In 2020, the Festival seeks to highlight the transition from classicism to early romanticism in Vienna, a period in which the figure of Franz Schubert had a particular role. Five of the Viennese composer’s nine symphonies will be presented, along with works that reflect the emergence of a romantic sensibility.
Likewise, the Festival will feature works by Haydn, Mozart and Beethoven, which were sources of inspiration to Schubert in the early phase of his artistic production.
Historically, beauty has been the main aesthetic category to interpret classicism. Beauty inspires enjoyable and pleasing sensations and arises from the perfection of forms, harmony and balance. This is a typical concept of classic art of ancient Greece, adopted by the majority of the artistic movements during the second half of the 18th Century, including the musical movement.
In a different way, the sublime is the feeling between consternation and amazement before the grandiose and incommensurable, the consciousness of human fragility facing the forces of nature, the infinite. The sublime is one of the key categories of interpretation of the first romanticism, including musical romanticism, which takes place between 1815 and 1830.
Schubert’s instrumental (symphonic, chamber, soloist) and vocal (specially lieder) music will be the benchmark from which we will begin to capture differences and similarities with those from the other three great Viennese composers. In addition to performing some of the symphonies written by the Viennese maestro, guest artists will also interpret some of his chamber works and lieder cycles.
- The German word lieder (lied in singular) means songs or chants.
- Schubert composed more than 600 lieder endowed with unprecedented artistic and expressive levels.
- His lieder were based on writings from contemporary poets, such as Goethe, Müller, Rellstab, Hein and Schlegel, among others.