Jaume Pahissa Foundation


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Jaume Pahissa Foundation

  1. 1. Jaume Pahissa i Jo Barcelona, 1880 - Buenos Aires, 1969
  2. 2. Universal Catalan artist Musician, composer, orchestra conductor, educator, music critic and restorer of musical language… An entire life dedicated to music.
  3. 3. Described by Eugeni d'Ors as a nineteenth century musician. Josep Pla defined him: “he is not only an artist: he is also a man of ideas - two things that in our country have not been often seen in the same person".
  4. 4. From an artistic lineage Son of Jaume Pahissa i Laporta (Sants, 1846 - Barcelona,1928), illustrator and landscape painter contemporary to Gaudí, Rusiñol, Utrillo, and Cases…
  5. 5. He searched for the keys of composition in the knowledge of an acclaimed musician such as Enric Morera.
  6. 6. 'Modernista, noucentista' Immersed in the atmosphere of Modernist Barcelona, he frequented the social gatherings of Els Quatre Gats, La Punyalada, l’Ateneu Barcelonès.
  7. 7. Regular contributor of literary and music critic magasines such as "Catalunya Nova", "La Publicitat", “Pèl & Ploma”.
  8. 8. He shared friendships and interests with the most important artists and thinkers of his time: Enric Granados, Eugeni d’Ors, Pau Casals, Manuel de Falla, Francesc Pujols, Pompeu Gener, Rafel Moragas, Enric Morera, Margarida Xirgu, Conxita Badia...
  9. 9. Educator, musicologist He was a professor at the Liceu High Music Conservatory and director of the Barcelona Municipal Music School. He also wrote important books and essays on music.
  10. 10. The influence of Wagner, Beethoven i Straus and modern trends in international music scene brought him to create a composition system that he called Intertonal System or of "pure dissonance".
  11. 11. His music
  12. 12. Jaume Pahissa left us with an extensive musical production which includes symphonic pieces, operas, music for theatre, sardanes, choral music, piano pieces, chamber music...
  13. 13. Some of his symphonic music include the following pieces: 1905. Trio for a small string orchestra 1905. A les costes mediterrànies. Symphony. Prelude for orchestra. 1905. El combat. Symphonic poem for orchestra. 1908. El camí. Symphonic poem for orchestra. 1919. Nit de somnis. Symphonic poem for orchestra. 1925. Monòdia. Symphony for orchestra. 1926. Suite intertonal. Symphony for orchestra. 1941. Muntanyes del Canigó (Shepherd's song). For soprano and orchestra.
  14. 14. Stage music 1898. Èdip rei. 1906. La presó de Lleida 1910. Canigó. 1912. Gal·la Placídia. 1919. La Morisca. 1923. Marianela. 1928. La princesa Marguerida.
  15. 15. Chamber music 1900-1905. Peces líriques (piano). 1904. Sonata Fantasia (piano). 1906. Sonata per a violí i piano. 1916-1919. Escenes catalanes. 1933. Quartet (two violins, viola and cello).
  16. 16. Pieces for vocal solist accompanied by chamber orchestra: 1908. Per un bes (veu i piano) ((vocalist and piano) (Poem by Josep Lleonart). 1916. Cançó del lladre )vocalist and piano). 1920. El bastó (vocalist and piano) (Poem by Joan Pijoan, French translation of Alfons Maseras). 1922. Rosa (vocalist and piano, version for orchestra) (Lyrics by Jaume Pahissa).1930. Madrigal A la manera de "El Tasso". 1931. La promesa (vocalist and piano). 1940. Canciones populares catalanas (vocalist and piano).
  17. 17. Commited to his country and affected by exile
  18. 18. During the Spanish Civil War, he directed the Municipal School of Music and wrote music in the film Aurora de esperanza, produced by SIE Films (Entertainment Industry Union).
  19. 19. In August 1937 he took advantage of a contract to play in Radio El Mundo in Buenos Aires to leave with his family to Argentina. On 18 December of that same year he played for the first time in Argentina Cantata en la tumba de García Lorca, sung by Margarida Xirgu.
  20. 20. The end of the war and the Republic’s defeat meant that he would stay in exile. He only visited Barcelona briefly in 1961. Like for many Catalan artists, the civil war and exile meant that his work was forgotten.
  21. 21. Les generacions actuals de Catalunya no coneixen un dels músics més importants d'aquest país, perquè la difusió de la seva música ha estat molt minsa i les seves obres més rellevants operístiques i simfòniques no s’han programat mai. Avui, moltes de les obres de Jaume Pahissa resten sense editar, enregistrar i interpretar.
  22. 22. Jaume Pahissa Foundation
  23. 23. The Jaume Pahissa Foundation was created in order to spread the musical legacy of the musician Jaume Pahissa and to recognise the importance of one of the most important catalan and universal musicians of the 20th Century. His work needs to return to Barcelona where it deserves to available so that his music can be played.
  24. 24. Main objectives of the Foundation James Pahissa: • To spread his work in Catalunya and around the world. • To collect, classify and restore his work at the Foundation’s headquarters. • To stage one of Jaume Pahissa’s operas in Liceu de Barcelona. • To have a street or square in Barcelona named after him. • To have a classroom in Conservatori Municipal de Música de Barcelona named after him. • To repatriate the remains of Jaume Pahissa and his wife, Montserrat Campà, which are currently in Buenos Aires. • To register all of his work. • To move the literary and artisitc heritage currently in Buenos Aires to Barcelona and place it in the Foundation’s Headquarters.