Varese, once again

I really appreciated Ben's point that Ionisation can be considered the first "good" piece of percussion music, much like Monteverdi's Orfeo becoming the first (oldest) opera to gain a permanent place in the repetoire.  As Ben pointed out, Varese took this music to the height of legitimacy and I am particularly indebted to Kyle for helping explain exactly how this was accomplished.

Like most of the class, I had heard Ionisation before.  I even introduced it to my younger brother, a budding percussionist at age 13.  But I could not have told you why it achieved the notoriety that it has, other than the fact that it is generally believed to be the first percussion ensemble piece, which we now know is not the case.  I figured there was structure buried in it somewhere and probably some rhythmic motives that get passed around.  And there are.  On a scope and at a level that is so deep that it was slightly hard to follow.

I appreciate percussion music, perhaps in spite of my background as a wind player.  But I must acknowledge a preference for percussion music with even the barest scrap of melody or at leasat a readily identifiable riff.  My bearings become a little lost otherwise - as was rather amusingly demonstrated by our repeated listenings in class.  The Schick article was fascinating and engagingly written, drawing me into Varese's sound world and conception of form.  It was a revelation that the title actually related to the musical material of the piece as the groups of affinities were transformed.  It was daunting to follow all the examples showing exactly where secco instruments imitated resonant instruments and resonant instruments play secco themes at tempos so slow the ear cannot perceive them.

The funny part is, I heard none of it.  Not on our first or second hearing.  Which does not mean it was all a load of hogwash.  It means I need to listen again - and probably once again for good measure - until I not only know intellectually that sound masses are colliding and interpenetrating but until I can hear it for myself and then point out where those transformations occur.  Far from familiarity breeding contempt, here it breeds greater respect and repeated listenings for sheer enjoyment.  Which I think is really my ultimate goal for this class.