Monteverdi by Hengelbrock and Balthasar Neumann Chor & Ensemble

Thomas Hengelbrock

Madrid. 23 November 2017. He Sunday 3 from December to 19 hours, Universe cycle Baroque Music National Broadcasting Center (CNDM) It presented in the Symphony Hall of the National Music Auditorium of Madrid its last meeting this year. This concert is also part of # Monteverdi4.5.0, series musical del CNDM, scheduled throughout Spain, which is celebrating along 2017 he 450 anniversary of the birth of Claudio Monteverdi. The protagonists of this event will be the joint Balthasar -Neumann -Chor & -Ensemble, what, after offering at the National Auditorium the three parts of the work Monteverdian Selva moral and spiritual, one of the most significant pieces of sacred music in history, come now to present Vespers of beata Vergine (popularly known as Vespers) cremonés of genius. This time, the virtuous group will be led by its founder, Thomas Hengelbrock.

Spiritual vanguardismo Monteverdi

According Enrique Martinez Miura: “Probably, From our perspective from a distance of four centuries, the most innovative contribution and the lasting influence of Monteverdi operas are associated with, because you may be rightly considered as the true creator of the form, in the sense that it was the first -with L'Orfeo, I first performed in Mantua in 1607- to understand and use the dramatic and musical possibilities of theater music as totally. But there was another field in which the footprint of the Cremonese artist would be felt with equal force, the religious music. While still in the service of the ducal court of Mantua, write the Vespers of beata Vergine, published in 1610. The tradition of vespers as part of divine service dated back to almost the beginning of Christianity, consisting essentially of verse and responsorial God stretch five psalms followed by as many antiphons. In each monastery, church or cathedral proceeded to use the music kept on file, evidently without any sense of unity. Here is the main novelty introduced by Monteverdi, who covered the service as a superior unit, although also important not inconsiderable would become a conceptual element, music provided conceived as a work of art due to a single person. But it can not be ignored that this Marian glorification is not understandable outside the cult of the Virgin promoted by the Counter-. Or seek a new job, perhaps in the very chapel Vaticana, after endanger its work in Mantua to the death of Francesco Gonzaga, the Vespers they assumed an important and difficult task for Monteverdi, who not only this creation dedicated to Pope Paul V, but even he traveled to Rome to personally deliver a copy of the edition. But his new destination would not be next to the papal seat, but no less impressive Basilica of San Marco in Venice from August 1613. Anyway, in this absolute masterpiece which is always compared with the Mass in B minor Bach and Mass the Beethoven, Monteverdi kept not meet religious function was expected of her work with a real tour of all shapes and styles at your fingertips: Gregorian chant, polyphony large or restringida-, vocal solos, concert soloist and instrumental piece. A set truth more heterogeneous cast the only crucible of Monteverdi language and definable only in its obvious anachronism -even as "poliestilista", with which he advanced in more than three centuries and a half to similar experiences ahead of our time.”

Thomas Hengelbrock is principal conductor of the NDR Orchester Elbphilharmonie, founder and director of the Balthasar-Neumann-Ensembles and "Chef associé" of the Orchester de Paris. It is one of the most prestigious conductors of our time. His repertoire ranges from music of the seventeenth century to contemporary works and includes all genres. As a guest, Thomas Hengelbrock enjoys nationally and internationally an excellent reputation: different invitations have led him to renowned orchestras such as the Royal Concertgebouw Orchestra, the Vienna Philharmonic, the Bavarian Radio Symphony Orchestra and many more. Thomas Hengelbrock regularly presented at the Teatro Real Madrid, in the Paris Opera, in Festspielhaus Baden-Baden and Konzerthaus Dortmund and works with singers Plácido Domingo, Cecilia Bartoli, Anna Netrebko y Christian Gerhaher. Among other highlights of the last season the opening of the Elbe Philharmonic Hall in Hamburg are in January 2017, the opening concert with the Orchester de Paris and world tours with the Balthasar-Neumann-Ensemble.

In the years 90, Thomas Hengelbrock created with the Balthasar-Neumann-Chor and Ensemble, sonic results that today are among the most successful of its kind. Between 1995 Y 1998, I act as artistic director of Deutsche Kammerphilharmonie Bremen the, Also during the years 2000 Y 2006 He directed the Festival of Feldkirch and between 2000 Y 2003 he worked as musical director of the Wiener Volksoper. In 2013 international sensation caused by the Balthasar-Neumann by the representative quality of work Parsifal Wagner with an original sound. Likewise, Thomas Hengelbrock elabora, junto a la actriz Johanna Wokalek, musician-literal programs like night watch with lyrical and choral works a cappella of Romanticism (Sony Music recording published in). As chief conductor of the NDR Orchester Elbphilharmonie "inspires Hamburg" and "always brings new wonders in the orchestra", Hamburger Abendblatt newspaper as. This can be seen in their acclaimed recordings, including Symphonies Mahler, Dvořák, Mendelssohn, Schumann y Schubert; In addition to its numerous tours in Germany, Europe and Asia.

Because of its great momentum in music education Thomas Hengelbrock was awarded 2016 with musical Herbert von Karajan Prize. His artistic development was forged as an assistant Antal Doráti, Witold Lutoslawski y Mauricio Kagel, through whom he had contact with contemporary music. It also gave a decisive boost cooperation Concentus Musicus Ensemble with Nikolaus Harnoncourts. also intended, with his dedication to the music of the nineteenth and twentieth centuries, much of his work to the historicist interpretation, contributing significantly and lastingly establish the original musical performance with period instruments.

tickets, with an overall price of 15 € to 40 €, and discounts up 60% for those under 26 and unemployed (entries “Last minute”, with purchase from one hour before the concert hall box office) and are on sale at the box office of the National Auditorium and INAEM theaters, plus online sales and by phone at 902 22 49 49.

Photograph: Gunter Gluecklich