Graduate Comprehensive Project

Nocturne (for the end of time) from Vox Balaenae by George Crumb
Research Paper by Davis Good

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Vox Balaenae (Voice of the Whale) is among several of George Crumbs iconic works
from the early 1970s. Other prime examples are the electric string quartet Black Angels, the
highly theatrical Ancient Voices of Children for voices and mixed ensemble, and three of the
four volumes of Makrokosmos for amplified piano. Each of these works, Vox included, bears
idiosyncrasies with which Crumb is associated. These include concern for visual aesthetics (be it
in notation or performance or both), refined implementation of extended techniques, spacious
and echoing acoustics, and a sort of symbolic or spiritual mystique.
The peculiar fusion of these features makes Crumbat the very least, the Crumb of this
periodreadily identifiable against other brands of the avant-garde. This is not meant as any
kind of singular praise for his approach, only to point out that Crumb does not fall naturally
under the umbrella of a particular school of composition. Not coincidentally, the Crumb of this
period went on record saying that writing expressly for a small, elect group of listeners is
really a kind of intellectual arrogance.1
It is no mystery, then, that Crumb would fashion for himself such fanciful works as a trio
for half-masked players inspired by the songs of humpback whales, recommended to be
performed under deep-blue stage lighting.2 Yet Vox, though fanciful, is not lighthearted. The
ultimate trajectory of this theme-and-variations is that of irreparable loss, a Sea-Nocturne
lamenting the extinction of the whales song. A flutist, cellist, and pianist, whistling softly and
playing a row of antique cymbals, stand as the impersonal forces of nature and play an eternal

Charles B. Fowler, American Composer Sketches: George Crumb, Music Educators Journal
53, no. 8 (April 1967): 61-63.
1

George Crumb, Vox Balaenae for Three Masked Players (New York: C.F. Peters, 1973)

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requiemmusic derived both formally and materially from the nascent Sea Theme
presented in Voxs second movement.
The Sea Theme and its five variations constitute the central narrative of Vox, with
Vocalise (for the beginning of time) acting as prologue and Sea-Nocturne (for the end
of time) acting as epilogue. Being aware of this arrangement is prerequisite to understanding
and appreciating the Sea-Nocturne, as its primary function is to reflect on preceding
movements in light of what has taken place in the interim. Of all that is reflected upon, most
integral to the Sea-Nocturne is the Sea Theme itself, as its various segments are used
throughout the Nocturne as both large- and small-scale building blocks.
Vocalise (for the beginning of time)
Variations on Sea-Time
Sea Theme

serene long-short-long rhythmic figures

more embellished figures
tritone leaps, then palindrome

Archeozoic [Var. I]
Proterozoic [Var. II]
Paleozoic [Var. III]
Mesozoic [Var. IV]
Cenozoic [Var. V]
Sea-Nocturne (for the end of time)

transitional restatement of Sea Theme

Nocturne

I will first summarize the components of the all-important Sea Theme. Then, I will
devote the bulk of my analysis to a detailed description of the Nocturne, mapping its narrative
arc in terms of the Sea Themes components.
In its original form, the Sea Theme can be parsed into three distinct segments. It begins
with a pair of serene long-short-long figures, both of which step down diatonically and leap up

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to the fifth scale degree. These Calls, as I characterize them, very gently outline a tonic chord
(B major in all cases relevant to this discussion) and have a pleasant settling effect on the ear.
The second segment of the Sea Theme I might call a Departure. It is more
embellished, introduces the sixth and raised-fourth scale degrees, and eventually centers on
the comparatively less settled third scale degree.
The third segment leads directly out of the Departure but is demarcated by a leap to
and from a lower tritone. It is followed by a palindromic arc passing through each of the
destabilizing scale degrees introduced in the Departure. As this segment arises from the
Departure and leaves the Sea Theme in an unresolved state, it could be aptly termed the
Absence. These segments are heard in the form of plaintive cello harmonics in the Sea
Theme movement. Later, they return in the form of whistling, a previously unheard timbre
which, together with the appearance of antique cymbals, heralds the arrival of the SeaNocturne.
The whistled Sea Theme which begins the Nocturne evokes a large-scale recapitulation.
Each segment is heard in this new transfigured state, interspersed with dull harmonic clusters
on the piano echoing the devastation of the previous movement. Once the theme has been
stated in full, the Departure is repeated and followed not by the Absence but by an
entirely new segment which leaps upward by an unprecedented sixth before returning the
theme to its home on the fifth scale degree. This new segment ushers in the Nocturne proper
and can be heard as an Answer.
From this point on, the Nocturne is marked by the soft droning of an open fifth on B
followed by a gentle pentatonic arc which ascends and descends according to step-leap

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contours derived from the Call. Fluttering above this watery Nocturne motive, the first Call
reappears in brilliant tone-color trills on the flute and pinging bell tones in the upper piano.
Following this, a new dimension of the Nocturne motive is revealed in the form of a shadow
chord which softly echoes the droning bass, but on destabilizing tones which evoke F major, a
key which has been in constant tension with the home key of B ever since the opening
Vocalise.
Following this brief interlude, the second Call figure appears, now introducing
antique cymbals and supported by a slightly altered piano figuration. An echo of this Call in
the flute is undergirded by a second destabilizing episode, planing chromatically in the piano
along Call-like contours. As if to brush off this moment of insecurity, the Call section comes
to a close by increased rhythmic activity in the piano and the prominent introduction of
unaltered fourth scale degrees, tones which both negate the destabilizing effects of the
shadow chord and expand what had been an otherwise pentatonic array of colors.
This optimistic shift in character ushers in the Departure, first heard in the cello, then
overlapping in the flute, both in a soaring register. Intrinsic in the Departure is the
reintroduction of the raised fourth scale degree as well as a marked increase in energy. The
resultant tension piles up and releases into what will be the second appearance of the
Answer. Unfortunately, this is where the Nocturne takes its inevitable tragic turn.
The high leap of the Answer turns into an outcry over the top of a sudden surge of
chromaticism. Descending sequences of Absence-derived figures crackle downward over a
disjunct drone on F. What should have been a satisfying resolution to the fifth scale degree
elides into the Absence figure itself. This failing gesture is repeated over an even more

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intense eruption of chromatic tones. This second eruption is echoed and followed by one last
mournful Absence before the coveted fifth scale degree is reached.
The arrival at this tone in the cello marks a transition back to the Call section from the
Sea-Theme. Diatonic fourth scale degrees reappear to restore some stability. The piano
manages to calm down rhythmically. Even the reappearance of shadow chords seems to
promise the return of a B pedal. The cellos long sustain eventually steps down and in a
moment of piano-less suspense follows a pentatonic path back to B, bringing with it a return to
the original Nocturne motive.
The movement winds down from this point. The return to B is accompanied by the
anticipated pair of Calls, which now no longer flutter but sing softly and simply as they did
originally. There is an expectation that this lulling will end the piece, but it is interrupted by a
final moment of recollection. The pianist silently depresses an F-minor chord with the left hand
as the right hand reaches into the piano and strums across the lower strings. This recalls a
texture first introduced in the earlier Sea Theme movement. This is followed by the last of four
oscillating minor-third motives which ape the pounding timpani of Strauss Also Sprach
Zarathustra and appear in Vox as an evocation of the beginning and end of time.
One last time, what we are identifying as the Departure and Absence are recalled,
this time in the same cello harmonics in which they were originally heard. The latter of these
two figures diverts from its usual resting place of D-sharp and climbs pitifully up to a high Aa
long and sorrowful last tone from the Sea Theme. Underneath, the Nocturne motive plays
ominously over an F pedal. A pair of Calls in the antique cymbals recenter the motive on B,

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from which it will now never depart. One last Call is heard, after which the Nocturne motive
is left alone, repeating itself into silence.
In this fashion, Crumb takes what would otherwise be simply a well-crafted theme and
extrapolates its contents into the dramatic arc of an entire movement. Material is used
economically and in a way that is consistent with the dramatic trajectory of the whole work. It
also leaves a layer of enjoyment for those who might appreciate discovering a miniaturized
journey hidden inside the unassuming guise of a melody.
There is plenty more to be appreciated in this Nocturne and the rest of Vox in terms of
clever premonitions and recollections. That would not even approach the matter of the pieces
visual appealits characteristic notation and how memorable a live performance might be for
a live audience. In all these cases, there is room to like, dislike, or be indifferent to various
Crumb-isms. For those who might enjoy it, Vox can be a refreshingly individual and bittersweet
story.

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Bibliography

Crumb, George. Vox Balaenae for Three Masked Players. New York: C.F. Peters, 1973.
This is the score for Vox. It was an essential tool for analysis and for answering questions
pertaining to performance notes.
Fowler, Charles B. American Composer Sketches: George Crumb. Music Educators Journal
53, no. 8 (April 1967): 61-63.
This is a brief, introductory article on Crumb from the late 1960s. It is not the kind of
article I would normally expect to use. However, I found it useful in this case because it
contains candid comments from the composer and was published only a few years before Vox
Balaenae was composed. I thought this would be helpful in establishing historical context.
Steinitz, Richard. Crumb, George. Grove Music Online. Edited by Deane Root.
<oxfordmusiconline.com>
This is one of the basic biographical entries on George Crumb available from Grove. I
usually begin researching musical topics with this kind of entry, simply to ensure I have
foundational knowledge of the subject.