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Composer: Francesc Valls (c.1671-1747)
Work: Missa Scala Aretina (1702)
Performers: Hеlеna Mаеs (soprano); Bаrt Uvyn (alto); Dеnzil Dеlаеrе (tenor); Joris Strοοbаnts (bass); Vοx Mаgo; Patrick de Brаbаndеrе (conductor)
Missa Scala Aretina (1702)
1. Kyrie 0:00
2. Gloria 6:13
3. Credo 15:22
4. Sanctus 26:27
5. Agnus Dei 29:11
Painting: Pieter Lastman (1583-1633) - David in the temple
HD image: flic.kr/p/2oqsvVE
Engraving: Anoniem - Barcellona (c.1700)
HD image: flic.kr/p/2oqri2C
Further info: rism.online/sources/100500920
Listen free: No available
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Francesc (Francisco) Valls i Galan
(Barcelona?, c.1671 - Barcelona, 2 June 1747)
Spanish composer and theorist. His birth date is usually given as 1665, but Pavia i Simó (1990) proposed a date of about 1671, based on evidence from Valls’s Missa regalis. In 1688 he was placed in charge of the music at the Mataró parish. Later that year he was made maestro de capilla at Girona Cathedral, and early in 1696 took up a similar appointment at Santa María del Mar, Barcelona. When Joan Barter retired as maestro de capilla of Barcelona Cathedral in December 1696, Valls was appointed to succeed him, first as substitute, then as interim and finally, on 18 February 1709, as titular maestro. According to Martín Moreno (Historia de la música española, IV: Siglo XVIII, 152-154, 417-419, 425; 1985), Valls had retired from the post by 1726; León Tello (La teoría española de la música en los siglos XVII y XVIII, 550-579, 1974), however, placed his retirement much later, at 1741. Valls was a prolific composer, and his works survive in archives throughout Spain, but he was known in his lifetime (and has been remembered since) primarily for the controversy that surrounded his Missa ‘Scala aretina’ and for his impressive treatise Mapa armónico. The polemics to which the mass gave rise centred on the second soprano’s entry on an unprepared 9th at ‘miserere nobis’ in the Gloria. Gregorio Portero, maestro de capilla at Granada Cathedral, fired the first salvo in 1715; he was joined the following year by Joaquín Martínez de la Roca, the organist at Palencia, who argued that ‘music consists of established principles and general rules; when these are broken the very essence of music is destroyed’. Valls defended himself ‘not so much for my own reputation as for the freedom and honour of the art of music’. Over 50 Spanish musicians joined the debate in writing, and even Alessandro Scarlatti, in Italy, became involved. Other issues touched on in the dispute included the question of whether or not the 4th should be viewed as a consonance (Valls argued that it should), the use of B in the scale on F, and matters of text expression. Valls’s treatise Mapa armónico, dating from 1741-42, was not published in his lifetime, but circulated widely in Spain. It contains a wealth of information on modal theory, harmony and counterpoint, continuo realization, instruments, national styles, genres and matters affecting performance. There are numerous music examples, many of them complete compositions.
6 авг 2024
