Joan Balcells Garcia - Bibliography
Balcells Garcia, Joan (1984). L'Orfeó Gracienc i el seu entorn ciutadà: memòries del mestre Joan Balcells. Barcelona: Orfeó Gracienc.
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Archives and Libraries
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Pedagogue and choir conductor
He studied piano with Ll. Torrà, flute with N. Carbonell and conducting with E. Toldrà, G. Wolters and Ph. Caillard. In addition, he studied pedagogy and music history at the University of Perugia and received his PhD at the U. of Barcelona (1976), where he was appointed professor. From that position, he promoted music studies in higher education. His professional activity included conferences around the world and conducting and promoting of choir music. He founded and conducted Coral Sant Jordi (1947-91), was president of the Federació Catalana d’Entitats Corals and was deputy director of the Europa Cantat movement (1960). He was also devoted to the promotion of Catalan music through record companies and was involved in the Antologia històrica de la música catalana. He made numerous recordings and transcriptions for choir. His advanced pedagogical task paired with his political commitment lead him to become member of the Catalan Parliament.
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Disciple of Ramon Vilanova, he moved to Paris in 1859 and studied with Henri Herz (piano) and Jacques Halévy (composition). After returning to Barcelona, he became organist of the cathedral and musically directed theaters such as Teatre Principal. He composed piano music and several zarzuelas, such as L’últim rei de Magnòlia (1868) and La Rambla de les Flors (1870), both with texts by Frederic Soler (also known as Serafí Pitarra).
Composer, organist and conductor
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Soprano
Victòria dels Àngels studied at the Superior Conservatory of Music of the Liceu. Member of Ars Musicae, she debuted at the Gran Teatre del Liceu in 1945 singing the role of Countess of Almaviva in Le Nozze di Figaro. This debut was the start of an international career that took her to the most important theaters and festivals around the world, including the Wagner Festival in Bayreuth where, in 1961, she sang the role of Elisabeth in Tannhäuser. She finished her operatic career singing Pélleas et Mélisande by C. Debussy at the Teatro de la Zarzuela in Madrid. From the 1980s, she decided to focus on recitals and singing lieder, a genre in which she was considered exceptional. She made numerous recordings, some of which were highly praised. She was considered one of the greatest sopranos of the second half of the twentieth century.
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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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In 1908 she settled in Barcelona and sung zarzuela, revue and operetta. In 1910 she performed at Teatre Tívoli in La corte del Faraón (with music by Lleó). The following year she premiered the lyrical sainete Gente menuda (with music by Valverde) at Teatre Còmic, and in 1912 Abierta toda la noche, (with music by Quislant i Badia) at Tívoli. In 1913 she took part in the premiere of El casament d’en Tarregada (with music by Francesc Montserrat) at the Teatre Nou.Despite numerous offers to perform outside of Barcelona, the so-called "Queen of the Parallel", performed mainly in theatres located on Avinguda Parallel, with very few exceptions. She had a light voice and imitated singers such as Pastora Imperio, La Fornarina and the French Nitta Jo, among others.She obtained a wide success acting with Joaquim Montero’s company, particularly in the revues ¡Arriba el telón! and Monterògraf. While rehearsing Cuando el amor muere with this company, she succumbed to the typhus epidemic that affected Barcelona between 1914 and 1915.
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In 1908 she settled in Barcelona and sung zarzuela, revue and operetta. In 1910 she performed at Teatre Tívoli in La corte del Faraón (with music by Lleó). The following year she premiered the lyrical sainete Gente menuda (with music by Valverde) at Teatre Còmic, and in 1912 Abierta toda la noche, (with music by Quislant i Badia) at Tívoli. In 1913 she took part in the premiere of El casament d’en Tarregada (with music by Francesc Montserrat) at the Teatre Nou.Despite numerous offers to perform outside of Barcelona, the so-called "Queen of the Parallel", performed mainly in theatres located on Avinguda Parallel, with very few exceptions. She had a light voice and imitated singers such as Pastora Imperio, La Fornarina and the French Nitta Jo, among others.She obtained a wide success acting with Joaquim Montero’s company, particularly in the revues ¡Arriba el telón! and Monterògraf. While rehearsing Cuando el amor muere with this company, she succumbed to the typhus epidemic that affected Barcelona between 1914 and 1915.
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string(1150) "Cuplet singer
She made her debut as a cuplet singer in 1921 in Barcelona and received singing lessons from Joan Viladomat and Vicenç Martín Quirós. She specialized in couplet inspired by French chanson realiste, taking singers such as La Fréhel, Edith Piaf and Juliette Gréco as her role models.
In 1922, whilst achieving success at Teatre Apol·lo, she recorded La muller d'en Manelic and La filla del pescador for Gramófono record label. Joan Viladomat composed the music for the tango-couplet Fumando espero and she popularized it at the Edén Concert (Barcelona) and recorded it in 1924. In 1923 she made her debut at Teatro Maravillas in Madrid.
During the second half of the 1920s she consolidated her success in the Eldorado and Circ Barcelonès theatres, with couplets such as El tango de la cocaína (with music by Viladomat) which she recorded in 1927. From 1930, she appeared on stages only sporadically, back at Circ Barcelonès, Coliseum and Tívoli. Her last public appearance was in 1944 at Circ Roxy.
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Cuplet singer
She made her debut as a cuplet singer in 1921 in Barcelona and received singing lessons from Joan Viladomat and Vicenç Martín Quirós. She specialized in couplet inspired by French chanson realiste, taking singers such as La Fréhel, Edith Piaf and Juliette Gréco as her role models.
In 1922, whilst achieving success at Teatre Apol·lo, she recorded La muller d'en Manelic and La filla del pescador for Gramófono record label. Joan Viladomat composed the music for the tango-couplet Fumando espero and she popularized it at the Edén Concert (Barcelona) and recorded it in 1924. In 1923 she made her debut at Teatro Maravillas in Madrid.
During the second half of the 1920s she consolidated her success in the Eldorado and Circ Barcelonès theatres, with couplets such as El tango de la cocaína (with music by Viladomat) which she recorded in 1927. From 1930, she appeared on stages only sporadically, back at Circ Barcelonès, Coliseum and Tívoli. Her last public appearance was in 1944 at Circ Roxy.
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He learned singing with Anna Militch and completed his musical studies in Paris. In 1940 he sang Pagliacci at the Teatre Coliseum and made his debut at Liceu at the end of 1943 with Madama Butterfly, with Mercè Capsir. He sang in the most important international opera houses, completing successful performances on European and American tours and sharing the stage with the great singers of his time.
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Archives and Libraries
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Composer, pianist and conductor
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Archives and Libraries
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Composer and organist
He started his studies with Josep Anglada and Jaume-Joan Lles. In 1859 he moved to Barcelona to study with Bonaventura Frígola and Bernat Calvó Puig. From 1864 he was appointed organist at Sant Just i Pastor, and later Kapellmeister of the monastery of Santa Clara (1872) and the parish of Sant Jaume (1887). In 1907, he retired to a convent. He composed a large number of religious compositions and some sardanes such as Records de l'Empordà (1888), composed for Barcelona's World Fair. He set to music many poems by Jacint Verdaguer - such as the famous La Barretina - and, together with Verdaguer, they produced Càntics religiosos per al poble, a collection that was in use for half a century. He also notated the melodies of the first volume of Cansons de la terra by Francesc Pelai Briz, which was awarded a price in Vienna in 1873. He was a central figure in the modernization of Catalan liturgical music.
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He started his studies with Josep Anglada and Jaume-Joan Lles. In 1859 he moved to Barcelona to study with Bonaventura Frígola and Bernat Calvó Puig. From 1864 he was appointed organist at Sant Just i Pastor, and later Kapellmeister of the monastery of Santa Clara (1872) and the parish of Sant Jaume (1887). In 1907, he retired to a convent. He composed a large number of religious compositions and some sardanes such as Records de l'Empordà (1888), composed for Barcelona's World Fair. He set to music many poems by Jacint Verdaguer - such as the famous La Barretina - and, together with Verdaguer, they produced Càntics religiosos per al poble, a collection that was in use for half a century. He also notated the melodies of the first volume of Cansons de la terra by Francesc Pelai Briz, which was awarded a price in Vienna in 1873. He was a central figure in the modernization of Catalan liturgical music.
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- Posted on: 25 October 2018
- By: crg1
Barberà Humbert, Josep (1948): Cuatro lecciones de alta teoría musical. Barcelona, J. M. Massot.
English
Ramon Bartomeus Mola - Bibliography
- Posted on: 25 October 2018
- By: crg1
Garriga Sanmartí, Mª Teresa (2008). Ramon Bartomeus Mola (1832-1918): una alternativa a la música coral claveriana. Anàlisi de la seva obra, tesi doctoral. Bellaterra: Univeritat Autònoma de Barcelona
English
Joan Comellas Maristany - Bibliography
- Posted on: 25 October 2018
- By: crg1
Alsina Tarrés, Miquel (2007). El Cercle Manuel de Falla de Barcelona (1947-c.1957): l'obra musical i el seu context. Lleida: Institut d'Estudis Ilerdencs.
English
Melcior de Ferrer de Manresa - Bibliography
- Posted on: 25 October 2018
- By: crg1
Gregori Cifre, Josep M. (1991). «El barón Melcior de Ferrer i de Manresa (1821-1884), un compositor catalán del Romanticismo», Revista de musicología 14 (1-2): 435-438.
English
Xavier Gols Soler - Bibliography
- Posted on: 25 October 2018
- By: crg1
Soler Sardà, Josep i Benavides Oller, Raül (2004). Xavier Gols. Tarragona: Arola.
English
Pages
T. 93 256 36 50
Carrer de Lepant 150, 08013 Barcelona
mail: patrimonimusical@auditori.cat