[continued]
The most enigmatic notations in the drafts are the numerous large (in size) and long (in number of measures) signs of crescendo and diminuendo. These are not synchronized with the dynamic marks for instruments, being often contradictory. It could easily be assumed that he had some electronic means in mind. But Varèse had been trying to contact Theremin in Russia without success since 1940, and he would hardly had time to explore other devices not then available to him.
Besides, there are no other indications in the drafts as to what kind of musical content these hairpin signs are for. On the other hand, Varèse’s two sirens were in plain view in his workshop and could easily be brought to Carnegie Hall on demand. It was therefore decided to interpret these signs as for instruments in the orchestra to play “as if tuning” and for the sirens as used in Ionisation. In the completed edition, available instrumental groups are assigned to “tuning” passages in a total of forty-nine measures, about half the score, in accordnce with Varèse’s notation in the drafts. Sirens join in some of the passages (mm. 28-30, 73-74, and 87-90) as suggested by the nature of the quotations. Elsewhere, sirens are assigned when no pitched instruments are available (mm. 49-51, 52-54, 68-69, 75, 79-81, and 86).
In recognition of his usual attention to register, timbre, and dynamics, these added “tuning” passages are organized according to how they interact with the notated parts by Varèse with respect to these parameters.
Similarly, percussion parts are expanded or filled in, mostly by quoting in Varèse’s own manner from Ionisation and Amériques, to highlight or contrast the pitched parts written by him, and to correlate with the parabolic sounds of the sirens.
Because of the fast-paced quotations, the drafts consist of frequent tempo changes, with a total of seventeen in barely three minutes. These tempo marks have been adjusted and edited, with the number of tempi reduced from seven to four. In addition, a few measures have been added to provide space or expansion to the sketched materials in the drafts (mm. 26, 70, 78, 92-93, 99-100).
As completed, Tuning Up is an interplay of flashes of orchestral sonorities, rainbow-like colors of percussion, spatial trajectories of sirens, and the undulating sound of “tuning.” On another level, Varèse clearly had fun with the pitch A — teasing and flirting with it, juxtaposing or building upon it, and often resorting to his favorite scheme of intercepting cycles of intervals, frequently the fifth. Tuning Up is a perfect overture to Varèse’s music, and an equally fascinating opening for any symphonic concert.
Because of questions raised above, no attempt at reconstructing or completing Tuning Up (1947) was undertaken until 1998, when reasonable solutions as noted above were arrived at. The completed edition was commissioned jointly by Royal Concertgebouw Orchestra (of Amsterdam), Casa Ricordi, and the Decca Record Company, Ltd.