Catalan Musical Sources Catalogue

Archives and Libraries
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Organist and composer

In 1627 became organist in Tarragona and in 1636 he obtained a position in the cathedral of Barcelona. In 1645 he was appointed second organist in the cathedral of Valencia, assistant to Andreu Pérez. In 1665 he suffered an injury which forced him to retire, being replaced by Joan B. Cabanilles, who possibly received his instruction.

The cataloguing of the composer’s output is complex due to the existence of a homonymous composer, perhaps a relative, who was organist in Zaragoza by the 17th or 18th centuries. The most accepted criterion is the one that considers the compositions that survive in Tarragona, Barcelona and Valencia as his own. The authorship of the homonymous composer is thus associated with the music that remains or has been catalogued in Zaragoza.

His output includes eight tonos, a Salve Regina and Gozos a San Bruno for four voices.

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Organist and composer

In 1627 became organist in Tarragona and in 1636 he obtained a position in the cathedral of Barcelona. In 1645 he was appointed second organist in the cathedral of Valencia, assistant to Andreu Pérez. In 1665 he suffered an injury which forced him to retire, being replaced by Joan B. Cabanilles, who possibly received his instruction.

The cataloguing of the composer’s output is complex due to the existence of a homonymous composer, perhaps a relative, who was organist in Zaragoza by the 17th or 18th centuries. The most accepted criterion is the one that considers the compositions that survive in Tarragona, Barcelona and Valencia as his own. The authorship of the homonymous composer is thus associated with the music that remains or has been catalogued in Zaragoza.

His output includes eight tonos, a Salve Regina and Gozos a San Bruno for four voices.

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In the register of musicians of the cathedral of Girona he signed as a ‘music student from Barcelona’, having studied there under F. Andreví. In 1820, he was appointed Kapellmeister of Girona’s Cathedral, a position he left in January 1822 due to the financial problems of the diocese. In September 1923 he was reinstated but he soon obtained a teaching post in Castelló d’Empúries in the spring of 1824, which he would keep until the end of his life. He was a renowned composer and his music was disseminated across multiple parishes. This output was mainly religious, but also included some secular pieces. Some of his most remarkable works are the Stabat Mater for choir and orchestra, premiered by the Societat de Concerts de Barcelona in 1845, the motet Iesu, Rex mitis for 3 voices (1849) and Tema con Variaciones para el Violoncello. During his stay in Castelló he wrote treatises on harmony, composition, counterpoint and fugue which were praised by F. Pedrell. Lleys had a great pedagogical influence in the Alt Empordà. I. Lleys, A. Cotó, C. Candi and B. Frígola were among his disciples.

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In the register of musicians of the cathedral of Girona he signed as a ‘music student from Barcelona’, having studied there under F. Andreví. In 1820, he was appointed Kapellmeister of Girona’s Cathedral, a position he left in January 1822 due to the financial problems of the diocese. In September 1923 he was reinstated but he soon obtained a teaching post in Castelló d’Empúries in the spring of 1824, which he would keep until the end of his life. He was a renowned composer and his music was disseminated across multiple parishes. This output was mainly religious, but also included some secular pieces. Some of his most remarkable works are the Stabat Mater for choir and orchestra, premiered by the Societat de Concerts de Barcelona in 1845, the motet Iesu, Rex mitis for 3 voices (1849) and Tema con Variaciones para el Violoncello. During his stay in Castelló he wrote treatises on harmony, composition, counterpoint and fugue which were praised by F. Pedrell. Lleys had a great pedagogical influence in the Alt Empordà. I. Lleys, A. Cotó, C. Candi and B. Frígola were among his disciples.

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Kapellmeister and composer

In 1761 he was interim Kapellmeister of Sants Just i Pastor church in Barcelona, due to the death of the Tomàs Milans i Campús. In 1763 he officially went into public competition for the position, competing with Picanyol, Caselles, Forto and Ordeig. Nogués was chosen as the new Kapellmeister, although the books of determinations did not include his nomination until 1767.

The selection of this candidate did not happen without controversy, as indicated by his composition exercise. The decision-making body pointed to some alleged imperfections and mistakes made by the composer, allegations that were refuted by the Kapellmeister years later in an apologetic letter.

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Kapellmeister and composer

In 1761 he was interim Kapellmeister of Sants Just i Pastor church in Barcelona, due to the death of the Tomàs Milans i Campús. In 1763 he officially went into public competition for the position, competing with Picanyol, Caselles, Forto and Ordeig. Nogués was chosen as the new Kapellmeister, although the books of determinations did not include his nomination until 1767.

The selection of this candidate did not happen without controversy, as indicated by his composition exercise. The decision-making body pointed to some alleged imperfections and mistakes made by the composer, allegations that were refuted by the Kapellmeister years later in an apologetic letter.

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Kapellmeister and composer

Musician active during the second half of the 17th century. He began his musical studies probably with the help of his father, who was also a musician. He was a choirboy in the cathedral of Barcelona and a disciple of Lluís Vicenç Gargallo. In 1677, he was appointed Kapellmeister of the cathedral of Tarragona. In 1679 he held the same position in the Palau de la Comtessa in Barcelona, where he remained until 1700. During this time, he had the brothers Carles and Tomàs Milans among his disciples, and from 1699 Gabriel Argany was listed as his assistant. He was required by the cathedral of Girona in 1690, but he declined the offer due to health issues.

Olivelles’s output is preserved in the archives of the Biblioteca de Catalunya, Canet de Mar and Girona Cathedral. His most remarkable liturgical music includes a Magnificat for 5 voices, a Stabat Mater for 8 voices (1701) and a Mass for 9 voices and instrumentalists (ministrils). In addition, 20 tonos and villancets written in romance have also been preserved.

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Kapellmeister and composer

Musician active during the second half of the 17th century. He began his musical studies probably with the help of his father, who was also a musician. He was a choirboy in the cathedral of Barcelona and a disciple of Lluís Vicenç Gargallo. In 1677, he was appointed Kapellmeister of the cathedral of Tarragona. In 1679 he held the same position in the Palau de la Comtessa in Barcelona, where he remained until 1700. During this time, he had the brothers Carles and Tomàs Milans among his disciples, and from 1699 Gabriel Argany was listed as his assistant. He was required by the cathedral of Girona in 1690, but he declined the offer due to health issues.

Olivelles’s output is preserved in the archives of the Biblioteca de Catalunya, Canet de Mar and Girona Cathedral. His most remarkable liturgical music includes a Magnificat for 5 voices, a Stabat Mater for 8 voices (1701) and a Mass for 9 voices and instrumentalists (ministrils). In addition, 20 tonos and villancets written in romance have also been preserved.

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string(189) "a:6:{s:16:"ckeditor_default";s:1:"t";s:20:"ckeditor_show_toggle";s:1:"t";s:14:"ckeditor_width";s:4:"100%";s:13:"ckeditor_lang";s:2:"en";s:18:"ckeditor_auto_lang";s:1:"t";s:7:"contact";i:0;}" } } } ["field_field_np_cognom_1"]=> array(1) { [0]=> array(2) { ["rendered"]=> array(2) { ["#markup"]=> string(9) "Olivelles" ["#access"]=> bool(true) } ["raw"]=> array(3) { ["value"]=> string(9) "Olivelles" ["format"]=> NULL ["safe_value"]=> string(9) "Olivelles" } } } ["field_field_np_cognom_2"]=> array(0) { } } [4]=> object(stdClass)#222 (9) { ["node_title"]=> string(4) "Joan" ["nid"]=> string(4) "6530" ["node_language"]=> string(2) "en" ["field_data_field_np_cognom_1_field_np_cognom_1_value"]=> string(8) "Quintana" ["field_data_field_np_cognom_1_node_entity_type"]=> string(4) "node" ["field_data_field_np_cognom_2_node_entity_type"]=> string(4) "node" ["_field_data"]=> array(1) { ["nid"]=> array(2) { ["entity_type"]=> string(4) "node" ["entity"]=> object(stdClass)#217 (53) { 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"Europe/Berlin" ["date_type"]=> string(8) "datetime" } } } ["field_data_mort"]=> array(1) { ["und"]=> array(1) { [0]=> array(4) { ["value"]=> string(19) "1860-12-14 00:00:00" ["timezone"]=> string(13) "Europe/Berlin" ["timezone_db"]=> string(13) "Europe/Berlin" ["date_type"]=> string(8) "datetime" } } } ["field_lloc_mort"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["target_id"]=> string(2) "91" } } } ["field_tipus_de_persona"]=> array(1) { ["und"]=> array(2) { [0]=> array(1) { ["target_id"]=> string(2) "22" } [1]=> array(1) { ["target_id"]=> string(2) "24" } } } ["field_biografia"]=> array(1) { ["und"]=> array(1) { [0]=> array(3) { ["value"]=> string(1117) "

He began his musical studies at the age of seven under Joan Petzí, Kapellmeister of Santa Maria in Manresa. In 1783 he was admitted to the choir of the chapel of La Seu in Manresa and in 1787 he moved to Girona, where he continued his studies under Josep Pons. In 1791 he settled in Valencia as the second Kapellmeister of the cathedral. Years later, he joined the order of the Carmelites of Barcelona and held the position of organist of the convent until 1835, when he was expelled and went on to perform the same task in Santa Maria del Pi. In this church, he consolidated his reputation as an organist by playing the Kyburz-Otter organ. This organ was commissioned by the parish in 1803 and very positively evaluated by Quintana himself when the builders completed the installation of the instrument. He composed liturgical music for voice and organ and for solo organ. In addition, the secular song (a toast) for three voices Llenemos los vasos con satisfacción has also been preserved in the Arxiu Comarcal of La Garrotxa. F. Andreví, B. Calvó Puig and P. Pardàs were among his disciples.

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He began his musical studies at the age of seven under Joan Petzí, Kapellmeister of Santa Maria in Manresa. In 1783 he was admitted to the choir of the chapel of La Seu in Manresa and in 1787 he moved to Girona, where he continued his studies under Josep Pons. In 1791 he settled in Valencia as the second Kapellmeister of the cathedral. Years later, he joined the order of the Carmelites of Barcelona and held the position of organist of the convent until 1835, when he was expelled and went on to perform the same task in Santa Maria del Pi. In this church, he consolidated his reputation as an organist by playing the Kyburz-Otter organ. This organ was commissioned by the parish in 1803 and very positively evaluated by Quintana himself when the builders completed the installation of the instrument. He composed liturgical music for voice and organ and for solo organ. In addition, the secular song (a toast) for three voices Llenemos los vasos con satisfacción has also been preserved in the Arxiu Comarcal of La Garrotxa. F. Andreví, B. Calvó Puig and P. Pardàs were among his disciples.

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Kapellmeister

Between 1724 and 1726 he worked as Kapellmeister in Sants Just I Pastor. At the end of this period, he succeeded Josep Picanyol as Kapellmeister at Palau de la Comtessa, a position he held for almost thirty years until the end of his life. During this long period, he reorganized the musical chapel, adding violin, oboe and bassoon positions. He was the teacher of Emmanuel Gònima.

Its production includes numerous masses, motets and cantatas in addition to villancets and tonos. Remarkable among his output is a mass for two choirs and oratorios such as La Nave Victoria (1746), dedicated to the memory of General Lluís de Requesens and his participation in the Battle of Lepanto.

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Kapellmeister

Between 1724 and 1726 he worked as Kapellmeister in Sants Just I Pastor. At the end of this period, he succeeded Josep Picanyol as Kapellmeister at Palau de la Comtessa, a position he held for almost thirty years until the end of his life. During this long period, he reorganized the musical chapel, adding violin, oboe and bassoon positions. He was the teacher of Emmanuel Gònima.

Its production includes numerous masses, motets and cantatas in addition to villancets and tonos. Remarkable among his output is a mass for two choirs and oratorios such as La Nave Victoria (1746), dedicated to the memory of General Lluís de Requesens and his participation in the Battle of Lepanto.

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