Music

 

Academic music

The cultivation of the academic music in Spanish America had its main irradiation centers

in the viceroyalties of New Spain, Peru and New Granada. The best in the Italian and

Spanish Renaissance polyphonic repertoire spread through the cathedrals of the mentioned

viceroyalties. Simultaneously, inspired by the works of Palestrina, Victoria, Moral, Warrior

and so many other, the chapel teachers resided in America or born in her, they begin to

compose then for the religious occupation in the predominant style in Europe. Of the

polyphonic writing to capella of the XVI century spends, in the following one and until

half-filled of the XVIII one, to the complex and rich Baroque style, characterized by the use

of the vocal counterpoint on a continuous first floor. Starting from 1750, the writing

contrapuntística goes being supplanted by another homofónica with a simple

accompaniment of 2 or 3 violins and occasionally some other instrument (oboes, flutes,

trumpets) on the continuous first floor. The old polyphonic carol, for stylistic influence of

the Baroque cantata becomes gradually from the XVII century a composition for soloist,

accompanied with under continuous and violins in which alternate the refrain with the

ballads in a succession of Aryan, duets and choirs. In another important gender of

composition like it is it the opera, America suffers the influence of the pleasure of the

reining house in Spain, the dynasty of the Borbones who you/they implant the Baroque

style and the Italian opera for singer's Carlo Broschi influence, Farinelli in the XVIII

century. The style musical European clergyman of ends of the century follows the prints of

the contemporary Italian opera, consistent in a succession of accompanied recitatives,

Aryans give boss and homophonous choirs. The production musical nun of this time didn't

end up having a defined style; it oscillated between the lyrical layman's expressions and the

technical conventions, between the accompanied monodia and the resources of the

symphony concertante. These expressions of the late Baroque spread for America and they

have an unusual bloom in 2 regions: You mine Gerais (Brazil) and Caracas (Venezuela).

Venezuela, county of mainly agrarian economy, didn't have opportunity to accumulate

wealth like they had it other colonies, with that which could pay all kinds of artistic

manifestations. In accordance with the preliminary study of The parochial but old book of

Caracas, made by Stephanie Bower Blank, the members of the society from Caracas of the

colonial period grouped in 3 very defined categories: the «superior class», the «common

people» and the «inferior people». The members of the «superior class» they were

characterized to belong to a family of conquerors or settlers, to be proprietors of vast

extensions of lands, to be regular of one commends and to exercise municipal occupations.

The «people of the common one» artisans and modest officials of European origin

integrated it. The «inferior people» it was constituted by all those that were not white and

that somehow they had a dependence bond with the «superior class» or with the stocking:

they were the Indians, mulattos, brown, zambo and black slaves. From the social point of

view this «inferior people» it was divided in «four main categories: slaves, commended

Indians, servants and brown or free mestizos». It is in fact of this category of those

«brown» and «free mestizos» that most of the musicians that cover the period that arrives

until the independence will arise.

The musical activities of Venezuela in the colonial period began and they developed the

same as in the other countries of America, like a necessity of the missionaries «…de to be

provided of good collaborators for the best service in the cult…», and conditioned to the

religious repertoire practiced in the temples to the service of the liturgy. It is not of missing

then that they should begin in the diocese that Clemente VII created in Suramérica: that of

Choir, by means of the bull Pro excellenti sent praeeminentia June 21 1531. Of the musical

activities carried out in the cathedral of Santa Ana of Choir anything it is known up to

1580, year in that brother Juan Manuel Martínez Manzanillo takes charge of the diocese

and it orders the writing of «…las first records capitulares of the cathedral of Choir that still

survive…» however, outside of the cantor position that carried out from a beginning Juan

Rodríguez of Grove, «ecclesiastical …buen, singer contralto and he has natural of

voice…», there were not other activities that the flat song for the mass and it saves her, due

to the extreme poverty of the region. In spite of all the Episcopal efforts, it never ended up

improving the situation of the music in chorus. June of 1637, 20 for real identification the

canonical adjournment was authorized from the headquarters to Caracas. As consequence

of this resolution «…fue ascended to the cathedral category the primitive parochial church

of Santiago from León…» starting from this date, the cathedral of Caracas will become the

center of the most outstanding musical activities in the country gradually. The professional

concern for the music really begins with the construction of the cathedral after the

earthquake of 1641. says José Antonio Calcaño that there were already at the beginning of

1657, besides the organist, 6 choir chaplains and a bassoonist. The following year it is hired

José Fernández Montesdeoca like tenor and treble. This way it was constituted with

permanent character a group of musicians with possibilities of executing the musical works

that required the most important ecclesiastical festivities.

The profane music also completed its part in the society from Caracas of the time. The

captain Francisco Mijares of Solórzano, «the main characters' of the city …uno, had in its

house (...) a big key that, later on, already for the year of 1669, had lent to the father

brother Felipe Salgado, of the convent of San Hyacinth….» The existence of such an

important instrument for the time as it was it the key, it implied the presence of one or more

performers of the same one, the practice and popularization of the musical repertoire

written in Europe for this instrument and a public able to enjoy it. Meanwhile, the musical

organization of the cathedral grew in such a way that already in 1671 it became necessary

to name a chapel teacher, position that relapsed in the priest's Gonzalo Cordero person.

Their functions as chapel teacher consisted on executing the organ, possibly the key and in

teaching «…a the singers of the chapter, to the choir children and other officiating ones of

the cathedral, so much sings plain as figured music [polyphonic]…» The group of

musicians of the cathedral integrates it from now on, the «chapel …maestro, sochantre,

organist, six chaplains singers [three of those which you/they also play instruments] and six

children…» In 1687, Francisco Pérez Camacho enters to act as chapel teacher, position in

which will be confirmed by the ecclesiastical Town council in 1693. Three years later,

«…el bishop Baños and Sotomayor trust the music class recently created in Santa Rosa's

Colegio Seminario, to the teacher of chapel of the cathedral….» Refers Héctor García

Chuecos that in the constitution octave of those formulated in 1696 for the régime of the

Real one Associate Seminar of Caracas that is about the distribution of the hours of the day

in the mentioned facility, it is read referring a.m. to that of 10 o'clock: «To whose hour the

Teacher of Music will go to give lessons of song plain to the seminars and other that want,

being governed by ampolleta in whose lesson will spend half hour (...) This class for

expressed disposition of the Bishop, was annexed to the position of Teacher of Chapel of

the cathedral that was it the presbítero Don Francisco Pérez Camacho for the date. (...)

Erected the University of Caracas and solemnly installed August of 1725, 11 the class of

Music passed to be part of the plan of studies of the new institute, in charge of the same

professor that read it in the Seminar.» Pérez Camacho is this way the first Creole that

consents then to the highest existent musical positions. In chapel teacher's position you

happens respectively: Silvestre of Half Villa, the father Jacobo Miranda, Ambrosio

Carreño, first of the musicians Carreño from Caracas who exercises the position between

1749 and 1778, it dates in that gives up; in 1789 their brother happens him Alejandro. So

that, starting from 1771, it dates of the canonical foundation of San Felipe Neri's oratory,

they existed in Caracas 4 teachers of grateful competition: Ambrosio and Alejandro

Carreño and the organists Manuel of Sucre and Pedro José of Osío, father.

The well-known musical movement with the name of School of Chacao is perhaps the most

astonishing that has been given in America, for the circumstances and projections of the

same one. Being contemporary of which took place in Rich Villa (you Mine Gerais,

Brazil), that of Caracas overcomes it and it is more difficult of to understand and to explain,

given the form in that it arose and it was developed. There are 2 fundamental characters

that are those that promote the formation of this school here: Juan Manuel Olivares like

educational, and the father Pedro Ramón Palacios and Sojo like enthusiast instigator,

financier and organizer of this unusual musical company that gave the formation as a result

of more than 30 composers and more than 150 instrumentalists. The father's linking Sojo

with the teachers of the time goes back to several years before the constitution of San

Felipe Neri's oratory. Already from 1765 «…venía the father Sojo using this teacher's

services [Ambrosio Carreño] in the organization of the music for San Felipe Neri's party

that took place every year in the Convent of the Monjas Concepciones…» Two

fundamental concerns disturbed the father Sojo after their ordination like priest in 1762: the

creation of a congregation nerista and the establishment of a music school. Both companies

were intimately related to each other. The real permission to be founded in Caracas the

congregation obtained it with the help of the marquis of Ustáriz in 1764. In 1769 it traveled

to Italy to obtain the authorization of the potato XIV Clemente who granted it to him for the

bull of December 4 1769. Of return to Venezuela and in passing for Madrid, took

advantage to acquire instruments and scores of profane music and nun of the time. Already

in Caracas, December of 1771, 18 bishop Mariano Martí installs the oratory. It was

summed up this way the father's aspiration Sojo of founding the congregation in which with

freedom you can serve to God using the art and the culture, more concretely the music, like

half of propagation of the faith. The father's second concern Sojo was the one of founding a

music academy to offer musical education to its protected. To the front of her it put to Juan

Manuel Olivares. Of this academy, with the teachings of Olive groves and the father's

orientations Sojo, a pléyade of composers that constituted the call School of Chacao arose.

Their name arose for the place where they met periodically to study and to execute music:

the country properties the father's Floresta Sojo, near Chacao, the father's San Felipe José

Antonio García Mohedano, also in Chacao and Bartolomé Blandín's country property (or

Blandaín) in what is today the Country Club. Besides these places, regularly they met in the

local of San Felipe's congregation, in the corner of Cypresses. The general Ramón of the

Square refers mentioning José Antonio Díaz, The Venezuelan farmer's author that «…el

only musician that there was then in Caracas of some knowledge was Juan Manuel

Olivares. The father Sojo took charge him the teaching of several youths that gathered with

this end, and it took to its country property of Chacao to pass seasons in that, helped of

Olive groves, it directed the teaching; and it was the music so it flourished among us…» it

Continues Ramón of the Square later on: «Olive groves, as professor, it ended up reaching

big knowledge in the art, those that transmitted to their pupils with ability, putting into

practice the good examples, and attracting them with the powerful stimulus of the

competitions». Although the opposing documentation until the moment doesn't allow to

deduce with who Juan Manuel Olivares studied, it is not venturous to suppose that he made

it with Ambrosio Carreño who had been other musicians' teacher, among them Beautiful

Bartolomé, or with Pedro José of Osío who if it didn't end up imparting him the first music

notions and to guide him in the art of the instrumental execution and of the composition,

well he could teach him the art of the production of keys in that which stood out. It doesn't

fit the smallest doubt that Olive groves had many pupils, but regrettably the probatory

documentation didn't appear up to now of which of them they were really it.

The integral composers of the School of Chacao cultivated the repertoire musical European

religious of the consistent XVIII century almost exclusively in masses, deceaseds' masses,

tedéum, save, motetes, gradual, offertories, psalms, hymns, deceaseds' lessons, lessons for

the Week Santa, condolences and tones for the Christmas. Just as it happens to the

repertoire of the other countries of Latin America, it is easy to check here, through the titles

that appear 2 very defined goods, keeping in mind their character and style: to) The

properly this religious music, with text in Latin, dedicated to the liturgical occupation, and

b) the profane music of thematic and religious spirit with text in Spanish, inseparable of the

religious festivities (carols, Christmas gifts, tones and condolences). The technique and the

style of the instrumental music and religious vowel and it profanes cultivated in Caracas

with evident influence of Scarlatti, Pergolesi and Sammartini, it improved sensibly starting

from 1789 with the knowledge of scores of Pleyel, Haydn and Mozart. The study and the

influence of these European teachers was not translated in a menial imitation, but rather, on

the contrary, the Venezuelan works accuse a personality and features that you/they

announce the formation of characteristic national. The connection of the existent musical

movement in the cathedral of Caracas toward half-filled of the XVIII century with the

arisen composers of the call School of Chacao, took place through Juan Manuel Olivares

work, Beautiful Bartolomé, José Francisco Velásquez, father, and others. Simultaneously

with the activities of these musicians, it was being formed in the academy a numerous

generation of instrumentalists and composers. Among the better known ones for the quality

and importance of their conserved work Cayetano Carreño figures, José Ángel Licks, Juan

José Landaeta, José Francisco Velásquez, son, Gallant Linen, Pedro Nolasco Colón, Juan

Francisco Meserón, Beautiful Atanasio and José María Isaza. Of this whole group of

musicians it stands out the work of José Ángel especially you Lick. It is the only one of all

them that it is to the height of the biggest American colonial composers. The poverty of

human resources, either as singers or I eat instrumentalists, it ennobles even more the

achievements obtained by their inspiration in works as their Three lessons for the

occupation of deceaseds, Regina, Popule Meus, Miserere and Mass in Re Save. Excepting

the Duet for violins of Juan Manuel Olivares and the Quartets for 2 flutes, violin and under

of Beautiful Atanasio, they are the profane works of concert of Juan Francisco Meserón the

only ones that know each other and they conserve in appreciable quantity. Toward 1821

Meserón appears resided with their family in the town of Petare, acting as chapel teacher

and managing founder of a music school. In 1824 it published in Tomás Antero's printing

in Caracas, the first text of teaching musical form in Venezuela whose title is Explanation

and knowledge of the general principles of the music. Meserón frequently uses in its

orchestra an or two flutes, 2 clarinets, sometimes in substitution of the oboes, a trumpet, a

bassoon and a trombone, besides the trumpets and strings. The instrumental disposition

used in almost all the works of the composers of the School of Chacao are similar to the

one that in Europe Giovanni Battista Sammartini practiced, Johann Stamitz, Carl Stamitz,

Christian Cannabich, F. J. Gossec, A. E. M. Grétry and F. J. Haydn in their first

symphonies.

Deceased the father Sojo in 1799, stopped the powerful and enthusiastic personality that

there was to exist cohesive the efforts of all the musicians arisen in that time. Starting from

then, the musicians were grouping around the main musical personalities progressively, and

they began an expansion movement that had been unprecedented in all America, if they had

not impeded it the rebellions and the War of Independence, with the unavoidable

consequences of social and economic uncertainty. The new musical movement left

profiling toward 3 areas of the country: guide (Cumaná), occident (Merida) and Caracas

that continued conserving the supremacy of the musical activities. In Cumaná, Beautiful

Bartolomé and José María Gómez Cardiel took charge of diffusing the tradition musical

inhabitant of Caracas; in Merida, José María Osorio carried out a versatile activity; in

Caracas, José María Montero, belonging to a family dedicated traditionally to the music,

pupil of José Luis Landaeta, continued with the tradition of religious compositions and

«tones». Two children of Cayetano Carreño: John the Baptist and Juan of the Cruz and José

Lorenzo Montero, among other, they project until half-filled of the XIX century the

characteristics of the colonial music of the School of Chacao. In Caracas, with the

beginning of the new century, the belonging composers in their majority to the relegated

class of the brown ones, begin to cultivate a new gender: the «patriotic song». For they are

inspired it by the existent popular songs and in the poetries of patriotic exaltation that

encouraged the revolution, as the American Carmañola, the American Song (for the one

that years later Gallant Linen would write the music) and the American Sonnet. Beautiful

Atanasio and José María Isaza, among other, they cultivated with enthusiasm the new

gender of the patriotic song, with the purpose of encouraging to the town in the attainment

of the social and political recoveries that themselves proclaimed. Of Juan José Landaeta

(according to John the Baptist Square) or of Gallant Linen (according to José Antonio

Calcaño) it is the patriotic song Gloria to the brave town, consecrated then as national hymn

by president Antonio White Guzmán in 1881.

Toward the decade of 1830 they begin to infiltrate in Venezuela the romantic ideas; they

made it first through manifestations of literary order in the press, in the social life and in the

theatrical representations. The same as in other countries of the continent, the social,

political and economic conditions, the shortage and precariousness of the scenarios of the

time (to mention some of the adverse circumstances), they didn't impede that the Italian

opera even given fragmentarily and without scenic action, was the main one in charge of

diffusing the musical romanticism. In front of these shy and sporadic «representations»

operatic, they are developed the romantic manifestations quickly «of living room» bounded

almost exclusively to the song and the instrumental piece for piano, violin or song and

piano. The key and the piano was even cultivated already during the XVIII century, but it

will be with the spirit and the ideas of the romanticism that a vigorous musical movement

will be developed centered around the piano, the one that initiate by the middle of the XIX

century, it will culminate with Teresa Carreño. The living room music evolved toward

forms and simple and accessible formulas to all the social classes and technical conditions

and its farmers' intellectuals. For that reason the repertoire for piano especially, is the one

that marks directions in that sense, propitiating the creation of formulas cadenciales that

invariably oscillated among the tonic, the dominant one and some other neighboring tones;

the melody, and in consequence the form, came determined by the application of the

number of compasses dedicated to the same one, those that always consisted on 4 or

multiples of 4. It is the time of the accompanied melody, of the virtuosity reduced

planístico to their more infantile expressions as the invariable repetition of scales quick, in

agreement arpegiados, 3 extensive trill, shakes, repetition of notes, chromatic passages in

third and sixth and many other formulas for the style. An interesting example and developer

of the importance and popularization that had the piano and other musical instruments, as

well as the repertoire used so much in the profane gender as in the religious during the

romantic period, gives it to us the following warning of the newspaper The Federalist:

«Music, Music and more Music. To the great bazaar. Italian operas: pieces of operas;

chosen Overtures for piano to 2 and 4 hands. Easy pieces and brilliant variations. Chosen

pieces for alone flute, flute and violin; for viol, viol. and piano, alone guitar and guit. and

flute. Trios for piano, violin, cello. Sacred music for orchestra for Diabelli, Cherubini,

Ruffuer and Haydn. Methods and studies for song for García, Panseron, Bordogni and

Rigliani, for piano, for violin, etc. music Instruments: Piano-fortes, etc.»

In the XIX century it disappears the hegemony of the temple like center of musical

activities and it begins to prosper the profane music in the first social living rooms and then

in the theaters. A characteristic example of this process was the artistic meetings in the

house of the Ustáriz, family of which was member Francisco Javier of Ustáriz, patriot and

musician. This situation was prolonged until having entered the XX century, time in that

you/they will begin the theatrical activities regularly and of concert. The instrumental

groupings, of ephemeral and incidental life, they had already made their appearance by the

middle of the XVIII century. In the XIX century, among the years 1819 and 1820 an

orchestra appears attributed to the Academy of Music been founded by Gallant Linen: the

Philharmonic Society. One year later, a new instrumental grouping that will work up to

1826 under the direction of Beautiful Atanasio and Luis Jumel arises. Toward 1831 another

Philharmonic Society is founded on the part of the previously noted ones again, to those

that José María Isaza was added. In the informations of this society, published in printed

leaf by Tomás Antero, it is said about the repertoire that you/they will be executed in the

concerts «…sublimes overtures and symphonies, forced concerts of diverse instruments,

and song pieces, being offered that everything is the most select thing in their gender….» In

1893, Celestino Lira founded the Philharmonic Santa Cecilia in Petare and the «band» of

the state Miranda. In these activities their son Germán Ubaldo happened him.

From ends of the XVIII century, together with the instrumental activities already

mentioned, the representations of comedies, tonadillas and sketches are plentiful in The

Count's theater. To these scenic manifestations sinks from 1808 the performance of a

«company» of French opera that wakes up the enthusiasm of the inhabitant of Caracas for

these lyrical expressions. From 1822, with the visit of artists lyrical Italians it begins to

prevail in the public's pleasure the Italian opera whose influence and more and more wide

repertoire, are of manifesto in the inauguration of the theater Caracas in 1854 with the

representation of Ernani of Giuseppe Verdi. In this theater April 26 1873 opened the opera

the composer's Venezuelan José Ángel Virginia Montero. This type of lyrical theater will

continue modeling the romantic aesthetic pleasure of the town from Caracas being

accentuated with the inauguration of the theater White Guzmán (today Municipal theater)

in 1881, with the opera The minstrel of Verdi. Of all the microforms cultivated in the

romanticism in Europe and in America: nocturne, preludes, fantasies, rhapsodies, Poles,

mazurkas, polkas, quadrilles and gangs, among other, 2 only rooted in the Venezuelan

town: the song and the waltz. The romantic repertoire will be enlarged gradually with the

cultivation of works for piano and it orchestrates; fantasies, rhapsodies and paraphrase for

piano, for orchestra and it stops band, on topics of operettas and of operas, gender with

which the romantic creation culminates. The romantic song was the expressive bed of the

maudlin aspects of the time and it was constituted in the base of the next musical movement

of nationalist orientation. But the technique employee in her harmonization, in the turn of

the melodies, is an inheritance received directly through the different generations of the

School of Chacao, especially of those «condolences» and «tones». Among the living room

dances, the waltz adapted, as made it in other South American towns, to the idiosyncrasy

of the Venezuelan town, changing its denomination for the one of «it waltzes». This «it

waltzes» Venezuelan modified his movement, being made more vivacious; the same thing

happened to his rhythmic figuration. It also adapted the expressive sense from their melody

to the musical practices of the town, by means of the use of the syncopation and of the

setback and of their formal division in 2, occasionally in 3 parts. The «great waltz» of

influence vienesa, of more than 3 parts, it is European or imitation of the European and

their popularization was made through the bands of the towns. These musical groupings

were the main agent utterer without a doubt in the whole country in the musical ways

cultivated during the XIX century and it leaves of the XX one. On purpose of the

transformations suffered by the waltz, Calcaño refers: «In Venezuela, like it also happened

in other Latin American countries, acquired the one an unknown rhythmic wealth it

waltzes in Europe. (...) The popular performers, when adopting the one waltz, they were

incorporating him rhythmic designs of the joropo, elements of the six for eight of some

Spanish or native dances, of the type of having tap-danced, and, also, an entire abundant

series of origin syncopations perhaps African, and we don't know to what extent of

indigenous sources. (...) We end up this way having in the one Creole it waltzes an

overlapping of different rhythms and until of different compasses that make in our it

waltzes kind of a counterpoint of rhythms». One of the most important teachers in the time,

pianist and composer of waltzes for piano, Salvador Llamozas, when explaining the form of

the Venezuelan waltz says that it is usually constituted by 2 parts, exceptionally for 3:

«First …la ordinarily written in the smallest way, is melancholic and leisurely; the melody

waves smoothly. (...) When beginning the second, the rhythm is vivified and it inflames,

and makes its explosion the enthusiasm. (...) comes the third part later to moderate such

transports of happiness, to settle down kind of a dialogue, festival and gallant; although of

ordinary it consists our it waltzes of only two parts…» The waltz was par excellence the

musical form of the period romantic Venezuelan; it was imposed toward the decade of

1870. With the variants characteristic of each region, you ended up forming a repertoire

that went from the popular thing to the most refined academic expressions. As long as the

popular repertoire of waltzes spread through small instrumental groups and of bands, the

most sophisticated waltzes were only written for the piano. While those were based on an

elementary harmonization, cadences and all acquaintances' rhythm, to the point that was

only written the melody giving the rest of course; the waltzes for piano were printed in

Caracas and in Europe and they made Gallic of the most exquisite and gleaned technical

procedures in the composition system for piano of the time. The period of bloom this way

almost embraces one century: from half-filled of the XIX one until the first third of the XX

century, to the point that Rházes Hernández López intends to call it «period of the

valsismo». He waltzes goes accompanied by the peak of the piano, instrument that it could

not lack home in the room of all that it was priced of learned and of possessing certain

social status. On this Alirio Díaz says: «…nunca like until then it had reached the piano

bigger acceptance in the refined society from Caracas, which ended up considering him an

important element in the feminine spiritual formation. Thanks to this we had, in the second

half of the XIX century, a conspicuous group of ladies pianists that you/they stood out

doesn't only eat brilliant interpreters, but also as excellent composers. (...) inside that group

who reached universal fame as interpreter it was Teresa Carreño, inigualable in their

time….» it Existed more than a hundred of pianists and violinists fond composers some,

professionals others. Some of these musicians were formed in Europe, others in United

States and most carried out their studies in Caracas with Venezuelan professors and

foreigners that taught in different official and private institutions. Among the numerous

pianists Venezuelan composers of that time they highlight: John the Baptist Abreu, pupil in

turn of José María Montero, Martín Díaz Peña, Sebastián Díaz Peña, Rafael María Saumell,

María Saumell, Jesús María Suárez, Narciso Salicrup and Salvador Llamozas who during

more than 30 years it contributed to the formation of several generations of romantic

pianists and the popularization of the music through their musical printing and of the

biweekly magazine of music and literature Venezuelan Lira that was founded in 1882.

The study of the piano was something fundamental in the education musical Venezuelan of

the XIX century; it proves of it is it the quantity of official and private music schools

disseminated by the whole country, in which preferably this instrument was studied.

Among them it should be remembered the Academy of fine arts been founded in 1849

especially, the Conservatory of fine arts directed in 1870 by Felipe Larrazábal, the National

Academy of fine arts (1887) and the Institute of fine arts (1897). In all them the most

important and forced program of studies was that of the piano. The biggest composers,

authentic representatives of the romantic musical movement are: Felipe Larrazábal,

Federico Villena, Ramón Thin Palaces, Teresa Carreño