2011-12-01 19:32:00
Format:
Rental Materials
Author:Juli Garreta Arboix (1875-1925)
Notice (8): Undefined index: visible_instrumentacio [APP/views/categories/display.ctp, line 394]
Code |
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<br/> Juli Garreta, who was born in Sant Feliu de Guíxols on 12 March 1875, was the son of a musician from Vilanova i la Geltrú who had settled in the Empordà district and who combined his watchmaker's business in the town on the Rambla Vidal avenue with his role as conductor for the town's 'La Vella' cobla band. Juli Garret worked as a watchmaker, like his father, and taught himself music (in addition to receiving lessons from his father and from a modest local pianist). At the age of twenty-two he wrote his first Sardana, entitled La Pubilla. He studied all the sheet music that came his way, and alongside that he kept himself busy playing in the 'La Vella' band, providing piano accompaniments for the films shown at the local cinema, and joining in the music-centred gatherings in Can Rovira.<br />
<br/> He thus cultivated his outstanding intuition through a completely free-ranging musical education, not associated with any particular school. His admiration for the works of Richard Strauss and Germanic post-romanticism in general is apparent in his musical language. Before being prompted by Pau Casals to compose orchestral works, Garreta's output focused mainly on music for the sardana dance, he having written over seventy sardanas: Juny, A en Pau Casals, La pedregada, Dalt les Gavarres, Llicorella, Isabel, Nydia, Mar d'argent... <br />
<br/> Worthy of note too are his chamber-music and orchestral works, such as his piano sonata, the cello sonata (which was given its first performance by Casals) or the various works of his that were first performed by the Pau Casals Orchestra: the Suite in G (1921), Pastoral (1922), Les illes Medes (1923), and the Violin Concerto (1925), along with the various sardanas orchestrated by Garreta ' on occasions featuring traditional Catalan instruments such as the flabiol (fipple flute), tible (shawm), tenora (shawm) and the fiscorn (bugle), as in the work entitled Sardana, which is in fact an orchestral version of the third movement of his Piano Sonata. Noteworthy among his early works for orchestra are his Impressions simfòniques (1907), the Scherzo (1915) and the Preludi mediterrani (1918).<br />
<br/> Garreta's work was the object of much comment and praise, most memorably in the comment by composer Eduard Toldrà, which clearly points to the roots of the music of this composer from Sant Feliu de Guíxols: 'Garreta sings enternally with romantic exaltation (though with the force of a man with a sound spirit), and he always sings in Catalan!' It is thus no wonder that in the concert arranged in homage to him a few months after his death (which came on 2 December 1925), Pau Casals proclaimed 'I have lost a friend. Catalonia has lost a genius'. <br />
<br/> Jordi León</div>
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"description" => "Works byJuli Garreta Arboix (1875-1925) Juli Garreta, who was born in Sant Feliu de Guíxols on 12 March 1875, was the son of a musician from Vilanova i la Geltrú who had settled in the Empordà district and who combined his watchmaker's business in the town on the Rambla Vidal avenue with his role as conductor for the town's 'La Vella' cobla band. Juli Garret worked as a watchmaker, like his father, and taught himself music (in addition to receiving lessons from his father and from a modest local pianist). At the age of twenty-two he wrote his first Sardana, entitled La Pubilla. He studied all the sheet music that came his way, and alongside that he kept himself busy playing in the 'La Vella' band, providing piano accompaniments for the films shown at the local cinema, and joining in the music-centred gatherings in Can Rovira. He thus cultivated his outstanding intuition through a completely free-ranging musical education, not associated with any particular school. His admiration for the works of Richard Strauss and Germanic post-romanticism in general is apparent in his musical language. Before being prompted by Pau Casals to compose orchestral works, Garreta's output focused mainly on music for the sardana dance, he having written over seventy sardanas: Juny, A en Pau Casals, La pedregada, Dalt les Gavarres, Llicorella, Isabel, Nydia, Mar d'argent... Worthy of note too are his chamber-music and orchestral works, such as his piano sonata, the cello sonata (which was given its first performance by Casals) or the various works of his that were first performed by the Pau Casals Orchestra: the Suite in G (1921), Pastoral (1922), Les illes Medes (1923), and the Violin Concerto (1925), along with the various sardanas orchestrated by Garreta ' on occasions featuring traditional Catalan instruments such as the flabiol (fipple flute), tible (shawm), tenora (shawm) and the fiscorn (bugle), as in the work entitled Sardana, which is in fact an orchestral version of the third movement of his Piano Sonata. Noteworthy among his early works for orchestra are his Impressions simfòniques (1907), the Scherzo (1915) and the Preludi mediterrani (1918). Garreta's work was the object of much comment and praise, most memorably in the comment by composer Eduard Toldrà, which clearly points to the roots of the music of this composer from Sant Feliu de Guíxols: 'Garreta sings enternally with romantic exaltation (though with the force of a man with a sound spirit), and he always sings in Catalan!' It is thus no wonder that in the concert arranged in homage to him a few months after his death (which came on 2 December 1925), Pau Casals proclaimed 'I have lost a friend. Catalonia has lost a genius'. Jordi León",
"keywords" => "Suite en Sol (Suite Empordanesa) (MO), Suite en Sol (Suite Empordanesa) (PB), Quartet amb piano, Les Illes Medes (PB), Les Illes Medes (MO), Concert per a violí i orquestra (PB), Concert per a violí i orquestra (MO), Juny - Llicorella, La cuna (version for solo clarinet and symphonic band) PS, La cuna (version for solo clarinet and symphonic band) MB"
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<br/> Juli Garreta, who was born in Sant Feliu de Guíxols on 12 March 1875, was the son of a musician from Vilanova i la Geltrú who had settled in the Empordà district and who combined his watchmaker's business in the town on the Rambla Vidal avenue with his role as conductor for the town's 'La Vella' cobla band. Juli Garret worked as a watchmaker, like his father, and taught himself music (in addition to receiving lessons from his father and from a modest local pianist). At the age of twenty-two he wrote his first Sardana, entitled La Pubilla. He studied all the sheet music that came his way, and alongside that he kept himself busy playing in the 'La Vella' band, providing piano accompaniments for the films shown at the local cinema, and joining in the music-centred gatherings in Can Rovira.<br />
<br/> He thus cultivated his outstanding intuition through a completely free-ranging musical education, not associated with any particular school. His admiration for the works of Richard Strauss and Germanic post-romanticism in general is apparent in his musical language. Before being prompted by Pau Casals to compose orchestral works, Garreta's output focused mainly on music for the sardana dance, he having written over seventy sardanas: Juny, A en Pau Casals, La pedregada, Dalt les Gavarres, Llicorella, Isabel, Nydia, Mar d'argent... <br />
<br/> Worthy of note too are his chamber-music and orchestral works, such as his piano sonata, the cello sonata (which was given its first performance by Casals) or the various works of his that were first performed by the Pau Casals Orchestra: the Suite in G (1921), Pastoral (1922), Les illes Medes (1923), and the Violin Concerto (1925), along with the various sardanas orchestrated by Garreta ' on occasions featuring traditional Catalan instruments such as the flabiol (fipple flute), tible (shawm), tenora (shawm) and the fiscorn (bugle), as in the work entitled Sardana, which is in fact an orchestral version of the third movement of his Piano Sonata. Noteworthy among his early works for orchestra are his Impressions simfòniques (1907), the Scherzo (1915) and the Preludi mediterrani (1918).<br />
<br/> Garreta's work was the object of much comment and praise, most memorably in the comment by composer Eduard Toldrà, which clearly points to the roots of the music of this composer from Sant Feliu de Guíxols: 'Garreta sings enternally with romantic exaltation (though with the force of a man with a sound spirit), and he always sings in Catalan!' It is thus no wonder that in the concert arranged in homage to him a few months after his death (which came on 2 December 1925), Pau Casals proclaimed 'I have lost a friend. Catalonia has lost a genius'. <br />
<br/> Jordi León</div>
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$title_section = "Works by<br/>Juli Garreta Arboix (1875-1925)"
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Juli Garreta, nacido en Sant Feliu de Guíxols el 12 de marzo de 1875, era hijo de un músico de Vilanova i la Geltrú establecido en el Ampurdán que, además de ser el director de la cobla La Vella de Sant Feliu, tenía una relojería en la Rambla Vidal. Juli Garreta trabajó de relojero, como su padre, y aprendió música de forma autodidacta (salvo las lecciones de su progenitor y las de un modesto pianista local). A los veintidós años escribió su primera sardana, La pubilla. Se estudiaba todas las partituras que le pasaban por las manos y, mientras tanto, tocaba en la cobla La Vella, amenizaba al piano las proyecciones de cine y participaba en las tertulias musicales de Can Rovira. De este modo, con una formación musical absolutamente libre, sin vínculos con una escuela u otra, fue educando su extraordinaria intuición. La admiración por las obras de Richard Strauss y por el post-romanticismo germánico en general, es patente en su lenguaje. Hasta que Pau Casals no lo instó a escribir para orquesta, la producción de Garreta se centró principalmente en las sardanas, de las que llegó a escribir más de setenta: Juny, A en Pau Casals, La pedregada, Dalt les Gavarres, Llicorella, Isabel, Nydia, Mar d'argent... Sin olvidar las obras de cámara y sinfónicas de su catálogo como la Sonata per a piano, la Sonata per a violoncel i piano (estrenada por Casals) o las distinta obras suyas que estrenó la Orquesta Pau Casals: Suite en Sol (1921), Pastoral (1922), Les illes Medes (1923), Concert per a violí i orquestra (1925), y distintas sardanas orquestadas por el propio Garreta (en algunos casos, con la inclusión de flabiol [flautín], tible, tenora y fiscorn) entre éstas la titulada Sardana, que no es más que la versión sinfónica del tercer tiempo de la Sonata per a piano. De las primeras obras para orquesta destacan Impressions simfòniques (1907), un Scherzo (1915) i el Preludi mediterrani (1918). De los numerosos comentarios y elogios que ha recibido la obra de Garreta, destacamos el comentario de Eduard Toldrà, que incluye una clara referencia a las raíces de la música del guixolés. 'Garreta canta eternamente con exaltación romántica (con la fuerza, no obstante, de un hombre sano de espíritu), ¡y canta siempre en catalán!'. No es extraño, pues que en el concierto de homenaje que se le tributó unos meses después de su muerte (sucedida el 2 de diciembre de 1925) Pau Casals dijo: 'Yo he perdido a un amigo. Cataluña ha perdido a un genio'.<br />
Jordi León </div>
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<br/> Juli Garreta, who was born in Sant Feliu de Guíxols on 12 March 1875, was the son of a musician from Vilanova i la Geltrú who had settled in the Empordà district and who combined his watchmaker's business in the town on the Rambla Vidal avenue with his role as conductor for the town's 'La Vella' cobla band. Juli Garret worked as a watchmaker, like his father, and taught himself music (in addition to receiving lessons from his father and from a modest local pianist). At the age of twenty-two he wrote his first Sardana, entitled La Pubilla. He studied all the sheet music that came his way, and alongside that he kept himself busy playing in the 'La Vella' band, providing piano accompaniments for the films shown at the local cinema, and joining in the music-centred gatherings in Can Rovira.<br />
<br/> He thus cultivated his outstanding intuition through a completely free-ranging musical education, not associated with any particular school. His admiration for the works of Richard Strauss and Germanic post-romanticism in general is apparent in his musical language. Before being prompted by Pau Casals to compose orchestral works, Garreta's output focused mainly on music for the sardana dance, he having written over seventy sardanas: Juny, A en Pau Casals, La pedregada, Dalt les Gavarres, Llicorella, Isabel, Nydia, Mar d'argent... <br />
<br/> Worthy of note too are his chamber-music and orchestral works, such as his piano sonata, the cello sonata (which was given its first performance by Casals) or the various works of his that were first performed by the Pau Casals Orchestra: the Suite in G (1921), Pastoral (1922), Les illes Medes (1923), and the Violin Concerto (1925), along with the various sardanas orchestrated by Garreta ' on occasions featuring traditional Catalan instruments such as the flabiol (fipple flute), tible (shawm), tenora (shawm) and the fiscorn (bugle), as in the work entitled Sardana, which is in fact an orchestral version of the third movement of his Piano Sonata. Noteworthy among his early works for orchestra are his Impressions simfòniques (1907), the Scherzo (1915) and the Preludi mediterrani (1918).<br />
<br/> Garreta's work was the object of much comment and praise, most memorably in the comment by composer Eduard Toldrà, which clearly points to the roots of the music of this composer from Sant Feliu de Guíxols: 'Garreta sings enternally with romantic exaltation (though with the force of a man with a sound spirit), and he always sings in Catalan!' It is thus no wonder that in the concert arranged in homage to him a few months after his death (which came on 2 December 1925), Pau Casals proclaimed 'I have lost a friend. Catalonia has lost a genius'. <br />
<br/> Jordi León</div>
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"description" => "Works byJuli Garreta Arboix (1875-1925) Juli Garreta, who was born in Sant Feliu de Guíxols on 12 March 1875, was the son of a musician from Vilanova i la Geltrú who had settled in the Empordà district and who combined his watchmaker's business in the town on the Rambla Vidal avenue with his role as conductor for the town's 'La Vella' cobla band. Juli Garret worked as a watchmaker, like his father, and taught himself music (in addition to receiving lessons from his father and from a modest local pianist). At the age of twenty-two he wrote his first Sardana, entitled La Pubilla. He studied all the sheet music that came his way, and alongside that he kept himself busy playing in the 'La Vella' band, providing piano accompaniments for the films shown at the local cinema, and joining in the music-centred gatherings in Can Rovira. He thus cultivated his outstanding intuition through a completely free-ranging musical education, not associated with any particular school. His admiration for the works of Richard Strauss and Germanic post-romanticism in general is apparent in his musical language. Before being prompted by Pau Casals to compose orchestral works, Garreta's output focused mainly on music for the sardana dance, he having written over seventy sardanas: Juny, A en Pau Casals, La pedregada, Dalt les Gavarres, Llicorella, Isabel, Nydia, Mar d'argent... Worthy of note too are his chamber-music and orchestral works, such as his piano sonata, the cello sonata (which was given its first performance by Casals) or the various works of his that were first performed by the Pau Casals Orchestra: the Suite in G (1921), Pastoral (1922), Les illes Medes (1923), and the Violin Concerto (1925), along with the various sardanas orchestrated by Garreta ' on occasions featuring traditional Catalan instruments such as the flabiol (fipple flute), tible (shawm), tenora (shawm) and the fiscorn (bugle), as in the work entitled Sardana, which is in fact an orchestral version of the third movement of his Piano Sonata. Noteworthy among his early works for orchestra are his Impressions simfòniques (1907), the Scherzo (1915) and the Preludi mediterrani (1918). Garreta's work was the object of much comment and praise, most memorably in the comment by composer Eduard Toldrà, which clearly points to the roots of the music of this composer from Sant Feliu de Guíxols: 'Garreta sings enternally with romantic exaltation (though with the force of a man with a sound spirit), and he always sings in Catalan!' It is thus no wonder that in the concert arranged in homage to him a few months after his death (which came on 2 December 1925), Pau Casals proclaimed 'I have lost a friend. Catalonia has lost a genius'. Jordi León",
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<br/> Juli Garreta, who was born in Sant Feliu de Guíxols on 12 March 1875, was the son of a musician from Vilanova i la Geltrú who had settled in the Empordà district and who combined his watchmaker's business in the town on the Rambla Vidal avenue with his role as conductor for the town's 'La Vella' cobla band. Juli Garret worked as a watchmaker, like his father, and taught himself music (in addition to receiving lessons from his father and from a modest local pianist). At the age of twenty-two he wrote his first Sardana, entitled La Pubilla. He studied all the sheet music that came his way, and alongside that he kept himself busy playing in the 'La Vella' band, providing piano accompaniments for the films shown at the local cinema, and joining in the music-centred gatherings in Can Rovira.<br />
<br/> He thus cultivated his outstanding intuition through a completely free-ranging musical education, not associated with any particular school. His admiration for the works of Richard Strauss and Germanic post-romanticism in general is apparent in his musical language. Before being prompted by Pau Casals to compose orchestral works, Garreta's output focused mainly on music for the sardana dance, he having written over seventy sardanas: Juny, A en Pau Casals, La pedregada, Dalt les Gavarres, Llicorella, Isabel, Nydia, Mar d'argent... <br />
<br/> Worthy of note too are his chamber-music and orchestral works, such as his piano sonata, the cello sonata (which was given its first performance by Casals) or the various works of his that were first performed by the Pau Casals Orchestra: the Suite in G (1921), Pastoral (1922), Les illes Medes (1923), and the Violin Concerto (1925), along with the various sardanas orchestrated by Garreta ' on occasions featuring traditional Catalan instruments such as the flabiol (fipple flute), tible (shawm), tenora (shawm) and the fiscorn (bugle), as in the work entitled Sardana, which is in fact an orchestral version of the third movement of his Piano Sonata. Noteworthy among his early works for orchestra are his Impressions simfòniques (1907), the Scherzo (1915) and the Preludi mediterrani (1918).<br />
<br/> Garreta's work was the object of much comment and praise, most memorably in the comment by composer Eduard Toldrà, which clearly points to the roots of the music of this composer from Sant Feliu de Guíxols: 'Garreta sings enternally with romantic exaltation (though with the force of a man with a sound spirit), and he always sings in Catalan!' It is thus no wonder that in the concert arranged in homage to him a few months after his death (which came on 2 December 1925), Pau Casals proclaimed 'I have lost a friend. Catalonia has lost a genius'. <br />
<br/> Jordi León</div>
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$description = "Works byJuli Garreta Arboix (1875-1925) Juli Garreta, who was born in Sant Feliu de Guíxols on 12 March 1875, was the son of a musician from Vilanova i la Geltrú who had settled in the Empordà district and who combined his watchmaker's business in the town on the Rambla Vidal avenue with his role as conductor for the town's 'La Vella' cobla band. Juli Garret worked as a watchmaker, like his father, and taught himself music (in addition to receiving lessons from his father and from a modest local pianist). At the age of twenty-two he wrote his first Sardana, entitled La Pubilla. He studied all the sheet music that came his way, and alongside that he kept himself busy playing in the 'La Vella' band, providing piano accompaniments for the films shown at the local cinema, and joining in the music-centred gatherings in Can Rovira. He thus cultivated his outstanding intuition through a completely free-ranging musical education, not associated with any particular school. His admiration for the works of Richard Strauss and Germanic post-romanticism in general is apparent in his musical language. Before being prompted by Pau Casals to compose orchestral works, Garreta's output focused mainly on music for the sardana dance, he having written over seventy sardanas: Juny, A en Pau Casals, La pedregada, Dalt les Gavarres, Llicorella, Isabel, Nydia, Mar d'argent... Worthy of note too are his chamber-music and orchestral works, such as his piano sonata, the cello sonata (which was given its first performance by Casals) or the various works of his that were first performed by the Pau Casals Orchestra: the Suite in G (1921), Pastoral (1922), Les illes Medes (1923), and the Violin Concerto (1925), along with the various sardanas orchestrated by Garreta ' on occasions featuring traditional Catalan instruments such as the flabiol (fipple flute), tible (shawm), tenora (shawm) and the fiscorn (bugle), as in the work entitled Sardana, which is in fact an orchestral version of the third movement of his Piano Sonata. Noteworthy among his early works for orchestra are his Impressions simfòniques (1907), the Scherzo (1915) and the Preludi mediterrani (1918). Garreta's work was the object of much comment and praise, most memorably in the comment by composer Eduard Toldrà, which clearly points to the roots of the music of this composer from Sant Feliu de Guíxols: 'Garreta sings enternally with romantic exaltation (though with the force of a man with a sound spirit), and he always sings in Catalan!' It is thus no wonder that in the concert arranged in homage to him a few months after his death (which came on 2 December 1925), Pau Casals proclaimed 'I have lost a friend. Catalonia has lost a genius'. Jordi León"
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Juli Garreta, nacido en Sant Feliu de Guíxols el 12 de marzo de 1875, era hijo de un músico de Vilanova i la Geltrú establecido en el Ampurdán que, además de ser el director de la cobla La Vella de Sant Feliu, tenía una relojería en la Rambla Vidal. Juli Garreta trabajó de relojero, como su padre, y aprendió música de forma autodidacta (salvo las lecciones de su progenitor y las de un modesto pianista local). A los veintidós años escribió su primera sardana, La pubilla. Se estudiaba todas las partituras que le pasaban por las manos y, mientras tanto, tocaba en la cobla La Vella, amenizaba al piano las proyecciones de cine y participaba en las tertulias musicales de Can Rovira. De este modo, con una formación musical absolutamente libre, sin vínculos con una escuela u otra, fue educando su extraordinaria intuición. La admiración por las obras de Richard Strauss y por el post-romanticismo germánico en general, es patente en su lenguaje. Hasta que Pau Casals no lo instó a escribir para orquesta, la producción de Garreta se centró principalmente en las sardanas, de las que llegó a escribir más de setenta: Juny, A en Pau Casals, La pedregada, Dalt les Gavarres, Llicorella, Isabel, Nydia, Mar d'argent... Sin olvidar las obras de cámara y sinfónicas de su catálogo como la Sonata per a piano, la Sonata per a violoncel i piano (estrenada por Casals) o las distinta obras suyas que estrenó la Orquesta Pau Casals: Suite en Sol (1921), Pastoral (1922), Les illes Medes (1923), Concert per a violí i orquestra (1925), y distintas sardanas orquestadas por el propio Garreta (en algunos casos, con la inclusión de flabiol [flautín], tible, tenora y fiscorn) entre éstas la titulada Sardana, que no es más que la versión sinfónica del tercer tiempo de la Sonata per a piano. De las primeras obras para orquesta destacan Impressions simfòniques (1907), un Scherzo (1915) i el Preludi mediterrani (1918). De los numerosos comentarios y elogios que ha recibido la obra de Garreta, destacamos el comentario de Eduard Toldrà, que incluye una clara referencia a las raíces de la música del guixolés. 'Garreta canta eternamente con exaltación romántica (con la fuerza, no obstante, de un hombre sano de espíritu), ¡y canta siempre en catalán!'. No es extraño, pues que en el concierto de homenaje que se le tributó unos meses después de su muerte (sucedida el 2 de diciembre de 1925) Pau Casals dijo: 'Yo he perdido a un amigo. Cataluña ha perdido a un genio'.<br />
Jordi León </div>
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Collection:Symphonic Band Materials Nr. 1