Name: Sinfónico 21
Start: 2023-06-16T00:00:00.000Z
End: 2023-06-18T00:00:00.000Z
Location: Auditorio Nacional de Música

Organization

Dirección orquestal

David Afkham

Violinista

Janine Jansen

Violin (Solo)

Orchestra

National Orchestra of Spain

Orquesta y Coro Nacionales de España

Sinfónico 21

Madrid

España

Auditorio Nacional de Musica

Sinfónico 21: Ramifications Ligeti, G. (+2 More)

Public

Ramifications

Concierto para violín n.º 5 en la mayor, K.219

Sinfonía n.º 5 en si bemol mayor, op. 100

Válido

Auditorio Nacional de Música

This weekend we will celebrate our penultimate symphonic program of the season, in which our principal and artistic director David Afkham will lead the Spanish National Orchestra to offer us 'Ramifications' by György Ligeti, the 'Concerto for violin and orchestra no. . 5 in A major, K.219' by Wolfgang Amadeus Mozart —with the violinist Janine Jansen as guest soloist—, and the 'Symphony no. 5 in B flat major, op. 100' by Sergei Prokofiev. In our new video Bienvenida 2.0, Sofía Martínez Villar, Ph.D. in Theory and Art Criticism, presents this program made up of a classic between two contemporaries: we analyze some of Ligeti's great contributions to the history of compositional technique —the mass of sound and micropolyphony—, Mozart's creativity in his fifth violin concerto and the circumstances that influenced Prokofiev in the composition of his fifth symphony, among other interesting aspects. 🗓️ Symphony 21: Friday, June 16 and Saturday, June 17 at 7:30 p.m.; and Sunday, June 18 at 11:30 a.m. 🎟️ Tickets:https://entradasinaem.es/ListaEventos... 

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Ligeti había utilizado ocasionalmente temperamentos microtonales antes de Ramifications (1969), pero solo en esta obra utilizó un espectro completamente microtonal, estableciendo que la mitad de los músicos afinen sus instrumentos un cuarto de tono por encima de la otra mitad. Además, en esta ocasión las «masas de sonido» adquirieron una apariencia enteramente nueva, similar a una incandescente constelación de pulsaciones en el espacio. Las modas «turcas» que periódicamente encandilaron Viena a lo largo del siglo XVIII fueron la contrapartida hedonista de las penurias padecidas en conflictos armados igualmente intermitentes. De los cinco conciertos para violín que escribió Mozart en Salzburgo en 1775, el último de ellos tuvo la virtud de contar con un enérgico Finale contagiado de este peculiar exotismo. Estrenada en el Conservatorio de Moscú en enero de 1945 – cuando el Ejército Rojo avanzaba triunfalmente hacia Berlín–, la quinta sinfonía de Prokofiev inauguró la trilogía sinfónica final de este compositor. Alejado del brutalismo vanguardista de sus tres sinfonías anteriores, la obra traslada al ámbito sinfónico la grandeur de su ópera Guerra y paz, en cuya composición estuvo inmerso desde hacía tres años.

español

Ligeti had occasionally used microtonal temperaments before Ramifications (1969), but only in this work did he use a fully microtonal spectrum, calling for half the musicians to tune their instruments a quarter tone higher than the other half. Moreover, on this occasion the "sound masses" took on an entirely new appearance, similar to an incandescent constellation of pulsations in space. The "Turkish" fashions that periodically dazzled Vienna throughout the eighteenth century were the hedonistic counterpart to the hardships suffered in equally intermittent armed conflicts. Of the five violin concertos that Mozart wrote in Salzburg in 1775, the last one had the virtue of having an energetic Finale infected with this peculiar exoticism. Premiered at the Moscow Conservatory in January 1945 – when the Red Army was advancing triumphantly towards Berlin – Prokofiev's fifth symphony inaugurated the composer's final symphonic trilogy. Away from the avant-garde brutalism of his three previous symphonies, the work transfers the grandeur of his opera War and Peace to the symphonic sphere, in whose composition he had been immersed for three years.

English

Sinfónico 21 by Ligeti, Mozart, Prokofiev, De (2023/2023), Director David Afkham, Auditorio Nacional de Música, Madrid, España

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