'Four Hundred Candles: The Creation of a Repertoire'. ^ Elizabeth Farnsworth (3 December 1998).^ 'MTO 18.2: Johnston, George Crumb's Black Angels'.

'George Crumb's Channels of Mythification'. ^ Music as a mirror of history, by Greenberg, Robert (b.1954).Total desolation comes to the fore, reinforced by a reminiscence of the 'Night of the Electric Insects' on the first violin.' Popular culture Combined with an acoustically contrived impression of distance, this passage acquires an ethereal quality, with the redemption chorale referred to above fading away into nothingness.

The absence of the third makes it reminiscent of a mediaevel sequence. Among the quotations in Black Angels is the theme of the second movement of Schubert's 'Death and the Maiden' Quartet, to which he gives an entirely new character. In this process musical quotations, modified by Crumb's specific style, have a particular significance. His close identification with music of earlier periods is especially pronounced in his latest works, in which he reverts to traditional forms. The spiritual aspect of his music is particularly striking.

Uta Schwiemann writing for TelDec has stated about the composition that, 'Crumb deeply venerates the Spanish writer Garcia Lorca and has set many of his texts to music. This centerpiece is framed by two movements that also contain uniform numbers instead of juxtaposing them: '13 over 13' in the Sarabanda and '13 under 13' in the Pavana'. The formula'13 time 13' applies to the number of utterances of the word 'thirteen' pronounced in different languages-namely, it appears 3 times uttered by 3 performers (total 9 utterances) on page 5 of the score, and one time at the end of the movement by all four participants (9 + 4 = 13). In the context hinted at by the subtitle, the tritone is apparently represented by the number 7. As Adamenko states, 'The puzzling subtitle for this movement combines the numbers 7 and 13 in a repetitive manner: '7 times 7 and 13 times 13.' The movement opens with a tritone in each of the parts repeated 7 times. Victoria Adamenko has tried to elaborate what Crumb has called 'the numerological basis of the entire work,' as related to the 'axis of symmetry' associated with '7' as the precise halfway point between the integer counting sequence from 1 to 13.

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