5 years ago

Volume 8 Issue 7 - April 2003

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  • April
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  • Glenn
  • Gould

NEW MUSIC composer

NEW MUSIC composer 2composer INTERVIEW WITH depressed, so the strings keep ringing almost to infinity. Of GEORGE course, I was also influenced by composers like Debussy, whose music seems to reflect that same CRUMB obsession with the slow decay of sounds and reverbation. MARCH2003 by Paul Steenhuisen George Cnunb was born on October 24, 1929, the Black Thursday of the great stock market crash. Throughout his career, he has composed numerous mysterious, introverted, and distinctively orchestrated works that are part of · the post-1950 musical canon, including his Ancient Voices of Children, Black Angels, Night of the Four Moons, and Vox Balaenae (Voice of the Whale), among others. On Sunday April 13, at the Gleim Gould Studio, New Music Concerts brings him to Toronto for a concert entitled The Unknown Cnunb. In an affiliated event, students of the Glenn Gould · Professional School will perform other of his works on Friday April 11 at the Royal Conservatory. Since first learning about this concert, I've looked forward to talking with this renegade American composer. STEENHUISEN: You've written that "the tndy magical and spiritual powers of music arise from deeper levels of our psyche, and that every composer, from his or her formative years, has acquired 'a natural acoustic' that remains in their ear for life. " How did your sense of time and place, and your environment in the Appalachian river valley influence you as a composer? CRUMB: I was influenced by the particular acoustic of the Kanawha river valley in West Virginia. You would hear echoing effects from sounds that were across the river, and it had a kind of ricochet effect, becatlse sound travels very well over water. I think this just became part of my hearing. My music is involved with echoing effects and this is precisely the acoustic of such a place. 'I love instruments that appear not to ever want to die out, like tams tams and gongs -thesoundsjustkeep reverberating. When I write for piano, usually the damper pedal is STEENHUISEN: Did your early musical experience and geography affect your unique sense of instrumental timbre as well?

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