Varese’s “poeme electronique” is a
composition of sounds that uses spacious differences to create a
four-dimensional effect. It starts with identifiable church bells, like ACDC’s
hell’s bells. After that, most of the sounds are unidentifiable and difficult
to describe. Most sounds are altered, similar to what is now possible with
synthesizers. Reverb is added to give more volume to the special attributes and
reminds me of a large church, which is introduced in the beginning with the
church bells, so this reminder could be intentional. I would describe most
sounds as squeaky and noisy. As I said, there are not many recognizable sounds
from an instrument or like in other experimental music from household items.
For me, Varese tried to question the known definition of music by using structured
noises to create music. For him, music is nothing more than noises that are put
or altered in a specific way. He uses different types of noises that have
similar properties like the high-frequency noise from a microphone or
walkie-talkie. The composition seems to be quite random, but he uses
alternations with juxtaposition to create compelling soundscapes. This is
especially visible with the two singing voices that start high-pitched and then
get replaced by lower-pitched singing. All in all, the spacious quality of the
sounds adds unexpected flow to the musical piece. Sounds can travel from one
end to another or start in the middle and expand through all directions.
Varese’s spacious work seems to be the forerunner of what we see (or hear) in
movie theatres today. Dolby Surround, and the latest version Dolby Atmos, use
similar techniques to create the illusion of realism. Natural sound does not
just come from one direction. It moves and can surprise the receiver with
sudden changes in space and direction. This adds not just to movies a more
natural soundscape but to Varese’s “Poeme Electronique” as well.
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