Schubert, the Romantic that couldn't be Open Classroom ROMANTICISM

Schubert, the Romantic that couldn't be

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Luis Gago


  1. Luis GagoLuis Gago

    Ha sido subdirector y jefe de programas de Radio 2 (RNE), miembro del Grupo de Expertos de Música Seria de la Unión Europea de Radiodifusión, coordinador de la Orquesta Sinfónica RTVE y editor del Teatro Real. Ha traducido, entre otros libros, Notas para piano y Música y sentimiento de Charles Rosen; Johann Sebastian Bach. Una herencia obligatoria de Paul Hindemith; El ruido eterno y Escucha esto de Alex Ross; Apuntes biográficos sobre Joseph Haydn de Georg August Griesinger; La música en el castillo del cielo. Un retrato de Johann Sebastian Bach de John Eliot Gardiner; Viaje de invierno de Schubert. Anatomía de una obsesión de Ian Bostridge y el Diccionario Harvard de Música. Prepara habitualmente los subtítulos en español para la Royal Opera House de Londres y el Digital Concert Hall de la Orquesta Filarmónica de Berlín. Ha sido director artístico del Liceo de Cámara de la Fundación Caja Madrid (2006-2014), comisario de la exposición conmemorativa del 25º aniversario del Auditorio Nacional de Música y editor de Revista de Libros. Es crítico musical de El País y codirector desde 2015, junto con Tabea Zimmermann, de la Beethoven-Woche en la Beethoven-Haus de Bonn. En verano de 2019 ha sido nombrado Miembro de honor de la Beethoven-Haus de Bonn.

Franz Schubert represents a unique case in the history of music. He was almost a strict contemporary of Ludwig van Beethoven, but in opposition to him, he hardly enjoyed any recognition while being alive. Both of them lived their adult lives in Vienna, one as the most famous and breaking composer of his time, and the other unsuccessfully fighting to make his genius known and get his works published and played. The early death of Schubert and the rapid hatching of musical Romanticism contributed even more to keeping his music in oblivion for decades, valued and appreciated only by a small circle of connoisseurs, headed by some of the greatest romantic composers. Only around the mid 20th century people began to be aware of the true dimension and seed for the future that his creations were, valuing not only his Lieder (he composed more than six hundred), which provided him with most of the fame he gained during his time, but also his management of the great shape or his harmonic innovations. Musicians like Benjamin Britten or Sviatoslav Richter revealed with their interpretations a more modern and tremendous Schubert than what had been presented until then. The Austrian was an intuitive composer who made himself, he hardly travelled and contrary to his predecessors like Haendel, Mozart or Haydn, or his successors like Mendelssohn, Liszt or Schumann, he did not have any contact with great European artistic personalities of his time. All of this makes him a unique case within the history of Western music. Classic by birth, many of his works point in a direction that not even the Romantic composers were able to peek.