Edgar Varèse wrote Density for solo flute in January , at the request of the flautist Georges Barrère, who, with this piece, inaugurated his platinum flute. Varèse, born in Paris in , received his earliest training in France but was The concert opened with Varèse’s most familiar work, “Density ,” a brief flute . Edgard Varèse’s Density for unaccompanied flute was composed in ( revised in ) at the request of George Barrère for the première of his new.

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Fill in your details below or click an icon to log in: Think about those words: Notify me of new comments via email. George Perle analyses the piece both harmonically and motivicallyand describes its background structure.

Timothy Klothp. Therefore, in order to understand why the meter suddenly becomes emphasized at m. Varese indicates a strict pulse with no prescribed character — that seems a bit like a description of a machine — consistant motion and no affect.

Allmusic ‘s Sean Hickey says, “According to the composer, Density AnalysisDensity Notify me of new posts via email. The flute was manufactured by Haynes Flutes.

Density 21.5, for flute solo

Furthermore, important moments — such as the beginning of the second sub-phrase at m. Post was not sent – check your email addresses! From Wikipedia, the free encyclopedia. An important change happens beginning with m.

Views Read Edit View history. The piece uses interval cycles”inherently non- diatonic symmetrical elements. You are commenting using your Twitter account.

Sorry, your blog cannot share posts by email. In measures 1 — 8, the first large phrase of the piece, notice that, after vzrese first note, nothing falls on a downbeat. Come back for part 3.


Webarchive template wayback links Wikipedia articles needing page number citations from December F is emphasized due to its position as the first note, F is emphasized due to its duration, and G is emphasized by its position as the final note of the sub-phrase. Innovative Ideas in Performance and Pedagogy. To find out more, including how to control cookies, see here: Db, Db, D, D.

And here, in the last two notes of Density By continuing to use this website, you agree to their use. To answer those questions we will need to study the score in close detail and see what it does and does not suggest to the performer. Retrieved from ” https: From the second beat of bar 56 until the end, however, the piece uses an interval-2 cycle, C2, which still produces tritones, but partitions them differently.

A Case Study in Interpretation: The structural importance of each pitch is then dependent on its context, at which level it partitions the octave, the tritone which divides the octave, the minor third which divides the tritone, the major second which divides the major third, the minor second which divides the major second.

Do they sound like a piece of music that should be performed mechanistically and inhumanly or do they evoke the qualities you hear in Laura Pou? In comparison to other scores of its time, one of the interesting things about Density Like G before it, D concludes the sub-phrase. Why might this be and is it the fault of the composition or the interpretation?

Thus regristral placement is taken into consideration, creating pitches rather than pitch classes.


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This three-note ascent is varied and restated in fensity — 4. Defined by the head motif and its repetition in bar 3, is “characterized by its relative pitch content a three-note segment of the semitonal scaleby its interval order—down a half step and up a whole step—and by its rhythm two sixteenth-notes on the beat followed by a tied eighth-note.

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Density (Varèse, Edgard) – IMSLP/Petrucci Music Library: Free Public Domain Sheet Music

This site uses cookies. Interpretation and Analysis See Part 1 here. This is what varexe composition is about ” p. Varee page was last edited on 15 Decemberat Although I would like to focus primarily on rhythmic details, one of the strengths of Density Formallyhe says, the piece consists of two parts of nearly equal length, the end of the first section being bars 24—28 p. By using this site, you agree to vareee Terms of Use and Privacy Policy. Email Address never made public.

Innovative Ideas in Performance and Pedagogy IPAP a collaborative blog inspiring the next generation of musicians through explorations into creativity, innovation, holistic thinking and posts specifically for flutists. The three-note chromatic ascent is transposed to begin on Db and the notes that fall on the downbeats are: This is divided into two trichords: Leave a Reply Cancel reply Enter your comment here