Amadeu Vives i Roig(Catalan pronunciation:[əməˈðewˈβiβəziˈrɔtʃ];18 November 1871 – 2 December 1932) was aSpanishmusical composer, creator of over a hundred stage works. He is best known forDoña Francisquita,whichChristopher Webberhas praised for its "easy lyricism, fluent orchestration and colourful evocation of 19th CenturyMadrid—not to mention its memorable vocal and choral writing ", and characterizes as" without doubt the best known and loved of all his works, one of the fewzarzuelaswhich has 'travelled' abroad ".[1]
Amadeu Vives | |
|---|---|
 | |
| Born | 18 November 1871 Collbató,Catalonia, Spain |
| Died | 2 December 1932(aged 61) |
| Resting place | Montjuïc Cemetery,Barcelona |
| Nationality | Spanish |
| Other names | Amadeo |
| Education | Josep Ribera,Felipe Pedrell |
| Occupation(s) | Composer,writerandimpresario |
| Known for | Doña Francisquita |
| Spouse | Montserrat Giner |
| Children | one |
The personal papers of Amadeu Vives are preserved in theBiblioteca de Catalunya.
Biography
edit
ACatalan,Vives was born inCollbató,nearMontserrat.He studied inBarcelonaunderJosé Ribera,and in 1891 helped found the influentialOrfeó Catalàchoral society, a key element in the Catalan musical renaissance. He then became an early pupil ofFelipe Pedrell,a fundamental figure of 20th century Spanish music. He soon moved to Madrid, where he lived the rest of his life, first publishing a series of concert works, solo and much-loved choral songs before turning to thezarzuelason which his fame rests.[1]
Before turning tozarzuela,Vives wrote a successful Catalan-language stage play,Jo no sabia que el món era així( "I didn't know the world was like this", 1929) and an ambitious four-act operaArtús(1897, Barcelona) based on SirWalter Scott.A year later, his firstzarzuela,the one-act (género chico)La primera del barrio,was produced at theTeatro de la Zarzuelain Madrid. His next severalzarzuelasmet some critical acclaim—particularly forDon Lucas del Cigarral(1899) andLa balada de la luz(1900)—but his real critical and popular breakthrough came with the one-actBohemios(1904). Vives drew on the same literary source asGiacomo Puccini's masterpieceLa bohème,but his score shows French rather than Italian influences, as well as his own growing individuality.[1]
Soon after, he wrote two one-actzarzuelasin collaboration withGerónimo Giménez:El húsar de la guardia(1904) andLa gatita blanca(1905) both remain in the repertory ofzarzuelaa century later, though other once-popular works, such asLos viajes de Gulliver(1911), have faded. Many of his other works continue to be performed: theoperettaLa generala(1912; set in "OxfordandCambridge"); the pastoral operaMaruxa(1914, without spoken parts);Doña Francisquita(1923), which Webber characterizes as perhaps the finest of all three-actgénero grandezarzuelas "and" without doubt the best-known and -loved of all Vives' works "; andLa villana(1927). His last works, the two-actzarzuelasLos flamencos(1928) andNoche de verbena(1929) "have not proved so durable" (Webber); thecomedia líricaTalismán(1932) was a critical success, but a commercial failure.[1]Vives died in Madrid in 1932.
Reputation
editIsaac Albénizonce said that if Vives had sought to compose with a universal accent, he could have undoubtedly have been a major international figure. He aspired to become a symphonic composer, but never pursued that ambition. Webber remarks that "Perhaps he simply lacked the confidence to try. His autobiographical bookSofía(1923) paints a revealing picture of a nervous figure, "suffering from several physical disabilities, and" never entirely satisfied with being 'just' the leadingzarzueleroof his day. "[1]
Operas
edit- Artus(1895)
- Don Lucas del Cigarral(1899)
- La balada de la luz(1900)
- Euda d'Uriach(1900)
- Los amores de la Inés(1902, withManuel de Falla)
- Bohemios(1904)
- El húsar de la guardia(1904)
- El arte de ser bonita(1905)
- La gatita blanca(1906)
- Juegos malabares(1909)
- Colomba(1910)
- La generala(1912)
- El carro del sol(1911)
- Maruxa(1914)
- La balada de Carnaval(1919)
- Doña Francisquita(1923)
- La villana(1927)
- Talismán(1932)
References
editSources
edit- Webber, Christopher:The Zarzuela Companion.London, Scarecrow Press, 2003Foreword byPlácido Domingo
- Christopher Webber,Amadeo Viveson zarzuela.net
Bibliography
edit- Regidor Arribas, R.; Granados, V. Articles contiguts alPrograma de la representació deDoña Francisquitaal Teatro de la Zarzuela de Madrid. 1998(in Spanish)
- Hernández Girbal, F.Amadeo Vives. El músico y el hombre.Madrid: Ediciones Lira, 1971.(in Spanish)
- Lladó i Figueres, Josep M.Amadeu Vives (1871-1932).Publicacions de l'Abadia de Montserrat, 1988. (Biblioteca Serra d'Or).ISBN84-7202-950-6.(in Catalan)
- Marco, Tomás.Historia de la música española. Siglo XX.Madrid: Alianza, 1983.ISBN84-206-8506-2(in Spanish)
- Mendoza, Cristina.Ramon Casas, Retrats al carbó.Sabadell: Editorial AUSA, 1995. 282 p.ISBN84-8043-009-5(in Catalan)
- Sagardía, Angel.Vives.Barcelona: Edicions de Nou Art Thor, DL 1982. (Gent Nostra; 20).ISBN84-7327-059-2(in Catalan)