Name: Sinfónico 22
Start: 2024-06-21T00:00:00.000Z
End: 2024-06-23T00:00:00.000Z
Location: Auditorio Nacional de Musica

Organization

Conductor

David Afkham

Singer

Soprano

Sarah Wegener

Contralto

Wiebke Lehmkuhl

Alto

Tenor

Maximilian Schmitt

Bass

Ashley Riches

Others

National Choir of Spain

Orchestra

National Orchestra of Spain

Orquesta y Coro Nacionales de España

Sinfónico 22

Madrid

Spain

Auditorio Nacional de Musica

Sinfónico 22: Missa solemnis in D major, op. 123 Beethoven

Public

Missa solemnis in D major, op. 123

Approved

La Missa Solemnis de Beethoven se eleva como una majestuosa esfinge en la producción musical sacra de todos los tiempos. Por sus titánicas dimensiones, por su indisimulada voluntad de abarcar todas las facetas de la experiencia religiosa –fe, éxtasis, beatitud, miedo, revelación–, pero también por lo enigmático de su discurso, que a través de infinitos meandros recorre registros musicales inéditos en su obra sinfónica y dramática.

Las texturas camerísticas de «Et incarnatus est», el parsifaliano solo de violín del «Benedictus» o el episodio bélico del Agnus Dei son algunos momentos que resumen la firme voluntad del autor de interpretar el texto sacro ex novo, sin ataduras ni concesiones, aunque quizá sea la quietud de los finales de sus movimientos –en particular, del «Hosanna in excelsis»– su huella más explícita. La sentencia «Dios trasciende toda comprensión» anotada en 1816 en el diario del compositor ilustra acaso, mejor que ningún análisis, la vocación esotérica de esta magna obra que clausura, como pocas, toda una era de creación artística a mayor gloria del Creador.

español

Beethoven's Missa Solemnis rises like a majestic sphinx in sacred music production of all time. Due to its titanic dimensions, due to its undisguised desire to encompass all facets of religious experience –faith, ecstasy, beatitude, fear, revelation–, but also due to the enigmatic nature of its discourse, which through infinite meanders travels through unprecedented musical registers in his symphonic and dramatic work.

The chamber music textures of «Et incarnatus est», the Parsifalian violin solo of «Benedictus» or the warlike episode of Agnus Dei are some moments that summarize the firm will of the author to interpret the sacred text ex novo, without ties or concessions , although perhaps the stillness of the end of his movements –particularly, of the “Hosanna in excelsis”– is his most explicit mark. The sentence "God transcends all comprehension" noted in 1816 in the composer's diary perhaps illustrates, better than any analysis, the esoteric vocation of this great work that closes, like few others, an entire era of artistic creation to the greater glory of the Creator.

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