Beethoven, in Mallorca

The auditorium on the seafront was packed to capacity to hear what was supposedly Ludwig van Beethoven's last symphony. Theoretically, because there was a later one, the Tenth, which was only missing one movement. So much so that on May 7, 1824, when the... Symphony No. 9, Op. 125, in D minor at the Kärntnertortheater in Vienna, with the composer present and on stage —which they had to turn towards the audience so that he could enjoy the intensity of the applause; If it is not vero, it is well trovato—, the three movements that the genius from Bonn had already completed were also performed. An anecdotal circumstance, since the Novena It has overshadowed everything. Undoubtedly, and without getting into rankings that might seem purely sporting, what is clear is that this "last" one is the most imposing of the eight preceding ones. The description monumental It has become a prefix for the Ninth Symphony, for the simple reason that it takes both a heart and an orchestra large enough to reach this great musical summit.

Schedule the Novena It has consequences, and this time was no exception. The crowd responded with a shout of Joy in the only and best way possible. Expectations were sky-high for this Ninth in Mallorca, With all that this implies, from the orchestra, led by Pablo Mielgo, to the four soloists—soprano Marta Bauzá, mezzo-soprano Begoña Gómez, tenor Joan Laínez, and bass-baritone Sebastià Serra—along with the Cor Studium, significantly reinforced and conducted by Carles Ponseti. A challenge and an event at the same time, especially considering that sixty singers are never enough to tackle such an enormous work, nor are nearly seventy musicians enough to complete a feat with so many difficulties and intricate characteristics.

The effort is appreciated, but besides courage, which is clearly present, many more people are needed. Even so, it was a memorable afternoon—though we won't go into how many or what details—which began with Roberto Moragón's farewell after fifty years as a violinist with the Symphony Orchestra, ever since Julio Ribelles gave him his first opportunity when he was just fourteen. There were also words of remembrance and gratitude for Luis Remartínez. What a wonderful feeling, such a high-caliber farewell.

On the other hand, it was an evening of highs and lows. For example, the desire to appear as if there were many more of them diminished the clarity and quality of their performance. It began with high expectations, and theAllegro maestoso It lived up to its name and lineage. It got harder and harder. The scherzo of the second movement, furious, angry, and choleric, was much less so. The consequences were paid by theAdagio. Molto y cantabile, which sounded flat. There remained the famous revalidation exam, theAllegro prestoWhen the seven cellos and six double basses announced the "theme of joy," everything fell into place, with order and harmony. Seven minutes after this delightful introduction, the baritone signaled a change of pace. The discouragement and sadness were gone. Joye!, He proclaimed, and the heart began its intervention. An exciting moment, but there was nothing more.