He made his debut in 1900, and concertized for more than forty years, making tours of the United States, Australia, New Zealand, and (eleven times) Russia. Born in Vienna in 1879, Galston studied at the Vienna Conservatory and then, from 1895 to 1899, with Theodor Leschetizky. Gottfried Galston is one of those many musicians who achieved great success during their lifetimes, and were widely praised and honored, but whose names today are almost entirely forgotten. Bergquist (Boston), Gottfried Galston: A Forgotten Pianist. Although these busts were made by two different sculptors-Eusebi Arnau (1864–1933) and Pablo Gargallo (1881–1934)-both of them were sketched by Lluís Domènech i Montaner (1850–1923), the Palau’s main architect, following international models.
The second one is inside, framed with Doric columns and placed in the proscenium above it, an impressive sculpture depicting Wagner’s Die Walkÿrie cavalcade rises. The iconographic program includes two busts of Beethoven, one of them located outside, in the balcony of the main façade, together with the sculptures of other composers (Palestrina, J.S. The Orfeó was one of the institutions of that period which contributed the most to expanding the modernist ideals in fact, the Palau is considered one of the masterpieces of the Catalan Modernism: it combines an iron structure with a rich decoration including not only the floral style characteristic of the fin-de-siècle but also a complex iconographic program essentially consisting of the convergence of universal music and the popular Catalan music. It was commissioned in 1904 by the Orfeó Català, a renowned choral society founded in 1891 by members of Barcelona’s bourgeoisie. The Palau de la Música Catalana is a concert hall built in Barcelona between 19, following the ideals of the so-called Catalan Modernist style (the Catalan equivalent to a number of other fin-de-siècle art movements such as the French Art Nouveau, the German Jugendstil and the Vienna Secession). Jordi Ballester (Universitat Autònoma de Barcelona), Beethoven Depictions in the Palau de la Música Catalana and Their Symbolic Role in Barcelona’s Musical Context at the Beginning of the 20th Century. Such a dual vision of the goddesses is common in Egyptian thought, and it is an iconographic archetype like that of the Two Maat in the Osiris Hall of Judgment. The polychrome shows Meret of Upper Egypt in a red dress and crowned with a lotus flower headdress and Meret of Lower Egypt is in a blue dress. In the temple of Ramses II at Abydos, the goddess stands in the royal boat, facing the pharaoh, with her characteristic gesture, raising both hands to the level of her face. In the visual representations, Meret usually appears unfolded in two women who are so close that they can hardly be distinguished from one another. Her headdress is a bouquet of papyrus or lotuses, and it has been suggested that the origin of the sistrum may have been the sound produced by shaken papyrus bouquets. The sound then accompanied the movements, creating the music performed by the dancers. Sometimes, the object placed at the end of the wig could be filled with beads producing sound as an idiophone. Its use served to underline the circular evolutions of the dances, likely evoking astrological evolutions. Her wig usually ends in a small curl, or a small circular object that was worn by the dancers.
Her usual iconography is a compendium of all musical arts: her headdress evokes the sistra she is a musical director, harp or sistrum player, and singer and she is also related to dance. Amparo Arroyo de la Fuente (Asociación Española de Egiptología), The Goddess Meret: Iconography of a Personification of Music in Ancient Egypt.Īncient Egyptian goddess Meret (Mert or Merit) has been a protector of singers, holding the epithet “Mistress of the Throat” or “Lady of the Throat”.
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