Olivier Messiaen a suferit de sinestezie (?), acel sindrom care amesteca simturile intre ele, cei suferinzi putand, spre exemplu, asocia un sunet sau o cifra cu o culoare anume. In partiturile sale, marele compozitor a lasat indicatii precise despre culorile pe care el le asocia cu anumite note.
This haromic flow emanating from this mode (mode 2) corresponds to these colours: there is a dominant blue-purple. On this blue-purple, small grey cubes are scattered, cobalt blue, dark Prussian blue cubes, some purple-blue, golden, red, ruby shades, mauve, black and white stars. This is a world of colours, poetry, images, references to nature that exist through this mode. Those colours found in this register [canta gama respectiva] offer a contrasting character. If you transpose this scale an octave higher and higher again[canta respectivele octave], these contrasts will fade, all the colours will become paler and closer to light, milky and white. But if you transpose them to lower and lower octaves [canta respectivele octave] the constrasts will be sharper until they end up mixing into a dark mass, into the dark and even the brown and black. Let’s listen to the colours of mode 2, in the very first chords of Regard Nr. 1: Regard du Père. Thème de Dieu [urmeaza 15’’ de muzica].
The music, the sounds that Messiaen has joined, the colours that Messiaen tried to put into effect and gather in this Regard, are supposed to symbolize wonder and rest.
Imaginile ce se nasc unele din altele, mereu altele, in acest interval de 15’’ sunt cu mult mai multe. Am pus doar cateva. Insa pornind de la cele prezentate, va puteti imagina cam cat de complexe sunt 15” de tacere…
Cand am vazut pentru prima data acest documentar, si mai ales fragmentul despre culori si sunet, nu m-am putut abtine sa nu ma gandesc la ce spunea Isaac Sirianul: limba veacului viitor va fi tacerea.
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October 6th, 2009
Olivier Messiaen a suferit de sinestezie (?), acel sindrom care amesteca simturile intre ele, cei suferinzi putand, spre exemplu, asocia un sunet sau o cifra cu o culoare anume. In partiturile sale, marele compozitor a lasat indicatii precise despre culorile pe care el le asocia cu anumite note.
Roger Muraro explica [aici]:
This haromic flow emanating from this mode (mode 2) corresponds to these colours: there is a dominant blue-purple. On this blue-purple, small grey cubes are scattered, cobalt blue, dark Prussian blue cubes, some purple-blue, golden, red, ruby shades, mauve, black and white stars. This is a world of colours, poetry, images, references to nature that exist through this mode. Those colours found in this register [canta gama respectiva] offer a contrasting character. If you transpose this scale an octave higher and higher again[canta respectivele octave], these contrasts will fade, all the colours will become paler and closer to light, milky and white. But if you transpose them to lower and lower octaves [canta respectivele octave] the constrasts will be sharper until they end up mixing into a dark mass, into the dark and even the brown and black. Let’s listen to the colours of mode 2, in the very first chords of Regard Nr. 1: Regard du Père. Thème de Dieu [urmeaza 15’’ de muzica].
The music, the sounds that Messiaen has joined, the colours that Messiaen tried to put into effect and gather in this Regard, are supposed to symbolize wonder and rest.
Imaginile ce se nasc unele din altele, mereu altele, in acest interval de 15’’ sunt cu mult mai multe. Am pus doar cateva. Insa pornind de la cele prezentate, va puteti imagina cam cat de complexe sunt 15” de tacere…
Cand am vazut pentru prima data acest documentar, si mai ales fragmentul despre culori si sunet, nu m-am putut abtine sa nu ma gandesc la ce spunea Isaac Sirianul: limba veacului viitor va fi tacerea.