| composer | Llompart Rexach, Antoni |
| original copyright | CC |
| publisher | La Federació Balear de Bandes de Música i Associacions Musicals |
| genre | March |
| instrumentation | Modern instrumentation; New edition |
| notes | Col·lecció Passacarrers, No. 5. Edited by Miquel Barceló Oliver and Joan Antoni Ballester Coll. |
| parts | Download parts |
| score | Download score |
| performance | Dorico-generated MP3 |
| also available | |
| change date | 2025-05-15 New |
The Passacarrers collection
Bands from all over the island of Mallorca have accompanied, and continue to accompany, the most significant moments in the lives of their people. In many cases, they parade with original music that has become an integral part of the celebration itself.
The Passacarrers collection was created to contribute to the preservation of this music which was made to be played while walking. At the same time, it aims to expand its reach beyond its traditional niche and make it accessible to a wider audience.
This music, which can range from funeral or processional marches to pasodobles and fast marches, is highly local. Many of these compositions are the work of musicians or directors from the bands themselves. Naturally, these are handwritten works that have been copied numerous times, with modifications made by different directors to adapt to the specific circumstances of each moment in the band’s history.
An exclusively digital edition has been prepared, including a complete score for the director and parts in march card format for the instruments.
With the publication of this new collection, the Balearic Federation of Music Bands and Music Associations seeks to disseminate the music of our bands beyond the boundaries of the individual towns where they are performed. By sharing these works, we aim to make them more widely known and to contribute to the preservation of the musical legacy of Mallorca.
Antoni Llompart Rexach and Quiebros y Gaoneras
Antoni Llompart Rexach (Inca 1897 – Palma 1990). Clarinetist. Director and Composer.
He began his music studies with the teachers Onofre Martorell and Josep Rotger. At the age of ten, he made his debut as first clarinet in the Inca Municipal Band. At the age of sixteen he entered the Music of the Palma Infantry Regiment No. 61 as a student. He studied clarinet with Josep Picó.
In 1922 he was appointed first class musician of the Regimental Band and later in 1933 he took the post of deputy director of Military Music, being assigned to the Palma Infantry Regiment No. 28 (resulting from the reunification in 1931 of the Palma No. 61 and Inca No. 62 regiments).
He was a solo clarinetist for the Regiment Band and the Mallorca Symphony Orchestra.
In 1937 he became part of the Regiment’s Symphony Band (renamed Palma no. 36 after the fascist coup d’état of 1936), as solo clarinetist and deputy conductor.
He directed the music bands of Esporles, ‘La Aldeana’ of Son Serra, of Inca, of Alaró and of Algaida.
On December 8, 1981 on the occasion of the First Meeting of Music Bands he directed all the bands performing La Balanguera and Himno Nacional Español.
Among his compositions are military marches (or pas doble) for bands such as Almogàvar (1927), El glorioso crucero Canarias (1937), El tercer batallón (1933), Sagunto (1938) with bugles and drums, El primer batallón (1931) with bugles and drums, and El 28 de línea (1931) with bugles and drums. Other compositions that belong to the same category or the pasodoble (as we find them referred to as pasodobles) are: Fávea (1962), Fin de fiesta (1922), Las Manolas (1922), Pinos de Bellver (1962), and Simila, Tierra Santa and Unión Deportiva Aldeana (1925).
In addition, we find the funeral march for band Piedad (1933) and the military retreat for band Noche de gala (1925). He also composed the mazurka Turbina and the pasodoble torero that occupies us on this occasion, Quiebros y Gaoneras (1929).
Regarding concert music, his compositions include the pasodobles Antolín Javier (1935), España Nueva (1939), Laberinto 24 (1984), Los dos amigos, Marte (1927) and a work for clarinet and band, Capricho de Clarinete (1938).
He also composed music for orchestra such as Dear John, No tenía que haber pasado and No trespassing. To finish we find two pieces of which for the moment we only have the titles, Rojo capullo and Variaciones de saxo en mi bemol y clarinete (1939).
About this edition
This edition is based exclusively on the handwritten material preserved in the archive of Bartomeu Garau Lladó, maestro of Tomeu, who was deputy director of the Banda Lira Esporlerina when Antoni Llompart directed it and later was the director. Before his death, Antoni Llompart gave the scores he kept to his friend Bartomeu Garau Lladó and this archive is currently preserved by his son Bartomeu Garau Moranta, who has allowed us to study them.
The current piece is called Quiebros y Gaoneras. A score in C and a set of parts, all handwritten by Antoni Llompart himself, have been preserved. The manuscript cover clearly indicates that it is a “pasodoble torero” and is dated between 12 and 14 February 1929, although that could be the date of the copy.
The transpositions of some instruments have been updated, replacing the tuba or euphonium (bombardí) parts in B flat or E flat with others in C or F respectively. The parts of instruments that are not common today have also been adapted, rewriting the cornet parts for the trumpets and discarding the baritone, since it corresponded with the part for euphonium 1 (bombardí). In addition, the baritone saxophone part has been transcribed for the bass clarinet and a part has been created for the oboe, combining sections of the flute and the Eb clarinet. Finally, the flugelhorn (fiscorn) 2 part has been discarded, since it was an exact copy of cornet 2 and it is not common today to have two flugelhorns in our bands.
The whole work has been revised at the level of notes and harmony, its articulation has been revised and the variances between the different parts have been homogenized. Finally, some brass passages have been removed to make the instrumentation lighter.
