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PROGRAMME DETAIL

Ouverture spirituelle • Beethoven: Symphony No. 9

PROGRAMME

LUDWIG V. BEETHOVEN • Symphony No. 9 in D minor, Op. 125

INFORMATION

In memoriam Nikolaus Harnoncourt

End of concert approx. 9:45 pm.

Print programme (PDF)

ABOUT THE PRODUCTION

When Beethoven’s Missa solemnis was performed by Nikolaus Harnoncourt with his Concentus Musicus Wien last summer, there was no way of knowing that this would bring the Salzburg Festival full circle, completing a cycle begun in 1992 with a performance of the very same work: at the time, it was Nikolaus Harnoncourt’s debut at the Salzburg Festival, conducting the Chamber Orchestra of Europe. Then as today, the performance was uncompromising, rousing, overwhelming. The recent announcement of his withdrawal from all conducting engagements due to reasons of health, made on the eve of his 86th birthday, was met with great sadness throughout the music world, and it remains for us to remember with the utmost gratitude all those highlights he gave to our Festival throughout a quarter-century. These were truly unheard-of performances, most recently including Mozart’s Die Zauberflöte and, on the concert podium, Mozart’s last three symphonies, newly conceived as an “instrumental oratorio”. His exploration of Beethoven’s key works, begun two years ago with the Concentus Musicus Wien, was to be continued this summer with the Ninth Symphony, an event that cannot now take place as envisioned. In his stead, Andrés Orozco-Estrada will take over as the conductor of this concert on July 25 at the Großes Festspielhaus.

Andrés Orozco-Estrada is considered one of the outstanding conductors of the younger generation and has led international orchestras such as the Vienna and Munich Philharmonics, the Orchestra di Santa Cecilia in Rome and the Gewandhaus Orchestra Leipzig. He is chief conductor of the Frankfurt Radio Symphony Orchestra and music director of the Houston Symphony; he is also principal guest conductor of the London Philharmonic Orchestra. During the past summer, Orozco-Estrada gave his successful Salzburg Festival debut. We are delighted that he will now conduct not only the Vienna Philharmonic in Il templario by Otto Nicolai, as originally planned, but also Beethoven’s Symphony No. 9 during the Ouverture spirituelle.

Andrés Orozco-Estrada:
“It is an honour for me to take over this concert. Maestro Harnoncourt and Concentus Musicus Wien have changed and enriched the history of music with their interpretations. For me, Mr. Harnoncourt and ‘his’ ensemble are great sources of inspiration. I look forward to working on my vision of Beethoven’s Ninth Symphony together with Concentus, and I cannot wait to hear the results.”

Motive Ouverture spirituelle, © Robert Mertens

CHOOSE DATE

Grosses Festspielhaus (Display seating plan with categories)

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Ex oriente lux: the sun rising in the East became a symbol for Christian faith – and remained a catchphrase even after the ‘East-West Schism’ had divided the disparate traditions of Christianity into a Western and an Eastern church. From the perspective of modern historians, this was not a singular event in 1054, but a process of estrangement stretching over decades, even centuries, due to increasing linguistic, cultural, political, economic and of course theological differences, culminating in the catastrophic sack of Christian Constantinople by an army of Venetian crusaders in 1204. It was no coincidence that the Eastern tradition chose to call itself ‘orthodox’ (literally, ‘right in religion’) – after all, it worshipped in Greek, the original language of the New Testament. Even the spoken word of God was music, and song its most intense augmentation: no instrument but the human voice was able to express the effect of the Holy Ghost adequately. This conviction, manifest in sumptuous choral works, was handed down to the various traditions rooted in the Eastern church, spreading geographically from Africa to Asia. Ensembles from Russia, Armenia, Greece, Lebanon, Egypt and Ethiopia will offer resounding examples of these different traditions.
Echoes of these can be detected in works like the large-scale Concerto for Choir by the native Russian Alfred Schnittke – in the anti-clerical Soviet Union in 1986, this was as much of a scandal as the religious fundaments of the music of Estonian Arvo Pärt, particularly revered in the West today. His musical self-discovery in the 1970s went hand in hand with his conversion to the Russian-Orthodox faith. In a sublimated form, the latter may have already been present in the Symphony of Psalms which Igor Stravinsky, himself Russian-Orthodox, expressly did not conceive as a symphony featuring sung psalms, but psalms in a symphonic setting.
The ‘Western’ programme of the Ouverture spirituelle mirrors the status of choral music in the Eastern church, especially in great oratorios written in the Catholic or Reformed traditions. Of course the tradition of beginning the series with Joseph Haydn’s Creationcontinues – conducted this year by Yannick Nézet-Séguin. It reaches its contemporary culmination with the world premiere of Peter Eötvös’s dramatic Halleluja – Oratorium balbulum; classical milestones include Mozart’s Mass in C minor at St. Peter and Beethoven’s Ninth Symphony. While the prophet in Eötvös’s work is afflicted with a stutter, the biblical Daniel in George Frederic Handel’s fascinating oratorio Belshazzar suffers no such impediment: summoned by the Babylonian king – truly a ‘monstrous human beast’, characterized by a pig’s grunt arising from the orchestra pit – Daniel interprets a mysterious writing on the wall (the well-known ‘menetekel’) to foretell his imminent end. The victorious Persian Cyrus liberates the Israelites from their Babylonian slavery: he too, appears as a light from the East.

Walter Weidringer

Tanslated by Alexa Nieschlag

Disputationes
as part of the Ouverture spirituelle

As in previous years, we are grateful that the Herbert Batliner European Institute will cooperate again with the Salzburg Festival, accompanying the Ouverture spirituelle with academic presentations and discussions. Complementing the concert programme focusing on Eastern Christianity, the Disputationes feature issues of intercultural and interreligious dialogue.

The first event takes place on July 22, 2016.
Three rounds of public conversations follow as part of the Ouverture spirituelle.