{"id":1660,"date":"2010-10-05T09:53:33","date_gmt":"2010-10-05T08:53:33","guid":{"rendered":"http:\/\/blogs.kent.ac.uk\/music-matters\/?p=1660"},"modified":"2011-10-18T11:23:51","modified_gmt":"2011-10-18T10:23:51","slug":"percussion-play","status":"publish","type":"post","link":"https:\/\/blogs.kent.ac.uk\/music-matters\/2010\/10\/05\/percussion-play\/","title":{"rendered":"Percussion Play: Ionisation"},"content":{"rendered":"<p>Var\u00e8se&#8217;s <em>Ionisation.<\/em><\/p>\n<div class=\"kent-video-wrapper\"><span class='embed-youtube' style='text-align:center; display: block;'><iframe class='youtube-player' type='text\/html' width='474' height='297' src='https:\/\/www.youtube.com\/embed\/TStutMsLX2s?version=3&#038;rel=1&#038;fs=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;wmode=transparent' frameborder='0' allowfullscreen='true'><\/iframe><\/span><\/div>\n<p>Pierre Boulez conducting the Ensemble InterContemporain.<\/p>\n<p>Playing around with different kinds of pitch (fixed, variable or indefinite) and rhythm, <em>Ionisation<\/em> was the first piece written for percussion ensemble alone. Nicholas Slonimsky, who conducted the premiere in 1933, talks about the\u00a0composer in an <a href=\"http:\/\/www.archive.org\/details\/OnVareseIonization\" target=\"_blank\">archived recorded interview here<\/a>\u00a0from 1973. He describes Var\u00e8se as &#8221;a huge, French desert.&#8221;<\/p>\n<p>It definitely gets funky at around the 2-minute mark.<\/p>\n<ul class=\"kent-social-links\"><li><a href='http:\/\/www.facebook.com\/sharer.php?u=https:\/\/blogs.kent.ac.uk\/music-matters\/2010\/10\/05\/percussion-play\/&amp;t=Percussion Play: Ionisation' target='_blank'><i class='ksocial-facebook' title='Share via Facebook'><\/i><\/a><\/li><li><a href='http:\/\/twitter.com\/home?status=Percussion Play: Ionisation%20https:\/\/blogs.kent.ac.uk\/music-matters\/2010\/10\/05\/percussion-play\/' target='_blank'><i class='ksocial-twitter' title='Share via Twitter'><\/i><\/a><\/li><li><a href='https:\/\/plus.google.com\/share?url=https:\/\/blogs.kent.ac.uk\/music-matters\/2010\/10\/05\/percussion-play\/' target='_blank'><i class='ksocial-google-plus' title='Share via Google Plus'><\/i><\/a><\/li><li><a href='http:\/\/linkedin.com\/shareArticle?mini=true&amp;url=https:\/\/blogs.kent.ac.uk\/music-matters\/2010\/10\/05\/percussion-play\/&amp;title=Percussion Play: Ionisation' target='_blank'><i class='ksocial-linkedin' title='Share via Linked In'><\/i><\/a><\/li><li><a href='mailto:content=https:\/\/blogs.kent.ac.uk\/music-matters\/2010\/10\/05\/percussion-play\/&amp;title=Percussion Play: Ionisation' target='_blank'><i class='ksocial-email' title='Share via Email'><\/i><\/a><\/li><\/ul>","protected":false},"excerpt":{"rendered":"<p>Var\u00e8se&#8217;s Ionisation. Pierre Boulez conducting the Ensemble InterContemporain. Playing around with different kinds of pitch (fixed, variable or indefinite) and rhythm, Ionisation was the first piece written for percussion ensemble alone. Nicholas Slonimsky, who conducted the premiere in 1933, talks about the\u00a0composer in an archived recorded interview here\u00a0from 1973. He describes Var\u00e8se as &#8221;a huge, &hellip; <a href=\"https:\/\/blogs.kent.ac.uk\/music-matters\/2010\/10\/05\/percussion-play\/\" class=\"more-link\">Continue reading <span class=\"screen-reader-text\">Percussion Play: Ionisation<\/span> <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":620,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[1110,909],"tags":[1152,1307],"_links":{"self":[{"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/posts\/1660"}],"collection":[{"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/users\/620"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/comments?post=1660"}],"version-history":[{"count":9,"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/posts\/1660\/revisions"}],"predecessor-version":[{"id":3178,"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/posts\/1660\/revisions\/3178"}],"wp:attachment":[{"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/media?parent=1660"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/categories?post=1660"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/tags?post=1660"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}