Contrappunto, distorsione e fuga Leónidas e Osvaldo Lamborghini

Abstract

This article focuses on the relationship between Leónidas and Osvaldo Lamborghini’s works in the attempt to describe their brotherhood as an existential, literary and also “musical”, bond. Their works, in fact, appear to be based on some notions derived from musical composition and practice – counterpoint, distortion and fugue – which can be applied to the formal analysis of their texts, as well as to their relationship with the wider scenario of Argentinian and international culture in the second half of the 20th century and, finally, to their mutual and multilayered relationship as writers. Such a reading also implies a reconsideration of the label of “neobarroco literature”, as counterpoint and fugue – being mediated by the more modern concept and practice of distortion – directly recall the compositional methods of baroque music.

Keywords

• osvaldo lamborghini;
• leónidas lamborghini
• neobarroco
• counterpoint
• fugue
• music and literature