Warner Bros. Soundstage, Burbank, California
Ensemble Modern conducted by Peter Eötvös
Produced by FZ
What do you mean by "rework"? I was at one of the sessions (July '93, they were recording Integrales) and I was very impressed by what I saw. Frank worked with each musician on details, some very "minor" and concerning only those familiar with (some Souter-hearings language is appropriate here) "arcana and minutia" (such as little tweezes of the oboe and trumpet parts, and recording passages twice with different notes so's when they found out which version was the "true" one they'd have it for use—Varese scholars will love this album!). [And "arcana" is appropriate for any discussion of Varese!] Incidentally, they used TWO big bass drums for the bass drum part!—nice drum rolls! (If the ZFT is reading this and getting teed off for me revealing "trade secrets", well, why don't you jest release the damn album??? Next, I'll tell *where* it was taped!!!!!!!)
(Ah, that would be at Warnner Bros in LA I belive.)
[This meeting with E.M. was good for me since I could talk to the players individually and their comments backed up *my* way of editing Ives' music over some of my upper-level overseers' ways in the CEI heirarchy!]
There are audio samples of this album at: http://www.zappa.com/
Composers David Raksin and Nic Slonimsky both attended part of the sessions and seemed to think they'd never heard Edgard served so well in their lifetimes.
If Slonimsky said that, then the album should be released IMMEDIATELY.
Recording sessions for the Varese album took place over 10 days in July 1993, five months before Zappa's death, on a Warner Bros. soundstage in Burbank not far from Zappa's home in the Hollywood Hills. The musicians involved were members of the German new music group Ensemble Modern, which had greatly impressed the demanding Zappa on a recording of Zappa's classical compositions, "The Yellow Shark." The Varese album was to include "Hyperprism," "Octandre," "Integrales," "Density 21.5," "Ionisation," "Deserts" and Varese's original tape of "Poeme Electronique"—which is roughly half of Varese's total published output.
[...] The noted new music conductor Peter Eotvos actually wielded the baton at the sessions, while Zappa rested on a couch directly in back of him, conferring frequently with the conductor, speaking directly to the musicians, using facial expressions to get what he wanted. [...]
Not exactly a secret, the sessions were attended by some celebrated contemporary music figures. John Adams showed up at the "Ionisation" session and according to [Rip] Rense looked "utterly delighted" by the goings-on. And the 99-year-old Nicolas Slonimsky, who had conducted the premiere of "Ionisation" in 1933, briefly took the baton and led the musicians in the piece, an event that was captured on film (Slonimsky would ultimately survive Zappa by two years).
[...] THE mix is unusual too, with sometimes extreme separation of the instruments on the stereo channels, and the sessions were recorded with all-tube microphone preamps connected to a digital tape machine in another studio. Zappa "wanted to record it the way he thought Edgard would want it to be recorded had he been a record producer," Gail Zappa recalls. "We had to find a place that could record the way Frank intended and mike it the way Frank intended. Warners had one old studio that we could set up the instruments in, but the control room wasn't up to the task, so we built a special snake [a cable that accommodated all the wires] from a brand-new control room to the old studio with the wood floors."
Did Zappa want to record the complete Varèse? His widow doesn't think so. ("His days were severely numbered at that point, and he couldn't manage the larger pieces," she says.) In any case, the remaining works demand either huge, expensive orchestras ("Amériques," "Arcana"), voices ("Offrandes," "Ecuatorial," the unfinished "Nocturnal") or some hard-to-find instrument such as the obsolete electronic ondes martenot.
When we were recording the Varèse pieces in the summer of 93, the role of Frank was being a kind of artistic adviser, anyway the sound director for the whole recording set-up, and finally the mixing and so on, but most of the time Frank had no score in front of him, but he knew every note of the pieces, it was really incredible, and he gave such intelligent remarks and propositions to the conductor and the musicians—how he interpreted a phrase, it was really really interesting. He showed an extremely deep knowledge of the music without—that was my feeling—having really studied the scores. It's interesting isn't it?
We are proud to announce a new album of Varèse's works, produced by FZ.
Varèse: The Rage and The Fury.
FZ's final project: The music of his favorite composer, Edgard Varèse.
He wanted a performance and a recording that would sound the way he had always dreamed of hearing it. This is finally a state-of-the-art recording that captures the true power and inner detail of Varèse's works. FZ said,"Varèse's music has never been given the credit it deserves and I believe it's because the technology was never there to record the compositions properly". This album was recorded in July of 1993 at the Warner Bros. soundstage in Burbank, CA utilizing custom audio snakes and all tube microphone pre-amps recorded directly to the Sony 3324 digital multi-track.
The music was conducted by Peter Eötvös and performed by some of the members of The Ensemble Modern. A release date has not yet been set.
FZ thought it was the best version he'd ever heard.
The reason for it's delay in release is that it's caught up in legal battles (not with the Varese family or anyone directly associated with Varese).
Now look at the html-source of that page. (http://www.zappa.com/)
The Zappa Family Trust plans to issue several archive audio and video recordings by Frank Zappa later this year, overseen by Frank's wife, Gail, and his son, Dweezil Zappa. A documentary film about Zappa's classical music, directed by Frank Scheffer, should emerge by Christmas. Remastered reissues of the Dance Me This and Trance-Fusion albums are planned too, along with two films and their soundtracks. One is about one of Zappa's inspirations, Edgard Varese, and the other a revamp of the 1974 in-concert film, Roxy And Elsewhere.
The last completed project of Zappa's life—an album of Varese's compositions selected, supervised and, after a fashion, "conducted" by Zappa—has yet to be released. [...]
The Zappa Family Trust, which controls Zappa's musical legacy, announced the impending release of the album on its website back in 1997, complete with a listing of the selections and even brief sound bites from each composition (except "Poeme Electronique"). Little has been heard about it since.
Yet fear not, oh Zappa legions. The long-awaited Varese album may be coming out after all, possibly by the end of this year. "The Varese album is on hold for a very specific reason," Zappa's widow, Gail, said in December. "We documented three recording sessions with a film crew, and they absconded with the film and tapes, and it took me eight years and lawsuits to get the sucker back. And even so, they did not return the DAT. They were bad guys. I would never call them men; men don't behave that way.
"Now my plan is, I would love to get it out next year , to put out a recording and a film on DVD because I really believe in the power of the music as a visceral experience without the visual aids."
Are there any plans to release The Rage And The Fury?
That's a very personal—and brilliant—album. He wasn't bothered if it was released or not. It was a project done when Frank's life lasted longer than anyone could have anticipated. He didn't care if anyone heard it or not—and I feel the same. It was enough that Frank heard it. No amount of money could equal that.
All I can say for sure is that I do want to release it with video documentation and sometime near the end of the year—any year.