Throughout the centuries, artists and musicians have drawn inspiration from each other. Often, the love for the arts is strong and a master in one discipline has been trained in another. When creative opportunities offer the chance to merge two artistic loves in one work, then something new and different becomes a landmark of expression.
In 1959, composer Gunther Schuller composed a work for orchestra that was inspired by the paintings of Klee. His published work included a dedication to conductor Antal Dorati, and remarks by the artist himself. There are seven sections, each using the name of a painting by Paul.
There are descriptions provided by Gunther to explain his reasons for choosing the pieces he selected. He wanted to use both the compositional elements of each painting and the mood or feeling he believed it evoked in the viewer. Each note that he wrote gives profound, and in some cases humorous, reflections on his own thought process.
Much has been written about this piece of music by Schuller in relation to the artwork. But of great importance to him was the way that each painting evoked specific thoughts in him. The painting Little Blue Devil caused Schuller to think of jazz and blues music right away. It encouraged his writing of a composition that merged classic and jazz music into one, as an example of his widely discussed idea of third stream music.
What is interesting is that both Paul and Gunther were passionate about more than their art of choice. Paul loved music and practiced on his violin for throughout his life. He began studies very young and played regularly. For him, explaining musical concepts through his visual art was a key challenge. For Gunther, composing music that would explain artistic elements in an auditory mode was important.
His writings, and certainly those of scholars who chronicled his works, describe his striving to use the basic concepts of music in his visual creations. Using drawn lines were similar to playing musical lines. Notes of melodies could express emotions, and lines in art could visually depict the gamut of human feelings, too. His paintings are described as visual renderings of the auditory language of music.
Gunther chose seven paintings with many different shapes, lines and colors. These terms, and certainly more, are shared in both the musical and artistic vocabularies. While Paul worked to have his art show elements of music, what motivated Gunther was the chance to describe the art within his compositions. It is a mark of creative excellence that both were able to achieve satisfactory works that are still being exhibited and performed today.
The two masters thought about things differently than most. They produced a scholarly feast explored for years.
In 1959, composer Gunther Schuller composed a work for orchestra that was inspired by the paintings of Klee. His published work included a dedication to conductor Antal Dorati, and remarks by the artist himself. There are seven sections, each using the name of a painting by Paul.
There are descriptions provided by Gunther to explain his reasons for choosing the pieces he selected. He wanted to use both the compositional elements of each painting and the mood or feeling he believed it evoked in the viewer. Each note that he wrote gives profound, and in some cases humorous, reflections on his own thought process.
Much has been written about this piece of music by Schuller in relation to the artwork. But of great importance to him was the way that each painting evoked specific thoughts in him. The painting Little Blue Devil caused Schuller to think of jazz and blues music right away. It encouraged his writing of a composition that merged classic and jazz music into one, as an example of his widely discussed idea of third stream music.
What is interesting is that both Paul and Gunther were passionate about more than their art of choice. Paul loved music and practiced on his violin for throughout his life. He began studies very young and played regularly. For him, explaining musical concepts through his visual art was a key challenge. For Gunther, composing music that would explain artistic elements in an auditory mode was important.
His writings, and certainly those of scholars who chronicled his works, describe his striving to use the basic concepts of music in his visual creations. Using drawn lines were similar to playing musical lines. Notes of melodies could express emotions, and lines in art could visually depict the gamut of human feelings, too. His paintings are described as visual renderings of the auditory language of music.
Gunther chose seven paintings with many different shapes, lines and colors. These terms, and certainly more, are shared in both the musical and artistic vocabularies. While Paul worked to have his art show elements of music, what motivated Gunther was the chance to describe the art within his compositions. It is a mark of creative excellence that both were able to achieve satisfactory works that are still being exhibited and performed today.
The two masters thought about things differently than most. They produced a scholarly feast explored for years.
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