jueves, 18 de julio de 2013
The reason I pick symmetry as our starting point is that it is a universal concept, based on our innate symmetrical instincts, which arise from the very structure of our bodies. We are simmetrically constituted, dualistically constituted, in the systole and diastole of our heartbeats, the left-rightness of our walking, the in-and-outness of our breathing, in our maleness and femaleness. This dualism invades our whole life, on all levels; in our actions (preparation/attack, tension/release) and in our thinking (Good and Evil, Yin and Yang, Lingam and Yoni, progress and reaction). And all these find musical expression in such oppositions as downbeats versus upbeat, half note versus quarter note, and specially in the elementary musical structure principle of 2 + 2 = 4, + 4 = 8, + 8 = 16, etcetera ad infinitum. That's why the clue to our deep-structure project is to be found in the highly symmetrical formation of Mozart's main theme.
But symmetry is not necessarily balance: that's a precept we all learned long ago, and it's worth saying again. What Mozart has done - as any great master does - is to make the leap from prosy symmetry into poetic balance, that is, into art.