EDGARD VARESE INTEGRALES for 11 Wind Instruments and Percussion Revised and edited by CHOU WEN-CHUNG (1980) COLFRANC MUSIC PUBLISHING CORPORATION New York General Agent: E. C. KERBY Lrp., 198 Davenport Road, Toronto, Ont.,Canada MSR 1J2 Tel.: (416) 922 9934Col. Col. Col. Col. Col. Col. Col. Col. Col. Col. Col. Col. Rene . 10 il 12 The Works of EDGARD VARESE Amériques for Orchestra (Dur.: 23’) Arcana for Orchestra (Dur.: 16’) Density 21.5 for Flute (Dur.: 4°15”) Déserts for 15 Instruments, Percussion and Tape of Electronically Organized Sounds (Dur.: 13'20” — with Interpolations 23°30”) Ecuatorial for Bass Voices, 4 Trumpets, 4 Trombones, Pianoforte, Organ, 2 Ondes Martenot and Percussion (Dur.: 10") Text from the sacred book of the Maya Quiché, The Popul Vuh (Chorus parts available on sale. Hyperprism for 9 Wind Instruments and Percussion (Dur.: 4’) Intégrales for 11 Wind Instruments and Percussion (Dur, 12’) (Revised Edition 1980) Tonisation for Percussion Ensemble of 13 Players (Dur.: 6’30”) Nocturnal for Soprano Solo, Chorus of Bass Voices and Orchestra (Dur.: 10’) Posthumous work edited and completed by Chou Wen-chung from the com- poser’s notes and sketches. Text from House of Incest by Anais Nin. Solo and Chorus ports available on sale. Octandre for 8 Instruments (Revised Edition 1980) (Dur.: 7’) Oftrandes for Soprano Solo and Chamber Orchestra (Dur.: 12’) Texts of Vicente Huidobro (Chanson de Lé-haut) and José Juan Tablada (La Croix du Sud) ‘Solo part available on sale, Poéme Eléctronique for Magnetic Tape (Dur.: 8°05”) (Available on rental only) Coxrranc Music Pusuisainc CorPoRATION New YorkEDGARD VARESE INTEGRALES for 11 Wind Instruments and Percussion Revised and edited by CHOU WEN-CHUNG (1980) COLFRANC MUSIC PUBLISHING CORPORATION New YorkIntégrales was first published by J. Curwen & Sons of London in 1926. The Curwen edi- tion differs from the manuscript in a number of places with regard to tempo marks, dynamics, accents, ties, rhythm and percussion. While some of these, particularly tempo marks, are clearly revisions by Varése, others seem to be questionable since there are also a large number of obvious errors and omissions. Since 1926 there have been at least two minor revisions of this work made by Varése; one in 1956, for the Ricordi reissue of the Curwen edition, and another for a subsequent printing. Aside from the addition of Eb and Bb Clarinets and a D Trumpet, from seven measures before [6] to two measures after, and revisions in two measures before and one measure after [21], Varése was mainly concerned with correcting misprints and revising dynamics, accents and phrasing marks. Two reference copies of the Curwen edition and two of the first Ricordi printing exist; they contain all the markings (but not all in Varése’s handwriting) for the Ricordi printings; there is also a photocopy of the manuscript bearing some revisions. These revisions, however, do not always agree with each other. For the present edition corrections are made according to the manuscript and all the copies mentioned above. Whenever corrections do not agree with each other in these ver- sions, a comparative study is made for the proper choice. In addition, many misprints and omissions not taken note of by Vardse are now corrected or restored according to the manuscript. Missing dynamics, accents, ties, etc. not found in the manuscript are now added wherever their use is considered necessary. The following list gives only those corrections that require explanation Legend: V — Varése; MS — manuscript; CE — Curwen edition; R-CE — two refer- ence copies of Curwen; R-Ric — two reference copies of Ricordi. Abbreviations for instruments are same as in score; all page and measure numbers refer to this edition. p.2-m.1 Some of the notes for 7. Dr., here and at p.3-m.2, are indicated with % in MS. In CE, the fourth quarter note here and the second at p.3-m.2 are copied without dynam- ics thus suggesting an erroneous dynamic level for these beats. This was never corrected. At p.2-mm.1 and 2 and p.4-m.2, the S. Dr, part in MS is copied for S. Cym. in CE. In one RCE, “C. claire” and “C. cl.’" are penciled in by V while a note in another handwriting specifies ‘side drum”. In another R-CE “Cafsse claire” is written in each time in V's handwriting. In subsequent Ricordi printings, while the part on p.2 is corrected that on p.4 is moved to the line for T. Dr. p.5-m.3 The last note of the 7. Dr. should have the same dynamic indications as the pre- vious beats. CE gives it asp<. p.6-m.2 The dynamic for S. Cym. is omitted in MS here and also at p.10-m.1 and p.11-m.1. Elsewhere, in similar situations, it is always given the same level as C. Cym. and B. Dr.. These dynamics (and omissions in CE) are now provided, p.7-m.2 The rhythm for S. Dr. and T. Dr, appears to be dubious in MS but has been re- vised by V in R-Ric.p.13-m.3_ The dynamics for Trbs. throughout this passage apparently were revised down- ward by CE. In MS the T. Trb. is consistently marked fff; in'CE ff. But here and at p.14-m.2 it reverts to fff in CE. Since the dynamics on all other instruments remain the same throughout, this appears to be an error. This is also true of Pice. / in this measure. p.15-m.9 MS has avec sourd. for the T. Trb. at p.10-m.1 and sans sourd. here. CE omits avec sourd, at p.10-m.1 and gives avec sourd. instead of sans sourd. here. V added avec sourd. at p.10-m.1 in both R-CE but did not correct the misprint in this measure. As a result, the Ricordi edition has avec sourd. at both places. p.17-m.2_ MS has two dotted eighth notes for B. Dr. which indicates that Player 4 is in four dotted sixteenth notes in a measure of 3/8; but in a later printing, they revert to the CE version. The MS version has been restored. p.19-m.3 According to MS, C. Cym, should have a sixteenth rest, not a quarter as in CE. In MS, B. Dr. and C. Cym. share the same beam as follows: sixteenth note B. Dr., eighth note C. Cym., sixteenth note B. Dr.. In CE, C. Cym. is copied as: eighth rest - eighth note. Assigning an eighth rest to C. Cym. is clearly an error which was never corrected. p.23-m.3_ In MS, Player 3 has T.t. here and Gong at m.5. Both instruments are copied for T.t. in CE but corrected in R-CE. In later printings, both are misprinted for Gong. p.23-m.5 Throughout this passage, the sfff for T. Trb. in MS is consistently changed to sff in CE. p.23-m.6 Throughout this passage, Ob. is always ffff in MS. In CE it is sometimes fff, apparently an error in copying rather than a revision. p.24-m.4 In MS the eighth note in 7. Dr. isa single attack. In the following measure the eighth note is a roll for S. Dr.. CE has both of these eighth notes with trem. sign. In making corrections, V changed both to sec in R-CE. But in R-Ric. he rewrote the parts for these measures on the bottom of the page without a trem. sign for either. He also added correctly, “Cr.” and “C.c."" (for Caisse roulante and Caisse claire, that is T. Dr. and S. Dr.) for respective measures in one copy (apparently for his own reference) but incorrectly “C.c."" for both measures in another (actually used by the Ricordi editor for making corrections). Subsequently both measures are printed for S. Dr. and without tremolo. According to MS, at p.25-m.1 as well as p.24-m.2, S. Dr. doubles short attacks of Cymbs. and Trgl. and is followed by S. Cym.. It also is played as a roll doubling the accented note on D Trp. that immediately follows the sixteenth note staccato. Apparent- ly V made the corrections without checking the function of the S. Dr... This is shown by a) the roll at p.24-m,2 not being removed, and b) S. Dr. at p.25-m.1 being copied an eighth note too late in CE but left uncorrected. Note also that at p.24-m.4 T. Dr. doubles . Cym. and is not immediately preceded by sixteenth note staccati on D Trp. p.27 On this page articulation, phrasing and breath marks have been revised variously in CE; in one copy of R-CE and in one copy of R-Ric. It is now edited according to collated information from MS and the above versions. Some obviously missing signs are also added. p.28-m.6 MS has f for Eb Cl. and sff for each note in Bb Ci. part. Because sff signs are placed above the stave in MS, CE has both f and sff for Eb Cl... This was never corrected.p.29-m.3 In MS Ob. has ff ( doubling two Piecs. on low D) throughout this passage. It is part of a carefully worked out balance. In CE, Ob. has the same fff as Pices., Eb and Bb CI. except at p.31-m.1 where it suddenly has ff. It is assumed that the fff in CE isa misprint, p.32-m.6 Short tie-like /aissez vibrer signs for T.t. and B. Dr. here and in the next mea- sures are transformed into ties in CE. In one of R-CE there are one accurate and two wrong corrections on these ties; none were incorporated in later printings. p.34-m.6 This note on 86 Cy. is not tied to the next measure in either MS or reference copies. p.35-m.2 In MS the accent in Player 1 part is on the first sixteenth note of S. Cym. and the dynamic is mp. CE carelessly places an accent and an mp for the first thirty-second note of the 7. Dr. and prints the two sixteenth notes for S. Cym. in the S. Dr. part as continuation of the quarter note tremolo at ppp. p.41-m.1_ CE has a quintuplet for Ch. B. although the part should be the same as in the preceding measure. The 3 in this measure looks like a 6 in MS, an obvious error. Chou Wen-chungInstruments 2 Piccolos Oboe Clarinet in EB Clarinet in BP French Horn in F Trumpet in D (High) Trumpet in C Tenor Trombone Bass Trombone Contrabass Trombone Percussion: 4 Players — 4 Exécutants 1) S.Cym. Suspended Cymbal S. Dr. Snare Drum T. Dr. Tenor Drum Stg. Dr. String Drum/Lion or Bull Roar 2) Cast. Castanets Cyms. Cymbals ch.B. Chinese Blocks (3) 3) Si.B. Sleighbells Ch. Chi Tamb. Tambourine Gong Gong (Deep) Tt Tam-Tam (Deep) 4) Tri. Triangle c.cym. Crash Cymbal Tw. “Twigs (Wire Brush) — To be played on shell of Bass Drum Bs. Dr. Boss Drum SI. St. Slap Stick 2 Petites lates Hautbois Clarinette en mi? Clarinette en Si? Cor en Fa Trompette en Ré (aigite) Trompette en Ut Trombone Ténor Trombone Basse Trombone Contrebasse Cymbale suspendue Caisse claire Caisse roulante Tambour 4 corde Castagnettes Cymbales Blocs chinois (3) Grelots Chaines Tambour de basque Gong (grave) Tam-tam (grave) Triangle Cymbale chinoise Verges (Rute) Grosse caisse Fouet+ INTEGRALES + Chart for disposition of percussion suggested by Morris Goldenberg, Instructor of Percussion, Juilliard School of Music. PLAYER I Stg. Dr. O Profile PLAYER It S.Cym. 18” *Chinese blocks are better known as wood blocks in this country. **Must use both suspended and hand cymbals. Use hand cymbals where possible. Use pair of castanets for each hand or mounted castanets. PLAYER II Gong 30"/36" Gong Tat. 0) 0) is a profile view of the Gong and Tam-Tam to show their basic differences. PLAYER IV L_A Tri. Cym. 18” ——_ Bs. Dr, 36" SL. St. 14"x4-1/2"x3 /4" *Both wire brush and twigs should be used.Intégrales Duration: 10°30” Edgard Varése Andantino (/.72) i aed Piccotos 2 Oboe B Clarinets & French Horn D ‘Trumpets © ‘Tenor Trombone Bas Trombone Contrabass trombone Andantino (/=72) Sorpended Cymbal Lieodrum SeingDeur Castanets in| edi ‘Sleighbelle Chains Tambourine 2 Gong ‘Tam Tem 4 eet ak 1) Me Membrane (ead); R= Rebord (im); C= Cait (thell). 2)> 2 frappers Za a nsiter; P= vee le powce coL7 Copyright 1926 and 1980 by Colfranc Music Publishing Core., New York.Pice. on. ch. F.Hra, Tp. ‘Tebs. Cbs. 8.Dr. ; TD. PL PPPPPS Cast, Tamb. cou‘poco rallent, Pree ob. ® ch. % Fira, D Tp. « r Teh. Bs. Cbs. S.cym, 1 Te. Stg.De, SLB, ch. T.. Te. 7 Badr. ™ es mp (1) avec baguettes tambour sur le rebord cour Pf PL PPTL ASPiece. on. By ch Eien. Tr ‘Trhe, Bs, Cbs. S.cym. S.Dr. 1 TD. 2c. SLB. Gong Tei. Bs.De. a \ M qe eS Fe (1) avec baguettes tambour cou?Pice. ob. Bb ch. B Fira, sans sourd, - : fm sane sourd. ‘Ted. Ba. sans sour. ae Cbs —— S.Cym. He soe TDr. PafatF 4 lap 20m. cu. Ti. 4 Ag Te. a Ba.De. (1) avec maillache courPiece. ob, ® Eien, Cabs. S.cym, S.De. TDe. cheb. CCym, acer vo. LA (1) avec baguettes tambour courob, F Hin, ‘Tp. avec sourd, avec sourd, Trhe Bs. avec sourd Che, [Toutes les entréee Sym. S.Dr. 1 TDs. Cyms. Tri 4.06r0. (1) avec baguettes tambour COL?OO ¥ PPP aia Pice. on. Cl. Be F Hr, Tpts. Stg.De. Qeyms, ch. Gong 40Gym. cour Animes beaucoup - subitement 3]Moderato (4-60) Pee, 2 ov. B ce » F Hr, D c n sane sourd. Teh, Bs t Sy sana soured Co, >= Moderato (d= 60) TH. 3 Le. ee a to * Lr roules sane attaque (Goll withont sttscking)* Badr. COLT © The oecasonal English10 oO». B ch. EH. Tebs, Cs. S.cym. Isp. 2 cyms. ch, Gong TH. cen. BaDr. a (2) baguettes tambour sur le rebord (2 ehegoe'> tages courPiece. ob. ch. ‘Tebs. Cbs, S.Cym, Ispr. ChB. Cong TH. Clym, acer BaDr. (1) baguettes tambour sur le rebord cou? o&2 poco rall. @ tempo = Pice. on. hs venir, E Hea, — Teds, Cabs, S.Cym, CHB. sip. Gong TH. Diag == (1) aur le rebord avee baguettes tambour courPice. ob. B che. Bn ‘Tp Wu ge ‘Tebs Cubs S.cym, cH.B. SLB. 4 corm Ba.Dr. a) fa a d, —— SS 7 salen ar ad (1) sur le rebord aver baguettes tambour cour“ Allegro (d =112/116) Pice. on, B ch. Bb Fm. ‘pe. a x Sj _ (OS of Ba Tebs, Cabs, RS a 3 t= i ——— [5] 0 |Allegro (¢=112/116) S.Cym. og Stg.Dr. a SB fees vttanare Gyms. a ChB. SLB. TH. C.Cym, BaDr. ee (1) baguettes tambour(eur le rebord) cour1s on. B ra [per che, tent ® EHrn. Trbs Bs. Cabs. 2 Cyms, cour16 Pee, ob. che. fmpre OF EH. | rempre 7 sempre : “Gir | ‘Tyee. tenuto Foi er Tbs. ar Subito lento (J-56)(de112) courPice, ob. BB Cle, FH. ‘Tp. ‘Tebs. Bs, Cabs, Sr, Ste. Dr. Tw. Bsr. La percussion trés attenuée veltée 7 P (1) Clarinettes et Petites Fltes: = sonorité creuse (breathy sound) cou lointaine avec sourd. lointaine _ayec sourd. a7 Pf a Pe? ¥18 ermal sound mtr F—) fxr —r Pee I eral end ! 2 f=? | f— — 7 on. iB ch, » EHm. D Tp. c 1 ? vee sourd, Trbs, BE co, 1 2 3 4 () Flatterzunge cou19 Presto (J-160) 8 Oo». Cle Fim, jouverte Tpes. ter sourd. ‘Tebs, Be, tex sourd. Presto (J=160) yo — Ze. A ‘Stg.De. £ 2 crm. 3 tomb. Gong T!. Coym, Ba.Dr. = =f a ) Flattermunge cOu720 Pie, Ob, Bb ch B Ela, ‘Tpte, ‘Trbs. Bs. Cbs. S.Gym, S.Dr. T.De. Stg-Dr. Cant, 2 Cyms. SLB. ch. 3 Tab. Gong Te. C.Cym. Slap St. Ba.Dr. couPree. Ob, ch, F.Hea, Tp. Trhe, Ba Che, Sty: Dr. Cast, 2 cyms. Te. 4. 0hym. Dr. courPice, on. Be ch, Bb Hen. Thee, Trbe. Be. T.Dr. Qeyms, Te. 40Cym. Bs. Dr, ad 7 a courPice. 2 on. B ch. B Eien. D ‘pee. © . ‘Teh. Bs. Cbs, srr TD. Zcyms. Gong TH. Tri. Bs.Dr. cou7 pavillon en Pair (ouverte)| 220 orFiee on. Ce, Fen, Tyr, Tebs. Cbs, S.cym. ser T.De cys, courPiee. On. B che B Fim, Tpts. Tebs, Bs. Cs, S.cym, SDr. ‘Tr. 2 cyms. cour* Subito doppio pitt lento (J-80) De- ~ a ay =— 1 Pice 2 ov. BF ls B Flea. D Tp. © Tr Tebs, Bs. Cabs, BeDr. SS P= (1) trbs serré (baguettes tambour) commencer imperceptiblement. cou?27 — oF? B dere Piece. 2 on. Be Che. B pavillon en V'air E Hen. ae D Tp. pevillon en Pair . Tebs Be Cha, a patie = a F. Hen, Pavillon en Pair D ‘Tp. © . Teh. Bs Cabs, cour BP subi28 «tempo (J=80) Subitement le double plus vite (4 160 Pice. on. & cu B boudhé + euivres Hm. ‘rane | Pr > = or a 2 tute « cami Te me T af arr Teh. Bs, a Cbs. = F a tempo (J:80) Subitement le double plus vite (160573) 1 Tr. pa F| 3. a B= f—|—j—|n— jefe 2cyms. 3 4 BuDe. courPie. 2 on. B ou B F.Hen, (cans sourd.) D ‘tp. © Tebs. Bs Gb. S.Cym, Lspr, 2 cyms 3 4 Bar.on. B ls Fira. Tebe. Cbs. S.Cym. S.Dr. StgDe. Cast. 2 ym, sum Gong Te. BaDr. coaL ob, B ls, Era. ‘Tpte, Tebs, Be, Cabs. ysir. TDs. 2 cyms. Gong Ba.Dr. cour82 (13 J. J précédente = Lent (4.58) Fre é on. B ch. B Eien, D Tyee, c . HP nel Tre Bs lin oppo] of pale astm 4 5 A a5 tone Mais Lent A dad précédente Fuh, Fond necendel (58) i LF PPP yar te I Sr. au ne can, 2 cyms. Or Jessen Ts. iJon =n ceym., LL ace = Dr. he Die poe (pavilion en Fie 2 inne {ayPeriton normale courPies ob. B che, Elen, Tbs, Cabs, S.Cym. S.Dr, TDr. ChB. BaD: x A — oto * : ® BE34 Pice. on. EHm, Tp. (1) & partir du 3° tempe poco ral. poco ral, (17) a tempo all. iN on. che, Saeed ppp Bouché (ouvert) eS eulree Firs. — aed —— ‘Tp. oT tate Tbs. couPice. on & ou. Be Em, > ‘Tye « a ‘Trbs, Bs. olin Jopp Cbs ‘nol ppp a temy S.Cym, ui S.Dr 1 T.De. 2 cae, sin. 4 Bude. PP (loerd) cour36 Subitement vite (4-160) iB z— aoe Tier ‘PEP ob. ® Cs, co Fim, D eo 8. a sans sourd. c Tr. ‘Trbs, Bs. Cubs, 1 (olerngwon = sonore crane (egremen ) 2} Cor, Teptte.en ut, 3° Frombone: tra equilres: Pres. Fl, Hb. prewque au 2% plan; Teptte.en x6 Ta coL7 ire plan.Stesso tempo 37 Jihad préc.te) = 80 rall. Lento (d=58) _ - Tee, on. B ch. » EH. D Tp Gree rourd.) . Tebs, Bs, Gs, Stesso tempo JAD pric ral, Lento (J = 58) S.Cym. S.De 1 TDs. 7 F ? ao sore Cast } 2 Zt Ea 3 tamn, 4 1 Tw. 7 2 (1) Le Hautbois sonorité aigre (anche pineée) courPiee. Ob, B Cle, Bb F. Hea, D ‘Tpe. c . Tebs. Bs, Cabs. 1 Stg.Dr. 2 ch.B, 3 TH. 4 BaDs. cou? lourdy § sans sourd. PP tie F aie ssPiee. ob. ch, PS bouché _ 335 Elie, (oans sourd) ‘Tt. avec sourd. “3 TrbsBe, Cob S.Cym, S.Dr. Tr. Cong. Th. C.Cym. BaDe. cour ? =F 39Pice. 2 on. Be Cle Be Em, D ‘Tp. © . Whe. Be. Cbs S.Dr. 1 T.De Cam, 2 ch. SLB, 3BCh. 4 avec sourd. ‘Sher et mordanter (iris seaete) avec sourd, Un poco pitt mosso (appena) rs or eg eg hy foavert (all hte) 5 gyno a sans sourd. 4 Un poco piti mosso (appena) paron. on. Hea, ‘Tp. c a avec sourd.) Bat, = Tebe cha, iB. cu. 3 Tamb. ‘ A a bees — PPP mF? mmf =— cou “a tempo poco ral. a BO a ta ral. Pre 2 on B cu usu st B w= Tock Fite > « 7 Te pe che. HB, ‘Tamb. coua tempo Presto (J=152) Pice. on. B ce B entbouché) Fite t= fF dy sour D Tp. « ar sans sour. = 1 ar Tebe Ba Presto (J-152) 1 Seg. De. 2 3 4 () Chite,, Cor. Teptte. Trbne,- trés homogines et équilibrés- légrement au 2™¢ plan coura“ Pice, ob. chs, BY Fim, Tp. Tee. S.Cym. T.Dr. Cant, Tri. 4ccym, courDoppio pit lento ( -76) Bice, op. B ch. & oF ‘ouvert (ll theoted) atin bate Hm. o> Fy | Sr or: 4-8 7 > = -, pte c te . © ‘Tebe. avec sourd, a Cos. a oS oy ee Doppio pit lento (4 -76) S.Cym, sre TDs. cant. 2 SLB. 3 tab. doy. (1) (sonorité grasse) pavillon en V'sir. courPiece. on. ch. Hea, ‘Tp. vans sour Tebs, sans sourd. coudu 3™° temps Larghissimd (44) 22 =, > Pice, wr on. cs, Etro, ‘Tp. ‘Tebs, " es Cha, ie motto ip ———_w i du 3™¢temps j Larghissimo (6 =44) i ral. Tews. i 26m, i 3 Gong Te. 4 Bar, cou 4