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Density 21.5 (1936) by Edgard Varese

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Uploaded by on Nov 16, 2007

Density 21.5 (1936) was written at the request of Georges Barrère for the premiere of his platinum flute, the density of platinum being close to 21.5 grams per cubic centimeter. The piece is based on two melodic ideas, one modal and one atonal. It is interesting to note that in Varese's output of only fifteen works, Density 21.5 is his only solo piece. Like Scriabin, Varese was among the revolutionary composers whose works initiated the beginning of a new mainstream tradition in twentieth-century music -- use of the diminished seventh chords and tritones, interval cycles, and partitioning of chords.

Program Note by Justin R. Stolarik

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Part of Dr. Stolarik's University of Texas at Austin DMA 2 Solo Percussion Recital, entitled "An Unconventional 20th Century Retrospective."

Thursday, November 15th, 2007 at 4:30pm in Bates Recital Hall.

My unconventional retrospective concept delivers a wide variety of musical styles of the twentieth-century -- one work from almost every decade. The pieces not originally composed for percussion have been included as a means to demonstrate the contributions by important composers of the century and to expose the listener to the versatility of percussion instruments.

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Uploader Comments (datimpster)

  • Buddy your technique leaves something to lacked

  • @MOTSOTL There's a lot more to music than perfect technique! :)

  • congratulations. today this video was selected by New Musiology.

  • What is New Musiology?

Top Comments

  • If Varèse would have wanted this piece to sound like a vibraphone, he'd have composed it for the vibraphone. He wanted the sound of the flute. He didn't compose these ugly tremoli!

    This is a COMPOSITION. Different interpretations are possible on the flute. A soundsculptor like Varèse choose the timbre of the flute. The tremoli make no sense at all, even if his performance is excellent.

  • It makes no sense to play this work on a vibraphone.

    Varèse composed a lot for percussion, but never for the vibraphone. He very much disliked the timbre of the it. He only used it once: in Déserts as a minor doubling instrument to colour other instruments.

    Why not play it on the ukulele?

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All Comments (91)

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  • Varèse was very clear in his ideas about percussion instruments. I'm not speaking 'for the man', but happen to know Varèse work very well. Varèse was very precise in his composition of timbres (Klangfarben). This musician doesn't know the score or the aesthetic ideas of Varèse. You have to know the music before you can play it properly. That is what art and music is about and not randomly performing a melody just because you happen to like it.

  • @annedegro don't speak for the man. He could just as well have changed his mind about it if he lived till this day.

    now this man is making music, and that is all that matters.

  • @revions don't speak for the man. He could just as well have changed his mind about it if he lived till this day.

    now this man is making music, and that is all that matters.

  • @MOTSOTL that sentence is incomprehensible.

  • I like the vibrafeel of this. Good pairing.

  • People here need to lighten up. Music is more than just the composer's intention, I hope in the future that people let the natural evolution of music take it's course. Really nice playing and interpretation!

  • nice playing by the way!!!

  • your programme note is excellent, can I use your programme note in my video?  I acknowledged that Program Note by Justin R. Stolarik, if you don't like it, I will delete it. thanks. :)

  • @MOTSOTL I'll say that your grammar leaves something to be desired. Others might say your grammar is lacking. But perhaps you said it best - your grammar "leaves something to lacked"

  • @datimpster Im sorry i mean no disrespect this is a great rendition for vibraphone. I study vibes and the past few months "proper technique" has been being punished to me with that said bravo!

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