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Jorinde Voigt, Ludwig van Beethoven/Sonate Nr. 6 (Opus 10 Nr. 2), 2012, ink and graphite on paper, 34 x 55 1/8".

Jorinde Voigt

Institute for Contemporary Culture, Royal Ontario Museum

Jorinde Voigt, Ludwig van Beethoven/Sonate Nr. 6 (Opus 10 Nr. 2), 2012, ink and graphite on paper, 34 x 55 1/8".

In June, the Canadian pianist Stewart Goodyear undertook playing all of Beethoven’s sonatas, end to end, in one sitting. This quantitative protraction (in which torrents from the piano seemed to some like a sound accompaniment for Tarkovsky’s depiction of rain) provoked a series of conversations about duration and destruction, and curiosity about the motors that drive the will to capture form. While taking these proceedings as a seed for her drawings, Jorinde Voigt looked instead toward the sonatas’ innere Stimme, the “inner,” or “third,” score between the upper and lower clefs comprising a composers notations on how the works are to be performed. Collectively titled Ludwig van Beethoven, Sonata 1 bis 32, 2012, Voigt’s hand-rendered drawings—one devoted to each sonata—record a spree of marks on sheets of landscape-oriented paper, hung in regular pedestrian rhythms around

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