Fons de l'Església parroquial de Sant Pere i Sant Pau de Canet de Mar

Archives and Libraries
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Revisió Oriol:

Compositor i mestre de capella

Malgrat disposar de pocs documents històrics i obres musicals conservades, sabem que fou mestre de capella interí a la Catedral de Girona (1688-1690), del Palau de la Comtessa de Barcelona, al costat de Felip Olivelles i mestre titular de la Catedral de La Seu d’Urgell /1709-1712). Intervingué en la polèmica sobre la Missa Scala Aretina (1702) de Francesc Valls a favor d’aquest.

S’han conservat només dues obres litúrgiques i sis villancets en castellà.

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Revisió Oriol:

Compositor i mestre de capella

Malgrat disposar de pocs documents històrics i obres musicals conservades, sabem que fou mestre de capella interí a la Catedral de Girona (1688-1690), del Palau de la Comtessa de Barcelona, al costat de Felip Olivelles i mestre titular de la Catedral de La Seu d’Urgell /1709-1712). Intervingué en la polèmica sobre la Missa Scala Aretina (1702) de Francesc Valls a favor d’aquest.

S’han conservat només dues obres litúrgiques i sis villancets en castellà.

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Composer

Little historical evidence of his life has survived, and only two liturgical works and six vilancets in Spanish have been preserved. Despite the scarcity of sources, we know Argany was provisional choirmaster at Girona’s Cathedral (1688-1690) and at the Palau de la Comptessa (Barcelona) (together with Felip Olivelles) and choirmaster at the Seu d’Urgell Cathedral (1709-1712). He was also choirmaster in Lleida in three different periods: in 1690, from 1700 to 1707 –after which he was dismissed when the bourbonic forces took the city- and in 1715. In the context of the 1702 debate on the Missa Scala Aretina, he wrote an opuscule in favor of Francesc Valls.

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Composer

Little historical evidence of his life has survived, and only two liturgical works and six vilancets in Spanish have been preserved. Despite the scarcity of sources, we know Argany was provisional choirmaster at Girona’s Cathedral (1688-1690) and at the Palau de la Comptessa (Barcelona) (together with Felip Olivelles) and choirmaster at the Seu d’Urgell Cathedral (1709-1712). He was also choirmaster in Lleida in three different periods: in 1690, from 1700 to 1707 –after which he was dismissed when the bourbonic forces took the city- and in 1715. In the context of the 1702 debate on the Missa Scala Aretina, he wrote an opuscule in favor of Francesc Valls.

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Composer and Kapellmeister teacher

He studied with Lluís Serra, Kapellmeister of Santa Maria del Mar. Between 1710 and 1714 he was chaplain to Sant Esteve (Granollers) and a year later he was appointed Kapellmeister of Santa Maria del Mar (Barcelona). In 1733 he obtained the same position in the cathedral of Toledo (after Miguel Ambiela) and kept it until 1762. He took part in the approval of Llave de la modulación by Antoni Soler. More than three hundred works have been preserved, such as cantatas, vilancets, psalms and oratorios such as Betulia libertada (1726), which shows elements of the local Baroque style and some details of the Italian style brought by with Carlos III.

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Composer and Kapellmeister teacher

He studied with Lluís Serra, Kapellmeister of Santa Maria del Mar. Between 1710 and 1714 he was chaplain to Sant Esteve (Granollers) and a year later he was appointed Kapellmeister of Santa Maria del Mar (Barcelona). In 1733 he obtained the same position in the cathedral of Toledo (after Miguel Ambiela) and kept it until 1762. He took part in the approval of Llave de la modulación by Antoni Soler. More than three hundred works have been preserved, such as cantatas, vilancets, psalms and oratorios such as Betulia libertada (1726), which shows elements of the local Baroque style and some details of the Italian style brought by with Carlos III.

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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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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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Organist and composer

He possibly studied in Olot, in the music chapel of Sant Esteve with Francesc Batlle Oliva. In 1650, he was appointed organist of this same parish and two years later organist of the cathedral of Girona after Joan Molina. He was succeeded by his son Joan. Some of his religious music has been preserved, such as Missa de Ministrils (1671) for eight voices and basso continuo and several psalms.

" ["format"]=> string(13) "filtered_html" ["safe_value"]=> string(503) "

Organist and composer

He possibly studied in Olot, in the music chapel of Sant Esteve with Francesc Batlle Oliva. In 1650, he was appointed organist of this same parish and two years later organist of the cathedral of Girona after Joan Molina. He was succeeded by his son Joan. Some of his religious music has been preserved, such as Missa de Ministrils (1671) for eight voices and basso continuo and several psalms.

" } } } ["field_ciutats_relacionades"]=> array(1) { ["und"]=> array(2) { [0]=> array(1) { ["target_id"]=> string(3) "172" } [1]=> array(1) { ["target_id"]=> string(3) "301" } } } ["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(0) { } ["field_noms_propis_relacionats"]=> array(0) { } ["field_teatres_i_auditoris_relaci"]=> array(0) { } ["field_centres_de_documentaci_"]=> array(1) { ["und"]=> array(2) { [0]=> array(1) { ["target_id"]=> string(4) "3596" } [1]=> array(1) { ["target_id"]=> string(4) "3606" } } } ["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(13) "Juan Verdalet" ["format"]=> NULL ["safe_value"]=> string(13) "Juan Verdalet" } } } ["field_np_cognom_1"]=> array(1) { ["und"]=> array(1) { [0]=> array(3) { ["value"]=> string(8) "Verdalet" ["format"]=> NULL ["safe_value"]=> string(8) "Verdalet" } } } ["field_np_cognom_2"]=> array(0) { } ["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) "1540472643" ["last_comment_name"]=> NULL ["last_comment_uid"]=> string(1) "5" ["comment_count"]=> string(1) "0" ["name"]=> string(5) "elena" ["picture"]=> string(1) "0" ["data"]=> NULL } } } ["field_field_np_cognom_1"]=> array(1) { [0]=> array(2) { ["rendered"]=> array(2) { ["#markup"]=> string(8) "Verdalet" ["#access"]=> bool(true) } ["raw"]=> array(3) { ["value"]=> string(8) "Verdalet" ["format"]=> NULL ["safe_value"]=> string(8) "Verdalet" } } } ["field_field_np_cognom_2"]=> array(0) { } } }