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Octandre

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Octandre is a chamber piece by Edgard Varèse, written in 1923 and published by J. Curwen & Sons in London in 1924 (new edition, New York: G. Ricordi & Co., 1956; new edition, revised and edited by Chou Wen-chung, New York: Ricordi, 1980).[1] It is dedicated to pianist E. Robert Schmitz.

Octandre consists of three movements:[2]

  1. Assez lent
  2. Très vif et nerveux
  3. Grave-Animé et jubilatoire

It is scored for 1 piccolo/flute, 1 oboe, 1 B♭ clarinet/E♭ clarinet, 1 horn, 1 bassoon, 1 trumpet (in C), 1 trombone, 1 double bass.[3][4]

References

  1. ^ Chou Wen-chung. "Octandre (1923)". Program notes for the new edition revised and edited by Chou Wen-chung (New York: Ricordi,1980). Chou Wen-chung website (Accessed 15 April 2014); Kennedy, Michael (1990). "Octandre". The Concise Oxford Dictionary of Music (3 ed.). Oxford University Press. p. 459. ISBN 0193113201.
  2. ^ Donato Mancini. "Octandre, for flute, oboe, clarinet, bassoon, horn, trumpet, trombone, and double bass". AllMusic. Retrieved 16 March 2014.
  3. ^ "Octandre (1923)". brahms.ircam.fr (in French). Retrieved 16 March 2014.
  4. ^ Paul Griffiths, "Varèse, Edgard [Edgar] (Victor Achille Charles)", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001).

Further reading

  • Anderson, John Davis. 1984. "The Influence of Scientific Concepts on the Music and Thought of Edgard Varèse". D.A. diss. Greeley: University of Northern Colorado.
  • Babbitt, Milton. 1966. "Edgard Varèse: A Few Observations of His Music". Perspectives of New Music 4, no. 2 (Spring–Summer): 14–22.
  • Fulford, William Douglas. 1979. "An Analysis of Sound Masses in Hyperprism, Octandre, and Intégrales, Three Chamber Works by Edgard Varèse". MA Thesis. Fullerton: California State University, Fullerton.
  • Koto, Katashi. 1988. "Basic Cells and Hybridization in Varèse's Octandre". Sonus 8, no. 2:59–67.
  • Marvin, Elizabeth West. 1991. "The Perception of Rhythm in Non-Tonal Music: Rhythmic Contours in the Music of Edgard Varèse" Music Theory Spectrum 13, no. 1 (Spring): 61–78.
  • Post, Nora. 1981–82. "Varèse, Wolpe, and the Oboe". Perspectives of New Music 20, nos. 1–2:135–48.
  • Ramsier, Paul. 1972. "An Analysis and Comparison of the Motivic Structure of Octandre and Intégrales, Two Instrumental Works by Edgard Varèse". PhD diss. New York: New York University.
  • Stempel, Larry. 1979. "Varèse's 'Awkwardness' and the Symmetry in the 'Frame of 12 Tones': An Analytic Approach". The Musical Quarterly 65, no. 2 (April): 148–66.
  • Wilheim, András. 1977. "The Genesis of a Specific Twelve-Tone System in the Works of Varèse". Studia Musicologica Academiae Scientiarum Hungaricae 19, nos. 1–4:20–26.
  • Wilkinson, Marc. 1961. "Edgard Varèse: Pionier und Prophet". Melos 28:68–76.
  • Yang, Yong. 1995. "The Pitch Structure in Edgard Varèse's Octandre". PhD diss. Waltham, MA: Brandeis University.
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