Déserts

History

The piece was created as a soundtrack to a modernist film. According to "Blue" Gene Tyranny, "It is now recognized as an exceptional example of truly humanistic music." It "has been described… as atonal, athematic,… amotivic," and its orchestration has "been labeled subtle." As Paul Griffiths describes:

Varèse began composition in 1953 (or 1952) upon the anonymous gift of an [Ampex tape recorder. Through connections in New York City, he met Ann McMillan, a young composer and music editor at RCA Red Seal, who became his assistant; McMillan recorded the sounds of factories and percussion instruments which Varèse would use in this composition. He continued to work on the piece at Pierre Schaeffer's studio at Radiodiffusion-Télévision Française in the late 1950s, and later revised it at the Columbia-Princeton Electronic Music Center in the early 1960s. Dèserts may be performed without the tape sections, reducing its length by seven minutes.

The first performance of the combined orchestral and tape sound composition was given at the Théâtre des Champs-Élysées in Paris on December 2, 1954, with Hermann Scherchen conducting and Pierre Henry in charge of the tape part. This performance was part of an ORTF broadcast concert, in front of a totally unprepared and mainly conservative audience, with Déserts wedged between pieces by Mozart and Tchaikovsky. It received a vitriolic reaction from both the audience and the press. Igor Stravinsky 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."

Instrumentation

The piece is scored for the following instruments.

;Woodwinds : 2 flutes (both doubling piccolo) :

;Brass : 2 horns : 3 trumpets : 3 trombones : 2 tubas

;Percussion (5 players)

1. 4 timpani, vibraphone, 2 suspended cymbals, tenor drum, and claves
2. glockenspiel, snare, field, and tenor drums, 2 timbales or tom-toms, 2 suspended cymbals, cencerro, tambourine, and 3 Chinese blocks
3. 2 bass drums with cymbals, field and tenor drums, cencerro, guiro, claves, tambourine, and chimes
4. vibraphone, 3 gongs, 2 lathes, guiro, and tambourine
5. xylophone, 3 chinese blocks, 3 wooden drums, guiro, claves, maracas, and 2 lathes

; Other

:1 piano :electronic tape

References

References

1. "Blue" Gene Tyranny (2010). "[{{AllMusic
2. Sitsky, Larry (2002). ''Music of the Twentieth-Century Avant-Garde: a Biocritical Sourcebook'', p.533. {{ISBN. 978-0-313-29689-5.
3. Charbonnier, Georges (1970). ''Entretiens avec Edgard Varese'', p.156. Paris. Cited in Griffiths (1995), p.129.
4. Charbonnier, Georges (1970). ''Entretiens avec Edgard Varese'', p.156. Paris. Cited in Griffiths (1995), p.140.
5. Griffiths, Paul (1995). ''Modern Music and After'', p.129. {{ISBN. 978-0-19-816511-8.
6. "Collection: Ann McMillan papers {{!}} Archival Collections".
7. (1982). "Dialogues". University of California Press.