Jeffrey Khaner plays TchaikovskyPrincipal flute of the Philadelphia OrchestraTuesday, October 2, 2007Home Music ArticleKhaner: Unexpected touch.Orchestra 2001 plays CrumbBY: Tom Purdom 09.18.2007George Crumb plays around with doctored pianos and odd effects, but he uses novel means to achieve classic ends. His techniques may look outre, but hes doing the same thing that good accompanists do when they create scenes and moods as they play a standard piano accompaniment.Orchestra 2001, James Freeman, conductor. Crumbs Otherworldly Resonances (Marcantonio Barone and James Freeman, amplified piano); Tchaikovsky Concert Piece for Flute and Strings; Vareses Density; Debussys Syrinx (Jeffrey Khaner, flute); Crumbs Voices from a Forgotten World (Jamie van Eyck, female voice; Patrick Mason, male voice; William Kerrigan, Susan Jones, David Nelson, Angela Nelson percussionists; Marcantonio Barone, piano). September 16, 2007 at Perelman Theater, Kimmel Center. (215) 922-2190 or http://www.orchestra2001.org/.Bring on the percussionTOM PURDOM Orchestra 2001 preceded the world premiere of George Crumbs Voices from a Forgotten World with an unexpected touch. The concerts guest soloist, the Philadelphia Orchestras Jeffrey Khaner, played Debussys Syrinx for unaccompanied flute offstage. Debussys other-worldly flute line floated through the hall from an unknown source while conductor James Freeman and seven musicians stood on the stage waiting to unveil the Crumb. There was no particular reason why Syrinx should be played offstage, but the interlude had a ritualistic quality that fits Crumbs work. Some of Crumbs pieces even look like rituals as the musicians move around the stage manipulating odd-shaped gongs, long whispery rattles and other exotic items. You can also argue that Crumbs individualistic expressionism is a close cousin of the French approach to music. Like Crumb, French music has always emphasized tone color, and it usually attempts to evoke scenes and create moods. George Crumbs music has been a regular feature of Orchestra 2001s programs since James Freeman staged his first concerts 19 years ago. Crumb plays around with doctored pianos and odd effects, but he uses novel means to achieve classic ends.Piano as a sound effects vehicle Voices from a Forgotten World sets ten classic American songs for male and female soloists, accompanied by a percussion section that spread instruments over half the Perelman's stage and required four of our region's leading freelance percussionists. The hard working percussionists were reinforced, in addition, by a pianist, Marcantonio Barone, whose part treated his instrument as a percussion/sound effects vehicle in classic George Crumb style. Voices is the fifth volume in a series devoted to American song, and the most straightforward of the volumes I've encountered so far. In the last group I heard, the familiar melodies were fragmented and dominated by a cosmic background that treated them as lonely voices in the huge dark universe that looms over much of Crumb's sonic poetry. In this collection, most of the melodies are sung pretty much as were used to hearing them. Crumbs main contribution is a series of accompaniments that exploit all the scene-painting potential of a percussion section. In spite of the stage full of equipment, Crumbs accompaniments tended to be simple and almost sparse. He used the mammoth percussion section