The Intégrales of Edgard Varèse Space, Mass, Element, and Form PDF

The Intgrales of Edgard Varse Space, Mass, Element, and Form Author(s): John Strawn Reviewed work(s): Source:
Perspectives of New Music, Vol. 17, No. 1 (Autumn - Winter, 1978), pp. 138-160 Published by: Perspectives of New Music Stable URL: http://www.jstor.org/stable/832662 . Accessed: 09/01/2013 14:42
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp
.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.
Perspectives of New Music is collaborating with JSTOR to digitize, preserve and extend access to Perspectives of New Music.
http://www.jstor.org
This content downloaded on Wed, 9 Jan 2013 14:42:01 PM All use subject to JSTOR Terms and Conditions
THE INTEGRALES
OF EDGARD VARESE SPACE, MASS, ELEMENT, AND FORM

JOHN STRAWN
Introduction
After a protractedand undeservedhiatus, the music of Edgard Varese has in the past few years experienceda sort of "comeback" in the literature. Several biographieshave already appeared [13, 17, of 26, 27];* reprints Varese's own theoreticallecturesand writings [1, 4, 5, 6, 19, 23, 24] as well as analysesby others [7, 29, 30, 31] are surfacingmore and more frequently publicationsdevoted to in music. But the literatureto date has only occasionally [2, 11, 28] touched upon certain aspects of the music of Edgard Varese which will be treatedin detail here. in Composed in 1924 and premiered 1925 [26, pp. 216-25 passim], lends itselfto a thoroughanalysis.Not only was it written Inte'grales during Varese's most creative period; a number of Varese's own statements about this work have also appeared in print. Integrales thus provides an excellent test case for examining the relationship between Varese's theoreticalstatements and his compositionalpractice. The aspects of Integralesdiscussedhere,as well as otherimportant elements[14, 20] play a role in the restof Varese's workswhich, can onlybe mentioned passing. in however,
The Concept of Space

Let us begin by examining Varese's own statements about Int'grales. Varese was the author of the programnotes for the premiere
* Referencescari be found at the end of thisarticle.
THE
INTEGRALES
OF EDGARD VARESE
139
[26, pp. 227-28]. But another,lengthier passage froma lectureheld in 1939 at the University New Mexico (Santa Fe) is more informof as ative, and all the more significant, Varese quoted the same passage again in hislectureat Princeton twenty yearslater:'1 the I Integraleswas conceivedfora spatial projection. constructed work to employcertainacousticalmeans which did not yet exist, but which I knew could be realizedand would be used sooneror later... Whereas in our musical system we divide up quantities whosevalues are fixed, the realization wanted, valueswould in the I have been continually In changingin relationto a constant. other the words,it would have been like a seriesof variations, changes fromslightalterations a function's of formor fromthe resulting of to transposition one function another.In orderto make myself better the than understood-for eye is quickerand moredisciplined the ear-let us transfer conception this into the visual sphereand consider changing the of ontoa plane projection a geometrical figure with both geometrical and plane surfacemovingin surface, figure space, but each at its own changingand varying speeds of lateral movement and rotation. The formof the projectionat any given instantis determined the relativeorientation the figure and of by the surfaceat thatinstant. But by allowingbothfigure and surface to have their own movements, is able to represent one withthatproan apparently jection image of a highdegreeof comunpredictable thesequalitiescan be increasedsubsequently plexity;moreover, by the formof the geometrical to permitting figure varyas well as its
speeds . . . [17, p. 83]
A short,inconspicuous footnote the score of Integralesis crucial in for the interpretation this idea of "spatial projection".In m. 203, of a "solo" in the oboe is "accompanied" by fourotherinstruments (see Ex. 1). A footnotein the same measure specifies: "Clarinettes, Cor, Trptte, Trbne.-tres homogenes et equilibres-lkgerement au 2me listedare to form plan". It would seem here that the fourinstruments a single "plane" in juxtapositionto a second "plane" in the oboe alone. This idea of "plane", along withsuch terms "surface"or "mass", as appears to play a crucial role in Varese's music. As Varese generalized
1 The lecture given by Var'se at Princeton in 1959 has apparently not yet been published in its entirety.Excerpts appear in [4, 19, 24]. A typewritten manuscript [25] exists, but in many places it does not match the printed versions cited; cf. note 2. Quotations from [24] translatedby the present author.
140
PERSPECTIVES " Len 2 to
OF NEW MUSIC all.
pocorall, a tempo
23
a tempoi 204
205
203
P -- I ,t~ ".I- ='- - C ' .L.B, .. a .A,,ft ..tempo f=,.. ,

2o4 Pre"st....o
_ _
r-,-
2M
Presto nas
w2
Ex. 1
Integrales, mm. 199-206
@ 1926 by Colfranc Music Publishing Corp., New York. By courtesy.
in his Princetonlecture,"My music is based on the motion of unrelated sound masses.. ." [25, p. 3]. In discussingDeserts, Varese ensemble wrote: "The musical language given to the instrumental may be said to be evolved in opposing planes and volumes..." [17, massesof sound can be traced p. 184]. This idea of three-dimensional back to an earlyexperience Varese's life: in As a child,I was tremendously impressed the qualitiesand charby acter of the graniteI foundin Burgundy, whereI oftenvisitedmy And I used to watch the old stone cutters, margrandfather.... at the precisionwith which theyworked.They didn't use velling cement,and everystone had to fitand balance with everyother. [18, p. 36] But it would seem that Varese chose to ignore the example of the stonemasons'precisionwhen he was selectingwords to describe his music. The writings and lecturesof Varese contain several different terms whichseem to have been used as synonymous labels forthe same "sound mass" or simply"mass", "plane", "zone", "volume", concept: and "block". For the sake of clarity, "sound mass" and "mass" will be used throughout restof thispaper. the it Continuingour examinationof Varese's statements, would seem
THE
INTEGRALES
OF
EDGARD
VARESE
141
that traditional instruments stood in Varese's way as he was trying to realize his ideas. In a letterto Leon Theremin,Varese wrote: I no longerwishto composeforthe old instruments playedby men, and I am handicappedby a lack of adequate electrical instruments forwhichI conceive music. [22, p. 44] my Varese was not merelyinterested generating in certainsound masses which until then existed only in his imagination; he also wanted to and to submit them to a process these masses in his compositions, certainspatial development: for I new mediumof Personally, my conceptions, need an entirely a sound-producing machine.... And here are the adexpression: vantagesI anticipatefromsuch a machine:... a sense of soundin of projection space by means of the emission sound in any part or in as manypartsof the hall as may be requiredby the score...
[6,pp.191-92]
This idea of space, by the way, has nothingto do with the more philosophicalargumentabout "space in music"; Varese was thinking of the auditory of impression a numberof sound masses,each moving in space. Varese's own observations for also providedthe inspiration the idea of sound in motion,comparatively rare as a compositional elementin pre-Varesian music: I beganlistening soundsaroundme from directions, imagto all and ined how such sounds,and in just such a complexity, could be transmuted music.It excitedand stimulated to think into me about the possibility such a metamorphosis, I began to imaginethe of and invention new devices that would make spatial music possible. of
[1, 195] p.
Not until Podme Dlectronique did Varese have at his disposal the to equipmentnecessary achieve such spatial motion: The music[on tape] was distributed 425 loudspeakers; therewere by combinations.... The loudspeakers were mounted twenty amplifier in groupsand in what is called "sound routes"to achieve various effects such as that of the music running around the pavilion,as well as comingfromdifferent directions... etc. For the first timeI heard my musicliterally into space. [19, p. 207] projected Althoughthesesound masseswere to be heard simultaneously, Varfse also wanted the listener be able to perceiveeach mass as a separate to
142
PERSPECTIVES
OF NEW MUSIC
Such a demarcationwould have been a further entity. advantage of the "sound-producing machine": would permitthe deMoreover,such an acoustical arrangement These zones would limitation what I call "zones of intensities." of or be differentiated various timbres colors and different loudby would be completely nesses.... The roleof coloror timbre changed frombeing incidental, it anecdotal,sensual,or picturesque; would like the different colorson a map become an agent of delineation, These zones different areas,and an integral separating partof form. would be feltas isolated,and the hitherto unobtainable non-blendof would becomeposing (or at least the sensation non-blending) sible.[19, p. 197] yearslater,Varese made a commentwhich During a radio interview can leave no doubt that these ideas are to be applied to Integrales:2 I hope in the near future have at mydisposal,equipment to which will allow for spatial relief.I would be interested, onlyfor the if sake of proving point,in realizing as my Inte'grales theywere origconceived. inally We have thusreached a first the cited stage in interpreting footnote above: Varese wanted to compose thesemeasuresso that the listener would have the impression that the sound mass constructed and of in the four instruments was separated,but still located "not too listed, faraway", from mass outlinedbythe oboe. the Varese was more than aware of the problemsinherent such an in undertaking: Not untilthe air betweenthe listener's and the instrument ear has been disturbed does musicoccur.... In orderto anticipatethe remustunderstand mechanics the instruments the of sult,a composer and mustknowjust as much as possibleabout acoustics. p. 188] [6, The questionthus arises: if the positionof a musical instrument relative to the listener not changed,how can the composeror performer is create the auditoryimpression that the sound produced by the instrument is moving in space? Normally, we rely on experience when localizing sounds fromsources which are familiar [3, pp. 37, 155], and the visual componentplays a decisive role for localizing sound sourceswhich are visible.As forunfamiliar invisiblesound sources, or
2 Translated from [24, p. 67]; not in [25]. I have not been able to find this passage in [5].
THE
INTEGRALES
OF
EDGARD
VARESE
143
researchto date has not been able to precisely definethe relationship between the distance fromthe sound source to the hearer, and the assumed auditoryestimateof that distance.sHowever, it is currently that three factorsplay a role in estimating the distance for an unknown source of sound: loudness,timbre,and reverberation. The 1) sound pressurelevel of a signal arrivingat the ear decreases with increasingdistanceof the sound source fromthe hearer,and thus the perceivedloudness of the signal decreases as well. [3, pp. 96, 99] In everydayexperiences,loudness of the sound source and distance of the associated auditoryimage are directly related. 2) For comparait tivelylarge distances, is assumed that a change.in timbreis brought about by the non-linear transmission characteristics the atmosphere, of which is also a factorin estimating distanceof a source of sound the to (but see [3, pp. 233 ff.]). It is also interesting note at thisjuncture that the timbreof an instrument relatedto dynamics: if an instruis ment is played loudly, a brighter, richersound is produced. [16, p. In closed rooms,reverberation 256] 3) apparently plays an important role. The more reverberant, more diffuse signal which reaches the a the ear, the greaterthe distanceperceived. [3, p. 223] The extraordinary orchestration and the carefully notated,complicated dynamic markingsin Integrales would strongly suggest that Varese thoughtof a loud, brilliant, sound (sound source) as present of creatinga sound mass (auditoryimage) located in the vicinity the listener.A soft,dull sound, on the other hand, is to be heard and understoodas being "far away". Diminuendi, crescendi,and other transformations would represent intermediate stepsbetweenthesetwo extremes. Vermeulen's researchand the so-called Frannsen Effecthave furthermore cast some lighton the abilityof the ear to perceivedifferent sound sources as a single entity.[3, pp. 223 ff.] These discoveries strongly suggestthat a passage, such as in m. 19 (see Ex. 2), where the A# in the oboe is continuedby the trumpet, to be understood is as an attemptto synthesize new sound. The entranceof the oboe a is undoubtedlymasked by the sixteenth note in the trumpet, which is carefully notated with an accent. Even if the oboe entrancewere
3German-language publications conveniently distinguish between the Schallereignis,or the physical process outside of the listener,and the Hdirereignis, which includes the idea of the listener's "ear", a distinctionwhich forms the basis for the followingargument.Cf. [15, pp. Iv-vi].
144
PERSPECTIVES
Andantino J Clar.I
OF NEW MUSIC
f
Clar.I
pico
.Ob.
7
f 3
8b.
dim.,f
iff
Sf
__ __a _ _emp_
Ob.
Susp. Cymn Sn. Dr. Ten. Dr.
--4__3
___
Slkehbels
Bass Dr.
Chains
,I',
coinr
et mo.
I Tpt. *R -R--- . M --o

Cym.P Susp. Sn. Dr. Ten. Dr. "-MA ,a
Sleiihbells
Bass Dr.
pincdet mo .
I wenza sord. Tpt.
I C1.
Susp. Cym. Sn. Dr. Sleihbens
,-
"
M*
.
R*M
4-
Chiins
21 224
I Tpt.
M=ffVfeVd ?RffiRim;
pf
Ip-s,,
. I
Ex. 2 Intigrales, mm.1-25 Music Publishing Corp.,New York. By courtesy. @ 1926 by Colfranc
THE
INTEGRALES
OF
EDGARD
VARESE
145
audible in performance, passage is a striking this example of Varise's desire to overcomethe "handicaps" of traditionalinstruments, creating a singlesound mass outlinedby two instruments.
Masses
Let us then returnto the two sound masses mentionedin Varise's footnotecited above (Ex. 1). This passage has been composed so that several factorsmake it possibleto differentiate betweenthe two masses: 1) Except for a single F?, all of the pitches played by the oboe are above those of the accompanyingchord. 2) The dynamic for differmarkings the instruments playingthe chord are completely ent fromthose for the oboe. 3) An extendedseriesof pitchesis presentedby the oboe, while the pitch contentof the chord in the other instruments remains constant.4) The mass in and of the chord is orchestrated such that it can sound "tres homogenes",which further separates it fromthe more penetrating quality of the mass outlined the oboe. 5) The chordsin mm. 199-205 mightbe divided into by two major groupings, whereas the oboe, althoughit enterslater (m. 200), plays a longerseriesof notes withoutmajor breaks. There are three other footnotesin Varese's works which would lend supportto such an analysis.In m. 43 of the second movement of Octandre, the footnotereads: "en-dehors-au meme plan que le Trombone jusqu'a 5", where "5" refers m. 50. Here, a mass conto sistingof the horn,trombone,and double bass is separated fromtwo othermasses: one in the clarinet, oboe, and bassoon; the otherin the trumpet. Two more footnotesare to be found in m. 178 of Integrales: = "Clarinettes Sonorite creuse (lIgerementdominantes)" and "Cor., en ut, 3me Trombone, tres equilibr&s-presque au 2me plan Trptte. Ptes.Fls., Hb.-Trptte. en re a l'arriereplan". As in the passage already examined, the masses are again separated by the use of different pitchranges,dynamicmarkings, etc. It should also be pointedout that in these footnotes fromIntigrales and Octandre, a singleinstrument is specifically labelled "mass" or "plane". Finally, the desire to create a spatial impressionhas been spelled out here in so many words: the mass of the trumpetis supposed to sound as though it were farther than the othermasses. away fromthe listener
146
PERSPECTIVES
OF NEW MUSIC
Varese's statement-cited above in an abbreviatedform--can now be understood itsentirety: in of My music is based on the movement unrelatedsound masses which I always conceived as movingsimultaneously different at speeds.[25, p. 3] Speed is not to be understoodhere as the tempo with which a number of notes is played, or the number of notes per second. Rather, this concept providesa basis fora deeper understanding the rhythof mic relationships the four masses in mm. 174-182 just disamong cussed: a given number,density, and lengthof appearances characterizeeach individualmass. This would certainly rule out a simulnot taneous entranceof two or more masses. On the contrary, would it in many passages that two or more masses entertogether for appear a shorttime due to theirnearlyidentical,so to speak, periods-analogous to a similarprocessin the music of such people as Steve Reich. It would be appropriateat this juncture to divide Intigrales into its constituent sound masses. In general,it will be assumed here that Varese had a single sound mass in mind whenevera given group of instruments manner." in appears togetherconsistently a characteristic For the sake of simplicity, is such a listing reproducedhere as Table I.
(See pp. 147-150.) The two passages cited above (m. 178 and m. 203) have been into this table as Masses 65-70 and 95-96, respectively. incorporated The percussionin mm. 173-176 has been divided into two Masses, 65 and 67, based upon the auditory thatthe Chineseblocks impression sound closer,more vivid than the diffuse sounds of the chains,sleighbells, and drums. Masses 6, 18-22, 31-34, and 57-58 can clearlybe comment. separated in an analogous fashion,and require no further Mass 1, like Masses 66 and 96, is outlined by a "solo" line, presented in successionby four different instruments (cf. Ex. 2). The of motion "toward" and "away from" the listener is impression especially apparent in those passages in which other masses do not predominate (mm. 1-4, 12-13, 19-22). Mass 2, distilledfromsoft sounds,is perhapsthe "most distant"mass. As with Masses percussion discussed above, a characteristic selectionof pitch range, dy65-70, is used to separate Masses 3 and 4. To namics, orchestration, etc., continueVarese's visual analogy, the image of two pulsatingentities
4A more rigorous algorithmbased on an apparently analogous model and used to analyze Density 21.5 is discussed in [21].
THE
INTEGRALES
OF
EDGARD
VARESE
147
TABLE 1 The "Masses" in Inte'grales Mass Measure No. 1 1-25 10-11 12-13, 19 18-21 4-23 16-20 16-17 5-25 5-23 6-23 8 9-15, 18-20 10-14, 22 15-19 25 26-29 29-31 32-54 32-52 44-45 36-52 53-62 54-70 62-70 62-70 63-66 63-70 63-70 67-70 71-771 72-75 72-77j 74-76 Instruments clarinetI II trumpet oboe I trumpet crashcymbal, gong,tam-tam, triangle, cymbals(exceptm. 8) suspended cymbal bass drum II piccoloI, II, clarinet trombone II, III I, tenordrum,snare drum,castanets, sleighbells, chains,tambourine, twigs cymbals bass drum suspended cymbal Chineseblocks I clarinet (from last eighth the notein m. 25) I, trumpet II tutti percussion horn,trombone III II, snare drum, tenor drum, cymbals, Chinese bass chains, blocks, tam-tam, drum II piccoloI, oboe,clarinet woodwinds(except m. 44-45), trumpet II, I, trombone suspendedcymbal (missing m. in I, 38-typographical error?),gong,crashcymbal clarinet II, trumpet percussion I, I, II trumpet I trumpet II trombone II oboe,clarinet horn trombone I trombone III II piccolo I, percussion clarinet II I, horn, I, trumpet II
3 4 5
6 7 8 9
10 11 12 13 14 15 16 17 18 19 20 21
148
PERSPECTIVES
OF
NEW
MUSIC
TABLE I (cont.)
Mass Measure No. 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 76-771 771-78 771-78 79-93 80-93 80-92 82-90 93-100 93-100 101-105 101-105 102-105 102-104 103-104 105-119 106-117 117-121 119-120 120-121 121 121-126 121-126 121-126 121-126 121-126 124-126 126 127-130 131-134 131-134 134-135 134-143 141-143 135-143 138 141-143 140 Instruments trombone II I, woodwinds brass percussion clarinet II I, horn,trumpet II I, trombone II, III I, horn, I, trumpet II trombone II, III I, in percussion(bass drum starting m. 90, crash in cymbal m. 92) oboe piccolo I, II trombone III II, in percussion (exceptforthetam-tam m. 103) tam-tam I, I, trumpet II, trombone percussion II trombone woodwinds, horn, trombone III II, woodwinds trombone I horn, oboe,clarinet II I, horn II trumpet I trombone II trombone trombone III I trumpet woodwinds clarinet horn, tenor drum II, clarinet II, trumpet II I, trombone II, III, cymbals, drum bass I, horn,trumpet snaredrum,suspended I, cymbal trombone II, III I, bass drum woodwinds castanets cymbals tam-tam drum, string sleighbells,
THE
INTEGRALES
OF
EDGARD
VARESE
149
TABLE I (cont.) Mass Measure No. (54) 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 141-143 144-154 151-154 155-161 158-160 161-172 168-172 168-172 171-173 172-173 173 173-175 174-176 174-181 175-176 175-181 178-182 178-181 183 184-186 185-186 185-186 185-186 186 187-190 188 189-190 190-198 194 194 194-198 195-197 195-197 195-198 195-197 Instruments suspended cymbal, snare drum, tenor drum, gong I, horn, trumpet II tutti percussion exceptChineseblocks Chineseblocks oboe I, piccoloI, clarinet II II trumpet horn trombone II, III I, bass tam-tam, drum sleighbells snaredrum, tenor chains drum, I trumpet Chineseblocks piccoloI, II, oboe clarinet II I, III horn, II, trumpet trombone percussion piccolo I, oboe clarinet II horn, I, trumpet II trombone I Chineseblocks trombone II, III, string bass drum,tam-tam, I, drum horn I, piccolo I, II, clarinet II, horn,trumpet II, I, suspended cymbal, snare drum, tenor drum, gong,crashcymbal oboe I, trumpet II trombone II, III I, clarinet I castanets trombone III, bassdrum II, horn snaredrum
150
PERSPECTIVES
OF
NEW
MUSIC
TABLE I (cont.) Mass Measure No. 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 195-197 195-197 195-197 196-198 196-198 196-198 196-198 196-198 198 199-205 200-206 206-212 212 212-213 213 214-218 214-215 215-217 217 218 218-2231 218-2231 218-2231 218-2231 221-2231 223J-224 Instruments Chineseblocks chains sleighbells, tenordrum tambourine suspendedcymbal II II, piccoloII, clarinet trumpet piccoloI I trombone II clarinet I clarinet horn, I, I, trumpet trombone oboe drum I, I, trumpet II, trombone string piccolo I, II, clarinetI, II, suspendedcymbal, triangle castanets percussion III horn,trombone I I, trumpet II, trombone woodwinds percussion oboe,clarinet II I, horn II trumpet I trombone trombone III II, I trumpet tutti
comes to mind, entities which repeatedly into and then dispenetrate fromthe listener's fieldof hearing.The pulse of Mass 5 origappear inates "far away" in m. 6, springsinto the immediatevicinity the of in listener m. 13, and startsfadingaway in m. 18 (cf. Ex. 2). The followinghave been analyzed in a similar manner: Masses 9-10; 18-28; 31-34; 35-36 as well as 55 and 97; 37-40; 52-54; 59-64; 71-76; 79-94, where it should be noted that the percussion can hardlybe grouped into a single unit in light of the instruments fact that their entrances are timed independentlyof each other;
THE INTEGRALES OF EDGARD VARESE
151
99-103; and, recalling Mass 10: 47; 77-78; 98; 37-40; 102; and 104. The singular entrance of piccolo I, oboe, and clarinet I in mm. 44-45 is especiallynoteworthy a (Ex. 3). This is undoubtedly further
CL
lift 2
Ob..
TlrMP
Int grales, mm. 44-45
Ex. 3
a attempton the part of Varese to "synthesize" new sound with conventionalinstruments. is well known,Varese had studied HelmAs holtz. [17, p. 18] Helmholtz wrote that two sounds would sound as one "especiallywhen all the sounds which are mixed have frequencies which are whole-number multiplesof one and the same frequency".5 The C$ in the oboe, mm. 44-45, thus becomes the sixthharmonicof the F$ in the contrabasstrombone;the Bb in the Bb clarinetand the A-B in the piccolo I represent seventhand fourteenth the of harmonics the C in the bass trombone;the effect the mixture of ranksin the pedal divisionof a well-builtpipe organ comes to mind. Varese also took account of the fact that the seventhand fourteenth harmonicsdo not correspond exactlywitha minorseventh(in thiscase, C-Bb), by coloring the Bb in the clarinetwiththe change fromA to B in the piccolo. Mass 7 is set apart fromMasses 1-6 and Mass 8 throughthe use of new instrumental groupings (cf. Mass 56). Masses 29-30 and 48-51 have been delineateddue to the occurrenceof a "melody" and a "pulse", both of which have already been encounteredin other masses as well. Only three groups of masses have not been touched upon thus far in this discussion.Masses 11 and 12 offer thirdexample of an a attempt to generate a new sound, three of the pitches played by the trumpetII being echoed by-as thoughlightly etched upon-the other three instruments. Since there is no significant caesura in the II a trumpet part,mm. 54-69, it is treatedas representing singlemass. The otherinstruments mm. 62 ff.have all been assignedto single in masses (Nos. 13-17), because theyremainindependent each other of in (see, forexample, the extremecare with which the rhythms m. 65 and m. 68 are notated,or the dynamicmarkings m. 69). Masses in
5 Translated from[9, p. 49] by the author; cf. [10, p. 30].
152
PERSPECTIVES
OF
NEW
MUSIC
41-47 have been separatedin an analogous fashion.Masses 105-109, on the other hand, involve more than a mere "transposition"of for Masses 41-47 "a minorthirdhigher"; thus,the writing the troma bones (cf. mm. 123-126 with mm. 220-223) necessitates different divisioninto masses.
Elements
A closer examinationof the construction each individual mass of lendssupportto thisdissection Integralesinto its constituent of masses. Varese was fond of quoting Brahms as having said that composition was "the organizationof disparate elements" (e.g., [6, p. 188]). At the risk of taking Varese too literally, can apply the convenient we of label "element" to the constituents a relatively of small repertoire motifsand proceduresinto which each of the masses in Table I can be dissected.Each elementis listedherewitha one-wordcaption title, a brief description,and representative examples of its use in solo situations: (melodic and percussion)and ensemble 1. Appoggiatura: the work begins with a quasi-appoggiaturafiguration (m. 1, clarinetI), which occurs again and again throughout the m. 36, trombone I; m. 13, snare drum; piece (furtherexamples: m. 63, oboe, clarinetI, horn). 2. Prolongation:a given note or chord is assigneda durationwhich is relatively long in comparisonwith the durationsof the eventsimit, mediatelysurrounding as in mm. 1-3, clarinetI (cf. also m. 161, oboe; m. 4, gong, tam-tam; mm. 145-147, horn,trumpetI-II). Dynamics (mm. 32-33, tromboneII-III), timbre(mm. 127-128, clarinet II and horn), and/or orchestration I) (m. 19, oboe and trumpet are often modified the courseofthesustained in event. 3. Reiteration: a note or chord is repeated several times, as in the clarinet I, m. 4 (cf. mm. 164-166, oboe; mm. 175-176, Chinese blocks;mm. 74-75, horn,trumpet I-II). 4. Alternation: betweentwo pitches,chords,etc., repeatedalternation as in the clarinetline, mm. 7-9, which fluctuates betweenAb and Bb woodwinds,horn,trombone mm. 120-121, horn, II; (cf. mm. 106 ff., tromboneI); or alternation betweenthreesuch "states", e.g., in the horn,mm. 195-198, or in the Chinese blocks,mm. 15-19. 5. Tutti: involvesnearlyall of the instruments the ensemble.First in
THE
INTEGRALES
OF
EDGARD
VARESE
153
occurrencein mm. 25-28; but cf. also mm. 36, 38, etc., as well as mm. 194-198. 6. Pulse: a more or less regularbeat is established, such as was already discussedin Mass 5 of m. 6; but cf. also mm. 93 ff. 7. Pitch curves: the sirensdescribedin Helmholtzwere an important inspirationfor Varese in the developmentof his concept of spatial music. [26, p. 42] "Later I made some modest experiments my of own, and I found that I could obtain beautifulparabolic and hyperbolic curvesof sound,which seemedto me equivalentto the parabolas and hyperbolasin the visual domain." [17, p. 18] Such instruments were actuallyused in otherworksby Vareise.But successions pitches of whichfollowthe outlinessuggested parabolic and hyperbolic curves by seem to have captured Varese's interest even when played by traditional instruments (mm. 62-69, tromboneII; m. 168, piccolo I; m. tromboneII-III). 120, 8. Selection of pitch content (vertical): as far as I know, no comprehensivestudyhas been publishedto date on the question of harmony in Varise's music.6Vareisehimselfrepeatedlyemphasized that his music was not based on any "fixedset of intervals such as a scale or a series" [19, p. 206]. Not surprisingly, seems impossibleto deit rive the choice of pitchesin the individual masses in Inte'grales from such a framework. Still, Vareiseseems to have applied a few basic rules of thumb: octaves, for example, are usually avoided. On the other hand, "strongdissonances",such as major and minor seconds, and theiroctavesoccur augmentedfourths, major and minorsevenths, both in the selectionof pitchesfora singlemass and quite frequently, in the distribution pitches of masses presentedsimultaneously. of An extreme case is the use of eleven different pitches for the eleven as pitched instruments in m. 28. 9. Selection of pitch content (horizontal): since a systemof "harit diffimony" is apparentlynot presentin Inte'grales, is accordingly cult to derive the selectionof successivepitchesfromsuch a system. of of Rather,the distribution pitchesforthe first presentation a given series of notes seems to have been worked out in conjunctionwith the principlesoutlinedin 8. above. One further principleapparently plays a role in the expansionof the pitch contentthroughtime: once a given pitch contenthas been presented, the stated note or interval
6 In [12], a computer study is made of the chords in the first38 (!) measures of Inte'grales; but the conclusion reached there on p. 146 is hardly justified.
154
PERSPECTIVES
OF
NEW
MUSIC
is expanded by neighbor-note somemotion, usually chromatically, timescombinedwith octave jumps (cf. Mass 1; mm. 191-193, oboe; mm. 117-121, trombone II-III). The separationof the massesis thus achieved not onlythroughthe selectionof a characteristic etc., for each mass, range, orchestration, as was discussedabove; a characteristic selectionfromthis repertoire of elementsis assignedto each mass as well. Mass 1, for example, is constructedfrom the "appoggiatura", the "prolongation",and the "alternation"; the "alternation"betweentwo pitchesis graduallyexpanded in chromaticsteps in accordance with the principlediscussed under "pitch selection(horizontal)" (but see also [14, p. 442]). Furthe regular "pulse" occurs in one passage (mm. 14-16). thermore, The "prolongation"plays a major role in Masses 3 and 4 (the two instrumental blocks) as well as in Mass 2 (in some of the percussion instruments).Mass 5, the regular "pulse" in the other percussion fromthis one element. mass, is molded almost exclusively Even such a "traditional"-sounding passage as mm. 93 ff. (also discussedin some detail in [14, p. 443]) can be brokeninto groups of constituent elements,which adds support to the divisionof this passage into two massesas discussedabove. Mass 30 is quite obviously marked by the "pulse", and is set in juxtapositionto a mass formed fromthe following elements(presentedin the following order) : "pro"reiteration"(occasionally synchronous with the "pulse" longation", in the othermass), and expansionof the "pitch content(horizontal)" combinedwith "alternation"above and below the initialpitch,D.
Form as Process
in Having thus dissectedInte'grales accordance with the ideas sugthe gestedby Varese's writings, questionnow arises: can the "masses" and "elements"in Integralesbe treatedin termsof a unifying concept of "form"?As mightbe expected,Varese had ideas of his own about musical form: is withmetrics.... In my own works, Rhythm too oftenconfused for instance,rhythm derives from the simultaneous of interplay unrelatedelementsthat intervene calculated,but not regular, at time-lapses.... Form is a result-the resultof a process.Each of its my worksdiscovers own form. [19, pp. 202-203]
THE
INTEGRALES
OF
EDGARD
VARESE
155
Varese found support for this idea in an analogy to the process of He Nathaniel crystallization. was fond of quoting the mineralogist, Arbiter: The crystal characterized both a definite is external formand a by definite internalstructure. The internalstructure based on the is unit of crystal whichis the smallest of grouping the atomsthathas the order and composition the substance.The extension the of of unitintospace forms wholecrystal. in spiteof the relatively the But limitedvariety internal of the of structures, externalforms crystals are limitless. formitself a resultant rather is than a primary Crystal attribute.Crystalform is the consequenceof the interaction of attractive repulsive and forces and theordered of the atom. packing
[19, 203] p.
From the totality the available musical material,Varese has seof lected a repertoire elements,the "atoms" in the above quotation. of These elementsare arranged into masses, at first conceived quite independentlyof each other. Reproductionsof Varese's manuscripts would seem to suggest that he preparedvariousscorefragments before them together into the final score, not unlikesolvinga jigsaw fitting puzzle.7 As for the manner in which the masses "interveneat calculated, but not regular,time-lapses",a few of the masses listed in Table I can be relatedto anotherin termsof e.g., "thematic"shape, as shown in Table II. This would represent nothingmore than the framework of a "crystal"-but such a "crystal" would not representa static, stable structure. his of Varise, continuing discussionof the formation offormas a process, based on crystals, speaks an idea, the basis of an internal structure, expanded and splitinto different shapes or groupsof sound constantly changingin shape, and speed, attracted and repulsedby variousforces. The direction, formof the workis the consequence thisinteraction. p. 203] of [19, Each sound mass (here "groups of sound") is thus modifiedevery time it penetratesinto the listener'sfieldof hearing,by a process in which various elementsare added or removed,this being the manner in which elementscontribute the process of form.Some justificato tion is also providedfor bringing various kindsof elementstogether: a principle,e.g., that of the chromaticexpansion of pitch content,is
7 Cf. [1, pp. 192, 194]. The footnoteon p. 192 is especially important.
156
PERSPECTIVES
OF
NEW
MUSIC
TABLE II
in listed TABLE I. Superficial amongthemasses relationships
1-9-17-61-66-77-82 2-57 (2-3-4)-(9-10) -(18-19-20-21-22) -(25-26-27-28)-(31-32-33-34-35-36) (52-53-54)-(66-68-69-70) -(84-92) -54-64-71 5-25-30-(48-50) 6-58-67-76-87 7-(9-10)-(13-14-15-16-17)-(23-24)-(41-42-43-44-45-46-47)-56-(7778)-110 9-77-84 10 (highwoodwinds) -38-40-47-78-98-102-104 10-16-63(74-75)-(84-94) 12-60-73-85 28-56-70-81 (29-30)-(49-50-51) (37-38-40-41-42-43-44-45-46-47) -(100-102-104-105-106-107-108-109110)-59-96 applied in much the same way as a quasi-thematicentitysuch as the "pulse" or the "appoggiatura". Especially clear examples of this are processof addition and subtraction to be foundin Mass 1, Masses or Mass 59. Furthermore, each mass is subjected to a unique 12-17, set of modifications-thegeneral case of the speed discussedonly in termson p. 146 above. For example, in mm. 185 ff.,the rhythmic clarinet II (Mass 73) is at first dominated by the "appoggiatura", followedby the "alternation"betweenthreepitches (m. 186). Meanoccurs in Mass 72 (oboe, piccolo I), followed while the "reiteration" by the "alternation", but only between two pitches. Finally, the the "appoggiatura" and the "reiteration"are prominentthroughout simultaneous of Mass 75. presentation of a An analysisof thiskind permits deeper understanding Varese's cited in the lengthy use and meaning of the term "projection", quotationat the beginningof thisarticle.For Varese, "projection"means should instruments not only that the sounds produced by stationary of being projectedinto the space where createthe auditory impression the performanceoccurs; these masses are also projected upon and each otherduringtheprocess: through will When new instruments allow me to writemusicas I conceive of of planes,will be clearly it, the movement sound-masses, shifting
THE
INTEGRALES
OF
EDGARD
VARESE
157
perceivedin my work,takingthe place of the linearcounterpoint. When thesesound-masses or collide,the phenomenaof penetration repulsionwill seem to occur. Certain transmutations takingplace on certainplanes will seem to be projectedonto otherplanes,moving at different speeds and at different angles.[19, p. 197] of Thus, the distribution certainelementsamong the various masses is modifiedin the course of time as a resultof this interpenetration. For example, the element of "reiteration"in the oboe, m. 184, is taken over by the mass in clarinet II, m. 185, and "passed on" to tromboneI (Mass 75) in mm. 185-186. At the same time, the element of "prolongation"leaves the oboe (mm. 184-185) for Mass 74 in the horn and trumpets. This process of addition and subtraction of various elements,as opposed to traditionalthematicor harmonic in development,accounts for the modifications the successiveoccurrences of some of the masses,as summarizedin Table II. Each time a mass is presented, distribution elementsis rearranged, the of which of course,include the pitch contentof the mass. Thus, Masses would, 102, 104, and 105-110 are not only to be heard and understoodas a meretransposition Masses 38, 40, and 41-47, respectively; of rather, the distribution the elementshas been modifiedin such a manner, of especially in the trombonesafterm. 220, that the trombonesmust now be assignedto three different masses instead of the former two. One is remindedof Varese's analogy of sound masses and granite blocks, blocks which are chosen and positionedto fit and balance without cement. This analogy can be applied almost literallyto Varese's process of composition,i.e., the fitting togetherof various sound masses: the masses are bonded togethervia the exchange of elements. This also providesa viable explanationforavoidingoctaves: the pitch contentof one mass is, so to speak, fitted into and complementedby the pitch contentof the otherswithoutduplicatingpitches. Obviously, the various elements are distributedamong the masses which are heard simultaneously successively such a mannerthat or in thevery ofelements made possible. is exchange But the masses are not bound to each otherin an immobilestasis, since the motionof the massesin space also participates the formal in For example, processby allowingfora dynamicexchangeof elements. the "solo" mass in the oboe has moved "near" the listenerin m. 12, as opposed to the more "distant" Mass 5 dominated by the "pulse" (cf. Ex. 2). In m. 13, this Mass 5 suddenlycomes closer while the
158
OF PERSPECTIVESNEW MUSIC
At ffff/).the end
of m. 13, while both masses are "close" to the listener, the "solo" mass takes over the "pulse" (m. 14, now in clarinetI), and the mass in the percussiondisappears (m. 14: chains, sleighbells, suspended snare drum). Gradually, the mass in the clarinet moves cymbals, away from the listener(mm. 14-16); in m. 18, new elementsare added to it (trumpet I), and the pulse is separated and returned (m. 17) to the mass in the percussion(but see also [14, p. 443]). An importantquestion remainsto be answered: can Intigrales be divided into two or three "major formalsections"separated by "cadences" (e.g., in mm. 28, 78, and/or 153), as has been attempted [8, 31]? One objectionto such a procedureis the fact that the measures which are thus arbitrarily show no internalunity tied together which would intrinsically them from the other "sections". separate it Similarly, is impossibleto derive a 2-, 3-, or 4-part formby examshown in Table II (see also [14, p. 445]). But ining the relationships the strongest objectionderivesfromthe fact that such an undertaking the idiosyncrasies the formal process in Varese's music. of ignores in in was not interested subjugatingeverymusical entity InVarise to two or threegroupings which would determine "form". the tegrales on Indeed, he warned against such thinking more than one occasion here with a [19, p. 206]. To use Varese's words,we are confronted "series of variations"since, in a largersense,everymass is relatedto is everyothermass. The centralfeaturein Varese's compositions not the manner in and the extent to which the composer repeats and develops the "themes", "harmonies", or "motifs" chosen by him. varies. Varitse does not introducehere, modifythere; he constantly
massin the oboe movesaway and returns (p
Conclusion
was createdfroma definedrepertoire organizedsound of Inte'grales masses, each of which is to be heard as a three-dimensional entity moving throughspace, appearing, disappearing,and re-appearingin the course of performance. the of The "framework" thiscomposition, non-rigid"crystalform", is given by the number and frequencyof such recurrences. from a fixed The masses, in turn, are constructed number of elements,which are exchanged between simultaneously and/or successively appearingmasses.
THE
INTEGRALES
OF
EDGARD
VARESE
159
Acknowledgments: This article is based on a paper submittedat the Oberlin Conservatory of Music, Oberlin, Ohio, in 1973, in partial fulfillment the requireof ments for the Bachelor of Music degree. I should like to thank Prof. Robert Drummond at Oberlin for his many helpful suggestions and comments. A modified version of this article firstappeared (in German) in Melos/Neue Zeitschrift Musik, 1:446-456, 1975. fiir
REFERENCES 1. Alcopley. "Edgard Varese on Music and Art: A Conversation between Varese and Alcopley." Leonardo, 1: 187-195, 1968. 2. Babbitt, Milton. "Edgard Varese: A few Observations of his Music", in [4, pp. 40-48]. 3. Blauert, Jens.Riiumliches H6ren. Stuttgart: Hirzel, 1974. 4. Boretz, Benjamin, and Edward Cone, eds. Perspectives on American Composers. New York: Norton, 1971. 5. Charbonrfier,Georges. Entretiens avec Edgard Varese. Paris: Editions Pierre Belfond, 1970. 6. Chase, Gilbert, ed. The American Composer Speaks. Baton Rouge: Louisiana State UniversityPress, 1966. 7. Guembel, Martin. "Versuch an Vareses Density 21,5." Zeitschrift fiir Musiktheorie,I/1: 31-38, 1970. 8. Halbreich, Harry. "Jtude de l'oeuvre d'Edgard Varese", in [5, pp. 121-162]. 9. Helmholtz, Hermann von. Die Lehre von den Tonempfindungen als physiologische Grundlage fiir die Theorie der Musik. Braunschweig: Vieweg, 1913. 10. Helmholtz, Hermann von. On the Sensations of Tone. Tr. by Alexander Ellis. New York: Dover, 1954. 11. Helms, Everett. "AussenseiterVarese." Melos 32:433-437, 1965. 12. Jackson, Roland John. "Harmony before and after 1910: a Computer Comparison", in Lincoln, Harry, ed. The Computer and Music. Ithaca: Cornell UniversityPress, 1970, pp. 132-146. 13. Jolivet,Hilda. Varese. Paris: Hachette, 1973. 14. Kropfinger, Klaus. "Verschmlihtes Erbe." Melos/Neue Zeitschrift fiirMusik 1:442-446, 1975. 15. Laws, Peter. Untersuchungenzum Entfernungshi ren und zum Problem der Im-Kopf-Lokalisiertheit von H6rereignissen. Dissertation, Technische Hochschule Aachen, Germany, 1972.
160
PERSPECTIVES
OF NEW MUSIC
1967. 17. Ouellette,Ferdnand.Edgard Varese. Tr. by Derek Coltman. New York: OrionPress,1968. 18. Schuller, withVarese",in [4, pp. 34-39]. Gunther. "Conversation 19. Schwartz, Elliott,and BarneyChilds,eds. Contemporary Composers on Contemporary Music. New York: Holt, Rinehartand Winston, 1967. 20. Stempel, Larry. "Not even Varese can be an Orphan." Musical 21. Tenney, James."A MetricSpace Model of TemporalGestaltPerception." Read at the 1977 International Music Conference, Computer San Diego.
Quarterly,60: 46-60, 1974.
16. Olson, Harry. Music, Physics, and Engineering. New York: Dover,
1970. Rinehart, Winston, 23. Varese, Edgard. "A Communication." Musical Quarterly, 41:574, 1955. 24. Varese, Edgard. "Erinnerungen und Gedanken."Darmstiidter Bei3:65-71, 1960. triige, 25. Varese, Edgard. "The Liberationof Sound and Spatial Music." MusikTypewritten manuscript, catalog no. d64/53,Internationales institut Darmstadt. 26. Varese, Louise. Varese: A Looking-Glass Diary,Vol. 1. New York: Norton,1972. 27. Vivier, Odile. Varese.Paris: Editions Seuil, 1973. du 28. Wen-Chung, Chou. "Asian Conceptsand 20th-Century Composers." 29. Wen-Chung, Chou. "Open rather thanBounded",in [4, pp. 49-54]. 30. Whittall, Arnold."Varese and OrganicAthematism." Music Review, 28:311-315, 1967. 31. Wilkinson, Marc. "Edgard Varese-Pioneer and Prophet." Score,No. 1967. 29, p. 5,
Musical Quarterly,57:211-219, 1971.
22. Thomson, Virgil. American Music since 1910. New York: Holt,

The Intégrales of Edgard Varèse Space, Mass, Element, and Form PDF

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

The Intégrales of Edgard Varèse Space, Mass, Element, and Form PDF

Uploaded by

Copyright:

Available Formats

The Intgrales of Edgard Varse Space, Mass, Element, and Form Author(s): John Strawn Reviewed work(s): Source:

OF EDGARD VARESE SPACE, MASS, ELEMENT, AND FORM

The Concept of Space

PERSPECTIVES " Len 2 to

OF NEW MUSIC all.

P -- I ,t~ ".I- ='- - C ' .L.B, .. a .A,,ft ..tempo f=,.. ,

Integrales, mm. 199-206

@ 1926 by Colfranc Music Publishing Corp., New York. By courtesy.

I Tpt. *R -R--- . M --o

THE INTEGRALES OF EDGARD VARESE

in listed TABLE I. Superficial amongthemasses relationships

massin the oboe movesaway and returns (p

You might also like