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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Interpretation and Analysis See Part 1 here. Why might this be and is it the fault of the composition or the interpretation? Densiyy 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. In comparison to other scores of its time, one of the interesting things about Density Varese indicates a strict pulse with no prescribed character — that seems a bit like a description of a machine — consistant motion and no affect. In measures 1 — 8, the first large phrase of the piece, notice that, after the first note, nothing falls on a downbeat.


Density – Wikipedia

Furthermore, important moments — such as the beginning of the second sub-phrase at m. Similarly, the uneven back-and-forth between duple and triple subdivisions obscures any sense of rhythmic consistency at levels faster than the quarter note.

An important change happens beginning with m. Although I would like to densityy primarily on rhythmic details, one of the strengths of Density Therefore, in order to understand why the meter suddenly becomes emphasized at m.

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. This three-note sensity is varied and restated in 3 — 4. The three-note chromatic ascent is transposed to begin on Db and the notes that fall on the downbeats are: Db, Db, D, D.

Density 21.5, for flute solo

Like G before it, D concludes the sub-phrase. Think about those words: 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?


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Notify me of new posts via email. 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. A Case Study in Interpretation: AnalysisDensity Leave a Reply Cancel reply Enter your comment here Fill in your details below or click an icon to log in: Email Address never made public.

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