Capricci of monkeys and donkeys Caprichos de burros y simios
Goya-to-five whims Guitar
of
Rovereto, Philharmonic Hall March 4, 2011
Monkeys donkey sounds and vagaries: the whims as that seen with infant-care reveal the underlying reasons and needs-these older sketches born almost instinctively, breathing and looking amused.
Friend, Jürgen Ruck, asks a whim for his Guitar: Here it is, but on a whim five, and the guitar on a whim upside is hand painted on a whim that the monkey's ass, which in turn s'incapriccia of thinking and
study and profess science.
Guitar And always there, capricious, laughing.
The guitar has always been for me the first land exploration and invention, but this time the sound is more traditional to trace the path, and capricious deviations of touch and thought circumscribe fickle forms, in the purest tradition of the virtuoso solo music Capriccio.
established a truism, or a common place, they want the artist Goya, and monkeys of nature in this very monkey poses an ironic and serious self-portrait. So here he is painting the donkey (he-painter of the monkey-king ....), or play the strings of a guitar without a back-ass king serious listening, until he, donkey, or ; king, becomes the protagonist and study, find their genealogy, cure the sick and taught the disciples.
This donkey, with Goya, temiamo più che la scimmia capricciosa.
Monkeys, donkeys, sounds and caprices: caprices like children's tantrums - when closely observed reveal profound reasons and most ancient needs - these sketches were born almost instinctively, with an amused breath and look.
The friend, Jürgen Ruck, asks for a capriccio for his Guitar: here it is, but for a caprice instead there are five, and for a caprice, the Guitar is held upside-down by the monkey who, for a caprice is painting the donkey who, in turn, capriciously ponders, studies and practices science.
And the Guitar is always there, laughing capriciously.
For me, the Guitar is always a rich terrain for exploration and invention, but this time it is the more traditional sound that determines the path, while capricious deviations of touch and thought render its forms indistinct and changeable, as in the purest virtuoso tradition of the soloistic Capriccio.
A firmly rooted truism, or a cliché, needs the monkey nature painter and it is in the monkey, in fact, that Goya presents an ironic and serious self-portrait. So here he is (the monkey - the king's painter ... ) painting the donkey, or playing the stringless back of a guitar to which the donkey-king listens intently, until it is he, the donkey, or king, who becomes the protagonist and studies, researches his lineage, cures the sick and teaches science to his disciples.
Together with Goya, it is this donkey that we fear more than the capricious monkey.
