Pau Casals and the Sardana from Exile: The Composition and Symbolic Dimension of Sant Martí del Canigó
Abstract
This article examines the composition process and symbolic dimension of Sant Martí del Canigó, a sardana composed by Pau Casals in 1943 during his early years in exile in Prada de Conflent. Drawing on documentation from the Pau Casals Collection at the Arxiu Nacional de Catalunya and secondary sources, this study analyses the work’s historical context, as well as its connection to Catalan identity through Jacint Verdaguer’s poem Canigó. As a result of Enric Casals’ orchestrations and its widespread popularity both nationally and internationally, Sant Martí del Canigó –initially conceived as a piano piece to be performed within the family in Prada– has acquired new significance in the composer’s catalogue, becoming associated with the Catalan musician’s exile and ideological beliefs. Its global reach included performances by orchestras such as the New York Philharmonic and the Orquesta Sinfónica de Puerto Rico, which helped to consolidate its importance within the composers’ repertory. Overall, this sardana can be seen as a testament to Pau Casals’s ethical and aesthetic convictions, as well as that of his brother Enric, with Catalan culture.
Format
Crossmark
License
In order to support the global exchange of knowledge, the journal Cuadernos de Música Iberoamericana is allowing unrestricted access to its content as from its publication in this electronic edition, and as such it is an open-access journal. The originals published in this journal are the property of the Complutense University of Madrid and any reproduction thereof in full or in part must cite the source. All content is distributed under a Creative Commons Attribution 4.0 use and distribution licence (CC BY 4.0). This circumstance must be expressly stated in these terms where necessary. You can view the summary and the complete legal text of the licence.
