[10] Edgard Victor Achille Charles Varèse was born in Paris; when he was a few weeks old, he was sent to be raised by his maternal great-uncle and other relations in the village of Le Villars in the Burgundy region of France.

[12] After being reclaimed by his parents in the late 1880s, in 1893 young Edgard was forced to relocate with them to Turin, Italy, in part, to live amongst his paternal relatives, since his father was of Italian descent.

[14] In 1904, he commenced his studies at the Schola Cantorum (founded by pupils of César Franck), where his teachers included Albert Roussel.

During these years, Varèse became acquainted with Erik Satie and Richard Strauss, as well as with Claude Debussy and Ferruccio Busoni, who particularly influenced him at the time.

He also gained the friendship and support of Romain Rolland and Hugo von Hofmannsthal, whose Œdipus und die Sphinx he began setting as an opera that was never completed.

The only surviving work from his early period appears to be the song Un grand sommeil noir, a setting of Paul Verlaine.

[20] She was to become Louise Varèse and a celebrated translator of French poetry whose versions of the work of Arthur Rimbaud for James Laughlin's New Directions imprint were particularly influential.

In 1933, while still in Paris, he wrote to the Guggenheim Foundation and Bell Laboratories in an attempt to receive a grant to develop an electronic music studio.

The record was the first release on LP of Integrales, Density 21.5, Ionisation and Octandre and featured René Le Roy, flute, the Juilliard Percussion Orchestra and the New York Wind Ensemble conducted by Frederic Waldman.

While living with his father, an engineer, Varèse was pushed to further his scientific understanding at the Institute Technique, a high school in Italy that specialized in teaching mathematics and science.

Józef Maria Hoene-Wroński, the Polish physicist, chemist, musicologist and philosopher of the first half of the nineteenth century, defined music as 'the corporealization of the intelligence that is in sounds.'

"[27] From the late 1920s to the end of the 1930s, Varèse's principal creative energies went into two ambitious projects which were never realized, and much of whose material was destroyed, though some elements from them seem to have gone into smaller works.

This was originally to be based on North American Indian legends; later it became a futuristic drama of world catastrophe and instantaneous communication with the star Sirius.

According to Carpentier, a substantial amount of this work was written but Varèse abandoned it in favour of a new treatment in which he hoped to collaborate with Antonin Artaud.

Later, Varèse settled on a multi-lingual text of hieratic phrases to be sung by choirs situated in Paris, Moscow, Beijing and New York City, synchronized to create a global radiophonic event.

Varèse sought input on the text from Henry Miller, who suggests in The Air-Conditioned Nightmare that this grandiose conception—also ultimately unrealized—eventually metamorphosed into Déserts.

According to Chou Wen-chung, Varèse made various contradictory revisions to Étude pour espace which made it impossible to perform again, but the 2009 Holland Festival, which offered a 'complete works' of Varèse over the weekend of June 12–14, 2009, persuaded Chou to make a new performing version (using similar brass and woodwind forces to Déserts and making use of spatialized sound projection).

The first performance of the combined orchestral and tape sound composition came as part of an ORTF broadcast concert, between pieces by Mozart and Tchaikovsky and received a hostile reaction.

[citation needed] Le Corbusier was commissioned by Philips to present a pavilion at the 1958 World Fair and insisted (against the sponsors' resistance) on working with Varèse, who developed his Poème électronique for the venue, where it was heard by an estimated two million people.

Received with mixed reviews, this piece challenged audience expectations and traditional means of composing, breathing life into electronic synthesis and presentation.

[30] Varèse taught many prominent composers including Chou Wen-chung, Lucia Dlugoszewski, André Jolivet, Colin McPhee, James Tenney, and William Grant Still.

Composers who have claimed, or can be demonstrated, to have been influenced by Varèse include Milton Babbitt,[31] Harrison Birtwistle, Pierre Boulez, John Cage, Morton Feldman, Brian Ferneyhough, Roberto Gerhard, Olivier Messiaen, Luigi Nono, John Palmer, Krzysztof Penderecki, Silvestre Revueltas, Wolfgang Rihm, Leon Schidlowsky, Alfred Schnittke, William Grant Still, Karlheinz Stockhausen, Iannis Xenakis, and Frank Zappa.

These machines would be able to play "any number of frequencies," and therefore the score of the future would need to be "seismographic" in order to illustrate their full potential.

[34] In 1939, he expanded on this concept, declaring that with this machine "anyone will be able to press a button to release music exactly as the composer wrote it—exactly like opening up a book.

The idée fixe was most famously used by Hector Berlioz in his Symphonie fantastique; it is generally not transposed, differentiating it from the leitmotiv, used by Richard Wagner.