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was complimentary of the piece, speaking favourably of the piece's "form based on patterns of recurrence and incidence". Moreover, he appreciated the attempt to combine live instrumental music with electronic recording and considered it "the most valuable development in Varèse's later music."
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care for timbre-melody—something quite new in Varèse's music, the instruments being used for example, to vary the color of the sustained pitches that are stations of polarity in the musical progress.
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of sand, sea, mountains, and snow, outer space, deserted city streets… but also distant inner space… where man is alone in a world of mystery and essential solitude."
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has drawn attention to the subtlety with which Varèse assembles timbres from his ensemble, and indeed much of the scoring suggests an almost
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deserts, on the earth, in the sea, in the sky, of sand, of snow, of interstellar spaces or of great cities, but also those of the human
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The first performance of the combined orchestral and tape sound composition was given at the
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broadcast concert, in front of a totally unprepared and mainly conservative audience, with
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may be performed without the tape sections, reducing its length by seven minutes.
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383:. It received a vitriolic reaction from both the audience and the press.
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Varèse began composition in 1953 (or 1952) upon the anonymous gift of an
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Music of the
Twentieth-Century Avant-Garde: a Biocritical Sourcebook
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in charge of the tape part. This performance was part of an
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has "been labeled subtle." As Paul
Griffiths describes:
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469:, p.156. Paris. Cited in Griffiths (1995), p.140.
456:, p.156. Paris. Cited in Griffiths (1995), p.129.
263:space no telescope can reach, where one is alone.
251:All those that people traverse or may traverse:
533:. University of California Press. p. 111.
409:Déserts for brass, percussion, piano & tape
340:in the late 1950s, and later revised it at the
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235:Percussion instruments are exploited for their
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1086:Studio di fonologia musicale di Radio Milano
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1122:Compositions for orchestra without strings
1081:Studio for Electronic Music (WDR, Cologne)
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342:Columbia-Princeton Electronic Music Center
81:, and a percussion section of 5 players:
529:Craft, Robert; Stravinsky, Igor (1982).
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239:potential, rather than used solely as
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338:Radiodiffusion-Télévision Française
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1071:San Francisco Tape Music Center
991:Groupe de Recherches Musicales
794:International Composers' Guild
1:
1107:Compositions by Edgard Varèse
467:Entretiens avec Edgard Varese
465:Charbonnier, Georges (1970).
454:Entretiens avec Edgard Varese
452:Charbonnier, Georges (1970).
407:"Blue" Gene Tyranny (2010). "
57:), 2 clarinets (one doubling
49:. The piece is scored for 2
986:Electronic Music Foundation
273:The piece was created as a
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359:on December 2, 1954, with
353:Théâtre des Champs-Élysées
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375:wedged between pieces by
1056:BBC Radiophonic Workshop
483:Griffiths, Paul (1995).
784:French electronic music
1117:Modernist compositions
789:Indeterminacy in music
485:Modern Music and After
431:Sitsky, Larry (2002).
319:
271:
996:Institute of Sonology
981:Computer Music Center
869:electroacoustic music
763:Karlheinz Stockhausen
614:Un grand sommeil noir
753:Krzysztof Penderecki
510:archives.lib.umd.edu
344:in the early 1960s.
758:William Grant Still
563:UMWindOrchestra.com
283:"Blue" Gene Tyranny
893:Experimental music
715:Poème électronique
259:, of that distant
1112:1954 compositions
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694:Étude pour espace
493:978-0-19-816511-8
441:978-0-313-29689-5
361:Hermann Scherchen
61:and one doubling
45:, and electronic
21:(1950–1954) is a
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928:Octophonic sound
918:Musique concrète
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281:. According to
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336:'s studio at
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299:orchestration
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268:Varèse (1950)
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63:bass clarinet
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27:Edgard Varèse
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681:Density 21.5
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607:Compositions
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513:. Retrieved
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413:AllMusic.com
412:
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365:Pierre Henry
350:
345:
330:RCA Red Seal
320:
306:
305:The plan of
304:
272:
260:
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234:
214:wooden drums
107:glockenspiel
17:
16:
15:
923:Noise music
718:(1957–1958)
710:(1950–1954)
670:(1929–1931)
662:(1925–1927)
654:(1924–1925)
638:(1922–1923)
624:(1918–1921)
381:Tchaikovsky
297:," and its
160:tenor drums
119:tenor drums
41:players, 1
1101:Categories
946:By country
913:Microsound
876:Techniques
865:Electronic
809:Sound mass
674:Ecuatorial
667:Ionisation
651:Intégrales
635:Hyperprism
628:Offrandes
540:0520046501
515:2022-09-16
392:References
275:soundtrack
201:tambourine
185:vibraphone
176:tambourine
148:bass drums
139:tambourine
98:tenor drum
90:vibraphone
39:percussion
908:Tape loop
748:John Cage
723:Nocturnal
688:Tuning Up
621:Amériques
531:Dialogues
487:, p.129.
435:, p.533.
315:Webernian
291:athematic
206:xylophone
75:trombones
35:woodwinds
1047:Inactive
1031:Toonzaal
825:Category
643:Octandre
295:amotivic
266:—
253:physical
237:resonant
164:cencerro
135:cencerro
127:tom-toms
123:timbales
71:trumpets
963:Germany
777:Related
707:Déserts
373:Déserts
346:Dèserts
311:Babbitt
307:Déserts
245:deserts
226:maracas
152:cymbals
131:cymbals
94:cymbals
86:timpani
55:piccolo
18:Déserts
1039:studio
1033:Studio
1021:SEAMUS
972:Active
958:France
726:(1961)
702:(1949)
696:(1947)
690:(1946)
684:(1936)
676:(1936)
659:Arcana
646:(1923)
630:(1921)
616:(1906)
537:
491:
439:
377:Mozart
287:atonal
257:spirit
230:lathes
222:claves
193:lathes
180:chimes
172:claves
117:, and
102:claves
51:flutes
1026:STEIM
1011:IRCAM
953:Chile
700:Dance
357:Paris
323:Ampex
277:to a
261:inner
218:guiro
197:guiro
189:gongs
168:guiro
156:field
115:field
111:snare
79:tubas
67:horns
65:), 2
43:piano
37:), 5
31:brass
23:piece
1037:WORM
1016:NIME
1006:ICMA
1001:ICEM
903:Loop
867:and
535:ISBN
489:ISBN
437:ISBN
379:and
369:ORTF
187:, 3
158:and
121:, 2
77:, 2
73:, 3
69:, 3
47:tape
33:and
1066:NHK
561:",
411:",
355:in
293:,…
125:or
25:by
1103::
508:.
474:^
420:^
400:^
289:,
228:,
224:,
220:,
216:,
212:,
208:,
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178:,
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96:,
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88:,
857:e
850:t
843:v
592:e
585:t
578:v
565:.
557:"
543:.
518:.
495:.
443:.
415:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.