When 27-year-old Ludwig Van Beethoven composedSonata Op. 7 No. 4 in 1797, the first “grand…
Different poetic languages may use common rules: in Music and Poetry of a significant artistic level, which use sound very selectively, the opening attack, for example, should indicate from the outset the character of the whole composition.
Repetition will have to be an expressive tool and not one of manner, used very sparingly, and the outcome of each period cannot be trivial.The search not for the beautiful sound tout court, but for an effective sequence of sounds, forces, indeed obliges the choice of each word in the poem: from Ungaretti’s “M’illumino d’immenso” or of “le allodole thirsty” , or the Montale of “Forse un mattino andando in un’aria di vetro” or of “l’aria spasimante,” the creation of the text, the filling of the blank page by choosing signs each of which excludes thousands of other signs, in a gait that at each step points to a previously unknown direction, gives us a sense of a great, profound relationship between the author and the collective.
In addition, music, in overcoming the word, beyond the dimension of the horizontal development of a single voice, has the multiplicity of simultaneous sounds, the many voices in motion, capable of tracing a path that continuously opens up new and surprising scenarios and environments.
Essential, in a composition, is that always a sense of the ‘Unpredictable is given.
This very substance of language is the cipher of art.
It is an essential value that reveals the presence of creativity.
And that remains unchanged in the work, perceptible even after many listens or readings, as the first time. And so the work will always seem new to us.
It is something that denies us consolation and may perhaps put us in crisis, but it compels us to search for human beauty.
Lorenzo Porta del Lungo.