Ok

En poursuivant votre navigation sur ce site, vous acceptez l'utilisation de cookies. Ces derniers assurent le bon fonctionnement de nos services. En savoir plus.

  • Berg, Brahms, Debussy, Strauss

    Récital à la salle Pleyel.

    Das ist des Frühlings traurige Lust !

    (Le récital se termine (avant la récréation des bis) par le Frühlingsfeier de Heine mis en musique par Richard Strauss. Alors, tout en faisant mine d’arranger ses mains en porte-voix, se tournant vers le public, successivement aux trois points cardinaux de la salle Pleyel (le quatrième à l’arrière-scène est resté vide), la chanteuse répète le cri antique et neuf de toute éternité, propre à réveiller tous les cadavres, qu’ils soient vieux de trois jours ou de trois mille ans : Adonis ! Adonis !  )

  • Lumière palladienne

    The transcendent feature of Palladio's church interiors is a light that penetrates every corner with its warmth – a light as unique and as Venetian as that created on canvas by his contemporaries Titian and Veronese. It is produced partly by the large number and size of windows, by the orientation of the plan toward the path of the sun and by the dominance of the church over surrounding buildings; but above all, it is the nature of the reflecting surface that endows it with a special cast of humanity, even of sensuality, and differentiates it from the austere effects of equally well-lit late Gothic interiors.

    Whatever is not architecture in these churches is set apart in niches and panels; no sculpture or painted ornament invades the surfaces of walls, vaults or domes. Those surfaces, and most of the half columns, pilasters, and entablatures, except for the parts requiring detailed carving, are stucco over brick, and must perforce be painted. Palladio could control in this way the colour and quality as well as the quantity of light. The matt stucco surfaces reflect the light candidly, and unevenly enough to reveal the human touch, as brush-strokes do in a painting (...) Actually, Palladio's interiors were closer to the spirit of contemporary Venetian painting than if they had been decorated ; both architecture and painting created artificial theatres for the play of natural light.

    (J. S. Ackerman, Palladio)