What is special for this Mass?
It is a wonderful work, one of Mozart’s great masses. At the time when he composed his intention was to create a great solemn mass with the best Arias and the best singers. But at that time he had no money and his furniture was overwhelmed. He had a bad time and asked for money from his friends Masons. He had to take care of composing things he didn’t want to devote himself to what he did want to do. But, just as he could not finish the ‘requiem’, this mass was not over either.
He composed only a few parts How has the rest rebuilt?
From other works by Mozart: Cantatas, Oratories and Psalm, such as Arias de ‘Davide Penitenti’. For the ‘Agnus Dei’ part of the ‘Kirie’ is used and in the ‘Dona Noblem Pacem’, Luca Guglielmi (assistant of management and responsible for this new reading of the work) has composed the 20 bars that were missing using the art of the Fuga that Mozart knew well. It is a review and expansion of the original manuscript made from a deep respect and knowledge of the Mozartian work that integrates respect for tradition but looks at the future.
Will it surprise?
The public will discover a very Mozartian Mass but also very different where we try to capture and transfer all the beauty and spirituality of their music from the sound of Mozart’s time. That is why it is sung in another way more refined because it is prior to the Bel song and the vibrato. In our version, the vibrato is punctual, it is only used to enhance a moment of expression. With the orchestra it happens the same. When the formations went on to use metal strings, which are cold, they began to make them vibrate always. But when you have an orchestra with gut ropes like those in Mozart’s time and like the ones we use, the sound is so beautiful that it comes with an energy and transparency that does not need that vibrato more than when the time comes the time culminating phrase.
It is a new challenge. Don’t you get tired?
I have the same energy that 20 years ago. It has been wonderful to carry this new project with the Capella Reial integrating a choir of young voices and a group of fantastic soloists where we have the sopranos Giulia Bolcato and Leonor Martínez, the mezzo -soprano Marianne Beate Kielland, to tenor David Fischer and Bajo Matthias Winckhler. Leonor started singing in the Capella Reial and we have seen it progress and mature. On the other hand, the Le Concert des Nations orchestra is in full form. We come to do Bruckner and Schumann and we have been very successful with the ‘Mass in Do Minor’ in Salzburg, Hamburg and Budapest.
“The connection between people from different generations with the same passion generates something different”
How is the recording of this work in the Seu d’Urgell?
Very good. We worked in the same place where I started recording some of my old music albums 50 years ago, the church of Sant Domènec. It is very well conditioned and there is no excessive resonance.
He is very happy.
This is what he has to work with formations where 50% of the interpreters are young musicians and the rest are musicians with extensive experience. It is a formula that works. With them music is pure energy. That connection between people of different generations with the same passion generates something different. Music sounds different with this set where youth and experience add. I feel very happy because we are doing high quality music while contributing to passing the witness to young performers by transmitting our love for the expression and articulation of music.
Jordi Savall at a concert at the Auditori with Le Concert des Nations. May zircus / May zircus
What differentiates its sets from others?
Beyond the quality of the interpreters, the time we dedicate to essays, much more than usual. I do not work alone, I have a faithful and wonderful team around me like Luca Guglielmi, the violinist Manfredo Kraemer, concertino of Le Concert des Nations, and Lluís Vilamajó who is in charge of the voices of the National Capella of Catalonia. We form a solid team that is like a family where good harmony predominates.
His idea of working with young musicians had the support of the European Community from the beginning.
And they have just renewed the aid to the Yocpa Professional Academy (Youth Orchestra and Choir Professional Academies) until 2028. It is a great joy! The training, composed of 30 members of the National Capella of Catalonia and 30 of Le Concert Des Nations, includes 50% of young musicians and professional singers under 39. But the subsidy is only 40%, about 600,000 euros. The rest must contribute it as we can with patron that help us reach the 900,000 euros that are missing. For now we have a help from Banco Sabadell and we are waiting for the Generalitat, which generally supports us, as well as the City Council and the Diputación. We are also in conversations with the Ministry of Culture.
Jordi Savall is a great musical ambassador.
Our projects travel to the best rooms and scenarios. This year, for example, we will go to Vienna to make Beethoven’s integral, distributed in two times of the year. They always ask us to return. There are places like the Philharmonie in Paris where we act three times the same year.
Here in the auditori we also see him often.
True, and in the Liceu too. But in other places such as the Palau de la Música or El Grec, not so much.
“I’ve seen crying in concerts. What else can I ask for?”
He will always have his summer festival in Poblet, Santes Creus and Montblanc that grows year after year. What can advance?
The next edition will be dedicated to diversity and we will invite many young groups. You have to help new generations of musicians.
Did you also help when you started?
To study, no, but when I finished my musical career in Barcelona, the march bank gave me a scholarship that allowed me to go to Switzerland in 1968. In that country they also offered me a loan that allowed me to be able to live modestly and that I returned after 20 years.
His commitment goes beyond music; He is also an ambassador for peace and intercultural dialogue. What can you do before wars?
Pray. Music is a prayer in which spirituality and beauty join. And our version of the ‘Mass Mass’ of Mozart touches the soul. I have seen crying in concerts. What else can I ask for?
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