Book contents
- Frontmatter
- Contents
- Dedication
- Preface
- Chapter 1 The Deep Roots of a Career 1912–1920
- Chapter 2 Formation of a Musician in Barcelona 1921–1936
- Chapter 3 The Deluge 1936–1939
- Chapter 4 The Postguerra and Caribbean Breezes 1939–1953
- Chapter 5 Moving On 1953–1957
- Chapter 6 Consolidation 1958–1986
- Chapter 7 Postcards to Posterity 1991–2002
- Appendices
- Acknowledgments
- Works Principally Cited
- Index of Names
Chapter 2 - Formation of a Musician in Barcelona 1921–1936
- Frontmatter
- Contents
- Dedication
- Preface
- Chapter 1 The Deep Roots of a Career 1912–1920
- Chapter 2 Formation of a Musician in Barcelona 1921–1936
- Chapter 3 The Deluge 1936–1939
- Chapter 4 The Postguerra and Caribbean Breezes 1939–1953
- Chapter 5 Moving On 1953–1957
- Chapter 6 Consolidation 1958–1986
- Chapter 7 Postcards to Posterity 1991–2002
- Appendices
- Acknowledgments
- Works Principally Cited
- Index of Names
Summary
L'Escola de Música estava situada en un racó del Parc de la Ciutadella, en un gran edifici de l'arquitecte Domènech i Montaner, intèrpret de les idees de Viollet-le-Duc, amb quatre façanes d'obra vista i coronat de merlets d'estil neogòtic funcional, que havia servit de restaurant durant l'Exposició Universal de 1888.
The School of Music was in a corner of the Park of the Ciutadella, in a grand building by the architect Domènech i Montaner, interpreter of the ideas of Viollet-le-Duc, with four brick façades and crowned by battlements in the functional neo-Gothic style, which had served as a restaurant during the Universal Exhibition of 1888.
– Xavier Montsalvatge, 1991Desde el primero momento, Montsalvatge deja traslucir una característica de su personalidad que, con el tiempo, llegará a ser rago definitorio o, si se quiere, indefinitorio: la independencia, a resistencia ante reglas y credos instituidos en dogmas.
From the first moment [in the music school], Montsalvatge betrays a characteristic of his personality that, over time, became a definite feature or, if you will, an indefinite one: independence, resistance to rules and beliefs made into dogmas.
– Enrique Franco, 1975Barcelona, archivo de la cortesía, albergue de los extranjeros, hospital de los pobres, patria de los valientes, venganza de los ofendidos, y correspondencia grata de firmes amistades, y en sitio y en belleza, única.
Barcelona, the treasure-house of courtesy, haven of strangers, asylum of the poor, home of the valiant, champion of the wronged, pleasant exchange of firm friendships, and unrivaled in location and beauty.
– Miguel de Cervantes, 1615 Don Quixote, Chapter LXXIIAs in the life of any young child, the death of the father, Francesc Xavier Montsalvatge i Iglésias, must have constituted a terrible shock for his son Xavier Montsalvatge i Bassols. What is certain is that, when he was nine, Montsalvatge went to live with his maternal grandfather, a lawyer, in Barcelona, when his widowed mother could no longer support an establishment for her whole family. Candalària, one of the unmarried aunts who lived in the house, was a pianist. From her nephew's childhood she, especially, took Xavier along with her to concert hall and opera house. That the whole household was made up of “filharmonics” was to be crucial to the future of the boy and ease his path towards a musical future.
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- Xavier MontsalvatgeA Musical Life in Eventful Times, pp. 19 - 32Publisher: Boydell & BrewerPrint publication year: 2012