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Symphony
is an independent musical work, executed by orchestra of strings,
wind and percussion instruments, usually developed in four movements,
the first of them is built as sonata form. The modern symphony is,
actually, a great sonata for orchestra.
Musical gender created about 1750, the symphony had many great cultists,
like Haydn, Mozart, Schubert, Mendelssohn, Schumann, Brahms, Franck,
Tchaikovski, Dvorak, Bruchner, Mahler, Berlioz, Liszt, Sibelius,
Prokofiev, Stravinski and other. Above these masters, hovers the
huge figure of Beethoven, the greatest symphonic composer of all
times and one of the most powerful personalities of the whole art
history.
Beethoven delegated to mankind 9 symphonies that cross over the
years without wear and tear signs, as works of supreme and permanent
artistic value. Beethoven's influence on composers of the XIX century
and even XX, was dominant and the fascination of his work extrapolates
the domain of the music to manifest, until today, in several fields
of the artistic creation.
In 1981, the painter Walter Miranda invited some plastic artists
to create works referenced or inspired on Beethoven's nine
symphonies. Almost three
years later, he Maria Bertoldi and Roberto Giannecchini (GIA) showed
the outcome of this experience that excited them. During the development
of the series, they established that, besides the nine basic works,
each one would produce more three, giving free sequence to the creative
process.
Personalities of different formation, information and temperament,
each one created inside of their line and the results are more than
satisfactory: they show fundamental problems of the artistic creation
and they approach the metalanguage of the critic, in the measure
that they create works referenced on other works of art. Their creative
postures sometimes resemble certain behaviors of own Beethoven,
whose deeply intellectual positioning transforms some of his works
or part of them, first of all, in spiritualized visions of the life
than in direct projections of its flowing.
WALTER MIRANDA projected in the works that he accomplished on
cardboard his own personality, rich and complex. And he did, at
the same time, in a rational and passionate way. An attentive personality
to the significant progresses of the knowledge and, to the madness
practiced by segments of the society on behalf of doubtful ideals,
deeply concerned with the social problems and the man's destiny
in the earth. In the group of his work, it is felt a message of
hope.
MARIA BERTOLDI let herself to impregnate by the romantic component
that coexists with the tragic feeling in the group of Beethoven's
symphonies. She materialized the life that breathes in these symphonic
poems by representations of the urban landscape that is seen from
the windows of her house-studio, in the neighborhood of Agua Fria,
in Sao Paulo. She worked more in the poetic line of the Seventh
Symphony than in the tragic slope of the Symphony of the Destiny,
the Fifth.
GIA built a beautiful work using in his sculptures-objects
pieces of matted aluminum and scraps of computers, incorporating
to them elements supplied by the modern technology as fluorescent
lamps, rigid optic fibers, polyurethane strings, small motors
and timers. Some pieces are fixed, other move. The Sixth Symphony
- The Pastoral - was exemplarly synthesized in an aluminum figure
of a bird that "flies" smoothly, moved by a motor of 18 watts provided
with a mechanical resonance system, moved by a timer.
The whole works presented by the three artists has the mark of their
Beethovenian origin: the spirit of faith in the art and in the life
that it reflects. It is as if they repeated, in other languages,
the verses of the ODE TO JOY, of Schiller, in the end of the Ninth
Symphony:
"EMBRACE EACH OTHER, YOU MILLIONS!
THIS KISS IS FOR THE WHOLE WORLD!..."
Sao Paulo, Christmas 1984
Enock Sacramento
Member of the Brazilian Association of the Critics of Art |
