Name: Sinfónico 18
Start: 2024-04-26T00:00:00.000Z
End: 2024-04-28T00:00:00.000Z
Location: Auditorio Nacional de Musica

Organization

Conductor

Kent Nagano

Singer

Marie-Sophie Pollak

Soprano

Tenor

Christoph Prégardien

Uriel

Baritone

Simon Bailey

Adam

Others

National Choir of Spain

Orchestra

National Orchestra of Spain

Orquesta y Coro Nacionales de España

Auditorio Nacional de Música

Sinfónico 18

Madrid

Spain

Auditorio Nacional de Musica

Sinfónico 18: Die Schöpfung, Hob. XXI:2 Haydn,FJ

Public

The Creation

Teja Boyidi

Approved

OCNE. Sinfónico 18: Die Schöpfung, Hob. XXI:2 Haydn

En 1791 –el año de la muerte de Mozart– la vida musical vienesa languidecía exhausta tras la guerra austro-turca iniciada en 1788 y resentida por las restricciones a los espectáculos impuestas en duelo por la muerte del emperador José II. Pero también fue el año en que Haydn realizó su primer viaje a Londres y en el que descubrió los oratorios händelianos –Israel en Egipto, en particular–, que los británicos mantuvieron en repertorio con particular veneración desde la muerte de su autor.

La impresión producida por esta música fue tan intensa que, según palabras del compositor –que había atravesado ya la barrera de los 60 años–, se sintió «como transportado a sus años de estudiante, con la conciencia de no saber aún nada». Afortunadamente, este incidente renovó sus ganas de componer y a su regreso a Viena escribió La creación, oratorio basado en la tradición bíblica condensada en el Génesis que transmite, gracias a una partitura diáfana y llena de sorprendentes efectos, el juvenil ímpetu con el que Haydn acometió el tramo final de su carrera artística.

español

In 1791 – the year of Mozart's death – Viennese musical life languished, exhausted after the Austro-Turkish war that began in 1788 and resentful of the restrictions on performances imposed in mourning for the death of Emperor Joseph II. But it was also the year in which Haydn made his first trip to London and in which he discovered the Handelian oratorios –Israel in Egypt , in particular–, which the British kept in their repertoire with particular veneration since the death of their author.

The impression produced by this music was so intense that, in the words of the composer –who had already crossed the barrier of 60 years–, he felt “as if transported to his student years, with the awareness of not yet knowing anything”. Fortunately, this incident renewed his desire to compose and, on his return to Vienna, he wrote The Creation , an oratorio based on the biblical tradition condensed in Genesis that conveys, thanks to a diaphanous score full of surprising effects, the youthful impetus with which Haydn attacked the final stretch of his artistic career.

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