Roger de Valerio, the king of sheet music illustration, often used abstract forms and patterns. In his cover for Gershwin’s ‘O Lady Be Good‘, de Valerio accentuates the intimacy and tender affection of an enamoured couple in contrast to the fiery and exuberant world around it. Fabien Loris (see The Abstracts, part 1) and Roger de Valerio were inventive and humorous in their figurative drawing. But both had also the resourcefulness to apply geometrical forms, shapes and planes of colour in a refreshing, original style. As in these catchy de Valerio’s designs.
Roger de Valerio used colours and patterns very functionally to obtain his primary goal: pull the attention to the music title, and sell it! Here is a vibrant example of how he succeeded for a song from the Zig-Zag revue, played at the Folie Bergères at the time the armistice was signed in November 1918.
Because a publisher like Francis Salabert not only distributed music, but also was involved in financially managing the shows, he was often insistent that the cover showed an image of the vedettes. His favourite illustrator De Valerio knew how to deal with it, and skilfully arranged photographs, combining them with graphics.
Some more of de Valerio’s abstract designs? Here they come.
While in the 1920’s Loris and de Valerio were applying abstract art in their music covers to create movement, other artists (especially in Germany) were exploring motion and timing of abstract images, in an effort to equal the expressiveness of musical compositions. One such avant-gardist was Walter Ruttmann, who made his first short film Lichtspiel (Game of Light) in 1921.
The music for string quartet was specially composed by Max Butting for the eleven minutes of film. In the original score Ruttman inserted drawings and other indications on how to precisely synchronise the music to the motion. The lightly-hypnotic effect of the film is remarkable in the finale (starting at 10′). And wake up… when I snap my fingers.