Abstract
AbstractMichael 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.
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