A new double CD release with Japanese pianist Yoshiko Shimizu, playing George Crumb´s Makrokosmos, Volume I, Volume II and Music for a. Crumb’s Makrokosmos I & II were written to expand the world of color and Mr. Crumb and Ms. Tan worked closely on the preparation of these works for the. Crumb’s innovative classics of the extended piano are now attracting more pianists – there have been at least six recordings of Makrokosmos 1, starting with that.

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Crumb Makrokosmos Vol 1

Makrokosmos is a series of four volumes of pieces for piano by American composer George Crumb. Rain-Death Variations Pisces F. Tan has transformed a toy into a legitimate instrument. Added to these techniques are various vocal effects such as whistling warbling and theremin-likeshouting, whispering and moaning to further extend the sound-world.

Tan also had to sing and shout. By using this site, you agree to the Terms of Use and Privacy Policy. The all-time greats Read about the artists who changed the world of classical music. Crumb has stated that the two volumes form a sequence of 24 fantasy-pieces. Just as pianists come to appreciate the intricate architecture of Makrokosmos in the process of rehearsal and performance, the design of each piece and of the whole crystallizes for listeners after repeated hearings.

That is why it is so important to experience Crumb’s music live. Such Mahlerian specificity in the performance directions is only one of the ways in which Crumb calls special attention to the notation. Crumb had received the Pulitzer Prize for Music before turning 40makrokksmos he produced a series of masterpieces in rapid succession: The collection is subtitled Twelve Fantasy-Pieces after the Zodiac and is scored for amplified piano.

As is well known, many of his ceumb call for theatrical actions from the players. The initials of friends and family and influential figures from the past e. Yes, and this was just part makrokosmls of Volume 1, and the rest of the set is just as varied; madly changing appearance, in a hall of mirrors of timbres and whimsical ideas, carefully executed by Margaret Leng Tan.


Gramophone products and those of specially selected partners from the world of music. The Phantom Gondolier of part 2 of Volume 1 amounts to an intensive display of alternative ringing and makrokoemos piano practices and the added pleasure? The music moves in slow breaths, hovering over the topography like ominous thunderclouds. While the DVD vividly captures the sonic nuances of the concert hall, our eyes get a special play-by-play perspective.

But as these were composer supervised recordings, and the whistling is indeed very professional sounding, with good theremin sounds, Crumb must have supported the idea. Morning Music Genesis II [2: Crumb Makrokosmos Vol 1 Makrokosmos I. Crumb has exemplified the characters of the Zodiac with the initials of specified persons born under those signs, like Lorca and Brahms, to mention a couple.

George Henry Crumb Composer. Views Read Edit View history. Crumb has designed the last of the four parts of the three divisions of the two sections as a symbol, thus in Volume 1 presenting piece number 4 as a cross, number 8 as circle and number 12 as a spiral. The contents are as follows:. And Mode Records have re-issued a recording of both books of Makrokosmos, performed by Margaret Leng Tan, originally released in for his 75th birthday.

Makrokosmos – Wikipedia

These pieces constitute a massive and detailed exploration of the sounding possibilities of the piano. The Phantom Gondolier [2: Her vocal contributions of words and eerie moanings are reasonably well judged and dramatic, where called for. On the other hand, though her loud playing is very powerful and with a roundness and fullness of sound, some of the loud staccato passages could benefit from an even more incisive attack.

Still, it was impossible not to respond to Ms. Selected comparisons Crumb Makrokosmos, Vols.


As the pianist Margaret Leng Tan demonstrated on Saturday night at Zankel Hall, you must also be a physically flexible and focused actor.

In other passages, the pianist produces unpitched percussive effects by knocking on the metal crossbeams and soundboard of the instrument. The crhmb ease of the flow of events in Makrokosmos may persuade one of an improvisational approach, but this is belied by the comprehensive sketches, with planning of the mwkrokosmos intent as well as the minute details.


The blurry washes of sound throughout result from strategic use of the damper and sostenuto pedals, and all three pedals are used to create myriad gradations of color. Was it the arioso passages of the op. This music is new and old; a remembrance of past eras in this new rippling of fast makdokosmos fingers up and down the keyboard!

The music of George Crumb is certainly being celebrated this year to mark his 80th birthday. The Abyss of Time [2: Pastorale from the Kingdom of Atlantis is rinsed romanticism, somehow – a very short, beautiful pianistic bagatelle: One of the most celebrated performers of John Cage’s music, Ms.

Primeval Sounds Genesis I [4: What better way to start maorokosmos work of music than with a piece entitled Primeval Sounds? The palette of traditional pianistic colors — those produced by playing on the keyboard as usual — is enriched by crumv the entire pitch range of the instrument, using special pedal effects, and exploiting an extraordinarily wide dynamic range amplification makes possible not only tremendously loud sounds, but also helps us to hear extremely soft ones.

It largely follows the organizational scheme of the first volume, bears the same subtitle i. The Ccrumb Gondolier Scorpio G. Ah, life is much sweeter in DVD Land. Composition Artist Credits Makrokosmos I. The Mystic Chord [2: The pianist uses her fingertips and fingernails to pluck and strike the strings at various locations, to play glissandi across groups of strings, and to slide or scrape along the length of the string.

Every composer should be permitted an occasional flight of whimsy! Dream Images Love-Death Music mamrokosmos In one work makrokosmmos used a glass tumbler to glide up and down the depressed strings to produce distant banshee cries or whistles, all of which were subjected to discreet amplification that prolonged and bent the tones.