Interpreting the works of Beethoven

Six years ago, visual artists Maria Bertoldi, Roberto Giannecchini and Walter Miranda, met to perform an unprecedented work: to visually interpret Beethoven's nine symphonies. The process was completed with three other works when each had total freedom of creation, but based on the experience acquired in previous works.    The result of what they called the “Beethoven Project” (composed of 24 paintings and 12 sculptures), completed three years ago, is being shown again in the exhibition they hold, until August 2 at the Municipal Art Gallery of Guarujá, at 350, Dom Pedro Ave, Praia da Enseada.

Projeto Beethoven Segunda Sinfonia Maria Bertoldi - Roberto Giannecchini - Walter Miranda

Maria Bertoldi wrote of this period of creation: It was just a record of a moment. The wonderful moment lived during a Beethoven symphony. And I got to know, I felt and listened to the symphonies and tried to colorize the most fantastic sounds of these true symphonic fantasies. A lived dream. A real flight to the fantastic world of musical sounds of Beethoven, where I try to accompany him with my brush on blue canvas in this crazy flight of sounds. The nine Beethovenian symphonic fantasies plus three works, was all I had left.

Roberto Giannecchini declares: My work was made from suggestions provided by the musical material, selected by the sensitive and filtered by the rational. However, it is worth mentioning as the most important, the creative process that brought to the surface mental and sensitive mechanisms that I ignored ... Regarding the technique, the works were done in a completely handmade way, including the design and realization of the mechanisms. The material used is almost exclusively aluminum matted with glass microspheres. When, during the process, some work took on its own configurations, independent of my intentions, I made a point of respecting them. So for example, the movement of the Pastoral bird that asked (as a friend pointed out to me) for a solution using mechanical resonance was accepted and performed.

Walter Miranda, in turn, states: “The works follow a master line, achieved after several studies, and which consists of an upper part, reserved for spontaneous manifestations of my sensitivity according to each symphony; and in a lower part, with drawings made always listening to the relevant symphony and according to my line of rational work, where I represent the inconsequences that humanity is currently practicing.