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canons. There is a composition for strings which uses what Valls calls the "enharmonic sharp", but which seems different from the orthodox conception of that expression. Valls' enharmonic sharp appears to raise the notes A, C, D, F and G by three quarters of a tone and the notes B and E by a quarter
444:
There are many other compositions by Valls surviving in the archives of the
Biblioteca de Catalunya in Barcelona and elsewhere. Most of them are unedited, but critical editions of some of the works are available from Dinsic Publicacions Musicals. Others works are available from Scalaaretina, the
165:
is scored for 3 vocal choirs, (SAT) (soloists), (SSAT) (soloists) and the choir (SATB). Instruments are 2 oboes doubling 2 violins, 2 trumpets and violone (cello?). Choir I has harp continuo, choirs II and III separate organs, each with a doubling violone or bassoon.
240:. A facsimile of the manuscript was published in 2002. It contains an exposition of the author's views on musical theory and practice and a large number of musical examples from his works. All the vocal music by Valls from
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and/or have more or less full accompaniment. Many of the works use highly unconventional (for the time) musical techniques. Examples with particularly interesting use of dissonance include Valls' motets,
509:
2003 - Page 247 "A censure published by
Joaquin Martinez de la Roca of Valencia Cathedral began a pamphlet war that lasted for five years until 1720, with some seventy-eight being published altogether."
380:. He also composed a rather overblown 8 part ode to that saint in Spanish with full orchestral accompaniment. More impressive is his three part motet setting of the prayer by Saint
487:
A todo correr; Pues oy benignas las Luzes; Quando
Antonio glorioso; Sagrado portento de amor; Que estruendo de clarines; Espiritu ardiente en llamas; La que en el jardin serafico.
135:. The unpreparedness of the entry rather than the discord is the problem. It is doubtful whether such a chord would have been criticized in England where the dissonant music of
398:
includes two operatic works in
Italian style, one of these is for chorus. One is a mournful tenor aria apparently composed for the character of
441:
in modern times in
Barcelona was given by an English choir, the London Oratory Choir at the International Music Festival as late as 1978.
103:), caused a major musical controversy between 1715 and 1720, initiated by a pamphlet against Valls by the organist and theatre composer
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349:(or extracts). These are less adventurous in musical technique than the Latin works. Secondly there are some more ambitious complete
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with strong trumpet lines. Aching suspensions are not long in arriving however when the text requires them, such as the mysterious
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391:). In this motet Valls uses variations in rhythm, time signatures and dynamics to express the changing mood of the text.
613:
528:, Editorial: Consejo Superior de Investigaciones Científicas 2002 Colección: TEXTOS UNIVERSITARIOS, Número 37 535 pages
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to be performed regularly in the centuries following his death. There are also a number of canons, motets and
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553:
445:
Choral Public Domain
Library, Musica de Hispania and the Werner Icking Music Archive. (see links below).
559:
433:, edited by José López-Calo, (Novello, 1975). (From Ms. M. 1489, Biblioteca de Catalunya, Barcelona.).
72:, several other sacred items and 141 secular compositions. Many of these are manuscripts lodged in the
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128:
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and a few instrumental pieces have been transcribed and are in the public domain. See links below.
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The Latin choral works in the Mapa are of particular interest. They include 4 solo sacred
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with full orchestral accompaniment including an opening trumpet fanfare and a movement,
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There are a number of magnificent accompanied pieces. These include the 10 part
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had been admired at court and church. Many of Valls' other works, however, use
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The keyboard sonatas of
Domenico Scarlatti and eighteenth-century music style
256:
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136:
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29:
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Valls' sacred choral works (both Latin and
Spanish) frequently focus on the
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with a b flat, a, f, d and low g sounding simultaneously on the words
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come in two distinct categories. First there are a series of 4 part
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27:
1665/1671 - 2 February 1747) was a
Spanish composer, theorist and
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enters on an unprepared 9th chord causing a gratuitous semitonal
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In 1696 Francisco Valls left the Church of Santa Maria del Mar,
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include fugues, "trocados" (works using contrary motion) and
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had given an opinion, mildly opposed to Valls' ideas. In the
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In retirement Valls wrote a treatise on harmonic theory,
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which was highly unconventional at the time (see below).
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is a typical baroque piece, sounding reminiscent of
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are well worn and often turned, suggesting that the
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372:philosophers. His works include a setting of Saint
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489:A Corte Musical, dir. Rogerio Goncalves. PAN 2004
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215:begins in D-major but sinks a tone to a C-minor
570:Consejo Superior de Investigaciones Cientificas
115:groups were roughly equal, the famous composer
519:Francesc Valls: Mapa Armónico Práctico (1742a)
314:. These works include his best known motet,
458:; dir. John Hoban, The London Oratory Choir
123:at bar 120 (López-Calo edition) the second
324:) which was the only work, apart from the
564:International Music Score Library Project
368:Valls appears to have had an interest in
537:Deutsche Harmonia Mundi CD 05472 77842 2
221:cadence. This is answered by an A-major
34:Among his most known works are the mass
572:- Publishers of Mapa Armonico Practico
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341:The sacred works in Spanish from the
60:at Barcelona Cathedral. He wrote 10
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150:The original singing parts of the
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635:
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183:but also looking back to Italian
619:Spanish male classical composers
599:18th-century classical composers
424:Editions and modern performances
359:Al combite que Amor hoy previene
353:in 8 or 12 parts. These include
389:Tractates on the gospel of John
624:18th-century Spanish musicians
560:Free scores by Francisco Valls
550:Free scores by Francisco Valls
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409:The instrumental works in the
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437:The first performance of the
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207:being a descending scale and
554:Choral Public Domain Library
99:(prominently audible in the
95:' scale that appears in the
91:, so called in reference to
7:
604:18th-century male musicians
105:Joaquín Martínez de la Roca
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365:are mostly quite obscure.
279:. Some of these works are
158:was performed many times.
54:, and took up the post of
614:Spanish Baroque composers
203:is highly coloured, with
609:Composers from Catalonia
478:Netherlands Bach Society
199:. Like Biber's mass the
263:and movements from the
74:Biblioteca de Catalunya
45:
385:O sacramentum pietatis
361:. The lyrics of these
242:Mapa Armónico Práctico
238:Mapa Armónico Práctico
231:Mapa Armónico Práctico
40:Mapa Armónico Práctico
338:on the same subject.
320:(not included in the
255:, a series of sacred
449:Selected discography
326:Missa Scala Aretina,
301:In te Domine speravi
180:Missa Salisburgensis
171:Missa Scala Aretina
163:Missa Scala Aretina
117:Alessandro Scarlatti
589:17th-century births
466:Missa Scala Aretina
456:Missa Scala Aretina
439:Missa Scala Aretina
431:Missa Scala Aretina
387:(from the latter's
273:Missa Scala Aretina
152:Missa Scala Aretina
89:Missa Scala Aretina
82:Missa Scala Aretina
80:Composition of the
36:Missa Scala Aretina
505:W. Dean Sutcliffe
382:Augustine of Hippo
378:O memoriale mortis
305:Cum sancto spiritu
218:tierce de Picardie
526:978-84-00-08068-6
429:Francisco Valls,
286:Domine vim patior
191:is sumptuous but
57:Mestre de capella
30:mestre de capella
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472:: Requiem, dir.
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355:Quien será decid
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400:Mark Antony
363:villancicos
351:villancicos
347:villancicos
331:villancicos
312:Virgin Mary
294:O vos omnes
187:music. The
583:Categories
494:References
416:cancrizans
281:polychoral
223:resurrexit
213:Crucifixus
129:dissonance
121:Qui tollis
38:and tract
271:from the
229:Treatise
205:descendit
52:Barcelona
25:Barcelona
370:medieval
193:diatonic
566:(IMSLP)
562:at the
552:in the
464:Valls:
454:Valls:
376:' hymn
334:in the
277:Te Deum
145:harmony
125:soprano
524:
420:tone.
261:motets
257:canons
251:, one
209:coelis
70:motets
62:masses
404:Egypt
249:arias
201:Credo
189:Kyrie
175:Biber
156:Missa
101:Kyrie
66:psalm
64:, 17
522:ISBN
411:Mapa
396:Mapa
394:The
357:and
343:Mapa
336:Mapa
322:Mapa
292:and
265:Mass
253:duet
169:The
161:The
113:anti
111:and
87:The
46:Life
402:in
177:'s
139:or
109:Pro
19:or
585::
476:,
468:;
406:.
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23:(
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