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EDGARD VARèSE/ 2009
(  Satoshi Kinoshita )
| Series: | Prints on paper: Portraits 2 | | Medium: | Giclée on Japanese matte paper | | Size (inches): | 16.5 x 11.7 (paper size) | | Size (mm): | 420 x 297 (paper size) | | Edition size: | 25 | | Catalog #: | PP_0124 | | Description: | From an edition of 25. Signed, titled, date, copyright, edition in pencil on the reverse / Aside from the numbered edition of 5 artist's proofs and 2 printer's proofs.
"Music is organized sound." - Edgard Varese
-www.icelebz.com/quotes/edgard_varese/
Edgard Varèse -
Edgard Victor Achille Charles Varèse, whose name was also spelled Edgar Varèse[1] (December 22, 1883 – November 6, 1965), was an innovative French-born composer who spent the greater part of his career in the United States.
Varèse's music features an emphasis on timbre and rhythm. He was the inventor of the term "organized sound", a phrase meaning that certain timbres and rhythms can be grouped together, sublimating into a whole new definition of music. Although his complete surviving works only last about three hours, he has been recognised as an influence by several major composers of the late 20th century. His use of new instruments and electronic resources led to his being known as the "Father of Electronic Music" while Henry Miller described him as "The stratospheric Colossus of Sound".
Influence in classical music:
Composers who have claimed, or can be demonstrated to have been influenced by Varèse, include Harrison Birtwistle, Pierre Boulez, John Cage, Morton Feldman, Roberto Gerhard, Olivier Messiaen, Luigi Nono, Krzysztof Penderecki, William Grant Still, Karlheinz Stockhausen, Iannis Xenakis, and Frank Zappa.
Influence in popular music:
Varèse's emphasis on timbre, rhythm, and new technologies was an inspiration to a whole generation of musicians who came of age during the 1960s and 1970s. One of Varèse's biggest fans was the American guitarist and composer Frank Zappa, who, upon hearing a copy of The Complete Works of Edgard Varèse, Vol. 1, which included Intégrales, Density 21.5, Ionisation, and Octandre, became obsessed with the composer's music.[14] On his 15th birthday, December 21, 1955, Zappa's mother, Rosemarie, allowed him a call to Varèse as a present. At the time Varèse was in Brussels, Belgium, so Zappa spoke to Varèse's wife Louise instead. Eventually Zappa and Varèse spoke on the phone, and they discussed the possibility of meeting each other, although this meeting never took place. Zappa also received a letter from Varèse. Varèse's spirit of experimentation and redefining the bounds of what was possible in music lived on in Zappa's long and prolific career[15]. Zappa's final project was The Rage and the Fury, a recording of the works of Varèse.
Another admirer was the rock/jazz group Chicago, whose Pianist/keyboardist Robert Lamm credited Varèse as a strong influence in his songwriting. In tribute, one of Lamm's songs was called "A Hit By Varèse".
Works:
* Un grand sommeil noir, song to a text by Paul Verlaine for voice and piano (1906)
* Amériques for large orchestra (1918–1921; revised 1927)
* Offrandes for soprano and chamber orchestra (poems by Vicente Huidobro and José Juan Tablada)(1921)
* Hyperprism for wind and percussion(1922–1923)
* Octandre for seven wind instruments and double bass (1923)
* Intégrales for wind and percussion (1924–1925)
* Arcana for large orchestra (1925–1927)
* Ionisation for 13 percussion players (1929–1931)
* Ecuatorial for bass voice (or unison male chorus), brass, organ, percussion and theremins (revised for ondes-martenot) (text by Francisco Ximénez) (1932–1934)
* Density 21.5 for solo flute (1936)
* Tuning Up for orchestra (sketched 1946; completed by Chou Wen-Chung, 1998)
* Étude pour espace for soprano solo, chorus, 2 pianos and percussion (1947; orchestrated and arranged by Chou Wen-chung for wind instruments and percussion for spatialized live performance, 2009) (texts by Kenneth Patchen, José Juan Tablada and St. John of the Cross)
* Dance for Burgess for chamber ensemble (1949)
* Déserts for wind, percussion and electronic tape (1950–1954)
* La Procession de Verges for electronic tape (soundtrack for Around and About Joan Mirò, directed by Thomas Bouchard) (1955)
* Poème électronique for electronic tape (1957–1958)
* Nocturnal for soprano, male chorus and orchestra, text adapted from The House of Incest by Anaïs Nin (1961)
Notes:
1. ^ After he arrived in the USA he commonly used the form 'Edgar' for his first name but reverted to 'Edgard', not entirely consistently, from the 1940s. Malcolm MacDonald, Varèse, Astronomer in Sound (London, 2003), ISBN 1-871082-79-x p. xi.
14. ^ Zappa, Frank (1971-06-02). "Edgard Varese: The Idol of My Youth". http://www.a42.com/node/536. Retrieved on 2009-03-01.
15. ^ Russo, Greg. Cosmik Debris: The Collected History and Improvisations of Frank Zappa. New York: Antique Trader Publications, Crossfire Publications, Chris Sansom, 1998, pp. 9-11
-en.wikipedia.org/wiki/Edgard_Var%C3%A8se
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