Guitars Ensemble Pau Casals Municipal School of Music in El Vendrell Photo: Sílvia Isach (@sinoca_studio

María Dolores García Martínez
(esguarddedona)

Versió català

Versión en castellano

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Long live chamber music!

Third concert

Sunday, July 13, 2025

Tivoli Auditorium

Pau Casals Municipal School of Music (EMMPAC))

Concert by EMMPAC students, remembering Pablo Casals and his friends​.

With the participation of Jaime Laredo

Concert program and performers

• Guitars Ensemble

Old Spanish songs,
collected by  

Federico García Lorca (1898 - 1936)

Nana de Sevilla, popular
(Lullaby from Seville)
(arr. Adrià Galindo)

Los cuatro muleros, popular
(The four muleteers)
(arr. Maria Elena Casañas)

Las morillas de Jaén, popular
(The morels of Jaén)
(arr. Àngel Agulló)

La tarara, popular
(The Tarara)
(arr. Jorge Cardoso)

Enrique Granados (1867 - 1916)

Danza española núm. 6
Rondalla aragonesa
(Spanish Dance No. 6)
(Aragonese Rondalla)
(Arr. Enrique Lop)

Guitar ensemble during a moment of their performance Photo: Sílvia Isach (@sinoca_studio)

• Anna Casellas (flute)

• Almudena Menor (piano)

Gabriel Fauré (1845 - 1924)

Sicilenne. Op. 78

• Ferran Herrero (piano)

• Alexander Reimer (piano)

Pyotr Ilyxt Tchaikovsky (1840 - 1893)

The Waltz of the Flowers (The Nutcracker)

Ferran Herrero and Alexander Reimer Photo: Sílvia Isach (@sinoca_studio)

• Ingrid Merino (viola)

• Oriol Borrell (piano)

Johann Wenzel Kalliwoda(1801 - 1866)

Nocturne no. 3, Op 186, for viola and piano

Giovanni Battista Pergolesi (1710 - 1736)

Nina

Ingrid Merino (viola) and Oriol Borrell (piano) Photo: Sílvia Isach (@sinoca_studio)

• Arnau Bassas (clarinet)

• Simón Alonso (piano)

Witold Lutoslawski(1913 - 1994)

Dance Preludes

Arnau Bassas (clarinet) and Simón Alonso (piano) Photo: Sílvia Isach (@sinoca_studio)

Video of a rehearsal by Simón Alonso on the stage of the Tivoli Auditorium, of the EMMPAC

The meeting with Jaime Laredo

This concert offered the appeal of hearing young performers training at EMMPAC, but it was also a major draw to see Jaime Laredo perform, as well as interact with students and the audience, allowing them to hear his opinions and advice. He was joined on stage by his wife, the renowned cellist Sharon Robinson.

Jaime Laredo and Sharon Robinson Photo: Sílvia Isach (@sinoca_studio) July 13, 2025

Laredo and Robinson are highly respected musicians, with extensive experience performing and teaching. They frequently offer masterclasses; for example, just a few weeks after their performance in El Vendrell, they gave a joint class at Oberlin College & Conservatory in Pennsylvania (USA), which was also open to the public.

García Lorca and Enrique Granados, prominent figures in the concert

All the concerts at the Festival shared a common thread: they highlighted the fruit of friendship. The friendship between Granados and Casals is well known, but did a similar friendship exist between García Lorca and Casals?.

Federico García Lorca (1898 – 1936)

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Federico García Lorca Granada, February 10, 1919 Photographer: unknown Federico García Lorca Foundation Collection Public domain

The Pau Casals Music Association celebrates Casals Month every October in El Vendrell. In 2018, a study by philologist Jaume Figueras was presented, analyzing whether Casals and García Lorca ever met.

Jaume Figueras suggested that they may have met at a tribute event held on October 23, 1935 at the Olympia Theatre, dedicated to actress and theatre director Margarida Xirgu (1888 - 1969). His hypothesis includes a letter from Casals to Xirgu. That letter might contain a passage that refers to the poet, but without mentioning his name.

Casals and Lorca shared a similar goal: to make it easier for the working classes to discover and enjoy classic theater (Lorca) through his theater group "La Barraca" and classical music (Casals) through the Workers' Concert Association. This was a point emphasized by Figueras.

But there is a document that allows us to confirm that they met. It was provided by historian and cultural expert Àngels Santacana, at the presentation of the Casals Month, where she stated that there is a photograph taken in Uruguay in which Lorca and Casals appear.

Enrique Granados Campiña (1867 – 1916)

Enrique Granados Campiña May 3, 1914 Photo by: Agence de presse Meurisse Bibliotheque Nationale de France Public domain

Casals and Granados met in 1891. Casals was fifteen years old and Granados was twenty-four. Despite the age difference, they became great friends. A few years later, in 1897, they, along with violinist Mathieu Crickboom (1871–1947), toured Spain.

Enrique Granados and Pau Casals Between 1895 and 1900 Photo by: Antoni Esplugas i Puig (1852 - 1929) National Archive of Catalonia (Generalitat de Catalunya) Glass plate, silver gelatin negative Public domain

For Casals, Granados's death was a terrible blow. Their friendship was sincere; moreover, as Pablo L. Rodríguez published in El País, in the article entitled "The tragic final embrace of Enrique Granados and his wife" (published March 27, 2016), Casals was the person who gave Granados the most support among all Spaniards (Rodríguez uses the word "national," but given the use that word was given later during the Spanish Civil War, its use could create a misunderstanding).

Casals visited Granados in New York where the composer was preparing for the premiere of his opera Goyescas.They both gave a concert for the Friends of Music of New York on January 23, 1916. and Goyescas premiered on January 28, 1916. Granados and his wife Amparo Gal Lloberas (1870 - 1916) [1] had planned to return to Europe on March 8th, but they postponed the trip, so that Granados could perfom at the White House for Woodrow Wilson (1856 - 1924).

Amparo Gal was the manager of her husband's musical schedule; she was his support in all aspects, both emotional and practical.

Granados and his wife returned to Europe, stopping in London, from where they boarded the steamship Sussex to reach France. It was a passenger ship that was to take them to Dieppe, but during the voyage it was torpedoed in the English Channel by the German submarine UB-29 at 2:50 p.m. on March 24, 1916.

The torpedo impact created a large wave that swept some of the passengers into the sea. Fifty people died from the impact, the wave, and those who jumped into the sea in panic. The rest of the passengers survived because part of the ship did not sink. A section of the stern remained afloat because it was watertight, but it drifted for 32 kilometers. They were eventually spotted by a fishing boat, and a rescue operation began. Three hundred and thirty people were saved. The unsunk portion of the ship was towed to Boulogne. The German government denied the events, but the remains of the torpedo and the testimonies of the travelers forced them to rectify, although they excused themselves by saying that it had been a mistake by the submarine commander. The incident was so significant that it led to the Sussex Pledge. With it, the Germans declared they would not attack non-military ships. But in practice, it was not honored. (Link to the official report on the attack. U.S. State Department.

Although there are photos of the unsunken remains of the Sussex, this drawing by James McBey (1883 - 1959) is probably the most emotionally impactful. The print can be found on the website of National Maritime Museum, Greenwich (London)

United Press International correspondent John H. Hearley reported on the events.
(Link to a photograph taken on the ship after it was torpedoed.)
(Link to the Hearley's chronicle)

A concert to help the children of Enrique Granados

Granados died alongside his wife, Amparo Gal. They had six children who were left orphaned. By one of those strange coincidences of life, Arthur Rubinstein (1887 - 1982) performed Goyescas at the Palau de la Música Catalana on the same day that Enrique Granados and Amparo Gal died; their children attended the concert; they had not yet received the news of their parents' death.

On May 7, 1916, a concert was held at the Metropolitan Opera House to benefit the orphans of Granados. The concert featured Pablo Casals, the soprano María Barrientos (1894–1946), Fritz Kreisler (1875–1962), and Ignacy Paderewski (1860–1941).

Furthermore, to raise more funds, Paderewski's wife, Helena M. Paderewska, donated 100 dolls. These dolls were made by Polish refugees for a project Paderewska was undertaking to raise funds to help her country, Poland, and its people. However, she felt that helping Granados's children was a cause that deserved this extra contribution. Paderewska herself, along with Susan Metcalf (1878-1959), who was Casals's wife at the time, and Harriet Lies (1869-1963), Kreisler's wife, sold the dolls at the theater entrance.

Helena Pederewska (1856–1934) was of Polish origin. In addition to the Doll project already described, which is documented at least as far back as 1914, she also founded the Polish White Cross with the help of Polish emigrants in the United States. She also recruited 20,000 volunteers to assist refugees during World War I. After the war, she continued her work and, among other achievements, secured funding for the training of doctors and nurses and founded the School of Agriculture in northeastern Poland. She also welcomed exiles into her home in Switzerland.

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Photograph of dolls made by Polish refugees in Paris
The dolls were sold to benefit the Polish War Victims Relief Fund
Dated 1915
Author: Bain News Service
Public domain

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Walter Aaron Clark in his article The Death of Enrique Granados: Context and Controversy (Musical Yearbook no. 65, January - December 2010) explains how the tribute concert to Granados ended: All the lights were off, there was a candle on the piano, with that only illumination Pederewski played the Funeral March by Frédéric Chopin (1810 - 1835), while the public remained silent.

The tragic death of Granados deeply affected Casals. When Albert E. Kahn recorded his statements, which would later be published as the book "Joys and Sorrows: Reflections by Pablo Casals," he spoke of this loss and said: "This tragic event symbolized for me the waste and madness of the war." The book was published in 1970 by Simon & Schuster.

Enrique Granados playing the piano Sculpture by Ismael Smith (1886-1972) Work from 1908 Museu Pau Casals Photo: María Dolores García Martínez (esguarddedona)

Besides being friends, Casals and Granados collaborated musically. In the book "Enrique Granados in Context / Enrique Granados en contexto" (LEAL Cultural Association, 2020), there is a chapter titled: "Enrique Granados and Pau Casals: A Long Friendship and the Construction of a Cello Repertoire." The article is written by musicologist Xoán M. Carreria (1954) and music communicator Josep M. Rebés (1955).

Likewise, the exhibition "Counterpoint: Enrique Granados - Pau Casals" explored the friendship and musical relationship between the two. The following quote is from that exhibition:

"This premature death would signify the earthly end and the spiritual continuation of a friendship in the form of counterpoint, which once again makes the figures of Granados and Casals exceptional."

The exhibition was displayed at the Museu Pau Casals from December 2, 2004 to January 23, 2005, and subsequently toured various towns in Catalonia.

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Video about the exhibition “Counterpoint: Enrique Granados – Pau Casals”
with numerous photographs of both
Pau Casals Foundation
Video production: Linus Urpí
Music: Enrique Granados. Goyescas, H. 71 Intermezzo
(Arr. Gaspar Cassadó (1897 - 1966) for cello and piano)
April 19, 2021

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Casals' relationships with the other composers in the concert program

Gabriel Fauré (1845- 1924)

There is a photograph that shows Fauré and the Casals-Cortot-Thibaud trio; it was taken at the Ecole Normale de Musique after a rehearsal. The trio performed for Fauré the Trio Op. 120, which would be the composer's penultimate work. Once again, we find sources that speak of a sincere friendship between Casals and Fauré. Furthermore, Casals made a cello arrangement of Fauré's work "Après un Rêve."

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Gabriel Fauré: Après un revê
Pau Casals, cello - Nikolai Mednikoff, piano
1927
Shared on YouTube by Classics&Opera
March 20, 2023

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Pyotr Ilyich Tchaikovsky (1840 - 1893)

We have no evidence to suggest that Casals was familiar with the other composers on the concert program. However, we do know that he recorded works by Tchaikovsky.

The venue for the third concert of FIMPC 2025: The Pau Casals Municipal School of Music

The vocation to train young musicians and to offer the opportunity to learn music to people of all ages.

The school is the fruit of Vendrell's vital energy towards music and culture in general, and above all it is an achievement of the people who fought tirelessly to see that project become a reality.

The school is a municipal public center. It began classes on February 3, 1986. To make its existence possible, an agreement was established with the Generalitat of Catalonia and support was also obtained from the Social Welfare Fund of the Provincial Savings Bank of Tarragona.

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Facade of the first headquarters of the EMMPAC del Vendrell on Isidre Ribes street

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There was never any doubt that the school should be named after Pau Casals. Furthermore, the project was one of the goals set by the Pau Casals Musical Association, which was presided over by Josep Altet Font (1920-2003) (UN Medal, Creu de Sant Jordi, 1999 from the Generalitat of Catalonia, and Favorite Son of El Vendrell, 2010).

The school's first location was on Isidre Ribes Street. It was a 300 m² building that accommodated up to 300 students. It was so successful, and there was such high demand for places, that it became necessary to find a new, larger location. The school's first teachers were Albert Solé, who was the first director; Carlota Baldrís, who became director a few years later; Margarita Güell (violin); and Andreu Guash Padró (piano).

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Visit of Marta Casals Istomin and cellist Mstislav Rostropovich (1927 - 2007) to the EMMPAC
The photograph shows the meeting with the Cor de Veus Blanques (White Voices Choir), which was going to perform, directed by Montse Meneses, at the funeral events of Eugene Istomin on October 16, 2003, in the Vendrell cemetery.
Photo: Carlota Baldrís

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From cinema to school

The current building houses a classroom and activity area, the Tivoli Auditorium (capacity 333 people), the Cohi i Grau Auditorium [1] (capacity 120 people), a multipurpose room (capacity 60 people), and a library. All of this is contained within the same building. This building was constructed on the site of a former center called Tivoli, which offered cultural and recreational activities, a bar, and served as the headquarters of the Vendrell Sports Club. However, it is still best remembered for its cinema.

[1] Agustí Cohi Grau (1921 - 2012) Son of Vendrell, composer, musician and educator; creator of the Cohi Grau scholarship, which since 2005 has been awarded to a student or group from EMMPAC

The Tivoli (as the aforementioned activity center was always known) began its activities in 1876 and ceased operations in the 1990s. Negotiations for its acquisition began in 2002. The following year it became the property of the City Council. Classes were able to be held in the new building during the 2009-2010 academic year.

The official opening took place on June 21, 2010, with a performance by the cellist and Casal's godson Lluís Claret (1951), the singer Marina Rosell (1954), and the Zóngora choir, which originated at the school. The event was presided over by Ernest Mararagall, then Counselor of Education for the Generalitat of Catalonia. At that time, the school had 345 students and 23 teachers.

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Facade of the current EMMPAC headquarters
Photo: Linus Urpí

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EMMPAC is one of the cultural driving forces of Vendrell and the Baix Penedès region

To celebrate EMMPAC's 30th anniversary, the cantata "The Magic Ring," composed by Albert Solé, premiered. Two hundred singers, fifty musicians (including students and teachers), three soloists, and the dancers from the school's dance studio participated. Montse Meneses conducted the cantata. Meneses studied at EMMPAC, and later at the Conservatories of Tarragona, Badalona, and Barcelona. Today she is the director of the Cor de Noies del Orfeó Català (girls' choir), the Veus Blanques choir (children's voices), the Zóngora choir, and the Coral Cantiga of Barcelona.

A new cantata premiered to mark the 40th anniversary. This time, the text was by Xavier Sanjuan and the music by Jordi Cornudella. The work was titled "Everything is Music". It premiered in June 2022 and was recorded by Radio Televisión of El Vendrell.

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Tívoli Auditorium
Photo: Linus Urpí

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TheEMMPAC continues its activities. Its goal is to offer new and better opportunities to those who want to learn music, with a high level of quality, but always respecting the values championed by Pau Casals. Casals's idea that music is the divine way of expressing beautiful and poetic things to the heart is ever-present.

The current director of the school is Emi Recasens Collado, the head of studies is Xavi Font Rius and it has a human team that offers vocal, instrumental and dance training.

Names indelibly linked to EMMPAC

Albert Solé and Carlota Baldrís are two people whose life story is deeply linked to the music school; both were once its directors.

Albert Solé was honored for his lifetime dedication to music and to El Vendrell. And yet, music was never his profession, despite having a degree in piano, being an excellent pianist, choir director, and composer.

Carlota Baldrís, She is a composer, music theory and harmony teacher, and has been a professor at EMMPAC since 1986, where she also served as director from 1998 to 2010.

She is passionate about music and its role in intellectual and emotional development, as well as its impact on our brains. For this reason, she has offered several seminars on these topics at the Museu Pau Casals in recent years. For this, she has collaborated with specialists such as Jordi Jauset and Eduard Ramos
"An emotional journey: The cello suites by Bach"
"Comunication, music and emotions"
"Neuromusic, emotions and welfare"
"How music affects our brain"

A tireless composer, she is the author of works such as "Song of the Star" (Canço de l'Estrella), a work in which she set to music a text by Jacint Verdaguer (1845 - 1902).

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Vilafranca del Penedès Polyphonic Choir Director: David Hernàndez Piano: Miquel Villalba December 26, 2022

Another example is the Oratorio of the Angel Tobias [1] The text accompanying the video reads:

..."a song to life, peace, and the conservation of the planet. An emotional journey and a reflection on humanity, life, and death, told through the voice of an angel, a being half celestial and half earthly, who observes the earth from his bell tower. A piece that evolves each time it is performed, a transcendental experience, recommended by UNESCO for its message of peace and respect for planet Earth and for its universal values." ”

[1] The Angel of Tobias presides over the bell tower of the parish church of Vedndrell and is a landmark for the town.

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18th Vic Religious Music Festival Church of El Escorial, Vic Director: Montserrat Meneses April 11, 2022

Another of her projects has been to compose 38 pieces, one for each of the flowers mentioned by Mercè Rodora in her book "Journeys and Flowers" (Viatges i flors). This is a cross-disciplinary art project, meaning artworks generated by the inspiration of other artworks. In this case, a book has given rise to her 38 compositions.Thus, other creators have each contributed 38 other works; Camil·la Pérez Salvà has contributed with watercolors, Nati Soler with writings, and Esperanza Cases Prats with perfumes. This is not the first time Carlota Baldrís has participated in cross-disciplinary art projects; one of her most recent was inspired by dry stone constructions.

Photo: Concert program details: Long live chamber music!

 

An extraordinary musical and cultural event:
The Song of the Sibyl (Cant de la Sibil·la)

Original score from the 15th century

A bit of history

Who were the sibyls?

Who was the Sibyl of the Song of the Sibyl? 

The Sibylline Books

We must remember that in 380, Emperor Theodosius issued the Edict of Thessalonica, which declared Christianity the official religion of the Roman Empire, as it had emerged from the Council of Nicaea (325).

References to the sibyls become established within Christianity

What is the origin of the image we have of what they were like, how they dressed, and what symbols we use to identify the sibyls?

How did the text of the Sibyl of Eritrea become a musical composition entitled ‘The Song of the Sibyl’?

Council of Trent (session 23, July 15, 1563. Central nave of the Cathedral of Saint Vigilius in Trent) Unknown artist (previously attributed to Titian and Tintoretto) Date of creation: Second half of the 15th century Louvre Museum (Not on display) (Last update: May 2, 2025)

Survival despite prohibition: Mallorca, Alghero and Braga

Felip Pedrell

Later, in 1908, it became known that in a very old book found in the Convent of La Concepción in Palma de Mallorca, and apparently originating from the old convent of Santa Margarita in the same city, there was a Song of the Sibyl, the oldest of all the versions known in Mallorca at that time. 

Late 19th century to the present day: rescuing what has been forgotten

The Song of the Sibyl in Barcelona Cathedral

...two 14th- and 15th-century codices containing copied versions of the Cant de la Sibil·la, one in Latin and the other in Catalan; there is also a polyphonic version dating from the 16th century. Alongside these works, four composers—Jordi Cervelló (2010), Josep Vila i Casañas (2011), Vic Nees (2012), and Narcís Bonet (2013)—wrote four tornadas on “Al jorn del judici” during the aforementioned years, lending this music a constant air of modernity. The recording includes the oldest Latin version and the 16th-century version, along with the four polyphonic tornadas.

The necessary recognition to Montserrat Figueras and Jordi Savall, and to their recordings of the Song of the Sibyl.

“Judici i signum in nona lectione matutinarum natalis domini sequenti modo in sede Urgellensi a pucro cantatur”.

More or less it means:

 “The sign of the Judge is sung by a priest, in the ninth reading of Matins on the Lord's birthday in the manner of the Seu of Urgell.”

“The Sibyl, according to custom, and that on the thread that will come out from the place where said Sibyl will sing, pieces of nougat, sugar wafers (neules) and apples be placed”

Felip Pedrell before 1902 Photo: Pau Audouard Deglaire (1856 - 1918) Public domain

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Manuel Milà i Fontanals 

Manuel Milà i Fontanals Author unknown Barcelona Photo Archive Public domain

Vilafranca del Penedès (Barcelona) May 4, 1818 - July 16, 1884 

Literary critic

Scholar

Writer

Philologist

Historian

In 1826, at the age of eight, he moved to Barcelona, ​​where he completed his secondary and higher education, with the exception of part of the 1834-1835 academic year, which he earned at the University of Cervera. In 1841, he graduated with a law degree from the University of Barcelona, ​​and in 1846, he obtained his bachelor's and doctoral degrees in Philosophy and Letters from the same university. From 1836 onwards, he participated as a militant critic and poet in the defense and promotion of a radically liberal Romanticism, through publications such as El Vapor, El Propagador de la Libertad, and the Sociedad Filodramática. Around 1840, after an ideological, political, and religious crisis that inclined him towards militant Catholicism and purist and historicist idealism, he moved to other publications of a more conservative nature (La Verdad, El Imparcial, La Discusión, and, from 1854, Diario de Barcelona, ​​where he published notable critical articles and works popularizing literary history). In 1844, he joined the faculty of the Barcelona Institute as a professor of History and Literature, and in 1847 he won the chair of General and Spanish Literature at the University. From there, as well as from the Academy of Belles Lettres, the Floral Games of Barcelona, ​​and other institutions, he developed studies of aesthetics as the philosophical foundation of poetics or literary theory, and laid the groundwork for a fruitful historical school of literary studies, continued by Antoni Rubió i Lluch and his disciples, dedicated primarily to medieval Castilian, Catalan, and Provençal literature, as well as popular literature. For these studies, he advocated dispassionate research, subject to methodological rigor based on a solid understanding of the subject matter. On the other hand, Milá considered himself implicitly already part of a school of historical studies that, after the Premonstratensians Caresmar, Pascual and Puig, from the monastery of Bellpuig de les Avellanes, had culminated in Capmany, Masdeu, Villanueva, Flórez, Ripoll, Olzinelles, Próspero de Bofarull and, among the younger ones who have already died, Piferrer. He provided evidence for this, beyond a few articles, such as the one dedicated to Capmany in 1854, in the obituary of Próspero de Bofarull (1860), and in fact justified it with some historical-archaeological studies, such as those dedicated to Olèrdola, or with the one that prefaced the Àlbum pintoresch-monumental de Catalunya (1880), which, moreover, contributed to the conservationist impulse of the Renaixença movement, in which he also participated as a poet and literary historian, and especially with some reflections on the evolution of the literary movement towards Catalanism.

Of particular note among his studies of literary history are those dedicated to popular poetry (Observations on Popular Poetry, 1853), medieval and popular theater (“On Some Ancient and Vulgar Catalan Performances”, 1862), and medieval epic, in which he examines the relationship between the Castilian epic song and the ballad tradition, as well as the question of the origin of Romance epic in general (On Castilian Heroic-Popular Poetry, 1874). On the Troubadours in Spain (1861) is the result of his dedication to the presence and influence of the language and poetry of the troubadours; a dedication that continues in his studies devoted to the survival and abandonment of the troubadour tradition in Catalan poetry (among other titles, Historical and Critical Review of the Ancient Catalan Poets, 1865). Milá, who considered it premature to undertake ambitious syntheses of both Castilian and Catalan literature history, summarized the history of Spanish literature, which included references to Catalan literature, with originality and for school purposes, in Principles of General and Spanish Literature (1874 and 1877).

Works

Some Literary Studies, Barcelona, ​​Joaquín Verdaguer Printing Press, 1838

Compendium of the Art of Poetry, Barcelona, ​​D. J. M. de Grau Printing Press, 1844 (partial edition and preliminary study by P. Aullón de Haro, Aesthetics and Literary Theory, Madrid, Verbum Publishers, 2002)

Manual of Declamation, Barcelona, ​​1848

Manual of Aesthetics, Pons & Co. Printing and Foundry, Barcelona, ​​1848

Manual of Rhetoric and Poetics, Barcelona, ​​Pons & Co. Printing and Foundry, 1848

Manual of Ancient History, Barcelona, ​​Pons & Co. Printing and Foundry, 1849

Manual of Medieval History, Barcelona, ​​Pons & Co. Printing and Foundry, 1849

Observations on Popular Poetry, with Examples of Ballads Unpublished Catalan Works, Barcelona, ​​Narciso Ramírez Press, 1853

Principles of Aesthetics, Barcelona, ​​Barcelona Daily Press, 1857 (facsimile edition and preliminary study by P. Aullón de Haro, Principles of Aesthetics or Theory of Beauty, Madrid, Verbum Publishers, 2013)

On the Troubadours in Spain, Barcelona, ​​Joaquín Verdaguer Bookstore, 1861 (ed. by C. Martínez and F. Rico Manrique, Barcelona, ​​Spanish National Research Council, Menéndez Pelayo Foundation-Miguel de Cervantes Institute, Romance Literature Section, 1966)

“On Some Ancient and Vulgar Catalan Representations,” in Revista de Cataluña, II (1862), pp. 19-31, 69-77, 119-128 and 263-284

“Historical and critical review of the ancient Catalan poets”, in Jochs Florals de Barcelona in 1865, Barcelona, ​​Estampa de Lluís Tasso, 1865, pp. 113-200

Inaugural Address delivered by Dr. Manuel Milá y Fontanals before the University of Barcelona at the solemn opening of the 1865-1866 academic year, Barcelona, ​​Tomás Gorchs Printing and Bookstore, 1865 (published under the title "Inaugural Address on the General Character of Spanish Literature," in *On Castilian Heroic-Popular Poetry*, Barcelona, ​​1874, pp. I-XLV)

Principles of Aesthetic and Literary Theory, Barcelona, ​​Barcelona, ​​Diario de Barcelona Printing Press, 1869 (partial edition by P. Aullón de Haro in op. cit., 2002)

Principles of General and Spanish Literature, Barcelona, ​​Diario de Barcelona Printing Press, 1873-1874

On Castilian Heroic-Popular Poetry, op. cit. (ed. by M. de Riquer and J. Molas, Barcelona, ​​Spanish National Research Council, Menéndez Pelayo Foundation-Miguel de Cervantes Institute, Romance Literatures Section, 1959)

Principles of General and Spanish Literature, Barcelona, ​​Barcelona Press, 1877

Catalan Ballads. Traditional Songs, ed. recast and increased, Barcelona, ​​Librería de D. Álvaro Verdaguer, 1882 (ed. facs. Barcelona, ​​Editorial Alta Fulla, 1999)

Principles of general literature (Aesthetic and literary theory), Barcelona, ​​Imprenta Barcelonesa, 1884

Select ballads by the Cid with a prologue by D. Manuel Milá y Fontanals, Barcelona, ​​Biblioteca Arte y Letras, 1884

Complete works, Barcelona, ​​1888-1896, 8 vols.

Catalan works by Manuel Milà and Fontanals, Barcelona, ​​Gustau Gili, 1908

Epistolari d'En M. Milà i Fontanals. Correspondence collected and annotated by L. Nicolau D'olwer, Barcelona, ​​Institut d'Estudis Catalans, 1922, 1932 and 1995, 3 vols. [YO. Anys 1840-1874

II. Anys 1875-1880

III. Anys 1881-1884].

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Higini Anglés Pamiés

Cover of a publication dedicated to the life and work of Higini Anglès

Maspujols (Tarragona) January 1, 1888 - Rome (Italy) December 8, 1969
Priest
Musicologist

He was born into a modest, Christian family dedicated to agriculture. His early years were spent in the rural environment of a small village in the Camp de Tarragona region, located southeast of Montsant. Its inhabitants, around five hundred at that time, were primarily engaged in the cultivation of olives, almonds, and grapes. Later in life, he would acknowledge that his travels through the villages of inland Catalonia during his childhood and youth decisively influenced the formation of his ideas about early Spanish music, undeniably influenced, according to him, by folk traditions (The Music of the Cantigas, vol. II, p. 5).

In 1899, at the age of eleven, Higinio Anglés's parents took their son to the Seminary of Tarragona to study for the priesthood as a boarding student, as was customary at the time. The Tarragona seminary had lost its university status in 1717, as had all the Catalan conciliar seminaries, which were absorbed by the University of Cervera, founded by King Philip V.

The Tarragona seminary, however, continued to teach the same subjects under the title of Literary Studies, without the authority to grant degrees. In 1886, the old residence that housed the seminarians was replaced by a modern, larger, and more functional building on San Pablo Street. The renovation that the move from one building to the other represented encouraged the idea of ​​regaining its university status.

By Decree of July 2, 1897, Pope Leo XIII granted the Tarragona Seminary the authority to award the corresponding degrees. Higinio Anglés entered the seminary just as its leaders had realized a long-held dream and were striving to raise the academic standards and enhance the prestige of the students' formation for the priesthood. Thus, after six years of humanities studies, three of philosophy, and four of theology, seminarian Higinio Anglés was ordained a priest in 1912. While pursuing his ecclesiastical studies, he was able to dedicate time to his musical training. By time immemorial tradition, the study of music was not only compatible with the priesthood but also complementary and, to a certain extent, necessary, given its essential role in daily and solemn liturgy. Those who showed an interest in and possessed sufficient talent for music received every possible support from the institution and its leaders to further their musical studies. Seminarian Higinio Anglés took advantage of this opportunity to pursue music as a second profession.

Barely had he received holy orders when the new priest obtained permission to move to Barcelona and complete his musical training there, combining it with his priestly duties. In Barcelona, ​​he founded the Schola Cantorum of the parish of Santa Madrona (1916). There, he greatly benefited from the teachings of distinguished masters. With the organist Vicente María de Gibert Serra (1879-1939), he perfected his studies in harmony, counterpoint, fugue, and organ. From José Barberá Humbert (1877-1947), he received instruction in music theory and learned a method for approaching folk music technically. The Benedictine monk of Montserrat, Gregorio Suñol (1879-1946), would be his teacher in paleography and Gregorian chant. Finally, the person who would exert the greatest influence on his definitive dedication to musicology would be the composer, essayist, and editor of early music, Felipe Pedrell (1841-1922). In 1917, Anglés joined the Library of Catalonia as head of the Music Department. This department was created as a result of Pedrell's donation of his books and manuscripts.

Anglés recounts (La música de las Cantigas, III: XV) that, as a condition of bequeathing his legacy to the Library of Catalonia, the renowned musician stipulated the creation of a music section within the library, to be headed by the young priest. Higinio Anglés's first task in this department was to catalog Pedrell's musical legacy, which, along with the edition of Brudieu's madrigals, would become his first published work (Barcelona 1921).

The Library of Catalonia awarded him a scholarship to study Musicology in Germany (1923-1924) at the University of Freiburg im Breisgau, where he established a close relationship with Willibald Gurlitt (1889-1963), a young and active musicologist, a pioneer in the research and performance of early music on original instruments, and editor of Praetorius's work. This first stay in Germany was decisive in shaping his dedication to Musicology, a discipline born as a historical science within the framework of 19th-century German positivism. Upon returning to Barcelona, ​​he resumed his position at the Library of Catalonia. There, he was able to combine his role as curator with that of researcher of the rich musical collections held by his library and other Spanish archives, notably from the medieval and Renaissance periods. While preparing a scholarly study on music in Catalonia up to the 13th century, which would be published in Barcelona in 1935 by the Institute of Catalan Studies, he edited the polyphonic codex of Las Huelgas de Burgos in 1932. Anglés realized that it was a unique codex, both for its repertoire and its script, among all those containing polyphonic music from the so-called Notre Dame School of Paris, whose splendor reached its zenith during the 13th century. With the publication of this book, Anglés established himself as an internationally renowned musicologist. To edit the music of this manuscript, whose existence he had learned of from the Benedictines of Santo Domingo de Silos, the Catalan priest had the invaluable assistance of the leading expert on medieval polyphony, Friedrich Ludwig (1872-1930), professor at the University of Göttingen, where he had temporarily moved in 1928.

In 1927, the administration of the Liceu Conservatory of Music in Barcelona invited Higinio Anglés to take up the chair of Music History. Likewise, in 1933, he was invited to teach this subject at the Central University of the same city.

When the Spanish Civil War broke out (1936-1939), Higinio Anglés moved to Munich, where the vicar of the diocese, Ferdinand Buchwieser, secured for him—as he would later confess—"a happy refuge at the Institut der Englischen Fräulein der Nymphenburg" (The Music of the Cantigas, II: 10). During the war, Anglés dedicated all his time to the study of the Cantigas de Santa María of King Alfonso X the Wise, thanks to his librarian friend Jorge Rubió, who provided him with a photographic copy of manuscript B.I.2 from the Library of El Escorial. During his time in Munich, he associated with eminent German professors, including the musicologists Rudolf von Ficker (1886-1954), a scholar of Gothic music; Otto Ursprung (1879-1960), a priest specializing in Renaissance polyphony; Friedrich Gennrich (1883-1967), author of important works on troubadours and trouvères; and the philologist Hans Spanke (1884-1944), who provided invaluable assistance in the study of the meter of the Cantigas de Santa María.

After the Civil War ended, Anglés returned to his Library of Catalonia, which had been relocated from its previous location to the former Hospital of Sant Pau i de la Santa Creu. In the new building, opened to the public on February 20, 1940, he reviewed the archives, verified the missing materials, and dedicated himself to acquiring primary and secondary sources to equip the Music Department with the best resources for research on Spanish music.

Higinio Anglés's tireless work in the research, defense, and dissemination of Spanish musical heritage earned him his election as a full member of the Royal Academy of Fine Arts of San Fernando.

In his response to Anglés's inaugural address on June 28, 1943, the Jesuit and composer Nemesio Otaño (1880-1956) advocated for the creation, funded by the state budget, of a school or institution capable of "perpetuating the teachings of such a wise master." Otaño's remarks, delivered in the Academy's auditorium, had an almost immediate effect on the realization of a project that had been encouraged shortly after the founding of the Spanish National Research Council (CSIC) in November 1939 to "train a faculty to guide Hispanic thought." Thus, three months after the aforementioned response to the speech, on September 27, 1943, the decree establishing the Higher Institute of Musicology within the CSIC was signed. In January 1944, it began operating under the direction of Higinio Anglés with two locations: one in Madrid, with a secretariat headed by José Subirá (1882-1980), and the other in Barcelona, ​​headed by Miguel Querol (1912-2002).

Higinio Anglés' professional life was inextricably linked to that of the Higher Institute of Musicology and the Pontifical Institute of Sacred Music in Rome, of which he was the driving force and which he elevated to levels of great prestige. On October 21, 1947, he was appointed president of the Pontifical Institute of Sacred Music in Rome, succeeding his former teacher, Gregorio Suñol. This Institute, created to train the church musicians who would implement the reform promoted by Pope Pius X in a motu proprio of 1903, functioned as a university faculty and granted degrees in the various specialties of sacred music: Gregorian chant, polyphony, and organ. Anglés added musicology to the curriculum, endowing it with a select faculty and an excellent library. His research, always conducted within the Spanish Institute of Musicology, culminated in remarkable publications, some carried out by him personally, others with the quiet assistance of notable collaborators and students, particularly Miguel Querol and José María Lloréns. Within the Institute, he created a department of Hispanic folklore, where he compiled the work he had done in Catalonia during his youth and many other projects commissioned by him. But his most intensive work focused on the recovery of early Spanish music. He conceived a vast project to catalog Spanish music libraries and archives. Some of the resulting catalogs were published, such as that of the Madrid Music Library in collaboration with José Subirá, while others remained in the respective libraries and at the Institute of Musicology itself.

The activity that achieved the greatest international renown was the publication of early music by the great Spanish masters in editions notable for their typographic quality, the authenticity of the versions, and the depth of the accompanying studies. His most important publications appeared in a specially created collection entitled Monuments of Spanish Music. To compile monographs on Spanish music, he founded the scholarly journal Anuario Musical (1946).

Higinio Anglés worked at the Pontifical Institute of Sacred Music as an organizer, professor, and advisor to the Pope on matters of church music. In this capacity, he founded the International Congresses of Sacred Music, the Federation of Cecilian Associations—which, since the 19th century, had proliferated to defend the quality and religious significance of music in Catholic churches—and finally the Consociatio Internationalis Musicae Sacrae, dedicated to defending the traditional values ​​of Latin, polyphonic, Gregorian, and organ music at a time when liturgical reforms undertaken after the Second Vatican Council (1962–1965) threatened its existence.

Among the decorations received, the following stand out: Order of Isabella the Catholic (1949), Silver Medal of the President of the Italian Republic (1949), Silver Medal of the Austrian Republic (1956), Silver Medal of the Mozarteum Foundation (1956), Grand Silver Medal of the City of Paris (1957), Gold Medal of the City of Barcelona (1957), Grand Cross of Isabella the Catholic (1958) and the Grand Cross of Merit of the Federal Republic of Germany (1960). His most important academic titles were the following: Vice-President of the International Musicological Society (1933-1958) and Honorary Member for Life; Full Member of the Royal Academy of Belles Lettres of Barcelona (1940), Full Member of the Institute of Catalan Studies (1941), Full Member of the Royal Academy of Fine Arts of San Fernando (1943), Honorary Member of the Royal Music Association of London (1945), and Member of the Academy of Music and Performing Arts of Vienna (1960). He was also a corresponding member of the following: Academy of Sciences Göttingen (1939); the Royal Danish Academy of Sciences of Copenhagen (1946); the Royal Academy of Fine Arts of Brussels (1949); the Academy of Sciences of Munich (1950); and the Petrarch Academy of Arezzo. (1951), The Hispanic Society of America (1957).

In 1947 he was appointed Domestic Prelate of His Holiness.

Works:

Catalog of the musical manuscripts of the Pedrell Collection, Barcelona, ​​Institut d'Estudis Catalans, 1920

(ed.), Els madrigals i la missa de difunts d'en Brudieu, Barcelona, ​​Institut d'Estudis Catalans, 1921

Popular songs of the Camp de Tarragona, Reus, Reading Center, 1924

(ed.), Johannis Pujol (1573-1626). Opera Omnia, Barcelona, ​​Calaluña Library, 1926-1932, 2 vols.

(ed.), Johannis Cabanilles (1644-1712.) Opera Omnia, Barcelona, ​​Library of Catalonia, 1927-1936, 4 vols.

(ed.), The musical codex of the Huelgas, Barcelona, ​​Institut d'Estudis Catalans, 1931

(ed.), Antonio Soler (1729-1783). Sis quintets per a instruments d'arc i orgue o clave obligat, Barcelona, ​​Institut d'Estudis Catalans, Biblioteca de Catalunya, 1933

History of Spanish music. Appendix to the History of Music by Johannes Wolf, Barcelona, ​​1935

Music in Catalonia at the end of the 13th century, Barcelona, ​​1935

(ed.), Music in the Court of the Catholic Monarchs, Barcelona, ​​CSIC, 1941, 3 vols.

(ed.), The music of the Cantigas de Santa María of King Alfonso X the Wise, Barcelona, ​​Provincial Council, 1943, 3 vols.

Music in the Spain of Ferdinand the Saint and Alfonso the Wise, Madrid, Royal Academy of Fine Arts of San Fernando, 1943

(ed.), Music at the Court of Charles V, Madrid, CSIC-Spanish Institute of Musicology, 1944

(ed.), Juan Vásquez. Collection of Sonnets and Villancicos for Four and Five Voices (Seville 1560), Barcelona, ​​1946

with J. Subirá, Musical Catalogue of the National Library of Madrid, Barcelona, ​​Spanish Institute of Musicology, 1946-1951, 3 vols.

Spain's Glorious Contribution to the History of Universal Music, Madrid [S. Aguirre], 1948

(ed.), Cristóbal de Morales (†1553). Complete Works, Rome, CSIC, 1952, 8 vols.

Dictionary of Music, Labor, Barcelona, ​​Labor, 1954, 2 vols.

(ed.), Mateo Flecha (†1553). The Salads (Prague 1581), Barcelona, ​​Provincial Council, 1954

(ed.), Anthology of Spanish Organists of the 17th Century, Barcelona, ​​Provincial Council, 1965, 4 vols.

(ed.), Tomás Luis de Victoria. Complete Works, Rome, CSIC, 1965, 4 vols.

(ed.), Antonio de Cabezón. Works of Music for Keyboard, Harp, Vihuela [...], Madrid, 1966, 3 vols.

History of Medieval Music in Navarre, Pamplona, ​​Provincial Council of Navarre, Prince of Viana Institution, 1970

Musical Scripts, ed. and study. by J. López-Calo, Rome, Edizioni di Storia e Letteratura, 1975, 3 vols.

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