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Centre de Documentació de l'Orfeó Català
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Abbreviation: CEDOC
Address: C/ Palau de la Música, 4-6; 08003 Barcelona
Telephone: 932957200
Website: https://www.cedoc.cat/ca
Online Catalogue: http://catalegboc.palaumusica.org/search/query
Related names:
Blancafort de, Manuel
Buxó, Tomàs
Cervera, Ernest
Clavé, Josep Anselm
Gelabert, Concordio
Lleys, Jaume Joan
Masriera , Enric
Milans, Tomàs
Millet, Lluís
Millet, Lluís Maria
Nicolau, Antoni
Obiols, Àngel
Obiols, Marià
Pedrell, Felip
Planàs, Antoni
Pujol, Francesc
Pujol, Joan Pau
Pujol, Josep
Ricart, Josep
Rodoreda, Josep
Rodríguez de Alcántara, Melcior
Romeu, Lluís
Sor, Ferran
Toldrà, Eduard
Turull, Xavier
Vendrell, Emili
Vidiella, Carles Gumersind
Viñas, Josep
Vives, Amadeu
Zamacois, Joaquín
Maria Canals
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He started his musical education with his father, music amateur and founder of Victoria de la Garriga piano rolls, and later with J. Alsius and Joan Lamote de Grignon. In the 1910 and 1920s he transcribed piano rolls for his family business. This background and his friendship with Frederic Mompou directed him towards composition. His first output in the 1920s were mainly songs, small choral pieces and piano pieces such as El parc d'atraccions, premiered by Ricard Viñes in Paris (1924). In the same period, he composed fashionable dances and jazz pieces with Mompou for Hobby piano rolls. From 1930 onwards, he devoted himself to large-scale compositions for chamber, orchestral and choral ensembles. He took part in the Festival SIMC (Barcelona, 1936), where some of his work was premiered. He has been considered one of the most relevant Catalan composers of his century for the singularity of his compositions, which were influenced by the French school and later by classical expressivity. He received many prices and awards.
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He started his musical education with his father, music amateur and founder of Victoria de la Garriga piano rolls, and later with J. Alsius and Joan Lamote de Grignon. In the 1910 and 1920s he transcribed piano rolls for his family business. This background and his friendship with Frederic Mompou directed him towards composition. His first output in the 1920s were mainly songs, small choral pieces and piano pieces such as El parc d'atraccions, premiered by Ricard Viñes in Paris (1924). In the same period, he composed fashionable dances and jazz pieces with Mompou for Hobby piano rolls. From 1930 onwards, he devoted himself to large-scale compositions for chamber, orchestral and choral ensembles. He took part in the Festival SIMC (Barcelona, 1936), where some of his work was premiered. He has been considered one of the most relevant Catalan composers of his century for the singularity of his compositions, which were influenced by the French school and later by classical expressivity. He received many prices and awards.
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He studied piano, harmony and composition at Escola Municipal de Música de Barcelona (EMMB) with Millet, Nicolau and J. Canals.
He was appointed lecturer in EMMB until his retirement (1952) and devoted himself to both education and performance. In addition, he composed piano and chamber music and wrote pedagogical treatises on piano and solfege. He was awarded prizes at the Festa Musical Catalana (1908) and the Patxot Prize for his Piano Sonata in B minor.
Pianist and teacher
He studied piano, harmony and composition at Escola Municipal de Música de Barcelona (EMMB) with Millet, Nicolau and J. Canals.
He was appointed lecturer in EMMB until his retirement (1952) and devoted himself to both education and performance. In addition, he composed piano and chamber music and wrote pedagogical treatises on piano and solfege. He was awarded prizes at the Festa Musical Catalana (1908) and the Patxot Prize for his Piano Sonata in B minor.
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.
" ["format"]=> string(13) "filtered_html" ["safe_value"]=> string(1163) "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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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.
" ["format"]=> string(13) "filtered_html" ["safe_value"]=> string(1106) "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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He studied composition under Antoni Nicolau and violin under Domènec Sánchez i Deyà at the Escola Municipal de Música de Barcelona. He was a solfeggio teacher of the same school for twenty years, until he was appointed artistic director of the Gramophone record company in Barcelona. He also conducted the orchestra of the same company.
He wrote the essay Teoria elemental de la música: per a orfeons i escoles catalanes, and also some zarzuelas including El desterrado; Mundo, demonio y carne (1902) and El huertecillo (1917), premiered at Teatre Nou. He was a music critic for the publication El Diluvio, editor-in-chief of the magazine Música published in Barcelona between 1915 and 1916, and collaborated with Ràdio Associació de Catalunya. Gelabert also took part in the foundation of the Wagnerian Association of Barcelona.
" ["format"]=> string(13) "filtered_html" ["safe_value"]=> string(970) "Composer, music critic, pedagogue and conductor
He studied composition under Antoni Nicolau and violin under Domènec Sánchez i Deyà at the Escola Municipal de Música de Barcelona. He was a solfeggio teacher of the same school for twenty years, until he was appointed artistic director of the Gramophone record company in Barcelona. He also conducted the orchestra of the same company.
He wrote the essay Teoria elemental de la música: per a orfeons i escoles catalanes, and also some zarzuelas including El desterrado; Mundo, demonio y carne (1902) and El huertecillo (1917), premiered at Teatre Nou. He was a music critic for the publication El Diluvio, editor-in-chief of the magazine Música published in Barcelona between 1915 and 1916, and collaborated with Ràdio Associació de Catalunya. Gelabert also took part in the foundation of the Wagnerian Association of Barcelona.
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He studied piano with Carles G. Vidiella and harmony, composition and counterpoint with Anselm Barba and Francesc Alió. In 1879 he published Dansa ideal, his first composition for piano. For a few years he gave several recitals in Barcelona, one of them at the Teatre Líric. In 1888, together with Josep Lapeyra, he founded the Associació Musical de Barcelona that promoted the dissemination of symphonic music. At the end of the century he moved to Paris, where he expanded his musical studies and visited the 1900 World's Fair.
In 1907 he settled in the Vedado district of Havana, where he worked as a teacher and advocator of music societies. Thus, he was director of the Conservatorio Masriera and founder of a women's choir and an orchestra of amateur musicians.
He wrote three masses for orchestra, pieces for voice and piano and ¡Daniel!, a lyrical drama in two acts written by him and premiered in Barcelona in 1905. In 1939 he composed Cantata a Clemencia Isaura for the Juegos Florales Nacionales of Cárdenas (Cuba).
" ["format"]=> string(13) "filtered_html" ["safe_value"]=> string(1126) "Composer, pedagogue and music promoter
He studied piano with Carles G. Vidiella and harmony, composition and counterpoint with Anselm Barba and Francesc Alió. In 1879 he published Dansa ideal, his first composition for piano. For a few years he gave several recitals in Barcelona, one of them at the Teatre Líric. In 1888, together with Josep Lapeyra, he founded the Associació Musical de Barcelona that promoted the dissemination of symphonic music. At the end of the century he moved to Paris, where he expanded his musical studies and visited the 1900 World's Fair.
In 1907 he settled in the Vedado district of Havana, where he worked as a teacher and advocator of music societies. Thus, he was director of the Conservatorio Masriera and founder of a women's choir and an orchestra of amateur musicians.
He wrote three masses for orchestra, pieces for voice and piano and ¡Daniel!, a lyrical drama in two acts written by him and premiered in Barcelona in 1905. In 1939 he composed Cantata a Clemencia Isaura for the Juegos Florales Nacionales of Cárdenas (Cuba).
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[1]=> array(1) { ["target_id"]=> string(2) "24" } } } ["field_biografia"]=> array(1) { ["und"]=> array(1) { [0]=> array(3) { ["value"]=> string(737) "Kapellmeister and composer
Together with his brother Carles Milans, he most probably begun his music education under Felip Olivelles at the music chapel of the Palau de la Comtessa of Barcelona. He became Kapellmeister of the same institution between 1702 and 1714. For reasons most likely related to the War of the Spanish Succession, he left this position and in October of 1714 and obtained the same one in Girona’s Cathedral. He retired in 1733 and was succeeded by Emmanuel Gònima. He is considered one of the greatest Catalan composers of the late Baroque, partly thanks to being acquaint with composers and musicians of the chapel of Archduke Charles III of Austria.
Kapellmeister and composer
Together with his brother Carles Milans, he most probably begun his music education under Felip Olivelles at the music chapel of the Palau de la Comtessa of Barcelona. He became Kapellmeister of the same institution between 1702 and 1714. For reasons most likely related to the War of the Spanish Succession, he left this position and in October of 1714 and obtained the same one in Girona’s Cathedral. He retired in 1733 and was succeeded by Emmanuel Gònima. He is considered one of the greatest Catalan composers of the late Baroque, partly thanks to being acquaint with composers and musicians of the chapel of Archduke Charles III of Austria.
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In 1880 he studied at Conservatori del Liceu with Miquel Font (piano) and Josep Rodoreda (harmony and composition). Later, he studied with Felip Pedrell and Carles G. Vidiella, while collaborating with folklorist Sebastià Farnés. He worked as a pianist at the Cafè Inglés and Café Pelayo, meeting points for figures such as Guimerà, Gaudí or Pitarra. He conducted the choir La Lira of Sant Cugat del Vallès. Together with Amadeu Vives, he founded the Orfeó Català, a key institution for the modernization of choral singing in Catalonia (especially for sacred polyphony, Catalan musical heritage and for new music). He was a professor at the Escola Municipal de Música, founder of the chapel of Sant Felip Neri (1897), Kapellmeister of the choir school of La Mercè (1906) and conductor of the Banda Municipal of Barcelona (1930). He composed outstanding choir music, such as Jovenívola (1892) and El cant de la senyera (1896). He founded the Revista Musical Catalana (1904), and wrote several articles and essays.
Composer and conductor
In 1880 he studied at Conservatori del Liceu with Miquel Font (piano) and Josep Rodoreda (harmony and composition). Later, he studied with Felip Pedrell and Carles G. Vidiella, while collaborating with folklorist Sebastià Farnés. He worked as a pianist at the Cafè Inglés and Café Pelayo, meeting points for figures such as Guimerà, Gaudí or Pitarra. He conducted the choir La Lira of Sant Cugat del Vallès. Together with Amadeu Vives, he founded the Orfeó Català, a key institution for the modernization of choral singing in Catalonia (especially for sacred polyphony, Catalan musical heritage and for new music). He was a professor at the Escola Municipal de Música, founder of the chapel of Sant Felip Neri (1897), Kapellmeister of the choir school of La Mercè (1906) and conductor of the Banda Municipal of Barcelona (1930). He composed outstanding choir music, such as Jovenívola (1892) and El cant de la senyera (1896). He founded the Revista Musical Catalana (1904), and wrote several articles and essays.
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He began his musical studies with J. M. Comella and F. Pujol and at the Escola Municipal de Música with J. Canals (piano), Lluís Millet and V.M. Gibert (counterpoint, fugue and organ). He devoted his career to the Orfeó Català where he started as a singer and continued as assistant professor, assistant conductor and finally conductor (succeeding F. Pujol in 1946 and up until 1977). As a conductor, he followed the footsteps of his father Lluís Millet. He conducted music by composers such as Bach, Beethoven, Haydn and Mendelssohn, as well as Poulenc. He premiered X. Montsalvatge’s Cant espiritual (1960) and M. Blancafort’s oratorium Verge Maria (1968). He was also Kapellmeister of Sant Felip Neri and professor of the Escola Municipal de Música of Barcelona. In addition, he composed choral works such as La reliquia (1946) and El año mil (1954).
Composer and Conductor
He began his musical studies with J. M. Comella and F. Pujol and at the Escola Municipal de Música with J. Canals (piano), Lluís Millet and V.M. Gibert (counterpoint, fugue and organ). He devoted his career to the Orfeó Català where he started as a singer and continued as assistant professor, assistant conductor and finally conductor (succeeding F. Pujol in 1946 and up until 1977). As a conductor, he followed the footsteps of his father Lluís Millet. He conducted music by composers such as Bach, Beethoven, Haydn and Mendelssohn, as well as Poulenc. He premiered X. Montsalvatge’s Cant espiritual (1960) and M. Blancafort’s oratorium Verge Maria (1968). He was also Kapellmeister of Sant Felip Neri and professor of the Escola Municipal de Música of Barcelona. In addition, he composed choral works such as La reliquia (1946) and El año mil (1954).
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He studied piano with Joan B. Pujol and harmony and composition with Gabriel Balart. In 1876, at the age of 17, he composed the Athalia symphony and premiered it at the Gran Teatre del Liceu. Two years later, he premiered La tempestat and fragments of his opera Constanza at the same theatre. Between 1878 and 1885, he lived in Paris where he premiered the symphonic poem El triomf de Venus (1882) with remarkable critical success. In 1886 and 1900 he conducted Liceu's Lenten concerts featuring compositions by Berlioz, Wagner and Beethoven. In addition, he invited Richard Strauss to his concerts and collaborated with Orfeó Català. He promoted the works of Catalan composers such as Pedrell, Albéniz, Granados and Millet. In 1892 he founded the Societat Societat Catalana de Concerts and the Concerts Nicolau and, between 1896 and 1930, he was the director of Barcelona’s Escola Municipal de Música. His compositional activity focused mainly on choir music with compositions as successful as La mort de l'escolà (1900), with lyrics by Jacint Verdaguer.
Composer, conductor and pedagogue. He studied piano with Joan B. Pujol and harmony and composition with Gabriel Balart. In 1876, at the age of 17, he composed the Athalia symphony and premiered it at the Gran Teatre del Liceu. Two years later, he premiered La tempestat and fragments of his opera Constanza at the same theatre. Between 1878 and 1885, he lived in Paris where he premiered the symphonic poem El triomf de Venus (1882) with remarkable critical success. In 1886 and 1900 he conducted Liceu's Lenten concerts featuring compositions by Berlioz, Wagner and Beethoven. In addition, he invited Richard Strauss to his concerts and collaborated with Orfeó Català. He promoted the works of Catalan composers such as Pedrell, Albéniz, Granados and Millet. In 1892 he founded the Societat Societat Catalana de Concerts and the Concerts Nicolau and, between 1896 and 1930, he was the director of Barcelona’s Escola Municipal de Música. His compositional activity focused mainly on choir music with compositions as successful as La mort de l'escolà (1900), with lyrics by Jacint Verdaguer.
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He began his musical studies at the age of eight, but had to abandon them to access the seminary. Nevertheless, he continued to learn on his own and became organist of the church of Sant Vicenç of Sarrià in 1911. He later studied piano with father Molera and harmony and composition with Vicenç M. Gibert.
In 1917 he founded the Orfeó Sarrianenc, a choir he conducted until 1954. He also contributed to the resumption of the Christmas performance of the lyrical drama L'Estel de Nazaret, which he organized in Sarrià between 1940 and 1961, and the direction of the Rosari Pastoril by Francesc Forns for Saint Vincent’s day.
Obiols stood out as a composer of sardanes, an activity that gave him public recognition and some awards. Between 1912 and 1966 he composed about 30 sardanes, some of them choral. Some examples are Flor nadalenca, Aubada de festa, Girona invicta and Mercè. He also harmonized folk dances and composed masses, caramelles, carols, songs and stage music.
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Composer and organist
He began his musical studies at the age of eight, but had to abandon them to access the seminary. Nevertheless, he continued to learn on his own and became organist of the church of Sant Vicenç of Sarrià in 1911. He later studied piano with father Molera and harmony and composition with Vicenç M. Gibert.
In 1917 he founded the Orfeó Sarrianenc, a choir he conducted until 1954. He also contributed to the resumption of the Christmas performance of the lyrical drama L'Estel de Nazaret, which he organized in Sarrià between 1940 and 1961, and the direction of the Rosari Pastoril by Francesc Forns for Saint Vincent’s day.
Obiols stood out as a composer of sardanes, an activity that gave him public recognition and some awards. Between 1912 and 1966 he composed about 30 sardanes, some of them choral. Some examples are Flor nadalenca, Aubada de festa, Girona invicta and Mercè. He also harmonized folk dances and composed masses, caramelles, carols, songs and stage music.
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He studied violin with J. Vilanova, harmony and counterpoint with Arbós and Saldoni and later composition with Ramon Vilanova. His first compositions include sacred music such as the kyries of the Missa Pastoril of Vilanova. In 1831 he moved to Milan to study with Mercadante. He travelled across Europe with him and met composers such as Rossini, Donizetti, Meyerbeer, Auber, Boildieu and Caraffa. His first opera Odio e Amore was premiered in 1837 at La Scala in Milan and was performed in other Italian cities.
In Barcelona he was professor of composition, singing teacher, director of the Liceu Conservatory and conductor of the Gran Teatre del Liceu orchestra. He wrote handbooks of solfège and piano. His cantata Il regio imeneo was performed for the inauguration of the new Liceu building in 1847, and the opera Editta di Belcourt achieved great success in its premiere in 1874.
He studied violin with J. Vilanova, harmony and counterpoint with Arbós and Saldoni and later composition with Ramon Vilanova. His first compositions include sacred music such as the kyries of the Missa Pastoril of Vilanova. In 1831 he moved to Milan to study with Mercadante. He travelled across Europe with him and met composers such as Rossini, Donizetti, Meyerbeer, Auber, Boildieu and Caraffa. His first opera Odio e Amore was premiered in 1837 at La Scala in Milan and was performed in other Italian cities.
In Barcelona he was professor of composition, singing teacher, director of the Liceu Conservatory and conductor of the Gran Teatre del Liceu orchestra. He wrote handbooks of solfège and piano. His cantata Il regio imeneo was performed for the inauguration of the new Liceu building in 1847, and the opera Editta di Belcourt achieved great success in its premiere in 1874.
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He was a choirboy at the music chapel of Tortosa’s cathedral. There he studied with J. A. Nin Serra. Based in Barcelona, he premiered L'ultimo abenzeraggio (1874) and Quasimodo (1875) at the Gran Teatre del Liceu. He obtained a scholarship to study in Italy and France (1876-1878) and studied musicology and devoted himself to composition. He composed the opera Els Pirineus (1891), and Porh nuestra música (1891) which has been considered the first manifesto of the Hispanic musical nationalism. From 1894 onwards, he was a professor at the Conservatory of Madrid and at the Ateneo, where he premiered La Celestina (1902). In 1904, he returned to Barcelona and composed El Compte Arnau, with text by Joan Maragall. He was highly-regarded for his musicological research, thanks his articles and music editions such as Hispaniae Schola Musica Sacra (1894-1896) and Opera Omnia by T. L. Victoria (commissioned by Breitkopf & Härtel) (1902-1913). He was the teacher of figures such as I. Albéniz, E. Granados, R. Gerhard, H. Anglès or M. de Falla.
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He was a choirboy at the music chapel of Tortosa’s cathedral. There he studied with J. A. Nin Serra. Based in Barcelona, he premiered L'ultimo abenzeraggio (1874) and Quasimodo (1875) at the Gran Teatre del Liceu. He obtained a scholarship to study in Italy and France (1876-1878) and studied musicology and devoted himself to composition. He composed the opera Els Pirineus (1891), and Porh nuestra música (1891) which has been considered the first manifesto of the Hispanic musical nationalism. From 1894 onwards, he was a professor at the Conservatory of Madrid and at the Ateneo, where he premiered La Celestina (1902). In 1904, he returned to Barcelona and composed El Compte Arnau, with text by Joan Maragall. He was highly-regarded for his musicological research, thanks his articles and music editions such as Hispaniae Schola Musica Sacra (1894-1896) and Opera Omnia by T. L. Victoria (commissioned by Breitkopf & Härtel) (1902-1913). He was the teacher of figures such as I. Albéniz, E. Granados, R. Gerhard, H. Anglès or M. de Falla.
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He began his musical education with his father and continued at the Municipal Music School of Barcelona with Ll. Millet, J. Soler and Nicolau. Between 1911 and 1921, he was cellist of the Renaissance Quartet (together with Toldrà, Recasens and Sànchez) with which he travelled to several European capitals. From 1921 onwards, he developed his task as a composer, mainly composing music for orchestra and voice and sardanes influenced by Enric Morera and the French Impressionism.
Composer and cellist
He began his musical education with his father and continued at the Municipal Music School of Barcelona with Ll. Millet, J. Soler and Nicolau. Between 1911 and 1921, he was cellist of the Renaissance Quartet (together with Toldrà, Recasens and Sànchez) with which he travelled to several European capitals. From 1921 onwards, he developed his task as a composer, mainly composing music for orchestra and voice and sardanes influenced by Enric Morera and the French Impressionism.
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["field_np_alies"]=> array(0) { } ["field_np_cr_dit_fotografia"]=> array(0) { } ["rdf_mapping"]=> array(9) { ["rdftype"]=> array(2) { [0]=> string(9) "sioc:Item" [1]=> string(13) "foaf:Document" } ["title"]=> array(1) { ["predicates"]=> array(1) { [0]=> string(8) "dc:title" } } ["created"]=> array(3) { ["predicates"]=> array(2) { [0]=> string(7) "dc:date" [1]=> string(10) "dc:created" } ["datatype"]=> string(12) "xsd:dateTime" ["callback"]=> string(12) "date_iso8601" } ["changed"]=> array(3) { ["predicates"]=> array(1) { [0]=> string(11) "dc:modified" } ["datatype"]=> string(12) "xsd:dateTime" ["callback"]=> string(12) "date_iso8601" } ["body"]=> array(1) { ["predicates"]=> array(1) { [0]=> string(15) "content:encoded" } } ["uid"]=> array(2) { ["predicates"]=> array(1) { [0]=> string(16) "sioc:has_creator" } ["type"]=> string(3) "rel" } ["name"]=> array(1) { ["predicates"]=> array(1) { [0]=> string(9) "foaf:name" } } ["comment_count"]=> array(2) { ["predicates"]=> array(1) { [0]=> string(16) "sioc:num_replies" } ["datatype"]=> string(11) "xsd:integer" } ["last_activity"]=> array(3) { ["predicates"]=> array(1) { [0]=> string(23) "sioc:last_activity_date" } ["datatype"]=> string(12) "xsd:dateTime" ["callback"]=> string(12) "date_iso8601" } } ["path"]=> array(1) { ["pathauto"]=> string(1) "1" } ["cid"]=> string(1) "0" ["last_comment_timestamp"]=> string(10) "1541520069" ["last_comment_name"]=> NULL ["last_comment_uid"]=> string(1) "5" ["comment_count"]=> string(1) "0" ["name"]=> string(4) "crg1" ["picture"]=> string(1) "0" ["data"]=> 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(7) "Planàs" ["#access"]=> bool(true) } ["raw"]=> array(3) { ["value"]=> string(7) "Planàs" ["format"]=> NULL ["safe_value"]=> string(7) "Planàs" } } } ["field_field_np_cognom_2"]=> array(1) { [0]=> array(2) { ["rendered"]=> array(2) { ["#markup"]=> string(5) "Marca" ["#access"]=> bool(true) } ["raw"]=> array(3) { ["value"]=> string(5) "Marca" ["format"]=> NULL ["safe_value"]=> string(5) "Marca" } } } } [15]=> object(stdClass)#241 (9) { ["node_title"]=> string(8) "Francesc" ["nid"]=> string(4) "4107" ["node_language"]=> string(2) "en" ["field_data_field_np_cognom_1_field_np_cognom_1_value"]=> string(5) "Pujol" ["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)#268 (53) { ["vid"]=> string(4) "4246" ["uid"]=> string(1) "5" ["title"]=> string(8) "Francesc" ["log"]=> string(0) "" ["status"]=> string(1) "1" ["comment"]=> string(1) "2" ["promote"]=> string(1) "1" ["sticky"]=> string(1) "0" ["nid"]=> string(4) "4107" ["type"]=> string(9) "nom_propi" ["language"]=> string(2) "en" ["created"]=> string(10) "1541582058" ["changed"]=> string(10) "1614768023" ["tnid"]=> string(3) "429" ["translate"]=> string(1) "0" ["revision_timestamp"]=> string(10) "1614768023" ["revision_uid"]=> string(1) "5" ["body"]=> array(0) { } ["field_g_nere"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["target_id"]=> string(2) "21" } } } ["field_fotografia"]=> array(0) { } ["field_lloc_naixement"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["target_id"]=> string(2) "91" } } } ["field_data_naixement"]=> array(1) { ["und"]=> array(1) { [0]=> array(4) { ["value"]=> string(19) "1878-05-15 00:00:00" ["timezone"]=> string(13) "Europe/Berlin" ["timezone_db"]=> string(13) "Europe/Berlin" ["date_type"]=> string(8) "datetime" } } } ["field_data_mort"]=> array(1) { ["und"]=> array(1) { [0]=> array(4) { ["value"]=> string(19) "1945-12-24 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(952) "Composer, conductor and musicologist
He studied piano and solfège at the Conservatori del Liceu with Font i Buyé, and harmony and composition with Millet. In 1897, he joined the Orfeó Català, an institution with which he would be closely associated: he was teacher assistant (1903), administrator of the Palau de la Música (1908), assistant director (1917) and conductor (1941). Among other positions, he was the director of Obra del Cançoner Popular (1921-1936), president of the Barcelona section of the International Society for Contemporary Music (1928) and director of the Associació d'Amics de la Música (1916-1923), an institution in which he premiered music by G. Mahler, R. Strauss and B. Bartók. In addition, he was assistant kapellmeister of the church of Sant Felip Neri in Barcelona. As a composer, he produced choir, symphonic and chamber music, as well as sardana.
Composer, conductor and musicologist
He studied piano and solfège at the Conservatori del Liceu with Font i Buyé, and harmony and composition with Millet. In 1897, he joined the Orfeó Català, an institution with which he would be closely associated: he was teacher assistant (1903), administrator of the Palau de la Música (1908), assistant director (1917) and conductor (1941). Among other positions, he was the director of Obra del Cançoner Popular (1921-1936), president of the Barcelona section of the International Society for Contemporary Music (1928) and director of the Associació d'Amics de la Música (1916-1923), an institution in which he premiered music by G. Mahler, R. Strauss and B. Bartók. In addition, he was assistant kapellmeister of the church of Sant Felip Neri in Barcelona. As a composer, he produced choir, symphonic and chamber music, as well as sardana.
" } } } ["field_ciutats_relacionades"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["target_id"]=> string(2) "91" } } } ["field_associat_al_fons_del_museu"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["value"]=> string(1) "0" } } } ["field_domini_public"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["value"]=> string(1) "0" } } } ["field_patrimoni_musical_catal_"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["value"]=> string(1) "0" } } } ["field_obres"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["target_id"]=> string(4) "4394" } } } ["field_institucions_i_formacions_"]=> array(1) { ["und"]=> array(3) { [0]=> array(1) { ["target_id"]=> string(4) "3675" } [1]=> array(1) { ["target_id"]=> string(4) "3665" } [2]=> array(1) { ["target_id"]=> string(4) "3682" } } } ["field_noms_propis_relacionats"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["target_id"]=> string(4) "4061" } } } ["field_teatres_i_auditoris_relaci"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["target_id"]=> string(4) "3696" } } } ["field_centres_de_documentaci_"]=> array(1) { ["und"]=> array(2) { [0]=> array(1) { ["target_id"]=> string(4) "3606" } [1]=> array(1) { ["target_id"]=> string(4) "3608" } } } ["field_urls_d_interes"]=> array(0) { } ["field_bibliografia"]=> array(0) { } ["field__udios_sense_fitxa"]=> array(0) { } ["field_np_noms_alternatius"]=> array(1) { ["und"]=> array(1) { [0]=> array(3) { ["value"]=> string(20) "Francisco Pujol Pons" ["format"]=> NULL ["safe_value"]=> string(20) "Francisco Pujol Pons" } } } ["field_np_cognom_1"]=> array(1) { ["und"]=> array(1) { [0]=> array(3) { ["value"]=> string(5) "Pujol" ["format"]=> NULL ["safe_value"]=> string(5) "Pujol" } } } ["field_np_cognom_2"]=> array(1) { ["und"]=> array(1) { [0]=> array(3) { ["value"]=> string(4) "Pons" ["format"]=> NULL ["safe_value"]=> string(4) "Pons" } } } ["field_np_alies"]=> array(0) { } ["field_np_cr_dit_fotografia"]=> array(0) { } ["rdf_mapping"]=> array(9) { ["rdftype"]=> array(2) { [0]=> string(9) "sioc:Item" [1]=> string(13) "foaf:Document" } ["title"]=> array(1) { ["predicates"]=> array(1) { [0]=> string(8) "dc:title" } } ["created"]=> array(3) { ["predicates"]=> array(2) { [0]=> string(7) "dc:date" [1]=> string(10) "dc:created" } ["datatype"]=> string(12) "xsd:dateTime" ["callback"]=> string(12) "date_iso8601" } ["changed"]=> array(3) { ["predicates"]=> array(1) { [0]=> string(11) "dc:modified" } ["datatype"]=> string(12) "xsd:dateTime" ["callback"]=> string(12) "date_iso8601" } ["body"]=> array(1) { ["predicates"]=> array(1) { [0]=> string(15) "content:encoded" } } ["uid"]=> array(2) { ["predicates"]=> array(1) { [0]=> string(16) "sioc:has_creator" } ["type"]=> string(3) "rel" } ["name"]=> array(1) { ["predicates"]=> array(1) { [0]=> string(9) "foaf:name" } } ["comment_count"]=> array(2) { ["predicates"]=> array(1) { [0]=> string(16) "sioc:num_replies" } ["datatype"]=> string(11) "xsd:integer" } ["last_activity"]=> array(3) { ["predicates"]=> array(1) { [0]=> string(23) "sioc:last_activity_date" } ["datatype"]=> string(12) "xsd:dateTime" ["callback"]=> string(12) "date_iso8601" } } ["path"]=> array(1) { ["pathauto"]=> string(1) "1" } ["cid"]=> string(1) "0" ["last_comment_timestamp"]=> string(10) "1541582058" ["last_comment_name"]=> NULL ["last_comment_uid"]=> string(1) "5" ["comment_count"]=> string(1) "0" ["name"]=> string(4) "crg1" ["picture"]=> string(1) "0" ["data"]=> 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(5) "Pujol" ["#access"]=> bool(true) } ["raw"]=> array(3) { ["value"]=> string(5) "Pujol" ["format"]=> NULL ["safe_value"]=> string(5) "Pujol" } } } ["field_field_np_cognom_2"]=> array(1) { [0]=> array(2) { ["rendered"]=> array(2) { ["#markup"]=> string(4) "Pons" ["#access"]=> bool(true) } ["raw"]=> array(3) { ["value"]=> string(4) "Pons" ["format"]=> NULL ["safe_value"]=> string(4) "Pons" } } } } [16]=> object(stdClass)#242 (9) { ["node_title"]=> string(8) "Joan Pau" ["nid"]=> string(4) "4110" ["node_language"]=> string(2) "en" ["field_data_field_np_cognom_1_field_np_cognom_1_value"]=> string(5) "Pujol" ["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)#269 (53) { ["vid"]=> string(4) "4249" ["uid"]=> string(1) "5" ["title"]=> string(8) "Joan Pau" ["log"]=> string(0) "" ["status"]=> string(1) "1" ["comment"]=> string(1) "2" ["promote"]=> string(1) "1" ["sticky"]=> string(1) "0" ["nid"]=> string(4) "4110" ["type"]=> string(9) "nom_propi" ["language"]=> string(2) "en" ["created"]=> string(10) "1541688759" ["changed"]=> string(10) "1614598966" ["tnid"]=> string(3) "437" ["translate"]=> string(1) "0" ["revision_timestamp"]=> string(10) "1614598966" ["revision_uid"]=> string(1) "5" ["body"]=> array(0) { } ["field_g_nere"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["target_id"]=> string(2) "21" } } } ["field_fotografia"]=> array(0) { } ["field_lloc_naixement"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["target_id"]=> string(3) "256" } } } ["field_data_naixement"]=> array(1) { ["und"]=> array(1) { [0]=> array(4) { ["value"]=> string(19) "1570-06-26 00:00:00" ["timezone"]=> string(13) "Europe/Berlin" ["timezone_db"]=> string(13) "Europe/Berlin" ["date_type"]=> string(8) "datetime" } } } ["field_data_mort"]=> array(1) { ["und"]=> array(1) { [0]=> array(4) { ["value"]=> string(19) "1626-05-17 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(1) { [0]=> array(1) { ["target_id"]=> string(2) "22" } } } ["field_biografia"]=> array(1) { ["und"]=> array(1) { [0]=> array(3) { ["value"]=> string(841) "Kapellmeister and Composer
It is probably he started his music education in Mataró. The first documented information about him is from 1593, when he was coadjutor of Julià Andreu Vilanova, Kapellmeister of the cathedral of Barcelona. That year he was appointed Kapellmeister of the cathedral of Tarragona and in 1595 he obtained the same position in the basilica of Pilar de Zaragoza. Seventeen years later, in 1612, he returned to Barcelona and was appointed Kapellmeister of the cathedral and that of the Capella de Música de Sant Jordi of the Generalitat de Catalunya. Despite the destruction of some archives, the large amount of surviving music place him as a composer of the transition between the aesthetics of the late Renaissance and that of the early Baroque.
Kapellmeister and Composer
It is probably he started his music education in Mataró. The first documented information about him is from 1593, when he was coadjutor of Julià Andreu Vilanova, Kapellmeister of the cathedral of Barcelona. That year he was appointed Kapellmeister of the cathedral of Tarragona and in 1595 he obtained the same position in the basilica of Pilar de Zaragoza. Seventeen years later, in 1612, he returned to Barcelona and was appointed Kapellmeister of the cathedral and that of the Capella de Música de Sant Jordi of the Generalitat de Catalunya. Despite the destruction of some archives, the large amount of surviving music place him as a composer of the transition between the aesthetics of the late Renaissance and that of the early Baroque.
" } } } ["field_ciutats_relacionades"]=> array(1) { ["und"]=> array(3) { [0]=> array(1) { ["target_id"]=> string(2) "91" } [1]=> array(1) { ["target_id"]=> string(3) "316" } [2]=> array(1) { ["target_id"]=> string(4) "1197" } } } ["field_associat_al_fons_del_museu"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["value"]=> string(1) "0" } } } ["field_domini_public"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["value"]=> string(1) "0" } } } ["field_patrimoni_musical_catal_"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["value"]=> string(1) "0" } } } ["field_obres"]=> array(0) { } ["field_institucions_i_formacions_"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["target_id"]=> string(4) "3690" } } } ["field_noms_propis_relacionats"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["target_id"]=> string(4) "4128" } } } ["field_teatres_i_auditoris_relaci"]=> array(0) { } ["field_centres_de_documentaci_"]=> array(1) { ["und"]=> array(4) { [0]=> array(1) { 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Although his biography is mostly unknown, he was the Kapellmeister of the cathedral of Barcelona after Josep Picanyol. Part of his output is preserved at the Biblioteca de Catalunya and it includes oratorios, cantatas and goigs. Among his output is the oratorio El juicio particular (1770) and Te Deum (1759) for the celebrations of Carlos III arrival to Spain.
Composer and Kapellmeister
Although his biography is mostly unknown, he was the Kapellmeister of the cathedral of Barcelona after Josep Picanyol. Part of his output is preserved at the Biblioteca de Catalunya and it includes oratorios, cantatas and goigs. Among his output is the oratorio El juicio particular (1770) and Te Deum (1759) for the celebrations of Carlos III arrival to Spain.
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00:00:00" ["timezone"]=> string(13) "Europe/Berlin" ["timezone_db"]=> string(13) "Europe/Berlin" ["date_type"]=> string(8) "datetime" } } } ["field_data_mort"]=> array(1) { ["und"]=> array(1) { [0]=> array(4) { ["value"]=> string(19) "1978-08-24 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) "24" } [1]=> array(1) { ["target_id"]=> string(2) "25" } } } ["field_biografia"]=> array(1) { ["und"]=> array(1) { [0]=> array(3) { ["value"]=> string(1153) "Cellist and musicologist. He began his music education with his mother, Carme Matas. He studied cello at the Escola Municipal de Música of Barcelona with Josep Soler, and later in Paris (1912-1914). After an intense concert life around Europe departing from Paris and London (1920-1933), an illness in his fingers forced him to retire. He returned to Barcelona and collaborated with Gerhard in the restoration of scores in the Biblioteca de Catalunya and participated in Angles’s La música a Catalunya fins al segle XIII. He became cello professor (1942) and folklore professor (1954) at the Conservatory of Music. In 1943, he began the preparation of the Museu de la Música, which he directed until retirement. He was linked to institutions devoted to musicology and published prominent books such as the Diccionario biográfico de la Música (1956) and the translation and adaptation of Francesc Brunet's Diccionario de la música, and also collaborated in the Diccionario de la música Labor. The Josep Ricart i Matas Musicological Research and Documentation Institute was created after him.
" ["format"]=> string(13) "filtered_html" ["safe_value"]=> string(1152) "Cellist and musicologist. He began his music education with his mother, Carme Matas. He studied cello at the Escola Municipal de Música of Barcelona with Josep Soler, and later in Paris (1912-1914). After an intense concert life around Europe departing from Paris and London (1920-1933), an illness in his fingers forced him to retire. He returned to Barcelona and collaborated with Gerhard in the restoration of scores in the Biblioteca de Catalunya and participated in Angles’s La música a Catalunya fins al segle XIII. He became cello professor (1942) and folklore professor (1954) at the Conservatory of Music. In 1943, he began the preparation of the Museu de la Música, which he directed until retirement. He was linked to institutions devoted to musicology and published prominent books such as the Diccionario biográfico de la Música (1956) and the translation and adaptation of Francesc Brunet's Diccionario de la música, and also collaborated in the Diccionario de la música Labor. The Josep Ricart i Matas Musicological Research and Documentation Institute was created after him.
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He was a pupil of Nicolau Manent in the choir of the Verge del Remei of Barcelona. In 1875, he was appointed piano accompaniment and solfège teacher at the Liceu Conservatory, where he worked until 1883. In 1876, he was appointed director of Societat Coral Euterpe and in 1883 he was appointed conductor of the music academy of the Casa de la Caritat. From 1886 onwards, he was the conductor of the Municipal Band of Barcelona and conductor of the Municipal School of Music of Barcelona. In 1896, he moved to Donostia to conduct the band and the music school and in 1906 he settled in Buenos Aires, where he was the director of the Thibaud-Piazzini Conservatory. He composed almost 300 compositions, such as Primavera (1883) for orchestra, the dramatic idyll La nit al bosc (1883) by Apel·les Mestres and the oratorio Les set paraules (1875). He is best known as the composer of Virolai, hymn to the Virgin of Montserrat with the text by Jacint Verdaguer, and for being part of the Catalan delegation of the Board of the Bayreuth Festival.
Composer, conductor and pedagogue
He was a pupil of Nicolau Manent in the choir of the Verge del Remei of Barcelona. In 1875, he was appointed piano accompaniment and solfège teacher at the Liceu Conservatory, where he worked until 1883. In 1876, he was appointed director of Societat Coral Euterpe and in 1883 he was appointed conductor of the music academy of the Casa de la Caritat. From 1886 onwards, he was the conductor of the Municipal Band of Barcelona and conductor of the Municipal School of Music of Barcelona. In 1896, he moved to Donostia to conduct the band and the music school and in 1906 he settled in Buenos Aires, where he was the director of the Thibaud-Piazzini Conservatory. He composed almost 300 compositions, such as Primavera (1883) for orchestra, the dramatic idyll La nit al bosc (1883) by Apel·les Mestres and the oratorio Les set paraules (1875). He is best known as the composer of Virolai, hymn to the Virgin of Montserrat with the text by Jacint Verdaguer, and for being part of the Catalan delegation of the Board of the Bayreuth Festival.
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He was pupil of Josep Maria d'Arteaga and Carles G. Vidiella at the Liceu Conservatory and later studied organ with Primitivo Pardàs. He excelled as a pianist and organist at the cathedral of Barcelona. He was a musical critic for La Renaixença, La Vanguardia and the Il·lustració catalana. His output includes piano and chamber music, and glosses of folk songs for the orchestra.
Composer, pianist and music critic
He was pupil of Josep Maria d'Arteaga and Carles G. Vidiella at the Liceu Conservatory and later studied organ with Primitivo Pardàs. He excelled as a pianist and organist at the cathedral of Barcelona. He was a musical critic for La Renaixença, La Vanguardia and the Il·lustració catalana. His output includes piano and chamber music, and glosses of folk songs for the orchestra.
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He began his music education at the Escola Municipal of Vic with Lluís G. Jordà and continued in Barcelona with Felip Pedrell. He was the Kapellmeister and organist of the cathedral of Vic between 1901 and 1920. He collaborated with Obra del Cançoner Popular de Catalunya, where he published La versió autèntica dels Goigs del Roser. He was one of the leaders in the changes in liturgical music and in the connection between the Gregorian tradition and popular music. He composed over 300 works, mainly religious music (songs, hymns, works for organ and an oratorio), although the harmonization of traditional Catalan songs has also been highly regarded. Some compositions are very well known as they are part of the religious repertoire of the 20th century.
Composer and organist
He began his music education at the Escola Municipal of Vic with Lluís G. Jordà and continued in Barcelona with Felip Pedrell. He was the Kapellmeister and organist of the cathedral of Vic between 1901 and 1920. He collaborated with Obra del Cançoner Popular de Catalunya, where he published La versió autèntica dels Goigs del Roser. He was one of the leaders in the changes in liturgical music and in the connection between the Gregorian tradition and popular music. He composed over 300 works, mainly religious music (songs, hymns, works for organ and an oratorio), although the harmonization of traditional Catalan songs has also been highly regarded. Some compositions are very well known as they are part of the religious repertoire of the 20th century.
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He studied violin, among others, with Joan Massià, Antoni Brosa, Ruggero Ricci and Yehudi Menuhin. In 1944, he was part of the Orquestra Municipal de Barcelona and in 1947 he went to Colombia to teach chamber music at the Universidad del Cauca (1947-1950), and then to Buenos Aires (1950-1955) and London to study with Brosa. In 1966 he was appointed professor of violin at the Conservatori Superior of Music of Barcelona and was director of the same institution between 1972 and 1982. In addition to his teaching, he also devoted himself to composition of music of romantic inheritance, such as the violin piece Trama 12X 12 (1977).
Violinist and composer
He studied violin, among others, with Joan Massià, Antoni Brosa, Ruggero Ricci and Yehudi Menuhin. In 1944, he was part of the Orquestra Municipal de Barcelona and in 1947 he went to Colombia to teach chamber music at the Universidad del Cauca (1947-1950), and then to Buenos Aires (1950-1955) and London to study with Brosa. In 1966 he was appointed professor of violin at the Conservatori Superior of Music of Barcelona and was director of the same institution between 1972 and 1982. In addition to his teaching, he also devoted himself to composition of music of romantic inheritance, such as the violin piece Trama 12X 12 (1977).
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He began his music studies at the Escolania de Santa Maria del Mar in Barcelona and later joined the Orfeó Català, where he studied with Lluís Millet and Assumpció Prades. He was born in a working-class family and was an idol of popular Catalanism in the 1920s and 1930s under the name of "the voice of the people". In 1921, he performed the evangelist's part in the first performance of Bach’s St Matthew Passion on the Iberian Peninsula. He debuted as zarzuela performer in 1922 with Don Joan de Serrallonga by Enric Morera and continued performing works by Guerrero or Amadeu Vives whose Doña Francisquita was performed around a thousand times. He also specialized in lieder performances in Catalan and of traditional Catalan songs like Rosó or L'emigrant. In addition, he sang some oratories, opera (El giravolt de maig) and symphonic repertoire. He wrote books such as El mestre Millet i jo and I and the singing manual El cant.
" ["format"]=> string(13) "filtered_html" ["safe_value"]=> string(1151) "Tenor
He began his music studies at the Escolania de Santa Maria del Mar in Barcelona and later joined the Orfeó Català, where he studied with Lluís Millet and Assumpció Prades. He was born in a working-class family and was an idol of popular Catalanism in the 1920s and 1930s under the name of "the voice of the people". In 1921, he performed the evangelist's part in the first performance of Bach’s St Matthew Passion on the Iberian Peninsula. He debuted as zarzuela performer in 1922 with Don Joan de Serrallonga by Enric Morera and continued performing works by Guerrero or Amadeu Vives whose Doña Francisquita was performed around a thousand times. He also specialized in lieder performances in Catalan and of traditional Catalan songs like Rosó or L'emigrant. In addition, he sang some oratories, opera (El giravolt de maig) and symphonic repertoire. He wrote books such as El mestre Millet i jo and I and the singing manual El cant.
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He studied in Barcelona with Joan Baptista Pujol. He continued his studies in Paris with Antoine François Marmontel in 1878 and in 1879, he made his debut at the Universal Exhibition of the same city. After his return to Barcelona, he began his career as concert pianist with a repertoire that he embraced from Scarlatti to the Romantic Germans and Chopin, as well as music by Catalan composers such as Albéniz, Alió and Rodríguez Alcántara. In his teaching career, he had Joaquim Nin and Robert Goberna as his students. In addition, he founded the Escola Musical Vidiella, where Lluís Millet and Enric Morera studied. He was a member of the Musical Association of Barcelona and president of the Society of Concerts of Barcelona. He also composed sporadically some music, such as Romança (1906) for piano. He is considered one of the founders of the modern piano school in Barcelona.
Pianist and pedagogue. He studied in Barcelona with Joan Baptista Pujol. He continued his studies in Paris with Antoine François Marmontel in 1878 and in 1879, he made his debut at the Universal Exhibition of the same city. After his return to Barcelona, he began his career as concert pianist with a repertoire that he embraced from Scarlatti to the Romantic Germans and Chopin, as well as music by Catalan composers such as Albéniz, Alió and Rodríguez Alcántara. In his teaching career, he had Joaquim Nin and Robert Goberna as his students. In addition, he founded the Escola Musical Vidiella, where Lluís Millet and Enric Morera studied. He was a member of the Musical Association of Barcelona and president of the Society of Concerts of Barcelona. He also composed sporadically some music, such as Romança (1906) for piano. He is considered one of the founders of the modern piano school in Barcelona.
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He began his studies at the Escolania de la Mercè in Barcelona. Soon after, he started his international career as guitarist. He took the musical direction of Teatre Principal in Barcelona in the 1860-1861 season and later, that of Teatro de los Campos Elíseos in Madrid. He conducted the orchestras of Liceu, Romea and the Circo in Barcelona, and that of the Teatre Principal in Valencia. He composed zarzuelas (e.g. Don Ruperto Culebrinas) and music for guitar and piano.
Conductor, tenor, guitarist and composer
He began his studies at the Escolania de la Mercè in Barcelona. Soon after, he started his international career as guitarist. He took the musical direction of Teatre Principal in Barcelona in the 1860-1861 season and later, that of Teatro de los Campos Elíseos in Madrid. He conducted the orchestras of Liceu, Romea and the Circo in Barcelona, and that of the Teatre Principal in Valencia. He composed zarzuelas (e.g. Don Ruperto Culebrinas) and music for guitar and piano.
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He began his studies with Josep Ribera in the choir of the chapel of Santa Anna in Barcelona, and continued with Felip Pedrell. In 1891, together with Lluís Millet, he founded the Orfeó Català, the choir for whom he composed works such as L'Emigrant (1893). In 1896, he conducted the choir of Teatre Novetats and in 1898, he settled in Madrid and developed a career as zarzuela composer. In 1904, he premiered Bohemios, one of his most acclaimed titles within género chico. From 1907 onwards, he led Teatro de la Zarzuela and turned it into a benchmark for zarzuela. He composed a large number of zarzuelas that stand out for their great lyricism. He directed the Apolo Theater, where he premiered Doña Francisquita (1923), one of his greatest achievements. From 1922 onwards, he was professor of composition at the Conservatorio de Madrid. He was always connected to Barcelona, where he had a massive funeral at Palau de la Música Catalana. He wrote several essays and the comedy Jo no sabia que el món era així (1929).
" ["format"]=> string(13) "filtered_html" ["safe_value"]=> string(1162) "Composer, conductor and author
He began his studies with Josep Ribera in the choir of the chapel of Santa Anna in Barcelona, and continued with Felip Pedrell. In 1891, together with Lluís Millet, he founded the Orfeó Català, the choir for whom he composed works such as L'Emigrant (1893). In 1896, he conducted the choir of Teatre Novetats and in 1898, he settled in Madrid and developed a career as zarzuela composer. In 1904, he premiered Bohemios, one of his most acclaimed titles within género chico. From 1907 onwards, he led Teatro de la Zarzuela and turned it into a benchmark for zarzuela. He composed a large number of zarzuelas that stand out for their great lyricism. He directed the Apolo Theater, where he premiered Doña Francisquita (1923), one of his greatest achievements. From 1922 onwards, he was professor of composition at the Conservatorio de Madrid. He was always connected to Barcelona, where he had a massive funeral at Palau de la Música Catalana. He wrote several essays and the comedy Jo no sabia que el món era així (1929).
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He studied at the Conservatori del Liceu, where he was later a professor. He taught and was headmaster of the Conservatory Municipal de Barcelona (1945-1965) after the renaming of the institution. He composed cuplets for artists like Pilar Alonso and Raquel Meller (under the pseudonym I. Casamoz). Later, he composed orchestral music such as La sega (1928), as well as chamber music and zarzuelas. He created a number of theory, history and music criticism written works, among which the manuals Método LAZ were used as textbooks in many Spanish and Latin American conservatories.
Composer, pianist, teacher and music theorist
He studied at the Conservatori del Liceu, where he was later a professor. He taught and was headmaster of the Conservatory Municipal de Barcelona (1945-1965) after the renaming of the institution. He composed cuplets for artists like Pilar Alonso and Raquel Meller (under the pseudonym I. Casamoz). Later, he composed orchestral music such as La sega (1928), as well as chamber music and zarzuelas. He created a number of theory, history and music criticism written works, among which the manuals Método LAZ were used as textbooks in many Spanish and Latin American conservatories.
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T. 93 256 36 50
Carrer de Lepant 150, 08013 Barcelona
mail: patrimonimusical@auditori.cat