The Utzon Tapestry: Homage to Carl Philipp Emanuel Bach
Jørn Utzon's only artwork for the building he designed is imbued with reconciliation and artistic, cultural and technical excellence
Utzon tapestry, detail (2016) by Sam DoustSydney Opera House
Homage to CPE Bach is a work of unique significance...
Tapestry designed by Jørn Utzon, detail (2014) by Jack AtleeSydney Opera House
...the only artwork Jørn Utzon designed for his opera house.
Utzon tapestry, detail (2016) by Sam DoustSydney Opera House
Expressing the Function of the Edifice
The tapestry unites two central themes of his design for the building: performance and procession.
As Utzon put it, a way "to express the function of the edifice as a building for the world of music, by translating a piece of music into a visual experience."
Utzon tapestry, detail (2016) by Sam DoustSydney Opera House
Performance: the Music of Carl Philipp Emanuel Bach
For the theme of performance, Utzon chose to celebrate his favourite composer C.P.E. Bach, the fifth child and second surviving son of his more famous father, Johann Sebastian Bach, and Maria Barbara Bach. Utzon had in mind Bach's joyous Symphony in C Major, written in 1773.
Tapestry designed by Jørn Utzon, detail (2014) by Jack AtleeSydney Opera House
Utzon described the gold, which was the most challenging colour to represent in the finished work, as representing the coming together of all the instruments in symphony. The black vertical shapes represent the rhythm of the piece.
Utzon tapestry, 'Homage to C.P.E Bach' (2004) by Sam DoustSydney Opera House
The colour patches represent individual instruments playing their parts.
Procession: the Art of Raphael
For the theme of procession, Utzon chose to evoke Raphael's The Procession to Calvary (1504), in which Christ carries the cross on his way to Golgotha.
The Procession to Calvary by Raphael (1504/1505) by RaphaelSydney Opera House
The Procession to Calvary
Raphael's painting illustrates the idea of procession, which Utzon believed should be central to the experience of the Sydney Opera House, with a grand staircase leading up over the podium toward the performances.
Tapestry designed by Jørn Utzon, inspired by the music of Bach and Raphael's painting, The Procession to Calvary (2014) by Jack AtleeSydney Opera House
In his finished tapestry, Utzon powerfully evokes these core principles of procession and performance, encapsulating the function of the building in a radiant, synaesthetic artwork.
The Re-engagement of Jørn Utzon
In 1999, thirty-three years after leaving Australia and with the tumult of his departure far behind him, Jørn Utzon re-engaged with the Sydney Opera House.
New South Wales Premier Bob Carr had written to Utzon in 1998, asking the architect to consider establishing a set of design principles that could be used to continue his vision for the building in centuries to come. These would become the Utzon Design Principles, and which are employed as a guide for future architects and designers to maintain and renew the building.
Utzon set about updating aspects of the building with the help of his son Jan, himself an architect, and Lin, a designer of a wide variety of abstract decorative works from textiles to ceramics.
Jan and Lin became Utzon’s ambassadors in Sydney, while their father remained in Europe. Lin would become instrumental in the production of Utzon's tapestry.
The main entrance to the Utzon Room (2020) by Sam DoustSydney Opera House
Utzon’s re-engagement included the creation of the first interior space fully realised to Utzon's specifications, with the renovation of what had been the Reception Hall.
The Utzon Room celebrates ideas which were fundamental to Utzon's architectural vision for Sydney Opera House.
Utzon Room, detail of the Concourse beams (2012) by Sam DoustSydney Opera House
The Utzon Room: honesty of form and beauty of function
Utzon strove constantly to manifest these values in his own work as well as that of others.
Ove Arup's Concourse beams, which so impressed Utzon early in their working relationship, typify this central principle, and are a dominant feature of the room, making up the south wall and the ceiling.
Utzon Room looking south toward the Concourse beams (2012) by Sam DoustSydney Opera House
Utzon Room, looking northwest toward the Utzon tapestry (2012) by Sam DoustSydney Opera House
As Utzon's design for what had been the Reception Hall took shape, it became clear that a softer surface should also be present in the room, musically and aesthetically, to counterpoint the hard surfaces of glass, wood and concrete.
Utzon Room, looking north (2014) by Jack AtleeSydney Opera House
In 2002, Utzon began discussions to design a tapestry for the western wall, and by July 2003 he had titled the work Homage to Carl Philipp Emanuel Bach.
Inspirations & context: Homage to Carl Philipp Emanuel Bach
"The inspiration for the tapestry came from the thought that a building should be decorated by something that reflected its use." Lin Utzon, 2004.
The choice of colours was said to have been inspired by the sunsets seen from the Utzons’ home on the island of Mallorca.
Joe Skrzynski, left sitting beside Lin and Jørn Utzon below a maquette of the finished tapestry, was CEO of Sydney Opera House Trust in the late 90s, and instrumental in Utzon's re-engagement.
In 2003, the same year that the tapestry went into production, Norman Gillespie, CEO of the Sydney Opera House Trust, crouches beside Utzon, who had just won the Pritzker Prize, and is wearing his medal. Alongside them is the design maquette for the tapestry.
Production and installation
Late in 2003, the Victorian Tapestry Workshop (now Australian Tapestry Workshop) began work on the tapestry. The length exceeded that of their largest loom and had to be woven vertically.
For a total of fourteen metres in length and almost 2.5 metres in height, and using 4,500 kilometres of Australian wool, the finished tapestry weighs 120 kilograms, and took four weavers eight months to complete.
Hanging the tapestry (2004) by Sydney Opera HouseSydney Opera House
Homage to Carl Philipp Emanuel Bach in situ (2004) by Sydney Opera HouseSydney Opera House
Recital setting in the Utzon Room (2004) by Eric SierinsSydney Opera House
The Making of the Utzon Tapestry
Made in 2004, this film documents the process of the design and production of Homage to Carl Philipp Emanuel Bach
Opening
On 16 September 2004, the Utzon Room was opened by New South Wales Premier Bob Carr, and the architect's daughter, Lin Utzon, who had been so pivotal in the tapestry's production.
Jørn Utzon joined the opening through a pre-recorded message in which he conveyed his happiness at the outcome: "It gives me the greatest pleasure and satisfaction. I don’t think you can give me more joy as the architect. It supersedes any medal of any kind that I could get."
As architectural historian Anne Watson wrote, “Utzon’s ‘Homage to CPE Bach’ is an homage, not only to music, but to the building that houses it and the reconciliation that saw his re-engagement. It is a work embodying the highest artistic, cultural and technical values and is of unparalleled significance to the history of the Opera House and the heritage of a nation.”
Recital setting in the Utzon Room (2004) by Eric SierinsSydney Opera House
“It will give a marvellous feeling acoustically. It is hanging on the inside wall ... facing the harbour. So from outside, even from outside, from sail boats, you will see something happens there. This is exciting and different.”
Jørn Utzon, 2004.
Explore other exhibits in this series:
Art, Colour and Performance
The Utzon Tapestry: Homage to Carl Philipp Emanuel Bach
Les Dés sont Jetés - The Die is Cast
The Curtain of the Sun
Curtain of the Moon
The Coburn Tapestries at the Sydney Opera House
Utzon's signature (2020) by Sydney Opera HouseSydney Opera House
Explore other exhibits in this series:
Art, Colour and Performance
Les Dés sont Jetés - The Die is Cast
The Curtain of the Sun
Curtain of the Moon
The Coburn Tapestries at the Sydney Opera House
Curated by Sam Doust
With thanks to Laura Matarese.
Informed by research and history prepared for the Sydney Opera House by Dr Anne Watson.
Image Credits: Sam Doust/Latchkey, Jack Atlee, Eric Sierins, Sydney Opera House.
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