Abstract
V ARESE'S FAMOUS FLUTE SOLO Density 21.5 begins in a simple and declarative way: the first three notes form a gestural unit by virtue of the comparative length of the third note, and then four more attacks bring a first phrase to a conclusion, since a silence then appears which separates the foregoing from the following music, which in fact starts with a repetition of the first three notes. The unmistakable sense of a second start in m. 3 not only reinforces the first-phrase status of the music that precedes, but clarifies the gestural identity of the first three notes, the extent of the quoted material in the new phrase. Both the nature of the gesture and the exact form of its continuation into a first phrase I find suggestive in terms of hearing the piece that then unfolds. First of all, there is the immediately apparent motivic value of the opening gesture as it reappears (or is clearly echoed) in mm. 3, 4, 9, 15, 21, 41 and 42-
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