FRANZ JOSEPH HAYDN
Rohrau 1732 - Vienna 1809

The Creation (Opening) "The representation of chaos"

(1798) – 5′


FERRAN SOR
Barcelona 1778 - Paris 1839

Symphony no. 3 in Fa

(ca. 1804) - 12 ′

Largo
Moderate cheer


WOLFGANG AMADEUS MOZART
Salzburg 1756 - Vienna 1791

Concerto for clarinet and orchestra in La, KV 622

(1791)- 28′

Allegro
Adagio
Rondo: Cheerful

Daniel Ottensamer, clarinet


Symphony no. 41 in C, KV 551, “Jupiter”

(1788) – 26′

Allegro vivace
Singable going
Menuetto: Allegretto
Very cheerful

JONATHAN COHEN, CONDUCTOR
DANIEL OTTENSAMER, CLARINET
BARCELONA SYMPHONY ORCHESTRA

 

FIRST VIOLINS  Vlad Stanculeasa, concertino / Maria José Aznar / Walter Ebenberger / Ana Galán / Natalia Mediavilla / Pilar Pérez / Jordi Salicrú / Ariana Oroño * / Yulia Tsuranova * SECOND VIOLINS Alexandra Presaizen, soloist / Emil Bolozan, assistant / Jana Brauninger / Clàudia Farrés / Melita Murgea / Josep Maria Plana / Antoni Peña VIOLAS Alejandro Regueira *, guest soloist / Josephine Fitzpatrick, assistant / Christine de Lacoste / David Derrico / Sophie Lasnet / Andreas Süssmayr CELLOS Jose Mor, soloist / Lourdes Duñó / Vincent Ellegiers / Marc Galobardes / Carmen Enjamio * DOUBLE BASSES Dmitri Smyshlyaev, assistant / Matthew Nelson / Albert Prat  FLUTES  Christian Farroni, assistant / Beatriz Cambrils OBOES Dolors Chiralt, assistant / Jose Juan Pardo  CLARINETS Larry Passin, soloist /  Alfons Reverté BASSOONS Guillermo Salcedo *,  guest soloist / Slawomir Krysmalski HORNS Juan Conrado García, assistant / Joan Aragó TRUMPETS Mireia Farrés, soloist / Adrián Moscardó TROMBONES Eusebio Sáez / Vicent Pérez TIMPANI Joan Marc Pino

ORCHESTRA MANAGER Walter Ebenberger  
MUSICAL DOCUMENTATION MANAGER Begoña Pérez
TECHNICAL MANAGER Ignasi Valero
STAGE CREW Luis Hernández *

* collaborator

NOTES

by Juan Lucas

Finis coronat opus

The speakers The Creation it is the closest thing, in the 18th century, to what we would now call a musical bestseller. Only in Vienna, where it premiered in 1798, did the play perform on no less than 50 occasions until Haydn's death in 1809, and always with the theater full. "I want to write a work that provides eternal and universal fame to my name," confessed the composer, who had just achieved, in England, thanks to the initiative of the sagacious businessman Johann Peter Salomon, an unprecedented success and fame in Europe. It was precisely in England where Haydn met Handel's great oratorios, in particular, The Messiah, a direct source of inspiration for his oratorio based on the Genesis. Of the 34 numbers that make up The Creation, the most famous is the first, its mysterious prelude in C, a slow movement in the form of a sonata that describes the original chaos through the simple procedure — very Haydnian — of omitting the final cadences in each sentence. It did not fail. When the bass, in the subsequent recitative, proclaimed the creation of light in a radiant Gift, the theater collapsed.

Despite being strictly contemporary with Beethoven's "Heroic" symphony, Symphony no. 3 in F by Fernando Sor responds to the baroque and preclassicist pattern of the symphony as equivalent to the operatic overture, that is, a short symphonic fragment that used to anticipate a dramatic-musical work. The piece belongs to the Madrid period of Sor (1801-1813), prior to his final European exile, which made him one of the first "cosmopolitan" musicians in Europe. Its structure is simple and familiar: an extensive slow introduction in minor mode followed by an allegro in F in strict sonata form (with a second theme in C do that gives a special sweetness to the symphony). However, and despite its correct writing, the work is nothing more than a twilight example of a music surpassed by the time. Sor's musical interest must be sought, as is well known, in his guitar production, a field in which he was a true innovator (in fact, he was called, in a exaggeration enough). and that typical—, the Beethoven of the Guitar).

The Clarinet Concerto K. 622 is not only the last instrumental work that the author of Don Giovanni, but occupies, in its own right, the first place in the concert repertoire for this instrument. Composed a few weeks before his death, Mozart wrote it for his friend and Masonic brother Anton Stadler, a renowned clarinetist who had also been commissioned two years earlier by the no less fabulous Clarinet Quintet. Originally written for bass horn (of more serious register than the usual clarinet), the concert gives off a luminosity (derived to a large extent from the choice of the tonality, the radiant La) very difficult to fit with the dark circumstances that would bring about the immediate death of their author . The orchestral sound is exuberant, especially in the first movement, a fascinating dialogue between the soloist and the instrumental ensemble with few pieces of routine orchestral accompaniment. In its profound and moving simplicity, the second movement reminds us — in case we didn’t know — that we are dealing with the Mozart who had just written The magic flute and many have wished to detect in their staves a kind of melancholy farewell of the world.

Mozart composed his last three one-shot symphonies in the summer of 1788, a circumstance that relates these three powerful works to the point that, in a way, they form a peculiar symphonic unit. Mozart had previously written moving and transcendental symphonies, but these three (to which “Prague” could be added) are not only the best, but possibly the first to be described as historical. The third in the series, the robust and prodigious Symphony in C K. 551, is the most direct historical antecedent of the symphonic revolution that Beethoven would carry out only three lustrums later, especially for its impressive final movement, a counterpoint extravaganza of the first order and perhaps the most unusual movement of all Mozart's production. “Finis coronat opus”Mozart had written 10 years earlier to refer to the third and final act of his opera Idomeneo. In the case of "Jupiter", the finale that introduces the technique of fugue to the heart of the sonata form, with a coda that masterfully combines the double fugue and the canon, not only culminates Mozart's symphonic production, but ended to underpin the prestige of the symphony as an instrumental genre par excellence.

And one last curiosity: the subtitle "Jupiter" with which the symphony has gone down in history was awarded to the businessman Johann Peter Salomon, the same one that led to Haydn's two triumphant trips to England during the 1790s, of whom we have, precisely, the oratory of The Creation as one of its main fruits (in addition to its last series of symphonies).

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