Full text

Varèse sought a sound capable of conveying the power and primitivity of a prayer from the Maya sacred book, the Popol Vuh. Initially, the score called for two Fingerboard Theremins — a rare modification of Leon Theremin's instrument controlled by a fingerboard rather than an antenna. However, due to the technical unreliability of these devices, Varèse later rewrote the parts for Ondes Martenot.

This piece was a turning point: electronics were not used here for 'cosmic' effects but were woven into the dense, aggressive texture of winds and percussion as an equal timbre. Varèse proved that electric sound could be corporeal, raw, and physical.