A CONDUCTOR'S GUIDE TO THE PERFORMANCE OF EDGARD VARESE'S WIND/PERCUSSION MUSIC * * * * * * * * * * REQUIREMENTS REQUIREMENTS FOR THE DEGREE OF DOCTOR OF MUSICAL ARTS AT THE BENJAMIN T. ROME SCHOOL OF MUSIC THE CATHOLIC UNIVERSITY OF AMERICA
By STEVEN GRIMO WASHINGTON D.C.
15 November, 1991
PREFACE
This paper is the result of research for a lecture recital Performed at the Benjamin T. Rome School of Music, The Catholic University Univer sity of America on November 15, 1991. I am very thankful to the men and women of The United States Air Force Band who contributed to many performances during the course of this study. I am especially grateful to my wife and family for their encouragement, patience, and support during this project.
TABLE OF CONTENTS
Introduction
CHAPTER I
Historical Perspective
CHAPTER II
Music and Aesthetics.
CHAPTER III
Compositional Language Analytical Elements Varese on Varese Sound as an Object: The Audience Perspective The Performer: A Sound Generator
CHAPTER IV
Conducting Varese: Selected Considerations. Hyperprism Octandre Integrales Ionisation Deserts
Conclusion
Appendices
A. Percussion Instruments Most Commonly Used
Music of Varese
B. Sustaining Works of Edgard Varese. C. Discography D. Selected Bibliography
INTRODUCTION
The works of Varese number very few and the total time it would take to perform them would be approximately two hours. Each work is a study of the composer's lifelong aim to have the listener experience sound as living matter. Varese developed new ways of expressing musical thought and structure, making rhythm the primary material of his musical language.
His rhythms and pitch relationships combine both vertical and horizontal structures in unexpected ways allowing blocks of sound to move in and out of phase with each other. The dependence of thematic motifs and melodic cells are secondary to vertical structures, timbral sonorities, and acoustical orchestration.
In preparing the music of Varese for performance, a clear understanding of the man and a concept of electronically generated sound is needed. The concept of a composition being electronic music for natural instruments is the aim of the composer. Musicians must be sound generators and the listener must approach the concert hall with unadulterated ears.
I
HISTORICAL PERSPECTIVE
Edgard Varese was born on December 22, 1883, in Paris and died on November 6, 1965 in New York. Although he was one of the most innovative composers of the 20th century, his musical aesthetics were not universally accepted. During the 1920's he composed a series of works that went far beyond compositional theories of that time, reflecting influential, innovative techniques in rhythmic complexity and tonal diversity. His use of indefinite pitched percussion, free atonality, and forms which exist independent of tradition, made theorists of the 1920's and 1930's question yet admire his progressive compositional techniques.
Varese developed an early interest in musical composition, having completed an opera by the age of seventeen. But, his interest was not well received by his father who expected that, like himself, young Edgard would become an engineer. This became a major source of conflict between them and when Edgard's mother died, he
and his father parted company never to resolve their differences. At the age of 21 he entered the Schola Cantorum in Paris, where he studied composition with Albert Roussel and conducting with Vincent d'Indy. His studies there of Medieval, Renaissance, and Baroque music with Charles Bordes made a lasting impression.
After the Schola Cantorum, Varese moved to Berlin and became a protege of Richard Strauss who arranged for his debut as a composer in 1910. The premiere of Bourgogne met with audience disapproval, provoking the first of many controversial reviews. Varese destroyed the score after this performance, claiming it was not a mature representation of his abilities.
During his time in Berlin, Varese regularly associated with artists, poets, and composers; and he was fortunate enough to meet Claude Debussy who encouraged him to compose in whatever manner he wished. Of similar encouragement were the atonal works of Schoenberg and Busoni's Sketch of a New Aesthetics of Music. Despite a difference in musical taste, Varese formed a lasting friendship with Busoni and regarded his work as a milestone in artistic development. Varese eventually returned to Paris and became interested in the dynaphone, an electronic instrument created by Rene Bertrand. Unfortunately Varese left his manuscripts in Berlin where they were later destroyed in a warehouse fire.
In 1915, Varese traveled to America and quickly immersed himself in promoting new music. He joined with Carlos Salzedo in founding the International Composers Guild in 1921. The Guild existed for six years and premiered works by Schoenberg, Stravinsky, Berg, Hindemith, Bartok, Kodaly, Krenek, Poulenc, Vaughan Williams, Webern, Ruggles, and Cowell. Then in 1922, Varese and Busoni formed the Internationale Komponisten-Gilde in Berlin. Through the Guild, Varese was able to premiere four of his major works over a period of 4 years; Offrandes in 1922, Hyperprisim in 1923, Octandre in 1924, and Integrales in 1925.
Returning to Paris in 1928, Varese continued to explore new timbral sound possibilities.
He searched
continuously for new sounds and came upon two new electronic instruments - the "ondes martenot" and the "theremin" - which he incorporated into his next two works Ameriques in 1929 and Equatorial in 1932.
"While in Paris, several of his works, were played there; for the French premiere of Ameriques in 1929 the siren was replaced by the newly invented ondes martenot. Varese also continued his work with Bertrand, and [1]
he included two theremin parts in Equatorial (1932-34)."
Varese became discouraged by the lack of interest in his work in the 1930's. He composed only three works during this decade: Ionisation, Equatorial and Density 21.5.
"...I'm afraid I developed a very negative attitude toward the entire musical situation. After all, great men like Mahler, Strauss, Muck, and Busoni had given me my professional start with their encouragement and esteem for my scores. By the thirties, these men had all been replaced by -- in most cases -- much lesser musicians. Mahler, for example, was kicked out by the New York Philharmonic and replaced by a nonentity, Stransky, and still later by that enemy of modern music, Toscanini, and the only conductor who had shown an [2]
interest in my music, Stokowski, stopped playing it...."
Mention should be made at this point that Ionisation was, and is, considered a masterpiece. Composed in 1931 and premiered in 1933, it was the first piece of Western music written with such grandeur solely for percussion instruments. It has had a significant impact not only in the context of inherent musical value, but in regards to the greater aesthetic questions of the definition of "music" itself.
Varese pressed on in a state of depression. He sought financial support from the Guggenheim Foundation and the Bell Telephone Company for the exploration of new electronic musical instruments. But his efforts were unsuccessful. So great was his frustration from lack of support that after composing Density 21.5 for solo flute in 1936, he didn't complete a work until the mid 1950's. He tried to persuade film producers to explore his concept of "sound organization" during this period but to no avail. He remained active by conducting workshops, seminars, and classes promoting new compositional ideas and techniques. In 1943, he founded the
Greater New York Chorus for the performance of Renaissance and Baroque music, which he directed until 1947.
Though his compositional efforts of this period would prove futile, Varese had begun work on a score entitled Espace for orchestra and chorus. It was a most ambitious concept involving simultaneous broadcasts by
performers in various locations around the world. But the work was never completed. When Varese looked back on this period he stated:
"...the frustration of having my music ignored was only a part of it. I had an obsession: a new instrument that would free music from the tempered system." [3]
Time passed and Varese waited for such an instrument to become available. Speaking as a prophet in his own time, Varese stated during the early 1930's:
"We are still in the first stammering stages of a new phase of music.... The instruments that the electronic engineers must
perfect, with the collaboration of musicians, will make possible the use of all sounds -- not
only arbitrary ones -- and also, in consequence, the performance of any tempered scale music. They will be [4]
able to reproduce all existing sounds and collaborate in the creation of new timbres...."
A breakthrough came for Varese in 1953, in the form of an Ampex tape recorder. His initial work gathering sounds with the tape recorder led to an invitation by Pierre Schaeffer for him to come to Paris to complete Deserts at the Radio Television Research Center. Deserts was the first composition to combine natural
instruments and prerecorded electronic tape inserts. He met with additional artistic success in the Philips Laboratory in Eindoven, Holland, with the composition of Poeme electronique in 1957. Commissioned for the Brussels Exposition of 1958, this composition for electronic tape filled Le Corbusier's Philips Pavilion with innovative sounds. The music attempted to place the audience within the presence of light, color, rhythm, and tone design. The fantasy of sound emanated from over 400 strategically positioned loudspeakers to create a
sense of spacious distribution. Wherever a spectator entered the pavilion, he would hear the complete work as he passed through. The listener was placed within the living sound as various frequencies were distributed throughout the exibit. It was at this point in his career that attention focused on Varese as a prophet in the musical world.
"The music [on tape] was distributed by 425 loudspeakers; there were twenty amplifier combinations... the loudspeakers were mounted in groups and in what is called "sound routes" to achieve various effects such as that of the music running around the pavilion, as well as coming from different directions...etc. For the first time I heard my music literally projected into space." [5]
Absorbed in seeking freedom above all in his music, Varese never embraced the serialism of his comtemporaries. Furthermore, composers who were experimenting with electronics were, in his mind, not exhausting the possibilities.
"It does not make full use of the unique possibilities of the medium, especially in regard to those questions of [6]
space and projection that have always concerned me."
The music of Varese is characteristically organized in blocks of "sound masses" and silence. These blocks weave in and out of each other and are distinguished by tangible contrast in timbre, texture, rhythm, and pitch. The compositional goal of music as pure rhythm and sonority allows for sonorous planes to sound, creating the illusion of space.
"When I was about twenty, I came across a definition of music that seemed suddenly to throw light on my gropings toward a music I sensed could exist. Hoene Wronsky, physicist, chemist, musicologist and philosopher of the first half of the nineteenth century, defined music as "the corporealization of the intelligence that is in sounds." It was a new and
exciting conception and to me as spatial -- as moving bodies [7]
in space, a conception I gradually made m y own."
of sound
Throughout his life, Varese pursued the "liberation of sound" and regarded sound as "living matter." As such, his music was called "organized sound" and he considered himself a composer of rhythms, frequencies, and intensities. Examination of any Varese score will reveal the detailed attention given to each line of music. Much has been said about the source of his rhythm and sound palette. It has been suggested that his love of urban life was expressed in the sounds he employed in his music. While he was certainly an urban individual, it does injustice to his music to imply that he was merely attempting to recreate the sounds of the city in his music.
Varese kept his compositional goals consistent throughout his life, whether with conventional instruments or with electronic equipment. He made his views on electronic music clear while giving a lecture at Yale in 1962.
"... We must not expect our electronic devices to compose for us. Good music and bad music will be composed by electronic means, just as good and bad music have been composed for instruments. The computing machine is a marvelous invention and seems almost superhuman. But, in reality, it is as limited as [8]
the mind of the individual who feeds it material."
By the early 1960's, Varese saw his work and musical aesthetics gaining widespread acknowledgement and recognition. His music was performed and recorded by major interpreters of the 20th century, including Pierre Boulez and Robert Craft.
II
MUSIC AND AESTHETICS
The works of Edgar Varese cannot be understood without first knowing the man and his beliefs. His concepts and vision dictate how one must approach his music. The experimental nature of his works and the value of what he presented to the world of music in the 20th century truly reflect his personality.
Varese believed that all sounds are of equal importance and that every sound was inherently intelligent. He saw no difference between "musical sound" and "noise," and any sound could be incorporated into any musical performance. His music invites the audience to hear and experience sound for what it really is so that the listener hears the sound and its quality, not the instrument producing it.
Varese also viewed music as "spatial"; he believed music to have motion and the ability to travel through space. Varese stated in a lecture given in 1936:
"We have actually three dimensions in music: horizontal, vertical, and dynamic swelling or decreasing. I shall add a fourth, sound projection - that feeling that sound is leaving us with no hope of being reflected [9]
back..."
This fourth dimension of projection was accomplished by Varese through his impeccable understanding of orchestration. His instrumental works were orchestrated to allow various pitch levels to transfer from register to register. When listening to these works one hears the journey of sound in motion surrounded by abrupt silences. An explanation by Adrian Jack noted that points of completion in Varese's music often culminated in the extreme upper registers with crescendos and pitch classes orchestrated for the utmost in propulsion.
"The movement of sound in space is not only concerned with the placing of the source in the auditorium...it is also concerned with the interrelated elements of tone quality and pitch. With instruments apparently fixed in their position to the listener, Varese moved sound vividly around....This accounts not only...for the soaring soprano and thrilling disappearance of sounds that float forwards and a way in Poeme electronique...but also
for the ascent at the end of Density 2.5, the spinning fortissimo tutti at the end of Octandre and all those points of collision in Varese's music where instruments burn into extremes of their upper registers." [10]
Varese had a thorough understanding of acoustics and knew that the intensity of any sound would diminish after leaving its source. Yet when Varese discusses projection of sound, and using Poeme electronique as an example, one can conclude that the ideal sound is one that will project itself through space and remain undiminished. This would support his belief that sound is characteristically intelligent. With Poeme electronique, sound did move through space and this was the closest he came to the realization of his theory.
Varese's compositions recreate events formed by "sound masses" of brass and woodwinds orchestrated to encompass the extreme ranges of pitch frequency. These "sound masses" work independent of each other. When Varese completed Integrales in 1925, the music world experienced what was meant by "spatial music." Varese had constructed a work that would demonstrate this concept of "spatial projection." This acoustical philosophy of projection through sound mass technique had not been realized to date, yet Varese stood by his premise that a body of sound could travel through space.
Varese seemed driven to explore this concept of "sound projecting through space," and his drive was attributed to a dream he'd had early in life. Fernand Ouellette noted in his biography of Varese:
"In 1921, Varese dreamed that he was in a telephone booth talking to his wife, who was at the time in Paris. His body became so light, so immaterial, so evanescent that suddenly, limb by limb, he disintegrated [11]
and flew away toward Paris, where h e was reconstructed, as though all his being had b ecome spirit."
This experience was believed to have influenced Varese throughout the 1920's and 1930's as he worked on L'Astronome, a stage production which was never completed. The "sound mass" technique became an
important compositional device with Integrales where Varese found himself discussing the "movement of masses" as relating to sound.
"Taking the place of old fixed linear counterpoint, you will find in my works the movement of masses, varying in radiance, and the different densities of volumes. When these masses come into collision, the [12]
phenomena of penetration or repulsion will result."
To achieve his artistic aims, Varese divided the traditional elements of rhythm, harmony, melody, form, texture, and timbre into functional pairs: rhythm/form, melody/harmony, and texture/timbre.
When a listener hears Varese for the first time, he or she is generally fascinated with the rhythmic complexity. Theorists have concluded that rhythm was of primary importance to his compositional language. To Varese, the term rhythm did not simply represent note values, but instead it was a concept of opposite or correlative states derived from his understanding of science and philosophy.
"Rhythm is too often confused with metrics. Cadence or the regular succession of beats and accents has little to do with the rhythm of composition. Rhythm is the element in music that gives life to the work and holds it together. It is the element of stability, the generator of form. In my works, for instance, rhythm derives from the simultaneous interplay of unrelated elements that intervene at calculated, but not regular, [13]
time lapses. This corresponds more nearly to the definition of rhythm in physics and philosophy..."
During this same lecture Varese elaborated on his statement referring to rhythm as the "generator of form," and he presented form as "...the result of [the] process." Varese believed that each of his works found its own form. When he made the distinction between form and rhythm, it was to clarify this belief.
The relationship of dynamics and articulations to rhythm in the music of Varese can be considered a replacement for melody. When dynamic nuances and articulations are added to a repeated tone, the combination presents a particular timbre with direction and shape. Additionally, the combination of rhythm,
dynamics, articulation, and pitch class dispersement create tension and forward motion throughout his works. During a lecture in 1960, Varese expounded on his rhythmic style:
"One of the greatest assets that electronics has added to musical composition is that of metric simultaneity. My music being based on movements of unrelated sound masses I have long felt the need and anticipated the [14]
effect of having them move simultaneously at different speeds."
In Varese's compositional language, he described the vertical or harmonic element as "sound masses," and the melody he called "plane," a geometric term. His innovative theories, when synthesized, gave new meaning to the traditional elements of harmony and melody. To Varese, "sound masses" and "planes" operated as architectural elements rather than the traditional perception of beauty associated with harmony and melody. Varese's "sound masses" are constructed from the horizontal or vertical material. These pitch classes are often interchangeable between the vertical and the horizontal elements. It can then be concluded that Varese believed in some sort of equality between the vertical and the horizontal, which in his words would be "melodic totality."
"There will no longer be the old concept of melody or interplay of melodies. The entire work will be a melodic totality." [15]
Thus, the compositional elements of "sound mass" and "planes" are interchangeable. A melodic cell can be transformed by intensity and pitch expansion, allowing the process to generate an equation of notes capable of forming a "sound mass." With constant variation of each rhythmic and melodic motivic cell, Varese creates a unique listening experience.
In much of his music, one concludes through analysis, that "sound mass" encompasses pitch class and spacing in four determinate categories. The first is pitch content, which is related to melodic material by transformation through inversions and registral variations. The second is the use of intervals and the ratio between consonant and dissonant sounds; Varese favors strong dissonances within each "sound mass," which include intervals of
seconds, ninths, and major sevenths. Melody and harmony in a traditional sense are not ignored but simply done away with in many instances. Therefore, strong dissonant intervals within the harmonic framework become a necessity. The third category is orchestration, or spacing. Varese referred to this element as "oxygenation," (to treat or infuse sound) and it is of fundamental importance. With precise calculation, each note is placed for optimum integration of sound. The final component is the timbre of each instrument. Varese viewed timbre as a function which distinguishes sound masses from one another. The timbre of each note then becomes as important as any pitch and through the combination of sound qualities can be considered harmony of tone rather than of notes. Sound masses in the music of Varese are in constant motion. He discussed this technique and the advantages of using electronic instruments:
"When new instruments will allow me to write music as I conceive it, the movement of sound masses, of shifting planes, will be clearly perceived in my work, taking the place of linear counterpoint. When these sound masses collide, the phenomena of penetration or repulsion will seem to occur. Certain transmutations taking place on certain planes will seem to be projected onto other planes, moving at different speeds and at different [16]
angles."
Sound mass represents a body of sound interrelated by interval, register, timbre, articulation, dynamics, and shape. These elements of Varese's music survive subtle modification, or as Varese coined the term, "transmutation." Throughout the compositional process these elements continually expand and interact causing a sense of growth within the music. This concept of growth through subtle changes supports his conviction of "sound as living matter."
III
COMPOSITIONAL LANGUAGE
In developing a thorough understanding of the music and aesthetics of Varese, it is beneficial to develop a working knowledge of Varese's concept of musical fundamentals. The following may be of assistance:
ANALYTICAL ELEMENTS
· Music is a spatial phenomenon and therefore fuctions in three dimensions.
· Rhythmic, harmonic, and melodic material undergo constant variation. This material is linked to form "sound masses" with connecting strands of melodic material. · Rhythm is "the generator of form," that which holds the work together.
· Vertical and horizontal material are interchangeable.
· Timbre is as important as pitch and will distinguish
one sound mass from another.
· Sound possesses inherent intelligence.
Varese's musical concepts grew out of his involvement with general shape and natural phenomena. These concepts are fundamental to his music and have significance in other arts such as architecture, sculpture, and painting. Throughout his career Varese made statements which reflected his original thinking about musical sound and structure.
Architecture was significant to Varese. Le Corbusier and his book, Toward a New Architecture, influenced and supported Varese's belief in the three dimensions of music: horizontal, vertical, and dynamic swelling. Varese added a fourth, sound projection, which he discussed in his 1936 Santa Fe lecture. Corbusier's book, originally published in Paris in 1923, defined architecture as: "... the masterly, correct and magnificent play of masses brought together in light." Corbusier also uses the designation of "Three Reminders to Architects" as being mass, surface, and plane, together with regulating lines. It is with these theories that Varese considered a
basis for his musical dimensions. The corresponding terms which Varese spoke of so often are, in turn, planes, masses, zones of intensity, and spatial dispersement.
In dealing with the music of Varese, one must first accept the norms of sound which he presented frequently in his lectures and writings. Second, one must understand the language Varese used when talking about his music. As a point of departure for conductors preparing a work by Varese, the most informative readings are Chou Wen-chung's "Varese: A Sketch of the Man and His Music" in Musical Quarterly and Marc Wilkinson's "An Introduction to the Music of Edgard Varese" in The Score and IMA Magazine. These articles are of substantial value and present a number of useful points which can set the stage for more extended investigation. The following passage as spoken by Varese and quoted earlier, serves as a point of departure for conductors preparing any of his works:
"When new instruments will allow me to write music as I conceive it, the movement of sound masses, of shifting planes, will be clearly perceived, taking the place of linear counterpoint. When these sound masses collide the phenomena of penetration or repulsion will seem to occur. Certain transmutations taking place on certain planes will seem to be projected onto other planes, moving at different speeds and at differentangles....In the moving masses you would be conscious of their transmutations when they pass over [17]
different layers, when they penetrate certain opacities, or are dilated in certain rarefactions."
Varese spoke of his music as a visual image, which requires an unconventional interpretation. With such an analogy, the concepts described in his terms are taking place in the music. The phrases "spatial music" and "music in space" are principles which manipulate sound within his compositional framework. Considering musical space in the context of physical space requires attention to the vertical rather than the horizontal structures in his music. Melody or line in a traditional sense is not of primary importance, as was noted during many of his premieres in the 1920's. Critics described his music with phrases such as "cubical music," "skyscraper chords," and "blocks of sound." The basic concept of vertical space or dimension as a musical frame of reference can be defined as the partitioning of sound. This significant compositional result was
described by Varese in his lecture on "The Liberation of Sound," as "the sensation of non-blending" of "the movement of unrelated sound masses." The movement of sound masses was, in Varese's mind, the basic element of a new counterpoint.
Varese found in the process of crystallization a method of composition which expresses rhythm and form. This process is one which grows from within rather than externally. As an analogy, crystallization accentuates the growth of an idea through minimal expansion. For Varese, the idea is nothing more than a point of departure or the basis for a more expanded structure. These structures will continue to develop in complexity and may or may not have a direct relationship to its surrounding sonorities. This technique is indeed unique and for Varese the form of a work is the result of expansion and the interaction of sound resources. Varese believed in the manipulative process as applied to sound and he discussed the relationship of rhythm and form in many of his lectures.
" Rhythm and form are still [the composer's] most important problems and the two elements in m usic most generally misunderstood. Rhythm is the element in music that gives life to the work and holds it together... As for form, Busoni once wrote: 'Is it not singular to demand of a composer originality in all things and to forbid it as regards form? No wonder that once he becomes original, he is accused of formlessness.' The misunderstanding has come from thinking of form as a point of departure... Form is a result - the result of process. Each of my works discovers its own form... My music cannot be made to fit into any of the traditional music boxes. Conceiving musical form as a resultant - the result of process - I was struck by what seemed to me an analogy between the formation of my compositions and the phenomenon of crystallization. Let me quote the crystallographic description given me by Nathaniel Arbiter, professor of minerology at Columbia University: 'The crystal is characterized by both a definite external form and a definite internal structure. The internal structure is based on the unit of crystal which is the smallest grouping of the atoms that has the order and composition of the substance. The extension of the unit into space forms the whole crystal. But in spite of the relatively limited variety of internal structures, the external forms of crystals are limitless.'
Then Mr Arbiter added in his own words: 'Crystal form itself is a resultant [the very word I have always used in reference to musical form] rather than a primary attribute.Crystal form is the consequence of the interaction of attractive and repulsive forces and the ordered packing of the atom'
This, I believe, suggests, better that any explanation I could give, the way my works are formed. There is an idea, the basis of an internal structure, expanded and split into different shapes or groups of sound constantly changing in shape, direction, and speed, attracted and repulsed by various forces. The form of the work is the [18] consequence of this interaction. Possible musical forms are as limitless as the exterior forms of crystals."
If this process is at a higher level of importance than the overall result, then one can begin to understand the music of Varese as developing within a framework of constant change. Conductors may find this concept to be doubtful or to have incoherent results, but Varese believed in "musical space as open rather than bounded." His concept of sound projection and musical thought taking its own course become paramount in the analysis and preparation of his works.
It is often frustrating for the conductor and performer to draw significant conclusions about Varese's music because he used a variety of materials and techniques. Usually a composer's chronological development can be seen in the evolution of his works. Such is not the case with Varese's music. This compositional approach is complex and diverse. It took time for him to bring it to maturity. As one examines Ameriques and Offrandes for example, impressionism is heard; however, the compositional focus is less than perfect. Having written twice for orchestra, it was not until the creation of Hyperprism that he found a satisfactory medium of musical expression that fulfilled his artistic aims.
In conclusion, the conductor and performer, through score study and analysis of Varese's music, must strive to duplicate that which is consistant in Varese's terms. A systematic approach to analysis will reveal each work's unique qualities regardless of length and variety of instrumentation. In the chart that follows, Varese defined these terms at various lectures given throughout his career.
VARESE ON VARESE: Definitions
Sound-mass
Refers to a body of sound with certain specific attributes in interval content, register, contour, timbre, intensity, attack, and decay.
Idea
A motivic fragment in either the winds or percussion.
Expansion of an idea
Sound masses seem to emerge out of the expansion of an "idea" based on an internal structure and may continue into sonic space.
Projection of sound masses
The sense of projection of sound-masses depends on the source location as well as the independent movement of each sound-mass as opposed to the others.
Penetration
When "sound masses" collide, the interaction tends to bring about "penetration," during which certain attributes of one "sound-mass" are transformed to another.
Transmutation
When the attributes of a sound or sound-mass are transferred (penetration) to another, changing the attributes of each sound or sound-mass. With a single pitch it describes the change of color by degrees over a wide range (which electronic machinery made possible in a very perfected manner).
Rhythm
The simultaneous interplay of unrelated elements that intervene at calculted, but not regular, time lapses.
Form
The consequence of the interaction of attractive and repulsive forces evolved out of an "idea."(form is the result of process)
MUSIC AS AN OBJECT: The Audience's Perspective
Edgar Varese's music stands independent from that of his contemporaries, portraying ideas of musical structure and sound concepts that are vastly different. It is unfortunate that his music is not known by the general public or even by a large majority of performing musicians. Audience's often misunderstand Varese's music when first heard. Varese did not believe that audiences and performers understood the amount of time it took for a
"sound to speak." Varese demonstrates in the opening of many of his works his concern with sound and how it is received by the ear. With much of his musical output, Varese believed that sound was capable of having "inherent life." In a developmental sense, his music is neither classical nor romantic. The listener experiences Varese's music as an object being constantly twisted to hold interest. From a musical standpoint, sound as the object is moved by continuous variations in register, rhythm, and instrumentation. In a structural sense, this parallels other composer's use of themes and key's. Compositionally, his music may have a development or recapitulation, but when analyzed in detail, one never finds all elements following traditional structures.
Within the music of Varese, blocks of sound are calculated and balanced against one another as an architect designs and oversees construction of a building. Therefore his music can be considered "architectonic." During an interview with Gunther Schuller in 1965, Varese was asked how his ideas of architectonic form and structure came about.
"I was not influenced by composers as much as by natural objects and physical phenomena. As a child, I was tremendously impressed by the qualities and character of the granite I found in Burgundy, where I often visited my grandfather. There were two kinds of granite there, one gray, the other streaked with pink and yellow. Then there was the old Romanesque architecture in that part of France: I used to play in one of the oldest French churches - in Tournus - one that was started in the sixth century and built in purest Romanesque style. And I used to watch the old stone cutters, marvelling at the precision with which they worked. They didn't use cement, and every stone had to fit and balance with every other. So I was always in touch with things of stone and with decoration. All of this became an integral part of my thinking at a very early stage."
[19]
Varese requires the listener to concentrate more intensely as each work progresses, even though the inclination may be otherwise. The process of increased change in compositional elements makes clarification of the sound object possible, but decreases the listener's ability to experience the total impact. Only after multiple hearings does the listener begin to experience sound as having inherent life. Varese did not concern himself with the
way his music reached the public, he cared more about attaining a particular musical phenomenon. To Varese, "sound projection" is one of those phenomenon where sound will leave and not be reflected back.
During the early 20th century, composers were concerning themselves with total chromaticism and the ordering of various elements of music, while Varese questioned dividing of the octave into twelve equal parts. Marc Wilkinson, in his article, summarized Varese's feelings on the subject.
"To his ear, thirteen fifths do not equal seven octaves, and as he does not, in theory, accept a scale of equal intervals
it follows that, so far as his own music is concerned, melodic or harmonic patterns cannot be
transferred from one octave to another without altering their functions completely, that modulation in a tonal sense is unthinkable, and the twelve- tone m ethod quite unmotivated. The application of such a theory is to a large extent impractical on instruments which, in most cases, are tuned to the tempered chromatic scale, or on which it is difficult to produce at all clearly intervals of a relative, unfixed nature. But the situation becomes entirely different the moment one thinks of music composed for and performed by electronic instruments. It is [20]
towards this end that Varese has always a imed."
The music of Varese is often thought of as extremely complicated, when in fact it employs simplicity of structure. He has attained new ground in relation to basic musical elements by combining them to form a unique compositional language. Varese achieves complexity through a fresh ordering of sound construction that functions with precision and intrinsic beauty. Throughout his life as a composer, Varese believed music would eventually be created by means of electronic instruments, thus allowing composers direct access to the listener without musical interpretation being pre-determined.
"I dream of instruments obedient to my thought and which with their contribution of a whole new world of [21]
unsuspected sound, will lend themselves to the exigencies of my inner rhythm."
Varese also believed that the scientist would someday work together with the composer to create a machine capable of transmitting any sound created by the composer. During a lecture given in 1939, Varese elaborated on his thoughts concerning such a machine.
"And here are the advantages I anticipate from such a machine: liberation from the arbitrary, paralyzing, tempered system; the possibility of obtaining any number of cycles or if still desired, subdivisions of the octave, and consequently the formation of any desired scale; unsuspected range in low and high registers; new harmonic splendors obtainable from the use of subharmonic combinations now impossible; the possibility of obtaining any differentiation of timbre, of sound combinations, new dynamics far beyond the present human powered orchestra; a sense of sound projection in space by means of the emission of sound in any part or in many parts of the hall as may be required by the score; cross rhythms unrelated to each other, treated simultaneously, or to use the old word, "countrapuntally," since the machine would be able to beat any number of desired notes, and subdivision of them, omission or fraction of them -- all these in a given unit of measure or [22]
time which is humanly impossible to attain."
The use of program notes and proper placement of each work on a program will allow the listener to experience the music of Varese with appreciation. The conductor must take great care in preparation and consider the demands that Varese places on the audience. With time and careful understanding, the uniqueness of these works can be experienced and the listener will leave the concert hall with an image of sound as having inherent life.
THE PERFORMER: A Sound Generator
As a conductor preparing the music of Varese, one must consider the preparation of performers as well. The natural reaction of performers when handed a piece of music by Varese is one of amazement. The variety of dynamics, articulations, and registeral changes challenges the instrumentalist far beyond tradition. Varese
expected the instrumentalist to produce sounds that in his mind were electronic. The image of a machine producing sound was far more important than an instrumentalist reproducing the sound. Performers and instrumentalist alike are exploited through demanding technique and skill required to reproduce Varese's intentions. Because the music created by Varese was electronic music in disguise, or the "organization of sound" produced by less than adequate means, Varese was in need of extreme proficiency on instruments and performers. Marc Wilkinson's article of 1957 expounds on the availability of instruments and the creative dilemma faced by Varese.
"Lacking the facilities he needed, Varese had to make do with conventional means of performance, choosing the instruments that would come nearest to the timbres and effects he had in mind. There exists therefore a strained duality in his music, for while composing with techniques based on fluctuating values, he contrived to work within the fixed values of temperament and within the limits of timbre, dynamics, and duration imposed by our mechanical instruments. Varese favors woodwind and brass because they produce clear sounds, relatively free of such clouding factors of vibrato and approximate pitch; their timbres contrast but will blend. His fondness for percussion instruments is precisely due to their lack of pitch, which allows almost unbound rhythmic development outside the tempered scale. Similarly, his use of sirens (in Ionization) is symbolic, not of air-raids, but of his desire for an infinite curve of pitches." [23]
Performers must prepare themselves, in various ways, to allow the re-creation of sound to emerge from the printed page. To produce with accuracy the extremes in dynamics, articulation, and register, performers must sacrifice traditional approaches to sound production on their instruments and become "sound generators." Instrumentalists can begin to understand this concept by imagining and duplicating the quality of sound heard during the tape interpolations of Deserts or Poeme electronique. This music created later in Varese's career was a long awaited product of the development in electronic devices, yet he was still unsatisfied with the limited possibilities.
IV
CONDUCTING VARESE: Selected Considerations
HYPERPRISM Time: 4:OO
·
It is recommended that the 1986 Richard Sacks edited version be used for performance. The score is
published by Colfranc Music Publishing and avalible for purchase with performance parts on rental, from Boosey & Hawkes.
·
Suggested analysis in print on Hyperprism: - Bernard, Jonathan. The Music of Edgard Varese, Yale University Press, p. 193. - Bloch, David. "The Music of Edgard Varese," Ph.D.
diss., University of
Washington, p.209. - Hackbarth, Glenn. "The Sound-Mass in Varese's Early Music," Percussive Notes/1985, p. 4.
·
The first of Varese's classic "Liberated" works. Very short and tightly knit work for 16 percussion
instruments and 9 winds (fl., cl., 3 hn., 2 tp., 2 tbn.,). - Only 2 woodwind against 7 brass & percussion.
·
Key work for study and analysis - illustrates foundational structure and style (atomization,
crystallization, intensity, non-blending, sound masses, and projection). - A clear example of atomization can be heard in the first 11 measures of the score where Varese finds 32 different ways of filling a single quarter beat.
Can be analyzed as a work in 9 sections or 3 larger sections. 1 = m. 1-19 2 = m. 20-30 3 = m. 31-39 4 = m. 40-48 5 = m. 49-62 6 = m. 63-68 7 = m. 69-76 8 = m. 77-84 9 = m. 84-90
·
1 = m. 1-28 2 = m. 29-58 3 = m. 59-90
Fluctuation of tempo - For its minimal length, there is a variety of tempi and moods. NO
METRONOME MARKINGS. - Highest density of tempo changes as compared to other works. (selection of tempo is subjective)
·
Attention to balance of pitch versus non-pitched instruments, 9 winds and brass as against 9
percussionist playing 16 instruments to include a lions roar and siren. This represents the total sound resources available to Varese. ·
The siren and lions roar serve as an introduction to free pitch. If desired, these instrumental sounds
can be duplicated on a synthesizer for control and accuracy.
Group instruments according to timbre and range.
The winds each form variations of intensity and
the percussion are grouped in categories of shaken, metal, membrane, wood, and variable pitch or intensity (lions roar and siren). ·
The percussion instruments serve a supportive role or are independent of the winds. Percussion texture can be considered as a band of white noise in opposition to the pitched wind texture. Consider the reality of Hyperprism being electronic music scored for natural instruments.
Suggested percussion set-up and wind seating:
(example #1 Hyperprism) The opening measures up to m. 11 will show the variety of rhythm used. Atomization = 32 different ways of filling a quarter beat.
(example #2 Hyperprism) The dynamic execution in the horns at m.7 can be difficult.
(example #3 Hyperprism) This is a poly-melodic episode with repeated notes showing the independence of "planes" transforming into one "sound-mass." Beginning at m. 40.
(example #4 Hyperprism) Percussion as separate layer to the winds. The horns and trombones serve on sustaining "planes" while the percussion act as "white noise." – at m. 60.
OCTANDRE Time: 7:00
·
Recommend use of the 1980 revised score by Chou Wen-chung. Score was prepared by James Tenney for the engraver and Chou
Wen-chung provides performance and part editions as
compared to earlier publications. Score and parts are available for purchase from Boosey & Hawkes, published by Colfranc Music Publishing.
Suggested analysis in print on Octandre: - Koto, Takashi. "Basic Cells and Hybridization in Varese's Octandre," SONUS, Vol 8, 1988, p.59.
- Ramsier, Paul. "An Analysis and Comparison of the Motivic Structure of Octandre and Integrales, Two instrumental works by Edgard Varese," Ph.D. diss., New York University. 1972
·
This is the only multi-movement work by Varese. Each movement must be played attacca per Varese's directions. The form of each movement may be viewed as being in three parts, with the last part of each being a development of each opening motive. Each movement begins with a phrase played by a solo instrument. The use of major 7th and minor 9ths are coherently transformed through chromatic motion and inversions.
· The form of Octandre is symmetrically related through duration when divided as follows: `
movement
measures
duration
I
1-15 16-32
67" --73" ---
II
1-49 50-65 66-91
47" --13" -20"
III
1-23 24-39 40-60
54" 14" -44" ---
Consider the repetition of the same sound throughout the entire work. The consistent Varese sound in this case serves as an intangible rhythm without melody. A basic motive be intervallic, melodic, rhythmic or simply timbral.
throughout the work can
Melodic fragments or motives can be
horizontally prolonged or shortened in melodies or vertically expanded or contracted within the harmonic framework.
Dynamics emphasize energy and direction. The first movement begins and
ends tranquil, while the second and third start agitated with increasing dynamic intensity to the end.
·
For this unusual instrumentation either of the following set-ups will work:
(example #1 Octandre) The opening near repetition of the oboe and the answer of the clarinet in an image of an "echo chamber," is a clear notion of the electronic sound concept.
(example #2 Octandre) In m. 12 and 13 the layered dynamic levels cause the trumpet player to react against the normal trend of what is usually heard. Each dynamic level must remain independent. Also note the dynamics in the horn at m. 16.
(example #3 Octandre) At m. 19 the dynamic difficulty is extreme and must be rehearsed slowly with the players having a clear understanding of the electronic sound quality needed. Also consider the use of a different trumpet, the change to a Bb horn will produce a better sound.
(example #4 Octandre) The oboe passage at m. 30 is a clear example of sound projecting or leaving and not returning. The finale note must be like a shaft of light in motion.
(example #5 Octandre) The opening flute passage in the second movement is difficult due to the register and the nervous quality required, the player must use much vibrato to achieve this. Again this is electronic in nature with repeated notes and varying phrase lengths.
(example #6 Octandre) This is a clear example of symmetrical "sound-masses" against a single plane. In m.26 the dynamic variety must be carefully balanced.
(example #7 Octandre) Again, the concept of projection and of one "sound-mass" continuing in motion. (end)
INTEGRALES Time: 10:30
·
The 1980 edition of the score by Chou Wen-chung is recommended. Chou Wen-chung has prepared the score with corrections made according to manuscripts and other related copies. There is an annotated list of corrections in the edited score. The parts and score are published by Colfranc Music Publishing and may be rented from Boosey & Hawkes.
Suggested analysis in print on Integrales: - Strawn, John. "The Integrales of Edgard Varese: Space, Mass, Element, and Form," Perspectives of New Music, 1978, vol 17. - Ramsier, Paul. "An Analysis and Comparison of the Motivic Structure of Octandre and Integrales, Two instrumental works by Edgard Varese," Ph.D. diss., New York University. 1972
An important work for Varese, written during his most creative period. This work provides insight into the elements of sound-mass, spatial projection, and zones of intensity.
·
The instrumentation for Integrales is as follows: 2 picc, 1 ob, 1 Eb soprano cl, 1 Bb cl, 1 hn in F, 1 tp in D, 1 tp in C, 1 tbn, 1 bass tbn, 1 contra bass tbn, and 4 percussionist (1 = suspended cymbal, snare drum, tenor drum, string drum; 2 = castanets, cyms., 3 chinese blocks; 3 = sleigh bells, chains, tamborine, gong, tam-tam; 4= triangle, crash cymbal, twigs, bass drum, slap stick).
·
The duration of Integrales is balanced: measures 1-31 32-78
duration 104" ----125" -----
A
229"
·
79-126 127-154
79" --41" ---
B
120"
155-190 191-224
129" ----103" -----
A
232"
The work is built on the motion of sound-masses in opposition to each other. Varese believed in an
audible impression of geometric space. Sound is multi-dimentional and moves at varing speeds. "... Integrales was conceived for a spatial projection. I constructed the work to employ certain acoustical means which did not yet exist, but which I knew could be realized ...In order to make myself better understood - for the eye is quicker and more disciplined than the ear - let us transfer this conception into the visual sphere and consider the changing projection of a geometrical figure onto a plane surface, with both geometrical figure and plane surface moving in space, but each at its own changing and varying [24] speeds of lateral movement and rotation."
·
Carefully notated, all dynamic markings suggest strong brilliance and projection. The auditory image
created through sound-masses allows the listener to experience sound as from inside an echo chamber. Soft sounds should be precieved as being heard far away and cresendi, diminuendi, among other transformations, would bridge the extremes.
·
Varese again, is creating electronic sound with natural instruments. He attempts to pass timbre and
color of a particular pitch from instrument to instrument to be percived as a single sound source.
·
Varese stated many times that his music was not based on any "fixed set of intervals such as a scale or
a series." The pitch material used generally avoids perfect octaves, yet strong dissonances such as seconds, sevenths, augmented fourths and their octaves occur. This vertical construction of sound mass can be extremely dense, for example in measure 28 there are 11 different pitches for 11 instruments. As for the horizontal pitch relationships, expansion or prolongation of a given pitch through chromatic neighbor-note motion or disjunct melodic repitition will bridge together a variety of sound-masses.
·
The strategy in creating blocks of sound, which fit like a jig-saw puzzle, can be thought of as addition
and subtraction of diverse elements. Varese constantly varies his material and creates a repertoire of "organized
sound masses." These masses are conceived to be in three-dimentional form and constantly move through space, appearing and re-appearing within the framework of the compositon.
Suggested percussion set-up and wind seating:
(example #1 Integrales) For the contrabass trombone it is possible to use a tuba as a substitute. M.5
(example #2 Integrales) The transmutation of timbre and pitch from the trumpet to oboe and back to trumpet is like electronic sound manipulation. -- Reh. #2
(example #3 Integrales) A view of different "planes" meeting to form a "sound-mass" with eleven different pitches played by eleven instruments. -- Prior to reh #3
(example #4 Integrales) placement is raised as passage.
(example #5 Integrales) are transformed into one.
At times, the question of dynamic in the trombones throughout this
The
colliding
of
"sound-masses"
(example #6 Integrales) The oboe part is a clear example of difficulty and demand. the challenge to the performer is that of being a sound generator. -– Reh. #19
IONISATION Time: 6:30
·
The score and parts are currently available on rental from Boosey & Hawkes. The score was first published by Esching Publishing in 1943 and later released by Ricordi in 1956. The recommended
edition is the 1956 Colfranc reprint. This edition includes instrumentation and set-up suggestions by Morris Goldenberg and a brief analysis by Nicolas Slonimsky.
Suggested analysis in print on Ionisation: - Koto, Takashi. "Basic Cells and Combinations in Varese's Ionisation," SONUS vol 7, 1987. - Frock, George. "Ionisation: An Analytical Interpretation," Percussive Notes vol 25, 1987. - Cox, David H. "On the Threshold of Beauty: Form and Structure in Varese's Ionisation," Percussive Notes vol 27, 1989. - Wen-chung, Chou. "Ionisation: The Function of Timbre in its Formal and Temporal Organization," The New Worlds of Edgard Varese: A Symposium," ed. Sherman Van Solkema, ISAM Monograph # 11.
·
Instrumentation is for percussion ensemble. There are 34 different percussion instruments plus
chimes, piano, and celesta played by 13 players.
·
One of the earliest works for percussion alone. Varese explores the possibilities of non-pitched percussion instruments and concepts and techniques such as "sound-mass," "penetration," and "transmutation." This piece illustrates his concept of "Crystallization" as it applies to composition, with rhythmic cells constantly changing yet related.
·
The analysis of Ionisation can be an important first step to understanding the works of Varese. The
original thinking of Varese and the use of timbre with non-pitched percussion and the free pitch of the sirens/lions roar can be thought of as
electronic sound construction with natural instruments.
·Grouping of instruments:
Metal - Triangle, anvils, cowbells, cymbals, gongs, tam tam, rim shots. Membrane - Snare drum with out snare, bass drum, tenor drum and bongos.
Snare - Snare drum with snares, parade drum, tarole. Wood - slapstick, blocks, claves. Rattle/Scratcher - Sleigh bells, tamporine, maracas, castanets, and guiros. Free pitch - Loins roar, Sirens Keyboard percussion - Chimes, piano, and celesta.
·
Instruments function in the following ways: - motivic or idea - textural definition - elaboration of idea - vertical expansion - timber or register modulation - acoustical definition ·The piece works on the interaction or juxtaposition of textures that can be defined through timbre,
register, and rhythmic characteristics.
·
Ionisation can be divided into nine sections:
1 = m. 1-8
Introduction
2 = m. 9-12
Parade drum "theme"
3 = m. 13-20
Development
4 = m. 21-37
2 & 3 in juxtaposition
5 = m. 38-50
Verticalization/sound-masses
6 = m. 51-55
Transformation
7 = m. 56-65
Elaboration of section 4
8 = m. 66-74
Climax of elaborations
9 = m. 75-91
Coda/conclusion
The following percussion set-up will work in performance and rehearsal:
(example #1 Ionisation) The opening variety of percussion instruments military drum theme at rehearsal #1.
score page shows the and the "classic"
DESERTS Time: 23:28
The only score available is the 1959 version published by Colfranc. A study score can be purchased and a larger score, parts and tape are on rental from Boosey & Hawkes. The rental materials are in deplorable condition and require attention prior to rehearsal and performance.
Suggested readings in print on Deserts: - Bernard, Jonathan. "Pitch/Register in the Music of Edgard Varese," Music Theory Spectrum, vol 3, 1981. - Bloch, David. "The Music of Edgard Varese," Ph.D. diss., University of Washington, p. 209, 1973. - Ouellette, Fernand. Edgard Varese, Orion Press, New
York p. 179.
- Whittall, Arnold. "Varese and Organic Athematicism," The Music Review,vol 28, 1967.
This is the first time a composer used electronically taped sounds in opposition to natural instrumental sounds. The organized tape sounds are never heard simultaneously with the instruments, but must have a seemless connection.
Instrumentation is 1 fl, 1 picc, 2 Bb cl (one ea w/ Eb cl & Bb bass cl), 2 F hn, 3 tp (1 in D, 2 in C) 3 tbn, 1 bass tba, 1 contrabass tba, piano, 5 percussion.
- The only work which Varese used piano. - It is best to use 4 players on clarinet, 2 Bb, 1 Eb, and 1 bass. The bass tuba should be played by a euphonium. (n.b. = The French call a euphonium a bass Tuba) - The electronic tape can be turned on and off by either of the French horn players. The tape should also be transferred to cassette or digital audio tape (DAT) for ease in starting the sound. ·These tape segments along with Poeme electronique are considered the best audible reference of living music as Varese conceived it.
The intervallic structure of Deserts is
symmetrical with gradual introduction of chromatic pitches. This is his compositional craft of subtleties and precise control. The intervals of fourths, fifths, tritones, and major and minor ninths form symmetrical sound-masses. These masses are a result of precise calculations in orchestration, intensity, and timbre.
·
This is Varese's longest work as compared to Hyperprism. In
Hyperprism no metronome
markings are used however, all subsequent works include metronome markings. The precision and control of an electronic instrument was the aim of Varese. In Deserts, Varese sub-divides measures with dotted bar lines for accuaracy in placing crescendos and diminuendos. This facilitates the non blending of sound-masses and their motion in opposition to each other.
·
This work provides all the consistency of Varese with the addition of electronic tape inserts. The symmetry of intervallic spacing is the same as his earlier works. The range has increased, the dynamic levels have also increased, and the position of various pitch classes have spread with the acoustical resonance of the piano's pedal.
·
The form or structural layout of Deserts: measure 1-82 A B
83-224 225-263 A
B
A = instruments
A
B
264-325 A
B = tape inserts
Suggested stage set-up including percussion, piano, and sound system:
(example #1 Deserts) Sustaining timbre and pedal points linked by the resonance of suspended cymbals and the piano. Again, the electronic sound concept is necessary. (opening)
(example #2 Deserts) Another clear example of sound projection in m. 29 beginning with the timpani and building the vertical sonority through to m. 31. Again, the building of a "sound-mass" with motion.
(example #3 Deserts) In Deserts, Varese used the subdivided bar line (m.41) to aid in the accurate placement of dynamic fluxuation. This is a means of movement at different speeds with carefully calculated dynamics, much like conflicting wave forms sounding simultaneously.
(example #4 Deserts) In m. 165 the spatial identity is built like a chain of symmetrical intervals. The transmutation of varying "planes" colliding to form a single "sound-mass."
(example #5 Deserts) The use of symmetrical structure with instrumental pairs. The trumpet and flute are outlined with the clarinet timbre. The individual identity of the "planes" are in motion including the forward motion of the timpani, again moving independently. -- m.172
CONCLUSION
In preparing the music of Varese, the conductor must understand the concepts and fundamental beliefs which Varese lived throughout his life. His concept of music being "organized sound" had a profound influence on 20th century music. Varese led the way for new compositional techniques, especially the inclussion and elevation of percussion instruments as independent sound resources. The use of free pitch
and relative pitch percussion in combined orchestration with winds made composers aware of new acoustical sounds.
Although Varese's compositional output is small, he is considered a creator with great imagination and vision.
The works that have established Varese as one of the leading innovators of the 20th century, were
written from 1922 on, with the premiere of Offrandes. Varese, at age 39, began to establish the idea of "continuity of sound" as we know it today. This consistent compositional style has intrigued and motivated some composers and conductors to better understand his works.
It is hoped that the ideas and suggestions presented in this study will make the wind and percussion music of Edgard Varese more accessible to conductors and performers.
PERCUSSION INSTRUMENTS MOST COMMONLY USED IN THE MUSIC OF EDGARD VARESE ____________________________________________________ French
Italian
timpani
timbales
timpani
xylophone
xylophone
xilofono
orchestra bells
jeu de timbres
campanelli
vibraphone
vibraphone
vibrafono
chimes
cloche
cariglione
tubular bells
tube de cloche
campana tubolare
gong
gong
gong
bell plate
cloch en lame de metal
campana in lastra di metallo
field drum
caisse roulante (avec cordes)
tamburo rullante
military drum
tambour militaire
tamburo militare
side drum
tambour militaire
tamburo militare
tenor drum
tambour roulante (sans timbre or sans cordes)
tamburo rullante senza corde
snare drum
caisse claire
tamburo piccolo or chiara
bass drum
grosse caisse
gran cassa
indian drum
tambour indien
tamburo indiano
tambourine
tambour de basque
tamburello tamburo basco
lion's roar
tambour a corde
caccavella buttibu
bongos
bongos
bonghi
triangle
triangle
triangolo
cymbals
cymbales (a 2) cymbale (suspendue)
piatti cinelli
cowbell
cencerro
cencerro
cencerro
bloc de metal
campane di metallo
anvil
l'enclume (bloc de metal)
l'incudine
switch
verge
verga
twigs(rute)
verges
verga
whip
fouet
frusta
slapstick
fouet
frusta
castanets
castagnettes
castagnette or nacchere
chinese blocks
bloc chinois
teschio cinese
temple blocks
temple-bloc
campana di legno
ratchet
crecelle
raganella
guiro
guiro
guiro
sleigh bells
grelots
sonagliera
maracas
maracas
maracas
iron chains
chaine
catena
siren (high)
sirene claire
sirena
timbales cubaines
timbales latino or timpanetti
lathes timbales
metal sheet/thunder sheet
tole pour imiter le tonnerre
lastra dal tuono
Varese often mixed both French and Italian terms throughout his compositions. You will find both languages used for directions in his music. Here are three percussion references for the performer and conductor to consult.
Joseph Adato and George Judy, ed., The Percussionist's Dictionary (New York: Belwin-Mills Publishing, 1984). Karl Peinkofer and Fritz Tannigel, ed., Handbook of Percussion Instruments (New York: Schott Music Publishing, 1969). James Holland, Percussion (New York: Schirmer Books, Macmillan Publishing Co.,1978).
SUSTAINING WORKS OF EDGARD VARESE
This is a chronological listing of the sustaining works of Edgard Varese which should help place the wind and percussion works in historical perspective.
AMERIQUES Duration 23:00
· Composed 1918 -1921, for orchestra and dedicated, according to Louise Varese, "to my unknown friends of 1921." · Premiered April 9, 1926, by the Philadelphia Orchestra Leopold Stokowski conducting at the Academy of Music in Philadelphia. · Revised 1927 - premiered May 30, 1929, by the Orchestre des Poulet conducting, at the Maison Gaveau in Paris. · First edition published - J. Curwen & Sons Ltd, London, 1925.
Concerts Poulet, with Gaston
· Revised edition published - Max Esching, Paris, 1929. · Score published by Colfranc in 1973 is a new edition based on comparison of manuscripts and previous editions. Meticulously edited by Chou Wen-chung.
OFFRANDES Duration 12:00
· Composed 1921 for soprano and chamber orchestra with percussion. · Premiered April 23, 1922, at an International Composers' Guild concert - Greenwich Village Theater, New York City, Carlos Salzedo conducting with Nina Koshetz, soprano soloist. · Based on two songs - "Chanson de la-haut" a setting of an extract from Vincente Hurdobro's poem "Tour Eiffel," and "La croix du sud" of Jose Juan Tablasa's poem of the same name. · Songs are respectively dedicated, "a Louise" and "a Carlos Salzedo."
HYPERPRISM Duration 4:15
· Composed 1922-1923 for small wind orchestra and percussion (1 flute(picc), 1 Eb clarinet, 3 horns in F, 2 trumpets in C, 1 tenor and bass trombone, 9 percussion). · Premiered March 4, 1923 at an International Composers' Guild concert – Klaw Theater in New York, conducted by Varese. · Dedicated to Jose Juan and Nena Tablada and first published by Curwen in 1924. · Score was first published Ricordi in 1956, reprinted by Colfranc in 1966 and revised and edited by Richard Sacks in 1986.
OCTANDRE Duration 7:00
· Composed 1923 for piccolo, oboe, Bb clarinet(Eb clar),bassoon, trumpet in C, horn in F, trombone and double bass. In three untitled movements. · Premiered January 13, 1924, at an International Composers' Guild concert - Vanderbilt Theatre, New York, conducted by Robert Schmitz. · Dedicated to Robert Schmitz and first published by Curwen in 1924, Ricordi reprinted with corrections by Varese in 1956.
· Current score edition published by Colfranc and edited by Chou Wen-chung.
INTEGRALES Duration 12:00
· Composed 1924-1925, for 11 chamber winds and percussion (2 piccolos, oboe, 2 clarinets - Bb & Eb, horn in F, 2 trumpets - D & C, 3 trombones - tenor, bass, and contrabass, 4 percussion. · Premiered March 1, 1925, at an International Composer’s Guild concert at Aeolian Hall, New York with Leopold Stokowski conducting. · Dedicated to Mrs. Juliana Force and first published by Curwen in 1926, Ricordi reprinted with corrections by Varese in 1956. · New edition published by Colfranc in 1980 and edited by Chou Wen-chung.
ARCANA Duration 16:00
· Composed 1925-1927 for orchestra. · Premiered April 8, 1927, by the Philadelphia Orchestra, conducted by Leopold Stokowski at the Academy of Music in Philadelphia. · Dedicated to Loepold Stokoski. · First published by Eschig in 1931. · Varese made revisions in 1960 in preparation for the recording by Robert Craft and the Columbia Symphony. · Score is published by Colfranc and is a reprint of the edition printed by Franco Colombo, New York, 1964.
IONISATION Duration 6:30
· Composed 1930-1931 for a percussion ensemble of 13 players. · Premiered March 6, 1933, in Carnegie Hall in a concert, conducted by Nicolas Slonimsky. · Dedicated to Nicolas Slonimsky.
· First published by Eschig in 1943, reprinted in the same year by New Music Orchestra Series, San Francisco, CA. · Score currently available from Colfranc and is a reprint of the Ricordi edition of 1956.
ECUATORIAL Duration 10:00
· Composed 1933-1934 for solo bass voice, 4 trumpets, 4 trombones, piano, organ, 2 Theremins, and percussion. percussion. · Premiered April 15, 1934, at a Pan-American Association Association concert in the Town Hall, New York, conducted by by Nicolas Slonimsky with Chase Baromea as the soloist. · Dedicated to Louise Varese. · The text is taken from the Popul Vuh, the sacred book of the Maya Quiche, and translated into spanish by Father Jimines and included in Miguel Asturias's "Leyendas de Guatemala." · During the first performance the bass was amplified with a hand-held megaphone. For the second performance in 1961, Varese changed the single voice to male chorus and the Theremins with 2 Ondes Martenots. · First published by Ricordi in 1961 and reprinted by Colfranc after the 1961 performance changes were made.
DENSITY 21.5 Duration 4:15
· Composed in January 1936 for solo flute. · Premiered and commissioned by George Bariere at a recital in Carnegie Hall, New York on February 16, 1936. This was also the performance performance when Bariere presented his platinum flute. · Revised in 1946 prior to a publication of the July 1946 issue of the New Music Quarterly. · Published by Colfranc in 1966 from a reprint of the edition presented in 1956 by Ricordi.
DESERTS 23:30 w/tape
Duration 13:20 -
· Composed between 1950 and 1954 for two-channel magnetic tape, 5 percussionist, piano, and 15 winds (2 flutes/picc,, 2 Bb clarinets w/one doubling Eb alto cl. & one doubling Bb bass cl., 2 horns in F, 1 trumpet in D, 2 trumpets in C, 3 trombones, bass tuba, contra-bass contra-bass tuba, piano, 5 percussionist). · Composed in seven sections with four played by live instruments in alternation with three sections of electronic tape alone. The instrumental sections were composed between 1950-1952 and the material for the electronic tape was gathered between 1953-1954 1953-1954 in Philadelphia. In 1954 the tape composition was completed at the O.R.F.T. studios in Paris.
· Dedicated to Ron Heller. · Premiered December 2, 1954, by the Orchestra de la Radio Television Francaise, conducted by Hermann Scherchen at the Theater des Champs-Elysees in Paris. · Tape inserts were revised and and re-recorded in 1961 assisted assisted by Bulent Arel. · First published by Ricordi in 1959 with only the instrumental sections sections printed. The work can be performed performed with with or without without the tape tape inserts inserts.. · Available from Colfranc reprinted from the earlier Ricordi edition.
POEME ELECTRONIQUE Duration 8:05
· Composed in the Philips Laboratories, Eindhoven, The Netherlands, between 1957-1958 for electronic tape alone. · Premiered at the Philips Pavilion, Brussels World's Fair in 1958. · No score or chart of any kind to accompany the tape. · The original composition was for three synchronized tape tracks. Each was used in a variety of combination to create "sound paths" through through the Pavilion by means of ten amplifiers and 150 speakers. · Available on on two-channel stereo tape, issued by Columbia Records.
NOCTURNAL Duration 10:00
· Composed Composed from 1959-1961 1959-1961 for chamber orchestra with piano, male chorus, chorus, and and soprano soprano voice. The work was unfinished due to the death of the composer. The work was completed from Varese's sketches by Chou Wen-chung. · Premiered May 1, 1961, at a Composers' Showcase Concert, Town Hall, New York, conducted by Robert Craft and with Donna Precht as soprano soprano soloist. soloist.
· The completed version by Chou Wen-chung was published by dotted line showing where the work existed at the time of the composers death.
Colfranc in 1969 with a
· The musical ideas used in both the complete and incomplete versions were known in other works.
DISCOGRAPHY
Ths is an attempt to present a comprehensive comprehensive list of recordings of all the sustaining works. works. The performer and conductor should listen to all of Varese's works, not just the works discussed in this study, in order to thoroughly understand his music. musi c.
AMERIQUES
Utah Symphony Orchestra - Maurice Abravanel, conductor Vanguard VRS 1156/VSD 71156 “ SRV 274 SD “ SRV 308 SD Philips Vanguard VSL 11048 Barclay Vandguard VSD 71156 Barclay Classic 991 065
ORFT Philharmonic Orchestra - Marious Constant Erato STO 70726
OFFRANDES
Columbia Symphony Orchestra - Robert Craft, conductor Dona Precht, soloist Columbia ML 5762/MS 6362 set MG 31078 Domaine Musicale Ensemble - Gilber Amy, conductor Christine Eda-Pierre, soloist Ades 12001 " 16012 Ensemble "Die Reihe" - Friedrich Cerha, conductor
Candide CE 31028 VOX STGBY 643 CE 31028 VOX 36029 Contemporary Chamber Ensemble - Arthur Weisberg, conductor Jan DeGaetani, soloist Nonsuch H 71269 " HQ 1269
HYPERPRISM
Columbia Symphony Orchestra Winds & Percussion - Robert Craft, conductor Columbia ML 547/MS 6146,set MG 31078 Domaine Musicale Ensemble - Pierre Boulez, conductor Vega C 30 A 271 Wergo WER 60005 Ensemble "Die Reihe" - Friedrich Cerha, conductor Candide CE 31028 VOX STGBY 643 CE 31028 VOX 36029 Paris Instrumental Ensemble for Contemporary Music - Konstantin Simonovitch, conductor Pathe C 061 10875 Angel S 36786 H.M.V. C 061 10875 Electrola C 063 10875
0CTANDRE
New York Wind Ensemble - Frederic Waldman, conductor E.M.S. 401 Boite a Musique LD 024 Columbia Symphony Orchestra winds & percussion - Robert Craft, conductor Columbia ML 5478/MS 6146 set MG 31078
Domaine Musicale Ensemble - Pierre Boulez, conductor Vega C 30 A 271 Musica Nova Stockholm - Siegfried Naumann, conductor Expo Norr Riks LP 4 Ensemble "Die Reihe" - Friedrich Cerha, conductor Candide CE 31028 VOX STGBY 643 CE 31028 VOX 36029 Contemporary Chamber Ensemble - Arthur Weisberg, conductor Nonsuch H 71269 " HQ 1269
INTEGRALES
New York Wind Ensemble and Juilliard Percussion Orchestra - Frederic Waldman, conductor E.M.S. 401 Boite a Musique LD 024 Columbia Symphony Orchestra winds & percussion - Robert Craft, conductor Columbia ML 5478/MS 6146 set MG 31078 Domaine Musicale Ensemble - Pierre Boulez, conductor Vega C 30 A 271 Ensemble "Die Reihe" - Friedrich Cerha, conductor Candide CE 31028 VOX STGBY 643 CE 31028 VOX 36029 Paris Instrumental Ensemble for Contemporary Music - Konstantin Simonovitch, conductor Pathe C 061 10875 Angel S 36786 H.M.V. C 061 10875 Electrola C 063 10875
Los Angeles Philharmonic Orchestra - Zubin Mehta, conductor London CS 6752 Orphic Egg OES 6913 EngDecca SXL 6550 FrDecca 7146 Contemporary Chamber Ensemble - Arthur Weisberg, conductor Nonsuch H 71269 " HQ 1269
ARCANA
Columbia Symphony Orchestra - Robert Craft, conductor Columbia ML 5762/MS 6362, set MG 31078 Chicago Symphony Orchestra - Jean Martinon, conductor RCA Victor LM/LSC 2914 RCA RB/SB 6710 RCA 645 064
Los Angeles Philharmonic Orchestra - Zubin Mehta, conductor London CS 6752 Orphic Egg OES 6913 EngDecc SXL 6550 FrDecca 7146 ORFT Philharmonic Orchestra - Marius Constant, conductor Erato STU 70726
IONISATION
Juilliard Percussion Orchestra - Frederic Waldman, conductor E.M.S. 401 Boite a Musique LD 024 University of Illinois Percussion Ensemble - Paul Price, conductor U.O.I. CRS 3 American Percussion Society Paul Price, conductor
Urania UX 106 " USD 1007 " US 5106 Columbia Percussion Ensemble - Robert Craft, conductor Columbia ML 5478/MS 6146 set MG 31078 Ensemble "Die Reihe" - Friedrich Cerha, conductor Candide CE 31028 VOX STGBY 643 CE 31028 VOX 36029 Percussions de Strasbourg - no conductor (composer's version for six percussionists) Philips 6526 017 Aarhus Conservatory Percussion Ensemble - Bent Lylloff, conductor Cambridge CC 2824 Los Angeles Percussion Ensemble - Zubin Mahta, conductor London CS 6752 Orphic Egg OES 6913 EngDecca SXL 6550 FrDecca 7146 New Jersey Percussion Ensemble - Raymond Des Roches, conductor Nonsuch H 71291
EQUATORIAL
Bass Ensemble of the University-Civic Chorale, Utah Symphony Orchestra - Maurice Abravanel, conductor Vanguard Cardinal VCS 10047 Vangyard Everyman SRV 308 SD Philips Vanguard VDL 11073 Contemporary Chamber Ensemble - Arthur Weisberg, conductor/Thomas Paul, soloist Nonsuch H 71269 " HQ 1269
DENSITY 21.5
Rene LeRoy E.M.S. 401 Boite a Musique LD 024 Salvatore Gazzeloni Vega C 37 S 173 - 7 Arthur Gleghorn Columbia ML 5478/MS 6146, set MG 31078 Salvatore Gazzeloni Wergo 60029 Heliodoe Wergo 2559 002 James Pelerite Coronet 1291/1291 S Roger Bourdin Arion 30 A 071 Helmut Reissberger Candide CE 31028 VOX STGBY 643 CE 31028 VOX 36029 Michael Debost Pathe C 061 10875 Angel S 367829 H.M.V. C 061 10875 Electrola C 063 10875 Peter-Lukas Graf Claves 30235 Karlheinz Zoller Oden C 063 28950 Electrola C 063 28950 H.M.V. C 061 28950
Jacques Castagner Ades 16005 Harvey Sollberger Nonsuch HB 73028
DESERTS
Columbia Symphony Orchestra winds & percussion - Robert Craft, conductor Columbia ML 5762/MS 6362 set MG 31078 Paris Intrumental Ensemble for Contemporary Music - Konstantin Simonovitch, conductor
Pathe C 061 10875 Angel S 36786 H.M.V. C 061 10875 Electrola C 063 10875 Group for Contemporary Music - Charles Wuorinen, conductor C.R.I. set S 268
POEME ELECTRONIQUE
Columbia Symphony Orchestra wind & percussion - Robert Craft, conductor ML 5478/MS 6146 set MG 31078
NOCTURNAL
Bass Ensemble of the University-Civic Chorale, Arile Bybee, soloist -Utah Symphony Orchestra Maurice Abravanel, conductor Vanguard Cardinal VCS 10047 Vanguard Everyman SRV 308
Philips Vanguard VSL 11073
PERFORMANCE COLLECTIONS: THE MUSIC OF EDGARD VARESE ____________________________________________
Conductor
Company/call #
Program
Waldman
E.M.S. 401
Integrales, Density 21.5, Ionisation, Octandra
Boulez
Vega C 30 A 271
Hyperprism, Octandra, Integrales
Craft
Columbia ML 5762/MS 6362
Deserts, Offrandes, Arcana
Craft
Columbia ML 5478/MS 6146
Ionisation, Density 21.5, Integrales, Octandre, Hyperprism, Poeme electronique
Cerha
Candide CE 31028
Integrales, Offrandes, Density 21.5, Octandre, Hyperprism, Ionisation
Simonovitch
Angel S 36786
Deserts, Hyperprism, Integrales, Density 21.5
Weisberg
Nonsuch H 71269
Offrandes, Integrales, Octandre, Ecuatorial
Mehta
London CS 6752
Arcana, Integrales, Ionisation
Constant
Erato STU 70726
Ameriques, Arcana
Abravanel
Vanguard SRV 308 SD
Ameriques, Nocturnal, Ecatorial
SELECTED BIBLIOGRAPHY
BOOKS
Bernard, Jonathan Walter. The Music of Edgard Varese. New Haven, Ct.: Yale University Press, 1987. Cogan, Robert. New Images of Musical Sound. Cambridge, Mass., 1984. Cowell, Henry. American Composers on American Music. Palo Alto: Stanford University Press, 1933. Ernst, David. The Evolution of Electronic Music. New York: Schirmer Books, 1977. Griffiths, Paul. "Varese, Edgard [Edgar] (Victor Achille Charles)." In The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie, 19:529-534. New York. Hansen, Peter S. 20th Century Music. Boston: Allyn and Bacon, 1976. Klaren, J.H. EDGAR VARESE: Pioneer of New Music in America. Boston: C.C. Birchard and Co., 1928. Machlis, Joseph. Introduction to Contemporary Music. New York: W.W. Norton and Co., 1961. Ouellette, Fernand. Edgard Varese. Translated by Derek Coltman. New York: Orion Press, 1968. Peyser, Joan. 20th Century Music: The Sense Behind the Sound. New York: Schirmer Books, 1980. Stravinsky, Igor and Robert Craft. Dialogues. London: Farber Music, 1982. _______________. Memories and Conversations. London: Farber Music, 1981. Van Solkema, Sherman. The New Worlds of Edgard Varese: A Symposium with papers by Elliott Carter, Chou Wen-Whung and Robert Morgan. Brooklyn, New York: Institute for Studies in American Music, 1979. Varese, Edgard. "The Liberation of Sound - 1936 Lecture." In Contemporary Composers on Contemporary Music. ed. Elliott Schartz and Barny Childs, 196-198. New York: Holt, Rinehart and Winston, 1967. _______________. "Rhythm, Form and Content - 1959 Lecture." In Contemporary Composers on Contemporary Music. ed. Elliott Schartz and Barny Childs, 202-204. New York: Holt, Rinehart and Winston, 1967. _______________. "Music as Art and Science - 1939 Lecture," Varese, Edgard. In Contemporary Composers on Contemporary Music. ed. Elliott Schartz and Barny Childs, 198-201. New York: Holt, Rinehart and Winston, 1967. _______________. "Spatial Music - 1959 Lecture." In Contemporary Composers on Contemporary Music. ed. Elliott Schartz and Barny Childs, 204-207. New York: Holt, Rinehart and Winston, 1967.
_______________. "The Electronic Medium - 1962 Lecture." In Contemporary Composers on Contemporary Music. ed. Elliott Schartz and Barny Childs, 207-208. New York: Holt, Rinehart and Winston, 1967. Varese, Louise. Varese: A Looking Glass Diary. New York: Norton, 1972.
DISERTATIONS
Bernard, Jonathan Walter. "A Theory of Pitch and Register for the Music of Edgard Varese." Ph.D. diss., Yale University, 1977. Bloch, David Reed. "The Music of Edgard Varese." Ph.D. diss., University of Washington, 1973. Cox, David Harold. "The Music of Edgard Varese." Ph.D. diss., University of Birmingham, 1977. Parks, Anne Florence. "Freedom, Form, and Process in Varese: A Study of Varese's Musical Ideas, Their Sources, Their Development, and Their Use in His Works." Ph.D. diss., Cornell University, 1974. Ramsier, Paul. "An Analysis and Comparison of the Motivic Structure of Octandre and Integrales, Two Instrumental Works of Edgard Varese." Ph.D. diss., New York University, 1972. Schmidt, James Richard. "Expansion of Sound in France, 1913-1940, and Its Relationship to Electronic Music." Ph.D. diss., University of Michigan, 1981. Yannay, Yehuda. "Toward an Open-Ended Method of Analysis of Contemporary Music: A Study of Selected Works by Edgard Varese and Gyorgy Ligeti." Ph.D. diss., University of Illinois, 1974.
ARTICLES
This is a selected list of articles in reverse chronological order.
***
Radice, Mark A. "Futurismo: Its Origins, Context, Repertory, and Influence." Musical Quarterly 73 (January 1989): 1-17. Cox, David Harold. "On the Threshold of Beauty: Form and Structure in Varese's Ionization." Percussive Notes 27 (Winter 1989): 57-59. Koto, Takashi. "Basic Cells and Hybridization in Varese's Octandre." SONUS 8 (Spring 1988): 59-67. _____________. "Basic Cells and Structure in Varese's Density 21.5." SONUS 8 (Winter 1988): 22-29.
_____________. "Basic Cells and Combinations in Varese's Ionization." SONUS 7 (Spring 1987): 35-45. Frock, George. "Ionization: An Analytical Interpretation." Percussive Notes 25 (Summer 1987): 31-32. Bernard, Jonathan W. "On Density 21.5: A Response to Nattiez." Music Analysis 5 (July/Oct 1986): 207-231. Siddons, James. "On the Nature of Melody in Varese's Density 21.5." Perspectives of new Music 23 (1984/1985): 296-316. Kresky, Jeffrey. "A Path through Density." Perspectives of New Music 23 (1984/1985): 318-333. Gluck, Marion. "A Flow of Energy: Density 21.5." Perspectives of New Music 23 (1984/1985): 334-347. Anderson, John Davis. "The Aesthetics of Varese." The College Band Directors National Association Journal 2 (Winter 1985): 18-24. Hackbarth, Glenn. "The Sound-Mass in Varese's Early Music." Percussive Notes 23 (March 1985): 4-16. Lott, Allen R. "New Music for New Ears: the International Composers' Guild." The Journal of The American Musicological Society 36 (Summer 1983): 266-286. Wen-Chung, Chou. "Edgard Varese: The Legacy of a Seminal Genius." Symphony Magazine, December 1983, 34. Baron, Carol K. "Varese's Explication of Debussy's Syrinx in Density 21.5 and An Analysis of Varese's Composition: A Secret Model Revealed." The Music Review 43 (May 1982): 121-131. Bayly, Richard. "Ussachevesky on Varese: An Interview April 24, 1979 at Goucher College." Perspectives of New Music (Fall/Winter 1982): 145-151. Bernard, Jonathan W. "Pitch/Register in the Music of Edgard Varese." 3 Music Theory Spectrum (1981): 1-25. Post, Nora. "Varese, Wolpe and the Oboe." Perspectives of New Music 20 (Fall/Winter 1981): 135-148. Tenney, James and Larry Polansky. "Temporal Gestalt Perception in Music." Journal of Music Theory 24 (Fall 1980): 205-240. Stempel, Larry. "Varese's Awkwardness and the Symmetry in the Frame of Twelve Tones: An Analytic Approach." The Musical Quarterly 65 (April 1979): 148-166. Julius, Ruth. "Edgard Varese: An Oral History Project, Some Preliminary Conclusions." Current Musicology 25 (1978): 39-49. Strawn, John. "The Integrales of Edgard Varese: Space, Mass, Element, and Form." Perspectives of New Music 17 (Fall/Winter 1978): 138-160. Varese, Louise. "Varese in New York: From Ecuatorial to Integrales." High Fidelity and Musical America (Feb 1977): 73-77. Morgan, Robert P. "The Music of Edgar Varese: I Want to Encompass Everything that is Human." High Fidelity and Musical America (Feb 1977): 78-83. Jack, Adrian. "Edgard Varese." Music and Musicians 24 (Nov 1975): 28-30.
____________. "Edgard Varese." Music and Musicians 24 (Dec 1975): 40-43. ____________. "Edgard Varese: Counterpoint." Music and Musicians 2 (Feb 1974): 4 Stempel, Larry. "Not Even Varese Can Be An Orphan." Musical Quarterly 60 (Jan 1974): 46-60. Cross, Lowell. "Forum: Electronic Music and Computer Research." Perspectives of New Music 7 (Fall/Winter 1968): 32-65. Whittall, Arnold. "Varese and Organic Athematicism." Music Review 28 (1967): 311-315. Wen-chung, Chou. "Open Rather than Bounded." Perspectives of New Music 3 (Fall/Winter 1966): 1-6. _______________. "A Varese Chronology." Perspectives of New Music 3 (Fall/Winter 1966): 7-10. _______________. "The Liberation of Sound." Perspectives of New Music 3 (Fall/Winter 1966): 11-19. Feldman, Morton and Anais Nin, Arthur Szathmary, Marc Wilkinson. "In Memoriam: Edgard Varese." Perspectives of New Music 4 (Spring/Summer 1966): 1-13. Babbit, Milton. "Edgard Varese: A Few Observations of His Music." Perspectives of New Music 4 (Spring/Summer 1966): 14-23. Wen-chung, Chou. "Varese: A Sketch of the Man and His Music." Musical Quarterly 52 (April 1966): 151170. Schuller, Gunther. "Conversations With Varese." Perspectives of New Music 3 (Spring/Summer 1965): 32-37. Bartolotto, Mario. "Reports: New Music at Palermo." Perspectives of New Music 2 (Fall/Winter 1963): 159163. Cone, Edward T. "Analysis Today." Musical Quarterly 66 (April 1960): 172-187. Wilkinson, Marc. "An Introduction to the Music of Edgard Varese." The Score and IMA Magazine 14 (March 1957): 5-18. Cowell, Henry. "Current Chronicle: New York." Musical Quarterly 35 (July 1955): 368-373. Rothe, Friede F. "Twenty Years of American Composers." Musical Courier (May 1943): 6. Cowell, Henry. "The Music of Edgard Varese." Modern Music 5 (Jan/Feb 1928): 9-19. Sanborn, Pitts, "A Glance Toward the Left." Modern Music 4 (Jan/Feb 1927): 24-27.
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[1]
Paul Griffiths.
"Varese, Edgard [Edgar] (Victor Achille Charles)."
in The New Grove
Dictionary of Music and Musicians, ed. Stanley Sadie (London: Macmillian, 1980), 19:530.
[2]
Gunther
Schuller,
"Conversations
With
Varese."
Edgard
Translated
Perspectives
of
New
Music
3
(Spring/Summer 1965): 32-37.
[3]
Ibid., 35
[4]
Fernand Ouellette.
Varese.
by
Derek
Coltman.
(New York:
Orion
Press, 1968), 104. [5]
Ibid., 207
[6]
Gunther
Schuller,
"Conversations
With
Varese."
Perspectives
in
New
Music
3
(Spring/Summer 1965): 32-37. [7]
Fernand
Ouellette,
Edgard
Varese.
Translated by
Derek Coltman.
(New York:
Orion
Press, 1968), 17. [8]
Chou Wen-Chung, "Varese: A Sketch of the Man and His Music," Musical Quarterly 52
(April 1966): 156. [9]
Edgard
Varese,
"New
Instuments
and
New
Music,"
in
Contemporary Music, ed. Elliot Schwartz and Barney Childs, 197.
Contemporary
Composers
on
New York: Holt, Rinehart
and Winston, 1967. [10]
Adrian Jack, "Edgard Varese," Music and Musicians 24 (Nov 1975): 30.
[11]
Fernand
Ouellette,
Edgard
Varese.
Translated
by
Derek
Coltman.
(New
York:
Orion
Press, 1968),74. [12]
Ibid., 84
[13]
Edgard Varese, "Rhythm, Form and Content 1959 - Lecture," in Contemporary Composers
on Contemporary Music, ed. Elliot Schwartz and Barney Childs, 202. New York: Holt, Rinehart and Winston, 1967. [14]
Louise Varese, Varese: A Looking Glass Diary. Vol I (New York: W.W. Norton and Co.,
Inc., 1972), 105. [15]
Edgard
Varese,
"New
Instruments
and
New
Music,"
in
Contemporary
Composers
on
Contemporary Music, ed. Elliot Schwartz and Barney Childs, 197. New York: Holt, Rinehart and Winston, 1967. [16]
Ibid., 197
[17]
Edgard Varese, "The Liberation of Sound," in Contemporary Composers on Contemporary
Music, ed. Elliot Schwartz and Barney Childs, 197. 1967.
New York: Holt, Rinehart and Winston,
