Octandre and Octandre.
Well, the instrumentation gives that away in both cases, of course, but it's not
just that...
That said, I am also somewhat concerned about the notion of this (or indeed anything else, for that matter) being anyone's "first piece of modern music"; whatever
volte-face of style and manner
Amériques might have represented (something which, with nothing before it apparently surviving other than the isolated
Un grand sommeil d'amour from some 15 years earlier, I guess we'll never know), I can hardly imagine that Varèse would so have described his piece from the early 1920s; the orchestral
Bourgogne (dating as it did from the year after that early song) did at least receive a performance (in Berlin in 1910) which apparently caused something of a riot along the lines of the more famous ones that attended
Le Sacre and certain works of Schönberg yet, as
http://atuneadayblogdotcom.wordpress.com/2013/08/28/edgar-varese-bourgogne-1907/ reveals, Richard Strauss and Hugo von Hoffmansthal were among those who helped to support that performance taking place and Debussy and Busoni had cordial exchanges with the composer (I've often wondered what Strauss in later life might have made of what Varèse wrote from
Amériques onwards).
