8/5/2023 0 Comments Piranesi carcere oscura![]() ![]() Thus the paper aims at offering a new perspective to be adopted while examining Piranesi’s works. Therefore, the present study firstly demonstrates that such observations derive not from an investigation of the work itself, nor from an appraisal of the historical context, but owe to the long-standing view in western culture that identifies the creator’s ethos with the work and interprets the work so as to cohere with that pre-constructed ethos. One of the most important vectors of approach yielding misinterpretation of Piranesi derived from the phenomenon comprising the early nineteenth-century Romanticist reception of Piranesi’s character and work. But Piranesi was misinterpreted both in his day and posthumously. He is numbered foremost among the founders of modern archaeology. ![]() Freeing himself from his inner prison, the composer will forever remain an example of the human ability to overcome the trials of life.Giovanni Battista Piranesi (1720-1778) is an important Italian architect with his seminal theses in the debates on the ‘origins of architecture’ and ‘aesthetics’. Carried by the obsessive hammering of the Fifth Symphony motif, the accordion seems to be dashing toward the way out of the labyrinth, like Beethoven rushing to work on his future masterpieces. At this point, rage is no longer synonymous with despair but rather with eagerness. Then ail of a sudden, the frenetic pulse is omnipresent again, as if Beethoven had become aware of his ability to transcend himself and could not wait to get back to work. Panic subsides, the music becomes more jluctuating and meditative: it is lime for Beethoven to turn inward and find other strategies to cape with hearing loss. With the emergence of a new cell from the second theme of the Fifth Symphony, calm settles in progressive/y. Although the setting may vary dramatically, the sense of urgency is rare/y absent from the musical discourse in which, litt le by litt le, the accordion manages to gain independence from the dense, compact texture of the string ensemble. The famous opening motif of Beethoven 's Fifth Symphony runs throughout the piece - most often at a frantic pace, as if desperately running through an ever-changing labyrinth, looking for a way out, for salace, for a gleam of light. in the words of Marguerite Yourcenar, Piranesi's Carceri evoke "an artificial world that is nevertheless real in a sinister way, claustrophobie yet megalomaniacal, (and) brings to mind the world in which modem humanity seems to lock itselfup more and more each day." Yet for ail its immensity, it is an eternally confined, inhuman and therefore horrifying space. The monumental character of Piranesi 's prison environment gives it a fan tas tic dimension. Carcere Oscura (1743) serves as a prelude to the Carceri d'Invenzione ('Imaginary Prisons') series, the artist 's masterpiece. This inner world, which I imagined to be the mind of the composer without any auditory contact with the outer world, reminded me of Piranesi 's etchings. My starting point was a vision of Beethoven prisoner of his own body - an infinite prison, bath immense and oppressive. Such was the question I tried to answer by composing this sextet in homage to Beethoven. What is it like for a composer to experience hearing loss? ![]()
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