Organization

Direzione d'orchestra

Peter Eötvös

Cantante

Isabelle Faust

Violin

Orchestra

National Orchestra of Spain

Orquesta y Coro Nacionales de España

Auditorio Nacional de Música

Pierre Bleuse

Sinfónico 19

Madrid

Spagna

Auditorio Nacional de Musica

Sala Sinfónica

Sinfónico 19: Sirens' Song Eötvös (+3 More)

Public

Sirens' Song

Alhambra

Preludio al pomeriggio di un fauno

Images pour orchestre, L. 122

Approvato

The oldest mention of sirens is found in a famous episode of Homer's Odyssey . Contrary to what later tradition has bequeathed, these creatures described as women with the body of a bird would have seduced the hero not so much for the sensuality of their song, but for the promises of fame and knowledge of him.

The parallels between the mermaid and the Debussyan faun –another hybrid creature of the archaic imagination clothed with erotic attributes, based in this case on a poem by Stéphane Mallarmé– is only part of the game of mirrors that the Hungarian Peter presents to us in this program Eötvos –an absolute master of color, both from his facet as a composer and as a conductor–. In this way, if French Iberia had the merit of reinventing the "Spanish sound" shaking off the cobwebs of nineteenth-century Andalusian style and without the need to descend into folkloristic anecdote, the alhambrismo of the Hungarian third violin concerto is allowed -in a wink worthy of Morton Feldman– relegate the only gesture of local literality to its final bars.

English

La mención más antigua a las sirenas la encontramos en un famoso episodio de la Odisea de Homero. Al contrario de lo que la tradición posterior ha legado, estas criaturas descritas como mujeres con cuerpo de ave habrían seducido al héroe no tanto por la sensualidad de su canto, sino por sus promesas de fama y conocimiento.

Los paralelismos entre la sirena y el fauno debussyano –otra criatura híbrida de la imaginación arcaica revestida de eróticos atributos, basada en este caso en un poema de Stéphane Mallarmé– es solo una parte del juego de espejos que nos plantea en este programa el húngaro Peter Eötvos –un maestro absoluto del color, tanto desde su faceta de compositor como de director de orquesta–. De este modo, si la Iberia del francés tuvo el mérito de reinventar el «sonido español» sacudiendo las telarañas del andalucismo decimonónico y sin necesidad de descender a la anécdota folclorista, el alhambrismo del tercer concierto para violín del húngaro se permite –en un guiño digno de Morton Feldman– relegar el único gesto de literalidad localista a sus compases finales.

español

Sinfónico 19 by Eötvös, Debussy, Da (2024/2024), Direttore d'orchestra Peter Eötvös, Pierre Bleuse, Auditorio Nacional de Musica, Madrid, Spagna

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