Francisco Luis Serra
Francisco Luis Serra
Genres: catalan, 18th century
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About Francisco Luis Serra
Francisco Luis Serra (Barcelona?, c. 1680 - Zaragoza, December 28, 1758) was a Catalan musician and master of the chapel of the Basilica of Pilar. González Valle affirms that he went to study in Naples with Francesco Durante. He won the oppositions for chapel master of Santa María del Mar in Barcelona in 1699, where he remained until 1715 according to Cabré. He was appointed chapel master of the cathedral-basilica of the Pilar de Zaragoza on March 23, 1715. The cathedral proceedings say that it came from "Santa María del Pino", which may be an error of the copyist or that he occupied the mastery of Santa María del Pino after passing through Santa María del Mar. An activity of his that has been preserved is the signing of the treatise School of Music of Pablo Nasarre on May 7, 1723, a work that he praised profusely. In 1728 he applied to the competitions for chapel master of the Corpus Christi College of Valencia, vacada after the death of maestro Pedro Martínez de Orgambide. He faced other chapel masters of the cathedrals of Murcia, Tortosa or Tudela, and other minor churches, such as the collegiate church of Rubielos or the parishes of Onteniente and Castellón. Finally, the master of the cathedral of Astorga, Francisco Hernández de Illana, won. It is very likely that his nephew, Juan Ramón Oliac y Serra, studied with Serra in Zaragoza. The uncle also supported his nephew in achieving the mastery of the cathedral of Ávila with a letter of recommendation dated February 17, 1734. He was also a teacher of Jaume Casellas, in Santa María del Mar, and of Juan de Sesé6 and Pedro Aranaz, in El Pilar. It is known that he asked the council of Pilar de Zaragoza to admit his brother, Francisco Serra, from the chapel, a request that was admitted. Of his religious production are preserved motets, antiphons, psalms, magnificats, salves, Christmas carols and other works; many of them are to various voices and instrumental accompaniment. His production of Christmas carols for the Basilica of the Pilar of Zaragoza includes a period that begins in 1716 and extends until 1757; today two compilations with luxurious bindings are preserved: a volume with five Salve Regina and six motets on Marian antiphons, dated 1737, and the Liber canticum Magnificat ad octo tonos per Dominum L. Serra (1739), an eight-tone Magnificat for eight voices in two choirs. His works are also preserved in the abbey of Montserrat, in Ávilanota 1 Cuenca, Jaca, in the Corpus Christi school of Valencia and other towns; the cathedral of Guatemala preserves a copy of his fifth-tone mass.
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