To Pau Casals

THEME: LISTEN TO THE MUSIC, ENJOY ITS COLOURS (FRAGMENTS OF MUSICAL WORKS).TITLE: TO PAU CASALS (Madrigal on a popular theme: “El cant dels ocells – Song of the birds”. Moderate tempo. Metre: 4/4 (4/8), Key: F minor. Arrangement by Xavier Montsalvatge THEME: LISTEN TO THE MUSIC, ENJOY ITS COLOURS (FRAGMENTS OF MUSICAL WORKS).

TITLE: TO PAU CASALS (Madrigal on a popular theme: “El cant dels ocells – Song of the birds”. Moderate tempo. Metre: 4/4 (4/8), Key: F minor. Arrangement by Xavier Montsalvatge for soprano, soloist violoncello, and string orchestra; violin I, violin II, violoncello and bass. Fragment: from the metre 19 to 26 inclusive).

TECHNIQUE: Mixed technique on wood.

SIGNED: 6 / 6 / 2006

DIMENSIONS: Wood 123x72 cm. 1 cm. thick.

COMMENTARY: Pau Casals, recognized internationally as one of the best performers and orchestra directors of his time, has been without doubt one of the best cellists of the 20th century. Along with his extraordinary career as a musician, Pau Casals always maintained an untiring dedication to the defence of peace and liberty.
In my little tribute I have represented this popular Catalan song “El cant dels ocells” (The song of the birds) where the strings of his violoncello travel around the whole world with this melody, which for the great master meant the song for peace.

DESCRIPTION OF THE PAINTING: TO PAU CASALS. “THE SONG OF THE BIRDS”


In my little homage to Pau Casals, I have represented in the painting some metres of this popular Catalan song called “El cant dels ocells” (Song of the birds), with an arrangement for soprano, soloist violoncello and string orchestra (Madrigal on a popular theme) by Xavier Montsalvatge.
As I have explained to you in the previous commentary, Pau Casals always maintained an untiring dedication to the defence of peace and liberty. With this song, he went around the whole world performing this melody, which for him meant the song of peace.
I paint a grey background for the whole painting, on top of this background I paint a colour for each musical register (the three main registers, low, middle, high). Clear salmon colour for the low register, which turns to a whitish, bluish grey in the middle register. Progressively, I increase the intensity of this colour (greyish blue). I have chosen these cold colours for the background, for the sensation that this sad and melancholic melody produces.
I represent the notes of the lowest register with the darkest colour and progressively I rise through the chromatic circle of colour and registers up towards the clearer colours, creating a contrast by complementary colours between the notes of each register and its background. Notes of colours (dirtied with the colours of the background) intense blues and violets for the lowest register (clear salmon background), purples and carmines for the low register (whitish, grey blue background), in the middle register we find red and orangey colours (grey-bluish background), and in the high and very high we again find orangey and yellow colours respectively (dark blue-greyish background).
In the lowest register the notes are submerged in the background, by means of which I go rising up the registers and progressively, the notes continue increasing their texture (from C 2 to C 3 submerged notes, from C 3 to C 4, flat notes, from C 4 to C 5 notes with relief, from C 5 to C 6 notes with more relief), until reaching the highest register where we find the melody and the notes with most relief. It is the important part of these metres. I also draw the music bars (stems) of the notes (submerged in the background, and in the grey colours of the same) in the very low, low and middle register (C 2 to B 3).
The portrait is done with a lineal drawing, submerged in the painting and with the face textured in relief.
I have represented the deformed violoncello, with the scroll and tuning pegs in the lower right margin of the painting, done with a lineal drawing submerged in the background, where the grey colour of the same appears. The chord strings, bridge, finger board and the interior part of the tuning pegs are in relief, with a reddish brown colour mixed with the colours of the background, except the bridge which is yellow ochre in colour. The strings, in grey, part in relief and part in lineal drawing submerged in the background, run in waves the whole length of the painting.
In this painting I want to represent the world, and with this variety of lively pure colours for the notes, on top of this cold background as if they were floating in the sky, the different races which exist in the world.

*NOTE: There are very low notes which don’t fit in the painting if we follow the relation between the distances of the pictorial stave. To represent them would need a much larger surface and besides which it would mess up the composition of the painting. In this case, what I do is raise them an octave and underline them with the colour of the lowest notes (intense blue).

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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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