Name: Sinfónico 11
Start: 2024-02-09T00:00:00.000Z
End: 2024-02-11T00:00:00.000Z
Location: Auditorio Nacional de Musica

Organization

Dyrygent

Giovanni Antonini

Instrumentalista

Julia Hagen

Wiolonczela

Orchestra

National Orchestra of Spain

Orquesta y Coro Nacionales de España

Sinfónico 11

Madryt

Hiszpania

Auditorio Nacional de Musica

Sinfónico 11: Don Juan, Wq.52 Gluck (+2 More)

Public

Don Juan, Wq.52

Cello Concerto in B-flat major, G.482

XLI Symfonia (KV 551)

Approved

La última sinfonía mozartiana ganó su sobrenombre –gracias a los majestuosos relámpagos que retumban en el Allegro inicial– varias décadas después de muerto su autor, a la vez que su finale se instituyó como bis obligado durante buena parte del siglo XIX. No es, sin embargo, la única obra de este programa en ostentar el mérito de haber sobrevivido al olvido de forma continua hasta nuestros días.

El revolucionario ballet Don Juan de Gluck lo hizo indirectamente, a través de los préstamos que Mozart tomó para Las bodas de Fígaro –el célebre fandango–pero también a través del auto plagio infligido por el propio Gluck en la escena de las furias de su propio Orfeo, uno de los momentos cumbre del Sturm und Drang. Por su parte, el noveno de los doce conciertos para violonchelo de Boccherini pervivió a través de una adaptación realizada por el virtuoso Friedrich Grützmacher, quien lo convirtió en repertorio obligado de los grandes chelistas del siglo XX a costa de una discutible romantización, pero que la práctica historicista ha «desengrasado» y devuelto a su genuino frescor.

español

Mozart's last symphony earned its nickname –thanks to the majestic lightning bolts that reverberate in the opening Allegro– several decades after its author's death, while its finale was established as an obligatory encore for a good part of the 19th century. It is not, however, the only work in this program to hold the merit of having continuously survived oblivion to this day.

Gluck's revolutionary ballet Don Juan did so indirectly, through the borrowing that Mozart took for The Marriage of Figaro –the famous fandango– but also through the self-plagiarism inflicted by Gluck himself in the scene of the furies of his own Orpheus , one of the highlights of the Sturm und Drang . For its part, the ninth of Boccherini's twelve cello concertos survived through an adaptation by the virtuoso Friedrich Grützmacher, who turned it into an obligatory repertoire for the great cellists of the 20th century at the cost of a debatable romanticization, but which historicist practice has "degreased" it and returned it to its genuine freshness.

English

Udział w spektaklu (Obsada & realizacja )

Ensemble