in der Haspa Hamburg Stiftung)
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In the arts, there has always been a reference to mathematics, an order that can be "counted" at times. Artists often use numerical sequences to create rhythm and establish harmony or tension through the mysticism of numbers and to refer to thoughts, moods, or realities.
In music, the difference between a ¾ and a 4/4 bar is a vivid example. Spirituality is represented by the 3, materiality by the 4. Many other relationships are more complicated. To explain in short: Each "thing" ultimately has its number, originated from numbers belonging to a letter and their cross sum. The mysticism of numbers assigns a meaning to this number.
Many of my sculptures were influenced in their structure by this order and, consciously or unconsciously, by this principle. This can be read in my book "A sculpture for Hans Werner Henze. In three "movements," Henze also dealt with Telemann, and in 1967, in his "Telemannnia," he edited the "Paris Quartets", which were composed in 1738.
Back to Georg Philipp Telemann: When assigning the numbers to his name, remarkable things can be seen. The numbers 3 and 6 result, which also apply to important dates in his life, such as the day of his birth and the year of his death. We can discern a harmony further strengthened by the fact that each number appears twice (and the number 6 arises from 2x3). This 6, in turn, appears in the full name and date of birth 14 March 1681.
Thus I have chosen the triangle for the basic form of the sculpture concerning the "spiritual" 3. The arrangement of the bars also has the shape of the triangle, whereby the 4 can be read as well. The basic form is mobile, and from this mobility arises a vibration of the rods – sound and form in change until there is a return to silence.
Why the 4? Georg Philipp Telemann's year of death is also associated with the 3. And yet, the anniversary of his death, 25 June 1767, is associated with the "mystical" 7, arising from 3+4, which in turn unites the spiritual with the material.
As a result, a sculpture was created which, in its clarity and in the structures on which it is based, represents Telemann's spiritual and compositional "flexibility" – in harmony.
Bernhard G. Lehmann