Felipe Pedrell


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Felip Pedrell
Birthday
BirthplaceTortosa
Died

Pedrell, Felipe

 

Born Feb. 19, 1841, in Tortosa; died Aug. 19, 1922, in Barcelona. Spanish composer, musicologist, folk-lorist, music critic, and leading figure in the world of music. Member of the Spanish Royal Academy of Fine Arts (1895–1904).

Pedrell sang in a church choir, where he received an elementary musical education. Beginning in 1873 he pursued his career in Barcelona. From 1895 to 1903 he taught at the Madrid Conservatory, where his students included I. Albéniz, E. Granados, and M. de Falla, the founders of modern Spanish music. He published music journals, as well as classical and Spanish folk musical works.

Pedrell founded modern Spanish musicology with such works on musical folklore as Spanish Folk Songs (vols. 1–4, 1918–19; 2nd ed., vols. 1–2, 1936) and with works on modern Spanish music. A leading figure in the Spanish musical renaissance, the Renacimiento, he headed the modern school of Spanish composition, in whose formation he had played a decisive role.

Pedrell wrote a number of operas, including The Pyrenees, a patriotic trilogy with a prologue (1890–91; first part presented in Madrid, 1902). He also composed thematic symphonic works, cantatas for orchestra, works for chorus and orchestra, church music, and songs notable for their vivid national coloration.

REFERENCES

Kiui, Ts. A. “Dva inostrannykh kompositora: 1—Felipe Pedrel’.” Artist, 1894, no. 33.
Falla, M. de. “Felipe Pedrel’.” In his book Stat’i o muzyke i muzykantakh. Moscow, 1971. Pages 63–77. (Translated from Spanish.)

P. A. AKHUNDOV

References in periodicals archive ?
In the same act will also take place the presentation of the book corresponding to last year's Prize: Felipe Pedrell, the creation of modern Spanish Musicology and the Mystery of Elche (Madrid, Instituto Juan Andrs, 2019), by Professor Jos Mara Esteve Faubel, as well as of the first two volumes of the journal of the Juan Andrs Institute of Comparative and Globalization: Humanistic Methodologies in the Digital Age.
A Enrique Granados B Felipe Pedrell C Pierre Boulez D Arcangelo Corelli 5.
Pilar de Zubiaurre se comunicaba con los intelectuales y artistas mas importantes de su tiempo como Eugeni d'Ors, Felipe Pedrell, Gabriel Miro, Jesusa Alfau, "Azorin".
A partir dos estudos organologicos do espanhol Felipe Pedrell (1901) e dos portugueses Ernesto Vieira (1899) e Veiga de Oliveira (2000), apresentamos algumas referencias e possiveis herdades.
Asimismo se constata esta preocupacion en musicos y pensadores no eclesiasticos como Felipe Pedrell: las conferencias impartidas por el en el Ateneo de Madrid, en las que aborda muchas de estas preocupaciones son un claro ejemplo y, en 1895, la fundacion de la Asociacion Isidoriana, a iniciativa del Obispo de Madrid Jose Maria de Cos, supone ya una cierta carta de naturaleza de todo este movimiento (Labajo, 1984: 335).
The entries on better known composers, such as Felipe Pedrell, Isaac Albemiz, Enrique Granados, and Manuel de Falla, cite a variety of sources as more scholarship exists on them.
His parents were Franco-Swiss and initially he studied piano with Granados and composition with Felipe Pedrell.
Viajero incansable por varios paises de Europa y America, entre ellos Mexico, donde conmociono a distintos auditorios con sus extraordinarias facultades pianisticas, Albeniz se establecio por fin una temporada en Barcelona, donde desde 1882 fue discipulo de composicion del gran maestro Felipe Pedrell. Ya en Madrid formo el popular Trio Espanol, con el violinista Enrique Arbos y violoncelista Agustin Rubio, y tambien alli desempenaria una importante actividad docente.
Un importante impulsor de este movimiento fue Felipe Pedrell (1841-1922), para algunos el "padre del nacionalismo en Espana", quien creia fervientemente que las canciones populares debian ser el punto de partida para la creacion musical.
Esboza, por una parte, la recepcion de Richard Wagner en Madrid y Barcelona, haciendo hincapie en el liderazgo de Felipe Pedrell, y, por otra parte, presenta la zarzuela como expresion musical del espanolismo que reta a los estilos "importados" tales como el bel canto italiano o la opera comique francesa.
More important, it was in Madrid that Albeniz responded to Felipe Pedrell's summons to use Spanish folklore as the basis for his music.
He did have access, though, to a bass (baxo) part from the original Prague edition that had belonged to Felipe Pedrell. The remaining parts of the 1581 edition (tiple, alto, tenor, and a rare quintus or fifth voice used in a couple of works) had disappeared, leaving no trace in any European library or archive.