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George Crumb - between reflection upon nature and contemplating it

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Szoka M.

Interdisciplinary Studies in Musicology

2009

issue 8

203-216

The author investigates the unique aesthetic program of George Crumb, one of the most important contemporary American composers. Crumb certainly occupies a unique place in the music of 20th century, not only because of his cultural background, or originality of artistic expression, but first of all, due to the presence of most dilemmas of the contemporary culture in his music. The question about the form of a relationship between human beings and nature at the turn of 20th/2ist century is one of them. In his artistic output Crumb remains an advocate of a concept of music which, as the most spiritual and magical of all arts, derives from deep reserves of human psyche on the one hand and from primal forces of nature, on the other one. The analytical aspects of the paper concern the problems of onomatopoeic imitation of the sounds of birds and a whale, symbolic allusions to the other composers (Debussy, Mahler), the concept of “larger rhythms of nature”, the phenomenon of echo and its forms in Crumb’s music, his search of natural pre-sounds of music (resulting in using non-traditional instruments), the idea of distant music, etc. Especially three pieces: An Idyll of the Misbegotten, Vox balaenae and Echoes of Time and the River are considered as the most characteristic.

Firmament i ciała niebieskie świadkami Boga (Syr 43,1-12)

61%

Piwowar A.

The Biblical Annals

2017

vol. 7

issue 1

5-48

Sir 43:1-12 constitutes the first section of the major part of the hymn celebrating the Creator (42:15–43:33). It is a poetic commentary on the fourth day of creation as depicted in the Book of Genesis (Gen 1:14-19). In his depiction of the firmament, sun, moon, stars and rainbow, Sirach emphasizes their beauty in a manner unparalleled in the whole Bible. This does not serve cosmological aims (the sage’s motive is not the transmission of knowledge about the structure and functioning of the cosmos – celestial bodies) but has clear theological precepts and message. The pericope’s aim is to present and glorify God as the Creator. The firmament, celestial bodies and rainbow are tools through which the sage conveys knowledge of God’s might, greatness, wisdom and beauty. All of these entities derive from God (cf. 43:33) and lead to him. Sir 43:1-12 has a clear polemical character, visible in questioning the beliefs of other cultures and religions – which posited celestial bodies as deities or realities that could exert substantial influence on human beings (astrology) – or of some Jewish groups which did not use lunar calendar.

Sir 43:1-12 constitutes the first section of the major part of the hymn celebrating the Creator (42:15 – 43:33). It is a poetic commentary on the fourth day of creation as depicted in the Book of Genesis (Gen 1:14-19). In his depiction of the firmament, sun, moon, stars and rainbow, Sirach emphasizes their beauty in a manner unparalleled in the whole Bible. This does not serve cosmological aims (the sage’s motive is not the transmission of knowledge about the structure and functioning of the cosmos – celestial bodies) but has clear theological precepts and message. The pericope’s aim is to present and glorify God as the Creator. The firmament, celestial bodies and rainbow are tools through which the sage conveys knowledge of God’s might, greatness, wisdom and beauty. All of these entities derive from God (cf. 43:33) and lead to him. Sir 43:1-12 has a clear polemical character, visible in questioning the beliefs of other cultures and religions – which posited celestial bodies as deities or realities that could exert substantial influence on human beings (astrology) – or of some Jewish groups which did not use lunar calendar.

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George Crumb - between reflection upon nature and contemplating it

Firmament i ciała niebieskie świadkami Boga (Syr 43,1-12)