Abstract
Michael Tippett's Fourth Symphony opens with the striking sound of an intake of breath, a gesture, which — according to the composer — describes the very nature of existence. Such statements are not uncommon from Tippett, yet nevertheless this is a broad claim, which naturally poses more questions than it answers. This article explores whether such a claim has any validity, presenting a philosophically led reading of the opening breath motif in an attempt to understand whether art can really shed new light on the well-rehearsed arguments of metaphysical enquiry.
Original language | English |
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Journal | Tempo |
Volume | 71 |
DOIs | |
Publication status | Published - 2016 |