences of the work. Also printed in the score in German, as “Vorbemerkung.” Translated by Kurt Michaelis. C11 “Music: Does It Have a Future?” Kenyan Review 2 no. 3 (Summer 1980): 115–122. An extensive essay on currents in contemporary music. Crumb notes the increased access composers have to music of the past, as well as a wide selection of world music via publication and recordings. There are also ruminations on electronic music, developments in instrumental and vocal idioms and rhythm. Crumb discusses certain aspects of Bartók’s influence, problems of form, use of microtones and the relationship of music to nature. Crumb ends by stating his optimism on the future of music. “My own feeling is that music can never cease evolving: it will continually reinvent the world in its own terms.” Reprinted, slightly revised, in George Crumb: Profile of a Composer, edited by Don Gillespie, 16–19. New York: C.F.Peters Corporation, 1986. See B306. C12 “The Composer Between Man and Music: George Crumb.” Interface 9 no. 3–4 (December 1980): 151. Crumb briefly notes what he believes to be three “currents” in contemporary music: the heritage of traditional western music, the classical 20th century

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Page 59 masters, and non-western music. Crumb feels his music to be a “synthesis” of the aforementioned currents. C13 [Program note]. In Pastoral Drone (score). New York: C.F.Peters Corporation, 1982. See W27. Brief note regarding the commission and structure of the composition. Also printed in the score in German, as “Anmerkungen Zum Programm.” Translated by Kurt Michaelis. C14 [Program note]. In The Sleeper (score). New York: C.F.Peters Corporation, 1984. See W30. Brief note on the text and textures of this composition. Also printed in the score in German, as “Vorbemerkung.” Translated by Kurt Michaelis. C15 [Program note]. In An Idyll for the Misbegotten (score). New York: C. F.Peters Corporation, 1985. See W14. A brief note about the composition by Crumb who feels that, “mankind has become ever more ‘illegitimate’ in the natural world of the plants and animals.” Also printed in the score in German, as “Anmerkungen Zum Program.” Translated by Kurt Michaelis. C16 [Program note]. In Federico’s Little Songs for Children (score). New York: C.F.Peters Corporation, 1986. See W9. A note about the origins of the composition and the Lorca poems that inspired it. Also printed in the score in German, as “Anmerkungen Zum Programm.” Translated by Kurt Michaelis. C17 [Program note]. In Zeitgeist (score). New York: C.F.Peters Corporation, 1987. See W37. Note regarding the compositional and performance techniques with comments on each movement of this work. Also printed in the score in German, as “Anmerkungen Zum Programm.” Translated by Kurt Michaelis. C18 “Sound Is a Beautiful Thing.” Finnish Music Quarterly 2 (1990): 28–30. Crumb discusses his process of composition including: his initial conception, his struggle with the proper form, his reaction to the piece in performance. Crumb also notes his feelings on sources for music and the interaction between “intellectual currencies”, nature and music. C19 [Program note]. In Easter Dawning (score). New York: C.F.Peters Corporation, 1992. See W6. Brief note about the commissioning of the work and its choice of instrument, the carillon. Also printed in the score in German, as “Programmnotiz.” Translated by Kurt Michaelis. C20 [Program note]. In Quest (score). New York: C.F.Peters Corporation, 1994. See W29.

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Page 60 Brief note on the commission, poetic basis and revision of this composition. Also printed in the score in German, as “Programmnotiz.” Translated by Kurt Michaelis. C21 “A Note on the Horn Version of An Idyll for the Misbegotten.” [Program note]. In An Idyll for the Misbegotten [horn transcription] (score). New York: C.F.Peters Corporation, 1997. See W14. Brief note elucidating the origin of the horn transcription done by Robert Patterson. Also printed in the score in German, as “Eine Bemerkung zu der Fassung für Horn von An Idyll for the Misbegotten” Translated by Kurt Michaelis. C22 “Remembering Ross Lee Finney.” 20th Century Music 4 no. 4 (1997): 9. A remembrance of Crumb’s teacher from the University of Michigan, Ross Lee Finney. Crumb mentions Finney’s insistence on clear notation and the occasions on which he exposed his students to contemporary composition and composers from Europe. C23 [Program note]. In Mundus Canis (“A Dog’s World”) (score). New York: C.F.Peters Corporation, 1998. A note with biographic information on the five Crumb family canines who are the inspiration for this work: Tammy, Fritzi, Heidel, Emma-Jean and Yoda. Also printed in the score in German, as “Programmhinweise.” Translated by Kurt Michaelis.

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Page 61 INTERVIEWS I1 Liebman, Stuart. “Who is George Crumb and Why is He Telling All Those Stories?” Boston Phoenix (12 November 1974): 32–33, 36. Crumb discusses his training, being a student of Ross Lee Finney, the theatricality in his compositions and his use of quotations in his music. Crumb also talks about his use of Lorca poems, his relationship with record labels and musicians who perform his works. I2 Hume, Paul. “Interview With George Crumb (video).” Wichita State University, 3 February 1975. Hume questions Crumb about the origins and extra-musical aspects of Echoes of Time and the River, Crumb’s creative process in regard to Ancient Voices of Children, the pictorial designs of Crumb’s scores, Lorca, orchestral writing, teaching composition, the difficulty of his techniques for piano, his performance directives and his concentration on composing one work at a time. 28 minutes in length. It is available for viewing at the Media Resources Center of Wichita State University. I3 Neff, R.Bretton. “Crumb—Space-Music Collision.” Sunflower (Wichita State University), 3 February 1975, p. 5. Brief interview in which Crumb answers questions about recordings of his compositions, sources for his titles and which composition is his favorite (Songs, Drones and Refrains of Death). I4 Draganoiu, Iaon. “Cu George Crumb Despre Muzica Americana Contemporana.” Tribuna (Romania), 1975. Interview in Romanian. George Crumb Scrapbook p. 199. I5 Dutkiewicz, Andrzej. “George Crumb w Eastman School of Music.” Ruch Muzyczny (Warsaw) 20 no. 10 (May 1976): 4–7. An interview, published in Polish, included as a sidebar to B146.

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Page 62 I6 Risenhoover, Morris and Robert T.Blackburn. “George Crumb.” In Artists as Professors: Conversations with Musicians, Painters, Sculptors, 44–52. Chicago: University of Illinois Press, 1976. Crumb discusses his notion of music as a language in and of itself, his feelings towards teaching and the proper balance, for him, between teaching and composing. I7 Alcaraz, José Antonio. “Un Dialogo: George Crumb con José Antonio Alcaraz.” In George Crumb Entrivista y Comentarios. Mexico City: Ediciones de la Biblioteca Benjamin Franklin, 1977. Interview, published in Spanish, conducted 27 May 1976 in Media, PA. I8 Potter, Keith. “New Music.” Classical Music & Album Reviews (25 November 1978): 10. A brief interview in which Crumb talks about his relationship to contemporary music, as well as the music of the past. I9 Shuffett, Robert Vernon. In “The Music, 1971–1975, of George Crumb: A Style Analysis.” Ph.D. diss., Peabody Institute of the Johns Hopkins University, 1979. See B225. This dissertation contains 25 interviews, ranging from 23 July 1976 to 4 December 1978. This represents the largest trove of interviews, both in terms of quantity and the wide range of subjects covered. The topics discussed in each interview are briefly covered below: 23 July 1976: educational background, twelve-tone system, evolution as a composer, static music, influence of contemporary music, electronic music, economic prospects of composing, Crumb’s background with the piano. 30 August 1976: pitfalls of theorizing, notation, astrology, appearance of printed music, reoccurrence of pitch groupings, writing an opera. 6 November 1976: initial conception, musical training, influence of popular music. 27 November 1976: influence of Bartók’s Sonata for Two Pianos and Percussion on Music for a Summer Evening, aspects of time, cyclical design, numerology. 18 January 1977: influence of Messiaen, analytical observations, Dream Sequence, use of phonetic units. 7 April 1977: comprehension of text in vocal works, conducting or performing his own works, germinal idea of a piece, use of theatrics, contrast between live performance and recordings. 14 April 1977: freedom to utilize elements from diverse stylistic sources, Fulbright scholarship, writing a film score, knowledge of foreign languages, use of whistling, perfect pitch. 29 April 1977: work of Xenakis, performance directives, polemics amongst composers, Elliott Carter, boyhood experiences. 20 May 1977: role of religion, Ligeti, Music for a Summer Evening, music in West Virginia, Boulez, ordering of a piece, Hindemith, Mahler, teaching positions. 10 June 1977: titles in works, Ives, use of effects in Vox Balaenae, stylistic diversity between works, success as a composer, knowledge derived from

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Page 63 scores, ranking of composers, teaching at University of Pennsylvania, Cage, idiomatic notation, opera. 19 July 1977: total serialism, analytical subtleties, music in the style of Beethoven as derivative, indeterminacy in Echoes of Time and the River, favorite traditional pieces, published by Peters, Robert Schumann, Rachmaninoff quotation in Makrokosmos I. Reprinted in I11. 5 August 1977: reaching a judgement on a piece of music, output of contemporary composers, influence of the sounds of nature, complex analysis, setting of foreign language texts, tactile sense in composition, Ravel, Stockhausen. 27 August 1977: Webern’s Piano Variations, visual aspects of musical notation related to quality, ‘mosaic design’ of Music for a Summer Evening, levels of construction, cosmic drama, spiritual aspect of music, art music and popular music, Samuel Barber, listening to music with or without score, compositional maturity, dimensions of timbre, importance of clarity, revision of compositions, orchestration. 10 September 1977: value of art music to society, programmatic ideas, Black Angels and the Vietnam War, lighting effects, jazz, amplification, improvisation, Night Music I revised to take improvised passages out, extra-musical influences, future of serious music, ASCAP and BMI, innovation. 26 September 1977: Liszt, movement by performers, use of space in compositions, comprehension of texts in vocal pieces, self-education of composers, Handel, Bach, use of chamber ensemble, Wagner. 25 October 1977: use of musical quotations, underrated composers, non-Western music, student works, live performance, audience reactions. 16 November 1977: symmetrical ideas, harmonic rhythm, use of damper pedal, electronic compositions, turnover of the row in twelve-tone music, tonality in compositions, microtonal resources, use of the organ, dynamic balance in music, recent harmonic practices, stylistic instability, writing about music, liner notes. 3 February 1978: musical avant-garde, neglected instruments, electric guitar, The Afternoon of a Faun and the suspension of time, use of symmetry in the twentieth century, non-evolution of music, Josquin, nature of music, stylistic stability, Gebrauchamusik, contemporary music criticism, rhythmic modulation. 18 March 1978: definitive recorded performances, musicology and its role in determining standards of performance, Alban Berg, absolute pitch, unity from inversion, retrogression and retrograde inversion, artistic sincerity, expressive ability of music, composers’ knowledge outside the field of music, commercial music, role of the subconscious, atonality, importance of pitch, compositional technique. 12 June 1978: Wozzeck, neo-classicism, isolation of composers, unconventional timbre and instrument forces. 17 July 1978: Lorca, music for television, Dies Irae, John Cage, philosophical ideas behind compositions, subject matter of compositions, poetry, freedom of performers, nationalistic music, overemphasis of counterpoint, importance of theory for performer, most valuable part of musical education, frame of mind before a first performance. 5 August 1978: Ravel’s Bolero, dynamics in music, vocal music in translation, alteration of instrumental indications by the performer, performance difficulties in the different Makrokosmos works, on commissions, tendency to write in sets,

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Page 64 multiphonics on woodwinds, relative importance of the beginning and end of compositions, politics, the journal Perspectives of New Music, psychological curve of music, metaphysical implications of music, role of mathematics in music, viability of standard forms, Earl Brown, nineteenth century program music, composers’ personality in composition, slowness of contemporary music. 5 September 1978: value of form analysis, musicology, four-part writing, influence of non-musical events on composition, listening to records, harmonic possibilities. 16 November 1978: prodigies, source of musical talent, need for clarity, speculation on future views of twentieth-century music, technical training for a composer, use of other composers as models, decline of art music, innovation, emphasis on timbre, Debussy’s treatment of form, tension and climax, esoteric devices inaudible to audiences. 4 December 1978: role of intuition, Nadia Boulanger, recognition of historical significance by a composer, Scriabin, feelings toward a composition after completion and after performance, role of scales in twentieth-century music, regular hours for composition, musical unity from isorhythmic construction. I10 Redmond, Michael. “A Composer Talks About His Work.” Star-Ledger (Newark, NJ), 30 March 1980. Crumb discusses the history of the “music of the spheres” and notes that in the same sense his music may be taken to be “metaphysical”. Crumb also notes that, “the U.S. situation now is more favorable than the stylistically purist approach, after World War II.” Reflecting on a certain amount of backlash Crumb notes, “pay no mind to the critics…no one ever put up a monument to a critic.” I11 Shuffett, Robert V. “Interviews with George Crumb.” Composer 10–11 (1980): 29–42. Two sizable interviews, the first conducted on 19 July 1977 focusing on Crumb’s feelings about inspiration, analytical craft and improvisation in the process of composing. The second interview, conducted 11 June 1979, covers originality of style in composition, the mystical element in Crumb’s works, serial music and Crumb answers some of Shuffett’s questions on music history. The interview from 19 July 1977 was first included in I9. I12 “O Mais Importante é a música, que Transcende a Qualquer Movimento.” Globo (Rio de Janeiro), 16 October 1982, p. 29. Interview published in Portuguese. I13 Gagne, Cole and Tracy Caras. “George Crumb.” In Soundpieces: Interviews with American Composers, 117–130. Metuchen: The Scarecrow Press, Inc., 1982. Crumb talks about his student compositions and the sound qualities that he heard while growing up in West Virginia (including music played by his family, the folk instruments common in the community and the sounds of nature). Crumb also comments on the difference in theatricality between live and recorded performances.

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Page 65 I14 Plush, Vincent. Oral History Collection, Yale School of Music, Interview no. 148 a-e, 10 October 1983. Interview held on three cassettes (five sides, ‘a’ to ‘e’) with a 79 page transcript available. Crumb discusses his heritage and family history, his early musical influences, academic career, writing Five Pieces for Piano for David Burge, his lack of interest in electronic or tape music, his time as a creative associate at SUNY Buffalo, Jan DeGaetani, Black Angels, Artists for Peace, his teaching career, and analytical approaches to new music. I15 Varga, Balint Andras. “Three Questions on Music.” New Hungarian Quarterly 25 no. 93 (Spring 1984): 197–202. Various composers answer Varga’s trio of questions: has a piece by another composer radically changed their style? What is the impact of sounds from the outside world on their compositions? Where is the line drawn between personal style and self-repetition? Crumb talks about the indirect influences of such composers as Debussy, Bartók and Webern in response to the first question. In response to the second, he discusses the importance of the acoustic of the Appalachian valley where he grew up which was, “a reverberant, an echoing acoustic.” Finally, Crumb states that he feels, “one cannot re-invent music with each new work…there are simply some things which are part of one’s personality.” I16 Grimes, Ev. Oral History Collection, Yale School of Music, 16 May 1984, pp. 206–214. Interview held as part of a larger volume of interviews by Grimes. Crumb is asked about music as language, the emotive power of music on the listener; new music and its relationship with the audience, his education, the artist’s obligation to do the best work possible, the value of music and its application to other fields, visual aspects of music. Crumb concludes, “I know of no culture that has no music.” I17 Britton, David. “Words to Inspire…” West Australian (Perth), 16 July 1984. Brief interview that touches on Crumb’s associations with Lorca, as well as the influence of Debussy and Japanese and Chinese music on his compositions. I18 Grimes, Ev. “Conversations with American Composers: George Crumb.” Music Clubs Magazine 66 no. 2 (Winter 1986): 37–39. An interview which touches on the tension between the emotional and analytic aspects of music, as well as the role of schools in exposing their students to music. Crumb notes, “I personally would not separate the new music from the old music…to me there’s really only one music.” I19 Shuffett, Robert. “Interview: Crumb/Shuffett.” In George Crumb: Profile of a Composer, 34–37. New York: C.F.Peters Corporation, 1986. The discussion covers Crumb’s early musical training, his initial attempts at composition, the genesis of a musical work, die process of composition, finding

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Page 66 his own style, spatial dimensions in music, instrumental effects, notation, scores for films and the state of music in the 20th century. I20 Takenouchi, Aleksei. “Interview: Crumb/Takenouchi (April 14, 1986 Media, Pennsylvania).” In “Numbers and Proportions in George Crumb’s Solo Piano Compositions.” Ph.D. diss., Northwestern University, 1987. See B330. Crumb comments upon his music training, the evolution of his conception of musical color, the influence of other composers, Lorca, his social philosophy, electronic music, live performances, extended piano techniques, the setting of texts, the relationship between composer and performer, and the process of composition. I21 Strickland, Edward. “Hauntings and Broken Idylls: An Interview with George Crumb.” Fanfare 12 no. 2 (November/December 1988): 452–462. Crumb discusses his early influences, his exposure to different sounds in West Virginia, listening to a recording versus reading a score, his relationship with nature, his thoughts on religion, his relation to reviews of his works, and serialism. I22 Dufallo, Richard. “George Crumb.” In Trackings, 87–98. New York: Oxford University Press, 1989. An interview conducted 19 May 1986 in which Crumb discusses chance music, serialism, visual symbolism in his scores, extended techniques for piano, Jan DeGaetani, the reaction of professional musicians to some of Crumb’s extramusical demands, Lorca, and his feelings about a variety of contemporary composers including Stockhousen, Elliott Carter, Max Davies and Jake Druckman. I23 Deviney, Chris. “Focus on Performance: Interview with George Crumb.” Percussive Notes 28 no. 4 (1990): 61–64. Crumb discusses his contact with various percussionists, how he composes for percussion, including attempting some of the sounds out himself and aspects of Idyll for the Misbegotten. I24 Michelsen, Morten. “Tiden og den Klingende Verden.” Dansk Musiktidsskrift (Copenhagen) 66 no. 7 (1991/1992): 236–240. Interview published in Danish. I25 Pedersen, Morten Eide. “Klang og Collage—et Intervju Med Komponisten George Crumb.” Ballade: Tidsskrift for Ny Musikk (Oslo) 16 no. 4 (1992): 34–37. Interview published in Norwegian. I26 Shulgold, Marc. “ Black Angels Casts a Dark Shadow, But Composer Makes the Most of It.” Rocky Mountain News (Denver, CO), 7 February 1992.

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Page 67 Crumb notes that while Black Angels was composed in the midst of the Vietnam war it is not specifically a protest composition and that his notation in the score “in tempore belli” was also a reference to Haydn’s Mass. Crumb rates the Kronos Quartet’s recording of Black Angels as, “an ideal realization.” I27 Kingan, Michael Gregory. “George Crumb Interviewed by Michael Kingan at his Home in Media, Pennsylvania on May 1, 1993.” in “The Influence of Béla Bartók on Symmetry and Instrumentation in George Crumb’s Music for a Summer Evening With Three Recitals of Selected Works of Abe, Berio, Dahl, Kessner, Miki, Miyoshi, and Others.” Ph.D. diss., University of North Texas, August 1993. See B367. Crumb discusses Bartók’s influence on him during his student days and later, how people analyze his works and his reaction to those analyses, other compositions which were written for two pianos and two percussion, performances and recordings of Music for a Summer Evening, use of percussion, use of numerology, and deliberate use of pitches. I28 Riis, Thomas. “A Conversation with George Crumb.” American Music Research Center Journal 3 (1993): 40–49. Riis conducts a public interview with Crumb 10 October 1992 at the George Crumb Festival held in Boulder, CO. Topics covered included the sounds that Crumb was exposed to in West Virginia, Lorca, Crumb’s personal history at Boulder, where he taught. Crumb also takes a few questions from the audience. I29 Ledbetter, Robert B. “Interview with George Crumb.” In “An Examination of the Percussion Writing in the Chamber Music of George Crumb, 1960–1980.” Ph.D. diss., University of North Texas, 1993. See B366. Crumb notes his percussion influences and contacts, including Thomas McCluskey; the various exotic instruments that he utilizes in his works, such as Tibetan prayer stones; the importance of timbre in his works and also some aspects of Night Music I. I30 Smith, Geoff and Nicola Walker Smith. “George Crumb.” In American Originals, 93–102. London: Faber and Faber, 1994. Crumb talks about his early influences; serialism; his feeling that composers should not be disdainful of their audiences; intuition as part of his compositional process; finding his individual style; the theatricality in his works; the importance of timbre within his compositions; quotations from other composers and his individual notation. Reprinted as New Voices, 93–102. Portland: Amadous Press, 1995. I31 Alburger, Mark. “Day of the Vox Crumbae: An Ancient, Angelic Interview with the Phantom Gondolier (MakroCrumbos, Vol. 1).” 20th Century Music 4 no. 4 (April 1997): 10–18. Alburger and Crumb discuss some of the performances at the Ernest Bloch Festival which they are attending in Newport, OR. Crumb also talks about his childhood in Charleston, WV; Bartok’s influence on his early works; being published by Peters; teaching at the University of Pennsylvania; Madrigals,

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Books I–IV; Stravinsky, Mahler and Berio; brief comments about other Crumb compositions and his affinity with the poetry of Lorca. I32 Duckworth, Robert with John Harvey and Julie Robert. “Interview with George Crumb.” Transcript of radio interview on the Unclassical Show, September 1997. Crumb is questioned about Lorca; his son David, a composer in his own right; the theme of light and dark in Quest; the use of quotation in his compositions; the influence of travelling and hearing a wide variety of music on his own compositions; the choral idiom in the 20th century; interactive performance; finding his own compositional voice and if he has any advice for prospective composers. I33 Mallet, Franck. “Les Musiques Fugitives de George Crumb.” Le Monde de la Musique (December 1997): 50–51. Interview, published in French, covering Debussy, Makrokosmos, extended piano techniques, quotation, sources of inspiration, Quest and Mundus Canis. I34 Marshall, Ingram. Oral History Collection, Yale School of Music, Interview no. 148 g-i, 1 December 1998 (Media, PA). Interview held on two cassettes (three sides, ‘g’ to ‘i’, side ‘f’ of Interview 148 is blank, see I14.). Crumb discusses the Huddersfield Festival; Orchestra 2001; David Burge and Five Pieces for Piano; Processional, Zeitgeist, Sleeper and Black Angels; manuscripts for Ancient Voices of Children and Madrigals, Books I–II held at the Library of Congress. I35 Shim, Young Gee. “Interview with George Crumb.” In “A Study On A Little Suite for Christmas, A. D. 1979 by George Crumb.” Ph.D. diss., Temple University, January 1998. See B424. Crumb discusses his relationship with Lambert Orkis, Giotto’s frescoes, intuition in composing, influences from works of Messiaen and Stravinsky, and emotional curves within his works. I36 Holwin, Mic. “Those Were the Days, Or Were They? Three Living Legends of Contemporary Music Compare Yesterday and Today.” American Composers Orchestra (website) (1998). Interview with Crumb, David Diamond and George Perle. Crumb talks about the ascendancy of popular music and how a composer should strive to add exceptional pieces, prizing quality over quantity of compositions. I37 Pehlken, Thomas. “Die Hälfte meiner Werke sind nur ‘B-Seiten-Stücke’!” Klassik Online (website) (29 November 1999). Interview, in German, conducted at the Crumb Festival in Köln, Germany in November 1999.

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Page 69 I38 Starobin, David. “A Conversation with George Crumb.” New Music Now (website) (January 2000). An interview conducted by guitarist David Starobin in which Crumb discusses all of his orchestral works: Variazioni, Echoes of Time and the River, A Haunted Landscape and Star-Child. I39 Obejas, Achy. “Musical Genius’ Inner Sanctum.” Chicago Tribune, 24 March 2000, section 7 p. 48. Crumb discusses some of his compositional processes, working in silence with the music in his inner ear, occasionally trying out sounds on the piano or other instruments. Crumb also notes having given up a few favorite vices that used to accompany composing, coffee and cigarettes. “My little room was sometimes like an opium den, clouds of smoke were always wafting.” I40 Adamenko, Victoria. “Transcript of Conversation with George Crumb, December 9, 1997, Rutgers University.” In “Neo-Mythologism in Twentieth-Century Music.” Ph.D. diss., Rutgers, May 2000. See B456. Crumb comments on his use of circular notation; religious connotations within his works; myth and religion as inspirations; his personal interest in mythology and numerology. I41 Tuttle, Raymond. “ Star-Child’s Father: George Crumb Turns 70.” Fanfare (May/June 2000): 84–94. Tuttle begins with an overview of the recording process for Star-Child and then proceeds to interview Crumb regarding the composition. Crumb discusses some of the difficulties in performing and recording the work as well as part of its performance history.

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Page 71 BIBLIOGRAPHY B1 Musical Sketchbook (television program). Boulder, CO: KRMA-TV. (13 May 1964). A performance of Night Music I with Paul Parmelee, piano and celeste; Louise Toth, soprano; Tom MacCluskey and David Surge, percussion. B2 Parmelee, Paul. “CU Composer George Crumb Receives Rockefeller Grant.” Boulder Daily Camera, 9 August 1964, p. 10. Crumb is awarded a Rockefeller Foundation grant in part through the efforts of composer Lukas Foss, who was impressed with Crumb’s compositions. The grant allowed Crumb to serve as a “creative associate” at the Buffalo Center for the Creative and Performing Arts for a year. B3 Lewis, Robert Hall. “Younger American Composers George Crumb: Night Music I.” Perspectives of New Music (Spring-Summer 1965): 143–151. A very detailed examination of Night Music I. Lewis looks at the internal organization and rhythmical structure of the work. Lewis feels that, “the composer may have overlooked some of the flexibility, subtlety, and the beauty inherent in the human voice.” However, Lewis has high praise for Crumb’s farranging timbral palette. B4 Stone, Kurt. “Lenox, Mass.” Musical Quarterly 51 no. 4 (October 1965): 688–701. Stone notes the tensions between the conventional and unconventional aspects of Night Music I in the context of works performed at the Festival of Contemporary Music at Tanglewood. “What distinguishes Crumb is that he found it safe to shore up his fragile Webernisms…with a few tried and solid props.” B5 Ennis, Bayard F. “Crumb’s Avant-Garde Music Praised.” Charleston Gazette, 17 April 1966.

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Page 72 Ennis notes the attention that native son Crumb is garnering amongst aficionados of avant-garde music and the articles which are being written about his works in such newspapers as the Washington Post and Evening Star (Washington, DC). B6 “Arts Institute to Give $2,500 Grants to 4 Composers.” New York Times, 29 March 1967, p. 34. Crumb receives a grant from the National Institute of Arts and Letters, along with Donald Martino, Charles Wuorinen and Julian Orbon. B7 C.B.F. [Charles B.Fowler]. “American Composer Sketches: George Crumb.” Music Educators Journal, 53 no. 8 (April 1967): 61–63. Fowler notes that while Crumb’s compositions are technically demanding, “the excitement and emotional intensity of his music achieves a kind of tour de force.” B8 Harman, Carter. [Liner notes]. In (album) CRI USD 218, 1967. See D117. “The sound-world of Night Music I is part of Crumb’s increasingly personal idiom. It makes use of a wide variety of sounds produced by direct manipulation of the strings of the piano.” B9 D.W. [Daniel Webster]. “New Wave Music.” Philadelphia Inquirer, 5 May 1968, section 5 p. 8. Webster notes the chasm between composer and audience in modern music, although, “Crumb’s own music has begun to say something to more audiences.” B10 Gwin, Adrian. “George Crumb Jr. Pulitzer Winner.” Charleston Daily Mail (WV), 7 May 1968, pp. 1– 2. Native son Crumb is awarded the 1968 Pulitzer Prize in Music for his work Echoes of Time and the River. The composer’s mother says, “I’m very proud for George and for Charleston.” B11 “Biographical Sketches of Persons Selected for the Pulitzer Prizes for 1968.” New York Times, 7 May 1968, p. 34. Brief biographical article. B12 Webster, Daniel. “Crumb Plucks Muted Note.” Philadelphia Inquirer, 7 May 1968, p. 8. Webster remarks upon the lack of enthusiasm from orchestras to play the Pulitzer winning composition Echoes of Time and the River. Crumb is pleasantly surprised to hear of the award, “well, that’s nice.” B13 “Mother is Proud of Son’s Pulitzer.” Charleston Gazette (WV), 8 May 1968. The composer’s mother, cellist with the Charleston Symphony Orchestra, is quoted, “I think this is the first time a Pulitzer prize winner has come from Charleston.”

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Page 73 B14 Kolodin, Irving. “Music to My Ears.” Saturday Review (25 May 1968): 37. Kolodin objects to calling Crumb’s Echoes the “best” work by an American composer on the basis that the Pulitzer award committee could not possibly have heard a sufficiently complete selection of compositions in order to legitimately proclaim one work the “best”. Kolodin also admits his that first reaction was, “who is George Crumb?” B15 Oliver, Gerry. “Pulitzer Prize Winner Defines Circular Music.” Delaware County Daily Times (PA), 29 May 1968, p. 17. Oliver remarks upon the contrast between the dissonances and inventiveness in Crumb’s works. B16 Willis, Thomas. “Pulitzer Music Award a Disquieting Omen.” Chicago Tribune, 2 June 1968, section 5 pp. 9–10. Willis calls Echoes, “a playful work in the best sense, which is to say that it cut seriousness to essentials.” Willis’ unease stems from the Pulitzer jury not being able to find a composition in which the, “professionals could understand what they, and the music, were about.” B17 Henahan, Donal. “The Avant-Groove: We’re All in It.” New York Times, 7 July 1968, section 2 p. 11. Composers seem to be moving, “anti-popular prophet,” to the, “more ancient conception of the artist as a man deeply involved in contemporary society.” Henahan praises Echoes as, “one of the most imaginative works to emerge from the media-mixing revolution, it has little chance of being performed often again.” B18 C.B.F. “American Composer: George Crumb.” West Virginia Hillbilly, 20 July 1968, pp. 8–9. Brief biographic sketch and notes regarding Four Nocturnes. B19 Henahan, Donal. “A Critic Looks at West Virginia Pulitzer Prize Winner.” West Virginia Hillbilly, 20 July 1968, pp. 8–9, 12. Moderately detailed discussion of Echoes, with special regard to its notation, theatricality and use of unconventional instrumentation. B20 Ennis, Bayard F. “Echoes of Time Stirring Up Controversy.” Charleston Gazette (WV), 29 September 1968. Ennis believes that the controversy surrounding the selection of Echoes of Time and the River by the Pulitzer board has helped stimulate interest and additional performances of the work. Ennis quotes extensively from the article by Thomas Willis. See B16. B21 Fleming, Shirley. “Musician of the Month: George Crumb.” High Fidelity/Musical America (September 1968): MA5. Fleming comments on the complexity of Crumb’s scores, while at the same time noting that he is still able to attract a considerable audience. Crumb believes that audiences are interested, “but the big orchestras don’t do their part.” Reprinted in ASCAP Today (December 1968): 27.

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Page 74 B22 Meyers, Mary Ann. “A Composer Who Doesn’t Take Orders from the Musical Establishment.” Pennsylvania Gazette (University of Pennsylvania) (October 1968): 14–16. An article which in turns concerns Echoes of Time and the River and the way in which Crumb follows his own muse, and not establishment edicts, in crafting his works. B23 Finn, Robert. “Ear-Filling Treat Will Echo at Severance.” Plain Dealer (Cleveland), 3 November 1968, p. 71. Article in anticipation of a performance by the Cleveland Orchestra of Echoes, noting that the theatrics specified by Crumb may not be workable within the confines of Severance Hall. B24 Ennis, Bayard, F. “Pulitzer Winner Completes Another Music Composition.” Charleston Gazette (WV), 26 November 1968. Crumb, on sabbatical from teaching at the University of Pennsylvania, tells Ennis he will spend the time at home in Media, PA rather than traveling. He hopes to be more productive and has already completed a new composition, Songs, Drones and Refrains of Death. B25 Ennis, Bayard, F. “State Musicians Contribute to Modern Times.” Charleston Gazette (WV), 8 December 1968. Ennis notes that, surprisingly, the two foremost figures in the world of music from West Virginia are both involved with contemporary music. Crumb is cited along with soprano Phyllis Curtin. B26 [Program note]. Echoes of Time and the River (score). New York: Belwin-Mills Publishing Corp., 1968. See W7. Biographic information about Crumb and information about the composition. B27 Ennis, Bayard, F. “West Virginians for 1968.” Charleston Gazette (WV), 5 January 1969, State Magazine section p. M2–M4. A more in depth article about Crumb and Phyllis Curtin. The Crumb portion of the essay contains biographic information weighted towards his early days in Charleston. B28 “Cover Pages: George Crumb, Roger Reynolds.” Pan Pipes of Sigma Alpha Iota (January 1969): 7. Brief sketches of Crumb and Reynolds with information about their life and works. B29 Webster, Daniel. “Concert Marks Composer’s Birthday.” Philadelphia Inquirer, 19 October 1969, section 5 p. 8. Preview of a birthday concert by the Penn Contemporary Players, 21 October 1969, at the University Museum of the University of Pennsylvania. B30 Turetzky, Bertram. “Vocal and Speech Sounds: A Technique of Contemporary Writing for the Contrabass.” Composer 1 no. 3 (December 1969): 118–134.

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Page 75 An examination of innovative techniques being used by composers in writing for the contrabass. Turetzky includes commentary on Crumb’s use of humming, singing, ensemble speaking, whispering and tongue clicks in Songs, Drones and Refrains of Death. B31 “George H.Crumb.” Compositores de America/Composers of the Americas 15 (1969): 55–59. Brief biography, discography and listing of works in Spanish and English. B32 Webster, Daniel. “Decomposing.” Philadelphia Magazine 61 no. 2 (February 1970) : 42, 44–45. Webster bemoans the lack of contemporary music performed by the Philadelphia Orchestra, in spite of such local talent as Crumb, George Rochberg and Richard Wernick. B33 Barras, Rick. “Composer Pens Winning Score In Family Room.” Philadelphia Inquirer, 6 September 1970, North & West Delaware Valley section pp. 1, 7. Barras paints a picture of compositions emerging from the chaos of the Crumb household and notes the recent completion of Ancient Voices of Children. B34 Dubow, Steve. “Music Prize-Winner Crumb Looks ‘Beyond Awards’.” Daily Pennsylvanian (University of Pennsylvania), 8 September 1970, p. 1. In contrast to his fame on the world music stage, Crumb is barely known outside the music department at the University of Pennsylvania. B35 Singer, Samuel L. “George Crumb Picks Banjo In Moon Flight Music.” Philadelphia Inquirer, 22 November 1970, section 5 p. 5. Crumb prepares to play the banjo in a performance of Night of the Four Moons. The dearth of Philadelphia performances of his orchestral material is again mentioned. B36 Henahan, Donal. “One of the Gentle People.” New York Times, 13 December 1970, section 2 p. 15. A partially biographic article which also discusses the origins of various aspects of Crumb’s works: Lorca, exotic instrumentation and extra-musical theatricality. B37 Hamilton, David. “Three Composers of Today.” Musical Newsletter (January 1971): 16–18. A general overview of George Crumb, Mario Davidovsky and Peter Maxwell Davies. Hamilton selects a few works by each composer to discuss, in Crumb’s case they are Night Music I and Eleven Echoes of Autumn, 1965. B38 “2 Top Intl Awards To ‘Ancient Voices’.” Billboard (28 August 1971). Brief notice that Ancient Voices of Children won the International Rostrum of Composers (UNESCO) and Koussevitsky International Recording awards.

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Page 76 B39 Webster, Daniel. “Music by Composer at Penn Has Rich Orchestral Palette.” Philadelphia Inquirer, 28 October 1971, p. 34. Webster discusses Crumb’s new work, Black Angels. “It all emerges as a stark, potent musical conception built on Crumb’s boundless ingenuity in matters of pure sonority.” B40 “Palmares de la Tribune Internationale des Compositeurs et Tribune de Musique de l’Asie (UNESCO).” Le Courrier Musical de France 35 (Third Trimester 1971): 146. Brief notice that Ancient Voices of Children won the International Rostrum of Composers (UNESCO) award. B41 Cope, David. In New Directions In Music. Dubuque: Wm.C.Brown Company Publishers, 1971. A brief look at Songs, Drones and Refrains of Death in the first edition. The entry on Crumb is expanded in each successive edition. Second edition, 1976. Third edition, 1981. Fourth edition, 1984. Fifth edition, 1989. By the fifth edition the material on Crumb runs over thirty pages, covering a half-dozen compositions and the composer’s innovations with timbre and manuscript notation. B42 Sur, Donald. [Liner notes]. In Portraits of Three Ladies (American) (album). Acoustic Research/Deutsche Grammaphon AR 0654 085, 1971. See D81. Brief liner notes regarding the compositions. B43 “Information.” The World of Music 13 no. 3 (1971): 67. Brief notice that Ancient Voices of Children won the International Rostrum of Composers (UNESCO) award. The article appears in English, French and German. B44 Winn, Steven. “Sympathy in Sound.” Daily Pennsylvanian (University of Pennsylvania), 10 February 1972, 34th Street section pp. 3–4. Abhorring twelve tone music as, “some of the most repellent and unimaginative sound in history,” Winn praises Crumb’s sensitivity and ability as an imagist. B45 Salisbury, Wilma. “Composer Crumb Taps Full Range of Musical Thought.” Plain Dealer (Cleveland), 25 February 1972, p. C20. Noting a visit to Oberlin College, Salisbury lauds Crumb as, “a genuine eclectic.” B46 Rockwell, John. “Crumb, the Academy and Hot-Tempered Romanticism.” Los Angeles Times, 5 March 1972, Calendar section p. 34. Anticipating the west coast premiere of Echoes of Time and the River, Rockwell discusses the contrast between Crumb and the academy. Rockwell notes that Crumb’s techniques are not mere gimmicks and how he seems committed to performers and to live music. Rockwell also wonders if Crumb’s true medium isn’t opera.

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Page 77 B47 Van Delden, Lex. “Componist Crumb een Ontdekking.” [Composer Crumb a Discovery] Het Parool (Netherlands), 14 March 1972. Van Delden describes how he became aware of Crumb’s music and discusses Ancient Voices of Children. In Dutch. George Crumb Scrapbook p. I22. B48 Hume, Paul. “Modern Work That Matters.” Washington Post, 19 March 1972, p. G2. Hume predicts, “that in 2020 Poulenc, Crumb, Bernstein, Prokofieff and Hindemith will be performed.” Crumb is also listed as one of the most influential composers since 1946. B49 “Ancient Voices of Children:” NATS Bulletin (May/June 1972): 42. Review of the score of Ancient Voices of Children. “Certainly this music deserves our careful study so we can make an intelligent reaction to it.” B50 Kastendieck, Miles. “George Crumb.” The Many Worlds of Music (July 1972): 26. “This BMI composer may quite possibly be writing some of the most important music of the century in this country.” The Many Worlds of Music is published by BMI. B51 Reynolds, Charles. “Ancient Voices of Children.” Joy Magazine (Alaska) (November 1972): 6–7. Reynolds praises Ancient Voices of Children as a work which can re-awaken the listener’s sense of wonder. B52 Buckhart, Charles. In Anthology for Musical Analysis . New York: Holt, Rinehart and Winston, Inc., 1972. Contains an excerpt from Madrigals, Book I (No Piensan en la Lluvia, Y se Han Dormido). Third edition, 1979. Fourth Edition, 1986. Fifth edition, 1994 (this edition only contains an excerpt from Madrigals, Book IV (¿Por Qué Nací Entre Espejos?). B53 Kerman, Joseph. In Listen. New York: Worth Publishers, Inc., 1972. An examination of Ancient Voices of Children within its general artistic context. Second edition, 1976. Third edition, 1980. B54 “Crumb, George.” In Riemen Musik Lexikon, edited by Carl Dahlhaus, 245. Mainz: B.Schott’s Söhne, 1972. Brief biographic entry, in German. B55 Henahan, Donal. “What a Sock in the Midriff Did for Jan.” New York Times, 14 January 1973, section 2 pp. 15, 18. An article primarily about mezzo-soprano Jan DeGaetani, who notes that Crumb’s Ancient Voices of Children (written for her), “catapulted [her] to a new level technically.” B56 Webster, Daniel. “George Crumb: Time Gives Him Academy Performance.” Philadelphia Inquirer, 21 January 1973, p. G5.

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Page 78 On the verge of having his student work, Variazioni, performed by the Philadelphia Orchestra Crumb reflects on teaching and writing compositions for Orchestra. This was the first performance of a Crumb composition by the Philadelphia Orchestra. B57 Gagnard, Frank. “Now for Something Completely Different.” Times-Picayune (New Orleans), 21 January 1973, section 2 p. 12. Notes the upcoming performance of Ancient Voices of Children by the New Orleans PhilharmonicSymphony. B58 MacCluskey, Thomas. “George Crumb Unique Man.” Rocky Mountain News (Denver), 4 February 1973, Festival section p. 4. MacCluskey remarks on the return to Colorado by Crumb and David Burge for the premiere of Makrokosmos I. Crumb and Burge had previously taught at the University of Colorado, where Crumb composed Five Pieces for Piano at Burge’s request. B59 Felton, James. “George Crumb’s Manner Belies His Passionate Music.” Evening Bulletin (Philadelphia), 13 February 1973, p. 22. Felton discusses the contrast between the fireworks of such Crumb compositions as Black Angels and his, “humbleness and deliberate homespun self-effacement,” in person. B60 Fennelly, Brian. “George Crumb: Ancient Voices of Children” Notes 29 no. 3 (March 1973): 560– 561. Review of the score of Ancient Voices of Children. “It belongs in every library.” B61 Odegard, Peter S. “George Crumb: Black Angels” Notes 29 no. 3 (March 1973): 539–540. Review of the score of Black Angels. The work, “requires even the finest and most experienced performers to learn a whole new sequence of reflexes.” B62 Stockholm, Gail. “Crumb’s Music Causes Stir—In Hearts and Heads.” Cincinnati Enquirer, 1 April 1973, p. F2. A strongly complimentary article noting the many performances of Crumb works in Cincinnati (including the premiere of Variazioni in 1965) and the connection Crumb’s music is able to make with the audience. Crumb outlines the three things he feels are paramount in composition, “1) Having something to say, 2) saying it with clarity, and 3) having it sound well in the instruments.” B63 Tircuit, Heuwell. “Enviable Record of the Composers’ Competition.” San Francisco Chronicle, 27 May 1973, p. 26. Crumb notes that winning the BMI Award, “gives the young composer practical help plus the necessary shot of recognition so vital to the early stages of any career.” Crumb won the BMI award in 1956, using the prize money to get manuscripts reproduced. B64 Von Rhein, John. “Composer Crumb Just Seeks New Sounds.” Akron Beacon Journal, 26 July 1973.

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Page 79 While composer-in-residence at Kent State University, Crumb discusses Lorca, his musical influences (Bartók and Webern) and his attempts to evolve, “a personal language, one that carries your ideas.” B65 Hume, Paul. “Composer George Crumb: He (Sort of) Has the Whole World (of Such and Such) in His Hands.” Washington Post, 15 August 1973, pp. B1, B3. Hume gives a detailed analysis of Crumb’s Makrokosmos I. B66 Albaugh, Edwin. “George Crumb: Far-Out Music With Overtones of Appalachia.” Washington StarNews, 15 August 1973, pp. B1, B7. A partially biographic article. Crumb also addresses his attempts not to repeat himself in composition and his preference for live performers over tapes or synthesizers. B67 Henahan, Donal. “Music: White Mountains Arts Fete.” New York Times, 21 August 1973, p. 40. Preview of the 12 November performance of Makrokosmos, Volume I by David Burge at Carnegie Hall. B68 Robinson, Delmer. “Chamber Music Highlight to Be Work by Crumb.” Charleston Sunday GazetteMail, 9 September 1973. Notes the upcoming performance of Ancient Voices of Children by the Contemporary Chamber Ensemble as part of the Charleston Chamber Music Society’s season. The article also notes Crumb’s appearance on a 1948 program of the same society, then known as the Charleston Chamber Music Players. B69 Ericson, Raymond. “Mini-Met, 2 Seasons Old, Silenced by Lack of Funds.” New York Times, 25 October 1973, p. 53. The Mini-Met, which was scheduled to perform Ancient Voices of Children in the upcoming season, is suspended. B70 Alter, Allan. “New Crumb Piano Work In Free Recital by Burge.” Daily Pennsylvanian (University of Pennsylvania), 31 October 1973, p. 3. David Burge scheduled to perform Makrokosmos I at the University Museum on 6 November 1973. B71 Fennelly, Brian. “George Crumb: Eleven Echoes of Autumn, 1965.” Notes 30 no. 2 (December 1973): 356–357. Review of the score of Eleven Echoes of Autumn, 1965. “Crumb’s manuscript is delightful in its invention and appearance and noteworthy for its notational detail.” B72 Chittum, Donald. [Liner notes]. In (album) Turnabout TVS-34523, 1973. See D82. Liner notes for Madrigals, Books I–IV. Reprinted in 20th Century Voices in America (album). Vox Box CDX 5145, 1995. See D86.

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Page 80 B73 Hiller, Lejaren. [Liner notes]. In (album) Turnabout TV-S 34610, 1973. See D12. Liner notes for Black Angels, Reprinted in The Avant Garde String Quartet in the U. S. A. (album). Vox SVBX 5306, 1973. See D13. Also reprinted in American String Quartets 1950–1970 (album). Vox CDX 5143, 1995. See D21. B74 Foster, David. “Crumb.” In The McGraw-Hill Encyclopedia of World Biography, 341–3. New York: McGraw-Hill, 1973. A detailed biographic entry discussing various aspects of Crumb’s works and techniques. Second edition as Encyclopedia of World Biography, 326–8. Detroit: Gale Research, 1998. Foster is not credited as author of the entry in the later edition. B75 Mandel, Alan. “George Crumb.” In The New Music Lover’s Handbook, edited by Elie Siegmeister, 559. New York: Harvey House, Inc., 1973. Biographical essay. B76 Godfrey, Peter. “Almost Heaven in London.” Charleston Daily Mail, 31 January 1974, p. A5. Godfrey reminisces about hearing Echoes of Time and the River given its U. K. premiere and the enthusiastic reception it received from the audience. B77 Smith, Martha. “Crumb’s Mom Recalls Kitchen Clatter.” Charleston Gazette, 3 February 1974. Crumb’s mother, Vivian Charnock, discusses the composer’s formative years, noting his early ability to play piano by ear and conducting a group of neighborhood youth at 13. B78 “George Crumb: Five Pieces for Piano. ” Clavier (February 1974): 36. Brief review of the score of Five Pieces for Piano. B79 J.K. “A Sellout for Crumb?” Globe and Mail (Toronto), 29 March 1974, p. 15. Crumb’s growing appeal in Canada is noted, as his upcoming concert at Walter Hall is on the verge of selling out the venue. The reporter also praises the emotional impact of Crumb’s composition even, “if it does not probe the depths of Lorca.” B80 Rasky, Frank. “Composer Spends Lunch with a Glass of G Sharp.” Toronto Star, 29 March 1974, p. E8. Rasky recounts an impromptu lunchtime exhibition of Crumb’s talents in playing wine glasses with a knife. “I think I’ll drink the glass of G-sharp,” Crumb commented, “its music was the loveliest sound in the chromatic scale.” B81 Dunning, Jennifer. “Theater of Harlem in Dance Premiere of ‘Ancient Voices’.” New York Times, 28 April 1974, p. 58. Brief notice of the use of Ancient Voices as choreographed by Milko Sparemblak and performed by the Dance Theater of Harlem. “ Ancient Voices of Children is about memory and the creation of myth.”

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Page 81 B82 Barnes, Clive. “Dance: Decade of Gain.” New York Times, 3 May 1974, p. 45. The Pennsylvania Ballet dances to Crumb’s Black Angels, choreographed by John Butler. B83 Freeman, R.G. “A Modern Composer Finds Fame, Fortune Are Hard to Attain.” Wall Street Journal, 15 August 1974. Crumb notes that composing contemporary classical music is not a very lucrative profession. The amount that Crumb received for use of a brief snippet of Black Angels in the film The Exorcist was forty times the amount he received from sales of the full piece. George Crumb Scrapbook p. 180. B84 Lusk, Larry. “George Crumb: Makrokosmos. Vol 1.” Notes 31 no. 2 (September 1974): 157–158. Review of the score for Makrokosmos I. “Pleasing to the eye and meticulously marked for ease of performance.” B85 Simons, Nancy. “George Crumb: Beethoven Meets the Exorcist.” Town Talk (Media, PA), 2 October 1974. A profile of the composer by his home town newspaper. George Crumb Scrapbook p. 186. B86 Warburton, Thomas. “New Piano Techniques for Crumb’s Piano Music.” Piano Quarterly 87 (Fall 1974): 15–16. An examination of some of the specific problems pianists face in playing Five Pieces for Piano and Makrokosmos I with suggestions by Warburton on how to overcome dilemmas in locating specific interior strings whilst playing. B87 Schonberg, Harold C. “The Sound and Fury of Contemporary Music for Piano.” New York Times, 24 November 1974, section 2 p. 21. Schonberg notes the paucity of post-war compositions in the standard repertory but goes on to say that composers are starting to look at all aspects of the piano, “Like George Crumb, in his two volumes of Makrokosmos, [who is] investigating every aspect of the instrument.” B88 Porter, Andrew. “Stars.” New Yorker (25 November 1974): 173–176. Porter gives an overview of Crumb’s compositions and heartily praises Crumb’s music as, “exuberantly adventurous and yet fastidious in facture, very bold and yet reticent, not emphatic.” B89 “Neue Musik.” Schweizerische Musikzeitung (November/December 1974): 370–371. Brief review in German of the score for Madrigals, Books I–IV. B90 Kraglund, John. “Canadian Chronicles: Ontario.” Cahiers Canadiens de Musique/Canada Music Book (Autumn/Winter 1974): 179–186. Happenings from the 1973–74 music season in Ontario including a complementary mention of the performance of Crumb’s Lux Aeterna, which was a sell out. B91 “George Crumb.” BMI: The Many Worlds of Music 2 (1974): 26.

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Page 82 Very brief entry on Crumb. “He may possibly be writing some of today’s most significant music.” B92 “Crumb, George (Henry).” In Current Biography Yearbook, 95–98. New York: H.W.Wilson Company, 1974. A very detailed biographic entry. A fine source of information about Crumb and his works, up until 1974. B93 Wernick, Richard. “Crumb, George.” In Dictionary of Contemporary Music, 156–157. New York: E.P.Dutton & Co., Inc., 1974. Wernick, a colleague of Crumb’s at the University of Pennsylvania, pens this biographic entry on the composer with a listing of compositions and a brief bibliography. B94 Chatman, Stephen. “George Crumb: Night of the Four Moons.” Man & Music 1 no. 3 (1974): 215– 233. An in depth examination of the dynamics, texture, density and timbre of Night of the Four Moons, with the emphasis being on the unusual timbral effects in the work. B95 Slominisky, Nicholas. “Notes.” In Music for a 20th Century Violinist (album). Desto DC6435/6437, 1974. See D54. Liner notes. B96 Sylvester, Robert. [Liner notes]. In Robert Sylvester, violoncello, Plays Ysaye, Crumb, Wellesz, Hindemith (album). Desto DC 7169, 1974. See D136. Very brief liner note regarding Sonata for Solo Violoncello. B97 Hitchcock, H.Wiley. “The New Virtuosity.” In Music in the United States: A Historical Introduction, second edition, 265–270. Englewood Cliffs, NJ: Prentice Hall, Inc., 1974. Hitchcock notes that the complexity of works by such composers as Crumb, Wuorinen and Foss has stimulated the need for increased technical skill amongst performers. B98 Harkins, Suzanne MacLean. “A Study of Constructional Principles in George Crumb’s Makrokosmos, Volume I.” Ph.D. diss., American University, 1974. An examination of the methods of organization used in Makrokosmos I with special emphasis on pitch and motivic structure. B99 Salzman, Eric. In Twentieth-Century Music: An Introduction, second edition, 162–163. Englewood Cliffs, NJ: Prentice Hall, Inc., 1974. Salzman briefly notes that in his compositions Crumb strives towards, “the suspension of the sense of passing time in order to contemplate eternal things.” B100 Comstock, Jim. “Crumb, George.” In West Virginia Songbag, 178–181. Richwood,WV: Jim Comstock, 1974.

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Page 83 A biographic entry focusing on the composer’s connection to West Virginia. Comstock utilizes excerpts from previously printed articles on Crumb. B101 Hamilton, David. “Music.” Nation (25 January 1975): 92–94. Hamilton is appreciative of the timbral and vocal range of such works as Lux Aeterna and Madrigals, Book I. At the same time he notes a certain ambivalence regarding the, “leisurely pace,” of the Makrokosmos pieces. B102 “WSU to Host Noted Duo.” Wichita Eagle and Beacon (KS), 26 January 1975 , p. 58. Notes the upcoming visit by Crumb and pianist David Burge to Wichita State University and the linked musical history of the two men. B103 “Salisbury Heads Arts Institute.” New York Times, 31 January 1975, p. 31. Crumb is selected to become a member of the National Institute of Arts and Letters. B104 “George Crumb: Makrokosmos, Volume I.” Clavier (January 1975): 34. Brief review of the score for Makrokosmos I. B105 Hentoff, Nat. “The Sounds of Love, Wind and Sea.” Cosmopolitan (January 1975): 8. In Hentoff’s opinion, “George Crumb is the most authentically American composer since Charles Ives, and perhaps the most elemental.” B106 Mayer, William. “Live Composers, Dead Audiences.” New York Times, 2 February 1975, Magazine section pp. 12–13, 34–37, 39, 42. An article on the gap between audiences and contemporary composition. Mayer notes the various factors involved, including the effort needed by the audience to assimilate new works, poor performances by the musicians and a lack of adventurousness on the part of conductors to program new music. B107 “Composer Delves Avant Garde.” Wichita Beacon and Eagle (KS), 2 February 1975, p. B1. Notes that Crumb will be Distinguished Composer in Residence at Wichita State University. B108 Shertzer, Jim. “Art School’s Performance Pleases Composer.” Winston-Salem Journal, 8 February 1975, p. 11. Crumb’s Ancient Voices of Children is staged for dance by the North Carolina School of the Arts, although Crumb notes, “maybe there is too much going on.” B109 Fleming, Shirley. “Music Notes: Pulitzer Prize Composers Have Their Hands Full.” New York Times, 21 February 1975, p. D21. Fleming remarks that winners of the Pulitzer prize in composition are replete with commissions, including Crumb, who is slightly behind schedule with his current piece.

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Page 84 B110 Smith, Patrick J. and Bruce Saylor. “Crumb’s Makrokosmos II—New Vision or Dead End?” High Fidelity/Musical America (February 1975): pp. MA36–37. A two-pronged critique of Makrokosmos II, with Smith lauding Crumb’s, “ear for sonorities,” while calling for a, “more varied palette of sound.” Saylor, on the other hand notes, “he has declared compositional bankruptcy…it is just painfully boring.” B111 Gelles, George. “A Special Homage to Leviathan.” Washington Star, 23 March 1975, p. G24. Gelles compares Crumb to artist Joseph Cornell in the manner in which their art, “created worlds of evocation.” Gelles goes on to discuss Crumb’s most recent work, Vox Balaenae. B112 Hill, Jackson. “George Crumb: Madrigals, Books I–IV. ” Notes 31 no. 3 (March 1975): 667. Review of the score of Madrigals, Books I–IV. The scores are, “graphically sumptuous,” while the works themselves, “have all the earmarks of becoming a significant document of twentieth-century American music.” B113 Henahan, Donal. “Critic’s Notebook: The Cellist at the Piano.” New York Times, 22 April 1975, p. 42. Henahan notes, in passing, that Crumb’s Music for a Summer Evening is to be recorded on the Nonesuch label. B114 Henahan, Donal. “Crumb, The Tone Poet.” New York Times, 11 May 1975, Magazine section pp. 16–17, 50, 54, 56–59, 66–67. A detailed portrait of the artist, touching upon his relationship with critics, academia and the general music appreciating public. Henahan discusses Crumb’s place in the post Schoenberg musical landscape, looking at various compositions and techniques. B115 Porter, Andrew. “George Crumb.” Financial Times (London), 20 May 1975, p. 3. A brief examination of Makrokosmos I and II. Porter proclaims, “the results are tender, potently evocative, unmonotonous.” B116 O’Connor, John J. “TV: Music, Dance and Funeral Industry on P. B. S.” New York Times, 21 May 1975, p. 86. Notes the presentation of Ancient Voices of Children on WNET, produced and directed by Allan Miller. “The visualization of the score is frequently superb.” See B127. B117 Steinitz, Richard. “The Music of George Crumb.” Contact 11 (Summer 1975): 14–22. Steinitz examines many of Crumb’s compositions commenting upon aspects of the structures, symmetries, rhythms and especially, “his gift for conjuring timbres that remain in the mind and haunt one.”

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Page 85 B118 Pincus, Andrew. “George Crumb Composition is Gaining Recognition.” Berkshire Eagle (Pittsfield, MA), 8 August 1975, p. 5. Article on the history of Ancient Voices of Children which had been composed at Tanglewood on commission from the Elizabeth Sprague Coolidge Foundation. B119 Perlmutter, Donna. “Makrokosmos III.” Los Angeles Herald-Examiner, 21 September 1975. Preview of the performance of Music for a Summer Evening in Los Angeles. B120 Close, Roy M. “Echoes to Be Visual, Aural Happening.” Minneapolis Star, 24 September 1975. Notes the upcoming performance of Echoes of Time and the River by the Minnesota Orchestra. Close comments on the work’s theatricality. B121 Lusk, Larry. “George Crumb: Makrokosmos, Volume 2.” Notes 32 no. 1 (September 1975): 148– 149. Review of the score for Makrokosmos II. Elements in the piece, “bear testimony to the composer’s awareness of his musical heritage.” B122 Amacker, Walt. “A Whale of a Tale.” Richmond News Leader, 18 October 1975 , p. A41. Amacker strongly praises Vox Balaenae, which he calls, “surrealistic and unsettling, but fascinating…it is, quite simply, an incredible piece of music.” B123 Finn, Robert. “Delicate ‘Voices’ is Masterpiece.” Plain Dealer (Cleveland), 19 October 1975, section 6 pp. 1, 3. Finn praises Ancient Voices and laments that Crumb seems to have presupposed its performance in a large hall, as a small intimate venue would add to its intensity. B124 Rasmussen, Karl Aage. “Musik På Musik.” Dansk Musik Tidsskrift 1 (December 1975): 9–16. Article, in Danish, on contemporary composers including Rochberg, Crumb and Foss. B125 Lusk, Larry. “George Crumb: Music for a Summer Evening. ” Notes 32 no. 2 (December 1975): 393–394. Review of the score for Music for a Summer Evening, noting some of the unusual playing techniques required. B126 Hruby, Dolores. “An Analysis of George Crumb’s Ancient Voices of Children.” Master’s thesis, Michigan State University, 1975. An examination of the methods of orchestration, notation, use of rhythm, use of Lorca texts, and the texture of the work. B127 Ancient Voices of Children (film). Santa Monica, CA: Pyramid Films, 1975.

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Page 86 A performance of Ancient Voices of Children performed by the Contemporary Chamber Ensemble, conducted by Arthur Weisberg with Jan DeGaetani, soprano. Additionally, there is a dance sequence performed by Virginia Johnson. Directed by Allan Miller 28 minutes in length. Released on videocassette by Pyramid Films in 1993. B128 Saylor, Bruce. “Looking Backwards: Reflections on Nostalgia in the Musical Avant-Garde.” Centerpoint (NY) 3 (1975): 3–7. Saylor discusses the twin trends of Romanticism and musical inclusiveness in the context of music returning to basic tonal materials. Saylor lists Crumb’s, “gorgeous and subtle instrumental and vocal effects,” as his contribution to recent developments. B129 “Crumb, George.” In The International Cyclopedia of Music and Musicians, edited by Bruce Bohle, Tenth edition, 498. London: J.M. Dent & Sons LTD., 1975. Brief biographic entry listing compositions. Eleventh edition, 1985. B130 Reynolds, Karen Jeanne. “Japan as a Source for New Wind Sounds.” Master’s thesis, University of California at San Diego, 1975. Not seen. Thesis is non-circulating and cannot be copied at University of California at San Diego. B131 Skrzynska, Anna. “Jesienne Refleksje.” Ruch Muzyczny 19 no. 24 (1975): 5–7. Article, in Polish, on Crumb and other composers. B132 “George Crumb.” In Schirmer Scores: a Repertory of Western Music, 1073–1075. New York: Schirmer Books, 1975. Reprints two excerpts from Makrokosmos I: Dream Images and Spiral Galaxy. B133 Sams, Carol. “Solo Vocal Writing in Selected Works of Berio, Crumb and Rochberg.” Ph.D. diss., University of Washington, 1975. Examination of the development of new vocal performance techniques, what ensembles composers use to accompany vocals, problems of notation and difficulties the vocalist may face in performance. B134 Chatman, Stephen. “George Crumb’s Madrigals Book III: a Linear Analysis.” In Theory Only (December 1975/January 1976): 55–79. Line by line analysis of Madrigals Book III. B135 Johnson, Bengt Emil. “Ekon ur Tystnader.” Nutida Musik (Stockholm) 4 no. 19 (1975/1976): 15– 18. Article, in Swedish, based on a radio program recorded at Studio Torsdag, 23 May 1974. B136 Henry, Pat. “Composer George Crumb Creates Musical Magic.” Lubbock Avalanche-Journal (TX), 29 January 1976, p. B1. Henry reports on a symposium featuring Crumb at Texas Tech University. Crumb notes, “I don’t enjoy monologues about my music. Dialogues I enjoy.”

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Page 87 B137 Rice, Bill. “Crumb Music is Unique, Surprising.” Schenectady Gazette, 4 February 1976. Rice notes the upcoming performance of Ancient Voices, Five Pieces for Piano, Sonata for Solo Violoncello and Vox Balaenae. Rice also considers Black Angels to be Crumb’s first mature work, apparently because it was included on the soundtrack for the movie The Exorcist. B138 McLellan, Joseph. “Welcome to ‘Pretty’ Modern Music.” Washington Post, 18 February 1976, p. C7. “George Crumb has probably done more to rehabilitate prettiness, using some rather improbable techniques developed by a whole generation of experimental composers.” B139 “Inspiration in Music of Maoris, Aborigines.” Otago Daily Times (Dunedin, New Zealand), 10 March 1976. “Ethnic music can play an important part in so-called ‘contemporary classical’ music.” George Crumb Scrapbook p. 240. B140 Covell, Roger. “The Daring of Diffidence.” Sydney Morning Herald (Australia), 15 March 1976, p. 7. Notes Crumb’s appearance at a seminar as part of the Adelaide Festival. B141 Holst, Gail. “A Dog’s Breakfast, or Festival Fruitsalad.” Nation Review (Melbourne), 19 March 1976. Holst reviews a seminar given by Crumb for the Adelaide Festival where he performed part of Makrokosmos II and answered questions from the audience. B142 Ruders, Poul. “Ancient Voices of Children:” Dansk Musik Tidsskrift 3 (April 1976): 122–124. Article, in Danish, on Ancient Voices of Children. B143 Sable, Barbara Kinsey. “On Contemporary Notation and Performance.” NATS Bulletin (May 1976): 26–31. Sable examines various books about contemporary notation and comments on notation in the works of Ligeti and Crumb (specifically, Madrigals, Book II). B144 Harrel, Doris Leland. “New Techniques in Twentieth-Century Solo Piano Music—An Expansion of Pianistic Resources From Cowell to the Present.” Ph.D. diss., May 1976. An examination of contemporary non-traditional uses of the piano with emphasis on performance problems and use of new notational symbols. B145 Chlopecki, Andrzej. “George Crumb: Musica Humana—Musica Mundana.” Ruch Muzyczny (Warsaw) 20 no. 10 (May 1976): 3–4. Article, in Polish, on Crumb’s music. B146 Dutkiewicz, Andrzej. “George Crumb w Eastman School of Music.” Ruch Muzyczny (Warsaw) 20 no. 10 (May 1976): 4–7. Article, in Polish, on Crumb’s visit to Poland. Also contains an interview, published in Polish, as a sidebar. See I5.

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Page 88 B147 Burge, David. “Repertoire, Part II; George Crumb.” Contemporary Keyboard 2 no. 3 (May/June 1976): 48. Burge gives specific advice on how to cope with some of the difficulties inherent in playing Crumb’s piano works: pre-mark strings, stay seated and follow the score exactly. B148 Borwick, Doug. “The Instrumental Theater Piece.” Woodwind World-Brass and Percussion (July 1976): 35–36. Borwick discusses compositions with a theatrical element, including Crumb’s Echoes of Time and the River. B149 Burge, David. “Performing the Piano Music of George Crumb.” Contemporary Keyboard 2 no. 4 (July/August 1976): 20–21, 36–37. A very detailed set of suggestions from Burge on performance techniques for Crumb’s Five Pieces for Piano and both volumes of Makrokosmos. A fascinating and helpful insight from a pianist long acquainted with Crumb’s oeuvre. B150 Burge, David. “George Crumb and I.” Contemporary Keyboard 2 no. 4 (July/August 1976): 42. Burge recounts amusing anecdotes from his friendship with Crumb. B151 Pincas, Andrew L. “A Famous Crumb for Lunch.” Berkshire Eagle (Pittsfield, MA), 13 August 1976, p. 1. Crumb lunches with Mrs. Margaret Lee Croft, donor of annual fellowships at the Berkshire Music Center. Crumb received the fellowship in 1955. B152 Moore, Linda G. “Contemporary Cello Techniques From the Twentieth Century Repertory.” Ph.D. diss., Ball State University, August 1976. An examination of modern cello techniques, including Crumb’s Black Angels. B153 Macbeth, Peter Cunningham. “Structural Determinants in George Crumb’s Night of the Four Moons and Ancient Voices of Children.” Master’s thesis, Ithaca College, August 1976. Macbeth examines the structural determinants used to create the formal structure of the two works. Attention is given to the arch form, the tritone, rhythmic motives, monophony, and tone color used in the compositions. B154 “George Crumb: Makrokosmos for Amplified Piano Volume II.” Clavier (September 1976): 48. Brief review of the score for Makrokosmos II. B155 Samama, Leo. “La Rochelle en de Amerikanen.” Mens en Melodie 31 (September 1976): 265–269. Article, in Dutch, on contemporary American composers. B156 Oliva, Mark. “Weighty Modern Composer.” Nevada State Journal 3 October 1976, p. 55. A panegyric for Makrokosmos, “it is an epic without past parallel in music.”

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Page 89 B157 Moor, Paul. “Berlin: The Music Festival That Wouldn’t Shut Down.” International Herald Tribune, 20 October 1976, p. 7. Moor remarks that performance of Crumb’s music at the Berlin Festival represents a breakthrough for the composer in Germany. B158 Suber, Charles. “The First Chorus.” Downbeat (21 October 1976): 6. “George Crumb’s public reputation as an avant gardist should not be held against him.” B159 Terry, Kenneth. “Makrokosmic Cartographer.” Downbeat (21 October 1976): 18, 50–51. Terry discusses Crumb’s evolution and the composer’s views on the current and future state of music. B160 Trotter, Herman. “June in Buffalo.” High Fidelity/Musical America (October 1976): MA26–MA27. “For all this cosmic quality, there is a simultaneous sense of the miniature that creeps in, a feeling of containment and mystery somewhat analogous to that created by the fanciful, glass encased collages of Joseph Cornell.” Trotter discusses the second June in Buffalo festival at SUNY Buffalo. B161 Korall, Burt. “Composers in Focus: George Crumb.” BMI: The Many Worlds of Music (Winter 1976): 18–19. Biographic entry. B162 White, John D. In The Analysis of Music, 81–82. Englewood Cliffs: Prentice-Hall, Inc., 1976. Briefly notes Crumb’s extension of a basic melodic idea in Night of the Four Moons. The entry is expanded in the second edition, pp. 81–82, 182–203. Metuchen: The Scarecrow Press, Inc., 1984. B163 Austin, Richard. Birth of a Ballet. London: Vision Press Limited, 1976. Austin traces the origins of the Ballet Rambert production of Black Angels, choreographed by Christopher Bruce. B164 Mugge, Robert (director). George Crumb: Voice of the Whale (film). Theatrical release, 1976. Documentary film which includes excepts from a performance of Vox Balaenae by the Penn Contemporary Players and an interview with Richard Wernick. The interview touches on the correlation between historical events and compositions, Lorca, intuition in music, emphasis on time inside and outside the music, teaching, music in visual terms and the relationship of composition to performance. The film was released on video by Rhapsody Films, 1988. B165 Miller, Robert. [Liner notes]. In George Crumb: Makrokosmos, Volume II (album). Odyssey Y342135, 1976. See D97. Miller notes some of the specific extended techniques required and effects achieved in this composition.

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Page 90 B166 Kamien, Roger. In Music: An Appreciation. New York: McGraw-Hill, Inc., 1976. Ancient Voices of Children is explored by Kamien. Second edition, 1980. Third edition, 1984. Fourth edition, 1988. Fifth edition, 1992. Sixth edition, 1996. Although there are slight modifications the entries stay essentially the same across editions. B167 Borroff, Edith and Marjory Irvin. In Music in Perspective, 298–300. New York: Harcourt Brace Jovanovich, Inc., 1976. Ancient Voices of Children is used as an example of diversity in tone color. B168 Cordes, Joan Kunselman. “A New American Development in Music: Some Characteristic Features Extending From the Legacy of Charles Ives.” Ph.D. diss., Louisiana State University, 1976. An examination of musical structures, new instrumental techniques and rhythm of compositions by Rochberg, Crumb, Druckman and Albright (amongst others) as part of the historical legacy of Charles Ives. B169 Cope, David. In New Music Notation. Dubuque: Kendall/Hunt Publishing Company, 1976. An exhaustive compendium of contemporary music notation, including many examples of Crumb’s innovative notation. B170 Fry, James Hugh. “New Musical Notation: A Bibliography.” Ph.D. diss., Eastman School of Music, 1976. A bibliography of new musical notation, no analysis. B171 Steinitz, Richard. “George Crumb.” Contact 15 (Winter 1976/1977): 11–13. A combination review of both scores ( Songs, Drones and Refrains of Death and Night of the Four Moons) and albums ( Night Music I, Eleven Echoes of Autumn and Black Angels). Crumb’s compositions, “constantly surprise and delight.” B172 Frank, Andrew. “George Crumb: Songs, Drones and Refrains of Death.” Notes 33 no. 3 (March 1977): 694–696. Review of the score for Songs, Drones and Refrains of Death, “a visual delight.” B173 Highwater, Jamake. “How Modern is Modern?” Soho Weekly News (New York, NY), 7 April 1977. Highwater is, “appalled by the controversies which surround [Crumb’s] work.” George Crumb Scrapbook p. 270. B174 Rouse III, Christopher Chapman. “The Music of George Crumb: Stylistic Metamorphosis in the Lorca Cycle.” Ph.D. diss., Cornell University, May 1977. An examination of stylistic metamorphosis in Night Music I, Madrigals, Books I–IV, Songs, Drones and Refrains of Death, Night of the Four Moons and Ancient Voices of Children.

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Page 91 B175 Timm, Kenneth N. “A Stylistic Analysis of George Crumb’s Vox Balaenae.” Ph.D. diss., Indiana University, May 1977. An examination of the organization of pitch, rhythm and timbre of the work, as well as an investigation of the extra-musical and programmatic aspects of the piece. B176 Mandel, Alan. “More Reviews.” Piano Quarterly 98 (Summer 1977): 22–24. Review of the score for Makrokosmos II. Briefly comments on aspects of the twelve fantasy pieces which make up this work. B177 “Composer Gets $10,000 Grant.” Evening Bulletin (Philadelphia), 2 September 1977, p. A34. Crumb is awarded a fellowship from the National Endowment for the Arts. B178 Klein, Elisabeth. “George Crumb’s Klavervaerker.” Norsk Musikktidsskrift (December 1977): 221– 222. Article, in Norwegian, regarding Crumb’s works for piano. B179 McClaughlin, Patricia. “Three Penn Composers.” Pennsylvania Gazette (University of Pennsylvania) 76 no. 3 (December 1977): 18–25. Extensive essay on George Crumb, George Rochberg and Richard Wernick. All three composers discuss their views on contemporary music, serialism and the state of music education. Crumb on composing: “it’s a very slow process with me, and I have to do a lot of sketching, and many of my pieces stretch over years.” B180 Machlis, Joseph. “Crumb: Ancient Voices of Children.” In The Enjoyment of Music, fourth edition, 639–643. New York: W.W.Norton & Company Inc., 1977. A brief movement by movement examination of Ancient Voices. Fifth edition, 1984. Sixth edition, 1990. Seventh edition, 1995. Eighth edition, 1999. B181 Clarke, Garry E. In Essays on American Music, 194–197. Westport: Greenwood Press, 1977. Clarke discusses Crumb’s use of unusual musical instruments, his love of quotation in his compositions, his use of symbolism and his musical textures. B182 Alcaraz, José Antonio. George Crumb Entrivista y Comentarios. Mexico City: Ediciones de la Biblioteca Benjamin Franklin, 1977. A 15 page booklet in Spanish with biographic and bibliographic information. The booklet also includes an interview, see I7. B183 Cope, David. In New Music Composition. New York: Schirmer Books, 1977. A number of Crumb’s compositions (Ancient Voices, Eleven Echoes of Autumn, Black Angels) are suggested as works for analysis. B184 McKay, John Robert. “Notational Practices in Selected Piano Works of the Twentieth Century.” Ph.D. diss., Eastman School of Music, 1977.

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Page 92 An evaluation of the notational procedures of fifteen composers. McKay discusses Crumb’s Five Pieces for Piano and Makrokosmos I–II. B185 Rasmussen, Karl Aage. “Tiden, Stilheden og Stjernerne.” Dansk Musik Tidsskrift 5 (March 1978): 165–169. Article in Danish. B186 Haskell, Harry. “Star Child: Exotic Parable.” Kansas City Star, 2 April, 1978, pp. E1, E4. Haskell accentuates the medieval aspects (especially the appearance of the score) and the exotic sounds (such as a gong submerged in water) of Star-Child. B187 A. H. S. “Oriental Music Inspiring.” Korea Herald, 18 April 1978, p. 6. While visiting Seoul, Crumb comments on his desire, “to listen to Korean music here.” B188 Carr, Tim. “3 C’s of American Music to be Featured in Twin Cities Events.” Minneapolis Tribune, 30 April 1978, pp. D1, D10. Carr profiles Crumb, John Cage and Aaron Copland in anticipation of their upcoming visits to Minneapolis. The composers comment on each others’ works, with Crumb mentioning how Cage’s, “music has opened up many possibilities to American composers.” B189 Steinberg, Michael. “Words and Music.” New York Times, 21 May 1978, Book Review section, pp. 12–13. A review of A New Diary by Ned Rorem. Rorem is less than effusive about Crumb (“Six Effects in Search of a Mind”). B190 Clark, Robert S. “American Composers Now.” Hudson Review 31 no. 1 (Spring 1978): 141–146. Clark discusses the current state of the avant-garde in its battle against a lazy status quo. Crumb is briefly mentioned as posing, “a clear challenge to the surviving strongholds of serialism.” B191 Kelly, Frederic. “Awaiting Debut of New Film.” Sun (Baltimore), 4 June 1978, p. D3. Kelly previews Robert Mugge’s film, George Crumb: Voice of the Whale. See B164. B192 Hume, Paul. “Clang, Bang, Hmmm, Sffzzz.” Washington Post, 9 July 1978, pp. M1, M8. Hume discusses the various effects and specific directions called for by Crumb in Night of the Four Moons, due to be performed by the Theater Chamber Players. B193 West, Barbara. “Bowdoin Series Presents George Crumb’s Music.” Times Record (Brunswick, ME), 25 July 1978. Crumb is artist in residence at Bowdoin, where Ancient Voices and Night of the Four Moons are to be performed.

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Page 93 B194 Lindeman, Timothy H. “A Comparison of George Crumb’s Night Music I and Ancient Voices of Children.” Master’s thesis, Indiana University, July 1978. A comparison of the parameters of pitch, text-setting, instrumentation, texture and rhythm between the two pieces with both intra- and inter-movement analyses. B195 Robertson, Allen. “George Crumb Trilogy.” Dance Magazine (September 1978): 53–55. Three of Crumb’s works are choreographed by Loyce Houton of the Minnesota Dance Theatre: Dream Sequence (as Contemporary Aire—Discontinued Spaces ), Ancient Voices of Children (as Ancient Air ) and Black Angels (as Diabolus ). B196 Greiling, Franziska L. “Detroit Already Knows Crumb.” Detroit News, 20 October 1978, p. H5. Crumb is invited to Detroit by Pro Musica, which had been formed to bring Ravel to Detroit in 1928. B197 Ahlen, Carl-Gunnar. “George Crumb—Ende 70-talisten.” Svenska Dagbladet, 20 October 1978, p. 11. Article, in Swedish, regarding Crumb’s visit to Sweden. B198 Gunn, John. “Crumb Can Compose in Circles.” Detroit Free Press, 27 October 1978. Gunn previews the performance of Crumb’s Dream Sequence and notes that Night of the Four Moons was broadcast on WTVS (Detroit channel 56) in 1977. B199 Griffiths, Paul. “Sight and Sound.” Musical Times (October 1978): 875–876. Review of the scores for Music for a Summer Evening and Dream Sequence. “Having seen the Crumb scores I feel I can live without hearing them played. B200 Steinitz, Richard. “George Crumb.” Musical Times (October 1978): 844–847. Steinitz discusses Crumb’s sonorities and the means he uses to create them in some detail noting that Crumb has a purpose in mind and is not just interested in effect. B201 Barrett, Nick. “Crumb’s Sound-world.” Listener (2 November 1978): 584, 586. Barrett notes that Crumb is the guest of honour at the Contemporary Music Festival in Huddersfield. Barrett also comments on Crumb’s obsessions with Lorca and with Time, “both in a metaphysical sense of asking what time is, in its nature, and in trying to understand how we human beings experience time.” B202 “Crumb, George.” In Baker’s Biographical Dictionary of Musicians, Sixth edition, 365–366. New York: Schirmer Books, 1978. Brief biographic entry. Seventh edition, 1984. Eighth edition, 1992.

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Page 94 B203 Skans, Per. [Liner notes]. In Frans Helmerson Plays Solo Cello (album). Bis LP-65, 1978. See D138. Crumb’s, “later style is not wholly apparent in this work.” English translation by William Jewson. German translation by Per Skans. B204 Hansen, Peter S. “George Crumb (Born 1929).” In An Introduction to Twentieth Century Music, Fourth edition, 400–404. Boston: Allyn and Bacon, Inc., 1978. Hansen focuses on timbre and extra-musicality in Crumb’s compositions. B205 Vyverberg, Henry. In The Living Tradition, 354–355. New York: Harcourt Brace Jovanovich, Inc., 1978. A brief look at Ancient Voices of Children. Second edition, 1988. B206 Thomson, William. “Ancient Voices of Children.” In Music for Listeners, 264–275. Englewood Cliffs: Prentice-Hall, Inc., 1978. A very detailed examination of Ancient Voices, including mapping out the composition and explication of the relationship between Lorca’s poetry, timbres and voices. B207 Romeo, James Joseph. “Vocal Parts in the Music of George Crumb.” Master’s thesis, Michigan State University, 1978. An analysis of the pitched melodies and the structural role of palindromes in the vocal parts in Madrigals, Books I–IV and Ancient Voices of Children. B208 Sterne, Teresa. “Recording Contemporary Music.” Peters Notes 2 no. 2 (Fall/Winter 1978–1979): 1, 8–10. Sterne, director of Nonesuch Records, recounts the trying conditions under which Ancient Voices of Children was recorded in New York City. Reprinted as “Recording Ancient Voices of Children” in Profile of a Composer: George Crumb, 28–29. New York: C.F.Peters Corporation, 1986. B209 Frazier, Michael. “George Crumb: He Composes Dreams.” Steel City Star (Pittsburgh, PA), 8 February 1979. Article discussing Crumb’s compositions. George Crumb Scrapbook p. 326. B210 Armstrong, George. “Staging the Scene.” Charleston Daily Mail, 28 February 1979. Preview of performances of many Crumb works to be performed at West Virginia University. “Not bad for a youngster from the banks of the Kanawha.” B211 Armstrong, George. “Crumb Opposing Composer Cults.” Charleston Daily Mail, 9 March 1979. Crumb expresses a distaste for schools of composers where students emulate the ‘master’. Crumb states, “fortunately it has faded and today we happily have near anarchy in what is fashionable in music composition.” B212 Burge, David. “George Crumb: Four Nocturnes .” Notes 35 no. 3 (March 1979): 718–719.

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Page 95 Review of the score of Four Nocturnes. “This music requires delicacy, poise and atmosphere!” B213 Cardona, Patricia. “George Crumb, Creador del Sonido Microcosmico.” Uno Mas Uno (Mexico City), 21 April 1979. Article in Spanish. George Crumb Scrapbook p. 329. B214 Webster, Daniel. “String Section Rebels Over Crumb Cantata.” Philadelphia Inquirer, 17 May 1979, p. B1. The string section of the Philadelphia Orchestra objects to the volume of certain parts of Crumb’s StarChild and so wear earplugs in protest. B215 “ Star-Child Makes Philadelphia Orchestra See ****.” New York Times, 18 May 1979, p. C30. The string section of the Philadelphia Orchestra objects to the volume of certain parts of Crumb’s StarChild and so wear earplugs in protest. B216 MacKay, John. “An Analysis of Musical Time in Selected Works by George Crumb.” Master’s thesis, McGill University, August 1979. An examination of Madrigals, Book I, Echoes of Time and the River, Dream Sequence, Lux Aeterna and Music for a Summer Evening in terms of how the composer’s control of the clarity of formal patterning and structuring of long range rhythmic development affects the sense of musical time in the works. B217 “So You Think the Concorde is Loud!” Senza Sordino 17 no. 6 (August 1979): 2. Mason Jones, personnel manager for the Philadelphia Orchestra, calls the loud sections of Star-Child, “a pollution problem and a potential health hazard.” Reprinted as “Music as Pollution?” in High Fidelity/Musical America (December 1979): MA 15. B218 Haberman, Clyde and Albin Krebs. “Lending a Hand or Two for a Lincoln Center Concert.” New York Times, 17 November 1979, p. 46. Notes that page turner, Richard Goode, will lend a hand, or two, during a performance of Celestial Mechanics, in a portion calling for “six hands.” B219 Godfrey, Naomi and Michael Weinstein. “Faculty Profile: George Crumb.” Columns (University of Pennsylvania) 11 no. 1 (Fall 1979): 8–10, 25. A discussion of Crumb’s musical background and his thoughts on composing. Also includes a visit to one of Crumb’s classes which provides a fascinating window on his role as a teacher. B220 Burge, David. “Best Pieces of the ’70’s.” Contemporary Keyboard (November 1979): 75. Crumb’s Makrokosmos I and II are included in Burge’s list of the best compositions of the 1970’s. “Extraordinary use of inside-the-piano and vocal sounds.”

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Page 96 B221 Smith, Patrick J. [Liner notes]. In (album) Candide CE 31113, 1979. See D119. Brief notes with biographical information and information about Night Music I. Reprinted in Music of Schoenberg, Dallapiccola, Crumb, Boulez, Others (album). Vox Box CDX 5144, 1995 [where it is mistakenly listed as Night Music II in the notes]. See D122. B222 Faulkner, Susan Green. “An Analysis of George Crumb’s Makrokosmos, Volume II and Its Relationship to Makrokosmos, Volumes I and III. Ph.D. diss., University of Cincinnati, 1979. A comparison of the formal structures, sonority, tonal elements, spacing, texture and timbre in the first three volumes of the Makrokosmos cycle ( Makrokosmos III is better known as Music for a Summer Evening). B223 Hickok, Robert. “Crumb (b. 1929).” In Exploring Music, Third edition, 413–416. Reading: AddisonWesley Publishing Company, 1979. A brief examination of Vox Balaenae. B224 Machlis, Joseph. “George Crumb.” In Introduction to Contemporary Music, Second edition, 519– 524. New York: W.W.Norton & Company, 1979. An examination of Ancient Voices of Children in which the musical and vocal aspects are dissected movement by movement. B225 Shuffett, Robert V. “The Music, 1971–1975, of George Crumb: A Style Analysis.” Ph.D. diss., Peabody Institute of the Johns Hopkins University, 1979. Stylistic analysis of Vox Balaenae, Lux Aeterna, Makrokosmos I–II and Music for a Summer Evening focusing on extra-musical considerations, large-scale structure and interconnections amongst and amidst the works. Contains extensive interviews with Crumb, see I9. B226 Schultz, Donna Gartman. “Set Theory and Its Application to Compositions by Five TwentiethCentury Composers.” Ph.D. diss., Michigan State University, 1979. Makrokosmos II is analyzed via a process of segmentation, where notes are grouped together into pitch class sets. B227 Haskell, Harry. “Composer to Stage Own Melodic Event.” Kansas City Star, 17 February 1980, pp. 5E, 8E. Haskell notes that Crumb will be composer-in-residence at the University of Kansas Symposium of Contemporary Music and that the last time Crumb’s music was heard in Kansas City it was Star-Child, “an overblown and somewhat atypical work.” B228 Horowitz, Joseph. “Music: Brooklyn Philharmonia Plays a Modern American Bill.” New York Times, 23 February 1980, p. 11. Notes the performance of Three Early Songs, “dating from his 18th year…simple and subdued, with uncomplicated harmonies.”

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Page 97 B229 Redmond, Michael. “College Draws New Sounds to the State.” Star-Ledger (Newark, NJ), 24 February 1980, section 4 p. 12. Notes the upcoming performance of Music for a Summer Evening, Night Music I, Madrigal Book III, Vox Balaenae and Ancient Voices of Children at the sixth Festival of New Music at William Paterson College in Wayne, NJ. B230 Haskell, Harry. “Music Master’s Fame Deserved.” Kansas City Star, 2 March 1980. A review of Crumb’s appearance at the Symposium of Contemporary Music, noting that Crumb is, “one of the most original composers of the century.” David Burge remarks that Crumb’s choice of notes are not arbitrary and that after a predictable period of decline Crumb’s oeuvre, “will be appreciated for what it really is.” B231 Burge, David. “George Crumb: Lux Aeterna.” Notes 36 no. 3 (March 1980): 748–749. Review of the score of Lux Aeterna. “I suspect that a future generation of Crumb admirers will be less impressed by the sheen, more awed by the substance.” B232 Houston, Robert E. “A Comparative Analysis of Selected Keyboard Compositions of Chopin, Brahms, and Franck as Transcribed for the Marimba by Clair Omar Mussar, Earl Hatch, and Fran MacCallum Together with Three Recitals of Works by Bartók, Crumb, Miyoshi, Kraft and Others.” Ph.D. diss., North Texas State University, December 1980. Performance of Music for a Summer Evening 7 March 1977. No other Crumb content in the dissertation. B233 “George Crumb.” Interface: Journal of New Music Research 9 no. 3–4 (December 1980): 151. Crumb notes that his music is a synthesis of traditional western music, classical 20th century masters and non-western music. B234 Blatter, Alfred W. In Instrumentation/Orchestration, 217–227. New York: Longman Inc., 1980. Crumb’s Ancient Voices of Children is used as an example in discussions of percussion, use of toy piano and performers singing into instruments. Second edition, 1997. B235 Schindler, Allan. In Listening to Music. New York: Holt, Rinehart and Winston, 1980. General textbook on music which uses Crumb’s works as examples. B236 “Crumb, George (Henry).” In New Grove Dictionary of Music and Musicians 5, edited by Stanley Sadie, 71. London: Macmillan Publishers Limited, 1980. Brief biographic entry.

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Page 98 B237 Laretei, Käbi. “Sfärernas Klanger.” Nutida Musik 4 (1980/1981): 9–10. Article, in Swedish, about Crumb. B238 Ågren, Lennart. “Crumbrapport från Örebro.” Nutida Musik 4 (1980/1981): 11–12. Article, in Swedish, about Crumb’s visit to Örebro, Sweden. B239 Roos, James. “Moving Music: Crumb’s Gift to Avant-garde.” Miami Herald, 1 February 1981, pp. L1, L10. Roos notes Crumb’s popularity and that his music is as provocative (and evocative) in performance as it is on paper. “Crumb’s music also has the power to move.” B240 Morrow, Bruce. “The Composed Style of George Crumb.” Minnesota Daily, 5 February 1981. Morrow has, “a hard time associating Crumb’s colorful and highly dramatic music with the calm, reticent figure,” of the composer in person. B241 “Pulitzer Prize Winning Composer Returns to Campus.” Illinois Alumni News (March 1981). Notes the upcoming performance of Star-Child at the University of Illinois at Urbana-Champaign. B242 Thomas, Jennifer. “The Use of Color in Three Chamber Works of the Twentieth Century.” Indiana Theory Review 4 no. 3 (Spring 1981): 24–40. A detailed investigation of timbre in music in the works of Webern (Quartet, Opus 22), Stravinsky (Abraham and Isaac) and Crumb (Eleven Echoes of Autumn, 1965). Thomas describes the techniques required to establish each timbre eco by eco. B243 Finn, Robert. “Crumb: The Man and His Music.” Plain Dealer (Cleveland), 23 October 1981, pp. 10–11. Finn notes, as do many others, a contrast between the Crumb’s quiet personality and the Romanticism of his music. Finn, “find[s] Crumb’s music, almost without exception, spellbinding and weirdly beautiful.” B244 Miller, Samuel D. “Can Selections for Children be Avant-Garde?” Music Educators Journal (October 1981): 29–33. Miller suggests it is possible to include the avant-garde in elementary music education and includes Crumb’s Makrokosmos II in his list of selected recordings. B245 Rone, Chanuch. “G.Crumb: L’chtov Musika Metuka [G.Crumb: To Write Sweet Music].” Yediot Aharonot (Tel Aviv, Israel), 21 November 1980, p. 22. Article in Hebrew.

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Page 99 B246 “People in Music: George Crumb.” School Musician (May 1981): 33. Crumb receives the University of Illinois School of Music Distinguished Alumnus Award. B247 Guinn, John. “Crumb’s Special Effects Light Up a Music-filled Week.” Detroit Free Press, 7 December 1981, p. E12. Guinn calls Crumb’s music, “an intensely human music and it defies stylistic classification.” Guinn also wonders when Crumb will compose an opera. B248 Diehl, George K. “Variazioni (1959) by George Crumb.” In (album) Louisville Orchestra LS 774, 1981. See D155. Liner notes. “ Variazioni, composed in 1959, is an early work and is not representative of the ‘purer style’ that marks the composer’s more recent work.” B249 Matthews, Nell Wright. “George Crumb’s Makrokosmos Volumes I and II: Considerations for Performance, Including Observations by David Burge, Robert Miller and Lambert Orkis.” Ph.D. diss., University of Oklahoma, 1981. Investigation of the unusual playing techniques needed for these works with commentary from three pianists who have recorded the pieces: Burge, Miller and Orkis. B250 Holland, James. In Percussion, 48, 109, 131. New York: Schirmer Books, 1981. Crumb’s Ancient Voices of Children provides examples of the use of finger cymbals, individual crotale notes, musical saw and Tibetan prayer stones. B251 Cooper, Paul. Perspectives In Music Theory: An Historical-Analytical Approach, Second edition, 514–515. New York: Harper & Row, Publishers, 1981. An excerpt from Ancient Voices of Children (“Each afternoon in Granada, a child dies each afternoon.”) is reprinted. B252 Hoffer, Charles R. “Crumb’s Night of the Four Moons.” In The Understanding of Music, Fourth edition, 441–444. Belmont: Wadsworth Publishing Company, 1981. Hoffer examines Night of the Four Moons as a representative Crumb work and notes how it captured the spirit of the event which, “captured the imagination of mankind.” Fifth edition, 1985. Sixth edition, 1989. B253 De Dobay, Thomas Raymond. “Harmonic Materials and Usages in the Lorca Cycle of George Crumb.” Ph.D. diss., University of Southern California, June 1982. An examination of pitch as a determinant of structure with an analysis of how harmonic units function in terms of form. The works studied are Night Music I, Madrigals, Books I–IV, Songs, Drones and Refrains of Death, Night of the Four Moons and Ancient Voices of Children.

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Page 100 B254 “Anderson Honored with Pennsy Award.” Variety (7 July 1982): 65. Crumb is awarded the Hazlett Memorial Award for Excellence in the Arts. B255 Horta, Luiz Paulo. “George Crumb Traz à Sala a Poesia Musicada de Lorca. Jornal do Brasil, 16 October 1982, p. B1. Article, in Portuguese, regarding Crumb’s settings of Lorca’s poetry. B256 Ewen, David. “Crumb, George Henry.” In American Composers: A Biographical Dictionary, 155– 158. New York: G.P.Putnam’s Sons, 1982. Fairly extensive biographic entry. Erroneously claims that Crumb won the BMI prize in composition in 1937, which would have made the composer all of eight years old! B257 McGee, William James. “An Expanded Concept of Timbre and Its Structural Significance, With a Timbral Analysis of George Crumb’s Night of the Four Moons.” Ph.D. diss., University of Arizona, 1982. Historical exploration of timbre with a study of the pitch, dynamics, time, texture and timbre of the individual movements of Night of the Four Moons. B258 Chun, Yung Hae. “The Extension of Piano Techniques in Compositions by George Crumb for Solo Piano.” Ph.D. diss., University of Wisconsin at Madison, 1982. An examination of the extended techniques utilized by Crumb in Five Pieces for Piano and the first two volumes of Makrokosmos. B259 DeBaise, Joseph Ralph. “George Crumb’s Music for a Summer Evening: A Comprehensive Analysis.” Ph.D. diss., Eastman School of Music, 1982. An examination of the structure of the work using Schenker analysis to create a graphic representation of the piece. A good number of other areas are explored including: formative influences, symmetrical relationships, tonal unity, thematic unity, number relationships, percussion timbre and performance, techniques. B260 Ott, David Lee. “The Role of Texture and Timbre in the Music of George Crumb.” Ph.D. diss., University of Kentucky, 1982. An investigation of homotimbral, heterotimbral and multitimbral units, as well as connecting units, textural density and structural organization in the works of Crumb. B261 Slowik, Kenneth. [Liner notes]. In The Twentieth Century Consort Vol. II (album). Smithsonian Collection N 027, 1982. See D24. “Crumb directs the players to use not only the keys, but also their hands, nails, forearms, and even metal rulers to excite the strings into vibration.” Liner notes for the first recording of Celestial Mechanics.

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Page 101 B262 “Crumb, George Henry.” In Who’s Who in America, 42nd edition, 720. Chicago: Marquis Who’s Who, Inc., 1982. Brief biographic entry. B263 Johnson, Bengt Emil. “Han Lyssnar Efter Ljuden Från Andra Sidan…” Nutida Musik 26 no. 1 (1982/1983): 45–48. Article, in Swedish, regarding performance details from Echoes of Time and the River. B264 “Philharmonic Going Modern.” New York Times, 28 January 1983, p. C24. The Horizon ’83 festival is scheduled to include works by Consoli, Crumb, Lerdahl, Del Tredici, Harbison, Wuorinen, Rochberg and Rands. B265 McCarthy, Mairéad Rita. “Symbols and Creative Transformation in George Crumb’s Black Angels —an Interdisciplinary Exploration.” Master’s thesis, University of Western Australia, February 1983. An investigation of the symbolic aspects of Black Angels with a specific focus on the relationship between creativity and the collective consciousness. B266 Feyerherm, Joel. “Jeffrey Jacob and George Crumb: Together They Make a Team.” College Reporter (Franklin and Marshall College), 15 March 1983. Brief article about the movement of a composition from conception to actualization. B267 “Twentieth Century Music: A Diversity of Styles.” Almanac (University of Pennsylvania) (26 April 1983): 7–8. Profile of the Music department at Penn and its resident professors: Crumb, George Rochberg, Richard Wernick, Jane Wilkinson and Jay Reise. B268 Burge, David. “George Crumb’s Five Pieces.” Keyboard (July 1983): 66. A profile of Five Pieces for Piano combining personal reminiscences concerning its composition in 1962 and technical details about the work. B269 White, John H. “Derivative Elements From Non-Western Musical Cultures Utilized in the Music of George Crumb.” Master’s thesis, Ithaca College, August 1983. An examination of the non-Western musical elements in Lux Aeterna, Vox Balaenae, Songs, Drones and Refrains of Death, Ancient Voices of Children, and Music for a Summer Evening. Special attention is paid to Crumb’s timbral manipulation, use of neutral syllables, and suspension of time as they relate to nonWestern musical forms. B270 Fagin, Steve. “Even a Paper Clip Comes in Handy When Modern Composer is at Work.” Day (New London, CT), 13 November 1983, p. A8.

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Page 102 Fagin notes Crumb’s use of strange effects and his attention to detail. The composer had noted that a pianist was plucking an inside string with a nail, rather than a paperclip, as specified in the score. B271 Burge, David. “George Crumb’s Gnomic Variations. ” Keyboard (November 1983): 71, 96. Burge provides an overview of Gnomic Variations and gives some thoughts about specific details of technique in the composition. B272 Goter, Arlene. “The Treatment of the Piano in Night Music I and Music for a Summer Evening (Makrokosmos III). Ph.D. diss., Indiana University, December 1983. A comparison of the textures, on-string techniques, rhythmic structures, timbre, symmetrical forms, periods of silence and use of percussive aspects of the piano in the two works. B273 Jacob, Jeffrey. [Liner notes]. In (album) Orion ORS 84473, 1983. See D58. “The terse, aphoristic quality of Gnomic Variations is defined at the outset: the combination begins with a brief unaccompanied melodic line of interlocking tritones.” B274 Wennerstrom, Mary H. “George Crumb.” In Anthology of Musical Structure and Style , 522–527. Englewood Cliffs: Prentice Hall, Inc., 1983. Brief biographic entry and excerpt from Ancient Voices of Children. B275 Bland, William. [Liner notes]. In (album) Bridge BDG 2002, 1983. See D7. Brief liner notes focusing on the Whitman texts in Apparition. Reprinted in (album) Bridge BCD 9006, 1987. B276 Simoni, Mary Hope. “The Computer Analysis of Atonal Music: An Application Program Using Set Theory.” Ph.D. diss., Michigan State University, 1983. Five Pieces for Piano is evaluated using a computer program (BOETHIUS) to reduce sets to prime form and to then generate information on the complex set relations. B277 Faidley, Jan. “Treatment of Woodwind Timbre in the Compositions of George Crumb.” NACWPI Journal (Winter 1983–1984): 4–14. A detailed exploration of Crumb’s employment of timbre in Eleven Echoes of Autumn, 1965, Madrigals, Books I–IV and Night of the Four Moons. Techniques discussed include: multiphonics, color fingerings, jazz effects, percussive effects, muting effects, and extensions of traditional techniques. B278 George, Earl. “Hurray…and Alas! Crumb Likes Concert with Student, But Feels Older.” Syracuse Herald-Journal, 6 March 1984. Crumb comments on the fact that music by Christopher Rouse, a former pupil of Crumb’s, will be on a program with his own music.

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Page 103 B279 del Castillo, Maria Theresa. “Comnetarios Musicales: George Crumb en Bogota.” Espectador (Bogota, Columbia), 18 March 1984, p. B4. Article, in Spanish, previewing Crumb’s visit to Columbia. B280 “Diez Nuevos Artistas en el IX Salón Atenas.” Tiempo (Bogota, Columbia), 22 March 1984, p. C5. Preview of a seminar on the interpretation and analysis of the music of George Crumb. B281 Marino, Maruja Mendez. “La Musica de la Semana.” Tiempo (Bogota, Columbia), 22 March 1984, p. C7. Preview of seminars and performances of Crumb works in Bogota. B282 De Greiff, Otto. “George Crumb en Bogota.” Tiempo (Bogota, Columbia), 23 March 1984, p. D5. Article, in Spanish, about Crumb’s appearances in Bogota. B283 “George Crumb.” American Organist (April 1984): 115. Brief biographic entry. B284 Hale, Allan. “Professor Makes Music Go Round.” West Australian (Perth), 28 July 1984. Notes Crumb’s stay as composer-in-residence at the University of Western Australia. B285 De Dobay, Thomas R. “The Evolution of Harmonic Style in the Lorca Works of Crumb.” Journal of Music Theory 28 no. 1 (Spring 1984): 89–111. Detailed and technically specific examination of harmony and form in Crumb’s Lorca Cycle: Night Music I, Madrigals Books I–IV, Songs, Drones and Refrains of Death, Night of the Four Moons and Ancient Voices of Children. B286 Lipman, Samuel. “From Avant-Garde to Pop.” In The House of Music, 31–48. Boston: David R, Godine, Publisher, 1984. Lipman maintains that, “it is this search for pleasure rather than pain that has marked the compositional career of the most widely successful of the aural sensualists, George Crumb.” Lipman also criticizes Crumb’s music which, “seems all too solidly based on the sacred icons of the fashionable liberal culture.” B287 Albright, Margaret. “Memorial Foundation Announces Two New Honorary Board Members.” Triangle of Mu Phi Epsilon 79 no. 1 (1984): 18. Crumb is named an honorary board member of the Memorial Foundation of Mu Phi Epsilon, along with Harry Ellis Dickson. B288 Ginsberg, Linda. “Sounds & Silences of Contemporary Music.” Penn Paper (University of Pennsylvania), 10 January 1985, pp. 7, 12. Ginsberg discusses the delineation between serious and popular composition in this profile of Crumb.

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Page 104 B289 Loft, Kurt. “Give This Theatrical, Avant-garde Group a Chance.” Tampa Tribune, 17 January 1985. Crumb is compared to Frank Zappa, Captain Beefheart and Brian Eno in this preview of a performance of Vox Balaenae at the University of South Florida. B290 Francombe, Leona. “Composer, Performer and Audience: George Crumb’s Music.” Banff Letters (Spring 1985): 33–37. Francombe focuses on the inter-relationships inherent in the actions of the composer (transmuting initial thought to concrete form in a score), performers (who take the potential of a musical score and transform it into an actuality) and the audience (whose final apprehension brings the process full circle back to thought, although perhaps not the original thought of the composer). B291 Reuter, Rocky J. “Symmetrical Structures in George Crumb’s Five Pieces for Piano .” Journal of the Graduate Music Students at the Ohio State University 9 (Spring 1985): 41–52. An examination of the overall structure, pitch structure and harmonic units of Five Pieces for Piano. A detailed study. B292 Schneider, John. In The Contemporary Guitar. Berkeley: University of California Press, 1985. Crumb’s techniques for guitar, most notably in Songs, Drones and Refrains of Death, are discussed, although not in great detail. B293 Spitz, Ellen Handler. “ Ancient Voices of Children: A Psychoanalytic Interpretation.” Current Musicology 40 (1985): 7–21. Spitz dissects Ancient Voices in the light of, “the positively charged interactions between mother and infant.” Spitz argues that in hearing this work the listener relives the, “experiential world of infant and mother, duality and union, which lives on in the unconscious.” B294 Friedner, Calle. [Liner notes]. In (album) Bis LP-261/262, 1985. See D46/83/100. Brief liner notes in Swedish. English translation by Friedner and Andrew Barnett, German translation by Per Skans, and French translation by Arlette Chené-Wiklander. B295 Archibald, Bruce. [Liner notes]. In (album) New World Records NW 326–1, 1985. See D64. “Like all of George Crumb’s music, A Haunted Landscape is a unique sonic experience, tone color being paramount.” B296 Dubaj, Mariusz. “Makrokosmos.” Master’s thesis, Akademia Muzyczna (Gdansk, Poland), 1985. Not seen. B297 Baur, John. “George Crumb.” In Music Theory Through Literature, Volume 2, 320–331. Englewood Cliffs: Prentice Hall, Inc., 1985.

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Page 105 A very detailed examination of the melody, harmony, rhythm and texture of Crumb’s Madrigals, Book IV. “The characteristic sound of the tritone pervades the piece.” B298 “Wokol Crumba I Terteriana.” Ruch Muzyczny 29 no. 24 (1985): 11. Article in Polish. B299 Yoshida, Kikuko. “A Study of George Crumb: Music Based on Poetic Images.” Bachelor of Arts, Tokyo National University of Fine Arts and Music, 1985. Bachelor of Arts term paper, in Japanese. Not seen. B300 Webster, Daniel. “Composer Crumb Accepts Soviet Invitation.” Philadelphia Inquirer, 28 March 1986, p. D3. Crumb is invited to be the American representative at the Conference of the Union of Soviet Composers to be held that April in Moscow. B301 Synnestvedt, Peter Nilen. “A Study of Three Contemporary American Works for Orchestra.” Ph.D. diss., University of Cincinnati, August 1986. An examination of the problems of orchestration in Echoes of Time and the River including feedback from the composer, as well as musicians who have performed the piece. B302 Mabry, Shirley. “New Directions: George Crumb’s Ancient Voices of Children (Part 1).” NATS Journal 43 no. 1 (September/October 1986): 37–38. Mabry deals with some of the problems for a vocalist learning this work: use of musical spacing, subtle color changes and wide dynamic range. B303 Mabry, Shirley. “New Directions: George Crumb’s Ancient Voices of Children (Part 2).” NATS Journal 43 no. 2 (November/December 1986): 36–37. Mabry looks at how the five sections of Ancient Voices utilize the soprano voice in different ways and suggests solutions to problems the singer may encounter. B304 Reuter, Rocky J. “Evocation as a Compositional Device.” Ph.D. diss., Ohio State University, 1986. Reuter investigates, “the use of sounds that have the ability to cause association of the sound with some entity that is to be taken as an object or event rather than as a pattern of sound within a particular musical composition.” Includes an examination of Crumb’s Makrokosmos I. B305 Simms, Bryan R. “George Crumb: Black Angels (1970).” In Music of the Twentieth Century: An Anthology, 248–250. New York: Schirmer Books, 1986. Reprints an excerpt from Black Angels.

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Page 106 B306 Gillespie, Don, ed. George Crumb: Profile of a Composer. New York: C.F.Peters Corporation, 1986. An extremely informative volume which includes biographical information, an article by Crumb (C10), an interview with Crumb (I19), reminiscences by friends and colleagues and bibliographic and discographic information current through 1986. For further information on the other chapters, see B307–315. As noted by Gilbert Chase (B313), it is indeed “indispensable” for Crumb research. B307 Cope, David. “Biography.” In George Crumb: Profile of a Composer, 8–15. New York: C.F.Peters Corporation, 1986. Detailed and extensive biography of Crumb. See B306. B308 Narmour, Eugene. “De Oracular Crumbi: The Contexts of Science and Art in the Twentieth Century.” In George Crumb: Profile of a Composer, 74–75. New York: C.F.Peters Corporation, 1986. Using extensive, although at times oblique, references to Crumb’s compositions Narmour discusses the twin currents of science and art as they intermingle and cross-pollinate. The form of the essay is a parallel of Crumb’s Processional. See B306. B309 Chatman, Stephen. “The Element of Sound in Night of the Four Moons” In George Crumb: Profile of a Composer, 62–65. New York: C.F.Peters Corporation, 1986. An investigation of Crumb’s use of texture, density, dynamics and timbre in Night of the Four Moons. Chatman also discusses Crumb’s use of notation in the work. See B306. B310 Burge, David. “George Crumb.” In George Crumb: Profile of a Composer, 6–7. New York: C.F.Peters Corporation, 1986. Burge relates how he met Crumb at the University of Colorado, Boulder and inadvertently commissioned Five Pieces for Piano. Burge, “would think of [Crumb] sitting in the student union with his coffee during that autumn of 1962, staring wide-eyed, solemn, and unseeing. [Burge] would try to think of clues that [Crumb] might have given [Burge] as to the demonic fury that erupts in Black Angels. ” See B306. B311 MacLean, Suzanne. “George Crumb, American Composer and Visionary.” In George Crumb: Profile of a Composer, 20–25. New York: C.F.Peters Corporation, 1986. MacLean discusses some of the extra-musical aspects of Crumb’s compositions and the inter-relationship of poetry, allusion, numerology and spirituality in his works. See B306. B312 Wernick, Richard. “George Crumb: Friend and Musical Colleague.” In George Crumb: Profile of a Composer, 67–69. New York: C.F.Peters Corporation, 1986.

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Page 107 Wernick reminisces about Crumb’s love of creating pyrotechnics (in this case, of the non-musical variety —fireworks), their experiences at the Center for the Creative and performing Arts at the University of Buffalo, Echoes of Time and the River, and his feelings about various aspects of Crumb’s music. See B306. B313 Chase, Gilbert. “George Crumb: Portraits and Patterns.” In George Crumb: Profile of a Composer, 2–3. New York: C.F.Peters Corporation, 1986. Introduction to this volume on Crumb in which Chase discusses various aspects of the wide range of reviews and interpretations by critics and journalists. See B306. B314 Wilkinson, Christopher. “ Makrokosmos I and II: A Case Study of George Crumb’s Compositional Process.” In George Crumb: Profile of a Composer, 55–61. New York: C.F.Peters Corporation, 1986. Wilkinson investigates the path Crumb trod on his way from initial concept to sketch to continuity draft to final, completed work. Extensive use is made of initial sketches (some of which are included as illustrations) to map the journey of the Phantom Gondolier. See B306. B315 DeGaetani, Jan. “Reflections on Twenty Years.” In George Crumb: Profile of a Composer, 27–28. New York: C.F.Peters Corporation, 1986. Personal anecdotes by DeGaetani related the reactions to Crumb’s music that she experienced, her process for learning Crumb’s compositions for performance and her friendship with Crumb. See B306. B316 Kuzmich, Natalie. In Musical Growth: A Process of Involvement, 124–130. Toronto: Gordon V.Thompson Music, 1986. A textbook asking students to consider Crumb’s use of new sonorities, silence as a musical element, contrast in dynamics and timbre and pitch bending in their analysis of Ancient Voices of Children. B317 Sullivan, Jack. “Crumb, George.” In Penguin Encyclopedia of Horror and the Supernatural, 107– 108. New York: Viking Penguin Inc., 1986. Sullivan focuses on the ghoulish, haunting and chilling sonorities of such Crumb works as Night Music I, Black Angels and A Haunted Landscape. B318 Borroff, Edith. Three American Composers. New York: University of America Press, 1986. Borroff examines the life and works of Irwin Fischer, Ross Lee Finney (one of Crumb’s teachers) and Crumb. One of the most substantial extant (non-dissertation) works on Crumb. Borroff especially focuses on Crumb’s Sonata for Solo Violoncello, Five Pieces for Piano, Night Music I, Ancient Voices of Children, Black Angels, Vox Balaenae, Echoes of Time and the River and Star-Child. Borroff also looks at the state of music in America and each composer’s place, nationally and internationally. B319 Bland, William K. “Notes.” In George Crumb: A Little Suite for Christmas, A. D. 1979 (album). Bridge BCD 9003, 1986. See D67.

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Page 108 Liner notes. “Considered together like the panels of a fresco, these seven pieces convey both an extroverted sense of wonderment and joy, and an inward contemplation of the religious intertwining of the human and metaphysical.” B320 Johnson, Bengt Emil. “George Crumb: Eleven Echoes of Autumn, 1965.” Nutida Musik 30 no. 1 (1986/1987): 86–87. Article, in Swedish, on Eleven Echoes of Autumn, 1965. B321 Keenan, Rafi. “Muzika: Mincha Muzikalit [Evening of Music].” Haaretz (Tel Aviv), 20 February 1987, pp. 28–29. Article in Hebrew. B322 Bass, W.Richard, Jr. “Pitch Structures in George Crumb’s Makrokosmos, Volumes I and II.” Ph.D. diss., University of Texas at Austin, May 1987. A study of the structural rigor of Crumb’s Makrokosmos I–II, focusing on pitch. B323 Burge, David. “About Pianists.” Clavier 26 no. 7 (September 1987): 50–51. Burge profiles Makrokosmos I–II, with a general overview of the piece, some thoughts on the general structure and some suggestions for performers, “the pianist must stay seated while playing.” B324 L.H. “George Crumb: Profile of a Composer.” Clavier 26 no. 8 (October 1987): 44. Book review of George Crumb: Profile of a Composer; “it is a real in-depth study, considerably fleshed out by comments of Crumb’s friends and associates.” B325 Cariaga, Daniel. “Crumb’s Landscape Due for Premiere.” Los Angeles Times, 15 November 1987, Calendar section p. 72. Preview of the west coast premiere of A Haunted Landscape by the Los Angeles Philharmonic, conducted by Zubin Mehta. “This is no trick or hype. Crumb writes music that is true to itslf.” B326 Walsh, Michael. [Liner notes]. In (album) New World Records NW 357–1, 1987. See D65/85/159. Notes regarding the composition of An Idyll for the Misbegotten, Vox Balaenae and Madrigals, Books I– IV and the critical reception each received. B327 Terse, Paul. “ Makrokosmos I 12 Fantasiestücke Über Den Tierkreis Für Elektronisch Verstärktes Klavier Von George Crumb.” In Amerikanische Musik Seit Charles Ives, 191–199. Laaber: Laaber-Verlag, 1987. A detailed examination and interpretation of Makrokosmos, Volume I, in German. Terse looks at Makrokosmose, Volume I movement by movement commenting on Crumb’s musical techniques. There is also a biographical essay on Crumb briefly outlining the composer’s life and major works.

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Page 109 B328 Chase, Gilbert. In America’s Music: From the Pilgrims to the Present, Revised Third edition, 592– 596. Urbana: University of Illinois Press, 1987. “No composer has explored and exemplified more deeply and imaginatively the hidden sources of surrealistic expression.” B329 Szántó, Ted. “George Crumb: Master of Musical Suspense.” In George Crumb: Processional/A Little Suite for Christmas, A. D. 1979/Celestial Mechanics (album). Attacca Babel 8740–3, 1987. See D25/68/127. Brief liner notes about the works performed. Also printed in Dutch, as “George Crumb: Meester in Muzikale Spanning.” B330 Takenouchi, Aleksei. “Numbers and Proportions in George Crumb’s Solo Piano Compositions.” Ph.D. diss., Northwestern University, 1987. An examination of Madrigals, Book II, Fives Pieces for Piano, A Little Suite for Christmas, A. D. 1979, Gnomic Variations and Processional with regard to the Golden Section. Additionally, Makrokosmos I–II are examined in terms of problems with their temporal dimensions and possible solutions. See also I20. B331 Chambers, Lisa. “The U.’s Court Composer is Known the World Over.” Daily Pennsylvanian (University of Pennsylvania), 17 April 1988, p. 3. Published in the newspaper’s annual April Fool’s Day issue the article recounts some of the exploits of “George Krum”. B332 Blevins, Winfred. “Crumb Lets Compositions Speak.” Jackson Hole Guide, 3 August 1988, p. D13. Previews a performance of Vox Balaenae and A Little Suite for Christmas at the Grand Teton Music Festival. B333 Borroff, Edith. “George Crumb: Profile of a Composer.” American Music 6 no. 1 (Spring 1988): 102–104. Book review of George Crumb: Profile of a Composer, “it is well conceived, substantial, and, above all, provides insights into the life and music of the composer.” B334 Hamilton, David. “The Songs.” In Songs of America on Home, Love, Nature, and Death (album). Elektra/Nonesuch 791782CD, 1988. See D135. Liner notes. “As he had done earlier with Lorca, George Crumb chose to exercise what he calls ‘composer’s license’ in selecting lines from Poe’s lengthy ‘The Sleeper’.” B335 Tan, Margaret Leng. [Liner notes]. In Sonic Encounters (album). Mode 15, 1988. See D47. “This set of miniatures compels both performer and audience to focus on each note as a microcosm unto itself, calling for a concentrated listening closely allied to the Chinese way of attending to the living essence of every tone.”

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Page 110 B336 Brooks, Richard. “George Crumb: Star Child.” Notes 45 no. 3 (March 1989): 619–620. Review of the score of Star-Child, “a work of monumental proportions.” B337 Brestensky, Beth. “Symphony Premieres West Virginian’s Work.” Dominion Post, 30 April 1989. In spite of the article’s title not a concert review, more a biographical article drawing on essays from George Crumb: Profile of a Composer. B338 Burge, David. “George Crumb: Celestial Mechanics. ” Notes 45 no. 4 (June 1989): 859–860. Review of the score of Celestial Mechanics, in which Burge comments, “Crumb here seems to have returned to a purer, more ‘classical’ compositional approach.” B339 Klein, Elisabeth. “En Komponists Fantasiverden.” Norsk Musikerblad 78 no. 7–8 (18 August 1989): 14. Article in Norwegian. B340 Henahan, Donal. “The Age of Now Hear This!” New York Times, 19 November 1989, section 2 p. 27. Crumb’s 60th birthday celebration demonstrated that, “electronic tampering with instruments and voices can help a composer realize previously unimaginable goals.” B341 Weber, Horst “George Crumb: Amplified Piano—Amplified Tradition Zur Kritik ‘Postmodernen’ Komponierens.” In Das Projekt Moderne Und Postmoderne , 197–210. Regensburg: Gustav Bosse Verlag, 1989. Article, in German, considering the amplified aspect of Music for a Summer Evening in the context of postmodern criticism. B342 Valdes, Lesley. “Speculum Musicae Offers a George Crumb Premiere.” Philadelphia Inquirer, 30 March 1990, Weekend section p. 27. Previews the premiere of Quest, with featured guitarist David Starobin commenting that the mixture of, “hammer dulcimer with the harp and guitar give it an orchestral sonority I’ve never heard before in [Crumb’s] music.” B343 “American Ensemble: Premieres.” Chamber Music 7 no. 1 (Spring 1990): 16. Previews the premiere of Quest by Speculum Musicae with David Starobin playing guitar. B344 Carbon, John. “Astrological Symbolic Order in George Crumb’s Makrokosmos. ” Sonus 10 no. 2 (Spring 1990): 65–80. Carbon argues that, “the ethos of each piece in the two works derive from astrological symbolism…the order of the pieces themselves…reflects the deeper layers of esoteric astrological symbolism.”

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Page 111 B345 Carey, Katherine. “The Synthesis of Styles in the Music of George Crumb.” Master’s thesis, University of California at Santa Barbara, August 1990. A somewhat brief exploration of Crumb’s place between the traditionalist and modernist periods in music. B346 Nichols, Janet. “George Crumb.” In American Music Makers, 151–169. New York: Walker and Co., 1990. An overview of Crumb and his compositions aimed at a juvenile audience. B347 Szczepanska, Elzbieta. “Crumb: W Srodku Snu.” Ruch Muzyczny 34 no. 21 (1990): 5. Article in Polish. B348 Rosinska, Malgorzata. “Symbolika Madrygalow George’a Crumba.” Muzyka 35 no. 1 (1990): 27– 38. Article, in Polish, about the symbolism in the words, music and structure of Madrigals. B349 Bass, Richard. “Sets, Scales, and Symmetries: The Pitch-Structural Basis of George Crumb’s Makrokosmos I and II.” Music Theory Spectrum 13 no. 1 (Spring 1991): 1–20 Bass discusses, “some of the underlying processes by which the pitch-structural materials of Makrokosmos I and II are assimilated into reticulate organizational schemes, thereby demonstrating that these materials are in fact well integrated and rigorously treated.” B350 Potter, Keith. “Suites and Sonatas for Solo Cello.” In Matt Haimovitz Plays Suites and Sonatas for Solo Cello (album). Deutsche Grammaphon 431 813–2, 1991. See D140. Liner notes. “In George Crumb’s Sonata for Solo Violoncello we have a good example of a work by an American composer living in much freer political and stylistic circumstances but facing essentially the same problem of his age: the searching for an individual response to the musical revolutions of the first half of the century.” B351 Morgan, Robert P. In Twentieth-Century Music: A History of Musical Style in Modern Europe and America. New York: W.W.Norton & Company, 1991. Crumb is mentioned in passing in various parts of this volume. B352 Sowden, Dora. “Kibbutz Company Premieres Work Commemorating Expulsion of Jews .” Jerusalem Post, 16 January 1992, p. 8. Previews the performance by the Kibbutz Contemporary Dance Company setting a piece about the expulsion of the Jews from Spain in 1492 to the music of Black Angels. B353 Fouse, Kathryn. “Surrealism in the Piano Music of Representative Twentieth-Century American Composers With Three Recitals of

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Page 112 Selected Works of Ives, Cowell, Crumb, Cage, Antheil, and Others.” Ph.D. diss., University of North Texas, May 1992. An examination of surrealist aspects of modern piano music, including chance music, non-traditional techniques, musical quotation and the establishment of dream-like atmospheres. B354 Kessner, Dolly Eugenio. “Structural Coherence in Late Twentieth-Century Music: The LinearExtrapolation Paradigm Applied to Four American Piano Compositions of Diverse Musical Styles (Martino, Rzewski, Crumb, and Adams).” Ph.D. diss., University of Southern California, August 1992. An examination of the Gnomic Variations with emphasis on quotation, notation, symbolism, numerology, timbre, extended piano techniques, stylistic synthesis and theatrical elements. B355 Giffin, Glenn. “What Composer Crumb Did in the 60’s is Now ‘Normal’.” Denver Post, 9 October 1992, p. E5. “What initially might have seemed eccentric in Crumb’s music has become a trademark.” B356 Kim, Yong Eun. “Analysis of George Crumb’s Apparition.” Master’s thesis, University of Southern California, 1992. An analysis of the design of the harmonic materials and performance techniques of Apparition with emphasis on the functions of pitch materials and the timbral and textural effects created via extended playing techniques. The work is also compared to earlier Crumb compositions: Five Pieces for Piano and Madrigals, Books I–IV. B357 Pedersen, Morten Eide. “Black Angel.” Ballade (Oslo) 16 no. 4 (1992): 38–39. Article, in Norwegian, about Black Angels. B358 Morgan, Robert P. “George Crumb: Night of the Four Moons.” In Anthology of Twentieth-Century Music, 386–392. New York: W.W. Norton & Company, 1992. An excerpt is reprinted from Night of the Four Moons, along with analytical comments, “it’s highly colorful, quasi-primitive style, evocative of non-Western folk and ethnic traditions, represents a type much in vogue during the 1960’s and 1970’s.” B359 Samana, Leo. [Liner notes]. In Sonatas for Solo Violoncello (album). Globe GLO 5089, 1992. See D142. “All three movements are very concise. All the same Crumb did not avoid dramatics.” B360 Briscoe, Douglas. [Liner notes]. In Unaccompanied Cello (album). GM Recordings GM2031CD, 1992. See D143. Brief note about Sonata for Solo Violoncello.

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Page 113 B361 Antokoletz, Elliott. “United States: William Schuman; George Crumb.” In Twentieth-Century Music, 516–525. Englewood Cliffs: Prentice Hall, 1992. A general overview of Crumb’s works and compositional techniques. B362 Williams, David. “A Crumb of Kronos.” Charleston Gazette (WV), 14 January 1993, pp. D1, D3. An article about the Kronos Quartet, noting the pivotal place Crumb’s Black Angels played in inspiring its formation. B363 Weber, Terry. “Crumb Open to All Music.” Winnipeg Free Press, 27 January 1993, p. B10. “Crumb says all music essentially comes from the same place. There is no irony in his voice when he links Madonna and Mahler in the same sentence.” Also previews a performance of Ancient Voices of Children by the Manitoba Chamber Orchestra. B364 “Composer Crumb to Visit for Recital.” Iowa City Press-Citizen (Iowa City, IA), 25 March 1993. Preview of 29 March 1993 performance of Makrokosmos, Volumes I–II by Jo Boatright, as well as a lecture by Crumb about the compositions. B365 Oppenheim, Ruth. “ Five Pieces for Piano —A Portrait of George Crumb’s New Style.” Term paper, Stanford University, March 1993. A paper presented at Stanford University regarding Crumb’s compositional process in Five Pieces for Piano, which the composer considers his first fully mature work. “The philosophical thoughts and spiritual images that affected, or even triggered, the evolution of Crumb’s music, the verbal descriptions of the musical ideas, and even the visual effect of the notation, all have an important role in shaping his musical voice.” B366 Ledbetter, Robert B. “An Examination of the Percussion Writing in the Chamber Works of George Crumb, 1960–1980 With Three Recitals of Selected Works of Bergsma, Kurka, Miyoshi, Niimi, Takemitsu, and Others.” Ph.D. diss., University of North Texas, August 1993. See also I29. A study of Crumb’s distinctive style of composition for percussion with emphasis on extended techniques, use of percussion within musical imagery, soloistic treatment, compositional and notational procedures and specific performance problems in Songs, Drones and Refrains of Death. B367 Kingan, Michael Gregory. “The Influence of Béla Bartók on Symmetry and Instrumentation in George Crumb’s Music for a Summer Evening With Three Recitals of Selected Works of Abe, Berio, Dahl, Kessner, Miki, Miyoshi, and Others.” Ph.D. diss., University of North Texas, August 1993. See also I27. An examination of the influence of Bartók on the composition with regard to symmetry, melody, harmony, formal architecture and use of numbers.

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Page 114 B368 Bostick, Alan. “Hear, Hear.” Tennessean (Nashville, TN), 11 November 1993, pp. D1–D2. Previews Crumb’s visit to Vanderbilt University as a BMI Composer-in-Residence. B369 Stitt, Georgia. “Bangin’ On the Piano.” Vanderbilt Hustler (Vanderbilt University), 12 November 1993, Rippler section p. 3. Previews Crumb’s visit to Vanderbilt University as a BMI Composer-in-Residence. B370 Sutton, Daniel. “The Musical Language of George Crumb’s Makrokosmos Volume II and Its Relationship to the Style of Claude Debussy.” Ph.D. diss., Manhattan School of Music, November 1993. An examination of the ways in which Crumb expanded on Debussy’s techniques in the realms of harmonic sonority, treatment of register and extension of an instrument’s ability to produce sounds. B371 Bruns, Steven M. “George Crumb in Prague and Boulder 1992: A Tale of Two Festivals.” American Music Research Center Journal 3 (1993): 3–8. Bruns details the two parts of the International Festival and Symposia featuring the music of George Crumb. The first took place in Prague 17–20 March 1992 and the second took place in Boulder 9–12 October 1992. B372 Bruns, Steven M. “In Stilo Mahleriano: Quotation and Allusion in the Music of George Crumb.” American Music Research Center Journal 3 (1993): 9–39. An extremely detailed, well-researched and lengthy investigation into Crumb’s use of quotation and allusion over the full range of his works. “The multiple allusions—to Crumb’s own music and to that of his predecessors (Mahler is only one example) touch every facet of his compositions.” Bruns is currently completing an analytic monograph on the compositions of Crumb. B373 Castanet, Pierre Albert. “George Crumb: Poetique et Analyse Musicales.” In L’Idée Musicale, 211– 223. Saint-Denis: Presses Universitaires de Vincennes, 1993. Essay, in French, analyzing the poetics and musicality of such compositions as Ancient Voices of Children, Black Angels, Four Nocturnes, Five Pieces for Piano and Processional. B374 Jiorle-Nagy, Linda A. “A Study of Phrase Structures and Unifying Devices in George Crumb’s Makrokosmos I and II.” Ph.D. diss., Boston University, 1993. An examination of the forms and phrase structures used in the works with emphasis on the structural unity in terms of the motivic connections, unconventional methods of phrase construction and a comparison between some of the formal arrangements used by Crumb and those of Bartók and Debussy.

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Page 115 B375 Schramm, Betsy L. “Timbre and Texture as Structural Determinants in George Crumb’s StarChild.” Ph.D. diss., Eastman School of Music, 1993. An examination of the formal design, textual differentiation, symmetrical placement of textures and programmatic uses of timbre in Star-Child. B376 George Crumb: 2nd Viennese Days of Contemporary Piano Music (video). Vienna Institute for Music and the Performing Arts (8–11 February 1994). Six videocassettes held at the Vienna Institute for Music and the Performing Arts (Austria). The contents include a lecture by Crumb, three workshops and two concerts featuring the works of Crumb. The video is not available for sale but may be viewed at the pedagogical section of the Vienna Institute for Music and the Performing Arts. B377 Dobrin, Peter. “Crumb Nocturnes Counter Sound With Silence.” Philadelphia Inquirer, 18 March 1994, Weekend section p. 27. Previews a performance of Four Nocturnes, with comments from the musicians on how they deal, both technically and mentally, with the Crumb composition. B378 Kager, Reinhard. “Geheim Klingende Zeichensetzung.” Neue Musikzeitung (Munich) (April/May 1994): 5. Article, in German, about Crumb’s appearance at the Musikhochschule in Vienna. B379 Szutor, Kristina F. “Musical Coherence and Poetic Meaning in George Crumb’s Apparition.” Ph.D. diss., University of British Columbia, July 1994. A detailed analysis of the work focusing on form, motivic content, compositional procedures, musicopoetic relations and the relation of each movement to the whole. B380 Ward, Charles. “Crumb Bases Success on Sound Principles.” Houston Chronicle, 22 October 1994, Houston section p. 8. Preview of a three day celebration of Crumb’s music at the University of Houston School of Music and Classic Arts. B381 Valdes, Lesley. “Plink, Pluck, Tweet: Sounds of a Composer’s Celebration.” Philadelphia Inquirer, 23 October 1994, pp. H1, H12. Notes the composer’s upcoming 65th birthday and contains comments from many friends and associates with anecdotes about Crumb personally and professionally. B382 Mabry, Sharon. “Centerpieces.” NATS Journal 51 no. 2 (November/December 1994): 35–36. Apparition, “is a magnificent piece for a soprano or mezzo with an exceptional ear, great flexibility of voice and emotion, plus willingness to improvise and feel almost total freedom when connecting with the pianist.”

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Page 116 B383 Bass, Richard. “Models of Octagonic and Whole-Tone Interaction: George Crumb and his Predecessors.” Journal of Music Theory 38 no. 2 (Fall 1994): 155–186. A detailed study of the way in which Crumb’s works display octagonic/wholetone interplay and its origin in the works of earlier modern composers. B384 Segall, Allan J. [Liner notes]. In George Crumb: Voice of the Whale (album). Zuma ZMA 102, 1994. See D161. Liner notes for Vox Balaenae. B385 Tomaro, Robert. “Contemporary Compositional Techniques for the Electric Guitar in United States Concert Music.” Journal of New Music Research 23 (1994): 349–367. Tomaro examines the use of the electric guitar as it moves from strictly popular music to academic music in the works of Erb, Thorne, Lohn, Sharp and Crumb’s Songs, Drones, and Refrains of Death. B386 Dubinets, E. “Dzhordzh Kram V Moskva, No Ne Tol’ko.” Muzykalnaia Akademiia 3 (1994): 96–100. Article in Russian. B387 Kager, Reinhard. “Klingendes Geheimnis.” Osterreichische Musik Zeitschrift 49 no. 3–4 (1994): 241. Article in German. B388 Tomaro, Robert. “Contemporary Compositional Techniques For the Electric Guitar in United States Concert Music.” Ph.D. diss., New York University, 1994. An examination of the performance techniques, compositional techniques, texture and imagery in Songs, Drones and Refrains of Death with special regard to the electric guitar. B389 Holland, Bernard. “New Music’s Purveyor of Exotica.” New York Times, 18 March 1995, p. 14. Although he acknowledges that audiences generally enjoy Crumb’s works Holland, “wishes, almost wistfully, that there were more music in his music.” B390 Bruns, Steven. “George Crumb: Federico’s Little Songs for Children and Apparition.” Notes 51 no. 4 (June 1995): 1466–1468. Extensive review of the scores for Federico’s Little Songs for Children and Apparition. Bruns notes that the former is, “in certain respects a glance backward…a work of great charm,” while the latter, “deserves a place among the major song cycles of the latter half of this century.” B391 Carbon, John J. “Astrological, Numerological, and Mythological Symbolism in George Crumb’s Makrokosmos, Vol. I, Part One. ” 20th Century Music 2 no. 6 (June 1995): 1–5. A detailed examination of how Crumb’s use of symbolism is played out by the musical techniques utilized by the composer. “The composer achieves an

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Page 117 ‘underwater’ effect [in the Pisces section] by requiring the pianist to silently depress a large cluster of notes in the lowest register of the piano at the very beginning of the piece, and catch these dampers with the sustenuto pedal.” See also B396 and B398. B392 Saunders, Jennifer. “An American Original to be Honored With MacDowell Medal.” Almanac (University of Pennsylvania) (18 July 1995): Compass section 12–13. Notes that Crumb is to be recipient of the Edward MacDowell Medal awarded to, “painters, sculptors, writers, composers, photographers and filmmakers, chosen by their peers as persons whose work has made an exceptional contribution to our culture.” B393 “MacDowell Honors Pulitzer Pianist.” Peterborough Transcript (Peterborough, NH), 27 July 1995, p. 3. Crumb is honored by the MacDowell Colony in Peterborough, NH, “the country’s oldest and most prestigious artist colony.” B394 “Composer George Crumb to be Honored at MacDowell.” Monadnock Ledger (Jaffrey, NH), 10 August 1995. Crumb is to be honored with the MacDowell Medal on Medal Day, August 13, at the MacDowell Colony. MacDowell Medal Committee Chairman John Harbison notes that, “at a time when contemporary music threatened to retreat into elitism, [Crumb’s music] attracted new enthusiastic listeners, without sacrificing its individuality and integrity.” B395 Holt, Earl. “Interpretive Suggestions for Four American Organ Works, Part 1.” Diapason (US) (August 1995): 13–17. Holt discusses the structure, registration and interpretation of Crumb’s Pastoral Drone. B396 Carbon, John. “Astrological, Numerological, and Mythological Symbolism in George Crumb’s Makrokosmos, Vol. I, Part Two.” 20th Century Music 2 no. 9 (September 1995): 10–11. A continuation of B391. Carbon focuses mainly on the astrological symbolism of the Scorpio, Sagittarius, Libra and Leo sections of the composition. See also B398. B397 Valdes, Lesley. “Over the Sounds of Gunfire, Phila. Musicians Perform.” Philadelphia Inquirer, 5 October 1995, p. A16. Crumb and Orchestra 2001 conduct a master class in Moscow even in the face of violence in the streets. Crumb comments, “sometimes it’s good to hear a little music and forget about the other things.” B398 Carbon, John. “Astrological, Numerological, and Mythological Symbolism in George Crumb’s Makrokosmos, Volume. I, Part Three.” 20th Century Music 2 no. 12 (December 1995): 5–7.

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Page 118 A continuation of B391 and B396. Carbon examines the last sections of Makrokosmos, Volume I. The concentration in this segment is weighted towards the mythological. B399 Chen, Chin-Chin. “An Investigation of Night Music by Béla Bartók and George Crumb.” Master’s thesis, University of Illinois at Urbana-Champaign, 1995. A comparison of the night music of Bartók, focusing on remembrance, with the night music of Crumb, focusing on haunting moods. Chen examines the layering, form, orchestration and pitch content of the works, including Crumb’s Music for a Summer Evening and Black Angels, but not Night Music I. B400 Rampley, Nicholas. [Liner notes]. In Black Angels (album). Cala CACD77001, 1995. See D19. Rampley briefly discusses the historical context of the work and some aspects of the musical structure and numerology. B401 Carraro, Mario. “George Crumb, Poeta del Suono.” Musica/Realta 15 no. 46 (1995): 71–96. Lengthy article in Italian. B402 Cohler, Jonathan. [Liner notes]. In Suren Bagratuni: Cello (album). Ongaku Records 24104, 1995. See D145. Brief note on Sonata for Solo Violoncello. B403 Longaker, Mark. “The Strange, Unique ‘Language’ of Crumb.” Washington Times (DC), 29 February 1996, p. M13. Preview of a performance of Black Angels by the Theater Chamber Players 2 March 1996, noting the pieces historical context and use in the movie The Exorcist. B404 C.W. “A Subtle Delight.” Houston Chronicle, 28 April 1996, Zest section p. 15. Brief article about Ancient Voices of Children. B405 Longaker, Mark. “ Madrigals Get a Modern Interpretation.” Washington Times (DC), 13 October 1996, p. D2. Preview of the 19 October 1996 performance of Madrigals, Books I–II by the Theater Chamber Player with Phyllis Bryn-Julson, soprano. B406 Pennington, John Charles. “An Examination of the Percussion Writing in George Crumb’s Madrigals, Books I Through IV. ” Ph.D. diss., Arizona State University, December 1996. An investigation of the extended instrumental techniques, compositional technique, musical texture, use of musical imagery and performance problems of the work in relation to the percussion writing. B407 Broadway, Kenneth Lee. “An Analysis and Investigation of Percussion Performance Practice in Madrigals, Book II by George Crumb.” Ph.D. diss., University of Georgia, 1996.

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Page 119 Broadway analyzes the musical structure of Madrigals, Book II and also examines specific aspects of percussion instrumentation in the work. B408 Freeman, James. “ Lux Aeterna and Orchestra 2001.” In Distant Runes (album). CRI CD 723, 1996. See D80. Liner notes regarding the visit of Crumb and Orchestra 2001 to Moscow in 1993. B409 Lacoste, Steven Michael. “Text Treatment and Musical Structure in George Crumb’s Lux Aeterna and Igor Stravinsky’s INTROITUS T.S. Eliot in Memoriam.” Ph.D. diss., University of California at Los Angeles, 1996. An examination of the use of the Latin texts from the Roman Catholic mass for the Dead outside of their use in ecclesiastically sanctioned rites. Special emphasis is given to the metaphysical concepts expressed in the musical structures of the two works studied. B410 Valdes, Lesley. “Works of 2 Phila. Pulitzer Winners at Temple.” Philadelphia Inquirer, 21 February 1997, Weekend section p. 31. Previews a performance at Temple University of works by Richard Wernick and George Crumb (Celestial Mechanics). B411 “George Crumb.” Edition Peters (website) (February 1997) Biographical entry on the website of C.F.Peters Corporation who publish Crumb’s scores. B412 Mitchell, Darleen Louise. “Octatonicism in the Music of George Crumb: An Analysis of A Haunted Landscape. ” Ph.D. diss., University of Chicago, March 1997. Set theory analysis of the cells of A Haunted Landscape and their relationship to the octatonic collection with focus on the role of the tritone, polarity of stable and unstable subsets and centricity in the work. B413 Smith, Ken. “Voices of Crumb Still Being Heard.” Los Angeles Times, 18 April 1997, p. F24. Smith notes that Crumb’s production of works has declined in recent years, but that the composer hopes to find more time to compose when he retires from teaching at the end of the semester at the University of Pennsylvania. B414 Pienaar, Elizabeth. “Number Symbolism in Music: The Harmony of the Spheres and George Crumb’s Makrokosmos, Volume I.” Master’s thesis, University of Cape Town, November 1997. An examination of the symbolism of numbers in the works of Bach, Berg and Crumb with a focus on the quadrivium and its relationship to the use of numbers in Makrokosmos I. B415 Wiklacz, Patrick. “Les Anges Noirs de George Crumb.” Diapason (Paris) 443 (December 1997): 12. Article, in French, about Black Angels.

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Page 120 B416 “Crumb, George (Henry, Jr.).” Baker’s Biographical Dictionary of Twentieth-Century Classical Musicians, ed. Laura Kuhn, 270–271. New York: Schirmer Books, 1997. Biographic entry. B417 West, Melissa. “A Deconstructive Reading of George Crumb’s Black Angels. ” Master’s thesis, McMaster University, 1997. A close analysis of the text, in this case the score, using context to assign meaning. B418 Shulman, Laurie. [Liner notes], in Jubal Songs (album). CRI CD 738, 1997. See D44. “Perhaps because he had the particular sound of the Jubal Trio in mind, Crumb’s Federico’s Little Songs for Children is expertly written for all three participants.” B419 van der Merwe, Jaco. “The Official George Crumb Home Page.” (website) (1997). The official Crumb website on the internet. As its name suggests this is the central source of information on Crumb on the internet, with sub pages on Crumb’s life, compositions, recordings, writing, news about performances and links to other Crumb related websites and sources of information. Originally located at . Jaco van der Merwe also administers the George Crumb mailing list, an online community of individuals which discusses Crumb’s works and updates the community on upcoming performances and recordings. The mailing list may be accessed at: . B420 Mercier, Thierry. “Quest Pour Guitare et Ensemble de George Crumb.” Cahiers de la Guitare et de la Musique 64 (1997): 28–30. Article, in French, about Quest, noting that its French premiere will take place on 20 December at Cité de la Musique with l’Ensemble Intercontemporain. B421 Reeder, Douglas Bell. “Symbolism and Textual Painting in Four Vocal Works by George Crumb.” Ph.D. diss., Ohio State University, 1997. An examination of the relationship of Crumb’s music and his use of symbolism to create evocations of another, preternatural or supernatural, world. Works studied are Lux Aeterna, Star-Child, Apparition and The Sleeper. B422 Lin, Shuennchin. “The Use of Glissando in Piano Solo and Concerto Compositions From Domenico Scarlatti to George Crumb.” Ph.D. diss., University of Arizona, 1997. A chronological study of the use of glissando with a brief section on Crumb’s use of this device for both strings and keys in such works as Five Pieces for Piano, A Little Suite for Christmas, A. D. 1979, Gnomic Variations, Processional and Makrokosmos I–II.

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Page 121 B423 Saba, Therese Wassily. “Crumb Duets with Starobin in World Premiere.” Classical Guitar 16 (January 1998): 6. Notes that Crumb and Starobin will premiere Mundus Canis on 20 January in Cannes. B424 Shim, Young Gee. “A Study On A Little Suite for Christmas, A. D. 1979 by George Crumb.” Ph.D. diss., Temple University, January 1998. See also I35. An examination of the compositional techniques used by Crumb with a detailed analysis of the piece and interviews with the composer and Lambert Orkis, for whom the piece was written and who premiered the piece in December 1980. B425 Blanchard, Roger. “George Crumb: Un Compositeur Phare Aux États-Unis.” Ecouter Voir 76 (April 1998): 4–9. A biographic essay, in French, touching on Crumb’s major compositions. B426 Gregorich, Shellie Lynn. “Pitch-Class Sets and Referential Collections in George Crumb’s A Little Suite for Christmas, A. D. 1979.” Ph.D. diss., University of Oregon, June 1998. An examination of the piece from set-theoretical and ordered pitch interval perspectives and the relationship between the music and the extra-musical inspiration for the composition (Giotto’s frescoes). B427 Chen, Han-Yin. “Symmetrical Pitch Relations and Variational Procedures in George Crumb’s Gnomic Variations. ” Ph.D. diss., University of Texas at Austin, August 1998. Examination of the Bartókian influence on Crumb’s approach to pitch construction and a detailed analysis of how the structures relate to the primary Z-cell in Gnomic Variations. B428 Simon, Mark G. “Night Music.” Ithaca Times, 22 October 1998. Simon notes that Crumb is not as active in composing as he once was. Simon also mistakenly believes the subjects of Mundus Canis are Starobin family dogs, rather than Crumb family dogs as is actually the case. B429 Waffender, Manfred (director). Black Angels and Ghost Opera (film) RM Associates, 1998. Film of performances by the Kronos Quartet of Crumb’s Black Angels and Tan Dun’s Ghost Opera. 45 minutes in length. B430 Cox, Mary Jo Roth. “Four Piano Pieces by George Crumb: A Stylistic Analysis of Five Pieces for Piano; A Little Suite for Christmas, A. D. 1979; Gnomic Variations; and Processional. Ph.D. diss., University of Cincinnati, 1998. An examination of the similarities and differences between the four works on the basis of pitch material, quotation, harmonic language, rhythm intensity, timbre, non-traditional techniques and tonal character.

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Page 122 B431 Martin, Barbara Ann. [Liner notes]. In George Crumb: Ancient Voices of Children/A Little Suite for Christmas, A. D. 1979/Three Early Songs/Dream Sequence (album). CRI CD 803, 1998. See D6/31/74/153. “I HAD TO SING THIS PIECE, and I would. From that first moment, I had committed myself to Ancient Voices of Children, and to a twenty-five-year adventure with a work that would shape [Martin’s] artistry and career like nothing else.” B432 Barone, Marcantonio. “The Little Suite For Christmas.” In George Crumb: Ancient Voices of Children/A Little Suite for Christmas, A. D. 1979/Three Early Songs/Dream Sequence (album). CRI CD 803, 1998. See D6/31/74/153. Brief liner note on the inspiration for this composition (Giotto’s frescoes) and about the compositional elements of the different movements. B433 Freeman, James. “Some Personal Reminiscences About George Crumb.” In George Crumb: Ancient Voices of Children/A Little Suite for Christmas, A. D. 1979/Three Early Songs/Dream Sequence (album). CRI CD 803, 1998. See D6/31/74/153. Liner notes. Freeman relates anecdotes regarding his experiences with Crumb, Music for a Summer Evening and the founding of Orchestra 2001. B434 Martin, Barbara Ann. “Three Early Songs.” In George Crumb: Ancient Voices of Children/A Little Suite for Christmas, A, D. 1979/Three Early Songs/Dream Sequence (album). CRI CD 803, 1998. See D6/31/74/153. A brief liner note on the composition of Three Early Songs, originally written in 1947. Reprinted in Three Early Songs (score). New York: C.F.Peters Corporation. Also printed in the score in German, as “Drei Frühe Lieder.” Translated by Kurt Michaelis. See W34. B435 Broyles, Michael. [Liner notes]. In Solo Sonatas for Cello (album). Pennsylvania State University KCOOK1, 1998. See D147. “Composed in Berlin and completed on returning to Ann Arbor, Michigan to complete his doctorate, [Sonata for Solo Violoncello] is reminiscent of both Romanticism and Béla Bartók.” B436 Rice, Bill. “Concert to Conclude One Day Skidmore Residency by Composer George Crumb.” Daily Gazette (Schenectady, NY), 4 April 1999, pp. G1–G2. Previewing a performance of Ancient Voices of Children, Crumb notes that the audience, “should try to zero in on the sounds, the timbres and textures of the piece.” B437 Emery, Ron. “Skidmore Concert Features Works of Composer Crumb.” Times-Union (Albany, NY), 15 April 1999, Preview section p. 6. Preview of 16 April 1999 performance of Ancient Voices of Children at Skidmore College.

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Page 123 B438 Swager, Brian. “Easter Dawning, George Crumb.” Diapason (US) (October 1999): 6–7. A review of the score for Easter Dawning. “The musical language, although not totally foreign, cannot directly be related to the repertoire we are accustomed to hearing…a landmark has appeared on our horizon.” B439 Cooper, Colin. “Mirroring the Innermost Recesses: David Starobin Talks About His Collaboration With George Crumb.” Classical Guitar (UK) (December 1999): 11–14. An interview with Starobin, guitarist and head of Bridge Records, on his association with Crumb including his commission of Mundus Canis and the recording by Bridge Records of Crumb’s Star-Child. B440 Bland, William K. “A Little Suite for Christmas, A. D. 1979.” In George Crumb: Music for a Summer Evening/A Little Suite for Christmas/Five Pieces for Piano (album). Col Legno WWE 1CD 20023, 1999. See D52/77/116. Liner notes. “The use of very long, pedal-sustained sonorities, both tintinnabular and intimate, creates a background canvas from which voices appear and submerge.” B441 Kent, Fuat. “Music for a Summer Evening.” In George Crumb: Music for a Summer Evening/A Little Suite for Christmas/Five Pieces for Piano (album). Col Legno WWE 1CD 20023, 1999. See D52/77/116. Liner notes. “The material and technical demands are extraordinary.” B442 Orchestra 2001 in Russia (video). Four Oaks Foundation, 1999. A 30 minute documentary on Orchestra 2001’s trip to Russia which includes excerpts from a performance of Ancient Voices of Children and an interview with George Crumb. B443 Wohlberg, Tara. “Crumb’s Sounds Ring True.” Vancouver Sun, 15 January 2000, p. E16. Wohlberg previews “An Evening With George Crumb” in which Quest and Makrokosmos, Volume 1 are to be performed 15 January 2000 at the University of British Columbia’s Recital Hall. B444 Davis, Peter G. “About the Composer.” New Music Now (website) (January 2000). Brief biographical entry. B445 Davis, Peter G. “Introduction to Star-Child.” New Music Now (website) (January 2000). Brief note on Star-Child. B446 Davis, Peter G. “Notes on Star-Child.” New Music Now (website) (January 2000).

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Page 124 More detailed essay on Star-Child with information on instrumentation, commission and musical effects. B447 Elliott, Susan. “Thomas Conlin Talks About Conducting Star-Child.” New Music Now (website) (January 2000). Elliott questions Conlin about various aspects of conducting and recording Crumb’s Star-Child. Conlin notes, “There’s not another piece exactly like this. Crumb literally reinvents the orchestra for his own expressive purposes.” Conlin conducted the work for Bridge 9095, see D151. B448 Poole, Elissa. “Composer on a Mission.” Globe and Mail (Toronto), 2 February 2000, p. R5. Poole previews the Makrokosmopolitan Festival, 3–5 February 2000 presented by Numus at Wilfried Laurier University (Waterloo, ON) and discusses how well Crumb’s music holds up. B449 Goddard, Peter. “Modern Anti-Modern.” Toronto Star, 3 February 2000. Goddard cites Crumb as part of the beginning of new, more accessible modern music. B450 Swed, Mark. “Eerie Voice From the 60’s Still Speaks to the Present.” Los Angeles Times, 28 February 2000, pp. F1, F10. Swed discusses how Crumb’s music, very much of the era in which it was composed, speaks to a new generation. B451 Delacoma, Wynne. “Crumb’s Music Coming to Chicago.” Chicago Sun-Times, 24 March 2000, pp. NC10, NC21. Previews a full palette of Crumb: Night of the Four Moons, Music for a Summer Evening, Madrigals, Book I, Mundus Canis, Ancient Voices of Children, Three Early Songs and Vox Balaenae at the Museum of Contemporary Art. B452 Williams, David. “Crumbs of Praise for a Significant Composer?” Charleston Gazette (WV), 2 April 2000, p. F3. A review of Crumb’s career, noting that while the composer is very popular abroad he is less recognized in his ancestral home, West Virginia. Williams remarks that this is slowly changing with Crumb being honored for lifetime achievement at the Governor’s Awards for Culture, History and the Arts. B453 Raabe, Nancy. “Composer George Crumb Finds ‘21st Century Music’ Hard to Say.” Birmingham News (AL), 30 April 2000, pp. F1, F8. Previews a concert of unspecified Crumb compositions 1 May 2000 at Hill Recital Hall, BirminghamSouthern College.

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Page 125 B454 Cahill, Sarah. “The Inside Story.” Piano & Keyboard (March/April 2000): 32–35. An article about the history of extended piano technique. “The composer who really blew the lid off the piano is George Crumb.” B455 Rosenberg, Donald. “Untraditional Sounds Add to Personal Vision in Crumb’s Music.” Plain Dealer (Cleveland), 6 April 2000, pp. E1, E6. Previews a performance of B lack Angels, with a panel discussion beforehand. B456 Adamenko, Victoria. “Neo-Mythologism in Twentieth-Century Music.” Ph.D. diss., Rutgers University, May 2000. See also I40. An examination of the mythical elements inherent in musical forms, notably features such as variability, repetitiveness, combinatorial techniques, binary opposition and numerical organization. B457 Swenson, Sarah Lucille. “Process and Product: Three Approaches to Choreography.” Master’s thesis, California State University at Long Beach, May 2000. An examination of the choreography of a dance production of Vox Balaenae. B458 Hyde, Lucia K. “Music Inspired by West Virginia’s Mountains and Valleys.” Wonderful West Virginia (June 2000): 4–9. A look at Crumb and his music in the context of his roots in West Virginia. Crumb remarks, “I’ve always sought to emphasize my connection to West Virginia because my deepest roots are here.” B459 Smith, Ken. “Angel Voices.” Strad 111 no. 1327 (November 2000): 1200–1204. Smith looks at the history of Black Angels, from its initial composition in the midst of the Vietnam war to its inspiring the formation of the Kronos Quartet to its place in the contemporary repertoire. B460 Fricke, Stefan. “Kosmische Tänze.” Neue Zeitschrift für Musik (November/December 2000): 34– 37. Article, in German, about symbolism in the Makrokosmos cycle. B461 Kramer, Lawrence. “George Crumb: Overtures and Echoes.” In Walt Whitman and Modern Music, 137–149. New York: Garland Publishing, Inc., 2000. Detailed article about Apparition, a setting of Whitman’s “When Lilacs Last in the Dooryard Bloom’d” which, “through its unusual musical textures and rhythms, stresses Whitman’s archetypal imagery.” This volume is a companion to D9.

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Page 127 PERFORMANCE BIBLIOGRAPHY Ancient Voices of Children (W1) FB1 Lowens, Irving. “Crumb’s ‘Voices’ Glitters.” Evening Star (Washington, DC), 2 November 1970. See W1a. A review of the world premiere. Lowens calls Ancient Voices the smash hit of the 14th Coolidge Festival of Music. PB2 Henahan, Donal. “ Voices of Children, Crumb’s Full-Blown Masterpiece.” New York Times, 2 November 1970, p. 68. See W1a. A review of the world premiere. “Mr. Crumb and the performers were awarded the kind of standing, cheering ovation that modern music audiences rarely are aroused to.” PB3 Hume, Paul. “Coolidge Festival: 11 World Premieres.” Washington Post, 2 November 1970, pp. B1, B10. See W1a. A review of the world premiere. “So great is its emotional impact that those who took part in its premiere were exhausted, happily but entirely.” PB4 Schonberg, Harold C. “Music: Brilliant and Eclectic, Yet With Personality.” New York Times, 19 December 1970, p. 18. See W1b. “It is a brilliant, even slick, piece of writing, completely eclectic yet with a great deal of personality.” PB5 Steinberg, Michael. “New Chamber Music: Crumb Shines at Coolidge Festival.” Musical America (March 1971): MA28, MA32. See W1a. A review of the world premiere. “I don’t mind one-piece composers as long as I like the piece. I have, in fact, liked Crumb’s.” PB6 Steinberg, Michael. “ Ancient Voices is Superbly Effective.” Boston Globe, 27 July 1971, p. 33. See W1c. “I was almost completely, and gladly, seduced by it the first time I heard it, but it seems to be one of those experiences that is never as good again.”

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Page 128 PB7 Leon, Garby. “New Music: Ancient Voices.” Boston Phoenix, 3 August 1971, p. 22. See W1c. “The writing is for the instruments rather than against them, and they are all given the opportunity to sing; most of the effects in sound are very delicate and quiet, drawing the audience into a deeply meditative silence.” PB8 Kristan, Pamela. “ Ancient Voices is Unique Musical, Visual Experience.” Boulder Daily Camera, 30 January 1972. See W1d. “Crumb has the ability to use the familiar, such as a quote from Bach, and bolero rhythms, as well as the contemporary ‘altered’ instrument sounds, to create an integrated musical experience.” PB9 MacCluskey, Thomas. “A Marvelous Way to Explore Sound.” Rocky Mountain News, 30 January 1972. See W1d. “The most important factor, of course, is the myriad of unique ways in which [the] sounds have been blended in order to express Crumb’s interpretations and feelings about García Lorca’s poetry.” PB10 Giffin, Glenn. “Crumb’s Ancient Voices Vivid, Intense.” Denver Post, 31 January 1972, p. 28. See W1d. “ Ancient Voices comes near to being a theater work.” PB11 Kerner, Leighton. “Clang, Wail, Scrape.” Village Voice (2 March 1972): 31–32. See W1e. “Mr. Crumb is obviously no follower of musical fashion, and it is getting to be just as obvious that he will be a leader.” PB12 Barrett, Larry. “The Contemporaries Repeat a Miracle.” Evening Star (Washington, DC), 25 March 1972. See W1f. Ancient Voices is awarded, “Best of Breed (contemporary).” PB13 Harrison, Max. “London Sinfonietta: Queen Elizabeth Hall.” Times (London), 24 October 1972, p. 11. See W1g. “Most of the sounds accompanying the vocal line are fragmented, fugitive, and yet the ear is held by Mr. Crumb’s constant inventiveness.” PB14 Northcott, Bayan. “Elizabeth Hall: London Sinfonietta.” Financial Times (London), 25 October 1972. See W1g. “I am rather doubtful as to how well this work may wear, but its strange resonances certainly hover in my mind just now as I write.” PB15 Griffiths, Paul. “Music in London: Wolpe, Crumb.” Musical Times (December 1972): 1210. See W1g. “A description of this piece is almost certain to make it sound like a succession of cheap effects…but it did work—once. I am not sure that its appeal, which is principally atmospheric, would persist through repeated hearings.” PB16 Johnson, Harriett. “Philharmonic in Ancient Voices.” New York Post, 19 January 1973, p. 23. See W1h.

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Page 129 “His pleasing, transparent combinations belong to another time. They are not intended, despite their sophistication, to recall civilization. The music is atavistic; a slice of cabala.” PB17 Porter, Andrew. “Musical Events: O Ces Voix d’Enfants…” New Yorker (27 January 1973): 82, 84– 85. See W1h. “Further encounters dispelled all incipient suspicion and steadily increased my admiration for what seems to me one of the most delicate, poetic, and beautiful compositions of our day.” PB18 Willis, Thomas. “A Masterpiece of Musical Beauty.” Chicago Tribune, 29 January 1973. See W1i. “The live performance confirms Crumb’s position as perhaps the subtlest manipulator of musical theater at work today. He composes for the eye as well as the ear, brushing audio-visual gestures in to the time web with the precision of a Japanese master.” PB19 Jacobson, Bernard. “Wide Variety in 3 New Works.” Chicago Daily News, 29 January 1973, p. 14. See W1i. “Those who find Satyajit Ray’s films boring will probably react in the same way to Crumb.” PB20 Northcott, Bayan. “A Complete Singer.” Music and Musicians (January 1973): 6. See W1g. An article predominantly about Jan DeGaetani, which mentions her performance in the British premiere of Ancient Voices of Children.” PB21 Shwamn, Nicola. “London.” Music Journal (January 1973): 58–59. See W1g. “Sad that Crumb in his weakness tries to copy, for he shows no style. Much of his work might be described as a collage. The instrumentation is not well thought out.” PB22 Jack, Adrian. “London: Sinfonietta.” Music and Musicians (February 1973): 66–67. See W1g. “The composer is too sure of the affective properties of what he has written. Where he so surely hits his target, my interest does not survive a couple of hearings. There is too little ambiguity.” PB23 Ericson, Raymond. “20th Century Works Performed at Philharmonic ‘Rug Concert’.” New York Times, 16 June 1973, p. 14. See W1j. “As much as it has been mentioned in the past, Jan DeGaetani’s spell-binding singing in Ancient Voices must be mentioned again.” PB24 Rich, Alan. “How to Rear an Audience.” New York Magazine (9 July 1973): 62–63. See W1j. “Crumb’s piece is not sound effects or tricks. It is a work of the utmost transparency, an inventiveness that…I cannot begin to explain rationally, a sense of daring that challenges everyone involved in performing or listening.”

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Page 130 PB25 Seelman-Eggebert, Ulrich. “Festwochenwürdiges am Rande.” National-Zeitung Basel (Basel, Switzerland), 28 August 1973, p. 23. Review, in German, of Ancient Voices of Children. PB26 “Zwei Sinfoniekonzerte, Musica Nova et Antiqua.” Neue Zürcher Zeitung, 28 August 1973, p. 25. Review, in German, of Ancient Voices of Children. PB27 Steinberg, Michael. “Musica Viva Opens Season With Ancient Voices.” Boston Globe, 4 October 1973. See W1k. “If you like the piece that Crumb writes, this gives you the most interesting version of it.” PB28 Bernheimer, Martin. “L.A.Hears Ancient Voices.” Los Angeles Times, 12 December 1973, pp. 1, 29. See W1l. “It reflects all manner of theoretical ingenuity yet, unlike so many comparable endeavors, stimulates the emotions as well as the intellect.” PB29 Fried, Alexander. “Avant-Garde Music With Both Far-Out and Traditional Appeal.” San Francisco Examiner, 14 January 1974. See W1m. “In a totally convincing performance moods were as cohesive as they were strange.” PB30 Commanday, Robert P. “Big Night for New Music.” San Francisco Chronicle, 15 January 1974, p. 41. See W1m. “The high point was unmistakably George Crumb’s Ancient Voices of Children, a work of wonder. In a mystical fashion, Crumb’s music elicits the inner surface of feelings in excerpts from five Lorca poems.” PB31 Hawthorn, Maggie. “A Breath Held for Eternity.” Seattle Post-Intelligencer, 31 January 1974, p. A10. See W1n. “Crumb’s writing for this odd chamber ensemble reveals his original mind and his musicality, for the unusual instrumentation seems absolutely right for all its surface peculiarity.” PB32 Johnson, Wayne. “ Ancient Voices Deeply Moving.” Seattle Times, 31 January 1974, p. B2. See W1n. “I don’t have adequate words available now to express the profound impact the Crumb work had on me —or to express my gratitude to the Contemporary Group for giving the work an electrifying performance.” PB33 Armstrong, George. “History to Treat Composer Kindly.” Charleston Daily News (WV), 11 February 1974, p. G25. See W1o. “ Ancient Voices of Children may not survive the test of time, unless it is resurrected as ‘early work’ of Crumb and, therefore, is enhanced by his other accomplishments.” PB34 Smith, Martha. “Crumb Work Draws Varied Response.” Charleston Gazette (Charleston, WV), 11 February 1974. See W1o.

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Page 131 Smith finds the composition multi-layered and complex. “Listening once—or better, three times—to the work is nearly a prerequisite for attending a live performance.” PB35 Fried, Alexander. “Chamber Music Finds the Other Half.” San Francisco Examiner, 26 March 1974. See W1p. The composition’s depth and scope were revealed in intentional mixtures or distortions of various musical styles.” PB36 Commanday, Robert. “Memorable New Music.” San Francisco Chronicle, 27 March 1974, p. 46. See W1p. “The haunting qualities of García Lorca’s poetry are heightened to a spell as the music in its hardly definable way intensifies the emotional meaning…this was precisely the character caught in the performance.” PB37 Shelter, Jim. “Total Stage, Dance.” Winston-Salem Journal, 7 February 1975, p. 13. Review of a production of Ancient Voices which includes choreography by Richard Kuch. “It is the sort of work companies are dying for and some are dying without.” PB38 Kennigott, Louise. “Visible Music Fills Arts Center.” Milwaukee Journal, 25 September 1975, section 2 p. 13. See W1q. “There’s no question but that Crumb’s five year old piece of image music has become a contemporary masterpiece. It’s a work that’s about musical colors, at once silently pastel and brutally vivid.” PB39 Joslyn, Jay. “Musica Nova Apt Addition to Art Center.” Milwaukee Sentinel, 25 September 1975, part 1 p. 12. See W1q. The different instruments, “evoked primitive and Oriental ambiences that transcended the traditional responses to the combinations.” PB40 Eureka, Leonard. “Odd Materials Work in Museum Concert.” Fort Worth Star-Telegram, 29 March 1976. See W1s. “This sort of thing usually ends off being gimmicks for their own sake, but here it is sensitively scored to create a tonal background that is, not only convincing, but deeply moving.” PB41 Douglas, Robert. “Symphony Gives Merit to Long Work by Crumb.” Fort Worth Star-Telegram, 29 March 1976, p. A13. See W1s. “This work was for me everything that the earlier [un-named] piece was not—it had direction, a sense of location within the piece, and it communicated.” PB42 Woolsey, F.W. “Superb Performances Mark Sparsely Attended Concert in U of L Series.” Louisville Times, 14 April 1976, p. C17. See W1t. “The George Crumb opus might be said to take music out of the concert hall and into the realm of make-believe that only a mixed-media presentation could capture.”

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Page 132 PB43 Mann, William. “Nash Ensemble/Friend.” Times (London), 8 September 1976, p. 11. See W1u. “The principal attraction of the concert was surely George Crumb’s Ancient Voices of Children, settings of poetry by Lorca, one of a handful of fastidious masterpieces which put Crumb right in the forefront of living American composers.” PB44 Kriegsman, Alan M. “Varied Music: Theatrical, Fervent and Bubbly.” Washington Post, 12 March 1977, p. B6. See W1v. “The approach was overtly theatrical and quite fittingly so, for this is music which deals in mood and illusion.” PB45 Lowens, Irving. “Music: Today’s Composers Fail to Draw.” Washington Star, 14 March 1977, p. D2. See W1v. Lowens decries the sparse crowd, about a quarter of which did not wait until the end of the performance to depart, attending the concert of contemporary works. PB46 Tibor, Tallian. “Századunk Zenéje a Radióban.” Muzsika (Budapest) 20 no. 10 (October 1977): 32–35. Article, in Magyar, which includes a review of Ancient Voices of Children. PB47 Condé, Gérard. “Les Devours de l’Itineraire.“ Monde (Paris), 16 March 1978, p. 23. Article, in French, which includes a review of Ancient Voices of Children. PB48 Giffin, Glenn. “Fort Collins, Colorado.” Musical America (September 1979): 27. See W1w. Review of the Rocky Mountain Contemporary Music Festival. “There are times when Crumb has tried too hard for effects which cloy on repeated hearings, but hearing is only part of the Ancient Voices experience. Ideally it should be encountered live.” PB49 Unterecker, John. “Interarts Opens Summer UH Schedule.” Honolulu Star-Bulletin, 7 June 1980, p. A6. Review of a dance performance of Ancient Voices. PB50 Johnson, Harriett. “ Ancient Voices & Magic.” New York Post, 17 April 1981, p. 37. See W1x. “Many in the audience were puzzled, though the music had its 1970 premiere in Washington, and has been heard here since more than once.” PB51 Henahan, Donal. “Concert: Crumb’s Voices.” New York Times, 17 April 1981, p. C12. See W1x. Henahan praises the performance but notes that there is still a gap between contemporary works and the classical music audience, which finds even such accessible works as Ancient Voices, to be puzzling and to be avoided, if possible.

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Page 133 PB52 Roca, Octavio. “Fantasy in Bleeps & Toots.” Washington Post, 5 May 1981, p. B5. See W1y. “The work seems less profound yet prettier with every hearing, and last night its splendors were a revelation. That the texts were impossible to understand was just as well, since Crumb has betrayed precious little acquaintance with the meaning of García Lorca’s poetry.” PB53 Kenyon, Nicholas. “Musical Events: Birthday.” New Yorker (25 May 1981): 118, 123–124. See W1x. “Mr. Mehta’s resolutely unatmospheric direction and the audience’s intolerance caused the gentle sounds of the first section to be almost obliterated by rustles, mutters, and suppressed giggles.” PB54 Schultze, Wolfgang. “Tanz der Alten Erde Zur Singenden Säge.” Berliner Morgenpost (Berlin), 15 June 1983. Review, in German, of a performance of Ancient Voices of Children. George Crumb Scrapbook p. 416. PB55 Kotschenreuther, Hellmut. “Reiz Unter Vielen Reizen.” Tagesspiegel (Berlin), 15 June 1983. Review, in German, of a performance of Ancient Voices of Children. PB56 Stuckenschmidt, H.H. “Alte und Junge Stimmen.” Frankfurter Allgemeine Zeitung (Frankfurt), 7 July 1983, p. 19. Review, in German, of a performance of Ancient Voices of Children. PB57 Stuckenschmidt, H.H. “Ausgechichte Modernismen und Viel Dur-Geschmetter.” Frankfurter Allgemeine Zeitung (Frankfurt), 4 July 1984, p. 27. Review, in German, of a performance of Ancient Voices of Children. PB58 Schubert, Irena. “Muzyka W Sluzbie Humanizmu, Pokoju I Przyjazni Miedzy Narodami.” Ruch Muzyczny 18 (1984). Review, in Polish, of a performance of Ancient Voices of Children. PB59 Mazzarella, Silvester. “Mexico: Policy and Practice.” Opera 39 no. 2 (February 1988): 227–228. Review of an operatic interpretation of Ancient Voices staged in Mexico City. PB60 Ping-Robbins, Nancy R. “George Crumb’s Ancient Voices Invigorates Spirits.” News and Observer (Raleigh, NC), 1 April 1991, p. C7. See W1z. “The spectacular performance of Ancient Voices of Children made this program the most brilliant and moving event of the entire season.” PB61 Swed, Mark. “Speaking to the Past in Ancient Voices.” Los Angeles Times, 21 April 1997, pp. F1, F6. See W1bb. Swed reviews a performance of Ancient Voices, with soprano Dawn Upshaw, which included some dance sequences, with choreography by Bill T.Jones.

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Page 134 PB62 Emery, Ron. “Turner Projects the Beauty of Ancient Voices.” Times-Union (Albany, NY), 18 April 1999, p. E8. See W1cc. “ Ancient Voices is strongly dramatic, even incantory.” PB63 Freedman, Geraldine. “Crumb’s Music Electrifies Packed House.” Post-Star (Glens Falls, NY), 19 April 1999, p. B9. See W1cc. “Despite the disparity of sounds and motifs, there is a continuity and intelligence pervading the work which sucks the listener right in.” Apparition (W2) PB64 Henahan, Donal. “Recital: Jan DeGaetani.” New York Times, 14 January 1981, p. C23. See W2a. “Mr. Crumb’s ear for delicate sonorities and his way of making these sonorities touchingly allusive to the text were also much in evidence.” PB65 Kerner, Leighton. “Lilacs in Bloom.” Village Voice (28 January-3 February 1981): 66. See W2a. “Where Apparition particularly succeeds is in its economy of means. Crumb has perhaps halved his arsenal of vocal and pianistic devices, and has produced harmonies and melodic fragments consonant with intended moods.” PB66 Smith, Patrick J. “Debuts & Reappearances: Jan DeGaetani.” Musical America (April 1981): 30. See W2a. Crumb’s, “setting for voice and prepared piano is an abstract meditation upon death, evoked in conjunction with sounds of nature and the infinite spaces of the Beyond. It is a wholly typical Crumb work, with its whispers and its soft color washes.” PB67 Rosenberg, Wolf. “Der Fortschrittliche Brahms: Sieben Fantasien.” Süddeutsche Zeitung, 4–5 December 1982, p. 15. A review, in German, of Apparition. Part of a larger review. PB68 Kohlhas, Ellen. “Brahms, der Fortschrittliche, Schönberg, de Bewahrer.” Frankfurter Allgemeine Zeitung (Frankfurt), 17 December 1982, p. 17. A review, in German, of Apparition. PB69 Swed, Mark. “DeGaetani, Kalish: Polished Teamwork.” Los Angeles Herald Examiner, 15 March 1983. See W2b. “Though full of such overused devices as eerie glissandi created by fingers rubbed over amplified piano strings, Apparition wove a spell for almost 25 minutes.” PB70 Henken, John. “DeGaetani Sings Crumb Premiere.” Los Angeles Times, 16 March 1983, part VI p. 6. See W2b. “But though his techniques suggest gimmicks and he seldom shies from the obvious in programmatic effects, Crumb welds everything into evocative personal night fantasies.”

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Page 135 Black Angels (W3) PB71 Pehrson, Joe. “A Little Here…A Little There.” Michigan Daily, 27 October 1970. See W3a. “Crumb has designed a music which is so spontaneously interesting it causes the creative involvement of the audience after the performance has concluded.” PB72 Borroff, Edith. “U Festival Shows Appreciation of ‘New Music’ Broadening.” Ann Arbor News, 29 October 1970. See W3a. Borroff calls the, “premiere performance of [Crumb’s] Black Angels certainly one of the important events of this (or any) musical season.” PB73 Bloomfield, Arthur. “Absorbing Music Program at Mills.” San Francisco Examiner, 8 March 1971, p. 29. See W3b. “What it all means I don’t know, but the music is strong and highly absorbing, not to speak of the wide range of coloristic effects.” PB74 Commanday, Robert P. “Music and Game Plans at Big Mills Festival.” San Francisco Chronicle, 9 March 1971, p. 35. See W3b. “The fascination lay in the curious dark moodiness that drew on impressionistic evocations or recalls of other times, cultures and earlier music.” PB75 Felton, James. “Judging Music’s Meaning.” Evening Bulletin (Philadelphia, PA), 8 April 1971. See W3c. “This new music would be scoff worthy if Crumb had not created a total imagery worked out faithfully with the effect of an enchanter who first been self-enchanted.” PB76 Putnam, Tom. “1971 Music at Home In Historic Church.” Buffalo Courier-Express, 31 July 1971, p. 8. See W3d. “ Black Angels touches a white bone of fear and mystery. It is music possessed by the Devil.” PB77 Trotter, Herman. “Music of the Now In Setting of Past.” Buffalo Evening News, 31 July 1971. See W3d. “And beyond the sonics, Black Angels is marvelously supple and pliant in its rhythmic development, a stunning work, fittingly showered with bravos at the close.” PB78 Littler, William. “Modern Music Workshop a Stimulating Experience.” Toronto Daily Star, 2 August 1971. See W3d. “Crumb’s score captured the spotlight in Friday’s concert, with its combination of numerological parameters, quotes from the historical literature and a truly dazzling array of bowings, pluckings and vocal articulations.” PB79 George, Collins. “Electric String Quartet a Lovely Shocker.” Detroit Free Press, 19 October 1971, p. C5. See W3e. “It is by no means a ‘pretty’ work in the sense of the beauty which conventional music provides.”

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Page 136 PB80 Finn, Robert. “Crumb Unveils Eerie Sound Effects.” Plain Dealer (Cleveland, OH), 19 October 1971, p. A13. See W3f. “Some of its effects seem forced and artificial; others are of breathtaking beauty.” PB81 Felton, James. “Concert Spotlights Penn Teacher-Composers.” Evening Bulletin (Philadelphia, PA), 28 October 1971. See W3g. “A professional string quartet got sounds like everything from scratching insects to unearthly shimmering in this music that is so intensely evocative.” PB82 Webster, Daniel. “Music by Composer at Penn Has Rich Orchestral Palette.” Philadelphia Inquirer, 28 October 1971, p. 34. See W3g. “It all emerges as a stark, potent musical conception built on Crumb’s boundless ingenuity in matters of pure sonority.” PB83 Gumberts, William. “Ohio Quartet Gives Music New Twist.” Evansville Press (IN), 3 November 1971, p. 37. See W3h. Gumberts calls Black Angels, “the most surprising and entertaining offering,” of the evening. PB84 Henahan, Donal. “A Crumb Work Bows, And No Tone is Left Unturned.” New York Times, 16 November 1971, p. 62. See W3i. “The piece is perilously but craftily poised. Mysteriously poignant moments balance the violence in Black Angels.” PB85 Trotter, Herman. “Angels Dominates UB Recital.” B uffalo Evening News, 11 March 1972, p. B10. See W3j. “It was the second hearing for this reviewer, and the enchantment was undiminished.” PB86 Vincent, Richard. “Philarte Quartet Display Skills in Connoisseur Concert.” Times-Union (Albany, NY), 2 August 1972, p. 20. See W3k. “Did it communicate, did it move the audience? The answer is yes it did, to varying degrees.” PB87 Barnes, Clive. “The Dance: Premiere of Black Angels.” New York Times, 2 April 1973, p. 49. Review of the dance production of Black Angels, choreographed by John Butler and performed at the Academy of Music in Philadelphia. PB88 Lindsay, Noel. “Acoustics Deaden Sound.” Daily Journal (Caracas, Venezuela), 16 June 1973, p. 21. See W3l. “To the listener it is simply a very romantic work, even a sentimental one, behind its contemporary trappings.” PB89 Griffiths, Paul. “Gaudeamus Quartet.” Musical Times (January 1974): 57, 59. See W3m.

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Page 137 Griffiths notes the contrasts of Black Angels. “With the players loudly amplified and distorted, the horrors were laid on very thickly indeed, and the opposite camp was represented with corresponding sweetness in glass harmonica music.” PB90 Coleman, Tim. “Moderns.” Music and Musicians (February 1974): 52–53. See W3m. “There are probably many who can make something of this piece for it is undoubtedly the work of a very genuine composer.” The reviewer does not include himself in this group. PB91 Lonchampt, Jaques. “De Pablo, Vaillant et Crumb á l’Itinéraire.” Monde (Paris), 22–23 December 1974, p. 30. See W3n. A review, in French, of a performance of Black Angels. PB92 Cadieu, Martine. “Deuxième Concert de l’Itineraire.” Nouvelle l’Horaire (Paris) (1 January 1975). See W3n. Review in French. Reprinted, in Italian, as “Corrispondenze dall’Estero: Da Parigi.” Nuova Rivista Musicale Italiana (January/March 1975): I22–123. Translated into Italian by Paolo Gallarti. PB93 McLellan, Joseph. “Strings, Rock, Chamber, Voice: A Musical Weekend.” Washington Post, 20 January 1975, p. B7. See W3o. “The overall impression of the music is one of firm structures and enormous depth.” PB94 Chion, Michel. “19 Decembre: Paris.” Guide Musical (Paris) (March 1975): 18, 20. See W3n. Review in French. PB95 Mila, Massimo. “Corrispondenze dall’Estero: Da Varsavia.” Rivista Musicale Italiana 9 no. 3 (July/September 1975): 441–443. Review, in Italian, of a performance of Black Angels in Warsaw. PB96 Brown, Mark. “Mozart Concert by Kronos Quartet is Enjoyable for All.” Mustang Daily (San Luis Obispo, CA), 8 February 1983. See W3q. “If Mozart’s piece reminded one of Fleetwood Mac, Crumb’s masterpiece was the classical equivalent of a cross between Led Zeppelin, the Who and the Doors.” PB97 Ward, Mark. “Soul’s Surrealistic Voyage.” Charleston Sunday Gazette-Mail (WV), 12 February 1984. See W3r. “The Charleston native’s surrealistic allegory is in many ways an assault on the senses.” PB98 Lambert, John W. “Singing Strings.” Spectator (Raleigh, NC), 7 February 1985, p. 28. See W3s.

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Page 138 “The music itself was fascinating, powerful (and yes, frightening at times); it was well worth the effort which the artists devoted to polishing their performance of it and the efforts of the audience to understand it.” PB99 Hughes, Allen. “Music: Hampshire Quartet.” New York Times, 30 May 1985, p. C15. See W3t. “More than once this listener wondered if the experience they provided was properly classified as music.” PB100 Rothstein, Edward. “Back to Vietnam With the Kronos.” New York Times, 13 February 1995, p. C11. See W3w. “Most important, the nostalgic yearning in Black Angels for a spiritual past and a meditative present make it a relative of American minimalism and the ritualism of contemporary Eastern European composers. PB101 McLellan, Joseph. “Modern Music, With Strings Attached.” Washington Post, 4 March 1996, p. D6. See W3x. “Hearing Black Angels in concert is a rare experience—understandably so, given the special equipment and non-string playing it requires—and one that lovers of modern music cherish.” PB102 Trotter, Herman. “Replacements Rise to Occasion.” Buffalo News, 11 June 2000, p. A24. See W3z. “But the true beauty of this modern masterpiece is that it strikes the ear just as satisfyingly if you know nothing of its occult meanings and listen to it as absolute music.” Celestial Mechanics (Makrokosmos IV) (W4) PB103 Fleming, Shirley. “Out of World Pianistic Experience.” New York Post, 19 November 1979, p. 53. See W4a. “ Celestial Mechanics continues Crumb’s exploration of the altogether otherworldly colors and sonorities— in astonishing variety—that can be coaxed out of a piano.” PB104 Schonberg, Harold C. “Music: Chamber Society Plays New Crumb Work.” New York Times, 19 November 1979, p. C19. See W4a. “Mr. Crumb is working in a field that he has gone over many times before, and Makrokosmos IV does not have anything particularly new to add.” PB105 Micklin, Bob. “Music Review: George Crumb.” Newsday (Hempstead, NY), 20 November 1979, p. 31. See W4a. “Predictably, quite a few members of the audience found the music silly and incomprehensible.” PB106 Porter, Andrew. “Further Events: Tributes.” New Yorker (10 December 1979): 200, 202, 205– 206. See W4a. “This latest, and disappointing, piece struck me as a dry, uninspired exercise in drawing unusual sounds from a grand piano.”

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Page 139 PB107 Caruso, Michael. “Penn Contemporary Players Render Fine Finney Quartet.” News of Delaware County, 28 February 1980. See W4b. “Each of the four selections offered was too long separately, let alone together. Even the most evocative tones can become boring.” PB108 Cera, Stephen. “Finney Work Given World Premiere.” Sun (Baltimore, MD), 10 March 1980, p. B6. See W4c. “I enjoy the first three works of Mr. Crumb called Makrokosmos, but found the fourth, despite its passion, resourcefulness and ingenuity, somewhat tedious at 26 minutes.” PB109 “Crumb’s Work Premiered.” Clavier (March 1980): 60. See W4a. Brief notice of the premiere of Celestial Mechanics at Alice Tully Hall. PB110 Smith, Patrick J. “Debuts & Reappearances: New York.” Musical America (March 1980): 28–29. See W4a. Smith, “found this set of lesser interest than the earlier parts, both because nothing particularly new is explored, and because certain Crumb fingerprints—motto statements and the long final diminuendo into the reaches of space—have become mannerisms rather than evocations.” PB111 Gudger, William D. “Contemporary Music Programmed.” Evening Post (Charleston, SC), 29 May 1980, p. A4. See W4d. “Unfortunately much of the subtlety of effect one expects from Crumb was lost due to the inadequate piano.” PB112 Jarrell, Frank P. “20th Century Consort: Musical Experimenters.” News and Courier (Charleston, SC), 29 May 1980. See W4d. “Every tone (and noise) was just perfect, though, because the image created was that of space—suns in birth, life and exploding death.” PB113 Roca, Octavio. “Performing Arts: 20th Century Consort.” Washington Post, 9 December 1980, p. B3. See W4e. “When all three players reached for strings inside the piano, the instrument itself moaned with pleasure.” PB114 Kennigott, Philip. “School of Hard Works.” Washington Post, 4 October 1999, pp. C1, C5. See W4f. “Celestially beautiful voices emerge from the objectified instrument [the piano] which resonates (with amplification) like a cathedral.” Dream Sequence (Images II) (W5) PB115 Cerf, Stephen. “Bowdoin’s Contemporary Music Festival.” High Fidelity/Musical America (April 1977): MA28–MA29. See W5a. “The essential Crumbian stasis invoked throughout by the amplified piano and percussion instruments imbued the piece with deep beauty.”

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Page 140 PB116 Reinthaler, Joan. The Sound of…Aeolian Chamber Players.” Washington Post, 10 December 1977, p. B6. See W5b. “In this work, [the glass harmonica’s] sound is a constant aura behind the delicate textures of the piece.” PB117 Lowens, Irving. “Music: At the Library, a Pleasant Dream.” Washington Star, 10 December 1977, p. C4. See W5b. “It was a very exotic composition, a tissue of small, gentle musical noises, most of them quite unfamiliar, woven into a subtle landscape.” Lowens also notes that the work polarized the audience, boos mixing audibly with the cheers. PB118 Lee, Clayton. “Chamber Music With a Difference.” Edmonton Journal, 2 February 1978, p. C11. “An effervescent, incandescent invention, it required a strange instrumentation: dead piano wires, glissandos on piano strings, amplified cymbals, a tolling chime, scraping bow along a cymbal, occasional violin, cello interjections, and once in a while a piano note.” PB119 Hardy, Owen. “Aeolian Players Play Expressively.” Courier-Journal (Louisville, KY), 3 March 1980, p. C3. See W5c. “Simple in construction, this evocative piece makes use of spatiality, with the musicians positioned in separate clusters across the stage.” PB120 Feder, Susan. “New York: Aeolian Chamber Players.” Musical America (June 1982): 24–25. See W5d. “With such wondrous aural effects…having to watch the mechanics of sound production becomes a disturbance.” Easter Dawning (W6) PB121 “Premieres.” American Organist (June 1993): 42. See W6a. Briefly notes the premiere of Easter Dawning, performed by Don Cook on 13 June 1993 at the annual congress of the Guild of Carilloneurs in North America. Echoes of Time and the River (Echoes II) (W7) PB122 Henahan, Donal J. “ Echoes a Hit in Premiere.” Chicago Daily News, 27 May 1967, Panorama section p. 13. See W7a. “The point to stress is that Crumb’s Echoes did impress one as a strangely affecting work of musical imagination, in spite of what seemed unwieldy intricacy of notation, an unrealistic number of technical experiments and too many merely visual gestures.” PB123 Constantine, Peggy. “Concert Produces ‘Interesting Sounds’.” Chicago Sun-Times, 27 May 1967, p. 34. See W7a. “When all was said and done, the work emerged totally as a series of interesting sounds that evoked an aura of desolation or isolation. Part of the audience responded with ‘bravos’ and part with ‘boos’ and ‘terrible, terrible’.”

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Page 141 PB124 Willis, Thomas. “Unusual Works Premiere.” Chicago Tribune, 27 May 1967. See W7a. “It would be easy to dismiss the work as theatrical flim-flam bordering on gimmickry if it were not for the fact that the unusual color combination and random assortments of sound had a shimmer which went beyond the antique finger cymbals and crying water gong.” PB125 Dettmer, Roger. “Mandel Concert was Swell(tering).” Chicago’s American, 31 May 1967, p. 5. See W7a. “Others have explored previously where Crumb stakes his claim, but he has succeeded in sounding individual as well as inimitably inventive.” PB126 Henahan, Donal. “Current Chronicle: United States, Chicago.” Musical Quarterly 54 no. 1 (January 1968): 83–87. See W7a. Henahan not only reports on the premiere of the work in Chicago but also investigates the composition in more depth than it is usually accorded in reviews. PB127 MacCluskey, Thomas. “Variety Highlights Musical at CU.” Rocky Mountain News (Denver, Co), 9 March 1968, p. 59. See W7b. “The width of the range of colorful sounds and the unique ways in which they have been related to one another is absolutely staggering. Crumb’s musicality has the mark of genius.” PB128 Luhring, Alan A. “Music Festival Closes With Brilliant Concert.” Boulder Daily Camera, 10 March 1968. See W7b. Luhring considers the performance of Echoes the highlight of the concert and notes that it was well received by the audience. PB129 Jacobson, Bernard. “ Echoes of Time Gets Welcome Symphony Airing.” Chicago Daily News, 25 October 1968, p. 37. See W7c. “Even if Crumb is preoccupied with what are essentially sound effects, and even if precedents for most of his effects can be found in other men’s music, still it must be admitted that he has assembled his materials with a remarkably keen ear.” PB130 Morner, Kathleen. “Odd Goings On For Symphony In Prizewinner.” Chicago Sun-Times, 25 October 1968, p. 69. See W7c. “The bravos were highly deserved. Of Time and the River [sic] is a work of a rich and subtle sonic imagination.” PB131 Willis, Thomas. “Music Lesson Misses.” Chicago Tribune, 25 October 1968. section 2 p. 23. See W7c. “ Echoes is actually a subtle work about sound and time. It beseeches us to be still, for once, and consider the operation of sound in time.” PB132 Sanson, Kenneth. “Reaching Far Out for Echoes. ” Chicago’s American, 25 October 1968, p. 25. See W7c.

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Page 142 “The performance should not have been a visual experience, but with all the orchestra members constantly moving about, listening capability was decreased. Because of this, a screen should have been placed between audience and orchestra.” PB133 Putnam, Thomas. “Orchestra Good in Crumb’s Music.” Buffalo Courier Express, 28 October 1968. See W7d. Putnam notes that some of the processionals called for by Crumb are carried out, however, due to stage space limitations it is not possible to include them all. PB134 Finn, Robert. “Antithetical Music Fine Side by Side.” Plain Dealer (Cleveland, OH), 4 April 1969. See W7e. “As the evocation of a mood of mysterious wonder it is superbly effective. The players (and Lane [conductor]) really entered into the spirit of the piece. The performance had much more shape and coherence than the one [the reviewer] heard in Buffalo last fall.” PB135 Henahan, Donal. “Music: Moderns’ Orgy.” New York Times, 18 August 1970, p. 29. Henahan notes that the processionals, “did add a theatrical dimension to Echoes. As in the earlier performances, however, one was caught and held in the grip of Mr. Crumb’s fantasy by the art with which he exploited the orchestra’s sound potential. This is ‘ear music’.” PB136 Fried, Alexander. “Strange Symphonic Doings.” San Francisco Examiner, 8 December 1971, p. 77. See W7f. Fried finds, “Crumb’s processionals silly and superfluous. They add nothing to what his music was doing.” PB137 Tircuit, Heuwell. “Not a Typical Yule Program.” San Francisco Chronicle, 9 December 1971, p. 51. See W7f. “It is a rare piece for advanced music, one that bears frequent encounters, and [the reviewer has] no doubt whatever that it will remain a repertory item.” PB138 MacCluskey, Thomas. “Concert is Called Disappointment.” Rocky Mountain News (Denver, CO), 29 February 1972, p. 49. See W7g. “The performance was so untrue to Crumb’s written score and the result was so deadly! The performance was non-cohesive, completely uninspired, negligent of projecting the dramatic elements which do exist in the score, and very poorly coordinated in timing.” PB139 Bernheimer, Martin. “Mixed Reaction to Pulitzer Winner.” Los Angeles Times, 11 March 1972, part 2 p. 7. See W7h. “The Los Angeles audience did not exactly rise to the occasion. Some cultural clods thought the unconventional sights and sounds devised by Crumb were hysterically funny.” Bernheimer notes that the orchestra was scarcely more credulous than the audience.

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Page 143 PB140 Monfried, Walter. “Pianist, Schermerhorn in Full Accord.” Milwaukee Journal, 30 April 1970, part 2 p. 13. See W7i. “Without dancers or animated cartoons the whole effort seemed to be labored and tiresome. But it can be written off as harmless merriment.” PB141 Hume, Paul. “Milwaukee Music.” Washington Post, 14 May 1972, p. E2. See W7i. “The adult subscribers found the music strange, amusing where it was not intended to be funny and, on the whole, off-putting. The young listeners loved PB142 Harrison, Max. “BBC SO/Albert Hall.” Times (London), 5 September 1972, p. 10. See W7j. “Common to all is the music’s nervous, twitching gesture, yet however fleeting and fugitive their message may be, the inner substance of these four outlandish pieces is never in doubt.” PB143 Spingel, Hans Otto. “Klangsplitter und Klangflächen.” Welt (Hamburg), 4 November 1972, p. 30. A review, in German, of Echoes of Time and the River. PB144 Northcott, Bayan. “Modern Proms.” Music and Musicians 21 no. 3 (November 1972): 70, 72–73. See W7j. Northcott finds Crumb’s attempt, “to create a fugitive poetry out of the suppression of ‘content’ as distinct from sensation,” to be only marginally successful, at best. PB145 Simmons, David. “Promenade Concerts (2).” Musical Opinion (November 1972): 62. See W7j. “George Crumb’s Echoes of Time and the River should never have been heard in this hall [Royal Albert Hall]. It would possibly have made a better effect in the more apt and rarified surroundings at the Roundhouse where its tiny and noisy adventurism would have received more understanding attention.” PB146 Jack, Adrian. “The Autumn in Warsaw.” Music and Musicians 21 no. 4 (December 1972): 30–34. See W7k. Jack notes that Echoes is received enthusiastically, however, due to inadequate rehearsal time only the first two movements could be performed. PB147 Reyher, Loren. “Symphony Eclectic, Beautiful.” Wichita Eagle, 3 February 1975, p. B3. See W7l. “With the Crumb music, musically provocative and eccentric, Huybrechts and the orchestra succeed admirably in giving it vitality and color.” PB148 Dyer, Richard. “BSO in All-American Program.” Boston Globe, 6 February 1976, p. 17. See W7m. “ Echoes obviously seemed like a good piece eight years ago; it doesn’t seem so now, in part because Crumb has gone on to write other, more interesting ones since.”

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Page 144 PB149 Knapp, Peter M. “Musical Melting Pot.” Patriot Ledger (Quincy, MA), 9 February 1976, p. 31. See W7m. “There are effective use [sic] of sound and texture, Webernesque use of space and time, but the piece is burdened by the extraneous ‘drama’ of the players’ processional.” PB150 Sly, Allan. “BSO Offers Unusual Program.” Jewish Advocate (Boston, MA), 12 February 1976, section 2 p. 12. See W7m. Sly sums up Echoes as mere “shenanigans”. PB151 Jenkins, Speight. “Ozawa Offers Rare Fare.” New York Post, 12 February 1976, p. 21. See W7n. “Audiences at serious music concerts consider it improper to laugh at anything, therefore few smiles were cracked at some hysterical happenings.” PB152 Schonberg, Harold C. “Ozawa Leads Boston in Complex Conceit.” New York Times, 12 February 1976, p. 43. See W7n. Schonberg notes that the Boston Symphony are unable to enter into the spirit of the processionals, thus distracting from the audience’s enjoyment of the work. PB153 Micklin, Bob. “Music: A Sonic Boom.” Newsday (Hampstead, NY), 12 February 1976, part 2 p. 8. See W7n. “Many in the audience giggled, but there was a certain, absorbing and cumulative effect to all this noise (music?)-making, rather like a pointillist painting.” PB154 Highwater, Jamake. “Music Needs More Rainbows.” Soho Weekly News (New York, NY) (11 March 1976): 24. See W7n. “From the outset, when three musicians moved across the stage while playing their own ritual music, it became evident how exceptionally beautiful western instruments are and how rarely we really see them.” PB155 Vermeulen, Ernst. “Holland Festival Presenteert Amerikaanse Muziek.” Mens en Melodie 31 (June 1976): 161–167. Review, in Dutch, of Echoes of Time and the River. PB156 Henahan, Donal. “Music: A Festival of Contemporaries.” New York Times, 16 August 1976, p. 38. See W7o. “Mr. Ozawa’s intimacy with the work’s every nuance and his understanding of its dreamlike qualities made for a performance of hypnotic beauty.” PB157 Antz, Karl. “Uvante Klangverdener.” Berlingske Tidende (Copenhagen), 20 October 1980, section 2 p. 3. Review in Danish. PB158 Henahan, Donal. “Concert: Skrowaczewski Opens Julliard Moderns.” New York Times, 24 January 1982, p. 46. See W7p. Henahan concludes, “a highly competent reading.”

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Page 145 PB159 Webster, Daniel “Soloist Kang’s Playing is Sound But Doesn’t Mesh With Orchestra.” Philadelphia Inquirer, 5 January 1983, p. C7. See W7q. “The performance, which had seemed conscientious Friday, looked almost comic last night. The music deserved better.” PB160 Marrocco, W.Thomas. “Firkusny’s Performance Absolutely Memorable.” Register-Guard (Eugene, OR), 14 April 1984, p. C11. See W7r. “We might aptly call Crumb’s creation ‘audio art’ given the composer’s predilection for musical canvases meant to pique our sense of hearing and to tease our imagination.” PB161 Loft, Kurt. “Crumb’s Echoes an Explosive Adventure in Sight and Sound.” Tampa Tribune, 15 December 1984, p. D6. See W7s. “ Echoes could be called experimental musical theater. It explores the tensions and voids among unrelated sounds, dynamics, disruptive harmonies and silences.” PB162 Griffiths, Paul. “The Orchestra Walks Out, As the Composer Ordered.” New York Times, 29 September 1998, p. E3. See W7t. “ Echoes is a wonderful stage set for a drama that never happens. Perhaps it would be more effective if the musicians were thoroughly drilled in their movements. Here, they often looked hesitant and embarrassed, understandably enough.” Eleven Echoes of Autumn, 1965 (Echoes I) (W8) PB163 Hughes, Allan. “Aeolian Players at Carnegie Hall.” New York Times, 3 December 1966, p. 45. See W8b. “The work was atonal, free of metrical pulsation and, if you listened without looking, was gently expressive of a predominantly fall mood.” Review of the premiere. PB164 Webster, Daniel. “Contemporary Works Played by Two Groups.” Philadelphia Inquirer, 20 April 1967, p. 27. See W8c. “Crumb’s work was at once interesting and disappointing. The composer’s sensitivity to sound is his great strength.” On the other hand, “it becomes preoccupied with tinyness.” PB165 Felton, James. “Avant-Garde is Praised.” Evening Bulletin (Philadelphia, PA), 22 April 1967. See W8c. “Some of [Crumb’s] work in the past has seemed overly precious, but here he has succeeded in evoking a mist of finely sprayed sounds that pique the ear.” PB166 Commanday, Robert. “Ping a Visual Musical Excitement.” San Francisco Chronicle, 31 October 1968, p. 52. See W8d.

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Page 146 Crumb’s, “use of refrain elements in naked clarity, like an isolated quintuplet figure, or certain distinctive sonorities, gave the work a very cogent structure, an almost conservative, retrospective character.” PB167 Bloomfield, Arthur. “Walk-On Freshens Concert.” San Francisco Examiner, 31 October 1968, p. 37. See W8d. “At least several of the Eleven Echoes of Autumn by George Crumb had an absolutely exquisite wistfulness.” PB168 Simmons, David. “London Music.” Musical Opinion (November 1968): 63–64. See W8e. “Here the spareness had a quiet and self-renewing vitality and it developed a quality we used to always expect from music. The instruments were admittedly subjected to abnormal treatment, but the end justified the commands of the graph-like score.” PB169 Orga, Atta. “English and American Moderns.” Music and Musicians 17 no. 4 (December 1968): 54. See W8e. “The most successful American work, George Crumb’s Eleven Echoes of Autumn 1965, achieved much of its impact through its freedom of expression and by avoiding any deliberate identity with the two main American trends [adherence to Cage or Webern].” PB170 Schiffer, Brigitte. “Kammermusikalische Klangspiele in London.” Melos 36 no. 1 (January 1969): 41–42. See W8e. Review, in German, of the performance of Eleven Echoes of Autumn, 1965 in London. PB171 Ennis, Bayard F. “Crumb Work Offers New Pattern.” Charleston Gazette (WV), 2 February 1969. See W8f. “It requires a good bit of reflection to get the message the composer has in mind, but that done one is duly impressed.” PB172 MacCluskey, Thomas. “Concert is Aural Delight.” Rocky Mountain News (Denver, CO), 13 February 1969, p. 65. See W8g. “Crumb’s use of intimate and tiny instrumental, whispered and whistling sounds which flow so naturally and blend so beautifully in Echoes is an aural garden of delights.” PB173 Mintz, Donald. “AU Chamber Group Offers Two Outstanding Programs.” Evening Star (Washington, DC), 21 April 1969. See W8h. Mintz notes that Echoes, “makes substantial use of harmonics and at several points has the wind players operating virtually inside the piano in order to excite its strings.” PB174 Steinfirst, Donald. “2 Musical Works Audience.” Pittsburgh Post-Gazette, 4 November 1969, p. 16. See W8i. Eleven Echoes is a, “valid attempt by the composer to wash conventional music out of the mind and memory of the listener.”

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Page 147 PB175 Wagner, Klaus. “Hamburg Eröffnet die Neue Konzertsaison.” Melos 36 no. 11 (November 1969): 477–478. Review in German. PB176 Cunningham, Carl. “Audience Warms to Chamber Works.” Houston Post, 23 January 1970, section 2 p. 10. See W8j. “Interestingly, new music lovers of all ages responded with the biggest share of enthusiasm to the most forward-looking tenuous work on the program—George Crumb’s Eleven Echoes of Autumn, 1965.” PB177 Kraglund, John. “Hawkins: An Exceptional Stylist.” Globe and Mail (Toronto), 15 March 1971, p. 15. See W8k. Eleven Echoes, “prompted more desire for a second hearing, for it managed to achieve an emotional impact despite the modern oddities of plucked piano strings, tuneless whistling and whispered words.” PB178 Monson, Karen. “Eclectic ‘New People’ a Nice Gift.” Los Angeles Herald-Examiner, 16 February 1972, p. A14. See W8l. Monson finds the fact that 1965 is part of the composition’s title, “the most interesting thing about the work.” PB179 Rockwell, John. “Valentine’s Day Program.” Los Angeles Times, 16 February 1972, section 4 p. 17. See W8l. Although Rockwell considers Crumb, “a far subtler, complex artist,” he goes on to note that Eleven Echoes fails to win the crowd over. PB180 Henahan, Donal. “Aeolian Ensemble Marks Milestone.” New York Times, 23 March 1972, p. 51. See W8m. The Aeolian Chamber Players celebrate ten years as an ensemble with a program which includes Eleven Echoes of Autumn, 1965. PB181 Derhen, Andrew. “Debuts & Reappearances: Aeolian Chamber Players.” High Fidelity/Musical America (July 1972): MA20. See W8m. Repealing an earlier negative review, Derhen notes, “there is a vaporous delicacy about it which seeps in upon repeated hearings.” PB182 Blanks, Fred. “Method, Madness in a Melange.” Sydney Morning Herald (Australia), 31 May 1976, p. 7. See W8n. “An insinuatingly piquant set of short, surreal, other-worldly pieces of vertically fragmented rather than linear sound, subdued except in a late outburst of strident anguish.” PB183 Katzenstein, Larry. “Contemporary Chamber Players at UMSL.” St. Louis Post-Dispatch, 28 March 1978, p. E4. See W8o. “ Eleven Echoes is not the best Crumb piece [the reviewer has] heard, but it makes for an interesting 15 minutes.” PB184 Charvonia, David M. “Modern Chamber Works Show Richness and Variety.” Washington Times, 19 April 1983. See W8p.

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Page 148 “The result is interesting at first hearing but one cannot escape the feeling that repeated listenings would become routine and that the overall effect is often pretentious.” PB185 Henahan, Donal. “Music: Chamber Works By the Da Capo Players.” New York Times, 18 November 1987, p. C26. See W8q. “Within the limits of the composer’s own quirky aesthetic, theatrical actualizations are certainly worth exploring.” PB186 Rye, Matthew. “Lontano.” Musical Times (December 1988): 677. See W8r. Rather than mere amplification Rye feels, “this work is more distinguished by the effective use of the instruments and the novel sounds Crumb coaxes from them.” Federico’s Little Songs for Children (W9) PB187 Valdes, Lesley. “Jubal Trio Presents 1986 Crumb Piece.” Philadelphia Inquirer, 13 June 1988, p. E3. See W9a. “Typically, the music skirts Crumb’s fearful borders of fantasy, but in this smaller piece there is a big dollop of humor.” Five Pieces for Piano (W10) PB188 Boyd, Jack. “Large Crowd Hears David Burge Give Exceptionally Fine Program.” Boulder Daily Camera, 9 October 1963, p. 28. See W10b. “These were easily the most fascinating works on the concert. Besides the normal effort at the keyboard, the pianist was required to pick, strum and otherwise aggress upon the viscera of the piano.” PB189 Doerr, Alan. “Dwindling Crowd Misses Rewards of Novel Piano Program.” Washington Post, 21 October 1963, p. B10. See W10c. “These brief pieces explored the sonorities of the piano from within the instrument as well as from the keyboard.” PB190 Strongin, Theodore. “Burge Presents 3d Piano Recital.” New York Times, 22 October 1963, p. 44. See W10d. A review of the program at Carnegie Recital Hall which included works by Krenek, Boulez, Halffter, Henkemans, and Crumb’s Five Pieces for Piano. PB191 Johnson, Jack F. “Skilled Pianist Praised.” Spokesman-Review (Spokane, WA), 9 November 1963, p. 5. See W10e. “These extraordinary pieces are experimental while still being aesthetic and their elucidation by Burge is a very rare and rewarding experience for both laymen and professional artists.” PB192 Stockholm, Gail. “Jeanne Kirstein Plays Cage, Crumb.” Cincinnati Enquirer, 29 March 1973. See W10f.

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Page 149 Stockholm comments on the work more than a decade after its composition. “The Crumb seemed to be exploring within and without the piano-investigating the uneasy partnership of traditional and new usages.” Four Nocturnes (Night Music II) (W11) PB193 Dwyer, John. “Artful Modern Trio, ‘Ghost’ Vibraphone Create Eerie Effects.” Buffalo Evening News, 4 February 1965, p. 51. See W11a. “It had a convincing atmospheric effect, and the composer’s exhaustive search for significance [sic] detail was apparent everywhere.” PB194 Felton, James. “Program of Modern Music By Three Gifted Artists.” Evening Bulletin (Philadelphia, PA), 6 February 1965. See W11b. “George Crumb’s Night Music II was dotted with wisps of sound that were intriguing in themselves without having anywhere special to go.” PB195 Webster, Daniel. “Styles Range At Music Forum.” Philadelphia Inquirer, 19 March 1966, p. 10. See W11e. “The sounds and silences and the immobility of the music were evocative of the night and Crumb must be counted a subtle colorist.” PB196 Hayes, Deborah. “Paul Zukofsky Displays Mastery of Technique.” Boulder Daily Camera, 3 March 1969. See W11d. “George Crumb’s Night Music II uses the quietest possible sounds of both violin and piano, such as muted tones and harmonics (the pianist throughout the work reaches inside the piano to dampen the strings and to create the various muffled sounds.” PB197 Widdicome, Gillian. “Zokofsky and Kalish” Financial Times (London), 4 December 1969, p. 3. See W11e. “As a whole, the most catching piece of that kind for this combination [violin and piano] I can now remember.” PB198 Reinthaler, Joan. “20th Century Masters.” Washington Post, 19 November 1979, p. E4. See W11g. “Crumb speaks delicately. He always seems to be listening to himself and, like an actor, loves to hear himself talk.” PB199 Page, Tim. “Violin Concert: Mary Findley.” New York Times, 19 June 1983, p. 48. See W11h. “Mr. Crumb’s Four Nocturnes is a collection of sound pictures…more of an anthology of interesting things to do with violin and piano than a fully convincing statement in its own right.” Gnomic Variations (W12) PB200 Hoover, Joanne Sheehy. “Performing Arts: Jeffrey Jacob.” Washington Post , 13 December 1982, p. C2. See W12a.

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Page 150 “Unlike his previous pieces, Gnomic Variations contains no amplification, no literary or musical references, and no theatrical effects, which in the past could range from the pianist’s singing and whistling to the use of chains and paper upon the strings.” PB201 Floyd, Jerry. “Gnomic Noises and Jacob.” Washington Times, 14 December 1982, p. B2. See W12a. Floyd enthuses about the relative lack of extended piano techniques in this work and notes, “Jacob played this quirky music expertly.” PB202 Hoover, Joanne Sheehy. “Debuts & Reappearances: Washington.” Musical America (April 1983): 24, 28. See W12a. “Crumb achieves a seamless integration—arguably, his finest to date—of inside-the-piano sounds with traditional keyboard writing.” PB203 Waskowska, Teresa. “Eksklusiv Klaveraften.” Berlingske Tidende (Copenhagen), 9 December 1983, section 2 p. 3. Review in Danish. PB204 Holland, Bernhard. “Concert: David Burge.” New York Times, 20 March 1984, p. C21. See W12b. “Mr. Crumb’s Gnomic Variations went deeper into the instrument’s potential—literally deeper in its explorations of the strings themselves.” PB205 Richards, Denby. “Contemporary Enjoyment.” Music and Musicians (November 1984): 24. See W12e, W12f. “Crumb needs a pianist with long arms who can manipulate individual strings inside the piano, as well as other wholly digital work away from the keyboard, hopefully without leaving his seat.” PB206 Silsbury, Elizabeth. “Five of the Best.” Advertiser (Adelaide, Australia), 25 May 1984, p. 10. See W12c. “A masterly expose” of the possibility of contrast.” PB207 Hoffmann, W.L. “U. S. Pianist’s Playing of Outstanding Quality.” Canberra Times (Australia), 28 May 1984, p. 15. See W12d. “This work uses stopped and plucked notes played within the body of the instrument at the same time as notes played on the keyboard, and has quite delicate harmonic effects and ‘half-pedaled’ sounds as well.” PB208 K.B. “Misterioso, Kawiarnia I Fugo Na Fortepian.” Ruch Muzyczny (January 1985): 11–12. Review, in Polish, of Gnomic Variations. A Haunted Landscape (W13) PB209 Page, Tim. “Philharmonic: New Music In a Festival Rehearsal.” New York Times, 9 June 1983, p. C16. See W13b.

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Page 151 A review of a rehearsal of A Haunted Landscape, during which about eight minutes of the work were played. Regarding the work in progress Page notes, “ A Haunted Landscape combines the usual rattles, creaks and shimmers of Mr. Crumb’s universe into its usual craggy and oddly effective coherency.” PB210 Blanc, Roger. “Horizons ’84, Program IX: Crumb and Knussen; Also, What’s in a Name?” Perspectives of New Music 22 (Fall-Winter 1983/Spring-Summer 1984): 515–518. See W13a. “If there is a flaw which runs through this and other of Mr. Crumb’s works in an orchestral medium, it is that hints and suggestions are not followed up, leaving the listener with a vague sense of disappointment.” PB211 Henahan, Donal. “Philharmonic: Crumb and Knussen Premieres.” New York Times, 8 June 1984, p. C26. See W13a. Henahan feels the composition would come across better on recording, “where its nuances could be captured and registered more truly than in [Avery Fisher] Hall.” PB212 Zakariasen, Bill. “Romance Blooms in New Music.” Daily News (New York, NY), 9 June 1984. See W13a. “ A Haunted Landscape is a synthesis of Crumb’s entire composing career, executed with individual purpose, imagination and exquisite refinement of structure and orchestration—no mere crumb, but a full loaf.” PB213 Goodman, Peter. “A Contemporary Mix.” Newsday (Hempstead, NY), 9 June 1984, part 2 p. 15. See W13a. “It is a collection of attractive but unstructured sound, sweet to hear but unengaging.” PB214 Orgill, Roxanne. “New Romanticism: Where the Wild Sounds Are.” Record (Hackensack, NJ), 11 June 1984, p. 12. See W13a. A review of the Horizons ’84: The New Romanticism—A Broader View festival of contemporary music held by the New York Philharmonic. PB215 Valdes, Lesley. “Crumb: Mood Piece.” Women’s Wear Daily, 14 June 1984. See W13a. “What A Haunted Landscape …demonstrates is Crumb’s absolute mystery [sic] of instrumental color and nuance. It also shows a paring down of the excesses of his Star Child a few years ago.” PB216 Eckert Jr., Thor. “New York Philharmonic Finds Promise on the Musical Horizon.” Christian Science Monitor, 20 June 1984, p. 24. See W13a. “The 17 minutes of mood painting brought to mind extraterrestrial jungles and habitats of a science fiction movie—and strove awfully hard to be instantly appealing.” PB217 Porter, Andrew. “Musical Events: Golds and Blues.” New Yorker (2 July 1984): 96–98. See W13a.

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Page 152 A Haunted Landscape, “is a thing of rustlings, tappings, tickings, fine-spun hazy chords, pulsings, sudden chirrups, exclamations or solemn proclamations from brasses or winds.” PB218 Zakarisen, Bill. “New York: Enjoyable Revivals and New Horizons.” Ovation (August 1984): 30– 32. See W13a. “ A Haunted Landscape truly lives up to its title. It is a grandly evocative tone-poem of myriad colors that seem a perfect synthesis of Crumb’s entire composing career.” PB219 Smith, Patrick J. “Horizons ’84.” Musical America (October 1984): 24–25, 40. See W13a. Smith concludes, “déjà vu Crumb.” PB220 Swan, Annalyn. “Romantic Longings.” Atlantic (November 1984): I34–136. See W13a. “Fragments of sound surge and eddy around the orchestra, sometimes huge and grand, at other times barely echoing from the beyond.” PB221 Rockwell, John. “Music: Haunted Landscape. ” New York Times, 29 April 1985, p. C14. See W13c. “Rather like Mahler in one of his nocturnal reveries, Mr. Crumb uses the orchestra less for concerted ensemble statements than as a resource for chamber sound effects.” PB222 McDonald, William. “Philharmonic Finale: A Touch of Americana.” Tribune (Scranton, PA), 6 May 1985, p. 10. See W13d. McDonald feels the composition shows its worth when the listener, “could allow his memory to recall places where he had been where one feels an idyllic sense of time suspended.” PB223 Griffiths, Paul. “NYPO/Mehta.” Times (London), 31 May 1985, p. 8. See W13e. “Crumb’s sounds fail to become music for the simple reason that nothing is expected of them. They arouse no guesses about the future and offer no remarks on the past, because one knows perfectly well that their sole function is to evoke an immediate state of feeling.” PB224 Stadlen, Peter. “New York Philharmonic.” Daily Telegraph (London), 1 June 1985, p. 9. See W13e. “What [Crumb] offers is a study in refined and sparse pointillism, subtly varied with sonorities of often novel provenance.” PB225 Loppert, Max. “Americans Perform American.” Financial Times (London), 1 June 1985. See W13e. “Like almost all of Crumb’s music it is expertly fashioned, intriguing in its detail, immediately enjoyable, instantly forgettable.” PB226 Walsh, Stephen. “Michelangeli’s Magic Conjuring Trick.” Observer (London), 2 June 1985, p. 21. See W13e.

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Page 153 “In George Crumb’s impressionistic A Haunted Landscape one could also relish the range of orchestral colour perhaps more than the patchwork of the music itself, with its snippets of Ives, Varèse, Debussy.” PB227 Aprahamian, Felix. “The Apotheosis of an Orchestra.” Sunday Times (London), 2 June 1985, p. 43. See W13e. “Except for a brief, interrupted processional, the panorama was mainly figureless and static. A curious piece.” PB228 Frullini, Andrea. “Dvorak, Ravel, Crumb Entusiasma La Scala un Trascinante Mehta.” Giornale (Milan), 20 June 1985. See W13f. A review, in Italian, of a performance at La Scala. PB229 Rossil, Luigi. “Con Mehta Alla Scala Dopo il Gelo, Il Fuoco.” Stampa (Turin, Italy), 20 June 1985, p. 21. See W13f. A review, in Italian, of a performance at La Scala. PB230 Reeve, Stephen. “US Connections in London.” Classical Music (London) (20 July 1985). See W13e. “The spirit was more suggestive of a science-fiction mood setting for another Steven Spielberg epic. Crumb’s music has always run on a knife edge between the genuinely eerie and mere atmospherics.” PB231 “Composers & Conductors.” Symphony (January/February 1990): 20. See W13g. “George Crumb celebrated his 60th birthday in October with a performance of his A Haunted Landscape by the Temple University Orchestra at Alice Tully Hall in New York conducted by Luis Blava.” PB232 Marsh, Robert C. “Morgan, CSO Give Landscape a Worthy Debut.” Chicago Sun-Times, 25 May 1990, p. 41. See W13h. “In order of importance, the most significant event of the evening was the first CSO performance of George Crumb’s A Haunted Landscape, a fantastically original work that puts the imagination in high gear and sets it spinning.” A Little Suite for Christmas, A. D. 1979 (W15) PB233 Libbey Jr., Theodore W. “Crumb Work is Premiered.” Washington Star, 15 December 1980, p. D2. See W15a. “The sounds that emerged from the piano were in most ways typical of Crumb’s idiom, an intriguing blend of clusters and repeated figures played in the usual manner (i.e. on the keys) with coloristic effects achieved through direct manipulation of the strings.” PB234 Waskowska, Teresa. “Ny Klavermusik.” Berlingske Tidende (Copenhagen), 23 September 1981. Review, in Danish, of A Little Suite for Christmas, A. D. 1979.

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Page 154 PB235 Roca, Octavio. “Holiday Concert.” Washington Post, 22 December 1981, p. C9. See W15b. “This fascinating catalog of Crumb’s pianistic syntax also reveals the mounting interest of his debt to Messiaen.” PB236 Charvonia, David M. “A Musical Parallel to Nightmares and Dreams.” Washington Times, 12 December 1983. See W15c. “The music uses—and abuses—techniques Crumb made famous in his larger-scale piano works: harmonics, playing directly on the strings, etc.” PB237 Rothstein, Edward. “Music: Debuts in Review.” New York Times, 18 March 1984, p. 52. See W15d. “In George Crumb’s Little Suite for Christmas, the impressionistic delicacy of the musical gestures was preserved despite the acrobatics inside the piano’s body.” PB238 McClellan, Joseph. “Spicing the Season.” Washington Post, 31 December 1984, p. D2. See W15e. “It is colorful music but also imbued with the sense of awe that the season demands.” Lux Aeterna for Five Masked Musicians (W16) PB239 Scarborough, Charles. “Music: Philadelphia Composers’ Forum.” Richmond News-Leader (Richmond, VA), 17 January 1972. See W16a. Scarborough describes the various aspects of this work, admitting that some of Crumb’s intent has perhaps escaped him and that he would have been greatly aided by more extensive program notes. PB240 Allsopp, Sydney. “Music.” Richmond Times-Dispatch (Richmond, VA), 17 January 1972. See W16a. “There is much subtlety and delicacy in this work that is permeated with an oriental influence.” PB241 Johnson, Tom. “Let There be Lux.” Village Voice (20 April 1972): 41. See W16b. “It is as fine as any ‘sound piece’ I have heard, and I am now quite willing to regard Crumb as one of the most important voices in this genre, right along with his European counterparts, Xenakis, Ligeti, and Penderecki.” PB242 Canick, Mike. “Insects and Syllables.” Dartmouth (Hanover, NH), 4 August 1972. See W16c. Canick describes various instruments used in this work and their ritualistic effects. PB243 Lowens, Irving. “George Crumb’s Music Magic—Another World.” Evening Star and the Washington Daily News (Washington, DC), 23 January 1973, p. D3. See W16d.

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Page 155 Lowens finds Lux Aeterna captivating. “Crumb creates a delicate-textured, iridescent sonic fabric that has an almost hypnotic effect on audiences.” PB244 Hume, Paul. “The Message of the Requiem.” Washington Post, 23 January 1973, p. B7. See W16d. Hume feels the piece is strangely appropriate for the news of the death of Lyndon B.Johnson, “profoundly beautiful music had, unexpectedly, served its deepest purpose.” PB245 McLellan, Joseph. “The Candle as an Instrument.” Washington Post, 11 February 1976, p. C9. See W16e. “Crumb is always concerned with precisely calculated sound textures. In this work, which is a meditation on death, he dwells specially on the decay factor, what happens to the note from a sitar or a wide array of percussion after it has been struck, while it is dying; how can it be prolonged and transformed.” Madrigals, Books I–IV (W17–20) (Unless specifically noted all performances are of Madrigals, Books I–IV ) PB246 Lowens, Irvin. “A Persuasive Plea for the Avant-Garde.” Evening Star (Washington, DC), 12 March 1966, p. A9. See W17a. Performance of Books I–II only. “The variety of tone color Crumb managed to get from his singer and two instrumentalists was so wide as to be almost beyond belief. It was certainly an apt demonstration that there is no necessary conflict between advanced musical thought and immediacy of appeal.” PB247 Putnam, Thomas. “Contemporary Chamber Ensemble, Electrifies Scant House at Library.” Washington Post Times Herald, 12 March 1966. See W17a. Performance of Books I–II only. In discussing the many unusual effects called for by Crumb, Putnam notes, “none of this was superficial; rather the serious intent of the composer caused an intense reaction in the listener.” PB248 Salzman, Eric. “Chamber Music Finale—Madrigals Stand Out.” Ne w York Herald Tribune, 12 April 1966. See W17c. Performance of Books I–II only. “Fragments of poems, evocative bits of words and delicately textured sounds tumble out from this fine-grained music in elegant and elusive-expressive disarray. Most important of all, the composer has the invention and the fantasy to sustain it and give it profile.” PB249 Hughes, Allen. “Ensemble Plays New Composers.” New York Times, 12 April 1966, p. 42. See W17c. Performance of Books I–II only. “All were fascinating as essays in sound and they were rather successful in their evocations of moods.” PB250 Rogers, Emmy Brady. “New Works: Colorado.” Music Journal (June 1966): 63. See W17b.

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Page 156 Performance of Book I only. “There were delightful, atmospheric effects, graphically descriptive though fragmentary, with the voice used as though it were an instrument.” PB251 Hinterberger, John. “New Music Group Gives First Concert.” Seattle Times, 5 December 1966, p. 24. See W17d. Performance of Books I–II only. Hinterberger briefly notes the performances of the percussionist, John Gaborit and the soprano, Elizabeth Suderburg. PB252 Van Delden, Lex. “The Sixth Congress of the International Music Council.” Sonorum Speculum 37 (Winter 1968/1969): 6–16. Performance of Books I–II only. “The most striking thing about them was that all external effect had been avoided and that a result had been achieved with the help of very few notes, in which everything was dedicated towards an inner essence.” PB253 Stromberg, Rolf. “Young Pianist Splendid.” Seattle Post-Intelligencer, 9 March 1970. See W17e. “At times the music was incantory, at times lyrical. At the time it was musical. One presumed that it couldn’t succeed, but it did.” PB254 Johnson, Wayne. “Star of Future Crumb at U.W.” Seattle Times, 9 March 1970, p. A14. See W17e. “They seem to be intensely private musical expressions, for which some kind of key is necessary for understanding and appreciation.” PB255 Gelles, George. “Crumb Works Delight at Chamber Concert.” Evening Star (Washington, DC), 15 December 1970. See W17f. Performance of Books III–IV only. Gelles notes that soprano Bryn-Julson gives an outstanding performance, however, the percussionist and harpist are not quite as in tune with the piece. PB256 Hume, Paul. “Varese, Crumb, Bartok.” Washington Post, 15 December 1970, p. B8. See W17f. Performance of Books III–IV only. “Last night’s Madrigals now sound, for all their mature assurance, like the steps they are to the higher levels that yet waited for Crumb [in Ancient Voices of Children].” PB257 Miller, Stephanie. “Contemporary Group in Superlative Concert.” Seattle Post-Intelligencer, 11 November 1971, p. A12. See W17g. Performance of Books III–IV only. “It was the most profound work on the program, and for the range control and expressivity of this soprano [Elizabeth Suderburg], it was the most shattering.” PB258 Hume, Paul. “Crumb’s Miracles.” Washington Post, 29 February 1972, p. C7. See W17h. Performance of Book III only. The high point of the concert for Hume. PB259 Henahan, Donal. “Music Fete.” New York Times, 9 August 1972, p. 21. See W17i.

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Page 157 Performance of Books I–II only. “Though [Joan Heller’s] pristine, transparent performance lacked a bit of dramatic weight in the reading of the dark Lorca texts, the spell-binding beauties of Mr. Crumb’s music were caught by the ensemble.” PB260 Johnson, Tom. “Policing the Style Away.” Village Voice (16 November 1972): 45. See W17j. Performance of Book II only. “Loaded with gorgeous coloristic effects, and which conveys García Lorca’s one-line poems very well.” PB261 Fleming, Shirley. “Speculum Musicae.” High Fidelity/Musical America (February 1973): MA32. See W17j. Performance of Book II only. Fleming praises Madrigals for, “delving into sounds so fragile as to be almost unborn.” PB262 Reinthaler, Joan. “Underattended ‘Renaissance’.” Washington Post, 11 April 1973, p. B4. See W17k. Performance of Book I only. “Every coincidence of instrumental sounds is an event carefully gauged and tempered. To rearrange or reorchestrate any of Crumb’s music would be unthinkable.” PB263 Parris, Robert. “Works Rarely Heard Live.” Washington Star-News, 28 January 1975. See W17l. Performance of Books I–II only. “Crumb, whose bandwagon still has plenty of fuel, writes more elegant sound effects than anyone. They’re perfectly realized aural images; utterly refined, precise, every note in the right place.” PB264 Fried, Alexander. “Pillow Program’s Musical Rewards.” San Francisco Examiner, 21 October 1975. See W17m. “Nothing in the Madrigals was sensational. They are a masterwork. The whole Crumb performance was a deep experience.” PB265 Commanday, Robert. “Enchanting Chamber Music.” San Francisco Chronicle, 22 October 1975, p. 45. See W17m. Soprano Claudia Cummings’, “fluid colorata and elegant musicianship have been noted here before, but in George Crumb’s Madrigals, Books I–IV her dramatic intelligence comes to the fore.” PB266 Man, Hugo. “Crumb Was Just a Little Far Out.” Hong Kong Standard, 6 March 1976. See W17n. Performance of Book I only. “Can this be anything but an aberration?” PB267 Gwilt, David. “Group Gives Exciting, Gratifying Performance.” South China Morning Post, 6 March 1976, p. 5. See W17n. Performance of Book I only. “A startlingly vivid work.” PB268 Porter, Andrew. “Musical Events: Catching Up.” New Yorker (21 March 1977): 120, 123–127. Performance of Book III only. Brief mention of a performance by Jan DeGaetani.

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Page 158 PB269 Covell, Roger. “Impassive Mastery and a Speaking Likeness.” Sydney Morning Herald (Australia), 31 March 1976, p. 7. See W17o. Performance of Book I only. “This was one of the most communicative experiences of the evening.” PB270 Putnam, Thomas. “George Crumb Tops Off June Festival at UB.” Buffalo Courier Express, 19 June 1976. “The music is skeletal, the sounds suggesting sun-dried bones, the voice itself often a dry whisper. Crumb discovers emotion in the small glissando curves of double bass and even the vibraphone bends its pitch hauntingly.” PB271 Griffiths, Paul. “Promise Proved to be Too Ephemeral.” Times (London), 16 June 1981, p. 11. See W17p. “All settings of Lorca that accentuate everything heated, self-conscious, histrionic and downright crazy in his poetry.” PB272 Rodewald, Al. “Crumb Master of Madrigal.” San Diego Union-Tribune, 7 February 1984, p. D5. See W17q. “The intensity and concentration demanded of performers (and listeners) in this music is immense. The effort required to play and hear this array of wispy gestures—to sustain a line and movement—may be more than is worthwhile.” Makrokosmos, Volume I (W21) (Where Makrokosmos, Volume I is reviewed with Makrokosmos, Volume II they are listed together here, with a notation: Volumes I–II. The listing under Makrokosmos, Volume II will have only a reference to the entry here.) PB273 Giffin, Glenn. “Pianist Surge Puts Frosting on Crumb.” Denver Post, 9 February 1973, p. 35. See W21a. “Crumb is concerned with sound first, last and foremost. His way of getting the sounds he wants mow down all accepted conventions of piano playing. Burge must play directly on the strings as well as on the keyboard.” PB274 “MacCluskey, Thomas. “Two Titans of Music Display Their Abilities.” Rocky Mountain News (Denver, CO), 10 February 1973, pp. 144–145. See W21a. “Another example of Crumb’s path-breaking explorations into the superterrestrial realms of sound and his genius are bringing his discoveries back to earth and organizing them into dynamic, exciting, meaningful, utterly beautiful structures of aural art.” PB275 Blechner, Mark. “Bizarre Sounds From Burge.” Chicago Daily News, 19 February 1973. See W21b. “This work was astounding for the plenitude of bizarre sounds that came from the piano and the performer. To the strange sounds of the amplified piano, Burge added grunts, groans, and whistles of his own.” PB276 Winer, Linda. “Pianist is More Than a Morsel of Musical Worth.” Chicago Tribune, 19 February 1973, section 2 p. 13. See W21b.

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Page 159 “There are so many Crumb fingerprints, in fact, that the piece borders at times on self-parody. It would be fascinating to learn how much is vintage Crumb and how much is a joke.” PB277 Harris, Bill “Sensitive Touch Carries Pianist.” Western Herald (Kalamazoo, MI), 23 February 1973. See W21b. Review of 22 February 1973 performance. George Crumb Scrapbook p. 142. PB278 Finn, Robert. “Burge Shows Off Crumb’s Originality.” Plain Dealer (Cleveland, OH), 18 May 1973. See W21c. “Like much of Crumb’s recent output, it is preoccupied with eerie, mysterious, even occult matters, and it requires the performer to be an actor in a sort of bizarre theater-through-music experience.” PB279 Gamer, Carlton. “Current Chronicle: Colorado Springs, Colorado.” Musical Quarterly 59 no. 3 (July 1973): 462–466. See W21a. “Each of the twelve pieces is based upon a unique timbral idea, and the form of the entire work is largely determined by contrasts of timbre, texture, and register among the various movements.” PB280 Hume, Paul. “Contemporary Mix.” Washington Post, 15 August 1973, p. B3. See W21d. “Hindsight is a legitimate tool of criticism. In that view of the entire program George Crumb’s work emerged, as it would from most programs today, as a thing set apart from the others. It is, with its striking originality of thought, somehow marvelously accessible.” PB281 Evett, Robert. “Burge Masterful, Crumb Work Dull.” Washington Star-News, 15 August 1973, p. B3. See W21d. Evett, “will not follow the common practice of describing what is now common knowledge—how Crumb achieves his colorful sound effects. To do so would be to suggest that the music is of some intellectual interest, which it is not.” PB282 Cable, Susan. “Skillful Burge Plays Piano Inside Out.” Denver Post, 25 October 1973, p. 33. See W21e. “Although these [extended] techniques aren’t new, Crumb has creatively blended them to produce colorful and original images which illumine his titles.” PB283 Culver, Anne M. “Burge, Crumb Together Contenders for Fame.” Rocky Mountain News (Denver, CO), 25 October 1973, p. 66. See W21e. “Not that demands aren’t made by Crumb: both performer and listener must be able to throw off any vestiges of self-consciousness to experience the total spectrum of the work.” PB284 Jenkins, Speight. “Zodiac Piano Cycle Receives N.Y. Premiere.” New York Post, 6 November 1973, p. 21. See W21f. “The overall effect is of an exciting lyricism, a subtle blend of pianistic technique, strange resonances and the [sic] old-fashioned fulfillment.”

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Page 160 PB285 Felton, James. “Pianist David Burge Plays Strong Avant-Garde Fare.” Evening Bulletin (Philadelphia, PA), 7 November 1973, p. 31. See W21g. “What came through brilliantly was the fascinating variety of textures Crumb has wrought by extending conventional usage of the piano.” PB286 Singer, Samuel L. “Prize Winner is Played.” Philadelphia Inquirer, 7 November 1973, p. B6. See W21g. “ Makrokosmos was the highlight of a program that explored the sonorities of the piano both in microcosm and macrocosm. There were giant chordal effects and many pointillistic passages in which silences, or near-silences, were as important as larger sounds.” PB287 Ericson, Raymond. “Burge Conjures up a Mystical Collage of Music by Crumb.” New York Times, 7 November 1973, p. 53. See W21f. “Mr. Crumb’s materials are not really new; some of them might even be considered naive or corny. But no one puts them sounds together quite the way he does, with such an acute ear, so that the music rivets the listener’s attention and builds up an emotional response.” PB288 Arlen, Walter. “Pianist David Burge in Cal State Debut.” Los Angeles Times, 17 November 1973. See W21h. “Makrokosmos, Vol. I by George Crumb took up the program’s entire second half and enabled Burge to show skills no conventional pianist ever had reason to acquire.” PB289 Rich, Alan. “Mr. Crumb Takes the Cake.” New York Magazine (26 November 1973): 89, 91. See W21f. “What [the reviewer] cannot so easily explain, however, is why this work of Crumb’s is an exhilarating, dazzling, moving experience. This is the composer’s own inexplicable genius, but it is a real part of the music.” PB290 Severin, Chris. “Pianist David Burge Goes to Heart of Musical Idea.” Waterloo Courier (IA), 5 May 1974, p. 41. See W21i. “It is a work of gripping emotional intensity, with time itself seeming to stop or be misplaced.” PB291 Beck, David L. “Pianist Performs Excellently at U. Concert.” Salt Lake City Tribune, 13 May 1974. George Crumb Scrapbook p. 179. PB292 Skouen, Synne. “Elisabeth Klein.” Arbeiderbladet (Oslo, Norway), 14 October 1974, p. 12. Review in Norwegian. PB293 Harvey James E. “Burge Proves Himself ‘Magician’ of the Piano.” Flint Journal (Flint, MI), 4 November 1974. George Crumb Scrapbook p. 196.

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Page 161 PB294 Walsh, Michael. “Old, New in Fine Concert.” Democrat and Chronicle (Rochester, NY), 8 November 1974, p. C6. See W21j. “ Makrokosmos Vol. I must be considered a masterpiece of the contemporary piano literature and very likely a masterpiece of the entire piano literature as well.” PB295 Hume, Paul. “Crumb’s Makrokosmos Is Compared to Debussy.” Sunflower (Wichita, KS), 5 February 1975, p. 5. See W21k. Volumes I–II. “Makrokosmos stands, in this its initial complete realization, a superbly musical work, filled with new worlds of sound, totally successful in the attainment of the composer’s ends, which happen to be both musical and extra-musical.” PB296 Reyher, Loren. “ Makrokosmos, Burge a Mind-Blowing Duo.” Wichita Eagle (KS), 5 February 1975, p. B2. See W21k. Volumes I–II. “Last night’s performance marked the first time both volumes of Makrokosmos have been presented in the same concert. Heard together, additional scope is added to Crumb’s mind-bending voyage through the cosmic aspects of time and form.” PB297 Lee, Chris. “Master Performance Given by David Burge on Piano.” Daily Democrat (Woodland, CA), 5 April 1975. See W21l. Volumes I–II. “The music demanded fire, speed, and accuracy of the highest caliber. The startling devices used were not merely stunts. Each sound was carefully thought out, having a real musical purpose, and a solid thought and statement behind it.” PB298 Johnson, Charles. “Burge Interprets George Crumb.” Sacramento Bee, 5 April 1975, p. B1 1. See W21l. Volumes I–II. Johnson, “almost had rather hear the music without watching it being performed. The bizarre procedures take one’s attention away from the music itself.” PB299 Stein, H.D. “Unusual Sounds: Pianist Delights Crowd.” Davis Enterprise (CA), 7 April 1975, p. 14. See W21l. Volumes I–II. Burge’s performance of the two volumes of Makrokosmos, “used pianistic resources which many listeners didn’t know the instrument possessed, evidently delighting most of the audience.” PB300 Lee, Douglas. “Current Chronicle: Penderecki and Crumb at Wichita State.” Musical Quarterly 61 no. 4 (October 1975): 584–588. See W21k. Volumes I–II. “Attention to the fine gradations of sound also leads Crumb to unusually precise notation and performance directions. He often designates even the desired psychological qualities of the music.” PB301 Putnam, Thomas. “Amplification Adds Quality of Resonance.” Buffalo Courier Express, 15 June 1976. See W21m.

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Page 162 Volumes I–II. “The piano is transformed, becoming the magnification of itself, an instrument of colorful percussiveness, murky or lucid, suggestive of dark emotions or the brightness of cold flashing stars.” PB302 Simon, Jeff. “Crumb Compositions Given Added Scope.” Buffalo Evening News, 15 June 1976. See W21m. Volumes I–II. “Crumb’s work seems to proceed as if all the ‘new music’ had already been written. The composer’s job is to codify, anthologize, mystify, dramatize.” PB303 Orosa-Goquingco, Leonor. “Awardee Faurot” Bulletin Today (Manila, Philippines), 16 July 1976, pp. 25, 27. “The Crumb compositions in contemporary styles, Makrokosmos, constituted the highlight of Prof. Faurot’s lecture-recital.” PB304 Bertsche, Sam. “Lecture-Recital Outstanding.” Manhattan Mercury (KS), 2 February 1978, p. A3. See W21n. “If those in attendance did not come away with a feeling that they had received a rare and exhilarating experience, they must surely not yet be attuned to what surely will prove to be a refreshing breakthrough into a new and imaginative world of creative music.” PB305 Mootz, William. “Concert Premieres Are Remarkable.” Courier-Journal (Louisville, KY), 16 September 1978, p. B9. See W21o. “It’s extremely difficult, and the work may be overextended. It tends to repeat itself. Yet it is constructed with such delicacy, and plays with a listener’s nervous system so expertly, that there’s nothing to do but yield to it.” PB306 Craig, John. “Concert Season Begins on an Exciting Note.” Louisville Times (KY), 16 September 1978, p. 25. See W21o. “But with repeated exposure to Crumb’s idiosyncratic sound-world, it becomes obvious that there’s a great deal more to this music than its surface appeal.” PB307 Ahlen, Carl-Gunnar. “Fyra Dimensioner.” Svenska Dagbladet (Stockholm), 21 October 1978, p. 9. Review in Swedish. PB308 Bentzon, Niels Viggo. “Musik I Verdensklasse.” Politiken (Copenhagen), 22 October 1978, section 2 p. 13. Review in Danish. PB309 Hume, Paul. “Performing Arts: 20th Century Consort.” Washington Post, 5 February 1979, p. B11. See W21p. Pianist Lambert Orkis played in almost total darkness which, “added a note that Crumb does not suggest, which at times made it easy for the audience to snicker and giggle.” PB310 Bockhoff, Baldur. “Der Abonnentenschreck.” Süddeutsche Zeitung, 19 March 1982, p. 12. See W21q. Review in German.

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Page 163 Makrokosmos, Volume II (W22) PB311 Johnson, Harriett. “Miller Plays Crumb Premiere.” New York Post, 13 November 1974, p. 54. See W22a. “Crumb has a genius for using the simplest of melodies and means to introduce a far-out instrumental effect and all of his references in the text seem closely related to the music as he conceives it.” PB312 Schonberg, Harold C. “Music: Crumb Makrokosmos II Bows.” New York Times, 13 November 1974, p. 34. See W22a. “Whatever the intellectual content of Makrokosmos II, which is probably minimal, it cannot be denied that Mr. Crumb has created some marvelous sounds, including an exciting buildup and release of sonorities.” PB313 Porter, Andrew. “Musical Events: Stars.” New Yorker (25 November 1974): 173–176. See W22a. “Without raising his voice but in tones of quiet intensity, where timbres and inflections are so nicely graded that a tiny shift of emphasis can be of mighty import, he makes profound, unpompous statements in little room.” PB314 Kerner, Leighton. “Fantasies for a Masochistic Piano.” Village Voice (2 December 1974): 108. See W22a. “Crumb’s particular musical strength shows itself almost everywhere in these twelve new pieces.” PB315 Reinthaler, Joan. “Musically, It Was a Classical Weekend.” Washington Post, 16 December 1974, p. B15. See W22b. As far as Reinthaler is concerned, “this set hasn’t the delicacy of the inventive taste of many of Crumb’s other works.” PB316 Culver, Anne M. “Unique Program by Pianist Highly Enjoyable.” Rocky Mountain News (Denver, CO), 23 January 1975, p. 67. See W22c. “Crumb seems here to have momentarily lost his thread of creative originality, his otherwise fantastic penchant for refinement of sonority.” PB- Hume, Paul. “Crumb’s Makrokosmos Is Compared to Debussy.” Sunflower (Wichita, KS), 5 February 1975, p. 5. See PB295. Volumes I–II. PB- Reyher, Loren. “ Makrokosmos, Burge a Mind-Blowing Duo.” Wichita Eagle (KS), 5 February 1975, p. B2. See PB296. Volumes I–II. PB- Lee, Chris. “Master Performance Given by David Burge on Piano.” Daily Democrat ( Woodland, CA), 5 April 1975. See PB297. Volumes I–II.

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Page 164 PB- Johnson, Charles. “Surge Interprets George Crumb.” Sacramento Bee, 5 April 1975, p. B11. See PB298. Volumes I–II. PB- Stein, H.D. “Unusual Sounds: Pianist Delights Crowd.” Davis Enterprise (CA), 7 April 1975, p. 14. See PB299. Volumes I–II. PB317 Hume, Paul. “Crumb’s Makrokosmos, Volume II.” Washington Post, 26 May 1975, p. B9. See W22d. “The amplification, which is always at a very low level, did not always function efficiently, and there were times when the softest sounds did not carry, nor the sibilants make their full effect.” PB318 Thorpe, Day. “Debussy and Crumb at the Phillips.” Washington Star, 26 May 1975, p. B3. See W22d. “The Crumb is, in its way, no less compelling than the Debussy [Preludes, Book II], the style of which, in 1913, was scarcely less novel than the Crumb is today.” PB319 Von Rhein, John. “Miller Brilliant in Offbeat Piece.” Akron Beacon Journal, 29 September 1975. See W22e. “Almost more a theater piece than a piano piece, Crumb’s pictorial fantasy demands total identification from the performer; a more emphatic account than Miller’s would be hard to imagine.” PB320 Finn, Robert. “Pianist Miller Plays Brilliantly With Crumb.” Plain Dealer (Cleveland, OH), 29 September 1975. See W22e. “The gripping Crumb pieces, brilliantly played by the excellent Robert Miller, practically wiped out the aural memory of the other three works [by Wolpe, Boulez and Babbitt] on Miller’s program.” PB- Lee, Douglas. “Current Chronicle: Penderecki and Crumb at Wichita State.” Musical Quarterly 61 no. 4 (October 1975): 584–588. See PB300. Volumes I–II. PB321 Rockwell, John. “Recital: By David Burge.” New York Times, 23 March 1976, p. 28. See W22f. “Given the composer’s predilection for slightly silly theatricality, it was interesting that Mr. Burge, who is a close friend of Mr. Crumb, muted a couple of explicit instances in the score in which the pianist is asked to sing or speak.” PB322 Walsh, Michael. “Burge Perfect For Crumb.” Democrat and Chronicle (Rochester, NY), 11 February 1976, p. C12. See W22g. In comparing the two volumes of Makrokosmos Walsh believes, “the first set of twelve pieces ‘after the zodiac’ to be the more successful work, Crumb just about having said it all in volume one.”

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Page 165 PB323 Godell, Tom. “Lifchitz Shines With New Works.” Michigan Daily (Ann Arbor, MI), 17 March 1976, p. 5. See W22h. Godell finds the work, “dramatic and arresting,” in spite of a problem with the amplification system which adds an unscripted background of white noise to the performance. PB324 Salisbury, Wilma. “Burge Gives Crumb Work Stunning Play.” Plain Dealer (Cleveland, OH), 27 April 1976. See W22i. “The work suggested a mysterious religious ritual, merging symbols of East and West on a sacred alter of shimmering sound.” PB- Putnam, Thomas. “Amplification Adds Quality of Resonance.” Buffalo Courier Express, 15 June 1976. See PB301. Volumes I–II. PB- Simon, Jeff. “Crumb Compositions Given Added Scope.” Buffalo Evening News, 15 June 1976. See PB302. Volumes I–II. PB325 Morgan, John. “At Sprague Hall: Pianist Robert Miller.” New Haven Register (CT), 21 January 1977. See W22j. “Crumb explores intelligently and sensitively novel sounds that the modern piano can produce—sounds which make artistic use of the very brilliance and resonance of the post-war piano that is so unsympathetic to most of the piano literature we know.” PB326 Commanday, Robert. “Pianist Reveals Some American Secrets.” San Francisco Chronicle, 22 May 1978, p. 46. See W22k. In contrast to some other works on the program [e.g. Babbitt’s Reflections], Commanday finds Makrokosmos II to be, “immediate, evanescent sound pictures.” PB327 Bang, Arvid. “En Reise I Det Musikalske Verdensrom.” Adresseavisen (Trondheim, Norway), 10 June 1978. Review, in Norwegian, of Makrokosmos II. George Crumb Scrapbook p. 307. PB328 Ryker, Harrison. “Lam’s Praiseworthy Venture.” Hong Kong Standard, 3 February 1979. See W221. George Crumb Scrapbook p. 304. PB329 [A Guest Critic]. “Pianist Violet Lam Brings Music-Making Up to Date.” South China Morning Post, 5 February 1979, p. 9. See W221. Compared with another work on the program, Michael Ranta’s Transits III, the reviewer feels that, “Crumb achieved more with less, that even without the additional possibilities of electronic modulation, he squeezed a wider range of more cohesively arranged sounds out of the long-suffering instrument.” PB330 Lange, Art. “A New-Breed Virtuoso.” Reader (Chicago, IL), 16 February 1979. See W22m.

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Page 166 “The piece is played without pause, however, and especially when given the flowing elasticity of Surge’s phrasing, it is difficult to tell where one piece ends and another begins.” PB331 Horowitz, Joseph. “Jeffrey Jacob Performs Crumb’s Makrokosmos. ” New York Times, 3 February 1980, p. 42. See W22n. “A high point of the work, in the section titled ‘Litany of the Galactic Bells’, is a devout allusion to the introduction to the fugue of Beethoven’s Hemmerklavier Sonata. ” PB332 Trishich, Ivana. “A Cure For the Burdensome Dreams of Modern Music.” Politika (Belgrade), 27 August 1983, p. 9. Review in Serbo-Croatian. Mundus Canis (“A Dog’s World”) (W23) PB333 Kozinn, Daniel. “A Potpourri From Composers Whose Style Clash Compatibly.” New York Times, 6 October 1998, p. E5. See W23b. A brief description of how the movements of Mundus Canis reflect the personalities (caninalities?) of dogs from the Crumb household. PB334 Cariaga, Daniel. “George Crumb’s Dogged Pursuit of a Guitar Suite About Canines.” Los Angeles Times, 3 November 1998, p. F3. See W23c. “These are serious mood-pictures genuinely probing into the character of each animal. Cuteness has nothing to do with their success; they are personality portraits in music.” PB335 “David Starobin World Premiere.” Guitar Review 111 (Winter 1998): 37. See W23a. Notes the premiere of Mundus Canis. PB336 Adams, Martin. “David Starobin (guitar)/George Crumb (percussion).” Irish Times, 20 December 1999, p. 12. See W23e. “The sight carried echoes of a Sixties ‘happening’. Yet the sound has a discipline and a cogent, witty purpose which belies that connotation. The composer knows how to make every event count.” Music for a Summer Evening (Makrokosmos III) (W24) PB337 Watt, Katherine. “Broad Street to Swarthmore: Concerts Classical, Contemporary.” Evening Bulletin (Philadelphia, PA), 1 April 1974, p. 12. See W24a. “The delicate mixture of sounds and moods is haunting and provoking, especially when the sound is allowed to linger, the colors mingling with one another and gradually fading.” PB338 Webster, Daniel. “Works Open New Crumb, Birtwhistle Swarthmore Facility.” Philadelphia Inquirer, 2 April 1974, p. C8. See W24a.

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Page 167 “The music goes much farther than scene painting, Crumb has delved into the orchestral possibilities of the piano, juxtaposing keyboard sounds and plucked strings, paper-sharpened sounds to alter the music of chorales and Debussy-like moments.” PB339 Monson, Karen. “New-Music Bash is a Smash.” Chicago Daily News, 22 April 1974, p. 26. See W24b. “There is one flaw in the gorgeous pictures Crumb paints: they tend to be superficial. The Bach chorale that caps off Music’s finale only underlines the emotional shallowness of Crumb’s own version.” PB340 Willis, Thomas. “Crumb’s Summer Blooms Early.” Chicago Tribune, 22 April 1974, section 2A p. 6. See W24b. “The amplification for the two pianos serves merely to bring their pizzicato and sympathetic resonance into balance with the gongs, bells, gourds, drums, and other percussion.” PB341 Monson, Karen. “Fromm Concert: Crumb, Ghent.” Musical America (August 1974): MA29. See W24b. Monson considers Music for a Summer Evening, “a long, not a major, opus.” PB342 Henahan, Donal. “Music: Crumb’s Vision.” New York Times, 11 January 1975, p. 15. “This latest piece, like so many of his others, is suffused with infinite loneliness, time suspending contemplations and mysterious hints of apocalyptic wonders. Among many transfixing moments one could mention the second movement, when the pianists sustained a counterpoint of plucked strings and struck keys that was utterly simple and unearthly in its beauty.” PB343 Singer, Samuel L. “Penn Turns to Its Own Composers.” Philadelphia Inquirer, 28 April 1975, p. B4. See W24c. “Two players were kept busy on a dazzling array of percussion instruments as Crumb explored the delicacies as well as the sonic power of struck instruments, including piano strings.” PB344 Breuer, Robert. “New York Breit Aufgefächerts Neuheiten-Quintett.” Melos/NZ (May/June 1975): 218–220. Review in German. PB345 Weber, William. “Works by Crumb, Davies at Monday Eve Concert.” Los Angeles Times, 14 January 1976. See W24d. “This was one of Crumb’s sharper visions—a direct, elemental statement which did not become portentous. His power of musical suggestion seemed particularly keen.” PB346 Manning, Mary. “LA Ensemble.” Las Vegas Sun, 27 April 1976, p. 12. “The evolution of music in the last 10 years is a return to the natural sounds, new combinations of them. There is less shock value, more therapy of the soul.”

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Page 168 PB347 Tatham, David. “New Music Society Warmly Received.” Syracuse Post-Standard, 15 November 1976, p. 7. See W24g. “After [William Bolcom’s] Black Host, George Crumb’s Music for a Summer Evening seemed rather tame, as though ice-water was now coursing through veins that had carried bile before intermission.” PB348 Henahan, Donal. “Music: Creative George Crumb.” New York Times, 15 January 1977, p. 14. See W24h. “Mr. Crumb’s unanalyzable strength is a startlingly fecund imagination that enables him to release aural and poetic fantasies directly into the listener’s head. When the performers are expert enough to be able to lose themselves in the music rather than fumble over its problems, as they were this time, the experience can be transcending.” PB349 Caruso, Michael. “ Music for a Summer Evening Saves Swarthmore Performance.” News of Delaware County, 15 February 1979. See W24i. “If it wasn’t for Crumb’s Music for a Summer Evening the entire evening would have been a disaster.” PB350 Libbey Jr., Theodore W. “Two New Scores at Library of Congress.” Washington Star, 24 February 1979, p. C5. See W24j. “ Music for a Summer Evening establishes a hauntingly beautiful atmosphere from practically the beginning and engages in a brilliant and musically satisfying exploration of sound and mood.” PB351 Libbey Jr., Theodore W. “Washington.” Musical America (July 1979): 39. See W24j. “The repetition of elements in various movements, the underlying motivic integrity of the work, and its sense of continuity and development combine with Crumb’s powerful originality to make this a music both captivating and beautiful.” PB352 Nagler, Norbert. “Aspekte Salzburg ’82.” Orchester (Mainz) (October 1982): 840–841. Review in German. PB353 Campbell, Karen. “Modern Ensemble Debuts With Percussive Crumb Work.” New Manhattan Review, 15 May 1985. George Crumb Scrapbook p. 471. PB354 Jezioro, Jan. “A Hope For Crumb’s Return to Popularity.” Buffalo News, 9 June 2000, p. G19. See W241. “The music continuously develops, growing organically, always sustaining the interest of the listener, until the satisfying conclusion. The performers managed to evoke sounds that were at times unearthly, without in any way distracting the listener from the ultimate cosmic drama of this work.” Night Music I (W25)

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Page 169 PB355 Dwyer, John. “UB-Rockefeller Associates Make Fine Debut in Concert.” Buffalo Evening News, 30 November 1964. See W25b. “The mood of the nocturne and the unity achieved by the poetic mind, out of the many sounds of night, were first impressions of [Crumb’s] arresting piece.” PB356 Ericson, Raymond. “Buffalo Center in Concert Here.” New York Times, 2 December 1964, p. 59. See W25c. “Of the seven works in the program, George Crumb’s Night Music I seemed to achieve what it set out to do, establish a nocturnal atmosphere, generally serene but occasionally shot through with a dramatic flare-up.” PB357 Rogeri, Alfredo. “Carnegie Recital Hall.” Music Journal (January 1965): 100. See W25c. “George Crumb’s Night Music I seemed to be the major work of the evening, not only in structural dimensions, but in the richness of the rhythmic devices and in the variety of sonorities employed to exploit them.” PB358 Mayer, Martin. “December’s Moderns.” High Fidelity/Musical America (February 1965): 56H–56I. See W25c. “The two songs seemed conventional modernisms, with scoops and big skips and sustained tones in the very bottom and very top registers, but some of the instrumental work was more interesting.” PB359 Cohen, Albert. “Music Festival Opener Pleases.” Ann Arbor Daily, 25 March 1965. See W25d. Night Music I was, for Cohen, “the work that provided the most exciting sounds and inventive spirit of the evening.” PB360 Stone, Kurt. “Current Chronicle: Lenox, Mass.” Musical Quarterly 51 no. 4 (October 1965): 688– 701. See W25d. Lengthy review of the Festival of Contemporary Music at Tanglewood which briefly mentions Night Music I. “What distinguishes Crumb is that he found it safe to shore up his fragile Webernisms and elusive aleatory gestures with a few tried and solid props, without fear of sliding back into the past.” PB361 Goldberg, Albert. “Avant-Garde Program Stops Far Short of the Far Out.” Los Angeles Times, 9 February 1966, part 4 p. 12. See W25e. “The music was not really quite as extreme as the process; the rarified coloring was something like the prismatic delicacy of some of Boulez—music of effect but highly organized and precise in intention and realization.” PB362 Brozen, Michael. “Composers and Musicians for Peace.” Musical America (August 1968): MA11. See W25f. An extract from Night Music I (“Gacela de la Terrible Presencia”) is performed as part of a Tribute to Martin Luther King’. PB363 McLean, Eric. “First Canadian Performance.” Montreal Star, 1 May 1970, p. 12. See W25g. McLean is won over by Crumb’s sense of color in general and the effect of lowering a gong into a tub of water in particular.

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Page 170 PB364 Dwyer, John. “New Maestro, Philharmonia On the Way to Unusual Level.” Buffalo Evening News, 14 February 1976. See W25h. “It is an exquisite melange of allusions and mystical innuendo, to sung Spanish verses of Lorca.” Night of the Four Moons (W26) PB365 Quinn Jr., Joseph M. “Premiere Concert Lively.” Delaware County Daily Times (PA), 4 April 1970, p. 4. See W26a. “It all manages to suggest in sound the phosphorescent other-worldliness of the moon, but it is basically an ironic yet childlike expression of grief for the violated sphere.” PB366 Nazzarro, William J. “Susan Starr Peace Concert Soloist.” Evening Bulletin, 13 July 1970. See W26b. “It was not an easy work to listen to, but it will be hard to forget.” PB367 Singer, Samuel L. “Composers’ Forum Program Both Innovative and Perplexing.” Philadelphia Inquirer, 23 November 1970, p. 19. See W26c. “This is feathery, pointillistic music, and just when it seems the serious-faced performers are taking it oh! so seriously, they walk off the stage one by one, striking a glockenspiel note as they do.” PB368 Hume, Paul. “Superb Musical Theater.” Washington Post, 2 February 1972, p. B4. See W26d. “The whole thing was absorbing theater, flawlessly done. The music is rich with Crumb’s characteristic explorations of the outer fringes of sound.” PB369 Willis, Thomas. “Sounds That Boggle the Ear.” Chicago Tribune, 4 September 1972, section 2 p. 8. See W26e. “Far more effective in the flesh than in recording, it’s fragmentary, highly inflected wisps of sound transformed the concert hall into a magic place.” PB370 Tircuit, Heuwell. “Bonanza Was Sterling.” San Francisco Chronicle, 6 November 1972, p. 52. See W26f. Tircuit terms Night of the Four Moons, “magnificently touching.” PB371 Kimball, Robert. “Arthur Weissberg Leads Contemporary Ensemble.” New York Post, 23 April 1974, p. 55. See W26g. Kimball praises all the pieces performed, as well as the performers, singling out mezzo-soprano Jan DeGaetani for special commendation. PB372 Henahan, Donal. “Music: Durable Moderns.” New York Times, 24 April 1974, p. 32. See W26g. Night of the Four Moons, “received a literally breathtaking performance, after which the audience seemed afraid to move for a long time for fear of breaking the spell.”

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Page 171 PB373 Wierzbicki, James. “Music: George Crumb’s Hypnotic Silence.” Cincinnati Post, 21 April 1976, p. 25. See W26h. “Crumb’s silences are never really empty. They seem always to be filled with the fading vibrations of one sonority and the anticipation of the next. They contain a tremendous energy that draws the listener into the sounds around them.” PB374 Rockwell, John. “Music: Wolpe’s Quartet, Works by Crumb, Foss.” New York Times, 18 April 1979, p. C15. See W26i. Rockwell concludes that, “ Night of the Four Moons seemed a most effective piece of music.” PB375 Higgins, Tom. “Concerts: Nash Commission.” Musical Opinion (October 1987): 311. See W26j. Higgins briefly notes that there, “are no fixed roles as such in Night of the Four Moons,” and that, “part of the presentation is deliberately theatrical.” PB376 Roca, Octavio. “A Disappointing Night With Chamber Players.” Washington Times (DC), 1 February 1993. See W26k. “Miss Bryn-Julson might as well have been singing in Sanskrit for all one could understand, but the fault was not hers—the settings are awkward.” Pastoral Drone (W27) PB377 Belt, Byron. “AGO National Convention San Francisco 1984.” American Organist (August 1984): 28–33. See W27a. Upon second hearing (the work was performed twice at the convention) Belt decides that, “the sonics and [David Craighead’s] intense performance transformed both the music and [Belt’s] opinion.” Processional (W28) PB378 Pincus, Andrew L. “Krosnick-Kalish Team Shines.” Berkshire Eagle (Pittsfield, MA), 27 July 1984, p. 15. See W28a. Pincus dubs Processional, “the weakest work on the program,” noting that, “in the end, however, the piece seemed mostly empty gestures.” PB379 Driver, Paul. “Variety on Contemporary Front.” Boston Globe, 28 July 1984, p. 9. See W28a. “Beautifully undertaken by Kalish, but sounded like a gratuitous latter-day vulgarization of Debussy’s style.” PB380 Kraglund, John. “Flute, Piano and Mezzo Achieve Mixed Results.” Globe and Mail (Toronto, ON), 12 December 1984, p. M12. See W28b. “Because of his loud, percussive attack in the middle of George Crumb’s Processional, Kalish had the distinction of providing [the reviewer] with a piece by Crumb that [he] could dislike.”

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Page 172 The Sleeper (W30) PB381 Hughes, Allen. “Music: Jan DeGaetani in Carnegie Debut.” New York Times, 6 December 1984, p. C13. See W30a. Hughes notes that Jan DeGaetani, “seldom projected the texts and moods of her songs with sufficient intensity to galvanize the audience’s attention. The only point at which this really happened was in the performance of George Crumb’s new song, The Sleeper. Here, Miss DeGaetani’s familiar magic was much in evidence.” Sonata for Solo Violoncello (W31) PB382 Porter, Cecilia H. “Cello and Piano Duo Hits High, Low Points.” Washington Post, 15 December 1966, p. B6. See W31b. “Crumb’s terse sonata was unquestionably the high point of the pre-intermission music. With its three movements designated Fantasia, Tema con variazioni and Tocacata, and its exploitation of the polyphonic potential of a single instrument, it clearly reveals its consciously Baroque heritage.” PB383 Borroff, Edith. “First Modern Music Concert a Mixed Bag.” Ann Arbor News, 29 October 1971. See W31c. “An early work, from that composer’s 26th year, it proved to be a genuine and integral statement, idiomatic, musically as well as technically demanding, an introvert work much itself but also rooted in tradition.” PB384 Henahan, Donal. “Evelyn Elsing, Cellist, Performs Crumb’s Sonata.” New York Times, 23 September 1979, p. 59. See W31d. “The guitaristic chords of the first movement were powerfully strummed yet carefully voiced, and the second movement’s faintly antique variations were poignantly played.” PB385 Rockwell, John. “Music: Yo-Yo Ma, Cellist.” New York Times, 10 December 1979, p. C19. See W31e. “The sonata is brief and firmly Neo-Classical, and it provided Mr. Ma with his one untrammeled solo outing of the afternoon.” PB386 Barstow, Chris. “Green (Cello)/Weigelt (Piano).” Strad (January 1983): 624. See W31f. “This admirable and extremely effective work certainly deserves frequent performance, but its technical difficulty, as well as the relative obscurity of its composer in this country [England], will probably continue to ensure its neglect.” PB387 Pacey, Martin. “Ma (Cello)/Stott (Piano).” Strad (September 1985): 318–319. See W31g. “The middle movement, a short set of variations on a pastoral theme, is particularly compelling in its cool, rarefied eeriness.” Songs, Drones and Refrains of Death (W32)

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Page 173 PB388 Henahan, Donal. “Haunting Crumb Work Caps New Music Series.” New York Times, 24 April 1972, p. 41. See W32b. “The age of masterpieces may be dead, as some musical philosophers have been saying for years, but George Crumb obviously has not heard about it.” PB389 Putnam, Thomas. “Gallery’s New Music Guest Has Virtuosity.” Buffalo Courier Express, 2 April 1973, p. 4. See W32c. Lorca’s, “dark imagery and musical language is given resonance by Crumb’s colorful scoring—guitar and double-bass, electric piano and harpsichord, and percussion.” PB390 Stockholm, Gail. “Music ’73—Pep Pills to Revitalize the Ear.” Cincinnati Enquirer, 4 April 1973, p. 10. See W32d. “The way [Crumb] explores the resonance of the poetry is little short of remarkable. The setting have [sic] a drama and masterful contour that remind [the reviewer] of the great 19th century lieder.” PB391 Hughes, Allen. “Crumb’s Songs, Drones and Refrains. ” New York Times, 21 April 1973, p. 21. See W32e. “It may not be at the level of Mr. Crumb’s finest work, but it is skillfully wrought, and its expressive impact is so strong that it must be accounted a major accomplishment.” PB392 McLellan, Joseph. “A New Musical Grammar?” Washington Post, 6 March 1974, p. B13. See W32f. Crumb, “has discovered what to do with the curious new sounds being developed on the frontiers of music; he puts them at the service of strong, well-focused emotions.” PB393 Rockwell, John. “Devotees of Crumb Share Chamber Unit’s Showcase.” New York Times, 7 May 1974, p. 53. See W32g. “The piece sounds as evocative as ever, even if the staid theatrics and academically proper approximations of Spanish passion are beginning to look a little silly.” PB394 Frankenstein, Alfred. “A Dramatic, Satisfying Experience in Color.” San Francisco Chronicle, 15 April 1975. See W32h. “The whole was an immensely dramatic and totally satisfying experience, which may mean that before many decades are out George Crumb will be one with Niels W.Gade. Music that pleases everybody so fast seldom continues to please anybody for very long.” PB395 Davis, Peter G. “Foss Leads 2 Local Premieres.” New York Times, 30 January 1978, p. C18. See W32i. “Mr. Crumb’s evocative setting of four Lorca poems remains one of his most gripping theatrical statements, especially when performed with such expertise and uninhibited relish of the music’s strong sense of melodrama.” PB396 Cunningham, Carl. “Music: Syzygy.” Houston Post, 8 March 1979. See W32j.

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Page 174 “Crumb’s cantata, if one might call it that, intensifies the strange symbols of four García Lorca poems in haunting, sometimes grotesque enlargement of their meaning.” PB397 Webster, Daniel. “Orchestra 2001 Presents Music of George Crumb.” Philadelphia Inquirer, 20 March 1993, p. D10. See W32k. “The sounds of plucked piano strings, the voice creating a ringing sound-cloud from within the piano, the guitar amplified to make it sound angry, percussion sounds supplied by every player—all these guarantee its uniqueness. The keen sense of form and setting ensure its theatrical impact.” Star-Child (W33) PB398 Johnson, Harriett. “After Grab For the Stars, Crumb Must Settle For Gazing.” New York Post, 6 May 1977, p. 35. See W33a. “A look at the score indicated, however, the music’s basic harmonic and structural simplicity, and this came across in the disappointing result. Crumb aims for variety by textures but so far as development is concerned, his music went nowhere.” PB399 Mickin, Bob. “A World Premiere to Rejoice About.” Newsday (Hempstead, NY), 6 May 1977, p. A15. See W33a. “The piece shows Crumb to be an extremely gifted orchestrator. Using acoustic instruments and human voices, it gets across tonal effects that most composers of electronic music would give five years of their lives to achieve.” PB400 Schonberg, Harold C. “Concert: Star-Child By Crumb.” New York Times, 7 May 1977, p. 37. See W33a. “It is sensitive, powerful, full of personality, and it marks a significant step in Mr. Crumb’s development. To some, he has been primarily a miniaturist—despite such lengthy piano pieces as the Makrokosmos. But this is big music and even passionate music.” PB401 Bender, William. “ Star-Child: Innocence and Evil.” Time (16 May 1977): 89–90. See W33a. “Gimmickry aside, Star-Child turned out to be a work of immense power, daring and, at times, even horror.” PB402 Porter, Andrew. “Musical Events: Children of the Light.” New Yorker (23 May 1977): 126, 129– 130. See W33a. “Enlargement has brought about what [the reviewer fears] must be deemed a coarsening. Instead of small, precise statements in which every note, every inflection seems significant, and able too suggest immensities, one hears big, broad, generalized washes of sound.” PB403 Kerner, Leighton. “The Star-Child’s Song Defeats the Apocalypse.” Village Voice (23 May 1977): 62, 65. See W33a. “ Star-Child is Crumb’s biggest work to date in terms of orchestral and vocal forces. But most of the time the instruments and voices sound in small or at least quiet combinations.”

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Page 175 PB404 Smith, Patrick J. “New York.” Musical Times (July 1977): 580–581. See W33a. “Crumb’s grasp of his performing forces, which here include the usual vast array of percussion, a soprano and children’s chorus, is sure; his depiction of the Apocalypse and its light-filled aftermath remained aurally frigid and, to some, unapproachable.” PB405 Breuer, Robert. “Boulez: Abschied Von New York.” Osterreichische Musikzeitschrift (Austria) (July/August 1977): 356–257. See W33a. Review in German. PB406 Mayer, Martin. “N. Y. Phil.: Crumb’s Star-Child.” High Fidelity/ Musical America (August 1977): MA26–MA27. See W33a. “Despite the bright bits from the children’s chorus in the middle, Star-Child is a grim piece. In Crumb’s world, activity is menacing and repose is bitter.” PB407 Terry, Kenneth. “George Crumb: Avery Fisher Hall, New York City,” Downbeat (8 September 1977): 51. See W33a. “ Star-Child was as sparsely textured and fragmented as any of his smaller-scale compositions.” PB408 Spieler, F.Joseph. “Lost Souls.” Harper’s (September 1977): 102, 107–108. See W33a. “Crumb’s shift with Star-Child from a chamber-music format to an enlarged orchestra augmented with soloists and choirs is more a change of scale than of musical intention.” PB409 Lonchampt, Jacques. “ Star-Child et Tombeau d’Armor. ” Monde (Paris), 5 November 1977, p. 32. Review in French. PB410 Costs, Peter. “Performance Reviews: New York.” Percussive Notes (Winter 1978): 14. See W33a. “All in all, Star-Child is an imaginative voyage through strange tempos and even stranger harmonies, a voyage one should undertake with an open mind and a healthy tympanum.” PB411 Piencikowski, Robert T. “Paris: Giuseppe Sinopoli et George Crumb.” Schweizerische Musikzeitung (January/February 1978): 37. Review in Italian. PB412 Haskell, Harry. “Music Hall Was No Ally of Star-Child.” Kansas City Star, 7 April 1978. See W33b. “Musically and philosophically, Star-Child is an ambitious and elusive work, but [Haskell] doubts it was meant to be quite as elusive (read inaudible) as in this local premiere.” PB413 Baruch, Gerth-Wolfgang. “Kochtopfdeckel Im Gotteshaus.” Stuttgarter Zeitung (Germany), 28 February 1979, p. 33. Review in German.

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Page 176 PB414 Anthony, Michael. “Composer’s Effort Wonderfully Eerie, Moving.” Minneapolis Tribune, 15 March 1979, p. B7. See W33c. “Whether Crumb, who has such a marvelous ear for unusual orchestral detail, really needs all these special effects to achieve his result is another question.” Anthony suspects not. PB415 Hawley, David. “Big! This Minnesota Orchestra Concert G-r-e-w.” St. Paul Pioneer Press, 15 March 1979, p. 16. See W33c. “It is fashioned on a huge scale, but avoids the traps that often befall works of brobdingnagian scope. These include a tendency to over-exploit instrumentation, turning the work into a jumble of clanging cacophony.” PB416 Felton, James. “ Star-Child Performed With Clarity, Precision.” Bulletin (Philadelphia, PA), 18 May 1979. See W33d. “What could either delight or confuse the audience was the scattering of some players throughout the hall on various tiers, they helped give a live stereo effect to complicated proceedings on stage.” PB417 Webster, Daniel. “Orchestra and Star-Child Explore Sounds and Symbols.” Philadelphia Inquirer, 19 May 1979, p. B8. See W33d. “A kind of diminishing return seemed at work in this score. Crumb’s small ensembles convey such spaciousness, this massive performing group sometimes could not match the expressive innovations of his work for four instruments.” PB418 Henahan, Donal. “Concert: Star-Child.” New York Times, 24 May 1979, p. C23. See W33e. “The revision in the score, although not extensive, improved the work’s effectiveness greatly at key moments. Star-Child is still not the most consistently gripping Crumb piece; perhaps because the composer has not yet discovered how to address large gatherings as successfully as small ones.” PB419 Heyworth, Peter. “Crumb’s Portentous Child.” Observer (London), 5 August 1979 p. 14. See W33f. “Crumb lacks the ability to present events in convincing sequence, so that one thing leads to another. Thus his music tickles the ear, but leaves the mind unfed.” PB420 Griffiths, Paul “Proms.” Musical Times (September 1979): 753. See W33f. “An apocalyptic farrago of such banality as to make Orff sound like Mozart.” PB421 Fairman, Richard. “Modern Proms.” Music and Musicians (October 1979): 58–59. See W33f. “As necks craned around the Albeit Hall there could be no doubt that the composer’s tricks of texture and space were having their effect. But effects they remained and music cannot survive on novelty alone.” PB422 Ardoin, John. “DSO Concert Engulfs Audience in Circle of Sound.” Dallas Morning News, 4 February 1980. See W33g.

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Page 177 “But while the ear was challenged frequently—even when the score was moving in almost seemingly slow motion—one’s deeper feelings were not similarly engaged. The reason for this lay principally in the fact that Crumb’s text were [sic] not set in an intelligible way.” PB423 Chism, Olin. “ Star-Child Brings Symphony Audience to Attention.” Dallas Times Herald, 4 February 1980, p. B6. See W33g. “ Star-Child is a theatrical piece, and one to grab attention and involve the emotions—if not always in the precise way Crumb intended.” PB424 Henken, John. “Pacific Symphony at Music Center.” Los Angeles Times, 2 March 1983, part 6 p. 6. See W33h. “The composer did intend a progression from dark to light, but in sound the music is more cyclical than linear and with the speech choir breathing Requiem lines, ends in tranquility rather than triumph.” PB425 Krebs, Betty Dietz. “Impressive CSO Performance.” Dayton Daily News, 19 October 1985, p. 13. See W33i. “Crumb, who wrote the piece in 1977, could not have known at the time what a marvelous trade his Star-Child might be for Star Wars.” PB426 N.N. “Philharmonic.” Oper und Konzert 28 (June 1990): 11. Review in German. Three Early Songs (W34) PB427 Derhen, Andrew. “Debuts & Reappearances: Brooklyn.” Musical America (June 1980): 18. See W34b. “Perhaps the most novel rediscovery was the Three Songs of George Crumb, which in fact has never before been performed. They date from 1947, when the composer was 18, and he had to be coaxed into permitting their belated premiere. Despite their modest aspirations they would do credit to either Debussy or Fauré, and there is no reason to [consign them to] the neglect afforded most student works.” For actual premiere, see W34a. Variazioni (W35) PB428 Humphreys, Henry S. “UC Fete Has Grand Finale.” Cincinnati Enquirer, 10 May 1965. See W35a. “George H.Crumb’s Variazione [sic] revealed a composer as witty as they come. His use of the mandolin —along with harp, celesta and percussion was as clever a bit of musical satire as [Humphreys] has ever heard.” PB429 Marsh, Robert C. “A Sense of Tradition.” High Fidelity Incorporating Musical America (August 1965): 128, 131. See W35a. “The Variazione [sic] is basically lyric and evocative.” PB430 Rowell, Lewis. “Cincinnati Premieres.” Music Journal Anthology Annual (1965): 96. See W35a.

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Page 178 Review of the premiere. “Crumb proved himself second to none in his mastery of orchestral technique, and the orchestra responded brilliantly.” PB431 MacCluskey, Thomas. “Fine Program of 20th Century Works.” Rocky Mountain News (Denver, CO), 17 February 1971, p. 36. See W35b. “That Crumb was well aware of Schoenberg’s and Berg’s larger orchestrated works was clearly evident in the Variations; but the more delicate sounds, the intimate sonorities, the whispered gestures, the tenuous fragments were beautifully contrasted with the larger motions and the powerful events.” PB432 Nazzarro, William J. “Haunting Crumb Work Conducted By Ormandy.” Evening Bulletin (Philadelphia, PA), 26 January 1973. See W35c. The first performance of a Crumb composition by the Philadelphia Orchestra. “It is a haunting, strangely fascinating work; and despite the need for a large orchestra, and some extra instruments, such as a mandolin playing an important cadenza halfway through, it is a work of mostly chamber character.” PB433 Webster, Daniel. “George Crumb’s Variazioni Glows With an Inner Fire.” Philadelphia Inquirer, 26 January 1973, p. B6. See W35c. “In it are sounds that pay respects to Debussy and Ravel, techniques of combining timbre that recall something of Charles Ives. His homage is not servile, however, nor does he lose a bit of originality by it.” PB434 Schonberg, Harold C. “Concert: Philadelphians Play ’59 Variazioni by Crumb.” New York Times, 31 January 1973, p. 28. See W35d. “The Variazioni is a well designed 20 minute long work that is more important as a guidepost along the Crumb road than for any great intrinsic merit.” PB435 Henahan, Donal. “Ehrling Leads 3 U.S. Works at Julliard.” New York Times, 11 March 1976, p. 44. See W35e. “It announced itself with a 12-tone row, then veered off into the kind of uncharted regions that the composer explores with fewer obvious formal constraints in his later works.” PB436 Hume, Paul. “Dorati Speaks, the National Symphony Plays—Beautifully.” Washington Post, 21 April 1976, p. D9. See W35f. “The extraordinary revelations of Crumb’s Variations,” were played by the National Symphony, “with surpassing skill and beauty.” PB437 Lowens, Irving. “New Pieces For National Symphony.” Washington Star, 21 April 1976, p. C7. See W35f. “Crumb is gifted with an absolutely phenomenal sense of timbre and the ability to make the most difficult music sound extraordinarily simple, and these traits are evident in the ingenious set of variations Maestro Dorati [the conductor] offered yesterday.” PB438 Fried, Alexander. “A Strong Night of Symphony in Oakland.” San Francisco Examiner, 8 December 1976, p. 48. See W35g.

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Page 179 Fried praises Crumb’s student work. “Even in the 1959 Variations, Crumb’s musical thinking is continually novel. His work is complex and many-sided. It has complete conviction.” PB439 Commanday, Robert. “Welcome Guest With a Treat.” San Francisco Chronicle, 9 December 1976. See W35g. “It is a beautiful work, stronger than the evanescent impressionism of his most recent and popular works (two sets of Echoes and Ancient Voices…).” PB440 Commanday, Robert. “Adventure, Skill Behind Young Orchestra.” San Francisco Chronicle, 9 July 1979. See W35h. “A 12-tone row source is used freely through six variations. Considerable contrast is heightened by three fantasias in which Crumb’s imagination emerges poetically—a substantial work.” PB441 Harrison, Max. “Leicestershire SSO/Fletcher.” Times (London), 27 May 1981, p. 15. See W35i. “Its abrasive clarity of texture made a telling contrast with Ives’ atmospheric impressionism. An early piece, it finds Crumb absorbing some powerful influences, Bartok as well as Berg, Ives besides Schoenberg.” PB442 Brachtel, Karl Robert. “Amerikanischer Abend in der Musica Viva.” Münchner Merkur (Munich), 2 November 1981. Review in German. George Crumb Scrapbook p. 353. PB443 Schreiber, Wolfgang. “Amerika, Europäisch.” Süddeutsche Zeitung, 2 November 1981, p. 28. Review in German. PB444 Henahan, Donal. “Music: The Cincinnati Symphony.” New York Times, 15 March 1983, p. C11. See W35j. Variazioni, “received a splendid performance that caught the individuality of the composer even while it reminded one of his debts to Webern, Schoenberg, Mahler and Bartok.” PB445 del Castillo, Maria Teresa. “Un Sinfónico Memorable, Con Crumb, Biava y Villa.” Espectador (Bogota), 25 March 1984, p. B4. Review in Spanish. PB446 de Grieff, Otto. “Festival Musical de Popayán, y Otros.” Tiempo (Bogota), 28 March 1984, p. C11. Review in Spanish, of Variazioni. Vox Balaenae (W36) PB447 Sears, Lawrence. “Camerata Trio Plays in Dark.” Evening Star and the Washington Daily News, 18 March 1972, p. A9. See W36a. “Even if future performances are played in the nude, or wrapped in tinfoil, Crumb’s score will remain a powerful evocation, filled with pools of lyric inspiration to delight chamber music lovers for some time to come.”

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Page 180 PB448 Reinthaler, Joan. “Voice of the Whale.” Washington Post, 18 March 1972, p. B11. See W36a. “The masks and black robes the musicians wore kept their personalities and the formal concert context from intruding on the music. It was lovely in unexpected and unique ways and it was powerful.” PB449 Henahan, Donal. “Music: Crumb’s Touch.” New York Times, 12 October 1972, p. 57. See W36b. “To a listener familiar with the record made not long ago from actual tapes of whale songs, as they are called in marine-biology circles, Mr. Crumb’s compositions often imitated the originals with eerie precision.” PB450 Porter, Andrew. “Musical Events: Dance of Plastic Circumstance.” New Yorker (21 October 1972): 145–148, 151. See W36b. “The work—a theme with five variations and epilogue—was not merely a collection of cunning soundinventions but, rather, a quiet, beautiful, manyhued composition that stole into stillness, grew, developed, then faded at last beneath a scarce-moving sea ripple.” PB451 Kerner, Leighton. “Music.” Village Voice (26 October 1972): 40–41. See W36b. “This is one of Crumb’s smaller and less exciting pieces, but it holds to his high standard of acoustical and expressive resource.” PB452 Johnson, Lawrence. “Trio Transforms Song of Whales.” Milwaukee Sentinel, 18 November 1972, part 1 p. 12. See W36c. “The stirring impression left by this piece overshadowed an otherwise uneven concert.” PB453 Webster, Daniel. “World of Sound Expanded In George Crumb’s Work.” Philadelphia Inquirer, 10 January 1973, p. B9. See W36d. “This piece proved to be tightly structured, the variations logical to the ear and the fading last bars, ending in a total silence as the players moved but made no sound, a taut and theatrical solution to all that had gone before.” PB454 Hiemenz, Jack. “Debuts & Reappearances: Aeolian Chamber Players.” High Fidelity/Musical America (February 1973): MA16–MA17. See W36b. Aside from the costuming and geo-chronological associations Hiemenz finds the work, “quite enjoyable.” PB455 Henahan, Donal. “Music: Inventive Voice of the Whale.” New York Times, 7 April 1973, p. 40. See W36e. “On second hearing, it gained tremendously in interest, and is certainly one of the most successful pieces of amplified music yet encountered.” PB456 Righi, Leonard. “Philadelphia Soloists Entertain 140 at Lehigh.” Morning Call (Allentown, PA), 4 October 1973. See W36f.

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Page 181 “The piece evokes the shadowy, murky depths of the sea, but to enjoy it a person must be willing to participate as well as want to be entertained—or have an abiding interest in whales.” PB457 Putnam, Thomas. “Evening For New Music Whips Imaginative Shapes.” Buffalo Courier Express, 29 October 1973, p. 4. See W36g. “The music is modal, with bent pitches from inside the piano, and glissando sighs from the cello. The drone creates an atmosphere that only lacks incense. This whale is found in the Indian Ocean.” PB458 Licata, Ken. “Evenings for New Music Commemorating the Future.” Buffalo Spectrum (Buffalo, NY), 31 October 1973. See W36g. George Crumb Scrapbook p. 166. PB459 Genova, David. “Pablo Casals Trio Lives Up To Name.” Denver Post, 2 November 1973, p. 35. See W36h. “This was a set of awe-inspiring episodes after the various periods in the evolution of the world.” PB460 Culver, Anne M. “Pablo Casals Trio Gives Mind-Bending Program.” Rocky Mountain News (Denver, CO), 2 November 1973, p. 60. See W36h. “The performance had beautiful moments, most notably the Nocturne. The initial impact of the work’s drama might have been better conveyed, had the composer’s notes been read prior to the performers’ entrance.” PB461 Von Rhein, John. “Aeolian Musicians Deliver a Whale of a Reading.” Akron Beacon Journal (OH), 18 April 1974. See W36i. “The marvel of the work is not just its profusion of arresting, surreal sounds, but the way it weaves them into a cohesive, evocative whole.” PB462 Hughes, Allen. “Concert: Da Capo Players Give Engaging Program.” New York Times, 29 November 1974, p. 49. See W36j. “Mr. Crumb’s ear is keen enough to keep him from devising sounds that dazzle one day and are dated the next.” PB463 Gelles, George. “A Special Homage to Leviathan.” Washington Star, 23 March 1975, p. G24. See W36k. “This is a paradigm of the way in which Crumb works. He gives you a fragment that is pregnant with references to literature and emotional states even while it is musically self-sufficient.” PB464 Thorpe, Day. “Crumb’s New Sounds Sound Strangely Familiar.” Washington Star, 25 March 1975, p. D5. See W36l. Vox Balaenae, “has harmonies and phrasing that seem familiar and comprehensible, yet its techniques and the various timbres of its instruments are new and strange.” PB465 Henahan, Donal. “Music: Sound of Silence.” New York Times, 24 April 1975, p. 42. See W36m.

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Page 182 Henahan is not fully satisified with the performance. “The Crumb made less than its full impact, because of some drama-killing confusion at the beginning, but eventually worked its usual hypnotic way.” PB466 Bloomfield, Arthur. “The Whale’s Sweet Melody.” San Francisco Examiner, 28 May 1975, p. 30. See W36n. Bloomfield is, “not sure that Vox is as succinct as it might be.” PB467 Webster, Daniel. “Ensembles Featured At Concert.” Philadelphia Inquirer, 20 November 1975, p. C6. See W36o. “The Crumb piece—inspired by the sound of whales—is a graphic and theatrical piece that evokes sea depths and infinite distance.” PB468 Galkin, Elliott W. “Old and New in Museum Concert.” Sun (Baltimore, MD), 24 November 1975. See W36p. “It is the product of a virtuoso musical colorist and it evokes a succession of mysterious moods, with its delicacy of unexpected timbres created by the electrified instruments, alone and in combination.” PB469 McLellan, Joseph. “Impressions of (and By) George Crumb.” Washington Post, 16 March 1976, p. B12. See W36q. “The almost orchestral richness of tone colorings is produced by using all the resources of the instruments, by assuming that the players are very skilled and by making them work very hard.” PB470 Saffle, Michael. “Piece of Crumb Caps Superb Contemporary Concert in Belmont.” Palo Alto Times, 9 July 1976, p. 13. See W36r. “Special ‘prepared piano’ effects (strumming inside the case and so on) add mystery and beauty to an amazingly enchanted score.” PB471 Steinberg, Michael. “A Weekend of Cheering for Tanglewood.” Boston Globe, 16 August 1976, p. 11. See W36s. “Much of what makes it touching and spell-binding it owes to the whale songs that it translates into human music, but it becomes a finely imagined, coherent, intensely communicative statement.” PB472 Danner, Peter. “Extraordinary New Works in Conert [sic].” Palo Alto Times, 4 August 1978, p. 11. See W36t. “This is a remarkable piece of musical onomatopoeia and no one who hears it will ever again be indifferent to these masters of the sea.” PB473 Caruso, Michael. “ Voice of the Whale A Thought-Provoking Beauty.” News of Delaware County (PA), 16 November 1978, p. 30. See W36u. “While brilliantly imitating some of their [whale] calls, however, Mr. Crumb still kept his musicianly control of the materials at hand. The work remains an independent musical expression.” PB474 Ericson, Raymond. “Flutist: Sue Ann Kahn.” New York Times, 20 March 1980, p. C44. See W36v. “Mr. Crumb’s piece is imaginatively theatrical.”

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Page 183 PB475 Furtwangler, William. “20th Century Consort: Treasure Hunt.” News and Courier (Charleston, NC), 30 May 1980. See W36w. “Music of this type is championed by musical academicians and performers. They are rarely called for by audiences, unless the audiences are made up of musicians and academic composers.” PB476 F.B. “Modern Music Ends Program.” Vineyard Gazette (Edgartown, MA), 29 August 1980. See W36x. “The haunting sound of the simultaneous singing and playing of the flutist, the sea gull and sitar effects of the cellist, and the unusual inside-the-piano playing of the pianist produced music of moving beauty.” PB477 Finch, Hilary. “Dreamtiger/Round House.” Times (London), 17 November 1980, p. 10. See W36y. “If only more conventional concert repertoire were played with such imagination and sensitivity. It was enough to inspire the salvation of any number of whales.” PB478 Bowen, Meiron. “QEH: Dreamtiger.” Guardian (Manchester), 22 May 1981, p. 11. See W36z. “The techniques underlying its structure never force themselves upon the attention of the listener. Instead, we encounter a dreamy, poetic musical atmosphere: a work that is full of the art that conceals art.” PB479 Roca, Octavio. “Aeolian Chamber Players.” Washington Post, 23 November 1981, p. C16. See W36aa. “Of all the darlings of the old avant-garde, George Crumb is sure the most likable. His Voice of the Whale remains one of the most accessible and lovely works, with its private onomatopoeia of animals long gone and its fantastic storybook colors.” PB480 Rothstein, Edward. “Chamber Music Society Plays Vox Balaenae.” New York Times, 4 April 1983, p. C16. See W36bb. “It was far from intellectually demanding and the relaxed, contemplative passivity that suited listening to this work seemed to suffuse the performances of much of the rest of the program as well.” PB481 Tircuit, Heuwell. “A Contemporary Voice is Soloists’ Highlight.” San Francisco Chronicle, 6 December 1983, p. 43. See W36cc. “Like the titles, the piece itself is heavily burdened with gimmicks. Much of the opening movement is given over to literal parody of whale song, and indeed, Crumb is uncommonly successful in this artifice. But it goes on and on.” PB482 Redmond, Michael. “George Crumb’s Chamber Work a Challenge to Montclair Audience.” StarLedger (Newark, NJ), 19 December 1983, p. 21. See W36dd. “It is music conceived and performed by human beings that evoke a world that existed before humankind existed. It is a world—and a music—with no place for human identity.”

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Page 184 PB483 Mattos, Ed. “Performing Arts: National Musical Arts.” Washington Post, November 1984, p. C7. See W36ee. A brief review. “A work of color and effect, it is also good music.” PB484 Lambert, John W. “Bold Encounters.” Spectator (Raleigh, NC), 7 March 1985, pp. 30–33. See W36ff. “The effect created by the music was powerful and very beautiful.” PB485 Dobrin, Paul. “Sights Accompany Sounds in Chamber Series.” Philadelphia Inquirer, 23 January 1996, p. D4. See W36gg. “But Vox Balaenae is more than just an occasion for special effects. The exotic, Eastern-tinged music, composed in 1971, is lovely and haunting, and to this day, sounds fresh.” PB486 Woodard, Josef. “A New Classic; Crumb’s Atmospheric Voice of Whale is Well-Executed by Camerata Pacifica.” Los Angeles Times, 27 February 1997, Calendar section p. 42. See W36hh. “The work was inspired by humpback whale songs, but ultimately offers a tone poetic journey through geologic ages, and it carves out its own stylistic agenda.” Zeitgeist (W37) PB487 Lepuschitz, Rainer. “Eine Unendliche Klaviergeschichte.” Neue Musikzeitung (Munich) (April/May 1998): 50. See W37a. Review in German. PB488 Tommasini, Anthony. “Old Mexico vs. Modern Times.” New York Times, 22 December 1999. See W37b. “To respond to this piece you must disengage the part of your brain that expects music to have structure and thematic development.” Performance: Composite Reviews (The specific compositions performed are identified by abbreviations at the end of each annotation.) PB489 Felton, James. “Penn Players Touch Dark Moods of Lorca.” Evening Bulletin (Philadelphia, PA), 23 October 1969, p. 26. See CP1. “The early songs, in Night Music I, have atmosphere.” Felton also notes, “it is in the latest Songs, Drones and Refrains of Death, completed this year, that Crumb speaks out with a wildness and savage fantasy that matches the sting of Lorca’s texts in a way that commands the full resources of his ensemble and the attention of his audience.” (MAD/NM/SD) PB490 Singer, Samuel L. “Philharmonia Opens Season.” Philadelphia Inquirer, 23 October 1969, p. 41. See CP1.

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Page 185 “The music has reticence and command at the same time. There is no show for its own sake, yet its effect is one of serene strength, like sculpture, placed on its niche, ready to be seen and touched.” Reprinted as “Crumb at Forty.” American Musical Digest 1 no. 3 (December 1969): 36. (MAD/NM/SD) PB491 Strongin, Theodore. “Crumb’s Selections Played at Concert.” New York Times, 12 November 1970, p. 51. See CP2. “Mr. Crumb’s world is a beguiling, crystalline fantasy, airy and unpredictable…and for once, a poet of complex imagery has been aptly handled.” (MAD/NM/N4M) PB492 Derhen, Andrew. “Phila. Composers’ Forum: Crumb.” High Fidelity/Musical America (February 1971): MA28. See CP2. “He has a knack for obtaining the most expressive effects with minimum means. Even the smallest phrase or line is invariably turned to memorable lyric purpose and set off in some delectable and novel instrumental combination.” (MAD/NM/N4M) PB493 Bar-Am, Benjamin. “Original and Subtle Work.” Jerusalem Post, 24 June 1971, p. 5. See CP3. “Crumb’s sonorities and marvelous instrumental effects are so delicate and subtle, that one often encounters difficulties in catching their airy substance. Thus he seems to be a disciple of Webern, although his imagination carries him far beyond Webern’s tonal combinations.” (EL/4N) PB494 Chrisafides, Peter. “Reviewing Stand.” Adirondack Daily News (Saranac Lake, NY), 17 July 1972. See CP4. “But the overall effect was a sumptuousness of sound inextricably mated to compositional materials that created and sustained, in a directly expressive manner, an aural world that is both personal and even daring for these days.” (MAD/VB) PB495 Price, Theodore. “Crumb at Shaw Festival.” Democrat and Chronicle (Rochester, NY), 7 August 1972, p. C5. See CP5. “In his music Crumb concentrates on delicate timbres, spiderwebs of sound, the fall of a pebble into a blue-black, bottomless pool bounded by life’s most tender effervescence.” (LA/NM/VB) PB496 Frankenstein, Alfred. “The Contemporary Musical Experience.” Musical America (December 1972): MA23. See CP4. Vox Balaenae, “is full of marvelous timbral inventions, including a passage for the cello that sounds like violins at the throne of God and angelic, high-pitched pinging of the flat little bells known as ancient cymbals.” (5P/MAD, Book I/SV/VB) PB497 Porter, Andrew. “Musical Events: Potpourri.” New Yorker (28 April 1973): 135–138, 141. Songs, Drones and Refrains of Death, “is less exquisite than his Ancient Voices but not less powerful.” Vox Balaenae, “reveals Crumb’s discoveries of new instrumental resources at their most lyrical.” (SD/VB)

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Page 186 PB498 Maylan, Richard. “Imaginative New American Music.” Times (London), 7 June 1973, p. 15. See CP6. Maylan notes of Night Music I, “it is as if the compressed imagery of the words stimulated a closelylinked instrumental response. The vocal line is relatively neutral despite its athletic contours.” (MAD, Book I/NM) PB499 Von Rhein, John. “Festival Ensemble Rivals Storm at Kent.” Akron Beacon Journal, 27 July 1973. See CP7. “The sheer sonic impact of Angels knocked the program’s two other works into the shade and won Crumb a standing ovation from the medium-sized crowd.” (BA/EL/NM) PB500 Finn, Robert. “Crumb Enchants With His Wails.” Plain Dealer (Cleveland, OH), 28 July 1973. See CP7. “The important thing is that both these works [ Night Music I and Eleven Echoes of Autumn, 1965] communicate to an audience. Their plaintive, fantastic or frightening sounds have poetic and emotional content.” (BA/EL/NM) PB501 Potter, Keith. “Contemporary.” Music and Musicians (August 1973): 68–69. See CP6. “The music of George Crumb after the interval seemed to come from a totally different world: hothouse perhaps, but also enormously refreshing and gratifying to the ear and the mind.” (MAD, Book I/NM) PB502 Griffiths, Paul. “Recitals: Crumb, Blank.” Musical Times (August 1973): 813. See CP6. “In both works, then, the music is largely independent of the poetic form, but Crumb pursues the play between severity and colour in Lorca.” (MAD, Book I/NM) PB503 Kraglund, John. “Much to Cheer About at Concert Featuring Crumb.” Globe and Mail (Toronto), 1 April 1974, p. 14. See CP8. Kraglund notes that repeat hearings of Crumb’s works have, “revealed appealing facets that had been missed or only mistily perceived in earlier hearings.” (AV/BA/LA/VB) PB504 Schulman, Michael. “Symphony, Sledgehammers and Madame Butterfly.” Toronto Citizen (12–25 April 1974): 18. See CP8. “Crumb’s work, as exemplified by the four works on the program, is clearly the work of one man, an individual personality, a man fond of using middle-eastern melisma, exotic instrumental timbres, superpianissimi, sudden shouts from his instrumentalists, occasional quotations from music of the past.” (AV/BA/LA/VB) PB505 Hamilton, David. “Musical Events: The Mirror of Man.” New Yorker (6 May 1974): 116–118, 121– 122.

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Page 187 “Crumb’s music is tenuous, sparing of pulse and density; often the intense concentration with which we respond to its near-inaudibility, rather than any ongoing impulse stemming from the notes themselves, seems to generate the continuity.” (EL/N4M) PB506 Porter, Andrew. “Musical Events: Notes on Notes on Notes.” New Yorker (20 January 1975): 82– 86. See CP9. “Crumb works by distillation, finding small, precise, quintessential symbols, created by an ear that can distinguish, as it were, between five different qualities of pianissimo on a single note, and make listeners aware of them, too.” (LA/MAD, Book I/MSE) PB507 Kerner, Leighton. “Five Uneasy Pieces.” Village Voice (20 January 1975): 102. See CP9. “ Lux Aeterna once again proved one of Crumb’s most ear-caressing works, with its sitar made more thoroughly universal than ever seemed possible when heard even in its customary powerful position at the center of Indian classical music.” (LA/MAD, Book I/MSE) PB508 Hamilton, David. “Music.” Nation (25 January 1975): 92–94. See CP9. Hamilton finds Crumb’s Madrigals, Book I, “no longer as absorbing as when new a decade ago. That is so partly from the inevitable loss of its particular sonic novelty, but even more because later works in this cycle deploy a wider range of materials to more complex ends.” (LA/MAD, Book I/MSE) PB509 Srodoski, Joseph. “Whitney.” Musical Journal (March 1975): 36–37. See CP9. “Crumb’s techniques are usually too repetitious and simple to support with interest the lengths of his works, let alone an evening of them.” (LA, MAD, Book I/MSE) PB510 Smith, Patrick J. “New York.” Musical Times (April 1975): 362–363. “Crumb’s recent music has sharply divided listeners into those who see his combination of simple syntax, inflated philosophical titles and extremely fine-tuned ear for sonority as drying up into gesture of a once-promising composer, and others who find in the music a variety of shifting and haunting moments whose sum is out of proportion to the parts: a self contained musical language of immediate and lasting emotional power.” Smith sides with the latter opinion. (M2/MSE) PB511 Rice, Bill. “Masked Concerts Called Fascinating.” Schenectady Gazette, 9 February 1976, p. 29. See CP10. “There is none of the grasping for straws often found in the music of some of Crumb’s avant-garde contemporaries. He has complete control of his elements from the onset of each composition to its conclusion, and while his music may not be predictable, it is always logical.” (AV/5P/SV/VB) PB512 Restivo, Valerie. “Jane Bucci Assembles Fine Array of Adventurers.” Times Union (Albany, NY), 10 February 1976, p. 23. See CP10. “Crumb does the same thing to instruments that he does to cultures—he makes you stop listening for the expected and the categorizable.” (AV/5P/SV/VB)

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Page 188 PB513 Silsbury, Elizabeth. “Crumb Works a Revelation.” Advertiser (Adelaide, Australia), 19 March 1976, p. 13. See CP11. “No one dared move, lest any unintentional rustle or squeak interfere. The music has three highly significant qualities—charm, honesty and economy.” (AV/4N/MAD, Book I–II) PB514 Dwyer, John. “Works of a ‘Quiet American’ Evoke the Spanish Mystique.” Buffalo Evening News, 19 June 1976. See CP12. Music for a Summer Evening, “is a work of mystic blends and distant voices, melting tone clusters and droplet articulations, edged with soft cymbals, vibratones, rustles of glass and wood chimes.” (MAD/MSE) PB515 Horowitz, Joseph. “Chamber Ensemble Plays ‘Newer Music’.” New York Times, 26 February 1977, p. 12. See CP13. “At times the music verges uncomfortably close to programmatic description.” (BA/MAD, Book I) PB516 Webster, Daniel. “Museum Showcases Crumb’s Virtuosity.” Philadelphia Inquirer, 1 April 1977, p. C8. See CP14. “There is in Crumb’s music the suggestion of theater, even when the performers keep traditional concert placement and play from music on their stands.” (DS/EL/N4M/VB) PB517 Horowitz, Joseph. “Music: Crumb’s Sequence.” New York Times, 1 April 1977, p. C23. See CP14. “Overall, the music manages to softly evoke an altered reality with timeless aspects, and it communicates easily without relying on trivial or too obvious effects.” (DS/EL/N4M/VB) PB518 Rich, Alan. “Innovations and Ovations.” New York Magazine (18 April 1977): 88–89. See CP14. Rich believes that Crumb, “regards silent space much as a painter regards a canvas: a void onto which lines and colors are to be imposed by the artist, but connected by the observer.” (DS/EL/N4M/VB) PB519 Finn, Robert. “Music: Crumb Explores New Worlds.” Plain Dealer (Cleveland, OH), 18 April 1977. See CP15. Finn notes that in some ways Music for a Summer Evening strays from stereotypical Crumb, “in containing sustained stretches at a considerable level of volume.” (MAD/MSE/VB) PB520 Close, Roy. “Crumb Trilogy Completes in Ambitious Way.” Minneapolis Star, 26 May 1978, p. C5. Review of the dance premiere of Loyce Holton’s “Crumb” trilogy, set to Dream Sequence, Black Angels, and Ancient Voices of Children. PB521 Steele, Mike. “Houlton, Hurls Cosmic Pictures in Dance Set to Musical Trilogy.” Minneapolis Tribune, 27 May 1978, p. C9. Review of the dance premiere of Loyce Holton’s “Crumb” trilogy, set to Dream Sequence, Black Angels, and Ancient Voices of Children.

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Page 189 PB522 Carr, Jay. “Crumb’s Music Evokes Metaphysical States.” Detroit News, 30 October 1978. See CP16. “This music, written in arch curves, or half circles, is intense, prismatically colored, a venturesome plunge into extended instrumental timbres. But never does Crumb’s music seem an exercise in technique alone.” (DS/EL/VB) PB523 Price, Anne. “George Crumb is Guest Lecturer at Festival of Contemporary Music.” Morning Advocate (Baton Rouge, LA), 8 February 1979, p. C5. See CP17. “Crumb’s ability to compose for the special capabilities of an instrument is amazing. This quality was again vividly demonstrated in Madrigals, Book II, a trio of songs for soprano, flute and percussion. This may sound like an unusual combination, but Crumb made it dramatically successful.” (MAD, Book II/M1/SV) PB524 Webster, Daniel. “A Decade of Crumb’s Explorations.” Philadelphia Inquirer, 27 February 1979, p. C6. See CP18. “The music played last night included explorations of piano and vocal potentialities, and opened some percussion possibilities as well.” (5P/MAD, Books I–II/VB) PB525 Giffin, Glenn. “ Ancient Voices Sing Forth.” Denver Post, 6 April 1979, pp. 27, 32. See CP19. “Crumb also conceives his music as ritual, music as a ceremony of enormous (however occult) significance. One could call Crumb a cabalist and a gnostic, for one suspects hidden meanings.” (AV/5P/NM) PB526 Wright, Roger. “George Crumb 50th Birthday Concert.” Tempo 129 (June 1979): 42–43. See CP20. “Like much of Crumb’s mature music, though often sentimental and overindulgent, the four short movements [of Night Music I] are perfectly constructed and never dull.” (DS/NM/SV/VB) PB527 Considine, J.D. “Highly Technical New Music Company Successfully.” News American (Baltimore, MD), 17 December 1979. See CP21. Considine notes that the weakness of the flutist as a singer and the cellist as a whistler adversely affected the performance of Vox Balaenae. (EL/4N/N4M/VB) PB528 Henkel, Wayne J. “More Than Just Mere Crumb.” City Paper (Baltimore, MD) (18 January 1980): 19. See CP21. “Crumb’s exploration of the universe of sound requires more than conventional virtuosity.” (EL/4N/N4M/VB) PB529 Ardoin, John. “SMU Performance Evidence of Personal Universe.” Dallas Morning News, 30 January 1980, p. C5. See CP22.

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Page 190 “So distinct is Crumb’s manner that it is difficult on first hearing to listen with fresh ears, there is too much here that is novel, arresting and beyond the norm. It is a work to which one must become attuned, and until this happens, there is much that perplexes and seems repetitive.” (AV/EL/MAD, Book III) PB530 Putnam, Thomas. “Crumb’s Sounds Beguiling.” Buffalo Courier Express, 13 June 1980, p. 13. See CP23. “Crumb’s music is a kind of Russian-French dressing. Stravinsky is not far away, and the bird tunes of Messiaen are very close to the brightly articulated figures of Crumb.” (CM/M1/M2/MSE) PB531 Buell, Richard. “Overdoing the Wispy and the Fey.” Boston Globe, 6 October 1980, p. 39. See CP24. “Crumb’s compositional manner is, to say the least, discontinuous…if he were a writer he would be addicted to dots…so that a typical piece is hardly an argument or exposition but an inventory instead.” (AV/EL/4N/SD/VB) PB532 Schwartz, Lloyd. “Boston Plays America.” Boston Phoenix, 14 October 1980, section 3 pp. 6, 18, 20. See CP24. Review of the Boston Symphony Orchestra’s performance of Crumb compositions. “For all their obsessive variety of instrumental and vocal coloration, the pieces seem remarkably the same—already very much a product of their time.” (AV/EL/4N/SD/VB) PB533 Bar-Am, Benjamin. “Uneven Evening.” Jerusalem Post, 20 November 1980 , p. 5. See CP25. “Though Crumb, in a way, is a minimalist, he draws on unlimited imagery. His piano is not one of two ‘registers’ on the keys and inside the instrument. It is one instrument of infinite possibilities.” (CM/EL/4N/MAD, Book II/N4M) PB534 Azrachi, Yariv. “Dimiyon Asheer [Vivid Imagination].” Yediot Aharonot (Tel Aviv), 23 November 1980, p. 23. See CP25. Review in Hebrew. (CM/EL/4N/MAD, Book II/N4M) PB535 Rockwell, John. “Music: George Crumb.” New York Times, 30 June 1983, p. C15. See CP26. “Part of the problem is Mr. Crumb’s unwillingness or inability to free himself from musical devices that impede his intentions, such as in the awkwardly disjunct vocal line, part Schoenberg and part Berio, of Night of the Four Moons.” (MSE/N4M) PB536 Rothstein, Edward. “Music: George Crumb.” New York Times, 6 February 1984, p, C15. See CP27. “But these settings were less interesting for their intermittent musical powers, than because they were again a type of staged ritual in which the focus was less on what was being expressed than on what was being acted out.” (AP/CM/LA) PB537 Moore, Kevin. “Crowd Small, But Concert of Pulitzer Prize Winner’s Music Superb.” Syracuse Herald-Journal, 8 March 1984, p. D12. See CP28.

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Page 191 Moore comments on the singing in Apparition. “Crumb’s use of the words was more along the lines of fascinating experiments in timbre than any real means of verbal communication.” (AP/SV) PB538 de Grieff, Otto. “Commentarios Musicales.” Tiempo (Bogota, Columbia), 2 April 1984, p. C15. Review in Spanish. PB539 Morgan, Derek Moore. “Sound Experimental.” West Australian (Perth, Australia ), 24 July 1984. See CP29. “The three works played, based on external themes from the signs of the zodiac to numerology, were redolent of various facets of contemporary life—brief concentration spans, lack of apparent direction and a trendy religious element.” (BA/EL/M1) PB540 Crutchfield, Will. “Music: Operaworks Perform 3 Pieces by Crumb.” New York Times, 3 October 1984, p. C25. See CP30. Crutchfield reviews a staged version of three Crumb pieces, including Vox Balaenae which, “didn’t work, for this viewer at any rate: the music is slow, timeless, but the staging made it seem simply long, and limited the associations it could evoke.” (AV/N4M/VB) PB541 Kerner, Leighton. “One’s Company.” Village Voice (23 October 1984): 97, 99. See CP30. Operaworks staged version, “unleashed a tremendous lot of passion—earthy, mystical, maternal, hysterical, sometimes all of these simultaneously.” (AV/N4M/VB) PB542 Loft, Kurt. “Crumb Concert a Rarity Among the Typical.” Tampa Tribune, 19 January 1985. See CP31. “Crumb’s way may be too sparce [sic] and choppy for some tastes, but it has an undeniable character which unfolds with cleverness and confidence.” (5P/MAD, Book II/VB) PB543 Goldberg, Albert. “Kalish Plays Works of 20th Century.” Los Angeles Times, 22 February 1985, part 6 p. 12. See CP32. “The imagination that thought up such sounds is of a highly original order; the performer who executed them was put to the test of quicker-than-the-ear devices that were often as baffling as any magic show.” (GV/P) PB544 Hecker, Zeke. “The Eternal World of George Crumb.” Brattleboro Reformer (Brattleboro, VT), 1 August 1985, p. 7. See CP33. Speaking of the performance of Apparition Hecker notes, “at the time, I thought it was the most wonderful performance—of anything—I’d ever heard. Such is the seductiveness of George Crumb’s music.” (AP/EL/4N/SV/VB) PB545 Everett-Green, Robert. “Bird Trills and Drum Thumps Not Music to the Ear.” Globe and Mail (Toronto), 17 November 1986. See CP34.

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Page 192 “Crumb is a master of generating dense, ‘cosmic’ atmospheres out of chinoiseries and crypto-ritualistic noises…in Idyll they are too thin to conceal the face hiding behind Crumb’s feathered mask: the face of the noble savage, the Romantic personification of unsullied nature.” (ID/MSE) PB546 Blevins, Winfred. “Composer George Crumb Has a Week at Music Fest” Jackson Hole Guide (Jackson, WY), 12 August 1987, Calendar section p. 4. See CP35. “Crumb is first of all fascinated with the ways he can get distinctive sounds out of the various instruments, ways that are wonderfully ingenious, not a little mad and lots of fun.” (EL/HL/ID/MSE) PB547 Loveland, Kenneth. “Reports: Bath.” Musical Times (August 1988): 420. See CP36. “Both [ Idyll for the Misbegotten and Night of the Four Moons] are more effective than Music for a Summer Evening, which extended over 45 minutes and began to pall, in spite of Crumb’s remarkable treatment of unusual and often beautiful percussion timbres.” (ID/N4M/MSE) PB548 Henahan, Donal. “Helping George Crumb Celebrate His Birthday.” New York Times, 26 October 1989, p. C20. See CP38. “But for more than a quarter-century, this shy and untheatrical man has been tapping into deep psychic reservoirs to produce extravagantly dramatic music whose sounds haunt the ear for hours after a performance.” (DS/N4M/VB/Z) PB549 Valdes, Lesley. “Speculum Musicae Performs.” Philadelphia Inquirer, 31 March 1990, p. D5. See CP39. “There was ample opportunity to contrast Crumb’s exploitation of the guitar’s intimate-to-flamboyant voice.” (Q/SD) PB550 Gorodecki, Michael. “Concerts and Festivals.” Musical Times (December 1990): 666–667. “The elaborately-layered Star-Child, confirmed a composer who has the most amazing ear for effects of resonance and outburst, and immense skill at dramatic timing. But the passing events always remained at the surface, never part of a deeper structure.” (BA/SC) PB551 Chism, Olin. “A Concert of Unearthly Delights.” Dallas Morning News, 5 May 1992. See CP40. In the performance of Makrokosmos II, “the sounds were always haunting and even spooky. If you heard some of them coming from your living room in the middle of the night, you’d get the willies.” (MAD, Books I–II/M2/Q) PB552 Manishen, James. “Eminent Composer Gets Best Out of Orchestra.” Winnipeg Free Press, 29 January 1993. See CP41. “Even if a full evening of rather eclectic contemporary music is taxing, one could not fail to be at least absorbed in the sheer virtuosity of both the writing and the way it was delivered by all concerned.” (AV/ID/MAD)

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Page 193 PB553 Ward, Charlie. “Crumb Birthday Concert Showed a ‘Labor of Love’.” Houston Chronicle, 25 October 1994, Houston section p. 3. Ward notes the basic elements of the compositions performed. (DS/ED (tape)/ID/N4M/SV/VB) PB554 Valdes, Lesley. “Rare Local Performance of Black Angels by Media’s George Crumb.” Philadelphia Inquirer, 4 April 1995, p. E6. See CP42. “Nearly every seat in Rock Hall was taken for the Crumb event and the number of young people in attendance was refreshing, given chamber music’s standard over-40 audience.” (BA/GV/Q) PB555 Webster, Daniel. “After Crumb’s Birthday Bows, the Music Takes Center Stage.” Philadelphia Inquirer, 30 October 1995, p. D6. See CP43. “Like great theater, the music sweeps listeners into a higher reality made doubly real by its dreamlike quality. And like great theater, the music is made economically.” (AV/N4M) PB556 O’Dette, Ralph. “Performance Closes Contemporary Music Festival.” Columbus Dispatch (OH), 22 February 1996, p. C10. See CP44. Crumb, “shuns the traditional melody-harmony-rhythm paradigm that concertgoers are most comfortable with, but his remarkable soundscapes and unusual scenarios communicate powerfully.” (DS/MAD, Book I/N4M) PB557 Valdes, Lesley. “Homage to George Crumb, Musical Inventor.” Philadelphia Inquirer, 4 November 1998, p. E5. “It wasn’t a flawless performance, but its passion and focus served the compelling score, whose extended techniques leapfrog even Bartók’s pioneering territory.” (AV/BA/FED) PB558 Greenberg, Mark. “Soli Takes a Walk on the Dark Side.” San Antonio Express-News, 21 January 1999. See CP46. “It was clear where the imitators went wrong. Crumb did not invent new worlds; he revealed old ones— and not sonic worlds, but worlds of mind and flesh, breath and dying. (AP/BA/EL) PB559 Hamilton, Andy. “On Location: Huddersfield.” Wire (179 (January 1999): 72–73. “Introducing a lunchtime concert of his work, the 69 year old Crumb says he’s had a lot of bad reviews and he’s always interested to read them. Well, sorry to disappoint you, but we love ya, George.” (AV/LS/N4M/Q) PB560 Valdes, Lesley. “A Birthday Concert for Composer Crumb.” Philadelphia Inquirer, 25 October 1999, p. F6. See CP48. “Chuckles escalated during Crumb’s latest work, Mundus Canis, five humoresques for guitar and percussion. Crumb himself played the percussion part, with a grace that told volumes about his musical intent.” (MC/N4M/Q)

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Page 194 PB561 McClellan, Joseph. “Kennedy Center’s Unusual But Nice Holiday Offering.” Washington Post, 23 December 1999, Weekly DC section p. J8. See CP49. “He is sometimes called a neo-impressionist, and one can detect an affinity to Debussy in his use of descriptive titles, his focus on sound-colors and his love of oblique musical allusions, but he stands essentially alone, an American original.” (LS/M1) PB562 Von Rhein, John. “Cycle Swinging Crumb’s Way.” Chicago Tribune, 26 March 2000, section 4 p. 6. See CP51. “Friday’s concert focused on two of Crumb’s major preoccupations—the sounds and images drawn from García Lorca’s poetry, and the dreamlike sonorities of amplified keyboards.” (MAD, Book I/MC/MSE/N4M) PB563 Delacoma, Wayne. “George Crumb Tribute at the MCA.” Chicago Sun-Times, 27 March 2000, p. 39. See CP51. An article mainly about the lack of a contemporary classical music scene in Chicago, it also notes the performance of several works composed by Crumb that, “whetted the appetite for more. With luck, the audience will be getting it.” (MAD, Book I/MC/MSE/N4M) PB564 Roos, James. “Revival Served Profiles of Dogs, Ethereal Music.” Miami Herald, 7 November 2000, p. E2. See CP52. Roos contrasts the “divertissement” of Mundus Canis with the, “cosmic and often quite poignant,” music of Idyll for the Misbegotten. Roos also praises the performance of Music for a Summer Evening which, “saw Crumb’s cobalt canopy with crystalline clarity, and communicated its ethereal quality.” (ID/MC/MSE)

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Page 195 DISCOGRAPHY Unless otherwise stated, all liner notes by George Crumb are reprints or partial reprints of his program note for that composition. Full details of these program notes may be found in the Writings by Crumb chapter. In a few instances Crumb’s liner notes appear to precede publication elsewhere and in these cases will be noted: First publication, see C. Ancient Voices of Children (W1) D1 Contemporary Chamber Ensemble, Arthur Weisburg, conductor; Jan DeGaetani, mezzo-soprano; Michael Dash, boy soprano. (25:18) Liner notes by George Crumb. First publication, see C2. Nonesuch H-71255, 1971. Nonesuch N5–1255, 1971. (cassette) Reviews: DB19, DB20, DB22, DB23, DB25, DB27, DB28, DB29, DB30, DB32, DB33, DB34, DB35, DB36, DB37, DB44, DB69, DB70 D2 Contemporary Chamber Ensemble, Arthur Weisburg, conductor; Jan DeGaetani, mezzo-soprano; Michael Dash, boy soprano. (25:18) Liner notes by George Crumb. Same recording as D1. Nonesuch 9 79149–2, 1988. (compact disc) Recorded with: D112. D3 USSR Bolshoi Theatre Orchestra, Alexander Lazarev, conductor; Nelly Lee, soprano; Pavel Sedov, boy soprano. Melodiya C10 28445003, 1989. Recorded with: D79. D4 Ensemble New Art, Fuat Kent, conductor; Marie-Louise Bourbeau, mezzo-soprano; Veronika Schaaf, boy soprano. (24:31) Recorded in

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Page 196 the Grosser Konzertsaal, Musikhochschule München, 28–29 October 1992. Liner notes by George Crumb and Fuat Kent. Col Legno WWE 1CD 31876, 1994. (compact disc) Recorded with: D61, D130. D5 Contemporary Chamber Ensemble, Arthur Weisburg, conductor; Jan DeGaetani, mezzo-soprano; Michael Dash, boy soprano. Parts III and V only. (4:16, 7:07) Same recording as D1. Unknown Public 09, 1997. (compact disc) Album is entitled All Seeing Ear. D6 Orchestra 2001, James Freeman, conductor; Barbara Ann Martin, soprano; Derek Yale, Noel Bisson, boy sopranos. (24:59) Recorded in Lang Concert Hall, Swarthmore College, 3–4 June 1997. Liner notes by James Freeman (B433), Barbara Ann Martin (B431, B434), Marcantorio Barone (B432) and George Crumb. CRI CD 803, 1998. (compact disc) Recorded with: D31, D74, D153. Reviews: DB162, DB163, DB164 Apparition (W2) D7 Jan DeGaetani, mezzo-soprano; Gilbert Kalish, piano. (22:50) Recorded October and December 1982. Liner notes by William Bland (B275). Bridge BDG 2002, 1983. Bridge BCD 9006, 1987. (compact disc) Reviews: DB124, DB125, DB126, DB127, DB128, DB129, DB130 D8 Jan DeGaetani, mezzo-soprano; Gilbert Kalish, piano. (22:50) Recorded at Holy Trinity Episcopal Church, New York City, October 1982 (as per liner notes for this disc). Same recording as D7. Bridge BCD 9028, 1991. (compact disc) Recorded with: D69, D150. Reviews: DB147 D9 Joan Heller, soprano; Thomas Stumpf, piano. (25:38) Recorded in the Caruth Auditorium, Southern Methodist University, June 1999. Garland 367, 2000. (compact disc) An album of Whitman settings, entitled Walt Whitman and Modern Music. See also B461. Black Angels (W3)

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Page 197 D10 New York String Quartet. (23:25) Liner notes by George Crumb. First publication, see C4. CRI SD 283, 1972. Reviews. DB38, DB39, DB41, DB42, DB43, DB46, DB92, DB95, DB96, DB108 D11 New York String Quartet. (23:25) CRI CE-2, 1972. Recorded with: D35. Signature edition of 150 numbered copies signed by Crumb. D12 Concord String Quartet. Liner notes by Lejaren Hiller (B73). Turnabout TV-S 34610, 1973. Reviews: DB107 D13 Concord String Quartet. Liner notes by Lejaren Miller (B73). Same recording as D12. Vox SVBX 5306, 1973. Reviews: DB45, DB46, DB47, DB64 Three disc box set entitled The Avant Garde String Quartet in the U. S. A. D14 Gaudeamus String Quartet. Philips 6500 881, 1974. Reviews: DB71, DB80, DB88, DB94 D15 New York String Quartet. Same recording as D10, Threnody I: Night of the Electric Insects section only. Warner Brothers W2774, 1974. Soundtrack album entitled Music Excerpts from William Peter Blatty’s ‘The Exorcist’. D16 New York String Quartet. (23:35) Same recording as D10. CRI ACS 6008, 1985. (cassette) Recorded with: D38, D121. Compilation cassette entitled Music of George Crumb. D17 Kronos Quartet. (18:15) Elektra Nonesuch 9 79242–2, 1990. (compact disc) Elektra Nonesuch 9 79242–4, 1990. (cassette) Reviews: DB143, DB144 D18 Brodsky String Quartet. (22:20) Recorded at TELDEC studio, Berlin, May 1992. Liner notes by Uta Schuremann and George Crumb. Teldec 9031–76260–2, 1993. (compact disc) Reviews: DB149

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Page 198 D19 Cikada Quartet. (21:29) Recorded at the Academy of Music, Oslo, Norway, 25–27 March 1994. Liner notes by Nicholas Rampley (B400). Cala CACD77001, 1995. (compact disc) Reviews: DB152 D20 Kronos Quartet. (3:03) Extract from D17, God Music section only. Nonesuch 79394–2, 1995. (compact disc) Two disc set entitled Released, 1985–1995. D21 Concord String Quartet. (22:45) Liner notes by Lejaren Hiller (B73). Same recording as D12. Vox CDX 5143, 1995. (compact disc) Two disc set entitled American String Quartets 1950–1970. D22 Chamber Music Ensembles of the Royal Conservatory of Ghent. Recorded at Steurbaut Sound Recording Centre. René Gailly CD87 118, 1996. (compact disc) D23 Kronos Quartet. Same recording as D17. Nonesuch 795042, 1998. (compact disc) Ten disc set entitled 25 Years. Celestial Mechanics (Makrokosmos IV) (W4) D24 Lambert Orkis and James Primosch, piano. Recorded in the Coolidge Auditorium, Library of Congress, Washington, DC, 20–21 September 1980. Liner notes by Kenneth Slowik (B261). Smithsonian Collection N 027, 1982. Two disc set entitled The Twentieth Century Consort Vol. II. Reviews: DB122, DB123 D25 Robert Nasveld, Jacob Bogaart, Marian Bolt, Piano. (22:54) Recorded in Veenendaal, Netherlands, December 1986. Liner notes by Ted Szántó in Dutch with English translation (B329). Attacca Babel 8740–3, 1987. (compact disc) Recorded with: D68, D127. D26 Piano Duo Degenhardt-Kent. (22:00) Recorded at Crowell Hall, Wesleyan University, 12–15 March 1989. Liner notes by George Crumb. Mode 19, 1991. (compact disc) Recorded with: D165. Album is entitled New Music for 1, 2 & 3 Pianos. D27 Robert Nasveld, Jacob Bogaart and Marian Bolt, piano. Attacca Babel 9371/9372, 1993. (compact disc)

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Page 199 Recorded with: D49, D60, D71, D92, D102, D129. Two disc set entitled Complete Works for One Piano, D28 Bojan Gorišek, Tatjana Ognjanovic and Boris Šurbek, piano. Recorded at Callus Hall, Cankarjev Dom, Cultural and Congress Centre, Lubljana, 1996. Audiophile Classics APC 101.301, 1997. (compact disc) Recorded with: D51, D62, D73, D95, D104, D114. Reviews: DB159 Three disc set entitled Bojan Gorišek Plays George Crumb. Dream Sequence (Images II) (W5) D29 Aeolian Chamber Players. (14:01) Columbia/Odyssey Y35201, 1978. Recorded with: D55, D78. Reviews: DB109, DB110, DB112, DB113, DB115 D30 Ensemble für Neue Musik Zürich, Jürg Henneberger, conductor. (14:06) Recorded at Radio Studio Zürich, January 1996. Liner notes by George Crumb, David Burge and Rene Karlen. Jecklin JD 705–2, 1996. (compact disc) Recorded with: D40, D56, D162. Reviews: DB156, DB158 D31 Orchestra 2001, James Freeman, conductor. (14:22) Recorded in Lang Hall, Swarthmore College, 10 February 1997. Liner notes by James Freeman (B433), Barbara Ann Martin (B431, B434), Marcantorio Barone (B432) and George Crumb. CRI CD 803, 1998. (compact disc) Recorded with: D6, D74, D153. Reviews: DB162, DB163, DB164 Echoes of Time and the River (Echoes II) (W7) D32 Louisville Orchestra, Jorge Mester, conductor. (19:50) Recorded 15 December 1970. Liner notes by Robert McMahan. Louisville Orchestra LS-711, 1971. Reviews: DB20, DB21, DB24, DB29, DB30, DB31, DB37, DB95 D33 Louisville Orchestra, Jorge Mester, conductor. Recorded 15 December 1970. Same recording as D32, Frozen Time section only. International Music Exchange Inc. ICME-1, 1974. Reviews: DB75

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Page 200 Album is entitled The International Music Exchange Inc. Presents The Outstanding Contemporary Orchestral Compositions of the United States. Eleven Echoes of Autumn, 1965 (Echoes I) (W8) D34 Aeolian Chamber Players (16:00) CRI 233 CSD, 1969. Reviews: DB7, DB8, DB9, DB10, DB11, DB12, DB13, DB16, DB37, DB61, DB73 D35 Aeolian Chamber Players. CRI CE-2, 1972. Recorded with: D11. Signature edition of 150 numbered copies signed by Crumb. D36 University of New South Wales Ensemble. (18:38) Liner notes by Graham Hair. MBS Records MB55, 1982. Recorded with: D120. Album is entitled Contemporary American Chamber Music. D37 Gropus 7. (16:00) Radio Canada International RCI 526, 1982. D38 Aeolian Chamber Players. Same recording as D35. Composer Recordings ACS 6008, 1985. (cassette) Recorded with: D16, D121. Album is entitled Music of George Crumb. D39 Sonanza. (18:36) Recorded at Studio 2, Swedish Radio, Stockholm, 17 May 1994. Caprice CAP 21450, 1995. Album is entitled Divertimento. D40 Ensemble für Neue Musik Zürich, Jürg Henneberger, conductor. (19:01) Recorded at Radio Studio Zürich, January 1996. Liner notes by George Crumb, David Burge and Rene Karlen. Jecklin JD 705–2, 1996. (compact disc) Recorded with: D30, D56, D162. Reviews: DB156, DB158 D41 Quinteto CEAMC. Testigo TT10113, 2000. (compact disc)

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Page 201 Federico’s Little Songs for Children (W9) D42 Voices of Change. Documentary Arts DA 106, 1989. (cassette) D43 Speculum Musicae, William Purvis, conductor; Susan Narucki, soprano; Susan Palma Nidel, flutes; Stacey Shames, harp. (14:03) Recorded at MasterSound Astoria, 20–21 May 1996. Liner notes by George Crumb. Bridge 9069, 1996. (compact disc) Recorded with: D123, D133. Reviews: DB157 D44 Jubal Trio. (13:07) Recorded at the Recital Hall, Music Division, SUNY Purchase, 29–30 May, 14 June and 13 November 1995. Liner notes by Laurie Shulman (B418). CRI CD 738, 1997. (compact disc) Album is entitled Jubal Songs. Five Pieces for Piano (W10) D45 David Burge, piano. Advance FGR-3, 1966. Reviews: DB1, DB2, DB3 D46 Ingrid Lindgren, piano. Recorded at Studio BIS, Djursholm, Sweden, 1984. Liner notes by Calle Friedner (B294), in Swedish, with English translation by Friedner and Andrew Barnett, German translation by Per Skans, and French translation by Arlette Chené-Wiklander. Bis LP-261/262, 1985. Recorded with: D83, D110. D47 Margaret Leng Tan, piano. Recorded at SUNY Purchase, 1985 and LRP Studios, NY, 1987. Liner notes by Margaret Leng Tan (B335). Mode 15, 1988. (compact disc) Album is entitled Sonic Encounters. D48 Jeffrey Jacob, piano. (9:40) Recorded at O’Laughlin Auditorium, Saint Mary’s College, Notre Dame, 20–21 January 1988. Centaur Records CRC 2050, 1990. (compact disc) Recorded with: D59, D90. Reviews: DB146 Album is entitled Works for Piano, Volume 1. D49 Robert Nasveld, piano.

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Page 202 Attacca Babel 9371/9372, 1993. (compact disc) Recorded with: D27, D60, D71, D92, D102, D129. Two disc set entitled Complete Works for One Piano. D50 Ingrid Lindgren, piano. Recorded at Studio BIS, Djursholm, Sweden, 1984. (13:41) Same recordings as D46. Bis CD-52, 1995. (compact disc) A compilation album entitled The Contemporary ‘C’: Music by Copland, Creston, Crumb, Carter & Cage. D51 Bojan Gorišek, piano. Recorded at Gallus Hall, Cankarjev Dom, Cultural and Congress Centre, Lubljana, 1996. Audiophile Classics APC 101.301, 1997. (compact disc) Recorded with: D28, D62, D73, D95, D104, D114. Reviews: DB159 Three disc set entitled Bojan Gorišek Plays George Crumb. D52 Peter Degenhardt, piano. (11:19) Recorded at Schweizer Radio DRS, Studio 1, Zürich, 19–20 January and 28 March, 1995. Liner notes by Fuat Kent (B441) and William Bland (B440). Col Legno WWE 1CD 20023, 1999. (compact disc) Recorded with: D77, D116. Four Nocturnes (Night Music II) (W11) D53 Paul Zukofsky, Violin; Gilbert Kalish, piano. Liner notes by Elliott W. Galkin. Mainstream MS 5016, 1973. Reviews: DB58 Album is entitled New Music for Violin and Piano. D54 Paul Zukofsky, Violin; Gilbert Kalish, piano. (8:55) Liner notes by Nicolas Slonimsky (B95). Same recording as D53. Desto DC6435/6437, 1974. Reviews: DB87 Three disc set entitled Music for a 20th Century Violinist. D55 Eric Rosenblith, violin; David Hagen, piano. (8:52) Columbia/Odyssey Y35201, 1978. Recorded with: D29, D78. Reviews: DB109, DB110, DB112, DB113, DB115 D56 Ensemble für Neue Musik Zürich, Jürg Henneberger, conductor and piano. (9:19) Recorded at Radio Studio Zürich, January 1996. Liner notes by George Crumb, David Burge and Rene Karlen. Jecklin JD 705–2, 1996. (compact disc)

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Page 203 Recorded with: D30, D40, D162. Reviews: DB156, DB158 D57 Anne-Sophie Mutter, violin; Lambert Orkis, piano. Recorded in Beethoven-Saal, Stuttgart, May 2000. Deutsche Grammophon 289469503–2, 2000. (compact disc) Gnomic Variations (W12) D58 Jeffrey Jacob, piano. (19:10) Liner notes by Jeffrey Jacob (B273). Orion ORS 84473, 1983. Reviews: DB131 D59 Jeffrey Jacob, piano. (18:40) Recorded at O’Laughlin Auditorium, Saint Mary’s College, Notre Dame, 20–21 January 1988. Centaur Records CRC 2050, 1990. (compact disc) Recorded with: D48, D90. Reviews: DB146 Album is entitled Works for Piano, Volume 1. D60 Robert Nasveld, piano. Attacca Babel 9371/9372, 1993. (compact disc) Recorded with: D27, D49, D71, D92, D102, D129. Two disc set entitled Complete Works for One Piano. D61 Fuat Kent, piano. (19:21) Recorded in the Grosser Konzertsaal, Musikhochschule München, 28 September 1992. Liner notes by Fuat Kent. Col Legno WWE 1CD 31876, 1994. (compact disc) Recorded with: D4, D130. D62 Bojan Gorišek, piano. Recorded at Gallus Hall, Cankarjev Dom, Cultural and Congress Centre, Lubljana, 1996. Audiophile Classics APC 101.301, 1997. (compact disc) Recorded with: D28, D51, D73, D95, D104, D114. Reviews: DB159 Three disc set entitled Bojan Gorišek Plays George Crumb. D63 Ursula Kneihs, piano. Piano Vox PIA 502–2, 1998. (compact disc) Recorded with: D76. A Haunted Landscape (W13)

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Page 204 D64 New York Philharmonic, Arthur Weisberg, conductor. (17:53) Recorded in Avery Fisher Hall, New York City. Liner notes by Bruce Archibald (B295). New World Records NW 326–1, 1985. New World Records NW 326–2, 1985. (compact disc) Reviews: DB132, DB133, DB134, DB135, DB136, DB137, DB138, D139B, DB140 An Idyll for the Misbegotten (W14) D65 Zizi Mueller, flute; Gordon Gottlieb, Benjamin Herman and Stephen Paysen, percussion. (9:37) Recorded 28 April 1987. Liner notes by Michael Walsh (B326). New World Records NW 357–1, 1987. New World Records NW 357–2, 1987. (compact disc) Recorded with: D85, D159. Reviews: DB142 D66 Esa Tapani. Jase CD 0032, 2000. (compact disc) A Little Suite for Christmas, A. D. 1979 (W15) D67 Lambert Orkis, piano. (15:16) Recorded in the Bradley Hills Presbyterian Church, Bethesda, MD, August 1982. Liner notes by William K.Bland (B319). Bridge BCD 9003, 1986. (compact disc) Bridge BCS 7003, 1986. (cassette) Reviews: DB141 D68 Robert Nasveld, Piano. (13:08) Recorded in Veenendaal, Netherlands, December 1986. Liner notes by Ted Szántó in Dutch with English translation (B329). Attacca Babel 8740–3, 1987. (compact disc) Recorded with: D25, D127. D69 Lambert Orkis, piano. (15:16) Recorded in the Bradley Hills Presbyterian Church, Bethesda, MD, August 1982. Same recording as D67. Bridge BCD 9028, 1991. (compact disc) Recorded with: D8, D150. Reviews: DB147 D70 Jeffrey Jacob, piano. (12:57) Recorded at O’Laughlin Auditorium, Saint Mary’s College, Notre Dame, 20–21 January 1988. Centaur Records CRC 2080, 1991. (compact disc)

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Page 205 Recorded with: D101, D128. Album is entitled Works for Piano Volume 2. D71 Robert Nasveld, piano. Attacca Babel 9371/9372, 1993. (compact disc) Recorded with: D27, D49, D60, D92, D102, D129. Two disc set entitled Complete Works for One Piano. D72 Salvatore Moltisanti, piano. (17:00) Recorded 8 January 1994. Zuma Records ZMA101, 1994. (compact disc) Album is entitled Halt. D73 Bojan Gorišek, piano. Recorded at Gallus Hall, Cankarjev Dom, Cultural and Congress Centre, Lubljana, 1996. Audiophile Classics APC 101.301, 1997. (compact disc) Recorded with: D28, D51, D62, D95, D104, D114. Reviews: DB159 Three disc set entitled Bojan Gorišek Plays George Crumb. D74 Marcantino Barone, piano. (13:57) Recorded in Lang College Hall, Swarthmore College, 8 May 1998. Liner notes by James Freeman (B433), Barbara Ann Martin (B431, B434), Marcantorio Barone (B432) and George Crumb. CRI CD 803, 1998. (compact disc) Recorded with: D6, D31, D153. Reviews: DB162, DB163, DB164 D75 Brigitte van Baalen, piano. Recorded in the Geneva Conservatory, 7 June 1996. Gallo CD-962, 1998. (compact disc) Album is entitled A Due… . D76 Ursula Kneihs, piano. Piano Vox PIA 502–2, 1998. (compact disc) Recorded with: D63. D77 Fuat Kent, piano. (14:05) Recorded in Zürich, January and March 1995. Liner notes by Fuat Kent (B441) and William K.Bland (B440). Col Legno WWE 1CD 20023, 1999. (compact disc) Recorded with: D52, D116. Lux Aeterna (W16) D78 Jan DeGaetani, soprano; Penn Contemporary Players, Richard Wernick, conductor. (13:37) Columbia/Odyssey Y35201, 1978.

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Page 206 Recorded with: D29, D55. Reviews: DB109, DB110, DB112, DB113, DB115 D79 USSR Bolshoi Theatre Orchestra, Alexander Lazarev, conductor. Melodiya C10 28445003, 1989. Recorded with: D3. D80 Orchestra 2001, James Freeman, conductor; Freda Herseth, mezzo-soprano. (14:13) Recorded in Land Concert Hall, Swarthmore College, 6 June 1995. Liner notes by James Freeman (B408). CRI CD 723, 1996. (compact disc) Reviews: DB154, DB155 Album is entitled Distant Runes. Madrigals, Books I–IV (W17–W20) D81 University of Pennsylvania Chamber Players, Richard Wernick, conductor; Jan DeGaetani, mezzosoprano. Recorded 24 October 1969. Liner notes by Donald Sur (B42). Acoustic Research/Deutsche Grammaphon AR 0654 085, 1971. Reviews. DB14, DB15, DB17, DB18, DB26, DB40, DB63, Album is entitled Portraits of Three Ladies (American). D82 Elizabeth Suderburg, soprano; David Schrader, percussion; Felix Skowronek, flute; Pamela Vokolek, harp; W.Ring Warner, double bass. Liner notes by Donald Chittum (B72). Turnabout TVS-34523,1973. Reviews: DB59, DB62, DB64, DB70 D83 Musica Varia; Anne-Marie Mühle, mezzo-soprano. (31:30) Recorded by Swedish Radio, Stockholm, 1983. Liner notes by Calle Friedner (B294), in Swedish, with English translation by Friedner and Andrew Barnett, German translation by Per Skans, and French translation by Arlette Chené-Wiklander. Bis LP-261/262, 1985. Recorded with: D46, D110. D84 Musica Varia; Anne-Marie Mühle, mezzo-soprano. (31:30) Recorded by Swedish Radio, Stockholm, 1983. Same recordings as D83. Bis CD-261,1985. (compact disc) Recorded with: D111. Reviews: DB141

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Page 207 D85 University of Pennsylvania Chamber Players, Richard Wernick, conductor; Jan DeGaetani, mezzosoprano. Recorded 24 October 1969. Same recording as D81. Liner notes by Michael Walsh (B326). New World Records NW 357–1, 1987. New World Records NW 357–2, 1987. (compact disc) Recorded with: D65, D159. Reviews: DB142 D86 Contemporary Group; Elizabeth Suderburg, soprano. (33:45) Same recording as D82. Liner notes by Donald Chittum (B72). Vox Box CDX 5145, 1995. (compact disc) Two disc compilation entitled 20th Century Voices in America. Makrokosmos, Volume I (W21) D87 David Burge, piano. (34:49) Liner notes by George Crumb. Nonesuch H-71293, 1974. Nonesuch 71293–4 SR, 1974. (cassette) Reviews: DB48, DB49, DB51, DB54, DB56, DB58, DB60, DB64, DB65, DB66, DB67, DB68, DB99 D88 Robert Groslot, piano. Queen Elisabeth International Music Competition 1980 022, 1982. Recorded with: D98. D89 Robert Nasveld, piano. (32:53) Recorded in Veenendaal, 9–10 December 1984. Attacca Babel 8528–3, 1985. Recorded with: D99. D90 Jeffrey Jacob, piano. (28:58) Recorded at O’Laughlin Auditorium, Saint Mary’s College, Notre Dame, 20–21 January 1988. Centaur Records CRC 2050, 1990. (compact disc) Recorded with: D48, D59. Reviews: DB146 Album is entitled Works for Piano, Volume I. D91 Emmy Henz-Diémand, piano. (35:00) Recorded March-June 1989. Liner notes by Andreas Kramer. Ex Libris CD 6091, 1990. (compact disc) Recorded with: D100. Reviews: DB145 D92 Robert Nasveld, piano. Attacca Babel 9371/9372, 1993. (compact disc) Recorded with: D27, D49, D60, D71, D102, D129.

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Page 208 Two disc set entitled Complete Works for One Piano. D93 Robert Groslot, piano. Fidelio Classics 9213, 1993. (compact disc) Recorded with: D103. D94 Christiane Mathé, piano. (32:22) Recorded at NDR Studio 10, Hamburg, 11–12 May 1995. Liner notes by Christiane Mathé. Koch Swann 3–63409–2, 1996. (compact disc) Recorded with: D105. D95 Bojan Gorišek, piano. Recorded at Gallus Hall, Cankarjev Dom, Cultural and Congress Centre, Lubljana, 1996. Audiophile Classics APC 101.301, 1997. (compact disc) Recorded with: D28, D51, D62, D73, D104, D114. Reviews: DB159 Three disc set entitled Bojan Gorišek Plays George Crumb. D96 Jo Boatright, piano. Recorded in Clapp Recital Hall, University of Iowa School of Music. Liner notes by Steven Bruns. Music & Arts CD-1044, 1999. (compact disc) Recorded with: D106. Makrokosmos, Volume II (W22) D97 Robert Miller, piano. (32:00) Liner notes by Robert Miller (B165). Odyssey Y342135, 1976. Reviews: DB99, DB100, DB102 D98 Robert Groslot, piano. Queen Elisabeth International Music Competition 1980 022, 1982. Recorded with: D88. D99 Robert Nasveld, piano. (32:34) Recorded in Veenendaal, 9–10 December 1984. Attacca Babel 8528–3, 1985. Recorded with: D89. D100 Emmy Henz-Diémand, piano. (37:00) Recorded March-June 1989. Liner notes by Andreas Kramer. Ex Libris CD 6091, 1990. (compact disc) Recorded with: D91. Reviews: DB145 D101 Jeffrey Jacob, piano. (28:24) Recorded at O’Laughlin Auditorium, Saint Mary’s College, Notre Dame, 20–21 January 1988.

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Page 209 Centaur Records CRC 2080, 1991. (compact disc) Recorded with: D70, D128. Album is entitled Works for Piano Volume 2. D102 Robert Nasveld, piano. Attacca Babel 9371/9372, 1993. (compact disc) Recorded with: D27, D49, D60, D71, D92, D129. Two disc set entitled Complete Works for One Piano. D103 Robert Groslot, piano. Fidelio Classics 9213, 1993. (compact disc) Recorded with: D93. D104 Bojan Gorišek, piano. Recorded at Gallus Hall, Cankarjev Dom, Cultural and Congress Centre, Lubljana, 1996. Audiophile Classics APC 101.301, 1997. (compact disc) Recorded with: D28, D51, D62, D73, D95, D114. Reviews: DB159 Three disc set entitled Bojan Gorišek Plays George Crumb. D105 Christiane Mathé, piano. (32:34) Recorded at NDR Studio 10, Hamburg, 11–12 May 1995. Liner notes by Christiane Mathé. Koch Swann 3–63409–2, 1996. (compact disc) Recorded with: D94. D106 Jo Boatright, piano. Recorded in Clapp Recital Hall, University of Iowa School of Music. Liner notes by Steven Bruns. Music & Arts CD-1044, 1999. (compact disc) Recorded with: D96. Mundus Canis (“A Dog’s World”) (W23) D107 David Starobin, guitar; George Crumb, percussion. (9:41) Recorded at The American Academy of Arts and Letters, New York, October 1998. Liner notes by George Crumb. Bridge 9095, 1999. (compact disc) Recorded with: D151, D154. Reviews: DB165 Album is entitled 70th Birthday Album. Music for a Summer Evening (Makrokosmos III) (W24) D108 Gilbert Kalish and James Freeman, piano; Raymond DesRosches and Richard Fitz, percussion. (34:01) Recorded in New York City, 6–8 January 1976. Liner notes by George Crumb. First publication, see C7. Nonesuch Records H-71311, 1975.

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Page 210 Nonesuch Records 71311–4 SR, 1975. (cassette) Reviews: DB74, DB76, DB77, DB78, DB79, DB81, DB82, DB83, DB86, DB90, DB93, DB94, DB95, DB97, DB98, DB99 D109 Fuat Kent and Peter Degenhardt, piano; Wolfgang Lindner and Karl Peinkofer, percussion. AMU Records ETST 038, 1984. D110 Barbro Dahlman, piano; Rainer Kuisma and Seppo Asikainen, percussion. (39:00) Recorded by Swedish Radio, Stockholm, 1983. Liner notes by Calle Friedner (B294), in Swedish, with English translation by Friedner and Andrew Barnett, German translation by Per Skans, and French translation by Arlette Chené-Wiklander. Bis LP-261/262, 1985. Recorded with: D46, D83. D111 Barbro Dahlman, piano; Rainer Kuisma and Seppo Asikainen, percussion. (39:00) Recorded by Swedish Radio, Stockholm, 1983. Same recording as D110. Bis CD-261, 1985. (compact disc) Recorded with: D84. Reviews: DB141 D112 Gilbert Kalish and James Freeman, piano; Raymond DesRosches and Richard Fitz, percussion. (34:01) Recorded in New York City, 6–8 January 1976. Same recording as D108. Nonesuch 9 79149–2, 1988. (compact disc) Recorded with: D2. D113 Austrian Art Ensemble. Austro Mechano MZ92202, 1992. (compact disc) D114 Bojan Gorišek and Tatjana Ognjanovic, piano; Boris Šurbek and Louis Gradišek, percussion. Recorded at Gallus Hall, Cankarjev Dom, Cultural and Congress Centre, Lubljana, 1996. Audiophile Classics APC 101.301, 1997. (compact disc) Recorded with: D28, D51, D62, D73, D95, D104. Reviews: DB159 Three disc set entitled Bojan Gorišek Plays George Crumb. D115 Susan Wenckus and Markus Stange, piano; Markus Haucke and Michael Kiedaisch, percussion. Audite 97.455, 1997. (compact disc) Reviews: DB161 Album is entitled Piano and Percussion.

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Page 211 D116 Ensemble New Art. (35:11) Recorded in Zürich, January and March 1995. Liner notes by Fuat Kent (B441) and William K.Bland (B440). Col Legno WWE 1CD 20023, 1999. (compact disc) Recorded with: D52, D77. Night Music I (W25) D117 Louise Tom, soprano; Paul Parmelee, piano/celesta; David Burge and Thomas MacCluskey, percussion; George Crumb, conductor. (18:35) Liner notes by Carter Harman (B8). CRI USD 218, 1967. Reviews: DB4, DB5, DB6, DB16, DB37, DB95, DB101, DB104 D118 Lyric Arts Trio of Canada. (18:35) Recorded at Eaton Auditorium, Toronto, June 1970. CBC Radio Canada SM 148, 1970. D119 Orchestra of Our Time, Joel Thome, conductor; Jan DeGaetani, mezzo-soprano. (20:56) Recorded 1978. Liner notes by Patrick J.Smith (B221). Candide CE 31113, 1979. Reviews: DB114, DB116, DB117, DB118 D120 University of New South Wales Ensemble. (19:50) Liner notes by Graham Hair. MBS Records MB55, 1982. Recorded with: D36. Album is entitled Contemporary American Chamber Music. D121 Louise Toth, soprano; Paul Parmelee; piano/celesta; David Burge and Thomas MacCluskey, percussion. Same recording as D117. Composer Recordings ACS 6008, 1985. (cassette) Recorded with: D16, D38. Album is entitled Music of George Crumb. D122 Orchestra of Our Time, Joel Thome, conductor; Jan DeGaetani, mezzo-soprano. (20:55) Recorded 1978. Liner notes by Patrick J.Smith (B221). Same recording as D119. Vox Box CDX 5144, 1995. (compact disc) Two disc set entitled Music of Schoenberg, Dallapiccola, Crumb, Boulez, Others. D123 Speculum Musicae, William Purvis, conductor; Susan Narucki, soprano; Christopher Oldfather, piano/celesta; Daniel Druckman and James Baker, percussion. (20:24) Recorded at MasterSound Astoria, 2 December 1995. Liner notes by George Crumb.

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Page 212 Bridge 9069, 1996. (compact disc) Recorded with: D43, D133. Reviews: DB157 Night of the Four Moons (W26) D124 Aeolian Chamber Players; Jan DeGaetani, mezzo-soprano; Raymond DesRoches, percussion. (17:30) Liner notes by George Crumb. Columbia MQ 32739, 1974. Recorded with: D156. Reviews. DB49, DB52, DB53, DB56, DB64, DB99 D125 Orpheus Chamber Orchestra. (15:22) Recorded at the Hit Factory, New York City. Liner notes by Ingram Marshall. Nonesuch 79364–2, 1996. (compact disc) Reviews: DB153 Album is entitled White Moon: Songs to Morpheus. D126 Orchestra 2001, James Freeman, conductor; Barbara Ann Martin, mezzo-soprano. (16:55) Recorded in Lang Concert Hall, Swarthmore College, 31 October 1995. Liner notes by George Crumb. CRI CD 760, 1997. (compact disc) Reviews: DB160 Processional (W28) D127 Robert Nasveld, Piano. (11:20) Recorded in Veenendaal, Netherlands, December 1986. Liner notes by Ted Szántó in Dutch with English translation (B329). Attacca Babel 8740–3, 1987. (compact disc) Recorded with: D25, D68. D128 Jeffrey Jacob, piano. (9:29) Revised version without prepared piano techniques (9:20) Recorded at O’Laughlin Auditorium, Saint Mary’s College, Notre Dame, 20–21 January 1988. Centaur Records CRC 2080, 1991. (compact disc) Recorded with: D70, D101. Album is entitled Works for Piano Volume 2. D129 Robert Nasveld, piano. Attacca Babel 9371/9372, 1993. (compact disc) Recorded with: D27, D49, D60, D71, D92, D102. Two disc set entitled Complete Works for One Piano.

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Page 213 D130 Fuat Kent, piano. (10:08) Recorded in the Grosser Konzertsaal, Musikhochschule München, 28 September 1992. Liner notes by Fuat Kent. Col Legno WWE 1CD 31876, 1994. (compact disc) Recorded with: D4, D61. D131 Kayako Matsunaga, piano. (9:46) Recorded live at Suntory Hall, Tokyo, between 5 December 1984 and 1 November 1993. Vienna Modern Masters VMM 2014, 1995. (compact disc) Album is entitled Kayako Matsunaga, Piano. D132 Emanuele Arciule, piano. (11:20) Recorded in Ortisei, Palazzo dei Congressi, 18–20 July 1999. Liner notes by Emanuele Arciule. Stradivarius STR 33555, 2000. (compact disc) Album is entitled Americans! XXth Century Piano Music. Quest (W29) D133 David Starobin, guitar/concertina; Speculum Musicae, William Purvis, conductor; Donlad Sinta, soprano saxophone; Karen Lindquist, harp; Donald Palma, contrabass; Daniel Druckman and Erik Charlston, percussion. (24:12) Recorded at The American Academy of Arts and Letters, 19 March 1995. Liner notes by George Crumb. Bridge Records 9069, 1996. (compact disc) Recorded with: D43, D123. Reviews: DB157 D134 David Starobin, guitar/concertina; Speculum Musicae, William Purvis, conductor; Donald Sinta, soprano saxophone; Karen Lindquist, harp; Donald Palma, contrabass; Daniel Druckman and Erik Charlston, percussion. (24:12) Recorded at The American Academy of Arts and Letters, 19 March 1995. Same recording as D133. Liner notes by George Crumb. Bridge Records 9071, 1997. (compact disc) Album is entitled Guitar Concertante. The Sleeper (W30) D135 Jan DeGaetani, mezzo-soprano; Gilbert Kalish, piano. Recorded at the American Academy and Institute of Arts and Letters, New York, 21–23 December 1987. Liner notes by David Hamilton (B334). Elektra/Nonesuch 791782CD, 1988. (compact disc) Elektra/Nonesuch 4–79178, 1988. (cassette) Album is entitled Songs of America on Home, Love, Nature, and Death.

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Page 214 Sonata for Solo Violoncello (W31) D136 Robert Sylvester, violoncello. Liner notes by Robert Sylvester (B96). Desto DC 7169, 1974. Reviews: DB72, DB85 Album is entitled Robert Sylvester, violoncello, Plays Ysaye, Crumb, Wellesz, Hindemith. D137 Roy Christensen, violoncello. Liner notes by Harold F.Lewin. Gasparro GS 101, 1975. D138 Frans Helmerson, violoncello. (10:36) Recorded at Wik Castle, Sweden, 3 December 1977. Liner notes by Per Skans (B203). Bis LP-65, 1978. Reviews: DB111 Album is entitled Frans Helmerson Plays Solo Cello. D139 Truis Otterbech Mork, violoncello. Recorded at Ris Church, Oslo, 25–27 June 1986. Simax PSC 1023, 1987. (compact disc) Album is entitled Clamavi: 1980. D140 Matt Haimovitz, violoncello. (10:08) Recorded at St. Konrad’s Church, Abersee, September 1990. Liner notes by Keith Potter (B350). Deutsche Grammaphon 431 813–2, 1991. (compact disc) Reviews: DB148 Album is entitled Matt Haimovitz Plays Suites and Sonatas for Solo Cello. D141 Frans Helmerson, violoncello. (10:36) Recorded at Wik Castle, Sweden, 3 December 1977. Same recording as D138. Bis CD-25, 1992. (compact disc) Album is entitled The Solitary Cello. D142 Peter Wispelwey, violoncello. (13:00) Recorded in Utrecht, June 1992. Liner notes by Leo Samana (B359). Globe GLO 5089, 1992. (compact disc) Album is entitled Sonatas for Solo Violoncello. D143 Colin Carr, violoncello. (10:28) Recorded at Methuen Music Hall, Methuen, MA, 16 September and 24 October 1990. Liner notes by Douglas Briscoe (B360). GM Recordings GM2031CD, 1992. (compact disc) Reviews: DB150 Album is entitled Unaccompanied Cello.

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Page 215 D144 Gordon Epperson, violoncello, (8:51) Recorded at De La Ronde Hall, Baton Rouge, LA, 6–8 March 1994. Liner notes by Lois Blackburn. Centaur CRC 2228, 1995. (compact disc) Reviews: DB151 Album is entitled Cello Sonatas. D145 Suren Bagratuni, violoncello. (10:00) Recorded at the New Hope Methodist Church, Methuen, MA, 22–23 May 1995. Liner notes by Jonathan Cohler (B402). Ongaku Records 24104, 1995. (compact disc) D146 Karen Buranskas, violoncello. Disc Makers KLB 9601, 1996. (compact disc) Album is entitled Twentieth Century Compositions for Solo Cello. D147 Kim Cook, violoncello. (10:49) Recorded at Auer Hall, Indiana University, March and September 1998. Liner notes by Michael Broyles (B435). Pennsylvania State University KCOOK1, 1998. (compact disc) Album is entitled Solo Sonatas for Cello. D148 Emmanuele Bertrand, violoncello. Recorded at Studio 107, Radio France, July 1999. Liner notes by Emmanuele Bertrand. Harmonia Mundi HMN 911699, 2000. (compact disc) Album is entitled Musique du XXe Siècle pour Violoncelle Seul, Songs, Drones and Refrains of Death (W32) D149 Contemporary Chamber Players of the University of Chicago, Ralph Shapey, conductor. (16:30) Liner notes by George Crumb. First publication, see C6. Desto DC 7155, 1973. Phoenix PHCD 137, 1998. (compact disc) Reviews. DB50, DB53, DB55, DB64 D150 Sanford Sylvan, baritone; Speculum Musicae. Recorded at the American Academy and Institute of Arts and Letters, 17 June 1990. Bridge BCD 9028, 1991. (compact disc) Recorded with: D8, D69. Reviews: DB147 Star Child (W33) D151 Susan Narucki, soprano; Joseph Alessi, trombone; Warsaw Boy’s Choir; Warsaw Philharmonic Choir; Warsaw Philharmonic Orchestra, Thomas Conlin, conductor. (35:36) Recorded at Philharmonic Hall,

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Page 216 Warsaw and The American Academy of Arts and Letters, July and August 1999. Liner notes by George Crumb. Bridge 9095, 1999. (compact disc) Recorded with: D107, D154. Reviews: DB165 Album is entitled 70th Birthday Album. D152 New York Philharmonic, Pierre Boulez, conductor. New York Philharmonic NYP9903, 1999. (compact disc) Five disc set entitled An American Celebration, Volume 2. Three Early Songs (W34) D153 Barbara Ann Martin, soprano; James Freeman, piano. (8:47) Recorded in Lang Hall, Swarthmore College, 2 June 1997. Liner notes by James Freeman (B433), Barbara Ann Martin (B431, B434), Marcantorio Barone (B432) and George Crumb. CRI CD 803, 1998. (compact disc) Recorded with: D6, D31, D74. Reviews: DB162, DB163, DB164 D154 Ann Crumb, soprano; George Crumb, piano. (8:32) Recorded at Master Sound Astoria, March 1999. Liner notes by George Crumb. Bridge 9095, 1999. (compact disc) Recorded with: D107, D151. Reviews: DB165 Album is entitled 70th Birthday Album. Variazioni (W35) D155 Louisville Orchestra, David Gilbert, conductor. (24:54) Liner notes by George K.Diehl (B248) and Marshall A.Portnoy (not relating to the Crumb work). Louisville Orchestra LS 774, 1981. Reviews: DB119, DB120, DB121 Vox Balaenae (W36) D156 Aeolian Chamber Players. (20:20) Liner notes by George Crumb. Columbia MQ 32739, 1974. Recorded with: D124. Reviews: DB49, DB52, DB53, DB56, DB57, DB64

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Page 217 D157 Dreamtiger. Cameo Classics GOCLP9018 (D), 1982. Album is entitled East West Encounters. D158 Cuarteta Da Capo. Universidad Autonoma Metropolitana C2006, 1983. D159 Zizi Mueller, flute; Fred Sherry, violoncello; James Gemmell, piano. Recorded 22 May 1985. Liner notes by Michael Walsh (B326). New World Records NW 357–1, 1987. New World Records NW 357–2, 1987. (compact disc) Recorded with: D65, D85. Reviews: DB142 D160 New York Camerata. (20:11) Recorded at Holy Trinity Church, New York City, October 1988. Centaur CRC 2152, 1993. (compact disc) D161 Salvatore Moltisanti, piano; Lawrence Zoernig, cello; James Schlefer, flute. Recorded at Nyers Recording Studio at MSM, New York City, 15–17 June 1994. Liner notes by Allan J.Segall (B384). Zuma ZMA 102, 1994. (compact disc) Album is entitled George Crumb: Voice of the Whale. D162 Ensemble für Neue Musik Zürich, Jürg Henneberger, conductor. (19:03) Recorded at Radio Studio Zürich, January 1996. Liner notes by George Crumb, David Burge and Rene Karlen. Jecklin JD 705–2, 1996. (compact disc) Recorded with: D30, D40, D56. Reviews: DB156, DB158 D163 Shawnigan-Trio. (22:29) Recorded at Saarländischer Rundfunk, 25–27 May 1994. Antes BM-CD 31.9045, 1997. (compact disc) D164 George Crumb Trio. Austro Mechanica HSF 1007, 1997. (compact disc) Zeitgeist (W37) D165 Piano Duo Degenhardt-Kent. (31:00) Recorded at Crowell Hall, Wesleyan University, 12–15 March 1989. Revised 1989 version. Liner notes by George Crumb. Mode 19, 1991. (compact disc) Recorded with: D26. Album is entitled New Music for 1, 2 & 3 Pianos.

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Page 218 Crumb as Performer D166 Stravinsky, Igor. Les Noces (The Wedding). Penn Contemporary Players; University of Pennsylvania Choir. Waterstradt Sound WS320S, 1971. Crumb plays piano on this piece. Archival Holdings Several institutions hold non-commercial archival recordings of Crumb’s works or of Crumb as a performer. While an exhaustive enumeration of such recordings is beyond the scope of this biobibliography a brief, descriptive listing may prove to be helpful as a starting point for researchers. Library of Congress, Washington DC The Library of Congress Music Division holds several concert recordings on reel to reel tape. These are generally 2 track, stereo recordings that were recorded at 7 1/2 ips in the Coolidge Auditorium of the Library of Congress. Amongst the concerts held are the following, listed here in chronological order: W17a/W18a, W1a, W36a, W1f, W5b, W24j. SUNY Buffalo, Buffalo NY SUNY Buffalo holds tapes from the Creative Associate Recitals, Concerts and Lectures series, Evenings for New Music, June in Buffalo and the North American New Music Festival. The Creative Associate Recitals include two tapes of Crumb playing piano. The first tape, from 13 November 1964, contains works by Robert Schumann ( Drei Romanzen, op. 94 and Liederkreis, op. 39), Alban Berg ( Vier Lieder, op. 2 and Vier Stücke für Klarinette und Klavier, op. 5), and Franz Schubert ( Die Verschworenen, D. 787. and Der Hirt auf dem Felsen, op. posth. 129). The second tape, from 3 February 1965, contains compositions by Ralph Shapey (Evocation), Donald Martino (Fantasy-variations), Roman Haubenstock-Ramati (Liasons), Arthur Berger (Duo no. 2), Gunther Schuller (Trio, 1957), and Charles Ives (Sonata, violin-piano, no. 2. In the barn). The Concerts and Lectures tapes which include Crumb compositions range from 1965 to 1981. These include performances of Music for a Summer Evening and Night Music I. The Evenings for New Music recordings include tapes of Crumb as both composer and performer and range from 1964 to 1973. These were

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Page 219 concerts recorded in the Albright-Knox Art Gallery. Crumb works performed include: Songs, Drones and Refrains of Death and Vox Balaenae. June in Buffalo concerts with recorded Crumb works range from 1976 to 1980 and include performances of the following compositions: Black Angels, Makrokosmos, Volumes I–II, Madrigals, Books I–IV, Music for a Summer Evening and Celestial Mechanics. Finally, the North American Festival catalog includes a 22 April 1987 (W14c) tape of a performance of Idyll for the Misbegotten a nd an 11 April 1989 concert (CP37) with Ancient Voices of Children and Zeitgeist. Eastman School of Music, Rochester NY The Eastman School holds a good number of recordings, often digital, of concerts and recitals by students and faculty. Most of Crumb’s non-orchestral works are performed. American Music Research Center, University of Colorado, Boulder CO The center has audio and video tapes from the Crumb in Prague (17–20 March) and Boulder (9–12 October) Festivals in 1992. There are audio tapes of the four Boulder concerts and videotapes of the three Boulder panels and two Prague concerts. Works performed in Prague include Music for a Summer Evening, Vox Balaenae, An Idyll for the Misbegotten, Ancient Voices of Children, A Little Suite for Christmas, A. D. 1979, and Night of the Four Moons. Works performed in Boulder include Music for a Summer Evening, Ancient Voices of Children, Makrokosmos I, Makrokosmos II, Songs, Drones and Refrains of Death, An Idyll for the Misbegotten, A Little Suite for Christmas, A. D. 1979, Night of the Four Moons, Celestial Mechanics, Federico’s Little Songs for Children, and Vox Balaenae. The three panels in Boulder concerned themselves with Crumb in Boulder (1959–64), Crumb in Prague (recapitulating events from 17–20 March) and a composers’ roundtable with Crumb being joined by six Colorado composers. See B371 and I28 for more detailed information regarding these two interconnected festivals.

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Page 221 DISCOGRAPHY BIBLIOGRAPHY In order to facilitate ease of reference abbreviations will be used to designate each composition reviewed. Additionally, D numbers from the Discography will be used to specify which individual recording is being reviewed. For example, [D1-AV] would indicate the Nonesuch H-71255 recording of the composition Ancient Voices of Children. AV= Ancient Voices of Children AP= Apparition BA= Black Angels CM= Celestial Mechanics DS= Dream Sequence ED= Easter Dawning EC= Echoes of Time and the River EL= Eleven Echoes of Autumn, 1965 FED= Federico’s Little Songs for Children 5P= Five Pieces for Piano 4N= Four Nocturnes GV= Gnomic Variations HL= A Haunted Landscape ID= An Idyll for the Misbegotten LS= A Little Suite for Christmas, A. D. 1979 LA= Lux Aeterna MAD= Madrigals, Books I–IV M1= Makrokosmos, Volume I M2= Makrokosmos, Volume II MC= Mundus Canis MSE= Music for a Summer Evening NM= Night Music I N4M= Night of the Four Moons PD= Pastoral Drone P= Processional Q= Quest S= The Sleeper SV= Sonata for Solo Violoncello SD= Songs, Drones and Refrains of Death SC= Star-Child 3ES= Three Early Songs V= Variazioni VB= Vox Balaenae Z= Zeitgeist

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Page 222 DB1 Strongin, Theodore. “Recordings: Advance with the Serialists and the Far-Out Avant Garde.” New York Times, 26 March 1967, section 2 pp. 25, 28. [D45–5P] “Crumb’s Five Pieces for Piano are imaginative, carefully shaped for the instrument, but are full of typical stylistic tricks.” DB2 Conn, Arthur. “Gilt-edged Aural Securities.” American Record Guide (May 1967): 731–732. [D45– 5P] “Crumb’s suite is the most advanced music on the disc…my only regret about this release is that the engineers have not done well by George Crumb.” DB3 Salzman, Eric. “Collections.” HiFi/Stereo Review (January 1968): 112–113. [D45–5P] Salzman briefly notes the extended techniques in Crumb’s piece. DB4 Kolodin, Irving. “A Slice of Crumb.” Saturday Review (29 June 1968): 51. [D117-NM] “Crumb has evolved his own way of juxtaposing resonant values.” DB5 Flanagan, William. “Crumb: Night Music I.” HiFi/Stereo Review (July 1968): 80, 82. [D117-NM] “ Night Music I by George Crumb belongs to the let’s-make-unearthly-sounds branch of yesterday’s avant-garde.” DB6 Boehm, Mary Louise. “Discs.” Pan Pipes of Sigma Alpha Iota (January 1969): 28–30, 34. [D117NM] Boehm notes that the extended piano techniques are, “fun for pianists but gives apoplexy to piano technicians!” DB7 Henahan, Donal. “Some of Our Native Phantoms Are Real.” New York Times, 6 April 1969, section 2, pp. 28, 30. [D34-EL] “A work whose every page could be studied for hours by a musician and yet whose sounds and expressive ideas are childlike in their innocence and simplicity.” DB8 Henahan, Donal J. “George Crumb: Eleven Echoes of Autumn, 1965.” Musical Quarterly 55 no. 2 (April 1969): 280–285. [D34-EL] A more extensive and detailed review than DB7 in which Henahan discusses Eleven Echoes ’ relationship to Echoes of Time and the River. “There is something peculiarly American in Eleven Echoes, a sense of open space, innocence, isolation, and loss.” DB9 Hamilton, David. “Wolpe: Trio/Crumb: Eleven Echoes of Autumn, 1965.” High Fidelity/Musical America (May 1969): 102. [D34-EL] “This is very accessible music if approached without preconceptions.” DB10 Moore, David. “Contemporary Contrasts.” American Record Guide (September 1969): 69. [D34EL] “It is really a series of experiments and enjoyable on its own terms.”

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Page 223 DB11 Turok, Paul. “Stefan Wolpe: Trio/George Crumb: Eleven Echoes of Autumn, 1965.” Music Journal (November 1969): 61. [D34-EL] “The result is an atmosphere fully worthy of comparison with the best of Bartók’s ‘night music’ sounds.” DB12 Boehm, Mary Louise. “Discs.” Pan Pipes ofSigma Alpha Iota (January 1970): 43–44. [D34-EL] “Everything is expressively meaningful, the whole work is moving, intense, and leaves a deep impression.” DB13 Ulehla, Lodmila. “George Crumb.” Contemporary Music Newsletter (17 April 1970). [D34-EL] “One never loses the recognition of the musical substance of the work, and upon repeated hearings the subtleties and imaginative inventions become increasingly meaningful and beautiful.” DB14 Daniel, Oliver. “The Fruits of Industry, or What AR Hath Wrought.” Saturday Review (26 December 1970): 47–48. [D81-MAD] “These are hauntingly beautiful pieces with interesting juxtapositions of timbres, dynamics, and figurations.” DB15 Henahan, Donal. “Recordings: New Music as Public Art?” New York Times, 3 January 1971, section 2 p. 22. [D81-MAD] “There is a concern for lapidary perfection and an economy of material and gesture that ties Crumb’s music to the best of its academic cousins.” DB16 Hamilton, David. “Three Composers of Today.” Musical Newsletter 1 no. 1 (January 1971): 16– 18. [D117-NM; D34-EL] Hamilton proclaims that Crumb’s, “coloristic virtuosity represents substance,” and is not, “merely decoration.” Hamilton also discusses Crumb’s use of Lorca and the musical relationship with Bartók. DB17 Henahan, Donal. “Component Maker Meets Record Company—the AR/DGG Contemporary Music Project.” High Fidelity (February 1971): 96–97. [D81-MAD] A review of a mixed multitude of releases from Acoustic Research/Deutsch Grammaphon, briefly comments on Madrigals, Books I–IV, “the microscopic details [put] immense demands on one’s aural and poetic sensitivities.” DB18 Mayer, Martin. “Recordings.” Esquire (May 1971): 53. [D81-MAD] Crumb, “leaves one in doubt of his capacity to sustain large-scale architected structures.” DB19 Sterritt, David. “Discs: Crumb’s Amazing Lorca Cycle.” Christian Science Monitor, 25 June 1971, p. 15. [D1-AV] “The work’s density of ideas is balanced by a consistently maintained sonic sparseness.”

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Page 224 DB20 Henahan, Donal. “Crumb’s Private Music.” New York Times, 4 July 1971, section 2 pp. 17–18. [D1-AV; D20-EC] This recording of Ancient Voices, “rewards a first listening and goes on revealing beauties with each repetition.” Echoes, “is a masterly piece for large orchestra in which the musicians not only play their instruments but whisper enigmatic phrases from Lorca or Aristophanes.” DB21 Willis, Thomas. “Recordings Bring Recognition, Tho Late to U. S. Music.” Chicago Tribune, 11 July 1971, section 5 p. 3. [D20-EC] “Theatrical, yes. Gimmicky, emphatically not.” DB22 Price, Theodore. “Contemporary Discs.” Democrat and Chronicle (Rochester, NY), 25 July 1971, Show section p. 4. [D1-AV] “Highly recommended for its sensitive fusion of poetry and music.” DB23 Kolodin, Irving. “Recordings in Review.” Saturday Review (31 July 1971): 44. [D1-AV] “The spell is, in large part, woven of elements suggestive of Mahler.” DB24 Webster, Daniel. “Prize-Winning Echoes Saved From Limbo.” Philadelphia Inquirer, 15 August 1971, section 5 p. 7. [D20-EC] Webster notes that the recording cannot convey the full effect of the piece, since the theatrical elements are lost thus, “it does not satisfy completely because of those missing visual elements.” DB25 Rich, Alan. “Devils and Ghosts.” New York Magazine (16 August 1971): 62–63. [D1-AV] Rich was on the panel which awarded this work the Koussevitsky Foundation prize and he notes that it, “is one of the loveliest and most moving new works [he has] heard in a long time.” DB26 Bender, William. “Music.” Time (30 August 1971): 53. [D81-MAD] Very brief review, essentially noting the contents of the album. DB27 P. L. M. “For a Voyage of Discovery, the Music of George Crumb.” American Record Guide (August 1971): 807. [D1-AV] “The whole thing has a conviction too often missing in contemporary music.” DB28 Hamilton, David. “Toy Pianos, Musical Saws—and a Great Vocal Tour de Force.” High Fidelity (August 1971): 78. [D1-AV] Hamilton extols the vocal performance of Jan DeGaetani, the means by which Crumb evokes a multitude of musical colors, and the sure and sensitive manner in which Lorca’s poetry is set. DB29 Bennett, Myron. “George Crumb’s Music Means Magic and Beauty.” Cincinnati Enquirer, 24 September 1971, p. 24. [D1-AV; D20-EC] In Ancient Voices Crumb, “creates an astonishing variety of sounds and of moods—from the most delicate whisper to a wild Flamenco abandon.”

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Page 225 Bennett also notes that in the recording of Echoes the theatrical aspects of the piece which, “can disconcert conventional audiences,” can, in the absence of a live audience be clearly seen as, “what [Crumb] wanted, and they’re part of the magic.” DB30 Salzman, Eric. “American Composer George Crumb.” Stereo Review (September 1971): 80. [D1AV; D20-EC] “The desire to arrest time and the search for lost innocence are basically the same, and, whether or not Crumb ever succeeds in finding that simplicity, purity, and innocence, there is a kind of poignancy in the attempt.” DB31 Frankenstein, Alfred.: George Crumb: Echoes of Time and the River.” High Fidelity (November 1971): 98. [D20-EC] “Crumb has conjured time perhaps more successfully than he knows.” DB32 “1971’s Best LP’s.” Time (2 January 1972): 55. [D1-AV] Very brief. “Lorca’s grim imagery set to stark, subtly shimmering music.” DB33 Boehm, Mary Louise. “Discs.” Pan Pipes of Sigma Alpha Iota (January 1972): 33. [D1-AV] “Mr. Crumb leaves nothing unturned in his search for the sound he imagines. The most characteristic sound is produced by the voice singing incredible vocalises into an amplified piano, thereby creating a shimmering echo effect.” DB34 Salter, Lionel. “Crumb: Ancient Voices of Children.” Gramophone (February 1972): 1403. [D1-AV] Salter criticizes the brief duration of the album, but notes that the music, “weaves its own quiet spell on the listener,” and is, in spite of its brevity, well worth acquiring. DB35 MacDonald, Calum. “Vocal.” Records and Recording (February 1972): 96–97. [D1-AV] MacDonald praises the recording as one of the best he has heard from this source, “with great presence and excellent stereo separation.” MacDonald also laments that another Crumb composition was not included on the album, since at barely half an hour it is a very brief disc. DB36 Kinsey, Barbara. “Disc Discussion.” NATS Bulletin (February/March 1972): 38–40. [D1-AV] “The music is excellently structured; the text well chosen and together they make a creation of great artistic insight.” DB37 Simon, Jeff. “Is Top Composer George Crumb America’s Genius of New Music?” Buffalo Evening News, 15 April 1972, Weekend Pause section, p. 38. [D20-EC; D1-AV; D1 17-NM; D34-EL] Simon happily praises the long overdue release of Echoes of Time and the River and briefly comments on several other albums.

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Page 226 DB38 Henahan, Donal. “Is the ‘New Windiness’ a Return to Wagnerism?” New York Times, 23 April 1972, section 2 p. 24. [D10-BA] “Here we have Crumb, in an unusually violent mood, writing a fantastically intricate piece for ‘electric string quartet’.” DB39 Harvey, James E. “Suite Called Well-Balanced.” Flint Journal (Flint, MI), 7 May 1972, p. 78. [D10BA] Harvey notes the various extended techniques of the work, “are not tricks in Crumb’s hands but means to the creation of a sensuous mystery with not a trace of phoniness.” DB40 Chittum, Donald. “Acoustical Research Contemporary Music Project.” Musical Quarterly 58 no. 3 (July 1972): 501–509. [D81-MAD] Chittum describes the emotional tones that Crumb calls for in the different books of Madrigals and briefly touches on some of the techniques involved. DB41 Morgan, Robert P. “Sonic Innovations for String Quartet.” High Fidelity 22 no. 10 (October 1972): 80–81. [D10-BA] Morgan believes Crumb has successfully rethought the potential of the string quartet and describes some of the extended techniques needed for the work. “ Black Angels makes an overpowering impression.” DB42 Trimble, Lester. “Recording of Special Merit: Crumb.” Stereo Review (November 1972): 104, 106. [D10-BA] Trimble rates both the performance and the recording as “superb”. DB43 “Pick of the Pack.” Time (11 December 1972): 86. [D10-BA] Brief review. “The avant-garde LP of the year…not for easy listening, though.” DB44 Northcott, Bryan. “American.” Music and Musicians 21 no. 5 (January 1973): 53–54, 56. [D1-AV] Northcott pins down a few musical associations, saying the work, “stems rather from the collage aspect of Ives, taking in on the way some of the sounds of Berlioz and Berio, but refined and etiolated so far even beyond Copland as to result in a music that compared with Carter’s has virtually no content at all.” This is apparently praise, for Northcott concludes, “this disc is surely definitive.” DB45 Rockwell, John. “Concord Quartet.” New York Times, 13 June 1973, p. 56. [D13-BA] “The most striking work here…a characteristically theatrical, romantic and altogether ingenious effort.” DB46 Rockwell, John. “A 200-Year Success Story.” New York Times, 17 June 1973, section 2 pp. 28, 30. [D10-BA; D13-BA] Rockwell compares two versions of Black Angels, one by the Concord String Quartet and the other by the New York String Quartet. Rockwell notes that the Concord String Quartet’s version has, “slightly less immediacy and impact.”

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Page 227 However, it is the one which Rockwell recommends on the basis that it is part of a stronger package. It forms part of an ambitious three disc box set. DB47 Morgan, Robert P. “The String Quartet is Alive and Well.” High Fidelity (November 1973): 89–92. [D13-BA] Morgan is somewhat disappointed with the “neutral position” taken by the Concord String Quartet, when everything about the work calls out for a more exaggerated approach. DB48 Henahan, Donal. “A Decade of Tomorrow’s Golden Oldies—Today.” New York Times, 10 March 1974, section 2 p. 29. [D87-M1] An overview of Nonesuch Records’ recent releases. “Based on David Surge’s gripping performance of the first volume, Makrokosmos seems certain to become one of the American piano pieces that must be contended with.” DB49 McLellan, Joseph. “Music of the Spheres.” Washington Post, 10 March 1974, Book World section p. 4. [D87-M1; D156/124-VB/N4M] McLellan praises Surge’s recording of Makrokosmos I, not only because of the technical skills involved and emotional impact but also, “because it makes musical sense out of some of the things that have been happening to the piano in recent generations.” McLellan briefly notes that Vox Balaenae was inspired by the actual songs of whales and that Night of the Four Moons was inspired by the Apollo 11 flight. DB50 Morgan, Robert P. “Crumb: Songs, Drones and Refrains of Death.” High Fidelity (March 1974): 82, 84. [D149-SD] Morgan notes that while the work is in many ways similar to the other Lorca settings that Crumb has previously composed this one is unusually intense and that the Philadelphia Composers’ Forum, “plays the piece with great authority and with impressive command of its special idiom.” DB51 Miller, Robert. “More Than a Collection of Gimmicks.” North Carolina Anvil, 13 April 1974, p. 9. [D87-M1] “The effects are there for a real purpose—they allow the composer to expand the scope of the piano.” DB52 Henahan, Donal. “Is It Plain or Fancy?” New York Times, 21 April 1974, section 2 pp. 26, 28. [D156/124-VB/N4M] Henahan feels that Vox Balaenae is one of Crumb’s most theatrical pieces, although some of that is lost in the transition from live performance to disc. In regard to Night of the Four Moons Henahan notes, “Crumb is not afraid to appear obvious. And yet in each instance these commonplace references turn out to add a disturbing kind of musical vertigo to the piece.” DB53 Salzman, Eric. “Recordings of Special Merit.” Stereo Review (April 1974): 110–111. [D156/124VB/N4M;D149-SD] Salzman praises the three works although he disagrees with Crumb’s interpretations of Lorca, “indeed, Crumb often clearly misinterprets the poet.”

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Page 228 DB54 Bronston, Levering. “Crumb: Makrokosmos .” New Records (May 1974): 13. [D87-M1] Bronston has little interest in the astrological aspects of Makrokosmos, however, he feels that, “Burge’s playing is remarkable in its sensitivity and technical clarity.” DB55 “New Classical Albums.” San Francisco Sunday Examiner and Chronicle, 30 June 1974, This World section p. 38. [D149-SD] Brief review, notes, “Crumb’s exceptional sensitivity to timbre.” DB56 Morgan, Robert P. “Crumb: Voice of the Whale/Night of the Four Moons/Makrokosmos I.” High Fidelity (June 1974): 80–82. [D156/124-VB/N4M; D87-M1] Morgan praises the performance of Jan DeGaetani and the Aeolian Chamber players in their performance of Night of the Four Moons, although he feels that the final passage, where the musicians walk offstage, doesn’t translate particularly well to disc. Vox Balaenae, “tends towards blandness when perceived as a whole.” Morgan is very impressed with, “Crumb’s extremely sensitive handling of the slow rhythmic pacing,” of Makrokosmos I, DB57 Clarke, John. “Reviews.” Not Man Apart (July 1974): 14. [D156-VB] Crumb, “succeeds in sketching eons of the ocean deep with a mere handful of notes, none wasted.” DB58 Salzman, Eric. “Crumb: Makrokosmos I/Four Nocturnes. ” Stereo Review (August 1974): 108–109. [D87-M1; D53–4N] Salzman notes that the sum of the techniques, expertly performed by David Burge, in Makrokosmos I creates, “an overwhelming effect.” Four Nocturnes is only briefly mentioned as a, “somewhat earlier work and hence not quite so unrelenting or despairing as Makrokosmos I.” DB59 Morgan, Robert P. “Crumb: Madrigals.” High Fidelity (November 1974): 100. [D82-MAD] “Each song is a strongly characterized, rather impressionistic evocation of the mood and quality of its text.” Morgan also praises soprano Elizabeth Suderburg, “who sings the whole set with a fine grasp of the rather special qualities of this music.” DB60 Peterson, Melody. “Nudisks: Of Whistled Ghostliness, Four Organs, and the Mushroom Man.” Numus West 5 (1974): 71–73. [D87-M1] A brief review. “Once again, Crumb cuts to the marrow of instinctual experience, juxtaposing colors, rhythms and silences.” DB61 Jack, Adrian. “Wolpe: Trio/Crumb: Eleven Echoes of Autumn, 1965.” Records and Recordings, (January 1975): 45. [D34-EL] Crumb is not quite to Jack’s taste, “if you know more than one of Crumb’s other pieces, I doubt if you will want more than two listenings of this.”

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Page 229 DB62 Salzman, Eric. “The Philadelphia School.” Stereo Review (January 1975): 106. [D82-MAD] Salzman discusses works by three composers connected with Philadelphia: Crumb, Robert Suderburg and George Rochberg. Salzman is enthusiastic about Elizabeth Suderburg’s vocals in Madrigals and the music, “like much abstract art, just is.” DB63 Turok, Paul. “The Journal Reviews: Records.” Music Journal (February 1975): 29–30. [D81-MAD] Turok briefly notes that Madrigals is interesting, for about a third of the composition, after which Crumb is merely repeating himself. DB64 Carroll, Jim. “ Madrigals, Books I–IV, Songs, Drones and Refrains of Death, Night of the Four Moons/Vox Balaenae, Black Angels, Makrokosmos .” Crawdaddy (March 1975): 69–70. [D82-MAD; D149SD; D156/124-VB/N4M; D13-BA; D87-M1] Carroll reviews a cross section of Crumb while noting, in passing, that the composer is no relation to cartoonist R.Crumb. “Hear the voices of George Crumb; they might open your ears to a world you never knew existed.” DB65 Jack, Adrian. “Crumb: Makrokosmos, Vol. I.” Records and Recording (March 1975): 46. [D87-M1] A more positive review than Jack usually accords Crumb. “Every sound is chosen and nudged into the place that allows it maximum resonance.” DB66 Thorne, Michael. “Some Crumbs of Comfort.” Hi-Fi News & Record Review (April 1975): 107–108. [D87-M1] “Subject to Crumb’s sensitivity [the techniques] coalesce in a piece that is not experimentation but consolidation, with effects surprising and intriguing but completely at the service of the music.” DB67 Gill, Dominic. “Karajan, Crumb & Ousset.” Financial Times, 1 May 1975, p. 3. [D87-M1] Gill praises Makrokosmos I for living up to Webern’s dictate, “The first principle for the presentation of a musical idea is comprehensibility.” DB68 Mann, William S. “Crumb: Makrokosmos, Volume I.” Gramophone (May 1975): 1995. [D87-M1] Mann notes the extended techniques in Makrokosmos I; praises the expert playing of David Burge and discusses the identities of some of the personages referenced by the initials listed with each movement. DB69 Furie, Kenneth. “Crumb.” High Fidelity (May 1975): 55. [D1-AV] A very brief review noting the musical worth of the work as well as the popular reception it has received. DB70 Koch, Gerhard R. “Schallplatten.” Melos/NZ (May/June 1975): 231–232. [D82-MAD; D1-AV] Brief review in German.

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Page 230 DB71 Frankenstein, Alfred. “Contemporary String Quartets.” High Fidelity (June 1975): 106–107. [D14BA] Black Angels fails to win Frankenstein over on first listen. “It is all a little affected, over stylized, and transparently calculated to impress.” DB72 Frankenstein, Alfred. “Robert Sylvester.” High Fidelity (June 1975): 108. [D136-SV] A brief review in which Frankenstein notes that the Sonata is a very early Crumb work, “full of his characteristic lyricism and finesse.” DB73 Mann, William S. “Crumb: Eleven Echoes of Autumn, 1965" Gramophone (July 1975): 200. [D34EL] Mann notes the many extended techniques called for in this piece, “they sound quite magical on this record.” DB74 Harvey, James E. “Crumb Scores With New Work.” Flint Journal (Flint, MI), 17 August 1975. [D108-MSE] Very positive review of Music for a Summer Evening, “it is worth every ounce of [the performers’] devotion, and should find enchanted listeners all over.” DB75 “Modern Sampler.” Flint Journal (Flint, MI), 17 August 1975. [D33-EC] Notes the release of The International Music Exchange Inc. Presents The Outstanding Contemporary Orchestral Compositions of the United States. DB76 Wells, Tilden. “Record Label Promotes Americans.” Columbus Dispatch (OH), 24 August 1975, Guide section p. 27. [D108-MSE] Wells rates this as one of his favorite Crumb compositions, “because it seems less preoccupied with sound, per se.” DB77 Simon, Jeff. “Classics Do Appeal to Young Audiences.” Buffalo Evening News, 6 September 1975, Weekend Pause section, p. 29. [D108-MSE] An article predominantly about modern classical compositions which might be of interest to the youth of America, including Music for a Summer Evening. DB78 Kenngott, Louise. “George Crumb Provides a Musical Feast.” Milwaukee Journal, 21 September 1975, Part 5 p. 5. [D108-MSE] Brief review of Music for a Summer Evening, complimenting the composition, performance and recording. DB79 McLellan, Joseph. “Music for Interstellar Space.” Washington Post, 21 September 1975, Book World section p. 6. [D108-MSE] McLellan notes that Crumb has avoided the trap of repeating the earlier volumes of Makrokosmos and has successfully dealt with the expanded tonal palette provided by the addition of an extra pianist and two percussionists. DB80 McLellan, Joseph. “Turntable Crumb.” Washington Post, 28 September 1975, p. G1. [D14-BA]

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Page 231 McLellan argues that the best way to experience Black Angels is via recording. McLellan notes, “there is so much visual stimulation in a live performance that the input from the ears tends to be somewhat neglected.” DB81 “Records.” Contemporary Keyboard 1 no. 1 (September/October 1975): 47. [D108-MSE] Brief review of Music for a Summer Evening. DB82 Culver Anne M. “A Whole New Musical World From George Crumb.” Rocky Mountain News (Denver, CO), 19 October 1975, p. 32. [D108-MSE] A mostly complimentary review which praises the work; the “high level” of the performance and the recording which is, “a shining example of balance and clarity.” The one caveat is a number of, “Crumbisms that begin to grate and grow old,” such as the use of quotations and the, “repetition of specific intervals and motives [that] borders on the incessant.” DB83 Porter, Andrew. “Crumb: Music for a Summer Evening. ” High Fidelity (October 1975): 72–74. [D108-MSE] Porter defends Crumb against critics who attack his formal simplicity, “there is a practical streak among the fancies.” DB84 Jack, Adrian. “Crumb: Music for a Summer Evening. ” Records and Recording (October 1975): 75– 76. [D108-MSE] “The succession of dainty, exotic confections soon palls.” DB85 R.F. “Robert Sylvester.” Stereo Review (October 1975): 120. [D136-SV] Crumb’s Sonata for Solo Violoncello is briefly described as, “tight-knit…surprisingly expressive.” DB86 Covell, Roger. “A Crumb of Comfort in the Mystery of Space.” Sydney Morning Herald (Australia), 22 November 1975, p. 11. [D108-MSE] “A sympathetic listen is likely to evoke some of our deepest human reactions to the mystery and brilliance of the cosmos around us.” DB87 Frankenstein, Alfred. “Paul Zukofsky: Music for a 20th-Century Violinist .” High Fidelity (November 1975): 132, 134. [D54–4N] Frankenstein argues that Four Nocturnes, “out-Cages Cage in exploring such sounds as are produced by rapping on the metal frame of the piano, sweeping its strings with wire brushes, and so on.” DB88 Salzman, Eric. “Crumb: Black Angels.” Stereo Review (November 1975): 127. [D14-BA] “One of the most striking pieces in recent years for the medium, partly because Crumb really breaks the boundary lines.” DB89 Freed, Richard. “Recording of Special Merit: Crumb.” Stereo Review (December 1975): 117–118. [D108-MSE]

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Page 232 Brief review of Music for a Summer Evening. Freed notes some similarities between the Crumb work and the feel of a gamelan or Ravel’s Laideronnette. DB90 Wierzbicki, James. “New Recordings.” Cincinnati Post and Times-Star, 30 January 1976. [D108MSE] Brief review of M usic for a Summer Evening superficially describing the work. DB91 Philippot, Michel P. “Crumb, George.” Diapason (Paris) (January 1976): 26. [D108-MSE] Philippot concludes that this is a, “very, very pretty,” composition. DB92 Jack, Adrian. “Chamber Music.” Records and Recording (January 1976): 40. [D10-BA] “The attention is moved discontinuously from one precious fragment to another and put in a permanent state of cheap excitement by a reverberant acoustic.” DB93 Tircuit, Heuwell. “An Amazing ‘Classical Barbra’ on the New LPs.” San Francisco Sunday Examiner & Chronicle, 15 February 1976, This World section p. 38. [D108-MSE] Brief review. “The poetics of this work are immediate in appeal, genteel in outlook and rewarding on repeated hearings.” DB94 Connolly, Justin. “Crumb: Black Angels/Music for a Summer Evening. ” Tempo 116 (March 1976): 29–31. [D14-BA; D108-MSE] Connolly discusses the effect that amplification has on Black Angels, noting with approval that, “it serves simply to magnify elements already present in the music itself.” On the other hand, Music for a Summer Evening, “is not able to justify its length on purely musical grounds.” DB95 Gill, Dominic. “Crumb of America.” Financial Times (London), 22 April 1976. [D1 17-NM; D10-BA; D32-EC; D108-MSE] Gill enthuses over the Crumb works, noting that Black Angels, “is a unique sound-world, beautifully imagined, with great conciseness and vigour,” The works by other composers which make up the bsides of the discs reviewed do not fair as well. DB96 Mann, William S. “American Chamber Music.” Gramophone (April 1976): 1624, 1627. [D10-BA] “Amazingly imaginative, wholly gripping, an extraordinary experience, perhaps a masterpiece.” DB97 Moevs, Robert. “Reviews of Records.” Musical Quarterly 62 no. 2 (April 1976): 293–302. [D108MSE] An extremely detailed and extensive review which dissects many of the minute aspects of Music for a Summer Evening. Probably the most informative review for this work.

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Page 233 DB98 Dufford, Barb. “Crumb: Music for a Summer Evening.” Syracuse Guide (April 1976): 37. [D108MSE] “Music that is aweful [sic] and beautiful.” DB99 Oliva, Mark. “Weighty Modern Composer.” Nevada State Journal, 3 October 1976, p. 55. [D87M1; D97-M2; D108-MSE; D124-N4M] Oliva notes that the Makrokosmos trilogy (as it then was) is available and briefly describes the three works. DB100 Mark, Michael. “Crumb: Makrokosmos, Vol. II.” American Record Guide (December 1976): 25. [D97-M2] Mark finds much to praise in Makrokosmos II, “most immediately striking…is the almost orchestral range of sound, touch, dynamics, pedal effects, amplification.” DB101 Potter, Keith. “Crumb: Night Music I.” Records and Recording (January 1977): 79. [D117-NM] Potter notes that although some of the percussion and keyboard textures used in Night Music I are somewhat commonplace, “Crumb was among the first to use these sorts of sounds in the way he has: slowly evolving and never too dense.” Soprano Louise Toth is found adequate, but is no Jan DeGaetani. DB102 Terry. “George Crumb.” Downbeat (10 February 1977): 22. [D97-M2] The second volume of Makrokosmos is found to be the weakest of the three volumes. DB103 Salzman, Eric. “The Avant-Garde: In Love with Easeful Death.” Stereo Review (February 1977): 124. [D97-M2] Briefly mentions Makrokosmos II (“has the composer’s now familiar array of unusual sounds”) in the midst of a review of half a dozen discs. DB104 Whittall, Arnold. “20th Century.” Gramophone (March 1977): 1454, 1457. [D117-NM] A mixed review of Night Music I. On the one hand Whittall finds it, “tends to stagnate in places,” however on the other hand it has Crumb’s, “familiar sensitivity to atmospheric timbres.” DB105 Morgan, Robert P. “Crumb: Makrokosmos II.” High Fidelity (April 1977): 99. [D97-M2] Morgan briefly discusses some of the influences he notes in this work: Schumann, Liszt, Debussy and Bartók. DB106 Spieler, F. Joseph. “Recommended Recordings.” Harper’s (June 1977): 88. [D97-M2] Very brief review. “Crumb has expanded the variety of piano sounds into orchestral proportions.”

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Page 234 DB107 Konold, Wulf. “John Cage: String Quartet in Four Parts /George Crumb: Black Angels. ” Melos/NZ 3 no. 5 (September/October 1977): 450–45 1.[D12-B A] Brief review in German. DB108 Stimeling, Gary. “George Crumb and Charles Jones.” High Times (April 1978): 93. [D10-BA] Stimeling notes, “insatiable, voracious insects open it with a screech and twitter worthy of any Psycho or Exorcist.” It is not clear if Stimeling knows that a section of Black Angels was, in fact, used on the soundtrack for The Exorcist (see D15). DB109 Henahan, Donal. “Disks: Neglected Crumb, With Jan DeGaetani.” New York Times , 29 March 1979, p. C17. [D78/55/29-LA/4N/DS] Henahan notes that this album commits to record several Crumb compositions heretofore neglected which are, “complementary sides of the same composer.” DB110 Lange. “Crumb: Lux Aeterna; Four Nocturnes; Dream Sequence. ” American Record Guide (June 1979): 17–18. [D78/55/29-LA/4N/DS] Lange finds Dream Sequence, “the most recent of these works and decidedly the weakest.” Lange’s favorite is Lux Aeterna, which he feels works well, even in the absence of the theatrical gestures of the live performance. DB111 Homfray, Tim. “Bach/Hindemith/Crumb.” Records and Recording (July 1979): 82. [D138-SV] “Crumb’s sonata is fundamentally lyrical, an ascetic, exquisitely crafted piece of extraordinary beauty.” DB112 Ditsky, John. “Crumb: Lux Aeterna; Four Nocturnes; Dream Sequence. ” Fanfare (July/August 1979): 47–48. [D78/55/29-LA/4N/DS] Ditsky notes that two of the compositions on this disc are parts of ongoing sequences ( Four Nocturnes is Night Music II, while Dream Sequence is Images II). The third work, Lux Aeterna is, “a piece of ethereal beauty.” DB113 Salzman, Eric. “Crumb: Lux Aeterna; Four Nocturnes; Dream Sequence .” Stereo Review ( August 1979): 110. [D78/55/29-LA/4N/DS] Salzman briefly discusses some of the techniques used in the three works. DB114 Davis, Peter G. “Some Contemporary Labors of Love.” New York Times, 16 September 1979, section 2 p. 24. [D1 19-NM] Davis notes that this recording, “represents the composer’s recent revision of the score in which the improvisatory sections have been fully written out.” DB115 Rich, Alan. “Report From Inner Space.” New York Magazine (24 September 1979): 102–103. [D78/55/29-LA/4N/DS] Rich finds Dream Sequence a bit too dreamy for his taste, but feels that Lux Aeterna and Four Nocturnes, “are enough to recommend this remarkable disc.”

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Page 235 DB116 Monson, Karen. “Orchestra of Our Time.” High Fidelity (October 1979): 124.[D119-NM] “This is music so quiet as to make the listener wonder whether the amplifier and speakers are failing him.” DB117 Ditsky, John. “Crumb: Night Music I.” Fanfare (November/December 1979): 58. [D119-NM] Ditsky notes the score revision and compliments the performance of DeGaetani who, “was created for the works of George Crumb.” DB118 Smoley, Lewis M. “Crumb: Night Music I.” American Record Guide (January 1980): 52–53. [D119-NM] Essentially a description of the seven notturni which make up this work. DB119 Shupp Jr., Enos E. “Crumb: Variazioni.” New Records (September 1981): 2–3. [D155-V] The reviewer notes that even in this early, student work some of Crumb’s traits are already present, “an ear for new, strange, and often exotic sounds, and a gift for scoring that is unique.” DB120 S. W. E. “Crumb: Variazioni for Orchestra. ” Fanfare 5 no. 2 (November/December 1981): 141– 142. [D155-V] The reviewer notes that by 1981 Crumb would be assured of an almost instant premiere of a new work, as opposed to the six year wait he had for Variazioni. DB121 Morgan, Robert P. “Classical Reviews.” High Fidelity (March 1982): 56. [D155-V] Morgan discusses how this early work is similar and different to more familiar, later Crumb compositions. DB122 Jones, Raymond. “Smithsonian Album Reflects Our Times.” Daily Press (Newport News, VA), 12 August 1982, p. 56. [D24-CM] Jones notes in passing that, “ Celestial Mechanics is a gripping suite in four parts, inspired by four binary or tertiary stars.” DB123 Kozinn, Allan. “Recitals and Miscellany.” High Fidelity (November 1982): 76–77, 79. [D24-CM] Kozinn notes that over the years the repeated exposure to Crumb’s techniques have rendered them, “familiar and almost ‘safe’.” DB124 Crutchfield, Will. “Classical Reviews: Crumb.” High Fidelity (December 1983): 84–85. [D7-AP] Crutchfield praises Crumb’s foray into a composition dealing with a text in his native tongue and the relatively mainstream combination of voice and piano. DB125 Passarella, Lee. “Crumb: Apparition” New Record (December 1983): 14. [D7-AP] Passarella rates Apparition as, “the finest music [he’s] heard from this composer.”

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Page 236 DB126 Suzuki, Dean. “George Crumb & Charles Ives.” Op (January/February 1984). [D7-AP] Brief review. “It is interesting to find Crumb moving away from heavy reliance on unusual instrument techniques and timbres.” DB127 Davis, Peter G. “Crumb: Apparition.” Ovation (February 1984): 39. [D7-AP] Davis describes the work as, “disturbing but seductively evocative ruminations on death.” DB128 Holmes, Thom. “George Crumb & Charles Ives.” Recordings of Experimental Music (February/March 1984). [D7-AP] Holmes contends that, “to fully enjoy the meaning of the Crumb work,” the listener must study the lyric sheet. DB129 Kozinn, Allan. “Small Labels Mine 20th Century Music.” New York Times, 29 April 1984, section 2 p. 24. [D7-AP] An article about Bridge Records and Gramavision. Kozinn notes that Apparition is, “straightforward and subdued,” by Crumb’s standards. DB130 Gerber, Leslie. “Classical Recordings.” Fanfare 7 no. 6 (July/August 1984): 161–162. [D7-AP] “Music of exceptional beauty and emotional quality, a major addition to the 20th century vocal repertory.” DB131 Simmons, Walter. “Classical Recordings.” Fanfare 7 no. 6 (July/August 1984): 219–221. [D58GV] “Precious and pretentious, continually promising an artistic experience that is never delivered.” DB132 Webster, Daniel. “2 Contribute Music Written in the ’80s.” Philadelphia Inquirer, 26 May 1985, p. H8. [D64-HL] A Haunted Landscape, “is an exploration of sonorities, using full orchestra with expanded percussion to reveal details of the orchestra’s inner sounds.” DB133 Guinn, John. “Classics: Contemporary Composers Experiment with Success.” Detroit Free Press, 2 June 1985, p. E6. [D64-HL] A brief, but positive mention of A Haunted Landscape. DB134 Kerner, Leighton. “Kerner’s Consumer Guide.” Village Voice (16 June 1985): 96. [D64-HL] Kerner comments that A Haunted Landscape answers critics who had accused Crumb of falling into the trap of self-parody. Crumb, “seemed to have regained his sense of musical poetry, his unique finegrained acoustical and timbral imagination, and his ability to conjure up powerful nostalgia.” DB135 Walsh, Michael. “Tunes From the Darker Side.” Time (24 June 1985): 82. [D64-HL]

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Page 237 Review of A Haunted Landscape. Crumb creates, “a vibrant picture of a ghostly landscape, whose desolation is heightened by a recurring set of string triads that float eerily by.” DB136 Wierzbicki, James. “New Music From George Crumb.” St. Louis Post Dispatch, 29 June 1985, p, B4. [D64-HL] Wierzbicki comments on the overall structure of the work and lauds Crumb’s use of sound effects and pacing. DB137 Ellis, Stephen W. “Classical Recordings.” Fanfare 8 no. 6 (July/August 1985): 162–164. [D64-HL] Ellis enthuses about the “otherworldly sounds” of A Haunted Landscape. DB138 Hall, David. “Crumb: A Haunted Landscape .” Ovation (September 1985): 38–39. [D64-HL] Hall praises, “the numerous and enormously varied subtle instrumental colorations,” in A Haunted Landscape. DB139 Sandow, Gregory. “Records: Classical.” Saturday Review (September/October 1985): 78. [D64HL] Very brief review. Sandow believes this is a work that even those who do not enjoy contemporary classical music might like. DB140 Freed, Richard. “Crumb: A Haunted Landscape .” Stereo Review (November 1985): 120. [D64HL] Freed is won over by the “haunting atmosphere” evoked by Crumb’s “exoticisms”. DB141 Lehrman, Paul D. “Compact-Disc Reviews.” Boston Phoenix, 9 December 1986, section 4 p. 20. [D67-LS; D84/111-MAD/MSE] Lehrman notes how well Crumb’s works sound on compact disc, with no surface noise to detract and distract the listener in quieter sections. DB142 Wierzbicki, James. “Crumb: An Idyll for the Misbegotten; Vox Balaenae; Madrigals, Books I–IV .” High Fidelity (April 1988): 73–74. [D65/159/85-ID/VB/MAD] Wierzbicki comments on Crumb’s consistency of style in regard to the three works on this disc which represent compositions which date from 1965 to 1985. DB143 Burton, Anthony. “Recordings.” Tempo 175 (December 1990): 48–49. [D17-BA] Burton believes Black Angels can suffer, “in an uncommitted performance…but the Kronos play the work with fierce intensity.” DB144 Moor, Paul. “Funky Angels.” Audio 75 (May 1991) 23–24. [D17-BA] Moor mostly comments on the lack of informative liner notes, but pauses to say that the, “electrifying performance,” left an, “indelible impression.”

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Page 238 DB145 Barras, Vincent. “Sur le Fil du Rasoir.” Dissonanz/Dissonance 28 (May 1991): 37–38. [D91/100M1/M2] Review, in French, of Makrokosmos I–II. DB146 Stiller, Andrew. “Crumb: Makrokosmos I; Five Pieces for Piano; Gnomic Variations. ” Musical America (May 1991): 73. [D90/48/59-M1/5P/GV] Stiller excoriates Jacob’s interpretations of the compositions. “Jacob simply doesn’t understand this music.” DB147 Cooper, Colin. “George Crumb.” Classical Guitar 10 (June 1992): 46. [D150/69/8-SD/LS/AP] Cooper feels some of the poetry in Songs, Drones and Refrains of Death is trampled upon by Crumb’s unsubtle effects. “ A Little Suite for Christmas is more aesthetically successful, since the music is not overpowered by another man’s art but is an expression of it.” DB148 Denton, David. “Review: CDs.” Strad (October 1992): 964. [D140-SV] “George Crumb’s Sonata has more in common with the romantic era than the modernism with which we associate him.” DB149 Hall, David. “Death and the Maiden meets Black Angels.” Stereo Review (November 1993): 114. [D18-BA] “The whole armamentarium of post-Bartók chamber-music writing is brought into play: the four string instruments are electronically amplified and subject to reverberation. The result is eerie, indeed chilling.” DB150 Denton, David. “Review: CDs.” Strad 104 (December 1993): 1215. [D143-SV] “An immediately attractive score, and at a little over ten minutes it does not outstay its welcome.” DB151 Wallace, Helen. “Review: CDs.” Strad 106 (July 1995): 750. [D144-SV] “The elegant theme and variations are followed by a jaunty toccata, whose boogie-woogie rhythms require more bite than Epperson gives here.” DB152 Nelson, Katherine. “Review: CDs.” Strad 107 (February 1996): 189. [D19-BA] Nelson praises the way in which Black Angels’, “shimmering timbral effects,” and, “heady flavour of ritual,” complement each other to, “strengthen the work’s expressive power.” DB153 Webster, Daniel. “Gentle Morpheus.” Philadelphia Inquirer, 26 May 1996, p. L5. [D125-N4M] “The most fascinating performance is that of Crumb’s Night of the Four Moons. In it [Upshaw] has to match the sounds of banjo, percussion, low flute and electric cello.”

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Page 239 DB154 Hewitt, Harry. “Brave New 2001.” 20th Century Music 4 no. 1 (January 1997): 26. [D80-LA] “Crumb employs the sitar very expressively and that’s fine, but [Hewitt finds] the original sources have greater dimension.” DB155 Valdes, Lesley. “Orchestra 2001: Music of Our Time.” Philadelphia Inquirer, 2 February 1997, p. F14. [D80-LA] Brief review which notes, “mezzo-Soprano Freda Herseth’s moodily refined singing is haunting in George Crumb’s Lux Aeterna.” DB156 Wilson, Peter Niklas. “Preziöser Sonorismus.” Dissonanz/Dissonance 51 (February 1997): 49. [D40/56/162/30-EL/4N/VB/DS] Brief review in German. DB157 Bradley, David. “Listener’s Gallery.” Journal of Singing (September/October 1997): 77–78. [D133/43/123-Q/FED/NM] “Although some listeners who are not intrigued with contemporary music may be put off at first, it is hard to believe that anybody could not ultimately be caught up in the magical world created here.” DB158 Gerlich, Thomas. “Tontrager.” Neue Zeitschrift Für Musik (September/October 1997): 68. [D40/56/162/30-EL/4N/VB/DS] Review in German. DB159 Janssen, Paul. “De Schemerzone Van de Geest.” Mens en Melodie 52 (November/December 1997) 506–507. [D95/104/114/28/51/73/62-M1/M2/MSE/CM/5P/LS/ GV] Review in Dutch. DB160 Diliberto, John. “Night of the Four Moons.” Audio (May 1998): 71. [D126-N4M] Diliberto rates Night of the Four Moons a B+ sound-wise and a B performancewise. DB161 Heister, Hanns-Wener. “Tontrager.” Neue Zeitschrift Für Musik (July/August 1998): 74. [D1 15MSE] Review in German. DB162 Dunn, Jeff. “Full Crumb.” 20th Century Music (March 1999): 27. [D6/74/153/31-AV/LS/3ES/DS] Dunn excitedly notes the sonic potential of listening to Ancient Voices of Children with a surround-sound system. Soprano Barbara Ann Martin is not judged to be the equal of the late Jan DeGaetani. DB163 Carl, Robert. “Crumb.” Fanfare (May/June 1999): 174–175. [D6/74/153/31-AV/LS/3ES/DS]

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Page 240 Carl approves of the new rendition of Ancient Voices, especially praising soprano Barbara Ann Martin who, “sings her virtuoso part with complete identification.” The other works, although “slighter” in Carl’s view, also have, “great charm and beauty.” DB164 Grolnic, Sid. “George Crumb: Ancient Voices of Children; A Little Suite for Christmas, A. D. 1979; Three Early Songs; Dream Sequence .” Penn Sounds (Spring 1999): 16. [D6/74/153/31AV/LS/3ES/DS] Grolnic proclaims this disc contains the definitive versions of Ancient Voices and Little Suite. Also of interest is this first recording of Three Early Songs dating from the composer’s early days in Charleston, WV. DB165 Dervan, Michael. “George Crumb: 70th Birthday Album.” Irish Times, 3 December 1999, p. 12. [D151/107/154-SC/MC/3ES] Brief notice of the release of this album.

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Page 241 APPENDIX A: CHRONOLOGICAL LISTING OF WORKS Juvenilia 1944 Two Duos for Flute and Clarinet 1945 Four Pieces for Violin and Piano 1945(?) Four Songs for Voice, Clarinet and Piano (on various English texts) 1945 Sonata for Piano 1946 Poem for Orchestra 1946 Seven Songs for Voice and Piano (on various English texts) 1946 Trio for Violin, Cello, and Piano 1947 Gethsemane for Small Orchestra 1947 Prelude and Toccata for Piano 1947 Three Early Songs (1. Night; 2. Let It Be Forgotten; 3. Wind Elegy) (W34) 1948 Alleluja for A Cappella Chorus Student Works 1949 Sonata for Violin and Piano 1950(?) A Cycle of Greek Lyrics (5 Songs) for Voice and Piano 1951 Prelude and Toccata for Orchestra 1951 Three Pieces for Piano 1952 String Trio 1952 Three Pastoral Pieces for Oboe and Piano 1953 Sonata for Viola and Piano 1954 String Quartet 1955 Diptych for Orchestra 1955 Sonata for Solo Violoncello (W31) 1959 Variazioni (W35)

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Page 242 Mature Works 1962Five Pieces for Piano (W10) 1963Night Music I (W25) [revised 1976] 1964Four Nocturnes (Night Music II) (W11) 1965Madrigals, Books I–II (W17–18) 1966Eleven Echoes of Autumn, 1965 (Echoes I) (W8) 1967Echoes of Times and the River (Echoes II) (W7) 1968Songs, Drones and Refrains of Death (W32) 1969Madrigals, Books II–IV (W19–20) 1969Night of the Four Moons (W26) 1970Black Angels (Images I) (W3) 1970Ancient Voices of Children (W1) 1971Vox Balaenae (W36) 1971Lux Aeterna (W16) 1972Makrokosmos, Volume I (W21) 1973Makrokosmos, Volume II (W22) 1974Music for a Summer Evening (Makrokosmos III) (W24) 1976Dream Sequence (Images II) (W5) 1976Night Music I (revised version) (W25) [original version 1963] 1977Star-Child (W33) 1979Celestial Mechanics (Makrokosmos IV) (W4) 1979Apparition (W2) 1980A Little Suite for Christmas, A. D. 1979 (W15) 1981Gnomic Variations (W12) 1982Pastoral Drone (W27) 1983Processional (W28) 1984A Haunted Landscape (W13) 1984The Sleeper (W30) 1985An Idyll for the Misbegotten (W14) [horn transcription 1997] 1986Federico’s Little Songs for Children (W9) 1987Zeitgeist (W37) 1990Quest (W29) [revised 1994] 1992Easter Dawning (W6) 1994Quest (revised version) (W29) [original version 1990] 1997An Idyll for the Misbegotten (horn transcription) (W14) [original version 1985] 1998Mundus Canis (W23)

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Page 243 APPENDIX B: CHRONOLOGICAL LISTING OF ALBUMS 1966 Advance FGR-3 (5P) [D45] 1967 CRI USD 218 (NM) [D117] 1969 CRI 233 CSD (EL) [D34] 1970 CBC Radio Canada SM 148 (NM) [D118] 1971 Acoustic Research/Deutsche Grammaphon AR 0654 085 (MAD) [D81] Louisville Orchestra LS-711 (EC) [D32] Nonesuch H-71255 (AV) [D1] Waterstradt Sound WS320S (as performer) [D166] 1972 CRI SD 283 (BA) CRI CE-2 (BA/EL) [D11, D35] 1973 Desto DC 7155 (SD) [D149] Mainstream MS 5016 (4N) [D53] Turnabout TVS-34523 (MAD) [D82] Turnabout TV-S 34610 (BA) [D12] Vox SVBX 5306 (BA) [D13]

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Page 244 1974 Columbia MQ 32739 (N4M/VB) [D124, D156] Desto DC6435/6437 (4N) [D54] Desto DC 7169 (SV) [D136] International Music Exchange Inc. ICME-1 (EC, Frozen Time section only) [D33] Nonesuch H-71293 (M1) [D87] Philips 6500 881 (BA) [D14] Warner Brothers W2774 (BA, Threnody I: Night of the Electric Insects section only) [D15] 1975 Gasparro GS 101 (SV) [D137] Nonesuch Records H-71311 (MSE) [D108] 1976 Odyssey Y342135 (M2) [D97] 1978 Bis LP-65 (SV) [D138] Columbia/Odyssey Y35201 (DS/LA/4N) [D29, D55, D78] 1979 Candide CE 31113 (NM) [D1 19] 1981 Louisville Orchestra LS 774 (V) [D155] 1982 Cameo Classics GOCLP9018D (VB) [D157] MBS Records MB55 (EL/NM) [D36, D120] Queen Elisabeth International Music Competition 1980 022 (M1/M2) [D88, D98] Radio Canada International RCI 526 (EL) [D37] Smithsonian Collection N 027 (CM) [D24] 1983 Bridge BDG 2002 (AP) [D7] Orion ORS 84473 (GV) [D58] Universidad Autonoma Metropolitana C2006 (VB) [D158] 1984 AMU Records ETST 038 (MSE) [D109] 1985 Attacca Babel 8528–3 (M1/M2) [D89, D99]

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Page 245 Bis CD-261 (MAD/MSE) [D84, D111] Bis LP-261/262 (5P/MAD/MSE) [D46, D83, D110] CRI ACS 6008, 1985 (BA/EL/NM) [D16, D38, D121] New World Records NW 326–1 (HL) [D64] 1986 Bridge BCD 9003 (LS) [D67] 1987 Attacca Babel 8740–3 (CM/LS/P) [D25, D68, D127] Bridge BCD 9006 (AP) [D7] New World Records NW 357–1 (ID/MAD/VB) [D65, D85, D159] Simax PSC 1023 (SV) [D139] 1988 Elektra/Nonesuch 791782CD (S) [D135] Mode 15 (5P) [D47] Nonesuch 9 79149–2 (AV/MSE) [D2, D112] 1989 Documentary Arts DA 106 (FED) [D42] Melodiya C10 28445003 (AV/LA) [D3/D79] 1990 Centaur Records CRC 2050 (5P/GV/M1) [D48, D59, D90] Elektra Nonesuch 9 79242–2 (BA) [D17] Ex Libris CD 6091 (M1/M2) [D91, D100] 1991 Bridge BCD 9028 (AP/LS/SD) [D8, D69, D150] Centaur Records CRC 2080 (LS/M2/P) [D70, D101, D128] Deutsche Grammaphon 431 813–2 (SV) [D140] Mode 19 (CM/Z) [D26, D165] 1992 Austro Mechano MZ92202 (MSB) [D113] Bis CD-25 (SV) [D141] Globe GLO 5089 (SV) [D142] GM Recordings GM2031CD (SV) [D143] 1993 Attacca Babel 9371/9372 (CM/5P/GV/LS/M1/M2/P) [D27, D49, D60, D71, D92, D102, D129] Centaur CRC 2152 (VB) [D160] Fidelio Classics 9213 (M1/M2) [D93, D103] Teldec 9031–76260–2 (BA) [D18]

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Page 246 1994 Col Legno WWE 1CD 31876 (AV/GV/P) [D4, D61, D130] Zuma Records ZMA 101 (LS) [D72] Zuma ZMA 102 (VB) [D161] 1995 Bis CD-52 (5P) [D50] Cala CACD77001 (BA) [D19] Caprice CAP 21450 (EL) [D39] Centaur CRC 2228 (SV) [D144] Koch Swann 3–63409–2 (M1/M2) [D94, D105] Nonesuch 79394–2 (BA, God Music section only) [D20] Ongaku Records 24104 (SV) [D145] Vienna Modern Masters VMM 2014 (P) [D131] Vox CDX 5143 (BA) [D21] Vox Box CDX 5144 (NM) [D122] Vox Box CDX 5145 (MAD) [D86] 1996 Bridge 9069 (FED/NM/Q) [D43, D123, D133] CRI CD 723 (LA) [D80] Disc Makers KLB 9601 (SV) [D146] Jecklin JD 705–2 (DS/EL/4N/VB) [D30, D40, D56, D162] Nonesuch 79364–2 (N4M) [D125] René Gailly CD87 118 (BA) [D22] 1997 Antes BM-CD 31.9045 (VB) [D163] Audiophile Classics APC 101.301 (CM/5P/GV/LS/M1/M2/MSE) [D28, D51, D62, D73, D95, D104, D114] Audite 97.455 (MSE) [D115] Austro Mechanica HSF 1007 (VB) [D164] Bridge Records 9071 (Q) [D134] CRI CD 738 (FED) [D44] CRI CD 760 (N4M) [D126] Unknown Public 09 (AV, parts III and V only) [D5] 1998 CRI CD 803 (AV/DS/LS/3ES) [D6, D31, D74, D154] Gallo CD-962 (LS) [D75] Nonesuch 795042 (BA) [D23] Pennsylvania State University KCOOK1 (SV) [D147] Piano Vox PIA 502–2 (GV/LS) [D63, D76] 1999 Bridge 9095 (MC/SC/3ES) [D107, D151, D154]

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Page 247 Col Legno WWE 1CD 20023 (5P/LS/MSE) [D52, D77, D116] Music & Arts CD-1044 (M1/M2) [D96, D106] New York Philharmonic NYP9903 (SC) [D152] 2000 Deutsche Grammophon 289469503–2 (4N) [D57] Garland 367 (AP) Harmonia Mundi HMN 911699 (SV) [D148] Jase CD 0032 (ID) [D66] Stradivarius SIR 33555 (P) [D132] Testigo TT10113 (EL) [D41]

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Page 249 INDEX Index entries refer to page or entry numbers. Numbers preceded by a lower case p indicate a page number from the Biography chapter. Entries from all bibliographic chapters are indexed with their specific alphanumeric designation. Thus, entries with a W refer to Works and Performances; C refer to Writings by Crumb; I refer to Interviews; B refer to entries in the Bibliography; PB refer to entries in the Performance Bibliography; D refer to entries in the Discography; DB refer to entries in the Discography Bibliography. Book, composition, magazine and newspaper titles are italicized. Adamenko, Victoria, I40, B456 Advance (record label), p. 8, D45 Aeolian Chamber Players, p. 8, W5, W5a–W5d, W8, W8a–W8c, W8f, W8g, W8i, W8m, W36b, W36i, W36p, W36aa, CP14, CP16, CP38, PB116, PB120, PB180, PB181, PB454, PB479, D29, D34, D35, D38, D124, D156, DB56 Aitken, Robert, W14, W14a, W14c, CP8 Alice Tully Hall (New York), W3i, W4a, W7p, W12b, W13g, W22a, W22f, W31e, W32b, W36e, W36bb, CP27, PB109, PB23i Alcaraz, José Antonio, 17, B182 Alleluja for A Cappella Chorus (Crumb Juvenilia), pp. 2–3 American Music Research Center Journal, I28, B371, B372 American Record Guide, DB2, DB10, DB27, DB100, DB110, DB118 Ancient Voices of Children (Crumb), p. 11, W1, W1a–W1cc, CP8, CP10, CP11, CP19, CP22, CP24, CP30, CP37, CP41, CP43, CP45, CP47, C2, I2, I34, B33, B38, B40, B43, B47, B49, B51, B53, B55, B57, B60, B68, B69, B81, B108, B116, B118, B123, B126, B127, B137, B142, B153, B166, B167, B174, B180, B183, B193–195, B205–B208, B224, B229, B234, B250, B251, B253, B269, 274, B285, B293, B302, B303, B316, B318,

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Page 250 B363, B404, B431, B436, B437, B442, B451, PB1– PB63, PB503, PB504, PB511–PB513, PB525, PB529, PB531, PB532, PB540, PB541, PB552, PB555, PB557, PB559, D1– D6, DB19, DB20, DB22, DB23, DB25, DB27–DB30, DB32–DB37, DB44, DB69, DB70, DB162–DB164 Ancient Voices of Children (film), B116, B127 Apollo 11 (space flight), p. 10, W26 Apparition (Crumb), pp. 17, 19, W2, W2a, W2b, CP27, CP28, CP33, CP46, B275, B356, B379, B382, B390, B421, B461, PB64–PB70, PB536, PB537, PB544, PB558, D7– D9, DB124–DB130, DB147 Archival Recordings, pp. 218–19 Armstrong, George, B210, B211, PB33 Artaud, Antonin, p. 11 Artists as Professors: Conversations with Musicians, Painters, Sculptors, I6 Astrology, I9, B344, B391, B396, B398. See also Zodiac Attacca Babel (record label), D25, D27, D49, D60, D68, D71, D89, D92, D99, D102, D127, D129 Audiophile Classics (record label), D28, D51, D62, D73, D95, D104, D114 Avery Fisher Hall (New York), W1w, W13a–W13c, W33a, PB211, PB407, D64 Bach, Johann Sebastian, pp. 12, 14 Balla, Giacomo, p. 22 Bartók, Béla, pp. 2–4, 13, 15, C5, C11, I9, I15, I27, B64, B232, B367, B375, B399, B427, B435, PB558, DB11, DB16, DB105, DB149 Bass, W. Richard, Jr., B322, B349, B383 Beethoven, Ludwig van, p. 2 Belwin-Mills Publishing Corp., pp. 12, W7, W25, B26 Berg, Alban, p. 4 Berlingske Tidende (Copenhagen), PB157, PB203, PB234 Billboard, B38 Bis (record label), B203, B294, D46, D50, D83, D84, D110, D111, D138, D141 Bist Du Bei Mir (Bach), p. 12 Black Angels (Crumb), pp. 10–11, 15, W3, W3a–W3z, CP7, CP8, CP13, CP29, CP42, CP45, CP46, C4, I9, I14, I26, I34, B39, B59, B61, 73, B82, B83, B137, B152, B163, B171, B183, B195, B265, B305, B310, B317, B318, B352, B357, B362, B373, B399, B400, B403, B415, B417, B429, B455, B459, PB71–PB102, PB499, PB500, PB503, PB504, PB515, PB539, PB550, PB554, PB557, PB558, D10–D23, DB38, DB39, DB41–DB43, DB45–DB47, DB64, DB71, DB80, DB88, DB92, DB94– DB96, DB107, DB108, DB143, DB144, DB149, DB152 Boatright, Jo, W21r, CP40, B364, D96 Boehm, Mary Louise, DB6, DB12, DB33 Blacher, Boris, p. 4 Borroff, Edith, B167, B318, B333, PB72, PB383 Boston Phoenix, I1, DB141 Boulder Daily Camera, B2, PB8, PB128, PB188, PB197 Boulez, Pierre, pp. 16, 23, W1e, W1h, W1j, W33a, I9, PB190, PB320, PB361, PB405, D152 Brahms, Johannes, p. 2 Bridge (record label), pp. 22–23, B275, B319, B439, B447, D7, D8, D43, D67, D69, D107, D123, D133, D134, D150, D151, D154, DB129 Britton, David, I17

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Page 251 Brodsky String Quartet, D18, DB149 Bruns, Steven M., B371, B372, B390, D96 Bryn-Julson, Phyllis, W16d, W17f, W17h, W171, W17r, W26d, W26f, W26k, B405, PB255, PB376 Burge, David, pp. 5, 8–10, 14, 20, W7b, W10, W10a–W10e, W12b– W12d, W21, W21a–W211, W22c, W22f, W22g, W22i, W22m, W35b, C5, I14, I34, B1, B58, B67, B70, B102, B147, B149, B150, B212, B220, B230, B231, B249, B268, B271, B310, B324, B338, PB188, PB190, PB191, PB204, PB273, PB275, PB278, PB281– PB283, PB285, PB287, PB288, PB290, PB293, PB296, PB297–PB299, PB321, PB322, PB323, PB330, D29, D40, D45, D87, D117, D121, DB48, DB49, DB54, DB58, DB68 C.F.Peters Corporation (publisher), pp. 4, 12, 20, W1–W6, W8– W24, W26–W37, C2–C5, C8, C10, C11, C13–C17, C19– C21, C23, I9, I19, I31, B208, B306–B314, B317, B434 Cala (record label), D19 Candide (record label), B221, D119 Carbon, John, B391, B396, B398 Carnegie Hall (New York), W7n, W7t, W8b, W25c, W25f, W30a, W33e, W35j, B67, PB163 Carnegie Recital Hall (New York), W10d, W17c, W21f, W22n, W26g, W31d, W32e, W32g, W36j, PB190, PB357 Celestial Mechanics (Crumb), p. 17, W4, W4a–W4f, CP23, CP25, CP27, C10, B218, B261, B329, B338, B410, PB103– PB114, PB531, PB534, PB535, PB537, D24–D28, DB122, DB123, DB159 Centaur (record label), D48, D59, D70, D90, D101, D128, D144, D160 Charleston Gazette (WV), B5, B13, B20, B24, B25, B27, B77, B362, B452, PB34, PB171 Charleson High School, p. 2 Charleston Symphony Orchestra, pp. 1–2 Chicago Tribune, B16, PB18, PB124, PB131, PB276, PB340, PB369, PB563, DB21 Chittum, Donald, DB40 Chopin, Frédéric, p. 2 Chudacoff, Edward, p. 3 Cikada String Quartet, D19, DB152 Cincinnati Enquirer, B62, PB192, PB390, PB428, DB29 Clavier, B78, B104, B154, B323, B324, PB109 Col Legno (record label), D4, D52, D63, D77, D116, D130 Columbia (record label), D29, D55, D78, D124, D156 Commanday, Robert P., PB30, PB36, PB74, PB166, PB265, PB326, PB439, PB440 Concord String Quartet, W3j, D12, D13, D21, DB46, D47 Contemporary Chamber Ensemble, p. 7, W1a–W1c, W1f, W1m, W1o, W1w, W8j, W17a, W17c, W17n, W17o, W18a, W26g, W26h, CP11, CP13, CP19, B68, B127, PB247, D1, D2, D5 Contemporary Keyboard, B147, B149, B150, B220, DB81 Cook, Don, W6a, PB121 Cook, Kim, D147 Cope, David, B41, B169, B183, B307 Craighead, David, W27, W27a, PB377 CRI (Composers Recordings, Inc.) (record label), C4, B8, B408, B418, B431–B434, D6, D10, D11, D16, D31, D34, D35, D44, D74, D80, D117, D126, D153 Crumb, David Reed (son), p. 6 Crumb, Elizabeth Ann (daughter), pp. 3–4, D154 Crumb, Elizabeth May (née Brown)

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Page 252 (wife), pp. 2, 4, 14, 18 Crumb, Jr., George Henry: Children, births of, pp. 3, 5, 7; Compositions. See individual listing; Early interest in music, pp. 1–2; Education of, high school, p. 2; undergraduate, pp. 2–3; graduate studies, pp. 3–4; Extended techniques, use of, pp. 5, 8–9; Germany, study in, p. 4; Juvenilia, p. 2. See also individual listing; Lorca, Federico García, settings of, pp. 6, 8–12, 14, 17, 19–20, 22; Marriage, of Elizabeth May Brown and, p. 2; Nature, relationship of compositions to, pp. 3, 12, 18, 20; Parents of, p. 1; Quotation, musical use of, pp. 11, 14, 21; Retirement of, p. 22; Student works, pp. 3–4. See also individual listing; SUNY (State University of New York) Buffalo, composer-in-residence at, pp. 6–7; Symbol notations, in compositions of, pp. 13–15; Teaching at, Hollins College, p. 5; University of Colorado in Boulder, p. 5; University of Pennsylvania, pp. 7, 14, 22; Theatricality, in compositions of, pp. 8–9, 12–13; Travels of, pp. 4, 14, 20, 22; West Virginia, youth in, pp. 1–2 Crumb, Sr., George Henry (father), p. 1 Crumb, Peter Stanley (son), p. 7 Crumb, Vivian (née Reed) (mother), pp. 1, 4, 9 Crumb, William Reed (brother), p. 1 Culver, Anne M., PB283, PB316, PB460, DB82 Cunningham, Carl, PB176, PB396 Cycle of Greek Lyrics (5 Songs) for Voice and Piano, A (Crumb Student Work), p. 3

Daily Pennsylvanian (University of Pennsylvania), B34, B44, B70, B331 Dansk Musik Tidsskrift, B124, B185 Das Lied von der Erde (Mahler), p. 12 Davis, Peter G., B444–B446, PB395, DB114, DB127 Debussy, Claude, p. 8, C5, I9, I15, I17, I33, B370, B374, PB226, PB295, PB318, PB338, PB379, PB427, PB433, PB561, DB105 De Dobay, Thomas Raymond, B253, B285 DeGaetani, Jan, pp. 7, 11, 12, 17, 21, W1, W1a–W1h, W1j, W1m, W1o, W1t, W2, W2a–W2b, W17a, W17c, W18a, W26g, W30a, CP1, CP2, CP9, CP11, I14, I22, B55, B127, B315, PB20, PB23, PB64, PB66, PB69, PB70, PB268, PB371, PB381, D1, D2, D5, D7, D8, D78, D81, D85, D119, D122, D124, D135, DB28, DB56, DB109, DB117 Degenhardt, Peter, W37, W37a, D26, D52, D109, D165. See also Piano Duo Degenhadt-Kent Denton, David, DB148, DB150 Denver Post, B355, PB273, PB282, PB459, PB525 DesRoches, Raymond, W24, W24a, W24b, W24h–W24j, CP9, CP14, D124 Desto (record label), B95, B96, D54, D136, D149 Deutsche Grammaphone (record label), D140 Diapason (Paris), B415, DB91 Diapason (US), B395, B438 Diptych for Orchestra (Crumb Student Work), p. 4 “Dog’s World, A”. See Mundus Canis

Doppmann, Camilla, p. 5 Downbeat, B158, B159, PB407, DB102 Dream Sequence (Crumb), pp. 15–16, W5, W5a–W5d, CP14, CP16, CP20, CP38, CP44, I9, B195, B198, B199, B216, PB115– PB120, PB516–PB518,

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Page 253 PB522, PB526, PB548, PB553, PB556, D29–D31, DB109, DB110, DB112, DB113, DB115, DB156, DB158, DB162–DB164 Dreamtiger (musical group), W36y, W36z, CP20, PB477, PB478, D157 Dufallo, Richard, I22 Dwyer, John, PB193, PB355, PB364, PB514 Dynamism of a Dog on a Leash (painting) (Balla), p. 22

Easter Dawning (Crumb), W6, W6a, C19, B438, PB121, PB553 Echoes of Time and the River (Crumb), pp. 3, 8, 9, 12, 16, 23, W7, W7a–W7t, I2, I9, I38, B10, B12, B20, B22, B26, B46, B76, B120, B148, B216, B263, B301, B312, B318, PB122–PB162, D32–D33, DB20, DB21, 24, 29–DB31, DB37, DB75, DB95 Echoes I. See Eleven Echoes of Autumn, 1965 Echoes II. See Echoes of Time and the River Eine Kleine Mitternachtmusik (Crumb), p. 23 Eleven Echoes of Autumn, 1965 (Crumb), p. 8, W8, W8a– W8r, CP3, CP7, CP14, CP16, CP21, CP22, CP24, CP25, CP27, CP29, CP33, CP35, CP46, B37, B71, B171, B183, B242, B277, B320, PB163–PB186, PB493, PB499, PB500, PB505, PB516–PB518, PB522, PB527–PB529, PB531– PB534, PB539, PB544, PB546, PB558, D34–D41, DB7–DB13, DB16, DB37, DB61, DB73, DB156, DB158 Elizabeth Croft Scholarship, p. 4 Elizabeth Sprague Coolidge Foundation, p. 11, W1, B118 Ennis, Bayard F., B5, B20, B24, B25, B27, PB171 Ensemble für Neue Musik Zürich, D56, D162 Ensemble New Art, D4, D116 Espectador (Bogota), B279, PB445 Esquire, DB18 Evening Bulletin (Philadelphia), B59, B177, PB75, PB81, PB165, PB194, PB285, PB337, PB366, PB432, PB489 Ex Libris (record label), D91, D100 Exorcist, The (film), B83, B85, B137, B403, D15, DB108 Extended technique, pp. 5, 8–9, B165, B258, B354, B356, B366, B406 Fanfare, I21, I41, DB112, DB117, DB120, DB130, DB131, DB137, DB163 Faulkner, Susan Green, B222 Federico’s Little Songs for Children (Crumb), p. 20, W9, W9a, CP45, C16, B390, B418, PB187, PB557, D42–D44, DB157 Felton, James, B59, PB75, PB81, PB165, PB194, PB285, PB416, PB489 Fennelly, Brian, B60, B71 Financial Times (London), PB14, PB197, PB225, DB95 Finn, Robert, B23, B123, B243, PB80, PB134, PB278, PB320, PB500, PB519 Finney, Ross Lee, p. 3, C22, I1, B318, PB107, PB108 Fitz, Richard, W24, W24a, W24b, W24h–W24j, CP9, D108, D112 Five Pieces for Piano (Crumb), pp. 5, 8, 13–14, W10, W10a–W10f, CP10, CP18, CP31, I14, I34, B58, B78, B86, B137, B149, B184, B258, B268, B276, B291, B310, B318, B356, B365, B373, B422, B430, B440, B441, PB188–PB192, PB496, D45–D52, DB1–3, DB146, DB159 Fleming, Shirley, B21, B109, PB103,

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Page 254 PB261 Foss, Lukas, p. 7, W32i, B2, B97, B124, PB374, PB395 Four Nocturnes (Crumb), pp. 6, 15, W11, W11a–W11h, CP3, CP11, CP20, CP21, CP24, CP25, CP33, B18, B212, B373, B377, PB193–199, PB493, D53–D57, DB58, DB87, DB109, DB110, DB112, DB113, DB115, DB156, DB158 Four Pieces for Violin and Piano (Crumb Juvenilia), p. 2 Four Processionals for Orchestra. See Echoes of Time and the River Four Songs for Voice, Clarinet and Piano [on various English texts] (Crumb Juvenilia), p. 2 Frankenstein, Alfred, PB384, PB497, DB31, DB71, DB72, DB87 Frankfurter Allgemeine Zeitung (Frankfurt), PB56, PB57, PB68 Freeman, James, W24, W24a, W24b, W24h–W24j, W32k, CP9, CP43, CP47, CP48, CP50, B408, B433, D6, D31, D80, D108, D112, D126, D153. See also Orchestra 2001 Fried, Alexander, PB29, PB35, PB136, PB264, PB438 Garland (record label), D9 Gaudeamus Quartet, W3m, PB89, D14 Gelewski, Rolf, p. 5 Gelles, George, PB255, PB463 George Crumb Entrivista y Comentarios (Mexico City), I7, B182 George Crumb: Profile of a Composer, p. 20, B306, B307–B314, B317, B324, B333 George Crumb: Voice of the Whale (film), p. 16, B164, B191 Gethsemane for Small Orchestra (Crumb Juvenilia), p. 2 Giffin, Glenn, B355, PB10, PB48, PB273, PB525 Gillespie, Don, p. 20, B306 Giotto (painter), p. 17, W15, I35, B426, B432 Globe and Mail (Toronto), B79, B448, PB177, PB380, PB503, PB545 Gnomic Variations (Crumb), p. 18, W12, W12a–W12f, CP32, CP42, B271, B273, B330, B354, B422, B427, B430, PB200–PB208, PB543, PB554, D58–D63, DB131, DB146, DB159 Gorišek, Bojan, D28, D51, D62, D73, D95, D104, D114 Gramophone, DB34, DB68, DB73, DB96, DB104 Griffiths, Paul, B199, PB15, PB89, PB162, PB223, PB271, PB420, PB502 Grimes, Ev, I16, I18 Groslot, Robert, D88, D93, D98, D103 Gubrud, Irene, W33a–W33e, W33g– W33i Haimovitz, Matt, D140, DB148 Hamilton, David, B37, B101, B334, PB506, PB509, DB9, DB16, DB28 Harkins, Suzanne MacLean, B98 Harrinton, David, p. 11. See also Kronos Quartet Haunted Landscape, A (Crumb), p. 19, W13, W13a–W13h, CP35, I38, B295, B316, B325, B412, PB209– PB232, PB546, D64, DB132–DB140 Haydn, Franz, p. 11 Heller, Joan, D9 Helmerson, Frans, D138, D141, DB111 Henahan, Donal, B17, B19, B36, B55, B67, B113, B114, B340, PB2, PB51, PB64, PB84, PB122, PB126, PB135, PB156, PB158, PB180, PB185, PB211, PB259, PB342, PB348, PB372, PB384, PB388, PB418, PB435, PB444, PB449, PB455, PB465, PB548, DB7, DB8, DB15, DB17, DB20, DB38, DB48, DB52, DB109 Henz-Diémand, Emmy, D91, D100

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Page 255 High Fidelity, DB9, DB18, DB28, DB31, DB41, DB47, DB50, DB56, DB59, DB69, DB71, DB72, DB83, DB87, DB105, DB116, DB121, DB123, DB124, DB142 High Fidelity/Musical America, B21, B110, B160, PB115, PB181, PB261, PB358, PB406, PB429, PB454, PB492 Highwater, Jamake, B173, PB154 Hindemith, Paul, pp. 3–4 Hochschule für Musik (Berlin), p. 4 Hollins College, p. 5 Hruby, Dolores, B126 Hughes. Allen, PB99, PB163, PB249, PB381, PB391, PB462 Hume, Paul, I2, B48, B65, B192, PB3, PB141, PB244, PB256, PB258, PB280, PB95, PB309, PB317, PB368, PB436

Idyll for the Misbegotten, An (Crumb), p. 20, W14, W14a–W14c, CP34–CP36, CP41, CP52, C21, I23, B326, PB545– PB547, PB552, PB553, PB564, D65–D66, DB142 Images I. See Black Angels Images II. See Dream Sequence International Rostrum of Composers Award (UNESCO), p. 11, W1, B38, B40, B43 Jack, Adrian, PB22, PB146, DB61, DB65, DB84, DB92 Jacob, Jeffrey, p. 18, W12, W12a, W12e, W12f, W22n, B266, PB200, PB331, D48, D58, D59, D70, D90, D101, D128 Jacobs, Paul, W4, W4a Jecklin, (record label), D40, D56, D162 Jiorle-Nagy, Linda A., B374 Johnson, Harriett, PB16, PB50, PB311, PB398 Jubal Trio, W9, W9a, B418, PB187, D44 Juvenilia, pp. 2–3. See also individual compositions Kalish, Gilbert, p. 19, W2, W2a, W2b, W4, W4a, D11e, W24, W24a, W24b, W24h–W24j, W28, W28a, W28b, W30a, CP9, 11, CP11, CP32, PB69, PB197, PB378–PB380, PB543, D7, D8, D53, D54, D108, D112, D135 Kent, Fuat, W37, W37a, B441, D4, D26, D52, D61, D77, D109, D130, D165. See also Piano Duo Degenhardt-Kent Kerner, Leighton, PB11, PB65, PB314, PB403, PB451, PB507, PB541, DB134 Kingan, Michael Gregory, I27, B367 Klein, Elisabeth, B178, B339, PB292 Kolodin, Irving, B14, DB4, DB23 Koussevitsky International Recording Award, p. 11, W1, B38 Kronos Quartet, p. 11, W3p–W3w, I26, B362, B429, B459, PB96, PB100, D17, D20, D23, DB143 Ledbetter, Robert B., I29, B366 “Let It Be Forgotten” (Teasdale), p. 18. See also Teasdale, Sara Lewis, Robert Hall, B3 Libbey Jr., Theodore W., PB233, PB350, PB351 Library of Congress, W1a, W1f, W5b, W17a, W18a, W24j, W36a, I34, PB350, D24 Liebman, Stuart, I1 Little Suite for Christmas, A. D. 1979, A, pp. 17–18, W15, W15a– W15e, CP47, CP49, I35, B319, B329, B330, B332, B422, B424, B426, B430– B434, B440, B441, PB233– PB238, PB559, PB561, D67– D77, DB141, DB147, DB159, DB162–DB164 Lorca, Federico García, pp. 4, 6, 8–12, 14, 17, 19, 20, 22, W1, W8, W9, W17–W20, W25, W26, W32, C2, C6, C16, I1, I2, I9, I17, I20, I22, I28, I31, I32, B36, B64, B79, B126, B164, B174, B201, B206, B253, B255, B285, B334, PB9,

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Page 256 PB30, PB36, PB43, PB52, PB259, PB260, PB271, PB364, PB389, PB395, PB396, PB489, PB502, PB562, DB16, DB19, DB20, DB28, DB32, DB50, DB53 Los Angeles Times, B46, B325, B413, B450, PB28, PB61, PB70, PB139, PB179, PB288, PB334, PB345, PB361, PB424, PB486, PB543 Louisville Orchestra, D32, D155, DB20, DB21, DB24, DB29– DB31, DB37, DB95, DB119– DB121 Lowens, Irving, PB1, PB45, PB117, PB243, PB246, PB437 Lusk, Larry, B84, B121, B125 Lux Aeterna (Crumb), pp. 12–13, W16, W16a–W16e, CP5, CP8, CP9, CP27, B90, B101, B216, B225, B231, B269, B408, B409, B421, PB239– PB245, PB495, PB505, PB504, PB506–PB508, PB536, D78–D80, DB109, DB110, DB112, DB113, DB115, DB154, DB155 Macbeth, Peter Cunningham, B153 Mabry, Shirley, B302, B303 MacCluskey, Thomas, B1, B58, PB9, PB127, PB138, PB172, PB274, PB431, D117, D121 Machlis, Joseph, B180, B224 Madrigals, Book I (Crumb), p. 7, W17, W17a–W17e, W17i, W17k, W17l–W17r, I34, B52, B101, B216, B405, B451, PB246– PB254, PB259, PB262– PB267, PB269–PB272, PB496, PB498, PB501, PB502, PB506–PB509, PB513, PB515, PB524, PB533, PB551, PB556, PB562, PB563. See also Madrigals, Books I–IV Madrigals, Book II (Crumb), p. 7, W17a, W17c–W17e, W17i, W17j, W17l, W17m, W17o– W17r, W18, W18a, I34, B143, B330, B405, B407, PB246–PB249, PB251– PB254, PB259–PB261, PB263–PB265, PB270– PB272, PB513, PB523, PB524, PB534, PB542, PB551. See also Madrigals, Books I–IV Madrigals, Book III (Crumb), p. 10, W17e–W17h, W17m, W17o– W17q, W19, W19a, B34, PB253– PB258, PB264, PB265, PB268, PB270– PB212, PB529. See also Madrigals, Books I–IV Madrigals, Book IV (Crumb), p. 10, W17e–W17g, W17m, W17o– W17q, W20, W20a, B52, PB253– PB257, PB264, PB265, PB270–PB272. See also Madrigals, Books I–IV Madrigals, Books I–IV (Crumb), pp. 10, 20, W17e, W17m, W17o– W17q, I31, B72, B89, B112, B174, B207, B253, B277, B285, B297, B326, B348, B356, B406, PB253, PB254, PB264, PB265, PB270– PB272, PB489–PB492, PB494, PB514, PB519, PB552, D81–D86, DB14, DB15, DB17, DB18, DB26, DB40, DB50, DB62–DB64, DB70, DB141, DB142. See also listing for individual books Mahler, Gustav, p. 12 Makrokosmos, Volume I (Crumb), pp. 13–14, W21, W21a–W21r, CP17, CP23, CP29, CP49, CP50, C5, I9, I33, B58, B65, B67, B70, B84, B86, B87, B98, B104, B115, B132, B149, B184, B220, B222, B225, B249, B258, B296, B304, B314, B322, B323, B327, B330, B344, B349, B364, B374, B391, B396, B398, B414, B422, B443, B460, PB273–PB310, PB523, PB530, PB539, PB561, D87–

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Page 257 D96, DB48, DB49, DB54, DB56, DB58, DB60, DB64– DB68, DB99, DB145, DB146, DB159 Makrokosmos, Volume II (Crumb), pp. 13, 15, W22, W22a–W22n, CP23, CP42, I9, I33, B110, B115, B121, B149, B154, B156, B165, B177, B184, B220, B222, B225, B226, B243, B249, B258, B296, B314, B322, B324, B330, B344, B349, B364, B370, B375, B422, B460, PB311– PB332, PB510, PB530, PB551, D97–D106, DB99, DB100, DB102, DB145, DB159 Makrokosmos, Volume III. See Music for a Summer Evening Makrokosmos, Volume IV. See Celestial Mechanics Marshall, Ingram, I34 Martin, Barbara Ann, W1x, W17n, W26h, CP14, CP19, CP38, CP43, CP51, B431, B434, D6, D31, D74, D126, D153, DB162, DB163 Mason College, p. 2 Matthews, Nell Wright, B249 Mayer, Martin, PB358, PB406, DB18 McHoul, Arthur, p. 2 McLellan, Joseph, B138, PB93, PB101, PB245, PB392, PB469, DB49, DB79, DB80 Mehta, Zubin, W1x, W13c, W13e, W13f, B325, PB53, PB223, PB228, PB229 Mens en Melodie, B155, PB155, DB159 Michaelis, Kurt (translator), C3, C5, C8, C10, C13–C17, C19–C21, C23, B434 Mikrokosmos (Bartók), p. 13 Miller, Robert, pp. 12, 15, W22, W22a, W22e, W22j, W22k, B249, PB320, PB325, D97 Modarelli, Antonio, p. 2 Mode (record label), D26, D47, D165 Monk, Thelonious, p. 23 Monson, Karen, PB178, PB339, PB341, DB116 Morgan, Robert P., DB41, DB47, DB50, DB56, DB59, DB105, DB121 Mueller, Zizi, D65, D159 Mugge, Robert (director), p. 16, B164, B191. See also George Crumb: Voice of the Whale Mundus Canis (Crumb), p. 22, W23, W23a–W23e, CP48, C23, I33, B423, B428, B439, B451, PB333– PB336, PB560, PB562–PB564, D107, DB165 Music for a Summer Evening (Crumb), p. 15, W24, W24a–W241, CP9, CP12, CP15, CP23, CP26, CP34– CP36, CP51, CP52, C7, I9, I27, B113, B119, B125, B199, B216, B222, B225, B229, B232, B259, B269, B272, B341, B367, B399, B433, B440, B441, B451, PB337–PB354, PB506–PB510, PB514, PB519, PB530, PB535, PB545–PB547, PB562– PB564, D108–D116, DB74, DB76–DB79, DB81–DB83, DB86, DB90, DB93–DB95, DB97–DB99, DB141, DB159, DB161 Musica Varia (music group), D83, D84 Musical America. See High Fidelity/Musical America Musical Quarterly, B4, PB126, PB279, PB300, PB320, PB360, DB8, DB40, DB97 Musical Sketchbook (television program), B1 Mutter, Anne-Sophie, D57 Nasveld, Robert, D25, D27, D49, D60, D68, D71, D89, D92, D99, D102, D127, D129 National Endowment for the Arts, p. 16 National Institue of Arts and Letters, p. 8 Nativity frescoes (Giotto), p. 17 NATS Journal, B302, B303, B382

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Page 258 Neue Zeitschrift für Musik, DB158 New World Records (record label), D64, D65, D85, D159 New York Camerata, W36, W36a, W36c, W36e, CP4, PB447, D160 New York Philharmonic, W1e, W1h, W1j, Wix, W13, W13a– W13c, W13e, W13f, W33a, PB214, PB216, PB224, D64, D152 New York String Quartet, W3c, D10, D11, D15, D16, DB46 New York Times, B6, B11, B17, B36, B55, B67, B69, B81, B82, B87, B103, B106, B109, B113, B114, B116, B189, B215, B218, B228, B264, B340, B389, PB2, PB4, PB23, PB51, PB64, PB84, PB87, PB99, PB100, PB104, PB135, PB152, PB156, PB158, PB162, PB163, PB180, PB185, PB190, PB199, PB204, PB209, PB211, PB221, PB237, PB249, PB259, PB287, PB312, PB321, PB331, PB333, PB342, PB348, PB356, PB372, PB374, PB381, PB4, PB385, PB388, PB391, PB393, PB395, PB400, PB418, PB434, PB435, PB444, PB449, PB455, PB462, PB465, PB474, PB480, PB488, PB491, PB515, PB517, PB535, PB536, PB540, PB548, DB1, DB7, DB15, DB20, DB38, DB45, DB46, DB48, DB52, DB109, DB114, DB129 New Yorker, B88, PB17, PB53, PB106, PB217, PB268, PB313, PB402, PB450, PB497, PB505, PB506 “Night” (Southey), p. 18. See also Southey, Robert Night Music I (Crumb), pp. 6–7, 12, W25, W25a–W25ff, CP1, CP2, CP5–CP7, I9, I29, B1, B3, B4, B8, B37, B171, B174, B194, B221, B229, B253, B272, B285, B316, B318, PB355–PB364, PB489–PB492, PB495, PB498–PB502, PB525, PB526, D111–D123, DB4– DB6, DB16, DB37, 95, DB101, 104, DB114, DB116–DB118, DB157 Night Music II. See Four Nocturnes Night of the Four Moons (Crumb), p. 10, W26, W26a–W26k, CP2, CP14, CP21, CP25, CP26, CP36, CP38, CP43, CP44, CP47, CP48, CP51, B35, B94, B153, B162, B171, B174, B192, B193, B198, B252, B253, B257, B277, B285, B309, B358, B451, PB365–PB376, PB491, PB505, PB516–PB518, PB527, PB528, PB533– PB535, PB540, PB541, PB547, PB548, PB553, PB555, PB556, PB559, PB560, PB562, PB563, D124–D126, DB49, DB52, DB53, DB56, DB64, DB99, DB153, DB160 Noces, Les (Stravinsky), p. 13, D166 Nonesuch (record label), C2, C7, B113, B208, B334, D1, D2, D17, D20, D23, D87, D108, D112, D125, D135, DB48 Northcott, Bayan, PB14, PB20, PB144, DB44 Notes, B60, B61, B71, B84, B112, B121, B125, B172, B212, B231, B336, B338, B390 Numerology, I9, I27, I40, B354, B391, B396, B398, B400, B414, B456, PB78, PB539 Nutida Musik, B135, B237, B238, B263, B320 Odyssey (record label), D29, D55, D78 Official George Crumb Home Page, The (website), B419 Orchestra 2001, W32k, CP43, CP47, CP48, CP50, I34, B397,

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Page 259 B408, B433, B442, PB397, D6, D31, D80, D126 Orchestra 2001 in Russia (video), B442 Orion (record label), B273, D58 Orkis, Lambert, p. 18, W4b–W4f, W15, W15a–W15e, W21p, W24c, W36r, W36t, W36u, W36w, W36x, I35, B249, B424, PB309, D24, D57, D67, D69 Ormandy, Eugene, W35c, W35d, PB432

Paganini Variations (Rachmaninoff), p. 14 Pan Pipes of Sigma Alpha Iota, B28, DB6, DB12, DB33 Parable for Soprano, Antiphonal Children’s Choir, Male Speaking Choir and Bell Ringers, and Large Orchestra. See Star-Child Parmelee, Paul, W11d, B1, B2, D117, D121 Pastoral Drone (Crumb), pp. 18–19, W27, W27a, B395, PB377 Patterson, Robert, W14, W14b, CP52, C21 Penn Contemporary Players, p. 13, D78, D166 Perspectives of New Music, p. 7, C1, I9, B3, PB210 Peters. See C.F.Peters Corporation Philadelphia Composer’s Forum, W16, W16a–W16c, W32d, W32f– W32h Philadelphia Inquirer, B9, B12, B29, B33, B35, B39, B56, B214, B300, B343, B377, B381, B397, B410, PB82, PB159, PB164, PB187, PB195, PB286, PB338, PB343, PB367, PB397, PB417, PB433, PB453, PB467, PB485, PB490, PB516, PB524, PB549, PB554, PB555, PB557, PB560, DB24, DB132, DB153, DB155 Philadephia Orchestra, p. 15, W7q, W26b, W33d, W33e, W35c, W35d, B32, B56, B214, B215, B217, PB432 Philips (record label), D14 Piano Duo Degenhardt-Kent, D26, D165. See also Degenhardt, Peter; Kent, Fuat Piano Quarterly, B86, B176 Plain Dealer (Cleveland), B23, B45, B123, B243, B455, PB80, PB134, PB278, PB320, PB324, PB500, PB519 Plush, Vincent, I14 Poe, Edgar Allan, p. 19, W30, B334 Poem for Orchestra (Crumb Juvenilia), p. 2 Politika (Belgrade), PB322 Porter, Andrew, B88, B115, PB17, PB106, PB217, PB268, PB313, PB402, PB450, PB497, PB506, DB83 Prelude and Toccata for Orchestra (Crumb Student Work), p. 3 Prelude and Toccata for Piano (Crumb Juvenilia), p. 2 Price, Theodore, PB495, DB22 Primosch, James, W4b–W4f, D24 Processional (Crumb), p. 19, W28, W28a–W28b, CP32, I34, B308, B329, B330, B373, B422, B430, PB378–PB380, PB543, D127–D132 Pulitzer Prize, p. 9, W7, B10–B16, B19, B20, B24, B109 Quest (Crumb), W29, W29a–W29c, CP39–CP42, C20, I32, I33, B342, B342, B420, B443, PB549, PB553, PB554, PB559, PB560, D133–D134, DB157 Rachmaninoff, Sergei, p. 14 Ray, Satyajit (director), PB19 Records and Recording, DB35, DB65, DB84, DB92, DB101, DB111 Redmond, Michael, I10 Reinthaler, Joan, PB16, PB198, PB262, PB315, PB448 Requiem Mass, W16 Reuter, Rocky J., B291, B304

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Page 260 Rich, Alan, PB24, PB289, PB518, DB25, DB115 Riebensahm, Erich, p. 4 Riis, Thomas, I28 Roca, Octavio, PB52, PB113, PB235, PB376, PB479 Rochberg, George, B32, B124, B133, B179, B264, B267, DB62 Rockefeller Foundation, B2, PB355 Rockefeller Grant, p. 6 Rockwell, John, B46, PB179, PB221, PB321, PB374, PB385, PB393, PB536, DB45, DB46 Rocky Mountain News (Denver), I26, B58, PB127, PB138, PB172, PB274, PB283, PB316, PB431, PB460, DB82 Rouse III, Christopher Chapman, B174, B278 Ruch Muzyczny (Warsaw), 15, B131, B145, B146, B298, B347, PB58, PB208 Salzman, Eric, DB3, DB30, DB53, DB58, DB62, DB88, DB103, DB113 Sams, Carol, B133 San Francisco Chronicle, B63, PB30, PB36, PB74, PB137, PB167, PB265, PB326, PB370, PB394, PB439, PB440, PB481 Saturday Review, B14, DB4, DB14, DB23, DB139 Schoenberg, Arnold, p. 5 Schonberg, Harold C., B87, PB4, PB104, PB152, PB312, PB400, PB434 Serge Koussevitzky Music Foundation, p. 7, W17, W18 Seven Songs for Voice and Piano [on various English texts] (Crumb Juvenilia), p. 2 Shim, Young Gee, I35, B424 Shuffett, Robert Vernon, 19, I11, I19, B225 Singer, Samuel L., PB286, PB343, PB367, PB489 Sleeper, The (Crumb), p. 20, W30, W30a, C14, I34, B334, B421, PB381, D135 “Sleeper, The” (Poe), p. 19, W30, B334 Smith, Patrick J., PB66, PB110, PB219, PB404, PB510 Sonata for Piano (Crumb Juvenilia), p. 2 Sonata for Solo Violoncello, p. 4, W31, W31a–W31g, CP10, CP17, CP20, CP22, CP28, CP31, CP33, B96, B137, B318, B350, 359, B360, B402, 435, PB382–PB387, PB496, PB511, PB512, PB523, PB526, PB537, PB544, PB553, D136–D148, DB72, DB85, DB111, DB148, DB150, DB151 Sonata for Viola and Piano (Crumb Student Work), p. 4 Sonata for Violin and Piano (Crumb Student Work), p. 3 Songs, Drones and Refrains of Death, (Crumb), pp. 6, 9, W32, W32a–W32k, CP1, CP24, CP39, C6, I3, B24, B30, B41, B171, B172, B174, B253, B269, B285, B292, B366, B385, B388, PB388–PB397, PB489, PB490, PB497, PB531, PB532, PB549, D149–D150, DB50, DB53, DB55, DB64, DB147 Soundpieces: Interviews with American Composers, I13 Southey, Robert, p. 18. See also Three Early Songs Speculum Musicae (music group), W17j, W29, W29a, CP39, CP42, B342, PB261, PB549, D43, D123, D133, D134, D150 Stanley String Quartet, W3, W3a Star-Child (Crumb), pp. 16, 23, W33, W33a–W33j, C8, I38, I41, B186, B214, B215, B217, B227, B241, B318, B336, B375, B421, B439, B445– B447, PB398–PB426, D151– D152, DB165 Starobin, David, P. 23, W23, W23a– W23e, W26d, W29, W29a, CP14, CP26, CP52, I38,

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Page 261 B342, B423, B428, B439, PB335, PB336, D107, D133, D134 Steinberg, Michael, PB5, PB6, PB27, PB471 Steinitz, Richard, B17, B171, B200 Sterne, Teresa, B208 Stereo Review, DB30, 42, DB53, DB58, DB62, DB85, DB88, DB89, DB103, DB113, DB140, DB149 Stockholm, Gail, B62, PB192, PB390 Strad, DB148, DB150–DB152 Stravinsky, Igor, p. 13, D166 Strickland, Edward, I21 String Quartet (Crumb Student Work), p. 4 String Trio (Crumb Student Work), p. 3 Strongin, Theodore, DB1 Student Works, pp. 3–4. See also individual compositions Suderburg, Elizabeth, W1n, W17d, W17e, W17g, W19, W19a, W20, W20a, PB251, PB257, D82, D86, DB59, DB62 Suderburg, Robert, W1n, DB62 Summer Morning by the Lake (Schoenberg), p. 5 SUNY (State University of New York) Buffalo: composer-in-residence at, p. 7 Swed, Mark, PB61, PB69 Sydney Morning Herald (Australia), B140, PB182, PB269, DB86 Sylvester, Robert, D136, DB72, DB85 Symbol notation, p. 14, I22 Takenouchi, Aleksei, I20, B330 Tan, Margaret Leng, B335, D47 Tanglewood (MA), W7o, W17i, W28a, W36s, B4, B118, PB360, PB471 Teasdale, Sara, p. 18. See also Three Early Songs Teldec (record label), D18 Tempo, DB94, DB143 Thirteen Images From a Dark Land. See Black Angels Thome, Joel, W32d, CP2, D119, D122 Three Early Songs (Crumb), pp. 2, 18, W34, W34a–W34b, B228, B434, B451, PB427, D153– D154, DB162–DB165 Three Pastoral Pieces for Oboe and Piano (Crumb Student Work), p. 3 Three Pieces for Piano (Crumb Student Work), p. 3 Tiempo (Bogota), B280–B282, PB446, PB538 Time, DB26, DB32, DB43, DB135 Times (London), PB13, PB43, PB142, PB223, PB271, PB441, PB477, PB498 Tirciut, Heuwell, B63, PB137, PB370, PB481, DB93 Toth, Louise, B1, D101, D117, D121 Trackings, I22 Trio for Violin, Cello, and Piano (Crumb Juvenilia), p. 2 Trotter, Herman, B160, PB77, PB85, PB102 Turnabout (record label), B72, B73, D12, D82 Tuttle, Raymond, I41 Twelve Fantasy-Pieces after the Zodiac for Amplified Piano. See Makrokosmos, Volume I. See also Makrokosmos, Volume II 20th Century Consort, W1v, W1y, W11g, W16e, B261, PB12, PB113, PB309, PB475, D24 20th Century Music, DB154, DB162 24 Preludes (Debussy), p. 13 Two Duos for Flute and Clarinet (Crumb Juvenilia), p. 2 University of Colorado in Boulder, p. 5 University of Illinois at Urbana, p. 3

University of Michigan, pp. 3–5 University of Pennsylvania, pp. 7, 14, 22 USSR Bolshoi Theatre Orchestra, D3, D79 Valdes, Lesley, B342, B381, B397, B410 Variazioni (Crumb), pp. 5, 8, 15, 16, W35, W35a–W35j, I38, B56, B62, B248, PB428–PB446, D155, DB119–DB121 Vietnam War, p. 11

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Page 262 Voice of the Whale. See Vox Balaenae Voices of Change, D42 Vox (record label), D13, D21, D63, D76, D86, D122 Vox Balaenae (Crumb), p. 12, W36, W36a–W36ii, CP4, CP5, CP8, CP10, CP14–CP16, CP18–CP21, CP24, CP30, CP31, CP33, CP38, C3, I9, B111, B122, B137, B164, B175, B223, B225, B229, B269, B289, B318, B326, B332, B384, B451, B457, PB447–PB486, PB494– PB497, PB503, PB504, PB511, PB512, PB516– PB519, PB522, PB524, PB526–PB528, PB531, PB532, PB540–PB542, PB544, PB548, PB553, D156–D164, DB49, DB52, DB53, DB56, DB57, DB64, DB142, DB156, DB158

Wall Street Journal, B83 Walsh, Michael, PB226, PB294, PB322 Washington Post, B48, B65, B138, B192, PB3, PB44, PB52, PB93, PB101, PB113, PB114, PB116, PB141, PB189, PB198, PB200, PB235, PB238, PB244, PB245, PB248, PB256, PB258, PB262, PB280, PB309, PB315, PB317, PB368, PB382, PB392, PB436, PB448, PB469, PB479, PB483, PB561, DB49, DB79, DB80 Waterstradt Sound (record label), p. 13, D166 Webern, Anton, p. 6, I9, I15 Webster, Daniel, B9, B12, B29, B32, B39, B56, B214, B300, PB82, PB159, PB164, PB195, PB338, PB397, PB417, PB433, PB453, PB467, PB516, PB524, PB555, DB24, DB132, DB153 Weisberg, Arthur, W1a–W1c, W1f, W1m, W1o, W1q, W1w, W13, W13a–W13b, W17a, W17c, W17o, W18a, CP19, B127, D64 Wernick, Richard, pp. 13, 17, 21, W33d, W33e, CP1, B32, B93, B164, B179, B267, B312, B410, D78, D81, D85 Westergaard, Peter, p. 7, C1 “When Lilacs Last in the Dooryard Bloom’d” (Whitman), W2, B461 Whitman, Walt, W2, B275, B461, D9 Willis, Thomas, B16, PB18, PB124, PB131, PB340, PB369, DB21 “Wind Elegy” (Teasdale), p. 18. See also Sara Teasdale Zeitgeist (Crumb), p. 21, W37, W37a– W37b, CP37, CP38, C17, PB487, PB488, PB548, D165 Zodiac, p. 14, W21, W22, PB284, PB322, PB539. Zukofsky, Paul, p. 7, W11a, W11b, W11d, W11e, PB196, D53, D54, DB87 Zuma (record label), D72, D161

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Page 263 About the Author DAVID COHEN is a photographer and archivist living in Pokhara, Nepal. He is the author of The Synthesis Quest and Phil Ochs: A Bio-Bibliography (Greenwood, 1999).

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Page 264 Recent Titles in Bio-Bibliographies in Music Gian Carlo Menotti: A Bio-Bibliography Donald L.Hixon Cyril Scott: A Bio-Bibliography Laurie J.Sampsel Irwin Bazelon: A Bio-Bibliography David Harold Cox Sergei Rachmaninoff: A Bio-Bibliography Robert E.Cunningham Witold Lutosławski: A Bio-Bibliography Stanisław Bedkowski and Stanisław Hrabia Pietro Mascagni: A Bio-Bibliography Roger Flury Toru Takemitsu: A Bio-Bibliography James Siddons Emma Lou Diemer: A Bio-Bibliography Ellen Grolman Schlegel Ernst von Dohnányi: A Bio-Bibliography James A.Grymes Steve Reich: A Bio-Bibliography D.J.Hoek Vivian Fine: A Bio-Bibliography Judith Cody Benjamin Britten: A Bio-Bibliography Stewart R.Craggs

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