Makrokosmos I: George Crumb’in Eserinde Gelişmiş Piyano Teknikleri

Abstract

This article purposes to elucidate the advanced piano techniques used in Crumb’s Makrokosmos I and to illuminate features to be considered while working the piece. The study is primarily grounded in articles by David Burge, to whom the piece was dedicated, and the author’s personal notes and experience of performing this work. The composer’s musical context is discussed in terms ofnumeric symbolism , notation, and symmetrical relationships. Extended piano techniques have been examined through unusual sounds such as pizzicato, muted strings, glissandos, overtones, percussion effects on the soundboard, chain, thimble, plectrum, whistle, and vocal effects. Technical problems that may occur during the performance are also examined. Arguments are presented through subjective experiences attained from the performance of the work on various models of pianos and in diverse halls. The present study aims to offer insight into the performative problems of extended piano techniques. For the qualified performance of the work; it is recommended to work on the score and performance notes, appropriate piano selection, and the choice of suitable objects and materials for the skilled performance of this oeuvre. It also emphasizes the importance of the amplification of dramatic effects in the work’s performance.