FRANZ JOSEPH HAYDN
(Rohrau, Austria 1732 - Vienna 1809)
Symphony no. 44 in E minor “Trauersinfonie”, Hob. I: 44
(1772) OBC Premiere - 22 ′
Allegro con brio
Menuetto: Allegretto, canone in diapason
In luce praesenti
(2020) World premiere - 16 ′
Work commissioned by L'Auditori de Barcelona, included in the program of Incentives for Musical Creation
of the SGAE Foundation and the Spanish Association of Symphony Orchestras (AEOS)
INTERVAL 20 ′
(Hamburg 1833 - Vienna 1897)
Symphony no. 3 in F Major, op. 90
(1883) – 33′
Allegro con brio
JUANJO MENA, CONDUCTOR
FIRST VIOLINS Vlad Stanculeasa, concertino / Christian Scholl *, concertino assistant / Maria José Aznar / Sarah Bels / Walter Ebenberger / Ana Galán / Natalia Mediavilla / Katia Novell / Pilar Pérez / Anca Ratiu / Jordi Salicrú / Oleksandr Sora * / Yulia Tsuranova * / Elitsa Yancheva * SECOND VIOLINS Alexandra Presaizen, soloist / Emil Bolozan, assistant / Maria José Balaguer / Jana Brauninger / Patricia Bronisz / Clàudia Farrés / Mireia Llorens / Melita Murgea / Antoni Peña / Josep Maria Plana / Robert Tomàs / José Eduardo Canto * VIOLAS Domingo Mujica *, guest soloist / David Derrico / Christine de Lacoste / Sophie Lasnet / Michel Millet / Miquel Serrahima / Jennifer Stahl / Irene Argüello * / Peter Bucknell * / Javier López * CELLOS Charles-Antoine Archambault *, soloist / Jose Mor, soloist / Lourdes Duñó / Vincent Ellegiers / Marc Galobardes / Jean Baptiste Texier / Daniel Claret * / Carmen Enjamio * DOUBLE BASSES Christoph Rahn, soloist / Dmitri Smyshlyaev, assistant / Apostle Kosev / Josep Mensa / Matthew Nelson / Albert Prat FLUTES Francisco López, soloist / Beatriz Cambrils OBOES Disa English, soloist / Molly Judson, English horn / José Juan Pardo CLARINETS Josep Fuster, assistant / Francesc Navarro / Alfons Reverté, bass clarinet BASSOONS Silvia Coricelli, soloist / Noah Cantú / Slawomir Krysmalski, contrabassoon HORNS Juan Manuel Gómez, soloist / Joan Aragó / Juan Conrado García, assistant / Pablo Hernández * TRUMPETS Mireia Farrés, soloist / Adrián Moscardó TROMBONES Eusebio Sáez, soloist / Vicent Pérez / Gaspar Montesinos, assistant / Juan Luis Bori *, bass trombone TUBA Daniel Martínez* TIMPANI Marc Pino PERCUSSION Juan Francisco Ruiz / Ignasi Vila / Miquel Angel Martínez * HARP Magdalena Barrera, soloist CELESTA Dolors Cano *
ORCHESTRA MANAGER Walter Ebenberger
MUSICAL DOCUMENTATION MANAGER Begoña Pérez
TECHNICAL MANAGER Ignasi Valero
STAGE CREW Luis Hernández *
by Luis Gago
It is well known that Joseph Haydn spent a large part of his life at the service of the same master (the aristocratic Esterházy family), and yet we are astonished at the magnitude and quality of the composer's catalogue. Nothing explains this better than the words that his first biographer, Georg August Griesinger, puts in Haydn's own mouth: ‘My prince was satisfied with all my works. I was assured of applause and, as head of an orchestra, was able to experiment, observe what created an impression and what weakened it, to thus improve, add, make cuts, take risks. I was isolated from the world, no one in my vicinity would vex and confuse me, and so I had to become original’. Only the combination of genius and modesty can lead to such an explanation.
Haydn 's symphonies are often associated with the literary movement known as Sturm und Drang (Storm and momentum), although earlier in time, have several common features: predominance of minor mode tones, syncopated rhythms, abrupt accents, sudden changes in dynamics, infrequent modulations, rhetorical silences, surprising unisons and counterpoint textures. We find them all, already from the initial unison, in Symphony no. 44, known by the spurious nickname "Trauer" (Funeral). The minuet, located in second place, is written in the form of tuning fork, that is, a canon in the eighth between the high string and the low string. The adagio moves to the very distant key of the E, which had already been anticipated in the section of the trio of the previous movement, while the final loan is reopened with a unison of the string completely, with a marked prominence in both cases of the sensitive.
Brahms' admiration for Haydn's music goes far beyond the fact that he was the only classical composer from whom he chose a theme to turn it into the germ of a series of variations (though he could not know that the so-called “Coral de Sant Antoni”, which he used in his op 56, was falsely attributed to the author of The Creation). His two serenades (op. 11 and 16), for example, contain a multitude of unequivocally Haydnian elements, which is in line with the fact that during his years at the Detmold court (1857-1860), where they went born these two compositions, Brahms had his own library of symphonies of the composer. Admiration for his music had begun years ago, especially when he first heard it The Creation in May 1855 in Düsseldorf, as well as some of his string quartets, performed by his friend Joseph Joachim's quartet, a few weeks later: "These quartets are wonderfully attractive and masterful," he wrote to Clara Schumann. beautiful and original ideas, especially in the great adages. Ten years later, in 1865, Joachim would give him a full paperback edition of all the string quartets by the author of The seasons.
It should come as no surprise, therefore, that after the long and painful gestation of the First symphony, Brahms turned to Haydn for inspiration. We know that, in the full composition of the Second, bought the scores of at least ten symphonies by the Rohrau musician, as well as all his trios. When he could afford it, he even acquired the autograph manuscript of the six Quartets op. 20. And his commentary on the length of Symphony no. 88: "I want my tenth symphony to look like this." The Third Symphony which we will hear today also hides some very classical forms: the extreme movements are in Fa and fa m, while the central ones, in Do and do m, are moved to the dominant. It is the shortest and most compact of his four symphonies, with elements that reinforce internal cohesion, such as the triple quote from the slow-moving choral theme in the concluding allegro.
Finally, let the same composer, Miquel Oliu, present the happy world premiere that hosts today's concert: "'The light shines in the darkness, and the darkness has not been able to drown it': this verse taken from the beginning of the text of St. John, in which the evangelist sets out his vision of the creation of the world, has been the starting point of inspiration for the work. The term creation — and here light — is taken not as a genesis, nor as a past fact, or as a distant future, but as a present. This light is not imposed grandiloquently, but is revealed in a subtle way and is understood as 'presence': in small things, in nature, which is more or less hidden, silent, in all life. Hence the title, In luce praesenti (In the present light). In its musical conception, the work is articulated in the form of sound images that open, follow one another, are transformed, from a dark background —in a clear serious / acute polarization—, and that end up giving place to a common element: a more vivid sound fabric, which wants to reflect that moment of finer luminosity. Vertebrate in three large sections that open with an upward movement in glissando, everything leads to an end that tends to an inner look, without directionality, in which the breath and the silence are gaining 'space' progressively ”.