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Felip Pedrell Sabaté | |
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 Felip Pedrell | |
| Born | (1841-02-19)19 February 1841 |
| Died | 19 August 1922(1922-08-19) (aged 81) |
| Resting place | Sant Gervasi Cemetery, Barcelona |
| Occupation(s) | composer, guitarist and musicologist |
| Known for | L'último Abenzeraggio (in Italian; Spanish title:El último abencerraje) (libretto: J. B. Altés), opera in 4 acts |
Felip Pedrell Sabaté (Spanish: Felipe) (19 February 1841 – 19 August 1922) was a Catalan composer, guitarist and musicologist.
Pedrell was born inTortosa (Catalonia), and sang as a boy soprano atTortosa Cathedral from age 9, where he also received most of his musical education from its chapel master Joan Nin i Serra (1804–1867). On 29 September 1867 he married Carmen Domingo, with whom he had one daughter, also named Carmen.[1]
In 1873 he went toBarcelona where he co-directed azarzuela troupe and studied the guitar withJosé Brocá. As a guitarist, he became deeply influenced byFrancisco Tárrega and dedicated several of his compositions to him (Impromptu,Floriada). By this time he had already written over 100 compositions, most of which salon music for piano, some songs, and works for the stage such as the operaL'último Abenzeraggio (first version: 1868), which was performed at theTeatro del Liceo in 1874. Between 1876 and 1880, Pedrell lived mainly in Italy and France: in Rome he discovered his musicological interest, and in Paris he worked mainly in composition, writing his song-cycleOrientales (words byVictor Hugo) and thesymphonic poemExcelsior (1880).[2]
In February 1880, he settled in Barcelona as a music teacher and composer, where he made the acquaintance ofIsaac Albéniz andEnrique Granados who became his first pupils. Other notable pupils included the composersRosa García Ascot,Manuel de Falla, andJoan Lamote de Grignon.[3] After another performance ofL'último Abenzeraggio in 1889, Pedrell seriously considered the founding of an "escuela nacional de música" (national school of music), combining elements of Spanish traditional music with the classical art music of his time. The first result was the operaEls Pirineus (1891), underlining his concept theoretically with the publicationPor nuestra música (To Our Music; 1891),[4] which made many composers and guitarists of his time aware of Spanish folklore. Influences were visible inRoberto Gerhard's eight Pedrell-derived folk-tunes (Cancionero de Pedrell), andManuel de Falla's "Pedrelliana" – the last of his fourHomenajes ("homages") (1939).
Between 1891 and 1904, Pedrell lived in Madrid, where he became a member of theReal Academia de Bellas Artes de San Fernando in 1895 and had a professorship in musical aesthetics and music history at theReal Conservatorio. In 1894, the first volume of hisHispaniae schola musica sacra appeared, a series of edited scores of renaissance and baroque church music from Spain. As a musicologist, Pedrell worked particularly in theearly music field and editedVictoria'sopera omnia and the requiem ofJoan Brudieu. This and other of his writings fostered a keen interest in the early music of Spain. He returned to Barcelona in 1904, when his operaEls Pirineus was eventually performed.
When his daughter died in 1912, Pedrell fully withdrew from public life. His last pupils, the musicologist Higinio Anglès and the composer Roberto Gerhard, assisted Pedrell in his last publications and compositions. He died inBarcelona and was buried in theSant Gervasi Cemetery. The composerCarlos Pedrell (1878–1941) is his nephew. The personal papers of Felip Pedrell are preserved in theBiblioteca de Catalunya.
Among his main direct disciples areIsaac Albéniz,Enrique Granados,Cristòfor Taltabull,Pedro Blanco,Joaquín Turina andManuel de Falla.
Operas
Instrumental works
Songs for voice and piano
Choral music
