Cromestesias: Interpretaciones cromáticas de piezas musicales – Ana María Vacas Rodríguez

Cromestesias: Interpretaciones cromáticas de piezas musicales – Ana María Vacas Rodríguez

Cromestesias: Interpretaciones cromáticas de piezas musicales

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La Serie Cromestesias, está compuesta por pinturas inspiradas en diferentes piezas musicales, muchas de ellas en forma de concierto. Con estas obras de paisajes cromáticos y movimientos gestuales expreso no solo emociones y sentimientos, sino también mi admiración y agradecimiento a sus compositores por tan preciado legado a la humanidad.

A través de la forma y el color, la proyección del inconsciente fluye sobre el lienzo. En la pintura no figurativa, gestual y automática, la pulsión rítmica distribuye los trazos en el espacio dejando una huella cromática. El ímpetu de la mano es una batuta sonora. La traducción del lenguaje musical al plano material de la vista. La etérea música se convierte en una danza gráfica de dos dimensiones. El tiempo musical se comprime y, en el cuadro, se acumula todo el sentimiento de una pieza. Ritmo y gesto, melodía y tonalidad, armonía y equilibrio…la expresión del inconsciente que hace visible lo invisible.

Si la pintura es una necesidad interna, el sonido interior, como decía Kandinsky, la experiencia musical colorea el universo emocional y favorece la sintonía con el mundo.

Música y pintura presentan cierta concordancia sensorial, no en vano se emplean términos similares para describir características de ambas: tonalidad, escala cromática, armonía, ritmo, entre otros. A lo largo de la historia se han desarrollado teorías de la relación entre los dos tipos de arte. Desde finales del siglo XIX y durante el siglo XX muchos artistas acudieron a la música como forma de inspiración y en busca de nuevos lenguajes pictóricos. En Europa y sobre todo en Estados Unidos apareció el arte sinestésico como pintura sonora. Whistler y Debussy fueron pioneros y mostraron el camino a un mundo de múltiples asociaciones superpuestas a los artistas del siglo XX. Wright y Russel basándose en el Orfismo explicaron la conexión entre la música y el color en sus trabajos: Movimiento colorido’ o ‘Música cromática’. Para los Sincromistas, el tono musical era lo equivalente a la tonalidad de los colores de una pintura, y cada nota musical tenía su paralelo en la saturación del color de una pintura.

Hegel decía que “Con la pintura, la música tiene una afinidad, en parte a causa de la predominante interioridad de la expresión, en parte también debido al tratamiento de la materia, en el que la pintura puede intentar aproximarse al ámbito de la música”. [1]

Esta similitud parece tener una explicación fisiológica, dada la frecuencia relativa de personas que experimentan asociaciones sensoriales de distinta naturaleza. Las denominadas sinestésicas. La sinestesia auditivo-visual o cromestesia es una forma inusual de integración intermodal en la cual los sonidos evocan experiencias visuales involuntarias (Córdoba, 2012).

Algunos estudios de neuroimagen y resonancia magnética funcional explican el fenómeno de la sinestesia por la activación cruzada de áreas adyacentes del cerebro que procesan diferentes informaciones sensoriales. En concreto, la corteza parietal actúa como área del nexo sensorial en la sinestesia auditivo-visual, y como un correlato neuronal común para diferentes tipos de sinestesia. (Neufeldac et al., 2010, y Ramachandran y Hubbard, 2002). Otros investigadores como Cytowic lo vinculan al sistema límbico al considerar el componente emocional que los colores evocan.

La sinestesia es una condición natural en el niño que se pierde con la edad. Sin embargo, una pequeña parte de la población adulta mantiene las capacidades sinestésicas, lo que parece favorecer la memoria y el desarrollo de habilidades artísticas (Eagleman, 2011). Este parece ser el caso de aquellos artistas famosos a lo largo de la historia reconocidos como sinestésicos: músicos como Messiaen, Rimski-Kórsakov, Scriabin y pintores como Mondrian, Kandinsky, Paul Klee, Van Gogh, O’Keefe y Denis entre otros.

 

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Ana María Vacas Rodríguez

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Nota

  1. G. W. F. Hegel. Lecciones sobre estética. Traducción de Alfredo Brotóns Muñoz. Ediciones Akal [Arte y Estética], Madrid, 1989. ISBN: 84-7600-336-8, p. 649.

 

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Cromestesias – I

 

 

Concierto para piano y orquesta de Sergei Rachmaninoff – Los Angeles [CA, U.S.A.] – 2017 – Acrílico y pastel sobre cartón. 45,8 x 61cm.

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[Sergei Rachmaninoff – Piano Concerto No. 2 in C minor, Op.18- 2. Adagio sostenuto – Vladimir Askhenazy – André Previn – London Symphony Orchestra]

 

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Cromestesias – I: Interpretación del Concierto para piano y orquesta nº 2 en Do menor, Op. 18, de Sergei Rachmaninoff

La obra expresa la melodía cromática de gran carga trágica a través del contraste entre tonos cálidos y fríos y la gestualidad lineal de fuerzas contrapuestas. Los tres tiempos del concierto están representados por los tres planos dentro de la estructura general del cuadro.

El suntuoso colorido orquestal y el brío del piano del primer movimiento ceden paso al dulce y ondulado oleaje del adagio arpegiado del segundo, despertando un íntimo sentimiento de melancolía. Verde y roja melancolía, replegada sobre sí misma en una levógira pirueta. Suave danza celeste que se afianza excitada en contrapuntos y pizzicatos de amarillos hasta la extenuación.

La alegre orquestación y el virtuoso teclado dibujan contrapuntos de caminos sonoros. Cálidos vientos del alma que incitan pasiones escondidas. Verdes vitales, rosas de inocente juventud, naranjas pasionales frente a unos íntimos azules de concentración desesperada.

 

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Cromestesias – II

 

 

Concierto para piano y orquesta Nº 1 en Si bemol menor, Op. 23, de Pyotr Tchaikovsky – Acrílico y pastel sobre cartón – Los Angeles [CA, U.S.A.] – 2017.

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[Pyotr Ilyich Tchaikovsky – Concierto para piano Nº 1 en Si bemol menor, Op. 23 – Primer Movimiento – Arthur Rubinstein – Boston Symphony Orchestra – Erich Leinsdorf – 1964]

 

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Cromestesias – II: Interpretación del Concierto para piano y orquesta Nº 1 en Si bemol menor, Op. 23, de Pyotr Tchaikovsky

 

La obra se estructura en varios planos representando los tres movimientos del concierto, en un diálogo entre orquesta y piano unas veces en oposición y lucha y otras envueltas en melódica danza.

Los trazos lineales que cruzan el cuadro de derecha a izquierda y de arriba abajo representan la tensión percusiva del teclado y el brío de los arcos, en contraste con las líricas ondulaciones de la cuerda. Violines y violas de timbres anaranjados se complementan con los vientos azules y violetas.
Orquesta y piano se envuelven entre murmullos de ricas armonías jugando a salir y esconderse como cortinas de humo, en un trenzado dinamismo. Pasajes y acordes de ensoñaciones cromáticas y ritmos virtuosos bullen por el lienzo. La flauta endulza los tempos lentos con texturas algodonosas y verdes scherzi. Es una danza de duendes purpúreos y hadas etéreas. El allegro final resuena en amarillos vivaces, azules y verdes generando una sensación de exuberante juventud.

 

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Cromestesias – III

 

 

La Consagración de la Primavera – Ballet – Igor Stravinski – Acrílico y pastel sobre cartón – Los Angeles [CA, U.S.A.] – 2017

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[Igor Stravinski – Le Sacre du printemps – Second tableau – Le sacrifice – Danse sacrale [Allegro Moderato] – Sir Simon Rattle & Berliner Philharmoniker]

 

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Sobrecogedora obra compuesta en París para la temporada del año 1913 de la compañía de los Ballets Rusos de Serguéi Diáguilev que evoca recónditos tiempos pretéritos y vestigios de culturas ancestrales. Danza y movimiento, ritmo y color.

Ballet de cadencias rápidas y abruptas rupturas bitonales, exacerbadas por el cambio de compás y la tensión del contraste entre rojos y azules. Percusiones térmicas inarmónicas llenan con gestos firmes la enérgica topografía. Saltos tribales de vibración atonal entre llamas de fuego renovador.

Una quebrada danza central divide los dos tiempos del concierto con un quejido vital y sangriento de bárbaro primitivismo. La derecha es la muerte del invierno. En la izquierda, la clara y ondulada melodía de las vírgenes danzantes consagran el inicio de la primavera con ornamentos folclóricos. Ritos paganos donde la muerte precede a la vida, en un ciclo armónico cerrado e infinito.

 

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Cromestesias – IV

 

 

Scheherezade – Suite Sinfónica, Op. 35, de Nikolái Rimski-Kórsakov – Tintas sobre cartón – Madrid – 2015.

 

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[Nikolái Andréyevich Rimski-Kórsakov – Scheherazade – Op. 35 – Suite Sinfónica – II La historia del príncipe Kalendar – L`Orchestre de la Suisse Romande – Ernest Ansermet – 1958]

 

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La obra pictórica es un movimiento gestual con un lirismo etéreo de dorados velos flotantes. Exótica y frenética danza adornada con joviales piruetas de cuerdas, flautas dulces y clarinetes. En un ritmo oriental de colores puros, el violín y el arpa se encadenan en arabescos sostenidos y giros vertiginosos. Suenan los cromáticos acordes y el fragor azul de la percusión, entre los sensuales anaranjados y los rojos pasionales. Seductora baila Scheherazade con arrebatadora elegancia, ante los ojos del encandilado sultán. Alegría y misterio se conjugan en un ardiente arrebato lleno de energía vital.

 

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Ana María Vacas Rodríguez

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Bibliografía

1. de Córdoba Serrano, María José. Sinestesia: Los Fundamentos Teóricos, Artísticos y Científicos. Fundación Internacional Artecittà. Granada, 2012. 

2. Cytowic, R. E. y Eagleman, D. Wednesday is indigo blue. MIT Press, Cambridge [MA, U.S.A.], 2009.

Eagleman, D. Incognito. The Secret Lives of the Brain. Pantheon Books. New York, 2011.

3. Hegel, G. W. F. Lecciones sobre la Estética. Traducción de Alfredo Brotóns Muñoz. Ediciones Akal,  Madrid, 1989. 

4. Kandinsky, Vasili. De lo espiritual en el arte. Paidós Ibérica, Barcelona, 1973.

5. Neufeldac J., Sinkeac C.,Dilloa W., Emrichac H. M., Szycika G.R., Dimab, D., Bleicha S, Zedlera. M. «The neural correlates of coloured music»: A functional MRI investigation of auditory–visual synaesthesia. Neuropsychologia 50 (1), 2012, 85-89.

6. Ramachandran, V.S. y Hubbard, E.M. «Psychophysical investigations into the neural basis of synaesthesia». Psychological Science; 13 (6), 2002, 548-552.

 

 

[Selección de las versiones de las piezas musicales a cargo del Editor]
Autor
Categories: Artes Plásticas, Música

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