#0

Thursday Concerts, symphonic — Marc Minkowski will lead the National Philharmonic Orchestra in a program with music by Mozart, Haydn and Bruckner.

Marc Minkowski, photo by Benjamin Chelly

Can the music that the composer rejected say more about him than other works? And do we have the right to this experience, overhearing when the creator did not grant the invitation... #0 is a story of beginning and end, of hope and doubt, and also of the moment when the music came out of the comfort zone.
La Clemenza di Tito (The Grace of Titus) is one of Mozart's most recent operas, composed only a few months before the composer's death. Written in haste to celebrate the coronation of Leopold II as King of Bohemia, it recycles motifs related to power and its imaginary responsibility, gentleness and reason. Emperor Titus, despite intrigue and betrayal, chooses forgiveness instead of revenge. The overture contains a full range of emotions and nuanced tensions.
Joseph Haydn's Symphony in D major Hob.I:104, called “London”, is the last symphony of the composer, recognized as the father of this form. The work is not only the culmination of his work, but at the same time the summary of a certain aesthetic era in which balance and safe balance prevailed. “London” is a turning point in the concert program, a moment when the classical symphony completes itself and at the same time opens up to the first cracks and more radical changes.
Bruckner's work, which closes the concert program, is considered one of the most enigmatic in the history of nineteenth-century symphony. The Symphony in D minor was withdrawn by the composer from the official catalogue of his works. Bruckner found it not good enough and wrote “gilt nicht” (does not count). Paradoxically, it is Symphony No. 0 that is considered today the moment of birth of Bruckner's characteristic and admired style.

Maria Peryte