Manuel Blancafort 曼努艾尔·布兰卡福特(1897-1987)，西班牙作曲家。
Manuel Blancafort i de Rosselló was born on 12th August 1897 in the spa town of La Garriga, near Barcelona, into an educated, middle-class Catalan family. His parents owned a famous
hotel in the town which was frequented by many artists, intellectuals and politicians. An enterprising man, and an enthusiast for technological innovation, his father had also set up
a factory in La Garriga to produce pianola rolls, and this in effect became Blancafort’s music school.
Blancafort studied music first with his father, and then with Joan Alsius, who taught him the basics of composition. Then, as a teenager, he began to work in the family factory. It
was his job to examine music scores in minute detail and convert the notes into series of perforations on rolls of paper. He was therefore able to learn all about different styles of
writing, from the classical composers to the latest works by Debussy, Ravel and Schoenberg, among others, and to complete his musical education — to all intents and purposes he was
self-taught. Life at the hotel also gave him the opportunity to meet a number of musicians and composers, including Joan Lamote de Grignon and Frederic Mompou, both of whom gave him
advice and looked over his early compositions.
It was his meeting with Mompou, in 1914, that was to prove the most significant for the young Blancafort, not only musically but also aesthetically and spiritually. Mompou took on
the r?le of elder brother, supporting Blancafort and guiding him as he took his first steps as a composer, as well as helping him find his way around the rich and innovative musical
scene of 1920s Paris.
The première of Blancafort’s El parc d’atraccions (The funfair), given by the pianist, Ricardo Vi?es, in Paris in 1926, was enthusiastically received by that city’s demanding
public, and Maurice Sénart, one of the leading French publishing houses, took an interest in the young composer and went on to publish most of his works.
Unfortunately, a promising career was soon brought to an end: the demands of family life (he was to have eleven children), the closure of his father’s factory (caused by the growing
success of the gramophone), and problems arising from the Spanish Civil War combined to oblige Blancafort to set up home in Barcelona and spend most of the rest of his life working
for an insurance company. Despite the restrictions this entailed, he was nevertheless able, with the support of his remarkable wife, to find a few precious moments in which he could
compose, eventually building up a sizeable catalogue of works which represent “the living synthesis of Catalan musical culture” (Manuel Valls).
Spanish isolation during the Franco years, and in particular the closure of the French border, made it difficult for Blancafort to achieve any international fame for his work, but he
won prizes and official distinctions in his native country from 1949 until his death in Barcelona on 8th January 1987.
Blancafort’s work is clearly rooted in Catalan traditions, and its emotional and aesthetic content is always bound to a stable formal structure. This “classical” approach, in the
strict sense of the word, where intellect reigns over sentiment, is present in even his earliest works. In these, despite numerous touches of Romanticism, the composer succeeded in
creating, in his own words, “something that stands up”. His music has a clarity and simplicity far-removed from the German transcendentalism in fashion at the time, his aim being
to compose music which was “tonal, logical and concise”. To this end he took French music as his model, although he believed it was not a question of “giving Catalan music a
French flavour … it has to speak of things Catalan in a European idiom”.
Blancafort’s choice of the piano for his first compositions was quite natural, given his years of close contact with the pianola, his feeling for French aesthetics and his
friendship with Mompou, a fine pianist.
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Manuel Blancafort i de Rosselló was born on 12th August 1897 in the spa town of La Garriga, near Barcelona, into an educated, middle-class Catalan family. His parents owned a famous
hotel in the town which was frequented by many artists, intellectuals and politicians. An enterprising man, and an enthusiast for technological innovation, his father had also set up
a factory in La Garriga to produce pianola rolls, and this in effect became Blancafort’s music school.
Blancafort studied music first with his father, and then with Joan Alsius, who taught him the basics of composition. Then, as a teenager, he began to work in the family factory. It
was his job to examine music scores in minute detail and convert the notes into series of perforations on rolls of paper. He was therefore able to learn all about different styles of
writing, from the classical composers to the latest works by Debussy, Ravel and Schoenberg, among others, and to complete his musical education — to all intents and purposes he was
self-taught. Life at the hotel also gave him the opportunity to meet a number of musicians and composers, including Joan Lamote de Grignon and Frederic Mompou, both of whom gave him
advice and looked over his early compositions.
It was his meeting with Mompou, in 1914, that was to prove the most significant for the young Blancafort, not only musically but also aesthetically and spiritually. Mompou took on
the r?le of elder brother, supporting Blancafort and guiding him as he took his first steps as a composer, as well as helping him find his way around the rich and innovative musical
scene of 1920s Paris.
The première of Blancafort’s El parc d’atraccions (The funfair), given by the pianist, Ricardo Vi?es, in Paris in 1926, was enthusiastically received by that city’s demanding
public, and Maurice Sénart, one of the leading French publishing houses, took an interest in the young composer and went on to publish most of his works.
Unfortunately, a promising career was soon brought to an end: the demands of family life (he was to have eleven children), the closure of his father’s factory (caused by the growing
success of the gramophone), and problems arising from the Spanish Civil War combined to oblige Blancafort to set up home in Barcelona and spend most of the rest of his life working
for an insurance company. Despite the restrictions this entailed, he was nevertheless able, with the support of his remarkable wife, to find a few precious moments in which he could
compose, eventually building up a sizeable catalogue of works which represent “the living synthesis of Catalan musical culture” (Manuel Valls).
Spanish isolation during the Franco years, and in particular the closure of the French border, made it difficult for Blancafort to achieve any international fame for his work, but he
won prizes and official distinctions in his native country from 1949 until his death in Barcelona on 8th January 1987.
Blancafort’s work is clearly rooted in Catalan traditions, and its emotional and aesthetic content is always bound to a stable formal structure. This “classical” approach, in the
strict sense of the word, where intellect reigns over sentiment, is present in even his earliest works. In these, despite numerous touches of Romanticism, the composer succeeded in
creating, in his own words, “something that stands up”. His music has a clarity and simplicity far-removed from the German transcendentalism in fashion at the time, his aim being
to compose music which was “tonal, logical and concise”. To this end he took French music as his model, although he believed it was not a question of “giving Catalan music a
French flavour … it has to speak of things Catalan in a European idiom”.
Blancafort’s choice of the piano for his first compositions was quite natural, given his years of close contact with the pianola, his feeling for French aesthetics and his
friendship with Mompou, a fine pianist.
