Tomàs Milans Godayol (1672-1742) - Zarzuela al Santisimo
119Moltes felicitats Tomàs Milans Godayol! 🍷👑
Composer: Tomàs Milans Godayol (1672-1742)
Work: Zarzuela al Santisimo a 3 voces
Performers: Begoña Lópеz (soprano); Inès Moralеda (mezzo-soprano); Jordi Cаsаnova (tenor); Mapa Hаrmónico; Francesc Bonаstre (conductor)
Zarzuela al Santisimo
1. Apertura 0:00
2. Medio ayre 2:19
3. Recitado a Compas 3:59
4. Aria 5:23
5. Recitado a Compas 6:48
6. Aria 8:08
7. Recitado 11:07
8. Minué 12:03
Drawing: Anoniem (18th Century) - Gezicht op de stad Girone
HD image: https://flic.kr/p/2pBFMRa
Further info: https://www.todocoleccion.net/musica-cds/zarzuela-santisimo-esplendor-barroco-hispanico-s-xviii-nuevo-precintado~x423388469
Listen free: https://open.spotify.com/album/4R6t6n9ciBbTzLOOHeoAVM
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Tomàs (Thomàs) Milans Godayol
(Canet de Mar, 7 March 1672 - Canet de Mar, 19 January 1742)
Spanish composer. Son of Marc Antoni Milans i Macià (1625-1708) and Maria Anna Godayol, he was sent, together with his brother Carles Milans Godayol (1669-1724), to Barcelona, where he studied at the Santa Maria del Pi with the organist Jeroni Oller. The brothers sang as choirboys in the chapel of the Palau Reial Menor where Oller was organist. In 1701 he was appointed as the substitute of Felip Olivelles, the chapel master there. A considerable part of Milans' career was influenced by the War of the Spanish Succession (1702-1714) which ended with the Peace of Utrecht. The resident of the Palau, the marquis of Los Vélez, was a supporter of the Bourbons and because of that the family's possessions were confiscated by the royal authorities. The chapel was transferred to a royal committee and after the war reprisals were taken against many of the musicians. Whether Milans was one of the victims is apparently not known, but in 1714 he worked as mestro de capella of Girona cathedral, a post he held the rest of his life. He was a prolific composer of church music, being a link between the musicians of the Spanish and Austrian courts, such as Johann Joseph Fux and Antonio Caldara. That is not to say that Milans was a mere imitator, but rather that he was aware of, and incorporated into his own music, the various emerging stylistic trends of that age of transition.