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Francesc Valls

Francesc (sometimes “Francisco”) Valls was a significant body among Catalan composers from the Baroque and made important efforts towards the theoretical thinking about his time. Although his typically recognized birth date is positioned at 1665, latest studies show the fact that date was much more likely 1671. Initial reference to Valls in traditional accounts originates from 1688 when, in quick succession, he was honored the work of overseeing cathedral music in the parish of Mataró, furthermore to keeping down the post of musical movie director in the cathedral in Gerona. In 1696, Valls approved the positioning of maestro in the cathedral of Saint Maria del Mar in Barcelona; that same yr he overran the placement of interim maestro at Barcelona Cathedral proper, but had not been promoted towards the position of a complete maestro di capilla until 1709. Although Valls made up his most well-known function, the “Missa Scala Arentina” using its special small ninth in the next soprano component in the “Gloria,” in 1702, it required some time because of its impact to join up among Valls’ co-workers. In 1715, Grenada-based composer Gregorio Portero continued the unpleasant, accusing Valls of “destroying the substance of music” through his twisting of that which was then regarded as irrefutable laws and regulations of harmonic movement. This started a widespread battle of characters and content articles among Spanish music artists inside a controversy that eventually pass on to Italy. Valls’ personal final word about them is at the treatise “Mapa armonico” (1741-1742), created after his pension from Barcelona Cathedral, a function that was broadly circulated in manuscript type. It is filled with valuable information regarding performance practices from the Spanish Baroque and somewhere else and includes many comprehensive compositions as illustrations and tips about continuo realization. Valls still left an extensive result of functions; at least nine public, nine Magnificats, a couple of litanies in six voices, and many motets, which often involve dual chorus, continuo, and orchestral parts; however, non-e of his oratorios possess survived. He also still left a sizeable variety of villancicos and various other popularly oriented parts. The massive amount music that Valls still left combined with reality that music manuscripts of his functions are dispersed throughout Spain provides hindered its revival beyond the Missa Scala Aretina. Out of this standpoint at least, stuff want up for Valls, as the initial thematic catalog of his music made an appearance in 1997.

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