The CnmSPP Fonds is comprised of two sub-fonds, the Milans Fonds and the fonds assembled by the chapel masters of Sant Pere i Sant Pau parish church in Canet de Mar. The Milans sub-fonds was copied and collected by Tomàs Milans i Godayol between 1698 and 1714, when he was at the helm of the chapel at the Palau de la Comtessa in Barcelona, and it contains 526 of the 1,196 works from the “authored manuscripts” collection. This sub-fonds, along with the compositional repertoire of the chapel masters of the Palau de la Comtessa – Felip Olivelles, Tomàs Milans, Josep Picanyol and Bernat Tria – conserves copies of the works that the Palau received from the composers working around the Court of Madrid (Royal Chapel and the Convent of Las Descalzas Reales and the Royal Monastery of La Encarnación), as well as prominent masters of the cathedrals of Seville, Toledo, Málaga, Pamplona, Granada, Burgos and Ávila. The same sub-fonds contains numerous copies of compositions by the masters of the cathedrals of Catalonia and the most important centres in the territory of the former Catalan-Aragonese confederation, as well as those of Santa Maria del Mar and the Monastery of Montserrat. The Milans sub-fonds was moved to the home of the Milans family in Canet de Mar prior to 1747, and in around 1830 it joined the archive of the parish church, where it was mixed with the legacy of the masters from Canet. The second CnmSPP sub-fonds corresponds to the repertoire of the chapel masters of the parish church of Canet de Mar: Miquel Oller, Josep Saurí, Ramon Clausell and Isidre Jover.

The CnmSPP repertoire is essentially church-related in terms of both the genres associated with the liturgy (antiphons, Complines, Graduals, hymns, lamentations, litanies, masses, motets, offertories, passions, requiems, responsories, psalms, Salve Reginas, sequences, vespers) and the religious repertoire in romance (arias, cantatas, canticles, duos, gozos, oratories, rosaries, tones, carols). The timeframe of CnmSPP spans from the first third of the 17th century to the last quarter of the 19th century, making it one of the most important fonds in the study of Baroque music in Catalonia. Its cataloguing process was started in 1981 by the team of the Josep Ricart i Matas Musicology Institute at the UAB under the oversight of Dr Francesc Bonastre. The last phase in cataloguing was undertaken between February 2007 and May 2008, with the cooperation of Andreu Guinart i Verdaguer, during which the description of its catalogue records was completed and its definitive classification and organisation was established. The printed edition of its catalogue was issued in March 2009.¹

¹BONASTRE I BERTRAN, Francesc - GREGORI I CIFRÉ, Josep Maria (amb la col·laboració d’Andreu Guinart i Verdaguer). Inventaris dels fons musicals de Catalunya. Volum 2/1 i 2/2: Fons de l’Església Parroquial de Sant Pere i Sant Pau de Canet de Mar. Barcelona: Generalitat de Catalunya, Departament de Cultura i Mitjans de Comunicació, 2009.- Arxius i documents. Eines de recerca, núm. 5/1 i 5/2.

Fonds Factsheet

Acronym: CnmSPP

IFMuC Link: https://ifmuc.uab.cat/collection/CnmSPP?ln=en

Title: Fonds of Sant Pere i Sant Pau parish church in Canet de Mar

Archive and location:
Arxiu Parroquial de Sant Pere i Sant Pau de Canet de Mar
Carrer de l’Església, 21
08360 Canet de Mar

Contact:
Arxiu Municipal de Canet de Mar
Yolanda Serrano
Tel. 937 943 940
Email: serranosy@canetdemar.cat

Date(s): 17th to 19th centuries

Extent and medium: 4 file cabinets with 16 drawers in total

Creators:
Tomàs Milans i Godayol. Chapel masters of Canet de Mar

Download the complete fonds factsheet HERE

Main room of the Arxiu Parroquial de Canet de Mar (APCM)