Delcor (1919-1992) is responsible for a translation of the Book of Daniel, which is the only Catalan version of a book of the Bible produced by a North Catalan author to be included in Fundació Bíblica Catalana’s 1968 Bible. This unique circumstance was the inspiration to recover this translation and publish it in a scientific edition collated with the original texts from which Delcor worked. The introduction situates this singular work in the context of the long history of biblical translations in Catalan and offers an exegetical approach to this work that tradition has transmitted in three languages of the ancient world: Hebrew, Aramaic and Greek. English equivalents of all of the texts have been added as a further point of comparison.
Impressions, coral i vuit variacions (1938-1962) fou escrita a Versalles i és una de les obres més imponents i extenses de Francesc Civil per a piano sol. El tema amb què arrenca la partitura, un coral que ben bé hauria pogut escriure César Franck, és de caràcter solemne i organístic. A partir d'aquest desfilen una sèrie de variacions que evoquen els diferents estats d'ànim del compositor davant la situació bèl·lica del seu país. Escrita en plenitud de facultats, aquesta obra, manifestament deutora d'un ensenyament rigorós i complet, enlluerna per la seva magistral escriptura pianística, per un agosarat llenguatge harmònic i per una saviesa contrapuntística sense parangó. Impressions, coral i vuit variacions (1938-1962) fué escrita en Versailles y es una de las obra mas imponentes y extensas de Francesc Civil para piano solo. El tema con el que arranca la partitura, un coral que bien habría podido escribir César Franck, es de carácter solemne y organístico. A partir del mismo desfilan una serie de variaciones que evocan los diferentes estados de ánimo del compositor ante la situación bélica de su país. Escrita en plenitud de facultades, esta obra, manifiestamente deudora de una enseñanza rigurosa y completa, deslumbra por su magistral escritura pianística, por un atrevido lenguaje armónico y por una sabiduría contrapuntística sin parangón. Impressions, chorale and eight variations (1938-1962) was wrote by Francesc Civil in Versailles and is his most striking and longest work. The opening theme, a chorale that could well have been written by César Franck, has a solemn organistic character. This leads on to a series of variations that evoke the composer's feelings about the war in his home country. Written at the height of his powers, this work, which clearly owes a great deal to his rigorous, ample training, dazzles for its masterful piano scoring, the bold harmonic language and the consummate contrapuntal expertise.
El Nocturn en Sol bemoll major (1926) fou iniciat probablement com un treball acadèmic entorn de la forma del lied ternari, l'obra assolirà finalment grans dimensions i el 1927 obtindrà el Premi Concepció Rabell i Cibils, atorgat per l'Orfeó Català. Anys més tard, en faria una revisió a fons (versió que presentem en aquesta integral) depurant-ne l'escriptura pianística però conservant-ne els elements melòdics i harmònics principals. La primera secció de l'obra, de perfums postromàntics, es basa en una melodia de caràcter marcadament vocal i de gran lirisme que es desplega sobre una harmonia rica en modulacions i un entramat contrapuntístic molt elaborat. La part central està escrita en una de les formes predilectes del compositor: el tema i variacions. Sobre un nou tema d'aires gregorians, s'enllacen cinc variacions molt contrastants, de gran virtuosisme, que mostren les capacitats portentoses de l'autor. Una recapitulació de la primera secció i una coda posen punt final a una obra primerenca en la qual ja trobem tots els atributs de les grans obres pianístiques futures: vena melòdica molt inspirada, riquesa harmònica i densitat contrapuntística. El Nocturn en Sol bemoll major (1926) fué iniciado probablemente como un trabajo académico en torno a la forma del lied ternario, la obra alcanzará finalmente grandes dimensiones y en 1927 obtendrá el Premio Concepció Rabell i Cibils, otorgado por el Orfeó Català. Años más tarde, haría una revisión a fondo del mismo (versión que presentamos en esta integral) depurando su escritura pianística pero conservando sus principales elementos melódicos y armónicos. La primera sección de la obra, de perfumes postrománticos, se basa en una melodía de carácter marcadamente vocal y de gran lirismo que se despliega sobre una armonía rica en modulaciones y un entramado contrapuntístico muy elaborado. La parte central está escrita en una de las formas predilectas del compositor: el tema y variaciones. Sobre un nuevo tema de aires gregorianos, se enlazan cinco variaciones muy contrastantes, de gran virtuosismo, que muestran las portentosas capacidades del autor. Una recapitulación de la primera sección y una coda ponen punto final a una obra temprana en la que ya encontramos todos los atributos de las grandes obras pianísticas futuras: vena melódica muy inspirada, riqueza armónica y densidad contrapuntística. The Nocturne in G flat major (1926) was probably begun as an academic work in ternary form, the work finally became much longer and won the Concepció Rabell i Cibils Prize in 1927, awarded by the Orfeó Català. Years later, Civil thoroughly revised it (leaving the version included in these complete works); he refined the pianistic writing but retained its main melodic and harmonic features. The first section of the work, with a post-romantic feel to it, is based on a melody of markedly vocal character and great lyricism that unfolds over a harmony rich in modulations and a very elaborate contrapuntal framework. The composer used one of his favourite forms for the central part: the theme and variations. Over a new theme with a Gregorian flavour, five very contrasting variations are interlaced with great virtuosity, illustrating the author's impressive talent. A recap of the first section and a coda conclude an early work that already displayed all the attributes of the great piano works he wrote later: a highly inspired melodic vein, harmonic richness and counterpoint density.
Theme, variations and finale follows a similar pattern to Nocturne in G flat major. Written in the years immediately after he finished his studies, the author revised this piece in 1936, refining some compositional details and melodic designs and clarifying some questions of tempo. The main theme, very close to the Franck aesthetic, is used by Civil to extract eight variations and a finale that reflect his boundless inventiveness and prodigious ability to transmute an original idea into multiple variants. A strong admiration for Chopin is suggested by many of the pianistic patterns, some variations in the form of a waltz and a last one in a "revolutionary" spirit. Tema, variacions i final segueix un patró similar a Nocturn en Sol bemoll major. Escrita durant els anys immediats a l'acabament dels seus estudis, l'autor en farà una revisió l'any 1936 tot perfilant alguns detalls d'escriptura i alguns dissenys melòdics i concretant qüestions de tempo. Del tema principal, molt proper a l'estètica franckiana, Civil n'extreu vuit variacions i un final que reflecteixen la seva inesgotable inventiva i una habilitat prodigiosa per transformar, transmutar, una idea original en múltiples variants. Molts dissenys pianístics, alguna variació en forma de vals i una darrera d'esperit "revolucionari" evidencien una admiració profunda per Chopin. Tema, variacions i final sigue un patrón similar a Nocturn en Sol bemoll major. Escrita durante los años inmediatos a la finalización de sus estudios, el autor hará una revisión de la misma en el año 1936 perfilando algunos detalles de escritura y algunos diseños melódicos y concretando cuestiones de tempo. Del tema principal, muy cercano a la estética franckiana, Civil extrae ocho variaciones y un final que reflejan su inagotable inventiva y una prodigiosa habilidad para transformar, transmutar, una idea original en múltiples variantes. Muchos diseños pianísticos, alguna variación en forma de vals y una última de espíritu "revolucionario" evidencian una profunda admiración por Chopin.
Easy Jota for piano solo written in 1918. Score. Jota fàcil per a piano sol escrita el 1918. Partitura. Jota fácil para piano solo escrita en 1918. Partitura.
Structured as four numbers in the end, the Peralada suite expresses the impact made by these visits through four "impressions for piano" (as indicated in the subtitle of the work). Indeed, it is the composer's most "impressionist" work, as it seeks to reflect, through memory, the sensations aroused by the contemplation of the landscape. At the same time, it is a compendium of his mastery and art at its apogee. The cycle starts with "El parc", a revised, definitive version of the original "Le Bois". The piece is a veritable musical poem, passing like a sigh between murmurs and vaporous sounds produced by a markedly Debussian score. On a harmonic pedal used from the beginning to the end, blocks of chords rub together, free from any tonal relationship, to produce an unreal atmosphere. The wind crosses the landscape from time to time, carrying with it the echo of remote melodies. In "El castell, el castellar i la castellana" (The Castle, the Lord of the Castle and the Castilian Girl), a theme with an archaic character in the style of a knightly march, he suggests a new mood reminiscent of medieval times. An indisputably Wagnerian melody immediately evokes the vision of the hero, embodied by intentionally conventional piano scoring. A sudden, very cinematic change of plan (the composer was a great fan of cinema) introduces a third more tender and anxious theme (the Castilian Girl). With a return to the initial epic, the piece ends triumphantly in an undeniably "cinematic" finale with the ringing of bells into the bargain. "Oració a la Verge Carmelitana" (Prayer to the Carmelite Virgin) shifts the scenario to the church of Our Lady of Mount Carmel next to the castle. A first theme, ideal for the harmonium, calls the congregation to prayer. The large number and diverse nature of the melodies that follow seems to suggest a wide range of prayers and supplications. In a veritable pianistic tour of force the suite finishes with "Nimfes en el jardí" (Nymphs in the garden). Written in the style of a scherzo féerique, the piece seems to go beyond the strict form of the rondo on which it is based and fades out leaving a decidedly dreamlike sensation.
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.