Bruckner is the great symphonist of the last third of the 19th century. The spiritual and emotional depth of his music and the colossal magnitude of his symphonies are closely linked to his activity as an excellent improviser on the organ. It is from the timbral complexity of the so-called “king of instruments” that we can approach the overarching conception of Bruckner’s orchestra, a concept that provoked the contempt of the public and critics during the composer’s lifetime (only sincerely praised by Mahler and Wagner, staunch admirers and proponents of his work) and posthumous recognition throughout the 20th century. Carry on reading
Symphony no. 3, also known as the Wagner Symphony, underwent multiple revisions until reaching its final form. Throughout these revisions, the author removed explicit quotations from Wagner’s music that were part of the work’s early stages. Lyrical and mysterious, and full of themes that build an intricate thread, this symphony is one of the greatest monuments of the Germanic tradition.
The concert includes the premiere of Suite of Myself, by Raquel García-Tomás, a work that was conceived during the months of strict lockdown. It draws on different fragments of Bach’s music as a starting point (specifically from the St John Passion, from the Invention BWV 797 and the sarabande from the French Suite no. 2) to approach the bright, solemn and liberating universe of Song of Myself, by Walt Whitman.