Vareses Drum

Tempohttp://journals.cambridge.org/TEM Additional services for Tempo: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here VARÈSE'S DRUM: THE TAROLE IN ‘IONISATION’ Brian Holder Tempo / Volume 67 / Issue 266 / October 2013, pp 65 - 68 DOI: 10.1017/S0040298213000867, Published online: 08 October 2013 Link to this article: http://journals.cambridge.org/abstract_S0040298213000867 How to cite this article: Brian Holder (2013). VARÈSE'S DRUM: THE TAROLE IN ‘IONISATION’. Tempo, 67, pp 65-68 doi:10.1017/S0040298213000867 Request Permissions : Click here Downloaded from http://journals.cambridge.org/TEM, IP address: 148.220.166.199 on 13 Nov 2013 pp. This information provides insight into performance practice and the orchestral conception of the work.1 Many musicians would no doubt agree with the New York Times critic Steve Smith. Much has been written about Ionisation. ‘Ionisation: a Comparative Analysis of Published Editions and Recordings’. It was.2 Its performance is a re-enactment of a great rite of passage for what was then a fresh and previously unrecognized musical ensemble. . He was able to reinvent the role of concert percussion in a radical and refreshing manner. The work presented the important notion that unpitched percussion (with piano and other pitched instruments coming in at the end) could stand alone as a serious form of concert music – a relatively unexplored concept at that time. Pitch Relationships The reconceptualization of pitch was one of Varèse’s great insights. The present essay will briefly examine the tarole. 2010). when he stated that ‘Ionisation is a “sacrament” for percussionists’. Ionisation has also enjoyed a strong performance and recording history. perhaps. primarily by establishing pitch relationships between instruments of individually indeterminate pitch. one instrument included in the work.Tempo 67 (266) 65–68 © 2013 Cambridge University Press doi:10. and serves to reinforce the accepted performance practice. composed by Edgard Varèse in 1931. is one of the most celebrated percussion ensemble compositions of the early 20th century. In one letter Varèse sketched this instrument in order to show its relationship with a more common orchestral snare drum of the period. a way to push pre-existing instruments to their limits. 52–6. which continues to the present. This research also provides additional insight into Varèse’s attention to detail and hands-on knowledge of the acoustical and mechanical nature of percussion instruments. This article examines correspondence between Varèse and Nicolas Slonimsky about the tarole – a snare drum used in the work. New research clarifies some questions about this instrument. New York Times (13 July. Percussive Notes (June 2009). ‘Banging Out a Revolution in Just 91 Measures’. Ionisation. and yet the work continues to stimulate inquiry. while 1 Heading photo caption: Edgard Varèse (photo: G Ricordi London Ltd) 2 An examination of published scores and available recordings can be found in Erik Heine and David Steffen.1017/S0040298213000867 65 varèse’s drum: the tarole in ‘ionisation’ Brian Holder Abstract: Edgard Varèse’s Ionisation was a groundbreaking composition that presented unique ideas and problems concerning percussion orchestration. Steve Smith. p. Edgard Varese (New York: Da Capo Press. one of which was the exploration of pitch relationships between instruments that produce single indeterminate (non-specific) pitches. Modern School for Snare Drum with a Guide Book for the Artist Percussionist (Milwaukee: Hal Leonard. strengthening the current performance practice and clarifying the nature of this instrument. Fernand Ouellette. are played by the ninth member of the ensemble. p. In some of these letters Varèse sketched examples of the instruments he intended to use in the composition and this information can inform our selections when performing Ionisation. because the instrument nomenclature was troublesome to artists of the 1930s and needed to be readdressed decades later.4 In Ionisation. two of which.3 Varèse’s biographer. Nicolas Slonimsky (who premièred the work and to whom it was dedicated by Varèse) and Henry Cowell (who published the score in a 1934 edition of his New Music Orchestra Edition). such as Thomas Siwe.9 The identification of the tarole as the higher-pitched drum is interesting.8 Siwe also directed a notable recording of Ionisation. 1994). 1339. p. His descriptions were given in the 1934 edition of the score. who wrote in 1994 that ‘the tarole or piccolo snare drum should be the highest of the snare sounding drums’. 1934). through their mutual participation in the Pan American Association of Composers. the tarole and caisse claire. 163. shallow drum of high pitch). as it is readily available. ed. Ionisation (Symposium Records. 1981). This performance practice is reinforced by the recording made by Nicholas Slominsky ‘shortly after the première’ in 1933. Available on compact disc.7 This practice also has continued to receive support from numerous percussionists. 2002). p.. The 1934 edition will be referenced throughout this paper.’ (Tarole: a small. and were reprinted in Morris Goldenberg.5 Pitch relationships are one aspect of the instrumentation that has remained unclear. Problematic Instrumentation During the late 1920s and early 1930s Varèse was in constant contact with both Slonimsky and Cowell. Percussive Notes (October. 1998). Source Readings in Music History (New York: W. Norton and Co. Ionisation was premièred and performed several times during 1933 by Nicolas 3 4 5 6 7 8 9 Edgard Varèse. in which the pitch relationship between the two instruments is clear. 1955). Thomas Siwe. though the translation in the score is ‘Tarole is a flat military drum.66 tempo Varèse awaited those fabled ‘instruments obedient to my thought and which with their contribution of a whole new world of unsuspected sounds. and the richness of sound’. 2000). One such relationship can be found within the membranophone instruments.. . 46. The score indicates: ‘Tarole: Petite caisse plate d’une sonorite aigue. wrote that the attraction of percussion ‘was to take up a position on the side of the life. will lend themselves to the exigencies of my inner rhythm’. 73. Fernand Ouellette. Numerous letters were exchanged between Varèse. this richness found expression in several ways. ‘The Liberation of Sound’ in Leo Treitler. And while these indications are offered in both English and French (for the purpose of clarity). Ionisation (San Francicso: New Music Orchestra Series. it is traditional for the tarole to have a higher pitch than the caisse claire. the beauty. ‘Edgard Varèse’s Ionisation: Analysis and Performance Problems’. Edgar Varese. Historic Works for Percussion Ensemble (1931–1942) (Equilibrium Records. Archival evidence has been discovered that now reinforces this pitch relationship. The score – published by Henry Cowell in 1934 – offers a description of several instruments.6 While that information is ambiguous. with snares’. subjective elements remain.W. maracas. Slonimsky began to assemble the instrumentation.varèse’s drum: the tarole in ‘ionisation’ 67 Slonimsky. 10 11 12 13 14 15 16 17 ‘Slonimsky.S6. Henry Cowell. claves. substitute Theremin’s electric instruments. small snare drum. and few performers take Varèse up on the offer to use the theremin. . ‘Ionisation’.S6. His published compromise leads one to believe that securing instruments was an ongoing and likely aggravating ordeal (not to mention securing performers – an entirely different problem that will not be explored here).12 He told Slonimsky: I went to Fischer’s three times about the instruments – they are very uncooperative.: ML31. Washington. Slonimsky had some questions as to the exact nature of several instruments. Yet.C. letter to Nicolas Slonimsky (17 December. and later Varèse would translate these into French for Cowell’s publication. 1726. anvils’. D. See Heine and Steffen. 1933). There is at least one recording of Ionisation that used the Theremin in place of the siren. thanking the conductor for his assistance and agreeing to such an ‘explicatory note’.C.: ML31.10 The two artists collaborated closely on the project.C. Call no. Edgar Varèse. and ran into numerous problems. Henry Cowell. Besides the several aforementioned percussion instruments. or any similar instruments’.. ed. Nicolas Slonimsky collection. Music Division. and we can get only SOME of the instruments for Varèse there. Varèse wrote a revealing letter to Slonimsky. He was having a hard time locking down xylophones and snare drums. Cowell responded to Slominsky’s query. The tubular chimes which Varèse drew for us and said to get at Fischer’s are not there – they said they would have to make them for us.13 The reader will note that Cowell referenced a drawing made by Varèse and shown to both Slonimsky and Cowell. Nicholas. On 17 December 1933. . Nicolas Slonimsky collection. 1933). however. Library of Congress.. They have no xylophone or snare drum for us.’11 Cowell subsequently went off in search of the various instruments needed for Ionisation. and enlisted the assistance of Henry Cowell.: ML31. . Ionisation. and wrote that ‘a tarle [sic] is a special sort of flat. p. Washington. including the tarole. Library of Congress. Varèse felt that this was most needed for what he called ‘the unusual instruments: bongos. Library of Congress. and it was only for the second performance of the work that Varèse personally acquired the required sirens from the Sterling Siren Fire Alarm Company. letter to Nicolas Slonimsky (14 February.. Washington. and the chimes had to be specially made. Varèse also scored for sirens – specifically Sterling type H hand operated sirens. Music Division. he wrote in the 1934 score that ‘if unobtainable. But there was still some confusion on the exact nature of the tarole. 1933).14 These sirens were difficult to obtain. 1992).17 He suggested that Slonimsky should write the descriptive notes regarding each instrument.’ in Nicholas Slonimsky. It is a curious addendum to the score. the published version should contain a statement as to the exact nature of the instrumentation. D. D. Call no. tarole. . letter to Nicolas Slonimsky (16 February. the self-identified ‘failed wunderkind’ of progressive American art.16 Furthermore. string-drum. Henry Cowell. Nicolas Slonimsky collection. In February of that year. letter to Nicolas Slonimsky (16 February. as the score was so unusual. On 14 February. Ibid. Edgar Varèse.S6. 1933).. Call no. Baker’s Biographical Dictionary of Musicians (New York: Schirmer.15 The Sketch Towards the end of 1933 Slominsky suggested to Varèse that. Music Division. Lastly. It clarifies his intended pitch relationship between the tarole and the snare drum. At the bottom of the page. flat and slender’. This mechanism suggests that the drum heads would be tensioned equally. fresh. The other aspects of the drum – drum shell diameter and tuning mechanisms – indicate that the tarole and the snare drum were intended to have a similar timbre. the tarole was an instrument identical to a snare drum. Courtesy of Electra Yourke The sketch is quite fascinating. it is interesting to note that in this drawing Varèse created an image of two drums with ‘T’ shaped tension rods (known to some North American percussionists as ‘knuckle busters’) which appear around the upper rims. His illustration is reproduced here as Figure 1. and rarely found in the concert hall. which situates his instrumental preference within the Ionisation pitch hierarchy. Varèse has provided us with some clarity and more food for thought when it next comes time for a performance of his Ionisation. and provides specific direction towards instrument selection. the only difference being the depth of the drum shell. He wrote: ‘Definition of a Tarole: a small drum. . This difference would impact the pitch range. caisse claire and tarole. For Varèse. This type of drum – today called ‘single tension’ – is antiquated. an era in which much of what we today take for granted was new. Figure 1: Left to right. Varèse spelled out the relationship between a snare drum and a tarole. To further his point. and not without some mystery. both in terms of musicological interest and as a display of Varèse’s general artistic skills and attention to detail. The sketch also offers clarity. Varèse drew a picture of a snare drum and a tarole (while also apologizing for his artistic ability) and indicated that the latter should be one-half the height of the snare drum. The instrument thus gives us a glimpse of the percussion ensemble of the 1930s. The sketch also informs the frustration generated by the unique and iconoclastic instrumentation that Varèse envisioned. With his sketch. and this sketch certainly presents a more informed look at the nature of Ionisation as Varèse conceptualized it.68 tempo which required Varèse to add a handwritten addendum to this typed letter. Conclusions Performance practice continues to grow as a topic of interest within the milieu of 21st-century percussion performance.