Abstract
Throughout the 1990s, the Spanish artist Victor Mira (1949-2003) produced an extensive group of works based on Beethoven’s Symphony no 5. In these paintings, Mira incorporates the musical symbols of the initial notes of Beethoven’s score, which were traditionally identified as the “Fate motif.” Mira reflects on the historical and symbolic dimensions of the symphony and also outlines a subjective singular appropriation, related to his own illness. This study examines the essential components of the dialogue between music and painting as they are manifested in Mira’s creations on the symphony by Beethoven. In addition, it analyzes other works on the same subject by Wassily Kandinsky, Arnulf Rainer, Mauricio Kagel and Dieter Roth.
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