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Title page for the Carceri d’Invenzione (second state), 1761.<\/em><\/p>\n Continuing an occasional series about artists or designers whose work has appeared on record sleeves. Giovanni Battista Piranesi (1720\u20131778) is a cult figure here so this is an inevitable post even if there isn’t a great deal to look at. Many of the record covers that use Piranesi etchings are for classical releases, which isn’t so surprising. The prints that comprise the Vedute di Roma<\/em> were Piranesi’s most popular works, and remain so today despite their exaggerations of the true size of Rome’s monuments and ruins. But I thought the Carceri d’Invenzione<\/em> (aka The Prisons<\/em>) might be more popular, especially in the metal world where dark and gloomy imagery is de rigueur. There may be more examples, of course, since I’m having to rely on Discogs which doesn’t always note the work of uncredited artists. I suspect that architecture alone isn’t attractive enough for the metal hordes, however vast and tenebrous that architecture might be. The covers I’ve done for metal bands have always had to incorporate figures\u2014human or otherwise\u2014or some kind of occult symbolism. The most prominent musical piece based on Piranesi’s Prisons<\/em> is also a classical work, one of the Bach cello suites recorded by Yo-Yo Ma in 1998. Ma’s album, Inspired By Bach<\/em>, was accompanied by six films from different directors; the film for Suite No. 2, The Sound of the Carceri<\/em> by Fran\u00e7ois Girard, shows Ma playing the piece inside a CGI rendering of Piranesi’s colossal spaces. Copies of Girard’s film come and go on YouTube so this one<\/a> may not stay around.<\/p>\n Luigi Dallapiccola: Il Prigioniero (1975); National Symphony Orchestra Of Washington DC, Antal Dorati.<\/em><\/p>\n Palestrina: Missa Aeterna Christi Munera \/ Oratio Jeremiae Prophetae \/ Motetti (1976); Pro Cantione Antiqua, London.<\/em><\/p>\n Tartini: Concerti Per Violino E Orchestra \/ Sonate (1981); P. Toso, I Solisti Veneti, C. Scimone, E. Farina.<\/em><\/p>\n Captivation (1994) by Tefilla.<\/em><\/p>\n <\/p>\n Bach, Beethoven, Schumann (2006); Sviatoslav Richter.<\/em><\/p>\n Die Totenstadt (2008) by Robert Kraft.<\/em><\/p>\n I (2014) by Extreme Precautions.<\/em><\/p>\n Paragone D’Archi (2014) by Stefano Pastor & Charlotte Hug.<\/em><\/p>\n Leonardo Vinci: Catone In Utica (2015); Max Emanuel Cencic, Franco Fagioli, Juan Sancho, Valer Sabadus, Vince Yi, Martin Mitterrutzner, Il Pomo d’Oro, Riccardo Minasi.<\/em><\/p>\n To Carthage Then, I Came (2015) by Forager.<\/em><\/p>\n Split 7-inch single (2018) by Carved Cross \/ Malpas.<\/em><\/p>\n Elsewhere on { feuilleton } Previously on { feuilleton } Title page for the Carceri d’Invenzione (second state), 1761. Continuing an occasional series about artists or designers whose work has appeared on record sleeves. Giovanni Battista Piranesi (1720\u20131778) is a cult figure here so this is an inevitable post even if there isn’t a great deal to look at. Many of the record covers that … Continue reading “Piranesi record covers”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"New blog post: Piranesi record covers","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[8,2,4,7,3],"tags":[3791,139,1833],"class_list":["post-20388","post","type-post","status-publish","format-standard","hentry","category-architecture","category-art","category-design","category-film","category-music","tag-francois-girard","tag-piranesi","tag-yo-yo-ma"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-5iQ","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/20388","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=20388"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/20388\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=20388"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=20388"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=20388"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"piranesi01.jpg\"](\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2021\/02\/piranesi01.jpg\")
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\n\u2022 The album covers archive<\/a>
\n\u2022 The etching and engraving archive<\/a><\/p>\n
\n\u2022 Animating Piranesi<\/a>
\n\u2022 Carceri, thermae and candelabra<\/a>
\n\u2022 La Tour by Schuiten & Peeters<\/a>
\n\u2022 Set in Stone<\/a>
\n\u2022 Piranesi as designer<\/a>
\n\u2022 Vedute di Roma<\/a>
\n\u2022 Aldous Huxley on Piranesi\u2019s Prisons<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"