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First name: Juli
Last name: Garreta Arboix
Dates: 1875-1925
Category: Quartet
Nationality: Spanish
Opus name: Quartet amb piano
Publisher: Notenlager
Peculiarities: https://www.musicsperlacobla.cat/compositor/141/garreta-i-arboix-juli
Information: As a family, his training was basically self-taught. He received notions of music from his father, watchmaker and musician, and from the choir director Ramon Novi. He performed at the paternal orchestra and orchestra called 'La Vella', and after a visit to Vilanova (to learn the watchmaker's job), he did it at the Quintet Garreta. This modus vivendi cracked on his quiet temperament and left him free time to devote himself to musical creation. The atmosphere in which he moved to the modernist Sant Feliu was that of a circle of wealthy friends who allowed him to access the great classical and romantic scores and to composers like Mahler, Strauss and Schömberg. Outside Catalonia, he only went to Paris and Munich, which allowed him to directly know the work of Wagner, and his journeys were limited to Barcelona by the relationship with the Orfeó Català, Lluís Millet and Pau Casals, who unveiled the work of Garreta in Madrid, Paris and London. Garreta was an intuitive romantic musician who expressed himself in a rich musical language in contrasting sounds that soon became aware that he did not have to be left to influence or move away from his intuition. He cultivated symphonic and chamber music and received different awards, and his catalog is especially remarkable for the two sonatas, especially the piano, the third movement of which is a sardana of a very wide musical palette. In its catalog for cobla (circumscribed to the Sardinian form), three stages are distinguished: the first includes works of youth, followed by works with a marked stamp, which meant the transition to their definitive works. He orchestrated for the symphonic orchestra the sardanas 'La Pedregada', 'A in Pau Casals', 'Nydia', Mar d'argent ',' La pastora enamorada ',' Isabel ',' Giverola 'and the one included in' Sonata by to piano ', while Joan Pich Santasusana instrumented the' Suite Empordanesa '. Garreta was forced to have turned the sardana into a form suitable for symphonic concert, and contributed to its international diffusion. His unmistakable personality led to the popular saying that there are three types of sardanas: those that have no quality, those that do, and Garreta's. (https://www.musicsperlacobla.cat/compositor/141/garreta-i-arboix-juli)