Syrinx and Density 21.5

[xyrie]

Hi all! I''m working on a paper which compares
and contrasts Debussy''s Syrinx and Density 21.5 by Varese, using these as
examples of composer-performer relationships. Both these pieces were dedicated
to specific people - Density 21.5 was meant for a specific instrument. The
information I''ve found on composer-performer relations generally discusses
the increasing strictness and specificity of compositions (very precise
articulation and ornamentation on scores, as compared to the improvisation
encouraged in the Baroque era.) In this respect, I have heard many variations of
Syrinx; I am not as familiar with Density 21.5, but I do know there is a strict
meter. Is there a generally held "right" way of playing Density 21.5, or is
there more push and pull as in Syrinx? Also, how typical is it for a composition
to be dedicated to a specific person the way these two have been? Any input
would be greatly appreciated.

[Kim]

Hi~ I noticed that no one has answered your
question. I really don't have an answer for you either but I wanted to suggest
either posting on the Galway board or joining Flutenet. There are a number of
teachers and professionals on both of those sites that would most likely be able
to answer your question if you don't eventually get one here. Sorry I couldn't
be of more help. Kim

[boomerang]

Density is rather strict in tempo, much, much
more so than Syrinx. If you look through the Flute Music by French Composers,
almost all of those pieces are dedicated to teachers of the French Conservatory.
Suite Modale, the Burton Sonatina, the Poulenc Sonata.. there are quite a few
out there with dedications.

[bigzlinds]

On my version of Density 21.5 there is a note that says the composer was definitely looking for VERY strict tempo.

It's a really cool piece! I'm learning it for a college audition...