The Auditorio de Cuenca recently became the site of a significant musicological recovery, hosting the modern world premiere of the oratorio Santa Elena en el Calvario. The work, composed by the 18th-century Austrian musician Marianne von Martinez, was brought back to the stage by the Solists, Orchestra, and Choir of the Semana de Música Religiosa (SMR), under the direction of conductor Andoni Sierra.
This performance marks the first time in the modern era that this specific composition has been heard, transforming a forgotten manuscript into a living piece of art. The event was not merely a concert but a corrective act of musical history, shedding light on a composer whose contributions were long overshadowed by her male contemporaries during the Classical period.
The rediscovery of this two-part oratorio, written for solists, choir, and orchestra, is based on a libretto by Pietro Metastasio, the most influential librettist of the 18th century. By reviving this work, the 63rd edition of the SMR de Cuenca aims to highlight the essential role of women in the creation of sacred music, a presence that has seen a deliberate and growing increase in the festival’s current programming.
The Legacy of Marianne von Martinez
Marianne von Martinez (1744–1812) was one of the most respected female composers of her time in Vienna. While she did not publish her works during her lifetime—a common constraint for women of her social standing—her music was highly regarded by the Viennese aristocracy and the Imperial Court. Her style bridged the gap between the late Baroque and the emerging Classical era, often drawing comparisons to the works of Joseph Haydn.
The performance of Santa Elena en el Calvario emphasizes her technical mastery and emotional depth. The oratorio’s structure, alternating between intimate solo passages and powerful choral movements, reflects the dramatic tension inherent in Metastasio’s text. For music historians, the premiere in Cuenca serves as a catalyst for further research into the “lost” archives of female composers who operated within the strictures of the Austrian and Spanish courts.
The inclusion of Martinez in the SMR program is part of a broader trend in the classical music world to diversify the canon. By integrating her work alongside established masters, the festival provides a more accurate representation of the historical musical landscape, acknowledging that the development of sacred music was a collaborative effort across genders.
A Program of Sacred Diversity
The premiere of the Martinez oratorio was not the only highlight of the festival’s recent activities. Prior to the main event at the Auditorio, the Espacio Torner hosted a performance by harpist Sara Águeda. Her program offered a contemporary and original perspective, drawing inspiration from the biblical figure of King David to explore the harp’s role in spiritual reflection.
The synergy between these performances—the scholarly recovery of an 18th-century oratorio and the imaginative interpretation of ancient themes by a modern harpist—underscores the festival’s mission to treat sacred music as both a preserved heritage and a living, evolving language.
Festival Highlights and Timeline
The current edition of the Semana de Música Religiosa has balanced the rediscovery of obscure works with the performance of the most celebrated pillars of the Western tradition. The following table outlines the key components of the recent and upcoming programming:
| Work / Artist | Venue | Significance |
|---|---|---|
| Santa Elena en el Calvario | Auditorio de Cuenca | Modern world premiere of Marianne von Martinez |
| Sara Águeda (Harp) | Espacio Torner | Original proposal inspired by King David |
| Mass in B Minor | Auditorio de Cuenca | Closing gala performance by J.S. Bach |
The Grand Finale: Bach’s Mass in B Minor
The 63rd Semana de Música Religiosa de Cuenca will reach its conclusion on Saturday, April 4. The closing event features one of the most daunting challenges in the sacred repertoire: Johann Sebastian Bach’s Mass in B Minor (Misa en si menor).
This “Great Catholic Mass” will be performed by a prestigious assembly of musicians, including the Coro Accentus, the Monteverdi Choir, and the Insula Orchestra, accompanied by a soloist quartet. The ensemble is led by the acclaimed conductor Laurence Equilbey.
The Mass in B Minor is widely regarded by performers as one of the most demanding works in the history of sacred music due to its complex polyphony and demanding vocal ranges. Bach spent a significant portion of his life refining and revising the score, ensuring it reached the architectural perfection known today. The global importance of the work was formally recognized in 2015, when UNESCO announced in Paris that the Mass in B Minor is considered a piece of documentary heritage of humanity, describing it as a “milestone in the history of music.”
The final concert is scheduled to begin at 8:00 PM on April 4. For those seeking to attend this closing event, remaining tickets are available through the official ticketing platform: Global Entradas.
The successful revival of Marianne von Martinez’s work and the upcoming performance of Bach’s masterpiece mark the conclude of a festival dedicated to both the discovery of the forgotten and the celebration of the eternal. The next confirmed step for the SMR is the final curtain call on Saturday evening, closing a chapter of musical exploration in the heart of Cuenca.
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