Originally published on La Scena Musicale (November 2019). French translation can be found here.
Tag: Music Theory
We Do Not Hear What They Heard – Tuning and Temperament Through the Ages
Originally published on La Scena Musicale (November 2018). French translation can be found here.
CONNECT THE DOTS #1: “A WALK IN THE PARK”
Welcome to the first episode of Connect the Dots! This is a series where I connect the dots between three seemingly disparate art pieces (one each from the realms of visual art, music, and literature) that are linked by their shared poetic impression. New episodes are published every Wednesday at 8pm (EST). If you haven’t already, hit subscribe at the bottom of the page to get new posts delivered straight to your inbox.
Today, the 3 works in focus are:
1. “Bath” from Spring Day by Amy Lowell. Published in 1916 America, “Bath” is a prime example of imagist poetry, which emphasizes clear and simple language that captures reality in its true, unadorned essence. For copyright reasons, read it here.
2. A Sunday on La Grande Jatte by Georges Seurat. This painting, from 1884-1886 France, is one of the largest and most famous examples of pointillism.
Housed at the Art Institute of Chicago, the enormous painting measures 2 by 3 meters. Here it is, via Wikimedia Commons:
3. “Comodo” from Vision fugitives (Op. 22) by Sergei Prokofiev. Composed in 1915-1917 Russia, “Comodo” (sometimes spelled as “commodo”) is one of the twenty short piano pieces, or “visions,” that make up Visions fugitives. Lasting no more than two minutes each, each vision paints entire worlds of coloristic impression.
Here is a beautiful recording by the great Russian pianist, Boris Berman, via YouTube (“Comodo” is at the 7:27-8:45 minute mark).
Connections abound between this trio of works. Let’s get right into it… Continue reading “CONNECT THE DOTS #1: “A WALK IN THE PARK””
Carol Xiong 