Edgard Varèse
Edgard Varèse: A Pioneer of Musical Innovation
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Full Name and Common Aliases
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Edgard Victor Achille Charles Varèse was a French-American composer, known for his innovative and avant-garde approach to music. He is often referred to as the "father of electronic music" due to his pioneering work in this field.
Birth and Death Dates
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Varèse was born on December 22, 1883, in Paris, France. He passed away on November 6, 1965, at the age of 81, in New York City, USA.
Nationality and Profession(s)
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Varèse held dual citizenship of France and the United States. Throughout his life, he worked as a composer, pianist, and teacher, leaving an indelible mark on the world of classical music.
Early Life and Background
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Edgard Varèse was born into a family of artists. His father, Louis-Théodore-Hyacinthe Varèse, was a painter, while his mother, Alphonseine Varèse (née Delteil), was a pianist. This artistic upbringing laid the foundation for Edgard's future career as a composer. As a young boy, he studied piano and music theory with his mother, who instilled in him a love for classical music.
In 1896, at the age of 13, Varèse moved to Paris, where he continued his musical education under the tutelage of several prominent composers, including Fauré, Dukas, and Hahn. During this period, he developed a keen interest in Eastern philosophy and mysticism, which would later influence his compositional style.
Major Accomplishments
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Varèse's innovative approach to music led him to create some of the most groundbreaking works of the 20th century. He is credited with introducing several new techniques and instruments into classical music, including:
The use of electronic instruments and sounds in composition (e.g., his iconic work "Deserts")
The development of aleatoric music, where chance and indeterminacy play a key role
The incorporation of non-traditional materials, such as sirens and industrial soundsNotable Works or Actions
Some of Varèse's most notable works include:
"Amériques" (1918-1927): A symphonic poem that showcases his use of aleatoric elements
"Ionisation" (1931): A percussion piece featuring a range of unconventional instruments
"Déserts" (1954): An electronic work that incorporates sounds from the city and industrial settings
Impact and Legacy
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Varèse's influence on modern music is immeasurable. His innovations have inspired generations of composers, including:
Karlheinz Stockhausen, who credited Varèse as a key influence in his own development as a composer
Pierre Schaeffer, the French composer and founder of musique concrète (concrete music)
Milton Babbitt, an American composer known for his work in electronic music
Varèse's legacy extends beyond the realm of classical music. His experiments with sound and materials have influenced numerous fields, including film scoring, avant-garde rock, and electronic music.
Why They Are Widely Quoted or Remembered
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Edgard Varèse is widely quoted and remembered for his:
Innovative approach to music: He continually pushed the boundaries of what was possible in classical music.
Visionary ideas: His emphasis on experimentation, collaboration, and creative freedom has inspired countless musicians and composers.
Pioneering work in electronic music: Varèse's use of electronic instruments and sounds paved the way for future generations of electronic music pioneers.
In conclusion, Edgard Varèse was a true pioneer of musical innovation. His groundbreaking works continue to inspire and influence artists today. As we reflect on his legacy, it becomes clear why he remains one of the most widely quoted and remembered figures in classical music history.
Quotes by Edgard Varèse
Edgard Varèse's insights on:
No matter how consummate a work of art may seem, it is only an approximation of the original conception. It is the artist’s consciousness of this discrepancy between his conception and the realization that assures his progress.
I have just begun a work in which an important part is given to a large chorus and with it I want to use several of your instruments – augmenting their range as in those I used for my Equatorial – especially in the high range.
I don’t want to write any more for the old Man-power instruments and am handicapped by the lack of adequate electrical instruments for which I now conceive my music.
Of all the arts, music is the one communal art. It requires for its existence extensive cooperation and organization...Singing together the greatest choral music of all time is the surest way of developing in a community that sense of quality and reverence for beauty, which is the basis of a musical culture...Entertainment has its place in life just as candies and cocktails have, but health is not built on such a diet alone, nor culture exclusively on amusement.
A man is culpable in the eyes of society when he escapes from the jurisdiction of its mediocrity.
I do not write experimental music. My experimenting is done before I make the music. Afterwards it is the listener who must experiment.
Men set themselves a goal, and having attained it, are satisfied and grow paunches. In their complacency they forget that their only future is now death.
The beginning of art is not reason. It is the buried treasure of the unconscious...that unconscious which has more understanding than our lucidity.