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<dc:title>The Palau de la Música Catalana</dc:title>
<dc:subject>The Palau de la Música Catalana</dc:subject>
<dc:description>The Palau de la Música Catalana is located in Barcelona, Spain.</dc:description>
<dc:creator>Graziella Dominado,
Benjamin Fraser</dc:creator>
<dc:publisher>Camille Kresz</dc:publisher>
<dc:date>02/09/2017</dc:date>
<dc:language>English, Spanish</dc:language>
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<pdftext:text>The Palau de la Música Catalana
The Palau de la Música Catalana embodied the zenith of Domènech’s career. Though a
mere 15,000 ft², the Palau retains an abundance of color and individuality that paints the walls,
its hues “dancing a marvelous dance” (Sastre-Juan and Valentines-Álvarez 2016: 92). Through
his building, Domènech links several themes, beginning with the binding of Catalan nationalism
and internationalism, evident in the proscenium. The left arch represents “cançó popular,” or
songs of the people, whereas the opposite side of the proscenium illuminates música universal
and classicalism. These concepts are portrayed through the upper half of Beethoven flanked on
either side by two Doric columns, which insert an air of austerity and masculinity to counteract
the vibrancy exposed throughout the rest of the building. Domènech also interlaced the old with
the new, wielding Gothic stone and glass, mutating them into steel.
Although an admirably unique concept, the same steel provoked many pretentious
complaints, such as the inability to hear Chopin over the cacophony occurring on the
cobblestones outside, voiced by Josep Pla (Hughes 2004: 119). Other disapproval was
expressed when Domènech finished his construction, with many doubting its worth of twice its
intended budget and naming it the Palace of Catalan Junk (Hughes 2004: 127).
In spite of the disputes that came with its erection, the Palau de la Música Catalana has
remained true to its name, and continues the motif of Catalan patriotism by embodying the
essence and history of Catalan music, its shape created by its citizens’ everyday lives (Ferran
and Nieto-Galan 2016: 242).

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