{"id":155763,"date":"2025-06-05T13:22:45","date_gmt":"2025-06-05T11:22:45","guid":{"rendered":"https:\/\/bellesguardgaudi.com\/?p=155763"},"modified":"2025-06-05T13:49:01","modified_gmt":"2025-06-05T11:49:01","slug":"music-in-the-time-of-gaudi-a-visit-to-the-palau-de-la-musica-catalana","status":"publish","type":"post","link":"https:\/\/bellesguardgaudi.com\/en\/music-in-the-time-of-gaudi-a-visit-to-the-palau-de-la-musica-catalana\/","title":{"rendered":"Music in the Time of Gaud\u00ed: A Visit to the Palau de la M\u00fasica Catalana"},"content":{"rendered":"

By: Ferran Garc\u00e9s<\/p>\n

The term modernist, when applied to music, is surrounded by ambiguity (1). Some musicologists even question whether modernist music truly existed, or whether it would be more appropriate to speak of music in the modernist era. In our previous article<\/a>, we promised to answer this question\u2014or at least try.In search of an answer, we invite you to visit the Palau de la M\u00fasica Catalana, built by Llu\u00eds Dom\u00e8nech i Montaner between 1905 and 1908\u2014at the same time Gaud\u00ed was completing Torre Bellesguard. Three sculptural groups in this iconic building summarize the musical ideals of that era. The actual musical landscape, however, was much more complex and would require a much longer text (2).<\/p>\n

\"\"<\/p>\n

Let\u2019s begin with the sculptures that dominate the Palau\u2019s stage. The one on the right looks toward Northern Europe and symbolizes \u201ccultured\u201d music. The one on the left looks toward our homeland and represents \u201cpopular\u201d music. Music during the modernist period fluctuated between these two currents.<\/p>\n

Looking Toward Northern Europe<\/strong>
\n\"\"
\nAt one end of the Palau\u2019s stage, galloping horses emerge\u2014sculpted by D\u00eddac Massana and Pau Gargallo. This is a reference to The Ride of the Valkyries, a well-known piece by Richard Wagner, the Romantic composer who dominated Barcelona\u2019s cultural scene from the late 19th to early 20th century, overshadowing the earlier Italian operatic tradition. His influence was so great that in 1901, the Wagnerian Association was founded. As musicologist Roger Alier notes, \u201cjust look at the list of members and supporters to find the cream of the Catalan liberal bourgeoisie (3).\u201d Can we hear echoes of this ride in Torre Bellesguard?<\/p>\n

According to Josep M. Vall i Comaposada, a Bellesguard specialist, \u201cIt\u2019s possible that when Gaud\u00ed was building Bellesguard, he was influenced by the Wagnerian wave that permeated Barcelona\u2019s cultural elites. The image of a mysterious sacred mountain and the fact that King Martin possessed the relic of the supposed Holy Grail would link Bellesguard to the Wagnerian myth of Montsalvat,\u201d the mythical home of the sacred relic in Wagner\u2019s operas Lohengrin and Parsifal (4).<\/em><\/p>\n

Beneath the ride, the bust of Beethoven stands out\u2014another German composer, representing a country that became a social and cultural model for the modernists (5). It was more than just musical taste; it was also about achieving the level of musical excellence required to perform these composers\u2019 works. In the words of modernism expert Xos\u00e9 Avi\u00f1oa, Catalonia\u2019s theatrical renewal was rooted in Wagner, and its symphonic renewal in Beethoven (6).<\/p>\n

The northern inclination grew with interest in the Franco-Belgian school, led by C\u00e9sar Franck and Vincent d\u2019Indy. Their introduction to Barcelona came through Catalan composer Enric Morera, who studied in Brussels, and Belgian violinist Mathieu Crickboom, who lived in Barcelona for several years and significantly influenced chamber music development. Another key figure in Catalonia\u2019s musical renaissance was Antoni Nicolau, conductor of memorable concerts featuring both European and local composers, and a leader in music education reform at the Municipal School of Music (7).<\/p>\n

Looking Toward Our Homeland…<\/strong><\/p>\n

\"\"<\/p>\n

The second sculptural group is a tribute to Josep Anselm Clav\u00e9. A worthy son of the Renaixen\u00e7a, this composer combined artistic talent with social activism and even politics. The choirs bearing his name were primarily made up of workers from all walks of life. Often, instead of performing in theaters, Clav\u00e9\u2019s choirs sang in streets and squares, becoming the centerpiece of massive gatherings. At the Palau, Clav\u00e9\u2019s bust is accompanied by an allegory of Les flors de maig (1853), his most famous song. The sculptor was again Pau Gargallo.<\/p>\n

To understand Clav\u00e9\u2019s importance, one must remember that he introduced the choral movement to Catalonia, as was beginning to happen in Northern Europe. He also provided cultural tools to the working class while promoting social associations beyond the strictly musical realm. His example was later followed by many similar organizations throughout Catalonia and the rest of Spain. Some of these would eventually include professional singers. The most influential of all\u2014still active today\u2014was the Orfe\u00f3 Catal\u00e0, founded by the same promoters of the Palau de la M\u00fasica Catalana: composers Amadeu Vives and Llu\u00eds Millet, the latter a close friend of Gaud\u00ed.<\/p>\n

Catalan Folk Song<\/strong><\/p>\n

\"\"<\/p>\n

So far, we\u2019ve seen the two sculptural groups inside the Palau de la M\u00fasica Catalana. The third is located outside, on a corner of the building\u2019s fa\u00e7ade, like the prow of a ship. It\u2019s called The Popular Song. Although sculpted by Miquel Blay, the iconographic program was designed by Dom\u00e8nech i Montaner himself, the building\u2019s architect. The sculpture shows a maiden representing song, accompanied by the Catalan people, portrayed as characters of various ages and professions. \u201cAbove the group,\u201d in Dom\u00e8nech i Montaner\u2019s own words, \u201cSaint George, patron of Catalonia, rises in a protective stance.\u201d<\/p>\n

It\u2019s no surprise that this was the era when emblematic Catalan songs began to emerge, such as Els Segadors (1892) by Francesc Ali\u00f3; L\u2019Emigrant (1894) by Amadeu Vives, with lyrics by Jacint Verdaguer, the most admired poet of his time; or La Santa Espina (1908) by Enric Morera, with lyrics by \u00c0ngel Guimer\u00e0, another major literary figure of the moment. At the same time, there was a tireless search for old songs and traditions. One result was the revival of the sardana, which during this period became a national symbol.<\/p>\n

It\u2019s also no coincidence that during this time, various modernist musicians and artists promoted the Teatre L\u00edric Catal\u00e0, a name encompassing a series of productions aimed at countering the dominance of Spanish-language zarzuela in Barcelona\u2019s daily life (2). Among its main promoters were the aforementioned Enric Morera, author of the modernist masterpiece La Fada, and painter and theater entrepreneur Llu\u00eds Graner. While building Torre Bellesguard, Gaud\u00ed collaborated with Graner to decorate the Sala Merc\u00e8, a venue intended to serve as an example of a \u201ctotal art space.\u201d<\/p>\n

It\u2019s also no coincidence that modernism was the era of the first internationally renowned Catalan artists, such as Isaac Alb\u00e9niz, Enric Granados, and Pau Casals\u2014famous for harmonizing and internationalizing both Spanish and Catalan music, with a musical legacy that continues to be heard today.
\nNotes<\/strong><\/p>\n

(1) Avi\u00f1oa, Xos\u00e9 (1985), La m\u00fasica i el modernisme, Ed. Curial, Barcelona, pp. 360\u2013362.<\/p>\n

See also: Harrison, Charles (2000), \u201cWhat is Modernism?\u201d<\/a>, in Modernism, Tate Gallery Publishing, pp. 6\u201315.<\/p>\n

(2) As an example, zarzuela was the most popular form of entertainment in 1898. However, at the time, works could be labeled differently depending on the source\u2014such as \u201coperetta\u201d or \u201cjuguete\u201d\u2014which complicates any attempt at summarization. See: Lahera Aineto, Celestino (2013), \u201cLa recepci\u00f3n de la Zarzuela en la Barcelona de 1898,\u201d Revista Catalana de Musicolog\u00eda, no. V, pp. 113\u2013133.<\/p>\n

(3) Alier, Roger (2004), \u201cLa m\u00fasica en el modernisme,\u201d<\/a> Enciclop\u00e8dia Catalana website.<\/p>\n

(4) Vall i Comaposada, Josep M. (2014), Bellesguard. De la residencia de Mart\u00ed el Humano a la torre Gaud\u00ed, Duxelem Editorial, pp. 122\u2013123.<\/p>\n

(5) Avi\u00f1oa, Xos\u00e9 (1985), pp. 357\u2013358. \u201cThe modernists turned their backs on Spain, not only due to a rejection of strict political centralism, but also\u2014and above all\u2014because they believed that true regeneration came from the north.\u201d Nevertheless, some Catalan composers of the time were inspired by Spanish music, such as Amadeu Vives, Granados, or Alb\u00e9niz.<\/p>\n

(6) Ibid., pp. 339\u2013343.<\/p>\n

(7) The main reference work on today\u2019s topic is the aforementioned book by Xos\u00e9 Avi\u00f1oa (1985). In this book, the only chapter dedicated to a specific individual is that of Antoni Nicolau. Op. cit., pp.<\/p>\n

(8) G\u00f3mez Amat, Carlos (2004), \u201cL\u00edrica y canci\u00f3n. M\u00fasica coral,\u201d in: Historia de la m\u00fasica espa\u00f1ola, vol. 5. Siglo XIX, Alianza Editorial, Madrid, pp. 100\u2013101.<\/p>\n

See also online: Puig Ortiz, Xaver, \u201cBrief \u2014Didactic and Informal\u2014 History of Choral Singing in Catalonia,<\/a>\u201d Palau de la M\u00fasica Catalana website.<\/p>\n","protected":false},"excerpt":{"rendered":"

By: Ferran Garc\u00e9s The term modernist, when applied to music, is surrounded by ambiguity (1). Some musicologists even question whether modernist music truly existed, or whether it would be more appropriate to speak of music in the modernist era. In our previous article, we promised to answer this question\u2014or at least try.In search of an […]<\/p>\n","protected":false},"author":6,"featured_media":155742,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[173],"tags":[],"class_list":["post-155763","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-did-you-know"],"acf":[],"yoast_head":"\nMusic in the Time of Gaud\u00ed: A Visit to the Palau de la M\u00fasica Catalana - Obra Modernista de Antoni Gaud\u00ed en Barcelona | Torre Bellesguard<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/bellesguardgaudi.com\/en\/music-in-the-time-of-gaudi-a-visit-to-the-palau-de-la-musica-catalana\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Music in the Time of Gaud\u00ed: A Visit to the Palau de la M\u00fasica Catalana - Obra Modernista de Antoni Gaud\u00ed en Barcelona | Torre Bellesguard\" \/>\n<meta property=\"og:description\" content=\"By: Ferran Garc\u00e9s The term modernist, when applied to music, is surrounded by ambiguity (1). 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