Hola queridos y apreciados amigos, como siempre, espero estén muy bien!
Como todos saben, el clasicismo fue una época de crecimiento en muchas areas, y las artes no fue la excepción.
La pulcritud de esta época en lo que el arte se refiere es algo que hoy por hoy al ver o escuchar una obra hay que recalcar... Por ejemplo,
Cuando vemos obras del pintor Claude Gellee o mejor conocido como Claudia de Lorena (Lorena, región donde nació) no podemos decir que le falta color, que le falta algo abstracto, o quizas algo mas brillante, pues antes de ver la obra tenemos que recordar y adentrarnos al contexto,
Contexto que cómo ya les he dicho antes, es casi fundamental.
Esto mismo que pasa con la pintura pasa en todas las artes, obviamente en la música, es por ello que hoy les traigo un poco de Mozart, para darles un ejemplo musical de todo lo anterior,
Acá en este fragmento escucharemos como a veces el vibrato no es tan dramático, no es tan "melancólico", por darle un ejemplo, y tambien que los volumenes son mucho más cuidados, no hay partes realmente potentes (pues la potencia en la musica de aquel entonces era netamente del cuidado de esta, de esta importante pulcritud)
Asi que sin nada más que decirles, acá les dejo un poco de Mozart, en mi violín. ¡Abrazos!
Hello dear and dear friends, as always, I hope you are very well!
As you all know, classicism was a time of growth in many areas, and the arts were no exception.
The neatness of this era in terms of art is something that today when seeing or listening to a work must be emphasized ... For example,
When we see works by the painter ** Claude Gellee ** or better known as Claudia de Lorena (Lorena, the region where she was born) we cannot say that it lacks color, that it lacks something abstract, or perhaps something brighter, because before seeing the work we have to remember and enter the context,
Context that, as I have told you before, is almost fundamental.
The same thing that happens with painting happens in all the arts, obviously in music, that is why today I bring you a bit of Mozart, to give you a musical example of all the above,
Here in this fragment we will hear how sometimes the vibrato is not so dramatic, it is not so "melancholic", to give you an example, and also that the volumes are much more careful, there are no really powerful parts (because the power in the music of at that time it was clearly the care of this, of this important neatness)
So without anything else to say, here I leave you a bit of Mozart, on my violin. Hugs!
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