By Paul Espinosa
thinker, conductor, cellist and leader of the musical philosophy about the meaning of music in our lives and architect of the renewal of the baroque style and sound of contemporary orchestras, Nikolaus Harnoncourt, died at his Austrian residence at 86 years, exactly two months after saying goodbye by written his own handwriting and was distributed in facsimile in the playbills of his last concert at the Vienna Musikverein letter.
the announcement was made his widow, Alice, with whom Nikolaus founded 63 years ago the orchestra Concentus Musicus, with which revolutionized the way of doing early music, pursuing what he considered the authenticity, “the truth”, using original period instruments or replicas faithful . It followed a similar procedure with subsequent repertoire, applying the canon force at the time when Mozart, Beethoven, Brahms and others whose scores renewed, followed.
As a thinker, lega invaluable texts, collected some of them in the book “music as sound discourse” (editorial Cliff, distributed in Mexico by Masthead).
“we all need music, without it we can not live,” he wrote there.
the more we grow and more intensely we strive to understand the music he argued, “the more we can see what that music, well above beauty, how we captivates and restless with the variety of their language.”
in the end, discoursed, “through music and understood by Monteverdi, Bach or Mozart, we must rediscover the music of our time, he speaks our language, our culture and continues. It does not have much to do with what our so dissonant and terrible time the fact that art is no longer involved in our lives? “.
His concern was that,” I still believe in the transforming power of music, we have to see how the general spirit of our time has shifted from the center position. of poignancy to the nice “
the music, deploring, has become an ornament limited only to being “beautiful” when contemporary music, he said, “can not meet this requirement, since least reflects like any art-the spiritual situation of his time, that is the present.”
An honest reflection on our spiritual situation “can not be just beautiful.” See the reality is upset people and that, in pursuit of evasion, limited to mere ornament, fundamentaba Harnoncourt.
Understanding music, then, has to be part of general education, to return to its original power. to transform people
to that devoted his life Nikolaus Harnoncourt, born in the rancid Austrian nobility, which became nobility in the sense of making their work a service for of others.
born in Berlin by mere circumstance, but grew up, was educated and worked all his life in Austria.
He was born Johann Nicolaus, Count de la Fontaine and Harnoncourt -Unverzagt, great-grandson of Archduke Johann of Austria in Styria in direct line from mother musician, Ladislaja Gräfin von Meran.
Nikolaus Harnoncourt is a benchmark of musical life in the world today. At death ends an era, as well scored on Saturday March 5th, Thomas Ángyán, director of the Musikverein, when he confirmed the news of the death. Although not released the data officially, rumors point to a serious disease of cancer.
Thanks to Harnoncourt’s way of thinking, implement and understand music has changed for the better.
An indication of his thinking can be observed in the way titled album: “Mozart’s Instrumental Oratorium” to refer to the last three symphonies of the author, and the sounds of sorpredente way unimagined and most beautiful and understanding and who also recorded virtually unknown works, such as the monumental score he co-wrote with Ignaz Franz von Mosel: “Timotheus oder die Gewalt der Musik (Timothy or the power of music”), Grosse Kantata nach Handels Das Alexander-Fest “(from Cantata Great Celebration Alexander, Handel). Either the Brandenburg Concertos of Bach very famous, sounding very different from the known hitherto, under the beautiful and eloquent title “Concertos Avec Plusiers Instruments” (Concerts with Instruments Various) way.
Nikolaus Harnoncourt led a vast movement of renewal, with historicist sense, the music of the baroque and integrated among others by Belgian brothers Sigislaw and Wieland Kuijken, the Dutch harpsichordist Gustav Leonhardt (with whom he recorded all the cantatas of Bach) and John Eliot Gardiner, author of a beautiful and voluminous book: “music in the castle in the sky. A portrait of Johann Sebastian Bach “(editorial Cliff, also distributed by Masthead).
You killed a giant and he ends an era, that of the great men who changed the way we think, interpret and love music.
“we all need music, without it we can not live.” Funja his sentence by way of epitaph.
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