With permission from the Archdiocese of Toledo, you can read the original publication at the following link:
On Sunday, February 22, the Cathedral of Toledo hosted the presentation of Kiko Argüello’s Symphonic Work, as part of the commemorative events for the 8th Centenary of the laying of the first stone of the current Gothic cathedral.
The concert, announced as one of the cultural highlights of this historic year for the Church of Toledo, drew a huge audience, with more than 1,500 people in attendance, including all the Neocatechumenal Communities of the Archdiocese of Toledo: more than 500 members from the parishes of Ocaña, Santa Cruz de Retamar, Illescas, Talavera de la Reina, Villanueva de Alcardete, Menasalbas, and those from the city of Toledo, distributed among the parishes of Santiago el Mayor and Santa Teresa. The concert could also be followed on Diocesan Radio and Television.
The international team of the Neocatechumenal Way, made up of Kiko Argüello, Ascensión Romero, and priest Mario Pezzi, was greeted with a standing ovation upon entering Toledo Cathedral, where they were able to enjoy El Greco’s paintings, located in the cathedral sacristy, which were explained by the diocesan delegate for Faith and Culture, Pilar Gordillo.
The photo report, courtesy of Daniel Mayoral, can be viewed at this link.
Special mention to the martyrs of Toledo in the 20th century
The event began with a welcome from the dean of the Cathedral, Juan Pedro Sánchez Gamero. Immediately afterwards, the Archbishop of Toledo, Monsignor Francisco Cerro Chaves, offered a prayer that helped those present to prepare their ears, not only to appreciate the beauty of the music, but also to penetrate the depths of their hearts. Argüello himself introduced the concert, explaining the deeply catechetical and spiritual meaning of each of the movements of the symphonies.
The Symphonic Work, composed of The Suffering of the Innocents and The Messiah, offers a profound musical meditation on the mystery of Christ’s Passion and the hope of the Resurrection. The first reflects on the pain of Christ and the suffering of the Virgin Mary; the second, a symphonic poem for piano, choir, and orchestra divided into three movements—Aquedah, Daughters of Jerusalem, and The Messiah, Lion to Conquer—is dedicated to Christian martyrs. Argüello made special mention of the martyrs of the religious persecution of the 1930s in Toledo, specifically almost half of the clergy, and the importance of their attitude of forgiveness in death, which produced great fruits of holiness.
The musical direction was entrusted to the internationally renowned maestro Tomáš Hanus, a regular presence at theaters such as the Bayerische Staatsoper, the Paris Opera, the Teatro Real in Madrid, and La Scala in Milan, whose masterful performance drew waves of ovations from the audience. Pianist Claudio Carbó and choir director Abraham Sánchez completed the artistic cast.
The performance was given by the Symphony Orchestra and Choir of the Neocatechumenal Way, made up of around 180 musicians of various nationalities who offered their talent free of charge in the service of evangelization through music. The performance stood out for its artistic quality and expressive power, leading the audience into an atmosphere of contemplation and reflection, while at the same time building intensity to moments of climax and musical apotheosis.