Josep Reig
Josep Reig
Genres: 17th century, catalan
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About Josep Reig
Josep Reig (Peratallada, 1595 - Barcelona, 1674) was chapel master of Santa Maria del Mar in Barcelona from 1618 until his death. A follower of Joan Pau Pujol, he is one of the main composers who concluded what has been agreed to be called the first stage of the musical Baroque in Catalonia, characterized by the emergence of polychorality as a genuinely Baroque phenomenon and which lays its foundations with the initial presence of its most defining features: indistinct use of imitative counterpoint and homophony; recourse to rhetorical procedures; games of contrasts in the density, polychoral concerto and the presence of the bass continuo. In 1613 he was dismissed from the school of the cathedral of Barcelona, where he should have received the teachings of Joan Pau Pujol (1573 - 1626) and his predecessor Jaume Àngel Tàpies (?-1612), for having changed his voice. On September 16, 1618, at the age of twenty-three, he took part in the competition to be the chapel master of Santa Maria del Mar and won the position. In 1626, on the occasion of the passing of Joan Pujol, he was one of the auctioneers of his goods. On May 20, 1655 , he was appointed chapel master of Santa Maria del Mar ad vitam and on January 13, 1656, said perpetuation was confirmed following the pastoral visit made by the canon and archdeacon Sans. March 2, 1667: a council was held to discuss Reig's retirement. On May 24, 1669 , he requested that his assistant Miquel Rosquelles replace him , after more than 50 years of teaching. On March 22, 1673, it was decided and approved to give Miquel Rosquelles the succession in the position of chapel master once Reig had passed. On February 23, 1674, permission was granted to sing the organ song at the funeral of the chapel master. The manuscripts of his works were preserved in Santa Maria del Mar but were burned during the war, fortunately Higini Anglès had photographed them because they were together with works by Joan Pau Pujol, whose publication of the Opera omnia had begun. There were 9 booklets, one for each voice, bound in parchment, and they contained 26 motets by Reig and 17 by Pujol, also some vespers for the dead by Jaume Casellas. The notebook of the part of continuous accompaniment was located unscathed in the CEDOC. The fact that the collection mainly features motets by Reig and Pujol perhaps indicates the ties that could have existed between the two of them. An Absolta for 8 voices and accompaniment has been found at CdMar (Funds of the Parish Church of Sant Pere and Sant Pau de Canet de Mar).
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