Situated in the area of Sant Pere, the Palau de la Musica Catalana was planned and worked by planner Lluis Domenech I Montaner somewhere in the range of 1905 and 1908 and is one of the most meaningful structures in the Catalan Modernista style.
The structure was authorized by the Orfeo Catala, which had been established by Lluís Millet and Amadeu Vives in 1891, as a show corridor for choral works and old style music.
The Palau de la Musica still fills in as a completely operational show setting with a total and changed program of old style, contemporary music and flamenco.
In 1997, because of its design significance, UNESCO announced the structure a World Heritage Site so it is well worth taking a guided visit and, assuming there is any chance of this happening, attempting to see a show too.
In 1904, Joaquim Cabot, leader of the Orfeo Catala, appointed draftsman Lluís Domenech I Montaner to draw up plans for an Paco Plasmanistrative center and social community for the choral society.
Having had the monetary allowance affirmed, Cabot felt free to purchase the house of the Convent of Sant Francesc, which had a zone of 1,350.75 m², for 240,322.60 pesetas and with a spending limit of a further 600,000 pesetas, the primary stone was laid on April 23rd 1905.
At that point, Domènech I Montaner was one of the most significant men in Catalonia, both as a planner and as a political and social dissident.
A portion of his better known works in Barcelona at the time were the Castell dels Tres Dragons in Parc de la Ciutadella and the Editorial Montaner I Simon, presently the Fundacio Tapies.
After three years, on February ninth 1908, the structure was formally opened and won the Concurs anual d’edificis artístics from the Ajuntament de Barcelona that year.
The fundamental capacity of the assembly room was as a feature for instrumental music just as choral occasions and interpretaions by singular artists.
Notwithstanding, the space has likewise been utilized for plays, social occasions, political gatherings just as shows of contemprary music.
In 1971, the Palau de la Musica was proclaimed a National Monument and subsequently some rebuilding work was done under the heading of Joan Bassegoda and Jordi Vilardaga.
The two fundamental highlights of the Palau’s engineering are right off the bat, the structure’s iron structure which permits the free floor encased in glass, and besides, the remarkable nature of the figure and design.
Strikingly, the theater is on the main floor, which implies that the ground floor could be utilized as office and practice space.
The exterior, joins musically themed figures with compositional components in a modernista ornate style.
The parallel veneer at the intersection of Carrer Sant Pere més Alt and Carrer Amadeu Vives was the main passageway until 1989 and highlights a model portraying La cançó mainstream catalana by the craftsman Miquel Blay.
The model is practically similar to the front of a vessel and shows Sant Jordi underneath a female figure and encompassed by a mariner, ranchers, an elderly person and youngsters.
Given the restriction of the encompassing boulevards, it is quite hard to get a not too bad point of view on the figure, which as indicated by its engraving was finished in September 1909 and paid for by the Marquis of Castellbell, Joaquim de Carcer I d’Amat.