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ManjuShri

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    Share Your Favorite Documentaries Thread!

    in General Banter

    Posted

    Apples, Pears and Paint: How to Make a Still Life Painting

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    A richly detailed journey through the epic history of still-life painting, featuring a range of delights from the earliest existing Xenia mural paintings discovered at Pompeii to the cubist masterpieces of Picasso.

    Awash with rich imagery of fruit, flowers and humble domestic objects, this lively take on the story of still life encompasses the work of some of the genre's greatest artists from Caravaggio to Chardin and Cezanne. But it also captures the surprising contributions of the less well-known, including asparagus enthusiast Adriaen Coorte and female flower painter in the court of Louis XVI, Anne Vallayer-Coster.

    With contributions from historians Bettany Hughes and Janina Ramirez, art historians Andrew Graham Dixon and Norman Bryson, and philosopher Alain de Botton amongst others, it opens up the huge social histories that lie behind the paintings and the fascinating lives of the people who made them.

     

    https://vimeo.com/84883341

    Classical Music

    in Music Discussion

    Posted · Edited by ManjuShri

    Quote

    The sixth symphony by Allan Pettersson took a long gestation, being written between 1963-6. This long gestation, unique in Pettersson’s œuvre, testifies to an intensive and arduous process of composition but is also explained in purely physical terms by the composer's first serious rheumatic episode and the associated health complications. It was premiered on January 21, 1968, performed by the Swedish Radio Symphony Orchestra conducted by Stig Westerberg.

    Within the group of works from the 1960s, the Sixth established a specific, self-contained musical style, a secure foundation that made it possible for the Seventh, Eighth and Ninth Symphonies to be completed in rapid succession. This development is expressed both in the details, the dramaturgy of the motivic elaboration and also, more generally, in the mastery of formal aspiration, and also includes the concentration of varied emotional spheres. The concept of a single-movement structure with its own inner logic, proceeding without a break remains unchanged, though it is totally redefined in this symphony with its extremely clear formal disposition.

    The work starts with a slow introduction, followed by two extensive sections of different expressive character. The first section is characterized by closely interrelated intensifications that follow each other in rapid succession. By contrast the second has a calmly striding pace and creates the impression of being a coda, although it accounts for almost half of the duration of the entire symphony.

    The first part starts slowly, cautiously. A phrase from the strings presents what will become the main theme, which is formed by repeated variations. Soon, the first threatening phrases emerge. The tragic atmosphere is developed with multiple aggressive attacks of metals and percussion. The strings presents violent sharp passages. The jumps of the metals passing from low notes to high ones produce an enormous tension. The environment becomes weird, taking us to impetuous situations full of aggressive force. A series of notes are repeated obsessively. In the final part a kind of anthem appears on the trumpet, which takes us to a more reassuring section, preparing the next section.

    The second part begins with a kind of funeral march, marked by percussion, on aggressive figures of the wind. The tragic theme slowly emerges through tonal phrases. We find a new approach with Mahler's tragic style. The tonality becomes more stable than in the violent first part. A broad theme develops on the strings. A powerful hymn presents us with all its strength a painful situation. We could also compare it with Shostakovich's tragic slow movements. The trumpet recites an exciting sentence full of pain. But we could also interpret it as a form of resignation. The percussion and the basses of the orchestra obsessively mark the rhythm of funeral march. The expressivity slowly increases, taking us to an episode violently marked by percussion. The sharp entrances of the strings produce a chilling effect. The music becomes totally tonal, playing a comforting hymn that leads us to the coda.

    With this symphony, Pettersson began to be known outside his homeland. It is his so-called metaphysical period that comprises his central symphonies. His personal experiences are fully integrated into his work. His style has become more harmonic, especially if we compare it with his previous symphony. With this he achieves a greater approach to the listener. Its tragic grandeur is comparable to that expressed by Tchaikovsky in his last symphony. We reproduce Pettersson's sentences with respect to his work.

    "Someone has said that I compose as in a form of self-pity. Not to mention it! Does anyone think that I could compose what I have composed, think that someone could write a simple note that has life in itself, sitting and feeling sorry for oneself? What I express is not self-pity but pure information. A compassionate feeling for all those who suffer."

     

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    Share Your Favorite Documentaries Thread!

    in General Banter

    Posted

    Treasures of the Louvre

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    Paris-based writer Andrew Hussey travels through the glorious art and surprising history of an extraordinary French institution to show that the story of the Louvre is the story of France. As well as exploring the masterpieces of painters such as Veronese, Rubens, David, Chardin, Gericault and Delacroix, he examines the changing face of the Louvre itself through its architecture and design. Medieval fortress, Renaissance palace, luxurious home to kings, emperors and more recently civil servants, today it attracts eight million visitors a year. 

     

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