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Composer and Performer
He studied in Torroella de Montgrí with his father Genís whilst playing at the cobla La Lira. Later, he studied under Josep Reixac (violin), Pere Rigau (flabiol), and Josep Maria Soler and Josep Pi (composition). At 15 years of age he joined Els Montgrins, and in 1909, succeeded its conductor Pere Rigau. At that time, he started composing sardanes that were soon appreciated by the public and regularly performed. He achieved great success in the 1910s thanks to the versification of El saltiró de la cadira, the recording of his music and its radio broadcast. In 1928 he moved to Barcelona and got involved in the show business in the Paral·lel. Renowned singers of the time such as Meller, Alonso, Serós or Vendrell, sung and commissioned his songs. After the Spanish Civil War, he returned to Torroella, where he devoted himself to the composition of sardanes until his dead. With an output of around 200 sardanes, he became one of the most popular composers of his time.
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He studied in Torroella de Montgrí with his father Genís whilst playing at the cobla La Lira. Later, he studied under Josep Reixac (violin), Pere Rigau (flabiol), and Josep Maria Soler and Josep Pi (composition). At 15 years of age he joined Els Montgrins, and in 1909, succeeded its conductor Pere Rigau. At that time, he started composing sardanes that were soon appreciated by the public and regularly performed. He achieved great success in the 1910s thanks to the versification of El saltiró de la cadira, the recording of his music and its radio broadcast. In 1928 he moved to Barcelona and got involved in the show business in the Paral·lel. Renowned singers of the time such as Meller, Alonso, Serós or Vendrell, sung and commissioned his songs. After the Spanish Civil War, he returned to Torroella, where he devoted himself to the composition of sardanes until his dead. With an output of around 200 sardanes, he became one of the most popular composers of his time.
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Ràdio WRC, Columbia Broadcasting System i WOR, Firestone, Howard Barlow, Alfred Wallenstein
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He studied at the Escola Municipal of Sabadell, and played in the local band. He also studied harmony and counterpoint in Barcelona with Manuel Burges.
In 1915 he moved to Washington, where he worked as a radio composer and orchestrator. In 1932 he set up residence in New York, working as an arranger and composer for radio stations, as well as forming a duet with Xavier Cugat. In the 1940s and 1950s he became artistic and musical director of the National Broadcasting Symphony Orchestra and between 1958 and 1963, he composed music for documentaries of the US Department of Agriculture. He composed symphonic and chamber music, songs, stage music and ballables for piano that show a clear influence from the North-American artistic environment. He also composed over 150 sardanes which he sent to Catalonia. Among his orchestral works, the symphonic overture L'aplec and the Suite for violin and orchestra are particularly relevant.
Composer
He studied at the Escola Municipal of Sabadell, and played in the local band. He also studied harmony and counterpoint in Barcelona with Manuel Burges.
In 1915 he moved to Washington, where he worked as a radio composer and orchestrator. In 1932 he set up residence in New York, working as an arranger and composer for radio stations, as well as forming a duet with Xavier Cugat. In the 1940s and 1950s he became artistic and musical director of the National Broadcasting Symphony Orchestra and between 1958 and 1963, he composed music for documentaries of the US Department of Agriculture. He composed symphonic and chamber music, songs, stage music and ballables for piano that show a clear influence from the North-American artistic environment. He also composed over 150 sardanes which he sent to Catalonia. Among his orchestral works, the symphonic overture L'aplec and the Suite for violin and orchestra are particularly relevant.
Clarinetist and Composer
He was a tailor's apprentice when at the age of ten, he started to learn flute, clarinet and bassoon from Josep Puig and harmony from Francesc Arbós. At that same age, he started to play in the artillery regiment's band. In the 1820s he befriended musicians from Teatre de la Santa Creu. In the 1830s he performed in orchestres-cobles with Ignasi Ayné and Jaume Planas after becoming again a military musician. During the 1840s, he was teacher and first clarinet of the orchestra of the Liceu, and was director of the so-called "Copla dels gallinaires". Between 1852 and 1856, he was a military major musician in Navarra, before settling again in Barcelona as a clarinetist at the Liceu and as conductor of several civil music bands. In addition, he opened a music store and represented the city in musical conferences. As he recounted in his memoirs, he composed more than 2000 ballables, of which only a hundred have been preserved. His most notable milestone was the premiere of the La Rondeña ballet in the inaugural performance of the Teatre del Liceu in 1848.
" ["format"]=> string(13) "filtered_html" ["safe_value"]=> string(1127) "Clarinetist and Composer
He was a tailor's apprentice when at the age of ten, he started to learn flute, clarinet and bassoon from Josep Puig and harmony from Francesc Arbós. At that same age, he started to play in the artillery regiment's band. In the 1820s he befriended musicians from Teatre de la Santa Creu. In the 1830s he performed in orchestres-cobles with Ignasi Ayné and Jaume Planas after becoming again a military musician. During the 1840s, he was teacher and first clarinet of the orchestra of the Liceu, and was director of the so-called "Copla dels gallinaires". Between 1852 and 1856, he was a military major musician in Navarra, before settling again in Barcelona as a clarinetist at the Liceu and as conductor of several civil music bands. In addition, he opened a music store and represented the city in musical conferences. As he recounted in his memoirs, he composed more than 2000 ballables, of which only a hundred have been preserved. His most notable milestone was the premiere of the La Rondeña ballet in the inaugural performance of the Teatre del Liceu in 1848.
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-
Arxiu del Teatre del Liceu
Clarinetist and Composer
He was a tailor's apprentice when at the age of ten, he started to learn flute, clarinet and bassoon from Josep Puig and harmony from Francesc Arbós. At that same age, he started to play in the artillery regiment's band. In the 1820s he befriended musicians from Teatre de la Santa Creu. In the 1830s he performed in orchestres-cobles with Ignasi Ayné and Jaume Planas after becoming again a military musician. During the 1840s, he was teacher and first clarinet of the orchestra of the Liceu, and was director of the so-called "Copla dels gallinaires". Between 1852 and 1856, he was a military major musician in Navarra, before settling again in Barcelona as a clarinetist at the Liceu and as conductor of several civil music bands. In addition, he opened a music store and represented the city in musical conferences. As he recounted in his memoirs, he composed more than 2000 ballables, of which only a hundred have been preserved. His most notable milestone was the premiere of the La Rondeña ballet in the inaugural performance of the Teatre del Liceu in 1848.
" ["format"]=> string(13) "filtered_html" ["safe_value"]=> string(1127) "Clarinetist and Composer
He was a tailor's apprentice when at the age of ten, he started to learn flute, clarinet and bassoon from Josep Puig and harmony from Francesc Arbós. At that same age, he started to play in the artillery regiment's band. In the 1820s he befriended musicians from Teatre de la Santa Creu. In the 1830s he performed in orchestres-cobles with Ignasi Ayné and Jaume Planas after becoming again a military musician. During the 1840s, he was teacher and first clarinet of the orchestra of the Liceu, and was director of the so-called "Copla dels gallinaires". Between 1852 and 1856, he was a military major musician in Navarra, before settling again in Barcelona as a clarinetist at the Liceu and as conductor of several civil music bands. In addition, he opened a music store and represented the city in musical conferences. As he recounted in his memoirs, he composed more than 2000 ballables, of which only a hundred have been preserved. His most notable milestone was the premiere of the La Rondeña ballet in the inaugural performance of the Teatre del Liceu in 1848.
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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.
" ["summary"]=> string(0) "" ["format"]=> string(13) "filtered_html" ["safe_value"]=> string(554) "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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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 Comtessa (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.
" ["format"]=> string(13) "filtered_html" ["safe_value"]=> string(700) "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 Comtessa (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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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.
" ["format"]=> string(13) "filtered_html" ["safe_value"]=> string(719) "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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} } } ["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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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.
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.
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-
Abbreviation:
Address:
Telephone:
Email:
Website:
Online Catalogue:
Related names:
Carreras, Josep Rafael
Casals, Pau
Casals, Enric
Cervera, Ernest
Clavé, Josep Anselm
López, Victòria
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.
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.
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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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.
" ["format"]=> string(13) "filtered_html" ["safe_value"]=> string(926) "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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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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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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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.
" ["format"]=> string(13) "filtered_html" ["safe_value"]=> string(896) "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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-
Address:
Telephone:
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Online Catalogue:
Related names:
Casanovas, Narcís
Ortells, Antoni Teodor
Pujol, Joan Pau
Rodamilans, Àngel
Valls, Francesc
Vinyals, Josep
Viola, Anselm
Composer and organist
He studied at the Escolania de Montserrat, with Benet Juli, Josep Martí (composition) and Benet Valls (organ). In 1763 he joined the monastery as a monk and was appointed later organist, an activity in which he showed his abilities as an improviser and his deep knowledge of the gallant style. Among others, he had Josep Vinyals as his student. Sixty-five pieces for keyboard have survived, mostly monothematic sonatas in two parts, in addition to sixty-three liturgical pieces in Latin, with and without accompaniment (especially responsories of Easter and Christmas, psalms, magnificats, masses and salves), composed from 1784. His compositions show great knowledge of the Montserratian tradition and, at the same time, of the Italian musical style.
" ["format"]=> string(13) "filtered_html" ["safe_value"]=> string(790) "Composer and organist
He studied at the Escolania de Montserrat, with Benet Juli, Josep Martí (composition) and Benet Valls (organ). In 1763 he joined the monastery as a monk and was appointed later organist, an activity in which he showed his abilities as an improviser and his deep knowledge of the gallant style. Among others, he had Josep Vinyals as his student. Sixty-five pieces for keyboard have survived, mostly monothematic sonatas in two parts, in addition to sixty-three liturgical pieces in Latin, with and without accompaniment (especially responsories of Easter and Christmas, psalms, magnificats, masses and salves), composed from 1784. His compositions show great knowledge of the Montserratian tradition and, at the same time, of the Italian musical style.
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Native of Aragon, he became a choirboy of the Reial Col·legi del Corpus Christi, also called Col·legi del Patriarca (Valencia), in 1657. There, he studied with M. Pérez and J. Hinojosa. Between 1669 and 1673, he was the Kapellmeister of the Cathedral of Albarracín, and between 1674 and 1677 he had the same post at Col·legi del Patriarca. In 1677, he became Kapellmeister of the cathedral of Valencia, a post that he kept until the end of his life. He composed in the polychoral style of Joan Baptista Comes. Among his output, his three oratorios (only El hombre moribundo, 1706, is preserved), were probably the first oratorios of the Iberian Peninsula.
Composer
Native of Aragon, he became a choirboy of the Reial Col·legi del Corpus Christi, also called Col·legi del Patriarca (Valencia), in 1657. There, he studied with M. Pérez and J. Hinojosa. Between 1669 and 1673, he was the Kapellmeister of the Cathedral of Albarracín, and between 1674 and 1677 he had the same post at Col·legi del Patriarca. In 1677, he became Kapellmeister of the cathedral of Valencia, a post that he kept until the end of his life. He composed in the polychoral style of Joan Baptista Comes. Among his output, his three oratorios (only El hombre moribundo, 1706, is preserved), were probably the first oratorios of the Iberian Peninsula.
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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.
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He began his music education at the Escolania de la Puríssima Concepción of Sabadell and later, at the Escolania de Montserrat. There, between 1883 and 1890, he studied with father Milán Agostino and father Joan B. (Manuel) Guzmán. He studied religion at Barbastre, where he was also organist. Later, he studied at the Seminari de Barcelona, whilst studying also with Enric Granados. Based in Sabadell, he was Kapellmeister and organist at the church of the Immaculate Conception (1903-1915) until 1915, when he was appointed Kapellmeister and organist of the church of the Puríssima Concepció of Terrassa. There, he also founded the choir Montserrat. In 1923, he joined the Monastery of Montserrat where he developed pedagogical tasks at the escolania. He was also devoted to composition with an output of about a hundred vocal and religious works. Among his output, the songs and the Magnificat (1935) with Impressionist influences are particularly praised. He was killed in Sabadell during the first months of the war.
Composer
He began his music education at the Escolania de la Puríssima Concepción of Sabadell and later, at the Escolania de Montserrat. There, between 1883 and 1890, he studied with father Milán Agostino and father Joan B. (Manuel) Guzmán. He studied religion at Barbastre, where he was also organist. Later, he studied at the Seminari de Barcelona, whilst studying also with Enric Granados. Based in Sabadell, he was Kapellmeister and organist at the church of the Immaculate Conception (1903-1915) until 1915, when he was appointed Kapellmeister and organist of the church of the Puríssima Concepció of Terrassa. There, he also founded the choir Montserrat. In 1923, he joined the Monastery of Montserrat where he developed pedagogical tasks at the escolania. He was also devoted to composition with an output of about a hundred vocal and religious works. Among his output, the songs and the Magnificat (1935) with Impressionist influences are particularly praised. He was killed in Sabadell during the first months of the war.
" } } } ["field_ciutats_relacionades"]=> array(1) { ["und"]=> array(3) { [0]=> array(1) { ["target_id"]=> string(4) "3497" } [1]=> array(1) { ["target_id"]=> string(3) "297" } [2]=> 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) "4403" } } } ["field_institucions_i_formacions_"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["target_id"]=> string(4) "3684" } } } ["field_noms_propis_relacionats"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["target_id"]=> string(4) "3991" } } } ["field_teatres_i_auditoris_relaci"]=> array(0) { } 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"Canals" } } } } [4]=> object(stdClass)#474 (9) { ["node_title"]=> string(8) "Francesc" ["nid"]=> string(4) "3445" ["node_language"]=> string(2) "en" ["field_data_field_np_cognom_1_field_np_cognom_1_value"]=> string(5) "Valls" ["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)#462 (53) { ["vid"]=> string(4) "3576" ["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) "3445" ["type"]=> string(9) "nom_propi" ["language"]=> string(2) "en" ["created"]=> string(10) "1540472749" ["changed"]=> string(10) "1614599728" ["tnid"]=> string(3) "502" ["translate"]=> string(1) "0" ["revision_timestamp"]=> string(10) "1614599728" ["revision_uid"]=> 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theorist. He possibly studied with Miquel Rosquelles at Santa Maria del Mar. He was Kapellmeister in Mataró and Girona and coadjutor to Joan Barter in Barcelona’s cathedral from 1696, due to the latter health issues. He was Kapellmeister of the same cathedral between 1706 to 1726, years in which he composed most of his religious music (636 works have survived). He was member of the Acadèmia dels Desconfiats. He was closely acquainted with Italian musicians such as Giuseppe Porsile (musician of the music chapel of King Carlos III), and have been considered key figures to understand the Italian influence in his music. His output includes the motet O vos omnes and the mass Missa Scala Aretina (1702, and re-instrumented for Carlos III), a piece that unleashed a long debate over Iberian religious music (1715-1730) that was backgrounded by the War of the Spanish Succession. This debate led Valls to write the treatise Mapa Harmonico (1741-1742). He was the teacher of Pere Rabassa, Jaume Casellas and probably Domènec Terradellas.
" ["format"]=> string(13) "filtered_html" ["safe_value"]=> string(1111) "Composer, Kapellmeister and music theorist. He possibly studied with Miquel Rosquelles at Santa Maria del Mar. He was Kapellmeister in Mataró and Girona and coadjutor to Joan Barter in Barcelona’s cathedral from 1696, due to the latter health issues. He was Kapellmeister of the same cathedral between 1706 to 1726, years in which he composed most of his religious music (636 works have survived). He was member of the Acadèmia dels Desconfiats. He was closely acquainted with Italian musicians such as Giuseppe Porsile (musician of the music chapel of King Carlos III), and have been considered key figures to understand the Italian influence in his music. His output includes the motet O vos omnes and the mass Missa Scala Aretina (1702, and re-instrumented for Carlos III), a piece that unleashed a long debate over Iberian religious music (1715-1730) that was backgrounded by the War of the Spanish Succession. This debate led Valls to write the treatise Mapa Harmonico (1741-1742). He was the teacher of Pere Rabassa, Jaume Casellas and probably Domènec Terradellas.
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He began his education at the Escolania de Montserrat with Anselm Viola and Narcís Casanoves. He was ordained in 1790 and, two years later, he was appointed director of the Escolania de Montserrat. During the war of 1808-1814 he lived in Terrassa, where he composed for the music chapel. After the war, he contributed to the reestablishment of the Escolania and, together with Jacint Boada and Benet Brell, the restoration music archive of Montserrat. He spent his days as organist at the monastery of Sant Benet de Bages. Although most of his output has not survived, some Sonatas for the organ and Sis quintets per a instruments de vent (1804) have been preserved.
Composer, conductor and organist
He began his education at the Escolania de Montserrat with Anselm Viola and Narcís Casanoves. He was ordained in 1790 and, two years later, he was appointed director of the Escolania de Montserrat. During the war of 1808-1814 he lived in Terrassa, where he composed for the music chapel. After the war, he contributed to the reestablishment of the Escolania and, together with Jacint Boada and Benet Brell, the restoration music archive of Montserrat. He spent his days as organist at the monastery of Sant Benet de Bages. Although most of his output has not survived, some Sonatas for the organ and Sis quintets per a instruments de vent (1804) have been preserved.
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He began his studies at the Escolania de Montserrat with Benet Esteve and Josep Martí. In 1756, he was ordained a monk and, for ten years, he resided in the monastery of Nuestra Señora de Montserrate in Madrid. There, in addition to completing the ecclesiastical instruction, he got in touch with the musical circles of Madrid, strongly influenced by Italian music. From 1768 and until his dead, he taught at the Escolania de Montserrat. His work is fundamental to understand the Montserratian school and its stylistic development. Among others, he was taught Ferran Sor, Josep Vinyals and Maur Ametller. He composed keyboard and religious music including important masses such as Missa Alma Redemptoris Mater and outstanding music for dulcian (baixó) and bass, such as the Concert per a baixó (1790-1791).
Composer and teacher
He began his studies at the Escolania de Montserrat with Benet Esteve and Josep Martí. In 1756, he was ordained a monk and, for ten years, he resided in the monastery of Nuestra Señora de Montserrate in Madrid. There, in addition to completing the ecclesiastical instruction, he got in touch with the musical circles of Madrid, strongly influenced by Italian music. From 1768 and until his dead, he taught at the Escolania de Montserrat. His work is fundamental to understand the Montserratian school and its stylistic development. Among others, he was taught Ferran Sor, Josep Vinyals and Maur Ametller. He composed keyboard and religious music including important masses such as Missa Alma Redemptoris Mater and outstanding music for dulcian (baixó) and bass, such as the Concert per a baixó (1790-1791).
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López-Chávarri Andújar, Eduard, Leopoldo QUerol, Subirà i Puig, Josep, mitjana Rafael. josep Iturbi, Joaquín Rodrigo
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Doctor in law, he was self-taught at the start of his career. He studied later with Francesc Antich in Valencia with Pedrell in Barcelona. He completed his studies in Germany, with Salomon Jadassohn, and also in France and Italy. Although he was a lawyer for some years, in 1908 he decided to devote himself exclusively to music. He not only was a music critic for Las Provincias (Valencia) from 1898 but he was also war journalist in the 1920s. Furthermore, he published numerous books such as El anillo del nibelungo (1902) and biographies of Beethoven and C. Franck, among others. He took part in the most renowned artistic circles of Valencia. From 1910, he was professor of Aesthetics and Music History at the Conservatori Superior de Música of Valencia. His output has a nationalist aesthetics and Impressionist influences, such as can been seen in Acuarelas valencianas (1910). He studied Valencian folklore and worked in the Obra del Cançoner Popular de Catalunya.
" ["format"]=> string(13) "filtered_html" ["safe_value"]=> string(1055) "Composer, musicologist, pedagogue and conductor
Doctor in law, he was self-taught at the start of his career. He studied later with Francesc Antich in Valencia with Pedrell in Barcelona. He completed his studies in Germany, with Salomon Jadassohn, and also in France and Italy. Although he was a lawyer for some years, in 1908 he decided to devote himself exclusively to music. He not only was a music critic for Las Provincias (Valencia) from 1898 but he was also war journalist in the 1920s. Furthermore, he published numerous books such as El anillo del nibelungo (1902) and biographies of Beethoven and C. Franck, among others. He took part in the most renowned artistic circles of Valencia. From 1910, he was professor of Aesthetics and Music History at the Conservatori Superior de Música of Valencia. His output has a nationalist aesthetics and Impressionist influences, such as can been seen in Acuarelas valencianas (1910). He studied Valencian folklore and worked in the Obra del Cançoner Popular de Catalunya.
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array(1) { [0]=> array(3) { ["value"]=> string(966) "Kapellmeister, composer and theorist
He began his music education with his uncle Ramon Rabassa, and later at the choir of the cathedral of Barcelona with Joan Barter and Francesc Valls. He was singer and harpist of the music chapell, and also assistant to VaIls. In 1713 he was appointed Kapellmeister of the cathedral of Vic and the following year he won the position in the cathedral of Valencia. In 1724, he moved to Seville and became Kapellmeister cathedral, a position he would held until the end of his life. Rabassa is an example of a Baroque composer who, thanks to his position in the music chapel of Archduke Charles of Austria, was familiar with Italian music. This music influenced his style incorporating, for example, more freedom in modulation. His large output is preserved in various peninsular archives, as well as in Guatemala and Mexico. He also authored the threatise reatise Guia para los principiantes (1726-1730).
" ["format"]=> string(13) "filtered_html" ["safe_value"]=> string(962) "Kapellmeister, composer and theorist
He began his music education with his uncle Ramon Rabassa, and later at the choir of the cathedral of Barcelona with Joan Barter and Francesc Valls. He was singer and harpist of the music chapell, and also assistant to VaIls. In 1713 he was appointed Kapellmeister of the cathedral of Vic and the following year he won the position in the cathedral of Valencia. In 1724, he moved to Seville and became Kapellmeister cathedral, a position he would held until the end of his life. Rabassa is an example of a Baroque composer who, thanks to his position in the music chapel of Archduke Charles of Austria, was familiar with Italian music. This music influenced his style incorporating, for example, more freedom in modulation. His large output is preserved in various peninsular archives, as well as in Guatemala and Mexico. He also authored the threatise reatise Guia para los principiantes (1726-1730).
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Organist and composer
Baguer studied with his Uncle Francesc Mariner in Barcelona's cathedral, where he was appointed organist in 1789.
He taught composers such as Mateu Ferrer and Ramon Carnicer. Among his output, there are nineteenth classical symphonies, a concert for two bassoons, chamber music, organ and vocal music as well as oratorios such El regreso a Barcelona a su patra del Dr Josef Oriol (1807). In addition, he premiered the opera La principessa filosofa (1797) in Teatre de la Santa Creu, an opera with a libretto by Agustín Moreto which has been considered by some as a defence of emperor Charles VI during the War of the Spanish Succession (1701-1714).
" ["format"]=> string(13) "filtered_html" ["safe_value"]=> string(693) "Organist and composer
Baguer studied with his Uncle Francesc Mariner in Barcelona's cathedral, where he was appointed organist in 1789.
He taught composers such as Mateu Ferrer and Ramon Carnicer. Among his output, there are nineteenth classical symphonies, a concert for two bassoons, chamber music, organ and vocal music as well as oratorios such El regreso a Barcelona a su patra del Dr Josef Oriol (1807). In addition, he premiered the opera La principessa filosofa (1797) in Teatre de la Santa Creu, an opera with a libretto by Agustín Moreto which has been considered by some as a defence of emperor Charles VI during the War of the Spanish Succession (1701-1714).
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He studied at the chapel Tarragona's Cathedral under Joan C. Ripollès. He was appointed kapellmeister of the collegiate church of Tremp (1723-1739) and later of Sant Esteve d'Olot (1739-1775). His compositional production includes circa 50 liturgical and sacred music following Iberian models of the late Baroque.
" ["format"]=> string(13) "filtered_html" ["safe_value"]=> string(351) "Composer and organist
He studied at the chapel Tarragona's Cathedral under Joan C. Ripollès. He was appointed kapellmeister of the collegiate church of Tremp (1723-1739) and later of Sant Esteve d'Olot (1739-1775). His compositional production includes circa 50 liturgical and sacred music following Iberian models of the late Baroque.
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"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(8) "Carcoler" ["#access"]=> bool(true) } ["raw"]=> array(3) { ["value"]=> string(8) "Carcoler" ["format"]=> NULL ["safe_value"]=> string(8) "Carcoler" } } } ["field_field_np_cognom_2"]=> array(0) { } } [2]=> object(stdClass)#556 (9) { ["node_title"]=> string(13) "Bernat Calvó" ["nid"]=> string(4) "4103" ["node_language"]=> string(2) "en" ["field_data_field_np_cognom_1_field_np_cognom_1_value"]=> string(4) "Puig" ["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"]=> 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He began his musical education in 1826 at the escolania of the cathedral of Vic where he was a pupil of Josep Gallés. Towards 1838 he moved to Barcelona, where he studied at the church of Santa Maria del Pi with Josep Rosés and Josep Quintana. He replaced Francesc Andreví in two positions: as organist of Santa Maria del Pi from 1842 onwards and in 1853, as kapellmeister of the church of La Mercè. He composed around 700 pieces, a large part of which edited by Joan Baptista Pujol. His output includes the oratorio La última noche de Babilonia (1848) and the symphony Homenatge a Beethoven. He was teacher and conductor of the Philharmonic Society of Barcelona, and music critic for the newspaper El Áncora.
Composer, kapellmeister and organist
He began his musical education in 1826 at the escolania of the cathedral of Vic where he was a pupil of Josep Gallés. Towards 1838 he moved to Barcelona, where he studied at the church of Santa Maria del Pi with Josep Rosés and Josep Quintana. He replaced Francesc Andreví in two positions: as organist of Santa Maria del Pi from 1842 onwards and in 1853, as kapellmeister of the church of La Mercè. He composed around 700 pieces, a large part of which edited by Joan Baptista Pujol. His output includes the oratorio La última noche de Babilonia (1848) and the symphony Homenatge a Beethoven. He was teacher and conductor of the Philharmonic Society of Barcelona, and music critic for the newspaper El Áncora.
" } } } ["field_ciutats_relacionades"]=> array(1) { ["und"]=> array(2) { [0]=> array(1) { ["target_id"]=> string(3) "335" } [1]=> 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(2) { [0]=> array(1) { ["target_id"]=> string(4) "4696" } [1]=> array(1) { ["target_id"]=> string(4) "4697" } } } ["field_institucions_i_formacions_"]=> array(1) { ["und"]=> array(2) { [0]=> array(1) { ["target_id"]=> string(4) "3690" } [1]=> array(1) { ["target_id"]=> string(4) "3639" } } } ["field_noms_propis_relacionats"]=> array(1) { ["und"]=> array(4) { [0]=> array(1) { ["target_id"]=> string(4) "4108" } [1]=> array(1) { 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{ ["value"]=> string(9) "Capdevila" ["format"]=> NULL ["safe_value"]=> string(9) "Capdevila" } } } ["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) { 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bool(true) } ["raw"]=> array(3) { ["value"]=> string(4) "Puig" ["format"]=> NULL ["safe_value"]=> string(4) "Puig" } } } ["field_field_np_cognom_2"]=> array(1) { [0]=> array(2) { ["rendered"]=> array(2) { ["#markup"]=> string(9) "Capdevila" ["#access"]=> bool(true) } ["raw"]=> array(3) { ["value"]=> string(9) "Capdevila" ["format"]=> NULL ["safe_value"]=> string(9) "Capdevila" } } } } [3]=> object(stdClass)#557 (9) { ["node_title"]=> string(8) "Francesc" ["nid"]=> string(4) "4119" ["node_language"]=> string(2) "en" ["field_data_field_np_cognom_1_field_np_cognom_1_value"]=> string(7) "Queralt" ["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)#547 (53) { ["vid"]=> string(4) "4258" ["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) "4119" ["type"]=> string(9) "nom_propi" ["language"]=> string(2) "en" ["created"]=> string(10) "1541689709" ["changed"]=> string(10) "1579821224" ["tnid"]=> string(3) "443" ["translate"]=> string(1) "0" ["revision_timestamp"]=> string(10) "1579821224" ["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(4) "3512" } } } ["field_data_naixement"]=> array(1) { ["und"]=> array(1) { [0]=> array(4) { ["value"]=> string(19) "1740-01-01 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) "1825-02-28 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(633) "Kapellmeister and Organist
He probably started his musical education at the escolania of the cathedral of Lleida. In 1759, he entered the service of the cathedral of Barcelona, where would become Kapellmeister (1774-1815). His figure is inscribed in the classical style and his output includes religious music, among them, oratorios such as Daniel en Babilonia (1777) or Oratorio dels dolors (1796). He was the teacher of figures such as Baltasar Saldoni, Mateu Ferrer and Ramon Vilanova.
Kapellmeister and Organist
He probably started his musical education at the escolania of the cathedral of Lleida. In 1759, he entered the service of the cathedral of Barcelona, where would become Kapellmeister (1774-1815). His figure is inscribed in the classical style and his output includes religious music, among them, oratorios such as Daniel en Babilonia (1777) or Oratorio dels dolors (1796). He was the teacher of figures such as Baltasar Saldoni, Mateu Ferrer and Ramon Vilanova.
" } } } ["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(3) { [0]=> array(1) { ["target_id"]=> string(4) "4711" } [1]=> array(1) { ["target_id"]=> string(4) "4709" } [2]=> array(1) { ["target_id"]=> string(4) "4710" } } } ["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(3) { [0]=> array(1) { ["target_id"]=> string(4) "4150" } [1]=> array(1) { ["target_id"]=> string(4) "3959" } [2]=> array(1) { ["target_id"]=> string(4) "3437" } } } ["field_teatres_i_auditoris_relaci"]=> array(0) { } ["field_centres_de_documentaci_"]=> array(1) { ["und"]=> array(2) { [0]=> array(1) { ["target_id"]=> string(4) "3606" } [1]=> array(1) { ["target_id"]=> string(4) "3592" } } } ["field_urls_d_interes"]=> array(1) { ["und"]=> array(3) { [0]=> array(1) { ["target_id"]=> string(4) "4117" } [1]=> array(1) { ["target_id"]=> string(4) "3780" } [2]=> array(1) { ["target_id"]=> string(4) "4118" } } } ["field_bibliografia"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["target_id"]=> string(4) "3538" } } } ["field__udios_sense_fitxa"]=> array(0) { } ["field_np_noms_alternatius"]=> array(1) { ["und"]=> array(1) { [0]=> array(3) { ["value"]=> string(17) "Francisco Queralt" ["format"]=> NULL ["safe_value"]=> string(17) "Francisco Queralt" } } } ["field_np_cognom_1"]=> array(1) { ["und"]=> array(1) { [0]=> array(3) { ["value"]=> string(7) "Queralt" ["format"]=> NULL ["safe_value"]=> string(7) "Queralt" } } } ["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) "1541689709" ["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) "Queralt" ["#access"]=> bool(true) } ["raw"]=> array(3) { ["value"]=> string(7) "Queralt" ["format"]=> NULL ["safe_value"]=> string(7) "Queralt" } } } ["field_field_np_cognom_2"]=> array(0) { } } }
Kapellmeister and composer
He was Kapellmeister of several Spanish cathedrals such as Segovia (1731-1741) and Valladolid (1741-1752). From 1752 he was appointed Kapellmeister of the Royal Convent of Señoras de la Encarnación in Madrid. He contributed to the introduction of Soler’s Llave de la modulación (1762). Although his career developed outside Catalonia, he seemed to be a native of Solsona. He composed religious music, currently hold in archives of the Iberian Peninsula, such as Montserrat and El Escorial. His music is also preserved in Peru, where he was the music was performed up until the beginning of the nineteenth century. His music stands between the religious tradition of the late Hispanic baroque and the gallant music aesthetic.
Kapellmeister and composer
He was Kapellmeister of several Spanish cathedrals such as Segovia (1731-1741) and Valladolid (1741-1752). From 1752 he was appointed Kapellmeister of the Royal Convent of Señoras de la Encarnación in Madrid. He contributed to the introduction of Soler’s Llave de la modulación (1762). Although his career developed outside Catalonia, he seemed to be a native of Solsona. He composed religious music, currently hold in archives of the Iberian Peninsula, such as Montserrat and El Escorial. His music is also preserved in Peru, where he was the music was performed up until the beginning of the nineteenth century. His music stands between the religious tradition of the late Hispanic baroque and the gallant music aesthetic.
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T. 93 256 36 50
Carrer de Lepant 150, 08013 Barcelona
mail: patrimonimusical@auditori.cat