"Ēlektra" is an attempt to recreate in a pictorial work "O Fortuna," the opening and closing movement of Carl Orff' cantata, Carmina Burana. "O Fortuna" is one of the most popular pieces of the classical music repertoire. This fact poses a challenge of representation: how to vividly re-create with colors, forms, and lines the vibrant and emotive musical notes of this piece? The manner in which the principles of design that constitute "Ēlektra" are arranged, seeks to answer this question.
The piece begins with an invocation of Fortuna by the choir. Orff wrote that the dynamics of this phrase should be fortissimo (very loud). After the first phrase, the volume shifts from fortissimo to pianissimo (very soft). For this reason, the emphasis of "Ēlektra" is created by constrast: shifting colors (black, red, and white) act out an horizon's drama. Its shapes (Ēlektra, the central point and closed form, is involved-trapped in the midst of curved lines/stains -opened form) show the movement and the force of destiny. Its value and texture is given by the light and smooth area which contains Ēlektra's face in the middle of its rough opposite. Different media(newspaper = its letters represent the fate a human being written by Fortuna; acrylics, pen, and ink) give a sense of unity because Ēlektra is an aggressive subject that works with the dominant oblique direction of the rough texture.
Through the dynamics of the choir and orchestra, Orff is able to convey the incredible power of Fortuna. Thus, the transition among fortissimo-pianissimo-fortissimo evokes the image of mankind trembling in apprehension and fear of the nature of fortune/destiny. This transition is express in the rhythm of the use and degradation of colors which evokes a sense of motion. In the same vein, Ēlektra could be considered as an asymmetry piece because its achieves balance through the mentioned contrasts. Furthermore, the accents on the colors and the rhythm of the piece envisions the tragedy of a women who is a prisoner of her own fate.
Painting: "Ēlektra" by Lucía Castañeda Medina, October - 2014. ©
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