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Double meaning of the term "Flexatone"
In contemporary music of the 20th century between around 1920 and 1970 the term "Flexatone" has been used on one hand for the instrument flexatone, on the other hand for the musical saw. Composers who used it for the musical saw were: Arthur Honegger (Short opera Antigone, 1924/1927),[13][14][15] Ernst Krenek (opera Jonny spielt auf, 1927),[16][citation needed] Dmitri Shostakovich (The Nose (1929),[17][18][19] Lady Macbeth of the Mtsensk District (1934), and film music for The New Babylon (1929)), Aram Khachaturian (Piano Concerto 1936),[17][20][21] and Hans Werner Henze (opera Elegy for young lovers, 1961).[22]
References:
9. ^ a b Holland, James (2005). Practical Percussion: A Guide to the Instruments and Their Sources, p.23-4. ISBN 9781461670636. "Perhaps the most famous example is probably still Khachaturian's Piano Concerto (1946)...However, when Khachaturyan came to the London Symphony Orchestra in the early 1970s he immediately ruled out the flexatone on sight, before a note had been played, and wanted a musical saw or nothing! Just how the flexatone came to appear in the score in the first place remains a complete mystery."
