DOCSLIB.ORG

Barcelona and Modernity

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Barcelona and Modernity Contents viii Lenders to the Exhibition 5. Modernisme: Archltecty re and Design x Directors'Preface 144 Architecture and Design of the Modernista Era xii Acknowledgments Mireia Freixa xiv Foreword 152 Puig i Cadafalch, a Versatile Architect Robert Hughes Mireia Freixa 2 Introduction 158 Domenech i Montaner and Architectural Synthesis William H. Robinson and Carmen Belen Lord Mireia Freixa 165 The Decorative Arts of the Modernista Era: European 1. Rebirth:The Catalan Renaixenca Art Nouveau Plus the Local Tradition 22 The Renaixenca in Art PilarVelez Francesc Fontbona 171 Fabrics and Fashion at the Turn of the Century 27 Greeting the Dawn: The Impact of the Renaixenca in Silvia Carbonell Baste Periodicals and Architecture 178 Homar and Busquets: Modernista Furniture Makers Jordi Falgas and Ensembliers 2. Modernisme: Painting, Sculpture, Graphic Arts Mariangels Fondevila 34 The New Art: Modernisme 185 Gaudi: The Art of Architecture Carmen Belen Lord Daniel Giralt-Miracle 42 Casas and Rusihol: The Allure of ' Montmartre 195 Casa Mila, a Legendary Monument Cristina Mendoza Joan Bassegoda Nonell 54 The Second Generation ofModemista Painters 202 The Extravagant Jujol Francesc Fontbona Mariangels Fondevila 61 Modernista Illustrated Magazines 2n La Sagrada Familia EliseuTrenc Judith C.Rohrer 69 The Art of the Poster 6. Noucentisme and the Classical Revival Francesc M. Quilez i Corella 226 Catalan Noucentisme, the Mediterranean, and 72 Symbolist Sculpture Tradition Merce Donate Alica Suarez and Merce Vidal 3. Modernisme: The Ouatre Gats 233 The Almanach dels Noucentistes, a Hybrid Manifesto Jordi Falgas 80 Ouatre Gats and the Origins of Picasso's Career Cristina Mendoza 236 Picasso in Gosol: Savoring the Secrets of the Mysterious Land 93 Graphic Art of the Ouatre Gats Jordi Falgas Francesc M. Omlez i Corella 249 The Forms of Paradise: Noucentista Painting and 96 Picasso's Fellows at the Tavern: Beyond Modernisme? Sculpture Jordi Falgas Narcis Comadira 4. Modernisme: Art and Society 260 Noucentisme and the Revival of Classicism 106 Art and Anarchism in the City of Bombs Alicia Suarez and Merce Vidal Robert S. Lubar 266 The Mediterranean Roots of Noucentista Sculpture 114 Bourgeois Life and the Representation of Women Merce Donate Carmen Belen Lord 273 Noucentista Graphic Arts and Journals 120 Casas and the Chronicle of Social Life Francesc M. Quilez i Corella Carmen Belen Lord 278 Textiles and Fashion in the igws 125 Nonell and Mani: Two Artists Against the Current Silvia Carbonell Baste Cristina Mendoza and Francesc M. Quilez i Corella 281 Noucentisme between Architecture and the Art of 135 Picasso's Blue Period the Object Maria Teresa Ocana Jordi Carreras 294 Noucentisme and the Influence of French Art Deco Jared Goss 7. The Age of the Avant-Garde 9. Avant-Gardes and Civil War 304 Avant-Gardesfor a New Century 414 Barcelona in the Maelstrom William H.Robinson William H.Robinson 319 Gleizes and Picabia at Galeries Dalmau: Too Green 426 Painting in the Shadow of Death: Dali, Miro, and for Our Teeth the Spanish Civil War Jordi Falgas Robert S. Lubar 328 The Avant-Garde Visual Poetry ofJunoy and Salvat- 431 A/I iro 's Aidez L'Espagne! Papasseit William H. Robinson Brad Epps 435 Artistic Jewelry 333 Art-Evolucio and Vibracionismo: Torres-Garcia, Mariangels Fondevila Barradas, and the Exaltation of the City 436 Catalans! Catalonia! Catalan Nationalism and Jed Morse Spanish Civil War Propaganda Posters 339 Art and Anti-Art: Miro, Dali, and the Catalan Avant- Miriam M. Basilio Garde 450 From War to Magic: The Spanish Pavilion, Paris 1937 Robert S. Lubar Josefina Alix 348 Paranoiac Surrealism 458 Picasso's Dream and Lie of Franco William Jeffett Carmen Belen Lord 354 Between Amateur and Avant-Garde: The Professional 461 Picasso: Guernica and His Reaction to the Civil War Photographer in Barcelona during the 1930s Magdalena Dabrowski Jordana Mendelson 468 Gonzalez: Montserrat and the Symbolism of the 361 Against Logic: The Exposicio Logicofobista in Civil War Catalonia Magdalena Dabrowski Jordana Mendelson 474 The Fall of the Republic 369 Miro and ADLAN William H.Robinson William Jeffett 375 Two Sculptors Forged in Barcelona: Gargallo and Gonzalez Merce Donate 8. Avant-Gardes:The Rational City 482 Biographies and Checklist 384 Revivalism to Rationalism in Architecture and Margaret Burgess Planning 508 Bibliography and Research Resources Joan Ramon Resina 516 Comparative Illustrations 390 The Barcelona Pavilion 521 Editorial Note Dietrich Neumann 522 Contributors 400 GATCPAC (1930-36): Social Architecture and the Functional City for a New Society 523 Copyright and Publications Information Josep M. Rovira 410 Rational or Organic: Barcelona Furniture of the 7930s Jared Goss PPN: 259005932 Titel: Barcelona and modernity : Picasso, Gaudí, MIró, Dalí; [Cleveland Museum of Art, October 15, 2006 - January 7, 2007; Metropolitan Museum of Art, March 7 - June 3, 2007] / William H. Robinson .... - New Haven [u.a.] : Yale Univ. Press, 2006 ISBN: 0-300-12106-7(hbk.)£40.00 hbk. : £40.00 : CIP entry (Nov.); 978-0-300-12106-3; 978-0- 940717-87-9; 0-940717-87-5 Bibliographischer Datensatz im SWB-Verbund.
Load more

Recommended publications
  • Problems of the Baroque in 1975
    T HESAVRVS BOLETÍN DEL INSTITUTO CARO Y CUERVO TOMO XXX Mayo-Agosto 1975 NÚMERO 2 PROBLEMS OF THE BAROQUE IN 1975 The following article does not try to continué the "Cri- tical survey of the Baroque theories" which I presented in this periodical IV (1948), 461-491, since this survey actually was continued in my book Estudios sobre el Barroco (Madrid, Gre- dos 1966, second edition 1973). Today I am rather interested in actual problems generally recognized as central, and in the attempt at their Solutions. There is agreement now on the fact that the transition from Renaissance to Baroque is such a slow process that it filis a whole period (roughly 1520 to 1600) which art historians cali Mannerism. One tried there- fore first to find criteria for the distinction of these two histo- rical phaenomena, Mannerism and Baroque, and to explain their fundamental differences and their possible overlappings. The second problem was, how the thus chronologically new- ly fixed Baroque fades out into something new which some believe to be the Classicism (particularly in France), which others, like the art historians, believe to be the Rococó. The latter still very debated concept supposes in retrospect a kind of coincidence between Classicism and Baroque. Furthermore, envisioning all this from a European and comparative view- point supposes time lags between the domination of a style trend in different countries, supposes the concept of dying and 210 HELMUT HATZFELD BICC, XXX, 1975 upcoming literatures, supposes the reckoning with the un- settled question of originis, and most of all, the importance of the psychological and sociological background which can- not be everywhere the same.
    [Show full text]
  • Barcelona and the Paradox of the Baroque by Jorge Luis Marzo1
    Barcelona and the Paradox of the Baroque By Jorge Luis Marzo1 Translation by Mara Goldwyn Catalan historiography constructed, even from its very beginnings, the idea that Catalunya was not Baroque; that is, Baroque is something not very "proper" to Catalunya. The 17th and 18th centuries represent the dark Baroque age, in contrast with a magnificent Medieval and Renaissance era, during which the kingdom of Catalunya and Aragón played an important international role in a large part of the Mediterranean. The interpretation suggests that Catalunya was Baroque despite itself; a reading that, from the 19th century on - when it is decided that all negative content about Baroque should be struck from the record in order to transform it into a consciously commercial and urban logo - makes implicit that any reflection on such content or Baroque itself will be schizophrenic and paradoxical. Right up to this day. Though the (always Late-) Baroque style was present in buildings, embellishments and paintings, it however did not have an official environment in which to expand and legitimate itself, nor urban spaces in which to extend its setup (although in Tortosa, Girona, and other cities there were important Baroque features). The Baroque style was especially evident in rural churches, but as a result of the occupation of principle Catalan plazas - particularly by the Bourbon crown of Castile - principal architectonic realizations were castles and military forts, like the castle of Montjuic or the military Citadel in Barcelona. Public Baroque buildings hardly existed: The Gothic ones were already present and there was little necessity for new ones. At the same time, there was more money in the private sphere than in the public for building, so Baroque programs were more subject to family representation than to the strictly political.
    [Show full text]
  • Constructing Contemporary Nationhood in the Museums and Heritage Centres of Catalonia Colin Breen*, Wes Forsythe**, John Raven***
    170 Constructing Contemporary Nationhood in the Museums and Heritage Centres of Catalonia Colin Breen*, Wes Forsythe**, John Raven*** Abstract Geographically, Spain consists of a complex mosaic of cultural identities and regional aspirations for varying degrees of autonomy and independence. Following the end of violent conflict in the Basque country, Catalonia has emerged as the most vocal region pursuing independence from the central Spanish state. Within the Catalan separatist movement, cultural heritage sites and objects have been appropriated to play an intrinsic role in supporting political aims, with a variety of cultural institutions and state-sponsored monumentality playing an active part in the formation and dissemination of particular identity-based narratives. These are centred around the themes of a separate and culturally distinct Catalan nation which has been subject to extended periods of oppression by the varying manifestations of the Spanish state. This study addresses the increasing use of museums and heritage institutions to support the concept of a separate and distinctive Catalan nation over the past decade. At various levels, from the subtle to the blatant, heritage institutions are propagating a message of cultural difference and past injustice against the Catalan people, and perform a more consciously active, overt and supportive role in the independence movement. Key words: Catalonia, museums, heritage, identity, nationhood Across contemporary Europe a range of nationalist and separatist movements are again gaining momentum (Borgen 2010). From calls for independence in Scotland and the divisive politics of the Flemish and Walloon communities in Belgium, to the continually complicated political mosaic of the Balkan states, there are now a myriad of movements striving for either greater or full autonomy for their region or peoples.
    [Show full text]
  • Modernism Without Modernity: the Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Mauro F
    University of Pennsylvania ScholarlyCommons Management Papers Wharton Faculty Research 6-2004 Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Mauro F. Guillen University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/mgmt_papers Part of the Architectural History and Criticism Commons, and the Management Sciences and Quantitative Methods Commons Recommended Citation Guillen, M. F. (2004). Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940. Latin American Research Review, 39 (2), 6-34. http://dx.doi.org/10.1353/lar.2004.0032 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/mgmt_papers/279 For more information, please contact [email protected]. Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Abstract : Why did machine-age modernist architecture diffuse to Latin America so quickly after its rise in Continental Europe during the 1910s and 1920s? Why was it a more successful movement in relatively backward Brazil and Mexico than in more affluent and industrialized Argentina? After reviewing the historical development of architectural modernism in these three countries, several explanations are tested against the comparative evidence. Standards of living, industrialization, sociopolitical upheaval, and the absence of working-class consumerism are found to be limited as explanations. As in Europe, Modernism
    [Show full text]
  • Catalan Modernism and Vexillology
    Catalan Modernism and Vexillology Sebastià Herreros i Agüí Abstract Modernism (Modern Style, Modernisme, or Art Nouveau) was an artistic and cultural movement which flourished in Europe roughly between 1880 and 1915. In Catalonia, because this era coincided with movements for autonomy and independence and the growth of a rich bourgeoisie, Modernism developed in a special way. Differing from the form in other countries, in Catalonia works in the Modern Style included many symbolic elements reflecting the Catalan nationalism of their creators. This paper, which follows Wladyslaw Serwatowski’s 20 ICV presentation on Antoni Gaudí as a vexillographer, studies other Modernist artists and their flag-related works. Lluís Domènech i Montaner, Josep Puig i Cadafalch, Josep Llimona, Miquel Blay, Alexandre de Riquer, Apel·les Mestres, Antoni Maria Gallissà, Joan Maragall, Josep Maria Jujol, Lluís Masriera, Lluís Millet, and others were masters in many artistic disciplines: Architecture, Sculpture, Jewelry, Poetry, Music, Sigillography, Bookplates, etc. and also, perhaps unconsciously, Vexillography. This paper highlights several flags and banners of unusual quality and national significance: Unió Catalanista, Sant Lluc, CADCI, Catalans d’Amèrica, Ripoll, Orfeó Català, Esbart Català de Dansaires, and some gonfalons and flags from choral groups and sometent (armed civil groups). New Banner, Basilica of the Monastery of Santa Maria de Ripoll Proceedings of the 24th International Congress of Vexillology, Washington, D.C., USA 1–5 August 2011 © 2011 North American Vexillological Association (www.nava.org) 506 Catalan Modernism and Vexillology Background At the 20th International Conference of Vexillology in Stockholm in 2003, Wladyslaw Serwatowski presented the paper “Was Antonio Gaudí i Cornet (1852–1936) a Vexillographer?” in which he analyzed the vexillological works of the Catalan architectural genius Gaudí.
    [Show full text]
  • Introduction: Barcelona and Modernity Brad Epps
    You are accessing the Digital Archive of the Esteu accedint a l'Arxiu Digital del Catalan Catalan Review Journal. Review By accessing and/or using this Digital A l’ accedir i / o utilitzar aquest Arxiu Digital, Archive, you accept and agree to abide by vostè accepta i es compromet a complir els the Terms and Conditions of Use available at termes i condicions d'ús disponibles a http://www.nacs- http://www.nacs- catalanstudies.org/catalan_review.html catalanstudies.org/catalan_review.html Catalan Review is the premier international Catalan Review és la primera revista scholarly journal devoted to all aspects of internacional dedicada a tots els aspectes de la Catalan culture. By Catalan culture is cultura catalana. Per la cultura catalana s'entén understood all manifestations of intellectual totes les manifestacions de la vida intel lectual i and artistic life produced in the Catalan artística produïda en llengua catalana o en les language or in the geographical areas where zones geogràfiques on es parla català. Catalan Catalan is spoken. Catalan Review has been Review es publica des de 1986. in publication since 1986. Introduction: Barcelona and Modernity Brad Epps Catalan Review, Vol. XVIII, number 1-2, (1998), p. 13-28 INTRODUCTION: BARCELONA AND MODERNITY BRAD EPPS For Joana Crespi, who taught me Catalan, in­ troduced me to the streets of Barcelona, and in­ vited me to my first dry martini atCan Boadas; In memorzam Great Enchantress; Rose of Fire; Manchester of Spain; Paris of the South; City of Bombs; City of Marvels; City of Architects; Olympic Village; Design Capital; Gastronomic Center; Soccer Powerhouse; Tourist Mecca; Cultural Forum; International Hot Spot: Modern Barcelona has been, and continues to be, many things to many people.
    [Show full text]
  • THE VIVA GUIDE Barcelona Welcome To
    THE VIVA GUIDE Barcelona Welcome to_ This guide was produced for you by the Viva Barcelona team. Graphic Design by Carmen Galán [carmengalan.com] BARCELONA Barcelona is the 10th most visited city in the world and the third most visited in Europe after London and Paris, with several million tourists every year. With its ‘Rambles’, Barcelona is ranked the most popular city to visit in Spain and it now attracts some 7.5 million tourists per year. Barcelona has a typical Mediterranean climate. The winter is relatively mild and the summer is hot and humid. The rainy seasons are the once in between autumn and spring. There are very few days of extreme temperature, heat or cold. Every 24th September, Barcelona celebrates it’s annual festival, La Mercè – corresponding to the day of its patron saint. It comprises of some 600 events, from concerts and all kinds of local, cultural attractions including the human tower building, els Castellers, erected by groups of women, men and children, representing values such as solidarity, effort and the act of achievement. Children are the real stars of this tradition, they climb to the very top of the human castell expressing strength over fragility. 4 5 Since 1987, the city has been Passeig de Gràcia being the most Districts divided into 10 administrative important avenue that connects the districts: Ciutat Vella, Eixample, central Plaça Catalunya to the old Sants- Montjuic, Les Corts, town of Gràcia, while Avinguda Sarriá-Sant Gervasi, Gràcia, Diagonal cuts across the grid Horta-Guinardò, Nou Barris, diagonally and Gran Via de les Corts Sant Andreu, Sant Martì.
    [Show full text]
  • Josep Carner I Els Orígens Del Noucentisme
    que tingui cura de "triar les composicions destina- des a la secció literària" (IMjd.. , p.221) i exercei- xi, per tant, com a director. Magí Sunyer també fa referència a l'assumpte, però es limita a repetir la informació de Plàcid Vidal (Magí SUNYER I MOLNÉ, Els. marninats socials en la literatura del grup moder- nista de Reus, Reus, associació d'Estudis Reusencs, 1984, p.78). 241- Ho confirma Plàcid Vidal a L'assaig. .f op.. cit_. , p.237. 242- A partir del 5 d'agost, deixen d'aparèixer-hi textos seus amb regularitat. El proper és del 30 de setem- bre i després ja no n'hi ha cap més fins al 3 de març de 1907. Els canvis en la selecció comencen a ser significatius des del mes d'octubre i són ja ben evidents en la reivindicació de Frederic Soler del 23 de desembre. 243- Salutació, "Biblioteca Clàssica Catalana", 1, núm. 1 (20-V-1906). 244- Per a Joan-Lluís Marfany constitueixen el "printer intent seriós, conscient i organitzat d'incorporar activament Mallorca al si d'una cultura catalana únicat d'abandonar el localisme mallorquí í d'esco- llir la integració dins l'esfera cultural catalana en comptes de la castellana" (MARFANY, Reflexions sobre Modernisme i noucentisme, art. cit. , p.62). Josep M§ Llompart parla de "generació Jove", "la dels qui formen, a títol d'«escolars», l'Escola Ma- llorquina pròpiament dita i realitzen en el terreny de la creació poètica una versió molt peculiar, molt específicament insular de les directrius estètiques del Noucentisme" (LLOMPART, El Noucentisme a les Illes, art, cit.
    [Show full text]
  • Catalonian Architectural Identity
    Catalan Identity as Expressed Through Architecture Devon G. Shifflett HIST 348-01: The History of Spain November 18, 2020 1 Catalonia (Catalunya) is an autonomous community in Spain with a unique culture and language developed over hundreds of years. This unique culture and language led to Catalans developing a concept of Catalan identity which encapsulates Catalonia’s history, cuisine, architecture, culture, and language. Catalan architects have developed distinctly Catalan styles of architecture to display Catalan identity in a public and physical setting; the resulting buildings serve as a physical embodiment of Catalan identity and signify spaces within Catalan cities as distinctly Catalonian. The major architectural movements that accomplish this are Modernisme, Noucentisme, and Postmodernism. These architectural movements have produced unique and beautiful buildings in Catalonia that serve as symbols for Catalan national unity. Catalonia’s long history, which spans thousands of years, contributes heavily to the development of Catalan identity and nationalism. Various Celtiberian tribes initially inhabited the region of Iberia that later became Catalonia.1 During the Second Punic War (218-201 BC), Rome began its conquest of the Iberian Peninsula, which was occupied by the Carthaginians and Celtiberians, and established significant colonies around the Pyrennees mountain range that eventually become Barcelona and Tarragona; it was during Roman rule that Christianity began to spread throughout Catalonia, which is an important facet of Catalan identity.2 Throughout the centuries following Roman rule, the Visigoths, Frankish, and Moorish peoples ruled Catalonia, with Moorish rule beginning to flounder in the tenth-century.3 Approximately the year 1060 marked the beginning of Catalan independence; throughout this period of independence, Catalonia was very prosperous and contributed heavily to the Reconquista.4 This period of independence did not last long, though, with Catalonia and Aragon's union beginning in 1 Thomas N.
    [Show full text]
  • La Revista «Catalunya» (1903-05) I La Formació Del Noucentisme* Per Jaume Aulet
    La revista «Catalunya» (1903-05) i la formació del Noucentisme* per Jaume Aulet Els anys immediatament anteriors al 1906 són essencials per entenarc com tota una serie de grups o de persones concretes -la majoria encara molt jover i en situació universitaria- comencen a definir el que després s'anomenara Nou- centisme. Josep Carner és, en aquest sentit, un personatge clau -molt més que no pas el mateix Ors- i «Catalunya» esdevé una plataforma central en tot el procés. Diversos estudiosos i homes de lletres la citen com una de les revistes importants del moment. Miquel Gaya dira que «Catalunya» «ha passat a la his- toria com un dels exponents literaris més dignes d'admiració».' Emili Valles, un dels collaboradors, en un article a «La Revista» amb motiu del trente aniversari de la soitida al carrer de la publicació, en parla -enmig del record nostalgic de quan n'era redactor- com a «fibló que durant dos anys i mig prova de sensibi- litzar el nostre ambient».Vlhcid Vidal, a les seves membries, s'hi refereix amb elogi, tot i que el grup de Reus en quedi voluntariament distanciat: «No heu de suposar que la publicació "Catalunya" fos una revista qualsevol. Era una de les millors i més ben presentades de I'epoca i solien collaborar-hi alguns dels autors catalans de més prestigi.»"l mateix Maragall, en carta a Pijoan, reconeix que * Aquest article que ara es publica és la síntesi d'una part de la memoria de Ilí~enciatu~r que, amb el mateix títol, va ser presentada el dia 26 de maig de 1983 a la Universitat Autb- noma de Barcelona.
    [Show full text]
  • Guió Casa Amatller-CAST WEB2017
    LA CASA AMATLLER índice 1-La familia Amatller -Antoni Amatller Costa • Industrial Chocolatero • Fotógrafo viajero • coleccionista de objetos arqueológicos y obras de arte -Teresa Amatller Cros 2-El arquitecto -José Puig y Cadafalch: Vida y Obra 3-La Casa Amatller -1875 la casa -1898-1900 - remodelación de Josep Puig i Cadafalch • La fachada • El vestíbulo • El interior del piso principal 4-La transformación de la Manzana de la Discordia -Modernisme v. Plan Cerdà -1898-1900 - casa Amatller -1902-1904 - casa Lleó i Morera -1904-1906 - casa Batlló -La historia de la manzana de la discordia y la guerra de Troya 5-Evolución de la Casa hasta nuestros días: Fundación Instituto Amatller de Arte Hispánico -Instituto Amatller de Arte Hispánico • Biblioteca • Fototeca y archivo -Casa-Museo Amatller 1 CASA AMATLLER 1-La familia Amatller Antoni Amatller Costa nació en Barcelona en 1851, en el seno de una familia de chocolateros, y se convertirá en un representante de la burguesía ilustrada catalana del cambio de siglo, surgida de la Renaixença y que entre otras cosas hizo posible el modernismo gracias a su mecenazgo. Se casó con Cándida Cros Circuns, y tuvieron una hija, Teresa Amatller Cros. El matrimonio se separó, y tal como se especifica en los capítulos de separación, Teresa iría a vivir con su padre a la edad de 4 años. Antoni Amatller no se volvió a casar nunca. Cándida se fue a vivir a Italia y cuando enviudó en 1910 se volvió a casar. Su hija Teresa nunca perdió el contacto con su madre, durante la Guerra Civil Española emigró a Italia con la madre y terminada la guerra la trajo de nuevo a Barcelona comprándole un piso en la calle Vía Augusta.
    [Show full text]
  • Pau Casals: from a Catalan Choirboy to an Artist of Peace a Qualitative Exploration of Casals’ Thought As Shown in His Piano and Choral Compositions
    City Research Online City, University of London Institutional Repository Citation: Rovirosa Cabre, R. (2020). Pau Casals: from a Catalan choirboy to an artist of peace A qualitative exploration of Casals’ thought as shown in his piano and choral compositions. (Unpublished Doctoral thesis, Guildhall School of Music and Drama) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/25376/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] Pau Casals: from a Catalan choirboy to an artist of peace A qualitative exploration of Casals’ thought as shown in his piano and choral compositions RICARD ROVIROSA CABRÉ SUBMITTED FOR THE DEGREE OF DOCTOR OF MUSIC GUILDHALL SCHOOL OF MUSIC AND DRAMA JUNE 2020 Table of contents: Table of contents 2 Abstract 4 Acknowledgments 5 Introduction 11 Chapter I: Casals’ General Framework 14 a. Biographical introduction to Pau Casals 14 b.
    [Show full text]