Abstract
George Crumb's fascination with mythology has not previously been specifically addressed, although since the 1970s, when he wrote the largescale works that brought him fame--Ancient Voices of Children, Black Angels (both 1970), Vox Balaenae (1971), and Makrokosmos I-III (1972-74)--the lexis of the critical essays on Crumb has included references to magic,1 mythic characters, and mythic time. Evidently, this perception stemmed from two major components of Crumb's style. First, the provocative titles, program notes, character designations, and other verbal comments by the composer convey his interest in the mythological. Second, of course, is the sound matter itself-a bricolage of unusual timbres, spell-like recitations, counting in multiple languages, and other sound that invoke the supernatural. These very elements stirred some criticism among a few commentators who refused to take Crumb's spooky effects seriously.
Published Version
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