Arxiu Nacional de Catalunya

Archives and Libraries
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Musicologist and composer

Highly educated, he started studying cello at twenty-one years of age with Antoni Lupresti. He soon became interested in music history and acquainted Hugo Riemann and Hans Richter, who made him aware of the need to recover the music of the past. Departing from a positivist and philological perspective, he studied the Iberian oratorio (El oratorio musical, 1906) and other historical topics such as the first operas performed in Barcelona. Together with Domènec Mas, as a members of the Junta d'Obra of Sant Pere de les Pueles, he encouraged the creation of a chapel to newly perform polyphonic music of the Golden Age. In collaboration with Lupresti, he composed the oratorio Saliendo de Egipto with text by Jacint Verdaguer.
 

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Musicologist and composer

Highly educated, he started studying cello at twenty-one years of age with Antoni Lupresti. He soon became interested in music history and acquainted Hugo Riemann and Hans Richter, who made him aware of the need to recover the music of the past. Departing from a positivist and philological perspective, he studied the Iberian oratorio (El oratorio musical, 1906) and other historical topics such as the first operas performed in Barcelona. Together with Domènec Mas, as a members of the Junta d'Obra of Sant Pere de les Pueles, he encouraged the creation of a chapel to newly perform polyphonic music of the Golden Age. In collaboration with Lupresti, he composed the oratorio Saliendo de Egipto with text by Jacint Verdaguer.
 

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Cellist, conductor and composer. He studied at Escola Municipal de Barcelona (1888-93), while playing at cafes. Later on, he obtained scholarships and continued his studies in Madrid, Brussels and Paris (1893-96). Back to Barcelona in 1896, he was appointed professor at Escola Municipal and in 1897 he began touring Spain with Granados and Crickboom. Between 1899 and 1903, he toured around Europe, the USA and Latin America. Shortly after, he formed a trio with A. Cortot and J. Thibaud (1906-33) and performed all over the world. In Barcelona, he founded the Pau Casals Orchestra (1919) and the Associació Obrera de Concerts (1926). From 1938, he lived in exile in Prada and in Puerto Rico (1957). As a political protest, he did not perform until 1950, when he resumed the composition of the oratorio El Pessebre. After his performance of Bach's solo cello suites, he has been considered a reformist of the cello technique. He composed 61 works (some orchestrated by his brother Enric) and made numerous transcripts. For his social commitment he received the UN Peace Medal (1971).

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Cellist, conductor and composer. He studied at Escola Municipal de Barcelona (1888-93), while playing at cafes. Later on, he obtained scholarships and continued his studies in Madrid, Brussels and Paris (1893-96). Back to Barcelona in 1896, he was appointed professor at Escola Municipal and in 1897 he began touring Spain with Granados and Crickboom. Between 1899 and 1903, he toured around Europe, the USA and Latin America. Shortly after, he formed a trio with A. Cortot and J. Thibaud (1906-33) and performed all over the world. In Barcelona, he founded the Pau Casals Orchestra (1919) and the Associació Obrera de Concerts (1926). From 1938, he lived in exile in Prada and in Puerto Rico (1957). As a political protest, he did not perform until 1950, when he resumed the composition of the oratorio El Pessebre. After his performance of Bach's solo cello suites, he has been considered a reformist of the cello technique. He composed 61 works (some orchestrated by his brother Enric) and made numerous transcripts. For his social commitment he received the UN Peace Medal (1971).

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Violinist, conductor and composer

He studied violin with B. Gàlvez in Barcelona and with M. Crickboom and J. Jongen in Brussels. He was a concertino at the Oquestra Simfònica de Barcelona (1912-14), the Kuror-Sinfonic of Saint Petersburg, the Pau Casals Orchestra (where he served as assistant conductor), and the Gran Teatre del Liceu Orchestra (1924-35). In the 1920s he founded the Quartet de Corda Casals, which toured around Europe. He later founded and conducted the Institut Musical Casals, and conducted the Oquestra Ibèrica de Concerts (1941) and Orquestra Professional de Cambra. He was also the director of the Pau Casals Festival in Prada.

His production includes some works for chamber orchestra and symphony orchestra, and numerous sardanas. Much of his professional activity focused on collaborating and supporting the activity of his brother Pau, with whom he had a close relationship.

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Violinist, conductor and composer

He studied violin with B. Gàlvez in Barcelona and with M. Crickboom and J. Jongen in Brussels. He was a concertino at the Oquestra Simfònica de Barcelona (1912-14), the Kuror-Sinfonic of Saint Petersburg, the Pau Casals Orchestra (where he served as assistant conductor), and the Gran Teatre del Liceu Orchestra (1924-35). In the 1920s he founded the Quartet de Corda Casals, which toured around Europe. He later founded and conducted the Institut Musical Casals, and conducted the Oquestra Ibèrica de Concerts (1941) and Orquestra Professional de Cambra. He was also the director of the Pau Casals Festival in Prada.

His production includes some works for chamber orchestra and symphony orchestra, and numerous sardanas. Much of his professional activity focused on collaborating and supporting the activity of his brother Pau, with whom he had a close relationship.

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He studied under A. Ribó, J. Barberà and E. Morera. Between 1917 and 1922 he was deputy director of the Orfeó Gracienc, in 1920 he cofounded the foundation of the Associació Íntima de Concerts and in 1923 he cofounded the Revista Catalana de Música together with A. Grau and J. Mª Pagès. He later settled in Santiago de Cuba, where he created the Orfeó Catalunya, the Consevatorio Cervera and the Symphony Orchestra in 1930. In 1931 he returned to Barcelona and devoted himself to music teaching at the Conservatori del and at the Institut-Escola of the Generalitat. From 1945, he conducted the Orfeó Gervasienc and between 1949 and 1965 he conducted the Schola Cantorum of the University of Barcelona. He composed music for choir, piano and cobla. His catalogue includes the sardanes Agredolça and La nit (both premiered in 1921), the children's cantata En Pere sense por (1972) and harmonized folk songs such as Nit de vetlla, Fum, fum, fum and El noi de la mare. Composers F.Taverna-Bech and Josep Cercós were among his student , and the cellist cellist M. Cervera i Millet was his son.

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He studied under A. Ribó, J. Barberà and E. Morera. Between 1917 and 1922 he was deputy director of the Orfeó Gracienc, in 1920 he cofounded the foundation of the Associació Íntima de Concerts and in 1923 he cofounded the Revista Catalana de Música together with A. Grau and J. Mª Pagès. He later settled in Santiago de Cuba, where he created the Orfeó Catalunya, the Consevatorio Cervera and the Symphony Orchestra in 1930. In 1931 he returned to Barcelona and devoted himself to music teaching at the Conservatori del and at the Institut-Escola of the Generalitat. From 1945, he conducted the Orfeó Gervasienc and between 1949 and 1965 he conducted the Schola Cantorum of the University of Barcelona. He composed music for choir, piano and cobla. His catalogue includes the sardanes Agredolça and La nit (both premiered in 1921), the children's cantata En Pere sense por (1972) and harmonized folk songs such as Nit de vetlla, Fum, fum, fum and El noi de la mare. Composers F.Taverna-Bech and Josep Cercós were among his student , and the cellist cellist M. Cervera i Millet was his son.

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Composer and conductor

From a wealthy family of craftsmen in decline, he took advantage of his musical knowledge to work as a guitarist in fashionable cafes. There, he got in contact with working people and republicans. After being imprisoned for the revolts of 1843, he realized the power of singing in a community, and in 1845 he founded the La Aurora. In 1850, he founded the society La Fraternidad, a pioneer of the non-religious male voice choir in Catalonia, following the model of the French orphanages. The aim of the choir was to promote values such as mutual support, education, republicanism and pride at work. In 1854 he composed the first song in Catalan "La font del roure". In 1857 he founded the Societat Coral Euterpe which started a movement with thousands of associates. In 1871, when he was already a prominent republican, he was appointed president of the Diputació de Barcelona. Clavé has been considered a prominent figure for creating a new popular culture using songs of romantic-operatic inspiration (both in Catalan and Spanish) to achieve great social impact.

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Composer and conductor

From a wealthy family of craftsmen in decline, he took advantage of his musical knowledge to work as a guitarist in fashionable cafes. There, he got in contact with working people and republicans. After being imprisoned for the revolts of 1843, he realized the power of singing in a community, and in 1845 he founded the La Aurora. In 1850, he founded the society La Fraternidad, a pioneer of the non-religious male voice choir in Catalonia, following the model of the French orphanages. The aim of the choir was to promote values such as mutual support, education, republicanism and pride at work. In 1854 he composed the first song in Catalan "La font del roure". In 1857 he founded the Societat Coral Euterpe which started a movement with thousands of associates. In 1871, when he was already a prominent republican, he was appointed president of the Diputació de Barcelona. Clavé has been considered a prominent figure for creating a new popular culture using songs of romantic-operatic inspiration (both in Catalan and Spanish) to achieve great social impact.

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Soprano

Victòria dels Àngels studied at the Superior Conservatory of Music of the Liceu. Member of Ars Musicae, she debuted at the Gran Teatre del Liceu in 1945 singing the role of Countess of Almaviva in Le Nozze di Figaro. This debut was the start of an international career that took her to the most important theaters and festivals around the world, including the Wagner Festival in Bayreuth where, in 1961, she sang the role of Elisabeth in Tannhäuser. She finished her operatic career singing Pélleas et Mélisande by C. Debussy at the Teatro de la Zarzuela in Madrid. From the 1980s, she decided to focus on recitals and singing lieder, a genre in which she was considered exceptional. She made numerous recordings, some of which were highly praised. She was considered one of the greatest sopranos of the second half of the twentieth century.

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Soprano

Victòria dels Àngels studied at the Superior Conservatory of Music of the Liceu. Member of Ars Musicae, she debuted at the Gran Teatre del Liceu in 1945 singing the role of Countess of Almaviva in Le Nozze di Figaro. This debut was the start of an international career that took her to the most important theaters and festivals around the world, including the Wagner Festival in Bayreuth where, in 1961, she sang the role of Elisabeth in Tannhäuser. She finished her operatic career singing Pélleas et Mélisande by C. Debussy at the Teatro de la Zarzuela in Madrid. From the 1980s, she decided to focus on recitals and singing lieder, a genre in which she was considered exceptional. She made numerous recordings, some of which were highly praised. She was considered one of the greatest sopranos of the second half of the twentieth century.

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