Coitus Interruptus

THEME: LISTEN TO THE MUSIC, ENJOY ITS COLOURS (FRAGMENTS OF MUSICAL WORKS).TITLE: COITUS INTERRUPTUS (Beethoven’s 5th symphony, Adagio of 1st tempo. Metre: 2/4, tonality C minor. Fragment: from the meter 303 to 339 inclusive).TECHNIQUE: Mixed tech THEME: LISTEN TO THE MUSIC, ENJOY ITS COLOURS (FRAGMENTS OF MUSICAL WORKS).

TITLE: COITUS INTERRUPTUS (Beethoven’s 5th symphony, Adagio of 1st tempo. Metre: 2/4, tonality C minor. Fragment: from the meter 303 to 339 inclusive).

TECHNIQUE: Mixed technique on wood.

SIGNED: 28 / 3 / 2006

DIMENSIONS: Wood 117x72 cm. 1 cm. thick.

COMMENTARY: In 1807, Beethoven composed the 5th symphony. In this work Beethoven expresses his intimate thoughts, his secret pains, concentrated rages, melancholy fantasies, night visions, impetus of enthusiasm, Beethoven feels how death is knocking at his door.
I have chosen this fragment of the Adagio of the 1st tempo, which begins with a soft melody, increasing its intensity and volume progressively, where I end its metres before reaching their climax.
Some solemn notes, abrupt, in relief, dark notes within a dark background of browns, reds and oranges. A textured background with circles which express the tribulations, dangers and fears of Beethoven. In the notes of half register the calm is produced, some flat notes immersed in the colour of a background which is clear and luminous, a deceptive light which opens out on to a dark grey sky, where the highest notes summerged within the background, try to reach the highest point of the melody.

DESCRIPTION OF THE PAINTING: COITUS INTERRUPTUS. BEETHOVEN´S V SYMPHONY


In this painting I have represented some metres of the Adagio of the 1st tempo of Beethoven’s fifth symphony, as I have already commentated to you. In this work Beethoven expresses his pains, anguish, fears, he feels how death is knocking at his door. This fragment begins with a soft melody which progressively increases its intensity and volume where I end its metres before they reach their climax.
I paint a textured background representing the anguish that this music produces and, with a colour and a texture for each musical register (low, middle and high register), I draw some circles in the register of the low notes which express the perils, tribulations and fears of Beethoven. The low ones (low notes) important and characteristic of this symphony and of these metres I represent in relief and with a lot of texture, they are heavy and blunt, I indicate their musical values, all this wrapped up in a dark background of brown, red and orange colours. In the notes of the middle register the calmness is produced, the melody and the harmony in this register is much softer, I represent them with some flat figures with the clear luminous colour of this background, a deceptive light which ends in a dark grey sky (high register), where the melody of the highest notes, submerged in the background tries to reach the highest point of the metres.
In this painting, the relationship of the musical notes (geometric figures) with colour, is an aesthetic relationship (it isn’t a “mathematical” relationship of a colour for each note), it expresses the sensations and feelings which the music produces relating it with a colour and texture for the painting or with a colour and textures for each register of the musical fragment represented as is this case. The colour of the notes are the same colour as the background or of the same family, some colours and textures chosen for each musical register according to its importance within the chosen metres. I have painted the portrait with a lineal drawing and embossed in certain parts of the painting.

*NOTE: (DESCRIPTION OF THE RELATIONSHIP OF THE MUSICAL NOTES WITH THE GEOMETRIC FIGURES IN THE PAINTING).
In all the paintings the musical notes are represented by geometric figures (rectangles, squares etc.) placing the geometric figures exactly like the notes in a musical stave within a metre following the same mathematical connection of the music, using the tessitura of the piano to enumerate the octaves.
For the lowest notes I use the major figures (from C 2 to B 2).The low notes and those of middle register (from C 3 to B 3) are obtained by dividing the previous ones by two and the same operation is repeated for the notes of the middle register, high and very high (from C 4 to C 7). The figures are longer or narrower depending on their value within the metre.
This whole operation is moved to the stave which has been created in the paintings (pictorial stave).

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  • Coitus Interruptus
  • Soul Of A Child
  • The Father Of Music
  • To Pau Casals
  • STRENGTH, DRAMA AND INTENSITY
  • ROMANTIC
  • IN KEY 1
  • DISCORD 1
  • DISCORD 2

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