It seems that there is not only a strong streak of independence running through Catalonia, but also a democratic theme.
In the Middle Ages the city of Barcelona established a “Consell de Cent” – a governing council of 100 members – to manage the affairs of the city. In the twentieth century the city resisted the dictatorial forces of General Franco until crushed by military force. We experienced another example of this democratic tradition when we visited the Palau de la Mùsica Catalana today.
The Orféo Català is a choir founded in 1891 by Anselm Clavé, a composer of many songs and other choral works. The choir became a leading force in the Catalan cultural renaissance in the later part of the nineteenth century. The choir needed a performing space, so the members supported by local sponsors and the citizenry of the city funded the building of a new concert hall. The Palau was begun in 1905 with a small budget and completed in just under three years, the first concert being given in February 1908.
The architect commissioned to design the building was Lluís Domènech i Montaner, one of the Modernista architects and teacher of Antoni Gaudí. The architect became, in effect, the leader of the orchestra in that he designed a structure that then involved local artists and craftsmen in producing the fabulous ornamentation and decoration that makes the Palau such a remarkable building.
Only local materials were used in the construction because of financial constraints: the iron frame of the building, red brick, stone from Montserrat, ceramic tiles and stained glass. Music is thus incorporated with the decorative arts.
The façade comprises rows of columns each behind the other creating a sense of space and openness, an invitation to enter the building. The columns are richly decorated with ceramic tiles that are traditionally Spanish but also hint at the Arabic art of Andalusia.
But the concert hall itself is the stunning centrepiece of the structure. During our visit in the morning the hall was illuminated with only natural light – remarkable for a concert venue. The stained glass skylight is striking in the beauty of its colours, but it also admits light and its shape aids the acoustics of the space which many artists praise highly. The rear wall of the stage features 18 sculptures of muses, all playing different instruments. The figures appear to be emerging from the wall itself. The glass of the side walls has a nature theme: foliage and flowers suggest the innocence of the original Garden of Eden. The tiles, particularly in the ceiling are not purely decorative, they contribute to the acoustics in their shape and location. The decoration underscores the purpose and emphasises the structure of the building; it never overwhelms. The effect is of openness, transparency and light.
But above all else, what strikes me most about the Palau is that a choral society, through its Foundation, has been the owners of this superb performing space for over a century. And, as our young guide, Guilhem, pointed out to us at the end of our visit, through our entrance fee we too share a very small part in the ownership of one of the great concert halls in the world.
You can’t get more democratic than that!
