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Visualizzazione di una porzione dell'Air à faire fuir n°1 dalla raccolta per pianoforte Pièces froides di Erik Satie is an abstract screen printing made by Italian painter, photographer, scenographer and film director Luigi Veronesi.

Title and subject
The title points to Satie's piece chosen for this transposition. There is no theme expressed: as the title suggests this, as all the other Veronesi's music-image transpositions, concerns music in its formal compositional aspect and their translateability to the visual field: as an enstablished feature of his method, Veronesi's goal is to "paint a piece of music", to provide an alternative version of the score, to visually translate a musical object to a physical support that can be then readable through both the visual parameters of figurative art and music. The artist wanted to reach the most scientific correspondence possible between the two art forms.

History and description
Veronesi began the series of chromatic visualizations in 1970 with Contrapunctus II, from J.S. Bach's Art of the Fugue. He had already begun to conceive of the possibility of visualizing sounds chromatically around 1959, wanting, however, to diverge from the poetics of the abstractionist avant-gardes of the beginning of the century : for example, unlike Kandinsky who relied on the sensations that music and colors gave him back, associating timbres with colors, Veronesi wanted to objectify the work in a scientific way. After years of study and obtaining permission to use the spectrometer at Ca' Foscari University (working on it from '66 to '68) he began his long series of visualizations. All these works have a similar appearence, obviously differentiated according to the object represented: he chose to use the rectangle to indicate sounds, because it is a sufficiently abstract shape that does not suggest symbols and analogies. The color gradation reflects the frequency of sound, playing with the physical quantities of frequency (Hz) and wavelength (Å), while the dimensions of the rectangles, width and height, indicate duration and intensity, respectively. The artworks from the chromatic visualization series are difficult to distinguish one from another, unless the viewer already has some knowledge of the work of the composers translated by Veronesi. This work on the section of Air à faire fuir n°1 presents all the previous said features; moreover, the two lines of rectangles show the hands of the pianist, right hand for the upper series ad left hand for the lower one. recognizability is given by the linearity of the intensity of the composition, with, however, two recognizable divergent episodes: in the first, there is a gradual increase in pitch to a climax and a return to the previous pitch of the rectangles, thus a dynamic on the intensity of the sound, in the first third of the composition; in the second, in the middle of the second third, there is a sudden increase in intensity and duration of the sound on the right hand, to which corresponds a long silence of the bass (longer than the note dragged by the other hand), which then re-enters when the high series is already in the descending phase of intensity and duration to resume the initial linearity. The bass re-entry is similar in intensity dynamics but more dilated in durations. the composition closes with both series returning to the starting intensity.