Form and Expression in the Vocal Works of Edgard Varèse

Abstract

This article attempts to analyse Varèse’s vocal works in the light of comments made by him, with regard to certain compositional techniques that he employed, including such concepts as ‘sound masses’ and spatial positioning. The main focus of my analytical approach rests upon the treatment of pitch, rhythm, timbre, dynamics and articulation as a single entity, developing and growing as one. Such an approach is, I feel, in keeping with Varèse’s idea of sound masses—which he referred to as fused groupings of musical elements. After considering various statements by Varèse, I set about analysing the music in question. Initially, I divided it in to what I consider to be its component motifs and then grouped these into sound masses, thus demonstrating how a complex musical discourse is achieved from a small amount of initial material. I then investigate methods of expression employed by Varèse and how these are incorporated into a highly measured and formalised structure. To give coherence and show a chronological development of Varèse’s technique, I analyse his three vocal works, in the following order: Offrandes (1921); Ecuatorial (1934); and Nocturnal (1961).