A Little Suite for Christmas, A.D. 1979 for Piano Cover Image

A Little Suite for Christmas, A.D. 1979 for Piano: Piano (Solo)

$59.00 USD
$59.00 USD
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A Little Suite for Christmas, A.D. 1979 for Piano Cover Image
A Little Suite for Christmas, A.D. 1979 for Piano: Piano (Solo)

A Little Suite for Christmas, A.D. 1979 for Piano: Piano (Solo)

By George Crumb

Item: 98-EP66833
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Description

Composed for pianist Lambert Orkis

"The idea of a set of piano pieces reflecting on different aspects of the Christmas event may remind the reader of the Vingt Regards sur l'Enfant-Jésus (1944) of Olivier Messiaen, and one can point to certain general stylistic traits shared by Messiaen and Crumb. But Crumb's work is on a much more modest scale than the French composer's massive pianistic compendium. In fact, it is a 'little' suite by comparison with several earlier piano works by Crumb. It does not call for the piano to be amplified to create the 'larger-than-life' sound quality desired in the four volumes of Makrokosmos (1972, 1973, 1974, 1979). Nor does the piece involve 'symbolic' notations (where the staves are arranged in shapes of a cross or circle), vocal effects from the performer, or the use of additional objects to modify the piano sound, all of which appear in the Makrokosmos series. However, in the Little Suite, Crumb does continue in his refined use of harmonics, muted tones, and pizzicati, using these in combination with material performed on the keyboard in the conventional fashion.

The music created with these means is sometimes contemplative in mood, as in the hushed reverence of the second movement, or the surreal setting of the 16th century 'Coventry Carol' in the sixth; sometimes visionary, as in the solemn repeated chords and melodic patterns of the first movement or the exuberant cosmic dance of the fifth.

Crumb uses a curious example of self-reference in the fourth piece. In this movement, there appears twice, in pizzicati, a melodic fragment from the 'Wanderer-Fantasy' movement of Music for a Summer Evening. A connection is thus made with the Magi who have "wandered" from afar to Bethlehem. Although this is a particularly private example of musical symbolism, it is consistent with Crumb's use of quotation to add an additional level of musical expressiveness." (James Primosch)

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Additional Details
Series: Edition Peters
Publisher: Edition Peters
ISBN10: 0-30-073054-3
ISBN13: 979-0-30-073054-7
SKU: 98-EP66833

More about this title

About the Composer: George Crumb

George Crumb stands as one of the most innovative and spiritually searching composers of the late twentieth century. His output spans decades of experimentation with extended techniques, unconventional notation, and the expressive possibilities of acoustic instruments, yet his work never becomes purely cerebral; instead, it serves a deeper emotional or philosophical purpose.

Crumb's approach to composition emphasizes timbre and texture as primary compositional elements rather than ornaments. His willingness to ask performers to play inside the piano, use harmonics, and employ muted tones opened new territory for what a traditional instrument could express. This restless exploration of sound reflects his conviction that music can be both intellectually rigorous and spiritually resonant.

Why we love this

Crumb distills his signature extended-technique vocabulary into something genuinely playable and musically coherent without theatrical excess. The suite proves that restraint and innovation can coexist; you get the composer's distinctive sound world (harmonics, muted tones, pizzicati) applied to recognizable Christmas material, creating moments of quiet beauty and genuine strangeness that feel earned rather than imposed.

What to expect

A series of musical meditations that shift between contemplative reverence and moments of strange beauty. The extended techniques create an otherworldly shimmer around familiar Christmas material, while the conventional keyboard passages ground the listener in recognizable emotional territory, producing a listening experience that feels both intimate and unsettling.

Who it's for

Advanced pianists seeking repertoire that challenges technical and interpretive faculties without demands for amplification or vocal effects. Teachers working with strong students who are ready to engage with twentieth-century compositional thinking and performers drawn to Christmas programming that goes beyond the conventional.

How to get the most out of it

  • Study the harmonics notation carefully before attempting them at tempo. Crumb's harmonic placements are precise, and finding them slowly first prevents frustration and trains your ear for the subtle timbre shift they create.
  • Balance the relationship between conventional keyboard playing and extended techniques. The contrast between normal sound and muted or pizzicato tones carries much of the emotional weight, so neither should overwhelm the other.
  • Let the contemplative movements breathe. The hushed reverence Crumb describes requires attention to silence and space as much as to the notes themselves.
  • Investigate the piece's relationship to the 'Coventry Carol' in the sixth movement. Knowing the original carol and its historical context enriches how you shape that movement's surreal transformation.

How to use it

Position this as a solo recital centerpiece or as an intermission piece on a broader holiday concert where it can offer contrast to more traditional seasonal works. Its modest scale and introspective character also serve well in chamber or mixed-media programs exploring spirituality and reflection.

Skills your students will build

  • Producing harmonics at the keyboard with consistent intonation and clarity
  • Coordinating muted tones and pizzicati with precise timing relative to keyboard passages
  • Interpreting twentieth-century extended-technique notation with confidence
  • Shaping lyrical material with economy of gesture and attention to silence
  • Balancing structural awareness across multiple short movements with distinct musical characters

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