His principal teachers were Gerald Levinson, Joan Panetti, and James Freeman at Swarthmore College (B.A.) Jules Langert at Dominican University (M.A.) Christopher Yavelow at Claremont University (Ph.D.) and Terry Riley. Box 2842 San Anselmo, CA 94960) and New Music, Music Critic for Commuter Times, and Instructor in Music Theory and Literature at Diablo Valley College. He is Music Director of San Francisco Composers Chamber Orchestra and San Francisco Cabaret Opera, Editor-Publisher of 21st-Century Music (P.O. 1957, Upper Darby, PA) is an award-winning, eclectic ASCAP composer of postminimal, postpopular, and postcomedic sensibilities.
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Which has by now been re-released as part of Starobin's Guitar Concertante, with Poul Ruders's Psalmodies and John Anthony Lennon's Zingari. Starobin, no stranger to the music, having played all of Crumb's plucked string repertory at some point thus far (banjo for Night of the Four Moon, mandolin on Ancient Voices of Children, and sitar in Lux Aeterna), gives us - how can we say elsewise - the definitive performance, with both familiar and novel contributions from saxophone, harp, percussion, and string bass.
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In Quest, we come to Crumb's first use of guitar since Songs, Drones, and Refrains of Death and apparently first use of acoustic apparently ever, the instrument in the earlier being electric, and for guitarist/record-producer David Starobin this work may be the touchstone of the entire Crumb project, being the guitarist's first Crumb commision and placed on the second album, appropriately acknowledged as a premiere release (tellingly, Songs, Drones is the first selection on the first album). The Sleeper (1984), for soprano and pianoįederico's Little Songs for Children (1986), for soprano, flute/piccolo/alto flute/bass flute, and harpĭaniel Druckman and Erik Charlston, Percussion Crumb's first orchestral work since Star-Child and first exclusively large-scale-instrumental after Echoes of Time and the River, this is on a decidedly smaller scale that still manifests a bit of Edgar Varesian and post-tonal-Igor-Stravinskian brusquerie, and even hints of Gyorgy Ligetian clusterie. It should be, as this performance by The Warsaw Philharmonic, under Thomas Conlin, is a fine one in the path set by the premiere rendition of the New York Philharmonic Orchestra, conducted by Arthur Weisberg (New World Records, paired with William Schuman's Three Colloquies for Horn and Orchestra). By this point, one has the sense that the official George Crumb website has not been updated in quite some time, as this the second recording of A Haunted Landscape is again unaknowledged.