Enigma of beauty in art
Hundreds of thousands of years ago, hundreds of thousands of thinkers have tried to find the beauty in art. Even so hundreds of thousands do not agree on their choices as the etalon of the beautiful and the wonderful in different art. The ideas that the thinkers draw from different artwork are just as different. But what is it that can calculate the salt of the beautiful in the works of art?
To be oriented to the exact definition of a work of art, whether of music, literature or figurative art is the harmony of its constituent elements.
The secret of Leonard’s Monism stands in the image of a figure that stands in a perfect harmony with its background, with a non symmetrical position, but expresses the naturalness of communicating with what it sees. The painter has chosen the position of three-quarters that plays the psychological interpretation of the character that seems to move naturally smooth. In harmony with all this, the selection of colors, lights, lines and paintings of painters stand.
But in musical works, how should we find this harmony?
let’s take a work of the twentieth century, where listeners rarely think they belong to the beautiful.
The Six Bagatellas of Ligeti for the ensemble of spirits are extracted from 12 pianos written by the author and later orchestrated for this formation in 1953. The band orchestrated them for flute, oboe, clarinet, corno and bassoon.
Their general intensity and character is in perfect respect with the selected thematic material. This character is also in the mirror with the contrast between the times. Thematic material processing is realized through an economics of expressive means that ensures and unifies each of the 6 parts. It looks like a huge 6-segment panel that is naturally compatible and melodic with melodic lines, with the harmony of each and the general, with reports between different instruments timbre, with applications (stack, with accent, legato , carried, etc.), with the dynamics of each bribe but also the general dynamics and in general the expression of the musical thought they convey. The miracle stems from the fact that with little sound or little material of the author it is possible to create magnificent landscapes that are unique and organized in themselves.
The first time is built with only 4 sounds (Mi bemol, Do, Sol, and Mi natural), but the expression of the musical material is extraordinary.
The second Bagatela is a passionate, lamenting sad, rebuilt with an astonishing tool economy that creates remarkably diverse sonorous sound effects.
And so on.
Listen to this work by the Hungarian composer of our century, Zbor Ligeti, and try to touch the earliest we talked about.