{"id":1023,"date":"2024-03-14T11:03:02","date_gmt":"2024-03-14T11:03:02","guid":{"rendered":"https:\/\/orfeovalencia.org\/blog\/?p=1023"},"modified":"2024-03-21T14:28:12","modified_gmt":"2024-03-21T14:28:12","slug":"mozart-i-faure-dues-maneres-diferents-de-fer-un-requiem","status":"publish","type":"post","link":"https:\/\/orfeovalencia.org\/blog\/2024\/03\/14\/mozart-i-faure-dues-maneres-diferents-de-fer-un-requiem\/","title":{"rendered":"Mozart i Faur\u00e9, dues maneres diferents de fer un R\u00e8quiem"},"content":{"rendered":"\n<p class=\"has-medium-font-size\"><strong>La de vegades que l&#8217;Orfe\u00f3 Valenci\u00e0 ha afrontat aquestes dues obres mestres com s\u00f3n els Requiem de Mozart i Faur\u00e9! Aquestes dues obres han acompanyat al cor al llarg de la seua hist\u00f2ria, per\u00f2 cadascuna t\u00e9 les seues particularitats, la qual cosa ens demostra la forma tan diversa en que es pot escriure una missa, en aquest cas una de missa de difunts.<\/strong><\/p>\n\n\n\n<p class=\"has-text-align-right has-small-font-size\"><strong>Per Fernando Morales<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"754\" height=\"754\" src=\"https:\/\/orfeovalencia.org\/blog\/wp-content\/uploads\/2024\/03\/Cartel-Concerts-de-Setmana-Santa-2024.jpeg\" alt=\"\" class=\"wp-image-1038\" srcset=\"https:\/\/orfeovalencia.org\/blog\/wp-content\/uploads\/2024\/03\/Cartel-Concerts-de-Setmana-Santa-2024.jpeg 754w, https:\/\/orfeovalencia.org\/blog\/wp-content\/uploads\/2024\/03\/Cartel-Concerts-de-Setmana-Santa-2024-300x300.jpeg 300w, https:\/\/orfeovalencia.org\/blog\/wp-content\/uploads\/2024\/03\/Cartel-Concerts-de-Setmana-Santa-2024-150x150.jpeg 150w\" sizes=\"auto, (max-width: 754px) 100vw, 754px\" \/><\/figure>\n\n\n\n<p>Una vegada m\u00e9s, dos dels m\u00e9s impressionants <em>R\u00e8quiem<\/em>, el de Mozart i el de Faur\u00e9, tornen als programes dels concerts de l&#8217;Orfe\u00f3 Valenci\u00e0. M\u00e9s endavant trobareu les dades d&#8217;aquestos pr\u00f2xims concerts, per\u00f2 abans, anem a repasar la manera tan diversa com els dos compositors introdueixen en les seues obres les parts pr\u00f2pies d&#8217;aquesta tipologia lit\u00fargica. <\/p>\n\n\n\n<p>Per\u00f2 en aquest article no anem a parlar de les difer\u00e8ncies musicals, t\u00e8cniques o est\u00e8tiques, principalment perqu\u00e8 ja hem parlat molt d&#8217;elles i les coneixem molt b\u00e9, sin\u00f2 de l&#8217;elecci\u00f3 que els compositors varen fer per estructurar la seua missa de difunts. <\/p>\n\n\n\n<p>Per\u00f2 primer de tot, anem a repasar breument les parts en que es divideix una missa. Una missa t\u00e9 dos parts: l&#8217;ordinari i el propi. Les parts de l&#8217;ordinari s\u00f3n les invariables, una distribuci\u00f3 en sis parts que conforma l&#8217;habitual forma de les misses comunes:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Kyrie<\/li>\n\n\n\n<li>Gloria<\/li>\n\n\n\n<li>Credo<\/li>\n\n\n\n<li>Sanctus<\/li>\n\n\n\n<li>Benedictus<\/li>\n\n\n\n<li>Agnus Dei<\/li>\n<\/ul>\n\n\n\n<p>Sobre aquesta base general s&#8217;articulen les parts del propi, \u00e9s a dir, les variables en funci\u00f3 de l&#8217;\u00fas lit\u00fargic de la missa. Aix\u00ed, amb la introducci\u00f3 dels n\u00fameros del propi, la distribuci\u00f3 d&#8217;una missa varia segons el moment de l&#8217;any o la celebraci\u00f3 de que es tracte. <\/p>\n\n\n\n<p>Cal dir tamb\u00e9 que estem parlant d&#8217;una manera general, ja que sempre es poden trobar xicotetes difer\u00e8ncies o variacions. Per\u00f2 d&#8217;una manera simplificada, l&#8217;estructura general d&#8217;una missa de r\u00e8quiem quedaria de la seg\u00fcent manera:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Introito: Requiem aeternam-Kyrie<\/li>\n\n\n\n<li>Seq\u00fc\u00e8ncia: Dies Irae<\/li>\n\n\n\n<li>Ofertori: Domine Jesu Christe-Hostias<\/li>\n\n\n\n<li>Sanctus<\/li>\n\n\n\n<li>Benedictus<\/li>\n\n\n\n<li>Agnus Dei<\/li>\n\n\n\n<li>Communio<\/li>\n<\/ul>\n\n\n\n<p>Com veiem, en un r\u00e8quiem generalment es mant\u00e9 de l&#8217;ordinari el <em>Kyrie<\/em> (integrat amb l&#8217;<em>Introito<\/em>), <em>Sanctus\/Benedictus <\/em>i <em>Agnus Dei<\/em>. \u00c9s molt cridanera l&#8217;omissi\u00f3 del <em>Gl\u00f2ria <\/em>i el <em>Credo<\/em>, no utilitzades en una missa de difunts perqu\u00e8 no resulten apropiades i s\u00f3n substituides per dues parts del propi: la <em>Seq\u00fc\u00e8ncia <\/em>i l&#8217;<em>Ofertori<\/em>. <\/p>\n\n\n\n<p>Fem un inc\u00eds per a parlar del que \u00e9s una <em>seq\u00fc\u00e8ncia<\/em>. Sembla que va naixer com una extensi\u00f3 de l&#8217;<em>Aleluia<\/em> de la missa. Les llargues vocalitzacions que es feren habituals en les misses de l&#8217;Edat Mitjana feien missi\u00f3 quasi impossible la memoritzaci\u00f3 de les mateixes, amb la qual cosa es va generalitzar una nova moda per adaptar textos a les vocalitzacions que facilitaren el seu aprenentatge. <\/p>\n\n\n\n<p>Per\u00f2 com va passar amb tantes coses durant aquestos segles, tant les formes com els textos que s&#8217;introduiren van anar degenerant fins a arribar a extrems grotescos. Aix\u00ed que al segle XVI, durant el Concili de Trent, les autoritats eclesi\u00e0stiques varen prohibir totes les seq\u00fc\u00e8ncies a excepci\u00f3 de quatre: <em>Victima Paschali Laudes, Veni Sancte Spiritus<\/em>, <em>Lauda Sion <\/em>y <em>Dies Irae<\/em>. Posteriorment, al segle XVIII aquest privilegi es faria extensiu a una altra seq\u00fc\u00e8ncia, l&#8217;<em>Stabat Mater<\/em>.<\/p>\n\n\n\n<p>Aix\u00ed, la seq\u00fc\u00e8ncia del R\u00e8quiem t\u00e9 17 estrofes:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Dies Irae<\/li>\n\n\n\n<li>Quantus tremor est futurus<\/li>\n\n\n\n<li>Tuba mirum<\/li>\n\n\n\n<li>Mors stupevit et natura<\/li>\n\n\n\n<li>Liber scriptus<\/li>\n\n\n\n<li>Iudex ergo<\/li>\n\n\n\n<li>Quid sum miser<\/li>\n\n\n\n<li>Rex tremendae<\/li>\n\n\n\n<li>Recordare<\/li>\n\n\n\n<li>Quaerens me<\/li>\n\n\n\n<li>Iuste iudex<\/li>\n\n\n\n<li>Ingemisco<\/li>\n\n\n\n<li>Qui Mariam absolvisti<\/li>\n\n\n\n<li>Preces meae non sunt dignae<\/li>\n\n\n\n<li>Inter oves<\/li>\n\n\n\n<li>Confutatis<\/li>\n\n\n\n<li>Oro supplex<\/li>\n\n\n\n<li>Lacrimosa<\/li>\n\n\n\n<li>Pie Jesu<\/li>\n<\/ul>\n\n\n\n<p>La part final \u00e9s la que m\u00e9s varietat presenta, ja que darrere de l&#8217;\u00faltima part, la <em>Communio<\/em>, es poden insertar parts que en la celebraci\u00f3 lit\u00fargica corresponen al moment d&#8217;al\u00e7ament del f\u00e8retre del difunt. Les m\u00e9s habituals s\u00f3n el <em>Libera me<\/em> i <em>In Paradisum<\/em>.<\/p>\n\n\n\n<p class=\"has-medium-font-size\"><strong>Mozart, un dels primers r\u00e8quiem teatrals<\/strong> <\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p><strong>Wolfgang Amadeus Mozart: Requiem en re menor, KV 626<\/strong><\/p>\n\n\n\n<p>X\u00e0tiva. Diumenge 24 de mar\u00e7 de 2024. 19:30 hores. Gran Teatre de X\u00e0tiva. <a href=\"https:\/\/entradas.instanticket.es\/ayto-xativa\/public\/janto\/main.php\">Entrades: Entre 8 i 10 euros<\/a><\/p>\n<cite>Teresa Albero, soprano; Nuria Lorenzo, mezzosoprano; Javier Palacios, tenor; Rodrigo Esteves, bar\u00edton. Orfe\u00f3 Valenci\u00e0, Josep Llu\u00eds Valldecabres, director. Orquesta de C\u00e1mara de Valencia. Director: Pere Molina.<\/cite><\/blockquote>\n\n\n\n<p>Tots sabem que Mozart no va concloure el seu R\u00e8quiem, i que aquesta tasca va ser encomanada per la seua v\u00eddua, Constanze, a un dels seus alumnes predilectes: Franz Xaver S\u00fcssmayr. Per\u00f2 pel material que va completar el geni, una bona part de l&#8217;obra, sabem que el plantejament era la d&#8217;un R\u00e8quiem dram\u00e0tic, propi d&#8217;un compositor que havia fet de les \u00f2peres una de les seues grans especialitats.<\/p>\n\n\n\n<p>D&#8217;aquesta manera, podem dir que el R\u00e8quiem de Mozart \u00e9s una obra amb una clara imprompta dels drames mozartians, per\u00f2 al mateix temps, dotada de moments d&#8217;un lirisme aclaparador. <\/p>\n\n\n\n<p>Parlant de l&#8217;estructura del seu <em>R\u00e8quiem<\/em>, el salzburgu\u00e9s utilitza un esquema prou tradicional. Crida l&#8217;atenci\u00f3 que no incorpore cap dels moments finals: ni el <em>Libera me <\/em>ni <em>In paradisum<\/em>, sin\u00f2 que tanca l&#8217;obra amb la <em>Communio<\/em>.<\/p>\n\n\n\n<p>La <em>Seq\u00fc\u00e8ncia<\/em> \u00e9s la part, segurament, m\u00e9s caracter\u00edstica del <em>R\u00e8quiem <\/em>de Mozart. Les 17 estrofes que hem vist anteriorment, Mozart les agrupa en sis parts: <\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Dies Irae<\/li>\n\n\n\n<li>Tuba mirum<\/li>\n\n\n\n<li>Rex tremendae<\/li>\n\n\n\n<li>Recordare<\/li>\n\n\n\n<li>Confutatis<\/li>\n\n\n\n<li>Lacrimosa<\/li>\n<\/ul>\n\n\n\n<p>En elles Mozart alterna els episodis corals, d&#8217;enorme c\u00e0rrega dram\u00e0tica, amb les parts per a solistes, d&#8217;un car\u00e0cter molt m\u00e9s l\u00edric, abans de tancar la seq\u00fc\u00e8ncia amb el commovedor <em>Lacrimosa<\/em>, per al que utilitza tamb\u00e9 al cor. <\/p>\n\n\n\n<p>Tot seguit apareix una altra secci\u00f3 pr\u00f2pia de la missa de requiem, l&#8217;<em>Ofertori<\/em>, que est\u00e0 dividit en dues parts: <em>Domine Jesu Christe<\/em> i <em>Hostias<\/em>. La conclusi\u00f3 del <em>R\u00e8quiem<\/em>, ja pr\u00e0cticament en mans de S\u00fcssmayr, t\u00e9 una estructura prou convencional i respectuosa amb els models tradicionals.<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p><strong>Wolfgang Amadeus Mozart: Requiem en re menor, KV 626<\/strong><\/p>\n\n\n\n<p>Val\u00e8ncia. Dilluns 25 de mar\u00e7 de 2024. 19:30 hores. Catedral de Val\u00e8ncia. <a href=\"https:\/\/palauvalencia.com\/evento\/banda-sinfonica-municipal-de-valencia-41\/\">Entrada gratu\u00efta<\/a><\/p>\n<cite>Tanya Dur\u00e1n-Gil, soprano; Est\u00edbaliz Ruiz, mezzosoprano; Mario Corber\u00e1n, tenor; Llu\u00eds Mart\u00ednez-Agudo, bar\u00edton. Orfe\u00f3 Valenci\u00e0, Josep Llu\u00eds Valldecabres, director. Banda Simf\u00f2nica Municipal de Val\u00e8ncia. Director: Crist\u00f2bal Soler.<\/cite><\/blockquote>\n\n\n\n<p><strong>Faur\u00e9, la mort com un alliberament<\/strong><\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignright size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"729\" height=\"1024\" src=\"https:\/\/orfeovalencia.org\/blog\/wp-content\/uploads\/2024\/03\/Cartel-Requena-2024-Faure-729x1024.jpeg\" alt=\"\" class=\"wp-image-1039\" style=\"width:394px;height:auto\" srcset=\"https:\/\/orfeovalencia.org\/blog\/wp-content\/uploads\/2024\/03\/Cartel-Requena-2024-Faure-729x1024.jpeg 729w, https:\/\/orfeovalencia.org\/blog\/wp-content\/uploads\/2024\/03\/Cartel-Requena-2024-Faure-213x300.jpeg 213w, https:\/\/orfeovalencia.org\/blog\/wp-content\/uploads\/2024\/03\/Cartel-Requena-2024-Faure-768x1079.jpeg 768w, https:\/\/orfeovalencia.org\/blog\/wp-content\/uploads\/2024\/03\/Cartel-Requena-2024-Faure.jpeg 945w\" sizes=\"auto, (max-width: 729px) 100vw, 729px\" \/><\/figure>\n<\/div>\n\n\n<p>Per la seua banda, Gabriel Faur\u00e9 escriu un <em>R\u00e8quiem <\/em>absolutament innovador pel seu car\u00e0cter, molt m\u00e9s llumin\u00f3s, delicat, c\u00e0lid, totalment allunyat dels models que havien estat de moda durant el segle XIX i que tenien com a referents els intensos, recarregats i dram\u00e0tics composats per Berlioz o Verdi. <\/p>\n\n\n\n<p>A m\u00e9s, per a configurar l&#8217;estructura del seu <em>R\u00e8quiem<\/em>, el compositor franc\u00e9s -del que en 2024 es commemora el 100 aniversari de la seua mort- prescindeix per complet de la <em>Seq\u00fc\u00e8ncia<\/em>, de fet, nom\u00e9s introdueix una refer\u00e8ncia molt breu al <em>Dies Irae<\/em>, enmig del <em>Libera Me<\/em>.<\/p>\n\n\n\n<p>Si Faur\u00e9 renuncia als versos tremendos de la <em>Seq\u00fc\u00e8ncia <\/em>per la seua intenci\u00f3 de donar-li un especial color i atmosfera a la seua obra, per a tancar el seu <em>R\u00e8quiem <\/em>escriu <em>In paradisum <\/em>amb una luminositat angelical, &#8220;com un feli\u00e7 alliberament, una aspiraci\u00f3 a una felicitat superior, abans que una penosa experi\u00e8ncia&#8221;, com va dir el mateix compositor.<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p><strong>Gabriel Faur\u00e9: R\u00e8quiem. Pavane. Cantique de Jean Racine<\/strong><\/p>\n\n\n\n<p>Requena. Dissabte 23 de mar\u00e7 de 2024. 19:30 hores. Teatre Principal. <a href=\"https:\/\/entradaonline.es\/event\/123\">Entrada: 12\u20ac anticipada i 15\u20ac en taquilla<\/a><\/p>\n<cite>N\u00faria Garcia, soprano; \u00d6mar Lara, bar\u00edton. Orfe\u00f3 Valenci\u00e0, Josep Llu\u00eds Valldecabres, director. Orquesta Filarm\u00f3nica Fundaci\u00f3n Ciudad de Requena. Director: Francisco Melero.<\/cite><\/blockquote>\n","protected":false},"excerpt":{"rendered":"<p>La de vegades que l&#8217;Orfe\u00f3 Valenci\u00e0 ha afrontat aquestes dues obres mestres com s\u00f3n els Requiem de Mozart i Faur\u00e9! Aquestes dues obres han acompanyat al cor al llarg de la seua hist\u00f2ria, per\u00f2 cadascuna t\u00e9 les seues particularitats, la qual cosa ens demostra la forma tan diversa en que es pot escriure una missa, en aquest cas una de missa de difunts.<\/p>\n","protected":false},"author":1,"featured_media":1038,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-1023","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-concerts"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.9 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Mozart i Faur\u00e9, dues maneres diferents de fer un R\u00e8quiem - La revista digital de l&#039;Orfe\u00f3<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/orfeovalencia.org\/blog\/2024\/03\/14\/mozart-i-faure-dues-maneres-diferents-de-fer-un-requiem\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Mozart i Faur\u00e9, dues maneres diferents de fer un R\u00e8quiem - La revista digital de l&#039;Orfe\u00f3\" \/>\n<meta property=\"og:description\" content=\"La de vegades que l&#039;Orfe\u00f3 Valenci\u00e0 ha afrontat aquestes dues obres mestres com s\u00f3n els Requiem de Mozart i Faur\u00e9! 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