A Study of Selected Nineteenth Century Puerto Rican Composers and Their Musical Output

Sponsoring Committee: Professor Roger P.
Phelps, Chairman
Professor John V. Gilbert
Professor Annette Baslaw
A STUDY OF SELECTED NINETEENTH CENTURY
PUERTO RICAN COMPOSERS AND
THEIR MUSICAL OUTPUT
Nélida Muñoz de Frontera
Submitted in partial fulfillment

of the requirements for the degree of
Doctor of Philosophy in the
School of Education, Health, Nursing, and Arts Professions
New York University
1988
r “ “—
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Nélida Muñoz de Frontera 1988
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NYU Release
I hereby guarantee that no part of the dissertation which I
have submitted for publication has been heretofore published and
(or) copyrighted in the United States of America, except in the
case of passages quoted from other published sources; that I am
the sole author and proprietor of said dissertation; that the
dissertation contains no matter which, if published, will be
libelous or otherwise injurious, or infringe in any way the copy
right of any other party; and that I will defend, indemnify and
hold harmless New York University against all suits and proceed
ings which may be brought and against all claims which may be
made against New York University by reason of the publication
of said dissertation.
Date
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Dedicated with love
to my aunt and godmother Gilda Rosa Marin,

who helped me in so many ways, and to my mother,
Nélida Marin de Muñoz Amato, who saw the first
stages and continued to inspire me from Eternity.
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ACKNOWLEDGMENTS
I wish to express my appreciation and thanks to all of those
who helped me during these last years of research. Many have been
mentioned in the text, including those interviewed, and those who
gave guidance in offices, libraries, museums and many other places
visited, including churches and centers of study. But my most sin
cere gratitude and recognition., goes to the personnel of the General
Archive, whose enthusiastic, professional and warm attention made
every visit to the institution a most special affair: Neftalí
Quintana and Gustavo Rivera (assistants.to.the archivists), Gloria
Rivera and Iris D. Meléndez (secretaries in charge of the photocopy
service), Hilda Chacón and Milagros Pepin (archivists who helped
to interpret, calligraphic traits), José A. Flores (archivist who
gave advice and counterchecked data), and Carmen Alicia Dávila (in
charge of the music section and the cataloguing division).
One senior citizen deserves special thanks because he was
never tired to talk about Quinton, and lent or gave as presents
many valuable documents on the composer. He is Felipe Monerau, an
octogenarian full of energy, and proud of being of service. Repre
senting Felipe Gutiérrez is an enthusiastic researcher who, al
though very busy with numerous projects, always had the time not only
to read some chapters of the dissertation, but to discuss them with
the researcher. He is Gustavo Batista, a distinguised performer
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HE------------ ' ---- ------------------------------------------------- ------

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and an outstanding human being. Also, a special mention has to be
made of the young pianist who one day fpund me at the Archive and
became so interested in the project of editing the unpublished
manuscripts of Morel Campos' danzas that he is already working on.
it, in spite of his busy schedule as performer and a-Master's stu- .
dent at Juilliard. . He is Félix Rivera, a .former pupil of-Profs.
Cecilia Talavera and Jesús Maria Sanromá.
For Gilda Rosa Marin there are not enough words with which to
thank her. She has read every page of the dissertation, given ad-:
vice on typewriting, idiomatic expressions, and local customs of
the San Juan society of her youthful years. She has even solved
many daily-life problems .for the-researcher, making it a point that
the investigation could and had to be finished. The sponsoring
committee who agreed-to supervise this research-has been particur.
larly helpful. Professor John V. Gilbert, who was the researcher's
first N.Y.U. teacher at the Puerto Rico's Residence Center, and
Professor Annette Baslaw, from the Languages Department, have given
their support. But the careful, prompt and wise suggestions of
Professor Roger P. Phelps were the most decisive factor for the
completion of this research work, and thus he deserves the greatest
part of this acknowledgment note.
Finally, but not least, my expression of thanks to my family.
Husband Guillermo, sons Carlos and Roberto, and daughters Nélida
and Margarita know perfectly well o f ’the sacrifices that a research
inplies, especially when it is being done by the mother of the house
hold. They always gave me. their love and helped me to keep my feet
down on earth when to them it seemed I was really far off.

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TABLE OF CONTENTS
ACKNOWLEDGMENTS iv
LIST OF TABLES x-
LIST OF FIGURES xi.
CHAPTER
I INTRODUCTION 1
Statement of the Problem 1

Subordinate Problems 1
Definitions 2
Setting fqr the Study 5
Methodological Procedures 8
Sub-problem One 8
Sub-problem TWo 9
Sub-problem Three 10
Sub-problem Four 12
Organization of this Study 13
II THE INFLUENCE OF INDIAN, AFRICAN AND SPANISH

CURRENTS IN THE MUSIC OF PUERTO RICO 14
The Indian Influence 14

The African Heritage 30
The Spanish Tradition 53
Religious Festivities 53
José Campeche 71
Bailes de garabato 76
Aristocratic Music 87
III FOUR NINETEENTH CENTURY PUERTO RICAN COMPOSERS:

FELIPE GUTIERREZ Y ESPINOSA, MANUEL GREGORIO
TAVAREZ ROPERO, JUAN MOREL CAMPOS, AND JOSE
IGNACIO QUINTON DEL ROSARIO 94
Felipe Gutiérrez y Espinosa 115

Manuel Gregorio Tavárez Ropero 135
Juan Morel Campos 156
José Ignacio Quinton del Rosario 174
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I
IV AN INVENTORY OF THE" MUSICAL:LPRODUCTIQN OF
GUTIERREZ, TAVAREZ, MOREL,.AND QUINTON 188
Felipe Gutiérrez y Espinosa (1825-1899) 196

Manuel Gregorio Tavárez Ropero (1843-1883) 213
Juan Morel Campos (1857-1896) 233
José Ignacio Qúintón del Rosario (1881-1925) 259
V MUSIC AS A REFLECTION OF THE PUERTO RICAN

CULTURE 279
The Influence of the Tainos 279

The African Influence 304
The Irfluence of Catholicism 319
Ri‘_szals and Prayers in Latin 320
Prayers in the Vernacular 343
Christian Festivities and Popular
Celebrations 354
Christmas and Three Kings' Day 354
Fiestas Patronales 356
El Carnaval 358
The Influence of the Bailes de Garabato or
Peasant Dances 359
Aristocratic Dances 371
Lanceros and Mazurkas 380
Polkas and Waltzes 388
Vals-Polcas and Contradanzas 394
The Zarzuela: Spanish Influence in
Vocal Forms 400
International Influences: Instrumental
Works 416
Overtures and Symphonies 417
Suites and Marches 422
Quartets, Trios and Duos 427
Sonatina, Barcarole, Ballade and Scherzos 430
Romanzas, Nocturnes, and Variations 430
The Fox-trot, an American Dance 432
The Puerto Rican Danza 434
Music as a Reflection of the Puerto Rican
Culture 472
VI SUMMARY, CONCLUSIONS, AND RECOMMENDATIONS

FOR FURTHER STUDY 479
Summary 479
Music as. a Reflection, of the Puerto Rican
Gulture 504
Conclusions 513
Recommendations for Further Research 514
BIBLIOGRAPHY 516
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APPENDIXES
A Felipe Gutiérrez*s Family Tree 543
B Baptismal and Death Certificates of Felipe

Gutiérrez 544
C Manuel Gregorio Tavárez's Family Tree 546
D Baptismal and Death Certificates ofManuel

Gregorio Tavárez Ropero*s family 548
E Juan Morel Campos' Family Tree 554
F Baptismal and Death Certificates ofMorel's

Family 556
G José Ignacio Quinton's Family Tree 564
H Baptismal Certificates of José IgnacioQuinton's

Relatives 565
I Abbreviations Used in Catalogues of Compositions 571
J Compositions by Felipe Gutiérrez y Espinosa

(Catalogue in Alphabetical Order) 573
K Compositions by Manuel Gregorio Tavárez

(Catalogue in Alphabetical Order) 602
L Compositions by Juan Morel Campos (Catalogue

in Alphabetical Order) 613
M Compositions by José Ignacio Quinton (Catalogue 702

in Alphabetical Order)
N Compositions by Felipe Gutiérrez y Espinosa 724

(Catalogue Classifying the Works According
to Their Themes)
0 Compositions by Manuel G. Tavárez (Catalogue 734

Classifying the Works According to Their
Themes)
P Compositions by Juan Morel Campos (Catalogue 739

classifying the Works According to Their
Themes)
Q Compositions by José Ignacio Quinton (Catalogue 769

Classifying the Works According to Their
Themes)
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R Lyrics of the Romanzas "Serenata," "Our Poet's, 777
Dying Request," "El Río Portugués y la
Noche," and "Duda."
S Documents Related to the Certamen Literario 780

Musical cf the Casino Puertorriqueño de
Manatí in 1911
T Morel's Danzas Recorded .by Sanromá in 'Relation 787

to Those Published ■(Instituto dé Cultura
Puertorriqueña- and.Others) -:
U Puerto Rican Towns Related to the Composers 791
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LIST OF TABLES
1. The Use of Tonality in Morel Campos1 Lanceros 381
2. The Use of Tonality in Morel Campos' Tanda de

Vaises 397
3. The Spanish Influence in the Selection of

Genre 405
4- Number of Works Showing International

Influence in the Selection of G;enre 435
5- The Use of Tonality in the Puerto Rican Panza

by Number of -Composit ions 471
6. Total of Compositions in Niumbers and Percentages 472
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LIST OF FIGURES
1. Felipe Gutiérrez's House 195
2. "Letanía" by Felipe Gutiérrez 204
3. Front Page of "Responso a Dos Voces" 209
4. The Cathedral of San Juan Bautista 212
5. The House and Bust of Tavárez 214
6. Teatro La Perla and Archivo Histórico de Ponce 216
7. Ponce's Main Plaza 220
S. Manuel Tavárez Colón 223
9. Last Page of "El 24 de Junio" 226
10. Front Page of "El Pastorcito" 227
11. Different Works with the Same Title 235
12. Danza "El Sopapo" 237
13. The Case of "Lamentos de un Cesante" 247
14. Historical Photos 253
15. Different Calligraphies in the Works of

Morel Campos 256
16. Front Page of "La Belleza" 257
17. "Aguinaldo" by Quinton 264
18. Front Page of José Ignacio Quintón: Obras

Completas 269
19. "A Orillas del Mar" 270
20. Jamily Tree of the Puerto Rican Danza 278
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F ........ ...
21. El Coqui by José I. Quinton 301
22. The Use of the Güiro in Morel Campos' "Puerto

Kico: Sinfonía Sobre Aires del Pais" 303
23. "La Borinqueña" in Aires del Pais by

24. "Danza Mulata" from Aires del Pais by

25. Crossed-Out Note on Page 3 of the "Kirie" in

Gutiérrez's 'Misade Requiem No. 2" 328
26. Passage from the "Kirie" in Gutiérrez's

"Misa de Requiem No. 2" 329
27. Page 14 of Gutiérrez's "Misa de Requiem No. 2" 332
28. Page 2 of Quinton's "Misa de Requiem" 334
29. B=ge 4 of Quinton's "Misa de Requiem" 335
30. "Letanías" by Juan Morel Campos 342
31- "Despedida a la Virgen" by Felipe Gutiérrez 345
32. Tavárez's "Chant des Mages" in Souvenir de

Puerto Rico, and Morel's "Aguinaldo" in
Aires del Pais 350
33. Aguinaldos No. 1 and No. 3 by José I. Quinton 351
34. Masks at the Sala Campeche of the Museo de Arte

e Historia in Old San Juan 359
35. The Seis de Andino, Published in 1910 364
36. The "Seis" Sections in Tavárez's Souvenir de

Puerto Rico and Morel's Airesdel Pais 365
37. "De Frente . . . Mar!" Pasodoble by

38. Seminario Concicliar San Ildefonso in Old

San Juan 377
39. Chapel at the Seminario Conciliar 378
40. Paintings of maestro Cordero and Francisco Oiler 379
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of the copyright owner. Further reproduction prohibited without permission.

41. The Teatro Yagfiez (now reconstructed) 383
42. Teatro Municipal and Alejandro Tapia y Rivera 409
43. Two Great Puerto Rican Ladies:

Amalia Paoli and Ana Otero 415
44. Fernando Callejo (1862-1926), and

Braulio Dueño (1854-1934) 419
45. The Centro de Bellas Artes in San Juan 420
46. Manuel Tavárez, Jose Campeche, "Virgen delRosario" 423
47. Edict Inviting Interested Participants to the

Gertarrn Literario Musical of the Casino
Puertorr icrueño de Manatí 426
48. Dining Room in Los Baños de Coamo, and Church

of Yauco 428
49. Living Room of the "House of the Puerto Rican

Family in the Nineteenth Century" at the
Museo de la Familia 477
50. "El Velorio," Painting by Francisco Oiler, at

the Sala :011er. Museum of the University
of Puerto Rico 478
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CHAPTER I
INTRODUCTION
Statement of the Problem
The purpose of this researcher was to provide a perspective of the
musical cultural life of Puerto Rico in the nineteenth century,
and to characterize this through the identification of selected
composers and several of their works.
Subordinate Problems
As subordinate problems inherent in the primary one, this
researcher proposed:
1) To provide background information on the three main cul
tural ingredients (Indian, African, and Spanish) which contributed
to the development of music in Puerto Rico up to the eighteenth
century.
2) To compile biographical information on four composers of
the nineteenth century: Felipe Gutiérrez y Espinosa (1825-1899),
Manuel Gregorio Tavárez Ropero (1843-1883), Juan Morel Campos
(1857-1896), and José Ignacio Quinton Rosario (1881-1925), giving
special emphasis to the local and international influences which
contributed to their musical production.
3) To prepare a comprehensive catalogue of the compositions
written by Gutiérrez, Tavárez, Morel, and Quinton, in order to
determine their musical production.

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4) Utilizing the findings of the historical background, the
lives of the composers, and their musical production, to make ob
servations on how the mentioned musicians reflect the Puerto Rican
culture of the nineteenth century.
Definitions
Many terms are used throughout the study and were defined as
the need arose, but the following ones provide an example of some
of the most used:
Aguinaldo is a religious folksong of. Spanish origin based on
texts praising Jesus, the saints or the angels. Prevailingly modal
it has simple melodic structure and follows the conventional pat
tern of refrain (estribillo)-stanza (copla)-refrain.
Bomba is a dance of African* origins that takes its name from a
type of drum. It is also a four-line stanza which is said when the
music stops in the dance of the seis. This stanza can be impro
vised or of generalized use, and can be satiric or romantic in
nature.^
Contradanza is a dance that became very . popular in France
during the eighteenth century. It is believed it took its name
from the English "country dance." In Puerto Rico it acquired great
popularity during the nineteenth century and was danced among the
high circles of society. Many couples, with the gentlemen on one
1 Willi Apel, Harvard Dictionary of Music, Second Edition, Cam

bridge, Mass.: The Belknap Press, 1972, 24.2*
2 María Cadilla de Martínez, Costumbres y tradicionalismos de mi

tierra. Enciclopedia Clásicos~de Puerto Rico, Barcelona: Edicio-
nes Latinoamericanas, 1971, II, 417-418:
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side and the ladies on the other, were placed side by side. One
couple began and executed the desired figures, so that the others
could observe. After it reached the last position, all the other
couples, one by one, had to imitate what had been done, without any
3
variations. Otherwise, it would be considered a dishonor.
Fiesta de cruz is-a festivity that began in 1787, the day after
a big earthquake in Puerto Rico. It takes place the third day of
May, when the Catholic Church celebrates the invention of the Sa-
4
cred Cross. An altar, where the Cross was placed, was decorated
with candles on a stairs of nine steps. Besides the prayers, nine
teen songs were included. Refreshments and typical food were
served afterwards. The fiesta de cruz festivity is linked to the
sung rosary (rosario cantado) tradition.
Garabato is an iron hook Used to.hang or hold things. It has
a characteristic shape ( J l > ).5 In Puerto Rico the word is used
to designate those types of dances used among the peasants. "En
Puerto Rico hay dos clases de bailes: unos de sociedad, que no
son otra cosa que el eco repetido allí de los de Europa; y otros,
llamados de garabato, que son propios del país . . . Además del
fandanguillo, cadenas y sonduro o matamoros, hay el seis y el ca-
3 María Luisa Muñoz, La música en Puerto Rico: panorama histórico

cultural, Sharon, Conn.: Troutman Press, 1966, 48.
4 Manuel Fernández Juncos, "Las fiestas de cruz," Enciclopedia

clásicos de Puerto Rico, I I, 445.
5 Diccionario enciclopédico de la lengua española, Barcelona: Edi

torial Ramón Sopeña, S.A., II, 1954, 1542.
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bailo, que completan el repertorio de los bailes de garabato."**
Author Manuel Alonso has written about them.
Güiro is a notched gourd with a stick; an in strument to be scraped
which is very popular in Latin America.^
Maracas are gourd or calabash shell shaker filled with dry
seeds, typical of the Caribbean countries, but known in Latin Amer
ica with different names: sonajas (Mexico), guazá (Colombia),

g
chinchín (Guatemala).
Retretas are night festivities in which persons walk the streets
with hand lights, carts, and music. The word comes from the mili
tary call for a retreat of the troops at night, so it can also be
applied to a military serenade or to a musical activity in the open,
air, and also to a series (tanda or retahila) of musical pieces

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played one after another.
Seis is a popular dance in Puerto Rico, originated in the
Catholic Church festivity of Corpus Christi, when children danced
in the temple with their heads uncovered. Gradually it became more
lively and was danced by the peasants.^
6 "In Puerto Rico there are two types of dances: some are of so
ciety, which are no other thing than an echo repeated there of
those of Europe; and others, called garabato, which belong to the
countryside . . . Besides the fandanguillo. cadenas. and sonduro
or matamoros. there are the seis and the caballo, which complete
the repertoire of dances of garabato." (Translations are made by
the researcher unless otherwise indicated.) Manuel Alonso, El ji
baro. in Enciclopedia clásicos de Puerto Rico, II, 250-251, 254.
7 Apel, 658.
8 Ibid., 504.
9 Diccionario enciclopédico ilustrado de la lengua española, 3031.
10 Cadilla, 417
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Zarzuela is the most.distinguishedtype of Spanish opera. It is
different from the ordinary opera in that the music is intermingled
with spoken dialogue, as in comic opera. Its subjects are not r e
stricted to comedy and its name comes from the Palace of La Zarzuela.
near Madrid. In the I7th century the zarzuela resembled the ballet
de cour in France, with elaborate stage productions adding ballets
and popular dances accompanied by guitar and castanets. After a
decline of this "aristocratic opera,", a 19th century national move
ment revived the zarzuela in a more popular form. The zarzuela
grande has three acts and the género chico has one a c t . ^
Setting for the Study
Studies about the musical history of Puerto Rico are not abun
dant, and no comprehensive work has been done. Donald Thompson
writes: "The nineteenth century offers a broadening panorama of
primary and secondary sources, for xsland life began to experience
increasing commercial movement, bringing with it the amenities of
secular cultural life and the pastimes of a literate and gregarious
middle class."^ The local musical environment during the first
half of the nineteenth century developed slowly, but when the South
American immigration took place, a new interest in music was no
ticed. The aristocratic soirées and the military music bands were
a source of interchange of musical ideas. The visit of foreign1

2
11 Apel, 931-932.
12 Donald Thompson, "Music Research in Puerto Rico," Educación,

October, 1982, 50.
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musicians such as Louis Moreau Gottschalk in the 1850's was proba
bly a source of initiative for the local composers, who began writ
ing in the second half of the century. This is wh y the researcher
has chosen the aforementioned period for this dissertation.
The four composers chosen represent a span of 100 years Cfrcm'
the birth of Gutiérrez in 1825 to the death of Quinton in 1925).
It is hoped that the findings of this research will help in the
understanding of this important century of Puerto Rican music.
Gutiérrez was from San Juan, the capital city located on the north
coast. Tavárez was born in San Juan but later on moved to Ponce,
which is the second largest city of the island, located on the
South coast, and the birthplace of Morel. Quinton was born in
Caguas, where Tavárez lived for a time, but lived most of his life
in Coamo, two cities in the interior of the island. B y choosing
to consider the lives and work of these musicians, the researcher
proposed to study the relationship.between them, seeking to find
similarities and differences of approach-in their- compositions.
The musical output of these composers is significant in terns
of quality and popularity; their works are frequently performed
today, specially those of Tavárez, Morel, and Quinton. Quantita
tive considerations indicate that Morel was the most prolific,
having composed more than 500 works. The urgent need for a com
prehensive catalogue of the musicians' compositions has been par
tially fulfilled here, but the researcher is aware that private
collections not presently available to investigators (such as
those of former Governor Luis A. Ferré, of the deceased pianist
Jesús María Sanromá, of Morel!s granddaughter Gloria Morel, and of.
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University professor Marcelino Canino, among others) will probably
disclose additional works not listed in this dissertation. The
available findings show that there are many works which remain
unnoticed by the public and unheard of, 'since they have not been
published yet.
All the composers chosen receive special mention in history
books, biographical compilations, and learned articles. Their con
tributions are considered significant for the cultural development
of Puerto Rico, and their experiences reflect the musical
environment of their times. The musical forms preferred, the self-
learning currents prevalent in Puerto Rico, the main international
influences, and the development of a cultural nationalistic ten
dency all show.themselves in the. compositional creations- of these
distinguished musicians.
This investigator tries to provide a "floor" for later generalizar
tians, covering aspects of the cultural history of Puerto Rico which
have not been researched fully. The socio-historical approach is
believed to be essential to understand the musical work of the com
posers. The interdisciplinary investigation also combines aesthetic
considerations, hoping to insert the musical creations in the proper
overall perspective. While compiling information which was formerly
dispersed and focusing it from a multisided view, the researcher is
aware that no country is homogenous because of the immigrants and
the subcultures, and that the musical life in Puerto Rico reflects
the complexities and diversities typical of any period researched.
Methodological Procedures
This research required the use of the historical methodology
since it inoolyed the systematic study of documents to answer ques
tions about the past. The sources used have been subjected to ex
ternal and internal criticism- to determine who wrote them, where,
.when, and under what conditions, and also to determine the accuracy
and worth of statements made. Primary and secondary sources, have
been* used, and different versions have been considered to eliminate,,
as far as possible, bias or prejudice. A chronological presentation
orients the narrative, but thematical subdivisions are the key to
the organization of the material.
Aesthetic inquiry is also used in the section which presents
the analysis of selected compositions. The researcher used the
method developed by Jan La Rue, and also follows procedures found
in research guides by Roger P. Phelps and Janice L. G o m .
Sub-problem One
To provide the background information 0X1 three ingredients
of the Puerto Rican musical history, the data are presented in a
narrative -form. Within a general chronological framework, the
writer describes the influence of the taino Indians, the Africans
and the Spaniards, and the way in which their cultural values co
existed.
Considerations of the Indians' ethnic origins, the relationship
between their way of living and the climate and geography of the
island, and their musical instruments and activities, are among the
topics presented in this section. Religious, educational, and ar-
i
tistic considerations are also presented while discussing the in-
. flnenqe of the African population that came to Puerto Rico due to
the slave trade fostered by the Spaniards. The African preferences
in terms of musical instruments and dances are emphasized. European
ideological currents, particularly Spanish cultural influences, are
focused from the musical point of view in order to show the mani
festations that come from Catholicism, regional and peasant dances,
and aristocratic social activities.
Sub-problem Two
To compile the biographical information on the four composers
. chosen, the researcher emphasizes the local and international cul
tural influences which contributed to their musical production.
Puerto Rico, in spite of its physical isolation, was relatively
-aware of the cultural trends of the world that surrounded it, such
as those from Latin A®e*ica and Europe. The lives of the composers
are discussed only after a presentation is made of the political,
social, and economic conditions of the island during the nineteenth
century periods that concern them. The objective is to avoid the
biographical narrative that is sometimes presented in a sort of
vacuum, thus trying to integrate the experiences and achieve
ments of the. musicians tor the .historical: period they represent
and reflect-
Secondary and primary sources are used in this section, which
was prepared using.the facilities of the Sala Puertorriqueña and
the Biblioteca de Música of the Biblioteca Lázaro (both at the
Ihiversity of Puerto Rico, Río Piedras Campus); the Biblioteca Ge-
i ' ;
necal (OldSan Juan); the Archivo Histórico de Ponce, the Museo de
Arte, and the Biblioteca Encamación Valdés at the Universidad
Católica de Ponce (all in Ponce); the library of the University of
Puerto Pico's Mayagiiez Campus, and the archives of the following
churches: Catedral de Nuestra Señora de Guadalupe (Ponce), San
Blas de Tllescas (Coamc), Dulce Nombre de Jesús (Caguas), Sari
Francisco (Old. San Juan), and Catedral Metropolitana (Old San Juan)..
Questions to be answered from the sources relate to the place
and date the composers were born, their relatives and friends, their
educational background and early experiences, obstacles encountered
in their careers, political and religious influences,: their.
compositional, interests, their performing and teaching activities,
and honors, received.
Sub-problem Three
To organize an inventory of the Puerto Rican nineteenth century
nnsinal .production is an important objective that needs to be
achieved. Thus, the researcher has included a comprehensive cata
logue of the compositions written by Gutiérrez, Tavárez, Morel, and
Quinton, in order to present their musical contributions. The com
posers'preferences in terms of the selection of genre, tonalities,
instrunents, and titles, are informative. They demonstrate their
professional training and are a reflection of the cultural environ
ment of'the times.
The catalogues related to this sub-problem classify the compo
sitions :in alphabetical order by titles. If a title is unknown, ids
genre serves the purpose. If there is more than one composition with •
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the gamp title, they axe compared to show the differences and simi
larities. If there are previous errors of cataloguing at the ar
chives, they are pointed out. Careful annotations are made of each
work, so that future researchers will find it easier to identify
works, and locate them in print or in manuscript.
Up to this point biographers have only provided brief mention
of the works, and related dissertations have not included comprehen
sive catalogues. Besides, the government-owned collection of the
Institute of Culture at the Archivo General in San Juan does not
have an organized index card file. It also has additional musical
rinrfgngg^g Tscsivsd through doü¿tictis but thsy have not been cata—
logued yet. Thus, the researcher has tried to compile the readily
available as well as dispersed material, also including information
found in private collections, such as those of Professor Gustavo
Batista (who has the largest collection of musical manuscripts
written by composer Felipe Gutiérrez), and of the Sociedad de Amigos
de Quintón. A series of interviews held by the researcher with rela
tives of the composers and prominent scholars have provided valuable
and previously undisclosed information, while pointing out the pos
sibility of finding additional compositions in other private
collections.
The researcher intended to determine the authenticity of the
manuscripts, to differentiate between original manuscripts and later ,
handwritten copies, to find the date of composition and the Opus
number of the works, and to annotate the earliest published edition
and subsequent ones, as well as the dedications and lyrics included.
W ~ ...
Sub-problem Four
To find out if the nineteenth century composers embody the mu
sical and general cultural heritage from previous generations» the
researcher utilized the findings of the historical background, the
lives of the composers, and their musical production. The objective
was to show in what way the compositions reflect the island’s
Indian, African, and Spanish traditions, the composers’ contempo
rary society, and the musical preferences of the period. The
evolution in compositional style, noticeable during the century
that fcegins with the birth of Gutiérrez and ends with the death of
Quinton, is illustrated through aesthetic considerations involving
style analysis in the large dimension, i.e., taking the works as a
whole. The composers' use of sound, harmony, melody, and rhythm
within the genre preferred is discussed through selected composi
tions. Photocopies of parts of the compositions are presented as
supporting evidence.
Additional catalogues, this time thematic ones, helped the re
searcher draw conclusions as to the musicians' compositional inten
tions and environmental influences. The categories included in them.
are: feminine proper names, feminine tfremes, sentimental themes,
masculine topics, nature, Puerto Rico (expressions, towns, food,
inr^rcirgnts, and others), and religious music.
A narrative form is used in this part of the research, which is
subdivüed further when the Spanish influence is discussed, in order
to inclrde the importance of Catholicism (Latin rituals, prayers in
the vernacular and social celebrations related to Christian festivi

ties) , bailes de garabato, aristocratic.dances, and.vocal, forms.
r~
13
International influences and, most important, the development of a
nationalistic tendency (in terms of the selection of genera,
rhythmic patterns, harmonic vocabulary, instrumentation, and
titles) are also analyzed. Related considerations, such as polit
ical references, typical expressions, and local customs are also
taken into account to explain how music is a reflection of the
Puerto Rican culture of the nineteenth century.
Organization of this Study
CHAPTER II traces the historical background of the Indian,
African, and Spanish heritage. CHAPTER III focuses on the nine
teenth century history and the biographies of the composers. In
CHAPTER IV the musical production of the composers is discussed in
an external way (works which are dated, have an Opus number, have
a dedication, have been published or remain in manuscripts, etc.).
CHAPTER V also considers the musical production using a triple,
simultaneous, and interrelated approach: the way in which it re
flects the Puerto Rican culture, the way in which it reflects the
composers' choice of genera, and the way in which the innovative
tendencies develop throughout one century of creative efforts.
CHAPTER VI presents the summary, conclusions, and recommendations
for further study.
Delimitations
Aesthetic analysis is mainly used to characterize dance
genres. Rhythmic considerations have been kept to a minimum since
the richness of patterns and the similarities among genres
justify a separate research.
1"
CHAPTER II
THE INFLUENCE OF INDIAN, AFRICAN, AND

SPANISH CURRENTS IN THE MUSIC OF PUERTO RICO
The Indian Influence
On April 17, 1492 Johan de Coloma notarized the famous Capi
tulaciones de Santa Fe, a document signed by the king and queen
of Spain giving Christopher Columbus the title of Admiral and the
permission to travel and discover new lands and seas. On May 4 of
the next year the Pope, Alexander VI, signed a Bull authorizing
these same monarchs of Spain, Ferdinand of León and Elizabeth of
Castille, the perpetual ownership of all the lands to the west of
an imaginary line traced from the Arctic Pole to the Antartic Pole
at 100 leagues west of the Azores and Cape Verde Islands. His
purpose was to entrust these monarchs with the responsibility of
educating in the Catholic faith the native people which they might
encounter:
Y allende de esto, os mandamos . . . procuréis enviar

a las dichas islas, hombres buenos, temerosos de Dios,
doctos,.sabios y expertos, para que instruyan.a los
susodichos naturales y moradores en la fe católica y
les enseñen buenas costumbres, poniendo en ello toda
la diligencia que convenga.1
1 "And beyond this we order you . . . to send to the mentioned land

and islands, good men, fearful of God, learned, wise and experts,
so they may instruct the above-mentioned natives and inhabitants
in the Catholic faith and teach them good manners, doing it with14
14
r
When Columbus finally reached Puerto Rico on November 19,. 1493,
there was behind him a complete philosophy of education already
traced out by the Spanish monarchs. This was his second voyage to
America, and the exact description of the discovery can be read in
the letter that Diego Alvarez Chanca wrote to the Cabildo of Se
ville on the occasion of the discovery of "another island called

2
"Burequen," where the caribe Indians usually came to conquer and
to take captives. The Admiral called_the island San Juan Bautista,
even if the native name Boriquén was preserved for common use (and
still is: the official hymn of Puerto Rico is called La Borinque-
ña).
Its inhabitants, which according to Rafael Picó numbered

3
between 25,000 and 30,000 at the time of the discovery, belonged
to the Arawak family, a group of people who came through the chain
all the appropriate diligence." "Bula de Alejandro VI en

favor de los Reyes de España," May 4, 1493, in Aída Caro Costas,
editor. Antología de lecturas de historia de Puerto Rico (siglos
XV-XVIII), San Juan, Puerto Rico: Editorial Universitaria, 1977,
22. All translations are the researcher123
s , unless otherwise indi
cated.
2 "Carta del Físico Diego Alvarez Chanca al Cabildo de Sevilla

dándole cuenta del segundo viaje de Cristóbal Colón en el cual des
cubrió la isla de San Juna," in Aida Caro, editor, 26. Further
descriptions of the discovery are found in "Descubrimiento de Puer
to Rico en el segundo viaje de Cristóbal Colón (1493) según las
Crónicas de Michoacán" in Eugenio Fernández Méndez, editor. Cró
nicas de Puerto Rico (1493-1797), Vol. I of Antología de Autores
Puertorriqueños, San Juan:.. Ediciones del Gobierno del Estado
Libre Asociado de Puerto Rico, 1957, 3-9.
3 Rafael Picó, Geografía de Puerto Rico. Part II: Geografía Econó

mica, Río Piedras: Ediciones de Universidad de Puerto Rico,
1964, 35.
w
16
4
of Windward Islands from the coast of Venezuela. These Indians
were called tainos (a word which is believed to mean "good") and
had a different'character from the caribes (of the Lesser Antilles)
who were considered more violent and cannibals. As he compares
them. Fray Iñigo Abbad y Las ierra, the eighteenth century chonicler
says:
Verdad es que por lo que respecta a usos y costumbres de

los pueblos, en todos se hallan algunos que nc son efec
tos del clima, ni de la situación, sino arbitrarios . . .
pero no es esta razón suficiente para gradual: a toda la: .
América.de un mismo carácter, no para vestir a los indios
de la isla de Puerto Rico del carácter feroz y costumbres
bárbaras de los caribes, porque habitaban las islas con
tiguas, declarándoles antropófagos . . . ; cuando a prime
ra vista resalta la humanidad y alegría con que hospedaban
a los extranjeros: su simplicidad, y creencia a cuanto se
les decía; el aborrecimiento con que miraban y castigaban
algunos vicios, especialmente el hurto y el incesto . . . 5
Archaeologists and historians have carefully studied the cul
tural groups of Indians in the Antilles, and after considering the
geographical and chronological variations, they have grouped them
into three Cultural Complexes: Archaic, Arawak, and Caribe.4

5
4 Héctor Campos Parsi, La música en Puerto Rico, Vol. Ill of La

Gran Enciclopedia de Puerto Rico, San Juan: La Gran Enciclopedia,
Inc., 1976, 3.
5 "It is true that with regard to the uses and customs of the
people, they have some that are not the effect of the climate, or
of the situation, but arbitrary , . . but this is not stifficient
reason to measure all 0f America with the same character, or to
attribute- the Indians of the island of Puerto Rico with the fero
cious character and barbarous customs of the caribes, because
they inhabited the contiguous islands, declaring them anthropo
phagi . . . ; when at first sight the humanity and happiness with
which they lodge foreigners is evident: their simplicity, and
belief in what they are told; the abhorrence with which they look
and punish some vices, especially theft and incest . . . " Fray
Iñigo Abbad y Lasierra. Historia geográfica, civil v natural de
la Isla de San Juan Bautista de Puerto Rico, 1959, 20.
r “ 7
17
In his description of each, Ricardo E. Alegria points out the
following characteristics:
The Archaic Cultural Complex had an absence of agri
culture, had no knowledge of' ceramics, led a seminomadic life,
dwelt in caves, and used implements made of silex and shells. Hus.
culture was still evident at the time of the discovery in Cuba, La
Española, Puerto Rico, and the Virgin Islands. Alegria discovered
numerous artifacts of stone and shell at the cave of Maria la Cruz
located in Las Cuevas de Loiza, as examples of the existence of
the Archaic Indians in Puerto Rico.*’
The Arawak Cultural Complex had? agriculture and a cannon
language. There were three manifestations in this Complex: sub-r
taino, taino, and ciguayo. The taino social organization was more
complex than the subtaino. since it was divided into three classes,,
each with its duties and privileges. The institution of the caci
que (chieftain) was also more developed, as well as its religion.
The ciguayos (meaning "long hair") were found by Columbus in La Es
pañola, and probably had their origins in South America. But they
were mistakenly called by Columbus caribes, since an invasion of
the latter group had broken the communication of the ciguayos with
their counterparts in South America. A prehistoric manifestation
of the Arawak Cultural Complex is called the igneri,^ and it is the
predecessor of the subtaino and the taino groups.6

7
6 Ricardo E. Alegria, "La población aborigen antillana y su rela

ción con otras áreas de América" in Aída Caro, editpr, 58.
7 See Ovidio Dávila, "La cultura igneri de Puerto Rico," in Aída
Caro, editor, 71-85.
F :
Il
ls
The Caribe Cultural Complex’ had recently arrived
in the Antilles by the time of the discovery of Puerto Rico.
Columbus applied the name caribe to all the Indians who were hos
tile to the conquest. Even Gonzalo Fernández de Oviedo called the
Indians of Puerto Rico caribes when they rebelled against the Span
iards. . Care must be taken not to confuse them, but the truth is
that the caribes helped the tainos against the Spaniards in 1511.
The influence of the caribes extended from Tobago to Vieques (an
island off the eastern coast of Puerto Rico); they had assimilated
part of the igneri culture (when they exterminated them in the
Lesser Antilles) and developed a culture similar to the tainos of
the Greater Antilles. Controversy still exists regarding canni
balism, because even though it was usually practiced in religious
ceremonies, it is also probable that the bones and skulls found by
the Spaniards in the homes of the caribes were only the remains
of their ancestors.
The taino Indians were copper colored as are many Indians in
America, shorter in stature than the Spaniards, corpulent and wall,
proportioned. They had wide nostrils, rotten teeth, a narrow
forehead, and a pointed head in the front and the back (this was
achieved by pressing their heads when they were born, so that the
g
shape would be rather conic). The warm climate of Boriquén
favored nakedness, which was propitious for the painting of their
bodies:8
8 Abbad y Lasierra, 21.
W : .
. . . andaban- enteramente desnudos, aunque pintaban su
cuerpo con mucha prolijidad y esmero, dibujando en todo
él .variedad de figuras horrendas con. aceites», jaguas, y
resinas viscosas que extraían de los árboles.9
One of the reasons for painting their bodies was that the oils
used protected the Indians from excessive heat and abundant pers
piration. It also defended them from the bites of mosquitoes and
other insects.
The Indians lived in bohíos or wooden houses that had no
windows. There houses were built high, over great wooden beams.
Again, the climate determined their way of living, since floods
due to excessive rail? in certain months of the year forced them
to elevate their homes. The house of the cacique was called caney
and a group of bohíos was called yucayeque. The hamaca, made of
filaments of trees, served as a hanging bed.
The regions of the island were governed by local caciques of
different valleys. These caciques distributed the tasks to be
done, and announced them as proceeding from the cemies or local
gods. The diviners, whom they called buhitis, were usually the
ones to interpret their authority over larger a r e a s . ^ When a
cacique died, one or more of his wives was buried alive with him.9
1
0
9 " . . . they walked completely naked, they painted the body

abundantly and carefully, tracing in all of it a variety of hor
rendous figures with oils, iaguas and viscose resins which they
obtained from trees." Ibid., 22
10 For a general description of the main towns in the island see

"Memoria y descripción de la isla de Puerto Rico, mandada a hacer
por S.M. el Rey don Felipe II en el año 1582 y sometida por el
ilustre Señor Capitán Johan Melgarejo, Gobernador y Justicia
Mayor en esta ciudad e isla," in Fernández Méndez, editor, Cráiicas
de Puerto Rico,. 109-134. There is a description of cacique
W
. . . debían enterrarse vivas una, o dos de las más
queridas cuando moría el cacique, y si no se ofrecían
voluntarias a enterrarse con el difunto, las obliga
ban para que lo acompañasen en la otra v i d a . H
They believed that the dead would be resurrected in a very beau
tiful country, where there would be an abundance of woodland with
animals to hunt and of rivers full of fish.
The Indians did not have to work, hard to eat. They hunted
and fished. The cayucos were the very small canoes which they
used to go fishing or to travel short distances in the rivers.
Agriculture was limited, since the Indians lacked the necessary
implements. But they planted c o m , sweet potatoes, and plantains,
the care of which was in charge of the women. Besides these, they
had few other activities, and so Abbad comments that:
Sus ocupaciones eran tan pocas como sus necesidades.

Pasaban los días echados en la hamaca, o sentados de
cuclillas sobre los talones, y sólo se movían con
gusto para bailar, jugar o satisfacer el hambre.121
2
Agüeybana by historian Gonzalo Fernández de Oviedo, De la historia

general y natural de las Indias, 1535, in Alejandro Tapia y Rivera,
editor. Biblioteca histórica de Puerto Rico, San Juan: Instituto
de literatura Puertorriqueña, 1945, 30.
11 " . . . they had to bury alive one or two of the most beloved,
when a cacique died, and if they did not offer themselves volun
tarily to be buried with the defunct, they forced them to accom
pany him to the other life." Ibid., 24. See the similarity
between the taino culture and the funeral rituals in such far away
places of the world as the Russian steppes with the funerals of the
Scythians in Ibn-Fadhlan, "The Rus on the Volga" in Ivar Spector,
editor. Readings in Russian History and Culture, Boston: Allyn and
Bacon, 1965.
12 "Their occupations were as few as their needs. They spent the

days resting in the hamaca, or crouched, and they only moved with
pleasure to dance, play, or eat." Gonzalo Fernández de Oviedo,
De la historia general y natural de las Indias. Book 16, Chapter 1
in Alejandro Tapia, Biblioteca histórica, 26.
r
After studying the way of life of the tainos, the role of. dance.
and music is more clearly understood in such a simple setting. Ihe

13
Indians celebrated the areito or dance ceremony, accompanied by
music, songs and drinking. For them the areito was not simply an
entertainment but a very serious and important occupation. It was
used for the celebration of wars (explaining the revenge they felt),
to mitigate the indignation of a cerní, to celebrate a birth, to cry
for the death of a friend, or to heal the sick.
Many people participated in the areito. On some occasions men
danced alone; on other, women danced alone, but many times they
danced together holding their hands. A guide directed them to fol
low rhythm and voice.
. . . e assí andan en tomo, cantando en aquel tono alto

ó baxo que la guía los entona, é como lo hace é dice,
muy medida é concertada la quenta de los passos con los
versos ó palabras que cantan. Y assí como aquel dice,
la moltitud de todos responde con los mismos passos, é
palabras, é orden; é en tanto que lo responde, la guía
calla, aunque no cessa de andar el contrapás . . . é
assí sin cessar, les tura esto tres o quatro horas y
mas, hasta que el maestro o guiador de la dan?a acaba ^
su historia; y á veces le tura desde un día hasta otro.
13 The word areito can also be spelled arreito, arreyto or areyto,

depending on the chronicler.
14 " . . . and thus they move around, singing in that tone, high or
low that the guide intones, and in the way he does and says, in a
very measured and concerted count of the steps with the verses or
words they sing. And in the way he says, the multitude responds
with the same steps, and words, and order; and while they answer,
the guide is silent, though he does not cease to mark the beat
. . . and thus without stopping, this extends for three or four
hours and more, until the teacher or guide of the dance finishes
his story; and sometimes it lasts from one day to another."
Gonzalo Fernández de Oviedo, De la historia general y natural de
las Indias, Book 5, Chapter I in Alejandro Tapia, editor, Biblio-
r - ..... :
I
22
The areito devoted to war was very expressive and colorful. It rep
resented the whole military campaign, including the departure of
troops, entrance to the enemy country, encampment, ambush, victory,
and capture of prisoners.^
An exact knowledge of the music of the tainos is impossible,
since the earliest chroniclers such as fray Ramón Pané and Padre
Bartolomé de las Casas were not musicians and could not transcribe
it. However, some anthropologists believe that there must be simi
larities beween the music cf the tainos,and that of the guajibo
Indians of Southern Venezuela and the Orinoco river.^
Eugenio Fernandez Méndez in his study of the art and mythol
ogy of the taino Indians points out:
Al tratar de las culturas antillanas, todos los autores

están contestes en apuntar que los gérmenes de la cultura
taina tienen su origen en Suraméríca, pero alcnzaron en
las Antillas un notable desarrollo probablemente por
influencia Mesoamericana.17
The only study that he found to contradict this assertion is the
one accomplished by Sven Lovén, with an emphasis on a North Ameri
can link. He considered many chroniclers including Hernando Colón*

1
5
6
7
teca histórica de Puerto Rico, 67. Notice the spelling of some

words, as used in the Spanish of the period.
15 A detailed description o± the areitos is also found in Francisco

López de Gomara, Historia general de las Indias y vida de Hernán
Cortés, 1553, Caracas: -Biblioteca Ayacucho, 1979.
16 See Ricardo Alegría's interpretation in Campos Parsi, 3.
17 "When the Antillian cultures are considered, all the authors

agree that the germs cf the taino culture have their origin in
South America, but that they reached in the Antilles a notable de
velopment, probably because of the Middle American influence."
Eugenio Fernández Méndez, Arte y mitología de los indios tainos de
las-Antillas Mayores, San Juan: Ediciones El Cemi, 1979, 4-5.
f.... ..... ‘.. 7

Ramón Pané, Pedro Mártir de Anghiera, Bartolomé de las Casas, Fray
' ■■ -- 18
Diego de Landa, Bernal Díaz, apd López de Gomara.
Evidence of the Mesoamerican cultural contacts of the tainos
is found in: 1) the famous and wrongly called collares or stone
necklaces (these objects suggest the Totonac and Olmec stone yokes);
2) the drums with a perforation (they are similar to the teponaztli
of Mexico and the mayohabau of the Antilles); 3) the ball game
(called pok ta pok by the mayas, tlachtli in Mexico and batey in
the Antilles); A) the use of flutes and shells for the dance; .and
5) the sacrifice by the bleeding of hands and feet in the Antilles,.
and of tongue, ears, and hands in Middle America.
Fernández Méndez believes that it is almost certain that these
affinities were obtained from the fourteenth century on. (since the.
absence of pyramids indicates no twelfth century cultural invasion
as in other places), even if the first invasion of tainos came to
the Greater Antilles between the years one and 350 A. D. At this
time the cult of the cerníes began to appear.
From chronicler Francisco Aguado, Eugenio Fernández Méndez
quotes an important description of a sacrifice wjth arrow of the
Indians of Puerto Rico:
Tomaron a este caballero y atáronlo a un árbol con recios

cordeles y despojándolo de las vestiduras que llevaba . . .
comenzaron a hacer sus bailes y regocijos y música . . .
trayendo sus arcos y flechas en las manos, cada uno lo ti
raba. • • •9
1
8
18 The contradictory evidence comes from Sven Lovén, Origins of the

Tainian Culture of the West Indies, Goteborg ; n.p., 1935, Ibid.,9.
19 "They took this gentleman and tied him to a tree with strong
cords and taking off his clothes , . . they began to dance happily
¥
The «amp relationship of music and religious ceremony was observed
by Fray Diego de Landa among the maya Indians:
. . . they stripped him naked and anointed his body with

a- blue color . . . all armed with bows and arrows danced
a solemn dance . . . The foul priest in vestment went up
and wounded the victim with an arrow in the parts of
shame . . . and [when] blood came down anointed the faces
of the idol with it . . . the dancers began one after
another to shoot, as they passed rapidly before him,
still .dancing . . . 20
The death of the Spaniard Don Cristóbal de Sotomayor by the In-
•dians of cacique Agueybaná is clear .evidence.- of the relationship
of religious cults, music, and ball games. Oviedo explains how
this death was decided in a ballgame, how an areito was held as a
purification ritual for the God of fire, and what interpreter Juan
González did one night:
. . . se desnudó una noche y se embixó o pintó de aquella

unción colorada . . . que los indios llaman bixá, conque
se pintan para ir a pelear, o para los areytos y canta
res . . . Juan González se entró entre los que cantaban
en el corro del areytc, vió y oyó coso cantaban la muerte
de Cristóbal de Sotomayor . . . 21
Taino songs were probably monodic (considering the reconstruct
ed instruments still available), were accompanied by percussion2

0
and play music . . . carrying their bows and arrows in their hands,
each one shot at him.. Fernández Méndez, Arte y mitología, 33.
20 Ibid., 33-34. Translation by the author.
2 1 . " . . . he stripped one night and painted himself with that red
ointment . . . that the Indians call bixá, with which they paint
themselves when they go fishing, or for the areytos and singings
. . . Juan González entered among the ones that were singing in the
chorus of the areyto, saw and heard how they sang the death of Don
Cristóbal de Sotomayor." Quotation from Gonzalo Fernández de
Oviedo in J em á n d e z Méndez, Ibid., 73.
W ..... .
25
and were probably doubled by flutes. Recent recordings, of the In
dian music of the Upper Amazon indicates that the melodic range
was surely narrow. Fray Pané believes that the Indians were attrac-.
ted to the Catholic faith because of the similarity between their .
songs and the ecclesiastical modes of the Middle Ages which they
22
heard in church. Nasal singing is believed to.be.typical.
A melody» mentioned-by Antonio Bachiller y Morales, author of.
Cuba primitiva, origen, lenguas, tradiciones e historia de los in-

23
dios de las Antillas Mayores y Cucayas, was formerly believed to
be an areito song devoted to the taino Queen Anacaona. However,
it has been subsequently recognized as a Haitian song of revolu
tionary origins, published by M. Drouin de Perci in his book De

24
Saint Domingue. de ses guerres. de ses resources. No original
taino melody is really known. Even the work written by Miguel
Velázquez, the son of an Indian woman, is missing. It is believed
that he preserved the native songs his. mother used to sing, but the
22 See Campos Parsi, 3. For further descriptions by Fray Pané see

"Relación de Fray Ramón Pané acerca de las antigüedades de los in
dios, las cuales, con diligencia, como hombre que sabe su idioma,
recogió por mandato del Almirante, Año 1505i" in Fernández Méndez,
editor. Crónicas de Puerto Rico, 13-52. Research on the rosario
cantado indicates that the Indians were devotees of this Catholic
tradition. It is believed that the first book published in America
was on the rosary.
23 Quoted by Maria Luisa Muñoz, La música en Puerto Rico; panorama

histórico-cultural. 8. She indicates that the book of Bachiller
y Morales was published in Havana in 1878. Cuban composer Sánchez
de la Fuente wrote an opera based on this melody.
24 Ibid. Muñoz does not .mention any other details on this publica-
tion.
IT ...... ” ' _ ....... " " .

25
document has never been found. Sadly, taino tunes are lost for-
ever. The musical instruments used by the tainos were:
The tambores or drums are ' described as moderate in size
and made of hollow tree trunks. They were said to produce terrify-
2g
ing sounds. The drums were not covered by animal skin. The ma
guey was the name of a type of drum which had two small tongues on
the top side and was played rhythmically by striking the top with a
wooden beater. Fray Pané describes something similar, mentioning
the local name of mayohabau. It is a very thin drum made of wood,

27
which could be heard at a great distance.
The name and the. instrument of the amaraca or maraca are still
in use today. The instrument probably proceeds from the Amazon and
Orinoco areas in South America. It is made from the higüera (a
gourd-like fruit), which when hollowed and dried is filled with
small stones. Otherwise it was also made of carved wood, or could
include a small pendulum instead of small stones. A wooden stick
is inserted through a small hole made on one of the extreme ends.
When used, it is held in a horizontal position and shaked with an
upward and downward movement. Sometimes the maracas were decorated
with small feathers of the papagayo bird, which were placed on the2
5
6
7
25 Ibid.
26 In other areas of America the skin of the deer was used, but
since there were no deer in Boriquén, the drum used no skin.
Ibid., 10.
27 See Fray Pané's description in Fernández Méndez, editor. Cróni

cas de Puerto Rico. 20. Abbad also mentions the tambor and the
amaraca. See Historia geográfica, civil v natural de la isla dé
San Juan Bautista de Puerto Rico. 28.
P.... :
top of the head of the instrument. It is believed that the Indians.
only used one maraca at a time. Campos Parsi believes that the
actual tendency of using two, one for each hand, is probably a tra-r
28
dition of African descent, although the actual baile de bomba
requires only one maraca.
The sonajero was an instrument made up of small stones,
teeth, seeds, marine shells or peels of fruits, which were joined
together using filaments of trees. They were tied to the forearms,
waist, legs, or ankles, so that they could be shaken while dancing.
It is believed that many Indians in the Antilles also used a fhyth-

29
mic cane decorated with shells, peels, and snails.
The güiro or güicharo is an instrument that was called guajey by
the Indians, since it was made from that fruit, from the higuera,
or from the elongated pod of the marimbo vine. In other parts of
the Antilles it is called carracho. After the fruit is hollowed,
a series of parallel ridges are carved close together, partially
around it. It is then dried and by scraping it with a stick or
wire, a rhythmic sound is produced. Animal bones were sometimes
used when the Indians wished the scraping to sound mournful, as
in the funeral rituals. The size of the güiro varies, and today
it is possible to obtain tenor, bass, and soprano güiros. Two
feet long is a common size, but they can be larger and wider, or
smaller and thinner. The thin one is known as the tiple. Some2
8
9
28 Campos Parsi, 5.
29 Maria Luisa Muñoz, La música en Puerto Rico; panorama histé

rico-cultural , 10.
r
28
researchers believe that the güiro and the maraca were among the
first instruments adopted by the Spaniards when they came to Puerto

30
.Rico.
The guamo was a type of horn- • made- of- shells called carru
chos. it was used for signaling across distances. Another common
name for these horns is fotuto. Until recently, there was a custom,
to use them to announce the entrance to and departure from a coffee
plantation, or to announce the proximity of a hurricane.
The pífanos wére small flutes- built from human or animal bones
or from reeds and rush. The Indians probably used them to accompany
the singers. While fragments of them have been found in archaeolo
gical excavations, little can be surmised as to their actual sound
and use. Whistles were also used and made in a similar way.
The Indians used their instruments to make magic conjurations,

31
to call to battle (a guasábara), to announce hurricanes or vic
tories, and to dance. There was always a group of musicians who
accompanied the cacique when, to make certain announcements, he
visited the yucaveque. They organized the gritas, an enormous
tumlt to frighten away the enemy. A grita included percussion

32
instruments and was reinforced with shouts and howls.3
0
1
2
30 See the reference to Richard James and Elizabeth Kneipple Van

Ifesen, Porto Rico. A Caribbean Isle. New York: Henry Holt & Co.,
1931, in Robert Pitzmaurice, "Music Education in Puerto Rico: A
Historical Survey with Guidelines for an Exemplary Curriculum," un
published dissertation for the Ph. D., Florida State University,
1970, 8.
31 Muñoz quotes Alvaro Núñez Cabeza de Vaca on how the Indians

tried to frighten away a hurricane in 1527, using flutes, tambou
rines and bells; La música en Puerto Rico, 12.
32 Campos Parsi, 9.
1 '.. .
Fray Iñigo Abbad describes the Indian areitos and explains
that they were accompanied by heavy drinking of the chicha. Since
this concoction produced drunkenness, the dancers often fell to the
floor from exhaustion and excess drinking. The chicha was made
from c o m and fruits by the women. According to Iñigo Abbad, the

33
Indians also got drunk by inhaling tobacco through the nostrils.
It is believed that what the Indians inhaled was the bark of a tree
which was scraped and placed in the nostril, in a ceremony called
cojoba. For the areito many Indians decorated their bodies with
34
garlands and feathers or with a large medallion called guanin.
Since the dance was very animated, some lost their breath. "He who
35
danced the most was the most esteemed."
Soon after the Spaniards began to colonize the island of Bori-
quén, the Arawak work force began to diminish to such.an extent
that by the middle of the sixteenth century it was practically non-

36
existent. The Indians, who had been forced to work in the mines
and had been distributed among the settlers by the repartimientos3

4
5
6
33 Abbad y Lasierra, 28.
34 A brief description and an illustration of a guanin is provided

by Luis Nieves Falcon, editor, in the children's book Yucayeque.
Río Piedras.: Editorial Edil , .1975, 8.
35 Francisco López de Gomara, quoted by Fitzmaurice in his disser

tation, 17.
36 There is a brief explanation on why the Indians were extin-.

guished (diseases such as measles, cold or romadizo, and small-pox;
also ill-treatment and the work in the mines) and the demand for
slaves in "Memorias y descripción de la isla de Puerto Rico, manda
da a hacer por S._M. el Rey Don Felipe II, el año 1582" in Aída
Caro, editor, 167-170, 178-181.
r ~ ..
37
(or distributions) were soon required to work in the sugar cane
fields, as the nines were exhausted. Being less suited for this
activity, they were gradually replaced by black slaves.
The African Heritage
Researchers indicate that there was no African immigration be-

38
fore the Spaniards came to Puerto Rico. The introduction of black
slaves to Puerto Rico was never requested by Christopher Columbus,
and after colonization began, the Spanish Crown did not believe in
sending slaves to America, even if the institution of slavery was
already recognized in Spain. But soon the monarchs changed their
minds and permission was given to don Nicolás de Ovando, the re- .
cently named Governor of the Indies, to bring slaves to the over
seas colonies. The Instrucciones of 1501 specified:
. . . nin moros nin xudios, nin erexes, nin rreconcyliados,

nin personas convertidas a Nuestra Fée, salvo si fueren es
clavos negros u otros esclavos que fayan nacido en poder de
crystianos, nuestros súbditos é .naturales.39
37 See "Ordenanzas para el tratamiento de los indios" in Aida Caro,

editor, 107-112. The 14th ordenanza requires that the Spaniards
allow the Indians to continue with their areitos on Sundays and
holidays.
38 Luis M. Díaz Soler, Historia de la esclavitud negra en Puerto

Rico (1493-1890), Madrid: Ediciones Revista de Occidente, 1953,' 4.
39 "Neither Moors, nor Jews, nor heretics, nor reconciled, nor per
sons converted to Our Faith, only if they were black slaves or
other slaves born under the dominion of Christians, our subjects
and naturals." From "Instrucción al Comendador de Lares,, Fray Ni
colás Dovando de la Orden de Alcántara, sobre lo que había de facer
en las Islas e Tierra firme del Mar Océano, como Gobernador deila."
Quoted by Díaz Soler, Ibid. Some historians believe that when Juan
Ponce de León came to Puerto Rico in 1509 with his family and 200
settlers, he might have brought some black slaves with him. But
the first official reference is of 1510 when the King wrote Ponce
t.
31
Hus, ladinos (or christianized blacks) were authorized in the
hope that they would be a positive agent to carry on the Catholic
faith among the Indians.
Exactly the contrary occurred: Blacks convinced the Indians
to escape to the mountains, seeking liberty; the black escapees
ware called cimarrones. Governor Ovando recommended a suspension
of the' entrance of bLacks to La Española, and Queen Elizabeth of
Spain favored his recommendation. Nevertheless, it was brief and
ineffective, since King Ferdinand revoked this decision soon after
Elizabeth died on November 26, 1504. Once more Ovando asked for
the-introduction of Africans to La Española, and on September of
1505 His Maj esty complied.
Special attention should be placed on the transitional period
when Pray Bartolomé de Las Casas and Fray Antonio de Montesinos
raised their voices and wrote condemning the unjust treatment of
Indians, because the Ordenanzas decreed in 1513 for the protection
of the Indians were not followed carefully. Curiously, the liber
tarian ideas of Las Casas were not intended for the Africans, for
whan he felt slavery was a natural state. After King Ferdinand
died in 1516, Las Casas visited the Regent Cardinal Francisco
Jiménez de Cisneros and insisted on the importation of bLacks:
La insistencia de Las Casas en el envío de esclavos ne

gros a Indias era consecuencia del temor general a una
posible hecatombe económica como resultado de la abolición
de León informing him that Gerónimo de Bruselas was coming to the

island and that he was bringing two black slaves with him.
W .... .... .
32
de la encomienda indígena sin haberse provisto otro tipo

de servidumbre•40
During the first two decades the introduction of slaves was
very restricted, but
. . . la escasez de brazo indígena y la indiferencia del

español hacia el trabajo manual puso al Estado en la ne
cesidad de desarrollar sus proyectos colonizadores median
te la utilización de esclavos negros.41
Gradually the native Indians, while withering away, left the white
conquerors and the conquered blacks to share what once was their own
island. Even if King Charles V proclaimed the emancipation of the

42
Indians in 1526, they gradually diminished in number.
Blacks were brought from the coasts of Africa (mostly from
Congo, 'Aigola, Guinea, and Gold Coast) and also from the island of
Mozambique. Spaniards soon preferred these imported slaves from
Africa, called bozales, who promptly replaced thé. ladinos. 'Campos
Barsi believes that the groups of Africans who have more strongly
influenced the Puerto Ricans, because of their racial intermingling
with the Spaniards, are: the achante and fante of Ghana, the cara-4
0
*
2
40 'Theinsistence of Las Casas on the sending of black, slaves to

the Indies was a consequence of the general fear of a possible
economic breakdown as the result of the abolition of the indigenous
encmrienda without providing for another type of servitude."
Ibid., 22.
4 1 " . . . the scarcity of native arms and the indifference of the

Spaniards towards manual labor placed the State in the need to de
velop its colonizing projects by using black slaves." Ibid., 6.
42 Fray Iñigo Abbad made a census in 1776, which was probably the
first one for the Island of Puerto Rico. Among the free population
(libres) he includes a total of 1,580 persons, probably Indians. The
other categories included are: priests, whites, free mulattoes,
blacks, slaves, and agregados.(farmers without land).
33
bailes from Niger, and the congos from French Equatorial Africa.
Of secondary importance are the yorubas, mendé, cangá and mozambj-

43
cues, which cane later cn in the eighteenth century.
From the seventeenth century on Puerto Rico's economy depended
partially cn the slave trade. The Spanish Crown instituted the
system of asientos (a contract of public right by which a particular
person or a company promised to provide the Spanish Government with
the blacks needed) due to the scarcity of laborers in the Colonies. ■
But scarce economic resources of the Puerto Rican hacendados (land
owners) did not allow the acquisition of slaves in sufficient quan-

44
titles to improve the decadent insular agriculture.
The lack of workers resulted in stagnation, and there were
periods when no contracts for slaves were made (as happened from
1615-1631); the settlers relied on contraband to supply themselves
with slaves. The English and the Dutch were the leading importers
of slaves in the Caribbean. The English introduced blacks illegally-
exchanging them for meat, pigs, tobacco, achiote (a red cooking4

3
43 See "Relación del viaje a Puerto Rico de la expedición de Sir

George Clifford, tercer Conde de Cumberland, escrita por el Reve
rendo Doctor John Layfield, Capellán de la expedición. Año 1598,"
in Fernández Méndez, editor. Crónicas de Puerto Rico, 135-136. It
includes a brief reference to a group of African slaves brought from
Angola, and a description of the main products of the island (ginger,
rice, corn, fruits and others). Also see Campos Parsi, 44.
44 Cuba, cn the other hand, wag., one of the Colonies most favored by
the asiento, system, and the arrival of blacks helped to develop the
segar cane industry. On the beginnings of the sugar cane industry
in Puerto Rico, see Arturo Morales Carrión, "Orígenes del capitalis
mo en Puerto Rico: Ponce de león como empresario," in Aída Caro,
editor, Antología de lecturas de historia de Puerto Rico (siglos
XV-XVUI), 199-216.
r ' ■
34
ingredient also called bixa), ginger, and other products. In 1680
Puerto Rico began to receive blacks from Senegambia; they were
known as mandingas. The illegal introduction of bozales favored
the reappearance of a smallpox epidemic in 1689.
After the overthrow of the Spanish rule in Portugal and Brazil
in 1640, the Spaniards cancelled their contracts with the Portuguese
asentistas, who had steadily supplied their colonies with slaves.
They decided to carry on the slave trade through the Casa de Contra
tación (Contract Clearing House) at Seville. Different companies
were granted the privilege of providing slaves for Puerto Rico; one
of the most remembered was the French Royal Company of Guinea.
In the second half of the seventeenth century many slave es
capees came from foreign colonies, seeking refuge in Puerto Rico
to gain freedom. A decree of 1664 had promised freedom to all those
blacks who professed the Catholic religion and would promise fidel
ity to the Spanish king. These blacks enlarged the group of negros
libres (free blacks), while the number of slaves remained stagnant.
Political changes in Europe, such as the ascension of King
Philip V, a member of the Bourbon Royal House of France, to the

45
throne of Spain in 1701, affected the economy of the colonies.
During the eighteenth century, and as a consequence of the
War of the Spanish Succession (during which Spain lost Netherlands,
Gibraltar, Milan, Naples, Sardinia, Sicily, and Minorca), the
45 Fernández Méndez studies the influence of European affairs on

the economy of the island of Puerto Rico. See Chapter IX ("El si
glo XVIII: rivalidades europeas en el Caribe"), and X ("Agricultura,
comercio y sociedad en Puerto Rico en los siglos XVII y XVlll: época
F ' ' .
slave trade was again interrupted and clandestine trade came from
Portuguese, Dutch, Danish, and English merchants. After the
Treaty of Utrecht in 1713, the English were given the right to
supply the colonies with slaves (4,800 slaves a year for thirty
years); from 1755 a number of Spanish companies also participated
in the trade. The French were also given permission to engage
in slave trade in 1780.
The enlightenment influenced the cultural and economic life
of the island of Puerto Rico. As Fernández Méndez comments:
Al principio del siglo XVIII el trono español fue ocu

pado por los Borbones, familia real francesa. La in
fluencia de Francia sobre España fue en este siglo
notable, introduciéndose costumbres e ideas nuevas que
frecuentemente chocaban con los viejos usos y costum
bres de los españoles. En cuanto a la administración
de Puerto Rico y las colonias americanas de España,
los reyes llevaron a cabo numerosas medidas favorables
de reformismo ilustrado estableciendo hacia fines de
siglo la libertad de comercio y abriendo nuevos puertos
de España al comercio de América.46
The visit in 1765 of General Alejandro O'Reilly, the king's confi
dant and a former governor of Cádiz, was a very important event.
On his return to Spain he presented his written report on the*

4
6
de contrabando") in Historia cultural de Puerto Rico (1493-1968).

San Juan: Ediciones El Cerní, 1971.
46 "At the beginning of the eighteenth century the Spanish throne

was occupied by the Bourbons, the French Royal family. The influ
ence of France over Spain was very notable in this century, while
new customs and ideas were introduced which were often opposed to
the old uses and customs of the Spaniards. In terms of administra
tion in Puerto Rico and the Spanish American colonies, the kings
implanted numerous favorable measures of enlightened reformism,
establishing by the end of the century freedom of trade and open
ing new ports in Spain for the commerce with America." Fernández
Méndez, Historia cultural, 199.
State of the defense, the military personnel and the fortifica
tions.^ The reforms decreed after O'Reilly's visit decidedly
emphasized the need for additional manpower in order to stimulate
the economy.
New ideological currents arrived as a consequence of the
independence of the United States in 1776 and the French Revolu
tion of 1789. Slave trade, as a free commercial enterprise, was
allowed from 1791 to 1866. There was an increase in the slave
population of the island, and a gradual evolution toward capital
ism. Humanitarian ideals were also popular. An Anglo-Spanish
Treaty of December 19, 1817 prohibited the Spanish subjects from
buying slaves on the coasts of Africa, north of the Equator.
Three years later the same prohibition was extended to the slave
trade south of the Equator. Therefore, the purchase of slaves was
done mainly in St. Thomas and the Lesser Antilles. After the
Anglo-Spanish Treaty of 1835, condemning once more the commerce
of slaves, a motion was presented in 1837 in a session of the
Spanish Cortes for the abolition of slavery, with indemnity for
the slave owners. The black population had to wait until the
approval of the Moret Law of July 4, 1879, enforcing freedom to
all slaves over 70 years of age. Final abolition was granted on
March 22, 1873, after the fiery debates in the Spanish Cortes.
Díaz Soler concludes that in the second half of the nineteenth
century almost everyone was convinced that slavery had ceased to be.4
7
47 See "Memoria de D. Alejandro O'Reilly sobre la Isla de Puerto

Rico, año 1765" in Fernández Mandez, editor. Crónicas de Puerto
Rico, 239-269.
r_----------------- - .
37
the base of the economic structure of Puerto Rico.^ Landowners
had not acquired a great number of slaves since they were not very
wealthy, and emancipation was expected.
The life of the slaves was pitiful. They had to be branded
on the back, the shoulder, or the face with a red-hot iron called
the carimbo. Punishments were instituted according to the trangres-
sions incurred by the slaves: 1) flagelation; 2) calza (an iron
tied to the foot of the slave); 3) ramal (a weight of. twelve pounds
tied to the calza): 4) boca abajo (the slave was tied face down to
four posts on the floor; if the slave was pregnant, a hole was dug on
the floor so that the fetus would not be harmed); 5) cepo (an in
strument of torture with holes for the head, feet, or hands); 6) gri
llete (a large iron ring or hoop with a bolt used to tie the slave
with a chain to the wall); 7) mono (a piece of wood with three arro
bas. i.e., a Spanish weight of twenty-five pounds, tied to the gri
llete: a slave punished with mono and grillete had to carry that
piece of wood everywhere he went); 8) collares de hierro (ircn col-

49
lars that had to be bung around the neck of the delinquent slave).
There were three types of slaves in Puerto Rico: domestic,
de tala (who worked in the fields under the supervision of mayora
les). and jornaleros (the owners of these slaves rented them, for4
8
9
48 Díaz Soler, Historia de la esclavitud negra en Puerto Rico

(1493-1890). 118.
49 In the nineteenth century, when the slave rebellions became a

menace to Puerto Rico, after the violent rebellion in Martinica,
Don Juan Prim, Count of Reus, published the feared Bando contra la
raza africana (Order against the African race), specifying the
punishments in cases of theft, fights, the carrying of arms and
other transgressions. See Díaz Soler, Ibid., 219-221.
r .......
38
a salary, to work in government projects, or other jobs). The
ones that enjoyed greater mobility were the esclavos de tala.
since during the sugar harvesting period or zafra the blacks
worked in the ingenios and later were transferred to the haciendas
of the interior to work on the coffee plantations. The ones
enjoying a higher status were the domestic slaves.
Como resultado del contacto directo con los amos, el

esclavo doméstico tuvo la oportunidad de adquirir con
mayor facilidad la cultura occidental. Eran instrui
dos en el uso correcto del castellano como un medio
para que pudieran entender mejor las normas de vida
cristiana y las órdenes de sus superiores. Les ense
ñaban buenos modales . . . los mantenían limpios y
aseados . . . Las intimas relaciones entre amo y sier
vos fueron ingrediente básico en la formación del ca
rácter de ese tipo de siervo.50
If one understands the austera life of the black slaves, the
place of music and dance is clearly visualized: relaxation, memo
ries of happier days in their places of origin, preservation of
customs, and a desire to forget their present state. Since Span
iards regimented the time and place of the slave's diversion
(Sundays and days of precept from 3:00 p.m. to the ringing of
bells in the afternoon outside the walls of the city), care had
to be taken to obey these norms because any group that did not
comply was severely punished. After visiting Puerto Rico in the
year 1831, George Goggeshal wrote:5

0
50 "As a result of the direct contact with their masters, .the domes
tic slave had the opportunity of acquiring western culture with
greater ease. They were instructed in the correct use of the Span
ish language so that they could understand better the norms of
Christian life and the orders of their superiors. They were taught
good manners . .. they were kept clean and neat . . . The intimate
relationship between master and servant was a basic ingredient in
I
39
There have been imported, into the little bays of this

part of Puerto Rico . . . three small cargoes of African
slaves, say about 500 in number, men, women and chil
dren . . . The best looking and most healthy of these
miserable beings, had been sold to the planters and re
moved to their estates; the remainder were extremely thin
and sickly, and were selling at very reduced prices . . -
They had some rude instruments of music, such as banjoes
and large gourd shells with strings, which made a rude,
tinkling noise; on these instruments they were encouraged
to play, singing and dancing at the same time to keep up
their spirits. The venders of these negroes told me it
was absolutely necessary to keep them in a good-natured
mood, otherwise they would turn sullen, refuse all kind'
of food, and die from starvation.51
This observation certainly throws light on the importance of music
in the lives of the .black slaves: it really amounted to the
spirit of survival.
African slaves clung to the elements that characterized their
daily lives, including their religious cults, superstitions, attis-

52
tic: proclivities and love of music and dance. The Spaniards,
who were already influenced by the African cultures through the
Mediterranean contacts, especially in the coasts of Andalucía,
were naturally attracted by the music of these slaves:
La contribución del negro a la cultura puertorriqueña

data desde el momento de su aparación en las playas5
1
2
the formation of the character of this type of servant." Diaz

Soler, Ibid., 142.
51 George Goggeshall, Thirty six voyages to various parts of the

world, made between the years 1799 and 1841 (New York, 1858), 512:
quoted by Díaz Soler, Historia de la esclavitud neera en Puerto
Rico (1493-1890), 108. Besides the music and dance, the ilack
slaves played such games as pelota (a type of softball) and bochas
(a game where a big ball was thrown near a smaller ball that had
been thrown before).
52 Even if the Church intended all slaves to be Christianized, and

in Puerto Rico Catholicism made many advances, the cult to the Vir
gin and saints coexisted together with the pagan gods, witchcraft.
f ----------------------------------------------------------------------------------- .
40
antillanas. Con él arribaron . . . los ritmos misterio

sos y sensuales de su música, impregnada de esplritua
lismos propios del corazón de África, sus tradiciones y
costumbres.53
54
Fitzmaurice and Campos Parsi list some important influences
of the African cultures in the music of Puerto Rico:
The use of complex rhythms and polyrhythms was probably more
important than the melody itself. A prolonged reiteration was
typical, and the rhythmic transformation constant. It is believed
that the rhythms were a result of the different languages, reli
gious beliefs, and corporal gestures. This is why they are so
irregular. Only when they are incorporated later on to the social
dance do they become regular.
The constant use of percussion was another important element
in African music. It is still present together with the singing,
and emphasizes its vigorous accents.
The use of the silence is a contextual and expressive element.
Many Europeans interpret it as syncopation, but other musicologists
believe it is the result of invisible corporal movements."^ The
following are examples of the use of silences in African-derived
rhythms.5
4
3
and' sorcerers. The black custom of public velorios to mourn the

death of children and adults will be discussed,later in this chapter.
53 "The' contribution of the black to the Puerto Rican culture began
since their appearance in the Antillian beaches. With him arrived
. . . the mysterious and sensual rhythms of his music, impregnated'
with spiritualisms belonging to the heart of Africa, its traditions
and customs." Díaz Soler, Historia de la esclavitud negra en Puer
to Rico (1493-1890), 8.
54 See Fitzmaurice's dissertation,. "Music Education in Puerto Rico:
A Historical Survey with Guidelines for an Exemplary Curriculum,"
19-20, and Campos Parsii La música aft Puerto Rico, 47 t 48.
55 See the referen.ce to.Kolinsky and Herkowitz in Campos P-arsi, 47.
Í .. .
I
F i n __i y ¿ j
i 'u cJ — i i v
* ié¿¿ j u n y /
■y.F33¡ f í i \ ?J33 JT3 ?
J"a if 1J*3 f / FTñ5
65
7
The use of songs (formerly believed to be diatonic and of
pentatonic influence) might proceed from modal fractions '
brought from Africa. There are melodies of five or six sounds, and
many do not use the leading tone. While dance is virtually univer
sal, it is normally accompanied by songs built on a call-and-re-- ■
sponse pattern of solo and chorus.
The use of basic melodic units is needed to build larger
melodies. They are repeated with variations since the music is.
dependent on short phrases. Improvisations'are based.on pre
existing models.
African instruments contributed to the enrichment of music in
the island of Puerto Rico; •
The bomba, a waoden drum, is barrel-shaped and open at the bottcm.
It is approximately three feet high and its top is covered with
goat skin. Its African names are ngwoma, ngomo, goma, and nomo.
This drum is associated with a dance of the same name. The term
timba is also used for the same drum.**^
56 Campos Parsi, Ibid.
57 See Manuel Alvarez Nazario. El elemento afronegroide en el espa

ñol de Puerto Rico. San Juan: Instituto de Cultura Puertorrique
ña, 1961, 284-286, 290-291.
i
The bongó is a drum of -a smallgr size but also made of wood and
covered with a goat skin head membrane. It is often played in
pairs. Today's bongos are neither of Indian nor Spanish descent.
The Indian drums were not covered with leather, as they are today,
and Spanish ones had snares across the skin which were actioned by
the use of mallets. The actual Antillian bongos (without snares)
are played directly with the hands, following the African style.
Mallets, if present, are only used to hit the sides of the drum but
.. 58
not its head. African names are ngombo, bongungu and bongoo.
The cuá is a small.tanfcour with a single head. Its African names
are nkwa, nka and fua. The name has a Guineo-Sudanese origin and
it is also used to denote the sticks with which a drum is hit.
The sonajero, an African instrument, is the same as the Indian
maracas. Campos Parsi believes that during the Spanish period both
types were used freely and that it is difficult to establish the

59
exact origin of the actual maraca. The African sonajero was made
from coconuts.
The clave is a wooden box of small rf » and without skin. .It is
hit with small wooden sticks and is very much in use todav in
popular music orchestras. It is believed to be of bantú origin.
The cencerro is an instrument similar to the clave,mado of
metal and used to establish a constant rhythmic pattern.5

8
9
58 Ibid., 287-288.
59 Campos Parsi, 48.
r .
The palillos'are two pieces of cylindric wooden sticks used as
another percussive instrument. They are hit together to provide a
counter-rhythm to the drums and sonajeros.
The marimba also- has African nanas: mbila, timbila, .and nambira.
It is a primitive xylophone with bars made of wood and mounted over
a series of gourds which act as resonators. Manuel Alvarez Nazario
quotes a description made bv E. Pichardo in 1839, of a marimba which

X
he pla-ims could be the same as those of much earlier dates, and to
which reference is made in a comedy by Ramón C. F. Caballero called
la juega de gallos o El negro bozal. ^ A variant of the marimba is
the marimbula. ^ It is a wooden box with a circular opening cut on
the top side and with a system of tongues (made of wood or metal)
activated individually with the fingers. It is also known as sanza.
Originally it was a small instrument of the size of the palm of the
hand, but those in the Caribbean are very large. The instrument is
placed on the floor and the musician sits on one of its extremes to
play it. It can have up to twelve wooden or metal strips which

62
produce a deep and mildly resonant sound.
The passion for dance was one of the most important elements
of the African influence. The slaves danced to please the good
spirits and to frighten away the bad ones; they danced when they
were happy or sad, for love or vengeance. Muñoz quotes the work 6
0
1
2
60 Alvarez Nazario, 289, 387-393.

61 Donald Thopson, "Poor Man's Bass Fiddle," Caribbean Review
III/l (Spring, 1971), 11-13. — 1
------ — ---
62 Muñoz discusses its use in local groups along the south coast;
La música en Puerto Rico: panorama historico-cultural. 89.
r : ........
of Father Labat, Voyages aux Isles and his description of a black
dance in one of the Antillian islands:
Los bailarines se colocan en dos líneas, unos frente a los

otros, los hombres a un lado, las mujeres al otro. Algunos
espectadores forman un círculo alrededor de los danzantes y
de los tamboreros. El más hábil canta una canción improvi
sada, y todos los espectadores repiten un estribillo acompa
ñándose con el ruido rítmico de palmadas. Los danzantes
saltan, dan vueltas, se acercan, retroceden, hasta que el
tambor cambia el ritmo y les advierte que deben acercarse
los unos chocando con los otros . . . 63
Probably some of the black dances had a religious significance
and were included in the magical ceremonies directed by the quim-
bamba or priest.. In such ceremonies the pagan gods nr fetiches
were invoked, but no exact information is available about the
Puerto Rican black religious music.
African dances haye been better preserved in such coastal

64
regions as Fajardo and Loiza where the great sugar ingenios were
established and where the black slaves were sent to work, as a new
economic stage substituted the mining industry.^ Other areas as6

3
4
5
63 "The danceris place themselves in two rows, ones in front of the

others, the men on one side, the women on the other. Some spectators
form a circle around the dancers and the drummers. The most
capable sings an improvised song, and all the spectators repeat the
refrain, accompanied, by the rhythmic noise of hand-clapping. The
dancers jump, turn around, come near, go back, until the drum
changes the rhythm and indicates that they should approach clashing
with each other . . . " Muñoz. Ibid., 82. There is no exact refer
ence as to which .island is described.
64 A detailed account of'Santiago'Apóstol1s festivities at Loiza

Aldea is offered by Héctor Vega Druet in "Historical and Ethnological
Survey on Probable African Origins of the Puerto Rican Bomba,
Including a Description of Santiago Apostol Festivities at Loiza'
Aldea," dissertation for the Ph D, Wesleyan University, 1979.
65 See Chapter III ("La Isla se va despoblando: 1530-1595.") in

Díaz Soler, 43-63. The author includes a detailed analysis of the
scarcity of gold, the exodus to Perú and the need for black slaves
F
45
Guay ama, Salinas, Ponce, and Arroyo are also famous for the typical,
dance of the black slaves, called the bomba. ^ A brief description
of the bomba dance is offered by Muñoz:
Este baile de bomba, a pesar de los elementos extraños que

lo modificaron, posee muchas características propias de la
cultura africana: su voz melódica, de frases cortas y re
petición monótona; su ritmo impetuoso, vibrante, variado y
complejo, expresado con maravillosa precisión en los ins
trumentos percusivos; su forma dialogada entre voces e ins
trumentos, o entre los tambores . . . su carácter de baile
colectivo que requiere la compañía de voces, instrumentos
y espectadores. La improvisación es también un factor de
indiscutible importancia . . . ^
The bomba, a generic name for dances of African and AfrorAntil-.
lian origin, was a drum dance. The term bomba comes from gwomba
(in bantu language "to play the drum"). The bomba dances are di
vided in two groups: dances which probably originated in the coast
of Guinea and were developed in Puerto Rico, and dances brought
from French communities. Some bomba-dances have an African origin:
The cándungo or cañdungué is a dance that-is lively and
sensual. In Cuba the rumba dance was derived from it. The word 6
7
for agriculture, the sugar mills and the construction of buildings,

and roads.
66 The oldest written record of any African music tradition dates

from November, 1797, when Andrée Pierre Ledrú, a visitor to the
island, witnessed an African dance called bomba, at a party cele
brating the birth of the administrator’s first son in Don Balito's
farm-house in the town of Aibonito. See "Relación del Viaje a la
Isla de Puerto Rico, en el año 1797 por el naturalista francés,
Andrée Pierre Ledrú (fragmento)," in Fernández Méndez, editar. Cró
nicas de Puerto Rico. 335.
67 "This dance of the bomba, notwithstanding the foreign elements

that have modified it, has 'many characteristics typical of the
African culture: its melodic voice, of short phrases and monotonous
repetitions; its impetuous, vibrant, varied, and complex rhythm,
expressed with marvellous precision in the percussive instruments;
its dialogue form between the voices and instruments, or between
the drums . . . its quality of collective dance that requires the
company of voices, instruments, and spectators. Improvisation is
also a factor of doubtless importance . . . Muñoz, 86.
r
46
might come from a vegetable bowl, the candungo, or from a cele-

68
bration, the sandunga.
The cucalambé is a dance also in fashion in Venezuela. It
might be. connected with the black .dance called caracumbé
of Colombia.
The curiquingue is a bomba danced in circles and rows, with
a central 'couple' - that initiates • -the • movements. Its name
has a Peruvian, origin, meaning: bird of prey. In Ecuador
it is danced by;peasants.^
The cuembé is a bomba ..almost forgotten in Puerto Rico. In
Panamá there is a dance called cumbia • to which it might
be related.
The guateque had- lively and exciting music and the couples
jumped and acted with abundant . laughs^ and shouts.^
•The mariandá or mariyanda became popular in the regions
of the interior, near the Eastern coast. The .word probably
comes from mar inga, a- bantú word from the island of
Fernando Poo.
The mariangola was a dance of slow turns. It probably
originated in Angola. The term is also, used with negative
implications* meaning ^something, that lacks human warmth.6

8
9
7
0
1
68 Alvarez Nazario, 301.

69 Ibid., 304.
70 See María Cadilla de Martínez, "Costumbres y tradicionalismos de
mi tierra," in Encilopedia. Clásicos de- Puerto Rico, Yol. II, Barce
lona: Ediciones Latinoamericanas, 1971,4iy.
71 Alvarez quotes from Vicente Espinel, EÍ escudero Marcos de
Obregón. See Alvarez Nazario, 307.
r ' :
Other bomba dances came from the French colonies. The
bambulé, which is a dance still' in use in Loiza Aldea,
comes from the name of the drum, bamboula. Even if it
is believed to have come to Puerto Rico in the nineteenth
century. Father Labat makes reference to the word, written

72
as baboula, in 1698.
The calinde makes use of complex rhythms and is very
licentious. . The line of men danced in front of the line of
women and they came close until they touched each other two
or three times in the belly.
The cunyá is a dance very popular in the south of Puerto
Rico. This bonfca probably comes from the Congo. In Haiti there
is a dance called danse congo.
The grasimá was danced hitting and scraping the soil
with the . bare feet. The name probably comes from the French
gragement (to scrape) or .gracieusement (gracefully).
In .the leré the dancers had to form a .circle, (rond) or a
rose (le'rose).
Pierre Ledrú observed the - sicá • on his ; trip, to1
Puerto Rico and - Spelled it- chica in the original French
version; In Cuba, .under the name chica it was a sort of
fandango. ^
72 Alvarez Nazario quotes J. B. Labat, Mémoires des Nouveaux Voyages

faits aux Isles Francoises de l*Amerique, La Hague, 1734. See
Alvarez Nazario, 309.
73 Fandango is a lively Spanish dance usually performed by a man

and a woman with castanets and in triple time.
r
Other terms denote dances with. African origins. They are men-
74
ticned by folklorist López Cruz:
The holandés is a n African dance having Dutch influence,
while the dánuá is another. African dance with Danish influence. ^
The term yubá originally denoted ah African dance; but the
word is mostly used to denote a party or lively diversion
also called jolgorio. In the dance of the cocobalé a duel was
established. Thé cuas, or the sticks that simulate the
weapons, are placed forming a cross on the tablero or
soberao (the place where it is danced), and the "fighters"
dance around it.
A single bomba dance can last for half an hour or more. If
the dancers are not tired, the drummers continue their beating.
It is the custom to make chains of bombas, i.e., to play different
bombas without interruption. According to Campos P a r s i ^ the bom-
74 Francisco López Cruz, La música folklórica de Pxisrto Freo,

Sharon, Conn:- Troutman Press, 1967; 47; 55-.
75 Spain tried to maintain exclusivism based on the principle that

foreigners should be excluded from the colonizing venture,, both as
traders and as settlers. Puerto Rico's position as a trading center
was so attractive that illegal commercial intercourse first devel-.
oped with the Portuguese. After 1528 it was an "alluring hunting-
ground" for the French and the English, while the Dutch began to go
in increasing numbers to the West Indies. The conflict was further
complicated by aggresive Danish activity from the island of St.
Thomas. Vieques (called Crab Island), the island off the eastern
coast of Puerto Rico, was reputed to be the "best of all the Virgins"
and was in dispute between the Danes, the English, and the Spaniards.
See Chapters TV ("Inter-colonial Friction and Privateering") and
V ("The Clashing Frontier") in Arturo Morales Carrion, Puerto Rico
and the Non Hispanic Caribbean: A Study in the Decline of Spanish
Eaclusjvism, San Juan: University of Puerto Rico, 1971.
W : ■ .......
49
bas de Akán used confound meters, while early ones of bantu
origin used simple meters. Héctor Vega speaks of specific
similarities between the Puerto Rican bombas and the Ashanti
bommae, fontonfrom, and mpintin traditions., in terms of im- •
provisation, synchronization, and rhythmic patterns. He also
considers the marked differences, and explains that: 1) the
Puerto Rican bombas are danced on any occasion, while the
African boirnnap, are used only for state celebrations; 2) the
Puerto Rican bombas have instrumental accompaniment together
with the singing, while the African bommae are only a drum
ensemble; 3) the Puerto Rican bombas lack a drum language,
while that is a rule with the African dances; 4) the Puerto
Rican bombas depend on the "challenge” or reto between
the drummer and the dancer, while this concept is only
used occasionally in Africa; 5) the Puerto Rican bombas do
not depend on story telling, while the African dances use
it because of the drum language present; and 6) the Puerto
Rican bombas have no set rhythmic patterns to end the

78
dance, while the African bommae have a definite pattern.
The bomba is never danced without songs. The instrumental
group that accompanies the songs include a variety of drums, among
77 The Akán are a series of ethnic groups. Most of them reside in

Ghana. Among the better known are the Ashanti, the Fanti, the
Kwahu. the Akim, the Wassau, and the Assin. See Chapter III O^Ch
the African Origin of the Bomba") in Vega Druet's dissertation,
"Historical and Ethnological Survey," 42.
78 Vega Druet, Ibid., 55-62.
W ----- : • - .
-which; is the pair called bombas. The name of the dance probably
derived from the name of the drums. The instrumental group also
•irmliidpg palillos. maracas, güiros, and claves. The rhythmic pattern
is supplemented try hand clapping and foot stamping.
The larger bomba drum is called tambor macho (male drum), se-
piindnor burlador, and it provides the basic beat; it is said tc
Armnate (manda). The smaller drum or tambor hembra (female drum)
is also called requinto or subidor, and it provides the intricate
cross-rhythn to embellish (florea). While the smaller drum is
played by using two soletas or sticks also called cuas, the larger
dram is usually played with the hands. One drummer is called ge-
ríador(first drummer); the other is called repicador or tocador
de cua (second drummer or player of sticks).
It should be observed that the drums could be used by the
slaves to communicate messages from one hacienda to the other, and
that is why the Spaniards sometimes limited their use. The same
situation had been observed among the Indians during the English
colonizing period in the United States.
Even if the bomba is danced by couples, physical contact be
tween the man and the woman is limited to the hands. The man or the
woman can separate from the group of dancers and come close to the
tanhor subidor in order to establish a dialogue or to challenge it
with gestures and steps. They then defy each other in terms of
ccrplex rhythms or repiques. The drummer responds to the petitions
of thedancer. Today, when the bomba is danced, the woman wears
a wide skirt of a cotton material or lace, and constantly shows her.
petticoat which is fully adorned with bpws of bright colored ribbon
F ....... - - - - -
I.
51
It is important to notice that today's choreographic figures
of the bombas of Ponce carry the influence of eighteenth century
European dances, such as the lanceros, cotillones, and cuadrillas»
In the gras imé, of french Martinican influence, the figures derive

79
from the rigodones and contradanzas.
The plena is another dance which is considered to be of African
influence. Its roots are said to be the sugar cane zones of the
south: Ponce, Guayama, and Salinas, but they are as much wliite as
black. As Tomás Blanco has said: "Su ritmo tiene tanto de tambor
80
yoruba, como de pandero español." The plena narrates histories,
crimes, political events, and current affairs, giving importance
to old-wives tales. The plena is similar to the Spanish romance,
the Mexican corrido, the calypso from Trinidad, the English ballad,
the porro of Colombia and the Dominican merengue. Its origin seems
to be in the twentieth century, around 1900-1916, and some believe
it was born in the city of Ponce, while others think it has a Do-
. . 81
minican origin.
The African music brought to Puerto Rico soon lost its ex
clusive character and purity since it became mingled with the
Spanish elements. Muñoz says:
79 European aristocratic dances are discussed later in this chapter.
80 "Its rhythm has as much of yoruba drum, as of Spanish timbrel."

Quoted by Muñoz, La música en Puerto Rico: panorama histórico-
cultural, 90.
81 francisco Lopez Cruz discusses the versions of Augusto Coén,

Maria Cadilla and others, giving his own interpretation. See
Chapter III of La música folklórica de Puerto Rico, 65-96.
i : .... .
52
Operóse tal sincretismo musical, que hoy día se nos hace

difícil encontrar, en nuestros cánticos y danzas, una
fuente auténtica de procedencia africana. Los primitivos
cantos negros, más pobres melódicamente que las canciones
europeas, sufrieron una rápida metamorfosis. Las melodías
blancas, en contacto con el vibrante ritmo africano, se
transformaron de igual manera, y surgió una música dis- ^
tinta, una música criolla, de estilo típicamente antillano.
Carpos Pars i agrees with this interpretation when he says:
La presencia negra en los primeros cuatro siglos de Puerto

Rico queda desparramada en una serie de elementos que están
ya tan fundidos en su idiosincracia musical que es extrema
damente difícil señalar su origen primero. La música puer
torriqueña es mulata. Algunas formas contienen más elementos
europeos .que otras, pero siempre, en todas las .formas; bien
sean rurales o cívicas, tendrán un contenido africano negro.
Díaz Soler also agrees and points out our ignorance of the true
African songs in their original form: "Esas canciones originales
se han perdido, contribuyendo a esa desgracia la fusión racial
con indios y españoles y la absorción del elemento africano por

..84
esas razas . . .
52 '"Hiere evolved such a musical syncretism, that today it is dif

ficult to discover in our songs and dances an authentic source of
African origin. The primitive black songs, melodically poorer than
the European songs, suffered a rapid metamorphosis. The wlhite melo
dies, in contact with the vibrant African.rhythm, were equally
transformed, and there emerged a different music, a Creole music,
of typical Antillian style." Muñoz, La música en Puerto Rico: pa
norama histérico-cultural, 80.
83 ’The black presence in the first four centuries of Puerto Rico

remains dispersed in a series of elements that are already so linked
to its musical idiosyncracy that it is extremely difficult to point
cut its first origin. Puerto Rican music is mulatto. Some forms
contain more European elements than others, but always, in all the
forms, either rural or urban, they will have an African content."
Caipos Parsi, La música en Puerto Rico. 47.
84 "Those original African songs have been lost, and the racial fu
sion with Indians and Soaniards have contributed to this misfortune,
as has the absorption of the African element by those races . . . "
Díaz Soler, Historia de la esclavitud negra en Puerto Rico (1493-
1890). 174-175 T ' ^ ----- --- -- --- ---:— •— -----
w
The Spanish Tradition
Religious Festivities
The Spanish heritage in the musical tradition of Puerto Rico
has three different currents: religious festivities, bailes de ga
rabato , and aristocratic dances. Sponsoring religious music was
one of the main concerns of the Catholic Church since colonization
began. The Spanish government had entrusted it with the Christian
ization of local Indians and the religious life of the Spaniards,
and great attention was given to the rituals.
Pope Julius II, by his Bull of 1511, Romanus Pontifex, created .
three episcopal seats in America: Santo Domingo, La Concepción,
and San Juan. These were subordinate to the metropolitan in Seville.
.The diocese of San Juan included Puerto Rico, several towns in South
America, the missions of the Orinoco, the Islands of Margarita and
Trinidad, and some small unpopulated Windward Islands.
By the time of the establishement of the (diocese of San Juan,
there were two towns in Puerto Rico: San Juan in the northeast,
and San Germán in the west. A description of the religious situ
ation in the sixteenth century is offered by author Cristina Campo
Lacasa:
En cuanto a la situación religiosa no puede ser pepp.

Ni siquiera los españoles cuentan con la debida atención
espiritual y no hay certeza de que existieran en la Isla
misioneros, salvo, quizás algún clérigo o capellán de
guerra, pese a que el P. Antonio Cuesta Mendoza aseguró
que hubo franciscanos en Villa Caparra antes de la lle
gada del obispo Manso.85
85 "With regard to the religious situation it cannot be worse. Not

even the Spaniards have the required spiritual attention and there
is no certainty that-there-existed missionaries in the island,éx-
W ............ ' "

Alonso Manso was named the first Bishop of Puerto Rico by
virtue of the Bull of 1511, and when he came to the island .he also
became the first Bishop to reach America. He had already signed a
decree in 1512 for the erection of the cathedral of San Juan and
asked for a chanter and an organist, but upon arrival he encountered,
many difficulties in executing his plans. Atfter a stay of three
years in Seville (1516-1519) he resumed his Episcopal duties, being
named General Inquisitor of the Indies. He is well remembered for
choosing the site of the future cathedral, founding the San Ilde
fonso Hospital for the poor, and creating the Grammar School, which
was the first educational institution on the island.
Don Rodrigo de Bastidas y Rodríguez de Romero, the second
Bishop of Puerto Rico, continued the projects of Bishop Manso.
En tiempos de B-astidas se proyectó la construcción de la

actual catedral a la que se esperaba dar una suntuosa
grandiosidad— como la de Sevilla— pero falto de recursos
económicos suficientes, tuvo que ser detenida la construc
ción una vez terminada la capilla mayor . . . teniendo el
obispo que ordenar la reducción, para el futuro, del plano
de las obras . . . por Bula del Pontífice Faulo III, la
Archidiócesis de Santo Domingo quedaba como Metrópoli de
Puerto Rico, desgajándola de la de Sevilla . . . 86
cept, perhaps, some clergyman or chaplain of war, even if Father

Antonio Cuesta Mendoza had assured that there were Franciscans in
Villa Caparra before the arrival of Bishop Manso." Cristina Campo
Lacasa, Historia de la iglesia en Puerto Rico, San Juan: Instituto
de Cultura Puertorriqueña, 1977, 30.
86 "During the administration of Bastidas there were plans for the

construction of the actual cathedral to which-a sumptuous grandios
ity was hoped to be given— as the one in Seville— but due to the
scarcity of resources, the construction had to be stopped once the
major chapel was finished . . . the Bishop had to order the reduc
tion, for the future, of the plan of the works . . . by the Bull
of Pope Paul III, the Archdiocese of santo Domingo was to be the
Metropolis of Puerto Rico, being separated from that of Seville
. . . " Ibid., 37.
F :
55
After the cathedral was completed, an organ was installed.
Although there is no reference as to the exact date of its instal
lation, it is known that by 1598, when Cumberland attacked San Juan,
there was an organ in the cathedral. The following description of
the church was jnade.by Reverend John Layfield:
La Iglesia Catedral es tan buena como cualquiera de las ca

tedrales de Inglaterra y tal vez más perfecta .y más her
mosa . . . Difiere el coro y su distribución de la moda
inglesa . . . A cada lado se ven asientos para seis preben
dados y sitios para cantantes y coristas. Tiene un hermoso
órgano . . . sobre el órgano está levantado el púlpito . . .
Esta iglesia está consagrada a San Juan Bautista como toda
la isla.87
The first known chanter was Juan de Cea, who served in 1540.
Since early ecclesiastical records were destroyed in 1625 when the
Dutch burned the city, there is no knowledge as to who followed Gea
in M s office. The first organist of whom there is reference was
Gerónimo de Ovando y Guerra, mentioned in the Actas Capitulares of

88
the Bishopric in 1660. When instruments were needed in 1684,
Bishop Padilla asked the king to send four ohirimias to be used
87 "The Cathedral Church is as good as any-of the cathedrals

in Bigland and perhaps more perfect and beautiful . . . The choir
differs in its.,distribution from the English fashion . . ... at each
side there are seats for prebendaries and places for the singers, and
choristers. It,has a beautiful organ ... . Over the organ is raised
the pulpit . . . this church is consecrated to Saint John the Bap
tist as the whole island is." Fernández Méndez, editor. Crónicas
de Puerto Rico, 140-141.
88 Since the secretary of Bishop Francisco Padilla, who was in

charge of the archives of the cathedral, found no material prior
to January 9, 1660, he begins from that date the organization
of the archive's material. Fernando Callejo, the first musical
historian of Puerto Rico, points out that from 1698 to 1765 the
list of organists and chanters is missing, and that there is a pos
sibility that they were not even named. See Fernando Callejo,
W _ ;
in the cult and in the religious ceremonies. It is believed that
there were four musicians who always played in church, and Callejo
89
says that the quartet included an organist, two chirimía players
and one bassoonist.^
An interesting reference is the one where King Ferdinand VI,
as an answer to a previous petition, prohibits in 1749 the exclusion

91
of mulattoes from the group of church musicians. This is a clear
indication of the ethnical influence of the black culture in reli
gious music. It is known that by the end of the seventeenth cen
tury the Puerto Rican society did not maintain a strict racial
separation. Even if it was composed of Spaniards, mulattoes (of
mixed white and black origin), and blacks, the lines of denarcation
were never clear, and the real social differences were the political
and economic conditions of people. Since whites and blacks mingled
naturally, the influence of the blacks and mulattoes in tke Spanish

92
music evolved as something natural.
The social and cultural influence of the Church in Puerto Rico
was of utmost importance. It projected culture and education
Música v músicos puertorriqueños, San Juan: Tipografía Cantero

Fernández y Co., 1915, 21.
89 The chirimía is a woodwind instrument similar to the oboe and

was vised in churches until the introduction of the violin.
90 Callejo, 23.
92 The description made by André Pierre Ledrú points this: "La

amalgama de blancos, mulatos v negros libres formaba un grupo pla
centero y agradable . . . Ejecutaban sucesivamente, danzas negras
y criollas, al son dé la guitarra y de un tambor, llaimado vulgar
mente la bamboula." ("The amalgam of white, mulattoes, and free
W ---- : - ..... •
through the work of the Dominicans and Franciscans, the orders es
tablished locally. The first school, founded by Bishop Manso in the
San Tlfipfmfin Hospital, was transferred by Bishop Bastidas to the
cat■hoHra'I, where in 1599 the Grammar Class was officially founded,
"siendo, pues, la tal clase de Gramática— como institución docen-.
te— una de las pioneras de la enseñanza y la cultura en todo el .

93
.continente americano."
Since Puerto Rico was the easternmost point of the New World,
travelers from Spain would first land in San Juan and receive the
bishop's benediction. The Cathedral of San Juan was considered the
head of the Catholic Church of the Americas. As a center of learn
ing, its secondary level curriculum included Latin, Philosophy,
Music, Medicine, and Native Languages. Another center of learning
was the Dominican Convent of Saint Thomas Aquinas in San Juan (which
•possibly is the first center of university studies in America).
The Franciscans carried out missionary activities in San German
which were developed very modestly due to the attacks of the caribes
and the French corsaires. They also founded a monastery in San Juan
94
in 1635, where Latin, Arts, and Theology were taught.
Even if the Franciscan Convent offered primary education, free
of charge, and the Dominicans restructured their university level
blacks formed an agreeable and pleasant group . . . They succes

sively executed black and creole dances, to the music of a guitar
and a drum, commonly known as the bamboula.") Quoted by Muñoz, 46.
93 "Being thus, the such mentioned Grammar Class— as a teaching in

stitution— one of the pioneers in instruction and culture in the
whole American continent." Campo Lacasa, 275.
94 Hie convent of the Carmelitas Calzadas was founded in 1615, but
it was not a center or learning as tne otner two..
if ~
courses» and by 1644 offered degrees in Grammar» Liberal Arts» and
Theology:
. . . el resto del territorio no gozaba con regularidad

de los beneficios de la enseñanza ya que ésta . . .
quedó sujeta a la preparación misma de sacerdotes y ca
pellanes rurales . . . Queremos decir, que la instrucción
general de la población puertorriqueña fue muy desigual
. . . el origen del problema no estaba en ninguna clase
de dejadez o falta de dotes para el apredizaje por parte
de los puertorriqueños, sino en la carencia de estímulos
por un lado, y la miseria que generalmente padecían
. . . el impedimento era material: desnudez, el hambre,
la necesidad de trabajar sin descanso para sobrevivir.95
During the eighteenth century the Church continued to educate its
diocesans, but when Fray Pedro de la Concepción came as Bishop in
1706 he realized the ignorance of the people of the island, and
asked the King permission to build a seminary-college. The plans
took a long time to materialize. When General O'Reilly came to
Puerto Rico and later in 1765 wrote his Memorias, he pointed out:
" . . . conviene saber que en toda la Isla ho nay más que dos es
cuelas para niños; que fuera de Puerto Rico y San Germán, pocos
saben leer . . .
95 " . . . the rest of the territory did. not regularly enjoy the
benefits of teaching since it . . . was devoted to the preparation
of the priests and rural chaplains . . . What we want to say is
that the general instruction of the Puerto Rican population was
very unequal . . . the origin of the problem was not in any type
of laziness or lack of gifts for learning on the part of the Puerto
Ricans, but in the absence of stimuli, on one side, and the misery,
that they generally suffered . . . The impediment was material:
nakedness, hunger, the need to work without rest to survive." Carpo
Lacasa, 278.
96 The visit of General O'Reilly has already been mentioned cn page

35. " . . . it is useful to know that in the whole Island there
are only two schools for children; that outside Puerto Rico [San
Juan] and San Germán, few know how to read . . . " Quoted by Campo
Lacasa, Ibid., 283. According to Campo there were probably two
ST
59
A very important date in the history of education in Puerto
Rico is the year 1770 when Governor Muesas, in collaboration with
Bishop Mariano Marti, wrote a plan for education. It ordered the
parents to send at least half of their children to school until
they kenw how to read and write; the schools were to receive white
and free morenos (colored people); the children would be treated
with prudence, so that they might become devoted, pious, and
courteous with their superior, fearful of God and the king.
As the Church shouldered the responsibility of giving instruc
tion in the island, so did it hold the responsibility of initiating
the musical education of the people. In October, 1792, Bishop
Francisco de la Cuerda informed the monarch that the island needed
. . . dos o más sujetos sobresalientes en el canto llano

para que las funciones que se celebran en ella se solemni
cen con la majestad que correspondía y sin el desentono y
gritería que experimentaba el coro de la Catedral. De ese
modo— añadía— se podrán instruir los clérigos de Puerto
Rico en dicho canto llano, al que parecían ser tan aficio
nados y lo ignoraban por defecto de maestro para ello.97
Since the Church also served as a place where concerts and
activities of entertainment took place, sacred music was not the
only music heard in church, but also dance melodies, such as the
jácara, a popular ballad or dance tune, originated as a comic
interlude and introduced into stage plays. One of the first dances .
more schools, one in Bayamón and another in Guaynabo, founded by

Bishop Marti.
97 " . . . two or more subjects excelling in the plain chant so

that the acts that are celebrated in it are solemnized with the
majesty that corresponds and without the disharmony and shouting
that was experienced in the choir of the cathedral. In that way
— he added— it would be possible to instruct the clerics of Puerto
Rico in the said chant, to which they.seemed to be inclined but
ignored it .because there was no teacher for it." Campo, Ibid., 154.
F ' ‘ ~
which was performed inside the cathedral is the Antillian dance
known as the Portorrico (included by Sor Juana Inés de la Cruz in
the sequence of melodies in honor of Saint Pedro Nolasco, tobe sung
in the Cathedral of Mexico in January 1677). The relationship of
this dance to the Island of Puerto Rico is not certain, but indeed
it was very popular locally, as it was in the Antilles and in

w . 98
Mexico.
Church activities were always superviseds and when Bishop
Padilla writes to the king in 1691 he shows alarm because he be
lieves they have acquired a profane taste:
. . . los padres dominicos me han dado la queja de que

los bailes de Noche Buena, celebrados en la Catedral,
degeneran en escandolosos hacia la madrugada . . . Ocu
paron el pie del altar, dos hombres vestidos de negro,
con dos guitarras, substituyendo al arpista. La alfom
bra fue ocupada por seis doncellas broncíneas . . . Las
mulaticas empezaron a danzar al compás de las guitarras;
sus movimientos eran correctos pero un soplo voluptuoso
y sensual se infiltraba en los sentidos del gentío . . .
Terminadas las ofrendas, la gente se agrupaba en diver
sos lugares del templo, a bailar fandanguillo con zapa7
teado.99
98 See Muñoz, La música en Puerto Rico: panorama histórico-cul-

tural, 27-28. She includes a copy of the original notation of the
Portorrico in a four-line staff.
99 " . . . the Dominican fathers have complained that the dances of

Christmas Eve, celebrated in the Cathedral, degenerate in something
scandalous during dawn . . . Two men dressed in black, with two
guitars, placed themselves near-the altar substituting' the harp
ist. The carpet was occupied by six bronzed maidens . . . The
young mulattoes began to dance to the beat of the guitars; their
movements were correct, but a voluptuous and sensual air infiltrat
ed the senses of the crowd . . . After the offerings, people
grouped themselves in different places of the temple, to dance the
fandanguillo with zacateado [foot stamping]." Quoted bv Muñoz.
Ibid., 25-26.
Some of the festivities that were sponsored by the Catholic
Church were the starting point for local musical •tradi
tions of a C re o l e ^ ^ nature : .
Corpus Christi was a festival held in honor of the
presence of .the body of Christ, (the- corpus) in the Eu
charist. A movable festivity, it is. observed .. an. the
Thrusday. or Sunday after Trinity Sunday . in June. The
procession was very, prominent. and .was. customarily followed
by the performance of miracle. plays.
The following description by Alejandro Tapia y Rivera
(1826-1882) indicates . that the festivities of Holy Week
or Semana Santa were still a great event during the
nineteenth century:
Yo alcancé la Semana Santa con todas las procesiones y

ceremonias que han desaparecido. Habíalas desde el Do
mingo de Ramos en que sacaban a Jesús orando en el
huerto y seguía el lunes el paso del Redentor atado a
la columna. La primera salía de la Catedral; la segunda
de los Dominicos, hoy San José. El martes, el Ecce
Hommo de San Francisco; la procesión del miércoles . . .
salía de la catedral, presidida por el gobernador y los
dos cabildos, custodiada por una compañía de preferencia,
con banda de música y precedida de un tipo de hábito
franciscano, y encapuchado, con el rostro cubierto y ta
ñendo de vez en cuando una trompeta que ponía espanto en
los fieles y semejaba la del juicio . . . La del Jueves
Santo salía del convento dominico, lo mismo que el
entierro de Jesús el viernes, precedida la^gjlida de
ésta, del sermón del Descendimiento . . .
100 The term creole or criollo is used to designate anything that

is clearly of Spanish origin but carries an African or Afro-Indian
influence. It is also used to designate the people of Spanish an
cestors b o m in the island.
101 "I saw the Holy Week with all the processions and ceremonies
that have disappeared. There were sbmé beginning bn Palm Sunday when
they took out Jesus praying in the garden and they continued Monday
F----- _
62
Aquel silencio acompañado con frecuencia de los dias

más serenos de primavera, la sordina en ios tambores,
cornetas y banda de música, el seco ruido de las ma
tracas en los campanarios de las iglesias, el ir y
venir a todas horas con el entrar y salir de templo en
templo, andando las estaciones . . . los rosarios de
las cofradías con sus farolillos, rezando por las calles
en la noche del Jueves . . . La Resurrección el sábado
y la alegre procesión del encuentro de la Madre Virgen
con el Hijo, en el atrio de la Catedral, a las seis de
la mañana del domingo . . . 102
The fiestas patronales are a mixture of the religious
and the profane. . After the official religious., cult takes
place in honor of the patron of the., town, other activities
are celebrated, such as: horse races,. marathons, dances,
the coronation ..of the queen' of t h e . festivities, competi
tions for popular singers, the day .of - the. absent citizen,
the visit of distinguished personalitiés, entertainments
with the passing of the Redemptor tied to a column. The first

departed from the cathedral; the second from the [convent of the]
Franciscans; the procession of Wednesday . . . departed from the
cathedral, presided by the Governor and the two cabildos [chapters],
guarded by a company of choice, with a band of music preceded by a
•guy with a Franciscan habit, and with a hood, with the face cowered
and playing once in a while a trumpet that frightened the faithful
and was similar to that of the Judgement . . . The one of Holy
Thursday departed from the Dominican convent, as well as the &neral
of Jesus on Friday, preceded this last one by the homily of the Des
censión . . . " Alejandro Tapia y Rivera, Mis memorias o Puerto
Kico como lo encontré y como lo dejo. Rio Piedras: Editorial Edil,.
1979, 35-37.
102 "The silence accompanied frequently of the serene spring days,

the mute in the drums, the c o m e t s and the music band, the dry
sound of the rattles in the belfries of the churches, the coming
and going at every moment with the entering and exiting from temple
to temple, andando las estaciones [performing stationary prayers to
gain indulgence] . . . the rosaries of the confraternities with
their small lanterns, praying in the streets on Thursday evening
. . . The Resurrection on Saturday and the cheerful procession of
the Encounter of the Virgin Mary with the Son, in the portico of
the cathedral, at six on Sunday morning . . . " Tapia, Ibid., 38.
r ~ “
63
like gambling* . carrousels. and palo , ensebao (climbing of a
pole that has been greased),. typical, food for sale* albora
das (any celebration that...takes place in the early morning
hours), and . carreras de saco (a race where runners keep
their feet inside a hemp bag). In the coastal towns they
might include competitions for swimmers* regattas amd a trip
in a boat carrying the image of. the patron saint. Some
towns have the- same patron, such as Arroyo, Barceloneta* Ca-
taño. Cidra,: Culebra, Hatillo, Morovis, .Hío Grande and
Villalba, which honor the. Virgen del. Carmen, celebrated on
July 16.. The Virgen de 'la Honserrate is the patron of
Jayuya, Moca, Salinas, Aguas Buenas., and Hormigueros (where .
there is a hermitage and miracles are said to have

103
occurred). The festivities of- San Juan are. famous for
104
the midnight splash at the beach; more typical are the
festivities of Loiza' Aldea in honor of Santiago, a patron
Saint of Spain, celebrated on July 25,^'* Ponce has fes-
103 See Diana Massa Figueroa, Aguas Buenas; notas sobre su histo
ria, San Juan: Model Offset Printing, 1984, 54-56.
104 See Marcelino Canino, El folklore en Puerto Rico, La gran enci-

clopedia de Puerto Rico, Vol. 12, San Juan: La Gran Enciclopedia
Í976, 87-90. The author is quoting from Pablo Garrido, Esoteria y
fervor popular en Puerto Rico, Madrid: Instituto de Cultura His^
pánica, 1956, and describes many customs, with a heavy emphasis on
superstition.
105 Hie cult of the Apostle Santiago (James) is a traditional fes

tivity in Loiza Aldea. Ricardo Alegría points out that the origins
are so antique that they are unknown. The Hispano-Cbristian and
African elements are mingled. He discusses the three images of
Santiago: Santiago de los niños (of the boys), Santiago de las
mujeres (of the women), and Santiago de los hombres (of the men).
The festivities include three parallel novenaries with three
r------------------------------- -
tivities in honor of . the Virgen de - la- Guadalupe in
December.
-La Candelaria is one of the many festivities in honor of the
Virgin Mary. The tradition comes' from the Canary Islands and
it deserves special mention:
Se cree que su culto fue introducido en Puerto Rico a través

de los "guanches" canarios que llegaron aquí a partir del
siglo XVI. Su fiesta se celebra con gran regocijo el día .
2 de febrero. Es la patrona de los pueblos de Guayama, Lajas,
Manatí, Mayagüez y Coamo, donde suele cantarse el popular
estribillo que dice:
Virgen de la Candelaria
por tu devoción,
líbrame del fuego,
apoya el fogón.
y así porque en su día se acostumbra a hacer grandes y

vistosas fogatas que a veces resulta en tragedia.107
Christmas or Navidad is a holiday which is still’very festive.
The misas de aguinaldo (masses in the early morning)’ are a
typical Catholic tradition. They are. celebrated at 5 á.m. from.
December .16 to 24, and usually end with a small gathering for food
families in charge of the images. The first novenary ends on

July 23, the second on July 24, and the third on July 25. This
last day is the most solemn of all, when the greatest celebration
takes place. It includes processions, with men wearing masks of
gentlemen, vei igantes (figures representing evil, the devil and
Maors), viejos (old men), locas (crazy women), and Mexicans. See
Ricardo Alegría, "El culto a Santiago en Loíza," Clásicos de Rjerto.
Rico, Vol. II, 387-399. The role of the bomba has already been
discussed in relation to the local festivities.
106 See Fiestas patronales - Ponce, 7 al 16 de diciembre de 1984,

Ponce: Oficina del Alcalde, 1984. These festivities include com
parsas (a group of players that participate in a parade), batutetas
(baton twirlers), a bicycle race (Clásico Bernardino Mass), and the
La Guadalupe Marathon.
107 "It is believed that her cult was introduced in Puerto Rico
through the Canarian 1guanches1 that arrived here since the six-
f ~ 7
and beverage. On December 24, the Misa de gallo is .said at
midnight to celebrate the birth of Christ. The Christmas season
is extended in Puerto Rico until the Three Kings Day on
January 6, although there is also the octavita, an addition
of eight more days, where the trullas are still heard. The
trulla is a group of persons who singing on foot through
the city (or on horseback it they are in the country
side), go to visit friends. The visit is called an
asalto (assault). They ask for an aguinaldo (a small
amount of money or food), while they sing the typical
songs of the season: aguinaldos and villancicos ♦ The
trullas use guitars, cuatros, güiros. maracas, bcrdonúas,

108
tiple, and panderos. The musicians usually continue the asal
tos all night long, waking their friends at any hour, but they are
always received with cordiality and warmth. In each house
they dance and eat special Christmas food. Gifts are re
ceived by children on two occasions: Christmas Day (December 25)
and the Three Kings Day (January 6). Music researcher Francisco
teenth century. Her festivity is celebrated with great Joy on Feb

ruary 2. She is the patron of the towns of Guayama, Lajas, Manatí,
Mayagüez, and Coamo, where it is a custom to sing the popular re
frain that says:
Virgin of La Candelaria
for your devotion
free me of the fire,
support the hearth.
And thus because in her day it is the tradition to make great and
beautiful blazes that sometimes result in tragedies." Canino, El
folklore en Puerto Rico. 79.
108 The güiro and the maraca are described in the section related
to the Indians. The cuatro, bordonúa, and tiple are described
later on in the section Dalles cte garabato.
r— ; '■
109
López Cruz has studied the villancicos in Puerto Rico.
This type of song comes from the fifteenth and sixteenth
centuries, when it was a type of Spanish poetry, idylic
or amorous, and consisting of several stanzas (coplas) linked
by a refrain (estribillo). After 1500 the villancico was
also composed as a solo song with the accompaniment of a
vihuela. It reappeared in the seventeenth century as
a religious composition comparable to the church cantata;
after that, a considerable number of villancicos have been
produced in Latin America, all using Spanish text, and many
dealing with Christmas. Although the Church discouraged
the use of this form because of its secular origin, villan
cicos were written for every saint's day, and were gradually
interpolated in the Mass. They later developed into other
traditional Latin American folksongs such as the adoración.
the alabanza, the aguinaldo, and the esquinazo. Comparing
the villancico with the aguinaldo, López Cruz makes the
following observations: 1) that the villancico can have any
type of measure, while the aguinaldo is - always a measure;
109 López Cruz, La música folklórica dc Puerto Rico. 183-199.
110 The vihuela could either be de mano (for the finger-plucked),

de péndola (for the plectrum-plucked), or de arco (for the bowed).
During the Renaissance, the Spanish vihuela was identical in struc
ture to the contemporary guitar, but with six courses of strings
(against the guitar's four), tuned like those of the lute: G, C,
F, A, Dl, and Gl. There were other vihuelas with seven, five, and
four strings. It was used by the common people, while the aristo
cratic classes used the lute. See Campos Parsi, 25-26, and Sybil
Marcuse, Musical Instruments, A Comprehensive Dictionary. New Yode:
W.W. Norton & Company, Inc., 1975, 563.
F ........
67
2) that the villancico does not follow any given rhythms,
while tha aguinaldo has triplets and syncopations; 3) that
the villancico has religious themes, while the aguinaldo
can be religious of profane; 4) that the villancico is of
urban origin, while the aguinaldo belongs to the peasant
tradition; and 5) that the villancico. can be choral, and
tha instruments may vary according to the author, while the
aguinaldo is never choral and uses the typical instruments
(cuatro, guitar, and güiro).
The rosario cantado is one ot the most important musical
traditions of Puerto Rcio. Thue sung rosary was originally
imposed as a daily obligation ordered by the Crown of Spain
but gradually it evolved into a typical creole social and
religious affair. After praying the rosary in the haciendas
or farms, the landowner met with his family and with the
slaves and servants. There were dances if there was a special
occasion, and the festive spirit helped the cultural
intermingling of customs and ideas. In town, the rosaries
were held inside a house, in an alley, or in a public
plaza. They began around 8:00 p.m., and in some communities
the praying and singing was alternated. In Ponce the
rosary was always sung and, together with the local in
struments, the violin and the flute were used. The
rosario cantao. as it is popularly called, has several
111 López Cruz, La música folklórica, 184-185.
i ..
rhythmic forms, such as the waltz, .the march or the guara-
cha.
112 .When Bishop Fray- Manuel Jiménez . made his pastoral
visit to the Island In 1774,- he tried to eliminate the prac
tice, observing the unusual celebrations which, followed the
praying. Author Campo Lacasa -comments:
Por lo general estas devociones se cumplían de manera

muy particular y sin que ningún clérigo participara en
ellas. Como es de esperar, con el tiempo, estas reunio
nes convocadas con el pretexto religioso terminaban en
una juerga descomunal . . . ante tal situación y deseando
cortar de raíz los abusos . . . el obispo impuso se mul
tara con veinte pesos la primera noche que se retiñiesen
y cuarenta la segunda. 113
There are three types of rosario cantao: one in honor of
the Virgin or as a promise to a saint, another for the fes
tivity of the Cross in May, . and a third on the occasion of
the death of .a .loved person (or its death anniversary).
The fiesta de cruz or festivity of the Cross is another typi
cal tradition, celebrated during the month of May. Its
origin is unknown, but it is believed it was imported from
Andalucía by settlers. As a local tradition it probably
began in 1787, after a strong earthquake, and as a thanks
giving offering for the small loss. The festivity was re-
112 The guaracha is described in the section of bailes de garabato.
113 "Usually these devotions were fulfilled in a very particular

way and without the participation of any clergyman. As expected,
in due time, these reunions whi,ch were convoked with a religious
pretext ended in an extraordinary spree . . . In view of such
situation and wanting to end forever the abuses . . . the Bishop
ordered a fine of twenty pesos for the first night of reunion, and
of forty, the second." Campo Lacasa, Historia de la iglesia en
Puerto Rico. 146.
F-- : . .
vived in San. Juan and. in the haciendas where owners were
of Andalucian. origins; During t h e . nineteenth . century it
acquired great popularity; Alejandro Tapia offers the
following description .of. the: Cross:
La dicha cruz estaba formada por barras paralelas entre

sí. Entre las dos que constituían el tronco vertical,
había un gallo, la escala y demás atributos de„la Pasión
del redentor, hechos del mismo metal . . . Adornábanla
con lazos de cintas, de paños y flores, en la fiesta de
mayo, cantándole con todos los vecinos del barrio durante
las nueve primeras noches del referido mes; luego, con
músicas, algazaras y refrescos, entre los cuales no fal7
taba el agua de arroz y la sangría . . . 1 1 4
The altar where the Cross was. piaced was decorated with can
dles on a stair on nine steps.. Besides the prayers, nine
teen songs were included: eight to the Cross ("Adorote San-
Santa Cruz" is still one of the most popular), six to the Vir
gin, two to the Tsonth of May, one to the Litanies, and two
of various themes. A melody might even be sung in honor of
the person that has been capeada. When Manuel Fernández
114 Tte mentioned cross was formed by two parallel bars. Between
the two that constituted the vertical trunk, there was a rooster,
the ladffer and other attributes of the Passion of the Redemptor,
ithHp in the same metal . . . It was decorated with bows of ribbon,
cloth and flowers, during the May festivity, and the neighbors of
the area sang to it during the first nine nights of the mentioned
month; then with music, bustle and clamor and refreshments, among
-which rice water and sangría [a beverage of red wine, lemon and
rater], were not missing . . . " Alejandro Tapia y Rivera, Mis memo
rias , 65. López Cruz mentions the most typical refreshments and
food: ginger, sangría., horchata.(made of melon, pumpkin seeds or
almond), preserves (of orange, coconut, lechoza, and ajonjolí), cho-
colates, peanuts, almojábanas (fritters made of cheese and rice
flour!, casabe (yucca bread), agualoja (refreshment combining rater,
honey, and spices), majarete (ricemeal pudding), and mavi (refreshr
ment made of local fruit). See López Cruz;la música folklórica.157.
115 A person that has been capeada is the one to whom, a capa or
bow has been given. He will be tne host of the next activity.
Juncos compares .the fiesta de cruz of the eighteenth cen
tury with that ~of the nineteenth century, he observes that
the latter is much, more profane,, involving smoking, drink
ing, and ..resulting in ; a . lot of . noisy insults.
In illo tempore se designaba con anticipación una casa

para celebrar en ella las fiestas de Cruz . . . Luego
se daba principio [al acto religioso], arrodillándose
todos delante de un modeste altar vestido de blanco y
adornado con flores naturales, y se llevaba a efecto
con el mayor orden y compostura posibles. Alli no ha
bía pellizcos, señas ni risotadas . . . nj. se dormían
los viejos, ni cuchicheaban los niños . . . no se ca
peaba a nadie . . . ni se daba otra bebida que la clási
ca mistela o el agua-loja dulce y refrescante . . ..116
The velorio, also .called• baquiné, is an. activity cele
brated on the occasion of the death of a colored child. It
is called a .florón when the child who dies is white. There
is a festive environment since the child, who dies without
sins, becomes, the titular angel that protects the family
and friends, The dead child is . placed on a table which is
covered with a white sheet. If it is a girl her face is
made-up. Flowers are placed .all over the body and a red or
white carnation is. placed in the.- mouth. A mortuory box is
built with cardboard: - and is covered ' with colored paper.
The baquiné celebration includes songs., games, riddles.
116 "]h those times a home was designated with anticipation to cele
brate the festivities of the Cross . . . Later it began [the reli
gious act], when everyone kneeled in front of a modest altar dressed
in white and decorated with natural flowers, and it was carried exit
.with the greatest order and composure that was possible. There were
no pinches,, signals, or laughs . . . the old men did not fall asleep
and the children did not whisper . . . no one was given the capa
. . . and no other beverage was offered except the classic mistela
[refreshment made .of wine, water, sugar, and cinammon] and rue sweet
and refreshing agua-loia." Manuel Fernández Juncos, "Las fiestas
de cruz," Enciclopedia UJLásicos de Puerto Rico, II, 446.
F... ' :
fSW
71
and dramatized stories. ' Most -of the songs are happy
ones,**^ except those -sung on- -the w a y ’ to the cemetery,.«itích

118
which are -very sadv • The- rosary' that- is sung during the velo
rio is done a 'capella with' - two ' groups of persons: los del banco
de alante (-those seated on- the front bench), and los del
banco de atrás (those seated oh the back bench). The first
are called the guiadores (leaders)-
José Campeche
Parallel to the popular local traditions, the religious music
of Puerto Rico was also devoted to the plain chant in churches and
monasteries. The work of artist José Campeche, an eighteenth cen
tury Puerto Rican musician and painter who lived in San Juan and
hpramp a teacher in the Convent of the Carmelite Nuns, is an evi
dence of this current. The Napolitan Bishop Alfonso María de Ligor
rio, who had published in 1760-61 a work devoted to the nuns. La

119
Vera Sposa di Gesú Cristo, had condemned the ornamented chant,
or mis-ica fjgurata, with its highly florid polyphonic style very
much in vogue during the seventeenth and eighteenth centuries.
Influenced by this publication, in 1774 the archbishop of Mexico
117 Some of the most typical game songs are: "El alfiler," "El
florón," and "El papelón." See López Cruz, La música folklórica .de
Puerto Rico. 172-175.
118 "Adiós, angelito, adiós" and "Su madre lloraba" are among the
sad songs still in use. See López Cruz, Ibid.. 166-167, 170-171.
119 San Alfonso María de Ligorio, La Verdadera Esposa de Jesucristo

o sea la Monia Santa, Madrid, 1953, quoted by Arturo Dávila in
"José Campeche, maestro de música," Revista del Instituto de Cultura
ra Puertorriqueña, San Juan, Año III, Núm. 8 (julio-septiembre),
1960, 14.
Mu .
tr
72
decreed the obligatory use of plain chant in the numerous femi
nine convents under his jurisdiction, and almost thirty years
later the norm was applied to Puerto Rico.
The convent of Saint Joseph, where the Carmelite nuns lived,
was also influenced by this disposition. In November 1801 Miguel
Xiorro, by virtue of his last will, donated an "organized piano"
or organ to the convent, so that the religious festivities might
be performed with more decorum. He also ordered the sum of 100
pesos to be given to José Campeche " . . . por la ocupación de
la enseñanza de la Reverenda Madre Monja que la R. M. Priora des-

120
tine a tocar el mencionado instrumento."
In 1802 Campeche began to teach the nuns the art of the

121
plain chant. B o m in December 1751, José de Rivafrecha y
122
Jordán, better known as José Campeche, was the son of Tomás
Campeche (a freed slave of the canon Juan de Rivafrecha) and
María Jordán y Marques of the island of Tenerife.
120 " . . . for the occupation of teaching the Reverend Mother

Nun whom the R. M. Prioress destines to play the mentioned in
strument." Dávila, Ibid., 15.
121 Ligorio had recommended in his writing not to name any music
professor for the nuns, especially if he was young. Campeche
was 51 years of age when appointed, and the bishop had no objec
tions to his work as a music teacher in the cloister. Archives
related to the Carmelites contain information on the tradition in
the convent, since 1737, of naming a cantora (singer) and sochan-
tra (sub-chanter).
122 The surname Campeche comes from a type of wood, or from the
area of that name in the vicinity of the Episcopal Palace in San
Juan.
r ~.... ...
73
Of his early life as a musician, Arturo Dávila writes:
En su edad juvenil, mientras cursaba latinidad y filosofía

con los dominicos, había estudiado música, logrando par
ticular maestría en el oboe, órgano y flauta. En 1873 el
Gobernador [Don Juan Dabán] . . . le concedió una de las
plazas de músico de oboe, de dotación real, asignado al
servicio de la Iglesia Mayor, con obligación de suplir las
ausencias del organista como ya lo hacía antes de ser nom
brado. 123
Campeche also played the organ in the church of Santo Domingo and
San Francisco; in 1795 he fixed and helped in the installation of
an organ in a chapel of the Franciscans.
Campeche's music lessons at the convent might have begun be
fore the convent's organ arrived (probably in 1804), since it is

124
known that by 1803 the number of cantoras augmented to four.
There is no certainty as to how long Campeche's lessons lasted,
but after the musician's death his work was carried, on-by the'nuns.
Sor María Monserrate de Jesús Morales, probably his best pupil,
was to be in charge of instructing the other nuns, and until her
death in 1848 she continued the musical tradition begun by
Campeche half a century before.
The most interesting aspect of this talented and hardworking
artist, who also served as part-time architect, topographer, and
sculptor, is his work as a painter. As a young boy he had also
123 "In his youthful age, when he studied Latin and Philosophy
with the Dominicans, he had studied Music, particularly mastering
the oboe, the organ, and the flute. In 1873 the governor [Don Juan
Dabán] . . . granted him one of the offices of oboist, of royal
endowment, assigned to the service of the Main Church, with the
commitment to fill up the absences of the organist, as he had al
ready done before being named." Dávila, "Jose Campeche, maestro
de música," Revista del Instituto de Cultura Puertorriqueña, 15.
124 Dávila mentions Sor María Monserrate de Jesús Morales, Sor lu
cia de la Concepción Aponte, Sor María del Rosario Marrero and Sor
r ‘ ~
74
learned how to carve and how to gild the retablos (altar-pieces).
It is probable that he also painted figures of saints and of known
personalities, working on the sidewalks.
His only known teacher was the painter Luis Paret y Alcázar «bo
came to Puerto Rico in 1775, when Campeche was 25 years old.
rampyVhP- had already acquired some practice painting miniatures, and
Davila comments on Paret's influence:
A través de Paret, Campeche adopta la gama colorista del

Rococo, las tonalidades grises azulencas, los tonos ro-
sáceos para las carnes y las sombras de ion gris mórbido,
con finísimos y desmayados matices cenicientos . . . Como
pintor americano, continuará copiando con variantes las
estampas europeas hasta el fin y como hijo de la formación
rigorista y. casi jansenista de las aulas dominicas.en el
siglo XVIII, se abstendrá de estudiar el desnudo natu
ral . . . 125
Campeche's portraits were well known, and among the m o s t nota
ble are: "Bishop don Francisco de la Cuerda y Garcia," "Brigadier
den Ramón de Castro," "Don Ramón Carvajal," "Doña María de los Do
lores Martínez," "Don José Mas Ferrer," and "Don Miguel Antonio de
Ustáriz." The last portrait mentioned depicts the then governor
and captain general of Puerto Rico who is standing inside a build
ing. Through the window, the paved streets of San Juan can be seen.
This protrait has as much artistic value as historical interest.
"ELniño Juan Pantaleón Avilés de Lima Alvarado," a portrait which
Maria, del Rosario Dávila, probably the first students that Caonpeche
had in the convent. Ibid. After 1804 the documents indicate that
other nuns were named organists.
125 "Through Paret, Campeche adopted the gamut of colors of the

Kococo, the bluish gray tonalities, the pink tones for the flesh:and
the shadows of a morbid gray, with very fine and pale ash-colored
shades . . . As an American painter, he will continue to copy with
variations the European drawings until the end, and as a son of the
W: r"'"
shows a child without arms, is one of the most curious paintings,
which was ordered by Bishop Juan Alejo de Arizmendi after one of-his .
pastoral visits.
Commenting on the fame acquired by Campeche as an "inimitable
painter" of portraits, José Martín de Fuentes says:
Estos [los retratos de Carlos IV y María Luisa de Parma]

fueron hechos por el hijo de un negro, nombrado Tomás
Campeche, que aunque no puede menos de decir que es vir
tud que un mozo de su oscuro color, calidad y clase, sin
haber salido nunca de Puerto Rico, sin haber tenido maes
tres y sí sólo con su ingenio haya sabido y sepa hacer lo
que hace, nadie ha aprobado que se le diga el inimitable
pintor José Campeche.126
It is believed that José Campeche never travelled outside of
Puerto Rico, but Davila thinks this is not necessarily correct,
because Campeche received many commisions from Venezuela, and a
trip to Caracas might have been possible. The active commerce with
the neighboring Antilles favored the painter, who received a pension
of a thousand guineas from an English friend.
Campeche1s works can be divided into three periods: from his
youth until the departure of Paret in 1778, from 1778 to 1795
(when he developed his technique and achieved a masterful emplgy-
ment of colors), and from 1795 to 1809 (when he devoted himself
mostly to the paintings on big canvases). Besides his portraits.
severe and almost Jansenist formation of the Dominican halls in the

eighteenth, century, he will abstain from studying natural
nudeness. . . *' Arturo Dávila. José Campeche. 1751-1809, San Juan:
Instituto de Cultura Puertorriqueña, 1971, 7-8.
126 "These [the portraits of Carlos IV and Maria Luisa de Parma]

were made by the son of a black, named Tomás Campeche, and even if
one cannot fail to say that it is a virtue for a young man of dark
color, quality and class, without having travelled from Puerto Rico,
without having teachers, and only by his skill, to have known and
F------ ~.
there are the paintings of the Virgin. "Nuestra Señora de la Di
vina Aurora" is one of them, and it is probable that this painting
illuminated by candles and accompanied by the sound of small bells,
was carried during the procession that departed during the evening
hours from the Church of the Dominicans. Numerous portraits of
saints include: "San Sebastián," "San Juan Bautista," "Santo Tanas
de Aquino," "Santa Teresa de Jesús," and the."Vision of Saint
Francis of Asis."
The painting titled "Exvoto de la Sagrada Familia" is consid
ered by Dávila one of the most valuable, not only because of its
religious theme but also because it is supplemented with four ex
ceptional portraits of Sor Margarita de la Concepción Calderón
and three slaves, located on the lower left corner. "El salva
mento de don Ramón Power" is also well esteemed, because it por
trays, as a child, the future first Puerto Rican delegate to the
Spanish Cortes. The scene shows Power being saved after he fell
127
from the frigate La Esperanza in the middle of a storm.
Bailes de Garabato
The popular music danced by the Puerto Rican peasants, and
which has a clear Spanish origin, is commonly known as the bailes
to know how to make what he does, nobody has approved that he be

called the inimitable painter José Campeche." Taken from Bilbiano
Torres, "Sucesos acaecidos en la proclamación de Carlos IV en
Puerto Rico," Revista del Instituto de Cultura Puertorriqueña, San
Juan, 12 (July-September), 1961. Quoted by Dávila, Ibid., 9.
127 Dávila includes illustrations of all the mentioned works in his

book on Campeche. A recent visit to the Museo de Arte de Pence re-
veals that it has the following p ain tin g s by Lampp.r.hp.: "nama a m -
bailo," San Felipe Benicio," "Tríptico de la Virgen del Carmen,"
and "La visión de San Simón." .......
r : .
128
de garabato. According to Campos Parsi most of these dances
129
descend from the villanos and zarabandas»
Fanrianpuillo is an adaptation of the Spanish fandango, it is
an exhuberant courtship' dance of Moorish origin which was
very popular during the eighteenth ■century. Danced in
couples, the rhythm- is marked . by- castanets, the snapping of
fingers and fopt stamping. The music is in ^ or Í time and
the song is improvised -according to certain rules. As a
dance it exists both -within and outside the Andalusian
Gypsy tradition of the flamenco. Manuel Alonso believes
that this dance, was never - executed properly in Puerto Pico:
" . . . ejecutados con mucha menos .soltura y gracia, los
pies de los bailarines no se deslizan, sobre el suelo can la
suavidad que fuera de. desear . . . en una . palabra, el fan-

130
danguillo es una planta mal aclimatada."
Cadenas is another■ baile de garabato, and Alonso de
scribes. it in the following manner:
128 The garabato is an iron hook for hanging or holding things. In

Puerto Rico the word is used to designate the dances of the country
side- Under bailes de garabato Manuel Alonso mentions the fandan-
guillo. cadenas, sonduro, seis, and caballo. Mairía Cadilla also In
cludes the puntillanto, and bolanchera. She mentions the gallina-
cito, alza que te han visto, redova, and escobillado, but offers no
description. This researcher has also included in this section the
guaracha.
129 The villano came to America in the seventeenth century, being
a dance for peasants in simple binary measure. The voleo or jump
with kicks in the air was one of its typical steps. The zarabanda
reached America in the sixteenth century and its presence is visi-
ble in many American dances, such as the joropo of Venezuela, and
the huapango of Mexico. Campos Parsi, 23-24.
130 " . . . executed with much less agility and grace, the feet of
the dancers do not slide over the floor with the smoothness that
one might wish . . . in one word, the fandanguillo is a plant ill
r— ~ ... .
Las cadenas, derivado de las seguidillas . . .
son el baile más animado y vistoso de cuantos perte
necen a esta clase; toman parte en él uno o varios
grupos de a cuatro parejas, las cuales hacen un número
convenido de figuras hermosísimas . . . crúzanse ve
lozmente en variadas y opuestas direcciones, enlúzanse
. . . mudan en un instante infinitas veces de lugar,
viniendo siempre al mismo de donde partieron.131
Sonduro is a type of zapateado (a dance that beats time
by tapping with the feet' ■-on the floor). It is danced by
just one couple.
. . . cruje la tablazón del piso; y aquel estrepitoso

repique de pies descalzos con un dedo de suela natural,
o bien calzados con suelas llenas de clavos, se hace
oir en el silencio de la noche más lejos que los ins
trumentos, que por cierto no alborotan poco. Todo este
ruido lo hacen un par de pies, son los del varón, pues
que la hembra no tiene en él ninguna parte.132
In the dance of the caballo the couple turns around in a
very fast manner that resembles the waltz. According to Manuel
Alonso:
En éste [baile] se colocan dos parejas de modo que es

tando la mujer frente a su compañero tenga a la izquier
da al de la otra que está delante de él: toda la
acclimatized." Manuel A. Alonso, "El jibaro," Enciclopedia Clá

sicos de Puerto Rico. Vol. II, Barcelona: Ediciones Latinoameri-
canas, S.A., 1971, 254.
131 "The cadenas (chains), derived from the seguidillas. . . are

the most animated 'and beautiful of those that belong to this class:
one or several groups composed of four couples participate in it,
which make an agreed upon number of beautiful fígm-pg . . . . they
cross each other very fast in diverse and opposed directions, they
join together . . . they change places in an instant numerous
times, always returning to the same place where they started."
Alonso, Ibid., 254. For the music and words of a cadena see López
Cruz, 13ffl
132 " . . . the planks of the floor crackle; and that noisy resoundr
ing of bare feet with a toe of natural sole, or well shod with
soles full of nails, is heard through the silence of the night far
ther- away than the instruments, that in truth make a lot of noise.
All this noise is made by a pair of feet, those of the male, since
F : "
dificultad está en unos pasos muy sencillos y poco
variados, y en cruzarse y cambiar de parejas sin
tocarse nunca las manos . . . 133
The caballo.. is also sung, .using stanzas of four lines, of
eight syllables, each.
In the dance, matamoros the couples keep turning on their
heels, in' a fashion similar to- the Spanish iota, one
around'the other.
The dance puntillanto is described by Francisco del

134
Valle Atiles, and is a type of zapateado. It is similar to
the fandango and the seguidilla, but executed with more

135
grace, -according to Maria Gadilla-.
The dance .bolanchera is similar to the popular dances
from'Segovia, in Spain, but no detailed description is avails
able as to the local variations.
The.seis is by far the most popular of the . bailes de
garabato;- it is still very popular today. There are several
theories related to its origin; 1) that it derived from
the female does not have any part in it." Alonso, "El jíbaro,"
'Enciclopedia Clásicos de Puerto Rico, II, 254-255.
133 "In this [dance] two couples are placed in such a way that while
the woman is in front of her partner, she has the man of the other
couple, at her left, and the man has the woman of the other couple in
front, of him: all the difficulty consists in steps that are very
simple and with little variations, in crossing and changing partners
without ever touching the hands . . . " Alonso, Ibid., 255.
134 Francisco del Valle Atiles, El campesino puertorriqueño, n.p.:

Tipografía de José González Font, 1887, quoted by Cadilla, "Cos
tumbres y tradicionalismos de mi tierra," Clásicos,. II, 417.
135 Cadilla, Ibid.
r : ~
80
136
the contradanza; 2) that it takes its name from the
137
number of strings of the guitar; 3) that it originated from
the Corpus Christi festivity of Seville, where a group of
children called the seises unet to the cathedral in the early

138
afternoon and danced before the Holy Sacrament; and
4) that its name comes from its typical choreography,

139
since six persons are required for the dance.
According to Francisco López Cruz, the word seis has been
growing in meaning, so that;
. . . no exageramos al decir que nuestro seis incorpora

en su coreografía muchas, si no todas, las formas y fi
guras del baile universal . . . El seis constitutye la
espina dorsal de la música puertorriqueña. Es sin duda
el más popular de todos los aires musicales que canta y
baila nuestro campesino.140
136 This view is held by Cayetano Coll y Tosté and denied by

Cesáreo Rosa Nieves and López Cruz, on the grounds that the contra
danza is posterior to the seis. See López Cruz, 3.
137 López Cruz denies this position, defended by Nicolás Slonimsky,

on the grounds that the sixth string of the guitar was added after
the seis was in existence. See Nicolás Slonimsky, Music of Latin
America, N.Y.; Thomas & Crogell Company, 1945. Quoted by López
Cruz, Ibid., 3.
138 See Salvador Brau, Historia de Puerto Rico, 1904, San Juan:
Editorial Coqui, 1966, 158.
139 This position is maintained by Manuel Alonso who makes a de

scription of the choreography he knew, but Muñoz mentions six cou
ples instead of six persons. See Muñoz, La música en Puerto Rico,
47.
140 " . . . we do not exaggerate when we say that our seis incorpo
rates in its choreography many, if not all, the forms and figures
of the universal dance . . . The seis constitutes the backbone of
the Puerto Rican music. It is, doubtlessly, the most popular of
all the musical compositions sung and danced by our peasants."
López Cruz, 3.
I -------------------------------------------------- -
The seis is interpreted by a group of string instruments:
the guitar, the tiple. the bordonúa,*^ and the cuatro.
Although Manuel Alonso believes they formed a sort of small
orchestra, the most frequent practice includes only two instruments
at a time (guitar and tiple, tiple and bordonúa, bordonúa and
cuatro, etc.). Today the typical ensemble mostly includes two
cuatros, one guitar, güiro, and percussion. The tiple is now
almost extinct, and the bordonúa is in the process of acquiring
new followers, thanks to the efforts of Prof. Francisco López
Cruz.
The music of the seis has simple and repetitive melodies,
which are good for ornamented improvisations in all the instru
ments; when executed by the cuatro or the güiro, they are -called
piquetes. Harmony is also simple, and concentrates on tonic;
141 The tiple is a descendant of the guitarrillo, a small guitar

from the Canary Islands. It measures 21¿ inches and its basic
notes are believed to be A, D, G, C, and E, although Prof. Gustavo
Batista believes that the real and original tuning of the tiple is
known by only a handful of people, since the instrument is not
used actively anymore. He referred to a series of interviews he
has conducted recently, and to his own experience as a performer
of typical string instruments.
142 The bordonúa takes its name from the bordón or thick chord
that is mostly used rhythmically due to its grave sound. It has six
chords and it is played with a plectrum. It is probably a descend
ant of the violas. "La bordonúa es una guitarra de grandes dimen
siones, hecha toscamente, y a veces sin más herramienta que un cu
chillo o una daga; la madera es de varias calidades, excepto en su
tapa que siempre es de yagrumo, una de las más blancas y ligeras
que se conocen." (The bordonúa is a large dimension guitar, made
rustically, and sometimes with no other tool than a knife or a
dagger; the wood is of various qualities, except for the top which
is alwavs of yagrumo, one of the most white and light that are
known.") Alonso, "El jíbaro," Clásicos de Puerto Rico, II, 255.
143 The cuatro has five sets of double chords tuned in this way:
B, E, A, D, and G. Its music is written in G clef but is played
F-- : ' •
144
dominant, and subdominant. The tónica andaluza is used
typically by the peasant or jibaro.
No titles are given to the seis dances. They are classified
according to the place*of-origin,- the .persons who popularized.them,
the-choreography, the animals they imitate, and the type of song.
Some of the seis dances classified according to the place of
origin are: 1) the seis bayamonés, which comes from the town of
Bayamón and is rhythmically graceful and humorous; 2) the seis
del Dorado, which originated in Dorado and can be danced in any
style; 3) the seis fajardeño, which is one of the favorites in
the oriental coast and takes its name from the town of Fajardo;
and 4) the seis de oriente, which is popular in the eastern
part of the island. In this last seis, while a person sings the
melody, the musicians embellish it with variations of the seis
fajardeño.
Those seis dances classified according to the persons who
popularized them are: 1) the seis Portalatin, in honor of a
well-known musician and a player of the cuatro, who popular
ized his melody during a visit to the town of Naranjito;
an octave lower. It is narrower and smaller that the guitar, and

usually leads the melody. Its name comes from the Arabic al quatr,
and like the tiple, it descends from the guitarrillo and the vi
huela. See Carpos Parsi, 30. This instrument is becoming more
popular each day, due to the efforts of Prof. Francisco López . .
Cruz.
144 The tónica andaluza, a harmonic practice that takes its name
from the region of Andalucía in Spain, consists in turning the
dominant into a tonic.
F ...“.... .. — ~ "
83
2) the seis de Pepe Orné, in honor of a composer who was a
cuatro and guitar player, and who gave his melody to the
town of Barceloneta; 3) the seis de Andino, in honor of a
violinist, composer, and conductor who lived in the nine
teenth century; this seis is really a development of a
popular tune, and was originally published following a manu
script titled "El valor;" this seis is the only one published
and has a piano edition of 1910 by José Laza and Co.; it is
the only seis that changes tonality, from Major to minor
and back to Major; it is the only seis that accelerates its

145
rhythm to end its interpretation; 4) the seis mapeyé, which
according to Francisco López Cruz has a title that is a deri
vation of brother Peyé (hermano Pevé) , contains the tónica
andaluza, and makes use of distant c h o r d s a n d 5) the seis
Villarán, a composition popularized by the musician of that
name; its music is lively and syncopated, and the copla (a
brief poem which usually has two successive lines that are
unified by rhyme or rhythmic correspondence) fits it better
than the décima (the metric c.ibination of ten octosyllabic
verses).
145 For the music of the seis de Portalatin, the seis de Pepe Orné.
and the seis de Andino, see López Cruz, 28-31.
146 López Cruz, Ibid.. 35-37.
r ~ " '
84
The seis dances which are classified according to their
choreography are: 1) the seis chorreao. which is the one pre
ferred by the peasants; the feet slide without hitting the floor
and they roll like skates; if observed closely they give the
impression of dropping slowly like water; 2) the seis zapateao,
which resembles the sonduro and can be danced with the music
of the seis chorreao; the difference between them is the
stamping of the feet on the floor: 3) the seis enojao, which
dramatizes a.moment - of anger between ' man and a woman;
the two simulate persecution, flight and courtship; the
couples turn their back to each other while they continue
to dance; later the man becomes pleasing and gallant; 4) the
seis amarrao, generally danced after the seis enojao; the
couples dance as if tied together; 5) the seis valseao,
which is a seis danced in the style of the waltz, but with
the rhythm and the steps of the seis; 6) the seis de la
enramada, which is danced under a- covering made of branches
called the enramada; it is a true celebration after the
harvest, and the batey (the yard that surrounds the peasant's
home), as well as the house, is decorated; 7) the seis del
machete amarrao, which is-danced to a slower rhythm and with
gallantry; this type of seis takes its name from the
machete, which is a large and heavy knife used for cutting
cane and clearing paths; the machete is two or three feet in
length and is made with a blade resembling a broadsword;
F ......... " '

85
8) the. seis del sombrero» in which several couples participate
exchanging hats and dancing with flirtation, contempt or
affection; and 9) the-seis d e l :pañuelo. in which the use of
handkerchiefs gives it its name; it has many steps from
different parts of Spain and America.
Those seis dances that refer to animals are: 1) the
seis del juey, which imitates the movements of the juey,
a sort of crab; 2) the seis de la culebra, in which
everyone makes a line dancing one in front of the other, in
such a way that the leader cannot see the end of the line;
the snake formation is also used in many jaranas or
house parties where other tunes are danced; and 3) the seis
matatoros, in which the dancers imitate the killing of a
bull; researcher Francisco López Cruz believes it must
have been a type of zapateao.
There are also seis dances classified according to the
type of songs. They are the following: 1) the seis de
controversia, which is a seis that dramatizes a musical or
poetic dialogue between two versifiers or between two
persons of the opposite sex; the verses used in this seis
can be of generalized use or can also be improvised;
2) the seis con décimas, which is the slowest and the
only one that is not danced; it is based on a roundel .(A-B-B-A),
147 López Cruz, Ibid., 33.
F.... .......
148
a transition (A-C), and another roundel (C-D-D-C);
and 3) the seis bombeao which is the only seis that is
not sung; after dancing for while» someone shouts "bomba"
and while everyone else is silent» the person recites a
quartet. After the music resumes» everyone dances and comments
on the previous "bomba." The process is repeated several
times.
Any seis whose harmony is based on tonic and dominant
is called seis una y una. To this classification belong
such dances of the seis as the seis bombeao, the seis
Portalatín» the seis bayamonés, and the seis Villarán.
among others.
The guaracha is a dance which has been widely accepted.
in Puerto Rico. It has a Spanish origin, but it is a1so
influenced by Cuban music:
Las bailaba una sola persona, en el teatro. Tal vez

pasó a la Isla antes de llegar a ella las primeras
compañías teatrales, puesto que la primera compañía
de ópera que vino a.Puerto Rico llegó en 1840, y se
cree— al menos así nos lo aseguran personas de bastante
edad— que ya se conocían las guarachas en el país, para
esa época.149
148 The décima came to America together with colonization. Its

elegant form has been incorporated into popular music in the seis
con décimas and in the décimas de aguinaldo.
143 "They were danced by just one person, in the theater. Maybe
they passed to the island before the first theatrical companies
arrived, since the first opera company that came to Puerto Rico
arrived in 1840, and it is believed— at least that is what the
old persons assert— that the guarachas were already known in the
country, by that time." María Cadilla de Martinez, La poesía po
pular de Puerto Rico, Madrid: Universidad de Madrid, 1953, 303.
r— ' ■
'
87
The guaracha does not follow any given formula in terms of verses,
and thus it differs from the seis. The instruments used to play
it are the cuatro, the guitar, and the güiro.
Aristocratic Music
European aristocratic music was played and danced in .'the so-
called bailes de sociedad, which were offered mainly in the big
towns for the well-off citizens. The dances which were most liked
in Puerto Rico are the following:
The mazurka, which comes from Poland, was originally a folk
dance. As it became known throughout Europe in the eighteenth
and nineteenth centuries, it developed as a source for art music.
Chopin's piano mazurkas dominated the literature, while Glinka
and Mussorgski also used it. In Puerto Rico it was a required
dance for society people, but also loved by the peasants:
La mazurka y la polca fueron de gran importancia en la

música de Puerto Rico. Ambas formaban parte obligada
del guateque campesino, quizás por influencia de los
bailes de sociedad, en los cuales era de rigor in
cluirlos .150
The polka, a Bohemian dance in quick duple meter, originated
in the nineteenth century. Since it soon spread to the
European salons, it caused a " . . . veritable 'polka mania'
150 "The mazurka and the polka were of great importance in the
music of Puerto Rico. Both were a must in the peasant's guateques
[an improvised party of friends where there were songs and dances],
maybe because of the influence of the society dances where it was
obligatory to include them." López Cruz, La música folklórica de
Puerto Rico. 131.
88
that lasted until the end of the century. It was introduced
into art music by Smetana. There is a polca paraguaya as an
offshoot of the European polka."*'** In Puerto Rico it was
popular both in the bailes de sociedad as well as in the
peasants' repertoire. "Para nuestro campesino el término
'mazpolca' es más popular que el de polka. Este término
... se deriva de la similitud coreográfica entre la mazur
ka y la polka. " * ^
The vals or waltz was developed from an Austrian peasant
dance, the landlcr. Beethoven's name has been associated with
a number of waltzes, but Apel asserts that such attributions
are clearly false. He says: "Weber's 'Auffordering Zum Tanze'
is the first example of the characteristic rhythm and accom-

153
paniment associated with the .altz." In Puerto Rico it
was a question of courtesy to dance the waltz together with
the contradanza. " . . . porque se consideraban ambas como
lina unidad cerrada en el carnet. Era cuestión de rigurosa

.. . „154
etiqueta . . .
In its local forms López Cruz distinguishes the following
waltzes: 1) vals montuno (sunrise waltz or vals de la alborada).
151 Willi apel, 685.
152 "For our peasant the term 'mazpolka' is more popular than
that of polka. This term . . . is derived from the similarity in
choreography between the mazurka and the polka." Lopéz Cruz, 134,.
153 Apel, 922.
154 " . . . because they were both considered as a closed unit in
the carnet [a dance card]. It was a question of rigorous eti-
F ~
2) vals de cadenas (each person holds the arm of the next
dancer forming chains), and 3) vals de los.palillos (resembling
the ancient dance of the. swords, this waltz was typical of the
festivities of Santiago Apóstol).
The Puerto Rican waltz resembled that of the French tradi
tion, which was popular in Madrid. It was played by the
violins, mandolins, and guitars, with the mandolins taking
the leading voice. When played in the countryside a different
ensemble was used that included guitars, güiros, and cuatros,
with the latter taking the leading voice. The different rhyth
mic modality of the peasant's waltz, with a syncopated emphasis,
later became incorporated to the society waltzes with the
compositions of Manuel Gregorio Tavárez.
The minué or minuet was originally a French country dance
incorporated to the Court of Louis XXV around 1650. It
quickly spread throughout Europe superseding the older cou-
rantes and pavanes. Some early minuets include phrases
that suggest that this form might have derived from the
branle a mener. Cadi11a believes the minuet was already
quette.” López Cruz, 123. See appendixes to CHAPTER IV for a

reference to those compositions which having the same title are
different types of music.
155 See the reference to Tavárez's waltz ''El 24 de junio" in López
Cruz, Ibid., 125. As will be seen in the next chapters, nine
teenth century composers enjoyed writing waltzes as much as danzas.
156 In the fifteenth century it was one of the dancing steps of

the basse dance. Later it became an independent dance with as many as
W “ ■
90
known locally by the time the Spanish immigrants came to
Puerto Rico after the independence of the colonies in South
* •
America.
157
The rigcdón is a dance that comes from Provence. It
originated in the seventeenth century- and vas used in the
operatic ballet of Lully and Rameau. Writer Manuel Alonso
comments: "El rigodón es también muy general; frío, pausado,
aristocrático, conserva las mismas cualidades bajo el sol de las

158
Antillas que bajo los hielos del polo."
The cotillón was a very popular dance during the eighteenth
century. It included a variey of figures, but had no
particular music. Any dance music, such as the waltz, the
polka, or the mazurka could be used for it. "Todos los demás
bailes que recorren la Europa . . . llegan también a la
Isla . . . asi hemos visto en unos cuantos años la galop, la

159
mazurka, el britano, el cotillón, la polka, etcétera."
twenty variations. It was accompanied by singing and some swaying

movements of the body and hands. The branle a mener survived in
the amener of the seventeenth century, and very probably in the
minuet. See Apel, 195.
157 Cadilla de Martínez, "Costumbres y tradicionalismos de mi

tierra," Enciclopedia Clásicos de Puerto Rico, II, 416.
158 "The rigadoon is also very general; cold, quiet, and aristo
cratic, it preserves the same qualities under the Antillian sun
as under the ice of the Pole." Alonso, "El jíbaro," Enciclopedia
Clásicos de Puerto Rico, II, 252.
159 "All the other dances that travel through Europe . . . also
arrived on the island . . . thus we have seen in a few years the
galop, the mazurka, the britano, the cotillion, the polka, etc."
Alonso, Ibid.
F---- ‘‘ v
91
The galop was a quick round dance of the mid-nineteenth
century. It was executed with many changes of steps and
hopping movements. Offenbach and Liszt used it for their
compositions. It was very popular in Paris.
The contradanza was also very popular. "It is now generally
accepted that the contredanse developed and took its name from
the English country-dance, which it resembles in various respects
. . . The contredanse developed later into the fransaise and
the q u a d r i l l e . " T a p i a describes the dance:
Rompía el baile, la primer pareja . . . ponía la fi

gura a su gusto y los demás estaban obligados a no va
riarla. Semejantes figuras . . . eran a veces tan
ingeniosas que los demás tenían que estudiarlas y se
guirlas sobre la marcha . . . Se suerte que cuando la
pareja cabeza de la danza llegaba al último puesto o
fogón . . . toda la tanda bailaba, haciendo la misma
figura, lo cual resultaba gracioso y pintoresco."161
Muñoz explains the influence of the contradanza on other
musical forms:
No cabe la menor duda de que el 'country dance' inglés

viajó muchas millas a través de Holanda, Francia y
España para venir a germinar como flor exótica en las
Antillas, donde adquirió un nuevo estilo criollo . . .
En aquellas contradanzas estaba el germen rítmico y me
lódico de la habanera, del merengue y de la danza puer
torriqueña, cuya forma quedó definitivamente plasmada
160 Apel, 294.
161 "The dance began, the first couple . . . performed a figure as

it pleased and the rest were forced not to vary it. Such figures
. . . were sometimes so ingenious that the others had to study
and follow them on the spot . . . In such a manner that when the
leading couple of the dance reached the last place or fogón . . .
the whole group of couples danced, making the same figure, which
turned out to be funny and picturesque." Tapia, Mis memorias,101.
I ........... .
92
al arribo de una danza procedente de Cuba, con el nombre

de upa.162
Cadilla comments on the bastonero ,or dance master -of the
contradanza:
Al principio constaba de distintos pasos o figuras, como

el minueto, y tenia un director de baile o bastonero.
A éste correspondía el señalar las parejas que tomaban
parte en ella, el turno de las mismas en el baile y el
aire.163
Besides the mentioned bailes de sociedad, there were other
dances that also came to Puerto Rico, like the pavana, gallarda.
and españoleta, but they were not popular, since they required great
reception rooms that werevnot available locally. Other dances that
were brought by visitors and artists but that received lesser
attention were the tarantela, saltarello and forlana from Italy,
the varsoviana and polonesa fyom Poland, the cainca from Russia
and the reel from Ireland. From the South of Spain came the segui
dillas, from Málaga the malagueñas, from Granada the granadinas,
from the Canary Islands the canarios, from Murcia the murcianas,
and from Ronda the rondeñas.
162 "There is no doubt that the British country-dance travelled

many miles through Holland, France and Spain and came to the An-
tilles to germinate as an exotic flower, where it acquired a new
Creole style . . . In those contradanzas was the melodic and rhyth
mic germ of the habanera, the merengue, and the Puerto Rican danza,
whose form was finally molded with the arrival of a danza called
upa, proceeding from Cuba." Muñoz, La música en Puerto Rico, 150.
163 "In the beginning it consisted of different steps and figures,

like the minuet, and had a dance conductor or bastonero [master of
ceremonies at a ball]. He was in charge of pointing at the ccuples
that took part in it, their order in the dance and the tempo."
Cadilla de Martinez, "Costumbres y tradicionalismos de mi tierra,"
Enciclopedia Clásicos de Puerto Rico, Vol. II, 419.
gr----- ~~ '~ .
93
Puerto Rican composers were inevitably influenced by the Indian,
African.and Spanish traditions. New forms developed in the nine
teenth century which continued to enrich the musical environment
that combined local, Spanish, and international currents. The next
chapter will include biographical considerations through.which the
life and work of four composers of the nineteenth century will be
viewed, as they represent the society in which they lived.
^ : --------- -
CHAPTER III
FOUR NINETEENTH CENTURY PUERTO RICAN COMPOSERS:

FELIPE GUTIERREZ Y ESPINOSA. MANUEL'GREGORIO TAVAREZ,
JUAN MOREL CAMPOS, AND JOSE IGNACIO QUINTON DEL ROSARIO
It is very important to understand the political environment
in Puerto Rico during the first half of the nineteenth century,
because pultural manifestations were affected by the continuous
concern over the future of the island. Military garrisons were
reinforced because of the fear of separatism, since several revo
lutions in other Spanish colonies resulted in their Independence.
Liberalism, struggling in Europe to survive against absolutist
monarchical governments, also made its way to Puerto Rico and
people resented the strict censorship imposed on their daily ac
tivities every time the constitution was rejected. The intensive
spending on defense and surveillance, and the lack of attention
given to education affected music instruction in general. Only
gradually did professionals make their way in performing, teaching
and composition. During the first half of the nineteenth century
music mostly manifested itself through the military bands, the
religious rituals and in the popular songs and dances as described
in the previous chapter. For some governors, music was diversion
for the people; a sort of spiritual balm cultivated to keep them
entertained.
94
F '
I
96
Important composers such as Felipe Gutiérrez y Espinosa
(1825-1899), Adolfo Heraclio Ramos.(1837-1891), Manuel Gregorio
lávárez (1843-1883), and Julián Andino (1845-1920), are really pro
ductiva during the second half of the nineteenth century, when they
reach adulthood. Nevertheless, the cultural environment of the .
first half of the century helped them to develop music that bore
autochtonous expressions and a language with native traits. What
they lacked in opportunities for themselves they tried to improve .
for the next generations of musicians.
The secret dispositions of the Treaty of Fontainebleau, be
tween King Charles IV of Spain and Napoleon Bonaparte, allowed
French soldiers to cross Spain in 1807 in order to attack Portugal.
Shortly after Ferdinand VII, son of Charles IV, was named king, he
was secluded in Bayona by Napoleon. José Bonaparte, Napoleon's
•brother, was then placed on the throne of Spain. The Spanish war
of liberation began almost immediately and the country fought not
only for its independence, but also for political reform; patriot
ism became inevitably linked to an attack against the abuses of
absolutist monarchy.
On July, 1808, two Spanish captains arrived on the island of
Puerto Rico and asked the local governor, don Toxibio Montes;* to
declare war against Napoleon and follow the decisions of the Junta
Suprema or Supreme Council in Seville in defense of King Ferdinand
VII. When in the next year all the colonies were proclaimed an
1 Toribio Montes arrived as Captain General and Governor in 1804.

He is well remembered by the introduction of typography, the foun-
F . ........ '
96
integral part of the Spanish monarchy with the right of represen
tation in the Junta Suprema, each vice-kingdom (New Spain, Perú,
New Granada, and Buenos Aires), each general captainship (Cuba,
Puerto Rico, Guatemala, and Chile), and the provinces of Venezuela
and Philippines, proceeded to elect their deputies.
Up to this moment Puerto Rico had been administered by a co
lonial regime based on the mercantilist system:
. . . cuyas bases la constituían la Recopilación de Leyes

de Indias (1691) . . . y la Novísima Recopilación (1795),
cuerpo legal que consagraba el absolutismo monárquico en
sus formas más desfavorables y vergonzosas . . . por la
rígida supervisión que ejercía la Corona en todos los asun
tos de la colonia y la centralización de poderes que dis
frutaban sus representantes, comúnmente militares.2
All power was vested on the governor, who was almost omnipotent,
being in charge of security (as Captain g.eneral); the treasury
(as intendant); the administration of justice (as supreme judge);
and the promulgation of decrees and orders or bandos (as royal
vicepatron). He was also in charge of all the personnel, includ
ing the military and marine, and of the administration of the
Church.
The decree of 1809 was well received in Puerto Rico, because
it meant a change from an administrative colonial system (the col
ony as an inferior and tributary entity) to an assimilative colo
nial system (the colony as an integral part of the Metropolis).*

2
dation of the first local newspaper. La Gaceta (1807), and the

introduction of the small-pox vaccine.
2 " . . . whose•foundations were the Recopilación de Leyes de 3h-
dias (1691) . . . and the Novísima Recopilación (1795), the legal
body which consecrated monarchical absolutism in its most disfavor-
able and shameful.forms . . .. by the rigorous supervision of the
colony and the centralization ox. powers enjoyed by its represen-
F '.......'.................. ' ■'

Local elections were held in the municipalities or ayuntamientos
of SanJuan, Aguada, Arecibo, San Germán, and Coamo, and in July-

3
the Electoral Board cr Junta Electoral chose Ramón Power as the
official representative of Puerto Rico to the Junta Suprema.
After Lieutenant Power returned from Santo Domingo where he
was. fighting against the French, a ceremony was held in the cathe
dral, which included a speech by Bishop Juan Alejo de Arizmendi,
the first and only Puerto Rican bishop during the Spanish adminis
tration. On the significance of this ceremony Cruz Monclova
comments:
La significación de esta ceremonia ..... con sus . . .

repetidas referencias a 'nuestros compatriotas los na
turales de Puerto Rico' . . . señala cabalmente la pri
mera revelación del amor criollo a la tierra nativa,
manifiesta el concepto de patria circunscrito por la
geografía y marca el preciso instante cuando aflora
conciencia de pueblo y cobra categoría rectora lo puer-
rriqueño . . . 4
Power never participated in the Junta Suprema, since it abdi
cated in favor of the Regency Council in 1810, but since this last
organism convoked the Cortes or Parliament and Power was elected
as Puerto Rico's deputy, he was finally able to represent the
island. He was given a set of Instrucciones or Instructions from3

4
tatives, usually.militáry." Lidio Cruz Monclova, Historia de Puer

to Rico-(siglo XIX) Yol. í (1808-1868), Santurce, Puerto Rico:
Editorial Universitaria, 1952, 12.
3 The Junta Electoral met after Q o v e m o r Montes had left the island
in 1809. He had refused to pay money owed to his predecessor.
General Ramón de Castro, and the Ministry of War had admonished
him. Montes was then substituted by Captain Salvador Melendez.
General Castro is well remembered by a portrait painted by José
Campeche. See Brau, 218.
4 "The significance of this ceremony . . . with its . . . repeated

references to 'our countrymen the naturals of Puerto Rico' . . .
f.... .
the ayuntamientos (which resemble the cahiers de doléances of the
French in 1789) in which different reforms were asked for: educa
tion, health, the prison system, communications, the distribution
of lands, derogation of the tribute of abasto forzoso.^ freedom of
commerce of flour, freedom of exportation, and a system of propor
tional taxation. The direct influence of the Spanish liberals, as
well as of the United States' democracy and the French Enlightenment
can be perceived in these Instrucciones.^
Three days after the election of Power, Venezuela declared its
independence from Spain. A few days later the cabildos (or govern
ments of towns) of Caracas, Cartagena, and Coro dispatched communi
cations to San Juan asking to be joined in the process of indepen
dence. As was to be expected, and even if the ayuntamiento of San
Juan rejected this demand, the doctrine of separatism began to grow
gradually in Puerto Rico.
By a Royal Order of September 4, 1810, the Regency Council
gave Governor Salvador Meléndez (1809-1819) total and dictatorial
powers in order to prevent the revolutionary ideals to spread in
Puerto- Rico. New regiments of soldiers were organized, internal5

6
fully demonstrates the first revelation of the indigenous love of

the native land, manifests the concept of country circumscribed by
geography, and points out the precise instance when our conscience
of people flourishes and the Puerto Rican gathers strength as supe
rior category . . . " Cruz Monclbva, Vol. I, 28.
5 Husbandry was in decay due to this tribute; one of every four

cattle had to be obligatorily turned in by.the peasant for the
supp ly or abasto of the cities.
6 See "Informe de Don Pedro Irizarri, alcalde ordinario.de San Juan

sobre las instrucciones que debían darse a Don Ramón Power, diputado
por Puerto Rico ante las Cortes Españolas, para promover el adelanto
económico de la Isla, Año 1809." in Eugenio Fernandez Mindez, editor
F-: •
99
espionage was intense, and local priests (including Bishop
Arizmendi) were accused of conspiring. In a speech pronounced in
the Cortes, Power attacked the measures organized by Governor
Melendez; the Cortes abolished, on February 15, 1811, the 1810
royal order, but Melendez continued punishing local liberals and
any person who sympathized with the events in Caracas. He is
said to have exclaimed: "Ya revivió el déspota. Tengo castillos
y cárceles para todos. Y mi látigo es muy largo, como ahora se

-
vera. ,,7
Modifying his attitude after the Regency Council revoked
most of his previous decisions. Governor Melendez was forced to
publish two important documents: 1) the Power Law (separating
the intendancy from the office of governor, eliminating the
tribute of the abasto forzoso and establishing the Sociedad

g
Económica de Amigos del Pais): and 2) the National Constitu
tion of 1812 (approved on March 19 and received in Puerto
Rico on July 14). By virtue of this constitution, the
first political enactment ever written in the history of
Crónicas de Puerto Rico, II (1809-1955), San Juan: Ediciones

del Gobierno del Estado Libre Asociado de Puerto Rico, 1957, 9-34.
7 "The despot has revived. I have castles and prisons for all.
And my whip is very long, as it shall be seen." Archivo Gene
ral de Indias (General Archive of Indies), Section 10a. Overseas
File 429, quoted by Cruz Monclova, I, 60.
8 The purpose of the Economic Society of Friends of the Country

was to promote the industrial development, agriculture, and prac
tical knowledge. Se Eugenio Fernández Méndez, Historia cultural
de Puerto Rico, 1493-1968, 224.
I
Spain, Puerto Rico was declared an integral part of the Spanish
nation. The Puerto Ricans that had been b o m free were granted
Spanish citizenship together with freedom of thought, of petition,
of work, and of suffrage. The island was given the privilege to
name a deputy to the Cortes with the right to vote. This deputy
was to be selected by a procedure of indirect universal election
that progressed in three stages: juntas de parroquia (parochial
councils), iTintas de partido (district councils), and juntas de
provincia (provincial councils). The executive power in the idánd
remained in the hands of the Governor, by Royal appointment. He
presided over the Diputación Provincial, a recently established
organism.
The liberals received the constitution with great enthusiasm:
Con tal motivo se celebraron en San Juan y las demás

poblaciones, grandes ceremonias, carreras, de caballo,
músicas, iluminaciones, fuegos artificiales, mascaradas,
bailes y otros actos conmemorativos.9
But liberalism was affected locally by the death of Deputy Power
on June, 1813. After Napoleon liberated Ferdinand VII, the monarch
returned to Spain and on May, 1814 abolished the constitution.
The restoration of absolutist power meant the loss of the Spanish
citizenship for the Puerto Ricans, and the return to the status
of an administrative colony. Freedom of press was eliminated and
censure applied to newspapers, posters, literary works, and dra-9
9 "For the occasion celebrations took^place in San Juan and the.

other towns, with great ceremonies, horse races, music, illumina
tions, fireworks, masquerades, dances and other commemorative
acts." La Gaceta de Puerto Rico, Vol. 7 (1812), 35-36. Quoted by
Cruz Monclova, Vol. I, 71.
101
matic representations.^ Due to the continuous revolutionary move
ments in Venezuela, and fearful of losing control over Puerto Rico,
the king issued a decree known as the Cédula de Gracias, which
provided for the immigration of white colonists, free blacks, and
mulattoes. Land was to he granted to them, free of charge. They
were given an exemption from personal tribute, and from slave taxes.
The Recree also authorized free commerce between Puerto Rico and
Spain and between Puerto Rico and any nation friendly to Spain.
The Cédula de. Gracias pleased local liberals, who, on the other-
hand, were very displeased with the administration of Governor
Meléndez. The king had admonished Melendez for his arbitrary con
duct but, nevertheless, the governor continued interfering with the
work of the first two intendants, Alejandro Ramirez (1812-1816)^
and José Ventura Morales (1816-1819); on the death of Ventura
Morales, Governor Meléndez even assumed his job. The king insisted
on maintaining the office of the governor and of the intendant as
separate positions, and he ordered the substitution of Meléndez on
November 8, 1819.
On June, 1815, local separatists had been busy participating
in a meeting in Mexico City, where representatives from Cuba,
Mexico, and Santo Domingo were present. A plot to liberate some1

0
10 Governor Meléndez had allowed representations to be held in a

place called the Corralón, on Sol Street, in San Juan, since 1811.
See Emilio Pasarell, Orígenes y desarrollo de la afición teatral en
Puerto Rico. San Juan: Editorial Universitaria, 1951, 29.
11 Alejandro Ramírez was the first intendant of Puerto Rico. He

took office in 1812 by virtue of the Power Law. The intendant was
in charge of the treasury, and he regulated prices, raised taxes,
and superintended his juridical counsellors.
W ■
colonies was planned, but it never materialized. The next year
Simón Bolivar landed on the island of Vieques while fleeing from
the Spaniards. Although he never entered Puerto Rico, as expected,
the memory of his famous "Contestación de un americano meridional
a un caballero de Jamaica” lingered on the minds of the separatists.
In included the following words:
Las islas de Puerto Rico y Cuba . . . son las que más

tranquilamente poseen los españoles porque están fuera
del contacto de los independientes. Mas, ¿no son ame
ricanos estos insulares? ¿No son vejados? ¿No desean
su bienestar?12
On January 1, 1820, a liberal revolution in Spain, directed
by Generals Rafael de Riego and Antonio Quiroga, deposed the ab
solutist regime of Ferdinand, who was forced to proclaim again the
Constitution of 1812. The changes in the mainland affected Puerto

13
Rico, and a new Governor was installed. Elections were held
again to select a deputy to Cortes. After voting took place in
the parishes, the partidos (San Juan, San Germán, San Blas de Coano,
San Francisco de Aguada, and San Felipe de Arecibo) elected their

14 '
candidates and the Junta de Provincia chose the deputy.
In 1821 Puerto Rico began steps to improve its fiscal poli
cies. During the interim government of Colonel José de Navarro
12 "The islands of Puerto Rico and Cuba . . , are the ones most
quietly possessed by the Spaniards because they are outside the
contact of the independents. But are they not American these insu-
lars? Are they not oppressed? Don’t they want their well-being?"
Vicente Lecuna, Cartas del Libertador. Caracas, 1929, Vol. I, 186.
Quoted by Cruz Monclova, Vol. I, 115.
13 After Salvador Melendez left, Juan Vasco Pascual was appointed

Governor- He was soon substituted by Gonzalo Aróstegui (1820-22).
T4 Demetrio O ’Daly Was named Deputy to the Cortes in 1820; he was

succeeded by José María Quiñones in the 1822-23 Legislature.
w~ - - ■ -- ‘ '
(1822) an agreement was reached with the Cortes. ^ Cruz Monclova
says:
La importancia del acuerdo de las Cortes resulta incues

tionable, pues al aceptar, con el hecho diferencial entre
Puerto Rico y la Metrópoli, el criterio de relación entre
las leyes y las circunstancias propias del pais donde han
de regir, presentes ambos en las proposiciones de Quiñones
[the deputy to the Cortes], las Cortes aceptaban también
imprimir un nuevo rumbo, el de la especialidad o autono
mista, a la política colonial española.16
This new autonomist tendency, which differed significantly
from the previous administrative and assimilatory colonial systems, .
was also reflected in a project presented to the Cortes by Deputy
José María Quiñones in 1823. It included an amendment to the Con
stitution of 1812, to be applied in the overseas provinces: the
ayuntamientos would be reorganized and made more independent in-the
management of local affairs.^
In spite of all the faith which many liberals placed in this
project, and even if the Cortes had approved it, the project was
never put into effect because of the French invasion of Spain in
1823 (by an army popularly callad Cien mil hijos de San Luis ¿.n
15 See the document sent to Gjjvemor Navarro to the Cortes, and

the answer of the Cortes accepting the propositions, in C e p z
M onclova, Vol. I, 170-178 and 178-180.
16 "The importance of the agreement of the Cortes proved to be

unquestionable, because in accepting, with the differential fact
between Puerto Rico and the Metropolis, the criterion of the re
lation between the laws and the circumstances that are peculiar
to the country where they are to be applied, present both in the
propositions of Quiñones [the deputy to the Cortes], the Cortes
also accepted to imprint a new course, that of the specialty or
autonomist, to the Spanish colonial policy." Ibid., 181.
17 This project reflects the ideas of Montesquieu, as well as the

concepts of the fuerismo especializado (especialized chartism) of
Vizcaya and the Napoleonic Constitution of 1800. Ibid., 176.
r
104
honor of Louis XVIII). The Congress of Verona, with the secret
consent of Ferdinand VII, had determined to restore the absolutist
regime in Spain and allowed the entrance of troops. Puerto Rican
liberals were deeply upset and even though they protested against
the actions taken in Paris, Vienna, Berlin, and Saint Petersburg,
nothing could be done in favor of their cause.
During these first years of the nineteenth century, education
was neglected. The lack of attention given to it points to the
scarce economic resources of the island and to the priority given
to military protection and political matters. By 1814 there were
only two primary schools, and secondary education was only offered
in the convents of San Francisco and Santo Domingo in the capital

18
city. Numerous workers were driven to vagrancy, superstition,
and sensuality, due to the triple problem of poverty, ignorance,
and isolation. In 1821 Governor Arpstegui reported that most of
the towns did not have primary schools; two years later the Ayun
tamiento of San Juan had only established two schools for boys and
two schools for girls. The only private schools in San Juan were
those directed by Manuel Dominguez, José Antonio Molin, Juan
Kitenhoven, and José Valentín Sánchez (this last one for black
people). The Sociedad Económica de Amigos del Pais also offered
courses in drawing, mathematics, and Spanish and Roman law.
18 See "El Gobernador Meléndez dicta órdenes sobre instrucción

pública a tono con la constitución. Año 1813" in Gerardo Sellés
Solá, Lecturas históricas de la educación en Puerto Rico, San Juan:
Bureau of Supplies, Printing and Transportation, 1943, 49-50.
F 1
105
Many hoped for the establishment of a University, proposed by

19
Governor Francisco González Linares, which would have fulfilled
the needs of higher education:
. . . en vista de que si unos estudiantes no podian

pasar a países lejanos a adquirir su instrucción, todos
carecían del alivio que les proporcionaban las Univer
sidades de Santo Domingo y Caracas antes de que dichos
pueblos se hubiesen sustraído del Gobierno de Su Majes
tad. 20
When absolutist government was restored in 1823 in Spain,
Miguel de la Torre was appointed Governor of Puerto Rico. Soon his
Bando de policía y buen gobierno forbade all evening meetings in
stores, cafés, and warehouses, as well as loitering in the streets.
The Batallion of Urbans was reinforced; strict censorship was
applied to books and newspapers. Doña Maria Mercedes Barbudo, in
whose house the separatists met to discuss the situation over-

21
seas, was arrested in 1824 in the castle of San Cristóbal, and
exiled. After an attempt made in 1825 by several Venezuelan ships
to capture Punta Borinquen, Governor de la Torre was granted total
19 Governor Linares (1822-1823) is also known for having closed

the newspaper El Investigador (after it published an article with
a subversive opinion) and for executing two separatist conspirators,'
Dubois and Romano, in the El Morro Castle. During his tenure, se
cret agents of the Spanish government were stationed in Venezuela,
San Bartolomé and Saint Thomas, and shipments of extra rifles were
ordered for San Juan.
20 " . . . considering that if some students could not go to dis

tant countries to acquire their instruction, all lacked the advan
tages that the Universities of Santo Domingo and Caracas offered
before these cities withdrew from the Government of His Majesty."
Acuerdos, 1820-1821, File 69, Excmo. Ayuntamiento de la Capital.
Quoted by Cruz Monclova, Vol. I, 206.
21 Puerto Rican separatists were aware of Bolivar's victories in

Boyacá (1819) after the epic crossing of the Andes,, and- in Ayacucho
(1824).
r— ----------------------------------------------- ■
.
106
22
powers. Vigilance became more strict, since constant rumors
indicated that the Latin American countries wished to overthrow
the Spanish government in Cuba and Puerto Rico.
After Bolivar's death in 1830, de la Torre sponsored public
diversions to such an extent that Jii§ .government has been labeled by
three B's: "baile, botella y baraja" (dancing, drinking, and gam
bling). He is believed to have said: "Mientras el pueblo se di-

23
vierte no piensa en Qgnsgirar." Local festivities were held to
celebrate the marriage in 1829 of the king of Spain to Princess
Maria Cristina de Borbón, the birth of the king's daughter in 1831,
and the king's birthday. When the king died in 1833 numerous reli
gious ceremonies followed.
After Elizabeth II became queen, with feer mother as regent,
the Estatuto Real, a legal charter destined to control liberalism,
was proclaimed. It provided for two chambers, the Estamento de
Proceres and the Estamento de Procuradores (in which Puerto Rico
could have two representatives). Locally, the Instrucciones^
were prepared and the following reforms were demanded: freedom of
commerce, expansion of agriculture and industry, and a new tax §ys~
tenu Other demands were the diffusion of the arts and the sciences,
public instruction, better roads and communications, and an in
crease in white immigration.
22 Similar to those granted to Governor Salvador Meléndez in 1$10.
23 "While people have fun they do not think about conspiring."

Brau, 231.
24 See Cruz Monclova, Vol. I, 690-702.
F ...... ""
In 1836 the Estamento de Procuradores was twice dissolved. Hi
Spain, this led to a conspiration fostered by the liberals. With
the aid of military pressure in the palace of La Granja, the Gcnsti-

25
tution of 1812 (popularly called La Pepa) was restored. The
reaction to these events is described by Cruz Monclova:
Conforme a lo dispuesto, en la mañana del 22 de septiembre

(1836), se verificó en San Juan la publicación del código
doceañista, con una imponente manifestación en que parti
ciparon el Gobernador, la Compañía de Granaderos del Regi
miento de Granada, la banda de música de la misma . . . y
la que, partiendo de ía fortaleza, al son del Himno de
Riego, llegó hasta la Plaza Mayor . . . Allí los alcaldes
. . . presentaron y leyeron al público la Constitución; y
se colocó una nueva lápida, con la inscripción de Plaza
de la Constitución . . . 26
The liberals were very hopeful about the future of Puerto Rico,
and a deputy to the Cortes. Juan Bautista Becerra Garcia, was nanpd
and given the same Instrucciones as those prepared for the procura
dores in 1834. But on February of 1837 the Cortes decided, after
hearing a report made by the Overseas Commission, that the Consti
tution was not to be applied to Puerto Rico, Cuba, or the Philip
pines. These islands were to be governed by the Leyes Especiales
de Indias (which meant a return to the administrative colonial
25 Pepa is the feminine of nickname Pepe, given to men called José.

The constitution was called this way because it was originally pro
claimed the day of Saint Joseph.
26 "In conformity with that which had been agreed to, in the morn
ing of September 22 (.1836), the código doceañista (twelve-year code)
was published, with an impressive manifestation where the governor,
the Grenadier's Company of the Regimiento de Granada participated,
with its music band . . . and which, departing from Fortaleza, and
playing Riego's hymn, reached the Plaza Mayor . . . There the m a
yors . . - presented and read to the public the Constitution: and
a new stone was placed, with the inscription of Plaza de la Consti
tución . . . " Cruz Monclova, Vol. I, 287.
r— ! ..............
108
system). Simultaneously, a special taxation was imposed on Puerto
Rico to help with the expenses of the civil War in §pain (the so-
called Guerra Carlista).
. . . le arrebataban a la Isla la representación a Cortes

cuando ésta era más necesaria . . . y trocaban las ins
tituciones representativas por el mero régimen de fuerza
de las Leyes de Indias . . . 'donde no se conocen los
derechos políticos . . . y no se enseña §ino la obedien
cia pasiva y una filosofía que no se conoce más que por la
voluntad omnímoda del Monarca.'27
During this period Spain was no longer interested in keeping
Puerto Rico, Cuba, and the Philippines. On January, 1837, the
Regent had sent Alejandro Aguado and Francisco Campuzano on. á se
cret mission to Paris to negotiate with King Louis Philippe and
Minister Talleyrand. They were to sell Puerto Rico and the Philip
pines for 10 million reales each, and Cuba for 30 million. When
the king asked for a discount in the case of the Philippines,
Campuzano did not accept (possibly because he did not agree with
the regent's request to make the sale) and he burned the document.
The sale was never effected.
The last years of the regency of Maria Cristina de Bortón were
labeled locally the years of the paz despótica or despotic peace.
The revolutionary movement which emerged in Puerto Rico while Mar
shall Francisco Moreda Prieto was governor was crushed in 1838 by
Governor Miguel López de Baños. The leader of the movement was
27 " . . . they took away from the island the right of representa
tion to Cortes when it was most necessary . . . and they changed
the representative institutions by the mere regime of coercion of
the Leves de Indias . . . 'where political rights gre unknown. . .
and only passive obedience is taught with a philosophy that only-
knows the absolute will of the Monarch.'" Calixto Bernal, Apuntes
sobre la cuestión de la reforma política y dé la introducción de
W ---- --------------------- --- ------ -- -----

Andrés Vizcarrondo Martínez and he was fortunate to escape to
Venezuela, but many of the conspirators were tortured and shot. 3h
1840 López de Baños was dismissed after a report from the Comisión
Regia (a special commission that came from Spain) informed the
Regency about the tragic state of the island.
That same year ended the regency of the queen's mother, who
embarked for France after she was forced from the throne. The
regency was then occupied by General Baldomero Esparteros (1840-
1844). Locally, Santiago Méndez Vigo assumed- the office
of governor. He worked to prevent agitation among the slaves and
to curb abolitionist currents. He decided on a series of measures
against local liberties, such as: the prohibition to wear aboard,-
except for the military; the prohibition .to all foreigners to
travel through the island without a previous license from
the government; and the prohibition for black persons; to
go out of their homes after 11:00 p.m.
Mendez Vigo ordered -the creation of a new army
corps and" also the fortification of the" ports of Mayagüez
(in the west coast) and Ponoe (In the south). His administration
28
has been judged as abusive, brutal, and despotic, but he is also
remembered for the help he gave Mayagüez during a fire that nearly
29
destroyed the city. He ordered celebrations and made promises
of fidelity and obedience in honor of the queen of Spain,
africanos en Cuba y Puerto Rico, 288. Quoted by Cruz Monclova,

voi~:~ i , m r~ -------------------
28 Cruz Monclova, Vol. I, 339.
29 One of the streets in Mayagüez is named after Méndez Vigo.
r— : ■
110
Elizabeth II, when she became head of the nation in 1844, aided by
General Ramón Maria Narváez. The festivities of that year inclinfad
dances, illuminations, distribution of alms, cucañas (climbing a
greased pole), horse races, masquerades, and children’s games.
When the dictatorship of Narváez began, a new governor, Rafael
de Aristegui (1844-1847), was appointed for Puerto Rico. During
his term he prohibited corporal punishment in schools, and
approved scholarships to study in Europe. A paternalist and semi-
feudal style of government was displayed later on by Juan Prim y
Prats (1847-1848). He is known for having established such harsh
punishments against the blacks as the amputation of the right hand
in the case of aggression against a white person. He is quoted as
having said that Puerto Ricans only needed dancing and playing,
and that to govern them he only needed a whip and a violin.
Juan de la Pezuela (1848-1851), a governor who believed that
the Puerto Ricans were so lazy that they crawled following their
carnal appetites, having no faith, no religion and no thoughts,
upon being appointed, rejected a proposal for a Colegio Central.
He said that:
. . . la instrucción habia perdido las Américas, y que,

como ella era materia que debía manejarse con sumo tacto,
convenía que los que quisieran estudiar fuesen a España.
Añadiendo, al objetarle los de la comisión que la mayoría
de los jóvenes no podían hacerlo por carecer de recursos,
'que los pobres tenían bastante con aprender a leer, a es
cribir, bástales doctrina cristiana y un oficio;' pues
España quería sus colonias para su gloria y no para su
perdición, es decir para la conveniencia y utilidad de
ella misma y no para la felicidad de los colonos. 30
30 " . . . instruction had ruined the Americas, and that, since it

was something that had to be handled with utmost care, it was
F---- " '

Pezuela's regulation.of 1849, establishing the category of
jornalero for those who received a salary, was considered very
abusive. Every jornalero was compelled to inscribe his name before
a judge of his locality in a corresponding register, and to keep a
notebook which he had to carry at all times. If he was caught
without it, he had to endure eight days of labor in public works,
for which he was only paid half of his salary. Proprietors fixed
the salaries of the jornaleros, who would not complain for fear of
punishment. It was forbidden to receive any neighbor as an agrega-

31
do , and a new Bando de policía v buen gobierno of December, .1849,
prohibited a person to move from one house to another, to travel
through the island, to rent a house or to celebrate a party,
without the written consent of the authorities.
convenient that those who wished to study went to Spain. Adding,

when those in the commission objected that the majority of the
young people could not go because they lacked the means, 'that the
poor had enough with learning to read, to write, it was sufficient
with the Christian doqtrine and a trade;’ because Spain wanted its
colonies for its glory and not for its ruin, that is, for its own
convenience and utility and not for the happiness of its set
tlers." Cruz Monclova, Vol. I, 375.
31 During the eighteenth century a new social type appeared in the

coffee plantations of the mountains. While the slaves were used
effectively in the sugar cane plantations of the coast, where they
could be supervised, they could not be used in the woods and moun
tains from where they could easily escape. The abundance of un
cultivated lands forced some landowners to grant a part of their
lands to poor people, who tilled them or used them for pasture.
These people, called the agregados, accepted a semi-feudal or pa
triarchal relation with their padres de agrego, paying no. rent.
Many desacomodados (neighbors without land) asked permission to
become agregados. See Eugenio Fernández Méndez, Historia cultural
de Puerto Rico. 169.
F------------------------------------------- .
The last two governors during the administration of General
Banón Maria Narváez were: Enrique de España T a b e m e r (1851-1852),
who prevented the publication of Alejandro Tapia's Biblioteca his
tórica because he did not want to eliminate a verse from the poem
titled "Elegías de varones ilustres de India" where the Indians:1
cacique was urging them to fight; and Fernando de Norzagaray (1852-
1854), who prohibited horse races on the days of St. John and St.
32
Beter, and banned the newspaper El Ponceño because it Included a
poem by Daniel Rivera titled "Agüeybaná el Bravo,".which described

33
a .rebellion of Indians in 1511.
Education did not make great progress during the first half
of "the nineteenth century, since the government was more concerned
with politics and military protection than economic or cultural
advances. Private schools continued to make their way, and during
that decade of the Thirties the schools of Ramón Carpegna, José

34
Maria Aguayo, and Rafael Cordero became well known in San Juan.
32 During the traditional horse races of San Juan in 1753, a young

man, Baltasar Montañez, fell over a precipice on the Calle del
Cristo, where a sanctuary was later built in honor of the Santo
Cristo de la Salud. After the incident everything was regulated.
Historian Brau comments: "Renovados los escándalos nocturnos,
Pezuela cortó de una plumada aquel desorden, prohibiendo las carre
ras, y el pueblo, que no había protestado de las libretas, se de
sató en murmuraciones." ("When the evening scandals were renewed,
Pezuela ended that disorder with a stroke of the pen, prohibiting
the races; and the people, who had not protested about the note
books, gave free rein to their gossip.") Brau, 255*
33 Norzagaray later ordered Rivera to return from the imposed exile,

after the author presented the last verses of the poem where the
death of Agüeybaná was described, together with the victory of the
Spaniards.
34 Rafael Cordero (1780-1868), a black teacher, opened his school

in San Juan in 1810, teaching without interruption until the year
of his death in 1868. Since his school was free, he worked as a
►
On the secondary level the Seminario Conciliar de San Ildefonso
under episcopal jurisdiction, included a two-part curriculum:
Grammar, Physics, Religion, Politics, Geography, History, Mythol
ogy, and Music; also Logic, Psychology, Arithmetic, French, litera
ture, and Chemistry were taught. On the upper levels, students had
to depend on studying outside of Puerto Rico, but only the privi
leged class could travel abroad. During the Thirties there were
only the Cátedra de Gramática Castellana (a course in Spanish
grammar), the Academia de Aritmética, and the courses in Philosophy^
Theology, and Civil Rights offered in the Convent of San Francisco.
By 1840 illiteracy was calculated at about 89 percent.
The Liceo de San Juan, directed by Presbítero Fulgencio Angla,
was transferred in 1839 to Mayagüez, where it became well known.
The school of José Maria Bobadilla, founded in 1834 in San Juan,
offered Calculus, Latin, French, Painting, and Music. Other im
portant private schools were the Museo de la Candelaria in Mayagüez,
the Liceo de San Felipe in Arecibo, and the Colegio de Nuestra. Seño
ra de la Victoria in Aguadilla. During the Forties "El estado de
la instrucción primaria pública seguía siendo deplorable. Pues el
número de escuelas resultaba insuficiente para alojar siquiera una

35
parte substancial de la creciente población infantil de la Isla.'.’.
shoemaker to earn a living. His portrait was painted by Francisco

Oiler, as mentioned before.
35 "The condition of public primary instruction continued to be de

plorable. The number of schools was insufficient to lodge not even
a substantial part of the growing infantile population of the is
land." Cruz Monclova, Vol. I, 348.
F... . ..
During the Fifties other private schools were established:
Colegio de la Inmaculada Concepción in San Juan, Colegio Preparato
rio de Santa Rosa in San Juan (where musician Manuel Gregorio
Tavárez was a pupil). Liceo Nuevo in Mayagüez (where Eugenio María
de Hostos studied), and Escuela de Pedro M, Agüero (which included
music and dance in its curriculum) in Dorado. Also in San Juan the
Colegio de San Tomás was a secondary institution, and here, painter
Francisco Oiler and musician Felipe Gutiérrez y Espinosa studied.
On the higher level there.were courses in Accounting, Geogra
phy, English, and Civil Architecture. Young men who wanted to
study abroad were encouraged to go to Spain and,not to the United
States:
. . . con muy pocas excepciones, los jóvenes que han

permanecido [en Estados Unidos] . . . no han correspon
dido a los deseos y sacrificios de su familia, pues
además de haber perdido el afecto a ellas, a las cos
tumbres y patria en que nacieron, han adquirido ideas
insanas, y por su ignorancia cabal han sido incapaces
para las ciencias y aún para las artes.36
By the end of the first half of the century the economic situ
ation of Puerto Pico was critical. Agriculture as well as ccnmerce
had experienced deterioration. The drought of 1846 and the sub
sequent depression, due to the European revolutions of 1848, had
also affected the Island. More directly, the taxes imposed during
36 " . . . with few exceptions, the young people' that haveirmained-

[in the United States] . . . have -pot-corresponded to the wishes
and sacrifices of their 'families-, since ¿ besides-having lost their
affection for them; for the customs and country in which they were
bom, they have acquired insane ideas, and because of their com
plete ignorance have been incompetent for the [study of the]
sciences and even for the arts." Documento oficial in the general
archives of the Bishopric in San Juan, n.d., quoted by Cruz
Mxiclova, Vol. I, 417.
F “ ....
the Narváez administration and the strict policies the United States
had adopted against Spain* affected Puerto Rico, which was its main
market.
Puerto Rican nineteenth century composers were b o m during
times of censorship, economic hardships, political tensions, and
cultural carelessness. As has been observed, education was poor, and
music practically neglected. In spite of the environment that sur
rounded them, they were devoted to their vocation and managed to
play, teach, and compose, thus paving the way for future generations
of musicians. Let us now examine how they lived, learned, and
worked, through a study of four distinguished composers: Felipe
Gutiérrez y Espinosa, Manuel Gregorio Tavárez, Juan Morel Campos,
and José Ignacio Quinton.
Felipe Gutiérrez y Espinosa
Julián Gutiérrez, a Spaniard who came to Puerto Rico in 1815,
was a musician who played in the band of the Regimiento de Granada
and later, after 1839, also served in the Regimiento de Iberia.
He had been married since 1822 to Lucia Espinosa, a Puerto Rican.
They procreated eight children: Pablo, Felipe, Justina, Victoria,
Ana, José, Josefa, and Clara. Felipe, their second son, was b o m
in 1825 (a year before the birth of Alejandro Tapia, the son of a
captain of the Regimiento de Granada, who was a friend of Julián).

37
Felipe and Alejandro wére later to Tbecome friends, collaborators,
and distinguished persons as a musician and a writer, respectively.
In 1835 the Regimiento de Granada-rebelled and Callejo says:
37 See later reference to opera Guarionex, CHAPTER V, 281-294.
¥ ---- ! .... .
. . . este fue el regimiento que se sublevó en.1835
cuando nuestro Don Felipe sólo contaba diez años; y
puede calcularse cjján grande sería el pesar de la fa
milia, por más que Don Julián— músico al fin— no era
de carácter revolucionario, y no tomó parte, ni poca
ni mucha, en la que, posteriormente se ha llamado Re
volución de San Rafael, por haberse dado el grito el
día 24 de octubre.38
B o m in San Juan, Feline Gutiérrez received his. first music
lessons from his father. Later he studied with a band musician,
José Alvarez, and with the organist of the Cathedral, Father Dcmingo
Delgado. He learned to play all the instruments of the band, but
he developed a preference for the piano. As a . child- he
began his career as a composer, writing the Salve Solemne, a work
he would orchestrate at the age of 67, in 1892.

39
Gutiérrez was named Músico Mayor of the Regimiento Iberia.
He lived in Calle del .Sol N o . 108 and probably participated or wit
nessed some of the numerous activities celebrated in the capital
city, . Several can be mentioned:
The retreta is a musical activity that began in .1847 and became
very popular. Different bands were in charge of playing twice a,
week in the Plaza Mayor of San Juan and in other towns. Concerts
included works of local composers, of Spanish composers and of
great masters. The local composers themselves usually played one
38 " . , . this was the regiment that rose in rebellion in 1835,

when our Don Felipe was only ten years old; and it can be imagined
how great was the grief of the family, even if Don Julián— musician
as he was— did not have a revolutionary temper, and did not take
part, small or great, in what later has been called the San Rafael
Revolution, since it took place on October 24." Callejo,* 105.
39 Muñoz believes this happened in 1845 when he was twenty years

old. Muño?. 121.
r— : .
or two works on each part of the program, collaborating with the
professional musicians who also accepted the participation of
amateurs. During the retreta the public either sat on rented chairs
40
or stood. Among the music played were polkas, schottisches,
41
waltzes, boleros, contradanzas, mazurkas, rigodones. galops, dan
zas, ^ marches, opera arias, and zarzuela^ selections.
When a brass' band was formed with members of mil
itary bands and other local musicians to play dance music, this ac
tivity was called a charanga. It was especially important during

44
the fiestas patronales, royal celebrations, tíamiyal festivities
(in February), and bailes de máscaras.
40 The schottisch is danced in couples, like the mazurka, but more

slowly. The dancers step three times to the left and three times
to the right, and tíien make gyrations. It was very popular in
Spain during the nineteenth century, specially in Madrid.
41 The bolero is a Spanish dance which appeared about 1780. Danced

by one dancer or by a couple, it includes many brilliant and intri
cate steps. The Cuban bolero is in \
meter. Today the bolero is
also very popular in Puerto Rico, where it tends to have a more
sentimental character.
42 The danza will be explained on CHAPTER V of this dissertation.
43 The zarzuela is the.most distinguished type of Spanish opera;

the music is intermingled with spoken dialogue, as in comic opera.
Its name comes from the Palace of La Zarzuela near Madrid. Zarzue
las can be classified as zarzuela grande (in three acts) and género
chico (in one act).
44 Gustavo Batista describes the 1831 festiviti-'S in honor of the

birth of the Princess of Asturias, Maria Isabel Luisa. They included
a retreta (by the Artillery band and the Regimiento de Granada hand!
illuminations of several buildings, an alborada, fireworks, a mass
in the cathedral, and a comparsa de máscaras (an assembly of persons
wearing masks and costumes, who go down the streets singing, danr
cing or playing instruments).. He is quoting from Relación de las
fiestas publicas, 1831, reprint, San Juan: Editorial Coquí, 1971.
•Sea Gustavo Batista, "Felipe Gutiérrez y Espinosa y el ambiente
musical en el San Juan de su época," unpublished thesis. Centro de
Estudios Avanzados de Puerto Rico y el Caribe, 1982, 28.
W : ........
45
There were also different types of dances, such as: baile
de máscaras or masquerades, which began in June after the theater
season; baile de carnaval or carnival dance; baile de beneficio
or benefit dance to collect funds; baile de capa during the fies
tas de cruz: baile de etiqueta or formal dance, and baile de con
fianza or intimate dance.
The serenatas were a popular tradition consisting of music
as sung or played by a group of people in the open air at night,
especially for gallantry, under the windows of ladies. On occa
sions they were, dedicated.to public figures, such as the governor..
The alboradas are similar to the serenata. It is a music
sung in the early morning. Also popular were the fog *~as or
bonfires, which served for popular meetings.
The cabalgatas or cavalcates were very common. They con
sisted of a procession of riders on horseback. Horse shows and
competitions, called concursos de caballos. were also cel
ebrated. The carreras de caballos or horse races were partic
ularly favored..
The regatas or regattas were rowing and sailing races.
They also attracted an enthusiast crowd.
45 Dances were usually held at the Teatro Municipal because of

its capacity (the seats were removed, providing for dancing
space). They were also celebrated in private homes which had
interior patios where people drank and ate a combination of
hot and cold delicacies; this was called an ambigú. Table
games were also played.
£ ------------ : ............- ....

Felipe.Gutiérrez loyed painting and- frequented exhibitions.- -
He was usually seen in bis house painting landscapes. He used his
drawings for his manuscripts instead of erasing -the wrong notes.
He was once arrested and sent to jail because he insisted on stay
ing in the Casa Ayuntamiento. while the Corregidor ordered him to
l ea v e , ^ observing Campeche's painting of General Ramón de Castro.
Felipe Gutiérrez soon became interested in the theater. There
was a theater season after Lent which lasted until June; a second
theatrical season began in October and extended through February,
the month of the Carnival. Governor Salvador Meléndez had allowed
for the establishment of a provisional theater on Sol Street in

47
San Juan in a •place later known as the Corralón»
Plans were made in 1822 for the construction of a coliseum.
After that, the idea of constructing a municipal theater in San
Juan began tc take priority. Emilio Pasarell comments:
. . . el Teatro nació con el doble propósito de modelar

las costumbres y promover la educación religiosa, for
mando verdaderos vasallos de la Corona. Con esto, y la
establecida previa censura de las piezas, quedaba el
Teatro bien ligado a la Iglesia y el gobierno . . . ^8
The theater was finished around 1832. Qne of the best English
tenors of that time, William Pearman, was invited to sing at its
46 Fernando Callejo, 109.
47 The Teatro de Amigos del Pais offered numerous programs from

1823.to.1825.: Pasarell has researched this institution, but has
been unable to determine its end. See Pasarell, 61.
48 " . . . the Teatro was born with the dual purpose of molding the.
customs and promoting religious education, forming true subjects of
the Crown. With this, and the previously established censure of
the [musical] pieces, the Teatro remained well linked to the Church
and the Government . . . " Pasarell, 43.
r : ~~.. *' '

49
inaugural. During the first half of the century several compa
nies'^ presented their musical concerts and dramatic works in the
Teatro Municipal, which was later to be-renamed-to’honor Felipe
Gutierrez's friend, Alejandro Tapia.
A group that helped to improve the quality of cultural activ
ities in Puerto Rico was the Sociedad Filarmónica, organized in
1823 and reorganized in 1845 by the initiative of Alejandro Tapia
and other citizens. It promoted musical and lyrical presentations,-
as well as theatrical ones.
Sin importar el creciente número de adheridos, los actos

culturales y sociales de la Filarmónica conservaron por
un tiempo su carácter familiar y cordial y recibieron por
ello el nombre de tertulias.51
The Sociedad Filarmónica established an Academia de Música in 1848
and Carlos Allard, a flutist, was named its director. Several
years later, in 1853, he moved to Ponce where he lived for a whilp..
Although musical instruction lagged behind, yet some documents
indicate that there were other music teachers at the time, such
as Manuel Pasarell, who in 1831 had established a music school.
49 See Pasarell, 68-70.
50 Pasarell studies the details of the different companies and

pays special attention to the Compañía Filarmónica, which in 1835
presented the debut, in Puerto Rico, of the opera El Barbero de
Sevilla. Pasarell also studied theatrical activities in the fol
lowing towns: Mayagtiez, Arecibo, Caguas, Rincón, Ponce, Humacao,
Aguadilla, Cabo Rojo, Guayama, Patillas, Arroyo, Guayanilla, Añas
co, San Germán, and Juana Diaz. See Pasarell, 124-138.
51 "Notwithstanding the growing number of adherents, the cultural

and social acts of the Filarmónica preserved for a while their
familiar and cordial character and thus they received the name of
tertulias." Pasarell, 111.
r - ' -- .
121
Felipe Gutiérrez developed a taste for operas and zarzuelas,
many of which were premiered by the Sociedad Filarmónica or the
Sociedad Conservadora del Teatro Español en Puerto Rico, founded by
Governor Pezuela. Probably, Gutiérrez's opera Guarionex was the
first to be premiered by this composer. Written between 1854 and
185&, it is based on the novel La palma del cacique published in

52
1852 by Alejandro Tapia. It is believed that Guarionex was only
performed a few times after its premiere, and that in a ceremony
in 1908, after Gutiérrez's death, the overture was again played.
The original cast of Guarionex included Antonia Montilla (as
Loarina), Isabel Oiler (as Anona), Manuel Paniagua (as the Span-
53
iard), Antero Adsuar (as Guarionex), and Francisco Oiler, later
to become a famous painter (as the Indian Taboa). This opera was
given a very critical review in 1912:
Lo inevitable ocurre en las óperas de nuestro maestro;

acostumbrado a escribir misas y salves, su ópera carece
de movimiento lírico y de acento dramático, y, cambián-
52 In 1856 Tapia offered to pay a rent for the use of the Municipal
Theater to begin his dramatic career with the work Roberto
D'Evreux. The Ayuntamiento gave him permission to use it free of
charge in order to stimulate the work of the young writers.
53 Francisco Oiler, the famous Puerto Rican painter, was born in

Bayamón in 1833. In his early years he decorated the church in
Rio Grande, and later went to study in Spain. After this trip
of 1851 he again returned to Europe and stayed in Paris. Frda.
1865 to 1872 he lived in Puerto Rico and established a painting
academy. His final stay in Europe was from 1872 to 1884. Among
his major works are: El velorio. La negra mendiga, El maestro
Rafael, Autorretrato, Tinieblas, La galatea. La ceiba, and Paisaje
francés. Although some of Oiler's paintings are in European muse
ums, the Museo de Arte in Ponce and the Museo de Antropología, His
toria y Arte at the University of Puerto. Rico also have a collec
tion. The Ateneo Puertorriqueño has his portraits of José Gual-
berto Padilla (.El Caribe), José Gautier Benitez, José Julián Acosta
F ------ ;
---------------------------------------------------- -----
dole la letra, quedará en lo que verdaderamente es:
un oratorio.54
After Guarionex, Felipe Gutiérrez wrote a zarzuela in two acts,-
El amor de un pescador, which was premiered in San Juan in 1857.
It is important to notice that Gutiérrez began writing operas- before
he decided to devote himself to composing religious music. During
this time the theater was very active in San Juan. During the Six- .
ties, operas such.as Traviata and El trovador were presented.
El cocoyé, a presentation by the Compañía Robreño, which
arrived in 1865, included a black dance where performers wore
pretty dresses and used maracas adorned with colored ribbons. The
Compañía de Bufos Habaneros, presented zarzuelas, habaneras, ^ and
parodies, stimulating local composers to write comic opera. This
company ended each presentation with guarachas.^
On the importance of the theatrical arts in Puerto Rico,
Pasarell says:
Pasma ver cómo los teatros en Puerto Rico casi no se

cerraban. El arte teatral constituía en aquellos tiem-
y Calbo and Julián Blanco y Sosa, among others. Oiler died on

May 17, 1917.
54 "The inevitable happens in the operas of our maestro; accustomed

to write masses and salutations, his opera lacks lyric movement and
dramatic accent, and with a change of words, it will remain as it
really is: an oratorio." Manuel Martínez Plée, "Euterpe Borin-
quen," Boletín Mercantil, San Juan, April 9, 1912. Quoted by
Batista, 77. Tapia believes that the bass aria has some merit.
55 The habanera is a Cuban dance with Spanish and African influ

ences. It has a voluptuous character and it is the precursor of
the Argentine tango. It uses a variety of rhythms and is written
in slow duple measure. Debussy, Ravel, and De Falla have written
in this form.
56 See previous chapter.
pos algo consubstancial con nuestra vida y la decla
mación se cultivaba como hoy el deporte.57
Felipe Gutiérrez maintained his affection for the theater
during his lifetime. In 1865 he organized an artistic society, with
Sandalio Callejo and Heraclio Melendez, to help musicians. This So-
rfpftoH organized an orchestra of competent performers to play operas .
and zarzuelas with the companies that came to Puerto Rico. It also
played the works of the great European masters, and chamber music
in private homes. The Sociedad was the first organization to group
musicians into a sort of union which was concerned with their in
terests and gave them help when needed.
It was in 1871 when Felipe Gutiérrez obtained a gold medal for
the opera Macias, a work in three acts, with words by Martin
Travieso. This opera which was not premiered in Puerto Rico until
1977 by Opera de San Juan, had been dedicated and sent to King
Alfonso XIII of Spain. It had been kept in the Biblioteca del Pala
cio Real until this century, where researcher Lidio Cruz Monclova
found it.
Years later Gutiérrez wrote El bearnés, an opera in four acts,
which was probably premiered by the Sociedad Filarmónica de.Ponce.
Of Felipe Gutiérrez's operas it has been said:
Toca a Felipe Gutiérrez ser el compositor de la primera

ópera puertorriqueña, Guarionex. Esta ópera fue seguida
por otras dos. El bearnés y Macias. Esta contribución57
57 "It is astonishing that the theaters in Puerto Rico hardly

closed. The theatrical art constituted in those times something
consubstantial with our life and declamation was practiced as sport
is today." Pasarell, 225.
F~ .. ". ......
de nuestro compositor no ha sido superada aún por ningún
otro compositor.58
Since Gutiérrez's family was large and had scanty economic
resources, he had to work and assume the responsibilities for his
mother, brothers, and sisters. This was probably the reason why
he did not marry during his youth. As he once said: "Muerto mi
padre, yo lo soy de mis hermanas, y no tengo derecho por consiguien
te de someterlas a privaciones, como indudablemente ocurriría si se

59
amentaran los gastos de la casa."
Perhaps he wanted to secure a fixed salary when he auditioned
to.become the maestro de capilla of the Cathedral. He was named
by Bishop Benigno Carrion in 1858, and thus began his fruitful
career as a religious musician. The year before this appointment
he had asked permission to teach the children at the Casa de Bene
ficencia, free of charge, and to organize the orchestra of the
chapel of the cathedral. This helped his promotion to maestro de
capilla.
The religious music composed by Gutiérrez was numerous.
During the decade of 1861-1870 he wrote Misa de San Juan (1861)
dedicated to Bishop Carrion, Salve obligada a barítono (1864) dedi
cated to Francisco Oiler, Reservas octava de Corpus (1866), and
Pasión Domingo de Ramos y Viernes Santo (1870). In 1878 he com-5

8
9
58 "It was Felipe Gutiérrez the composer of the first Puerto Rican
opera, Guarionéx. This opera was followed by two other* El bear-
nés and Macias. This contribution by our composer has never been
surpassed by any other composer." Muñoz, 122.
59 "After my father's death, I am that for. my-sisters, and I have

no right consequently to submit them to privations, as undoubtedly
would occur if household expenses increased." Callejo, 103.
F : --
posed Salve Grande for two voices and choir and Gozos de la Inmacu
lada Concepción.
It is useful to observe the great importance that was given to
religious festivities in San Juan. The Church was subordinated to
the State, and religious activities were approved and sponsored by
the government.
The fiestas- de San Juan seem to have, begun in 1853.
Among the ..activities celebrated during the month of :June
were alboradas, music and dancing on the streets, fireworks, visits

62
to La Fortaleza to sing hymns to the queen, horse races and the
playing of danzas. In the celebration of 1864 music written by
Felipe Gutiérrez for the occasion was played. Several guilds par
ticipated, such as those of the masons, shoemakers, tobacconists,
retailers, barbers, and laundrywomen. During the 1872 festivities
an orchestra was conducted by four different musicians: Rosario
Aruti, José Valero, Alberto Valero, and Felipe Gutiérrez. The
program included overtures, opera selections, a rigodón, a vals

63
coreado, a polka, and several danzas.6
0
1
2
3
60 See catalog of the works in the appendixes.
61 There is a description of the fiestas de San Juan made by

Federico Asen jo where he comments that Gutiérrez is well known in
side and outside the island. See Federico Asenjo, Las fiestas de
San Juan, reprint, Puerto Rico: Editorial Coqui, 1971, as quoted
by Batista, 82.
62 The Governor's mansion; it means “The Fortress."
63 The choired waltz was interpreted by the members of the music-

academy directed by Felipe Gutiérrez. The Boletín Mercantil .
praised it on its edition of January 22, 1873.
F---: ‘ ......
There were festivities in. honor of the Virgin- Mary which •
64
were held under different names: Virgen de la Providencia» Purí
sima Concepción» Santísima Virgen de las Mercedes, Nuestra Señora
de los Remedios, Virgen del Carmen, Virgen del Rosario, Virgen de
la Covadonga, Nuestra Señora de los Dolerás, and others.
There were festivities, to revere the saints.- Some of them
were in honor of Santa Rosa de Lima. Santa Elena. San Mateo de Can
grejos. Santa Teresa de Jesus, San Antonio de Padua, San José, San
Igancio de Loyola, San Vicente de Paúl» San Francisco de Asís, and
Santiago.
The fiestas de cruz, already described, were.an activity
which included an abundance of bailes de capa. Religious
ceremonies during the Holy Week, and Corpus Christi.usually
had military bands which played during the services and
in the processions (See a detailed description in CHAPTER V.)..
Aurelio Dueño was the organizer, and it was made possible thanks to
the assistance offered' by the Sociedád established by Felipe
Gutiérrez, Callejo and Melendez. The celebration lasted several
days. Many musicians came from different parts of the island to
play in honor of the patroness of music. On this occasion the
Gran Misa composed by Gutiérrez was premiered, and the work ob
tained first prize in the musical competition organized.
The TeJDeum was a religious festivity usually . held in the
cathedral. It included a flag ceremony followed by music in the
64 In 1872 Felipe Gutiérrez wrote a Letanía or litany in honor of

Our Lady of the Providence.
IT : ..... — '
127
streets., it is a religious service that consists chiefly of a hymn
of praise-, and thanksgiving. The Te Deum of 1873 was especially im
portant because many black people came to church to give thanks for
. the aboLition of slavery.^
During the time when Gutiérrez was maestro de capilla of the
cathedral, he studied Gregorian chant, using these concepts for his
religLous compositions. Braulio Dueño Colón comments on Gutierrez's
interest in composition:
En todas sus composiciones demostró siempre un delicado

gusto estético. Era, además, muy hábil contrapuntista.
Sentía predilección por la música pura, y era admirador
ferviente de Mozart . . . No componía música por lucro;
puesto que jamás cobró nada por sus producciones; y. sin
embargo, tal era la necesidad que tenía de dar salida a
su desbordante inspiración, que escribía incesantemente.66
Dueño believes the work of Gutiérrez has two different styles: the
first, which gives more attention to melody, begins with the Misa
en do mayor and ends with the Misa de la Purificación; the second,
more symphonic than religious, includes the Gloria and the Credo,
which he believes are really sonatas for orchestra with piano
accompaniment.
Gutiérrez1s cathedral orchestra was not as good as the com
poser would have wished. It did not have a viola, an oboe, or a 6

5
65 Cruz Monclova explains the incident: "The night of March 30

[1873] many of the homes in San Juan were adorned with beautiful
illuminations. At noon of the next day a solemn Te Deum was of
fered in the cathedral to celebrate the fortunate event. And that
night, to again give thanks to the Government for having approved
the Law, there was a grandiose manifestation composed mainly by
black people . . . "(translation by the researcher) Cruz Monclova,
Vol. I, 272.
66 "In all his compositions he always showed a delicate aesthetic

taste. He was, in addition, a very skillful contrapuntist. He
r ....... .
I
128
bassoon* while it had two horns* two clarinets and a bombarding
(saxhorn). Gutiérrez's suggestions for substituting some of these
instruments were not approved by the cathedral officials. This is
why Dueño believes that his compositions were as deficient as the
orchestra for which he wrote and which he conducted during forty
years.
Several anecdotes are remembered by Dueño* who knew Gutiérrez.
One of them tells how Gutiérrez wrote the music for a serenata by
3:00 P.M., even if Ramón Marin had brought him the verses at
10:00 A.M. of the same day. Another indicates that he wrote a
hymn for 50 voices and orchestra two days before a velada was tobe
offered in the theater, because the poet had been ill and could
not bring him the verses on time. At another time he wrote an
offertory that was to be sung during the mass that was already
in progress; a similar anecdote tells how he wrote a bolero for
the representation of El músico de la murga while the actors of
the Compañía de Gonzalo Duelos rehearsed their parts.
Besides his work as a composer it is important to notice
Gutiérrez's work as a teacher. By the initiative of the Sociedad
Filarmónica, a music chair was created in 1865 and assigned to
Gutiérrez. This same year Gutiérrez served as juror at the Feria
showed predilection for pure music, and was a fervent admirer of

Mozart . . . He did not compose music for a profit; since he rawer
charged anything for his productions; and, nevertheless, suchwas
the need to give way to his overflowing inspiration, that he wrote
incessantly." Braulio Dueño, "Felipe Gutiérrez y Espinosa," in
Callejo, 105.
129
Exposición^ in which a work by Manuel Gregorio Tavárez, Marcha
fúnebre a Campeche, won a prize. With his pupils Gutiérrez orga
nized -the Orfeón Puertorriqueño, a choral group of 250 people that
frequently sang for different activities.
In 1871 Gutiérrez obtained permission to establish his Academia
de Música, located at number 6, Calle San José. There he offered
.classes, free of charge, on Tuesdays, Thursdays, and Saturdays.
This Academia, which originally began in the house of painter
Francisco Oiler, grew steadily until it enrolled 360 student. The
government assisted .Gutiérrez financially to buy supplies and pay
rent. Gutiérrez himself taught solfege,. harmony, composition,
and how to play the following instruments: flute, clarinet, comet,
saxhorn, French horn, violin, and bass. Among his pupils were:
Jesús Tizol, Rafael M. Barbosa, José Gutiérrez Espinosa (his broth
er), Julián Andino, Braulio Dueño, and Enrique Verar.
Feeling the need to study abroad, Gutiérrez wrote a petition
that read like this:
Grandes, vivísimos son los deseos que me animan para

salir del estrecho círculo en que mi inteligencia se
debate y sucumbe y a habérmelo permitido mis recursos
ya habría acudido a los conservatorios, donde los
grandes maestros enseñan los modernos adelantos del
arte musical; pero la imposibilidad de poder vivir uno
o dos años seguidos apartado del trabajo diario con
que atiendo a mi subsistencia y a la de una numerosa
familia, me ha impedido la realización de ese deseo
que es la ambición de toda mi vida.686
7
8
67 The first Feria-Exposición was held in 1854 and in it composer

Adolfo Heraclio Ramos obtained a silver medal for Fantasia con va
riaciones para piano.
68 "Great and very vivid are the desires that animate me to exit
from the narrow circle in which my intelligence debates and suc-
r ..... ..............
130
The Ayuntamiento, understanding his position, gave him the mone-

69
tary help and in 1873, at the age of 48, Gutiérrez went.to Ehrcpe
to study in Vienna. Later on he moved to Paris,^ accompanied by
the painter Francisco Oiler,^ who several years later was to paint
72
the famous El velorio.
After his trip to Europe Gutiérrez published a brochure titled
Teoría de la música, perhaps following Oiler's steps since this
other artist had published a book on how to teach painting. At
this time he also wrote an overture titled La familia.
cumbs, and if my resources would have allowed me I would already

have gone to the conservatories, where the great teachers instruct
the modern advances of the musical art; but the impossibility of
living one or two years away from the daily work with which I pro
cure the means of living for me and my large family, has pre
vented the realization of this wish which is the ambition of my
whole life." San Juan, Fondos municipales. Serie de Instrucción
Pública, 1870-1872, B, Box 116. Quoted by Batista, 118.
69 The night before his departure his pupils offered him a serenata.
A hymn with music by the Italian maestro Rosario Aruti and lyrics
by Manuel Dueño Colón was sung^ For the lyrics of this hymn see
Callejo, 110.
70 Braulio Dueño Colón believes this trip was not worthwhile be

cause Gutiérrez was already 48 years old and because Vienna's Fair
was more industrial than artistic. He comments on Gutiérrez's im
pression when,trying to show a distinguished Frenchman the location
of Puerto Rico on the map, he realized the smallness of his country.
71 Gutiérrez probably became interested in Europe through Frasquito

Oiler, as friends called the famed painter. Oiler had studied in
the Academia de San Fernando in Madrid.when he was 18 years old,
tinder Federico de Madrazo, director of the Museo del Prado. He had
mastered the use of colors and in his second trip, this time to
Paris, he studied new techniques with Gustave Cpubert. It is.pos
sible that Gutiérrez became identified with the liberal currents
through his trip to Europe, and that Oiler might have brought him
closer to the abolitionist cause, since he painted two great por
traits of slaves: La negra mendiga, and Un boca abajo.
72 El velorio, a painting kept at the Museo de Antropología, Histo

ria y Arte at the University of Puerto Rico, is considered one of
r
131
Among the most distinguished events in Puerto Rico during the,
lifetime of Gutiérrez was the visit paid in 1857-58 by pianist
Louis M. Gottschalk and child soprano Adelina Patti. After a sea
son in Ponce both musicians travelled to San Juan and presented a
concert. The triumphal march La Porto-Riqueña, written by
Gottschalk during this trip, included five snare drums, eight güi
ros. two basses, three violins, and two pianos played by four per
sons. This composition became a symbol of gratitude. Later on,
in 1875, the Spanish child pianist, Isaac Albéniz, and Cuban vio-
73
linst Brindis de Salas, also presented concerts in Puerto Rico.
It is impossible to certify if Gutiérrez was a witness of the con
certs offered by these distinguished guest musicians, but one can
affirm that these experiences were a unique way of learning artis
tically from those who came from abroad.
Local teachers, such as Sandalio Callejo, Benigno Llaneza y
Villa, Mateo Tizol, Ramón Sarriera, Fermín Toledo, and Parcasia
Pagani de Dueño, helped and stimulated students. Local circles,
such as the Casino de Artesanos with its Círculo de Recreo in Calle
San Sebastián No. 22 (which inaugurated a music chair assigned to
his best. Adolfo de Hostos believes it is. impeccable, well bal

anced and "Por la autoridad de su mensaje el cuadro es el más va
lioso documento gráfico existente relativo a la vida campestre de
Puerto Rico en el siglo 19." ("Due to the authority of its mes
sage the painting is the most valuable graphic document that
exists pertaining to the rural life of Puerto Rico during the
nineteenth century." Adolfo de Eostos, Hombres representativos
de Puerto Rico, San Juan: [Imprenta] Venezuela, 1961, 157.
73 See Pasarell for a detailed account of all the foreign compa

nies and artists that came to offer zarzuelas, operas, concerts,
and many other activities.
r
132
Felipe Gutiérrez), also helped to promote and advance artistic in
clinations. But it was the foundation of the Ateneo Puertorriqueño
in 1876 that really helped, since it assisted students and esta- .
Wished certámenes or competitions. The first competition was held

74
in 1877; the members of the jury were: Felipe Gutiérrez, Eosario .
Acuti (the teacher who substituted for Gutiérrez while he was in
Europe), and Mateo Tizol. On this occasion the first prize was
awarded to Braulio Dueño Colón for his symphony La amistad. The
close relationship of Gutiérrez with the Ateneo started from its
very beginning.^ In 1882 the Ateneo awarded him a second prize for
an Ave Maria for four voices, and in 1887, a second prize for an
overture, for grand orchestra.
Gutiérrez, whose work was even known in Venezuela (since the
manuscripts of two of his Masses were found at the Biblioteca Nacio
nal de Caracas), was a man of deep convictions. Researcher Batista
says:
Hombre de profundas convicciones, dotado de una fina

sensibilidad para la música, de una dedicación pocas
veces vista en un artista, de una calidad humana com
parable con las grandes figuras del mundo y con un
deseo infinito de servirle a su patria mediante la in
cansable obra de la enseñanza gratuita de la música.76
74 In this year Gutiérrez wrote the romanza Elisa.
75 He even signed the minutes of its first meeting.
76 "A man of deep convictions, gifted with a fine sensibility for

music, of a dedication rarely seen in an artist, of a human quality
comparable with those of the great figures of the world, and with
an infinite desire to serve his country through the indefatigable
work of gratuitous -teaching of music." Batista, 91.
Ha was a tall man, dark-complexioned, and with an aloof glance. A
mixture of Catholic and free-thinker, he was kind-hearted and loved
children - He got married in 1 8 8 2 , ^ at the age of 57, to Juana
Bautista Medina, of Manatí (a widow with two children). The mar
riage lasted only five years, since the wife died. A number of
deaths resulted in a slowdown of his production. Sister Josefa
died in 1881, Alejandro Tapia died in 1883 (and Gutiérrez wrote
a funeral march for the occasion), sister Clara died, in 1887,
and brother José died in 1889.
The last decade of his life was one full of uncertainty due
to the international situation, particularly the war of independence
78
in Giba, which began in 1895, and the Spanish American War of
1898. Several batallions of those stationed in Puerto Rico were
sent to Cuba and substituted here by the Regimiento de Alfonso X U T
and the Provisionales 3 v 4 . As Batista says, " . . . tenían las

79
mejores bandas que habían visitado a Puerto Rico."
The musicians tried to keep up with their activities as usual.

80
Felipe Gutiérrez had orchestrated the Salve Solemne in 1892;
77 Ch that same year he wrote Las siete palabras.
78 The central figure in Cuba* s separatist movement was José Marti

who founded in 1892 the Partido Revblucionarlo 'Cubano. In 1895 he
dissembarked in the province of Oriente with Máximo Gómez. After
Marti died in one! of the first, encounters, Gómez took the revolu
tion to the western provinces. Even if the Spaniards maintained
mare than 500,000 men in-the regular and volunteer armies, a n d -
that the farmers were transferred to'the towns to prevent them
from helping the insurgents, the war went on. When the Maine was -
sunk the United States fought and defeated the Spaniards in Santia-.
go. The Treaty of Paris of 1898 ratified Cuba's independence.
79 " . . . they had the best bands that had visited Puerto Rico."
Batista, 146.
80 This is the work he had written as a child.
F---:
... •
Pianist Aristides Chavier returned from Paris in 1893; Juan Morel
Canpos received the first prize in the competition of the Feria
Aposición of 1894 (for his work Sinfonía Puerto Rico); the Socie
dad Artística de Marin y Compañía made an important presentation in
1896, and pianist Elisa Tavárez (daughter of Manuel G. Tavárez)
departed for Madrid in 1897. While pianos and other musical in
struments. continued to be imported from Hamburg, New York, Le Havre,
Barcelona, and Liverpool, local newpapers continued to announce new
compositions such as Grato recuerdo, a mazurka by Federico Hamos;
.El general Davis, a pasodoble by Eleuterio Melendez; Mis amigas,
a danza by Cruz Verar, and Mazurga patriótica,, a work by Federico

r, 81
Ramos.
But the military incidents of 1898 brought insecurity to the
musicians. Some activities were suspended and local bands were
substituted by American bands to play at the retretas. The imme
diate separation of Church and State affected the work at the
cathedral:
La orquesta desapareció para siempre después.de cuarenta

años de servicio ininterrumpido desde su creación. El
organista José Agulló regresó a España, y la Iglesia,
privada de sus propiedades trató de resolver el problema
dentro de las posibilidades con que contaba en esos mo
mentos. 82
81 See Batista, 156. He is quoting from El Pais (editions of 1897-

1900). The Mazurca patriótica is based on fragments of La Borin-
queña.
82 "The orchestra disappeared forever after forty years of unin

terrupted service since its inception. Organist José Agulló
returned to Spain, and the Church, deprived of its properties tried
to solve the problem as well as it could considering the circum
stances." Batista, 157.
F-! :
135
Music scholarships were suspended and students (such as Elisa
Tüavárez) were forced to return to Puerto Rico. A newly created
Asociación Musical de Puerto Rico requested Governor Henry, in a
document signed by Gutiérrez, Callejo, and Arteaga, to grant it
help in order to create a music institute. Due to lack of funds
the petition was denied and the group was dissolved shortly after.
When the Spaniards left the island, Gutiérrez suffered. Her had
to give up his work as maestro de capilla in the Cathedral, and was.
given work in the Instituto de Segunda Enseñanza for 40 pesos
monthly. Shortly after, the Institute was suppressed and-he was
pensioned by the municipal government of San Juan with 20 pesos
monthly. Saddened and tired after such a long struggle, the maes
tro died in 1899 at the age of 75. As Gustavo Batista concludes
in his dissertation:
Como hemos visto, Felipe Gutiérrez fue producto de una

época y no un caso aislado. Al morir en 1899 nadie lo
substituye en el liderato que ejerció por casi cuarenta
años. Gutiérrez fue como un símbolo de su época; sin
duda que un mayor conocimiento de su música le traerá
el reconocimiento como el más destacado músico de Puerto
Rico de todos los tiempos.83
Mamip.1 Gregorio Tavárez Ropero
Manuel Gregorio Tavárez, another distinguished Puerto Rican
carposer, was b o m on November 28, 1843, on Calle dgl Sol in San
Juan (and was to die on Calle del Sol in Ponce), when Felipe
Gutiérrez was 18 years old. Since the life gpan of both musicians
83 "As we have seen, Felipe Gutiérrez was the.product of an era. and

not an isolated case. When he died in 1899 nobody substituted for
him in the leadership he exercised during almost forty years.
Gutiérrez was like a symbol of an era; there is no doubt that a
W '...... ■
L.
136
concurs during the forty years of Tavárez's life (he died in 1883
when Gutiérrez was 58 years old), it is useful to examine at this
point the political environment of the island during the times that
led to the Grito de Lares in the Sixties, and the abolition of
slavery in the Seventies. Perhaps this analysis will help us un
derstand why Gutiérrez continued to compose religious music in San
Juan, and why Tavárez developed the Puerto Rican danza, establish
ing a pattern of interest that was more nationalistic.
The late Fifties and Sixties were specially tense times for
the Puerto Ricans. Rebellions burst out, such as the one by the
Brigada de Artillería in 1855 (because its body of troops was not
privy to the benefits of a diminished te:rm of service;); epidemics
broke out, such as cholera during the governorship of José de
Lemery (1855-1857); and frustrations arose when attempts to im
prove education failed (one out of 76 inhabitants had access to
education, illiteracy was 89 percent, and government officials did
not sponsor projects to promote higher education). But what really
was the main issue during the so-called "restless decade" (1857-
1865) of the reign of Elizabeth II was the political status of the
island.
ft was during the governorship of Fernando Cotoner (1860-
1862) that the separatist leader Ramón Emeterio Betances (1830-
1898) was condemned to compulsory absence from his country and to
wider knowledge of his music will bring him the recognition as the
most distinguished musician of Puerto Rico of all times." Batista,
171.
r : ~ '■
live in exile in Spain, because be had established a secret society
to work for the abolition of slavery and for the independence of
Puerto Rico. Betances' center of operations was the city of
Mayagüez. When several years later he heard of the revolutionary
movements in El Cibao, Santo Domingo, he began to plan a coup with
the intention of liberating Puerto Rico from Spain. In his work,
Betances was helped by Segundo Ruiz Belvis (1829-1867), who was
dismissed from office as a member of the Ayuntamiento of Mayagüez,
during the administration of F§lix María de Messina (1862-1865).
Both leaders protested the conditions imposed upon the Puerto Rican
workers, such as the rule directing the jornaleros to present to
the authorities their libretas (notebooks) every Sunday at
11:00 A.M., the lack of education, and the imposition £0 Puerto
Ricans to go fight against the Dominicans. One of their proclama
tions read like this:
Los gibaros son pobres e ignorantes por culpa del

Gobierno que prohibe las escuelas, los periódicos y los
libros, y hace poco acaba de negar que se funde una Uni
versidad, para que los pobres, que no pueden mandar sus
hijos fuera de Puerto Rico, no consigan nunca verlos con
el título de medico, abogado, etc.
El Gobierno está empañado en que los gibaros no sean más

que jornaleros pon libreta. Y últimamente, para explo
tarlos más, trata de hacemos odiar por nuestros hermanos,
los hijos de Santo Domingo, obligándonos a tomar las ar
mas para ir a pelear en contra de ellos.84
84 "The gibaros [the popular term for the Puerto Rican peasant]
are poor and ignorant because of the Government which prohibits
the schools, newspapers, and books, and recently has rejected the
foundation of a University, so that the poor, who cannot send
their children outside of Puerto Rico, will never see them with
the title of doctor, lawyer, etc," "The Government insists that
the gibaros should only be jornaleros with notebooks. And lately
to exploit them more, it tries to make us hateful to our brothers.
r— : ■
Also, while the treasury derived gains produced by the boom of the
cotton industry, due to the Civil War in the United States (1860-
1865), the island did not derive enough benefits; 354,386 pesos
were set aside to help carry on the war of Spain in Morocco, and
85
2,959,380 pesos, for the war in Santo Domingo.
Puerto Rico's interest in more autonomy, both political and
economic, was revealed in the reports submitted by the Junta Infor
mativa to the Overseas Ministry in 1867. Six commissioners were
chosen on that occasion: Manuel Valdes Linares and Luis Antonio
Becerra Delgado, conservadores templados or moderate conservatives,
•from San Juan and Ponce; José Julián Acosta y Calbo and Francisco
Mariano Quiñones, liberales, from San Juan and San Germán; Jesús
7enr> Correa, a conservador puro or authentic conservative, from
Arecibo; and Segundo Ruiz Belvis, a separatist, from Mayagüez, who
had agreed to participate as a liberal. Their detailed reports
dealt with the abolition of slavery: (with or without indemnifica
tion), the economic problem (asking for freedom of commerce), and
the political problem (asking for a bill of rights and central
government, integrated by the Diputación'Insulár-i-a. sort of Chanter
of Representatives— and a Consejo- Provincial— ra sort of Senate).
Stating that in the Spanish Peninsula there were provinces ruled by
fueros especiales or special statutes, they claimed that national
unity did not exclude varieties.
the sons of Santo Domingo, forcing us to take arms to go to fight

against them." Quoted by Cruz Monclova, Vol. I, 478.
85 Both figures indicate conditions in 1864.
r- =
Despite all their efforts, the Spanish government did not pay
attention to the Junta's claims, and after raising taxes began to
exile the main liberal and separatist leaders after another uprising .
of the Brigada de Artillería in 1867. Only Betances and Ruiz
Belvis escaped from exile to Spain, because they managed to get on
a boat leaving from Mayagüez to Santo Domingo, and from there to
New York. These leaders immediately established contacts with the
Sociedad Republicana de Cuba v Puerto Rico, a group organized in
New York two years before. Nevertheless, the operations of Ruiz
Belvis soon ended, since he died on October 27, 1867, during a trip
to Chile.
The next year, Ramón Emeterio Betances, back again in Santo
Domingo, worked intensely in the organization of a conspiracy to
overthrow the Spanish government in Puerto Rico. Using the fiestas
patronales in different towns as a place for reunion and propaganda,
he worked through the Comité Revolucionario de Puerto Rico, with
Mayagüez as the basis of operations, establishing juntas in differ
ent towns. When the conspiracy was revealed in July, 1868, a de
cision was taken to activate the revolutionary process. They chose
the town of Lares, with its Junta Centro Bravo as the center, be
cause it grouped many followers, was located in the mountains sur
rounded by woods, and was far away from San Juan.
On September 23, 1868 many follower^ assembled in Lares. A
flag designed by Betwees served as the symbol of the political
motive of the revolution with the cry "Viva Puerto Rico libre,"
while the flag designed by Manuel Rojas, the president of Centro
Bravo, served as an emblem of the economic purpose, with the cry
140
"Abajo los impuestos." After overtaking the Ayuntamiento of Lares,
establishing a Provisional Government and abolishing slavery and
the libretas de jornaleros, they went with Father José Gumersindo
Vega to church to celebrate a Te Deum. The danza written by the
Catalonian Félix Astol, with lyrics by poetess Lola Rodríguez de
Tió, La Borinqueüa, served as their revolutionary hymn.
The lack of military experience on the part of the revolution
aries, the fact that many juntas did not receive notification from
86
Mayagüez, and the lack of arms, contributed, among other things,
to the collapse of the revolution. After a march to San Sebastián,
the revolutionaries were rejected by the militia that came from
Moca, and they had to return to Lares, where they were subdued.
The leaders were persecuted for months, but a sudden change in the
Spanish governmnet (the revolution of 1868 and the exile of Queen
Elizabeth to France), made it possible for an amnesty to be granted
to those implicated in the Lares revolution.
After all these incidents in Puerto Rico and in Spain, the

87
Provisional Government of La Gloriosa announced that an assimi
lative government (tending to treat Puerto Ricans with the same
rights as those of the Spaniards) was to be granted to the colonies
and that General José Laureano Sanz was to be appointed as Governor
of Puerto Rico. The years that followed were ones of repression,
since Sanz was hostile both to the liberals and to the separatists;
86 Many farmers joined with only their machetes on hand.
87 Name given to the revolution of 1868 in Spain.
¥ ---- - ' ‘...

141
Governor Sanz forbade political and literary newspapers to
discuss slavery. He also tried to limit participation of the
liberals as deputies to the Cortes by requiring a high elec-

88
toral quota to limit participation in the elections, by
dissolving the meetings of the liberals, by excluding debtors
from the electoral.lists, and by allowing officers of the

89
army and the navy to vote twice (in San Juan and Mayagiiez).
Of a population of 650,000, only 4,000 participated in the
elections of 1869.
Governor Sanz also exiled citizens to the island of Vie
ques. Prompted by their liberal ideas he dismissed teachers
from office (such as José Julián Acosta and Román Baldorioty
de Castro from the chairs of Commerce, Agriculture, and Nau-
tics), and even suppressed the Sociedad Económica de Amigos
del Pais in 1870.
José Laureano Sanz was discharged from office in 1879
due to his refusal to accept proposed reforms for Puerto
Rico. Before leaving he said that the Puerto Ricans were
" . . . Tinos caballos que los españoles llevaban donde les
daba la gana.
88 Under the insistence of Eugenio Maria de Hostos, Manuel Alonso,

and Santiago Oppenheimer, he finally lowered it from 2,000 reales
to 500 reales.
89 Cruz Monclova adds about Ponce: "Y en Ponce, la extorsión ejer
cida por las autoridades locales con el objeto de aminorar la pu
janza y cohesión del liberalismo, rayó ciertamente en lo insólito."
T"And in Ponce, the extortion practiced by the local authorities
with the object of diminishing th e 'influence and cohesion of lib
eralism, certainly bordered on the unusual.") Cruz Monclova, H , 21.
90 " . . . horses which the Spaniards took wherever they wished."
Cruz Monclova, II, 44.
f
Seen in this perspective one can understand more clearly how
the artistic environment, particularly music, was affected.directly.
By the end of the Sixties illiteracy was 84 percent (having
decreased only by 5 percent from the previous decade). The estab
lishment of theaters and social centers helped to ease these dra
matic conditions, and some of them should be mentioned: the
Colegio Asiló de San Ildefonso, founded in 1860; the Asilo de
Párvulos, founded in 1865; the Instituto de Instrucción Pri
maria iri Mayagüez, founded in 1859; . the evening school, of.
Ramón Marin in Yabucoa,. probably the first :one for adults
in the island- ..of Puerto Rico; the .Escuela de Música de
Ricardo Conde. in Ponce,- founded iri 1863; the Casino de
San Juari. Bautista, founded . in 1850; the Teatro La Perla
in Ponce, founded in 1863; and the Gabinete de Lectura
Ponceño, founded in 1868.
The Seventies were also stressing times. Governor Gabriel
Baldrich, a liberal himself, tried to ease tension by abolishing
censorship, but local politicians continued to oppose each other.
Political and administrative autonomy was defended by Rafael Maria
Labra, while the movement favoring assimilation was defended by
Joaquín María Sanromá and José Celis Aguilera, and later on by

91
the Partido Liberal Reformista Puertorriqueño. An autonomist
project was presented to the Overseas Ministry proposing freedom
of religion, press, speech, and teaching, and also the separation
91 Cruz Monclova points out that the Irish Home Rule League of
1870 probably bears some relation with the opinions of the Puerto
Rican sector.
F ■
of church and state. Consideration of the project was postponed
indefinitely. As Labra said in Madrid on that occasion, in
Puerto Rico
. . . priva algo más que el absolutismo . . . Allí rige

un sistema monstruoso y absurdo. Hoy en Puerto Rico, el
Capitán General . . . puede acordar todo género de vio
lencias, puede sostener la previa censura . . . puede
entremeterse en la vida privada de [los] ciudadanos . . .
¿La colonización es eso? ¿Acaso no abruma ya nuestra
conciencia el haber tolerado . . . que la esclavitud y
la dictadura y el monopolio subsistan en las Antillas y
cuajen aquella atmósfera de sus pestilentes efluvios,
sino que es menester matar toda aspiración risueña, toda
esperanza generosa, toda conciencia libre, trabajando
los espíritus con promesas excitantes y brutales decep-
ciones?92
In June 1870 the Moret Law was proclaimed giving freedom to
around 5,000 slaves. But since the law was so limited, the dis
cussion about slavery continued during the reign of King Amadeo
de Saboya (1871-1873). Local conservatives accused the liberals
of being socialists, communists, anti-religious, and anti-Span
iards. Political tensions even affected the musicians of the
Batallón de Artillería who were assaulted by a group of people
throwing stones at them during a concert in 1871.
Governor Baldrich was removed from office shortly after, and
before leaving he wrote:
92 " . . . there exists something more than absolutism . . . what

is in force there is a monstrous and absurd system. Today in
Puerto Rico, the Captain General . . . can decide all kinds of vio
lence, can maintain the previous censure . . . can intervene in the
private life of [the] citizens . . . Is this colonization? Is it
not true that our conscience feels oppressed for having tolerated
. . . that slavery and dictatorship and monopoly subsist in the
Antilles and fill that atmosphere with their pestilent exhalations,
but is it necessary to kill all agreeable aspiration, all generous
hope, all free conscience, influencing the spirits with exciting
promises and brutal deceptions?” Quoted by Cruz Monclova, II, 103.
r-----
144
La historia nos juzgará a todos y yo que he sido liberal

toda mi vida no había de venir a Puerto Rico a convertirme
en un déspota dejando a mi hijo como fortuna la maldición
de 600,000 habitantes-, que había de alcanzar hasta el se
pulcro de su padre.93
The next governors were Ramón Gómez Pulido (1871-1872)— a conser
vative who allowed corrupted elections, later called elecciones

94 95
pulidas, and also the practice of cunerismo — and Simón de la
Torre (1872)— a reformist who allowed the growth of liberalism,
specially in Ponce, but who was destituted after confrontations
with the conservative newspaper Boletín Mercantil and the discharge
of José Pérez Moris, the chief of the telegraph station and author
of Historia de la insurrección de Lares.
Emancipation of slavery came on March 22, 1873, after King
Amadeo relinquished the Crown and a new Spanish Republic was estab
lished. Thirty thousand slaves were freed in Puerto Rico, giving
indemnification to the previous owners. Shortly after, several
decrees allowed for freedom of the press and of association. In
October, the dictatorial powers of the Governor were suppressed.
Nevertheless there was tension due to the international affairs:
the United States had mobilized troops in the Gulf of Mexico in
93 "History will judge us all and having been a liberal all my life
I was not to come to Puerto Rico to become a despot leaving to my
son as a fortune the curse of 600,000 inhabitants, which would
reach him as far as the grave of his father." Archivo Histórico Na
cional (Madrid), Overseas, Box 5113. Quoted by Cruz Monclova,
Vol. II, 178,
94 "Pulidas" means polished and, in this case, manipulated. It is

a game of words with the last name of the Governor.
95 The cunerismo was a practice of the Overseas Ministry designed

to name candidates for the office of deputy, who were not born in
the island and did not know about its problems.
r : ..
145
protest for. the capture of the Virginius. Locally, several news
papers wrote against the United States and its diplomatic represen
tative, Daniel Elgar Sickles.
When a military coup, directed by General Pavia, ended the
Spanish Republic in February, 1874, the provisional government
called La Paviada began again to limit the right to meet and
associate. General José Laureano Sanz, who was chosen for a second .
term as governor, eliminated many local newpapers, dismissed many
liberal teachers from their chairs and censured constantly. After
rumors spread of the intention of transferring Puerto Rico to the
German government of Chancellor Otto von Bismarck, the administra
tion of La Paviada ended when King Alfonso XII was proclaimed head
of Spain in 1874.
It was in this environment that Manuel Gregorio Tavárez lived.
He was the son of the French citizen Alexandre M. Tavárez, a quiet
man with musical talent and liberal ideas, who had arrived to
Puerto Rico in 1838 and worked as a bookkeeper in the pharmacy of

96
Agustín Micard. Alexandre had come from the French Antilles,
and having witnessed the colonial policies of the times of King
Louis Philippe, was affiliated to the liberal sector, always main
taining his French citizenship.
Alexandre married the Puerto Rican Dominga Ropero; they had

97
three children: Manuel Gregorio, Clotilde Petronila, and Juana
96 Micard had always been in favor of social and political reforms

in the isLand and contributed to the establishment of the Subdele
gation of the Faculty of Pharmacy, established in 1842.
97 Researcher Amaury Veray checked the baptismal documents in the
cathedral of San Juan, discovering that Manuel had been inscribed
r
Josefa. When Manuel was a child he enrolled in the Colegio Pre
paratorio de Santa Rosa, in San Juan, an institution directed by
Ramón María Castaño. Since he loved music he studied with Juan
Cabrizas, a Catalonian musician who had arrived to Puerto Rico in
1835. Of his studies with Cabrizas, M a u r y Veray comments:
£1 Maestro Cabrizas le enseñó los rudimentos de la música

y lo inició en el estudio del piano. El discípulo brillante
no se satisfacía con el estudio exclusivo de este instru-,
mentó; había desarrollado'una facilidad para-la improvisación
que a veces mortificaba al Maestro Cabrizas, toda vez que sa
crificaba los estudios y la aplicación diaria por entretenerse
improvisando, temas que luego desárrollaba.-'en el pentagrama ¿98
Manuel G. Tavárez also studied composition with Father Domingo
Delgado, the organist of the Cathedral, who taught him solfege
and harmony. When Tavárez was growing up, he was aware of the work
of musicians such as Felipe Gutiérrez, Francisco Santaella, and
Aurelio Dueño. At that time the Sociedad Filarmónica inaugurated a
Salón de Conciertos in 1849 for the reading of poems, theatrical

99
representations, and concerts. When Tavárez was thirteen, in
1856, his teacher, Domingo Delgado, died; this afflicted him
greatly.
as Gregorio Manuel. He later interviewed Tavárez1s daughter Elisa,

who said he inverted his names because he did not like the name
Gregorio. Clotilde Petronila was born in 1858. See APPENDIX D
for the baptismal certificates.of some members of Tavárez*s family.
98 "Maestro Cabrizas taught him the rudiments of music and ini

tiated him in the study of the piano. The brilliant pupil was not
satisfied with the exclusive study of this instrument; he had
developed a skill for improvisation that sometimes bothered Maes
tro Cabrizas, since it meant devoting less time to the studies and
the daily worx ana Having fun improvising thanes that he later
elaborated on the staff. Arnaury Veray, Manuel Gregorio Tavárez:
soledad y plenitud, San Juan: Ateneo Puertorriqueño, 1960, 23.
99 It was this same Society that had sponsored the premiere of
the opera Guarionex in 1856.
W -------- = • -- - .
As mentioned before, the year 1857-58 was very significant for
the development of music in Puerto Rico, since the famous New
Orleans pianist, Louis Moreau Go.ttschalk visited the island. He
disembarked at the port of Ponce, after he had visited Cuba and
Jamaica. He came accompanied by the fifteen-year-old singer,
Adelina Patti, who was the same age as Tavárez. From that moment
on their influence on this musician was appreciable. Gottschalk,
the first romantic virtuoso to visit Puerto Rico, had already toured
the European capitals, receiving wide applause. Berlioz had called
him "the poet of the piano," and his compositions were published
in Paris and New York. Patti was known in musical centers since
she was nine years of age, and many believed that Tavárez's friend
ship with Patti and Gottschalk helped him greatly.
During the two months that they stayed in Ponce (November 1857-
January 1858) Gottschalk studied the rhythms of the Puerto Rican
folklore and those of other Antillian islands, and wrote three
compositions: Marche des gibaros (a work for piano based on a simple
folk tune). La Porto-Riqueña (already mentioned on page 131), and
Las ponceSas (a contradanza "respectfully dedicated to the charming
daughters of this village"). Since the Teatro La Perla was not yet
constructed, the spectators had to carry their own lanterns and
chairs, because the old wooden theater of Ponce was very deficient.
They were very enthusiastic about the c o n c e r t s , a n d appreciated
100 Veray says there is testimony óf the -existence of a portrait

somewhere in the island, of Tavárez as a young boy with these il
lustrious musicians. See Veray, Manuel Gregorio Tavárez. 25.
101 Five concerts were offered.
r : ... ~~ * .
the difficult works sung and played at the piano. Some local art
ists joined the visitors. They were: Mrs. Kortright (a harpist
from the town of Manatí), Isabel Oiler (the soprano who sang in
Gutiérrez.'.s opera Guarionex), and Carlos Allard (the flutist who
interpreted El canto de los pájaros, a work composed by Gottschalk).
Antonio Mirabal comments on Gottschalk's visit:
No por las obras que Gottschalk escribiera en nuestro país

. . . sino por la fuerte sensación artística que dejó en
el ambiente, tenemos que agradecer a este peregrino del
arte . . . dos cosas, una de sentido estético y otra de
sentido histórico: la grata impresión [de] su visita y el
haber incluido el nombre de Puerto Rico en el catálogo de
sus famosas obras.102
From Ponce Adelina Patti and Louis Moreau Gottschalk traveled
to Guayama and continued on a a tournee through the island. They
went to San Juan on May 16, 1858 and gave a series of concerts
there, where Taváres met them. They were well received and many
expressed their admiration and love through the newspapers.
It was probably this visit that helped Tavárez become enthusi
astic about making a trip to France to pursue further studies in
music. Since his father was a Frenchman, he knew well the French
language, and this made things easier. He was the first local
103
musician who wanted to go to Europe to study, and the Sociedad
102 "Not because of the works that Gottschalk wrote in our country
. . . but due to the strong artistic sensation that he left in our
environment, we have to thank this peregrine of art . . . for two
things; one of aesthetic sense and another of historic sense: the
great impression [of] his visit and to have included the name of
Puerto Rico in the catalog of his famous works." Antonio Mirabal,
Proceres del arte: Juan Morel Campos, Ponce, Puerto Rico: Publi
caciones de la Oficina Municipal de Historia, 1956.
103 Felipe Gutiérrez also went to Europe, but at a later date (1873)
and at age 48.
149
Económica de Amigos del Pais and the Diputación Provincial assigned
h-im a pension in 1857 to help him enroll at the Conservatory of
Music in Paris.
104
After passing his entrance examinations he began the pre
liminary courses with Alphonse Laurent, in order to be prepared to
enroll in the courses of Daniel A u b e r , ^ ^ a teacher who was also
the director of the Imperial Conservatory of Paris. Being 15 years
old, Tavárez soon showed interest in the many activities that the
French capital had to offer, at a time when the Second Empire of
Napoleon III was at its prime, and realism was gradually substi
tuting the earlier romantic currents.
An unexpected illness of cerebral origin affected his hearing
and his right hand< Feeling lonely and disappointed, he decided
to return to Puerto Rico in 1860. From then on he began to teach
piano in San Juan and to offer a series of concerts throughout the
island. In 1863 he became associated with printer Salavert and
published the Album Filarmónico, consisting of reductions of operas
for piano. Sometimes he published his own works and those of other
local composers, such as Julián Andino and Mauricio Alvarez. It
was in this same year of 1863 that he was considered for a music
chair in San Juan, but the Diputación Provincial gave it to his
104 In 1881, Tavárez dedicated a copy of Mendelssohn*s Rondo Capri-

ccioso to Olimpio Otero, of Ponce, noting this was the work he had
played back in 1857 in Paris, to be admitted to the class of Laurent.
See Veray, Manuel Gregorio Tavárez, 95.
105 Callejo mentions Auber as Tavárez*s harmony and composition

teacher, and Albert as his piano teacher.
106 Callejo says that it was the left one. See Callejo, 154.
r : . .....
elder, Felipe Gutiérrez. His first danzas. La Dolorita, and Cómo
me mira el viejo, were written in August and September of 1863 (see
CHAPTER V for more details on the first danzas).
For the Fourth Feria Exposición celebrated in 1865, Tavárez
submitted two compositions, obtaining a gold medal for Marcha fúne
bre, a work dedicated to painter José Campeche. This work,
written when Tavárez was twenty-two years old, is believed to have
been composed for and played. during an activity ,at the Ateneo Puer
torriqueño (a cultural institution founded in 1876), where a por
trait of Campeche was to be hung in the gallery honoring distin
guished citizens.
The nearby city of Caguas was easy of access due to the im
provement of roads to that area. Tavárez used to travel frequently
to that town until he decided to settle there. During this time
he became the teacher of Gonzalo Núñez, who was later to become a .
renowned pianist and composer. His friendship with brothers
Hermógenes and Mauricio Alvarez, whom he had met during the time
108
of the Album Filarmónico, was sustained during this period.
During the years 1867-1869 he also collaborated with Sandalio
Callejo in the publication of Delirio Puertorriqueño, a journal
published monthly in Bayamón which discussed Puerto Rican works.
107 Tavárez's second work is not known, since the Boletín Histórico
only mentions the works receiving prizes. Another work that also
received a prize was the Fantasy on the Hymn "God Save the King”
by Adolfo Heraclio Ramos, of Arecibo.
108 The friendship continued during all their lives. As proof of

this sincere sentiment, Mauricio Alvarez wrote a posthumous compo
sition in honor of Tavárez.
r ~ ~... ~
Being a liberal, he was deeply concerned about the Grito de
Lares (1868) and the continuous persecutions of separatists and
liberals. Veray believes that the desperate political situation
forced him to look for new horizons, and that is why he decided
to move to Ponce, a city which was developing a different approach
towards music, with a more vanguardist attitude.

109
Researcher Awilda Villarini explains in her dissertation
that several writers have taken into consideration the differences
in customs and cultural heritage between San Juan and Ponce.
She explains Albert Lee's opinions: 1) that there was a greater
number of foreign families living in Ponce, where German, English,
French and Corsican families were abundant; 2) that San Juan
was a more distinctly Spanish city where Spaniards predominated;
3) that "In Ponce's social circles English and French were:
common-place, while in San Juan the Spanish accent pre
vailed over the softer Puerto Rican i n t o n a t i o n 4) that
there were superficial, contacts between the inhabitants of
both cities due to transportation difficulties (the trip
from. Ponce to the capital city - of San Juan was made by
water since traveling overland was almost impossible);
109 See Awilda Villarini, "A Study of Selected Puerto Rican Dan
zas for the Piano," unpublished dissertation. New York University,
1979.
110 Albert E. Lee, An Island Grows, San Juan: Albert Lee and Sons,
1964. Quoted by Villarini, 47.
111 Ibid.
r “ ........
152
5) San Juan was .more - traditional and probably more narrow
minded .on. religious matters than Ponce: Catholicism was the ob
served religion, but it was often mixed with superstition.
Being part of the State fabric, religion was accorded due

predominance in San Juan, while in Ponce the men attend
ing Church often- stood at the door to flirt and scoff with
the girls. In Ponce a religious procession was largely a
military pageant; in San Juan it assumed a life and death
importance in which fanaticism and bigotry were all too
evident.112
Villarini concludes that:
Ponce's view of religion, freer and less strict, probably

was more fertile ground for romanticism to flourish in.
In Ponce, composers apparently felt less self-conscious
and therefore could express emotions more strongly. In
San Juan, composers seemed to feel restrained and unable
to express their feelings as naturally or as pass ionately.l 13
When Tavárez moved to Ponce in 1870, his father had already
died, in 1865, and his sister Clotilde was married and living with
their mother. So Tavárez, who by that time was 27, went to Ponce
with his aunt Juliana. There he found friends such as Román
Baldorioty de Castro, Alejandro T a p i a ^ ^ (who was researching to
write his novel Cofres!), Ramón Marín, Olimpio Otero, and Martín
Corchado. From Ponce Tavárez travelled to Juana Díaz, Yauco, and
Guayanilla, and with the musical material that he gathered, he
composed Souvenir de Puerto R i c o , a collection of melodies of
his country, which he dedicated to Empress Eugenia de Montijo.
112 Villarini, 49.
113 Villarini, 50.
114 Alejandro Tapia was one of the first to recognize Tavárez's

worth in his Memorias.
115 This work is also called Potpourri de Aires del Pais.
r " ' '

Among his pupils in Ponce were Olimpia Rosich, Margarita
Alvarado, and Juan Morel Campos, now a young boy of 14, who had
already written his first danza. El sopapo. In Ponce he presented
his work in the Teatro La Perla, in the Centro Español, in the
veladas of Lizzie Graham, and in the Café Las Delicias.
En la sociedad ponceña de aquella época, una de las más

filarmónicas de la Isla y tal vez la única en donde los
artistas . . . eran considerados y protegidos, fue aco
gido Tavárez con simpatías extraordinarias que se troca
ron en culto fanático a medida que sus producciones y
cualidades de pianista fueron debidamente apreciadas.117
En efecto, Ponce hacía tiempo había sentado su hegemonía

artística.""[Era una ciudad con otra perspectiva y dis
tinta manera de ver las cosas. No había la enmarañada
competencia de San Juan, donde el joven músico con nue
vas perspectivas no tenía oportunidad para desarrollarse.118
The last thirteen years of his life were spent by Tavárez in
Ponce. He was kept very busy with his pupils; he was also, the
pianist of the Bazar Otero, where he sold pianos and copied music.
The rest of the time he composed. Completely disassociated from
the capital city, he did not participate in the artistic activities
of San Juan, such as the tertulias celebrated in the Ateneo Puerto
rriqueño. or in any competition.
116 It was in this café that in 1880 Fernando Callejo met Tavárez,
and where the composer played Chopin's Ballad in G minor, a march
by.Gottschalk, Liszt's Rhapsody No. 2 . a work by Mendelssohn, a
study by Moschelles, Momento Capriccioso by Weber, and some of his
own danzas. See Callejo, 156-157.
117 "In the Ponce society of that time, one of the most philhamonic
of the island and perhaps the only one where the artists . . . were
treated with consideration and protected, Tavárez was received with
extraordinary sympathies that turned into a fanatic cult as his
productions and qualities as a pianist were properly appreciated."
Callejo, 155.
118 "In fact, Ponce had established for a lone time its artistic
hegemony. It was a city with another perspective and a different
F" = .
In 1880 Tavárez gave a concert at the Centro Español where he
accompanied two of his pupils in a piano arrangement for six hands
of Potpourri de la Reina de Saba. It was during these last years of

119
his life that he rewrote his compositions in order to publish
them in New York. He was p l a n n i n g to entrust this to Fermín Toledo,
the Catalonian pianist, who was going to New York to administer a
music store.
Tavárez*s most ambitious work was composed in 1882 for the
Feria-Exposición of Ponce, where he received a special award for it.
This composition is titled Redención and is the march that had been
commissioned to Tavárez for the opening of the Feria, and thus could
120
not participate in the competition. But the work, conducted by
Juan Morel Campos, was such a success, that the members of the jury,
presided by Virgilio Biaggi, gave it an extraordinary award in order
to recognize its merits and its strong patriotic character.
Tavárez had married Julia Colón in 1877 with whom he had five
children: Elisa, Manuel, Rafael, Gertrudis, and Amelia ( b o m in
1884, a posthumous daughter, as can be confirmed by the baptismal
certificate in APPENDIX C). According to Veray, his wife watched
way of seeing things. The entangled competition of San Juan,where

the young musician with new perspectives did not have the opportu
nity to develop, was not present there." Veray, Manuel Gregorio
Tavárez, 31.
119 Veray believes the compositions of Tavárez must have been many,
since Vais 24 de junio is Opus 129. See the catalog of works in
APPENDIX K for those compositions found by the researcher.
120 At this competition Juan Morel Campos won the first prize with
his overture La lira. Casimiro Duchesne, Fermín Toledo, and José
Agulló also received prizes.
f ~
155
ewer his health and she administered his income. Tavárez developed
a. liking for parties, and he usually stayed up late with friends.
A. brief description of his physical appearance and personality, will
bring us closer to the composer:
Los grabados y fotografías nos lo muestran menudo de

cuerpo, flaco, ligeramente bronceado, con ojos verdes
enormes, y una frente ancha y despejada acariciada
siempre por el sol de su tierra puertorriqueña. Don
Antonio Otero y Arce, quien lo trató intimamente, lo.
describe años más tarde asi: 'Era bajito, de corta
estatura. Usaba barba partida en forma de patilla.
Aseado en el vestir, muy ceremonioso, de carácter in
dependiente . . . De trato llano, sencillo, sin ser
un bohemio era un bonachón.1121
On June 26, 1883, Tavárez became seriously ill with the same
cerebral sickness that had affected him while he was in France.
The city of Ponce offered its help and the best doctors took turns
taking care of the loved musician, who died July 1st, a few months
before his fortieth birthday. For the funeral, the body was first
taken to the site where a year before he had been applauded at the
Fair; later, to the Church, and then to the cemetery for his inter
ment. During the funeral procession, as it passed by the Centro
tiis £22?cii Redención vas played by tbs ten-year-old boy
Paco Cortés. The Marcha fúnebre composed by Morel Campos was also
heard later on. Tavárez was buried in the cemetery of Calle de
121 "The engravings and photos frequently portray him with a light
body, skinny, somewhat bronzed, with enormous green eyes, and a
wide and clear forehead always caressed by the sun of his Puerto
Rican land. Don Antonio Otero y Arce, who knew him intimately,
describes him years later: 'He was short, of a low stature. He
had a beard trimmed in the shape of a whisker. Dressed neatly,
very formal, of an independent character . . . Affable, sensitive
without being a bohemian he was good-natured."' Veray, Mamie!
Gregorio Tavárez, 32-33.
r “ " '' .
156
122
la Torre, not far away from where, six years later, was to be
buried Román Baldorioty de Castro, his friend and distinguished
politician.
Of his life and work only a few researchers have written, but
a commentary by poetess Trina Padilla de Sanz, called "La hija del
Caribe," deserves attention:
Por tanto hay que insistir en que fue Tavárez el creador

en Puerto Rico de la escuela romántica chopiniana y es
por eso mismo que como orquestador resulta tan interesan
tísimo. 123
Juan Morel Campos
Another distinguished Puerto Rican composer was Juan Morel
Campos. Representing the Ponce school, he is a.better-known musi
cian, since his compositions are more abundant and his life and
activities have been more researched. B o m in 1857, when Felipe
Gutiérrez was 32 and Tavárez was 14, he lived in Ponce all his
124
life, and only made brief visits to San Juan. It is very prob
able that he never met Felipe Gutiérrez or José Ignacio Quinton.
On the other hand, he was the pupil of Manuel Gregorio Tavárez, a
musician who decisively influenced the style of Morel's composi
tions .
122 Veray comments that a friend of Tavárez, Angel Rivero Méndez,

fell in the grave when someone pushed him, and that he had to be
drawn out before the burial could continue.
123 "And this is why we must insist that it was Tavárez the creator
in Puerto Rico of the Chopinian romantic school and it is because
of this that as an orchestrator he is so interesting." Trina
Padilla de Sanz, "Juicio crítico musical sobre la obra del pianista
compositor puertorriqueño Manuel G. Tavárez," Ateneo (reprint), 1922.
124 Travelling difficulties have been described in this chapter.
f " •
Juan Morel Campos1 grandfather was Leonardo Morel, a Spaniard
from Catalonia. He lived in Mexico working as a notary and public
treasurer (Procurador y Depositario de Fondos Públicos) and was
married to Carmen Araujo, a Mexican. He moved to Santo Domingo and-
lived in Santa Cruz del Seybo until 1801, but decided to leave for
Puerto Rico, since, according to the Treaty of Basle of 1795, the
Prendí were to take the Spanish side of the island and Leonardo did
not want to live under the French jmle.
Once in Puerto Rico, Leonardo lived in Ponce, by that time a
very small village. He was the owner of lands in Monte Llano, a
rural sector which today is an urban area called La Cantera. His
notarial office, the only one in Ponce at the time, was located in
:front of the parish of La Guadalupe, today the cathedral. According

125
to documents of the period, Leonardo was a relatively wealthy
and respected man in Ponce.
Manuel Morel Araujo, the only son of Leonardo Morel, and the
father of the composer, was born in El Seybo, Santo Domingo. He
probably came to Ponce at an early age and there met his future
wife, Juana Campos, a native of Puerto Cabello in Venezuela. They
had seven children: Luis, Quintín, Rafael, Rito, Rosario, Juan,
and Ramón. According to Antonio Mirabal, it is a great mistake to
think that Manuel Morel and Juana Campos were married in Santo
Dmringo before they came to Puerto Rico. If this had been so.
125 Document of the Comandancia Militar de la Plaza, informing of

the fire that devastated Ponce in 1820. Quoted by Mirabal, 15.
W : ■■■ " .....

158
by 1857 on the birth of the composer she would have been seventy
years of age. Manuel and Juana never got married, but all the
children were recognized and the family enjoyed the appreciation of
the community in which they lived. Of the children only Quintín,
Rite, Rosario,.and Juan had descendants, and they carry the surname
1Z6
Morel. Manuel Morel was, like his father, a royal notary (Es
cribano Real) and a justice of the peace in Ponce.
An interesting note is provided by Antonio Mirabal when he
explains the social ancestry of Juan Morel Campos in terms of the
Spanish term hidalgo or hijo de algo (son of something, a Spanish
nobleman of the lower class). The Castilian titles revealed dif
ferent origins: Cuatro Costados (four sides). Ejecutoria (deeds).
Sangre (blood). Pobre de Cuna (of poor birth). Privilegio (privi
lege), Solar Conocido (noble lineage), and Bragueta (men who had
seven or more sons). The hidalgos were classified in three grades
of social advancement: 1) the simple hidalgo was a person whose
father was an hidalgo and whose mother was a villain; 2) the
hidalgo de ambas lineas was a person whose both parents
were hidalgos, even it they were of the simple degree;
and 3) the hidalgo de cuatro costados was a person
whose four grandparents were known to be hidalgos, of any
of the above-mentioned classifications.
Outside of Castille it was not required to be a legitimate child,
since a father could always make his son an hidalgo. Leonardo
Morel was an hidalgo of Ejecutorio and also of Sangre. He could
126 The surname Morel uses only one "I" since it comes from Catalo
nia. If Morell is written with two "l's" it comes from Mallorca.
¥ ”
L
159
have acquired the hidalguía of Privilegio, having enough economic
resources in Ponce for that, but he did not. Leonardo passed his
titles to his son Manuel, and these were inherited by Juan.
Juan Morel Campos was born in Ponce on May 16, 1857, in his
127
grandparents' house in front of the cathedral of La Guadalupe
(the house was next to that of Puerto Rican historian Eduardo
Newman). Curiously, he was born the same day as the Prince of
Asturias, later Alfonso XEI King of Spain, and the year when a
plague of cholera swept the city of Ponce.
In 1863, at six years of age. Morel began his formal education
in an elementary school. His first teachers were Santos Oxios and
Prancisco- Borga Gómez. The school, located in Atocha Street, was
near a place where musicians met, and it is believed that it was
here that he first heard violinists Marcelino and Andrés Gómez,
clarinetist Patricio Torres, flutists Sandoval and Rafael Goicochea
(who were brothers), bassist José Tomás Tizo!, and bombardinista
or saxhorn player Vicente Juan.
His first music teacher was Antonio Egipciaco, with whom he
learned solfege- and to play the flute. Another early teacher was
Vicente Juan who taught him to play bombardino. According to his

128
brother, Ramón Morel, Juan was a happy, vivacious, and intelli
gent boy. His first instrument was the church's bell, which he
127 According to Erasto Arjona Siaca, he was born like a prince in

a colloquial style mansion. See Erasto Arjona Siaca, et a l ., Juan
Morel Campos: biografía, Ponce: Tipografía Morel Campos, 1937, 18.
128 See the interview with Ramón Morel (Juan's brother) and
Secundina Beltrán Vda. de Morel (Juan's widow) in José A. Romeu,
".Tuan Morel Campos íntimo," in Arjona Siaca et a l ., 31.
F ---- :
--------------------------------------------------- ■
rang when he was an acolyte. At 14 years of age he wrote his first
danzain the town of Juana Diaz: Sopapos. He was a very studious
young boy, and it is said that his neighbor, Emilia Rios, once gave
Marel a copper coin so that he. would not study so much solfege.
129
He also used, to play scales all day long.
Tavárez exerted a great influence on him, after he arrived in
Bonce in 1870. At that time Morel was thirteen. Tavárez became
the head of the music department at the Bazar Otero, and his
work transformed that Bazar into a small and unofficial conservatory
forthe poncefios. According to Félix Franco Oppenheimer:
Para 1876 ya Morel Campos habia compuesto música de escaso

valor artístico y carente de brillantez técnica . . . Con
el enlace de esa amistad {Tavárez], salta del ingenio al
genio, como lo comprueba el vals brillante Mis suspiros,
escrito para 1878 . . . por la presencia en Ponce de la
afamada pianista humacaeña Anita Otero.130
Morel followed Tavárez's steps, since after the latter's death in
1883, he wrote Pobre Tavárez, a funeral march in honor of his
former teacher, and then succeeded, him as .administrator and teacher
at the Bazar Otero in Calle Atocha.
The musical tradition of Ponce was mostly devoted to teaching
A pianist, Manuel Pasarell, and a violinist, Antonio Otero
129 See Luis Samalea Iglesias, "Campos: apuntes para un estudio,"

in Arjona Siacá, et a l ., 38.
130 "In 1876 Morel Campos had already composed music of little ar
tistic value and which lacked technical brilliancy . . . With the
linking of that friendship [Tavárez], he jumps from the skill to
the genius, as confirmed by the brilliant waltz Mis suspiros,
written in 1878 . . . in honor of the presence in Ponce of the
famed pianist from Humacao Anita Otero." Félix Franco Oppenheimer,
Contornos: ensayos. San Juan: Editorial Yaurel, i960, 116.
r — ~
Aqueilina, both from Catalonia, were teachers and active perform
ers. Regarding the tradition of bombardinos in Ponce, Antonio
Mirabal comments:
Se dice que Campos, que era tin gran observador en lo

concerniente a mecanismo instrumental, ponia especial
atención . . . en el registro de los pistones y en la
manera de emboquillar el aparato. De ahí que Horel
Campos se quedara con el secreto, que heredó luego
Cocplía y se prolongó más tarde en Tomás Clavell, el
último de los grandes bombardinistas que tuviera
Ponce.131
Morel was also a flute player, and his wife believed he played it
1ikp a ruiseñor (nightingale). She used to be his pupil and admired •
his way of playing the flute and the piano. But she believed that
he did not like to teach or play as much as he liked to compose.
She thought that the birth of their first son served as an inspira
tion to the composer. Doña Secundina, Morel's widow, affirmed in

132
an interview - that she could not even sew in the room adjacent to
her husband's study while he was working there. He used to wake up
around 9:30 A.M. and after breakfast in his studio he read and
examined the works of the great composers: Beethoven, Mozart,
Bach, Haydn, Bellini, Wagner, Verdi, and Donizetti.
An anecdote relates to a day when Morel played the bass in
Mayagüez. Using the bow of Blas Garcia, as the band was playing
131 "It is said that Campos, who was a great observer relating to
instrumental mechanism, paid special attention . . . to the regis
ter of the pistons and to the way to place the mouthpiece of the
instrument. This is why Morel Campos kept the secret, which was
-later Inherited by Cocolía and continued by -Tomás Clavell, the
last of the great saxhorn players of Ponce." Mirabal, 20.
132 See footnote 128 of this chapter.
W - - .
162
the danza Idilio, Morel imitated the parts of the clarinet and the
banbardi.no, demonstrating his great ease as a performer. Another
anecdote recalls Morel's ability to compose. The musicians had
-gone to play the solemn mass in the village of Barros or Orocovis,
on the occasion of the fiestas patronales» when the music of the
Benedictus was found to be missing. It is said that during the
Offertory Morel composed a new Benedictus, to be played minutes
later. This selection has been called the Benedictus de Barros.
Besides Manuel Pasarell, Antonio Otero, and., Juan Morel, other

133
music teachers of that time were Carreras, Forns, and Carlos
Allard (who went to. Ponce after having lived in San
Juan). With the introduction of the press in the island
of. Puerto Rico (in 1806) the first newspapers and gace
tas appeared. The newspaper La guirnalda puertorriqueña
published some musical supplements, including works by local com
posers. This practice became very popular due to the scarce
pyigt-pnrp. of sheet music in the island. The periodical Boletín
Mercantil also published articles listing music teachers, instru
ments for sale, and textbooks published.
Religious music appealed to Morel, as can be observed from
the variety of his compositions: choirs, prayers, strophes,
gozos (verses in praise of the Virgin or the saints, in which cer
tain words are repeated at the end of every couplet), and petitions.
It is said that Father Janices, a parochial vicar, some
times asked Morel to compose for the eleven o'clock mass. Writing
133 There is no reference as to their first names.
r— ~ ~
163
for his favorite soprano. Miss Lizzie Graham (in whose house many
veladas had been attended by Morel), was an easy task for him* The
composer sometimes served as organist, although this was not his
major field of interest.
Some families celebrated the mentioned veladas in the pri
vacy of their homes, where music was played by invited artists.
Tertulias were also common, to discuss a topic or a book. During
the second half of the nineteenth century a concern developed for
music and the arts. This was possible due to the local families
as well as to those that came from Venezuela, Santo Domingo,
Haiti, Martinique and Guadeloupe, bringing their cultural interests
with them.
As the political and military situation became more tense in
Puerto Rico, the Spanish government detached more batallions to
defend the island. Some of the batallions that had their own bands
were: £1 Fijo, Asturias, Iberia, Granada, and Madrid. These bands
brought their own instruments, such as the pífanos (fifes), drums,
figle (ophicleide), serpentón (a wooden instrument), horns, clari
nets, and trombones. Two of the musicians who came to Puerto Rico
with the bands were José Alvarez, from the Granada Batallion, and
the teacher of Felipe Gutiérrez; and Juan Inés Ramos, a clarinetist
who later established himself in Arecibo, and was the father of
two great Puerto Rican composers: Federico and Adolfo Heraclio
134 Muñoz gives two examples of veladas: one in 1845 where the syn-
phony La Julia by José Antonio Gaudier was included, together with
arias of famous operas; and another in 1887 in the house of the
Contrera's family. Muñoz, 100-101.
r— ! “ "" •
135
Ramos. Morel derived some of his experience as a performer and
conductor with the band of the Batallón de Cazadores of the Regi-

1 'ífi
miento Madrid, where he was a soloist as a saxhorn player under
the baton of José Valero. This experience, followed by his studies
with Tavárez, helped Morel to organize a small orchestra which he
called La lira ponceña, and to organize and conduct the Ponce Fire
men* s Band.
Besides having a concert orchestra. Morel also directed a
dance orchestra which included performers on various instruments:
135 Adolfo Heraclio Ramos was born in 1837 in Arecibo. His farther,
.Tuan Inés Ramos, was also a musician. In 1854 Adolfo received a
silver medal for his Fantasía con variaciones sobre la polka favo
rita de Genni-Lind; in 1860, another prize for Variaciones sobre el
Carnaval de Venecia; and in 1865, a gold medal for Fantasia sobre
motivos del himno inglés 'God Save the King.' Historian Cayetano
Coll y Tosté mentions a prize received in Rome for Estudios didác
ticos sobre notas repetidas para piano, and explains about Arecibo
and the composer: "En su pueblo no se hablaba más que de caña, ca
fé y tabaco. La música y la poesia tenían pocos admiradores y de
votos. Sólo el baile y la gallera atraian a las multitudes. No
habia querido abandonar el terruño y visitar los grandes centros
de Europa, que hubieran saciado su sed de saber, y ahora vegetaba
humildemente en un poblejo de la isla encantada." ("In his home
town people only talked about sugar cane, coffee, and tobacco.
Music and poetry attracted few admirers and devotees. Canee and
cock-fighting were the only things that drew multitudes. He had not
wanted to leave his native land to visit the great centers of Eu
rope, that would have satiated his thirst of knowledge, and now
he vegetated humbly in a small town of the enchanted island.11) See
Cayetano Coll y Tosté, Puertorriquños ilustres, 2nd edition, Barce
lona: Ediciones Rumbos, 1963, 182. Adolfo died in 1891 in Guayara
when he was 54 years old. Coll y Tosté concludes: "Tavárez no fue
superior a Heraclio Ramos y Ponce supo defenderle . . . Honremos
nuestro peregrino del Arte en la región norte de la isla."
("Tavárez was not greater than Heraclio Ramos and Ponce knew hew to
defend him . . . Let us honor our peregrine of Art in the northern
region of the island.") Coll y Tosté, 184.
136 It should be remembered that Felipe Gutiérrez also acquired

experience with the military bands when he was named musician of
the Regimiento Iberia.
r : " " ■
three or four violins, two clarinets in C, one cornet, two bombar-
dinos, one güiro, and one timbalito ( a type of drum). The arrival
of the orchestra at the different places where it was to play was
a great event, particularly in Mayagüez. Mentors such as: Alfredo
Casal, Olimpio and Antonio Otero, Ermelindo Salazar, Francisco
B a m é s , and Perico Fournier, always helped Morel. He also had
friends in Barros, San Sebastián, Aguadilla, San Germán.and Maya
güez.
By 1882 Morel already had a good knowledge of instrumentation,
since he worked with the opera company La filarmónica and received
25 pesos out of the 50 that were paid to the director. Even if the
benefits received for the instrumentation work done was not great,
it is said that Morel never complained. In that same year, when
Morel was 25 years of age, an exposition-fair was celebrated in
Ponce, and Morel's concert orchestra was in charge of playing
during the activity. Some of hj.s musicians were: Cosme Tizol,
Felipe Márquez, Domingo Cruz (Cocolía), Juan Santaella, Rito Morel
(his brother), Pedro Pérez, Félix Colón, and Santiago Márquez. On
the inauguration, on July 1st, the march Redención by Tavárez (men
tioned previously) was played by Morel's orchestra. The fair
gave special attention to Agriculture, Commerce, Industry, and the
Arts. Twenty-six compositions were presented in the fair's compe
tition: seven arranged for orchestra, seven for piano, and twelve
137
for piano and voice. Morel's symphony La lira ' .won a gold medal
and an honorable mention.
137 Aristides Chavier once said that La lira evidenced the strong
Italian influence of the bel canto, and ttiat it did not have a
F ~ ....
Other prizes received by Morel were: 100 pesos and an honor
diploma for his Sinfonía Puerto Rico in the 1893 contest at the
Ateneo Puertorriqueño to commemorate the Fourth Centenary of the
Discovery of Puerto Rico; and an honor diploma for Juegos florales,:
a concert march dedicated to the Mayagüez society, in the 1895 con
test of the Casino de Mayagüez. This second work was again pre
sented at the International Competition in Buffalo, New York, in

138
1901, and it again receiyed prizes.
Morel knew the internationally famous Puerto Rican pianist
Gonzalo Núñez, who had acquired experience as a performer in Eu
rope. On one occasion Núñez subjected Morel to a sort of musical
test in front of a group of friends and was very pleased with him.
Author of Maria Teresa. Danse Espagnole, and Fleur de Lis, Núñez
enjoyed hearing the orchestra La lira ponceña. Once he even of
fered to transcribe for the piano some danzas he had heard the or
chestra play, but there is no evidence as to whether he fulfilled
distinct personality, since orchestral polyphony was not yet pre

sent in the work. Years later Chavier, a Paris graduate, realized
the genius of Morel, and understanding that his own compositions
could never be compared to those of Morel, a self-made artist, he
" . . . se percató de su genio y lo reconoció como el intérprete
folklórico y melódico del alma de Puerto Rico." (" . . . h e real
ized the genius of Morel and recognized him as the folkloric and
melodic interpreter of the Puerto Rican soul." Joaquin Eugenio
Candal, "El genio de Juan Morel Campos," El Mundo, May 16,1978, 7A.
138 Sinfonía Puerto Rico is a work for large orchestra, recollec-

ting popular Puerto Rican tunes. Trina Padilla de Sanz has said
that it is so rich and adjusts to the harmonic rules in such a way
that Bach himself would not hesitate in signing it. See "Carta al
Sr. Alfredo Morel Campos, Ponce, Puerto Rico, de la Hija del Cari
be," Arecibo, January 5, 1938, photocopy, n.,n. in the Music Library
of the University of Puerto Rico. The prizes of 1901 for Juegos
florales aré mentioned by Eugenio Deschamps in Juan Morel Campos,
Ponce: Tipografía Correo de Puerto Rico, 1899, 20.
F~.. .
M s promise. The researcher believes that if Morel's composi
tions were originally written for orchestra, most of this evidence
must have been lost, since what is today available in .the. great ma-
139
jority of the eases, are the works written.for piano.
Morel's musical production is mostly flevoted to the danzas,
.asean be seen from the catalogue of works. After El sopapo, it is
believed that his second and third danzas were Ciudad de Ponce and
140
Alegrías. They were possibly written in 1876, but from this
point on it is very difficult to date all of Morel's works. Mis
suspiros (in honor of the visit to Ponce of Anita Otero) was writ
ten in 1878. Regarding the danza La bella Margot, it is believed
it was premiered at the 1896 benefit concert in honor of the fire
men of Ponce, and it is possibly Morel's last work.
By 1893 the periodical La ilustración puertorriqueña mentions
300 works written by Morel, but Félix Franco Oppenheimer believes
that the period of major compositional production began in that
year. Other authors believe the number of works may~be.around 600.
Antonio Otero thinks there could even be music in the archives of

141
Barcelona, quoting a mass written by Morel.
Morel went to Buenos Aires, Argentine, to work with the Compa
ñía Bernard v Abella. a 'group that sang zarzuelas. He later visited
139 See CHAPTER V of this dissertation, and APPENDIX L.
140 On this same year, and after a brief stay in San Juan, Morel
returned to Ponce aboard the steamship "Arno" of the Royal Mail
Company. He brought with him a romanza he had written. La ramille
tera.
141 See Félix Franco Oppenheimer, 119-120.
r--= :
168
Brazil, where he was said to be the rival of Avelino Aguirre, a
local musician.- The Brazilian press said he was "un incomparable

142
maestro, favorecido de Dios, poseedor de dotes maravillosas."
During his return voyage in 1892, Morel wrote En alta mar, a danza.
and Saludo a Ponce, a group of waltzes. After his return, he re
organized his concert orchestra. La lira poncefia. offering selected
auditions at the Sport Club of Ponce and the Teatro L a Perla. His
trip to South America also inspired him to write the zarzuela Dicen
que me divierto.
Some writers have commented on the influence of the political
environment on the life of Morel Campos. A Dominican, Eugenio
Deschamps, says:
Vivió en el período que se extiende de 1857 a 1896, es

decir, cuando el negro buitre de la reacción se cebaba
con más saña en su inocente presa . . . Ni tribunos, ni
asociación, ni prensas, ni horizontes en que expandir el
entristecido espíritu del colono sus entumecidas facul
tades . . . Vivió ahí Juan Campos. En él, dentro de él,
el aletear enérgico del genio. A su alrededor el inabor
dable y sombrío muro de la servidumbre ahogando las mani
festaciones de la ciudadanía . . . Pero el actor . . .
tendió el vuelo, echó a cantar y se quedó con el corazón
de sus admirables compatriotas.143
142 " . . . a n incomparable maestro, favored by God, and the owner

of marvelous talents." José P. Alcalá, "Recordando a Morel
Campos," El Nuevo D i a , May 17, 1957, S7.
143 "He lived during the period of 1857 to 1896, that is, when the
black vulture of reaction fed with more anger from his innocent
prey . . . There were neither tribunes, nor associations, or
presses, or horizons in which the colonist could widen the sad
spirit of his numbed faculties . . . There lived Juan Campos. In
him, inside himself, the energic flutter of his genius. Around him
the unacces$ible and shady wall of servitude drowning the manifes
tations of the citizenry . . . But the actor . . . flew, began to
sing and conquered the hearts of his astonished countrymen."
Eugenio Deschamps, Juan Morel Campos, Ponce: Tipografía Correo de
Puerto Rico, 1899, 15.
r ,
Aristides Chavier, a Puerto Rican musician and writer, agrees
with this interpretation. He affirms that:
La época en que desarrollara Campos sus aptitudes musicales,

era . . . de tristeza y melancolía; la libertad era entonces
un mito y la vida se deslizaba sin las exaltaciones propias
de la mente juvenil.144
Félix Franco Oppenheimer comments on the melancholy of the composer
in his danzas:
Nuestra danza encierra, el espíritu melancólico, apacible

y romántico que denuncia en ritmos serenos un quejido de
cuatrocientos años trágicos. Nada esclarece mejor nues
tra sicología que nuestra danza, recoleta y tímida . . .
A nuestro ver, Juan Morel Campos, a más de ser el sinte-
tizador del siglo XIX, tan lleno de opresión y tristezas,
es el más eminente captador lírico del alma puertorri
queña. 145
The political and nationalistic view of the value of Morel Campos'
work is also present in M. Quevedo Báez‘s interpretation:
. . . pueblo triste, humilde y resignado en las torturas

de su dolor . . . qué de extraño, que tuviera un intér
prete de su alma, para que vaciara en cantos alegres,
como la voz de una esperanza, pero triste también, como
el eco de ilusiones perdidas, todo el sentimiento de su
alma criolla . . . pueblo pequeño, sometido en el curso
de largas centurias, ya que no tuvo espada vigorosa, que
midiese sus respetos . . . debía tener una lira que ha-
144 "The epoch in which Campos developed his musical aptitues, was
. . . one of sadness and melancholy; freedom was then a myth and
life slipped away without the exaltations that are proper in youth
ful minds." Aristides Chavier, "Rememorando al malogrado composi
tor en el trigésimo quinto aniversario de su muerte," in Arjona
Siaca et a l . , 25.
145 "Our danza e n d o s e s the melancholic, peaceful, and romantic

spirit that denounces in serene rhythms the lament of four hundred
tragic years. Nothing illuminates better our psychology than our
danza, secluded and timid . . . In our opinion, Juan Morel Campos,
besides being the synthesizer of the nineteenth century, so full of
opression and sadness, is the most eminent lyric captivator of the
Puerto Rican soul." Félix Franco Oppenheimer, 125-126.
F... -....."
170
blara y que cantara por él y que le acompañara en todos

los instantes de su existencia.146
The influence of politics in the musician's ideals is very clear in

147
the one-act zarzuela Don Mamerto. It is said to have offended
governmental officials, who prohibited its performance. It has
never been represented again. The work, with music by Morel Canpos
and libretto by So tero Figueroa, was premiered at Teatro La Perla
in Ponce on November 27, 1881, by the company of Eugenio Astol. The
plot presents Amparo, the daughter of doña Tadea and don Mamerto,
who wants to marry Luis. Don Mamerto does not approve of this mar
riage because Luis is a liberal. It is election day, and don
Mamerto, a conservative, is very disappointed after he finds out
that his party has lost the elections. Meanwhile, Luis receives
a telegram from Madrid informing him that his brother has been
designated overseas minister and that he will be named minister of
the treasury. All of a sudden don Mamerto changes his mind and
allows the marriage of his daughter, acknowledging that his future
son-in-law will be an important man in the coming administration.
The zarzuela ends with the music of La Borinqueña. Unfortunately,
146 " . . . sad, humble and submissive people in the tortures of

its sorrow . . . it is not strange that it had an interpreter of
its soul, so that he could empty in joyful songs, like the voice of
a hope, but also sad, like the echo of lost illusions, all the sen
timent of his Creole soul . . . small nation, subdued during the
course of long centuries, since it did not have a vigorous sword,
to defend its honor . . . it ought to have a lyre to speak and to
sing for it and to be its companion in all the instants of its
existence." M. Quevedo Báez, Corona literaria a la memoria de Juan
Morel Campos. Ponce: Imprenta El Día, 1918, 12-13.
147 This work is also referred to as Don Criterio o un día de elec

ciones. See Arjona Siaca, et_al., 21.
I .
171
this work is practically unknown to the public, but there is a copy
of the libretto at the Biblioteca General de Puerto Rico in San

T 148
Juan.
There is a curious writing titled Duo de sombras, in which a
simulated dialogue takes place between Román Baldorioty de Castro
and Morel Campos. They find themselves in the old cemetery of
Ponce, looking towards the city. Baldorioty says that they had not
lived (referring to politics), but Morel answers that they were
destined to create and that they had given their sculs to the world
(referring to art and to their ideals). In the story, the last
exclamation of Baldorioty's spirit is: "Durmamos para siempre"
("Let's sleep forever").^^
On April 28, 1896, the presentation of the zarzuela El reloj
de Lucerna was scheduled at Teatro La Perla. Juan Morel Campos was
already seated in front of the orchestra. The overture was placed,
and soon after the curtain went up and baritone Reding had sung the
first measures, the maestro fell to the floor, hitting the music
stand. It is said that Reding cried: "To the maestro, to the
maestro," while there was general confusion among the spectators.
Marín Varona, a Cuban conductor who was at the theater that
evening offered his services free of charge, to the director of the
Lloret and Pastor Company, to substitute for Morel as conductor.
148 See the reference to a ban for the zarzuela Don Mamerto, in
Julio Marrero Núñez, Libreto de una danza, San Juan: n.p., n.d.
Marrero Núñez's libretto is mostly devoted to tracing the origins
of danza Mercedes.
149 See "Dúo de sombras," in Quevedo Báez, 145.
¥---- : .. .' •'

The performance was resumed as soon as the doctors assured the
public that the accident had no further consequences. Upon hearing
of the substitution it is believed that Morel exclaimed: "What an
irony."
Morel was immediately carried to his house, at 36 Calle de la
Villa. Doctors recommended that he make a trip to Paris so that he
could be examined by the best specialists. While four distinguished
ladies of Ponce (Elizabeth Spencer de Graham, Josefa Martínez de
Golem, Angela Mayoral de Barnés, and Bárbara Martinez de González)
started to collect funds for the expensive trip, the sick maestro
was already making plans to go to the Opera House in Paris, and to
travel later on to visit La Scala in Milán. Additional funds were
also collected in Mayagüez.
While confined in bed Morel had been forbidden to compose
because he got tired easily. The day before he died he asked his
wife for paper and pencil and requested her to keep watch so that
the doctor would not unexpectedly discover what he was doing. When
the doctor came he had already written 3| lines of a new composi
tion, whose content is unknown, since it was later lost during a
hurricane.
Juan Morel Campos died on May 12, 1896, four days before his
39th birthday, victim of a heart attack. His funeral had been
planned for two days later, but due to difficulties involving the
embalming preparations, it had to be carried out sooner; the pom
pous program that had been outlined was not completed. Even so,
it was a deeply moving and sad event for Ponce. Pianos were mute.
Morel's orchestra La lira ponceña was the only group to play Alego-
r— ~~.... •
173
ría fúnebre, a composition that Morel had written to the memory of
Manuel Corchado Juarbe.
The guild of carpenters offered to build the casket* free of
charge. The local pharmacy did not charge the family for the
medicines dispensed. Someone offered to engrave the tombstone.
Many flowers covered the coffin; many people accompanied his re
mains in the procession to the cemetery. The funds collected were
designated for the purchase of a house for the children of the
composer.
Morel was buried at the cemetery of Calle de la Torre. Fif
teen days later the grave was found open. Even if the body re
mained intact, it was discovered that somebody had tried to steal
the golden buttons with diamonds that the family had placed on his
white shirt, and which had been noticed in Morel's velorio. It is
believed that these buttons, a gift received by Morel on one of
his trips, were not found by the thief.
A monument with a statue of Morel Campos stands besides the
Cathedral, at Plaza Degetau in Ponce. It was erected thanks to
the efforts of Carlos Q. Georgetti, Manuel R. Martínez, Juan
Zacarías Laguardia, and Domingo Cruz (Cocolía). In 1926 the re
mains of the composer were exhumed and transferred to the site
marked by this monument.
150 See Mariano Vidal Armstrong, "Los botones de oro de Morel

Campos," La Perla del Sur. April 23-26, 1983, 3.
151 Previous plans included the building of a monument in the cem

etery, in the form of a doric exedra (an opened and semicircular
recess furnished with solid back seats), following the design by
A. B. Wiechers. A book. Corona literaria a la memoria de Juan
r :
174
José Ignacio Quinton del Rosario
A brief examination of the period that followed the abolition
of slavery is pertinent at this point, since it is the time when
José Ignacio Quinton lived. While Alfonso XII was Icing, General
Sanz Posse was governor of Puerto Rico. His administration was
characterized by a strict censure of the press. The liberal sector
was affected and the separatists continued to make plans for a
revolution.
Under Governor Segundo de la Portilla (1875-1877) the conser-
vatists were favored, while anyone who did not have, a profession,
job, trade, or licit occupation was declared idle and subjected to
arrest and fines, under the regulations of the Bando de Vagos
previously established by Governor Sanz on April 15, 1874. Governor-
Portilla is also remembered for having given support to the Ateneo
Puertorriqueño, inaugurated on July 29, 1876, to the Felipe Gutié-
rrez's Academia de Música, and to the victims of hurricane San
Felipe.
A new electoral law established in 1878 under the governorship
of Eulogio Despujol Dussay (1878-1881) diminished the number of
those who could vote, from 20,000 (since 1871) to 3,000. This law
was so strict that it even included artists: only painters and
sculptors who had obtained a first or second prize in national or
international competitions could vote. Teachers could vote if
their salaries were paid by the state. If anyone dared to criticize
Morel Campos, was written and sold to obtain funds. See Quevedo
Báez, 11.
r : "" ■
the government or the electoral process, the Governor could ask
him to leave for Spain, with only a six-hour notification, and
without explaining the reasons for his deportation.
Economic conditions got worse after the abolition of slavery.
Landowners protested because they did not receive their indemniza-
tions on time and could only use those jornaleros that came from
the mountains to the valleys, from January to May (the sugar crop
season). Unjust tariffs clearly favored Spain to the detriment
of the Puerto Pican sugar. .Education lagged behind, even if teach
ing was divided into elementary and secondary, and there-were.also
Sunday schools, auxiliary schools, rural schools, and schools for
adults. The Junta Provincial de Instrucción Pública set the norms
for the supervision of schools and teachers.
After the Partido Conservador changed its name to Partido Es-

152
pañol Sin Condiciones, it won the local elections of 1881, even
if the local liberals had great expectations, considering there
was a liberal cabinet in Spain led by the Partido Liberal Dinástico
or Eusionista. There were many liberals who wished autonomy, based
on the cases of Canada, Australia, and New Zealand. But not all
the liberals defended the same objectives or used the same methods,
Baldorioty de Castro and Labra accepted the transitory stage of
assimilation (since it represented an improvement from the existing ,
conditions), Manuel Fernández Juncos defended assimilation but
152 José Pérez Moris, from Juncos, was elected. After he cele
brated his triumph and wrote an article condemning the assassina
tion of President Arthur R. Garfield, he was stabbed to death.
¥ = ...... - - -
176
decentralization in economic matters, the northern sector favored
administrative autonomy, and the southern sector favored political
and administrative autonomy.
Two years later the autonomists of the south published the
Plan de Ponce para la reorganización del Partido Liberal, through
which they incorporated the civil rights that had been demanded by
the revolutionaries of Lares. This document, similar to the Diez
Mandamientos published by Betances prior to the Lares incident, was
called by the Cuban José Marti "carta magnífica de Libertad" ("a
magnificent charter of Liberty"). During the 1887 meeting of the
Partido Liberal the name of the group was changed to Partido Auto
nomista Puertorriqueño; Labra was named president. Economic and
administrative autonomy was now favored, since the Canadian formula
defended by Baldorioty was rejected.
The change of leadership in Spain due to the death of King
Alfonso XII in 1885 and the Regency of Maria Cristina de Bahsburgo
did not alter the political tension prevalent in Puerto Rico. A
secret society called Bo icoteadora, founded in 1879, worked from
its center of operations in the southwest and Ponce; the incondi
cionales, aided by the civil guards and protected by the Ayunta
miento , provoked repression during the so-called "terrible year of
87" or the period of the compontes (the name by which were known
the corporal punishments and the tortures applied by the civil
guards to those suspects that were driven out of their homes at
night and taken to the fields in order to make them confess).

A new crisis in the Partido Autonomista begins in 1888. One
group follows Luis Muñoz Rivera and represents the landowners or
F.... .. . ..
177
hacendados. Its publications appeared in the newspaper La Democra
cia. Another group called^ the Directorio represented the profes
sionals and independent producers; they published their works in
the Revista. Members were Julián Blanco Sosa, Manuel Fernández
Juncos, Salvador Brau, Rosendo Matienzo Cintron, and later on,
José Celso Barbosa.
Meanwhile, the revolutionary work of Puerto Ricans and Cubans
in New York continued. Leaders such as José Martí, Sotero Figueroa,
Pachin Marin, Lola Rodriguez de Tió, and Flor Baerga worked there.
The Club Borinquen was founded in 1892, the same year of the Motín
de las Tarifas, a protest by local merchants (Puerto Rican and
Spaniards) against the preferential treatment given to the United
States. Two years later there was another strike, the Motín de los
Vellones, to protest the concession of monopolies to several manu
facturers.
After the fight for the independence of Cuba began in 1895
(Marti died that same year in the battlefield), Máximo Gómez con
tinued the struggle. In 1897 an autonomic regime was decreed for
Cuba. That same year the Partido Autonómico was formally divided:
Partido Liberal led by Muñoz Rivera, and Partido Autonomista Puro
or Ortodoxo led by Fernández Juncos. On November 9, 1897 Spain
also established the Gobierno Autonómico for Puerto Rico. While
local elections were being held for 32 representatives to the
Cámara Insular (25 Liberals were .elected, five Orthodox, one Incon
dicional, and one Oportunista— a sector that derived from the In
condicionales), the United States was fighting against Spain in a
war that actually began in January of 189C- after the sinking of
F ----------- :
178
the Maine, but was formally declared on April 25, 1898. United
States troops disembarked in Guánica on July 25, 1898 (the day of
the festivities of Santiago, the patron saint of Spain).
On the invasion of Puerto Rico Angel G. Quintero has said:
La invasión a Puerto Rico de las tropas americanas se dio

. . . como parte de una guerra entre España y Estados
Unidos . . . el país . . . actuó . . . a base de su con
flicto social interno . . . predominó la colaboración a
los Estados Unidos más que el apoyo a España. Estados
Unidos representaba la gran república de la democracia y
el progreso que tanto apelaba a los profesionales y arte
sanos; y representaba también el gran mercado aspirado por
los terratenientes y por aquellos comerciantes y empresa
rios que habían estado limitados por el comercio colonial
español. Los grupos sociales que habían pregonado una
defensa incondicional a España . . . no tenían fuerza
suficiente para presentar una oposición.153
After the Protocpl Armistice was signed on August 12, 1898,
American corporations began to invest in the island, finding sup
port in the sugar cane landowners, in the merchants, and in the
professionals who began to modernize and Americanize. Low salaries
and a scarcity of currency were reflected in a system of vales or
vouchers showing their monetary worth, to be redeemed at stores.
The loss of Cuba as a market for the exportations of Puerto Rican
products, specially tobacco, forced the merchants to concentrate an
the United States market, and to the subsequent development of an
economía empotrada or mortised economy.
153 "The invasion of Puerto Rico by the American troops took place
. . . as part of a war between Spain and the United States . . .
the country . . . acted . . . based on its internal social conflict
. . . collaboration with the United States prevailed more than the
support to Spain. United States represented the great republic of
democracy and progress, that appealed so much to the professionals
and artisans, and it represented also the great market longed for
by the landowners and by those merchants and entrepreneurs who had
been constrained by the Spanish colonial commerce.'The social
IT “ ■
The military government that was established in Puerto Rico
after the Treaty of Paris of October 18, 1898 lasted until May 1,
1900, when Congress approved the Foraker Act. This organic act
was subsequently amended; the Olmsted Act, approved by Congress
on July 15, 1909, placed the supervision of Puerto Rican affairs
under the jurisdiction of an executive department. Under the terms
of the Jones Act of March 2, 1917, Puerto Rico became a territory
of the United States. The right was conceded to anyone who wished
to retain his former status, if so preferred. Key officials of
the local government, including the governor, were of presidential
nomination.
The new order, being abrupt and imposed from above, was some-,
times mistrusted and to be resented; Early United States .
governors were mainly preoccupied with Americanizing institutions,
language, and political habits, resulting in strong resistance by
native leaders. The political parties that had developed since
the change in sovereignty (Partido Republicano led by José Celso
Barbosa, Manuel Rossy, and Roberto H. Todd, and Partido-Federal
led by Luis Muñoz Rivera and Santiago R. Palmer) centered their
attention on modifications in the political relations between the
.island and the United States federal government. The Republican
Party limited its program to a plea for statehood while the Partido
groups that had proclaimed an inconditional defense of Spain . . .

did not have strength enough to present an opposition." Angel G.
Quintero Rivera, Conflictos de clase y política en Puerto Rico,
Río Piedras: Editorial Huracán, 1976, 32-33. Quoted by Juan Angel
Silén, Historia de la nación puertorriqueña, Río Piedras: Editorial
Edil, 1980, 181.
r _
154
Unión de Puerto Rico, founded by Luis Muñoz Rivera in 1901,
worked for greater autonomy.
In the 1920s the Partido Nacionalista rose to affirm the irfaal
of immediate independence. The Partido Socialista led by Santiago
Iglesias expressed its poncern for the plight of the laboring
classes of the island, but its effectiveness was hampered by in
sufficient popular support.
José Ignacio Quinton del Rosario was b o m in Caguas (a town
also called Ciudad del Tur abe), on February 1, ^''^18$1, when Felipe-
Gutiérrez was 56 years old, Tnvárez was 38, and Morel was 24.
His father was Juan Quinton, a Frenchman popularly called Musiú
Quintón, and his mother was Filomena del Rosario, a native of
Caguas. When José Ignacio was five years o l d ^ ^ the family moved
to Coamo, where he was to live permanently. He stayed there but
made brief visits to San Juan, Ponce, and other nearby towns.
Quinton, affectively called by his nickname Pepito, was a
very much loved man. Julio Soto Ramos, having lived in Coamo, says
he knew the composer:
154 Luis Muñoz Rivera was elected Resident Commissioner of Puerto

Rico in Washington in 1910. He returned to the island in 1916 and
retired to his home town of Barranquitas where he died in Novem
ber 15 of the same year. His son Luis Muñoz Marin was to become
governor of Puerto Rico from 1948 to 1964.
155 February 1st is the day of the fiestas patronales in Coamo,the

town where Quinton lived the rest of his life.
156 The 1913 Resolution of the Municipal Council mentions this age,
but Julio Soto Ramos says he was two years old. See Julio Soto
Ramos, Cumbre y remanso, San Juan: Editorial Cordillera, 1913, 133.
F ..... "
181
. . . lo. querían mucho, muchísimo, precisamente.porque-

era popular, porque era un ejemplo de modestia, de hu
mildad, de comprensión, de bondad pura, y de respeto,
y esa "familiaridad," entiéndase popularidad, no mermó
en lo más mínimo la grandeza de su vida y de su obra. 157
The composer was a short, fat, and good-natured person•• He
walked slowly and every afternoon he went through a street that
today bears his name: he always carried an umbrella as he walked
to the Centro de Instrucción y Recreo.
Quinton's first teacher was his father, an organist, composer,
theorist, and instrumentalist. He also studied with the Catalonian
composer and pianist Ernesto del Castillo, who lived in Coamo for
many years. When Quinton was nine years old he participated in a

158
concert at Los Baños de Coamo and was acclaimed because of his
remarkable interpretation. When he was eleven he accompanied at
the piano the well-known Cuban violinist Brindis de Salas, who is
said to have exclaimed: "Bravo, young boy, you will be a glory for
music!"
Quinton became an excellent pianist, a fairly good guitarist,

159
a teacher of piano and violin, a parochial organist, a composer
157 " . . . they loved him very much, a great deal, precisely be
cause he was popular, because he was an example of modesty, of hu
mility, of understanding, of pure goodness, and of respect, and
that 1familiarity^ ' meaning popularity, did not dwindle in the
least the greatness of his life and of his work." Julio Soto Ramos,
Bocetos biográficos puertorriqueños, Barcelona: Talleres Gráficos
de Manuel Pareja, 1973, 42.
158 This place has been a tourist attraction for a long time, be
cause of its thermal springs.
159 He was the organist of the Catholic church of San Bias in Coa
mo. He dressed elegantly, in white. He played during the Sunday
9:00 A. M. mass, and directed the choir. Every year on New Year's
Day he interpreted the Aguinaldo iibaro composed by himself.
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182
of religious music and danzas, and the conductor of the municipal
band he organized. He is remembered for his sight reading ability,
which was clearly evident when he played Beethoven's sonata for
Henri Ern, a German professor from the Bazar de Música Lasa in
San Juan.
The music historian Fernando Callejo, who wrote Música y mú
sicos puertorriqueños in 1915, says:
Pepito Quintón, como le nombran en el pueblo de su resiy

dencia, nació con un gran temperamento artístico. Si pro
sigue estudiando como hasta aquí, será el primer maestro
compositor de la época actual, pero su modestia excesiva y
la pobreza del medio ambiente en que gira no le permitirán
remontarse a las altas regiones del ideal, para lo que le
sobran facultades.160
Quintón, as many musicians in Puerto Rico, was a self-taught
composer. His talent propitiated his success in the musical com
petitions where he presented his compositions. The first time
he participated in a competition was in 1911 in the town of Manatí,
where he obtained the first prize for Marcha triunfal, a work for
orchestra. On that occasion he received a cash prize of $25, an
honor diploma, a gold lyre, and membership in the Casino Puertorri
queño. host of the competition in honor of guitarist Josefino
Parés.
He again participated in 1913 in the competiton of the Liga
Progresista de Ponce, presenting Cuarteto de Cuerdas en Re Mayor.
The laudo of the jury read:
160 "Pepito Quintón, as they call him in the town of his residence,
was born with a great artistic temperament. If he continues study
ing as he has been doing, he will be the first teacher composer of
his time, but his excessive modesty and the poverty of the environ
ment in which he lives will not allow him to reach the high regions
F ~ ---- -
183
?or el análisis minucioso que se ha hecho del presente

Cuarteto en re .qiayor, se deduce que su autor tiene verda
deros conocimientos de armonía, contrapunto y composición
musical, habiendo así mismo seguido un plan que revela
sus aptitudes en el manejo de la forma prescrita para el
género sonata, que es el que fundamenta esta clase de com
posiciones. Las frases dialogadas, las imitaciones frag
mentarias de los temas en el decurso de toda la obra, el
desenvolvimiento. de:las modulaciones; atestiguan elocuen
temente que se está en presencia de un compositor de dotes
excepcionales, y que sabe conciliar su libre fantasía, su
delicada inspiración con las exigencias inherentes a. la
música di camera.161
In the 1913 competition Quintón was also the winner of a cash
prize of $75, a golden insignia and an honor diploma for his piano
162
composition Doce variaciones sobre un tema de Hummel. In the
laudo the jury, with Braulio Dueño and Aristides Chavier as rnsnihers
mentions:
La duodécima variación, en ritmo de polonesa, es real

mente ingeniosa y brillante. Ella por sí sola revela las
aptitudes envidiables del autor, digno de ocupar uno de los
of the ideal, for which he has more than enough qualities."

Callejo, 206.
161 "After a detailed analysis of the present Quartet in D minor,

it is deduced that its author has true knowledge of harmony, coun
terpoint and musical composition, having also followed a plan that
reveals his aptitudes in the handling of the prescribed form for
the sonata genre, which is the foundation of this type of compo
sition. The dialogued phrases, the fragmentary imitations of the
themes progressively through the whole work, the unfolding of the
modulations, are an eloquent testimony that one is in the presence
of a composer of exceptional gifts, and that he knows how ro re
concile his free fantasy, his delicate inspiration with the demands
inherent in the música di camera." Callejo, 206-207. The music of
the Cuarteto was sent to Pablo Casals, the distinguished cellist
and conductor who was in France at the time, and had asked for it.
Years later Casals established the Conservatory of Music of Puerto
Rico, the first and only institution of its kind in the island
today.
162 Callejo; 207.
más elevados- puestos entre los compositores de Puerto
Rico.163
The success obtained in 1913 was an occasion for many public
hcmages in Coamo. The Centro Social Blanco y Azul authorized its
president, Juan Bautista Tirado, to request the Consejo Municipal
of Coamo to declare Quinton adoptive son of the town. On December 4;
1913, the Council adopted a resolution which read:
. . . es indudable que los individuos de las condiciones

del señor Quintón honran siempre al pueblo de su natali
cio y al país del que éste forma parte . . . y aunque es
cierto que el señor Quintón nació en Caguas, vino con sus
padres a vivir a esta villa cuando sólo contaba cinco años
de edad, habiéndose, por lo tanto, desarrollado ñquí física,
moral e intelectualmente, siendo, seguramente, debido a la .
influencia del clima de estos vall^*;, a la belleza de sus
paisajes y a las condiciones morales de estos vecinos el
admirable desarrollo de sus facultades artísticas; y además
que don José I. Quintón, sin más maestro que su señor padre
don Juan, ha llegado a figurar hoy como el primer músico
compositor puertorriqueño.164
Violinist Carlos R. Gadea Picó, one of Quinton's biographers,
and a native of Coamo, has been one of the main admirers of the
163 "The twelfth variation, in the rhythm of a polonaise, is really

ingenious and brilliant. By itself it reveals the enviable apti
tudes of the author, who is worthy of occupying one of the higher
places among the gomposers of Puerto Rico." Soto Ramos, Bocetos
biográficos puertorriqueños, 45.
164 " . . . there is no doubt that individuals of the qualifica

tions of Mister Quintón always honor the town of their birth and
the country to which it belongs . . . and even if it is true that
Mister Quintón was born in Caguas, he came with his parents to live
in this town when he was only five years old, having, thus, devel
oped here, physically, morally, and intelectually, due, for sure,
to the influence of the climate of these valleys, to the beauty of
its landscapes and to the moral conditions of these neighbors, the
admirable development of his artistic faculties; and besides, that
Mr. losé T. Quintón, without other teacher than his father dan Juan,
has become today the first Puerto Rican musician composer." Julio
Soto Ramos, Bocetos biográficos puertorriqueños, 46.
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185
distinguished composer. He has collected information about Quintan’s
life which he has shared with historians and musicians. He also
compiled a catalogue of Quinton's music* much of which had remained
unpublished until 1986.*®" He believes that there are many dan gag
which might never be located* since the author offered them as
gifts to the many young ladies to whom he dedicated them.
Among the works written by Quinton there are danzas, mazurkas*
waltzes* marches* and what is believed to be his last composition*
Balada v Scherzo. His Misa de Requiem, dedicated to his friend
-Ernesto del Castillo,*®® is well known. Amaury Veray believes that,
his compositions coincide with Puerto Rico's change of sovereignty
in 1898* and that it is possible that this event influenced him.
El desarrollo artístico de Quintón ocurre en el momento

más trascendental de nuestra vida cultural y artística,
el cambio de soberanía. Comienza a definirse su respon
sabilidad artística. Descarta lo anquilosado y escoge
lo auténtico de la savia puertorriqueña al sacar nuestra
música nativa de la postración en que se hallaba. Por
eso lo encontramos en .Yauco, en el.año de 1901, compo
niendo aguinaldos con una rusticidad jíbara que sorprende. 167
165 Seethe catalogue of Quinton's works in APPENDIX M.
166 Julio Soto Ramos believes this Mass was dedicated to Angel
Mislán. See Bocetos biográficos puertorriqueños, 46. Felipe tfcnerau
affirms there is only one Mass dedicated to Ernesto del Castillo e
Yzaga. Seventy years after it was composed Amaury Veray found one
partin Yauco and Carlos Gadea found another part in New Orleans.
It was written two months before Pope Pius X imposed the Gregorian
Chant in 1903 with the edict Motu Propio.
167 "The artistic development of Quinton happens in the most trans

cendental moment of our cultural and artistic life, the change of
sovereignty. His artistic responsibility begins to be d§fined. He
puts aside what is traditional and static and chooses what is au
thentic of the Puerto Rican sap when he draws our native music from
the prostration in which it was. This is why we find him in Yauco,
in the year 1901, composing aguinaldos with a surprising peasant's
rusticity." Amaury Veray, "Presentación de José Ignacio Quinton,"
I ~ ---- ! '
186
Amaury Veray believes that Quinton tried to break the tradi
tional barriers of Puerto Rican music, and that his works are a
clear demonstration of the awareness of musical form. New hamonic..
possibilities are explored, including chromatic modulation, giving
the works an impression of constant movement, even if the rhythm is
not so varied. One of his main contributions is the development of
the danza (to be discussed further in CHAPTER V), which he reinter
prets, practically rejecting the danza ponceña of Tavárez and Morel.
For Quinton the danza is a dance fprm but elevated to a new hierar
chy. It departs from a central motive which is not always evident
due to the thematic innovation. Quinton is the creator of the
Hany-a de concierto, of baroque design and a pianistic virtuosity
never seen before. He sometimes interrupts the melody to introduce .
cadenzas, as done in Ausente.
But the danza is not the only preference of Quinton at the
time when new prewar currents appear:
Su interés., por lo nuevo lo lleva a experimentar con la

imprecisa tonalidad de los impresionistas en Una página,
de mi vida, ensayo introspectivo para piano donde Quintón
sacrifica su habitual concepto de forma musical para dar
paso a una interpretación subjetiva de su estado anímico
. . . Es una rapsodia pianística donde el personaje prin
cipal es el propio autor. Resulta novedoso . . . toda
vez que se perfila en esta obra una insistencia en la
abolición de un centro tonal.168
Quintón also wrote religious music: cánticos (chants), ple
garias (prayers), meditacionas (meditations)% salves (salutations).
Revista del Instituto de Cultura Puertorriqueña, III: 8, July-

August 1960, 17.
168 "His interest for the new led him to experiment with the im
precise tonality of the impressionists in his Una página de mi vida.
m..... — : ■
187
and novenas (novena, a Roman Catholic nine-day devotion). In his
Requiem, for orchestra and mixed chorus (of which only parts are
preserved), one can observe an excellent i n s t r u m e n t a l i s t . A s - t o
the lieder, he is oue of the composers who devotes time :to the art
song, with Dudas and Tristezas, both dedicated to a lady in Yauco,
Rita Maria Mattei.
When Quinton died in Coamo on December 19, 1925, he was 44
years of age, at the prime of his compositional production. He
even contemplated the possibility of travelling to New York to
study. His premature death was followed by a period of public
mourning. At the time of his burial in Coamo, Tavárez had already
died (in 1883 at the age of 40), and so had Morel (in 1896, at the
age of 39) and Gutiérrez (in 1899 at the age of 74). Many things
had happened during the century of musical Evolution that runs
from the birth of Gutiérrez in 1825 to the death of Quinton in
1925. An analysis of the musical output of these four distin
guished composers will help to understand such development.
an introspective essay for piano where Quinton sacrifices his usual

concept of musical form to give way to a subjective interpretation
of his state of mjnd . . . It is a pianistic rhapsody where the
main character is the author himself. It is something novel . . .
since one can see the profile of an obstinate intention of abolish
ing the tonal center in this work." Veray, "Presentación de José
Ignacio Quintón," 18.
169 Amaury Veray reconstructed Quinton's Misa de Requiem but ins

tead of an orchestra he included an organ. The researcher has not
been able to find the original orchestral version.
Sponsoring Committee: Professor Roger P. Phelps, Chairman
Professor Annette.Baslaw

New York University
1988
r
CHAPTER IV
AN INVENTORY OF THE MUSICAL PRODUCTION OF

GUTIERREZ, TAVAREZ, MOREL, AND QUINTON
The compositional output of nineteenth century musicians such
as Felipe Gutiérrez y Espinosa, Manuel Gregorio Tavárez Repero,. Juan
Morel Campos, and José Ignacio Quinton Rosario is an obvious re
flection of the society in which they lived. These composers
learned what the teachers in their respective towns taught them,
played what was already written during their times (importing the
printed music mostly from Europe, especially from Spain, due to the •
political situation), and composed what was needed or liked by the
people who surrounded them.
The four musicians were devoted to their profession. None of
them earned a living from anything else but music, in spite of the
educational limitations which characterized the musical training in
those times, the four excelled in their trade and were very re
spected in their communities by their relatives, friends, and col
leagues. A visit to the towns which they represent, affirms today
the sincere admiration which contemporary musicians still profess
for the life and work of these four selected musicians. Their con
tributions to the Puerto Rican society, in terms of concerts of
fered (in and outside churches), lessons taught (in the municipal
academies or as private teaching), orchestras and bands organized,
188
m ;
L.
189
and especially the works composed, are well appreciated by Puerto
Ricans.
Nevertheless, much still remains to be done, since a general
knowledge of the cultural heritage of one's country and the proud
feeling of having such,, a„ heritage is not enough. It is necessary
to preserve this heritage, and this can only be done through care
ful research by those most closely related to the field in ques
tion. In the case of musical output, not many people have devoted
their time and energy to thorough research. Puerto Rican musical
historians who have been pioneers in this field have already been
mentioned in previous chapters: Fernando Callejo, Maria Luisa
Muñoz, Antonio Mirabal, Héctor Campos Parsi, Amaury Veray, Félix
Franco Oppenheimer, and Gustavo Batista, among others. This
researcher believes that they have done more in the area of bio
graphical and anecdotal accumulation of facts, and less in the area'
of cataloging, classification, description, and analysis. More
needs to be done in relation to preservation, editing, and publica
tion. Exceptions to this general pattern are the few dissertations
which have studied more closely the work of a musician or a genre
(see previous references to the thesis on Gutiérrez, written by
Gustavo Batista, and the dissertation on the danza, written by
Awilda Villarini), the efforts of the Puerto RicánlInstitute of
Culture (organizing a music section at the General Archive and pub
lishing works by Juan Morel Campos), and the efforts of relatives
or friends of the composers, who have recorded or published their
works (such as the recordings made by Elisa Tavárez and the publi
cations of the Society of Friends of Quinton).
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190
. Having presented an integrated vision of the four selected
composers as they lived in the Puerto Rican milieu of the nineteenth .
century the researcher proceeded then to organize a comprehensive
catalogue of the musical output of these composers. She used four
types of sources to achieve her objective:
Catalogues, prepared by previous researchers— For Felipe
Gutiérrez she mainly used the list included in Gustavo Batista's
thesis; for Tavárez the source was the book written by Amaurt Veray;•
for Morel she used the lists presented by Antonio Mirabal and Erasto
Arjona Siaca et al.; and in the case of Quinton the main source was'
the book written by Ramón Rivera Bermudez, which is quoted later.
Manuscripts' and printed music— After the researcher inte
grated the information collected from the lists mentioned, with
loose referenoes presented in the books and articles she could find,
she went to the General Archive of Puerto Rico, administered by the
institute of Culture. There she found what was missing in other
libraries, such as the Library of Congress, the Bobst Library at
tfew York.IMversity, the José M. Lázaro Library at the University
of Puerto Rico, the Puerto Rican Conservatory of Music Library,
the Archivo Histórico de Ponce, the Biblioteca Encamación Valdés
.at the Universidad Católica in Ponce, and the Library of the Uni
versity of Puerto Rico's Mayagiiez Campus. The large quantity of
docuneats housed in the Archive, were very enlightening. The
special- help offered to the researcher by all the employees at the
Archive deserves praise. They are among those fortunate individuals
who really enjoy their work, understand the importance of what they-
wr “ ...
191
are dealing with, are eager to let other people use and study
the wealth of information that can be obtained from the documents
they are preserving, and can really appreciate the work done by
those few people who would rather spend complete weeks in the
quiet surroundings of what used to be the last hospital built by
the Spaniards in Puerto Rico, instead of in the noisy outside
world of a cosmopolitan city. The patient and seemingly endless
examination of old manuscripts during five consecutive months
was certainly a rewarding experience for this researcher.
Interviews— Personal visits to relatives, friends, or re
searchers of the composers, provided first-hand information on
the musicians; they seemed an important step at this moment.
The researcher interviewed the following persons:
Antonio Aguado, a writer from Arecibo, has investigated the
Indians of Puerto Rico. He offered valuable help especially
with the meaning of terms reflecting Puerto Rican traditions.
Gustavo Batista, a professor of guitar and mandolin, is
the Chairman of the Music Department at the University of Puerto
Rico. He researched the work of Felipe Gutiérrez for his thesis
and keeps the largest collection of the composer's manuscripts.
He allowed the researcher to examine the manuscripts and offered
many suggestions.
Marcelino Canino is a folklorist, he is professor at the
University of Puerto Rico and studied piano with Elisa Tavárez.
He keeps a collection of manuscripts by Tavárez, but was not
able to show them to the researcher.
....
L
192
Gonzalo Cordova is a historian and professor at the Univer
sity of Puerto Rico. As a member of the Society of Friends of
Quinton, he lent some books to the researcher. In addition he
discussed particular aspects of the investigation, such as life
in Coamo.
Arturo Dávila is an art critic and a writer. He is professor
at the University of Puerto Rico and offered suggestions on
aspects related to Puerto Rican astists, particularly Campeche
and Oiler.
José Guillermo Frontera is a retired anatomy professor at
the University of Puerto Rico. He offered valuable help on the
meaning of terms reflecting Puerto Rican customs. He also talked
about music in his native town, Aguadilla.
Luz Hutchinson is a pianist and professor at the Conservatory
of Music of Puerto Rico. A former pupil of the late Elisa
Tavárez, she helped the researcher to verify some facts.
Sylvia Maria Lamoutte is a publisher and music critic for
El Nuevo D ia. She has edited works by Morel Campos in simplified
versions, and published some original works by Tavárez. She
was interviewed on the phone and offered suggestions for addi
tional interviews with other musicians.
Felipe Monerau was raised by José Ignacio Quinton, and is
a member of the Society of Friends of Quinton. He keeps manu
scripts, published works, and recordings of Quinton's music.
He offered many anecdotes and helped to prepare the composer's
1"— ^ :
193
family tree. An octogenarian, he never felt tired when talking
about Quinton. He allowed the researcher the greatest number of
interview-hours.
Gloria Morel is Juan Morel Campos' granddaughter. She
narrated personal anecdotes and helped to prepare the composer's
family tree. She claims to have additional manuscripts, but
could not show them to the researcher.
Félix Rivera is a. young pianist and Master's student'. . He
is a researcher studying the interpretation of the Puerto Rican
danzas. He keeps some manuscripts and offered to collaborate
on future publications.
Hugo Storer is the grandson of composer Manuel Gregorio
Tavárez. He is the son of Elisa Tavárez, a pianist and former
pupil of Juan Morel Campos. He does not keep any manuscripts,
but narrated personal anecdotes and helped prepare the composer's
family tree.
Gladys Tormes:is the Directress.of the Archivo Histórico de
Ponce. She offered valuable help during the field trips made
to this southern city. She made the necessary contacts for
other interviews at the cathedral of Ponce and with Morel Campos’
relatives.
Amaury Veray is a composer, and professor of harmony at the
Conservatory of Music of Puerto Rico. He researched the work of
Manuel Gregorio Tavárez to write a book, and also wrote articles
on Quinton. He studied music with Olimpia Morel Campos, the
composer's sister, and narrated personal anecdotes.
■r— : .
The researcher believes there are still other persons who Bright
be of help in the investigation. Colleagues who are interested in
her endeavor constantly suggest new possibilities, and thus this
research advances not only as a methodical and meditative process*
but also as a continuous interaction with many persons who keep
history alive while easily recreating events of the past century.
Visits: to .the composers' towns— While the researcher was
trying to compile the necessary information to complete the cata
logue of works* she decided to visit the natal places and towns
related to the composers: San -Tuan (Gutiérrez and Tavárez)* Ponce
(Tavárez and Morel)* Caguas (Tavárez and Quinton)* and Coamo
(Quinton). The respective churches kept information on the birth
and death of the musicians. Those visited were: in San Juan the
Metropolitan Cathedral and the San Francisco Church;^ in Caguas
the Dulce Nombre de Jesús Church; in Ponce the Nuestra Señora
de Guadalupe Cathedral; and in Coamo the San Blas de Illescas
Church. Monuments and other important places were also visited
and, whenever possible, photographed (see Figure 1 for Felipe
Gutiérrez's house).
The results of the researcher's quest are presented in APPPEN-
DIXES A through H, which include the composers' family trees and
the birth and death certificates that were found, together with
1 Besides asking for certificates o f .the Gutiérrez family* the re

searcher visited its crypt* hoping to find the burial site of
Felipe Gutiérrez. Instead* she-found that Isabel Oiler de Paniagua*,
the sister of the famous painter Francisco Oiler, and a singer who
participated in the original cast: of Guarionex (the opera written
by Felipe Gutiérrez with lyrics by Alejandro Tapia y Rivera), has a
niche in this crypt. Also see CHAPTER V, footnote 15.
r — '
195
Figure 1 - Felipe Gutiérrez's house
The unrestored house of Felipe Gutiérrez is located at

108 Sol Street in Old San Juan, only two doors from that of
Tavárez. It is not even identified. Sol Street is very near
from the Cathedral, where Felipe Gutiérrez's worked as Chapel
Master. (Photo by Manuel Diaz Hernández.)
r" '
196
those of the composers' relatives; APPENDIX I which contains a list
of the abbreviations used in the catalogues of compositions corre
sponding to CHAPTERS IV and V; and APPENDIXES J through M, which
include the catalogues of compositions.
The researcher was unable to proceed writing about the composi
tional output or the composers until the catalogues were completed.
In them, she chose to present not only an alphabetical list of
titles, but also descriptive details (as long as the information
was available) about dates of composition, opus numbers, tonali
ties, dedications, instrumentation, and any other particularities
which help to identify the works and compare them with similar ones .
by the composers. She has clearly specified whether the material
found consisted of manuscripts, hadwritten copies by persons other
than the composers, or published editions. The Roman numeral which
follows each title is a reference to the catalogues corresponding
to CHAPTER V (found in APPENDIXES N through Q), and which identify
the compositions according to the themes presented in their titles.
Conclusions drawn, from.the catalogues follow.
Felipe Gutiérrez y Espinosa (1825-1899)
The inquiry on Felipe Gutiérrez*s musical production was cer
tainly more difficult than it was for the other three composers,
since he did not leave relatives behind or groups of friends inter
ested in collecting his works and preserving them. Even his broth
er, José Gutiérrez, a musician younger that Felipe, died in 1889.
A search at the cathedral's archives indicated that the Catholic
Church apparently did not make the necessary efforts to preserve
wr ~ - ~
197
the religious compositions of this Chapel Master, who practically
denoted his entire life to the service of music and the Church.
2
Gutiérrez died in 1899, hut it was not until 1974 that some
thing significant happened with his music. A young guitar professor
was offering a lesson to a pupil who told him he had a box full of
music papers which he had salvaged but which were about to. be thrcwn
anay in the garbage. The pupil, Felipe Sánchez, gave his teacher,
Gustavo Batista, the mentioned box; the manuscripts of Felipe
Gutiérrez came to light after so many years. Thus happened the
meeting in the course of time of these two musicians: Gutiérrez and
Batista. A careful examination, classification, and study of the
works of Gutiérrez resulted in Batista's thesis, which he finally
presented in 1982 at the Centro de Estudios Avanzados de Puerto Rico
y el Caribe, and through which he made Gutiérrez known to fellow
compatriots appreciative of music.
During the last four years this thesis has been used by many
Puerto Rican music historians, and there has been a growing inter
est in the life of this musician, who is still "faceless," since no
photographs or paintings of him have been found. Music speaks for
itself and investigations continue; the findings of this researcher
are included in APPENDIX J. They are based on the holdings of the
Archivo General de Puerto Rico, which keeps 38 out of the 126 works
listed, and the holdings of the private collection of Gustavo
Batista, which includes 52 works. There are 36 works which are not2
2 For the family tree of Felipe Gutiérrez see APPENDIX A. Copies

of his baptismal and death certificates appear, in APPENDIX B.
w
198'
available, and one work, "Macias," whose manuscript is kept in
microfilm at the University of Puerto Rico but the arrangement of
which is kept at the General Archive.
Batista was kind enough to let the researcher examine the
manuscripts and discussed them with her. This joint analysis was
totally unexpected, since the researcher had worked alone in the
cases of Tavárez and Morel and could only discuss non-technical
questions about Quinton's production when interviewing members
of the Society of Friends of that composer. Plans for future
projects are already under way, since the need to publish the works
of Gutiérrez (and also of Tavárez and Morel) is the logical step
after the inventory of the musical production is finished.
Taking a close look at the catalogue of Gutierrez's music, the
fact that impresses most is that only one song, has been published:
La despedida. The rest of the works are virtually unknown to the
public, with the exception of "Macias," the .opera which was pre
miered in Puerto Rico in 1977. The Institute of Puerto Rican
Culture has made efforts to promote Gutiérrez's music and to locate
those manuscripts which have not been found. It even prepared a
poster recently in order to stimulate musicians and music lovers
- to find the music of "Guarionex."
Some compositions are dated, and for others there are refer
ences in the local newspapers of Gutiérrez's times, so that an
approximate date can be assigned to them according to the year they'
w a s premiered. Obviously, there are no opus numbers assigned
sirce no one has yet done this task. As it appears from the list
which follows, Gutiérrez's first and last work is "Salve solemne."
W~ ^ .........
199
Works which are dated
Title Date Age of the composer
Salve Solemne 7/1892 Written when he was a

child; orchestrated
when the composer was
67 years old.
£1 recuerdo 1856 31
Guarionex 1856 31
(premiere)
Contradanza 1856 31
El amor de un pescador 1857 32

(premiere)
Responso a dos voces 1858 33
Misa a dos contraltos de 1859 34

niños o dos bajos
Magnificat a tres voces 1860 35
Misa de San Juan 1861 36
Salve obligada de barítono 1864 39
Salve a solo 1865 40
Misa de Santa Cecilia 1865 40

(premiere)
Reservas 1866 41
Lamentación tercera del 1867 42

Jueves Santo
Misa de Requiem No. 2 1867 42
Pasión del Domingo de Ramos 1870 45

y Viernes Santo y Credo a dos
voces solas
Peticiones de las siete 1870 45

palabras
Parce mihi 1871 46
Misa a dúo para coro y 1872 47

orquesta
200
Title Date Age of the ocmposer
Macias 1872 47
(competition)
Letanía de la Providencia 1872 47

(premiere)
Salve a dúo 1872 47
Teoría de la música 1875 50
La familia 1875 50
Misa para la Pascua de 1876 51

Resurrección (premiere)
Elisa 1877 52
Salve grande a dos voces 1878 53

y coro
Gozos de la Inmaculada 1878/18893 53/64

Concepción
El bearnés 1881 56
Las siete palabras 1882 57
Marcha fúnebre 1883 58
La peseta 1883 58
Tota pulchra 1891 66
Salve a dúo número 1 [1895 (copied)] 70
Gutiérrez only dedicated four of his works: "Marcha fúnebre"
to Alejandro Tapia, "Macias" to King Alfonso XII, "Misa de San
Juan" to Bishop Benigno Carrion, and "Salve obligada de barítono"
to Francisco Oiler. But one must observe that Maestro Gutiérrez
was really dedicating his works to Christ, to the Virgin Mary,
and to some Saints whom he probably considered spiritual models.
The following is the spiritual relationship of those compositions.3
3 There are different dates on separate manuscripts.
f---- ' .....

201
Works dedicated to Christ, to the Virgin and to the Saints
To Christ Reference to religious celebration
Lamentación tercera del Prayer in the nature of a Lamenta

Jueves Santo tion, used on Holy Thursday (March
or April).
Misa de Jueves Santo Mass commemorating Holy Thursday,

when Christ ate his Last Supper.
Misa de la Ascención The Ascention to Heaven came after

Christ's Resurrection.
Misa de Noche Buena Mass honoring Christmas' Eve, on

December 24.
Misa del Corpus Christi Mass honoring the Dead Body of

Christ, celebration which usually
includes a procession on May or
June (movable festivity).
Misa para la Pascua de Mass honoring the Resurrection of

Resurrección Christ, three days after his death.
Today celebrations begin with the
midnight rituals of Holy Saturday,
and extend until Easter Sunday.
Notebook (included here are a

number of songs such as "Padre
nuestro" and "Seguidillas al
Niño Jesús")
Pasión del Domingo de Ramos Ritual for Palm Sunday (ccnmemorat-

y Viernes Santo y Credo a dos ing Christ's entry into Jerusalem),
voces solas and Good Friday, including the
Creed.
Pasión del Viernes Santo The ritual for Good Friday does not
include a regular Mass, but empha
sizes the suffering of Christ from
the last supper until his death in
the Cross.
Peticiones de las siete These petitions allude to the words

palabras pronounced by Christ when he was in
the Cross ("I am thirsty," 'Forgive
them. Oh Lord," "I will meet you.in
Heaven," and others).
Reservas Composition honoring the festivity

of Corpus, which has an air of
secrecy and discretion.
¥ ...... ' " ’ ' .. ......

202
To Christ Reference to Religious Gelebration
Secuencia de Resurrección Group of prayers for the day of the

Resurrection
Segunda lamentación Lamentation to be said the Wednes

day in Holy Week.
Las siete palabras See "Peticiones de las siete

palabras."
To the Virgin Mary
Adiós a la Virgen Composition written to say farewell

to the Virgin, probably before or
during a procession.
Así-así (Litanies) A Litany is a prayer for the end

of the Rosary, with reference to
Mary's virtues.
Dios te salve Composition inspired in the salu

tation "Hail Mary."
Gozos a la Purísima The gozos are couplets in praise

Concepción of the Virgin or the Saints, with
two successive verses rhyming with
each other.
Gozos a la Inmaculada Celebrated on December 8, this

Concepción festivity honors the Immaculate
or Pure Conception of Mary.
Gozos de la Purísima See two previous entries.
Gran Salve Núm. 1 A prayer called the "Salve," glo

rifying Mary and invoking her pro
tection.
Grandes letanías
Letanía
Letanía de la Providencia The Virgin of the Divine Providence

is the Patroness of the City of
San Juan; festive activities in her
honor fall on January 2.
Letanía número 2
Letanía número 3
f .........
To the Virgin Mary Reference to Religious Celebration
Letanías (Allegro)
Letanías (Allegro Moderato)
Letanías (1 y 2) (See Figure 2)
Letanías de Nuestra Señora de Litany in honor of Our Lady of

Belén Bethlehem honoring the maternal
qualities of the Virgin Mary.
' Letanías jesuítas Litanies probably written for a

Jesuit congregation.
Totanías pastoriles Litanies probably written to honor

the sheperds that visited the Vir
gin when Christ was b o m .
Magnificat a tres voces Prayer in honor of the Virgin's

praising of God.
: Miga de la Anunciación Mass honoring the announcement of

the Incarnation, made by Archangel
Gabriel.
Misa de la Anunciata Same as above.

muter of songs such as "Santa
Maria" and two in honor of Our
Lady of the Divine Providence)
Novenario de la Concepción A nine-day devotion honoring the

Conception of Mary.
Novenario de Nuestra Señora

de Belén
Salve Salve means "Hail," a reverent

salutation to the Virgin Mary.
Salve a Coro
Salve a cuatro voces, coro y

orquesta
Salve a dúo (B flat Major)
Salve a dúo (E flat Major)
Salve a dúo (F Major)
f
204
ñí%\ ti i
i Ip - jfíjJ 3 i* f- 6 ír i ul■
i-^-i7^vii-^?11'^"í í'î
ferasiA tí,íft1^ navíw,;
- •^-U^-hí^ ,ifr f* y V| i-•
..yiiM %i>'VU»«
Figure 2 - "Letanía" by Felipe Gutiérrez
This is the violin part of one of several Litanies written

by composer Felipe Gutiérrez. This particular version is
"Letanía 1" in F Major. It includes an Allegro moderato and also
an Andante. Dynamics are clearly indicated as well as a pizzicato
and arco (bow) of the third staff. See Felipe Gutiérrez's cata
logue of works in APPENDIX J. For a complete description of
"Letanía 1" see entry 28.
To the Virgin Mary Reference to religious celebration
Salve a dúo de contralto
Salve a dúo número 1
Salve a dúo número 1 The tenor has a solo part in this

(obligada a tenor) "Salve."
Salve a solo
Salve de gallo This "Salve" is probably used for

early Masses (when roosters or
gallos sing), said on the days be
fore Christmas.
Salve grande a dos voces

y coro
Salve número 3 para dos voces

y orquesta
Salve número 5 a dos voces
Salve número 8
..Salve obligada a barítono The baritone has a solo part in

this "Salve."
Salve solemne __
Septenario de Dolores A celebration of seven-day duration

honoring the Virgin's sufferings
for her son.
Totta pulchra (D Major) A prayer in honor of the Virgin,

who is all grace and beauty.
Totta pulchra (F Major) __
Totta pulchra (E flat Major) __
Totta pulchra (C Major) __
Totta pulchra (D minor) __
Totta pulchra (C minor) __
F "
206
To the Virein Mary Reference to religious celebration
Tota pulchra (saxophone) __
Tota pulchra a tres voces __
To the Saints
Misa de San José Mass honoring Saint Joseph whose

festivity is on March 19
Misa de San Juan Mass honoring Saint John, whose

festivity is on June 24.
Misa de Santa Cecilia Mass honoring the Patroness of

Music on November 22.
Novenario de San Francisco Novena in honor of Saint Francis,

whose festivity is on October 4.
Novenario de San Juan Novena in honor of Saint John the

Bautista Baptist, the Patron of the Island
of Puerto Rico.
Novenario de San Miguel Novena honoring the Archangel

Michael whose festivity, is oñ Sep
tember 29.
Novenario de Santa Rosa de Novena honoring this Saint from

Lima Perú; the festivity is on August 23.
Salve mediana Núm. 7 del Salutation honoring the Patron,

Patrón San Juan Saint John.
Gutiérrez wrote other compositions which are related to reli
gious oeremonies of diverse nature, and which deserve mention since
they also reflect the composer's concern with his work as Chapel
Master and with the needs of the parishioners. Of the grand
total of compositions, only eighteen are not of a religious theme.
Religious compositions dedicated to

different ceremonies of the Church
Title Reference
Conclusión (C Major) Ending of a religious activity,

such' as a Mass, a Novena or a., tri-
r
207
Title Reference
duo ( a celebration lasting three

days).
Conclusión (A minor)
Conclusion de novenas A novena is an activity which

(No. 1 y No. 2) lasts nine days, and it can be
offered in honor of a Saint or of
a deceased person.
Conclusión No. 5
Misa (G minor) The Mass has these principal sec

tions: "Kirie," "Gloria," "Credo,."
"Ofertorio," "Sanctus," "Benedic-
tus," and "Agnus." Music can also
be written for additional prayers
such as: "Quoniam,""Incamatus,"
and "Crucifictus."
Misa a dos contraltos de

niños o dos bajos
Misa a dos veces (B flat Major)
Misa a dos voces (G Major)
Misa a dúo para coro y orquesta
Misa de la Circuncisión This Mass honors the Circuncisión,

and a ritual is celebrated the
first of January.
Misa de la Purificación This Mass honors the festival of

Purification, on January 2.
Misa de Requiem A Mass for the repose of a dead

personas soul; celebrated on the
same day of the funeral or after
wards .
Misa de Requiem No. 2
Misa para voces de niños
Misa pastorela Mass for the shepherds, or in the

style of pastoral music.
Misa pequeña en Do Mayor
Misa pequeña en la menor
r
208
Title Reference
Miserere The Miserere is the 50th Psalm in

the Vulgate. It is also a solemn
Lenten service in which this psalm
is sung.
"Do not remember," translated

literally.

number of compositions such
as "Plegaria No. 2," and
"Primera estrofa a dúo."
Ofertorio (composed during This is a part of the Mass.

the homily)
Ofertorio (C Major, Andante)
Ofertorio (C Major, Lento)
Parce mihi Service for the Office of the Dead.
Petición A de clarinete A petition which can be applied to

different festivities.
Petición a dúo, número 3
Petición de clarinete número 2
Petición de violín, número 1
Peticiones
Responso a dos voces (see Prayer for the dead.

Figure 3)
Responso número 1
Responso número 2
Responso para entierros, Prayer for the dead; used in

Parce mihi funerals.
Setimino
Te Deum Ceremony to give thanks to God.
Vigilia de difuntos A vigil is a watch kept on the

night, a service before the day of
r
209
Figure 3 - Front page of "Responso a dos voces
The front page of this composition indicates that the work

is for two voices, accompanied by two violins, two flutes, two
horns, and a bass. Composer Felipe Gutiérrez y Espinosa wrote it
in October, 1858, while he was Maestro de Capilla de la Sta.
Yglesia Catedral de Ft. Rico ("Chapel Master of the Holy Cathedral
Church of Puerto Rico"). When the work was being put together,
possibly years after in order to preserve it, someone used strips
of newspaper on the left margin: notice the indication "Consigna
tario del Buque."
W
---------------
21Q
Title Reference
a festivity, or a f§ist; in this

case it is the Office of the
Dead. ^
It is important to check carefully the inventories of works
presented by other researchers, since the titles of the works can
be misleading, and the interpretation of manuscripts can lead to
different types of identifications. Taking as an example Gustavo
Batista's list of works by Felipe Gutiérrez, and examining the
works titled "Salves," one can notice that Batista lists eleven
works which are supposedly owned by the General Archive. Of these,
the researcher, could only find eight among the manuscripts of the
Archive. She believes that Batista is duplicating the mention of
"Salve No. 8" (there is probably only one "Salve No. 8"); "Salve de
novena" (since "Salve a dúo No. 3" has "Salve de novena" as a
second title, and this is only one,composition); and "Salve" (he
mentions it twice without specifying tonality or voices; the
researcher only found "Salve a dúo Núm. 2," a work not previously
listed by Batista, and which could be one of those two "Salves").
In the case of the "Salves" listed as part of his private col
lection, Batista mentions thirteen works. Of those, the researcher
only found eleven in the collection. "Salve obligada a barítono"
(the same as "Salve de barítono") and "Salve de novena No. 3" (the4
4 The next Chapter of the dissertation makes reference to four

Appendixes where the works of the composers are classified accord
ing to the themes presented in the titles. Category VII groups
the religious and funeral works in general; the researcher has
chosen to explain those of Gutiérrez at this point, since his re
ligious production is the longest, and the most detailed.
f
sane as "Salve a dúo número 3"), are included in the list of
Batista's collection, but are really owned by the Archive. Batista
also owis an additional "Salve" in C Major which is not included in
the list of his dissertation. This example can be applied to the
list of "Masses," "Letanías," and "Tota pulchras." When the titles
are sigilar, the researcher suggests an additional identification
by tonality, especially for publishing purposes in the future.
This practice is being used with the works of José Ignacio Qiintch,
when similar titles occur or when there are no titles assigned by
the composer.
A final observation should be made regarding the instrumenta
tion. Gutiérrez wrote for the small orchestra available to him at
the cathedral chapel (See Figure 4) or at the San Francisco Church,
both in Old San Juan. The instruments he used were:
organ clarinet in C trumpet
viplin clarinet in A bombardino
viola horn in F bombardino-trompa
cello horn in C bass (metal)
double bass Ijorn in D c o m e t in B flat
flute horn in E flat c o m e t in A
clarinet in R flat trombone cornet in E flat
Ha also used voices as soloists and in chorus, but rarely did he
use four voices together ("Letanías jesuítas" is an exception).
Apparently Gutiérrez did not have the collaboration of a good
soprano; he mostly wrote for contraltps, tenors and basses (see
"Salve a solo") or tenor, baritones and basses (see "Las siete pa
labras"). It seems that he did not prefer the piano, since he only
r .
Figure 4 - The Cathedral of San Juan Bautista
Located in Old San Juan is the Cathedral of San Juan Bautista,

where composer Felipe Gutiérrez worked as an organist. It is in
Calle del Cristo, the same street where other important buildings
and monuments stand, such as the Colegio Seminario de San Ilde
fonso , where figures such as Ramón Baldorioty de Castro and
Alejandro Tapia y Rivera studied. The Colegio is now a part of
the Centro de Estudios Avanzados de Puerto Rico v el Caribe. The
Capilla del Cristo is also located on this same street.
r
virote one group of exercises for this instrument (see "Cuadernos
con estudios para piano").
Manuel Gregorio Tavárez Ropero (1843-1883)
Puerto Rico’s capital city, San Juan, was the birthplace of
Manuel Gregorio Tavárez in 1843. Proud of this composer, the city
has clearly identified the house where he used to live, at 112 Ca
lle del Sol'* and has also erected in his honor a small monument
near the postoffice (see Figure 5). The Archivo General de Puerto
Rico keeps the manuscripts of his works, which were donated to the
Institute of Culture by Tavárez’s daughter, pianist Elisa Tavárez
de Storer.^
Since Tavárez moved to Ponce and worked there as a pianist,
teacher, and composer, the researcher made several trips to this
city, located on the southern coast, the second largest on the
island. The main objective was to obtain additional information
about the composer, and perhaps some other manuscripts. The second
ary objective, which turned out to be very fruitful, was to visit
the places which Tavárez, and also Morel Campos, had frequented.
Information gradually started to appear and the researcher was
agreeably amazed on how helpful the people of Ponce can be, and
how they really appreciate the research being done. The places
visited in Ponce were:
5 This street is two blocks away from the Cathedral, and Felipe
Gutierrez's house was also located there, at No. 108. Nevertheless
his house is not identified as Tavárez's is.
6 Iheresearcher interviewed Elisa Tavárez's son, Hugo Storer, to

inquire about additional manuscripts, but as indicated in APPENDIX K,
apparently there- are no other documents kept by the family.
¥ ........... ..
.Figure 5: The house and bust of Tavárez
The restored house of Tavárez is located in 112 Calle del

Sol in Old San Juan. The plaque, placed in the fa$ade by
! the Institute of Culture in 1969, indicates he was born
there. The bust is located on the street ;6f the Federal
Building. The inscription indicates he was the "father
of the Puerto Rican danza." (Photos by Manuel Diaz)
214
215
Biblioteca • Encamación- Valdes— Located at the Universidad
Católica de Ponce, this library keeps a few books and articles in
the Sala Puertorriqueña, which were very useful to the researcher.
It does not keep any music manuscripts in either the Puerto Rican
collection or the music;collection.
Museo -de Arte— 'This museum, located on Avenida Las Americas
in front of the Catholic University, has a large collection of
paintings, including some by Campeche and Oiler (mentioned in the
previous chapter), but no collection of manuscripts.^
Archivo. Histórico de. Ponce--The librarian at Biblioteca
Encarnación. Valdés suggested a visit to the Archivo Histórico de
Ponce. When the researcher went, she was surprised to find that
g
there were no manuscripts at the Archive of Ponce. Attendants
could only show her a very short biography about Morel Campos, and
nothing at all about Tavárez. Disillusioned, the researcher con
tinued her investigation at the General Archive in San Juan, where
she casually spoke to a fellow researcher. Miss Ramonita Vega, men
tioning her work on the Puerto Rican composers. Having visited
Ponce for her own research on the Puerto Rican floods. Miss Vega
suggested another visit to Ponce's Archive, and a personal inter-
7 Perhaps a future interview with Luis A. Ferré, the Museum's owner,

will guide the researcher towards private music collections owned
by other citizens (See reference to Luis A. Ferré in the section
about Morel in this chapter).
8 Its offices are located on the second floor of the Teatro La

Perla (see Figure 6)» and they are not air-conditioned. Manu
scripts and other documents are not well protected. The environment
is typical of a nineteenth century reading room. The researcher
found herself surrounded by a collection of reproductions of Goya's
paintings.
f ' ......................... .
216
Figure 6 - Teatro La Perla and Archivo Histórico de Ponce
Seen above is the famous Teatro La Perla. On its second floor

is the Archivo Histórico de Ponce. In a small park to its right
is Domingo Cruz's monument. (Both photos by researcher). Cruz's
photo, given to the researcher as a gift by the Archivo Histórico,
indicates he was Morel Campos' successor as conductor of the
Municipal Band.
w
217
view with Attorney^ Gladys Tonnes, its Directress. An in-it-ial phmp
call revealed a very dynamic person, with a knowledge on Morel
Campos (but not on Tavárez), which surprised the researcher. The
two successive tripsproved very rewarding, since Attorney Tonnes
provided new documents, such as photographs and typewritten leer
tures, together with special anecdotes, phone calls to the Archbish
op's Offices, and a visit to the cathedral, where she showed the
g
researcher how to look for baptismal and death certificates. Even
if she could not provide any information on Tavárez's house or
relatives, she did help the researcher to locate the place where
Marel Campos had been born, and personally arranged an interview
with Mrs. Myriam Morel,*^ a science teacher working in the Municipal
Library on the second floor of the Teatro La P e r l a . just, beside the
Archivo Histórico of Ponce.
Nuestra Señora de Guadalupe— Ponce's Cathedral, located
in-themain plaza, keeps the baptismal and death certificates that
have withstood the city's fires. Here the researcher was able to
find Tavárez's death certificate and most of his children's baptis
mal certificates.** A careful reading of the documents indicated
.that Tavárez's "marriage" to Juana Ropero was never legitimized, at
9 Attorney Tonnes' comments on Morel Campos' religious music is

presented in the next section of this chapter.
10. The interview with Myriam Morel led the researcher to another
interview with Mrs. Gloria Morel and Hebe Iris Morel, both grand
children of Morel Campos. See next section in this chapter and
also Marel Campos' family tree in APPENDIX E.
11 See APPENDIX C for Tavárez's family tree and APPENDIX D for the
certificates found. The researcher has prepared a summary of the
information contained in them.
F
218
least in an ecclesiastical ceremony. Thus his children were consid
ered. as "natural" and not "legitimate," but they all carried his
last name, since Tavárez "recognized" them. The researcher does
not believe that Tavárez and Juana Ropero were married in a civil
ceremony, since at that time such marriages were not common. Re
spect for the religious welfare of the newly horns prompted the
unmarried couple to baptize their children, since they considered
themselves a serious and respectable couple. Tavárez died after
receiving the Church's Sacraments. His death certificate indicates
that he was an unmarried (soltero) man when he died at age 40.
Even if the researcher requested to examine any religious
ungir which might had been kept at the cathedral, and in spite of
the help given by Mrs. Carmen Maria Morales (secretary at the
cathedral's office) and Father José Diego Rodriguez Martino, no
religious music was found, either of Tavárez or of Morel Campos.
The careful search for Juan Morel Campos' baptismal certificate, as
well as those of his brothers, was unsuccessful.

12 On the other
hand, the researcher found the baptismal certificates of three of
Morel's children, two nephews and one niece, as well as Morel's
death certificate. Several trips were required for a careful cteck
of the indices and books, since the cathedral's office has
limited working "hours. Photocopiés of the documents were provided
with no objections.
Tavárez's house and Morel's birthplace— The researcher
inquired about Tavárez's house in Ponce, which according to histo-1

2
12 See the reference to One of Morel Campos' brothers inAPESNDIX F.
F " .................... .
219
rians was located on Calle del Sol, but no information was available
either at the Archivo Histórico of Ponce or at the Casa Alcaldía,
located in front of the main plaza. On the other hand. Morel's
birthplace was identified by Attorney Tormes, information which *b s :
confirmed by Gloria Morel, who lamented the fact that the original
house had been demolished, and that the government had not even
identified the place properly. The researcher visited the m o d e m
fast food restaurant which has been built on that location, called
Sheriff Jones. She believes that the original wooden structure
probably resenfcled ■ that of a nearby house which is now a game roan,
on the c o m e r o f the block.
Casa Alcaldía— The municipal offices of the Mayor of Ponce
provided the researcher with some literature on the city of Ponce,
and on the Municipal Band. It must be remembered that Morel Canpos
founded this band, in which one of his great-grandchildren, William
Morel, currently plays. As a gift, the researcher received a record
of the Band containing selections of some of Morel Campos' danzas
(but none by Tavárez).
Plaza de Recreo Las Delicias— One section of Ponce's main
plaza is called Plaza Degetau. This is the one nearest to the Casa
Alcaldía. On this side is the Monumento a Juan Morel Campos (see
Figure 7). The remains of the composer now rest here after their
transfer from the Cementerio de la Torre on December 12, 1926.The
monument has a statue on top of a structure with inscriptions
making reference to the composer. The other side of the plaza is
called Plaza Luis Muñoz Rivera, and has a bronze monument in honor
of this politician. The cathedral is in the middle of the plaza
F
220
Figure 7- Ponce's main plaza
Cathedral of Nuestra Señora de Guadalupe stands in Ponce's

main plaza. To its right (but looking in the opposite direction)
is Morel's monument. To its back is the Parque de bombas or
firemen's station, founded in 1883. (Photos by the researcher.)
F ' ' .
221
between the monument of Morel Campos and that of Muñoz Rivera; on
its back is the Parque de Bombas (fire station). This is a red and
black wooden structure which was constructed without leaving any
space between it and that of the cathedral. The researcher visited
the Parque de Bombas (founded in 1883) in the hope of finding.
additional archives (since Morel Campos was the conductor of its
band, and wrote two pasodobles titled "Bomberos al parque" and
"Bomberos de Ponce"), but unfortunately the researcher found none.
Regretfully, she was not able to stay in Ponce on a Sunday evening,
to hear the municipal band playing a retreta (see previous chapter)
in front of the Parque de bombas. This is practically the only

13
place where the tradition of the retreta is maintained.
Teatro La .Perla— Juan Morel Campos' statue in Plaza Deeetau
looks in the direction of the Teatro La Perla. The researcher
visited the theater during nonworking hours and stayed for a while
trying to recreate in her mind the many activities presented durii®
the nineteenth century in this famous place. There, Morel Campos
fell mortally ill in 1896, during the presentation of "El reloj de

14
Lucerna," a zarzuela. The building is constructed in white
marble and has a colonnade in its facade with Ionic capitals.
Monument to Cocolía— In a small park on the side of the
Teatro La Perla a monument was erected in honor of Morel Campos'
bombardino player, Domingo Cruz, called Cocolia. He conducted the
13 The Mayor of San Juan has recently revived this tradition in the
capital city.
14 See |*Los pajes de Lucerna," a composition by Morel which could

be part of this zarzuela, in the catalogue of works (APPENDIX L).
r ■
222
Band after Morel's death, and is well remembered by the people of
Bonce. He is probably better known than composer Tavárez. The
researcher could not find any monument, in honor of this composer,
even though she inquired from several persons. Apparently San Juan
is more devoted to Tavárez due to the presence of daughter Elisa,
who lived in the capital city until her death, and promoted her
father's works. Ponce seems more identified with Morel Campos.
Instituto de Música Morel Campos— A music school for chil
dren, the Institute is very active. Be§ides local teachers, there
are many teachers from San Juan who travel during the wpek to
teach there. Instruction is given on instruments, as well as sol-
fege and theory.
Morel Campos:' relatives-.-Manuel Morel Beltrán, the com
poser's son lived in the section called Villa Grillasca. Following
his death, the house became the property of Mrs. Gloria Morel, who
was interviewed by the researcher. On this occasion she showed a
bust of the composer, made in gesso and gold painted, which was
presented to. the family and has been maintained by her, following
the composer's death. A very enlightening conyersation with
Mrs. .fforel touched such topics as the composer's nusical production,
the licaticn of the manuscripts, and the family tree. She also
narrated many anecdotes.^
The researcher was not able to interview any relatives of
Tavárez. in Ponce- In San Juan she found a photo of the composer's
son (sed Figure 8) and interviewed Hugo Storer Tavárez, the com-
15 See the next section of this chapter.
F
223
Figure 8 - Manuel Tavárez Colón
The photo of composer Tavárez's son, Manuel Tavárez Colón,

is seen here on the front page of the 1919 Mexican publication
Cinemundus. The note indicates he was General Manager of Fox
Film Corporation in México, and that he was a Puerto Rican
citizen who graduated from the College of Arts and Sciences of
San Juan (University of Puerto Rico, founded in 1903).
P ' '
224
poser's grandson. An enchanting gentleman, Mr. Storer keeps many
memories of his mother Elisa, but only knows about his grandfather
through historian ^maury Veray, since the composer died before he
was b o m . Mr. Storer is a stamp collector, having edited a book
titled Catálogo filatélico de Puerto Rico. He is also a plant
lover and.has the largest collection of bonsais in Puerto Rico. Ha
lives in the sector called Alto Apolo.
The catalogue of the compositions written by Tavárez is in
APPENDIX K. What seems to be the shortest production among the
composers researched, is probably more abundant than whatis appar
ent. Taking a look at the works which are dated or have an opus
number, one discovers that "El 24 de junio" is dated 1881 (two
years before the composer's death at age 40) and is also classi
fied as Opus 129. Tavárez must have produced more than 129 works.1
6
considering the possibility that he might have created some other
compositions during the last two years of his life. The composi-
tions which are dated or have an opus number are:
Title Date/Onus Age of composer Comments
La Dolorita (1863)16 20 ____
Cómo me mira el viejo (1863) 20 —
Vals brillante de (1863) 20 Listed by

1863 Veray; N/A
Marcha en honor de (1865) 22 Listed by

José Campeche Veray; N/A
La Lopita 186- Date is incom

—
plete.
16 Works in parentheses indicate references by historians, which

the researcher has not been able to verify.
F
225
Title Date/Opus Age of composer Comments
Un viaje a Bayamón 1867 24 Handwritten

copy published
in Delirio
puertorriqueño
La violeta 1876 33
17
¡¡El 24 de junio!! 1881/Op.l29 38
Redención 1882 39
Serenata 1898 Since Tavárez

died in 1883
this is prob
ably the date
of the copy.
El pastorcito Op. 45
(See Figure 10)
Vals de salón para Op. 62

la mano izquierda
Researchers believe that "La Dolorita" and "Cómo me mira el
viejo" were Tavárez's first compositions, and that "Redención"
was his last, written in 1882; but since not all the works are
dated, it is impossible to analyze them in terms of an erolutinary
pattern. The following twelve works, although mentioned byAnaury
Veray in his book Manuel Gregorio Tavárez; soledad y plenitud,
are still unavailable, to researchers, but hopefully not forever:
La cajita de música Marcha en honor de José Campeche
Cuadros musicales El proscripto
Dicha fugaz Recuerdos de antaño
La Dolorita La risa o La cena de un juez
Fantasías criollas Vals brillante de 1863
La hamaca La virgen de Borinquen
17 See Figure 9 for the last page of this work.
Figure 9 - Last page of “El 24 de junio'
This faint manuscript of a draft by Tavárez, is Opus 129.

It illustrates both his musical notation as well as his regular
calligraphy. The note reads: "Querido José: Dispensa lo poco
de mi dedicatoria y considera lo mucho que te aprecia tu amigo;
el autor" ("Dear José: Please forgive m y plain dedication, and
consider how much you are appreciated by your friend; the author").
¥
227
AmidistinguidoamigoB.Olimpio Otero. n
sP5 m
AND?¿S vioÁ f**6SR*
- ■Sa r c BLONX:
^nrha. !*•
Figure 10 - Front page of "El pastorcito"
More than a hundred years old, Andrés Vidal y Roger's

publication of "El pastorcito" (Op.-AS) has never been reprinted.
F .
One work, although available, is incomplete: "Vais"(without)
title). Only eighteen compositions by Tavárez have been published.
They are:
Published works
Title Publishers
La ausencia San Juan: Elisa Tavárez, 1925.

San Juan:. Sylvia.. M. Lamoutte,
La clavellina n.n., n.p., n.d.
Cómo me mira el viejo n.n.: Salavert y Tavárez, 1863.
La Lopita n.n.: Sandalio Callejo, 186-
Margarita Ponce: Bazar Otero, n.d.

Buenos Aires: n.p., n.d.
San Juan: Elisa Tavárez, 1925
San Juan: Elisa Tavárez, 1932
San Juan: Sylvia M. Lamoutte, 1974
¿Me amas? San Juan: Elisa Tavárez, 1925

La ondina San Juan: Elisa Tavárez, 1925

Our Poet's Dying Request New York: A. Cortada & Co., 1887.
El pastorcito Barcelona: A. Vidal, n.d.

18
(Ponce: Bazar Otero, n.d.)
Pobre corazón San Juan: Elisa Tavárez, 1925

Redención Barcelona: Vidal y Roger, n.d. .

La sensitiva San Juan: Elisa Tavárez, 1925

Souvenir de Puerto Rico: Barcelona; Vidal y Roger, n.d.

potpourri de aires Ponce: Bazar Otero, n.d.
provinciales
18 Bazar Otero includes this composition in its catalogue, but the

researcher has not been able to find its edition.
w
229
Title Publishers
El suspiro San Juan: Instituto de Cultura
El recuerdito San Juan: Elisa Tavárez, 1925.

San Juan: Sylvia M. Lamoutte, ;
Un viaje a Bayamón n.n.: Sandalio Callejo, 1867.
Vals de salón para la Madrid: Antonio Romero, n.d.

mano izquierda
El 24 de jimio Barcelona : Vidal y Roger, n.d.

As can be observed, some of the first publications are by the
composer himself in association with his friend Salavert, in Album
filarmónico. Sandalio Callejo also included some of the earliest

19
publications in Delirio Puerto-Riqueño, as well as Bazar Otero, in
Ponce, Andrés Vidal y Roger in Barcelona, A. Cortada & Co. in New
York, and Antonio Romero in Madrid. Years later, in 1925, daughter
Elisa Tavárez published Manuel G. Tavárez, Vol. 1. Apparently,
of those works included here, she only reprinted Margarita in 1932,
a work which was also published by Bazar Otero in Ponce and by an
Argentinean publisher in Autores americanos. The researcher could
not find Vol. 2 of Manuel G. Tavárez, but the galley proofs found
for a number of compositions • point to the possibility that these
works were either published as Vol. 2 or intended to be published
by Elisa Tavárez. The Archive also keeps some galley proofs and
photographic positives that belong to compositions published by
Elisa Tavárez in Vol. 1 (see "Margarita" and "¿Me amas?" among1

9
19 See annotation in Delirio Puerto-Riquego, indicating the dates

of the editions, the prices, the instrumentation of the composi
tions, and the address of Sandalio Callejo, under "La Lopita."
F ......
I
230
others). The galley proof of VLa ondina" even has an indication of
the copyright by Elisa Tavárez de Storer.
Apparently, the last edition of works by Tavárez was made by
Sylvia M. Lamoutte, with whom the researcher communicated by tele
phone. Her 1974 collection of seven works by Tavárez consists of
reprints of works previously published by Elisa Tavárez in her
1925 edition.
Subtracting the twelve unavailable works, the incomplete com
position, and the eighteen published works from the total of fifty-
six found by the researcher, leaves a total of twenty-five works,
which are probably still unpublished. The following is the list of
unpublished works; it includes the eleven compositions for which
a galley proof is present and which are probably a part of the
second volune intended or published by Elisa Tavárez:
Unpublished Music
Title Place "Where it Was Manuscript or

Written Galley Proof
¡Ay! ¡Dime que si! Ponce Manuscript
La balsamina Ponce Galley proof
La Carmela Humacao Galley proof
La Clotilde Ponce Galley proof
La coqueta — Galley proof
El desengaño Humacao Galley proof
La Elisa Caguas Galley proof
filigrana Caguas Galley proof
La Hortensia —
Manuscript
La ilusión perdida Manuscript
r
I .
231
Title Place Where it Was Manuscript or.

Written Gallev Proof
Lanceros (without title) Manuscript

La Lolita Manuscript
L¿ Luisa —
Manuscript
La Manuelita Ponce Galley proof
La melancolía Caguas Galley proof
El mirlo Manuscript
El mismo Fernando Manuscript
La- perlita (danza cubana) _

Manuscript
La Perlita _____
Manuscript
La purpurina —
Galley proof
Serenata (Ponce) Manuscript
bh d-fo de campo ----

Galley proof
Vals (without title) _____

Manusciript
Vals para piano —

Manuscript
La violeta Caguas Manuscript
Dedications were included in nineteen works, which are either
published or unpublished. It is interesting to note that since
Monel Campos was only fourteen years Tavárez's junior, they both
had cannon friends, such as Olimpio Otero, Carlota Arroyo, and
Anita.Otero. In the case of Carlota Arroyo, Tavárez dedicated "La
sensitiva" to her, while Morel dedicated four works: "La belleza,"
"EL bouquet," "La Carlotita," and "La tintorera."
Works With a Dedication
Title Work Dedicated to: Reference Found
¡Dime que sí! Pedro Daussá Tavárez's friend
La balsamina Rosendo Aquiles Colón __
F
232
Title Work Dedicated to; Reference Found
. La Carmela Carmen Otero Possibly a relative

of Olimpio Otero,
the owner of Bazar
Otero
La Clotilde Clotilde Tavárez Composer1s sister
El desengaño Juan Padial Tavárez1s friend
La Elisa Elisa Marien y de la

Fuente
Filigrana Josefina Polo y

Giménez
La Manuelita Manuela Logroño
La melancolía Ramón Sarriera Tavárez*s friend
La ondina Concepción Quiñones
Our Poet1s Dying Anita Graves-Terry

Request
El pastorcito Olimpio Otero Owner of Bazar

Otero, he was mentor
to Tavárez and Morel
Redención Ponce's Fair Music competitions

were held
La sensitiva Carlota Arroyo Morel Campos also

dedicated works to
Carlota Arroyo
El suspiro Rafael León
Un recuerdito Anita Otero A "distinguished"

pianist from Huma-
cao. Morel also
dedicated works to
her.
Vals de salón para la Nicolás Toledo

mano izquierda
¡El 24 de junio? José Goicochea Tavárez1s friend

La violeta Obdulia Vergara y
Cotto
I ............ ' " .. ' ' ' ' ' .

233
The researcher has observed that some of Tavárez's and Morel's
compositions have the same titles: "Ausencia," "Carmela," "El
desengaño," "La Elisa," "La Lolita," "La Luisa" ("La Luisita"),
"Margarita," "Melancolía," "El pastorcillo" ("La pastorcilla"),
"La perlita," "El 24 de junio" ("El 29 de junio"), and "La violetal'
("Violetas," "La violetera"). They do not seem to be connected in
terms of dedications, but since the genera sometimes are the same,
as well as the tonalities, the researcher suggests further inves
tigation in this area.
Hopefully, some day the complete works written by Manuel
Gregorio Tavárez will be published by the Institute of Culture or
by a group of friends of Tavárez. Since the original manuscripts
are fairly clear (see Tavárez's calligraphy in Figure 8) they could-
be easily edited. A reprint, with the necessary copyright claims,
of those works already out of print, would be highly useful.
Puerto Ricans are very interested to know more about their cultural
heritage to which Manuel Gregorio Tavárez contributed his share.
Juan Morel Campos (1857-1896)
Of the four composers included in this study, Juan Morel .
Campos was the most prolific. His interest in composition, as well
as his ease in producing constantly, are evident by the catalogue
of compositions which the researcher prepared as APPENDIX L.
This catalogue includes the information presented by Arjona Siaca
et a l ., Mirabal, and the Archivo General de Puerto Rico, which is
the Institute of Culture's archive. A careful countercheck of the
file cards (not ordered alphabetically as expected, but according
w
234
to the numbers of the envelopes in which the music is kept), the
manuscripts of Morel Campos' collection, and the unclassified music
kept in separate boxes at the Archive, disclosed more information

20
.than the researcher expected to find. Nevertheless-, the search
at theUniversity of Puerto Rico's Library, the Archivo Histórico
de Bonce, the Bobst Library at New York University, as well as a
visit to Mrs. Gloria Morel in Ponce, did not add any new sources.
APPENDIX L's alphábetical' catalogue includes the following in
formation, for each composition: title, double titles, more than
one title for the same work, differences in the spelling of titles,
genres instrumentation, year of composition, opus number, dedica
tion, copies available (which can be manuscripts, handwritten
copies with different calligraphies, early and more recent publica
tions), and the exact location of the composition. The catalogue
also includes tonalities, a comparison of works with the same ti
tles (see Figure 11), a description of the section when it is a
longer work, the author of the lyrics when there are any, arrange
ments made (for instruments not included in the original version,
by tie composer or by someone else), and interesting details, such2

0
20 Previous researchers had presented lists of Morel's production.

The researcher, found Erasto Arjona Siaca et al.. Juan Morel Carpris.:
biografía. Ponce: Tipografía Morel Campos, 1937, 116-120; and
Antonio Mirabal, Proceres del arte, Ponce: Publicaciones de la
Oficina Municipal de Historia, 1956, 23-26. But since the files at
the Archivo General de Puerto Rico (AGPR) keep many works not in-
chrfed in these lists, and as some titles in the books and the Ar
chive (such as "A toi," "Galgo va," and "El café de Puerto Rico")
did not belong to compositions written by Morel, the researcher
decided to verify the information, making a careful inspection of
each of the compositions. APPENDIX L contains a description of
all the works that have been round thus far.
f —
235
Figure 11 - Different works with the same title
"Graciosa niña" is the title for a polka (melody only) and

what could be parts of the same danza. Since there is not a third
document. to determine this last hypothesis, the researcher has
classified them separately. Nevertheless she believes the top. ver
sion (a handwritten copy) is the right-hand part of a danza for
piano, and the lower version its accompaniment.
F ' " " ........ "

236
as the owners of the manuscripts, notations written within the
measures of a composition, lyrics which are curious reflections of..
a past epoch, names of copyists, and phrases such as "arreglado
por," which could mean anything from "composed by," "adapted—
from someone else's composition— by," or "copied by."
It is believed that Morel Campos started composing at age
fourteen, and that danza "El sopapo" was his first composition
21
(see Figure 12). For nearly twenty-five years he continued
working, simultaneously as a teacher, a conductor, a performer,

22
and a composer. Of the five hundred and sixteen works listed
by the researcher, only thirty-nine are dated. They are:
23
Date Title Age of the ccnposer
(1871) El sopapo 14
1872 De frente . . . mar! 15
1872 El clavel blanco 15
(1876) Ciudad de Ponce 19
1876 La Luisita 19
(1876) Alegrías 19
1876 El último adiós ("La Ramoncita") 19
(1876) La ramilletera 19
21 Morel Campos died at age thirty-nine (see death certificates,

one of the them issued by the Church and the other by the Bureau
of Vital Statistics, in APPENDIX F).2
3
22 If he snent twenty-five years composing, and wrote at least five

hundred and sixteen works, this means he composed more than twenty
works a year, or an average of one work every two and a. half weeks.
23 The dates in parentheses indicate a reference given by biogra
phers, which the researcher has not been able to verify.
F
c
237
Figure 12 - Danza "El sopapo'
A handwritten copy of "El sopapo," the first composition

written by Juan Morel Campos when he was fourteen years old.
It was found in one of the "Muestrarios" donated by Antonio Otero
y Arce. It is not an original manuscript, and it is incomplete.
¥
238
Date Title Age of the 1
1878 Mis ..suspiros 21
(1879) La Lolita 22
1879 Inocencia 22
1881 Bella ilusión 24
(1881) Don Mamerto 24
1881 La mulata Rosa 24
1882 El trueno 25
1882 La lipa 25
1882 Consuelo 25
1882 Al saber 25
1882 La feria 25
1882 Violetas 25
1883 Melodía sentimental 26
(1883) Pobre Tavárez 26
1884 Letanías 27
1885 Anita 28
1885 ¡No me olvides! ("Susana") 28
1886 El 29 de junio 29
1886 La conga 29
1886 Los pajes de Lucerna 29
1888 Sueños venturosos 31
1888 La traviesa 31
1888 Hotel Marina 31
1891 ¡Ten piedad! 34
(1892) ¡En alta mar! 35
(1892) Saludo a Ponce 35
P
239
Date Title Age of the composer
1894 Puerto Rico: Sinfonía sobre 37

Aires del pais
1895 Juegos florales 38
1895 Vano empeño 38
(1896) Recelos 39
(1896) La bella Margot 39
It should be observed that historians believe that "La bella
Margot" was his last composition. On the other hand, since the
manuscripts found are not dated, this fact cannot be verified.
Nineteen works have an opus number or are numbered according
to Morel' s score notebooks. 24 They are:
Number or Opus Title Date
No. 1 Danza (without title)
No. 13 Danza (without title) ..

No. 22 Danza (without title) ___
No. 24 Núm. 24 ___
No. 50 El 50 _
Op. 84 El 29 de junio 1886
Op. 101 Danza (without title) _

Op. 124 Danza (without title) ___
Op. 130 Danza (without title) ___
Op. 133 Bellos ojos ___
Op. 158 La ponceña —
Op. 166 La Olimpia —
24 Those works identified by a "No." were copied from the seore

notebook of the composer and included in Antonio Otero's "Muestra
rios" (series 228-228W at the Archive). The "Muestrarios" are
incipits which only include fragments of the compositions.
F ''~ ~.....
240
Number or Onus Title Date
Op. 170 ¡Saber tardar! —
Op. 173 Noche deliciosa —
Op. 174 ¡Por ti! —
Op. 175 Placeres de la vida —
Op. 176 Graciosa pareja —
Op. 182 El ciclón —
Op. 183 También lo dudo —
Op. 200 Carita de cielo
Since only a small quantity of works are dated or have an
opus number, a comparison between Morel's youthful works and those
of a more manure period seems impossible taking the production as
a whole. A limited analytical comparison is only possible among
the fifty-eight works dated or numbered. The fact that "El 29 de
junio" is dated and also has an opus number is partially helpful
when both lists are integrated.
Of the grand total of compositions, one hundred and sixteen
works are not available for examination; fifty-four present only

25
a melody or a fragment of it; and one hundred and forty-three
26
are incomplete. The non-available (N/A) works are mostly the
religious ones, and they are believed to have been lost forever.
Biógrafos del padre de la danza ponceña, afirman que se

considera perdida más de la mitad de la obra de Morel2
5
6
25 Whenever the only version of the composition is Roberto Morel

y Carvajal's arrangement for two flutes, it has been included here.
26 Those works written for piano (using two staves) but presented
only partially, are included here.
¥ ''
241
Campos, llevada por el presbítero Saturnino Janices a . .

España, para hacerla imprimir, muriendo en dicho viaje
el bondadoso levid. ^7
The Director of the Archivo Histórico de Ponce,.Attorney Gladys
Tornes, affirms that some of Morel's religious music was burned

28
during the process of moving the Archbishopric's offices. The
researcher asked for music documents at the Cathedral of Nuestra
Señora de Guadalupe located in the main plaza but she did not. find
any.
There is no way of knowing if the works which only exhibit a
melody, or a fragment of it, are works which were left unfinished,
or are works which were not copied in their completed form. It is
not always necessary for a composer to begin a composition and to
finish it immediately. Perhaps Morel started with the melodies and
left the accompaniments for a later date. Perhaps he „ gave them
to someone else to fill in the harmonies, which was never done for
unknown reasons. The researcher has clearly specified in the cata
logue whenever the composition consists of fragments of melodies
or of complete melodies.
The works which seem to have been finished but of which only
a fragment has been found come mostly from Antonio Otero's "Mues-2
7
8
27 "Biographers of the father of the danza of Ponce, say that more

than half of the work of Morel Campos, taken by presbyter Saturnino
Janices to Spain, to have it printed, was lost when the kind "le
vid" died during the mentioned trip." Lecture by a Dominican re
searcher (no author and no title or date), transcribed from a tape
recording at the Archivo Histórico de Ponce, page 16.
28 She claims that a young boy brought her a manuscript signed J.M.
Campos, which was partially burned and which he had found in the
backyard of the place where the offices had been.
P--------- -
242
trarios." Those valuable sources of information belonged to the
nephew of Don Olimpio Otero, who was the owner of the Bazar Otero,
a music house at Atocha Street in Ponce. Here, instruments were
sold, music lessons offered and compositions published and classi
fied. Since Morel Campos worked at the Bazar, he was sponsored by
the Otero family. The "Muestrarios" are then a first-hand source
in order to determine the authenticity of a composition.
In addition to the three hundred and thirteen works which are
either non-available, melodies only, or fragments, there are also
published works. Those by Bazar Otero and A. Roger y Vidal were .
the first to become accessible to the public. The publications by
Bazar Otero, which all exhibit the same front page (where an index
is presented), carry the general title of Obras escogidas para
canto y piano y piano a dos y cuatro manos.. These compositions
were published separately, since Bazar Otero's collection was
never bound together. None of the compositions has • a publishing
date, and it is impossible to know how.many were circulated during
Morel’s lifetime, and how many were published posthumously.
Following Bazar Otero’s footsteps, the Institute of Puerto
Rican Culture made a significant contribution with its publication
in 1958 of six volumes of Morel Campos' works. It included fiye
volumes of Danzas and one volume of Obras varias. Of the one hun
dred and seven compositions included in this edition (which is
currently out of print), most.,are reprints previously published in
Ponce by Bazar Otero or in Barcelona by A. Vidal y Roger. But
there are also twnety-three compositions which, thanks to the
efforts of Jesús María Sanromá and Héctor Campos Parsi, were
r
243
prepared from the manuscripts and also included in the 1958 edition.
As far as the researcher has been able to determine, these twenty-
three works were published for the first time in the 1958 edition.
They are:
Acuérdate de mí La Herminia
Amor en el campo Hotel Marina
Angelita La Isabelita
Bella ilusión El mareo
El brazo fuerte Las máscaras
El ciclón La niña bonita
La conga ¡No me olvides!
De antifaz ¡Poder de una mirada!
La feria ¡También lo dudo!
La ftmadora La traviesa
El gancho El trueno
El gato flaco
After the researcher carefully looked for other publications
not reprinted in the Institute of Culture's collection, she found
fifteen other compositions, which are:

29
Aires del pais (Ponce: Hijos de Morel Campos, 1923)
El Cognac Jerez (Ponce: Juan Campos, n.d.)
Conversación (New York: Paragon Music Publishers, 1954)
29 The researcher has interviewed officials at the Institute of

Culture and several relatives of Morel in order to find out about
copyright claims that the Morel family might still have. Further
information is still needed.
f ' ’
244
En el paseo (Ponce: Bazar Otero» n.d.)
En tus brazos (Ponce: Bazar Otero, n.d.)
Ensueños de amor (n.n., n.p., n.d.— the Archive only has the
first page)
Estimación (Ponce: Bazar Otero, n.d.)
La Julianita (n.n., n.p., n.d.)
Melodía sentimental (Ponce: Hijos de Morel Campos, 1937)
Mercedes (Barcelona: Andrés Vidal y Roger, n.d.)
Olimpia (Ponce: Bazar Otero, n.d., and separata of the

Revista del Instituto de Cultura, 1962)
Saludo a Ponce (París; Imp. E. Dupré, n.d.)
Sueños venturosos (n.n., n.p., n.d.)
El último adiós (n.n.. n.p., n.d.)
El 29 de jimio (Barcelona: Andrés Vidal y Roger, n.d.)
"El hipódromo" is the only composition, which although listed
in Bazar Otero's catalogue as haying been published, is currently
not available at the Archivo General.
It is interesting to observe that there have been other pub
lishers interested in the compositions of Morel Campos, but that
none of them has been so concerned about them as were Bazar Otero
or the Institute of Culture. Besides those already mentioned in
the previous list, the researcher found a few works published by
José Laza in San Juan (sheet music), Enrique Diaz in New York (a
volume titled Danzas de Puerto Rico, printed in 1945), and Giusti
and Co. in San Juan (a two-volume collection titled Danzas puerto
rriqueñas para piano, but not dated). Publisher Sylvia Maria
Lamoutte is not included here since she has made editions of sim-
F ‘ " ” ....................
245
plified versions of Morel's danzas, but has not published original
compositions.
Adding the categories already mentioned, and subtracting this
quantity from the grand total of works listed by the researcher,
there are still eighty other works which are available in manu
scripts, and are complete, but which have never been published.
The researcher feels it is extremely important to make them known
to the public, so that this and future generations may be aware of
the extent of -Tuan Morel Campos' creativity. All of the manuscripts
are found at the Archivo General de Puerto Rico, and the works are:
Al amado ausente. (Danza in D Major— without

title)30
A1 saber
De frente . . . mar!
Amor en crescendo Las dos hermanas
El arrullo Dulce acento
Los artistas La electricidad
Ay, ay ¡En alta mar!
El bacalao (Es la flor)
El baile de máscaras Espíritu ponceño
La bella trigueñita Estrofas a solo (Novenario de la

Guadalupe)
La belleza
Los faroles
El bouquet
Flores mayagüezanas
La caña de Veracruz, o sea,
el mangó Flores ponceñas
Flores silvestres
Carlota
Fuego con ellos
La Carlotita
La gallina ciega
•El clavel blanco
Contémplame Gilda3
0
30 Titles in parentheses indicate that thé works are-not identified

with the composer's name, but are believed to be Morel's.
F ..... * ' .. "...

246
Gozos para Nuestra Señora de Música clásica

Dolores
La niña de los ojos bonitos
Graciosa niña (danza)
Novedades
Hotel Marina (in G minor)
Los pajes de Lucerna
La .Inocencia
La pastorcilla
El jazmín
Juegos -florales (Paula camisa sucia)
¡Juventud ponceña! Plegaria a la Virgen para el acto

de la Petición
Lamentos de un cesante (See
Figure 13) ¿Por qué no me amas?
Laura y Georgina (danza con Por ti suspiro

certante)
Puerto Rico: Sinfonía sobre Aires
Letanías del país
Lo de siempre El rabo de la culebra
La Lolita El río Portugués y la noche
La Luisita Robinson
La Lúpíta Romanza (from "Amor es triunfo")
El -mangó El seguridad
Marcha fúnebre El seis
La marina española Simpatías
Las máscaras Tanda de valses (without title)
La mayoría Te lo dije
Melodía fúnebre La tintorera
Mi súplica Un recuerdo
(El microbio) Una flor
Mis amores
Mis suspiros
La mulata Rosa
f
247
. fP r
=35£3
Figure 13 Tlie case of "Lamentos de un cesante"
Manuscripts can be misleading. What seems to be two different

melodies in the same tonality are really parts of the same compo
sition. A third document was needed to determine that the part on
the topis the right-hand melody, and the part on the bottom is the
accompaniment, but written in G clef. This could be a flute part.
r
248
Observing now an interesting aspect of many nineteenth
century compositions, one finds that forty-seven compositions
exhibit a dedication- A few of them were found by the researcher
on the manuscript itself, but others were found only in the pub
lished copy. Since there was no sure way of determining if the
composer 1 ) intended a dedication before writing the composition,
2 ) dedicated the work almost immediately after it was composed,
3 ) wrote the composition and, as a later need arose, dedicated it
to someone to whom he owed a favor, or 4) accepted a dedication
which was suggested by the publisher, the researcher did not in
clude in her catalogue any comments concerning these alternatives.
Those works which have a dedication are?
Title Work dedicated to: Reference found
Adela Maria Adela Cataf
Adelaida Adelaida Emmanuelli
Anita Ana Otero Morel's friend and a

pianist from Hinacao
La belleza Carlotita
¡Bendita seas! Dolores Yriarte __
El bouquet Carlota Arroyo __
La Carlotita Carlota Arroyo __
Carmela Luis Rodríguez Morel's friend

Cabrero
Carmelita Carmen B a m é s Possibly a relative

of Ysabel Bamés,
godmother of Amelia
Tavárez
Consuelo Consuelo Vázquez __
Las dos Marías María Moran y María Escalera
¥ ' ..........
Title • Work dedicated to: Reference found
Dulce acento Mercedes Arias» violet Pianist and music

of the musical art teacher in Ponce, who
was loved by Morel.
After his death she
dressed in black and
deposited flowers on
his tomb.
¡En alta mar! Trina Padilla de Sanz Daughter of poet José

Gualberto Padilla
Ensueños de amor The young ladies who

subscribe to La Moda
Elegante
Estrofa a solo Sissi Graham Soprano; she helped to

raise funds when Morel
fell fatally ill.
Felices días Raquel Toro Quiñones Morel's friend and

possibly a relative of
Virgilia Sancho y
Quiñones (see dedica
tion of danza
"Virgilia").
¡Feliz encuentro! Belén Aguayo
La F em an d i n a Fernandina Almiroti
Flores ponceñas His beautiful young

compatriots
La Generosa Generosa R. de Cancio
Graciosa pareja Petra Julbe and Emilia Girls from Humacao

Hernández
Hotel Marina Sisila Arce Possibly Antonio Otero

y Arce's relative (a
cousin perhaps); she
wrote the lyrics to
some of Morel's com
positions .
Idilio Antonio Otero y Arce Son or nephew of Olinpio

Otero and co-owner of
the Bazar Otero
F ....... ........ ' ' .................

250
Title Work dedicated t o ; Reference found
El jazmín Amalia Paoli (copied Amalia Paoli was a dis

for)31 tinguished Puerto Rican
soprano and Morel's
young friend and col
laborator (see "Simpa
tías"). It is possible
that the Amalia Paoli
who appears in 1881 as
godmother to Tavárez's
son, Manuel, is this
singer.
¡Joaquina! Joaquina Cabañas Morel's friend.
Juegos florales The Mayagüez society
Laura y Georgina Laura y Georgina Capó Possibly the daughters

of Diego Capó, the god
father of Morel's
daughter Eugenia.
La Lila Angela Cabañas Possibly the sister of

Joaquina Cabañas
La Luisita Luisa Rabainhe -
Marcha fúnebre M. G. Tavárez Composer; Morel's

teacher.
Mercedes Mercedes Arias Pianist (see dedication

of "Dulce acento").
Mis suspiros Ana Otero Pianist (see dedication

of "Anita").
Olimpia Olimpia Morel Campos Morel's daughter

y Beltrán
Los pajes de Marianita Ramirez

Lucerna —
(copied for)
La pastorcilla Amalia Paoli Soprano (see dedication

of "El jazmín").
31 The indication of "copied for" does not necessarily imply a

dedication, but does not exclude its possibility either.
F
Perlas de mi Sisila Arce y Morel's young friends,

patria Tomasita Otero possibly they were
cousins.
Placeres de Ramón Reichard A friend from Aguadilla

la vida and a relative of the
researcher's husband.
¡Poder de una Arturo Pasarell Morel's friend; also a

mirada! composer
Recelos Américo Marín Morelos friend; a the

atrical manager; possi-,
bly a relative of
Carlota Arroyo
Simpatías Elisa Canales Morel's friend; he

composed this work to
gether with young
Amalita Paoli.
La Sorpresa The society of the

same name
Sueño de amor Olimpio Otero Owner of Bazar Otero
¡También lo dudo! To a girl friend _

La tintorera Carlotita _
¡Toda corazón! Dolores Pascual An "enthusiastic"
pianist.
La traviesa Pepa Arias Possibly Mercedes

Arias' younger sister.
Pepa is the nickname
for Josefa.
El último adiós The young ladies who

—
subscribe to La Moda
Elegante
El 29 de julio Carlos Pedro Salazar Possibly the son of

(on his baptism) Catalina Salazar, the
godmother of Morel's
daughter Juana Maria.
Virgilia Virgilia Sancho y Possibly a relative of

Quiñones Nicolaza Quiñones, the
godmother of Morel's
nephew Emilio.
f ....................
252
Morel Campos mostly wrote compositions for the piano, almost
all for two hands and a few for four hands. He also wrote a few
works for solo voice, duet and trio, with or without accompaniment
32
and lyrics, and zarzuelas, of which practically nothing is known,
since they are not available for examination. Some of his composi
tions have been arranged for other instruments, such as those that
appear in Roberto Morel y Carvajal1s notebooks for two flutes and

33
the Education Departments's edition for school bands. But a
careful examination shows that Morel Campos only wrote a few ccnpo-
sitions for orchestra. The arrangements found do not seem originals,
even if Morel Campos knew how to play several instruments and was
indeed capable of making his own. Those works that seem original
versions are: "El certamen," "De frente . . . mar!," "Flores maya-
güezanas" (the piano version is complete, but not that for orches
tra), "Juegos florales," "Lanceros" without title (the music is
missing at the Archive), "Laura y Goergina" (dang-.a concertante), and
"Rierto Rico: Sinfonía sobre Aires del pais."
The following instruments were used (in different combinar
tions) in the compositions for orchestra and band (see photos in
Figure 14):
principal (possibly a reference to a soloist, without specifying

the instrument)
piccolo (flautín)
flute3
2
32 For an analysis of the genera, please see the next chapter.
33 This edition incorporates the onóveno, although today this in

strument is substituted by the horn in F.
W ' '
253
1883
CUERPO DE BOMBEROS REORGANIZADO EN 188 3. FORMANDO 0 J EL CAMPO
OEL CASTILLO BAJO LA JEFATURA OE DON JULIO STEINACHER A P A R EE EN LA
FOTO EL INMORTAL JUAN MOREL CAMPOS 00 DIRIGIENDO LA BANDA DEL
CUERPO.
1808
LA BANDA DE CORNETA DIRIGIDA POR EL SARGENTO FIFI FONT. Y LABANDA DE
MUSICA DIRIGIDA POR DON DOMINGO CRUZ [COCOLIA!.
Figure 14 - Historical photos
These photos were obtained at the Archivo Histórico de Ponce.

The top one shows the firemen in 1883, and Juan Morel Campos con
ducting its band. The one on the bottom shows the band of c o m e t s
and the band of music (on the right). This last one was conducted
by Domingo Cûz (Cocolía) after Morel's death.
¥■----- ------- ----- -------------

requinto (high-pitched clarinet: the word is also used for guitarra
requinto, which is a small guitar tuned a 5th higher than.the
guitar)
clarinet in A
clarinet in B flat
bass clarinet
horn in F
horn in E flat
cornet in A
cornet in B flat
saxophone (alto and baritone in Eb, tenor in Bb)
figle (brass instrument similar to the saxophone)
trombone
metal baritone
metal bass in C
bombardino (tropical instrument which looks like a tuba)
onóveno (it looks like a bombarding but sounds like a mellophone;

it has been substituted by the horn in F)
bassoon
violin
viola
cello
double bass (string bass)
timpani
snare drum
bass drum
cymbals
F
255
It is somewhat difficult to determine if a given manuscript is
an original version exhibiting the calligraphy of the composer.
Nevertheless, the researcher believes that those compositions writ
ten in papers which are more wide than long and also stronger and
heavier (others are longer, narrower, and lighter and sometimes in
dicate Passantino or Carl Fisher, New Y o r k ) u s i n g black ink, and
bound together by sewn threads, are probably from Morel's own times,
The composer's calligraphy, which can be seen in Figure 15, using

35
the manuscript of "Si me quisieras" as a model, shows seme: traits .
(in terms of size of figures and location at their heads, written
always to the left even if the stem runs in a downward direction),
that are typical of Morel. They can be compared with other calli-
graphies, as seen in the same figure. Those versions which do not
seem originals have been described by the researcher as "handwrit
ten .copies."
In an effort to find any original manuscripts that Morel's
relatives might have kept in their private collections, the re
searcher made several trips to Ponce (as described in the previous
section of Tavárez). After the very valuable interviews with
Attorney Gladys Tormes, of the Archivo Histórico de Ponce, she met 3

4
5
34 Juan Morel Campos died in 1896, before the change of sovereignty

from Spain to the United States. The Archivo Histórico de Ponce's
directress Gladys Tormes, affirms that the composer ordered his
writing paper through the Banda de bomberos, and thus it must have
always been paper imported from Spain.
35 The composition "Una flor," with a similar calligraphy, has an

annotation which is the researcher's proof of authenticity: "Au
thor's copy." Other compositions only have the name of the composer
written at the top or in the front page (See Figure 16).
f ...... .. .......
256
Figure 15 - Different calligraphies in the works of Morel Campos
The researcher believes that the manuscript of "Si me quisles

ras" is an original draft by the composer. The copy of "Fuego a
la lata" is more neat and apparently was made by someone else.
F ..................... " ...............

257
Figure 16 - Front page of "La belleza"
This front page has ink dots that were produced when the copy
ist wrote on the reverse side of the page. The seal at the left
indicates that this copy was owned by Manuel Morel, the composer's
son. Mrs. Gloria Morel (the daughter of Manuel) commented on her
father's custom of placing a small photograph of the composer on
some documents. This seems to be one of those compositions lent
and never returned, which was later on donated to the Archive in
San Juan.
f
258
several relatives of Morel. Obtaining information about his family

36
tree,-3 she then verified some of it with the church documents of
37
the Cathedral of Ponce, Nuestra Señora de Guadalupe. Even if
Mrs. Gloria Morel was very helpful when interviewed (and gave the
researcher a copy of Morel's death certificate from the Bureau of
Vital Statistics), she did not show any new manuscripts (although
she claims she does have some, not only written by the composer
researched, but also by her own father, Manuel, a not-so-wallrknown
composer). Nevertheless, her anecdotes helped the researcher un
derstand why many of the family's manuscripts were not there. Some
had been lent to a family friend and they were never returned.
After this friend's death the manuscripts were turned in to the
Institute of Culture by the friend's relatives. Attorney Gladys
Tormes confirmed this story, saying that this same friend had
also borrowed documents from the Archive of Ponce, which were never,
returned either. Perhaps this is the reason why the researcher
could not find manuscripts in Ponce, which were, instead, available
in San Juan. Mrs. Gloria Morel (the composer's granddaughter),
believes there might be additional manuscripts at the Museo de Arte
in Ponce (owned by former Governor Luis A. Ferré, who is also a3

6
7
36 See APPENDIX E for the family tree. It indicates Morel's ances

tors and descendants, relatives interviewed, and musicians in the
family.
37 See APPENIDX F for the baptismal and death certificates which

were found. They indicate that Morel Campos was never married to
Secundina Beltrán, since their children were natural and recognized
(something which at first was not admitted by the descendants).
They also confirm the date of birth, the grandparents, the godpa
rents, and the cause of death. A missing but listed certificate
indicates the possible existence of another brother of Morel, of
which the family is unaware.
¥ - -
259
pianist and has recorded Juan.Morel Campos'.piano compositions
for four hands, together with his late teacher, Jesús María Sanromá,
former chairman of the Conservatory of Music's Piano Department.
There is also a possibility that there might be additional
at the Archivo General de Indias in Seville, Spain, since there is
reason to believe that before Father Janices died, he had deposited

38
some music in Spain-for publishing purposes.
José Ignacio Quinton del Rosario (1881-1925)
Of the ninety-five compositions written by Quinton and listed
by the researcher, fifty are dated and seven have been assigned an
epos number. Since this constitutes more than half of the produc
tion, it should be easy to trace an evolutionary pattern of the
compositional style of José Ignacio Quinton, beginning with "¡Tus
ojos!" (considered to be Quinton's first work), and ending with
"I Balada y II Scherzo." There are differences in the dates that
appear on the- manuscripts and those of the published copies as is
the case of "Confía," "Nubes de verano," "¿Qué se figura usted?,"
"Amor imposible," and "Ausente." The researcher believes that
these differences might have resulted because of the difficulty in
reading draft manuscripts (which sometimes are not very clear and
the digits get confused), to errors made by the musician who copied
the manuscripts, or even to mistakes made by the publishers.
Some of Quinton's manuscripts indicate the place where the
wade was written. Most of Quinton's compositions were written in3

8
38 Attorney Gladys Tormes believes this is a real possibility.
I-------------------
260
Coamo, and a few in Aibonito and Yauco. According to Ranch Rivera

39
Bermudez, the composer only made two trips to San Juan from the
city of Coamo, where lived; one to conduct, the " M archa-triun
fal," after he won a prize for this composition in 1911, and
another to become a U. S. citizen after the Jones Act was passed
in 1917.
Works with a Date and /or an Opus Number
Title Date/ Opus Place Where it Age of

Was Written Composer
¡Tus ojos! 1898 Aibonito 17
El pipiol 1900 Coamo 19
Confia 1!900 <?)/190340 Coamo 19
Nubes de verano 1900/1908 Coamo 19
Para ti 1901 Coamo 20
El coquí 1901 - 20
Trío sobre un tema de 1901 Coamo 20

"E mani"
¿Qué se figura usted? 1901/1902 Coamo 20
Amor imposible 1901/1903 Coamo 20
Aguinaldo yaucano No. 2 1902 Aibonito 21
Aguinaldo yaucano No. 3 1902 Yauco 21
Dulces recuerdos 1902 ____ 21
Luisa, sácate los piojos 1902 21

—
39 Ramón Rivera Bermúdez . José Ignacio Quintón: un genio de la nú-

sica. Hato Rey: Departamento de Instrucción Pública, 1986, 76, 88.
40 When there are two dates, the first one was found in the manu
script, and the second one in the published copy.
¥ ...... ' .. "

Title Date/Opus Place where it Age of
was written composer
Siempre t ú ........ ! 1903 Coamo 22
Sofia 1903 22
Mi estrella 1903 _ _
22
Misa de Requiem 1903 Coamo 2?
Anhelos 1903 - -
22
Carmela 1903 _ 22
Adelaida o El café de 1904 23

—
Diego Rivera
Amelia 1904 _
23
Coquetona 1904 _____

23
Quiquiriñama 1904 —
23
¡Viva la Unión! 1904 _ _

23
Acueducto 1906 25
Triste esperanza 1907/0p. 5 Coamo 26
Tristezas 1907 Coamo 26
Cuando me miras 1908 27
Carlota4^" 1908 .
27
Scherzo -alla-mazurka 1908/0p. 8 27
Cecilia 1908 _ _
27
Pepita 1910 29
Marcha triunfal para (1911)42 30

orquesta
41 Quintón authorized a recording of "Carlota," but he was dis

pleased with the person in charge, Mr. Tizol, who changed the solo
from the bombardino to the piccolo.
42 The manuscripts of "Marcha triunfal para orquesta" and "Cuarteto

en Be Mayor" are not dated, büt it is assumed that the composer
r
262
Title Date/Opus Place where it Age of

was written composer
vr *43
Mascota 1912 31
Variaciones para piano 1913/Od . 14 32
sobre un tema de J.N.
Hummel
Cuarteto en Re Mayor (1913) Coamo 32
Si fueras mía • . . 1914 33
Ausente 1914/1920 Coamo 33/39

44
Ensueños y esperanzas 1914/1915 33/34
Blanco y rosa 1915 34
Blanco y azul 1916 35
Danza puertorriqueña III 1917 Coamo 36
Romanza sin palabras 1919/Op. 13 38
Romanza para violín y 192045 39

piano
Nocturno en mi bemol 1920/Op. 26 —

39
Una página de mi vida 1922/0p. 29 ___

41
Yuaní en su cuerda 1923 ___ 42
Suéltalo Julián 1923 ___

42
Se acabó el tereque 1923 ___

42
I Balada y II Scherzo 1925/Op. 30 44
wrote these works on the same year he presented them in the music
competition.
43 La mascota was the name of a bar in Coamo.
44 The researcher found a copy of "Ensueños y esperanzas," the-only

work published by Quinton (New York: Carl Fischer, 1914). When
José Ignacio Quinton: obras completas was published in 1986, the
reprint was erroneously dated 1915.
45 "Romanza para violín y piano" was published in 1961 by the In
stitute of Puerto Rican Culture. This is the only woik for which
The Society of Friends of Quinton, with Ramón Rivera Bermudez
as leader, author of the recently published book mentioned before,
consists of Rafael Picó, Carlos M. Passalacqua, Maria Teresa Picó,
Felipe Monerau, Gonzalo Córdova, Josefina P. de Rovira, Carlos
Gadea Picó, and Carlos Luis Torres, having as its counselors pro
fessors Amaury Veray and Vanessa Vasallo. It is interesting to
observe, from the list of works bearing a dedication, how the
current members of this Society are related to Quinton's immediate
friends.
Works with a dedication
Title Work dedicated t o : Reference found
A orillas del mar Luisa Suárez Probably a relative

of Juan Suárez, who
later became the
successor of Quinton
as conductor of the
orchestra of Coamo.
Aguinaldo yaucano No. 1 Carmen Colón Picó "A good friend." She
(See Figure 17) was Quinton's piano
pupil. The Picó
family was well
known: Maria Teresa
Picó was a violinist,
a pupil of Quinton,
and later a player
in the Puerto Rico
Symphony Orchestra.
Pablo Colón Picó,
probably Carmen's
brother, was
Quinton's flute and
trumpet pupil.
Aguinaldo yaucano No. 3 His friends of Yauco
the Society of Friends of Quinton does not have a copyright; to

gether with "Ensueños y esperanzas" it is the only one published
previous to the 1986 edition of ten volumes.
, (• * »n-c**-UJ
i
i
Figure 17 - "Aguinaldo" by Quinton
264
The composer's calligraphy can be observed in this manuscript in E minor. Later on
it was called "Aguinaldo yaucano No. 1." It was dedicated to Carmen Colón Picó.
1
265
Title Work dedicated to; Reference found
Amelia Amelia Amy Probably a relative

of Cecilia Eamanueiii
y Ami. See "Cecilia"
below.
Amor imposible S. B. D.
Anhelos Ana María Rodriguez A friend and fellow

student. Quinton
also dedicated "Para
ti" and "Viva la
Union" to her.
Ausente José Aponte Picó Quinton's piano pupil.

See reference to
other Picos.
I Balada y II Scherzo Carlos R. Gadea Picó A violinist who was

Quinton's pupil. He
played in the Puerto
Rico Symphony Orches
tra, and has been
responsible for re
constructing and pre
serving Quinton's
music. He was also
Quinton's viola
pupil.
Bonanza Manuel Márquez
Cecilia Cecilia Emmanuelli A "charming and beau

y Ami tiful friend." See
reference to the
Emmanuelli family in
"Aguinaldo yaucano
No. 2."
confía "My love"
Coquetona Maria Luisa Caratini A "good friend and

student." Several
members of the
Caratini family
studied with Quinton,
including Arminda
Caratini de Aponte
(piano), and Pedro M.
Caratini (trumpet).
W “ ~
Cuarteto en Re Mayor Motto: "Beethoven is

the teacher of
teachers."
Danza puertorriqueña Aristides Chavier Puerto Rican pianist

III: danza de con and composer who
cierto para piano studied at the Con
servatory of Paris;
he lived in Ponce and
participated as a
juror in the Compe
tition of 1913.
Duda Rita Maria Mattei A "very good friend,"

and a lady from Yauco.
He dedicated to her
"Triste esperanza"
and "Tristezas."
Dulces recuerdos Rosario Rodriguez "Esteemed friend;"

Braschi the Braschi family
was well known in
Coamo, where a street
honors Mario Braschi.
Ana Luisa Rodriguez
Braschi was Quinton's
pupil.
Ensueños y esperanzas Aurea Maria and They were "esteemed

Carlota Rivera friends" and Quinton's
piano pupils.
Marcha triunfal para Motto: "It is im- Parés was a famous

orquesta possible not to love guitar player from
music when you can Manati. He had gone
understand its beau to Spain to study
ties ." In the medicine but special
memory of Josefino ized in guitar.
Parés. Quinton believed he
was the best guitar
player in Puerto
Rico.
Misa de Requiem Esnesto del Castillo Spanish pianist and

e Yzaga composer from Cata
lonia; Quinton's
teacher and the fa
ther of Felipe
Monerau.
P ' "" "" " ' '

267
Title Work dedicated t o ; Reference found
Para ti Ana Maria Rodríguez See "Anhelos" above.
Pepita Josefa Rivera ("To

my dear from your
Pepito")
El.pipiol María Teresa Santiago She was Arturo Picó

Conner's girlfriend
whom he later made
his wife. Picó
Conner helped Q mrtón.
to write the lyrics46
to many of the pray
ers sung at the
Church of San Bias
in Coamo; he also
sang in the choir as.
soloist.
¿Qué se figura usted? Leonor Ma. Emmanuelli See reference to the

Emmanuelli family in
"Aguinaldo yaucano
No. 2," above.
Romanza para violin Luis Antonio Quinton's violin

y piano Passalacqua pupil and friend.
Romanza sin palabras Sara Henna Sara, a singer in

Coamo who left the
town without notice.
¡Siempre tú . . .! "A ma aimée"
Sofía Sofía Brenes Quinton's girlfriend

whom he never married
due to the opposition
of her family.
Triste esperanza Rita Ma. Mattei See "Duda," above.
Tristezas Rita Ma. Mattei See "Duda," above.
46 See lyrics of "Recuerdos de amor" written by Arturo Picó Conner

in Ramón Rivera Bermúdez, José Ignacio Quintón; un genio de la
música, 71-72. These lyrics were possibly used in a composition
t
. Am Í. t.
.Am Amt • mm —MMMM
M 1
mmM M
M m^
m MM mX«^M
. ¿M 'C MM
M«3
o y V ¿ U .líll-O Í I , UUL L ilt ; J. t & e d X U 11C J. X ic ia UUL. U C C II a i/x L uv x C U IJ
this title.
r
Title Work dedicated to; Reference found
Variaciones para piano Motto: "Music is the

sobre un tema de J. N. language of sentiments"
Hummel
¡Viva la Unión! Ana María Rodríguez See "Anhelos,"

above.
Quintón was fortunate to have faithful.followers- during his life
time, and also to have their descendants work devotedly afterwards,
to achieve the publication of a great quantity of his carpositions.
Of tes ninety-five works, fifty-seven have been published: one in
1961 as a separata of the Revista del Instituto de Cultura ('Roman
za para violín y piano" with copyright by Maria Luisa Quintón, the
caiposer's daughter), and fifty-six by the Society of Friends of
Quintón in José Ignacio Quintón: obras completas (seven, out of
the ten volumes planned, were printed in 1986 (see Figuré 18).
Volumes eight through ten were published in 1987.
Sixteen works are either unavailable, incomplete, or in the
process cf being printed (and thus also unavailable to the re
searcher). Twenty-two compositions are complete but remain un
published.
Unpublished works
A orillas del par (See Figure 19) Dulce Virgen María
Bella flor Letanías
Bonanza Marcha triunfal para orquesta
Canción de la alianza Melodía (without title)
Cuarteto en Re Mayor Misa de Requiem
Danza (without title) Obertura para orquesta
269
JOSE IGNACIO
OBRAS COM PLETAS
DANZAS
SAN JUAN, PUERTO RICO

1986
Figure 18 - Front page of José Ignacio Quintónt

obras completas
Vol. I of this work includes some of the composer's danzas.

A picture of the composer is on the cover of this 1986 edition
which also includes other interesting photographs.
f ' “ " "

270
Figure 19 - "A orillas del mar1
Figure 19 is an unpublished composition by José Ignacio

Quinton; it is a barcarole dedicated to Luisa Suárez. This callig
raphy is not the composer's but probably Luisa Suárez's, who in
turn is sending the composition to her own friend, Maria Teresa
Santiago.
F ' ...... ..
271
Unpublished works (continued)'
¡Oh Sagrado Corazón! Segunda danza característica
Plegaria-al Santísimo Te quiero María

Polka (without title)
Tristezas
Romanza para dos violines y piano
Variaciones para piano sobre
Salve Josefina el tema "God Save the King"
Salve Regina (No. 7)
N/A. incomplete works and compositions to be published^
Adiós (to be published) Salve a solo (N/A)
Celeste (Coda unfinished) Salve quinta (N/A)
De f lo r en f l o r Salve séptima (N/A)
Divertimento sobre un tema Suéltalo Julián

de "Fausto" (N/A)
Tanda de valses (N/A)
Duda (to be published)
Trío (N/A)
María Luisa (to be published)
Trío sobre un tema de "Ernani"
Mirar sin ver (to be published) (flute part only)
Nocturno (unfinished) Yuaní en su cuerda (to be pub

lished)
Quintón was not only a pianist but also a very good organist»
with unusual ability to improvise. He also played guitar, violin,
viola, double bass, cello, mandolina and cuatro offering classes
at the Academia de Música of the municipality (for which he re
ceived $40 a month) He also conducted the Conjunto Arte y Amor.
47 These works are not available for examination at present, since

they are being processed for publishing purposes by the Society of
Friends of Quintón. Mr. Carlos R. Gadea, who has worked for years
as a. copyist . is probably the actual keeper, but he could not be
reached by the researcher; he is in poor health. A future inter-
vxew could, probably dxsclose sddxhxonal works.
48 See Ramón Rivera Bermúdez, José Ignacio Quintón, 19.
F
272
the Cuarteto Quinton, and the Banda Municipal de Coamo. Although
the catalogue of his compositions shows that the greatest ranter of
works were written for piano solo, there are also eight works
written for piano and other instruments, such as violin, voice,
flute and violin, two violins, and flute and clarinet. They are:
Adiós Romanza para dos violines y piano
Aguinaldo yaucano No. 3 Romanza para violín y piano
Divertimento sobre un tema

Trio
de "Fausto"
Duda Trío sobre un tema de "Emani"
The following compositions are for other instruments:
Arte y amor (for small orchestra, but the published copy is a

piano arrangement)
Bella flor (voice and organ)
Cuarteto en Re Mayor (violins, viola and cello)
Dulce Virgen María (two voices and organ)
Marcha triunfal para orquesta (eleven instruments, see catalogue)
Misa de Requiem (four voices and organ)
Obertura para orquesta (thirteen instruments, see catalogue)
Oh! Sagrado corazón (voice, violin and organ)
Salve Josefina (two voices and organ)
Salve Regina No. 7 (two voices and organ)
fe quiero Maria (voice, violin, organ)
Plegaria al Santísimo (voice and organ)
The researcher travelled to the town of Caguas where she
visited the church of Dulce Nombre de Jesús on its main plaza,
where Quinton's baptismal certificate was filed (it took two sep-
F ..............
273
arate trips before obtaining the necessary permission to photocopy
the documents; officials took precautions against revealing the in
formation pertaining to others inscribed in the same folio).
The researcher also obtained Fausta Quinton's (the composer's
sister) baptismal certificate, but although she asked for the one
belonging to Filomena del Rosario (Quinton's mother, who was a na
tive of Caguas), it was not traced. Books recording marriage cer
tificates are very fragile and thus were not made available to the
researcher. She was referred to Mr. Oscar Bunker, a researcher who
has photocopied most of the old church documents of Caguas, who
could not be contacted. Perhaps a future interview will help dis
close the marriage certificate of Quinton's parents, since appar
ently the ceremony was accomplished.
The researcher went to the town of Coamo, where she visited
the church of San Bias. There she found additional baptismal cer
tificates related to the Quinton family. Photocopies of the said
certificates ware kindly made available to this researcher (see
APPENDIX H). With reference to death certificates, she was informed
that those of 1925 (the year Quinton died) were kept hy the Bureau
of Vital Statistics. A visit to this office was not fruitful,
since there are strict measures prohibiting any person, other than
a relative, from obtaining this type of information.

49 _
The town of Coamo has several points and activities of
interest:
49 For additional information on Coamo see Ramón Rivera Bermudez,

Historia de Coamo. la villa añeja, Coamo: Imprenta Costa, 1980.
F ' '
Tht> Church of San Bias' ~ de Illescas is one of the oldest
churches, in Puerto Rico, built in 1579; it keeps two paintings by
the famous José Campeche (See CHAPTER II). Here Quinton used to
play the organ.
Calle José Ignacio Quinton is"' the main . street honoring
the composer; it runs from the entrance of the town to the church.
The Museo de Coamo was organized * fay Ramón .Rivera
Bermudez, and it keeps memorabilia related to Coamo, including many
of Quinton. It will eventually store the music manuscripts actually
kept by members of the Society cf Friends of Quinton.
Quinton's house is located on the Mario Braschi Street cor
ner of Santiago Iglesias Street, this house is now owned by another
family. A plaque indicates its importance. Also of interest
is Quinton's tomb in the city's cemetery.
The city of Coámo is also known for the Maratón dé San Bias.;
an annual.activity honoring its patron saint, in which local and
international athletes participate.
Rivera's hock has 636 pages. The author covers such topics as: the
Indians of "Coamo" (name meaning "a big place"), the discovery of
the valley by the Spaniards in 1508, the foundation of the town by
the Royal Decree of 1579, and its successive development. The
other name of the town, San Bias de Illescas, comes from the Patron
Saint of its founder, Don Bias, who originally came from Illescas,
a small town in the province of Toledo, Spain. San Bias was a mar
tyr from Armenia (now in the Soviet Union), and since he had been a
doctor who made miraculous cures, today the people of Coamo cele
brate his day (the first of February) in the following way: pa
rishioners light candles forming a cross, and holding them they
place them on their heads and touch their throats to deliver them
selves from any sickness. San Bias, is also the Patron of the
wool combers, since the martyr had his body cut with a metal comb
before he was decapitated. The book by Rivera Bermudez is an ex
cellent and detailed study, covering politics, agriculture, com
merce, sports, education, churches, slavery, and other matters.
275
Los, baños - de C o a m o is a parador or; government-operated
resort known for its termal springs. Quinton played there as a child.
It is perhaps interesting at this moment to notice the similar
ities between the titles used by the four composers included in this
research. Although there are marked differences between the ccnpo-
siticnal style of each one of the musicians» as will be discussed
in the nest chapter,^ the similarity pf the titles perhaps indi
cates the preferences of the composers and of the people of Puerto
Rico» expressing their spiritual, emotional, and national concerns.
Identical or Very Similar Titles in ^

the Works of Gutiérrez, Tavárez, Morel and Quinton
Gutiérrez Tavárez Morel Campos. Quinton
Brisas del acueducto Acueducto
__ __ Adelaida Adelaida
Adiós a la Virgen __ El último adiós Adiós
__ Ausencia Ausencia Ausente
Benedictus __ Benedictus de Barros __
__ __ .El beso Besándote

LE1 primer beso
__ __ Carlota Carlota
__ Carmela Carmela Carmela
__ Coqueta __ Coquetona
50 Catalogues related to CHAPTER- V include translations of all the

titles; works are classified according to their themes.
51 This comparative list could be enlarged, specially with the

titles presented by Morel Campos, since there are more works relat
ed to flowers (flores) or to eyes (ojos) for example. The same
thing happens with Gutiérrez, since he has many Masses (Misas), and
salves. There are also a number of danzas without title in tne
case of Morel and Quinton^
F ............
276
Gutiérrez Tavárez Morel Campos Quintón
• El desengaño El desengaño —
La despedida _ La despedida —
Dolorita Dolores _
rEs la flor De flor en

— — 1Una flor
flor
Elisa La Elisa La Elisa ___

Gozos de la Gozos de la Virgen
— —
Inmaculada del Carmen
Letanías Letanías
— —
(several)
La Lolita La Lolita _
La Luisa La Luisita Luisa, sá
—
cate los
piojos
_ —
María Luisa María luisa
_ Margarita Margarita —
__ Melancolía Melancolía —
Misa de Requiem Misa de

— —
(several) Requiem
Novenario a la Novenario de la
— —
Concepción Guadalupe
El pastorci- La pastorcilla
— —
ilo
- _ La Pepita Pepita
La perlita j- La perlita
— —
La perla
[ Mi perla
[ Qué perla
El recuerdo Un recuerdito Un recuerdo _

Romanza Romanza sin
— —
palabras
277
Gutiérrez Tavárez Morel Campos Quintón
Salve (several) Salve Josefina Salve

—
Josefina
.Sofia Sofía
— —
lLos ojos de Sofía
Tanda de valses Tanda de

— —
valses
Tristes recuerdos Triste espe-

— —
.ranza
LTristezas
.Tus bellos ojos Tus ojos

— —
Tus ojos
El 24 de El 29 de jimio
— —
junio
La violeta .Violetas
— —
LLa violetera
Having studied the compositional output of the four composers
subject of this research from an external point of view, the next
chapter will consider this same topic, but using a triple, simul
taneous, and interrelated approach: the way in which it reflects
the composers' choice of genera, the way in which it reflects the
innovative tendencies developed throughout the century, and espe
cially the way in which it reflects the Puerto Rican culture. As
can be seen in Figure 20, three of the composers are included in
the family tree of the most nationalistic genre developed by the
composers: the danza.
¥ ...
278
Figure 20 - Family tree of the Puerto Rican danza
In Figure 20 the main trunk of the danza1s family tree has

the names of Julián Andino, Manuel Tavárez, and Juan Morel. On
one of the right branches is the name of Quinton.
I
CHAPTER V
MUSIC AS A REFLECTION OF THE PUERTO RICAN CULTURE
The inventory of the musical production of Felipe Gutiérrez y
Espinosa, Manuel Gregorio Tavárez Ropero, Juan Morel Cantos,, and
José Ignacio Quinton Rosario will be considered now from a differ
ent point of view*. The researcher will try to determine if the
compositions written by these four distinguished musicians reflect
the culture of the island of Puerto Rico during the nineteenth cen
tury. Every artist, as part of the community in which he lives,
will canmmicate, in one way or another, the heritage of his coun
try's historical past, the environment of his surrounding world,
and the perspective for the future. As musicians, these four com
posers have been able to do so. Each one of them has his own par
ticular approach. The observations that follow will be organized
in such a way that the four composers can be compared in terms of
the Indian, African, and Spanish heritage, the international influ
ences, and the contributions they tried to make to the music ex
pression in Puerto Rico.
The Influence of the Tainos
Keeping in mind what was exposed about the Indians in CHAP-
H , and carefully examining the catalogue of works by Felipe
Gutiérrez, one finds two works which in very different ways reflect
aspects of the taino world. They are: "La yuca" (APPENDIX J, 126),
279
¥ ‘
280
and"Guarionex" (APPENDIX J, 20). The work "La yuca" is only rela
ted to the Indians because of its title. Since Indian melodies are
unknown, there is no way to determine if there is a relationship
between this overture and the Indian music. Even its instrumenta
tion (flute, clarinet, viola, and bass) does not clearly reflect
any relatioship, because the pífanos or small flutes used during
the taino period (made from human or animal bones or from reed and
rush) were not the same flutes that Gutiérrez had available when he
orchestrated in the nineteenth century.
Felipe Gutiérrez did not leave any explanation on why he chose
the title for this work, but it is interesting to note that yuca is
the name given to an American plant of tropical origin. It grows
life a small tree and has.a big and' meaty tuberous root from which
flour and bread can be obtained, as well as laundry: starch and ta
pioca. Also called cassava:and mandioca, it was probably first cul
tivated by the Maya Indians ,in Yucatán!.. Cassava, according to the
Encyclopedia Britannica, is:
A cyanide-producing sugar derivative occurs in varying

amounts in most varieties. Primitive peoples developed
a complex refining system to remove the poison by grating,
pressing and heating the tubers. The poison (hydrocyanic
acid) has been used for darts and arrows . . . Additional
cassava products include an alcoholic beverage made by
Indians in South America . . .1
Since the taino Indians used the yuca, and it is still a very
cannon food in Puerto Rico, the researcher assumes that it was
widely eaten in the nineteenth century, and that Gutiérrez wanted
1 Ehclopedia Britannica (Micropaedia). Vol. 2, Chicago: Encyclo

pedia Britannica, Inc., 1985, 925.
W “ ... ''
2
to use its name related to music of a non-religious character that,
might be identified with everyday activities of the home. As ex
plained in CHAPTER III, Gutiérrez assumed the financial responsi-
bilities of his family after his father's death.

, 3
When at age
fifty-seven he married Juana Bautista Medina, he probably tock- care
of her two children, since she was a widow. She died five years
after their marriage. His obligations for that enlarged family
possibly prompted him to write the overture "La .familia." The re
searcher believes "La yuca" might be considered a significant sym
bol in this context, since he had to earn his family's sustenance.
The second composition which is clearly a work about the tai
nos is "Guarionex." An opera in three acts, it was premiered
between 1885 and 1856 by the Sociedad Filarmónica, and probably

4
written several years before. Unfortunately, the music for this
work is lost, and the efforts made by the Institute of Puerto
Rican Culture to recover Gutierrez's manuscript have not been suc
cessful .
The score was probably still available early in this century
since the overture of this opera was performed in a ceremony in the2

3
4
2 Gutiérrez also wrote four other overtures: "La familia" ("The

family"), "La manganilla" ("The deceit or cunning"), "La peseta"
(name used for the Spanish coins; today it is the name given in
Rjerto Rico to the United States' quarter), and "Tonidán" (probably
a proper name or a nickname).
3 See CHAPTER III, footnote 59.
4 The note written by Gutiérrez in the envelope where he kept a

program of. the premiere indicates it took him four years to write
it. See Batista, 74.
¥ "...... .. ' "

282
year 1908.^ Manuel Martínez Plée's opinion, published in 1912, in
dicates that this violinist might have witnessed its complete per
formance, since he comments on the lyrics, dramatic accent, arias,
and choirs of the opera.® Is it lost or is there, a library which has
a copy of it? This is still a mystery. In the absence of the
score, it is most important that one consider the book that inspired
Gutiérrez's music: La palma del cacique by Alejandro Tapia y
Rivera.^
Tapia was a friend of Gutiérrez; he was one year older than
the musician. Their parents were also friends, since Tapia's fa
ther was a captain of the Regimiento de Granada while Gutiérrez's
father played in its band. The year 1856 was important for Tapia,
as well as for Gutiérrez, since they both started their public and
g
theatrical careers that same year. Alejandro Tapia had been in
terested in the subject of the Indians, because when he had first
wanted to publish his famous Biblioteca histórica, he had refused
to eliminate a verse from the poem titled "Elegías de hectares ilus
tres de India" ("Elegies of Indian Illustrious Men") where a men-
5 .Correspondencia de Puerto Rico, June 13, 1908, 1. Quoted'by

Batista, 77.
6 See Batista, 77, and footnote 54, CHAPTER III of this disserta
tion.
7 This work was published in the section titled "Leyendas y cuen

tos" ("Legends and stories") which appears in Lucas Morán Arce,
editor. Enciclopedia. Clásicos de Puerto Rico, Vol. III, Barcelona:
Ediciones Latinoamericanas, S.A., 1971, 5-33.
8 Batista believes "Guarionex" was probably the first opera pre

miered by Gutiérrez, in 1856. See Batista, 75. Tapia was given
permission to use the Municipal Theater (which today is named in
f ......................
283
tion was made of a cacique urging his Indians to fight the- Spaniards.
Governor Enrique Tabemer (1851-52) then prevented its publication.
Felipe Gutierrez was probably following closely his friend1s career
and was also aware of the ban imposed by Governor Fernando de
Norzagaray (1852-54) on the newspaper El ponceño. when it published
the poem -by Daniel Rivera titled "Agüeybaná el bravo" ("Agueybana

o
the Brave").
This poem, which described the..Indian.rebellion of 1511 (the
same presented in La palma del cacique),'probably inspired Ihpia.'s
legend, published in 1852. The researcher believes that the way in
which Tapia presents a balanced evaluation of the contrasting
heroes of the novel, Guarionex (the taino cacique) and Sotomayor
(the Spanish soldier), probably contributed to the censor's accept
ance of the book and later on of the opera. But, as it is clearly
seen from the text, Tapia's intention was to enhance the natural
intelligence, integrity, and bravery of the taino Indians and their
caciques, as well as the beauty and grace of the taino women, which
are described parallel to the exuberant nature of Puerto Rico.
The singers which originally represented the opera's charac
ters were dilettantes, but they were serious contributors to the
arts. Antonia Montilla, who represented the cacica Loarina, was a
lyric soprano or tiple who lived in San Juan and frequently partic-
his honor), to premiere his work "Roberto D'Evreux." For an addi

tional reference see footnote 52, CHAPTER III of this dissertation.
9 See footnote 19, CHAPTER III of this dissertation.
W ■ .
í
284
ipated in concerts; ^ Antero Adsuar, who represented cacique
Guarionex, was a baritone. Francisco O i l e r ^ (the son of Cayetano
f)llor and Maria del Carmen Cesteros), who represented the Indian
Taboa (Guarionex's faithful servant) was, besides a famous paint-

12
er, also a bass, and frequently helped Gutiérrez in his projects.
13
His sister, Isabel Oiler, who represented Anona, was a lover of
the arts. She was designated to sing the soprano duet of the opera
Nmraw with the famous child singer Adelina Patti when Patti visited
the island of Puerto Rico in the t o u m é e with Louis M. Gottschalk

14
in 1858. Tenor Manuel Paniagua, also a dilettante who married
Isabel O i l e r , ^ sang the role of Sotomayor (Governor Ponce de
Leon's lieutenant).
10 See Fernando Callejo, "Antonia Montilla," Música y músicos

puertorriqueños, 167.
11 See Fernando Callejo, "Francisco Oiler," Ibid., 169-170.

Callejo indicates that Gutiérrez dedicates his "Salve obligada de
barítono" to his friend Francisco Oiler.
12 See footnote 53, CHAPTER III of this dissertation.
13 The researcher checked the names of Loarina and Anona in order

to determine if they represented historical figures as Guarionex
does, but found that they do not. In Jalil Sued Badillo's article
'Tas cacicas indoantillanas" they are not included among the twelve
cacicas which historians have been able to identify in Puerto Rico.
See Revista del Instituto de Cultura Puertorriqueña. January-March,
1985, XXIV, No. 87, 17-26.
14 See Fernando Callejo, "Isabel Oiler de Paniagua," Música y

músicos puertorriqueños, 170.
15 See CHAPTER IV, footnote 1, related to the crypts of the San

Francisco Church in Old San Juan. As mentioned, the researcher
visited the Church trying to locate Felipe Gutiérrez's burial site.
Instead, she found the niches of several members of the Oiler fam
ily: Osabel Oiler de Paniagua (niche 56); Carlos Paniagua Oiler,
her son (niche 42, he died on October 6, 1942); and Ana tferia tfatos
Oiler de Charbonier (niche 26, she died in 1949). Others buried in
|P.......................... ~
285
One must remember that during the nineteenth century Puerto
Rico lacked the facilities for formal and professional musical
training. If a person wanted to study performance, a trip to Eu
rope was the means for those who could afford it. Singers such as
Lizzie Graham, who was b o m in Ponce and became a good friend cf
Morel Campos, received her training in Florence and later returned
to her native town where she promoted numerous veladas and helped
other musicians.^ The famous Amalia Paoli, ^ also from Ponce,
after studying with Lizzie Graham went to Spain (where «he sang
Aida at the Teatro Real) and later to Milán, Italy, where she
studied and also supervised her brother Antonio's-musical career
This is why composers such as Gutiérrez had to depend on amateur
singers when they wanted to premiere their operas.
the San Francisco crypts are Ramón Juliá and Josefa Pasarell
(niche 64, they are husband and wife and died in 1947 and 1949,
respectively). Ana Aguayo de Vicente (niche 45, she died on Febru
ary 2. 1912); and Vicente Venture y Aguayo (niche 24, he died in
1896 as a child or párvulo). It must be remembered that Morel
Campos dedicated "Feliz encuentro" to Belén Aguayo and "¡Poder de
una mirada!" to Arturo Pasarell, possibly relatives of those buried
in these crypts. The San Francisco Church was constructed in 1756.
Apparently there are no niches there corresponding to the years
1756-1836, since the oldest found by the researcher was that of
Brigadier Juan San Just (1793-1836) and it is not numbered. The
Church also has separate crypts for the priests, but they are not
currently open to the public. Vihat if Felipe Gutiérrez was buried
in the crypts of the priests when he died in 1899, since he was the
Chapel Master of the Cathedral for forty years? This possibility
has yet to be explored.
16 See F e m a n d o Callejo, "Lizzie Graham," Música v músicos puerto

rriqueños , 172-174. Callejo mentions that Amelia Arce de Otero and
Tomasita Otero frequently visited Lizzie Graham. See "Estrofa a
solo," dedicated by Morel Campos to Sisila Arce and Tcmasita Otero.
17 See F e m a n d o Callejo, "Amalia Paoli," Ibid., 171-172. Notice

that "El jazmín" and ""La pastorcilla" were dedicated by Morel to
Amalia Paoli.
¥ ........................ ......... ..... “
286
La palma del cacique, the name of a palm tree representing the
sufferings of the taino Indians, was written in Madrid, Spain, and
dedicated to José J. Vargas, a friend of the author. The work be
gins with a description of the Island of Puerto Rico as it was in

18
1511, when Juan Ponce de León was Governor. There were tuo touns:
Caparra (where the Governor lived), and Sotomayor (near where the
incidents of the story take place). The Indians were dispersed
among the Spaniards following the encomiendas, a system which Tapia
characterizes as follows:
. . . pero este sistema sobre ser muy perjudicial a los

naturales, arruinó con el tiempo la población y cultivo
de los campos . . . Esta institución, como su nombre lo
indica, imponía tanto al encomendero como al encomendado
deberes mutuos . . . pero el poblador exigía demasiado
de las fuerzas del indio, olvidando su doctrina y su ali
mento, y éste, exasperado o temeroso, se alzaba contra
el encomendero, o le abandonaba refugiándose en la aspe
reza de las montañas . . .19
After this description which provides the setting, Tapia pre
sents not only the characters, but also the Puerto Rican country
side, which is treated practically with the same grade of impor
tance and idealization as the Indians themselves.
18 Seea brief description of the insurrection of 1511 in Fernando

Picó,Historia general de Puerto Rico, Río Piedras: Huracán Acade
mia, 1986, 46-47.
19 . . but this system besides being very prejudicial to the

natives, eventually ruined the population and the cultivation of
the lands . . . This institution, as its name indicates, imposed,
both to the encomendero [the person in charge of a patronage or
ccamissicn] as well as to the encomendado [the vassal in a command-
ery] mntnal duties . . . but the encomendero demanded too much of
the strength of the Indian, forgetting his doctrine and his nourish
ment, and he, desperate or fearful, raised against the encomendero,
or abandoned him taking refuge in t h e .ruggedness ox the mountains
..."Alejandro Tapia y Rivera, "La palma del cacique," Enciclo
pedia Clásicos de Puerto Rico, Vol. Ill, 5-6.
¥ - .................
287
Veíanse en sus lomas entre otros árboles, el castaño de

América, el medicinal jigüero, el mamey de sabroso fruto
. . . y el plátano cuyas anchas, sonantes y lánguidas
ramas se mecen suavemente . . . todo esto en medio de pas
tos frescos y abundosos en que ¡se veían pacer algunas vacas
mientras retozaban sus terneras.20
The researcher believes that a beautiful scenography could have
been designed for Gutiérrez's opera, since Tapia carefully described
each one of the settings for the different sections of his work.
The action begins with a fight between Yoboan, an Indian who is
sad because his brother Naguao has died in the mine near the village
of Sotomayor, and the mayoral or overseer who is lashing him at
work. Yoboan strangles the mayoral; Guarionex arrives to help his
Indian friends and fights helped by his macana (a wooden club gener
ally edged with sharp flint). Tapia describes him as follows:
Era regular y apuesta su figura; su edad juvenil. Su piel

cobriza estaba como la de los demás indios, ornada con di
versas figuras, y decoraba su frente la diadema de los ca
ciques. Pendía de su espalda la aljaba provista de agudas
flechas, sobre la cual podía verse el flexible arco; y su
trenzada cabellera estaba realzada por vistosas plumas.21
The famous Diego de Salazar also participates in the fight and he
is described by Tapia as a very brave Spanish soldier:
20 "Che could see on its hills, among other trees, the American
chestnut-tree, the medicinal iigüero [also known as higüero de In
dias and a type of fig tree), the mamey [American mammae tree of
the gamboge family used for medicines and oil] of delicious fruit
.. . . and the plantain whose wide, sounding, and languid branches
softly rock themselves . . . all of this in fresh and abundant pas
tures where some cows could be seen grazing while their C alvcS
romped around," Ibid., 6.
21 'His figure was regular and handsome; his age, youthful. His
copper skin- was the same as that of the other Indians, ornamented
with diverse figures, and his forehead was decorated with the dia
dem exf the caciques. From his back hung a quiver with sharp
arrows; over it the flexible arch; and his braided long hair t o s set
off with beautiful feathers." Ibid., 9.
F
288
A la vista de tan terrible adalid, la multitud huía pavo

rosa, y no era extraño que su presencia infundiese tal
terror, puesto que ya los indígenas conocían su esfuerzo,
y a su brazo se debió .en mucho la. conquista y pacificación
de Puerto Rico, porque a semejanza del Cid, ganaba bata
llas con sólo su nombre.22
After a while, the Indians run away to the nearby forest, afraid of
dying because the Spaniards are using their firearms. Yoboan lies
in a lake of blood; he had given his life in exchange for "a tear
23
consecrated to his memory."'*'
A description of Loarina, cacique Agüeybana's sister, comes
next. After a walk through the forest accompanied by her retinue
of your® Indian attendants, she lies down in a hamaca made of m a
guey (the American agave). The sensual description of the beauti
ful.hoarina compares with the exuberant account of the forest and
its streams. She is suddenly confronted by Guarionex, who has just
arrived from the fight. He talks to her using poetical language,
but his unpolished words contrast with the beauty and energy of his
thoughts, full of passionate imagination and sublime conceptions.
Guarionex's love for Loarina and Loarina's love for a Spaniard,
is presented in a tender but tense scene. Her internal conflict is.
manifested in passages such as this:
22 "At the sight of such a terrible chief, the multitude fled fear
fully, and it was not strange that his presence inspired such a
terror, since the natives already knew about his courage, and the
conquest and pacification of Puerto Rico was mostly due to his arm,
became like the Cid. he won battles with only his name." Idem.
23 The researcher believes this material, which includes subdivi-

tions I - m of the work, might have constituted the first scene of
Gutiérrez's work.
I ... ..
289
Natural era una lucha semejante en el corazón de Loarina,

que un tanto sensible en otro tiempo a los halagos del
cacique, sentía rubor al conocer que su veleidad la impul
saba a amar a otro; porque la hermosa salvaje no era la
culta dama de nuestros tiempos. Tal vez sentía aún incli
nación hacia el pobre indio y al amar a un extranjero,
apesarábase de preferir en su corazón al hombre que mal
quería a los de su raza.24
After Loarina confesses that she feels unhappy, both cry feeling
the hardships of love, without enjoying its delights. Guarionex
then leaves, with his head lowered. As he comes to the end of the
path he stops for a moment, thoughtful, and then runs away through
25
the forest as if having reached a determination.
What the researcher believes might have been the second act of
the opera "Guarionex" begins with a description of the Spaniard
Cristóbal de Sotomayor, who is reminiscing about his youth, about
the woman he loves back home, and about the purpose of his mission
as Governor Ponce de Leon's lieutenant. He is a handsome young
man:
Era el gentil caballero de esbelta figura y elegantes

maneras; tenía rubio el cabello . . . y al brillo de
la luna, podían verse sus ojos azules y expresivos
. . . en su cintura la espada guarnecida de plata.
24 "Such a struggle was natural in the heart of Loarina, who some

what sensible to the flattery of the cacique sometime.before, felt
shame to know that her velleity was driving her to love someone
else; because the beautiful savage was not the refined lady of our
times. Perhaps she still felt inclined towards the poor Indian and
loving a stranger, she reproved herself of preferring in her heart
the m a n who hated those of her race." Alejandro Tapia, "La palma
del cacique," 13.
25 The researcher believes that here might have ended Gutiérrez's

first opera act. The section just described covers parts XV-V of
the written text. Notice should be taken on how Tapia has a scenic
conception of his work, and provides enough details, not only for
the scenography, but also for the wardrobe and hairdos of the ac
tors.
Í " ..
290
bota pajiza con espuela, y por último, un sombrero adornado

con vistosas plumas . . . prestaban a su aspecto, el aire
del joygn y arrogante aventurero de la España de aquella
época. '
When Guarionex approaches he invites Sotomayor to fight, explaining
that he does not want to live any longer since Loarina does not
love him, but that first he wants to see the hated Christian dié.
Even if Sotomayor is not in love with Loarina he accepts the duel,
and fights with his sword, while Guarionex uses his wooden macana.
After a fierce fight, Sotomayor wounds Guarionex, but when the In
dian throws away his macana asking to be killed, Sotomayor forgives -
him and asks to be his friend. Nevertheless, Guarionex rejects his
offer and returns again to the forest.
The next scene presents a meeting of caciques. Agüeybaná,
leader of the caciques, is surrounded by Guarionex (the most es
teemed), Broyoan (governing the area near Añasco), Aimamon (govern
ing the Indians along the Culebrinas river near Aguada}-,. MabodamaCa
(the cacique who later, on has to.be subdued by Diego de Salazar),
Mayagoex (in whose dominions the town: of Mayagüez was to be
founded), Humacao (a cacique of the Eastern coast), and Arecibo
(governing the area near the river of that name). In the meeting
they discuss the critical situation that prevails and they decide
to engage in war against the Spaniards, asking help from their for-
26 "He was the handsome gentleman of a well-built figure and ele

gant manners; he was blond . . . and in the moonlight you could see
the blue of his expressive eyes . . . in his waist the silver-set
sword, straw-colored boot with spur, and last of all, a hat adorned
with beautiful feathers . . . they gave his appearance the air of a
young and arrogant adventurer of the Spain of those times." Ale
jandro Tapia, "La palma del cacique," 16.
r
291
mer enemies, the caribe Indians. The buhitis (or priests) go to
the altar where they keep their cemi (stone figure representing a
god), and announce that Agüeybaná is going to frighten away the
foreigners.^
At this point Alejandro Tapia interrupts the narration in or
der to explain some facts about Guarionex!s past. On one occasion
when Guarionex was visiting the lands of cacique Mayagoex he saw

28
half a dozen piraguas approaching the land. Since Mayagoex was
not there at the time, he talked to his troops urging them to fight
the hated caribes, who were very fierce. Together with his gandu
les (or young warriors), Guarionex faught bravely. At one point,
when he was dueling Jaureyvo, the caribe1s chief, they came near
the place where the Indian women were taking a bath in the river.
All of the young girls fled, except Loarina, with whom Guarionex
fell in love at first sight. The encounter made the Indian
stronger, and Guarionex was able to defeat his opponent with the
macana. Soon after that incident an Indian woman was carried away
29
and taken in a piragua . Feeling she might be the beautiful
Loarina, he swam with his followers persecuting the boat. They
were attacked by sharks and by the arrows óf thé caribes, but
27 This could have been the end of Act II in Gutiérrez's opera. It

covers sections VI-VIII of the written text.
28 Indian dugout canoes, made of a hollowed trunk and with a capac

ity for more than fifty men.
29 Since the character of Anona is not mentioned by Alejandro Tapia

in "La palma de3 cacique,, " and is nevertheless included by the com
poser in his, opera, the researcher believes this stolen Indian wan-
an might be Anona.
F — ■■ - - .........
292
nevertheless they managed to save the Indian woman* who was found
to be Guarionex's sister and the newly wed bride of cacique
M
Mayagoex. 30
The third and last act of Gutiérrez's opera probably covers
seqtions XI-XIII of the written text. Loarina warns Sotomayor t-bai-
he is about to die because the Indians plan to attack. Sotomayor
answers:
Levántate, Loarina hermosa; no sabes cuán grato senti

miento me inspira tu interés por mí, y si mi corazón
pudiese olvidar el ángel que idolatra creo que sería
tuyo desde este momento; pero ya ves que tu aviso es
casi inútil, porque un caballero castellano no sabe
huir.31
After the village is burned, Sotomayor is wounded with arrows.
Guarionex is about to kill him when Loarina intervenes asking the
cacique to spare the Spaniard's life. Suddenly another cacique ap-
pears and mortally wounds Sotomayor. The weak and fainting Loarina
is carried away in the arms of Guarionex, who deposits her in a
grotto. There she recovers, but a few days later, when Guarionex
informs her that Sotomayor is dead, she tries to kill herself.
30 Since the section of the piraguas is rather difficult to. repre

sent on stage, perhaps composer Gutiérrez simply included some
arias, explaining'all this, or wrote an introduction -to -the opera
which could have been read by the public before the beginning of
the presentation. In a contemporary theater, this section could
have been staged at the beginning of Act I, since there are more
scenic resources today to achieve serious and realistic effects.
Hris part covers sections IX-X of the written text.
31 Stand up, beautiful Loarina; your interest in me inspires

.grateful feelings, and if my heart could forget the angel that it
idolizes, I believe I would be yours from this moment oni but you
knew your warning is almost useless, because a rasHHian getleman
does not know how to run away." Alejandro Tapia, "La paina del
cacique," 27.
¥-------
293
Guarionex saves her life but he is depressed by the defeat, bf the .
Indians in the insurrection and by Loarina's decision to remain
faithful to the Spaniard :-even áfter his death; h e decides to aid his
own life.
A beautiful and sentimental goodbye to his native Borinquen
precedes his last moments; he then jumps from the top of a high
mountain. A last scene presents the taino Indians preparing the
body to be buried. Their deep sadness is interrupted by the ar
rival of Loarina accompanied by Taboa, Guarionex's faithful servant;
she has decided to be buried alive with the cacique.
Poseía al fin aquel amor que anhelaba con vehemencia, y

tanta dicha no era bastante a reanimar su corazón helado,
iCuán:indiferente es el sepulcro!
Abrazados los dos amantes, bajaron a la tumba; Loarina era

el alma de la muerte. Taboa se despidió de sus señores,
y la tierra los cubrió para siempre.32
Several years later a palm tree grew near the place wbere Guarionex
and Loarina had been buried. It bears no fruit, but it is beautiful
and is called "the cacique's palmtree." Every day, when the sun
sets, people say they hear words that seem to come from the tall
tree. They might be Loarina's: "In this grave I offer you my un
faithful heart; it was not worthy of you, but you desired it, and
I give it to you."
As has. been observed, Gutiérrez . .was- interested, in the
Indian heritage, and even if he did not compose extensively in
32 "At last he owned that love he had desired anxiously, and so

much happiness was not enough to reanimate his frozen heart. How
indifferent is the sepulchre! The two embraced lovers were- lowered
to the grave. Loarina was the soul of death. Taboa said goodbye
to his masters,. a n d .the-earth covered them fprever." Ibid., 32.
¥ ' " " "
their honor, the themes he chose, particularly that of cacique
Guarionex, are a small tribute to the Indian race.
When the researcher examined Manuel Gregorio Tavárez's cata
logue of works (APPENDIX K), she found two works which are clearly
related to the Indian tradition: "La hamaca" (entry 17), and "Un
viaje a Bayamón" (entry 48). The first work is listed by research-,
er Amaury Veray as not available and is probably lost. Its title
refers to the swinging bed used by the Indians, which consisted of
a wide net made of the filaments of trees. Today the hamaca or
hammock is still used, and can either be made of smooth strings, of
stronger but rather narrow ropes, and even of canvas or of plastic
materials. Its main quality is that it can be easily folded and
stored away. In the rural districts it is more widely used, but in
the urban areas it can still be seen in the backyards, or in hotels
with a tropical surrounding, particularly hanging between palm
trees in the beach.
"Un viaje a Bayamón," a danza written by Tavárez and published
for the first time in 1867, is dedicated to the town of Bayamón,
whose name is of Indian origin. It refers to a river and the area
that surrounds it, which is located near the capital city of San
Juan. Today Bayamón has grown into a large urban area comercial
significance and it is developing as a strong cultural center.
Two additional works should be mentioned at this time: "La
clavellina" (entry 6) and "La ondina" (entry 31). Although neither
one has an Indian name, what they represent might have existed dur
ing the time of the tainos. "La clavellina," a danza in A minor,
available at the Archive in a photographic negative only, refers to
F ' " “
the clavellina, a tree that is abundant in Puerto Rico in the mem--
tains. Its scientific name is cvrilla racemiflora L . , and locally
it is more widely known as palo colorado op red tree, because its
bark is of a reddish color and its elliptical leaves turn red' before
falling. It has bunches of small white flowers and the tree grows
up to fifty feet high. The clavellina (name mostly used in Cuba),
also grows in the southeastern United States where it is known as
swamp cyrilla or Southern leatherwood. In Puerto Rico it is very

33
abundant in the area of Luquillo. Clavellina is also the name
given to a shrub whose flowers resemble small carnations, and are
either yellow or orange. The researcher believes there is a possi
bility that the tainos knew the clavellina, either as a tall tree
or as a shrub. They probably had a native word to designate it,
even if that word .is unknown to us today.
The work "La ondina" refers to a water spirit or undine.
Since it has pagan implications applied to the worship of natural
objects of possible taino practice, the researcher believes that
indirectly the title of this work might be related to the taino
ondina. Nevertheless, it is probable that Tavárez was being mope
influenced by the European traditions which tended to revive in
music certain pagan worships during the nineteenth century. It
must be remembered that Tavárez studied in France and later on
moved from San Juan to Ponce, where the European influences were
strong. He did not identify himself so much with the rural counr .
33 See Elbert L. Little Jr., Frank W. Wadsworth and José Marrero,

Arboles comunes de Puerto Rico y las Islas Vírgenes, Río Piedras:
Editorial Universidad de Puerto Rico, 1967. 434-437.
W .
296
tryside where the Indian and African traditions could be easily
studied.
In the case of Juan Morel Campos there are also some indica
tions of an Indian influence in his compositions. An examination
of APPENDIX L shows five such works: "No te la lleves que tiene
quenepas" (entry 354), "El pitirre" (entry 383), "El río portugués
y la noche" (entry 418), "La tintorera" (entry 467), and "Un viaje
a Canas"'(entry 492).
"No te la lleves que tiene quenepas,"..a danza in G Major of
which only an incomplete manuscript was found by the researcher,
includes in its title the word quenepa» which according to Luis

34
Hernández Aquino comes from the tupi-guarani language. It is a
fruit that grows in bunches, and it has an ovoidal form about an inch
in size. It is cultivated in Ponce (the home town of Morel Campos)
and also in Mayagüez and Cabo Rojo. The quenepa is known as ma-
moncillo in Cuba and escanjocote in Nicaragua.
"El pitirre," a danza in G Major, of which the researcher only
found the introduction, refers to a bird that is common in Puerto
Rico and in the nearby islands such as Vieques, Culebra, and Mona.
This kingbird starts singing early in the morning. It is gray with
two black stripes on both sides of the head. Its Indian name is
guatibiri. There is a proverb which says "Cada guaraguao tiene
34 Luis Hernández-Aquinó, Diccionario de voces indígenas de Puerto

Rico, Río Piedras: Editorial Cultural, 1977, 371. It is worth ob
serving that'Cayetano. Coll y Tosté in h i s ."Prehistoria de Puerto
Rico," Clásicos de Puerto Rico, Vol. I, Barcelona: Ediciones lati
noamericanas, S.A., 1971, presents the Indian vocabulary in a short
dictionary, but he does not include the word quenepa.
F
297
su pitirre" ("Each guaraguao has its pitirre"), which means that

35
there are no small enemies, since the guaraguao, a bird of prey
measuring around twenty-five inches, is usually threatened by the
pitirre, a smaller bird which only measures around nine inches.
"El río Portugués y la noche," a song i n -D-minor for voice and
piano, which has never been published, makes reference to a river
in Ponce. Its Indian name, still in use, is Tibes. This sase riv
er changes its name to Baramaya, another Indian word, when it
passes through the sector with the same name. T h e . city of .Pon
ce was founded near the river Tibes or Portugués in the year 1752.
There is also a sector in Ponce called Canas, a name of Indian ori
gin, and one must remember that Morel Campos wrote a work titled
"Un viaje a Canas." The cana, used in singular, is a palm tree
with small branches which were used to build the Indian houses, of
a round shape. Today the farmers still use the branches of the
cana to cover their thatched huts. Unfortunately the danza "Un
viaje a Canas," although listed by researchers, is not available.
"La tintorera" is included here along with other works bearing.
a relationship with the taino world, since it is the female of the

36
shark, which in Spanish has a name of taino origin: tiburón.
The musical work is a danza in B flat Major, and there is a com-
35 Luis Hernández Aquino mentions a tree and a fish which are also
called guaraguao. Ibid., 218-219.
36 See Cayetano Coll y Tosté, "Prehistoria de Puerto Rico," Clási

cos de Puerto Rico, 206. He includes a short section from chroni
cler Bartolomé de las Casas, making a description of what the In
dians called tiburones.
W ' ' ".... "

298
píete manuscript, with lyrics, at the Archive in San Juan. The
works "La tintorera," "El pitire," and "No te la lleves que tiene
quenepas," are a reflection of Juan Morel Campos' awareness of the
fauna and flora that were a part of his world in the city of Ponce
and in Puerto Rico.
The researcher has included appendices .classifying the works
of the four composers according to their themes; APPENDIX N for
Gutiérrez, APPENDIX 0 for Tavárez, APPENDIX P for Morel , and
APPENDIX Q for Quinton. Section V of each of them groups the works
dedicated to nature. Since Morel Campos wrote works about some
animals and plants of Puerto Rico, there is a possibility that the
Indians might have enjoyed an abundance of them during their times.
Examples which seem appropriate at this point are: "El bacalao"
[the codfish (entry 69)], "El mangó" [a local fruit (entry 305)],
"La macarela" [also called caballa or horse-mackerel, it is a blue-
colored fish found in local waters(entry 300)], "El caimán” [a rep
tile similar to the crocodile but not so common in Puerto Rico (en
try 68)], "Los cuervos" [the crows (entry 130)], and "El jazmín"
[a flower (entry 269)]. In the case of the jazmín, the researcher
found that this fragrant flowering twinning plant comes frcm. Persia
but that there is also a jasmin (spelled with an "s" instead of a
"z"), which in Puerto Rico is very common as a tree called alelí
rojo (Plumeria rubra L.). One of its varieties is called alelí de
flor blanca (white flower alelí), and another is called jasmin de
estrellas (stars' jasmin). It is possible that the taino Indians
enjoyed the presence of the different varieties of jasmines. The
alelí blanco is a tree that is common not only in Puerto Rico but
F ...................' ' .............

299
also in the nearby smaller islands of Culebra, Caja de Muertos,and.
Icacos. The alelí rojo is common in Puerto Rico, and can be found
in Saint Thomas, Tortola, and Mexico, as well; the jasmin de estre-

37
lias is also common in Cuba, Jamaica, Trinidad, and Tobago.
The researcher believes that the Indians probably sijoyed many
more varieties of flora and fauna than those which exist today.
They probably had taino words for each, but since their language is
not known to us in its entirety, other names are used today that are
of Spanish origin,.
An observation should be made on Morel's work "La majabaca"
(entry 310). The word majabaca does not appear in the main dictio
naries of the Spanish language, but curiously the taino word majá
(meaning snake), if combined with the word vaca (meaning the fish
called false albacore), could possibly refer to a type of "water
snake" or "serpent fish." Further research needs to be done, be
cause another alternative is that the word could have been used
during the nineteenth century referring to the qualities of a per
son. Unsure of its meaning the researcher has classified "La maja-
baca" in section VIII (diverse topics) of APPENDIX P.
José Ignacio Quinton wrote two works which use taino words in
their titles. They are: "El coqui" (entry 26 of APPENDIX M), and
"Se acabó el tereque" (entry 73 of the same Appendix). The first
work referís to a small frog that is abundant in the whole island
of Puerto Rico and that emits an acute sound, particularly at
night. Its technical name is Eleutherodactylus. portoricensis and
37 See Elbert L. Little et al.. 696, 699-700, and 780.
¥ '.......
300
it njust not be confused with a similar frog called Eleutherodacty-
lus antillanensis, which sends forth, a- different sound, Ampng
Quinton's works his danza "El coqui," in B flat Major, written in
1901. is probably the one which is heard most. It is played cur
rently on the piano, following the original version, but it has

38
also been arranged for two pianos, and for orchestra. Its par
ticularity is that the sound of the coqui has been imitated through
the use of recurring arpeggiated octaves (see Figure 21). The co
qui is frequently used today as a national symbol, since it embo
dies not only a typical •frog of the country, and a peculiar sound
that livens the silence of the Puerto Rican nights, but also a name
which goes back to the tainos.
"Se acabó el tereque," Quinton's danza in F Major, although
written in 1923, is not so well known. The title's translation is

39
"The tereque is over," but tereque can mean a variety of things:
something with little, value, a meeting, or something that is hap- .
pening. In the case of this danza (see APPENDIX M, footnote to
entry 73), when a group of musicians had finished a rehearsal, one
of them exclaimed "Se acabó el tereque," and the previously unnamed
danza received its title. The researcher does not believe that
this musician wanted to speak with contempt about Quinton's work.
He probably wanted to say "The rehearsal is over," or "This busi-
38 Pianists Luz Negrón de Hutchinson.and Cecilia Negron Vda. de

Talavera frequently p l a y the two-piano arrangement.
39 See Luis Hernández Aquino, 395, for the word tereque. Notice
that Dr. Cayetano Coll y Tosté does not include the word tereque
in his Indo-Antillian dictionary which appears in "Prehistoria de
Puerto Rico," 150-2Í0.
¥ ' “ ' ' —

Figure 21: El coquí by José I. Quintón
r '
302
ness is concluded" (thinking about th§ day's work) or probably
"The interpretation has been mastered" (acknowledging the careful
rehearsal of a new composition).
As has been observed, several works have been chosen from the
catalogues to illustrate the Indian influence on the musical output
of the composers. Only the titles have been studied, since there
is no way to Compare the melodies of the nineteenth century com
posers with those of the taino Indians.
Consideration of the instrumentation does not show similari
ties except for the use of the güiro, which is of Indian origin.
As it was observed in CHAPTER III, this instrument, together with
the maraca, was used during the nineteenth century. The Compañía
Robreño presented "El cocoyé," including maracas. and Louis M.
Gottschalk wrote "La Porto Riqueña," which included eight güiros
and maracas. Hoping to find the use of güiros in Morel's original
orchestrations, the researcher once more re'checked the scores, and
she found that even if the first page of "Puerto RjLco: Sinfonía
sobre Aires del pais" does not include the güiro among the instru
ments of the orchestra, its name is clearly written several pages
after (see APPENDIX L, entry 404, and Figure 22). It should be
observed that the use of the güiro in Morel's "La lira" (entry 293)
refers only to the contemporary orchestration made in 1981 by com
poser Roberto Sierra, and not by Morel Campos himself.
Finally, the word Boriquén, with which the Indians named
their island, was also very popular during the nineteenth century
as it is today. During the Lares' political revolution of 1868,
"La Borinqueña" was sung as a hymn. With lyrics by poetess Lola
W ........
303
Figure 22: The use of the güiro in Morel Campos' "Puerto Rico:
Sinfonía sobre Aires del Pais" (see measures 158-180 of the "An
dante apassionato (recreo sobre el ler. Aguinaldo)."
F .. - -. •
304
Rodríguez de Tió, a Puerto Rican, and music by Félix Astol, a Cata
lonian settled :in the Island, "La Borinqueña" is today's offi
cial anthem. This is another indirect tribute to our ancestors^ the
taino Indians. It should be noticed that Juan Morel Campos included
the melody of "La Borinqueña" in a section of "Aires del pais" (en
try 10), a suite for piano which was last published in 1923. The
work "Puerto Rico:. Sinfonía.sobré Aires-del :pais," -based on’the
suite, is a work for orchestra which also includes a section titled
"Aire de danza, reminiscencia de La Borinqueña" ("Air of danza, re
membrances of La Borinqueña"). It must be remembered that Morel
Campos won a prize for this work in 1895 (See Figure 23).
The African Influence
After having examined the catalogue of compositions by Felipe
Gutiérrez it was impossible to find a connection between his works
and the African tradition. The titles, the genres and the instru
mentation were carefully considered, but no evidence was found.
The researcher believes that since Gutiérrez lived in the city of
San Juan and mostly worked in a religious atmosphere, writing music
for the activities of the cathedral, he identified himself more
with the Spanish traditions of the white urban city, than with the
slave tradition of the black rural districts. Considering his
musical background in San Juan, and for a short while in Europe,
and being somewhat far away from the African currents, perhaps the
composer did not develop an interest for that music or even con
sidered it too nopular for his more refined tastes.
¥ ............ . " ' ...... .

305
g ^ =rÉít¿jL,
| 1''TTT«J^Jte f >|'T-»^>1jl ^ ^
¿jj : IeJ^J‘c¿^ “~
Figure 23: "La Borinqueña" in Aires del pais by Juan Morel Campos;
the orchestral version, prepared by the composer from the suite for
piano, has never been published.
¥--------- ---------------------------------------------------
306
Another alternative which the researcher has considered is. that
Felipe Gutiérrez did not like to acknowledge his own African blood,
which was most surely inherited from his mother, a Puerto Rican.
His father was a Spaniard, but it was very common for Spaniards to
marry black or mulatto women. There are no portraits of the com
poser, though there is a description of his physique in a book writ
ten by José Antonio Daubón and published in 1904. It reads like
this:
Por aquel entonces era Felipe Gutiérrez un hombre joven.

Trigueño de rostro, de mirada apacible, de carácter tí
mido, alto, delgado, de una sensibilidad exquisita, de
un instinto musical extraordinario y de un oído tan fino,
que percibía las disonancias más débiles, en una orquesta
numerosa, cuando se escapaba alguna mala nota en los re
gistros de cualesquiera de los instrumentos secundarios
. . . Otro día, como quien dice, ayer, al penetrar en el
zaguán de lo que llamaban Instituto y después Secretaría
del Departamento de Instrucción Pública, dime de manos a
boca con el maestro Gutiérrez, que ya anciano y achacoso,
después de tina vida honrada, llena de trabajos y priva
ciones, ocupaba el miserable puesto de conserje o portero
de aquella oficina, para ganar un puñado de maravedises y
poder comer.40
A similar situation seems to be present in the case of Tavárez.
The catalogue of his works does not reveal any influence of the
40 "At that time Felipe Gutiérrez was a young man. Dark-complex

ioned, placid looking, having a shy character, tall, thin, with an
exquisite sensibility, with an extraordinary musical instinct and
such a fine ear, that he perceived the weakest dissonances, in a
large orchestra, whenever a wrong note escaped in the ranges of
any of the secondary instruments . . . Another day, so to speak
yesterday, when I entered the hall of what they vised to call Insti
tute and later Office of the Secretary of the Department of Public
Instruction, I suddenly encountered maestro Gutiérrez, who already
old and sickly, after living an honest life, full of work and de—
privatiOTS, occupied a miserable employment as concierge or porter
of that office, to earn a handful of maravedíes in order to eat."
José Antonio Daubón, Cosas de Puerto Rico, San Juan: Tipografía
de La Correspondencia, 1904, 357-358. A copy of this rare book is
kept at the library of the Centro de Estudios Avanzados de Puerto
Rico y el Caribe in Old San Juan.
r
African tradition. One may say that he carried some African blood,
because, even though his French heritage is emphasized by histori
ans, it must be pointed out that his father was b o m in Santo Do
mingo. not in France, as evidenced by his baptismal certificate
(APPENDIX D ) . Amaury Veray describes him as "somewhat bronzed" but
with green eyes (see footnote 120, CHAPTER III of this disserta
tion).
The island of La Española was discovered by the Spaniards
and its first city. La Isabela, was founded in 1493. Santo Do
mingo, a city in the southern coast (the capital of~today1s Dominican
Republic), was founded- in 1497, but the whole island as a colo
ny came to be known with the same name. Black slaves had been in
troduced' since the sixteenth century when the French started their
entrance to the island of Tortuga, and in 1655 to the west coast.
Hie French dominion of what was called Haiti was recognized by the
.Spaiiards in 1697; the French continued to import slaves to work in
developing the economy. Even if the Spaniards invaded Haiti in
1793, they had to hand over the whole island to France two years
later. The western section of Haiti gained its independence in
1804; four years later the Dominicans rebelled against the French
in the Eastern section called Santo Domingo. Spain again gained
control, from 1809 to 1821, but independence was granted to Santo
Domingo in 1821. ■
The researcher mentions these historical facts to demonstrate
that the baptismal certificate of Clotilde Petronila Tavárez Ropero,
the composer1s sister, might not be explicit enough to determine
■share Alejandro Tavárez, the composer's father, w§s b o m . It could
W ~ ..... ..................
308
have been in Santo Domingo, the city, or Santo Domingo, the islands
It could have been in the island during the French dominion (1697-
1809), in the eastern section before or after the Spanish return
(1809-1821), or even in the eastern section during the Haitian ad
ministration' (1822-1844). Since the researcher has not been able
to establish Alejandro Tavárez's age at the time his composer son
was born, one cannot determine during which political administra
tion was he b o m , for how many years he stayed in Santo Dcntíngo be
fore coming to Puerto Rico in 1838, who were his parents, what
African blood, if any, comes from a family of French settlers who
might have married freed slaves, and why he insisted on maintaining
his French citizenship (see CHAPTER III).
Did Manuel Gregorio Tavárez inherit African blood from his fa
ther's ancestors, or from his mother, a Puerto Rican? It is impos
sible to affirm if Tavárez was proud or not of his probable light
mulatto complexion, which some historians describe, but one can
assume that by the very strict social order of the San Juan and
Ponce nineteenth century society, he was better off as a musician to
the service of the upper classes, and thus did not care to compose
in relation to the African tradition. In his short life, it proba
bly never occurred to him to become the defender of the lower and
racially mixed classes.
Such a social conscience was manifested by Morel. While
dreaming in a romantic atmosphere which inspired him improvement
through the beauty of music, he , probably by instinct and not by
political convictions of a fighting nature, was to become the musi
cal knight of the Puerto Rican society, to include its suffering
f '
309
citizens and its working and struggling population. One must re
member that Morel was also a light-mulatto, as can be appreciated
by the portraits which have been preserved. His grandmother.
Carmen Araujo, was a Mexican, his father was from Santo Domingo,
and his mother was from Venezuela. There is a strong possibility
that Morel might even be the proud heir of the three racial cur
rents in America: the Indian, the white, and the black.
Examining the titles in APPENDIX L one finds the following
works written by Morel: "La africana" (entry 8), "Aires del pais,"
which has a section called "danza mulata" (entry 10), "El anillo
de hierro" (identified by an asterisk following entry 26), "La
bella trigueñita" also titled "La trigueñita" (entry 47), "La chan
ga" (entry 87), "La conga" (entry 107), "¿Dónde está el higrro?"
(entry 162), "Grifa, tú me matas" also titled "¡Qué mulata, tú me
matas!" (entry 244), "El guarapo" (entry 246), "El marimbambé"
(entry 312), and "La mulata Rosa" (entry 340).
"La africana," a danza in D Major, only appears in the note-
bode for two flutes which belonged to Roberto Morel Carvajal, one
of the composer's nephews. As indicated in the catalogue, only the
part for Flute One has been attributed to Morel, since the part for
Flute Two indicates Juan Santaella as the composer. The researcher
believes that Morel might have written the melody, but not having
finished the composition, it was later on taken over by fellow
musician Santaella. -The reference, to Meyerbeer's opera with the
same title is made ftirther ahead in the- section about the. danza.
P........................... '~ ' ......

310
The "danza mulata" section of Aires del pais, a suite for
piano, incorporates rhythms which could be identified with the
African tradition (see Figure 24). It should be remembered that
the word mulata (feminine of mulato) is used for persons of mixed
breed who are the first generation offspring of a pure negro and
a white. As Manuel Alvarez Nazario indicates, the first mention
of the word can be found in a letter sent to the king of Spain in
1579: "Avia y ay en esta tierra mucha jente, mestizos, mulatos,
yndios, grifos . . . " ("In this land there were and are many
people, mestees, mulattoes, Indians, griffes . . . " ) . ^ In
South America the term mulato came to be used in different combi
nations: mulato blanco was the offspring of a white and a black,
mulato pardo was the offspring of a black and an Indian, mulato
prieto was the offspring of a black and a mulato pardo, and
mulato lobo was the offspring of an Indian and a mulato pardo.
In the Antilles the possibilities of racial intermingling were
limited to whites and blacks, and this is why a complex differentia
tion did not develop.
During the eighteenth century the word pardo designated the
free mulattoes, while the word mulato was used for those slaves
who were offsprings of a white and a black. After the abolition
of slavery in 1873, the differentiation was no longer necessary.
Today the word mulato is not as favored as trigueño, moreno, perso-
41 A mestee is the offspring of a white man and an Indian woman or

vice versa. A griffe is the offspring of a black and a mulatto,
and a marabú is the offspring of a griffe and a black. • See
Alvarez Nazario, 355.
w
i■
311
8 * L a X * la ta D ana
Figure 24: "Danza mulata" from Aires del pais by Juan Morel; the
title of this section is misspelled in the published version which
indicates "La mulata dawsa." The rhythmic patterns contrast with
those of the "Allegretto" and the "Fandanguillo" (also misspelled in
the published version which indicates "Fandanguielo").
Í
na-decolor (colored person), sepia, or piel canela (cinammon
skinned, mostly used for women). The composition "La mulata Rosa,"
a guaracha, "La bella trigueñita," a danza bailable, and "Grifa,tú
me matas" (also known as "Qué mulata, tú me matas"), another gmra-
cha, are other works which use the mentioned terms in their titles.
Alvare Nazario indicates that in the case of grifa the word has a
negative intention when designating a mulatto, and it usually re-

42
fersto people with kinky hair. But the researcher believes that.
this title can also have an erotic meaning, because tú me matas; (or
you kfl.1 me) is a phrase that can be used by men when they have
43
been sexually subdued by a woman.
It is interesting to notice that the word negro, vised to des
ignate colored people in a rather negative way, can acquire an af
fective value if used in the diminutive (negrito) or in the posses
sive (mi negro). Today lovers use these forms frequently, and they
are also heard among strangers when a certain level of familiarity
is desired.
42 Ibid.
43 As will be discussed later on, there is a persistent emphasis cn

the use of female titles in the works written by Tavárez, Moreland
Quinton. The researcher has a section for proper names and another
for feminine themes (not proper names) in the catalogues of APPEN
DIXES N, 0, P. and Q. Although most of the titles were probably
assigned with the gentlemanly respect due to distinguished friends,
pupils, and relatives, there is also a persistent theory among in
vestigators and historians (who have asked that their names not be
revealed) pointing out to the fact that musicians such as the ones
researched probably had extramarital affairs and could have been
the victims of venereal diseases. Since this statement is not
easy to sustain, and the living relatives of the composers are un
willing to talk about these private matters, the researcher will
only point out the general erotic insinuations. They are indeed an
integral part of the nineteenth century Puerto Rican cultural mani
festations, which provide the study a folkloric element of great
interest.
F
When the researcher was preparing the catalogue of works, she
found "El café de Puerto Rico" erroneously classified under Morel
Campos. Since the lyrics of this tango of unknown author are so
indicative of the relationship of black slaves and white masters in
the coffee plantations, the researcher referred to it after entry 67.
Some important words mentioned there are: mulatita (diminutive of
mulata), amito (diminutive of amo or master), and su mecé (your
mercy).
The work "¿Dónde está el hierro?," a non-available danza,
might also be related to the African tradition of the slavery peri
od. Since hierro means iron, there is a possibility that when the
composer wrote this work he might have thought about the iron .chain
used to restrict the feet of prisoners or slaves, called calzas; or
about the iron ring with a bolt used'to tie a slave with a chain to
the wall, called grillete; or even about the iron collars which
were hung around the neck of a delinquent slave (called collares de
hierro), or perhaps the brand made with a red-hot iron used to des
ignate the owner of the slaves, called carimbo. In Spanish, if the
word is used in plural, hierros means a prison. Other meanings
might be a weapon, a tool, or even a plancha with which to iron
clothes. An additional possibility is hierro as the chemical ele
ment present in blood. The title might refer to iron capsules as
a dietary supplement for anemia and, as commonly believed, to sex
ual weakness in a man. Some people think that ingesting iron can
also facilitate pregnancy in a woman. The researcher has classi
fied "Dónde está el hierro?" in section VI.A of APPENDIX F, where
the compositions related to Puerto Rican expressions are grouped.
F
314
A similar title, "El anillo de hierro," is a zarzuela from
which Morel Campos "arranged" the danza "La tintorera" (entry 467)
and possibly the romanza "Es la flor" (entry 193). The researcher
could not determine if Morel adapted two of the melodies of the
zarzuela written by Marcos Zapata with music by Marqués,'changing,
one of.them to become a danza and leaving the other as a song. As
indicated in the catalogue of APPENDIX L, the composition "Es la
flor" does not indicate the composer, and only the previous owner,
José Ignacio Quinton, but the researcher believes that since Morel
was an orchestral conductor who frequently worked with zarzuela 9cm-
panies, he could have been the-arranger.andr.not:Quinton. The word
anillo means ring, and since the title mentions an "iron ring," it
could also refer to the calza. the grillete, or the collares de
hierro mentioned before. Further research is needed to study the
zarzuelas of the nineteenth century.
"El marimbambé" is the title of a danza in D Major, of which
the researcher only found an incomplete manuscript in the indices
of the Bazar Otero. This title is one of the most interesting,
since it is an illustration of how some words of African origin
were preserved in the Puerto Rican society of the nineteenth centu
ry, even if its meaning is not known. In the excellent study of
Manuel Alvarez Nazario, he first mentions the word marimbambé when
explaining the bilabial consonants which were used in African wards
that were common among the bozales (or imported slaves).^ Later
44 Manuel Alvarez Nazario, 151.
f -------- ' ' .. ..

315
he explains that marimbambé is one of those words probably adapted
from the ancestral terms of black Africa, and transmitted through
several songs which have reached us today, but of which the seaning
45
is unknown. He finally presents a fragment of a song, taken from
the collection of J. Alden Mason:
Marimbambé, Marimbambé,
esta hacienda es mía
y la mando yo.
Yo soy quien manda esta hacienda,
yo mismo, patón, bon-bón.46
"La changa" is the name.cf a danza which has been mentioned by
biographers, but which the researcher has been unable to find. Its.
title can mean two very different things. It can refer to an in
sect known as scapteriscus didactvlus. which lives hidden below the
soil and that harms plants because it gnaws their roots. By exten
sion, since the insect affects the farms, its name must be the ori
gin for a popular phrase which says "caerle (a alguien) la changa"
or "the arrival (to somebody) of a difficult situation," that is,
when everything happens the wrong way for a period of time. But
47
changa can also refer to a personal quality when one says "ser
45 Ibid., 176. Words of unknown meaning are: patón, bon-bon, ñen-

guerengueré, inguaco, yiquin. and others.
46 "Marimbambé, Marimbambé, this property is mine and I rule it. I

am the one who rules this property, myself, patón, bon-bón."
J. Alden Mason, "Porto Rican Folk-Lore, Décimas, Christmas Carols,
Nursery Rhymes, and Other Songs," edited by Aurelio M. Espinosa, in
The Journal of American Folk-Lore, New York, 1918, XXXEV, 143-208.
Quoted by Manuel Alvarez Nazario. Ibid., 299.
47 Changa is a word of probable bantu origin which comes from ngan-

ga, ñanga, or ganga, meaning sorcerer, conjurer, or wizard.
(alguien) la changa" or "(somebody to be a changa." It means a
person who is evil or perverse, who is astute or cunning and who
benefits from a negative situation. There is a parallel phrase:
"ser (alguien) la diabla" or "(somebody) t o b e a she-devil." When
the word is used in the masculine form, and it also refers to a

48
human quality, chango is a person who behaves with vanity and
proudness, and by extension, one who behaves artificially. It can
also mean a silly person or a joker; one who does not behave seri
ously. Words derived from chango are: changuear (to grimace, to
be a clown, or to be coquettish or playful), and changuería (a joke,
a whim, or a prude).
The composition "La conga," a danza in D Major written in 1886,
was published by the Institute of Puerto Rican Culture in the
fourth volume of Juan Morel Campos: Danzas. Its title makes ref
erence to the group of blacks which came to Puerto Rico from the
equatorial areas of West Africa bathed by the river Zaire, and es-
pecifically to the group of tribes from the bakongo family, local
ized in the southern bank of the river and the frontier with Angola.
Other blacks were imported to Puerto Rico from the French Congo and
words such as bembe (wide lips), dengue (a sickness), and merengue
(a type of dessert and also the name of a dance), point out to the
linguistical roots of the Spanish language, which proceed from div
erse tribes of Equatorial Africa. The term congo came to be used
48 If the word is used in the masculine form, one of the meanings

of chango is a black colored bird (Quiscalus niger brachypterus
Casim). A chango prieto is sometimes applied depreciatorily to a
black person^ If chango refers to a human quality it probably
comes from the bantu verb kunyang'wa*, which means to be proud.
F
317
49
as a gentilitial last name of people. Today the word congo is
also used negatively to: describe, a. black person .who. seems
to have pure or almost pure predecessors, having facial features
which indicate a clear African origin. The forms frequently used
are: negro congo, negro angolo, and negro cocolo. ^
If the word is used in its feminine form, conga can mean an
i ns trument and also a dance. As an instrument it is a long and
narrow drum which is beaten:with the hands. Today it is very popular .
in bands of Latin music, particularly in the Caribbean area, and
can also be seen played in some rock b a n d s . A s a dance, the con-

52
ga probably derives from the cunyá, but it is classified by
Alvarez Nazario as one of the Puerto Rican society dances that have
53
names of Afro-American origin. The conga comes from Cuba
49 Alvarez Nazario mantions a Ponce document from 1826 where slaves

Antonio Congo and Pedro Congo are named. See Alvarez Nazario,
footnote 49.
50 Cocolo comes from an ancient tribe of Western Sudanese origin

who inhabited the regions of today's Republic of Guinea.
51 The researcher has observed that groups such as Toto (which has
a Puerto Rican male percussionist) and Cyndi Lauper (which has a
female percussionist) are using congas. They offered concerts in
San Juan , Puerto Rico, on December 12, 1986 and January 3, 1987,
respectively.
52 See CHAPTER II of this dissertation in the section titled "The

African Heritage," and the reference made to the dances brought
from the French colonies.
53 In this category Alvarez Nazario also mentions the chachachá,

marnho, merengue, and samba. He explains that the dance rumba, of
an Afro-Antillian origin, derived from the candungué (see CHAP
TER II of this dissertation) but has a Spanish name that comes from
the word rumbantela. meaning recreation or diversion. Alvarez
Nazario, 320, footnote 118.
r
and reached its greatest popularity in the decade of 1930-1940.
This is why the reseracher believes that Juan Morel Campos was rer
ferring to the musical instrument and not to the dance called conga..
The last work by Morel which denotes African influence in its
title is "El guarapo," a danza in C Major, of which the researcher
found an incomplete manuscript in the indices of Bazar Otero (enve
lope MOR 228 P of the General Archive in San Juan). The guarapo is
a drink prepared from the fermented juice of sugar cane and was a
common term used by the black workers in the sugar mills. It is
possible that the word is a derivation of garapa, a sweet alcoholic
beverage prepared from c o m and yuca. Since the sugar cane indus
try spread to the Antilles, there it came to be known as grappe.
Words derived from guarapo are guarapeta (drunkenness) and guara-
pillo (homemade infusion prepared with medicinal leaves).
The researcher carefully checked the instruments used in the
works of Morel, and found no indication of an African influence.
She also checked the genre of the works, but did not find any
bomba, plena, or rumba.
It is good to remember that Morel's bombardino player and
collaborator, Domingo Cruz, had a nickname of African origin:
Cocolía. This word, which refers to a blue colored crab that lives
in salt water or to a black variety that lives in rivers and streams

54
and swims in schools, can also be a derivation of the word
cocolis ( a person from a Sudanese tribe). Today the related word
54 See Hernández Aquino, 147.
r ..........
319
cocolo, mentioned previously, is very much identified with the
group of people who enjoys Latin music such as the salsa, and who
differentiates itself from the rockeros (or people who prefer rock
nusic), through their clothes, cars, and way of speaking.
No evidence of African heritage can be found in the works of
Quinton Rosario, the son of a French citizen from Angers, France,
and a Puerto Rican from Caguas, from whom he must have inherited his
light mulatto complexion that can be appreciated from the existing
photographs. Titles were examined, as well as instrumentation and
genres, and the researcher concludes that of the four composers.
Morel is the one who represents this important current in the cul
tural development of the Puerto Rican nineteenth century society.
& only represents it partially, since he does not seem to like its
genres, but he demonstrates that musicians can be aware of their
surroundings, and that the natural environment as well as the human
relationships are present before and during the musical creative
process. In this case the different titles analyzed showed how
deeply important was the African heritage in the vocabulary and ex
pressions of Puerto Rico, and how it was captured by the observant
musician.
The Influence of Catholicism
One of the legacies of the Spanish cultural influence in
Puerto Rico was the Catholic religion. Musicians were aware of the
strong impact of the Catholic Church, and reflected its influence
in different ways and according to their level cf involvement.
Composer Gutiérrez felt deeply attracted to the Church; he lived
f .. ~ .
near the cathedral where he worked as Chapel Master for forty years,
from 1858 until the--.change of sovereignty-in. 1898.. Maestro Gutiérrez-
wrote one hundred and eight religious compositions out of a total of
one hundred and twenty-six. On the other hand, Tavárez wrote only
one work which might be religiously-oriented but which is classified
as a danza; Morel wrote sixty-four out of a total of five hundred
and sixteen, and Qiuinton wrote fifteen out of á total of ninety-five
compositions.
Rituals and -Prayers in Latin
It is clear that Gutiérrez's main interest was composing for
the Catholic Church. Of his religious production, mentioned in
CHAPTER IV of this dissertation, there are fourteen works dedicated
to Christ. These works commemorate Holy Week activities such as
Palm Sunday, Holy Wednesday, Holy Thursday (the Last Supper), Good
Friday (the Crucifixion), and Easter Sunday (the Resurrection).
Others are dedicated to the Ascension, Corpus Christi,~*~* and
Christmas Eve. For these festivities Gutiérrez wrote misas, lamen
taciones . peticiones, and other prayers.
55 The festivity of Corpus Christi was observed in Puerto Rico with

great devotion, but probably more modestly than in Spain. The-pro
cession in the city of Toledo, for example, includes a large custo
dia (the monstrance where the consecrated Host is exposed to re
ceive veneration of the faithful), which is taken through the street
after the Mass. For the occasion people hang mantos (mantles or
shawls) in the balconies; streets are adorned with lamps and banr
ners (estandartes). A rather strong smell of thyme (tomillo) and
rosemary (romeroX is perceived because small branches have been dis
tributed and thrown on the paving stones or adoquines. When the
processicn begins poems are recited through a loudspeaker with the
refrain "The Lord is going out in procession." Shots are fired
when the custodia starts moving out from the cathedral. The Guard
¥
321
There are fifty works dedicated to the Virgin Mary.'**’ In this
category Gutiérrez wrote salves, letanías. gozos, masses» a novena
rio , a septenario, and several t o t a •pulchras. Gutiérrez also wrote :
eight works dedicated to the Saints (including three masses, four
novenaries and a salve); thirty-five compositions dedicated to dif
ferent activities of the Church (including conclusiones, masses,
ofertorios, a miserere, and a Te Deum); and works for the Office
of the Dead (such as a Parce mihi, responsos, and a vigilia).
Since the Mass is the most important and lengthy ceremony of
the Catholic Church, Gutiérrez paid special attention to it,
writing twenty-three (see APPENDIX J, entries 36-58). The Mass
consists of a series of prayers whose texts vary from day to day
(the Proper) and others having the same text in every mass (the
Ordinary). Some prayers are recited to a monotone or spoken by the
is placed to guide all those participating: members of the band,

acolytes, priests, girls carrying candles, boys dressed as monks,
young women dressed with the typical Toledan clothes and carrying
fruits or large containers (to represent the agricultural products
of the region), and political figures such as the President of the
Community' of Castilla de la Mancha and the Major, who carries a
symbolical stick as a sign of authority. For the people of Toledo,
a tcwn near Madrid, this is a very important festivity, which has
been observed for nearly five centuries. Participation is sponta
neous; even hospitals send some of their religious personnel to
participate in the procession. The cathedral is decorated with
numerous tapestries exhibiting religious scenes; many people dress
in white, specially children. (This detailed description of the
Corpus festivity is possible thanks to the observations of undergrad
uate student Nélida Frontera— the researcher's daughter— who was
able to witness it on June 19, 1987 during a study trip to Spain.)
56 Besides the fifty works in honor of the Virgin, Gutiérrez also

included compositions for Mary in the "Notebook with religious cam
pos itions" (entry 61) which has been included among the works in
honor cf Christ. Notice that in the list presented in CHAPTER IV,
the work "Salve a solo" (entry 98) has also been included with its
second title, "Novenario de Nuestra Señora de Belén."
r . ..
celebrant priest and his assistants, and.other prayers .are sung.to a
distinct melody by a choir. The following is the sequence of pray
ers of the mass:
Introit - Proper and sung
Kirie - Ordinary and sung
Gloria - Ordinary and sung
Collect - Proper and recited
Epistle - Proper and recited
Gradual - Proper and sung
Alleluia or tract - Proper and sung
Gospel - Proper and recited
Credo - Ordinary and sung
Offertory - Proper and sung.
Secret - Proper and recited
Preface - Proper and recited
Sanctus - Ordinary and sung
Canon - Ordinary and recited
Agnus Dei - Ordinary and sung
Communion - Proper and sung
Post-Communion - Proper and sung
Ite Missa Est or Benedicamus Domine - Ordinary and sung
The mass can be written in a variety of styles: plainsong,
cactus firmus, motto cycle, and freely invented. The plainsong is
cyclical from the liturgical point of view, while the cantus firms
has aLl the movements based on one and the same melody, usually
assigned to the tenor. The motto cycle or motto mass achieves uni-
F "....
323
fication by the use of an identical motif at the beginning of each
movement.
After the year 1600 several schools developed, and masses were
either written a capella, for enlarged choirs, or for an orchestra.
Together with a variety of styles in terms of sonority, there fol
lowed a division of the mass into a greater number of movements,
particularly within the "Gloria," which could include a section ti
tled "Qui tollis peccata rnundi" ("Who tabes away the sins of the
world"), and "Quoniam tu solus sanctus" ("For you alone are holy");
and also within the "Credo" which could include "Et incamatus est"
("And He became flesh"), "Crucifixus" ("Crucified"), and "Et resu-
rrexit" ("And He rose again"). As a repeated phrase, before and
after recited sections, the "Dominus vobiscum" ("The Lord be with
you") could also be song.
It should be observed that the Requiem Mass or Mass for the
Dead begins with the special Introit "Requiem a e t e m a m dona eis
Domine" ('Give them eternal rest. Oh Lord"). The liturgical struc
ture is essentially like that of any other mass, but the joyful
sections of the Ordinary are omitted ("Gloria" and "Credo") and the
"Alleluia" is replaced by the "Tract," after which the section
called the "Dies irae" is included.^
Of the twenty-three masses written by Gutiérrez, eleven are
not available. Of the other twelve, there are four for voices:
"Misa a dos voces" (entry 39), "Misa de la Anunciación" (entry 42),5

7
57 See Wili Apel, 725.
f .
"Misa para voces de niños" (entry 55), and "Misa pastorela" (en-
58
try 56). Seven others are for voices and orchestra: "Misa" in
G minor, entry 36), "Misa a dos contraltos de niños o dos bajos"
(entry 37), "Misa a dúo para coro y orquesta" (entry 40), "Misa ¿e
la Anunciata" (entry 43), "Misa de Requiem” (entry 48), "Misa de
Requiem No. 2" (entry 49), and "Misa de San José" (entry 50)
Only one mass was written for voices and organ: "Misa a dos voces"
(entry 38). Obviously, in terms of instrumentation, Gutiérrez
seemed to prefer the mass for choir and orchestra. It must be re
membered that he had the necessary musicians to play the different
instruments of his orchestra,^ and that the architectural struc
ture of the cathedral provided a proper environment for the acous
tical effects he wanted to create.
Gutiérrez's masses mostly include those sections of the Ordi
nary which are sung: "Kirie," "Gloria," "Credo," "Sanctus," "Bene-
dictus," and "Agnus." Sometimes he also writes for the sections
that can be added to the "Gloria." In the "Misa a dos voces" he
includes a "Quoniam tu solus," as he does in the "Misa a dúo para
coro y orquesta," the "Misa de la Anunciación," and the "Misa de5

8
9
6
0
58 It is possible that the "Misa pastorela" might have included

instruments, but their parts have not been found.
59 Other masses, which, although not available, indicate the use of

an orchestra are: "Misa de Noche Buena" (entry 47), "Misa de San
Juan" (entry 51), "Misa de Santa Cecilia" (entry 52). and "Misa
pequeña en Do Mayor" (entry 57).
60 See CHAPTER IV of this dissertation related to the instruments

used by Felipe Gutiérrez.
f----- - ....... .
San José." The more elaborated "Credo" receives attention in the
"Misa a dos voces" (where he includes "Incamatus" and "Crucific-
tus"), the "Misa a dúo para coro y orquesta" (where he includes
"Incarnatus"), and the "Misa de San José" (where he includes "Cru-
cifixus" and "Et resurrecsi").
In the case of the Proper of the mass, Gutiérrez only wrote an
"Ofertorio" for his "Misa de la Anunciata." Separate "Ofertorios"
were also written by the composer,-as can be observed in the cata
logue under entries 67-69. Apparently, Gutiérrez did not pay atr
tention to the other sections of the Proper of the mass.
A complete musical analysis of Gutiérrez's masses is impossi
ble at this moment, since most manuscripts are old and the notation
is not clear. A careful restoration needs to be done so that the
notes, figures, rests, and other musical symbols are clarified.
Obviously, this project is out of the scope of this dissertation,
but plans are under way to accomplish this urgent need in the near
future. Another important difficulty is the fact that there are
no orchestral scores for most of the works written for orchestra.
It is almost sure that Gutiérrez wrote them, because otherwise it
is almost impossible to establish a modal or tonal pattern, and a
harmonic relationship between the voices and the instruments. But
many are lost.
Only two masses by Gutiérrez have available orchestral scores:
"Misa de Requiem No. 2" and "Misa a dos contraltos de niños o dos
bajos." Since the "Misa de Requiem No. 2" is a more mature work,
having been written in 1867 (while the other mass was written in
326
1858 and was probably the first work written by the composer for.the •
.cathedral), the researcher chose this work for a brief analysis.
Having observed that the only other composer who devoted time
to write a mass was José Ignacio Quinton, it also seemed proper to
make a comparison between the two works, especially when Quinton's
mags is also a "Misa de Requiem" (see APPENDIX M, entry 49).
While Gutierrez's "Requiem Mass" is still in manuscript,
•Quinton's "Requiem Mass" has already been reconstructed for four
voices and organ, by researcher and composer Amaury Veray.
Gutiérrez wrote a shorter mass, since he only included the four
parts of the Ordinary which are sung, and the ''Sequentia" or 'Dies
itae" section typical of this type of mass. On the other hand,
Quintm wrote a longer mass, since he also included the parts of
the Proper which are sung ("Introit," "Gradual," "Offertorio," and
Ccnnunion"), together with a "Responsorio."
If one considers at least the first half of each of these
masses, obvious differences are immediately evident. Gutiérrez's
Mass begins with a "Kirie" in the tonality of C minor and the indi
cation of Moderato in time %..The instruments (which are flute,
clarinet in B flat, horn in E flat, bombarding, violin 1, violin 2,
and bass)®* and the voices (two tenors), all begin simultaneously.
Section A apparently covers twelve measures which end in a half ca-
61This analysis is based on the score. It should be noticed that

the researcher found additional vocal and instrumental parts that
are not included in the score. S e e APPENDIX J, entry 49.
Í " ...
62
dence on chord G. But the crossed-out section with.letter B
implies that the second section starts on the next page, but only
after the four instrumental measures that are also a part of A.
The researcher believes that Gutiérrez intended this part to be
sixteen measures long.
Section B, with lyrics "Christe eleison," has fourteen mea
sures. The violin 1 part has two interesting measures with fully-
diminished arppeggios. One:is C#-ErG-Bb and the-other is
B-D-F-Ab... This section ends in a half cadence o n .the G.minor .
chord;
A short but separate section begins after a double bar, also
with lyrics "Christe eleison." It has a fortissimo indication in
the bass, and it covers four measures, but has a repetition sign
with two endings. Four subsequent measures serve as an ending, but
it is not clear why the composer has included in the last one of
these measures the word "Kirie" and then a handwritten note which
says "Como de A a B" ("As from A to B") (See Figure 26). The re
searcher tried to find similarities between the melodic content of
the mentioned measure with any of the preceding ones, in case :it
referred to a repetition, but she found none. Other alternatives
must be considered in future reconstruction efforts.
The "Kirie" ends with a last sixteen-measure section ending in
the tonic of C minor. Counting the repetitions, the researcher6

2
62 As can be seen from Figure 25, the third page of this mass has a
crossed-out note on the bottom of the page. Since it is indicative
of the composer's thoughts, and also of the fact that he might have
been one of the singers, -the researcher has included this text in
APPENDIX J, entry 49.
r
Reproduced with permission of the copyright owner. Further reproduction prohibited without permiss i
o Figure 2,5s Crossed-out note on page 3 of the "Kirie" in the "Misa de Requiem No. 2"
by Gutiérrez; the composer indicates that he and his friend are two "bajotes" (bass
328
singers) but that their "tessiture" and "quality" have a "short extension."
329
believes the "Kirie" has fifty-eight measures as a whole. Eran the
"Kirie" Gutiérrez goes on to the "Sequentia," which is seventy-se
ven measures long and is also in C minor, and % time, but an Alle
gro Moderato. Three introductory measures lead to the melodic be
ginning which has a rather simple vocal line and a more elaborate^
accompaniment for the violins. The first section covers sixteen
measures plus an additional one for the dominant chord in G. The
Figure 26: Passage from the "Kirie" in Gutiérrez's "Misa de

Requiem No. 2," The indication "As from A to B" could mean a repe
tition of previous measures, such .as the:two measures.before the B
(see previous Figure), or the first four measures of page 4 which
area transition to the "Christe eleison." The researcher believes
the manuscript is not clear enough as to the meaning of this indi
cation.
I .........
330
63
lyrics are "Dies irae . . . Sibylla.." The Menos section begins
with a solo part for tenor 2, covering eight measures with lyrics
"Quantus tremor . . . venturus." It goes on with a duet of tenors
covering sixteen measures which begin with lyrics "Liber scriptus
. . . judicetur," and ends with an instrumental cadence in E flat
(since it has modulated to the relative Major).
It is in this section that the researcher believes there is
enough evidence to establish the fact that the last staff of the
score is devoted to a double bass and not to a metal bass or a.male
bass singer. The manuscript is very misleading since sometimes the
last staff is not bracketed, other times it is bracketed together
with the second tenor, and on most occasions it is bracketed with
the two tenors. Lyrics are only included for the tenors (although
one could consider the possibility that the composer did not write
the male bass singer's line because he was doubling the second
tenor), and in this section there are indications of legato and
of accents which are proper for a double bass (See Figure 27).
When the lyrics begin again in "Judex ergo . . . remanebit,"
tenor 1 has a solo part that melodically is very simple, and in
cludes an accompaniment only in the violins and the bass. The vio
lin has several sixth and seventh chords. This section covers
.twelve measures and ends in phord G (the dominant of C minor), al
though it immediately goes on to the section of "Lacrymosa dies
ilia . . . requiem." It is a duet for tenors, and has an accompa-6

3
63 See the analysis of Quinton's "Requiem" further ahead for the

conplete text of the "Dies irae."
f
331
niment using all the instruments. It covers eight measures. The
tempo changes to Vivo when the lyrics "Huic ergo" begin. This sec
tion covers other eight measures, after which there is one measure
with a whole-note rest and a fennata. A short Adagio of six addi
tional measures serves as a codetta which ends in an authentic im
perfect cadence in the tonic of C minor. The lyrics "Dona:eis re
quiem" are included.
Quinton's "Requiem Mass" is a very different composition, not
only in length (it has five-hundred and ninety-five measures, while
Gutiérrez's has only two hundred and fifty-one), but also in musi
cal language. It must be remembered that Gutiérrez only intended
his mass to be a "Misa pequeña" or short mass, and that he wrote
it in 1867, having in mind its immediate premiere for which simpler
lines could be easier to perform. On the other hand, Quinton want
ed his Mass to be a Solemn one, and having written it in 1903, he
not only wanted to use the newer harmonic language cf chromaticism
but probably wanted his singers to be professionals (since the
parts are difficult enough to need numerous rehearsals). The re-
.searcher does not know if this Mass was ever premiered, but be
lieves that in case it was, Quinton himself might have played the
organ part, which is also very daring . technically and harmoni
cally.
Quinton's "Requiem Mass" begins with an "Introito" which is.a
Moderato in G minor. The organ plays a short introduction of eight
measures and then the two feminine voices join with the text "Re
quiem a e t e m a m dona eis Domine." The four voices sing when this
text is sung the second time and. the mode changes from the previews
Figure 27s Page 14 of Gutiérrez's "Misa de Requiem No. 2." This page of the "Sequentia"
includes legatos and accents in the last staff. The researcher believes this line is
for a double bass and not for a bass singer.
332
333
•G harmonic minor to G natural minor. A clear emphasis is made on
the chromatic scale (see Figure 28) in the voices of the tenor and
the organ accompaniment. There is a modulation to D Major in mea
sure seventeen, and this section ends with a short codetta played
by the organ. The researcher believes this first section covers
thane. A.
A new theme begins in measure twenty-five with lyrics "Te de-
•cethymnus . . . " The tonality is G harmonic minor and the rhyth
mic pattern of the organ is different (see Figure 29). Theme B
continues up to measure forty and is followed by a codetta which
ends in B flat Major in measure forty-eight. After the "Introito"
comes the "Kirie" which is an Andante, twenty-eight measures long.
Ihe voices alternate in such a way that the feminine ones announce
the melodies, and masculine ones either answer or join to continue
the melodical statement. The chromatic sequence of the motives
which begin with an interval of a sixth is. the characteristic of
this section. A short transition leads to a variation of theme A
in the contralto solo of measure thirteen. New variations appear
in the last measures when the four voices restate the "Kirie elei-
scn, Christe eleison" several times; the ending is in the tonic
chord of B flat Major.
The "Gradúale" is thirty-two measures long, and it begins in
exactly the same way as the "Introito." A new melody is incorpo
rated in measure sixteen, which is eight measures long and includes
lyrics "In memoria aeterna . . . " -It is repeated and concludes
with a codetta ending in an authentic imperfect cadence on the to
nic of G minor.
W '
334
The "Dies irae" is the longest section of the Mass, since it
covers one-hundred and sixty-four measures. Quinton begins with a
Maestoso covering the following text which is also included by
Gutiérrez, as indicated by the brackets:
Figure 28: Page 2 of Quinton's "Requiem Mass." A chromatic des

cending scale can be observed in the voice of the tenor and in the
organ accompaniment.
f ------- ••
335
Dies irae, Dies ilia ]

Solvet saeclum in favilla]
Teste David cum sybilla ]
TTrig section is in F minor, although chromaticism is used frequent
ly. There follows a Piu vivo section also in F minor. Except for
't
Figure 29: Page 4 of Quinton's "Requiem Mass’." This section of the

1Introito" presents a new rhythmic pattern in the organ accompani-
ment. The composer has returned to the original G harmonic minor.
IF------
W "
the first two measures, the feminine voices sing alone, following
a rhythmic pattern that includes a quarter note with double dots
and a sixteenth note. The lyrics are as follows:
Quantus tremor est futurus ]

Quando judex est venturus ]
Cuneta stricte discussurus
Tuba mirum spargens sonum.
Per sepulcra regionum.
Coget omnes ante thronum.
Then comes a solo for the contralto, starting on measure twenty-
nine, which alternates longer half-notes with the previous rhythmic
pattern; the tonality is E flat Major:
Mors stupebit et natura

Cum resurget creatura,
Judicanti responsura.
Liber scriptus proferetur ]
In quo totum continetur, ]
Unde mundus judicetur. ]
Judex ergo cum sedebit, ]
Quidquid latet apparebit ]
Nil inultum remanebit. ]
The contralto takes a short rest while the organ makes a half ca
dence with a seventh chord in B flat. It then continues:
Quid sum miser tunc dicturus?

Quern patronum rogaturus?
Cum vix justus sit securus?
The soprano joins the contralto when the tonality changes to Aflat
Major, singing the following lyrics:
Rex tremendae majestatis,

Qui salvandcs salvas gratis.
Salva me, fons pietatis.
Recordare Jesu pie.
Quod sum causa tuae viae:
Ne me perdas ilia die.
When the soprano begins her solo on .measure eighty-one, the compo
ser suddenly modulates to C Major, the parallel tonality of C minor
which in turn is the relative minor of E flat Major.
337
Quaerens me, sedisti lassus

Redemisti crucem passus:
Tantus labor non sit cassus.
An Andante comes next, this time in F Major and in 1 time. It has
chromatic influence, an arpeggiated accompaniment, and lyrics in a
soprano solo:
Juste judex ultionis

Donum fac remissionis
Ante Diem rationis
Ingemisco tanquam reus.
Culpa rubet vultus meus
Supplicanti parce, Deus
Qui Mariam absolvisti
Et latronem exaudisti
Mihi quoque spem dedisti
Freces m eae.non sunt.dignae.
Sed tu bonus fac benigne,
Ne perenni, cremer igne
Inter oves locum praesta
Et ab haedis me sequestra
Statuens in parte dextra.
This section ends in mensure ene hundred and twenty-eight, in C Ma
jor, and then the composition goes on to Tempo 1° (which is a Made-
rato), also returning to time % and to F minor. The melody is the
same as in the beginning, and the lyrics, sung by the three upper
voices, are:
Confutatis maledictis
Flammis acribus addictis
The bass also joins for:
Vocame cum benedictis
When the Piu vivo section returns, still in F minor, it follows the
same melody and is then sung by the four voices with the following
lyrics:
Oro supplex et acclinis

Cor contritum quasi cinic
Gere curan mei finif
Lacrimosa dies ilia ]
f
338
Qua resurget ex favilla ]

Judicandus homo reus ]
Euic ergo parce Deus ]
A last section, also in F minor, is a Menos and a duet for soprano
and contralto; it has the following lyrics:
Pie Jesu Domine, ]

Dona eis requiem. 64 ]
The rallentando in the last four measures leads to a picardy third,
that is, the composer ends his "Sequentia in F Major, with lyrics
"Amen."
The parts of the Masses examined thus far clearly demonstrate
that Gutiérrez*s approach to the Requiem Mass is very different
from that of Quinton. His melodic lines are more simple, as is. the.
instrumental accompaniment, and the emphasis is clearly tonal with
a TniTvimiiTn cf modulation. On the other hand, Quinton's melodic
lines are more elaborated, and chromaticism is outstanding through
out the whole work. Modulation is very frequent. It is obvious
that the thirty-six-year span of time from one work to the other
really made a marked difference in style. Both composers were
excellent musicians and understood the musical language of their
times, which they reflect through these Masses, even if they are
limited by the Latin ritual they are following. The researcher
believes that if other musicians from the mid-nineteenth century
and the early twentieth were compared, the results would probably
demonstrate a similar evolution in compositional style between
them. The sections of the masses which were analyzed were chosen6
4
64 The Latin text has not been translated since the purpose has
been to provide a reference in order to analyze' the work musically.
r----------- -- ------------ ------------- ------- --------

339
as an example, since it is impossible to analyze the whole produc
tion of the four composers being researched.
Besides the masses, other Latin prayers attracted the atteiir
tion of the composers. Those devoted to the Virgin Mary were among
the most favored, particularly those related to the Holy Rosary. As
was explained in CHAPTER II, the rosario could either be recited
(rezado) or sung (cantado). In any case, the faithful started by
saying a Mystery, and then prayed one "Our Father," ten "Hail
Marys," and one "Gloria." After the five Mysteries with.their car-
responding prayers were said, the letanías followed.
The Mysteries are classified into three groups. Those which
are joyful are announced on Mondays and Thursdays:
The Annunciation
The Visitation
The Birth of Our Lord
The Presentation of Our Lord in the Temple
The Finding of Our Lord in the Temple
Those which are sorrowful are announced on Tuesdays and Fridays:
The Agony of Our Lord in the Garden

The Scourging at the Pillar
The Crowning with T h o m s
The Carrying of the Cross
The Crucifixion and Death of Our Lord
3he mysteries which are glorious are announced on Wednesdays,
Saturdays, and Sundays:
The Resurrection of Our Lord

The Ascension of Our Lord into Heaven
The Descent of the Holy Ghost upon the Apostles
The Assumption of Our Blessed Mother into Heaven
The Coronation of Our Blessed Mother in Heaven65 6
5
65 See. Rev. Rudolph G. Bandas, Catholic Layman's Guide, revised and

enlarged, edition, St. Paul, Minnesota: Joannes Gregorius Murray,
1942, 15.
r
340
The litanies also vary according to the occasion. The most
common are those in honor of the Virgin Mary, since the Rosary is
a form of devotion primarily associated with the Mother of God.
But there are also the "Litanies to the Saints," the "Litanies to
the Sacred Heart," the "Litanies to Saint Joseph," the "Litanies to
the Precious Blood of Christ," and others. They all begin with:
Lord, have mercy on us

Christ, have mercy on us
Lord, Have mercy on us
Christ, hear us
Christ, graciously hear us
God, the Father of Heaven, have mercy on us
God, the Son, Redeemer of the World, have mercy on us
God, the Holy Ghost, have mercy on us
Holy Trinity, have mercy on us
After this reference to the Holy Trinity, which is the central be
lief of the Christian dogma, the litanies vary in their content.
Those of the Virgin continue with:
Holy Mary
Holy Mother of God
Holy Virgin of Virgins
Mother of Christ
Mother of Divine Grace
Mother most pure . . .
Instead, those of the Saints go on with:
Holy Mary
Holy Mother of God
Holy Virgin of Virgins
St. Michael
S t . Gabriel ,g
St. Raphael . . .
And thoiie of the Sacred Heart go on with:
Heart of Jesus, Son of the eternal Father

Heart of Jesus, formed by the Holy Ghost 6
66 The English text of the "Litanies of the Blessed Virgin," and

the "Litanies of the Saints" were obtained for the researcher by
f ' ■ “ .. “ “ .... ”
341
in the womb of the Virgin Mother

Heart of Jesus, of infinite majesty
Heart of Jesus, Tabernacle of the Most High
Heart of Jesus, House of God and Gate of Heaven
Heart of Jesus, burning Furnace of charity . . .
It must be observed that after the priest, or the person who is
leading the prayers, says each one of the litanies, the faithful
answer: "Pray for us."
The researcher believes that the Puerto Rican composers were
interested in the devotion of the Holy Rosary, not only because it
is an expression of the main dogmas of the Catholic faith, ,but also
because saying the Rosary was a tradition followed during the tóele
month of May, and in the velorios. Besides, the litanies were
used in the celebration of the fiestas de cruz, which have already
been described in CHAPTER III. The catalogues of compositions shew
that Gutiérrez wrote ten "Letanías." Morel wrote one and Quinton
wrote another. The lyrics for the litanies are always included
in Latin (see Figure 30):
Kyrie eleison
Christe eleison . . .
Sancta Maria
Sancta Dei Genitrix . . .
Mater Purissima,7
6
Mrs. Carmen Rita Vda. de Corretjer, through some friends in Phila

delphia, Photocopies, n.n., n.p., n.d.
67 For the English text of the Litanies of the Sacred Heart see
A Week of Reparation to the Sacred Heart of Jesus, revised edition,
Chicago: League of the Sacred Heart, 1953, 16-17. For the Latin
and Spanish text of the Litanies of the Sacred Heart and the Lita
nies of the Virgin see Gaspar Lefebvre, Misal diario y vesperal
(translated by Rev. Germán Prado), Madrid: Abadía de Santo Domingo
de Silos, 1951, 2088-2C90 and 2097-2099. This prayer book-waslent
to the researcher by Ms. Alice Mabel González. Also see P. Luis
Ribera, C.M.F., Misal diario completo, sixth edition, Barcelona:
Editorial Regina, S.A., 1962, 69-71. This prayer book was lent by
Father Pablo Valenzuela, priest of the Parroquia Corpus Christi.
f
342
Figure 30: "Letanías" by Juan Morel. Campos. The lyrics of the

letanías are always written in Latin-.
iReproduced with permission of the copyright owner. Further reproduction prohibited without permission.
343
Mater Castisslma . . .
Agnus Dei qui tollis peccata mundi.
Farce nobis. Domine
Agnus Dei qui tollis peccata mundi,
Exaudi nos. Domine
Agnus Dei Qui tollis peccata mundi.
Miserere nobis.
It must be remembered that up to the Second Vatican Council (1962-
1965) announced by Pope John XXIII, all the Catholic Church rituals
were said in Latin and not in the vernacular language of each coun--
try. This is why the composers adapted their music to the tradi
tional texts of the different prayers they were to write for.
Prayers in the Vernacular
Nevertheless, it is very interesting to observe that the com
posers also wrote religious music following a free style and the
song form, and used lyrics in the Spanish language. Gutiérrez's
catalogue shows that he wrote the following religious compositions
in the vernacular: "Adiós a la Virgen" (entry 1), "Dios te salve"
(entry 12), "Gozos de la Inmaculada Concepción" (entry 16), "Se
cuencia de Resurrección y Corpus" (entry 107), and "Las siete pala
bras" (entry 111). In addition, the researcher found that the'^fo-
venario de la Concepción" (entry 62) includes an "Ave Maria" (or
"Hail Mary") with lyrics in Spanish:
Dios te salve Maria gg

llena eres de gracia . . .
It also includes the "Gozos primeros" with lyrics in Spanish:
Para dar luz inmortal,

siendo vos Alba del día6
8
68 "Hail Mary, full of grace . . .
r
344
sois concebida Maria

sin pecado original.69
The lyrics for the "Estrofa 3" are the following:.
Como la culpa traidora

al sol no pudo mirar,
tampoco pudo aguardar
que amaneciese la aurora
pues huye de vos. Señora
este nocturno animal.70
The ''Magnificat" of the mentioned "Novenario de la Concepción" is
in Latin, as well as the "Tota pulchra."
Taking a look at the music of "Despedida a la Virgen," also
known as "Adiós a la Virgen," one can observe that the melodic lan
guage exhibits a variety of intervals and fragments of related
scales that are an indication of a great knowledge of harmony. Ihe
researcher believes this work might be a production of Gutierrez's
more mature period. On Figure 31 one can observe the second staff
for fragments of the scales of A Major and B Major intercalated
within the main tonal frame; on the sixth staff there is a descend
ing diminished fifth or tritone.
Of the religious compositions in the vernacular, only "Las
siete palabras" is dated (1882). The researcher believes that
since Felipe Gutiérrez was fifty-seven years old when he composed
it, perhaps the other works in the vernacular are also a product
of deep musical thought and a demonstration of the composer's
69 "To give immortal light. Thou being the dawn of the day, you are
conceived, Mary, without original sin."7
0
70 "Since the treacherous guilt, could not look at the Sim, it

could not either wait, for the dawn to show itself, because it
flees from you, [Our] Lady, this nocturnal animal."
F ...............................................
345
"Despedida a la Virgen" by Felipe Gutiérrez (lyrics in Spanish).
Figure 31:
I
346
evolution in style. Was Gutiérrez trying to innovate? Was he par
tially stepping away from the rituals and the tradition? Was he,
perhaps, tired of subordinating the music to the Latin texts? Was
he pointing the way for other musicians when he showed a change
from the previous compositional style? Or was he being influenced
by ether musicians of his times, such as Tavárez, Morel and
Quinton? Perhaps the exact.answer will never be known, but his
music, which practically has remained unknown to the public, speaks
for itself.
Taking a lock at Tavárez's catalogue, one can observe that
this composer apparently wrote only one work which could be of a
religious character: "La Virgen de Borinquen" (APPENDIX K, en
try 56). Since this composition is not available, and is classi
fied by biographers as a danza, it is impossible to classify the
work properly. The researcher has listed it as a religious work in
thematic APPENDIX 0, but as a danza in Table 3.» dedicated to the
choice of genres.
Of the sixty-four religious works listed under Morel, only
four are available: "Estrofa a solo (Novenario de la Guadalupe)"
(entry 199), which is a work with lyrics in Spanish; "Gozos para
rkestra Señora de Dolores" (entry 238), which is a work for organ;
"Letanías" (entry 289), which has the lyrics in Latin; and "Plega
rias a la Virgen para el acto de la Petición" (entry 392), which
has lyrics written in Spanish. Even if only two of them include
lyrics in Spanish, it is impossible to make definitive conclusions
about Morel's preferences; but judging by the works that have been
preserved, and by the .fact that.Morel did not write any masses,one
F
347
could say that Morel preferred the religious works which could be
composed in a freer style instead of following definite patterns.
His available funeral works are for piano solo: "Marcha .fúnebre"
(entry 306), "Melodía fúnebre" (entry 321), and "Melodía sentimen
tal" (entry 322). Of the mentioned works, "Melodía sentimental"
is dated, having been written in 1883, one year after Gutiérrez's
"Las siete palabras." Even if this fact does not answer the ques
tions previously stated, at least it is a limited indication of the
preference of composers during the decade of the eighties.
Evidences point to the fact that the religious environment of
the capital city of San Juan was perhaps more traditional than in
other towns of the island. Since the cathedral was the main church
in Old San Juan, Gutiérrez possibly felt compelled to write "offi-
rsliC ÍC U S SUSlC. Also, T)oir>ÍT^|ganc arw3 fKo ??22!CÍSC2!1Sj
through their convents in San Juan, helped to preserve the reli
gious education in those respected centers of learning located near
Gutiérrez's home.
On the other hand, having been born at a later date, and liv
ing in the southern city of Ponce, Tavárez and Morel perhaps did
not feel bound, to the same type of religious music that Felipe
Gutiérrez .preferred. Even if . Morel' felt attracted to the ser
vices at the Nuestra Señora de Guadalupe Church, his production
tends to point to a more individualistic trend. The compositions
written by Quinton point toward a more varied production, since he
not only wrote works following the traditional Latin ritual, but
also prayers which use the vernacular, and mainly distinguished
himself for his more nationalistic aguinaldos.
¥ '.' ' ' ...... ...

348
José Ignacio Quintón Rosario wrote fifteen religious composi
tions, of which eleven are available. "Bella flor," a prayer for
voice aid. organ ( APPENDIX M, entry 14); "Dulce Virgen Maria," a
prayer for two feminine voices and organ (entry 38); "Letanías,"
with lyrics in Latin (entry 41).; "Misa de Requiem," a work for fair
voices and organ previously analyzed (entry 49); "Oh, Sagrado Cora
zón," a prayer for voice, violin and organ (entry 54); "Plegarias
al Santísimo," a prayer for one voice and organ ( entry 58); Salve
Josefina," a work for two voices and organ (entry 66); "Te quiero
María," a prayer for voice, violin and organ (entry 81); "Aguinaldo
yaucano No. 1," a work for piano and voice (entry 5); "Aguinaldo
yaucano No. 2," a work for piano (entry 6); and "Aguinaldo yaucano
No. 3," a work for piano and voice (entry 7).
One notices that this composer' is definitely turning his beck
away from the Latin tradition, since of all the compositions with
lyrics, there are eight in Spanish and two in Latin: "Misa de Re
quiem" and "Letanías." Even if he was a regular organ player at
the Church of San Blas de Illescas in Coamo, and also visited the
Church in Yauco, the small quantity of religious works among his
•compositions is perhaps an indication of his other interests.
Taking a closer look at the aguinaldo, one must observe that
this type of song, considered the Latin American adaptation of the
villancico, is perhaps the composer's most nationalistic religious
contribution. The aguinaldo is a typical Christmas song to be in
terpreted inside.or outside the church. As explained in CHAPTER II
it uses.triplets and syncopations and belpngs to the peasant tra
dition. The themes of the lyrics can be either religious of pro-
F ".
fane. The aguinaldo is usually interpreted with the typical ins
truments (cuatro, guitar, and güiro), but Quinton wrote his for
piano.
It must be noticed that Tavárez wrote a section'called "Chant
des,Mages" in his Souvenir de Puerto Rico, and included at the be
ginning of the work the lyrics corresponding to this section ("Ya
se van los Reyes, bendito sea Dios. Ellos van y vienen y nosotros
no." or "The Kings are already leaving, blessed be God. They come
and go but we do not"). Tavárez1s "Chant des Mages," written in
D minor, is the same music as Morel's "Aguinaldo," included as a
section of Aires del pais but written in C minor. They are both
adaptations of a traditional aguinaldo which is still sung in
Puerto Rico during Christmas time, including different verses but
always ending with the refrain "Oh brillante estrella, que anuncias
la aurora; no nos falte nunca, tu luz bienhechora." ("Oh .brilliant
star, announcing dawn; [that] your beneficial light, may never
fail us.").71
One must observe that Quinton's aguinaldos are original and
more refined compositions, showing the composer's accomplishment
in developing this genre (see Figure 33). Aguinaldo yaucano No. 1
is in E harmonic minor and begins with an eight-measure introduc
tion. The right hand uses the rhythm while the left hand
uses the rhythm The first section is in the same
tonality and has a melody of eight measures, followed by a varia-
71 See Figure 32 for Tavárez's and Morel's adaptations of the tra

ditional aguinaldo in their suites.
r ..... .....
A irw d»! Pala.1
Figure 32: Tavárez's "Chant des Mages" in Souvenir de Puerto Rico

and Morel's "Aguinaldo" (misspelled as "Agrimaldo") in Aires del
pais. They are both adaptations of a traditional aguinaldo.
rReproduced with permission of the copyright owner. Further reproduction prohibited without permission.
351
•/ V v *-
Por or-den d d d e - lo
|V
a B e-lé n e a -
'
m i- m .
Figure 33; Aguinaldos No. 1 and No.3 by José I. Quinton
f
352
tion of eight more measures. A second section presents two more
variations, each of eight measures; they are in A harmonic minor.
Both sections follow the rhythm *J1J3!J3Jin the right hand and
J13.QI.rJ! Si in the left hand. A Da Capo sign indicates a
repetition of the introduction in E minor, ending in the tonic
chord. The sound range is of three octaves, reaching an E on the
•fourth space in G clef.
Aguinaldo yaucano No. 2 begins with a repeated eight-measure
introduction in D harmonic minor, which ends in the chord of C (do
minant of F Major). This introduction is followed by an unrepeated
first section in F Major, which begins with an eight-measure melo
dy, followed by an eight-measure variation, and ending in a four-
measure codetta. After that, the introduction in D minor is played
again, although this time, and at the end of the repetition, there
is an A Major chord (dominant of D minor). This allows for a se
cond and longer section in D minor which includes an unrepeated
eight-measure variation, and another eight-measure variation with
repetition [which the first time ends in a coda of eight measures,
and the second time in a C Major chord (dominant of F Major)]. Eren
if the printed copy does not indicate it, this aguinaldo ends in an
F chord at the end of the first section. The-composition includes
triplets in the right hand with yj} 7X in the left hand (in the
introduction), and also ij} 13 IJlJJ in the right hand with the
pattern JJJ)J^ in the left hand (in the other sec-

3 ~T^ s'
ticns). Being a work for piano solo, it has a wider sound range
of four octaves and a fifth, reaching the G on the fourth addition
al line above the C clef staff.
353
Aguinaldo vaucano No. 3 is for voices and piano, as is the
Aguinaldo yaucano No. 1 , but it is written in three staffs. The
introduction covers sixteen measures, is in G minor, and ends in a
D Major chord (the dominant). The rhythmic pattern for the left
hand is always (the same as the one used in the introduc-

'T'
tion of Aguinaldo vaucano No. 2 ). When the first section begins,
there is a solo for the first voice, using the same lyrics (,lDe
su casa sale la Virgen Maria" or "The virgin Mary departs from her
house") and a melodic variation of the first section of the Agui
naldo No. 1. After four measures there is a duet for soprano and
alto, covering twelve measures. Even if the first two verses of
this duet are the same as those used in the Aguinaldo No. 1 , there
are also new ones. The lyrics of the duet are: "Por orden del
pialn a Bsléü na m i n a . Tío cii p a c a ca io ia Virgsn Msris.,r (^Qrdsrsd
by Heaven She walks to Bethlehem. From her house departs the Vir-
gin Mary.").
A second section begins the same way as the first one, but
after the first eight measures it introduces melodic variations.
The lyrics of the second section are: "Con grands pobreza, tina ju-
mentilla es el carruaje de esta peregrina." ("With great poverty,
a small she-ass is the carriage of this pilgrim.").
A third and repeated section is in G Major. it coveys sixteen
mBasures, and follows in the left hand the same rhythmic pattern as.
the one in the previous sections: The right-
band rhythms are also the same as in the previous sections: n J3i
. The lyrics of this third section are for "Coro,"

but meaning a duet.for alto and..soprano: , "Ya sale, la aurora
f '
‘entre las dos luces, desterrando sombras y negros capuces." ("The
daun is already growing between the two lights, banishing shadows
and black cloaks."); "Ya sale la aurora y está en arrebol, para dar
nos presto su divino sol," ("The dawn is already growing with its
roseate hue, to give us promptly its divine sun."). The sound
range is four octaves an a second, reaching the A on the additional -
line above the G clef staff.
As can be observed, Quinton uses the variation form for his
three aguinaldos and incorporates a variety of rhythms within the

2
4 tructure. Harmonically, he uses different combinations: two mi
nor tonalities (E minor and A minor), one minor tonality and its re
lative Major (D minor and F Major), and two parallel tonalities
(G minor and G Major).
Christian Festivities and Popular Celebrations
Since the church also served as a place where concerts and en
tertainment took place, it should be observed that sometimes ncn-
sacred music was heard at the church. Some festivities sponsored
by the Catholic Church were even the stimulus for the composition
of music of a Creole nature. Nineteenth century composers were
among the observant artists who left an evidence of these cur-
rents. There are some compositions which directly allude to seve
ral of the most important Christian .festivities:
Christmas and Three Kings' Day
"La alborada" (entry 13), "El árbol de Navidad" (entry 29),
"El asalto" (entry 33), and "La .lechonadá" (entry,287) were written
by Morel Campos and are listed in APPENDIX L, "La alborada" is
r
355
an incomplete danza in G Major and refers to celebrations in the
early morning when singing and dancing through the streets is typi
cal. Although an alborada can be practiced any time of the year,
it is particularly popular during the Christmas season. "El árbol
de Navidad" is a polka for piano in A minor, of which only aninccm-.
píete manuscript was found. It refers tc the Christmas tree which
is still typical in home decorations during the rather long season
that extends from early December to the middle of January.
Puerto Rico celebrates los reyes or the Three Kings Day on
January 6 as part of the Christmas season, and the octavitas, an

72
eight-day period after los reyes. "El asaltoj," a danza in E flat.
Major published in Danzas de Juan Morel Campos. Yol. 1, might refer
to the asalto or surprise visit to the house of friends during the
Christmas season, when a trulla, composed by a group of persons,
goes from house to house asking for an aguinaldo ( a small amount
of money or drinks and candies) while singing the typical songs.
Another meaning could be a violent attack by a n .assailant. Pia
nist Félix Rivera believes that considering its lyric and often
.passionate character, it could metaphorically mean a sudden gust of
passion.
"La lechonada" is an incomplete danza in F Major, which
alludes to any social activity where a lechón, also called cerdo
or cochino (that is. a pig), is roasted. When one refers to a7

2
72 See the composition "Los reyes" in Morel's catalogue, after en

try 417. It was wrongly classified and the researcher believes it
is by Santaella.
f '
356
lechén en la vara, it means that the whole animal has been seasoned
and is then mounted on a rod several feet long and placed horizon
tally to roast slowly over live charcoal. The lechón, raised about
two feet over the fire, is occasionally turned so that the meat is
cooked properly. A lechonada is one of the typical activities of
the secular Three Kings Day celebration.
Fiestas Patronales
Curiously, Ponce's fiestas patronales or Patron's-day festivi
ties in honor of Our Lady of Guadeloupe, are celebrated in December,
and thus precede Christmas. After the religious celebrations of
the day, other activities are celebrated (see CHAPTER II of this
dissertation). One of the most common is the carreras de caballo
or horse races which are still popular in the city of San Juan.
While the other three composers do not dedicate any works to this
tradition. Morel wrote some works to commemorate it: "En la meta"

73
("At the goal"), a danza in B flat Major published in Danzas de
Juan Morel Campos, Vol. 4; "El favorito" ("The favorite"), a non-
available galop (entry 208); "El foete" ("The whip"), an unavaila
ble danza (entry 220); and "El hipódromo" ("The hippodrome"), an
incomplete waltz in A Major (entry 249).7

3
73 Marathons are today the officially sponsored races, and Bence has
had the Maratón La Guadalupe since 1969, while Coamo has the Mara
tón San Bias. The Clásico Bernardino Mass is a bicycle race estab
lished in Ptancein 1957. But it is good to know that betting at the
profession al horse races at the only hippodrome in Puerto Rico,
El Comandante, is one of the most popular activities today. There
are numerous agencias hípicas or horse racing agencies for betting.
357
Also typical were the baile- de máscaras and the baile de piñata.
Morel wrote: "El baile de-máscaras," a danza in B flat Major (entry 4i)
which might have a relation with Verdi's opera; and also
"De antifaz" ("With a mask"), a danza in C Major (entry 143); "Las
máscaras," a danza in F Major (entry 315); "Las máscaras alegres"
("The merry masks"), an incomplete danza in G Major (entry 316);
"La piñata," an incomplete mazurka in A Major (entry 386); and "La
piñata," an incomplete danza in A Major (entry 387), which was pro
bably played as a pair together with the mazurka having the same
title.
These last two works refer to the traditional and popular
piñata, a hanging carton pot of candy, ornamented with colored silk
paper, which is constructed representing different figures. Blin-
folded merrymakers break it with a stick at the masked ball the
first Sunday of Lent. Candies and small gifts fall, and the party
goers grab as many of them as possible. Everyone has a good time
and the laughs are spontaneous since everyone is hurrying not to
be left empty-handed.
It is good to mention once again that the town of Loíza Aldea
celebrates the festivities of Apostle James (Apóstol Santiago) in.
July, even if its Patron Saint is Saint Patrick. As indicated in
CHAPTER II, footnote 105, the celebrations alluding to this Patron
Saint of Spain.include processions of masks. The works written by
Morel could perhaps be applied to this activity, which, according
to Arturo Warman Gryj, can be traced to the dance of Moors and
Christians during the Middle Ages. Since Warman mentions the con
trasting colors of the disguises or costumes in the baile de memos.
r ~ ....... " "■

358
and the masks used in the danza morisca one can relate these
facts with the Puerto Rican expression: " . . . de amarillo y colo-
rao visten los enmascaraos" (" • • • the masked-ones are dressed in
yellow and red").
El Carnaval
Although the carnival is not a religious festivity, it is
worth mentioning that San Juan's carnival season is celebrated be
fore Lent. Besides the coronation of a queen,the processions in
clude the participation of the Rey Momo. Juan Morel Campos wrote
"El carnaval," a danza in G Major published in Danzas de Juan Morel
Campos, Vol. 2 (entry 81). This composition probably refers to
Ponce's carnival, since this southern city was the home-town of the
composer.4
7
74 Warman explains that in the year 1150, a combat between Moors

and Christians was staged in the Spanish Cathedral of Lérida, and
documented for the first time. This dance and its derivations was
popularized throughout Europe, where dances such as those of spades
and batons are still common. Since the Spaniards fighting the
Moors were mostly inferior numerically, they needed strong super
natural allies. Thus, Apostle James came to be the Patron of the
Crusaders and a special symbol for Catholicism. Around him several
public acts were organized, such as the festivities where proces
sions, theatrical representations, competitions, and tournaments
between the knights were popular. The danza de moros v cristianos
synthesizes all the symbols of the Iberian Crusade. Two deriva
tions are very interesting: the one called the baile de momos,
which consisted of two groups dressed in contrasting colors (one
of them according to the fantastic conception of the Moorish dress),
who danced one in front of the other; and another called the danza
morisca, which included a solo dancer who used a mask or painted
his face with a black ointment, imitating a Moorish dancer. See
Arturo Warman Gryj, La danza de moros y cristianos, México: Sep-
Setentas, 1973, 17-27. Also see Figure 34 for a recent exhibition
of masks in San Juan.
359
The Influence of the Bailes de Garabato or the Peasant-Sanees
The influence of local folk music should also be considered
when a careful study is being made of how the musicians reflect the
Puerto Rican culture through their compositions. As previously
stated, the influence of the Indians could only be studied through
a consideration of the titles of the works, the libretto of one
of the operas, and the instrumentation. The influence of the Afri
can culture also included an analysis of titles, scarce references
!S A L A C A M P E C H E
9 D E A B R I L A L 10 D E M A Y O D E 1987
Figures 34: A recent exhibition of masks at the Sala Campeche

of the Museo de Arte e Historia in Old San Juan.
f '
360
to instruments and rhythms, and no mention of genres (such as bom
ba or plena). since the composers did not use them in their
compositions.
On the other hand, a consideration of the religious influence
of Catholicism did indicate the use of definite forms, such as the
mass (following the Latin text of the main ritual), other Latin
prayers (such as the letanías which are a part of the Holy Rosary),
the freer song using prayers in the vernacular, and the aguinaldo
(a composition with a religious character but of a folkloric tradi
tion) .
A search was made trying to find the music which represents
the traditions of the Puerto Rican peasants (typical of the inner
mountain haciendas) and which evolves from the Spanish music. Not
all of the garabato dances were present, but evidence of cadenas,
fandanguillo, seis, and especially guaracha^ were found. The fol
lowing are the works which in one way or another represent the
folkloric elements which come from the influence of the peasants'
bailes de garabato:
"Fantasías criollas" was written by Tavárez. This composition
is not available (see APPENDIX K, entry 15); Souvenir de Puerto
Rico was also written by Tavárez. This is a suite for piano with
a section in the manuscript titled "Seis" which corresponds to
the "Chanson des gibaros" in the published version (see entry 44).7
5
75 See CHAPTER II for a description of each of these dances.
f ~.......... * ‘ ‘ ........... " .. . •

361
Aires del pais was written by Morel. This is a suite for
piano; it has a "Seis" in the manuscript and a "Seis" and "Canto
jíbaro" in the published version (APPENDIX L, entry 10). "Doña
Vicenta" was also written by Morel. This composition is a non-
available guaracha (entry 168).
"En el mercado" was written by Morel. This is another non- .
available guaracha (entry 184). "La Fermina," by Morel, is an
incomplete guaracha (entry 212). "El gaspacho," another guaracha,
is not available (entry 229).
"Grifa, tú me matas" is an incomplete guaracha also written
by Morel (entry 244). The composition "Los guerreros" is a group
of lanceros written for piano; it has a note indicating "cadena"
on the fifth section (entry 247).
::La mulata Rosa" is an unpublished guaracha. The General
Archive has classified this work as Morel*s (entry 340). "La pon-
ceña" is a guaracha which has been published in Juan Morel Campos:
Obras completas, Vol. 1 (entry 398).
"Saber tardar" was also written by Morel Campos. This is
another guaracha published in the same volume as "La ponceña."
Both guarachas have lyrics (entry 424).
"El seis" is an unpublished danza in D Major. It was written
by Morel, according to the General Archive (entry 431). Research
er Félix Rivera has recently.reconstructed its.manuscript.
The résearcher could not find any evidence of the bailes de
garabato among the works of Felipe Gutiérrez. The only reference to
f ...........................
362
a popular dance which could be found while checking the catalogue
of his works in APPENDIX J was a short composition titled "Seguidi
llas al Niño Jesús." It can be found in "Notebook with religious
compositions" {entry 61). It must be remembered that the seguidi
llas was a dance that came from the South of Spain and which later
served as the basis for the local dance called cadenas.
The section indicating "cadena" in Morel's "Los guerreros" is
probably a type of figure for the couples to execute, and not the
dance cadenas. In this case the composition is a lanceros, an
aristocratic dance structured with five quadrilles, each in a dif
ferent meter and following the style of the rigodón. But the word
"cadenas" is a probable indication of the mutual influence of pea
sant and aristocratic dances. This seems to have been a common
ív> Puerto tjôro flio Sr^StOCrSt'' C Hanrae ciinli ac
vals and the mazurca, were also interpreted by and adapted to the
peasants' needs, mostly using the guitars and cuatros.
Evidence of the fandanguillo is only found in the suite writ
ten by Morel and titled Aires del pais. The researcher believes
•that perlaps the composers did not like to write fandanguillos, or
other types of bailes de garabato such as sonduros, caballos, mata
moros, puntillantos or bolancheras, because these dances were not
in use in the urban areas as much as they were in the country-side.
Cta the other hand, since the catalogues presented in this disser
tation might be incomplete^ the researcher is aware that additional7

6
76 The researcher called the Fundación Luis A. Ferré and the Fun
dación Jesús María Sanromá to inquire about additional musical
documents, but. their archives'are being organized and ar not open.
f
363
evidence might be presented in the future, indicating a more extend
ed interest in the bailes de garabato.
The seis is used in a limited way by Tavárez and by Morel,
when they write their suites for piano including popular themes.
The researcher has included in Figure 35 a section of the well-
known Seis written by Julián Andino (which in turn is ah elaborar'
tion of an anonymous seis published by Bazar Otero so that its
music can be compared with the sections titled "seis" in Tavárez1s
and Morel’s works, which are included in Figure 36. In addition,
it must be remembered that Morel has a danza titled "El seis,"
which although never published, has been recorded by pianist Jesús
María Sanromá. The photocopy at the Archive is not clear enough
to be included here as an example, but it is being reconstructed b y .
pianist Félix Rivera with the aid of the recorded version, in the
absence of the original manuscript. Further research is suggested
to study the relationship of the seis and the danza.
The guaracl
more attention. Of the eight written by him, three have been found
complete. A brief description of each shows their differences and
similarities.
La pcnceña i s a composition in D Major written for three voi
ces and piano accompaniment, with lyrics by Joaquín kobreño. The 7
77 The researcher interviewed musician Gustavo Batista who indi

cated that Andino's manuscript was titled "El valor." The compo
sition, a development of a popular melody, ’was later on given as a
gift to Miss Dolores Portilla by Juan B. Varas. The composition,-
as arranged by Andino, became so popular, that it is always re
ferred to as the "Seis de Andino.”
F .
364
C*>rUhl ucux b? J~¿ U u f C. KM*.
Figure 35 The Seis de Andino, published in 1910 by José Laza.
*
r
365
I1*'r <* <* * 1 « *-»■■

«1 M A* »* »»
4tM
'■] r J t •
o>tMfrte¿item.-
-rrT ’<rw
9 ----- 3— 7 - 3
>a >
i W i A ■frf»r - M i -
gj.11 1 1
r. =*=fc?±=: L - H ^
JL.\ r ■J p. r= fr -
) ^ - £ g;g| ^ p A ' It A ¿r ..
f f f
pf r£££
\y
M
- . ‘ A• f-» ' A ¿t ¿ sP, _H '■ ' » ( " '¡ i
3-
p ^T.; * * It nwgmzia : e £ AA J jr I
Ll ;f-p .y
k.ux*.*.
Figure 36: The "seis" sections in Tavárez's Souvenir de Puerto

Rico and Morel's Aires del pais.
F
366
inert-pi- is 2 and it begins, o n an. upbeat. The introduction is eight mea-

4
sures long, and it is followed by a first section with lyrics "Tú
eres divina ponceña . . . " ("You are divine ponceña . . . ") and
a- Second section .with lyrics "Son -tus- ojos.vhechiceros y . ." ('Your
eyes are bewitching . . . "). The first section is of eight mea
sures and the second of sixteen; both have different endings in the
repetition. The third section is of eight measures, has an identi
cal repetition and the lyrics "Nada tu beldad supera . . . " ("No
thing is above your beauty . . ."). The Poco menos section is four
measures long with lyrics "Ay! ponceña" ("Oh!, ponceña." )} after
which there is an indication: "Se dice algo en honor de las ponce-
ñas" ("Something is said honoring the women from Ponce"). The
A tempo section is an unrepeated sixteen-measure unit with lyrics
"¡Ay ponceña! ¡Ay ponceña!, tu belleza al contemplar . . . " ("Oh
ponceña! Oh ponceña!, when I contemplate your beauty . . . ").
There is a Da Capo indication, to follow different lyrics: "Desva-
« (s,The •")
and an instrumental Pinal which is a repetition of the Brillante
introduction. The last two measures are cadential, affirming the
tonic of D Major.
Saber tardar is the second guaracha by Morel which has been
published. It is in B flat Major and is written for a feminine
choir of sopranos and altos (contrasting with La ponceña which
is a work for two tenors and a bass). It also has piano accompa
niment, but the lyrics -axe. by Antonio Aleixandre. The meter -is ^
and it begins on an upbeat, having a twenty-one measure introduction.
The first section is eight measures long with lyrics "Cuando un
f
367
mozo de salero . . " ("When a witty young

. . w man .•. ."), and-the
seoond- section is :sixteen measures long -with- lyrics '-'Nada más grato
. . . " ("Nothing more agreeable . . ."). Both sections indicate
repetitions. The accompaniment includes chromatic scales losing nine
thirty-second notes in a beat, and also a short sequence of arpeg
gios descending at a distance of seconds. The Tutti section is a
transition of eight measures, similar to the Poco menos section in
La ponceSa. A third section has the lyrics "Y si sabe entender
. . . " ("And if she can understand . . . ") and is sixteen mea
sures long; the fourth and last section is eight measures long;- with
lyrics "Por eso es que es mucho mejor . . . " ("That is why it is
much better . . . "). The last section indicates Bailando and
later on Cesa el baile, . a clear, evidence that this type of com
position was to be danced. A four-measure transition leads to the
Da Capo, and to new lyrics: "Cuando un mozo con sus celos . . . "
("When a young man with his jealousies . . . ")•. The Final is five
though it ends in the tonic of B flat Major.
A study of "La mulata Rosa" indicates that this composition
might not be Morel's, even if it is classified as his at the Gene
ral Archive in San Juan. This guaracha is in B flat Major and
has an eight-measure introduction, a thirty-two measure first sec
tion, and a sixteen-measure second section. Thus, if is shorter
and less developed melodically and harmonically than the guarachas
.previously examined.
The'complete lyrics of "La mulata Rosa" aré: ."No hay mulata
más hermosa, más pilla y más sandunguera, ni que tenga en la cade-
Er
í
368
ra, más azúcar que mi Rosa., Esto es candela, esto es primor, no
hay en la escuela otra mejor. Porque, ay mulata, válgame Dios.
Todos la buscan, incluso yo. Porque ay, mi negra es el terror."
(" There is no mulatto girl more beautiful, pleasantly mischievous
and graceful, nor that has more sugar in.her, hips, than m y Rose.
This is fire, this is beauty, there is no one better in school.
Because, oh mulatto young woman, so help me God! Everybody looks
for her, including me. Because oh, my negro young woman is the
terror."). These lyrics have a strong erotic content, and even if
Morel is not completely aloof from this trend (as can be observed
in works such as "Palito uno, palito dos" and "Ay, ay"), they con
trast with the lyrics of the other two guarachas, which have a more.
romantic and elegant character.
On the other hand, the reference made to the mulattoes in "La
mulata Rosa," is not uncommon for Morel, as previously explained-in
this chapter, and "Grifa, tú me matas," an incomplete guaracha in
cluded in Antonio Otero:s catalogues, has a similar reference using
the same genre. Unfortunately, lyrics cannot be compared, because
they are not included in the manuscript.
One can also observe that "Rosa," as a student, is one of
those women in humble or unnoticed positions, which is frequently
considered by Morel; "Fermina" (the name included in another incom
plete guaracha) should be remembered at this point, since she is a
cook who wants to quit her job. In fact, one can even say that
Morel is very much aware of common people and of. the problems of
the socoety in which he lives in. He is conscious of the barber
("El barberillo"), the drunk ("El borracho"), the chubby ("El gor-
t - - - ■ ■ - "■ " ''

369
dito"), the orphan ("El huérfano"), the unknown ("Los ignatas"),
the unfortunate ("El joven desgraciado"), the boy ("El niño"), the
watchman ("El seguridad"), the youth ("Juventud ponceña"), the un
employed ("Lamentos de un cesante"), the family ("Una escena de
familia"), the artisans ("Las artesanas"), the schoolgirls ("Las
colegialas"), the salesgirls ("Las dependientes"), the smoker (Iá
fumadora"), the intrepid ("La intrépida"), the flower girl ("Iara-.
milletera"), the pampered ("La regalona"), and even the ugly ("lira
fea no es fea"), among others. •' .
Even if further study is needed to determine if "La mulata
Rosa" was written by Morel Campos, the researcher believes it is
not, because the manuscript found is not signed by Morel, and
especially because this composition indicates guaracha cubana
/ . ----- .**•*«, 1,*

V d U U lU Ú U d X u x v x i u i. a u x u x v u o x x j w u o x o u x iig v j l
while the other guarachas do not. Perhaps Morel had already depart
ed from the traditional Cuban approach and was developing this
genre giving it a more Puerto Rican distinctive character, as evi
denced by the analysis of La ponceña and Saber tardar.
One further observation having to do with the guarachas is
that they are related to the theatrical world. Some companies
ended their presentations with guarachas (see the reference in
CHAPTER III of this dissertation). Besides, L. A. Ponce de León,
the author of the lyrics of "La Fermina,," is also the author of
Primera noche de novios and of La venda en los ojos, two theatri
cal plays, Joaquin Robreño, the. author of the lyrics of La pon-
cefta, belonged Lo the Compañía Robreño, a dramatic company which
arrived in San Juan in 1857 and performed in different town until
Í .............. " ..
370
the year 1873c Since the presentation of plays stimulated local
composers to write music, the researcher will discuss the relation
ship of works written by Morel which have titles identical or simi
lar to theater plays premiered in Puerto Rico during the ninpfppnth .
century. This will be presented when discussing vocal music and
danzas,
It must be noticed that José Ignacio Quinton did not write
anything related to the bailes de garabato. Coamo, the town where
he lived most of his life, had a rather closed group of landowners
dedicated to agriculture and cattle breeding, with strong concepts
related to social status. Was Quinton trying to become an accepted
member of that society which shunped : people because of racial
intermingling, low economic level,, and bad manners? Was his pro7
fessional prsstigs £nd2ngsr0d i.£ urnho bailas ds g^rsbsto iii
stead of music for the higher society? Was he trying to please an
aristocratic-minded Creole society which was not used to an inten
sive exchange of ideas as was typical of the cities in _the coast?
Did he fear an identification with the lower class peasants, the

78
freed slaves or the poor urban dwelers?
Perhaps Quintan's French heritage made him feel. European and mare
cultured. Perhaps he wanted to become a well-known pianist and
composer and his most valuable and admiring public was to be found7
8
78 For this section the researcher interviewed Dr. Gonzalo Córdoba*

Professor at the University of Puerto Rico, author of books and ar
ticles .on the history of the island, a native of Coamo,--and a mem
ber of the Society of Friends of Quinton. His personal acquain
tance with many coameños gave his exposition a most, interesting
perspective and an intimate touch of credibility.
f --------------------------- "..... ' ' ............................ “ ■

371
among the people with beautiful homes willing to sponsor veladas,
tertulias, and private concerts. Probably he wished to be identi
fied with his work as organist in the church, piano teacher, com
poser, and performer at the Centro de Instrucción y Recreo in Coa-
mo (the social center for the whites). In the first three aspects
he resembles Felipe Gutiérrez, but comes closer to Tavárez as tea
cher, composer, and performer for his town's higher circles. Al
though each one of these composers lived in three very different
towns, and probably never knew each other personally, they are
drawn together by the same interests.
Aristocratic Dances
Another type of music to which the four composers devoted
their attention was that preferred by people who lived in the ur
ban areas, and, as mentioned, enjoyed a higher economic level. It
represents the tastes of the aristocratic European society, and
thus it was played in the bailes de sociedad or balls attended by
fashionable people, so they could dance. Apparently the favorite
dances were the mazurka, the polka, and the waltz; others also
liked were the chotis, the galop, the gavote, the pasodoble, the
lanceros, and the vals-polca.
The researcher found only one chotis (or schottische) among
the works included in the catalogue of compositions by Morel
Campos; "Delirio" (APPENDIX L , entry 147). This composition
is listed by biographers, and although it is believed to have been
lost, the researcher found a composition titled "Schottische" in
the unclassified music section at the General Archive (Box 5 0 , en-
F
372
velope 35), which could be Morel*s "Delirio." A chotis is the mu
sic written for a dance similar to, but slower than, the polka.
The couples step three'times'to'the left, three times to the right,
and then turn around. This dance was also known as the polca ale-
79
mana (or German polka), and was written in a minor tonality.
The galop, another aristocratic dance,, has already been der
scribed in CHAPTER II. It is represented by "Chistavin" (entry 91),
and by "El favorito" (entry 208), both unavailable; and by "Galop"
(entry-227), an incomplete melody in.Antonio Otero’s index. The
three works are attibuted to Morel Campos.
The gavotte or gavota is a dance of French origin written in

4
4 meter with an upbeat of two quarter notes. The phrases usually
begin and end in the middle of the measure. This dance came into
vogue in the middle of the seventeenth century when Lully intro
duced it in his ballets and operas. Later it found its way into
erman. music and : was even included in Bach's keyboard suites.
In the case of the Puerto Rican composers, the gavota is represent
ed by the work "Virtuosa" (APPENDIX L, entry 511). Only the first
section and the Coda of this composition by Morel are available.
The pasodoble, a type of dance derived from the ordinary pace

81
of the troops but associated in Latin America with bullfighting.7
9
8
0
1
79 See Diccionaric enciclopédico ilustrado de la lengua española,

Vol. I, Barcelona: Editorial Ramón Sopeña, S.A., 1970, 1050.
80 Apel, 341.
81 Enciclopedia Diccionario Salvat, Vol. 10, Barcelona: Salvat Edi

tores, 1971, 2594:
F............. ............
373
is a inarch step which literally means a double step. Its music,
the only aristocratic one still played in Puerto Rico by dance
orchestras (with the exception of the waltz, which is only used as
the initial dance in weddings, proms, or anniversary celebrations),
was especially liked by Morel Campos. Studying the catalogue in
APPENDIX L one finds the following pasodobles:
"¡Bomberos, al parque!" (entry 56),
"Bomberos de Ponce" (entry 57),
"Colombia" (entry 103),
"Comandante Picazo" (entry 105),
"De frente . . . mar!" (entry 144),
"Los ignatas" (entry 259),
"Montañez" (entry 337),
"Séptima brigada" (entry 434), and
"Los voluntarios" (entry 513)-.
Of these compositions, only "De frente . . . mar!" is availa
ble. It is a work for band, dated 1872. The first page of the
score (see Figure 37) discloses that the work includes piccolo,
requinto, clarinet in B flat, cornet in B flat (an instrument es
pecially associated with the military), saxophone, onóveno, horn
in E flat, trombone, metal baritone, bombardino, metal bass, and
batería (percussion which can include snare drum, bass drum, and
cymbals). Taking a look at this work one can agree with those re
searchers w h o .believe that Morel Campos was above all an.orchestra
conductor, and not a pianist. Some of his piano works indeed re
flect that the composer is thinking about the register of other
instruments, while developing the melodic lines.
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374
$<*\e>ric\s • I k $ ' 1 % .........
............
X 7 ^ T ^ -:: >v x •7-7 >7 > 7 7 l^ '
Figure 37: "De fre n te . . . m arl," the only pasodoble w ritte n by Morel which is av a ila b le .
375
"De frente . . . mar!" begins in E flat Major with an intro
duction of four measures; it is followed by a first section of
sixteen repeated measures-»;and, a Brillante section also of sixteen'
repeated measures. The Trio section is in A flat Major and has
eighteen measures, followed by a Coda of sixteen additional mea
sures. The pasodoble ends in the tonic chord of A flat Major.
The whole composition is 81 measures long, and is in \ meter.
Contrasting dynamics are emphasized, but the forte and the fartis-
s x e d o * predominate.
It should be remembered that Felipe Gutiérrez1s father played
in the Regimiento de Granada's band, and that later the composer
himself was named músico mayor (probably meaning first musician)
of the Regimiento Iberia. During this time he must have partici
pated in the popular retretas or open air concerts offered by the
bands, where pasodobles. chotis, waltzes, mazurkas, polkas, and
zarzuela selections were played. But Felipe Gutiérrez did not de
velop a taste for the aristocratic dances, not even for the one
more related to the military tradition, the pasodoble. His work
as band musician, which had begun around 1845 (see CHAPTER II,
footnote 39), ended in 1858 when Bishop Benigno Carrion asked him
to compose religious music for the different festivities of the
Church. Thus, Gutiérrez devoted his time to write religious music
even if he preserved a taste for secular vocal music such as zar
zuelas and operas, as will be discussed later. '
The researcher believes that Gutiérrez's teaching activities
also occupied a lot of his time, which was spent at Calle San
José #6 , where his Academia da Música was located. That rather
F
376
formal and mainly educational oriented atmosphere that surrounded
him, probably prevented this musician from.being identified with
the festive environment of the: bailes-de sociedad. See Figures 38
and 39, for some photographs of the Seminario Conciliar de San
Ildefonso, a secondary level school located on the same street as
the cathedral, and Figure 40 for a painting of Maestro Cordero,
another devoted teacher who had to work as a shoemaker in order to
earn a living (since his school was free) thus serving students in
San Juan.
Neither Tavárez, MoreL nor Quinton played in military bands,
but Morel became identified with the quasi-military ranks through
his association with the firemen of Ponce. Of the nine pasodobles
written by Morel, probably seven are dedicated to the firemen,
since the researcher believes that "Montañez" and "Los ignatas" (a
title possibly misspelled which should be "Los ignotos," meaning "The
unknown") might also refer to the anonymous firemen. Only two
P ^ S O d o b l S S a r o d s d Í C £ t S d t O C t h s r thssssj 11 arw^ ,rT)o
frente . . . mar," being clear references to his trip to South
America.
References to other masculine topics are found in section IV
of the Appendixes dedicated to the classification of works accord
ing to their themes (APPENDIXES N, 0, P, and Q). There is a pol
ka written by Morel titled "Los oficiales de bomberos," as well
as references to the military in "Los guerreros," "La marina espa
ñola," "Ponche militar," and "El seguridad."
377
)nrilftteflf:Nirto^S£ciAn.Ekieij8MDinctocRicardoAlegrtii^
% i^ 9 ^ ^ ta ln a (I Uy neo-cte M lca l alagare » o fS a n ita rio C oreatarri» San li(fe<on«vs
Nrtta»fcTtartorJB««oric-l>>»tav^
Figure 38: Seminario Conciliar San Ildefonso in Old San Juan.

It has been restored and today it houses the Centro de Estudios
Avanzados de Puerto Rico y el Caribe» headed by investigator
and writer Ricardo Alegría.
F ' .......... '

378
Figure 39: Recently restored chapel at the Seminario Conciliar.
379
EL MAESTRO RAFAEL
! por Francisco OHer
Francisco OHer
Figure 40: Maestro Cordero, a devoted teacher of Old San Juan.
F................. '
380
Lanceros and Mazurkas
Continuing with other aristocratic dances, one can observe
that Tavárez and Morel wrote lanceros, The work "Lanceros,"
having no other title (APPENDIX K, entry 20), is Tavárez's example.
It is a work for small orchestra, including piccolo, violin, French
horn, b^mhardino. and bass. This type of dance was divided into
five sections; Tavárez used the following tonalities in his work:
G Major (No. 1), A minor ending in F Major (No. 2), E minor (No.3),
G Major (No. 4), and F Major ending in B flat Major (No. 5).
Morel has eleven examples of lanceros, described in APPEN
DIX L. They are:
"¡A la Lidia!" (entry 1),
"Los artistas" (entry 32),
"Los bemoles" (entry 51),
"Los bufones" (entry 66),
"Los guerreros" (entry 247),
"Juventud alegre" (entry 280),
"Juventud ponceña" (entry.281),
"Lanceros" (entry 283),
"Lanceros" (entry 284),
"Lanceros" (entry 285), and
"Los muchachos" (entry 339).
Complete manuscripts were found for only four of these lance
ros. which apparently were dedicated to merry and youthful themes.
The complete manuscripts of "Los artistas" and "Juventud alegre."
indicate that they are for piano. "Juventud ponceña" is for or
chestra; although the orchestral score is not presently available.
381
the parts for double bass, clarinet and bombarding are kept at
the Archive in San Juan. An additional lanceros was published by
Vidal y Roger and later reprinted by the Institutue of Puerto Rican
Culture: ."Los guerreros." This work begins with an introduction,
and then has the five accustomed sections in Í or 1 meters.
Comparing Morel Campos' use of tonalities in his four complete
lanceros, one finds that there is not a definite pattern of selec
tion between one composition and another, and neither a fixed rela
tionship between the tonality of one section and the tonality of
another. One can also observe that only in one case there is a
Coda properly identified. Nevertheless, the change in tonality in
the last part of section five might represent a shorter codetta.
In two examples there is a return to the original tonality, and
thus the composition is in a way "framed" by the tonality.
Table 1
82
The use of tonality in Morel Campos' lanceros8
2
Title No. 1. No. 2 No. 3 No. 4 No. 5 Coda
Los artistas A A F A D-G -
Juventud alegre £ D G C A D
Juventud ponceña A A G A A -
Los guerreros G D B flat F D-G -
82 All the tonalities used by Morel are Major ones. A change in

tonality indicates not an inner section or a momentary modulation,
but an ending in the second tonality vised.
F
382
The mazurca was another aristocratic dance frequently heard
in Puerto Rico during the nineteenth century. Gutiérrez and
Tavárez did not write mazurkas, but Morel Campos wrote eleven and
Quinton wrote two. The following are the ones written by Morel
(included in APPENDIX L); they demonstrate that this composer was
also interested in pleasing the fashionable people who attended
the bailes de sociedad, as Tavárez and Quintón were.
"Carita de cielo" (entry 75),
"Ella" (entry 179),
"En tus brazos" (entry 188),
"Estimación" (entry 198),
"Flores mayagüezanas" (entry 217),
"La joyita" (entry 273),
"Julia Plá" (entry 2 7 7 ) , ^
"La Olimpia" (entry 363),
"La piñata" (entry 386),
"Sofía" (entry 448), and
"Una flor" (entry 496).
Of these eleven mazurkas, only six were found complete: two have
never been published ("Flores mayagüezanas" and "Una flor"), one
was published by Bazar Otero and never reprinted again ("En tus
brazos"), and three were published by the Institute of Culture in
its 1958 edition ("La Olimpia," "Carita de cielo," and "La joyi
ta") but are now out of print.8

3
83 Julia Plá was a soprano or tiple in the Compañía Abella y Ber

nard, which came to Ponce in 1889 and continued to Mayagfiez with
Morel as conductor, Aft.erinaugurating: its theater with the work
PICT
383
384
Morel's mazurkas follow the.triple meter tradition and the
characteristic heavy accent on the normally weak third beat.
The following is a large dimension description of some of these
mazurkas:
T.a Olimpia is a 68_measure mazurka. It has an Introduction
of four measures, in A Major. The mazurka part has a first
section of sixteen measures (also in A Major), a second sec
tion of the same length in E Major (which indicates con elegan
cia). and a third section of twelve measures in A Major. A transi
tion leads to the " T r i o " ^ (which is indicated), consisting of
two sections in D Major, both of eight measures. A Da Capo is
indicated, and it implies a repetition of the whole work.
Carita de cielo is a 104-measure mazurka. It has an Intro
duction of four measures in F Major. The mazurca part has three
sections, two of sixteen measures, and the last of twenty measures.
The "Trio" has two sections in B flat Major, one of sixteen
measures and the other of thirty-two. The Da Capo is not indi
cated, and there is no Coda.
La joyita is a 145-measure mazurka. It has an Introduction
of twenty-two measures in E Major. The mazurca part has two
sections, one of sixteen measures and another of thirty-two.*

4
8
"La mascota," a zarzuela with music by Audran, it embarked for

Brazil. See Figure 41 for a recent picture of the reconstructed
Teatro Yagiiez located in the main western city of Puerto Rico.
84 The Trio was originally a song played by three instruments af

ter aminuet. After this practice was discontinued, the trio came
to be a contrasting song, usually in a different but relative to-
nálity. See Leo Stein, Structure and Style (The Study and Analy
sis of Musical Forms). Evanston: Summy Birchard, 1962, 82.
385
The "Trio" indicates gracioso, and' is in A Major; it has two
sections, one .of sixteen- measures and another of thirty-two.
The Da Capo, is- indicated,, implying a repetition of the whole
work, since the- Fine- is/ not pointed out.
For her analysis, the researcher used a copy of La Olimpia
which previously belonged to composer and researcher Amaury Veray,
and she paid special attention to the annotations related to the
Fine. Even if the printed copy of this mazurka implies a repeti
tion of the whole work in order to end in D. Major (the tonality of
the "Trio"), there is a ha-ndwritten.note (probably by Veray), indi
cating a repetition of only the first section:» to end the mazurka
in the tonic chord of the initial tonality.
Since the three printed mazurkas written by Morel have dif
ferent indications on how their endings should be (a Coda return
ing to the original tonality, no Coda or Da Capo sign, and a Da
Capo implicating an end in the tonality of the last section), and
Veray's annotation indicates there should be a return to the ori
ginal tonality, the researcher decided to study the manuscripts of
two additional mazurkas: "Flores mayagiiezanas" and "Una flor."
She found that the manuscripts (which are not drafts but very clear
documents) include a Da Capo repetition in only one case (thus
assuming that this general repetition of the mazurka is qptional
to the genre). Nevertheless, both have a Coda returning to the
original tonality. This reaffirmed the researcher's belief that
a return' to the original tonality is the norm, with or without a
Coda.
F
386
Several alternatives to this seemingly strange situation can
be considered: Did the composer assume that everybocy knew how to
play a mazurka and so did not always indicate the Da Capo and the
Fine? Was the genre, as treated by Puerto Rican composers, flexi
ble enough to allow for differences in approach? Or were the pub
lishers unsure of the characteristics of the mazurka as a genre
and could not interpret the composer's intentions, which probably
followed a careful study of the music written by the great masters
of Europe, such as Frederic Chopin? The researcher believes that
all three alternatives are correct.

85
Examining Chopin's Op. 6 mazurkas, one observes that the
four of them exhibit a return to the original tonality. Since
there are written -out returns to the first section (omitting the
introduction when there is one), the Da Capo signs are not used.
Thus, every mazurka ends in the tonality in which it has begun.
The researcher suggests a new edition of Morel's mazurkas to rec
tify the omissions.(such as in Carita de cielo which implies an
ending in B flat Major and net in F Major because it does not have
a Da Capo or a Fine indication), as well as the mistakes (such as
in La Olimpia, ' which has a Da Capo indication, but the Fine is
written at the end of the composition and not at the end of the
first section). One concludes that Morel did know how to write
mazurkas. He assumed that performers knew how to play them.8

5
85 See Fryderyk.Chopin, Complete Works Vol. X:. Mazurkas for Piano

(I.J. Paderewski, L. Bronarski, J. Turczynski, editorial committee
(1949), eleventh edition, Warsaw, Poland: Instvtút Fryderyka Cha
pina Polske Wydawnictwo Musyczne, 1972 , 1-15.
¡Fr
387
Publishers should be more careful, since the only flexibility
allowed in this genre is the length and quantity of the sections
included.
José Ignacio Quinton wrote two mazurkas: Bonanza' (APPENDIXM,
entry 18), and Celeste (entry 23). Examining these two works
one finds a tendency towards the short introduction, and no fixed
pattern of tonality change from the mazurka to the trio. Bonanza
has 76 measures; the Introduction has four measures and is inF mi
nor. The mazurka has four sections, alternating lengths of eight
and sixteen measures; the Trio is in D flat Major and a delicatto
of eight measures. After that there is a written repetition of
the fourth section of .the mazurka, and a:Da Capo sign to repeat
the other first three sections of the mazurka, ending the composi
tion in the original F minor.
Celeste is 88 measures long; its Introduction has four zea-
sures and is in D Major. The mazurka has two different sections
(one in D Major and smother in G Major, both of sixteen measuies),
with a repetition of the first one in G Major. The Trio has two
sections, both of sixteen measures; the first one is in B flat
Major, and the second one in D Major (even if there is no change
in signature), although it finishes in B flat Major. There is no
Da Capo indication, and the manuscript•has an- unfinished Coda of
four measures which ends in a D chord, but which has no accompani
ment. Publishers áre currently -editing these two mazurkas by
Quinton^ since they are good examples of the way this composer de
veloped this nineteenth century genre.
Professor Annette Baslaw

New York University
1988
388
Polkas and Waltzes
The polca, another aristocratic dance, seems to have been in
cluded among Felipe Gutiérrez's compositions, since "El recuerdo"
(APPENDIX J, entry 81) is attributed to him. Nevertheless, this
composition is not available. Perhaps Gutiérrez did write more
aristocratic dances which are now lost, a fact that would then
change the evaluation thus far made about the composer.
Tavárez did not write polkas, but Morel wrote sixteen, which
are described in APPENDIX L:
"La amiguita" (entry 19), incomplete;
"El árbol de Navidad" (entry 29), incomplete;
"Carlota" (entry 76), unpublished;
"Celia" (entry 84), incomplete;
"La electricidad" (entry 177), unpublished;
"Espíritu ponceño" (entry 195), unpublished;
"Graciosa niña" (entry 239), incomplete;
“Ismenia” (entry 268), incomplete;
"Linda boca" (entry 292), arrangement for two flutes;
"Maria Luisa" (entry 310), incomplete;
Mercedes (entry 325), published;
"La niña retozona" (entry 346), incomplete;
Los oficiales de bomberos (entry 359), published;
"La perla del baile" (entry 379), incomplete;
"Placer fugaz" (entry 389), incomplete; and
"Polka" (entry 396), incomplete.

In order to characterize this genre, which seems to have been
favored during the nineteenth century (but which has been virtually
w
unattended by publishers), a large dimension description is includ
ed . comparing the five polkas written by Morel which are complete.
"Carlota" is the shortest and includes only AO measures. It has an
introduction of eight measures which ends in the dominant of its
tonality, D Major. The polca part has two sections, each of eight
measures, hit one in D Major and the other in A Major.. There is a
repetition of the first part of the polka, before going on with
the "Trio," which only has an eight-measure section in.G Major.
The Da Capo is indicated, but there is no Coda.
"La electricidad" is somewhat longer, having 63 measures. The
introduction is only four measures long, ending in the dominant of
D Major; the polca part has two sections, one of eight mpagimg ani
the other of sixteen. Since the first section of the polka is in
D Major and the second in A Major, there is also a return to the
first section of the polka; a transition of three measures prepares
the modulation for the "Trio." As in the previous work, tha "Trio"
only has one section, which this time is sixteen measures long and
is in G Major. The Da Capo is not indicated and there is no Coda.
"Espíritu ponceño" is considerably longer, since it covers 127
measures. An introduction of four measures ends in the dominant
of A Major; the polca part has one section in A Major, another in
E Major, a transition, and a repetition of the first section.
Each section is sixteen measures long. The "Trio" this time is
longer, since it has a section of fifteen measures in D Major,
another one of eight measures in the same tonality, and a repeti
tion of the first section with octaves in the right hand and modi
fications in the accompaniment. There is a Da Capo .and a Coda
r . - -----
consisting of a repetition of the introduction, a repetition of the
first section of the polka, and a codetta of ten measures endipg in .
an authentic perfect cadence in A Major.
'Mercedes' is 154 measures long, and has a longer introduction
of eight measures, ending in thg dominant of D major. The polca
part has three sections, each cf sixteen measures, but one i n D Ma-.
86
jor, the second in B flat Major and the third in D Major: The
"Trio"is in G Major, and has a first section of eight measures, a
second one of sixteen measures, and a repetition of its first sec
tion. It indicates graziosc» The Da Capo is not indicated, but
there is a Coda to return tc D Major, which includes a repetition
of the introduction, the first section of the polka, the-first
eight measures of the second section of the polka, and the.third
section of.the polka. A codetta of ten measures is a Presto and
ends in an authentic perfect cadence.
Morel's longest polka is "los oficiales de bomberos," since
it is 216 measures long. Its introduction is fifteen measures and
ends in the tonic of D Major. The polca has three different sec
tions, one in D Major, another in B flat Major, and the third in
D major (as in the .polka "Mercedes"), but it is longer because
the third section is eighteen measures instead of sixteen and
there is a transition of five measures that leads to it. The
"Trio" has two sections, both in C major .(one con elegancia and
t|ie other scherzando). and a repetition of its first section.8

6
86 This polca has an A B C pattern, since the third part is not

a return to A, but a completely different section. ..
p :
I•
391
These sections are thirty-one measures and eighteen measures Icng,
and there is a transition of five measures that leads to the repe
tition of the first one!. Tbe Da Capo is indicated, and there is
also a long Coda which includes.the following repetitions: first
section of the polka with second ending, second section with ser.
cond ending, transition, and sixteen measures of the third section
of the polka. A codetta is eight measures long, and indicates
Presto, ending in,an authentic perfect cadence.
As one can observe the polka can vary considerably in length,
and Morel was able to develop this genre* with considerable care.
José Ignacio Quinton also wrote a "Polka" and his is in D flat ifa-
jor; it is even longer than. "Los. oficiales, de ■bomberos,'!, since it
has 221 measures. -Its introduction is eight measures long and
ends in the dominant. The polca has two sixteen-measure sections,
a transition of.ten measures using descending chromátic thirds,a
repetition of the first section using ornamentations to achieve
variation, and another transition of eight measures ending in G
flat Major. TJie "Trio" has six different sections: the first is
sixteen measures long, the second is thirty measures long, and the
third is sixteen measures long using an arpeggiated and ornamented
melody; the fourth section is in B Major and eight measures long,
and it is followed by the fifth, one which has eight measures and
ends in.an ? sharp Major arpeggio; a transition of two measures
precedes the sixth section in G flat Major which has sixteen mear
sures. The Coda repeats the first section of the polka but o m a -
fflpnring the melody. Ti then continues with a new melody of six- .
teen measures ending in the dominant seventh, and three, additional
¥ ' .
...
...
...
...
...
...
...
...
...
...
...
...
392
sections, one of seven measures, another of four, and a last one
of seventeen. The constant vise of chromatic scales ends in a-tonic
chord.
Quinton has adapted the polka to an instrument of numerous
possibilities: the piano. His polka is to be played by a virtuosso
while Morel’s polkas do not need such a high level of dexterity to
be interpreted. Once again the researcher observes that Morel's
approach to the music he composes reflects a romantic language
that is simpler and accessible, while Quinton's -reflects: a.more
.complex and impressionistic language.
Continuing with the dances preferred by the higher class
society in the nineteenth century, one must also consider the popu
lar waltz. While Felipe Gutiérrez did not write waltzes, Manuel
Gregorio Taváres did. He wrote seven, which are described in
APPENDIX K. They are:
El pastorcito (entry 33), published;
"Vais" (entry 49), incomplete;
"Vais" (entry 50), unpublished;
"Vals brillante de 1863" (entry 51), not available;
'Vals de salón para la mano izquierda- (entry 52), publisted;
"Vals para piano" (entry 53), unpublished; and
El 24 de junio' (entry 54), published.
Apparently, Tavárez's shortest waltz is "El 24 de junio"
(vals sentimental), having only 72 measures. It is in D minor,
and it is structured in a similar way to the polkas. It has an
introduction of eight measures, a vals part of two sections (es-
presivo and gracioso, each of sixteen measures), and a "Trio" also
P ........
393
of two sections in D Major (con tristeza changing to page-imp, and
gjocoso, each of sixteen measures). The Da Capo is not indicated.
E l pastorcito, (pequeño vals de salón), is somewhat longer
having 96 measures. It does not have an introduction, the vals
part has two sections (both of sixteen measures, and the first one
indicating con elegancia) and a repetition of the first section,
(indicating una corda, and having ornamented variations), and the
"Trio" has three sections (each of sixteen measures, but indicat
ing tre corde, Tina corda, and tre corde.respectively). There are
no Da Capo or Fine signs, and apparently the work is to begin in
A flat Major in the vals to end in D flat Major in the "Trio."
"Vais," a work having no other title, is 139 measures long.
The E flat introduction of eight measures continues with the vals
of only one section of thirty-two measures. The "Trio" has three
sections (one of thirty-two measures, and another of sixteen, both
in A flat Major, and a third one -of forty-six measures which ends
in the dominant). The Presto is a codetta of five measures ending
o n the A flat chord. The Fine is indicated.
Vals de salón para la mano izquierda is probably Tavárez's
longest waltz (judging by the available works), since it is 319
measures long. The introduction (of sixteen measures), and the
vals (which has two-sixteen-measure sections and-a longer one of
eighty measures internally subdivided into units of thirty-two
and sixteen measures) are both in D flat Major. The "Trio" is in
A flat Major and has one section of eighty-two measures (internal
ly subdivided into units of thirty-two and sixteen measures) and
r ... .......
394
a codetta of two .measures. The Coda is very long, with one. hun
dred and nine measures. It includes a transition of six measures,
the repetition of the first two sections of the vals, a section
with a new melodic structure of twenty-two measures, a Brillante-
scherzando section of sixteen measures, and a last section of
forty-nine measures with arpeggios emphasizing the tonic, subdom-
inant and dominant, but ending in tonic.
It should be observed that Tavárez is not consistent in his
return to the original tonality, which he only observes in "Vais
de salón para la mano izquierda." As explained before in the
discussion of Morel's mazurkas, perhaps the composers assumed that
pianists knew they had to observe a Da Capo and end the composition
in the original tonality. But why did the publishers of "El pas-
torcito" omit the Da Capo and the Fine indications? Were they
careless, or was Tavárez still experimenting with the genre, since :
this work is Opus 45? One might think that being "Vals de salón
para la mano izquierda" his Opus 62, he might have already matured,
but this theory fails, when one observes that "El 24 de junio,"
another published waltz, is Opus 129 and does not have a Da Capo,
seeming to end in its second tonality. A study of Chopin's works
again serves as a reference, since this distinguished composer ófcr

87
serves a return to the original tonality in his own waltzes.
The researcher suggests a new edition of Tavárez's waltzes in or-8

7
87 Chopin: Complete Works for the Piano, Book I (Waltzes), edited

and fingered, and provided with an introductory note by Carl
Mikuli, New York: G. Schirmer, Inc., 1934.
r ' ' *....

395
der to edit the waltzes correctly, and also to render justice to the
nineteenth century composers, who, although mostly self-educated,
were talented and new their trade well.
Juan Morel Campos wrote twenty-four waltzes, described in
APPENDIX L. Of these, four are not available:
"La esperanza" (entry 194),
"El huérfano" (entry 256),
"Ideal" (entry 257), and
"Rizos de sol" (entry 419).
Ten are incomplete:
"Alcoholado Gattell" (entry 14),
"¡Ausencia!" (entry 37),
"Dolores" (entry 158),
"El hipódromo" (entry 249),
"El iris" (entry 265),
"Mariana" (entry 311),
"Oliva" (entry 364),
"El primer beso" (entry 403),
"Un recuerdo" (entry 491), and
"Violetas" (entry 508).
Seven are complete but have never been published:
"El clavel blanco" (entry 98),
"Dulce acento" (tanda de valses) (entry 172),
"Flores ponceñas" (gran vals) (entry 218),
"El jazmín" (entry 269),
"Mis suspiros" (vals brillante) (entry 336),
r
f
396
"El seguridad" (entry 430), and
"Tanda de valses" (entry 460).
Only three have been published, but none of them reprinted by the
Institute of Puerto Rican Culture or any other institution:
"En el paseo," published by Bazar Otero (entry 185),
"Saludo a Ponce" (tanda de valses), published by Im. Dupré,
Paris (entry 425), and
"El 29 de junio," published by André Vidal, Barcelona (en
try 505).
Morel Campos wrote .waltzes of different lengths. Of
those available, the researcher found that "El seguridad" is the
shortest, with 97 measures. Then comes "En el paseo" with 127
measures, "El jazmín" with 131 measures, "El clavel blanco" with
a total of 134 measures, "El 29 de jimio" with 258 measures, and
"Mis suspiros" with 302 measures.
Comparing three of these waltzes in order to pbserve Morel's
compositional style, one finds chat "JSn el paseo" the introduction
is in D Major (eight measures), the vals has an A B C structure
(each section of sixteen measures), and the "Trio," which is in
G Major has an A B A structure (each section of sixteen measures).
There is a Da Capo to the A B sections of the vals. On the other
hand, "El clavel blanco" has an introduction in F Major (eight
measures and a transition also of eight measures), the vals has
an A B structure (with sections of sixteen and thirty-two mea
sures), and the "Trio," which begins in B flat Major (with sec
tion A and a transition, each of sixteen measures), changes to
F Major for sections B C D (each of sixteen measures). There is
r •• - - .
397
a Da Capo to sections A B of the vals. Finally, '*Mis suspiros,"
the longest of the waltzes, begins with an introduction in E flat
Major (twenty-five measures long), and has a vals part with section
A in E flat Major (sixteen measures), and sections B A in B flat
Major (thirty-two measures for B). The "Trio" begins in A flat
Major with section A (thirty-two measures), changes to D flat for
section B (thirty-four measures), and goes on to E flat for sec
tions C D C (thirty two-measures and nineteen measures). There is.
a Coda which repeats the A of the vals, has a transition of six
measures, and ends with a fifty-measure, section in the original
tonality.
But Morel not only explored the vals; há also developed the
tanda de valses or series of waltzes. In this category one can
study "Dulce acento," "Flores ponceñas," "Saludo a Ponce," and
"Tanda de valses." Of these the longest is "Saludo a Ponce," with:
a total of 550 measures. Making a comparison of the tonalities in
these tandas de valses one must refer to Table 2*
Table 2
The Use of Tonality in Morel Campos' Tanda de V a l s e é **
Title Intr. No.l No. 2 No. 3 No. 4 Coda
Dulce acento A A D G G-D A
Flores ponceñas rAb-F

F F Bb-Gm Db Ab
i-C-A
Saludo a Ponce C C-G-C F-Db-F C-A-C rBi>”Eb rC-Ab-F
Í-Bb i-Bb-Eb-C
Tanda de valses F F D flat A F F
88 Abbreviations: b (flat), m (minor), capital letter (Major).
F ■ — .
398
Quinton wrote seven waltzes. Of these, two are not available:
"Adiós" (entry 4), and
"Tanda de valses" (entry 78).
The other five have been published. They are:
"Arte y amor" (entry 11),
"Vals en do señor" (entry 86),
'•Vals en fa menor" (entry 87),
.Vals en La bemol Mayor" (entry 88), and
"Vals en si menor" (entry 89).
The general structure of these waltzes i s A B A C A B A i n
"Arte y amor" (tonalities F-C-F-B flat-F-C-F), A B C A B D and Coda
in "Vals en do menor" (tonalities Cm-Cm-Ab-Cm-C-C-C), A B C D E F
C A B E in "Vais en fa menor" (tonalities Fm-Ab-Db-E-E-E-'Db-Fm-
Fm-F), A B Al A2 C. A3 and Coda in "Vals en La bemol Mayor" (tonal-

QQ
ities Ab-Eb-Ab-Ab-Db-Ab-Ab), and A B A C D C A B C and Coda in
"Vals en si menor" (tonalities Bm-Bm-Bm-D-D-D-Bm-Bm-B-B). This
researcher agrees with investigator Awilda Villarini in that
Quinton was one of the composers more aware of the structure of
his compositions. Even if these waltzes vary, they are neverthe
less very well organized. The shortest is "Arte y amor" with a
total of 137 measures, and then follows "Vals en La bemol Mayor"
with 168 measures. "Vals en do menor" is longer with 178 measures;
then comes '’Vals en si menor" with 247 measures, and the longest
which is "Vais en fa menor" with 297 measures. One must finally8

9
89 The researcher believes there is a printing mistake, since the

signature should be A flat and not D flat, as indicated.
r ■* ...— .........— ' • •

notice that Quinton likes to use parallel tonalities, since in
t-tvrpp cases he begins in a minor tonality but ends the work with a
last section in its parallel Major. Quinton is certainly not
using the picardy third ending.
Vals-Polcas and Contradanzas
The vals-polca is another type of music related to the com
posers subject of this research. As mentioned in CHAPTER II in the
section about aristocratic music, it was not uncommon for two types
of dances to become integrated, due to their similar choreography.
The mazpolca was very popular among the Puerto Rican peasants,
probably because aristocratic dances influenced their own music.
If the two vals-polcas written by Morel, "La trenza de oro" (en
try 473) and "Vals-polka" (entry 500)-, were complete, they could
have been described in detail. Unfortunately, none of the other
composers wrote vals-polcas.
Apparently, only two composers became interested in the con
tradanza. In Felipe Gutiérrez's catalogue of works, entry 9 indi
cates "Contradanza," making reference to the accompaniment written
by the composer for a melody by Juan Santaella. Since the com
position is presently not available, it is impossible to comment
on the way the composer treated this musical genre. Also, in
Tavárez's catalogue, entry 34 indicates that "La perlita" is a
danza cubana. It should be noticed that researcher Elias López
Sobé has indicated on the envelope which includes •the _manuscript at
the Archive that this composition exhibits the characteristics of
the contradanza, with its binary form. CHAPTER II of this disser-
f '
400
tation includes some general commentaries on this interesting
aristocratic dance, which is the topic of the dissertation recently,
finished in Spain, by Elias López Sobá, a professor at the Univer
sity of Puerto Rico.
The Zarzuela: Spanish Influence in Vocal Forms
Vocal music was appealing to' the four composers.included in
this study. The Spanish, influence is seen in the zarzuelas, while
a more international approach is noticed in the composition of
songs and operas. Lyrics were also included in some danzas.
Nevertheless, it must be remembered that danzas were intended as
a dance.farm and also as a purely instrumental form, but not as a
vocal f o r m . ^
The zarzuela originated in the seventeenth century, having
similarities with the opera comique of Prance. During the eighteenth
century composer Rodríguez de la Hita and writer Ramón de la Cruz
revitalized the zarzuela giving it a popular character. It was
not until the middle of the nineteenth century that the genre was9
0
90 Danzas "¡Ay! ¡Dime que si!" and "La Carmela," by Tavárez, only
include short phrases to be sung or said in certain places. "Mar
garita" is his only danza with lyrics, by Sisila Arce de Astol.
Morel Campos has eleven danzas with lyrics: three by himself
("Carmela," "Laura y Georgina," and "Vano empeño"), two by Sisila
Arce ("Felices días" and "Tormento"), one by Mariano Abril ("Alma
sublime"), one by Antonio Alexandre ("Sueño de amor"), one which
the researcher assumes is by Marcos Zapata, the author of the zar
zuela from which Morel arranges his danza titled "La tintorera,"
and three of contemporary writer Francisco Arriví ("Conversación,"
"Maldito amor," and "Idilio"). Nene of Quinton's danzas has lyr
ics. This is a clear indication that during the nineteenth cen
tury the, danza was considered either a dance or an instrumental
form, and not a vocal one.
r
! •
401
reborn, and the zarzuela grande (of three acts),:as well as the
género chico (a zarzuela of one act), became popular.
The zarzuela is represented in this study by the following
works:
"El amor de un pescador" - Written by Felipe Gutiérrez with
lyrics by Carlos M. Almansa, this work is not available (see
APPENDIX J» entry 2). Emilio Fasarell indicates that this
zarzuela has two acts, and that it was premiered on Decem
ber 13, 1857.
"Amor es triunfo" - Written by Morel Campos, with lyrics by
Ramón Terán, this work is listed by Pasarell, although he
offers no premiere date (see APPENDIX L, entry 24). The
researcher only found "Romanza," in G Major, from this zar
zuela (see asterisk after entry 420).
"Las colegialas" - Listed by Mirabal as a zarzuela composed
by Morel Campos (entry 102), it is not listed by Pasarell.
This last author lists Colegialas y soldados (with lyrics by
Pina y Lumbreras and music by Hernando), and La colegiala
(with lyrics by A. Rinchán and music by J. Molberg).Morel's
work is not available.
"Dicen que me divierto" - This work is known as "Mi viaje
por América" or "La vuelta de América," and it is listed by
Mirabal and by Arjona Siaca as a one-act zarzuela with music
by Morel and lyrics by Matías Gil de Rubio (entry 156). The
work is not-Available.
"Don Mamerto" .- A one act. comic zarzuela with music by Morel
Campos and lyrics by Sotero Figueroa, it is said to have
P ............
40 2
been premiered in 1881 in Ponce. The researcher found its
libretto at the Biblioteca General in Old San Juan, and she
includes its description in CHAPTER III of this dissertation
(see APPENDIX L, entry 61).
"Don Criterio" is a zarzuela listed by Mirabal as 'Don Crite
rio o Un dia de elecciones." Pasarell does not give a second title

91
for "Don Criterio," but also mentions Morel as its composer. On
the other hand, he also lists "Un día de elecciones," as a Mw.ua-
la in one act, but with lyrics by Máximo Carmona and music by
Mateo Sabatés. Since the researcher read the libretto of "Don
Mamerto," and observed that its principal topic is an election day,
she concluded that this zarzuela (which Arjona Siaca mentions as
"Don Mamerto o Un día de elecciones," was the same as 'Don Criterio."
Since criterio means "opinion" or "judgement," it was logical to
assume that Don Mamerto was this very "opinionated" father who,
as a conservative, did not like the liberals to win the elections,
and thus tried to prevent his daughter Amparo from marrying Luis,
a liberal.
Reviewing Pasarell*s book and noticing that he lists three
different zarzuelas, "Don Mamerto," "Don Criterio," and "Un dia
de elecciones," the researcher suggests future research to deter
mine:1
9
91 For this and all other references to the works listed by Emilio
Pasarell, the researcher has consulted his "Orden cronológico y al
fabético de las obras que representadas o escritas en Puerto Rico
se mencionan en el texto,"-in Orígenes y-desarrollo de-ia afición
teatral en Puerto Rico, 351-390.
F. ~' ' ' ' ' ■

403
1) if there are three different zarzuelas, two composed by Morel
Campos and one by Sabatés; 2) if there are two different zarzuelas:
"Don Mamerto," being the same as "Don Criterio," (both listed
as one-act zarzuelas composed by Morel Campos), and "Un día de
elecciones" (also of one act) composed by Sabatés; 3) if there
are two different zarzuelas: "Don Mamerto," being the same as
"Un día de elecciones," and also "Don Criterio;" 4) if there are
two different zarzuelas: "Don Mamerto" and "Don Criterio," the
second one being the same as "Un día de elecciones;" or 5) if
there is only one zarzuela, corresponding to the elections day
theme and known with three different titles (as listed by the
researcher in her catalogue).
The following questions need to be answered: What reference
did Antonio Mirabal use (since he does not indicate any), to make
his list of works written by Morel Campos? Was he mistaken when
he listed "Don Criterio" and "Un día de elecciones" as the same
work? Did he know that Morel had written "Don Criterio" and
assumed it was about an election day? Is "Don Criterio" a zarzue
la with a completely different theme, as "DonMamerto"? What references

92
(specific newspapers or program notes) did Emilio Pasarell use 9
2
92 Pasarell lists more than fifty different newspapers, among

which are : El Diario Económico. El Fénix, La Guirnalda Puertorri
queña, Juan Bobo, El Liberal, El Boletín Mercantil, La Lira, El
Aguila de Puerto Rico, La Opera, and Puerto Rico Ilustrado. He
does not individually document the mention of the theater plays,
the operas, and the zarzuelas.
P
4C4
to determine that Mateo Sabatés, and not Juan Morel, wrote the
music of "Un día de elecciones? Are there two librettos about an
election day, one by Sotero Figueroa and another by Máximo Cazncna?

93
Perhaps other researchers will find the music and the li
brettos which are presently missing, in order to determine their
contents and relationship, clarifying the question of authorship
of these, and the validity of asseverations by previous research
ers. Other- works need to be considered, since Mirabal includes
"Las colegialas" as composed by Morel, but Pasarell lists "La co
legiala" as composed by Molberg. Is Mirabal confused because he
made his list based on his personal recollections? Is he right
because he based his writings on the collection of manuscripts
•found at the Ponce Archive and the personal collection of his
friend Manuel Morel Beltrán, the composer1s son? If the second is
correct, why are the manuscripts not available? Is there still
a private collection of undisclosed documents kept by the compos
er's relatives? Are there any manuscripts in the private collec
tions of Luis A. Ferré and Jesús María Sanromá?
As one has been able to observe from the preceding exposition,
the Spanish influence among the four composers being researched
was decisive. The choice of genre was evidently influenced by
the heritage that came from the Iberian peninsula. Table 3
illustrates this fact numerically.9

3
93 While working at the General Archive in San Juan, the research- .

err met Roberto Ramos Perea, a writer who is doing research on
the zarzuelas in Puerto Rico, He is revising Pasarell*s book and .
updating the information.
¥
40 5
Table 3 .
The Spanish Influence in the Selection of Genres9

4
94
Genre Gutiérrez Tavárez Morel Quinton
Catholicism
Mass 23 0 0 1
Prayers in Latin 57 0 4 5
Prayers in Spanish 13 0 15 6
Instrumental 15 1 12 0
Aguinaldo 0 0 (1) 3
Genre not known 0 0 34 0
Subtotal 108 1 65 15
Bailes de garabato
Seguidillas (1) 0 0 0
Eandanguillo 0 0 (1) 0
Guaracha 0 0 8 0
Seis 0 (1) CD 0
Subtotal 0 0 8 0
Aristocratic dances
Chotis 0 0 1 0
Galop 0 0 3 0
Gavotte 0 0 1 0
Pasodoble 0 0 9 0
Lanceros 0 1 11 0
Mazurka 0 0 11 2
Polka 1 0 16 1
Waltz 0 7 24 7
Vals-polca 0 0 2 0
Contradanza 1 1 0 0
Subtotal 2 9 78 10
(continued on the next p-age)
94 The researcher prepared this and subsequent tables using the cat
alogues of works which appear in APPENDIXES J, K, L, and M. Taking
w
40’6
Table 3 (Continued)
The Spanish Influence in the Selection of Genres
Genre Gutiérrez Tavárez Morel Quintan
Zarzuela 1 0 4 0
Subtotal 1 0 4 0
TOTAL OF WORKS OF
SPANISH INFLUENCE 111 10 155 25
Operas'and. Romanzase International.Influences in .Vocal Forms.
Operas.constituted a special.attraction for Felipe Gutiérrez,
but not for Tavárez, Morel, or Quinton. The Island of Puerto Rico
received the visit of different opera companies, and the public
seemed to like their presentations. Pasarell mentions Compañíade~
Opera Petrilli (1877-1871), Empresas Lapresini (1882). Antinori y
Compañía (1887-1888), and Compañía de Opera Italiana del Tenor
those works with lyrics as models, the researcher classified all

the letanías, salves, and tota pulchras as prayers in Latin. Fol
lowing the same procedure, all the estrofas, plegarias, gozos, sep
tenarios and novenarios were classified as prayers in Spanish. In
the case of Quinton, one salve was included under the vernacular
prayers (because its lyrics were in Spanish), but the others were
included under the Latin prayers (following another example as a
model). All the lamentaciones and marchas fúnebres were classified
under instrumental works; compositions under genre not known in
clude peticiones. coros, despedidas. dúos, melodías, and horas, but
the researcher believes they might be works with lyrics in Spanish.
A number in parenthesis indicates that the work is a section of a
larger composition, and not an independent piece.
F '
40<7
Antoni (1891), among others. He also mentions the titles of the
operas that were heard in the island during the century. He no
tices the collaboration given by Morel as conductor:
En marzo, la compañía [Sociedad Filarmónica de Ponce]

estuvo en Aguadilla y se trasladó a San Germán, donde
al separarse la Cavalieri y el maestro Cipóllini, se
hizo cargo de la batuta j. Morel Campos.95
Al maestro Kinterland le reemplazó Juan Morel Campos

hasta la llegada, en enero de 1884, del maestro cubano
Antonio Salcedo.96
Nevertheless, Morel Campos seemed more interested in conducting
operas than in composing them.
The following are the operas attributed to Felipe Gutiérrez:
"El b e a m é s - An opera in four acts with lyrics by Antonio
Biaggi, it was apparently composed in 1881, although Basarell
indicates that it was performed for the first time in 1857
(perhaps confusing its premiere with that of "El amor de un
pescador," a zarzuela by Gutiérrez). The music is not avail
able.
"Guarionex" - Opera in three acts, it is based on the book
by ALejandró Tapia, La palma del cacique. The book has al
ready been discussed in this chapter in the section about the
Indians. The music is not available.9

5
6
95 !'In March, the company [Sociedad Filarmónica de Ponce] was in

Aguadilla and then went to San Germán, where J. Morel.Campos was
named conductor, when Cavalieri and maestro Cipollini separated."
Pasarell, 160. .He is referring to.the year 1881:
96 "Maestre Kánterland was replaced by Juan Morel Campos until the

arrival, in Januarv, 1884, of the Cuban maestro Antonio Salcedo."
Ibid.. 164.
r .....
40 8
"Macias" - An opera in three acts, it was dedicated to King
Alfonso XII of Spain. This work was presented in 1872 at the
Exposición Pública, and Gutiérrez received a Gold Medal for
his composition. Five years later it was sent to the Palacio
Real, where after almost one hundred years it was "discovered"
by historian Lidio Cruz Monclova. It was brought to Puerto
Rico and was premiered at the Teatro Tapia in San Juan in the
year 1977 (see Figure 42).
The theme of "Macias" comes from the dramatic comedy in verse
written by Félix Lope de Vega, which was published in 1638 under
the title Porfiar hasta morir (To argue stubbornly until dBath) or
Macias el enamorado (Macias the lover). It is the story of trou
badour Macias, who falls in love with a married woman, and writes
passionate poems to her. Lope's drama was imitated in the seven
teenth century by Francisco Antonio Bances de Candamo, in the dra
matic comedy El español más amante y desgraciado Macias (The Spa
niard most in love and unfortunate Macias). When Mariano José:de
larra (1809-1837) adapts the legend, he writes in verse a tragedy
titled Macias, which is four acts long. The work, which was pre
miered- in 1834, is more inspired in the French work Henry III and
his Court, by A. Dumas father, than in the Spanish version. Larra
declares:
Macias es un hombre que ama, y nada más. Su nombre,

su lamentable vida, pertenecen al historiador; sus
pasiones al poeta. Pintar a Macias como imaginé
que pudo o debió ser, desarrollar los sentimientos
que experimentaría en el frenesí de su loca pasión.
409
Figure 42: The previous Teatro Municipal in Old San Juan, was
later renamed Teatro Tapia, in honor of Alejandro Tapia y Rivera,
the distinguished writer who was a friend of composer Felipe
Gutiérrez. Its second floor reception room is named after the
famous singer Antonio Paoli.
r " ..........
410
y retratar a un hombre, ése fue el objeto de mi

drama97
The story indicates that Elvira is forced to marry the noble don
Fernán Pérez de Vadillo, the squire of don Enrique Villena. When
Macias finds out about this marriage, he is very sorrowful and
gains access into the house of the couple. For this he is incar
cerated; Elvira visits him to help him escape. When the husband
discovers them, he kills Macias and then Elvira kills herself with
Macias’ sword.
There is a possibility that Gutiérrez saw Larra's theater
play in San Juan, because Pasarell lists La muerte de Macias as
having been premiered in San Juan in 1835. Although he does not
mention the author, it could very well be Larra's play. Did
Gutierrez use Larra's book directly to compose his music, as in
dicated in the manuscript of the composition, or did he use Martin
Travieso's libretto as indicated by Pasarell? The researcher had
another interview with music historian Gustavo Batista to talk
about "Macias," and he believes that Gutiérrez used Larra's book,
since the composer was a very careful and trustworthy person, and
one should believe what he wrote in the manuscript.
Batista commented that Camelia Ortiz del Rivero, who directed
the premiere of the opera in 1977, used the original manuscript to9
7
97 "Macias is a man who loves, and nothing else. His name, his
deplorable life, belongs to the historian; his passions to the
poet. To paint Macias as.I imagined h e could or should have been,
to develop the sentiments that he must have experienced in the
frénzy of-his mad passion, and to portray a man, that was the ob
jective of my drama." González Porto-Bompiani, Diccionario lite
rario, Vol. VIII, Barcelona: Montaner y Simón, 1959, 507.
f " ......... .
411
make the presentation. A copy of it is supposedly kept at the
Sala Puertorriquña in the Biblioteca Lázaro at the University of
Puerto Rico, where historian Batista himself has used a microflined .
copy. Nevertheless, the researcher was unable to use the manu-r
script, since it was not available at the time of her research,
and apparently has been lost. She used a copy of Act III made by
Enriquillo Cerón in 1971 (see APPENDIX J, entry 32), which is kept
at the General Archive in San Juan, and which includes the following
sections:
"Romanera" (for Macias, a tenor),
"Dúo del Macias" (for Macias and Elvira, a soprano),
"Más que rumor una llave" (for Macias and Elvira),
"Ultimo final" (same voices), and
"¡Cobarde!, voy a volver" (for Elvira, Macias and Fernán).
There is also a copy of this same act, but reorchestrated, revised,
and reconstructed by Rafael Aponte Ledée iu 1971. This version
has never been interpreted, but Batista commented that composer
Aponte Ledée wrote the overture which was used for the premiere of
"Macias" in 1977. Aponte was offered a copy of overture "La fami
lia," written by composer Gutiérrez, so that he could imitate his
style for the new overture. According to some critics, the har
monic and melodic language used by Aponte Ledée in his overture
for "Macias" turned out to be too contemporary for the opera.
Another genre which was liked by the four composers is the
romanza. There are romanzas for voices, for instruments, and for
voices and instruments. The following is a relation of those ro
manzas which include voices, whether they are for a soloist’without
r ' ' '

412
accompaniment or whether they include the participation of an in~
strument. Two romanzas are by Felipe Gutiérrez:
La . despedida - A song in A minor for voice and piano, it is
apparently the only work ever published of this composer.
The researcher has included its lyrics and their translation
in APPENDIX J, entry 11.
"Elisa" - This is a song in A minor for soprano and orchestra.
Although the lyrics are attributed to A. Pineda, they are not
available, since the manuscript only has cues for the soprano,
included in the flute part (see entry 13). The manuscript is
dated June, 1877, and the work in orchestrated for flute,
violins 1 and 2, viola, clarinet in A, and horn in D. It is
interesting to note that Pasarell includes Elisa as a play
(for which does not give the author), premiered in Puerto
Rico in 1857.
Tavárez Ropero wrote the following romanzas:
"Our Poet's Dying Request” - This is a song for piano and
voice, in F minor, with lyrics, written .in English, by F. Any.
This work was published in New York in 1887 (APPENDIX K, en
try 32). The researcher believes that "Súplica a mis amigos"
("Request to my friends"), listed by Veray as not available,
might be the same work as "Our Poet's Dying Request."
"El proscripto" - This is another song with lyrics by Amy,
which is listed by Veray, but which is not available (en
try 37). It should be noticed that Pasarell lists La nieta
del proscripto as a theater play written by Soulié and pre
miered in 1857.
r~ ~.... .
413.
"Serenata" - This is a song for voice and piano, in G Major.
The manuscript is dated 1898 (but this is probably the date
of the copy and not of the composition, since Tavárez died, in
the year 1883). The lyrics, written in Spanish, are said to
be by Victor Hugo, according to the list of AmauryVeray (see
APPENDIX K, entry 43, and APPENDIX R).
Juan Morel Campos has the following romanzas:
"Al amado alísente" - This is a song in D Major, and the manur
script presents a melody for voice with lyrics by the com
poser (entry 11 in APPENDIX L).
"A1 saber" - This is a school hymn for voice and piano. It
begins in D Major and ends in C Major. The Archive keeps a
transcription from the original music, made by Juan F. Acosta
(entry 12).
"El arrullo" - A song for two voices and piano, it is in the
tonality of F Major. Written in 1881, the manuscript indi
cates that the music and lyrics are by Juan Bautista Campos
y Morel. Why did the composer include "Bautista" as a middle

98
name? Was he christened that way? Why did he invert his
last name?
"Es la flor" - A romanza in E flat Major, its music is taken
or adapted from the zarzuela El anillo de hierro. Although
the manuscript does not indicate the composer, and indicates
that the owner of the copy was Quinton, the researcher thinks
98 The researcher was unable to find Morel's baptismal certificate

at the Cathedral of Ponce. Was the'composer ever baptized? Was
his certificate burned in one of Ponce's fires?
W"
414
it might be Morel's, since he wrote "La tintorera," a danza
also arranged from El anillo de hierro (entries 193 and-467). •
"Las horas" - This melopea (rhythmic melody to recite verses)
is for piano and voice, in A flat Major. It is an incomplete
manuscript, but it includes lyrics by Ulpiano Colom (entry
252 has the lyrics and the translation).
"La pastorcilla" - This romanza was dedicated to Amalia Baoli,
the famed Puerto Rican singer (see Figure 43). It is for
voice and piano, in B flat Major. The lyrics are by Mario
Braschi (entry 372).
"La ramilletera" - Although this romanza is listed by Mirabal,
it is not available. It was probably written in 1876 (en
try 413).
"El río Portugués y la noche" - A song for voice and piano,
it is in D minor, and the manuscript includes lyrics, which
are included in APPENDIX R.
"La violetera" - This romanza is not available, although it
is listed by Mirabal and by Arjona 3iaca (entry 509).
José Ignacio Quinton wrote the following romanzas:
"La canción de la Alianza" - A hymn for voice, in C Major,
its lyrics are included in APPENDIX M» entry 19. The title
refers to, the Alliance of 1924, between the political parties
Unión de Puerto Rico and Partido Republicano Puertorriqueño.
The political party Unión de Puerto Rico had been founded in
1904, by Luis Muñoz Rivera and others; Quinton also made a
political reference to it when he wrote "Viva la Unión," a
f
415
Figure 43: Two great Puerto Rican ladies: Amalia Paoli and
Ana Otero. Morel dedicated the romanza "La pastorcilla" and the
waltz "El jazmín" to Amalia Paoli. Tavárez dedicated the danza
"Un recuerdito," and Morel the danza "Anita" and the waltz "Mis
suspiros" to Ana Otero, a pianist from Humacao.
¥
F
416
danza (entry 94). Political references are not abundant in
the compositions, and even close friends or relatives of the
musicians believe they should not be identified with any por
litical group. The researcher only found the zarzuela "Don
Mamerto" by Morel (which implies an identification with the
liberals), and "Viva la Fepa," a danza also by Morel (which
might imply a reference to the liberal constitution of 1812,
but which probably is a reference to the young Pepa Arias —
possibly the sister of Mercedes Arias — to whom he dedicated
the danza "La traviesa").
"Duda" - This A flat Major romanza for mezzo-soprano, has a
piano accompaniment. The copy indicates that the lyrics were
written by J.V.C. Even if the initials are not explained,
the researcher believes the copyist might have misspelled the
initials of the composer: J.I.Q. It is an Andante con gra-
zia. (See APPENDIX R for the lyrics.)
"Tristezas" - This song for piano and voice begins in D minor
but ends in D Major. It is known as "Melodía," and the lyrics
are by A. Mattei. It was written in Coamo in 1907.
International Influences: Instrumental Works
One important contribution which must not be forgotten is the
group of works produced as orchestral or chamber music pieces.
The four musicians pay special attention to them. Among the gen
res chosen one finds overtures, short symphonies, marches, and
suites within the works written by Gutiérrez, Tavárez, and Morel.
Quinton is open to more possibilities, as will be explained later.
F
417
The researcher will offer general descriptions of the works, with
out entering in a rigorous aesthetic analysis, because some of the
works are much longer than the ones previously presented, and
others are not easily accessible since they are in private collec
tions and cannot be borrowed for photocopying. All the genres
they represent are of common knowledge and do not need to be char
acterized in great detail. Future research is suggested to
attempt a qualitative evaluation so that the Puerto Rican ccngusers
can be judged in terms of their international contribution in the
category of instrumental works.
Overtures and Symphonies
Beginning with the overtures, one finds that Felipe Gutiérrez
writes the following: "La familia," "La manganilla," "La peseta,"
"Tonidán," and "La yuca." "La familia" is a work in A flat Major.
It includes an Andante and an Allegro; it was composed in 1875 and
its manuscript is owned by Gustavo Batista (see APPENDIX J, en
try 14). Once again one can notice the close relationship with
the theatrical world, since Pasarell lists La familia as a play
by R. Rubí, premiered in Puerto Rico in 1874. Was Gutiérrez com
missioned to write an overture for the occasion?
"La manganilla" is an overture mentioned by F e m a n d o .Callejo,
the first music, historian of Puerto.Rico (seé^Rigure.44 and en
try 34). The.work is not available. "La peseta," an overture for
small orchestra, is dated 1883. It is in C Major and has also
been described as a short symphony. The horn part is the only one
available (see entry 74). "Tonidán"is an overture for grand or-
F ~
418
chestra, also mentioned by Callejo. The work is not available
(entry 115). "La yuca" is called the third overture, and it is in
A minor. It includes Allegro. Andante cantabile, and Allegro de-
ciso. The work is kept at the Gustavo Batista Collection and in
cludes parts for five instruments.
Tavárez Ropero did not write overtures, but Morel Caqpos did.
His example is "La lira," and it is a work for piano for which
the composer won a gold medal at the Feria Exposición of Ponce.
It includes Allegro brillante. Andante assai. Allegro. Primo tamo,
and a final section. It is 524 measures long, and the researcher
believes it might have been orchestrated in Morel's time. The
available orchestration was made in 1981 by Roberto Sierra, for
the inauguration of the Centro de Bellas Artes in San Juan (see
Figure 45 for the Plaza Juan Morel Campos at this m o d e m perfor
mance center). Morel's orchestra was named La lira ponceña.
Quintón Rosario also wrote one overture: "Obertura paca or
questa." This work is a long composition of 38 pages, that begins
in D minor and ends in D Major. It has never been published, al
though the orchestral score is very clear. It includes nineteen
instruments; Carlos Gadea has copied a piano reduction which is
kept by Felipe Monerau, of the Society of Friends of Quinton. The
original manuscript is kept at the Archive (entry 53).
A second genre chosen by two of the composers is the sinfo
nía. Gutiérrez wrote one and Morel two. "El parto de los
montes," a work described by Braulio Dueño (1854-1934) as a "sym
phonic toy," should perhaps be classified as an overture. Batista
only has the clarinet 2 part, and the rest is not available.
f "" ~ ' .
419
Figure 44: Fernando Callejo (1862-1926), the first music histo

rian of Puerto Rico. B o m in San Juan, he conducted the band of
Lares and devoted his last years to Manatí. Braulio Dueño (1854-
1934), the composer of zarzuela Los baños de Coamo and Canciones
escolares, was given a prize for this second work at the Exposi
tion of Buffalo in 1901.
420
Figure 45: The Centro de Bellas Artes in San Juan» vas inaugura
ted with "La lira," an overture by Morel Campos orchestrated by
contemporary composer Roberto Sierra. The open-air plaza at the
Centro is called Plaza Juan Morel Campos.
r ...... .....
E
421
This work was composed by Gutiérrez (see Figure 44 for a picture of ;
musician Braulio Dueño, who made a description of this composition)...
"Puerto Rico: Sinfonía sobre Aires del pais," is a work by
Morel, and possibly his longest. It is 905 measures- long; the or
chestral score, as.'well as the instrumental parts, are kept-atthe
General Archive. The instrumentation can be expanded to include up
to 31 instruments, counting those specified in the score, those
included in the individual parts but not in the score, and the güi
ro , already mentioned in the section about the Indians. Previous
references to this work were also made in the section-about the
Africans (danza mulata)., .and- the .bailes de garabato (fandanguillo
and seis), as well as the section about religious music (aguinal
do). The work, dated July 11, 1894 and based on the piano suite
Aires del pais, also includes a section based on La Borinque-jja,
the work which has become the Island’s national anthem. This
symphony has never been published (APPENDIX L, entry 404).
"El certamen" is a symphony for orchestra, in A Major. It can
include up to 26 instruments (see entry 85), and is also known
as "El Gabinete de Lectura." It has been published in its piano
version, covering 20 pages and 520 measures in Juan Morel Campos:
Obras varias. The researcher has examined the work and believes
it does not exhibit the sonata-allegro form. It is a suite con
sisting of several sections which are not melodically related, ei
ther as variations or as developments. Nevertheless, the work is
united by its generally lively character, by the repetition of
the espresivo section in a new key, and by the Coda which recapi
tulates with the theme of the Introduction.
422
Suites and Marches
A third genre chosen by the composers is the suite. It has
already been mentioned that Morel's two *symphonies have the struc
ture of a suite. The following are other suites, intended for a
soloist pianist, and written by Tavárez Sopero: "La cajita de mú
sica," "Cuadros musicales," ^Fantasias criollas," and Souvenir de
Puerto Rico: potpourri de aires provinciales. The first three
are works listed by Amaury Veray as "miscellaneous"- or "collec
tion," but they are not available and thus.,cannot be described.
The researcher is classifying them as suites (see APPENDIX K, en
tries 4, 10, and 15).
Souvenir de Puerto Rico: potpourri de aires provinciales
is a work similar to Morel's Aires del pais, another suite, and
both are probably inspired by Louis M. Gottschalk's Marche des
Gibaros and La Porto-Riquefia. Although Tavárez's work is not dat
ed, the researcher assumes it was written before Morel's one.
Souvenir de Puerto Rico was published in Barcelona by Vidal y
Roger, and Aires del pais was published in Ponce by Bazar Otero.
The researcher has already discussed the similarities between
these two suites, because they include sections developing p-pilar-
tunes and illustrating the aguinaldo and the seis.
Marches were composed for funeral purposes, and in this cate
gory one can recall Gutiérrez's "Marcha fúnebre," Tavárez's "Mar
cha en honor de José Campeche" (which received a prize in 1865
and was later interpreted at the Ateneo honoring the famous paint
er— see Figure 46 for, pictures of Manuel Gregorio Tavárez
and José Campeche), and Morel's "A Manuel Corchado"
f.
423
Figure 46: Manuel Gregorio Tavárez (seen in a photograph of the

period), dedicated a funeral march to José Campeche, the painter.
Shown is nLa Virgen del Rosario*1 by this artist;
f ........
424
(honoring a distinguished politician who represented Mayagüez in
the Spanish Cortes and who can ajso he remembered as £he writer of
the well known Oda a Campeche and Desde la Comedia al Drama), "Ca
mino de la gloria," "Descanso eterno," "La dolorosa," "Marcha fú
nebre," "Oh, misericordia," "Pobre Tavárez" (honoring his teacher),
and "Tras de la Cruz." But all the funeral works have been classi
fied by the researcher under religious compositions, as indicated
in the catalogues.
Marches associated with in s tr ument a l works are "Redención,"
"Juegos florales," and "Marcha triunfal para orquesta." The first
one was composed by Tavárez, and is a gran marcha triunfal para
piano. It received a prize, and is an homenaje a la Feria de Paree
(homage to the Ponce Fair). This composition, the same as "Juegos
florales" by Morel, reflects one of the cultural traditions of the
Puerto Rican artistic society of the nineteenth century: the musi
cal- and poetic competitions. Morel additionally recalls this
esteemed event when he writes "El certamen," and "La feria." It
must be remembered that composers took advantage of this unique
opportunity to have their works evaluated, heard, and hopefully
prised.
For "Juegos florales" Morel received a prize in 1895. He ded
icated this work to the society of Mayagüez. The General Archive
keeps a copy of this important composition which has never been
published. The work, in C Major, includes a reduction for piano,
and parts for 23 instruments, (see APPENDIX L, entry 274).
Quinton's "Marcha triunfal para orquesta" was written in-1911.
The orchestral score includes 15 instruments, but there are parts
r
425
for four instruments more, in copies made by Carlos Gadea, one of
the main contributors in the process of reconstruction of Quinton's
music. The piano reduction made by Gadea is also kept at the Ar
chive (APPENDIX M, entry 43). The researcher has included in Fig
ure 47 a copy of the edict • inviting interested participants to
the Certamen Literario Musical of the Casino Puertorriqueño de
Manatí. Item IV asks for a triumphal march for orchestra, with an
offer of a gold medal, a prize of $25 and an honor diploma.
Other very interesting documents were found at the Archive,
and the reader can examine them in APPENDIX S. They are:
A letter from Fernando Callejo (Secretary of the Jury) to
Aristides Chavier (member of the Musical Jury), asking him to give
his opinion on each of the works submitted, and his final vote;
The opinion of one of the judges saying that work #7 (Quin
ton's march) lacks spontaneity and deserves a secondary prize;
The opinion' of another member of the jury saying the work
lacks inspiration and inventiveness and deserves a first honorific
mention;
A telegram sent by Chavier to Callejo on May 1, 1911, in
forming . him that he disagrees with his verdict, and that the B flat
March is superior to the others;
The first page of a letter from Braulio Dueño to Aristides
Chavier congratulating him for his firm attitude in the Certamen,
and saying why he was unable to express his opinion publicly due
to his personal friendship with a member of the jury;
A letter from Chavier to Julio C. de Arteaga thanking him
for his support, and mentioning the judges: Callejo, Martínez Flee,
¥ ' '. . ' .. . ' ‘

426
(Üastttrt $UT?rím*rtqimtn
DE MANATI.
(Ürrtámrn iSitrniriu ííhtstraL Sgí
o <*© o ^CONVOCATORIA©*
El Casino Puertorriqueño cíeesta ciudad, con ol altofin de contribuirat mayor
desarrollo y esplendordo las letrasy lasartes en eJ oais, y «leseandosolemnizar, al mis
mo tiempo, la inauguración del Teatro Hmn. instaladoen su salón principal, acordó cele*
brnr en lanoche del «lia)f»di»abril del afloen curso, un °
*^ ^ -4 (Ürríáuu'ii IGttrrnrtn-íílusirnl
y. al efecto, ha nombrado una comisión organizadora de tal fiesta.
E s ta se lle v a r á á cabo con sujeción á la s s ig u ie n te s
. K IÓ ( ; L A S
I. — Consistiráel primer premio en FLOR NATURAL (rosade oro), CINCUENTA DO-,
LLAKS y DIPLOM A DE HONOR. y so :uljudicará.á lamejor poesía líricaque'
so presente alCertamen. *
II. — El secundo, en PENSAMIENTO DE Olió, VEINTICINCO DOLLARS y DIPLOMA
para lapoesía líricaque siga en mérito á-.la‘anterior.
IIT.-Om AZUCENA 1)E ORO, VEINTICINCO DOLLXRS y DIPLOMA, será premiada
la m«*jor poesía festiva, didáctica, satírica,ó épica. Caso de que ninguna de las
presentadas merezca estadistinción, se jcortcWerá dicho premio á la poesía lírica
que sigaen mérito á lasdos anteriores.. *.
IV. Otro premio, consistente en MEDALLA DE ORO, CINCUENTA DOLLARS y DI
PLOMA DE HONOR, seotorgará al mejor estudio críticosobre la personalidad
y laborliteraríasdel malogrado vale mannlieflo Francisco Alvarez.
V. -Otra MEDALLA DE ORO, VEINTICINCO DOLLARS y DIPLOMA DE HONOR
• serán adjudicados á lamejor mnrefia triunfal para orquesta, en partitura, en ho
nor á lamemoria de .losefino Paixíspemmcntc guitarrista manat,iríjo.
VI. — Los juradoscalificadores ,>odián otorgar iasmenciones honoríficasqu-, procedan.
Vil.— Toílas lascomposiciones deberáiv'snr inéditas, y escritas en castellanos laslite
rarias. . •* í- '
f
VIIT.— Los trabajos, por duplicado, cOn' un lema y sin firma, deberán enviarse á don
Enrique Zorrilla, secretariode laComisión, en Manatí. No debe acompañarse
sobre alguno que contenga élnombre del autor. '
IX. - Ningún autor«leberáenviar altorneo más de una composición.
X. — El tema y metro de lascomposiciones poéticas, se dejan á elecciónde los autores.
XI. — Tendrán derecho á tomar parte en estajnstatodos los poetas, escritores, literatos
*• y músicos residentes en el país, y los que siendo puertorriqueños, se hallen
ausentes. . . .
Figure 47: Edict inviting interested participants to the

Certamen Literario Musical of the Casino Puertorriqueño de Manatí.
with permission of the copyright owner. Further reproduction prohibited without permission.
427
Simón, as acting very correctly during the interview but having
"mephistophelian" intentions to "attack excellence."
The analysis made by José Miguel Morales and Aristides
Chavier (members of the jury) evaluating the march with the motto: -
"It is impossible not to love music, if one understands its beauty*! '
and declaring Quinton’s march as the winner of the first prize.
Quartets, T.rios, and Duos
After examining such genres as the overture, the symphony,
the suite and the march, which are mostly used in compositions for
orchestra, even if they are sometimes adapted to a solo instrunait,
one must also consider the works which are intended for small en
sembles, such as the quartet, the trio, and the duo. The only
composer who is represented, by this. type of musie is Qúintóñ.
In "Cuarteto en Re Mayor" he includes an Allegro in D Major, an
Adagio ma non troppo in G minor, a Scherzo with Allegro vivace in
D Major, a Trio in D minor, and an Allegro-Piú mosso in D Major.
The motto of this work for two violins, viola and cello is:
"Beethoven is the teacher of teachers." This unpublished work
written in Coamo (see Figure 48 for pictures of Coamo and Yauco),
received a prize in 1913 at a competition. It was first performed
at the Teatro La Perla in Ponce.
"Divertimento sobre un tema, de Fausto" is a trio for flute,
violin, and piano which has never been published. Felipe Monerau
recalls that it was performed by the late Jesús María Sanromá and
some fellow musicians. The work is not available, but the research
er found references to it in a newspaper article (see AfcHMHX M,. .
F “' :
428
Figure 48: Picture of the dining room in Los baños de Coamo, and
picture of the church of Yauco. Quinton lived in Coamo and fre
quently visited, the .church, of Yauco» where he played the organ.
(Photos by Manuel Diaz Hernandez.)
r
429
entry 36, and CHAPTER IV). Another trio is "Romanza para dos vio-
lines y piano," a work which begins in D Major and ends in A Major.
It has never been published, and a copy of it is kept at the Gene
ral Archive, (entry 62). The "Trio" mentioned by Maria Luisa Murfoz:
is intended for violin^, cello and piano, but since it is not avail
able, -the researcher could not determine ir it is the same as
"Divertimento sobre un tema de Fausto," since there could have
been an adaptation of the instrumental parts. Finally, the "Trio
sobre un tema de 'Emani'" is a work for flute, clarinet and piano.
One can observe that Quinton has been influenced by the great com
posers of Europe in his chamber music, since two of his trios make
reference to the operatic world of Gounod (Fausto) and Verdi
(E m a n i ). The researcher found the flute part of this last trio,
composed in 1901, and it includes an Allegro vivace in E flat
Major, an Andantino in B flat Major, an Allegretto in F Major, an
Andantino in G Major, and an Allegro vivace in C Major.
Quinton has a duo: "Romanza para violín y piano." This is
a well known work which has also been performed by local musi
cians, as a duo for marimba and pi§no. It was written in 1920
and dedicated to the composer’s friend, Luis Antonio Passalacqua.
It was once published as a separata of the Revista del Instituto de :
Cultura in 1961. It begins in E minor and ends in E Major. Its
copyright belongs to the composer's daughter, Maria Luisa Quinton
de Miró, now a nonagenarian.
Two composers, wrote music for. solo instruments denoting
an international influence, probably acquired, through, their
r " " “ ' . ■

— ----- .
430
interest in the European musical atmosphere (either because of a
trip to Europe, as is the case of Gutiérrez, or through the study
of the music books received locally, as is the case of Quinton).
The works for soloists, which may include the accompaniment of an
orchestra, are discussed next.
Sonatina, Barcarole, Ballade and Scherzos
Felipe Gutiérrez wrote "Sonatina de violin," a work mentioned
by Fernando Callejo, and described as having a piano or orchestral
accompaniment. It is nevertheless unavailable, and gannot be .
examined. Quinton wrote "A orillas del mar," a barcarole for
piano, in A flat Major. He was the only composer to try this
type of work. "I Balada y II Scherzo" is Quinton’s Opus 30, writ
ten in 1925. The "Balada" is in E flat Major with a section in
A flat Major, while the "Scherzo"is in E flat Major. As most of
Quinton's instrumental music, it has been published in José
Ignacio Quinton: obras completas. Since Quinton seemed to like
the scherzo genre, he wrote several others. "Scherzo-alla-mazurka"
is in G minor and was written in 1908; "Scherzo en fa menor" and
"Scherzo en la bemol" are works for piano, and both have been pub
lished in Vol. 7 of the above-mentioned edition. For the scherzos
see APPENDIX M, entries 70, 71, and 72.
Romanzas, Nocturnes,, and Variations
There are three romanzas written by Quinton which are mstru-.
mental. The researcher believes the composer is perhaps evoking
Mendelssohn-Bartholdy when he writes "Romanza sin palabras." Htís
work was written in 1919; it is in B flat minor and is also kncwi
431
as "Sara." It is Quinton's Opus 13. "Triste esperanza" is a work
for piano in G minor* It was written in 1907 and dedicated to Miss
Rita Maria Mattei. Written in Coamo, it is Opus 5. "Una pagina de
mi vida" is another romanza; it was written at a later date: •1922. .
The work is in C Major and is Opus 29.
Two nocturnes are included in this section: "Nocturno" (en
try 50), and "Nocturno en mi bemol" (entry 51). While the first
nocturne is incomplete, apparently unfinished, the second one has
been published as a piano work. It is in E flat Major with a mid
dle section in A flat Major, and the Archive keeps an arrangement
made for flute, clarinet in B flat, violins 1 and 2, viola, and
cello. A recent arrangement for grand orchestra, made by musician
Carlos Molina, was not found by the researcher at the Archive.
The variations are represented by "Variaciones para piano
sobre el tema 'God Save the King'" (based on the English national
anthem whose melody is. also used in the American song "My Country
'Tis of Thee"), "Variaciones para piano sobre un tema de J.;N.
Hummel" and "Melodía" (known only through the aváilable viola part,
this work has not been clearly identified by any other title).
The first work includes an Introduction, Largo, "Tema" and "Pri
mera variación" in G flat Major. The "Segunda variación" is in
D Major and the "Tercera variación" in A Major. The "Final" makes
a return to the original tonality. The variations on the theme
by Hummel begin in B flat Major with an Adagio con gran esprasiaae
and change to a Lento in D flat Major on Variation XI. The last
and twelfth variation returns to the original tonality and is a
f ""..... '
432
Tempo di Polonesa. The motto of this work is: "La música es el
lenguaje del sentimiento" ("Music is the language of sentiments")
which the composer takes from composer Eslava. This work received
the first prize in the Certamen of Ponce in 1913.
Apparently "Melodía," a work which used to belong to Amaury
Veray, had at some point been confused with "Variaciones para piano
sobre un tema de J,N. Hummel." Carlos Gadea clarified this mis
take and wrote a note on the envelope in which t h e unpublished wcdc
is kept. This work, written in alto clef, is perhaps not a solo,
but a part of an orchestral: composition. The following sections
were identified: Andantino in-B flat Major-G Major, Andantino
inE flat Major,■ Allegretto i n ,C Major, Adagio in D flat Major,
Allegretto in B flat Major, Andantino cuasi Adagio in D Major,
Allegro in B Major, Adagio and Allegro in B flat Major, Adagio and
Presto in A flat Major, Andante mosso in G Major, Allegro in E Ma
jor, Adagio in B flat Major ending in G Major. Further study is
suggested in order to characterize this work properly.
The Fox-trot, an American Lance
Living in Puerto Rico after the change of sovereignty,
Quinton was the only composer, of the four researched, who was
influenced to a certain extent by the American musical currents.
He wrote two fox-trots: "Suéltalo Julián," and "Yuaní en su cuer
da." The fox-trot, a ballroom dance dating from about 1915, be
came the basis for most subsequent dáúce steps in duple time.
Some varieties were the Charleston, the Black Bottom, "and the
Shimmy (used by Hindemith in his Suite 1922 for piano). Quinton
f. ................. ' ............

433
wrote his compositions around 1923, one making preference to the
dog of his neighbor Julián> because it was barking loudly. In
those days the tobacco plantations of Coamo were sometimes burned
by activists, because the economic wealth of the people of Caguas
and Cayey was being threatened by the rival plantations in Coamo.
Quinton was trying to tell Julián to let the dog loose, because he
was too noisy due to the tense situation. The second fox-trot
refers to a friend of Quinton named Juan Gierbolini (the father of
tenor and radio commentator Edgardo Gierbolini), whose nickname
was Yuani. This second fax-trot was recently published in Vol. 10 of
José Ignacio Quinton: Obras Completas.
Before continuing with the last section of this chapter de
voted to the danzas, the researcher must point out that there are
several works by Juan Morel Campos which cannot be classified pro
perly. They are either incomplete or unavailable works character
ized as "melodies
"Amistad" (entry 20), a melody in E minorj
"Ausencia" (entry 36), a melody in C Major;
"El borracho" (entry 59), a melody in A Major;
"El chaparro" (entry 88), a melody in C Major;
"La charlatana" (entry 89), a melody in D Major;
"El fuego" (entry 222), a melody in E minor;
"Melodía sentimental" (entry 323), two melodies in E minor
and F minor, both incomplete; and
"Ultima lágrima" (entry 484), a not available melody.

Only one composer wrote books on theory and instrumental ex
ercises: Felipe Gutiérrez. His "Te;oría de la música" is presently
r
434
not available, but it is mentioned by biographers (see entry 144).
On the other hand his "Cuaderno con estudios para piano" (entry 10)
includes short exercises to learn "how to pass from the F natural
to the E flat," "how to use the tremolo," and how to use different
tonalities. This interesting composition has never been published
and remains largely unnoticed at the Archive.
The researcher has included Table 4 to show the selection of :
genres that demonstrate an international influence. On the last
pages of this chapter she qlso presents a summary of the informa
tion included in the previous tables, and there she includes those
works of unknown genres, and alsp the theory and exercise books
just mentioned.
The Puerto Rican Danza
If one were to choose, among the genres represented by the four
composers subject of this research, the one which best embodies the
nationalistic personality of the inhabitants of Puerto Rico during
the nineteenth century, there would not be the slightest doubt that
the danza is that genre. With the exception of Felipe Gutiérrez,
who is clearly religiously-oriented, the;other three composers have
chosen the danna as their main avenue of expression. The. research-,
er. indicates in Table VI that Tavárez dedicates 68 percent of
his total compositional effort to the danza, while Morel 66 per
cent and Quinton 45 percent.
Why do these three composers use the danza so frequently? Is '
it because it combines great possibilities in the compositional
field due to its musical form, together with a perspective of
F
435
Table 4
Number’of Works Showing International

Influence in the Selection of Genre
Genre Gutiérrez Tavárez Morel Quinton
Vocal music
Opera 3 0 0 0
Romanza 2 3 9 3
Subtotal 5 3 9 3
Instrumental works
for ensembles
Overture 5 0 1 1
Symphony 1 0 2 0
Suite 0 4 1 0
March n 1 1
V 1
Quartet 0 Ó 0 1
Trio 0 0 0 4
Duo 0 0 0 1
Subtotal 6 5 5 8
Instrumental works
for soloists
Sonatina 1 0 0 0
Barcarole 0 0 0 1
Ballade 0 0 0 1
Scherzo 0 0 0 3+ay
Romanza 0 0 0 3
Nocturne 0 0 0 2
Variation 1 0 0 3
Subtotal 2 0 0 13
United States
Fox-trot 0 0 0 2
TOTAL OF WORKS OF
INTERNATIONAL INFLUENCE 13 8 14 26
* Works in parenthesis are those which are part of a longer piece;
¥ .....
C
i •
436
being heard in social activities and danced by many people? Is it
because they think they can never excel in the development of .
other forms which are of Spanish or European origin? Is it be
cause they cannot travel frequently and thus are trying to develop
themselves within a local atmosphere? Is it because they believe
they can be remembered -while developing a musical genre which
is typical of their own Island and not of the neighboring ones?
Is it because their audience like this genre and feel delighted
at being reflected in this type of music? Is it because Puerto
Rico needs to identify itself with something of its own, after
centuries of Spanish dominion, and is trying to develop a cultural
nationalism? Is Puerto Rico aware of the independence trends of
the neighboring countries and the nationalistic struggles of the
people in Europe, such as the Slavs within the Ottoman and Habs-
burg Empires?
Much has been written about the danza, practically the only
genre carefully attended to, by historians and researchers.
There are different theories as to the origins of the danza:
1) that it evolved from the dance caballeresca of Extremadura in
Spain: 2) that it evolved from the Venezuelan danzón and the
Cuban habanera: 3) that it evolved from the upa or merengue
brought from Cuba.
.Salvador Brau -explains his version:-.
. . . por los años de 1842 a 1843 en cuya época

dieron a conocer las bandas de música de los regi
mientos de la guarnición,- una nueva .danza, proce
dente de Lá Habana -. . .- Esta danza habanera.
W. ...........
437
escrita, como la contradanza española, en

compás de 2 por 4, ofrecía la particularidad
de dividirse en dos partes . . . ya en 1846
el "merengue" penetraba los salones de la
Sociedad Filarmónica, establecida por aquellos
tiempos, en la calle de la Cruz, en la casa
que aún se apellida de la Filarmonía.99
Ee explains the new danza (meaning the merengue), after mentioning
the differences with the contradanza (already described by the re- •
searcher in CHAPTER II):
. . . durante la primera parte, las parejas

recorrían, de brazo, el salón, sin cuidarse
de los acordes de la orquesta; mas apenas
vibraban las notas de la segunda, la dama
reclinaba el brazo izquierdo sobre el derecho
del caballero que estrechaba por el talle,
tomándola de la mano derecha y atrayéndola,
no con esa soltura que exige el vals la rapidez
de sus giros, sino en un enlace más estrecho . . .
He quotes from José A. Daubón:
La danza es cosa deliciosa: no.es baile de

mudanzas sino de melindre; no es de grandes
actitudes y giros sino de movimientos deli
cados; no es de artificio sino de naturalidad;9
1
0
99 " . . . during the years of 1842 and 1843 in which time the
music bands of the regiments of the garrison made known a new dan
za, proceeding from Havana . . . This Havanese danza, written like
the Spanish contradanza, in a two by four measure, offered the
particularity of being divided in two parts . . . already in 1846
the "merengue" was entering the halls of the Sociedad Filarmónica.
established at that time in Cruz street, in the house which is
still called of the Philharmonic." Salvador Brau, "La danza puer
torriqueña" in Marisa Rosado, compiler. Ensayos sobre la danza
puertorriqueña, San Juan: Instituto de Cultura Puertorriqueña,
1977, 6.
100 " . . . during the first part, the couples went around, the
hall, arm in arm, without attending to the chords of the orchestra;
but as soon as the notes of the second part vibrated, the lady ter
d i n e d her left arm over the right one of the gentleman, who held
her tightly by the waist, also taking her by the right hand and
drawing her close, not with the laxity that is required for the
quick turns of the waltz, but in a more tight link . . . " Ibid., 7.
¥ ........... '
no es, por último, de maestría sino de enlace;
pero a la verdad, de enlace íntimo . . . 101
Finally he explains that even if General Pezuela prohibited In 1849
the "merengue," it gradually replaced the contradanza in the dances .
of the most selected society.
Music historian Amaury Veray explains that this new Cuban
danza attracted the attention of such local composers as Aurelio
Dueño and Francisco Santaella, who wrote danzas including an intro
duction and two parts, the second of which was more lively and
came to be known as merengue or zupa. Veray says that it was .
Alejandro Tapia the one to rectify historian Salvador Brau, since
he called merengue the whole danza, while Tapia called merengue
only the final portion.
In 1853 the güiro was incorporated into, .the.-dance, orchestra;
a simultaneous rhythmic revolution was noticed during that decade.
The dotted notes and the triplets were gradually incorporated in
some measures. Veray affirms that even if the danza "Margarita,"
written by Julián Andino in 1870, had traditionally been considered
as the first Puerto Rican danza (exhibiting not t h e .qualities of
the above-mentioned Cuban merengue but of the local danza), he
believes Tavárez must be named the father of the danza because his
work "Cómo me mira el viejo" was published in Delirio Puertorri
queño on September 1, 1863.' Two other danzas which are currently1

0
101 "The danza is a delicious thing: it is not a dance of move

ments, but of prudery; not of great attitudes and turns but of del
icate movements; not'of finesse but.of naturalness;it is not, fi
nally, of mastery but of link; but to say the truth, of an intimate
link . . . " Ibid.
Í
439
being considered as possible "first danzas” are: one mentioned by
researcher Villarini as having been written by Andino and published
on August 16, 1863 (for which she gives no title), and La Lopita,
found by this researcher at the Seneral Archive, as having been
published by the Delirio Puertorriqueño in 186-. The published
copy is clear, but the last digit of the year was not written.
The researcher tried to locate the collection of this magazine at
the Archive and at the Sala Puertorriqueña of the Biblioteca
Lázaro in the University of Puerto Rico, but librarians informed
her that they do not keep collections of this magazine. Perhaps
some other researcher will be able to find the. necessary informa
tion to determine which was Puerto Rico's first danza.
Veray explains the problem and also the value of the xhythnic
interpretation of the Puerto Rican danza:
El tresillo elástico . . . es un ritmo que existía

ya en algunas obras barrocas y que se había hecho
muy popular en la América Hispana. Consiste en la
combinación temo-binaria en el acompañamiento, y
a veces en la voz cantante también. Originalmente
en nuestras danzas existía este tresillo de negras
exclusivamente en compases alternados, luego se va
fragmentando en tresillos de corcheas . . . Confe
samos que tal particularidad no resiste un análisis
cronométrico ni mucho menos metronómico . . . Esta
licencia rítmica de voces encontradas requiere
. . . un gran sentido artístico al decir la frase
. . . La danza ha pasado de generación en genera
ción manteniendo una autenticidad única y un decir
melismático que nos la ha hecho propiamente nuestra.1
0
2
102 "The elastic triple . . . is a rhythm that was already present

in some 1 Barojue works and that had become very popular in Hispanic
America. It consists bf a temo-binary combination in the.accom-
paniment, and sometimes in the singing voice also. In our danzas
this quarter note triplet originally existed in alternated mea
sures: later on it is gradually fragmented in eighth, .note triplets
F
440
Awilda Villarini's "A Study of Selected Puerto Rican Danzas
for the Piano," a 1979 dissertation completed.at New York Universi
ty, :is one. of. the .most recent.contributions-to the-study, of the, dan
za. It traces the origin and evolution of the danza, discusses the
theories concerning its rhythmic interpretation, and analyzes the
characteristics inherent to the schools of danzas in Ponce and
San Juan. Using a questionnaire to verify the main written sour
ces (by Héctor Campos Parsi, Amaury Veray, Fernando Callejo, and
Maria Luisa Muñoz), the authpr verifies the primary contribution
of Juan Morel Campos in the development of the danza, with Tavárez
and Quinton ranking very high after Campos.
The performance of the quarter notettriplet (written ) and

'H'
performed and the eighth note triplet (written and
3
performed 4 J # ), called tresillos elásticos, is carefully con
sidered by Villarini. On this issue, one of the most interesting
and controversial, Amaury Veray has affirmed that the triplet is
written incorrectly, and tradition indicates it should be inter-;
preted otherwise. His opinion is the same as that of Tomás Clavell
(a ninety-two year old musician, at the time of the interview, who
used to play in the Banda de bomberos de Ponce originally conducted
. . . We confess that such a particularity doe$. not resist a chro-

nometric analysis and even less a metronomic one . . . This rhyth
mic license of opposed voices requires . . . a great artistic
sense when expressing the phrase . . . The danza has passed through
generations maintaining a unique authenticity and a melismatic
saying that has made it properly our own." Amaury Veray, "Viday
desarrollo de la danza puertorriqueña" in Marisa Rosado, compiler.
Ensayos de la danza puertorriqueña, 27.
f ......... .. ....
by Morel - Campos). During Villarini's interview, Clavell also
pointed out that rhythmic liberties were also allowed in the inter
pretation of the paseo or introduction of the danza, since it was
never danced.
When Villarini interviewed Carlos Gadea, a friend of Quinton,
he said that " . . . the composers in Puerto Rico were rendering a
great disservice to performers by not writing the triplets accur

103
rately. in- the danza." Even if Quinton wrote the triplet when he
wrote his "Danzas de concierto," perhaps he became very aware of
performance difficulties. A third‘interview with Hector Campos
Earsi emphasized that Morel used the triplet and also the rhythmic
pattern HI in the same danza, substantiating the opinion that
the rrmpnggr knew exactly the rhythms he wanted; thus this means
that the triplet was written accurately.
Among the elements of the danza that are studied by Villarini
on the evolution of the danza, one can mention the following:
1 ) the use-of syncopated rhythms;'2). the practice of a rhythmic
dialogue'between the voices, having, the. melody become the high
light, and the accompaniment...the element for rhythmic Variation; '
but maintaining a. discreet and'smooth balance of the rhythm
between • both, the melody, and the., acompahiment; 3) the use of
contrasting dynamics,'which gradually develop into dramatic and
passionate writing; 4-)-. the use of hand-crossing; so'-that the.
melody, particularly that of the second section, is written in
103 Awilda Villarini, 65-66.
F .. " ' " :

442
the bass clef and on a lower register than the accompaniment (she
gives "Un viaje a Bayamón'* by Tavárez as one of the earliest
examples of this practice); 5) the occasional incorporation of
virtuoso-like scale passages, chromatic double thirds, mordents
and other embellishments, and diminished chords to create tension
and interest; 6) the development of the form, which can either be
A B or A B A; and 7) the use of a contrasting tonality in the
B section, which can be of a serene and lyric nature.
Even if Villarini tries to divide Tavárez*s and Quinton's
works into three categories each, the total of works which are
included in each period is not clear, since she does not list
them all and then classify them. The researcher believes that
even if this would be a most useful contribution, it is never
theless very difficult to achieve, since the danzas are not
always dated, and as mentioned by Villarini, the quality of the
danzas is not very consistent within the same period.
Some of Awilda Villarini*s most important conclusions
concerning" Manuel Gregorio Tavárez Ropero, Juan Morel
Campos, and José Ignacio Quintón Ropero are:
This researcher believes, that the main reason

for the length.of the middle section is that
it becomes very dramatic and passionate, while
section A is much more calm in the style of
the narrative." If he [Tavárez] repeats the
whole sección the dramatic impact that was
created in B would be forgotten. Therefore
he only repeats the first phrase of the
f \ " ' "" " " ...... *..... ’

443
A section and then writes in the dominant a

variation of the original second phrase of
section A. In this way, he only recalls the
material and the character of section A,
without losing the dramatic impact created
in the middle section.104
The Puerto Rican danza, under Juan Morel Campos,

developed considerably, yet is different from
the style of Manuel 6. Tavárez. When Campos
received the danza, it already had reached a
certain plateau of development, the form was
established and many of the basic rhythmic pat
terns characteristic of the danza were used
. . . In Campos' works there is not a period
of experimentation as such . . . Although, as
already noted, the basic form of the danza was
established by the time of Campos, he modified
an already established form. In some danzas the
repeated A-section was longer than in others,
sometimes the B section consisted of two or three
parts, and in some danzas he used a coda.105
Taking .Tnfluencia del arte as an example, she also writes about
Morel:
This danza, as is true of most of Campos' danzas,

overall enriches immensely the danzas' rhythmic
language. Unlike Tavárez, who used to exploit
one or two rhythmic patterns in each particular
work . . . Campos presents a great variety of
rhythmic patterns.106
Considering the use of the piano in Quinton's works she points out:
Quinton's use of the piano throughout his works

is excellent. Except for Tavárez, no danza com
poser included so far in this study was as suc-
cesful in writing danzas for the pinino. Quinton
not only expanded the use of the instrument but60
1
5
4
104 Ibid., 89. She is writing about the danza Margarita.
105 Ibid., 101-102.
106 Ibid.. 111.
f ...
444
also produced- a harmonic language which is more mo

d e m -than that of many of his predecessors', . .
T h e :development •ef. contrasting sections- •in. some of
Quinton1s wotks is less than interesting. The middle
sections_often do not-live up to the expectations
.. . . His danzas, lack, the rhythmic variety and interest
that-, for example. Morel.Campos' danzas1Have. 107
Taking “Ausente"" (a long danza of 122 measures) as an example, she
says:
This researcher believes that no danza composer
after Campos mastered the form as well as Quinton
did in most of his works . . .[but that] Quinton's
ability to achieve structural unity was sometimes
shadowed by his desire to write pianistic music.
This especially occurs in section B, where the
music relies on double notes written in different
registers on the keyboard.108
Undoubtedly, Quinton's greatest concern and inno

vation in this danza is the use of the piano. He
wanted to write a concert danza . . . He used the
piano in this danza as no one had ever done before
. . . His greatest pianistic innovation in this
danza is the use of sustained melodic notes in the
right hand, with the right hand alternating with
the accompaniment part of the time. In all the
danzas studied by the researcher, this is the first
time such treatment of the instrument has been
observed.109
A relationship follows of those danzas which, w e r e .written by
Tavárez, Morel, and Quinton, pointing out those which have re
mained unavailable to this researcher, and those which were found
incomplete. Danzas available to the researcher were classified
according to their tonality, with the purpose of discovering
which are the keys preferred. After their mention, emphasis is1
0
7
8
9
107 Ibid.. 132-134.
108 Ibid.. 135-136.
109 Ibid., 139-140.
¥ .......
445
given to those titles which resemble or are identical to the titles
of zarzuelas or dramatic plays, to point the way for future re
search as to the authenticity of the related danzas. Finally, the
researcher provides a large dimension structure analysis, in order
to compare the danza with previous forms, to compare danzas among
each other, and to compare the composers among themselves.
Manuel Gregorio Tavárez wrote 38 danzas, out of a total of 56
works. Of these, the following are not available:
"Dicha'fugaz" (entry 12)
"ha' Dalorita" (entry 13)
"La hamaca" (entry 17)
"Recuerdos de antaño" (entry 39)
"La risa o La cena de un juez" (entry 41)
"La virgen de Borinquen" (entry 56)
All the available danzas are complete, and t h e y.can be divided
according to their tonality. The list that follows also indicates
if the danzas are published (P) or jmpubLished (U), and their entry
number in the catalogue of APPENDIX K.
C Major
E flat Major
El mismo Fernando U 30 La Clotilde U 7
D flat Major La coqueta U 9
La Carmela P 5 La Lopita p 22
D Major La Luisa u 23
Cómo me mira el viejo P 8 El suspiro P 45

La Elisa U 14 Un día de campo U 46
La Manuelita U 24 Un recuerdito P 47
El mirlo U 29 Un viaje a Bayamón P 48
f
446
E Mai or A flat Maior (continued)
La Lolita U 21 La mélancolía U 28
La violeta U 55 La ondina P 31
E Maior La purpurina Ü 38
La balsamina U 3 B flat Major
G Maior La perlita U 35
¡Ay! ¡Dime que si! U 2 B Maior
La Hortencia U 18 La ausencia P 1
¿Me amas? P 27 minor tonalities
Pobre corazón P 36 La clavellina (Am) P 6
A flat Maior La sensitiva (Cm) P 42
Filigrana U 16 Margarita (E flat minor) P 26
La ilusión perdida u 19 El desengaño (Gm) U 11
The researcher has studied the relationship between the ti-
ties of Tavárez's danzas and the titles of theater plays presented
in Puerto Rico during the nineteenth century, following the book
by Emilio Pasarell.^^ She found only one title: La sensitiva,
a zarzuela with lyrics by Pina and music by Aceves. The research
er believes that Tavárez might have heard the zarzuela's music
and decided to adapt or "arrange" the music to the danza*s form.
This tendency can be better appreciated in the danzas written by
Morel, who was very active as conductor of the Spanish musical
plays called zarzuelas.0

1
110 Pasarell, 351-390. In his Appendix A he includes an index of

the theater plays, zarzuelas, and operas represented or written
in Puerto Rico, which are mentioned in his book.
W .....
447
Representing the tonality of C Major is danza "El mismo
Fernando." The introduction has eight measures, part A has two
sections [a is sixteen repeated measures (:16:) and b is eight un
repeated measures (8)], part B has two sections Ca is :4: and b is
.8), and there is a Coda (8). The danza contains a total of 52 mea
sures. T.a Carmela is in D flat Major. It has an introduction (8),
part A with one section (:16:), part B with one section (:8s) in
B flat natural minor, part C with one section (:8:) in the original
tonality, and a Coda (5). The danza contains a total of 49 measures.
"Cómo me mira el viejo" is in B Major, although the introduction. (8)
is in B minor. It has part A with two sections (a is 8 and b is
:8:), part B with two sections (a is :4: and b is :4:), and no Da
Capo or Coda. The work is 32 measures long.
Un recuerdito is in E flat Major. It has an introduction (:8:),
part A with one section (:16:), and part B with one section (16); a
Coda of seven measures ends this work of 58 measures. "La Lolita"
is in E Major. It has an introduction (:8:), part A with two sec
tions (a is :16: and b is 8) both in E minor, part B with one sec
tion in E Major (:16:), a transition (7), and a Da Capo that does
not indicate where to end. The work is 57 measures long. F Major
is the key for "La balsamina." It has an introduction (:8:), part A
with two sections (a is :16: and b is :8:), part B with one section
(8), part B with one section (8), and a Coda (8). The work has a
total of 57 measures.
For G Major, the researcher chose ¿Me amas?. This work has
an introduction (:8:), part A with two sections (a is :16: and
f '........ "
448
b is 16), Part B with one section (16) including a left-hand cros
sing, a return to Aa (11), and a Coda (4), The danza is 74 mear,
sures long. La ondina is in A flat Major. It has an introduction
(:8s), part A (:16:), and part Al, that is, a variation of A with
14 measures. The Coda is :4: with a last concluding measure.
The work is 44 measures long. "La perlita" is in B flat Major.
It has an introduction (:8:), part A with two sections (ais 32 and
b is :16:), a transition (1), part B with one left-hand crossing
section (:16:), a return to Aa with a different ending, and no
Coda. The work is 91 measures long.
In B Major there is only La ausencia. It has an introduction
(:8:), part A with two sections (a is :16: and b is 16), a return
to the first eight measures of Aa but with variations, partB with
one section (11), and a Coda (4). The work is 65 measures long.
In A minor Tavárez '.is represented by La' clavellina. It has- an in
troduction (:$:), part'A in C Major (:8:), part B. with two
sections (a is 7 and in A minor, b is 8 and in C Major), a
transition (4) in A minor, and a Da Capo without a Fine. The work
has 38 measures. La sensitiva is in C minor. It has an introduc
tion (:8:), part A with two sections (a and b are both 16), part
B with one section (16 wit*, a left-hand crossing in E flatifejor),
a repetition of Ab (indicated with signs), and a Coda (8) in C mi
nor. This danza is 68 measures long.
La Margarita, probably Tavárez1s best known danza is in the
tonality of E flat minor.. It has an introduction (:8:.), part A
(32), a transition (:.4:), part B in E flat Major (: 16s), a repeti
tion of the transition, a repetition of A (15) with a modification
I
449
in the last measures, and an ending in E flat Major with a tonic
chord. Margarita is.83 .measures long. Finally;.there is "El
desengaño," a danza in G minor that is 60 measures long. It has an.
introduction (:8:), part A with two sections (a is 16 and b is :8:),
part B with two sections (a is 16 and b is :8:) and no Coda.
As the researcher-has. been able to.: observe ¿ using some works
chosen at .random and others because they were the only works
representing a particular tonal ity, the shortest are "Cómo me mira
el viejo" and La clavellina. . The longest are Margarita and uha
perlita." One exhibits the pattern A Al, many are A B .and Coda,
and others are either A B and Da Capo or A B A and Coda.
Juan Morel Campos wrote 339 danzas, out of a total production •
of 516 works. Of these, the following 32 are not available:
"Ahí va eso" (entry 9) "¿Dónde está mi medio peso?,

(entry 367)
"Alegrias" (entry 15)
"El foete" (entry 220)
"Amar es vivir" (entry 18)
"La manga" (entry 304)
"Apaga las velas" (entry 28)
"Palito uno . . . palito
"Bella María" (entry 45) dos" (entry 367)
"Brisas del acueducto" (entry 64) "Los perros" (entry 382)
"La changa" (entry 87) "Pomales" (entry 397)
"El círculo de la victoria" (entry 96) "Ponche militar" (entry 399)
"Ciudad de Ponce" (entry 97) "¡Qué perlita!" (entry 408).
"Las comadres" (entry 104) "Quejas del alma" (entry 411)
"Cómo empieza y cómo acaba" (entry .106) "La recompensa" (entry 415)
"La Dolores" (entry 159) "Sisila" (entry 447)
"¿Dónde está el hierro?" (entry 162) "Te.adoro" (entry 461)
450
"Teresa" (entry 466) "Ultimos compases" (entry 486)
"Las trenzas de Doña Agripina" "Un viaje a Canas" (entry 492)

(entry 474)
"Tristes recuerdos" (entry 475) "Una súplica" (entry 498)
"Tus ojitos" (entry 481)
Besides, there are 143 danzas which at the present time are
incomplete. Their titles and entry number in APPENDIX L's cata
logue are:
"A la lima" (entry 2) "La cascada" (entry 82)
"La Adela" (entry 5) "Champagne frappé" (entry 86)
" La Adela Maria" (entry 6) "La chiquita de tu papá" (entry 90)
"La alborada" (entry 13) "Los chulos" (entry 92)
"Alemán castuso" (entry 16) "El 50" (entry 95)
"Amor es sueño" (entry 23) "La Cleopatra" (entry 99)
"Amor y celos" (entry 25) "El Club Terpsícore" (entry 100)
"Las artesanas" (entry 31) "La cosa " (entry 127)
"¡Ausencia!" (entry 35) "La Cruz Roja" (entry 128)
"El barberillo" (entry 43) "La cubana" (entry 129)
"Bello ideal" (entry 49) "Los cuervos" (entry 130)
"El beso" (entry 55) "Cuidado con eso" (entry 131)
"La Bonifacia" (entry 58) "Danza" (entry 133)
"El brazo fuerte" (entry 62) "Danza" (entry 134)
"Brisas de enero" (entry 63) "Danza" (entry 135)
"El caimán" (entry 68) "Danza" (entry 136)
"El calamar” (entry 69) "Danza" (entry 138)
"La cárcel" (entry 74) "Danza" (entry 139)
"La Carmencita" (entry 80) "Danza" (entry 140)
0-
451
"Danza" (entry 141) "La Gran.Vía (entry .243)

"La Guadalupe" (entry 245)
"De la superficie al fondo"
(entry 145) "El guarapo" (entry 246)
''Las dependientes" (entry 148) "La inocente" (entry 263)
"El desengaño" (entry 150) "La intrépida" (entry 264)
"La despedida" (entry 151) "Isabel y Santiago" (entry 266)
"¿Dónde están las velas?" "La Josefita" (entry 271)

(entry 164)
"El joven desgraciado" (entry 272)
"Doña Bonifacia" (entry 165)
"El jugón de Manuela" (entry 275)
"Doña Maria Melitona" (entry 166)
"El juicio final" (entry 276)
"Doña Tomaza" (entry 167)
"La lechonada" (entry 288)
"Los dos amigos" (entry 169) "La loca" (entry 295)
"La Elisa" (entry 178) "La Lola" (entry 296)
"La Eloisa" (entry 180) "La macarela" (entry 300)
"La Emilia" (entry 182) "La mancorna" (entry 303)
"¿En qué quedamos?" (entry 187) "La Margarita" (entry 308)
"La Encamación" (entry 189) "La María" (entry 309)
"La Enriqueta" (entry 190) 'El marimbambé" (entry 312)
"La entrevista" (entry 192) 'La mariposa" (entry 314)
"La estatua de Ponce" (entry 196) "Las máscaras alegres" (entry 316)
"El estilo" (entry 197) "El menú" (entry 324)
"El Fígaro" (entry 215) ‘El merengue" (entry 326)
"La flor juanadina" (entry 216) "Mi ideal" (entry 327)
"El fuego" (entry 221) "Mi novia" (entry 328)
"Fuego a la lata" (entry 223) "Mis esperanzas" (encry 333)

"Mis quejas" (entry 335)
"La Gilda" (entry 233)
"El gordito" (entry 236) "Las muchachas" (entry 338)
"Graciosa n i ñ a " .(entry 241) "La niña hechicera" (entry 345)
r
452
"La niña sin amor" (entry 347) "La Rosita" (entry 422)
"El niño" (entry 348) "Se le quedó" (entry 428)
"No comas fósforos" (entry 349) "El sebo" (entry 429)
"No te la lleves que tiene "Sí te quiero" (entry 436)

quenepas" (entry 354)
"Siempre a ti fiel" (entry 438)
"Noche de plácida calma" (entry
(entry 356) "Siempre en mi mente" (entry 439)
"Los ojos de Sofía" (entry 361) "La siempre viva" (entry 440)
"Ojos que abrazan" (entry 362) "La simpatía" (entry 441)
"La pajuela" (entry 366) " Simpatías" (entry 443)
"La paloma" (entry 368) "Sin esperanza" (entry 444)
"Panchita" (entry 369) "El sopapo" (entry 451)
"La pantalla" (entry 371) "Soy suya" (entry 454)
"Penas del corazón" (entry 374) "Las súplicaá; (entry 458)
"La Pepita" (entry 375) "Te veo venir" (entry 463)
"El Pepito" (entry 376) "Tú y yo" (entry 480)
"Peral" (entry 377) "Tus recuerdos" (entry 482)
"Pienso en tf'.(entry 385) "Un recuerdo" (entry 490)
"La piñata" (entry 387) "Una escena de familia"

(entry 494)
"El pitirre" (entry 388)
"Una fea no es fea" (entry 495)
"La purguita" (entry 405)
"Una noche de jarana"
"Purita . . . a tí" (entry 406) (entry 497)
"¿Qué dice usted?" (entry 407) "La Valentina" (entry 499)
"Quejas de amor" (entry 410) "El vapor" (entry 502)
"Recelos" (entry 414) "El 22" (entry 503)
"La regalona" (entry 416) "El 24" (entry 504)
"Reina Isidora" (entry 417) "Ya somos dos" (entry 516)
"la Rosario" (entry 421)
¥ ................. "
453
Before proceeding with the danzas which are complete and avail
able, the researcher will point out the titles of those zarzuelas
and thBater' plays which have titles identical or similar to some
incomplete danzas. The researcher believes that Morel either made
musical adaptations of the zarzuelas, or either composed original
works for the theater plays. They are:
Amor es sueño - Written by Cisneros, the work was premiered in .•
Puerto Rico in 1858;
El barberillo de lavapiés - Written by L. M. Larra, with music
by Barbieri, the work was premiered in 1876;
Cómo empieza y cómo acaba - Written by Marcos Zapata, the work
was premiered in 1877;
Champagne frappé - Written by M. Echegaray, the work was pre
miered in 1898;^^
De la superficie al fondo - Written by Salvador Brau, the wark
was premiered in 1874; '
La Gran Via - Written by Pérez González, with music by Chueca
y Valverde, the work was premiered in 1888;
El juicio final - Written by G. Santisteban, with-music by
Albelda, the work was premiered in 1879;
El niño - Written by Frontaura, with music by Barbieri, the
work was premiered in 1872;
Los perros del monte San Bernardo - Written by V. de la Vega,
the work was premiered in 1878;
111 The researcher believes this date might be incorrect since

Morel died in 1896. The other alternative is that Antonio Otero's
Muestrario or index includes works which are not hy Morel.
454
El último chulo - Written by A m i c h e s y Lucio, with music by

112
Torregrosa y Valverde, it was premiered in 1905
Ya somos tres - Written by Pina Domínguez, with music by.
Eubio, it was premiered in 1883; this title-.' is similar to
Morel's "Ya somos dos."
If further and detailed studies show that Morel Campos was not the
author of the music having titles identical or similar to the ma r
tioned plays, but only the "arranger" of music already composed,
then additional care should be taken to check out Antonio Otero's
Muestrarios, where most of these works are found, and determine
if there, are any others\.in the: same condition.
The danzas written by Morel Campos which are complete make
a total of 164. Some are published (P), while others remain un
published (U). The researcher has classified them according to
the tonalities they represent. The entry number corresponds to
the catalogue of APPENDIX L.
C Maior C Maior (continued)
El Cognac Jerez P 101 Los pajes de U 365

Lucerna
De antifaz P 143
Selika U 432
Las dos Marías P.. 171 Simpatías U 442
El gato flaco P 230 La Sorpresa P 452
Melancolía U 318 Sueños venturosos U 457
Música clásica U 341 La traviesa P 472
112 Once again the researcher must point out that there is either
a mistake in the date presented by Pasarell (since Morel died in
1896), or in the listing made by Antonio Otero in his index.
¥ .. ' " ‘ '........

455
D Major E flat Maior
La africana ü 8 El asalto P 33
Ay, ay ü 39 Bella ilusión ? 44
La belleza ü 48 Carmelita P 79
La caña de Veracruz ü 73 Consuelo P 108
La Carlotita U 77 Goces y penas P 23$
El ciclón P 93 ¡Horas felices! P 253
La conga P 107 Sarito U 427
Danza U 137 Sí te toco P 437
Las dos hermanas U 170 ¡Soy feliz! P 453
Elvira P 181 Tu imagen P 478
La F e m a n d i n a P 213 Un conflicto P 487
Fiesta de amigos P 214 E Maior
Fuego con ellos U 224 La bella Margot P 46
La Gilda u 232 ¡Buen humor! P 65
Joaquina p 270 La candorosa P 71
La Lila p 291 ¡Cede a mi ruego! P 83
El mangó ü 303 Felices días P 209

El mareo p 307
¡Feliz encuentro! P 210
La marina española u 313
La Nené P 342
do £e ocupes p 355
1>3 niña bonita P 343
Noche deliciosa p 357
Perlas de mi patria P
Paula camisa sucia u 373
380
¡Por ti! p 40Í Virgilia P 510
Que'será p 409 F Maior
El seis u 431 Acuérdate de mi P 4
Tu regreso p 506 Adelaida u 7
Las velas u 506 Amor en crescendo u 21
r
F Maior (continued) G Maior (continued)
Amor en el campo P 22 El gancho P 228
Anita P 27 Graciosa pareja P 242
La bulliciosa P 67 La Lolita ü 297
De tu lado al paraíso P 146 El microbio U 331
Hotel "Marina" P 254 El rabo de la culebra U 412
La Inocencia U 262 ¡También lo dudo! P 459
La Julianita P 278 Te lo.djje U 462
La Luisita U 298 Whisky con soda ü 515
Las máscaras P 315 A Maior
Mis amores U 332 El bacalao u 40
La niña de los ojos U 344 El bouquet ü 60

bonitos
Conversación p 110
Placeres de la vida P 390
Por ti suspiro U 402 La Generosa p 231
La rutina, o sea. u 423 La Gloria p 234

.u'.ionaráo
La Julita p 279
¡Si me quisieras! p 435
Soñando p 450
Lo de siempre y 294
¡Toda corazón! p 468 La majabáca p 301
¡Tormento! p 470 La mayoría u 317
¡Viva la Pepa! p 512 Mi perla p 329
G Major No me toques p 353
El brazo fuerte p 61 Novedades ü 358
El carnaval p 81 La perla u 378
Contémplame u 109 La perlita ü 381
Danza u 142 ¡Poder de tina mirada! p 395
Los faroles u 207 ¡Sin ti no puedo vivir! p 446
¥ .... " ■
457
A Maior (continued) minor keys (continued)
Una cana al aire P 493 Influencia del arte (fiw) P 261
Vuelta a la vida P 514 Tuya es mi vida (Am) P 483
B flat Maior ¡Ausencia!( Bm) P 34
El baile de máscaras U 41 Laura y Georgina (Bm) P 286
La bella trigueñita U 47 Sueño de amor (Bm) P 455
Bellos ojos P 50 Sueños dorados (Bm) P 456
En la meta P 186 Angelita (Gm) P 26
La feria P 211 Carmela (Dm) P 78
Graciosa niña U 240 Cielo de encantos (Dm) p 94
La Herminia P 248 Mis penas (Dm) P 334
La Lupita U 299 ¡Ten piedad! (Dm) P 464
Mi súplica U 330 El torbellino (Dm) P 469
No me martirices P 351 El último adiós (Dm) P 485
[Sarito U 427)U 3 ¡Bendita seas! (Em) P 52
La tintorera U 467 Di que me amas (Em) P 155
Tu divino rostro P 477 Divina Enriqueta (Em) P 157
Un recuerdo U 489 Ensueñes de amor (Em) P 191
B Major Flores silvestres (Em) U 219
¡En alta mar! u 183 Idilio (Em) P 258
minor keys La Isabelita (Em) P 267
La gallina ciega (^m) u 226 ¡Maldito amor! (Em) P 302
La incógnita (Am) p 260 No desconfíes (Em) P 350
113 There is an unidentified danza in B flat Major in the envelope

of "Sarito" (entry 427). Its front page indicates "Sarito," but
since it is a photocopy, it is probably an erroneous front page.
Danza "Sarito" is in A Major.
f '
458
minor keys (continued) minor keys (continued)
INo me olvides*(Em) P 352 Lamentos de un ü 282

cesante (Gm)
¿Por qué no me amas? (Em) U 400
change of key
Robinson 1 (Em) U 420
Alma sublime (E-Em) P 17
¡Sin ti jamás! (Em) P 445
Un diálogo (Em) P 488 El trueno (D-Dm) P 476
Vano empeño (Em) P 501 La fumadora (Dm-D) P 225
¡¡¡Vinagre!!! (Em) P 507 Laura y Georgina U 287

(D flat -B flat)
Hotel Marina (Gm) Ü 255
The following are the titles of zarzuelas or theater plays
which are identical or similar to those danzas by Morel which are
complete:
El anillo de hierro - Written by Marcos Zapata, with music by
Marqués, this is the work for which Morel composed or arranged
the danza "La tintorera" and probably the romanza "Es la
flor."
La africana - Opera by Giacomo Meyerbeer, locally premiered
in 1888.
II bailo in maschera (in Spanish "El baile de máscaras") -
Opere, by Giuseppe Verdi, it was locally premiered in 1881.
Consuelo - Work written by Ayala, it was locally premiered
in 1878.
La gallina ciega - Written by Bermejo, with music by Arrieta,
this work was premiered in Puerto Rico in 1876.
Inocencia - Work written by M. Echegaray, it was locally pre
miered in 1880.
F .... ' "........

459
Marina - Written by Camprodón, with music by Arrieta, it was
locally premiered in 1861.
Música clásica - Written by Estremera, with music by Chapi,
it was locally premiered in 1883.
La mulata - Work written by E. Canel, it was premiered in the-
year 1895.
La niña bonita - Written by López Marin, with music by
F. Caballero, this work was premiered in Puerto Rico in 1885.
El reloj de Lucerna - Written by M. Zapata, with music by
Marqués, this work was premiered in Puerto Rico in 1885.
Morel wrote "Los pajes de Lucerna" (a danza dedicated to
Marianita Rivera Quiñones in 1886). The zarzuela was the
last work conducted by Morel, since he fell mortally ill dur
ing its presentation, and died shortly after in 1896.
Rigoletto - Morel based his danza "Gilda" on this opera by
Verdi, which was premiered in Spanish in Puerto Rico in 1891.
This opera, which comes from Victor Hugo's historical drama
Le Roi s'amuse, has a libretto by Francesco Maria Piave,
where the original characters (Triboulet, King Francis, and
Blanche) become Rigoletto, the Duke of Mantua, and Gilda,
respectively.-
Robinson- Written by Santisteban, with music by Barbieri,
this work.was locally premiered in 1875.
114 When the Compañía Infantil de Zarzuela of José Antonio Jiménez

presented in 1894 an adaptation of Marina for children. Morel nade
the arrangement, and later gave the instrumentation to Jiménez.
Pasarell, 221.
F
460
Los sobrinos del Capitán Grant - From this zarzuela Morel
arranged the danza "La fumadora." The zarzuela was written
by R. Carrion, with music by F. Caballero.
Three other works deserve mention, one of them in relation to.a.
ccnplete danza and the other two in relation to a waltz and a ma
zurka:
"La caña de Veracruz" - This is the title of a danza written
by Carlos Segnet. Morel Campos 1 •danza "Las cañas. de :
Veracruz," might be- a reference to the game of the
cañas explained by Pasarell.
La alusión a las corridas de toros y cañas demuestra

cuán natural fue en Puerto Rico la implantación de
las costumbres españolas. Generalmente, en España,
en las grandes fiestas públicas, iban juntos toros
y cañas. Consistía el juego de cañas en un torneo
de varias cuadrillas de caballeros con sus caballos
ricamente enjaezados. Cada cuadrilla se componía,
según el caso, de diverso número de campeones que se
arremetían lanzándose cañas de toda clase de suertes
o escaramuzas.115
Veracruz is a Mexican city on the Gulf, and this work might
imply a close relationship with this country.
Mariana - This is a play by J. Echegaray which was premiered
in Puerto Rico in 1895. Morel wrote a waltz with the same
title.
La Olimpia - This is a play premiered in Puerto Rico in 1826,
for which Pasarell's book offers no author. Morel wrote a
mazurka with the same title.
115 "The allusion to the.bull fights and the canes demonstrates hew
natural was the implementation of Spanish customs in Puerto Rico.
Generally, in Spain, bulls and canes went together in the big pub
lic festivities. The game of the canes consisted in a tournament
461
Further study is needed to determine the relationship between
Morel's works and the plays, . the-zarzuelas, and the' danzas writ-
ten by other composers. Was Morel adapting melodies to the form
of the genre he preferred? Was he invited to write music for thea
ter plays? Did he write original compositions inspired by the
plays he had seen? Was he invited, as performer or conductor, to
participate in the presentation of zarzuelas and then copied
the music which was to be used during the performance to keep it
as a reference? Did biographers confuse-his signature as owner
music papers with that as composer of a work?
The following is an analysis of some danzas by Morel Campos
representing each of the keys he used:
De antifaz is in C Major. .It has-an' introduction
(:8:), part A with two sections (a is :16: and b is 8), part B
with two sections (a is 12 with the last eight repeated, and b is
8), a repetition of Ba (12), and a Coda (6 with the first four
repeated). The total of measures is 75.
El m a r e o ,is in D Major. . It has an introduction;
(:8:), part A with two sections (a is :16: and b is 16), part B
(:8: using a left hand crossing), a repetition of A with varia
tions (16), and no Coda. The total of measures is 67.
Bella ilusión in in E -flat Major. It has an' intro
duction (:8:), part A with two sections (a is :16: and b is :8:),
of several bands of armed gentlemen w h o ,had richly harnessed hor

ses. Each band was composed, according to each case, of a diverse*
number of champions who attacked each other with impetuosity
throwing canes of all sorts of feats or.skirmishes."' Pasarell, 1.
P ' ' " “ ...

462
part B with two sections (a is 16 with a left hand crossing, and
b is :16:), and-no Coda. The total of measures is 70.
La niña bonita is in .E Major. . It has an .introduc
tion (:8:), part A with two sections (a is :16: and b is :16:),
part B with two sections (a is :16: with a left hand crossing and
b is 16), and a Coda (9). The total of measures is 86.
Las máscaras is in F Major. It has an: introduction
's:), part A with two sections (a is :8: and b is :8:), part B
(8), a repetition of Aa (8), a transition (8), part C (:8:) and-no •
Coda. The total of measures is 61.
El brazo fuerte • is : in G Major. It has an -introduc
tion (:8:), part A with two sections (a is :8: with a left hand
crossing, b is :16:), part B with two sections (a is :8: with a
left hand crossing, and b is :8:), a repetition of Aa with a dif
ferent ending, and no Coda. The total of measures is 61.
Poder de una mirada is ‘ in A Major. It has. an in
troduction (:8:), part A with two sections (a is :16:, and b is
:16:), part B in F major (:16:), a repetition of Ab (15), and no
Coda . The total of measures is 88.
La feria is in B flat Major. It has an introduc
part B (:8:), a repetition of Aa (8), part-C (:8:), and no Coda.
The total of measures is 67.
: lEn alta mar!" is in B Major. It lias an introduc
tion (:8_:), part A with two sections (a is :16: and b is :16:),
part B sith two sections in G Major (a is :16: and b is 16), tran
sition (2), repetition of Aa with a different ending (the; resear-
t
463
cher believes there is a mistake in this section, since Aa is in
B Major, and the repetition includes exactly the same notes, but
the printed copy indicates the signature of G Major; it is not a
transported section), and a Da Capo, after which there is also a
Coda in B Major (12). The total of measures is 106.
Influencia del arte - is in A minor. It has an introduc
tion (:8 :), part A with three sections (a and b are :16: and-c is
:8 :), transition (4), part B in A Major (16), a repetition of Ac
(8 in A miner), a repetition of Aa, and a Coda (7). The total of
measures is 98. A curiosity in the -introduction is the change of
meter twice, to include some measures in \ time instead of
Sueño de amor- is -in B minor. It has an introduc- -
tion (:8 :), part A with two sections (a is :16: and b is 16), part
B in D Major (:16:), a repetition of Aa with a different ending
(15), and no Coda. The total of measures is 75.
Angelita is in C minor. This danza has.an introduction.
(:8 :), part A (:16:), part B with the right hand-reading bass
clef (:16:), transition (9), repetition of A (16), and no Coda.
The total of measrues is 6 8 *
La Ramoncita o El ultimo adiós- is. iñ D minor. This dan
za has an introduction (:8 :), part A (;16:), part B in F Major
(:16:), part C in D minor (15), and a Coda (8 ). The total of
measures is 6 6 .
No me olvides, is in E minor. It has .an introduc
tion (:8 :), part A with two sections (a and b both of :16:), part.
B with two sections (a is :16: with a lect hand crossing, and b
is :8 :). The total of measures is 69.
I ......... " ~ " ■

"Lamentos 'de ün cesante" is in G minorV This work has an
introduction (:8 :), part A with two sections (a is :16: and b is 8 )
part B in B flat Major (:16:), and a Coda in the original tonality
(16). The total of measures is 67.
El trueno 'changes• from. .a Major 'tonality' to .a minor
one.- The work's- introduction (:8 :) is in D Major, part A has twa •
sections (a is :16: and b is :8 :), part B is in D minor with two
sections (a is 16 and b is :16:). The final chord ends in a
picardy third. The total of measures is 71.
La' fumadora , represents .the. change .from a minor tonality
to a Major one. The introduction (:8 :) is in D minor, and part A
has three, sections (a is :10:, b is 16 and c is 8 ). Part B has
two sections in D Major (a is 16, b is 9) and there is a repetition

of the whole part. The total of measures is 75.
"Laura y Georgina" in its-'version for voices represents a
change from one Major tonality to another. The work begins with
an additional introduction which differs from the one in the piano
version. There is a change of tonality in the same section as the
version for piano (in the piano version from B minor to B Major,
and in the voice,version from D flat Major to'B .flat Major), but
there is not a return to the original tonality.
As the reséar chef .has been abrle to observe, -the. shortest
danzas, are. Las máscaras and El- brazo -fuerte (.each
with 61 measures), and the longest gnes are Influencia del arte
with 98 measures, and "En alta mar" with 106. They exhibit the
following patterns in the structure:
F
465
The introduction is always of eight measures with a repe
tition, except for the danza concertante "Laura y Georgina."
Part A. .is most, of the times an Aab part, but on two occa
sions ("Influencia del arte" and "La fumadora") it is an Aabc, and .
on two other occasions ("Angelita" and "La Ramoncita") it is only
an Aa.
Part B is most, frequently a Ba section , and on less occa
sions a Bab part. Sometimes it includes a left hand crossing and
many times a change of ¡signature.
There, is a return to- A on more than half of the cases,
m a k i n g the compositions ..A $ A . structured works. Codas or a
Da Capo serve this purpose as well.
Part C is ■only included on three occasions ("Las máscaras,"
"La feria," and "La Ramoncita"), on rather short danzas. It is
not included on the more developed danzas, and the researcher
believes the A B C pattern reflects the earlier compositions by
the composer.
A final observation on Morel*s danzas is the existence of'a
collection of recordings made by Jesús María Sanromá, to which
the researcher has referred in APPENDIX T. Additional research is
also suggested on the recorded material which may include works
by the composers under study, because in the case of the Sanromá
records the researcher found two danzas which although incomplete
at the Archive, were recorded. Who keeps the original manu
scripts? Are they in the Sanromá: Collection, or were they stolen
from the Archive?
466
José Ignacio Quintón wrote 44 danzas, out o t a total, pro
duction of 95 works. Only three are unavailable at the present time:
two .are. .being, processed to be published, and. the other is known,

through a record, but the manuscript seems lost.
"Maria Luisa:i (entry 44)

"Mirar sin ver" (entry 48)
"De flor en flor"' (entry’35)
What follows is. •a relation- of the selection of tonality^ a refer
ence to the published danzas and the entry number in APPENDIX X.
C Maior E flat Maior (continued)
Coquetona P 25 Danza para piano P 31
Ensueños y esperanzas P 40 Nubes de verano P 52
Luisa, sácate los P 42 Sofía P 78

piojos
E Maior
Pepita P 56
Amelia P 8
¡Viva la Unión! P 94
D flat Maior Besándote P 15
Sin nombre: danza de P 77 Danza puertorriqueña P 34

concierto III: danza de con
cierto para piano
D Maior
F Maior
Blanco y azul P 16
Danza puertorriqueña P 32 Acueducto P 2

I para piano
Carlota P 20
¿Qué se figura usted? P 60
Quiquir iñama P 61
E flat Maior
Carmela P 21 Se acabó el tereque P 73
Confía P 24 ¡Tus ojos! P 86
Cuando me miras P 27 G Maior
Danza para piano P 30 Adelaida P 3
¥
467
6 Maior (continued) Minor Tonalities
Blanco y rosa P 17 Ausente (Am) P 12
Mascota P 45 Para ti (Cm) P 55
Si fueras mía P 75 Dulces recuerdos (Dm) P
A flat Maior Amor imposible (Em) P 9
Danza puertorriqueña P 33 Mi estrella (Em) P 47

II para piano
Cecilia (Em) P 22
A Maior
El pipiol P 57 Chanee of Key
Segunda danza U 74 Anhelos (G minor-G) P 10

característica
Dana (Fm-A flat) U 29
¡Siempre tú . . » ! P 76
B flat Major
El coqui P 26
Among those danzas written by Quinton there is only one
which has a title identical to a zarzuela: La mascota. The
zarzuela has music by Audrea, and it was premiered in 1886.
The following is an analysis of some danzas by Quinton, in
order to characterize the structure and length of these composi
tions:
¡Viva la Union! is in C Major. It has an introduction (16),
part A (:8:), part B (16), part C (:8:), a repetition of Aa
with a second ending (8), and a Coda (9). The total of measures
in this danza is 72.
Sin nombre: danza de concierto is in D flat Major. It has
an introduction (17), part A with two sections (a is :16: and b
is 16), part B in G flat Major (32), repetition of B (16),
r ...........
468
repetition of Aa with different ending (16), and Coda (12). It
has á total of 112 measures.
Blanco y azul is in D Major. It has an introduc
part B is in G Major (:16:), repetition of Aa with a different end
ing (16) and no Coda. The total of measures is 78.
Nubes de verano is in E flat Major. It has an in
troduction (:8:), part A with two sections (a is :16: and b is
16), part B in A flat Major (32), repetition of Aa, and Coda.
The total number of measures is 191.
Amelia is in E Major. It has an introduction (:8:),
part A (:16:), part B in C Major (16), transition (9), part C in
A Major (:16:), repetition of A with a second ending (only four
measures written again). Coda (8). The totalnmber^cf measures is84.
Tus ojos is in F Major. It has an introduction (;8:),
part A with two sections (a is :16:, b is 16), part B in B flat
Major with two sections (each is 16), transition (9), repetition
of Aa (9), and Coda (10). The total of measures is 96.
La mascota is in G Major. It has an introduction (:8:),
part A (:16:), part B in D Major with two section (both are :16:),
repetition of A with variations (16), repetition of A (4), and
Coda. The total of measures is 95.
Danza puertorriqueña II para piano is a work in A flat Major.
It has an introduction (12), part A with only one section (16),
part B with only one section in D flat Major (16), a return to
part A, and a Coda (11). The total of measures is 55.
El pipiol is in A Major. This danza has an introduction
(:8:), part A with two sections (a is :16: and b is 16), part B is
f ..~ ................................ "“.

469
D Major (16), repetition of Aa (14, not written), and Coda (2).
El coqui is in B flat Major. It has an introduction (:8:),
part A (:16:), part B (:8 and a repetition of the last 8 treasures of
part A:), and a closing measure. The total is 45 measures.
Ausente is in A minor. It has an introduction (:16:),
part A with two sections (a and b are both :16:), part B in
F Major (:24:), a repetition of Aa with a different ending (16)
and a Coda (14). The total of measures is 113.
Para ti is in C minor. It has an introduction (:8:),
part A with two section (a is :16: and b is 8), part B in C Major
(16), a repetition of Ab (8), a repetition of Aa with a different
ending, and a Coda (8). The total of measures is 83.
Dulces recuerdos is in D minor. It has an introduction (:8:),
part A with two sections (a is :16: and b is :16:), part B with
one section in B flat Major (:16:), a return to Aa and a Coda (5).
Mi estrella is in E minor. It has an introduction (:8:),
a transition (2), part A with two sections (a and b are both
:16:), part B (:16:), a repetition of Aa with a different ending,
and no Coda. The total of measures is 65.
Cecilia is in F minor. It has an introduction (:8:), part A
with two sections (a is :16: and b is 16), part B in A flat Major
(:16:), a repetition of Aa (15), and no Coda. The total of
measures is 76.
Anhelos represents a change from one minor key to its
parallel Major. It has an introduction in G minor (16), tran-
f .. ..
470
sitien (2), part A with two sections (a is :16: and b is 15),
part B in G Major (16), a return to Aa (9), and a Coda in G Major
(9). The total of measures is 84.
J)anza para piano represents a change from a minor key to
its relative Major. It has an introduction in f minor (:8:),
part A (:16:), part B in B Major (:16:), part C in E flat Major
with two sections (a is 8 and b is :8:), a repetition of Aa (7),
and a Coda in A flat Major (8). The total of measures is 80.
One has been able to observe among the works chosen to repre
sent their tonalities, that Quinton's shortest danza is El coqui
with 45 measures, and the longest are Sin nombre: danza de con
cierto and Ausente, one with 112 measures and the other with 113.
He uses the following structures: A B A (El coqui. Cecilia,
Mi estrella, and Blanco y azul), A B A and Coda in ten cases, and
A B C A and Coda (¡Viva la Unión!, Amelia and Panza para piano).
Eart A has two sections on eleven examples, part B has two sections
on three occasions, and part C has two sections on one of the dan
zas (Danza, para piano). The Coda is preferred since it is present
in 13 examples.
The researcher has prepared Table 5 to numerically illustrate
the choice of tonality. It is evident that Tavárez prefers
E flat Major and A flat Major. On the other hand Morel prefers
D ifejor and F Major, although he pays much attention to E minor;
Quintan resembles Tavárez because he prefers E flat Major, but as
a second choice he equally selects C and F Major. Table 6 has
the total of works by the composers, in numbers and percents.
¥ '................. '' ' "

471
Table 5
The Use of Tonality in the Puerto Rican
Danza by Number of Compos itions
Tonality. Gutiérrez Tavárez Morel Quinton
Major Tonalities
C 0 1 12 5
D flat 0 1 0 1
D 0 4 27 3
E flat 0 9 11 7
E 0 2 10 3
F 0 1 22 5
G flat 0 0 0 0
G 0 4 13 4
A flat 0 5 0 1
A 0 0 18 3
B flat 0 1 13 1
B 0 1 1 0
Subtotal (T 29 127 33
Minor Tonalities
A 0 1 4 1
B flat 0 0 0 0
B 0 0 4 0
C 0 1 1 1
C sharp 0 0 0 0
D 0 0 6 1
E flat 0 0 0 0
E 0 0 16 2
F 0 0 0 1
F sharp 0 0 0 0
G 0 1 2 0
G sharp 0 0 0 0
Subtotal 6
0 3 33
Change of Tonality
Major to minor 0 0 2 0
minor to Major 0 0 1 2
Major to Major 0 0 1 0
Subtotal 0 "o' 4 2
Unavailable/Incomplete. .0 6 175 3
TOTAL OF DANZAS 0 38 339 44
Table 6
Total of Compositions in Numbers and Percentages
Category Gutiérrez Tavárez Morel Quinton
Spanish Ihfluence 111 88 % 10 18% 155 30.1% 25 26%:
International 13 10 % 8 14% 14 2.7% 26 27%'.

Ihfluence
Puerto Rican 0 - 38 68 % 339 65.6% 44 47%-

Danzas
Theory and 2 2% ;
: 0 - 0 - 0
Exercise Rooks
Unknown Genres 0 - 0 - 8 1 .6% 0
TOTAL WORKS 126 100 % 56 100 % 516 100 % 95 190%

COMPOSED
Music as a Reflection of the Puerto Rican Culture
Through the narrative of this chapter one has been able to
observe how the compositional output of the four oonposers-studied^ .
in this research is a reflection of the Indian, African, Spanish,
and international influences that reached the island of Puerto
Rico up to the nineteenth century. The danza., the genre that de
veloped in the Island as a truly national form, has already been
f . ~ ' '.'....
473
discussed. Some final observations are now'in order, to demon
strate that also through the titles of many works, danzas and others,
the musicians were also reflecting the way the Puerto Ricans think,
talk, and act, while living in their milieu of nature and urban
and rural centers. One might say that even if the external influ
ences are decisive, the nineteenth century composers evolved in
such a way that without abandoning their religious stand, they
gradually succeeded in placing Puerto Rico in the center of their
attention.
The thematical indexes which complement these observations
have been prepared carefully, including translations of all the
works. One is able to notice how nature is observed: flora (bal
samina, clavellina, purpurina, violeta, clavel, jazmín, mangó.
pera )i fauna including birds and insects (mirlo, cuervo, mariposa,
paloma, piquijulle, pitirre, pulga); fish and other animals (baca
lao, caimán, calamar, gato, macarela, perro, culebra, tintorera,
coqui), seasons, weather conditions, water and fire, the sea and
the moon (nubes de verano, brisas de enero, ciclón, torbellino,
cascada, fuego, noche de calma, río, trueno, estrella, mar), are
all considered.
From nature the composers move to specific towns to offer their
tribute for future generations: Bayamón, Ponce, Juana Diaz,
Mayagüez, and Yauco, also mentioning specific sectors and rivers
116 The researcher interpreted-the title of "El mango" as meaning

the fruit which locally is called mangó (with an accent), but in
Cuba and Santo Domingo is called mango (without the;accent). Other
wise the word can also mean "handle."
£ _ ........*
474
such as Canas and Portugués. But that is not all, because, the cam-,
posers observe people and know how they feel about a despedida.
perhaps because of a manganilla that will stay in the recuerdo;
how they feel about an amor desgraciado, a desengaño, and thus an
ilusión perdida. If people suffer from melancolía, if the belleza'
is a graciosa niña, or a bulliciosa having bellos ojos and giving
esperanza, the musical poet is there to observe it. He can make
a súplica, he can ask piedad, he can say sí te quiero cuando me
miras, because he also has ensueños y esperanzas.
All the composers are such excellent reflections of the cul
tural environment which surrounds them that it seems as if m s are
meeting their friends when one hears! their músic dedicated-.'to the
men and women of those times. From the judge, to the old man, the
shepherd, the outlaw, the barber, the artist, the fireman, ..the
strong man, the jesters, the warriors, and the beginners, to Yuan!,
Julián, Sudeliffe, Diego Rivera, Don Mamerto, Robinson, Pepito,
Pomales, Panchito Taboada, Montañez, Leonardo, Commander Picazo,
Chistavin, Fernando, Manuel Corchado, José Campeche, and even the
"Poor Tavárez," all are present for history to remember.
The researcher believes that the contribution made by the
composers in developing Puerto Rico's cultural nationalism is one
to be acknowledged. This, together with the fine esqnressicn of love
and respect for the Puerto Rican woman, reflects the type of artis
tic expression during the nineteenth century. One can affirm that
a clear unfolding in music started in the decade when Felipe
Gutiérrez was b o m (1820's), continued during the lifetime.ofManuel
Tavárez ( b o m in the 1840's), and developed during the period of
f
475
Juan Morel (born in the 1850's). This trend continued steadily,
with the almost exclusive religious character giving way to the
sentimental themes that helped the classical molds to wither away,
thus transforming the musical energy into a robust and passionate
romantic outburst. The process culminated in the efforts of those,
who lived in the times of José Quinton (born in the 1880's).
By the end of the century, the religious, sentimental, ro
mantic, and.impressionistic tendencies of a most fruitful period
of time had become intermingled in such a way that it does not
seem strange to study composers who can simultaneously produce
works for the Latin rituals of the Catholic Church, the Spanish
dances and zarzuelas, and the concert halls who demand overtures,
symphonies, and suites.
The four composers studied who represent the island of-Puerto
Rico deserve praise. Being almost totally self-educated, not
having the benefit of attending great schools of learning, they
not only learned their trade well but always maintained themselves
close to their roots, dedicating the music they composed to their
own people, and mostly preferring those intimate activities where
their musical poems could bring about happiness .o r .sp.iri.tual .con
solation to the listener.
Composers knew that people liked a día de campo tc enjoy
the fantasías criollas; that they wanted to-earn the needed peseta,
but that they were also worried about the political situation when
people screamed fuego a la lata, and parents said apaga las velas.
They feared un día de elecciones, the lamentos de un cesante, $nd
f ..
476
the cárcel. Having probably read the newspapers from Humacao
El gato flaco and El diablo suelto. published by liberals durii^'
the terrible year of 1887, one composer decided to write a danza so
that the work of the newspapers' directors, Juan Mercedes (who was
beaten by the Civil Guards in 1887) and J. Masferrer Berrios, wold
not be forgotten.
While- some people- are asking. ¿Dónde está; mi :medio pesó? and ¿Qué
se figura usted?-, others -are answering No te ocupes, se le quedó;
we should all be eating gaspacho. and drinking guarapo, or perhaps
preparing for a lechonada, since we already know cómo empieza y
cómo acaba. But, far from conformity, others are saying: se acabó
el tereque; we are no longer pipiólos, and this is not an island
only of jaranas, bailes de máscaras, and whisky con soda. We might
have piñatas, but we are not gallinas ciegas. En el mercado, en
el paseo, and en la alborada, we are defining our personality so
117 Thie Centro de Investigaciones Históricas at the University of

Puerto Rico is working on a project on the year 1887. There, re
searcher Silvia Alvarez identified.the.tifies of two newspapers
who were related to the danza El gato flaco (danza enemiga del
diablo suelto). She suggested a study of Antonio S. Pedreira's
El periodismo en Puerto Rico, La Habana: Ucars García y Cía.,1941.
In this book the researcher found other newspapers with titles
similar or identical to the titles of some works by Morel: La
africana (San Juan, 1876), El carnaval ( Ponce, 1892), El criterio
(Humacao, 1884), La Cruz Roja (San Juan, 1894), El Fígaro (San
Juan, 1891), El foete (Mayagüez, 1883), El ideal (Humacao, n.d.).
La ilusión (Ponce, 1895; for children). La lira (San Juan, 1896;
collaborators: Alejandro Tapia, Braulio Dueño, Felipe Gutiérrez,
Heraclio Ramos, Manuel Tavárez, Salvador Brau, Fernando Callejo,
Julián Andino, and Juan Morel Campos, among others). El microbio
(Caguas, 1886, and Mayagüez, 1894), El pitirre (Humacao, 1890),
El ponceño (Ponce, 1852). See alphabetical listing, 343-470.
The researcher believes there is a possibility that Gutiérrez met
Tavárez and Morel, since the three were collaborators in La lira.
F------------------------- ■-...
477
that we are either willing to answer with a sopapo, a gancho, a
foete, or a fuego. We are also preparing our muchachos, our juven
tud, so that in the gabinetes de lectura and in the escenas de fami
lia of-town or country .(see Figures 49 and. 50), they can.someday
be educated and cultured, having participated in the music and li
terature festivals or juegos florales, and having musicians to write
their sinfonías sobre aires del pais and their marchas triunfales.
Love and respect for our perlas de la patria will eventually bring
us all together in the circulo de la victoria.
Figure 49: Living room of the "House of the Puerto Rican family in
the Nineteenth Century" at the Museo de la familia. 319 Calle For
taleza, Old San Juan (Institute of Puerto Rican Culture).
F
I
i
i
El velorio, perhaps the most famous of Francisco Oiler's paintings, at the
478
Figure 50s
Sala Oiler (Museum of the University of Puerto Rico, Río Piedras Campus).
CHAPTER VI
SUMMARY, CONCLUSIONS AND RECOMMENDATIONS FOR FURTHER STUDY
After the Capitulaciones dé Santa Fe were signed. Christdphpr
Columbus wás given permission to discover new lands and seas.
When he reached Puerto Rico the next year, he called the island
San Juan Bautista. There he found the taino Indians, belonging to
the Arawak group, which were occasionally attacked by the caribes
(a group which the Spaniards initially associated with cannibalism).
The warm climate of Boriquén (name given by the tainos to the
Island)- favored nakedness and was propitious for '-the painting óf '
their bodies. Living in bohíos grouped in yucayeques, sleeping
in hamacas, fishing in cayucos. planting c o m , and eating cassava
made from yuca, the Indians were led by their caciques and were
protected by their cemies.
The role of dance and music was very important in their rather
simple setting. The tainos celebrated the areito or dance ceremony
accompanied by music, songs, and drinking. The ceremony was used
for the declaration of wars, to mitigate the indignation of acani.
to celebrate a birth, to cry for the death of a friend, or to heal
the sick. Some anthropologists believe that the music of the
tainos had similarities with that of the guaj ibo Indians of south
ern Venezuela and the Orinoco river. Evidence of the Mesoanerican
cultural contacts is found in the collares or stone necklaces, the
479
¥ " " "" — ... ' ......... ~

drums with a perforation, the ball game, the use of flutes and
shells, and the sacrifice of the bleeding of hands and feet.
Taino songs were probably monodic, but no original taino mel
ody has been preserved to confirm this theory. The musical instru
ments used by them were the tambores, made of hollow tree trunks;
the amaraca, made from the higiiera fruit or from wood; the sonajero,
made of small stones or shells; the güiro, made from the fruit of
the guajey, the higuera or the marimbo; the guamo or horn maA» from
shells; and the pífanos or small flutes.
Soon after the Spaniards began to colonize the island of
Boriquén, the Arawak work force began to diminish, because it had
been distributed in the repart ímí entos, and was forced to work in
the mines. Later on it was also required to work in the sugar cane
fields, as the mines were exhausted. Being less suited for this
activity, the Indians were gradually replaced by black slaves.
Researchers indicate there was no African immigration before
the Spaniards came to Puerto Rico. After the Instrucciones 1501,
ladinos or christianized blacks were authorized, in the hope that
they would be a positive agent to carry on the Catholic faith among
the Indians. The Ordenanzas of 1513 asked for the protection of
Indians, and Pray Bartolomé de las Casas raised his voice condemn?
ing, their unjust treatment, He also insisted on the importation
of slaves, because he felt slavery was a natural state for the
hlack Africans.
Gradually, the native Indians, while withering away, left the
white conquerors and the conquered blacks to share what was once
their own island. Blacks were brought from the coasts of Africa,
F .............. ' ' '■

481
and soon the Spaniards preferred those imported slaves called bo
zales, who promptly replaced the ladinos. From the seventeenth
century on Puerto Rico's economy partially depended on the slave
trade, but scarce economic resources of the hacendados or land-
owners did not allow the acquisition of slaves in sufficient quan
tities.
In the second half of the seventeenth century many slave es
capees came from foreign colonies, seeking refuge to gain freedom.
A decree of 1664 had promised freedom to all those blacks who pro
fessed the Catholic religion and would promise fidelity to the
Spanish King. The Enlightenment influenced the cultural and eco
nomic life of the Island of Puerto Rico. New ideological currents,
arrived as a consequence of the independence of the United States
in 1776 and the French Revolution of 1789. Humanitarian ideals
were also popular, and after the Anglo-Spanish Treaty of 1817, the
Spanish subjects were prohibited from buying slaves on the coasts
of Africa. In 1837 a motion was presented in the Cortes for the
abolition of slavery, which after many years of debate was approved
in 1873.
The life of the slaves was pitiful, since they had to be
branded, and received punishment according to the transgression
committed: flagellation, calza, ramal, boca abajo, cepo, grillete,
mono, and collares de hierro. There were thrge types of slaves:
domestic, de tala, and jornaleros. If one understands the austere
life of the black slaves, the place of music and dance is. clearly
visualized: relaxation, memories of happier days in their places
of origin, preservation of customs, and a desire to forget their
P ..... ' " ‘

482
present state. Music really amounted to the spiritual- survival
of the slaves.
Some of the important influences of the African culture in
the music of Puerto Rico were: the use of complex rhythms which
were mostly irregular, the consistent use of percussion,the use of .
the silence as a contextual and expressive element, and the use of
melodies (many of five or six sounds) which depended on shopt
phrases. The most notable African instruments were the bada, tor-
go, cuá, sonajero, clave, cencerro, palillos, and marimba. The
passion for dance was one of the most important elements of the
African influence. Probably, some of the black dances had a reli
gious significance and were included in the magical ceremonies
directed by the quimbamba.
African dances have been better preserved in the coastal re
gions such as Fajardo and Loiza, where the great sugar ingenios
were established. Other areas, such as Guayama, Salinas, Ponce,
and Arroyo, are also famous for the typical dance of the black
slaves, called the bomba. Several bomba dances from Africgp
origins are: candungo, cucalambé, curiquingue, cuembé, guateque,
mariandá, and mariangola. Dances brought from the French colcnies
were: bambulé, calinde, cunyá. grasimá, leró and sica. Folklar1
ist Francisco López Cruz also mentions the holandés (an African
dance with Dutch origins), the danuá (an African dance with Danish
influence), the yubá (a term to denote a type of dance but also
a lively diversion or jolgorio), and the cocobalé .(a dance where
a duel is simulated) . The plena -is another dance which is consid
ered to be of African influence. Its roots are said to be the
¥ - ........
483
sugar cane zones of the South. It narrates histories, crimes, po
litical events and current affairs. Its origin seems to he in the
twentieth century. The African music brought to Puerto Rico soon
lost its exclusive character and purity, since it became mingled
with the Spanish elements.
The Spanish heritage in the musical tradition of Puerto Rico
has three different currents: religious festivities, popular dances
(bailes— de_garabato), and., aristocratic dances. Pope Julius H
by his Bull of 1511 created three episcopal seats in America:
Santo Domingo, La Concepción, and San Juan. By the time the diocese
of San Juan was established, there were two towns in Puerto Rico:
San Juan in the North, and San Germán in the West. Alonso Manso,
the first Bishop, signed a decree for the erection of the Cathedral
of San Juan, and asked for a chanter and an organist. The first
known chanter was Juan de Cea, and the first known organist was
Gerónimo de Ovando y Guerra. Kusic historian F e m a n d o Callejo
mentions that the music quartet who always played in Church included
an organist, two chirimía players, and one bassoonist.
A clear indication of the ethnical influence of the black
culture in religious music is the prohibition of 1749 to exclude
mulattoes from the Church musicians. It is known that by the end
of the seventeenth century the Puerto Rican society did not main
tain a strict racial separation. Since whites and blacks mingled
naturally, the influence of the blacks and mulattoes in the Span^
ish . music evolved as something natural.
The social influence of the Catholic Church in Puerto Rico was
of. utmost importance. It.projected,culture and-education through
r
484
the work of the Dominicans and the Franciscans, the orders estab
lished locally. As the Church shouldered the responsibility of
giving instruction in the island, so did it hold the responsibility
of initiating the musical education of the people. Since it also
provided a place where concerts and activities of entertainment took
place, sacred music was not the only kind heard in church. Some of
the festivities that were sponsored by the Catholic Church and that
were the starting point for local musical traditions of a Creole
nature were: Corpus Christi, Semana Santa, fiestas patronales
(which included horse races, marathons, dances, the coronation of
a Queen, competitions for singers, gambling, palo ensebao, albora
das. and carreras de saco), La Candelaria. Navidad (with the typi
cal misas de aguinaldo, misa de gallo, trullas, and the singing of
aguinaldos and villancicos accompanied with guitars, cuatros, güi
ros. maracas, bordonúas, tiples, and- panderosj, rosario cantado,
fiestas de cruz, and velorios or baquinés.
Parallel to the popular local traditions, the religious music,
of Puerto Rico was also devoted to the plain chant in the monaster
ies and churches. The work of José Campeche, an eighteenth century
musician and painter who lived in San Juan and became a teacher at
the Convent of the Carmelite Nuns, is an evidence of this current.
He was the son of Tomás Campeche, a freed slave of the canon Juan
de Rivafrecha. The most interesting aspect of this talented and
hardworking artist, who also served as a part-time architect, to
pographer and sculptor, is his work as a painter. His portraits
and paintings of the Virgin are well known.
f ... ' ‘ ‘ ’ .... .

485
The popular music danced by the Puerto Rican peasants» which
has a clear Spanish origin, is called bailes de garabato. These
dances are: fandanguillo. cadenas, sonduro, caballo. matamoros,
puntillanto, bolanchera, and seis. There are several theories re
lated to the origins of the:-seis:, from tfe .contradanza,. the ranker .of.
strings in the guitar, the festivity of Corpus Christi, and its

typical choreography. According to Manuel Alonso, this dance can
be interpreted by a group of four string instruments: the guitar,
the tiple, the bordonúa, and the cuatro. The seis is classified
according to the place of origin (seis bayamonés, seis del Dorado),
the person who popularized it (seis Portalatin, seis de Andino),
the choreography (seis valseao, seis enojao, seis amarrao), the
animals it imitates (seis del juey, seis de la culebra), and the
type of song (seis con décimas, seis bombeao). The guaracha is
also a baile de garabato of Spanish origin, but it has Cuban in
fluences too.
European aristocratic music was played and danced in the so-
called bailes de sociedad, which were offered mainly in the big
towns for the well-off citizens. The dances which were most Used
in Puerto Rico are: mazurka, polka, waltz (including the vals
montuno, vals' de cadenas, and vals de los palillos),
minué, rigodón, cotillón, galop, and contradanza. Among the dances
brought by visitors and artists, which received lesser attention
were: tarantela, saltarello, polonesa, seguidillas, granadinas,
canarios, and rondenas.
f .............. '
It is important to understand the political environment during
the nineteenth century. Military garrisons were reinforced because .
of fear of separatism. Concern over the future of the island's
liberalist movement resulted in strict censorship, which was re
sented locally.
In 1809 the colonies were declared an integral part of the
Spanish monarchy with the right of representation in the Junta Su
prema. Up to this time Puerto Rico had been administered by a
colonial regime based on the mercantilist system, where all power
was vested in the Governor, as Captain General, Intendant, Supreme
Judge, and Royal Vicepatron. The 1809 decree meant a change to an
assimilative colonial system. After local elections were held,
the Junta Electoral chose Ramón Power as the official representa
tive of Puerto Rico in the Junta Suprema. But this last organism,
soon abdicated in favor of the Regency Council of 1810, where
Power finally represented the island. The Instrucciones which
were given to him by the ayuntamientos, clearly resemble the ca-
hiers de doléances of the Prench and the ideals of the Spanish
liberals.
By a royal order of 1810 the Regency Council gave the local
governor total and dictatorial powers in order to prevent the rev
olutionary ideals to spread from Venezuela to Puerto Rico. But
when the National Constitution of 1812 was proclaimed (the first
one in the history of Spain), the liberals received it with great
enthusiasm. Two years later King Ferdinand VII returned to Spain,
when Napoleon was defeated, and the constitution was abolished;
r .......
Puerto Rico returned to the status of administrative colony. Free
dom of press was eliminated and censure applied to newspapers, post-
'ers,- literary works, and dramatic representations.
On January 1, 1820, a liberal revolution in Spain, directed by
flpnerals Rafael de Riego and Antonio Quiroga, deposed the absolutist
regime of Ferdinand, who was forced to proclaim again the Constitu
tion of 1812. Elections were held to select a deputy to the Cartes
and the Junta de Provincia chose Demetrio O'Daly de la Puente. In
1821 Puerto Rico began to take steps to improve its fiscal policies,,
and a new autonomist tendency tried to make the ayuntamientos more
independent . in the management of local affairs. Nevertheless, the
invasion of Spain by the French in 1823 prevented this development.
For all these reasons, education was neglected. The lack of atten
tion given to it points to the scarce economic resources of the is- •
land and to the priority given to military protection and political-
matters.
When absolutist government was restored in 1823 in Spain,
Miguel de la Torre was appointed Governor of Puerto Rico. Soon his:
Bando de policía y buen gobierno forbade all evening meetings in
stores, cafés, and warehouses. Vigilance became more strict, since •
constant rumors indicated that the Latin American countries wished
• to overthrow the Spanish government in Cuba and Puerto Rico. De la
Torre sponsored public diversions to such an extent that this govern
ment has been labeled by three B's: "baile, botella y baraja." He
thought that "while people have fun, they do not think of conspir-
ing.
• _ ; II
w .... ~ ' .............................
488
When a conspiration fostered by liberals restored in’1836- the
Constitution of 1812 .(popularly called La Pepa),■ the local liber
als were hopeful . of political changes. But the next year the
Cortes decided to have Puerto Rico, Cuba, and Philippines governed by
the Leves Especiales de Indias, meaning a return to the administra
tive colonial system. Spain had lost interest in the islands, and
the Regent sent Alejandro Aguado and Francisco Campuzano to nego
tiate their sale with King Louis Philippe. The sale was never ef
fected, and repression of the local revolutionary movement was a
priority with Governors Miguel López de Baños, Santiago Msndez:Vigp,
Juan Prim y Prats, and Juan de la Pezuela. It was this last gover
nor who instituted the system of jornaleros. His Bando de policía
v buen.gobierno asked for a written consent of the authorities to
move from one house to another, and to travel through the island.
By the end of the first half of the century, education had
made some progress, with private schools such as those of Jesús
Maria Aguayo and Rafael Cordero in the elementary level. On the
secondary level the Seminario Conciliar de San Ildefonso and the
Colegio San Tomás (where Francisco Oiler and Felipe Gutiérrez stud
ied), offered a series of courses, but on the upper levels gfrnrfanf-g
had to depend on travel abroad. The economic situation was criti
cal since agriculture, as well as commerce, had experienced dete
rioration.
It was during these times of censorship, economic hardships,
political tensions, and cultural carelessness, that Felipe .Gutiérrez
y Espinosa was b o m . He was the son of Julián Gutiérrez, a Spanish .
W "
489
musician yho played in the band of the Regimiento de Granada» and
Lucía Espinosa, a Puerto Rican. The second son among eight chil
dren, he was b o m in San Juan in 1825 and lived in 108 Calle del
Sol. He probably participated in some of the numerous activities
celebrated in the capital city, such as: retretas-, charangas, dances.
serenatas, alboradas,' fogatas-, cabalgatas-, regatas^- concursos,
and carreras de caballos, -and exhibitions of pointings.
Gutiérrez soon became interested in the theater, perhaps stim
ulated by the construction of the Teatro Municipal (replacing
the provisional theater called El Corralón) which, finished in 1832,
was later to be renamed in honor of Gutiérrez's friend Alejandro
Tapia. Those were the times of the Sociedad Filarmónica, the Aca-
dPTnia de Música of flutist Carlos Allard, the Sociedad Conservadora
del Teatro Español en Puerto Rico, the Compañía de Bufos Habaneros
and other similar groups and institutions. Gutiérrez started
writing, operas and zarzuelas, and Guarionex is presumed to bethe.
first work premiered by this composer. Gutiérrez organized an ar
tistic society with Sandalio Callejo and Heraclio Meléndez, which
was a sort of musicians'.union concerned with" the interests and
needs of the group.
When in 1858 Bishop Benigno Carrion asked Gutiérrez to become
the maestro de capilla of the Cathedral, he accepted and began to
write religious conqoositions. Great importance was given to reli
gious festivities, since the Church was subordinated to the State,
and many of these festivities were sponsored by the government.

Some of them were: fiestas de San Juan, festivity in honor of the
Virgen de la Providencia, fiestas de cruz, Corpus Christi, Festival
w ...........
490
de Santa Cecilia, and different Te Deis, Composer and writer
Braulio Dueño Colón believes -that Gutiérrez has two different
styles: one which is more melodic, as in Misa en do Mayor, and
another which is more symphonic than religious, as in the Credo.
This writer believes that Gutiérrez's compositions were as defi
cient as the church orchestra for which he wrote (with two horns,
two clarinets, and a bombardino, but no viola, oboe, or bassoon).
Gutiérrez participated in 1865 as a juror at the Feria Exposi
ción in which the work by Manuel Gregorio Tavárez, Marcha fúnebre
a Campeche, won a prize. With his pupils he organized the Orfeón
Puertorriqueño, a choral group, and in 1871 obtained permission to
establish his Academia de Música located at 6, Galle San José. Among
his pupils-were Braulio Dueño, Julian Andino, and José Gutiérrez, his
brother. In 1876 the ayuntamiento gave him the monetary help to
study in Viena and Paris. His brochure titled Teoría de la música
was published after his trip to Europe, perhaps inspired by the
book on painting written by his friend Francisco Oiler.
The foundation of the Ateneo Puertorriqueño in 1876 helped to
promote and advance artistic inclinations, since it assisted stu
dents and established certámenes or competitions. The first com
petition was held in 1877 and Felipe Gutiérrez, Rosario Aruti, and
Mateo Tizol were members of the jury.
The last decade of Gutiérrez's life was full of uncertainty
due to the international situation, particularly Cuba's war of in
dependence and the Spanish American War. The musicians tried to
keep up with their activities as usual, but the. militate incidents
of 1898 brought insecurity. Local bands were replaced by Ameri-
F
491
can bands, music scholarships were suspended, lack of funds forced
the Asociación Musical de Puerto Rico to be dissolved, and.the s e
paration of Church and State affected the work at the Cathedral.
Gutiérrez had to give up his work as maestro de capilla, and was
pensioned by the municipal government in San Juan with 20 pesos
monthly. Tired and saddened, he died in 1899 at age 75.
Manuel Gregorio Tavárez Ropero was born in 1843 at Calle del
Sol in Old San Juan, when Gutiérrez was 18 years old. Since the
life span of both musicians concurs during the forty years of Ta-
várez's life, it is useful to examine the environment of the island
during this period. The late Fifties and Sixties were especially
tense times: rebellions burst out, a cholera epidemic broke out,
and frustrations arose when attempts to improve education failed
(illiteracy was 89%). It was during the governorship of Fernando
Cotoner that separatist leader Ramón Emeterio Betances (1830-1898)
was condemned to live in exile in Spain, because he had established
a secret society to work for the abolition of slavery and for in
dependence. Betances was helped by Segundo Ruiz Belvis (1830-1867)
who was dismissed from the ayuntam-i ento of Mayagüez for protesting .
about the conditions of the jornaleros and their libretas.
Puerto Rico's interest in more autonomy, both political and
economic, was revealed in the reports submitted by the Junta Infor
mativa to the Overseas Ministry. Despite all its efforts, the
Spanish government did not pay attention to the Junta's claims.
After Ruiz Belvis' death in Chile in 1867, Betances. worked in
tensely from Santo Domingo in the organization of a conspiracy to
overthrow the Spanish government in Puerto Rico, using the fiest-as
F "■ ' ........ ■"

492
patronales in different towns for reunion and propaganda. In 1868
the Comité Revolucionario de Puerto Rico chose the Junta Centro
Bravo as the center, and cn September 23 many followers assembled
in Lares. Two flags carried the messages of the purpose of the
revolution: "Viva Puerto Rico libre," and "Abajo los impuestos."
The danza written by the Catalonian Félix Astol, with lyrics by
poetess Lola Rodríguez de Tió, La Borinqueña. served as their rev
olutionary hymn. The lack of military experience on the part of the
revolutionaries, the fact that many juntas did not receive notifica
tion from Mayagüez, and the lack of arms, contributed, among other
things, to the collapse of the revolution.
The years that followed were ones of repression with José
Laureano Sanz as governor. The artistic environment, particularly
music, was affected directly. But the establishment of theaters
and social centers (such as the Teatro La Perla since 1863 and the
Gabinete de Lectura Ponceño since 1868), helped to ease this trauna-
tic condition. José María de Labra favored autonomy under Governor
Gabriel Baldrich, but consideration of his project was postponed
indefinitely. In June, 1870, the Moret Law gave freedom to around
5,000 slaves; on March 22, 1873 the emancipation of slaves was pro
claimed by the Spanish Republic. But when a military coup directed
by General Pavia, ended the Spanish Republic in 1874, the pro
visional government called La Paviada began again to limit the -
right to meet and associate. General Sanz was chosen for a second
term as Governor, and he eliminated many local newspapers, dis
missed many liberal teachers, and censured constantly.
493
It was in this environment that Manuel Gregorio Tavárez lived..
The son of a French bookkeeper and musician from Santo Domingo,
Alexandre M. Tavárez, and Dominga Ropero, a Fuerto Rican, he was
the eldest of three children. He enrolled in the Colegio Prepara
torio Santa Rosa, and studied music with the Catalonian Juan
Cabrizas, and with Father Domingo Delgado, an organist. . The year
1857 was important for Tavárez because of the visit of the New
Orleans pianist Louis Moreau Gottschalk, who disembarked in Ponce
after visiting Jamaica and Cuba, accompanied by fifteen-year-old
singer Adelina Patti (who was the same age as Tavárez). During
their stay, Gottschalk performed at the wooden theater of Ponce
(since La Perla was not constructed yet), where spectators carried
their own lanterns and chairs.
It was after this visit that Tavárez became enthusiastic about
his own trip to France to pursue further studies in music. The So
ciedad de Amigos del Pais and the Diputación Provincial assigned
him a pension in 1857 to enroll in the Conservatory of Music of
Paris. An unexpected illness made him return in 1860, and from
then on he began to teach piano in San Juan and to offer concerts
through the island.
In 1863 Tavárez became associated with printer Salavert, and
published the Album Filarmónico. The first Puerto Rican danzas
written by him and published that same year are believed to be
La Dolorita and Cómo me mira el viejo. Shortly after, he decided
to settle in Caguas, becoming the teacher of Gonzalo Núñez, who
wras later to become a renowned pianist and composer. During the
years 1867-1869 he also collaborated with Sandalio Callejo in the
F
ar.
494
publication of Delirio Puertorriqueño, a journal published in
Bayamón.
Amaury Veray believes that the desperate political situation
after the Grito de Lares, and the continuous persecutions of sepa
ratists and liberals, prompted Tavárez to move to Ponce. There he
discovered a new city where many foreign families lived, and the
French influence was greater than in San Juan. According to re
searcher Awilda Villarini, "Ponce's view of religion, freer and
less strict, probably was more fertile ground for romanticism to
flourish in." His friends in Ponce were Ramón Baidorioty de
Castro, Alejandro Tapia, Ramón Marin, and Olimpio Otero, among
others. Among his pupils was Juan Morel Campos, who at the age
of fourteen had already written El sopapo.
The last thirteen years of his life were spent by Tavárez in
Ponce as a pianist at Bazar Otero, where he sold pianos, copied
music, and composed. In 1877 he married Julia Colón, with whom
he had four children (Elisa, Manuel, Gertrudis, and Amelia). At
the Feria-Exposición of Ponce in 1882 he received a Gold Medal
for his march Redención. The next year he died, and when the
funeral procession passed in front of the Centro Español, his
march was played by a ten-year-old boy. He was buried at the
cemetery of Calle de la Torre.
Another great Puerto Rican composer was Juan Morel Campos,
b o m in 1857, the grandson of Leonardo Morel (who moved from
Santo Domingo when the French were to take the Spanish side of the
island), and the son of Manuel Morel and Juana Campos, a native
of Venezuela. Juan was the sixth among seven children. The title
¥------ ‘ •— ------- .
495
of hidalgo, which had been acquired by grandfather Leonardo and
pa<yyd on to father Manuel, was then inherited by son Juan Morel
Campos.
His first music teachers taught him to play the flute and the
bonfoardino, but he also learned to play the piano with Tavárez.
Whai new batallions were detached to defend Puerto Rico, more sol
diers and military bands came. With them. Morel learned many- dif
ferent instruments, such as the pífano, the figle and the sergenfaxn
His experience . as performer and conductor was acquired with tbs band
of the Batallón de cazadores of the Regimiento Madrid, where he
worked as a soloist playing the bombardino. Later on Morel was to
organize his own orchestra, called La lira ponceña. the Firemen's
Band, and a dance orchestra, with which he travelled and was well
received in towns such as Mayagüez, Aguadilla, San Germán, and San
Sebastián.
Having travelled with the Compañía Bernard v Abella-to Argen
tine and Brazil, he wrote several works related to this experience:
Th aIra mar. Saludo a Ponce, and Dicen cue me divierto. Among
other important works one can remember Don Mamerto (with a political
reference to the liberals). Sinfonía Puerto Rico ( including .
popular Puerto Rican tunes), and Juegos Florales (dedicated to the
Society of Mayagüez). The catalogue of his works indicates that he
wrote nrjre than 500 compositions.
While conducting at the Teatro La Perla in 1896, he fell ill
and died shortly after. During the funeral procession his orches
tra played Alegoría fúnebre, a work which Morel had written to the
memory of Manuel Corchado Juarbe,. He. was buried in the same cerner
r
496
tery as Tavárez, but years later, when a monument was built at Flag»
Degetau .in Ponce, his remains were exhumed and trasferred to that
site.
Since José Ignacio Quinton, born in 1881, coexisted with hforel
during the 1880's and 1890's (although the two musicians never met
personally), it is important to understand this period of time,
when there was strict censure of the press, the liberal sector was
affected, and the separatists continued to make plans for a rewohiT
tion. Anyone who did not have a profession, job, trade orlegitimate
occupation was declared idle and subjected to arrest and fines un
der the regulations of the Bando de vagos. A new electoral law
was so strict that only those artists who had obtained first or
second prizes in competitions could vote. Economic conditions got
worse after the abolition of slavery, and unjust tariffs clearly
favored Spain to the detriment of the Puerto Rican sugar. Educa
tion lagged behind, and the Junta Provincial de Instrucción Pública
set the norms for the supervision of schools and teachers.
There were many liberals who wished autonomy: Balderioty de
Castro and Labra accepted the transitory stage of assimilation,
Fernández Juncos defended assimilation but decentralization in
economic matters, the northern sector favored administrative.autonr
ary, and the southern sector favored political and administrative
autonomy. During the 1887 meeting, the Partido Liberal changed
its nane to Partido Autonomista Puertorriqueño, favoring economic
and administrative autonomy.
The "terrible year of .1887" was known as the period of the
compontes. being the response of the political-military structure
f "" " ~ "" ' ' ... ■“ ■

497
to the secret society called Boicoteadora. Tension continued to
mount, even from New York, where Puerto Rican and Cuban revolution
ary groups were active. The motín de las tarifas in 1892, a protest
by local merchants against the preferential treatment given to the
Ihited States, and the motín de los vellones in 1893, to pretest the
concession of monopolies, can be recalled among many different incir
dents.
Morel never lived to see the change to an autonomic regime for
Cuba and Puerto Rico in 1897, while Quinton did•• Gutiérrez had* cnly
two mare years to live at the time, and he was deeply affected by
the political changes of those years; But while local elections
were being held for 32 representatives to the Cámara Insular, the
Ihited States was fighting against Spain in a war that «as officially
declared in April, 1898. On July 25 the United States' troops
disembarked in Guánica.
American corporations began to invest in the island, finding
support in the sugar cane landowners, the merchants, and the pro-;
-irAsionais, There was a subsequent development of an economía em
potrada. Under the Jones Act of March, 1917, Puerto Rico became a
territory of the United States. Key officials of the local covem-
ment, including the governor, were of presidential nomination.
Early U. S. governors were mainly preoccupied with Americanizing
institutions, language, and political habits, resulting in strong
resistance by native leaders. The political parties that «eré active
during the 1920's were: Partido Republicano (statehood) .Partido la
Unión de Puerto Rico (greater autonomy). Partido Ifaeiona'Hst-a .(inde
pendence), and Partido Socialista (concern over the labor class).
¥ *■ ■ ...... ’' ■
498
José Ignacio Quintón Rosario was b o m in Caguas when Gutiérrez
was 56 years old, Tavárez was 38, and Morel was 24. His father,
Juan Quinton, was a Frenchman, and his mother, Filomena del Rosario
was a Puerto Rican. He was the eldest among four children, and
his nickname was Fepito. When he was five years old his family
moved to Coamo. His first music teacher was his own father, but
he also studied with the Catalonian Ernesto del Castillo. As a
nine-year-old child he participated in a concert at Los Baños de
Coamo, and later on developed as an excellent pianist, a church
organist, a teacher of piano and violin, and the conductor of the
Municipal Band he organized.
In 1911 Quintón participated in a competition in the town of
Manatí, where he obtained first prize for Marcha triunfal. Other
important works were Cuarteto de cuerdas en Re Mayor, and Doce
variaciones sobre un tema de Hummel, submitted for the competition
of the Liga Progresista de Ponce in 1913. The Consejo Musicipal
of Coamo approved a resolution declaring him an-adoptive son.
This composer is also known for his Misa de':5aouiem and his agui
naldos. Quintón practically rejected the danza ponceña of Tavárez
and Morel, creating the danza de concierto, where he wanted to
exhibit pianistic virtuosities. Impressionistic tendencies are
seen throughout his works, but particularly in Una página de mi
jzida. His art songs are also recognized.
The. compositional output of Felipe Gutiérrez y Espinosa,
Manuel Gregorio Tavárez, Juan Morel and José Quintón is an obvious
reflection ot the society in which thev lived. These four ccnpos-
¥ ......." ' .. '... "

499
ers were devoted to their profession, and in spite of the educa-.
tional limitations which characterized the musical training of
those times, they excelled in their task, and are still very re
spected i n 'their communities.
Researchers have studied the biographical facts about these
musicians, but they have devoted less time to the area of catalog
ing, classification, description, and analysis. Much needs to be
done in relation to preservation, editing, and publication.
Four types of sources were used by the researcher to organize
a comprehensive catalogue of the musical output of the composers:
catalogues prepared by previous researchers, manuscripts and printed
music, interviews-, and visits to the composers1 towns. This
dissertation includes appendixes with the composers' family trees,
and birth and death certificates, appendixes with the catalogues
of works, in alphabetical order (including descriptive details of
each work), and appendixes presenting the compositions according
to the themes of their titles.
The inquiry on Felipe Gutiérrez5s musical production was pos
sible thanks to Professor Gustavo Batista, who keeps the largest
collection of the composer's manuscripts (which he acquired through
a pupil whose relatives were about to throw them away), and who
was kind enough to allow their study. On-the contrary, the cathedral
where Gutiérrez worked for so many years does not keep any of his
works, and the Archive only has 38 out of the 126 works listed by
the researcher. Batista's thesis is on Gutiérrez, a musician who
is not only "faceless" (since there are no portraits of him), but
who rests in an unidentified grave that has never been found.
r
500
Only one work. La despedida, was ever published, and only one
opera, Macias, has supposedly been preserved (the researcher could
not examine it since it had disappeared from the University library).
Only four of GutiérrezJs works árédedicáted to specific-per sons;
the great majority is dedicated to Christ, the Virgin, the Saints,
and the Church festivities. Gutiérrez wrote for the small orches
tras avail-able to him at the Cathedral and at the San Francisco
church, and had 21 instruments available, in different «irbinadcns.
He also used voices, but rarely the four together. Apparently he
did not have a good soprano. It seems he did not prefer the piano.
His first and last work sees to be "Salve Solemne," which he wrote
as a child and orchestrated a few years before his death.
Tavárez's works are found at the General Archive, since his
daughter Elisa Tavárez de Storer donated them to the Institute of
Puerto Rican Culture. Additional information on Tavárez, and ttael
Campos as well, was found by the researcher during her trips to
Ponce, where she visited the Biblioteca Encarnación Valdés, the
Museo de Arte, the Archivo Histórico de Panes, the Nuestra Señora
de la Guadalupe Cathedral, the Casa Alcaldía, the.place-whete Marel's
house had been located, the Plaza de Recreo Las Delicias (withthe
monument to Morel Campos and the Parque de bombas), the Teatro La
Perla, the monument to Cocolía, the Instituto de música Morel
Campos, and the home of Gloria Morel (the composer's granddaughter
who was interviewed). Further inquiries indicated that Tavárez's
grandson lived in San Juan, and thus the researcher interviewed
Mr. Hugo Storer Tavárez, the son of pianist Elisa Tavárez Colón.
501
The catalogue of Tavárez *s compositions in APPENDIX K is the
shortest, with only 56 works. The earliest dated .are .’?La Dolorita"
and "Cómo me mira .el viejo; V-.the. latest is "Sereñatá." since "El 24
de junio"-is.Opus 129, this-seems to-.indicate-that Tavárez wrote
more works than those which have been found. In fact, after the
researcher had finished her catalogue and written CHAPTERS IV and V
of the dissertation. Prof. Batista called to inform her that he had
received a romanza by Tavárez, published in Caracas and dated 1877.
The introduction and the first part are in F Major, and the second-
part is in F minor 1 The title is :!!Meiodie (No luches' más)." The
lyrics, are by Lola Rodríguez de Tió and they refer to the love -fot
Margarita.. Further -research in South America is strongly suggested; .
The researcher only Found IS: published works. Those by Sylvia
Lamoutte. are reprints of the 1925 edition by "Elisa Tavárez. In the
nineteen dedications, one-finds that Tavárez-and Morel had common
friends. B o t h.have works "With the same titles.
Of the four composers included in this study, Juan Morel Cancos
is the most prolific. His works can be examined at the GeneralAr-
chive, which keeps most of his manuscripts, and in the Institute of
Culture’s published editions. Private collections probably safe
guard many other works wich are not available or are incomplete at
the Archive. It is believed that "El sopapo" was his first composi
tion, and that La bella Margot was his last. Carita de cielo is
Opus 200, but obviously this is not his last work since the cata
logue lists 516. The fact that not all of his compositions are
dated or have an opus number makes it more difficult, for the
needed stylistical analysis.
F
502
Morel's religious production is believed to have been lost
when many documents were burned during the process of moving the
Archbishopric's offices. Antonio Otero's "Muestrarios" are a valu
able source of information, although the researcher believes not
all of the works in those indexes are by Morel. The Institute of
Culture reprinted many of the works previously published by Bazar
Otero as separate pieces in a collection titled Obras escocidas -
para canto v piano v piano a dos y cuatro manos. Twenty-three
additional works were added and published for the first time in
this 1958 edition which is almost totally out of print. There are'
still eighty works which have never been published, and the re-
searcher t-Tviwfeg it is-extremely úportant to make them known to the
public. Morel's dedications are a reflection of the people he
esteemed, and they include friends, artists, and relatives. His
compositions are mostly for piano, but some are for singers,.for
band., anH for .orchestra. The instruments he used total 26 differ
ent ones.
Of the 95 compositions written by Quinton, more than half are
dated, and almost all have been published thanks to the efforts of
the Society of Friends of Quinton, and to the funds assigned by
the Government of Puerto Rico. After the researcher finished her
catalogue, and had already written CHAPTERS IV and V of the dis
sertation, the last volumes of the works of Quinton were finished
and put out for sale; the new information prompted by this fact
(which could not be incorporated in the analysis of CHAPTER V)
deserves a brief mention at this point:
503
Fpur' religious works, .were, published in Vohme IX, part 1,
which had not been listed by the researcher. They are: ¿Quién es
esa? (voice and organ, Spanish lyrics, E minor). Madre mia (voice
and organ, Spanish lyrics, F Major-D minor). Salve Maria two voices
and organ, Spanish lyrics, B flat Major-G minor), and Señor que
escuchas (voice and organ, Spanish lyrics, F minor-F Major).
Other .five, religious compositions appeared in Volume IX,
part 1, and since they had already been listed, a note about the
publication was added to APPENDIX M.
Four religious works., were published in Volume IX, part 2,
and since they had not been listed by the researcher, they are men
tioned now: Cántico a San Rafael (voice and organ, Spanish lyrics,
D Major), Himno a la Virgen de la Valvanera [voice and organ, D
minor ending in A minor (in spite of error in the signature),
Spanish lyrics]. Plegaria a la Virgen de la Valvanera (voice and
organ, F Major, Spanish lyrics), and Salve Cruz (two voices and
organ, Spanish lyrics, D Major).
A note was. added in APPENDIX M to the three compositions
which had already been listed but which were recently published in
Volume IX, part 2.
¿Gi? (schottische for piano, B flat Major with middle sec
tion in E flat Major), and Danza para piano (F Major with middle
sections in D flat Major and G flat Major) had not been listed and
were recently published in Volume 10.
Seven listed works appeared, in Volume X; a- note was added
to APPENDIX M. They are: Duda (romanza), Yuani (fox-trot). Haría
Luisa and Mirar sin ver (danzas), A orillas del mar (barcarolle).
504
and the mazurkas Celeste and Bonanza., both previously analyzed
with the help of the available,manuscript's.
. A recording- ox Quinton’s works by pianist Samuel Pérez inr .
eludes 'Danza de concierto en la menor" and "Danza de concierto en
re bemol." The researcher has not been' able to find- themanuserpts
or the printed music of these works.
Finally, there - are four danzas, which although mentioned by -
researcher Awilda Villarini in her own dissertation, cannot be found
in manuscripts or printed music: "Emilia," "El camarón," "No me ja
les administrador," and "Juanita."
The information recently received adds a total of 16 additional .
compositions to Quinton's production, which seems to have started
with iTus ojos! (dated 1898), and finished with I Balada II Scher
zo (dated 1925). Many of Quinton's works are dedicated. He prefers
to write for the piano, but has works for other instruments, includ
ing chamber music and works for orchestra. He has similar or iden
tical titles to soipe works by Tavárez and Morel.
Music as a Reflection of the Puerto Rican Culture
The influence of the tainos is noticed in a few works written
by the composers. "Guarionex" is the most significant, and is
based on the novel La palma del cacique by Alejandro Tapia. A few
others mention taino words: yuca, hamaca, Báyamón, -quenepas, pi-
tirre. Canas, tereque, and coqui. There are also references to --
the- Puerto Rican fibra and fauna which wece probably present during
the times of the tainos. The güiro, a taino instrument, is used
in a symphony by Morel Campos, as well as the subtitle "La Borin-
r
505
quena," recalling the taino name for the Island of Puerto Rico:
Boriquén.
There are no references to the Africans in the works of
Gutiérrez, Tavárez, and Quinton, even if the composers have African
blood. Only Morel Campos seems to have developed a social con~
science, including titles with words such as: africana, mulata,
trigueñita. changa, conga, grifa, guarapo, and marimbambé.: The
researcher believes the references to hierro might be related
to the punishments received by the slaves. There are no works
using African genre, such as the bomba, the plena and the rumba.
The influence of Catholicism is present as part of the Spanish
heritage. Rituals and prayers in Latin include masses, salves.
letanías, and tota pulchras. Gutiérrez emphasizes the Ordinary
sections of the Mass, such as the "Kirie,1' "Gloria," "Credo,"
"Sanctus," "Benedictus," and "Agnus Dei." A comparison between
the "Misa de Requiem N o . 2" by Gutiérrez, and the "Misa de Requiem?'
by Quinton (his only one), is useful. There are marked differences
because Gutiérrez!s mass is a "Misa pequeña" and Quinton's one is
a "Misa Solemne," but mainly because the harmonic and melodic lan
guage has impressionistic traits in the second case, something ab
sent. in the first one. The Latin text serves as a guide in the
musical comparison of the "Dies irae."
A description of the Corpus Christi festivity and of the devo
tion of the Holy Rosary is interesting. The composers write leta
nías, which are used as part of the rosario cantado, especially
during the month of May, and also in the fiestas de cruz and the
velorios.
f
It is interesting to observe that the composers also write
religious music following a free style and the song form, and use
lyrics in Spanish. Some examples are: "Adiós a la Virgen," "Go
zos primeros," and "Estrofa 3" by Gutiérrez; "Estrofa a solo" and
"Plegarias a la Virgen para el acto de la Petición" by Morel;
and "Bella flor," "Dulce Virgen María," and "Te quiero María" by
Quintón. One notices that the last composer is definitely turning
his back away from the Latin tradition (and the additional reli
gious works listed in this chapter reinforce this opinion).
Quintón is also the author of three original aguinaldos, a typical
Christmas song which is perhaps the composer's most nationalistic
religious contribution.
There are some compositions which directly allude to several
of *-he most important festivities: Christmas and Three Kings'Day
(alborada, árbol de Navidad, asalto, and lechonada), fiestas patro
nales (máscaras, antifaz and piñata have to do with the masquer
ades and bailes de piñata; meta, favorito, foete. and hipódromo
have to do with horse races), and the carnival.
A search was made trying to find the music which represents
the traditions of the Puerto Rican peasants (typical of the inner
mountain haciendas), and not all the garabato dances were present.
The seis was found in a suite by Tavárez and in another suite by
Morel, but they are adaptations of the Seis de Andino. The guara
cha has three exmples by Morel, but one of them, "La mulata Rosa,"
does not seem to be by this composer, even if it is classified as
such at the Archive. "Rosa" (as a student) and "Fermina" (as a
F ... '.. "

507
cook) represent two of the women in humble and unnoticed positions,
which are considered by Morel. In fact, the composer is conscious
of many types of women (artesanas, fumadora, intrépida, ramilletera,
dependientes, regalona, and fea), and also of the orphans, unfortu
nate, unemployed, unknown, drunk, and chubby, among others.
Quinton does not write bailes de garabato. Perhaps he was
trying to become accepted in the society of Coamo, which ostracized
people because of racial intermingling, low economic level, and bad
manners or moral. He was probably trying to please the aristocratic-
minded Creole society which was not used to an intensive exchange of
ideas, as was typical of the cities of the coast. Perhaps his Prendí
heritage made him feel European and more cultured. As Andrés Ramos
Mattel writes in a book :to be publishéd soon:
El color servía para aupar o mantener fijo en un status

inferior a los individuos. Tal cosa se t o m ó aún más
crítica después de la abolición dé la esclavitud cuando
cesaron los mecanismos legales de sumisión de un sector
significante de la población.
Llama poderosamente la atención cómo la mayoría de la

élite azucarera de la región estaba compuesta por ex
tranjeros. Aún aquellos que habían nacido aquí en
Puerto Rico conservaban su ciudadanía extranjera. Pre
dominaban entre éstos los ciudadanos franceses de
extracción corsa . . . 1
Aristocratic misic represents the tastes of the European society,
and thus it was played in the bailes de sociedad and preferred by
1 "Color served to rise in dignity or to maintain individuals in a

filed and inferior status. Such a thing became even more critical
after the abolition of slavery when the legal mechanisms of submis
sion ceased to constrain a significant sector of the population."
"It is extremely noteworthy that the majority of the sugar élite of
the region was made up of foreigners. Even those who had been bom
in Puerto Rico, maintained their foreign nationality. The ones with
praiominance among them were the French citizens that came from Cor-
F ..................... "" "" '...... ..........."

508
people who. lived in the urban a ^ e a s a n d ;enjoyed a high economic
level. These dances are: schottische, galop, gavotte, and pasodo-
ble. This last dance became identified with the firemen, and their
quasrudlitary ranks, although two of them are dedicated by Morel
to his trip to South America. Other aristocratic dances are: lan
ceros (a series of five dances; see Table 1 for tonality selection),
mazurkas, polkas, and waltzes. Considerations on the internal
structure indicate that since the composers are observing classic
authors such as Chopin, the Trio section should be followed either
by a Da Capo or by a Coda in the original tonality. Apparently,
publishers have not been careful enough in their editions, and emis
sions as well as written mistakes are misleading. Among those ana
lyzed, the longest mazurka is "La joyita" by Morel, with 145 mea
sures; the longest polkas are Morel's "Los oficiales de bomberos"
with 216 measures, and Quinton's I'Pplka," with 221 measures; and the
longest waltz is Tavárez's "Vals de salón para la mano izquierda"
with 319 measures. Morel not only explored the waltz; he also devel
oped the tanda de valses. The longest among those available is
"Saludo a Ponce" with 550 measures. Table 2 indicates the choice
of tonality among the tandas de valses, which include a total of
four different waltzes, besides an Introduction and a Coda. Qnntcn
has 'Vals en fa menor" with 297 measures and a structure character
ized a s A B - C D E F C A B E . The last two aristocratic genres are-the
vals-polca and the contradanza.
sica . . . " See Andrés Ramos Mattei, La sociedad del azúcar en Puer
to Rico, 1870-1910, Río Piedras: Huracán, 1987. The text is still in
galley proof and thus the pages are unnumbered.
f ~~......
509
Among the.vocal forms there are zarzuelas. operas, and roman
zas» Some danzas have lyrics, but this genre was considered either
as a dance form or an instrumental one, and not as a vocal form.
The zarzuela, which originated in the seventeenth century, and was
Jater on revitalized, can be either a zarzuela grande with three
acts,or género chico with one act. Five examples represent this
-genre: one by Gutiérrez and four by Morel. There is still a reason
able doubt as to whether "Don Mamerto*" "Don Criterio," and "Un día
.de afecciones" are three different zarzuelas,or only one with differ
ent titles. Further research is needed to clarify this issue and to
validate the opinions of Antonio Mirabal and Emilio Pasarell.
Numerical considerations indicate that Gutiérrez composed 111
works shaving Spanish influence (107 of them related to religion);
Tavárez composed only 10 works; Morel, 155 (including 65 religious
and 78 aristocratic dances), and Quinton, 25.
The international influence can first be seen through vocal mu
sic. Different opera companies visited fuerto Rico during the nine
teenth century and local composers either heard their performances,
or contributed as conductors, as in the case of Morel. Three operas
represent this genre, all by Gutiérrez. "Macias," the only work
which was available, has recently disappeared from the University of.
Rjerto Rico’s library. This dramatic comedy originally comes from
Dope de Vega, but Gutiérrez bases his composition on the book by
Mariano José de Larra.
The vocal romanzas, or art songs, are represented by works of
the four composers. Gutiérrez has two (including La despedida, for
510
voice-and piano, the only work ever published by this composer);
Tavárez'has three (including Our Poet's Dying Request, a work pub
lished with lyrics by Gautier Benitez translated into English); Morel
has nine .(ineluding "El río Portugués y la noche," whose lyrics are
included in APPPENBIXR); and Quinton has three (including "La can
ción de!la alxanza," a song with clear political references).
An additional song, not included in the catalogue, was found by
the researcher in the book Canciones escolares, published in New Yode
try Silver Burdett and Company in 1901. Its title is "Canción de la
montaña" (F Major, 25 measures. Allegretto, Í) and it has been ar
ranged by Braulio Dueño. This song by Tavárez has lyrics by Manuel
Fernández Juncos. The same work appears in the book Nuestras cancio
nes, edited by Maria Luisa Muñoz and also published by Silver Burdett
in a 1954 edition. The book includes other reprints from the pre
vious publication. Both volumes .are in the Library of Congress
in Washington.
One important contribution which must not be forgotten is the
group of works produced as orchestral or chamber music pieces. Ancng
the genre included there are overtures (Gutiérrez has five. Morel has
one— La Lira, used for the inauguration of the Centro de Bellas Artes
in San Juan— , and Quinton has another), and symphonies (Gutiérrez
has "El parto, de los montes," while Morel has "Puerto Rico: Sinfonía
sobre Aires del pais" and "El certamen"). There are also suites:
Tavárez has four (including the well-known Souvenir de Puerto Rico:
potpourri de aires provinciales), and Morel has one (Aires del pais).
Marches were composed for funeral purposes (and one can recall
Tavárez's "tfarcha en honor de José Campeche," and Morel's "A Manuel
¥ ".... .. ■
"Corchado" and "Pobre Tavárez"), but setting aside the funeral •
marches,Tavárez has "Redención," Morel has "Juegos florales,” and
.Quinton has "Marcha triunfal para piano y orquesta." Through these
marches one can observe the importance given to the certámenes or
.literary and musical competitions. APPENDIX S includes some docu
ments related to the Certamen Literario Musical of the Casino Puer
torriqueño de Manatí in 1911.
Quintón Rosario wrote a quartet, four trios, one duo and
several works for instrumental soloists such as a barcarolle, a
ballade and several scherzos. Gutiérrez has a sonatina. Three in- •
stnmental romanzas, two nocturnes, and three variations are also
attributed, to Quintón, as are the two fox-trots: "Suéltalo Julián,"
and .Yuan! en su cuerda.
Only eight works could not be identified by the researcher,
since they are incomplete compositions with very short melodies,
hi addition, Gutiérrez has one theory book and one book of instru
mental exercises. Numerical tabulations indicate that Gutiérrez
wrote 13 works with international influence, while Tavárez wrote 8,
Morel wrote 14 and Quintón wrote 26.
Among the genre represented by tie four composers discussed,.the
danza best embodies the nationalistic personality of Puerto Rico.
Tavárez dedicates 68' percent of his efforts to. the' danza, while
Morel dedicates 66 percent and Quintón 45 percent.- Gutiérrez did
not write any.. There are several theories on the origins of the
danza, as well as which was the first danza. Apparently, "Cómo
me mira el viejo," dated 1863, is the first one. Other alternatives
are "la Dolorita," and "La topita."
r ‘ ' ..
512
The issue of the "tresillo elástico" has been amply discussed
by researcher Awilda Villarini in her dissertation. She points out
that when Morel Campos received the danza, it had already reached a
rart-a-in plateau of development, and thus a period of experimentation
was not needed as in the case of Tavárez. She believes that Morel
enriches the rhythmic language of the danza, but that Quinton is the
most successful in writing danzas for the piano as concert pieces.
If one studies the danzas written by Tavárez, one finds that
there is one which has a title identical to a zarzuela. La sensitiva
In the case of Morel there are 25 titles which coincide (11 among
those danzas which are incomplete, and 14 among those which are a m
píete--including a reference to the opera Rigoletto); and in the
case of Quinton there is one. La mascota. The researcher strongly
suggests further research to determine the relation between the
danzas and the zarzuelas and plays. The danzas might be original
ccnpositions,. but they might also be arrangements, adaptations and
non-original music.
A study of one danza for each tonality used by Tavárez shows
that the shortest is "Cómo me mira el viejo" (32 measures), and the
longest is Margarita (83 measures). Only one danza exhibits the
pattern A A^, many are A B and Coda, and others are either A B and
Da Capo or A B A and Coda. A similar study of Morel's production
shews that the shortest danzas are Las máscaras and El brazo figrte
(each with 61 measures) and the longest is "En alta mar" with 106
measures). Morel's danzas have an eight»measure introduction with
repetition, part A with two sections (although there is an Aabc on
two occasions), part B including a left-hand crossing or a change of
w
513
■ tonality, in many cases-, part C on three occasions, .-and a gpnpraHréH
structure of A B A. Additional research is suggested on the collec--
ti m of records of Morel's danzas, since APPENDIX T indicates there
are two recorded danzas of which no manuscript has been found.
In the case of Quinton, the shortest danza is El coqui (45 ma-
sureá, and the longest are Sin nombre; danza de concierto and
Ausente (112 and 113 measures, respectively). The structure can be
AB,A B A , A B A and Coda, or A B C A and Coda. A second section
.on part B is more frequent than in the danzas of Morel. Further
analysis is suggested, preferably of the complete danza production
by these composers, because additional structural patterns might
be found.
Conclusions
Through the narrative of this dissertation the researcher has
attempted to contribute to the cultural history of Puerto Rico by
emphasizing the following aspects: 1) the cultural heritage (of
the tainos, Africans, Spaniards, and of the international currents) as
it is actually shown in the compositional output of the musicians;
2) the relationship between the political, economic, and social
rariditimfi in Puerto Rico during the nineteenth century, and the
lives of the composers; 3) the organization of comprehensive and
descriptive, catalogues of compositions; 4) the study of the works
.of each composer in terms of an external analysis (dates, dedica-
.ticns, availability , and publication) as well as an internal one
(genres, and general structure in the case of music to be danced),
while comparing the composers among each other; 5) the relation-
F """..... ” ■
514
ship between the musicians and other artists, such as painters and
writers; 6) the relationship between the musical production and
local festivities, both:secular and religious, along with other
activities, and eating and drinking habits; 7) the relationship
between the musical production and language (popular expressions
of the times, as well as etymological considerations); 8) the way
in which the musicians reflect their surroundings through the men
tion of geographical locations, towns, flora, fauna, and weather
conditions;. 9) the consideration of the ethnic and familiar back
ground of the musicians by reconstructing their family trees
through the study of church documents; and 10) the evolution of the
musical production from an almost exclusively religious beginning,
which gave way to sentimental themes and passionate romantic topics,
to the impressionistic .tendencies by the end of the century.
Bacommendations for Further Research
There is still much to be done in relation to the preserva
tion of manuscripts, the edition of unpublished compositions, and
tie publication of music which has remained unheard of for decades.
The researcher suggests the training of students who can become
qualified archivists, copyists, and editors, so that they can
give their services to libraries and archives (public, private,
ani religious). There is also a great need for cultural historians
wtt> could be of great help in preserving and studying the music
ottput of past and present composers.
The researcher suggests the following .activities in relation
to - this particular, investigation on..the four composers:
w
515
1) to carry out more interviews with relatives of the composers,
historians, collectors, and others; Luis A. Ferré, Carlos Gadea,
and Oscar Bunker have been mentioned; 2) to visit libraries in
the Caribbean countries, such as Venezuela, Santo Domingo, Mexico,
Colombia, or even the Lesser Antilles; additional compositions
might be kept there; 3) to revise music already published, since
omissions and mistakes found in the mazurkas and polkas justify
corrections; 4) to find the exact relationship between the theater
plays, operas, and zarzuelas of the nineteenth century, and the
danzas; the particular case of "Don Mamerto," "Don Criterio," and
"Un día de de elecciones" also needs clarification; 5) to validate
secondary sources which lack the necessary documentation, through
the use of primary sources; the books of Mirabal, Pasarell, Campos
Parsi, and Muñoz have been mentioned in this context; 6) to study
recorded music, since there are some works recorded for which
there are no manuscripts available; 7) to make a more detailed
study of the music of Tavárez and Morel which might reveal addi
tional aspects of comparison; and 8) to search for lost works,
hoping that the manuscripts presently unavailable ("Guarionex,"
"Macias," and many others) might be found and integrated to the
catalogue of works.
The four composers studied deserve praise. Being almost
totally self-educated, they learned their trade well and always
maintained themselves close to their roots, preferring the more
intimate activities where their musical poems could bring about
happiness, intense joy in living, and spiritual consolation to
the listener.
¥ ----------------------------------------------- --------- ” ■■■■■'.

516
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519
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histórico Teatro PerlaT'T o r m en t o , Bellos ojos. Si me
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¥
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versión moderna de José Ramírez Rivera), Mayagüez: Eicio-
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1969.
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Instituto de
Cultura Puertorriqueña, 1958. Volume I includes: La incóg
nita, Una cana al aire. Vuelta a la vida. Bellos ojos. La
Sorpresa, La lila. La Julita, Fiesta de amigos. Mis penas.
El torbellino. El asalto. Goces y penas. Horas felices.
Tu imagen. La bella Margot, No desconfíes. Sin ti jamás.
La bulliciosa, Braciosa pareja. Candorosa. Volume II
.includes: La Fernandina, Qué será. Las dos Marías, Cielo
de encantos, Carmelita, ¡Soy feliz!, Consuelo, Un conflicto,
¡Buen humor!, ¡Divina Enriqueta!, ¡Bendita seas!. Idilio,
¡Di que me amas!, Anita, De tu lado al paraíso. Mi perla,
¡Viva la Pepa!, El carnaval, Gloria, ¡Ausencia! Volume III
includes: Elvira, Tu regreso. No te ocupes, ¡Ten piedad!.
La Nené, Perlas de mi patria, ¡Cede a mi ruego!, ¡Maldito
amor!. Placeres de la vida, ¡Sin ti no puedo vivir!. La
generosa. La majabaca. Tu divino rostro. Sueño de amor,
¡Si me quisieras . . . !, Sueños dorados. Volume IV includes:
F ' ‘ ' " ...

521
£1 ciclón» Noche deliciosa» La conga» i¡Joaquina!, ¡Por ti!»

Carmela» ¡Feliz encuentro!» Felices días» Virgilia» Alma
sublime» Vano empeño» ¡i¡Vinagre!!!, Tormento, ¿mor en el
campo. En la meta. Soñando, Tuya es mi vida. Influencia
del arte. No me martirices, Laura y Georgina; Volume V
includes: La traviesa» ¡También lo dudo!. De antifaz. El
gato flaco. El mareo. El trueno. La fumadora. Bella ilu
sión, ¡No me olvides!, Angelita, La Isabelita, Las máscaras,
¡Acuérdate de mi!. Hotel "Harina," El gancho. El brazo
fuerte, ¡Poder de una mirada!. La niña bonita, Herminia,
La feria.1
Danzas de Morel Campos interpretadas por Sanromá, Antología de

la danza puertorriqueña, recording of 13 volumes, Instituto
de Cultura Puertorriqueña, AD 12-19. (See APPENDIX T for
its contents.)
Danzas de Puerto Rico. New York: Enrique Díaz, 1945. It includes

the following danzas by Morel Campos: Alma sublime, ¡Buen
humor!, ¡Cede a mi ruego!. Di que me amas. Felices días.
Influencia del arte. No me toques. Sí te toco, ¡Soy feliz!
Danzas puertorriqueñas de Manuel G. Tavárez, San Juan: Sylvia

María Lamoutte, 1974. It includes the following danzas:
La ausencia, ¿Me amas?, Margarita, La ondina. Pobre corazón.
La sensitiva. Un recuerdito.3
Danzas puertorriqueñas para piano, 2 vols., San Juan: Giusti,

n.d.» Volume I includes some danzas by Morel: Felices días.
Idilio, Influencia del arte, Laura y Georgina, Maldito
amor. Sueño de amor. Vano empeño; Volume II includes other
danzas: Alma sublime, ¡Cede a mi ruego!. Conversación,
No me toques. Ten piedad, ¡Tormento!, Un conflicto.
1 The compositions included in Danzas de Juan Morel Campos have

not been listed separately in this BIBLIOGRAPHY.
2 The compositions included in this and other short albinas have

also been listed separately in this BIBLIOGRAPHY.
3 The manuscripts of the compositions of Manuel Gregorio Tavárez

have been listed and described in APPENDIX K. Those of Felipe
Gutiérrez are included in APPENDIX J, those of Juan Morel Campos
are included in APPENDIX L, and those of José Ignacio Quinton
are included in APPENDIX.M.
r
522
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f ----------------------------------------------------------------------------
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¥
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A
Gutiérrez y Espinosa, Felipe. La despedida, n.n., n.p., n.d.
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Hernández Aquino, Luis - Diccionario de voces indígenas de Puerto
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_______ . • . Hombres represntativos de Puerto Rico, San Juan: Im

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"Informe de Don Pedro Irizarri, alcalde orid'inario de San Juan

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4 La despedida is the only composition by Gutiérrez which is pub

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r ~ .. - '■ ' '

525
José Ignacio Quinton: Obras completas, 10 vols., San Juan: E stoco

Printers, Corp., 1986. Vol. I : Danzas (El coquí. Tus ojos,
Amelia, Nubes de verano. Besándote, Viva la Unión, Mi estre
lla, Sofía, Amor imposible. Confia, Carmela); Vol. II:
Danzas (El pipiol. Siempre tú, Dulces recuerdos. Anhelos,
Para ti. Qué se figura listed, Quiquiriñama, Luisa, sácate
los piojos, Adelaida, Acueducto, Cecilia); Vol. III: Danzas
(Coquetona, Pepita, Mascota, Cuando me miras. Ensueños y es
peranzas, Blanco y rosa, Blanco y azul, Carlota, Si fueras
mía. Se acabó el tereque); Vol. IV: Danzas de concierto
(Sin nombre: Danza de concierto. Danza para piano— Mi bemol
Mayor— , Danza para piano— La bemol Mayor— , Danza puerto
rriqueña I, Danza puertorriqueña II, Danza puertorriqueña IU,
Ausente); Vol. V: Aguinaldos (Aguinaldo yaucano No. 1,
Aguinaldo yaucano No.2, Aguinaldo yaucano No. 3); Vol. VI:
Obras de concierto (Triste esperanza. Nocturno en Mi bemol.
Romanza sin palabras. Scherzo all Mazurca, Una página de mi
vida, I Balada y II Scherzo, Variaciones sobre un tena de
Hummel); Vol. VII: Valses v scherzos (Vals en La bemol
Mayor, Vals en Si menor. Vals en Fa menor. Vals en Do menor.
Vals "Arte y amor," Scherzo en Fa menor. Scherzo en La
bemol); Vol. VIII: Música varia (Romanza para violín y pia
no, Vals "Adiós" para violín y piano. Vals "Arte y amor"
para pequeña orquesta); Vol. IX, part 1: Música religiosa
(Bella flor, Dulce Virgen María, -OhT Sagrado corazón. Salve
Josefina, Te quiero-María, ¿Quién es esa?. Madre mía. Salve
María; Señor que escuchas); Vol. IX. part 2: Música reli-
giosa (Cántico a San Rafael, Himno a la Virgen de la Valva-
ñera, Salve Cruz, Letanías, Plegaria a la Virgen de la
Valvanera, Quinta salve a dos voces. Salve número 7);
Vol. X: Obras varias ( ¿Gi?, Danza para piano. Duda, Yuaní,
María Luisa, Mirar sin ver, A orillas del mar. Celeste,
Bonanza). 5
"Juan Morel Campos: Breve juicio crítico-biográfico del artista,"

photocopy (Archivo Histórico de Ponce), n.n., n.p., n.d.
Juan Morel Campos: Obras varias, San Juan: Instituto de Cultura

Puertorriqueña, 1958. It includes: La joyita. Carita de
cielo. Los oficiales de bomberos. Los guerreros. La ponceña.
Saber tardar. El certamen. La lira.
La Rué, Jan. Guidelines for Style Analysis, New York: W.W.Norton,

1970.
Lamoutte, Sylvia Maria. Biografías cortas de compositores puerto

rriqueños , San Juan: Sylvia María Lamoutte, 1971.
lecture- (without title) transcribed from a tape recording (Archivo

Histórico de Ponce), n.n., n.p., n.d.
5 The works included in thése volumes-are not listed separately.
w
526
Lefebvre, Gaspar. Misal diario y vesperal (translated by Rev.

Germán Prado), Madrid: Abadía de Santo Domingo de Silos,
1951.
"Litanies of the Blessed Virgin," photocopy, n.n., n.p., n.d.
"Litanies of the Saints," photocopy, n.n., n.p., n.d.
Little Jr., Elbert L., Frank Wadsworth, and José Marrero. Arboles •
comunes de Puerto Rico y las Islas Vírgenes, Río Piedras:
Editorial Universidad de Puerto Rico, 1967.
López Cruz, Francisco. La música folklórica de Puerto Rico,

Sharon, Conn.: Troutman Press, 1967.
López de Gomara, Francisco. Historia general de las Indias y

vida de Hernán Cortés (1553), Caracas: Biblioteca Ayacucho,
1979.
Luis A. Ferré y Jesús M. Sanromá al piano: Un mensaje y nuestras

danzas. Citibank, August 24, 1981. This recording includes:
Margarita by Tavárez, and four danzas for four hands by
Morel Campos: Noche deliciosa. La traviesa. También lo dudo,
and El ciclón.
Manuel. G. Tavárez. San Juan: Elisa. Tavárez, 1925. It includes: la sessitiva. til
recuecdito, Margarita, la ausencia. La ondina. Bobee corazón, ¿Me amas?
Marrero, Rosita. "A cien años de Tavárez," Claridad. July 8-14, 1983, 9.
Marrero.Núñez >JJulio. Historia de úna danza tlibreto inspirado en

la vida de Juan Morel Campos). San Jua n » n.p.., 1 _
Massa Fieueroa. Diana. Aguas Buenas: notas sobre-su historia,

San Juan: Model Utiset Printing, 1984.
Mellado, Ramón A. Culture and Education in Puerto Rico, San Juan:
Bureau of Publications, Puerto Rico Teachers Association,
1948.
Melón de Díaz, Esther M. Puerto Rico: figuras del presente y

del pasado y apuntes históricos, Río Piedras: Editorial
Edil, 1972.
"Memoria de Don Alejandro O'Reilly sobre la Isla de Puerto Rico,

Año 1765," in Eugenio Fernández Méndez, Crónicas de Puerto
Rico. San Juan: Ediciones del Estado Libre Asociado He
Puerto Rico, 1957, I, 237-269.
"Memoria y descripción de la Isla de Puerto Rico, mandada a hacer

•por S. M.- el Rey Don Felipe II en el año 1582 y sometida por
el ilustre Señor Capitán Johan Melgarejo, Gobernador y Jus
ticia Mayor en esta ciudad e Isla,** in Eugenio Fernández, -
editor. Crónicas de Puerto Ri¿o, San Juan:' Ediciones del
Estado Libre Asociado de Puerto Rico, 1957, I, 107-134.
F ....
527
Mirabal, Antonio. Proceres del arte; Juan Morel Campos» Ponce:

Publicaciones de la Oficina Municipal de Historia, 1956.
Montalvo, Julio Víctor. "Estudio psico-etnográfico de la música

'salsa' en Puerto Rico," unpublished thesis. University of
Puerto Rico, 1978.
MontaSez, Rafael A. "La danza de Morel Campos," in Erasto Arjona

Siaca, et a l ., Juan Morel Campos: biografía, Ponce: Tipo
grafía Morel Campos, 1937, 73-74.
__________ . "Un homenaje," Puerto Rico Ilustrado, XLII, February 2,

1952, 4-5.
Morales, Luis Antonio (Witc), Major. Monumento al maestro. Ponce:

Publicaciones de la Oficina Municipal de Historia, 1956.
Morales Carrión, Arturo. "Orígenes del capitalismo en Puerto Rico:

Ponce de león como empresario," in Aída Caro Costas, editor.
Antología de lecturas de historia de Puerto Rico (siglos
XV-XVIII), San Juan: Editorial Universitaria, 1977, 199-216.
__________ . Puerto Rico and the Non-Hispanic Caribbean: A Study

in the Decline of Spanish Ezclusivism, San Juan: University
of Puerto Rico, 1971.
Morán Arce, Lucas, editor. "Angel Mislán," Enciclopedia Clásicos

de Puerto Rico, Barcelona: Ediciones Latinoamericanas, S.A.,
1971, VI, 468.
__________ . "Antonio Paoli," Enciclopedia Clásicos de Puerto Rico,

Barcelona: Ediciones Latinoamericanas, S.A., 1971, VE, 478.
__________ . "Aristides Chavier," Enciclopedia Clásicos de Puerto

Rico, Barcelona: Edxciones Latinoamericanas, S.A., 1971,
VI, 429-430.
__________ . "Braulio Dueño," Enciclopedia Clasicos de Puerto Rico,

Barcelona: Ediciones Latinoamericanas, S.A., 1971,VE, 435.
__________ . Julián Andino," Enciclopedia Clásicos de Puerto Rico,

Barcelona: Ediciones Latinoamericanas, S.A., 1971, VI,399.
__________ ."Manuel Corchado," Enciclopedia Clásicos de Puerto

Rico, Barcelona: Ediciones Latinoamericanas, S.A., 1971,
VI, 426-427.
__________ . "Rafael Cordero," Enciclopedia Clásicos de Puerto Rico.

Barcelona: Ediciones Latinoamericanas, S.A., 1971, VI, 427.
__________ . "Ramón Marín," Enciclopedia Clásicos de Puerto Rico.

Barcelona: Ediciones LatinoaiHricanas, S.A., 1971, VI, 461-462.
F
528
__________ . "Sotero Figueroa," Enciclopedia Clásicos de Puerto

Ricoo Barcelona: Ediciones Latinoamericanas, S.A., 1971,
VI, 442.
Morel Campos, Juan. Aires del pais, Fonce: Hijos de Morel Campos,
1923.
__________ . Alma sublimo, Ponce: Otero y sobrino, n.d.
__________ . Anita, Ponce: Otero :y sobrino, n.d. ....
.
_______ . ¡Ausencia!. Ponce: Otero y sobrino,- n.d.
__________ . Bellos ojos. Ponce: Otero y sobrino, n.d.
__________ . ¡Bendita seas!. Ponce: Otero y sobrino, n.d.
__________ . ¡Buen htnnor!. Ponce: Otero y sobrino, n.d.
__________ . ¡Buen humor! in Danzas de Puerto Rico, New York:

Enrique Diaz, 1945.
. Carita de cielo, Ponce: Otero y sobrino, n.d.
_
. Carita de cielo in Juan Morel Campos: Obras varias,

_
San Juan: Instituto de Cultura Puertorriqueña, 1958.

__________ . Camela .ronce: ..Otero y sobrino. n.d. .
__________ . Carmelita. Ponce: Otero y sobrino, n.d.
__________ . iCede a mi ruego!. Ponce: Otero y sobrino, n.d.
'____ • ¡Cede a mi~ruego! in Danzas de Puerto Rico. New York:
Enrique Diaz, 1945.
__________ . ¡Cede a mi ruego! in Danzas puertorriqueñas para piano,
Vol. 2, San Juan: Giusti, n.d.
__________ . Cielo de encantos, Ponce: Otero y sobrino, n.d.
__________ . Consuelo, Ponce: Otero y sobrino, n.d.
__________ . Conversación, San Juan: José Laza y Co., 1923.
__ ________. Conversación in Danzas puertorriqueñas para piano,

Vol. 2, San Juan: Giusti y Co., n.d.
__________ . Conversación in Puerto Rican Danzas for Piano, Vol. 4,

New York: Paragon Music Publishers, 1954.
__________ . De tu lado al paraíso. Ponce: Otero y sobrino, n.d.
__________ . Di que me amas. Ponce: Otero y sobrino, n.d.
F " .......
529
_____ • Di que me amas in Danzas de Puerto Rico, New York:

Enrique Díaz, 1945.
« Divina Enriqueta. Ponce; Otero y sobrino, n»d.
_____ • El asalto. Ponce: Otero y sobrino, n.d.
_____ • El carnaval. Ponce: Oteroy sobrino, n.d.
_____ • El certamen. Pónce: Oteroy sobrino, n.d.
_____ • El certamen in Juan Moré! Campos: Obras varias, San

Juan: Instituto de Cultura Puertorriqueña, 1958.
_____ • El Cognac Jerez. Ponce: Imprenta Boletín A. Lynn,

Sue. de Moris, n.d.
_____. El torbellino. Ponce: Otero y sobrino, n.d.
_____. El último adiós in La Moda Elegante, n.n., n.p., n.d.
_____. El 29 de jimio. Barcelona:Andrés Vidal y Roger, n.d.

_____ • El 29 de iunio. Ponce: Otero y sobrino, n.d.
_____ • Elvira, Ponce: Otero y sobrino, n.d.
_____ . En el paseo, Ponce: Otero y sobrino, n.d.
_____ . En la meta, Pónce: Otero y sobrino, n.d.

____ . En tus brazos. Ponce: Ote.ro y sobrino, n.d.
____ ..Ensueños de amor in La Moda Elegante, n.n., n.p., n.d.
____ • Estimación, Ponce: Otero y sobrino, n.d.
____ . Felices dias. Ponce: Otero y sobrino, n.d.
____ . Felices dias in Danzas de Puerto Rico. New York:

____ . Felices dias in Danzas puertorriqueñas para piano,

____ . ¡Feliz encuentro!, Ponce: Otero y sobrino, n.d.
____ . Fiesta de amigos, Ponce: Otero y sobrino, n.d.
____ . Fiesta de amigos in Revista del Instituto de Cultura

Puertorriqueña. separata. No. 35, 1967.
____ . Goces y penas, Ponce: Otero y sobrino, n.d.
____ . Graciosa pareja. Ponce: Otero y sobrino, n.d.
530
_____. ¡Horas felices!. Ponce: Otero y sobrino, n.d.
____ . Idilio. Ponce: Otero y sobrino, n.d.
____ . Idilio in Danzas puertorriqueñas para piano. Vol. 1,

San Juan: Giusti, n.d.
Influencia del arte. Ponce: Otero y sobirno, n.d.
____ . Influencia del arte in Danzas de Puerto Rico, New

York: Enrique Díaz, 1945.
____ . Influencia del arte in Danzas puertorriqueñas para

piano. Vol. 1, San Juan: Giusti, n.d.
____ . ¡Joaquina!. Ponce: Otero y sobrino, n.d.
____ . La bella Margot. Ponce: Otero y sobrino, n.d.
____ . La bulliciosa. Ponce: Otero y sobrino, n.d.
____ . La candorosa. Ponce: Otero y sobrino, n.d.
____ . La Fernandina. Ponce: Otero y sobrino, n.d.
____ . La Generosa. Ponce: Otero y sobrino, n.d.
____ . La Gloria, Ponce: Otero y sobrino, n.d.
____ . La incógnita, Ponce: Otero y sobrino, n.d.
____ . La joyita, Ponce: Otero y sobrino, n.d.
____ . La joyita in Juan Morel Campos: Obras varias. San

____ . La Julianita, n.n., n.p., n.d.
____ . La Julita. Ponce: Otero y sobrino, n.d.
____ . La Lila. Ponce: Otero y sobrino, n.d.
____ . La lira in Juan Morel Campos: Obras varias. San Juan:

Instituto de Cultura Puertorriqueña, 1958.
____ . La maiabaca, Ponce: Otero y sobrino, n.d.
____ . La Nené. Ponce: Otero y sobrino, n.d.
____. La Olimpia, Ponce.: Otero y sobrino, n,.d.

____. La Olimpia in Revista del Instituto de Cultura Puerto
rriqueña, separata, N. 14, 196¿.
■c.
531
_____. La ponceña. Ponce: Otero y sobrino, n.d.
____ . La ponceña in Juan Morel Campos: Obras varias. San

____ . La Sorpresa. Ponce: Otero y sobrino, n.d.
____ . Las dos Marias, Ponce: Otero y sobrino, n.d.
____ . Laura y Georgina. Ponce: Otero y sobrino, n.d.
____ . Laura y Georgina in Danzas puertorriqueñas para piano.

____ . Los guerreros. Barcelona: A. Vidal y Roger, n.d.
____ . Los guerreros in Juan Morol Campos: Obras varias.

____ . Los oficiales de bomberos, Barcelona: Andrés Vidal y

Roger, n.d.
___ . Los oficiales de bomberos in Juan Morel Campos: Obras

varias, San Juan: Instituto de Cultura Puertorriqueña,
1958.
____ . Los oficiales de bomberos, Ponce: Otero y sobrino,

n.d.
____ . Maldito amor. Ponce: Otero y sobrino, n.d.
____ . Maldito amor in Danzas puertorriqueñas para piano.

____ . Melodía sentimental, Ponce: Hijos de Juan Morel

Campos, 1937,
____ . Mercedes. Barcelona: Andrés Vidal y Roger, n.d.
____ . Mi perla. Ponce: Otero y sobrino, n.d.
____ . Mis penas. Ponce: Otero y sobrino, n.d.
____ . No desconfíes, Ponce: Otero y sobrino, n.d.
____ . No me martirices. Ponce: Qt;ero _y sobrino, n.d.
____ . No me toques, Ponce: Otero y sobrino, n.d.
____ . No me toques in Danzas de Puerto Rico. New York:

Ir.
532
____ . No me toques in Danzas puertorriqueñas para piano

____ . No te ocupes» Ponce: Otero y sobrino, n.d.
____ . Noche deliciosa. Ponce: Otero y sobrino, n.d.
____ • Perlas de mi patria. Ponce: Otero y sobrino, n.d.
____ • Placeres de la vida. Ponce: Otero y sobrino, n.d.,
____ . ¡Por til. Ponce: Otero y sobrino, n.d.
____ . Qué será. Ponce: Otero y sobrino, n.d.
____ . Saber tardar. Ponce: Otero y sobrino, n.d.
____ • Saber tardar in Juan Morel Campos: Obras varias,

____ . Saludo a Ponce. Paris: Imp. E. Dupré, n.d.
____ . Si me quisieras. Ponce: Otero y sobrino, n.d.
____ . Si te toco. Ponce: Otero y sobrino, n.d.
____ . Sí te toco in Danzas de Puerto Rico, New York: Enrique

____ • ¡Sin ti .jamásl, Ponce: Otero y sobrino, n.d.
____ . ¡Sin ti no puedo vivir!, Ponce: Otero y sobrino, n.d.
____ . Soñando, Ponce: Otero y sobrino, n.d.
____ . ISoy feliz!. Ponce: Otero y sobrino, n.d.
____ . ¡Soy feliz! in Danzas de Puerto Rico, New York:

____ . Sueño de amor. Ponce: Otero y sobrino, n.d.
____ ., Sueño de amor in Danzas puertorriqueñas para piano.

____ . Sueños dorados. Ponce: Otero y sobrino, n.d.
____ . Sueños venturosos, n.n., n.p.,, n.d.
____ . También lo dudo. Ponce: Otero y sobrino, n.d.
533
_____• iTen piedad!. Ponce: Otero y sobrino» n.d.
____ . iTen piedad! in Danzas puertorriqueñas para piano»-

____ . ¡Ten piedad! in Puerto Rican Danzas for Piano. Vol. 4,

New York: Paragon» 1954.
____ . Toda corazón. Ponce: Otero y sobrino» n.d.
____ . ¡Tormento!. Ponce: Otero y sobrino, n.d.
____ . ¡Tormento! in Danzas puertorriqueñas para piano.

____ . ¡Tormento! in Puerto Rican Danzas for Piano, Vol. 4,

New York: Paragon, 1954.
____ . Tu divino rostro.Ponce: Otero y sobrino, n.d.
____ . Tu imagen. Ponce:Otero y sobrino, n.d.
____ . Tu regreso, Ponce: Otero y sobrino, n.d.
____ . Tuya es mi vida.-. Ponce: Bazar Otero, n.d.
____ . Un conflicto. Ponce: Otero y sobrino, n.d.
____ . Un conflicto in Danzaspuertorriqueñas para piano,

____ . Un conflicto in Puerto Rican Danzas for Piano, Vol. 4,

New York: Paragon, 1954.
____ . Un diálogo. Ponce: Oteroy sobrino, n.d.
____ . Una cana al aire. Ponce: Otero y sobrino, n.d.
____ . Vano empego, Ponce: Otero y sobrino, n.d.
____ . Vano empeño in Danzas puertorriqueñas para piano.

____ . i¡¡Vinagre!!! Ponce: Otero y sobrino, n.d.
____ . Virgilia, Ponce: Otero y sobrino, n.d.
____ . ¡Viva la Pepa!,Ponce: Otero y sobrino, n.d.
____ . Vuelta ala vida,Ponce: Otero y sobrino, n.d.
534
Morel Campos, Ramón. Guía local de comercio de la ciudad de Ponce.

Ponce: Imprenta El Telégrafo, 1895.
Muñoz, María Luisa. En alta mar: análisis de una danza (Centena

rio de Juan Morel Campos. 1857-1957). San Juan: Editorial
del Departamento de Instrucción Pública, 1957.
__________ . La música en Puerto Rico: panorama histórico-cultural

Sharon, Conn.: Troutman Press, 1966.
Música para dos pianos <Luz N. Hutchinson y Cecilia Talayera, dúo-

pianista) . Serie Contemporánea, Instituto de Cultura Puer
torriqueña, recording C-12.
Música para mandolina y guitarra (Gustavo Batista, mandolina,

y Leonardo. Egúrbida. guitarra). Serie de Música de Cámara
Vol. 3, Instituto de Cultura Puertorriqueña, recording MC-1.
It includes works by Dueño Colón, Beethoven, Cordero, Carpos
Parsi, Egúrbida, Lacomba, Rubiano, and "Romanza" by Quinten.
Música para piano de José Ignacio Ouintón interpretada por Samuel

Pérez, Serie Piano Puertorriqueño, Instituto de Cultura
Puertorriqueña, recording PP-1 and PP-2. Volume 1: Balada
y Scherzo, Vals No. 2 en do menor. Mazurca, Vals en la bemol
mayor. Danza puertorriqueña en mi mayor; Volume 2: Ausente,
danza de concierto. Mazurca en re mayor. Triste esperanza.
Vals en fa menor. Una página de mi vida. Romanza sin pala
bras (Sara), Scherzo en fa menor.
Nieves Falcón, Luis. Yucayeque, Rio Piedras: Editorial Edil,

1975.
Obras escogidas para canto y piano y piano a dos y cuatro manos,

Ponce: Otero y sobrino, n.d. This collection includes all
the works published by Olimpio Otero. Since the compositions
were always published separately and not as an album (even
if they carry the same general title and exhibit the same
front page) the researcher has listed them separately."
"Ordenanzas para el tratamiento de los indios," January 23, 1513,

in Aída Caro Costas, editor. Antología de lecturas de his
toria de Puerto Rico (siglos XV-XVIII). San Juan: Editorial
Universitaria, 1977. 107-112.
Ortiz Jiménez, Juan. "De micrófonos y bambalinas," photocopy,

n.n., n.p., n.d.
Ortiz Lecodet, José. "Homenaje a Juan Morel Campos," La Perla del

Sur, Maty 14-20, 1986, 1.
E--------
B- " ...
535
Padilla de Sauz, Trina. "Carta al Sr. Alfredo Morel Campos, Ponce,

Puerto Rico, de la Hija del Caribe," photocopy, Arecibo,
January 5, 1938.
__________ . "Elisa Tavárez de Storer, estudio," Democracia.

February 17, 1917.
__________ . "Juicio crítico musical sobre la obra del pianista

compositor puertorriquño Manuel G. Tavárez," (essay originally
written in Arecibo but read as a lecture at the Ateneo Puer
torriqueño in San Juan), reprint, 1922.
Pagán, Juan Bautista. "Don Pablo Casals rinde tributo a Juan

Morel Campos y nuestra danza," Revista de Artes y Letras.
segunda época. No. 3, March, 1957, 8, 22.
Pagán, Moses, and Doris Marks. The Musical Heritage of Puerto

Rico. New York: PIP, 1973.
Pasarell, Emilio J. Orígenes y desarrollo de la afición teatral

en Puerto Rico. San Juan: Editorial Universitaria, 1951.
"Pasodoble," Enciclopedia Diccionario Salvat. Barcelona: Salvat

Editores, 1971, X, 2594.
Pedreira, Antonio Salvador. Bibliografía puertorriqueña (1493-

1930). Madrid: Imprenta de la Librería y Casa Editorial
Hernando (S.A.), 1932.
__________ . El periodismo en Puerto Rico. La Habana: Ucar, García

y Cía., 1941.
Phelps, Roger P. A Guide to Research in Music Education, second

edition, Metuchen, New Jersey: The Scarecrow Press, Inc.,
1980.
Picó, femando, S.J. Amargo café (Los pequeños y medianos cafi-

cultores de Utuado en la segunda mitad del siglo XIX). San
Juan: Ediciones Huracán, 1981.
__________ . Historia general de Puerto Rico. Río Piedras: Huracán

Academia, 1986.
Picó, Rafael. Geografía de Puerto Rico. Part II: Geografía eco

nómica. Río Piedras: Editorial de la Universidad de Puerto
Rico, 1964
Puerto Rican Danzas for Piano. Vol. 4, New York: Paragon, 1954.
It includes: Conversación, ¡Ten piedad!, ¡Tormento!, and Un
conflicto.
536
Quevedo Báez, M. Corona literaria a la memoria de Juan Mn-rol

Campos, Ponce: Imprenta El Día, 1918.
Quintón, José Ignacio. Ensueños v esperanzas. New York: Carl

Fischer, 1914.
__________ . Romanza para violin v piano. Revista del Instituto de

Cultura, separata. San Juan, No. 10, 1961.5
Ramos Mattei, Andrés. La sociedad del azúcar en Puerto Rico, 1870-

Í910. Río Piedras: Huracán, 1988.
Real Academia Española. Diccionario manual e ilustrado de la len

gua española, Madrid: Espasa Calpe, S.A., 1950.
"Recordando el natalicio de don Juan Morel Campos," La Perla del

Sur, May 3, 1931, 14-20.
"Relación de Fray Ramón Pané acerca de las antigüedades de los

indios, las cuales, con diligencia, como hombre que sabe su
idioma, recogió por mandato del Almirante. Año 1505,"
in Eugenio Fernández Méndez, editor. Crónicas de Puerto
Rico. Vol. I (1493-1797), Antología de autores puertorrique
ños. San Juan: Ediciones del Gobierno del Estado Libre Aso
ciado de Puerto Rico, 1957, 11-32.
"Relación del viaje a la Isla de Puerto Rico, en el año de 1797,

por el naturalista francés, Andrée Pierre Ledrú (fragmento)"
in Eugenio Fernández Méndez, editor. Crónicas de Puerto
Rico, Vol. I (1493-1797), Antología de autores puertorrique
ños, San Juan: Ediciones del Gobierno del Estado Libre Aso
ciado de Puerto Rico, 1957, 327-344.
"Relación del viaje a Puerto Rico de la expedición de Sir George

Clifford, tercer Conde de Cumberland, escrita por el Reve
rendo Doctor John Layfield, Capellán de la expedición.
Año 1598," in Eugenio Fernández Méndez, editor. Crónicas de
Puerto Rico. Vol. I (1493-1797), Antología de autores puer
torriqueños . San Juan: Ediciones del Gobierno del Estado
libre Asociado de Puerto Rico, 1957, 135-136.
Ribera, C.M.F., Luis. Misal diario completo, sixth edition, Bar

celona: Editorial Regina, S.A., 1962.
6 Romanza para violin y piano and Ensueños y esperanzas are the

only compositions by Quintón which were published before José
Ignacio Quintón: Obras completas. See previous entry in this BI
BLIOGRAPHY. For Quinton's manuscripts see APPENDIX M.
Rivera Bermudez, Ramón. Historia de Coamo, la villa añeja. Coamo:
Imprenta Costa, 1980.
__________ . José Ignacio Ouintón: un genio de la música. Hato

Rey: Departamento de Instrucción Pública, 1986.
__________ . "Se aproxima centenario de José I. Quintón," El Mundo,

January 10, 1981, 3-B.
Rivera Colón, Nilsa. Ceiba: notas para su-historia. San Juan:

Model Offset Printing,- 1985*
Rodríguez Arresori, J. M. "Juan Morel C a m p o s Revista de Artes y

Letras, segunda época. No. 4, May, 1957, 8, 22.,
Rodríguez León, Mario A. "La música religiosa de Quintón," El

Mundo, May 28, 1981, 10-A.
Romeu, José A. "Juan Morel Campos íntimo: hablando con Don Ramón
Morel Campos, hermano de nuestro compositor, y doña Secundina
B. viuda de Morel Campos," in Erasto Arjona Siaca et al.,
J u a n M m -P-1 Campos: biografía, Ponce: Tipografía Morel
Campos, 1937, 26-32.
Rosa Nieves, Cesáreo. El costumbrismo literario en la prosa de

Puerto Rico, Vol. II, San Juan: Editorial Cordillera, 1971.
Rosado, Marisa, compiler. Ensayos sobre la danza puertorriqueña,

Sachs, Curt. Historia de los instrumentos musicales, New York:

Norton Co., 1940.
Samalea Iglesias, Luis. "Campos: apuntes para un estudio," in

Erasto Arjona Siaca et al., Juan Morel Campos: biografía,
Ponce: Tipografía Morel Campos, 1937, 33-36.
Secretaría Municipal-Archivo Histórico. Casa Alcaldía ayer y hoy:

Tin recuerdo para la historia, Ponce: Imprenta Municipal,
1980.
Sellés Solé, Gerardo. Lecturas históricas de la educación en

Puerto Rico, San Juan: Bureau of Supplies, Printing and
Transportation, 1943.
Silén, Juan Angel. Historia de la nación puertorriqueña, Río

Piedras: Editorial Edil, 1980.
Soto Ramos, Julio. Bocetos biográficos puertorriqueños. Barcelona:

Talleres Gráficos de Manuel Pareja, 1973.
■£------------------------------------------------------------ ----- -----

E
538
__________ - Cimbre y remanso. San Juan: Editorial Cordillera,

1963.
Spector, Ivar. Readines in Russian History and Culture. Boston:

Allyn and Bacon, 1965.
Stein, Leo. Structure and Style (The Study and Analysis of Musical
Forms). Evanston: Summy-Birchard, 1962.
Storer, Hugo D., editor. Catálogo filatélico: de Puerto Rico, Hato

Rey: Sociedad Filatélica de Puerto Rico, 1977.
__________ . "Tavárez en el centenario de su muerte," El Mundo,

June 12, 1983, 12-A
Sued Badillo, Jalil. "Las cacicas indoantillanas," Revista del

Instituto de Cultura Puertorriqueña. January-March, 1985,
XXIV:87, 17-26.
Tapia y Rivera, Alejandro. Biblioteca histórica de Puerto Rico.

San Juan: Instituto de Literatura Puertorriqueña, 1945.
__________ . La palma del cacique in Lucas Morán Arce, editor.

Enciclopedia Clásicos de Puerto Rico. Barcelona: Ediciones
Latinoamericanas, S.A., 1971, III, 5-33.
__________ . Mis memorias o Puerto Rico como lo encontré y como lo

dejo. Rio Piedras: Editorial Edil, Inc., 1979.
Tavárez, Manuel Gregorio, Cómo me mira el viejo in Album filarmó

nico. San Juan: Salavert y Tavárez, 1863.
__________ . El pastorcito, Barcelona: Andrés Vidal y Roger, n.d.
__________ . El pastorcito, Ponce: Otero y sobrino, n.d.
__________ . El suspiro. Revista del Instituto de Cultura, separata.
No. 12, 1961.
____________EL 24 de junio, Barcelona: Andrés Vidal y Rogé, n.d.
__________ . El 24 de junio, Ponce: Otero y sobrino, n.d.
__________ . La ausencia in Danzas puertorriqueñas de Manuel G .

Tavárez, San Juan: Sylvia María Lamoutte, 1974.
__________ . La ausencia in Manuel G. Tavárez, San Juan: Elisa

Tavárez, 1925.
__________. La clavellina, n.n., n.p., n.d.
__________ . La Lopita in Delirio Puerto-Riqueño. San Juan:

Sandalio Callejo, 186-.
W " ....................
539
____ . La ondina in Danzas puertorriqueñas de Manuel G.

Tavárez. San Juan: Sylvia María Lamoutte, 1974.
____ La ondina in Manuel G. Tavárez. San Juan: Elisa

Tavárez, 1925.
____ . La sensitiva in Danzas puertorriqueñas de Manuel G.

Tavárez. San Juan: Sylvia María Lamoutte, 1974.
____ . La sensitiva in Manuel G. Tavárez. San Juan: Elisa

Tavárez, 1925.
____ . Margarita. Ponce: Otero y sobrino, n.d.
____ . Margarita in Autores americanos. Buenos Aires: n.p.,

n.d.
____ . Margarita in Danzas puertorriquñas de Manuel G .

Tavárez, San Juan: Sylvia Maria Lamoutte, 1974.
____ . Margarita in Manuel G. Tavárez. San Juan: Elisa

Tavárez, 1925.
____ . Margarita. San Juan: Elisa Tavárez, 1932.
____ . ¿Me amas? in Danzas puertorriqueñas de Manuel G .

Tavárez. San Juan: Sylvia Maria Lamoutte, 1974.
____ . ¿Me amas? in Manuel G. Tavárez. San Juan: Elisa

Tavárez, 1925.
____ . Our Poet's Dying Request. New York: A. Cortada and

C o ., 1887.
____ . Pobre corazón in Danzas puertorriqueñas de Manuel G

Tavárez, San Juan: Sylvia María Lamoutte, 1974.
____ . Pobre corazón in Manuel G. Tavárez, San Juan: Elisa

Tavárez, 1925.
____ . Redención. Barcelona: Andrés Vidal y Roger, n.d.
____ . Redención. Ponce: Otero y sobrino, n.d.
____ . Souvenir de Puerto Rico:potpourri de aires provin

ciales . Barcelona: Andrés Vidal y Roger, n.d.
____ . Souvenir de Puerto Rico:Potpourri de aires provin

ciales . Ponce: Otero y sobrino, n.d.
____, Un recuerdito in Danzas, puertorriqueñas de Manuel G .

Tavárez, San Juan: Sylvi?. María Lamoutte, 1974.
f '
540
__________ . Un recuerdito in Manuel G. Tavárez, San Juan: Elisa

Tavárez, 1925.
__________ . Un viaje a Bayamón in Delirio Puerto-Riqueño, San Juan:

Sandalio Callejo, 1867.
__________ . Vals de salón para la mano izquierda, Madrid: Antonio

Romero, n.d.
Tavárez (Elisa Tavárez, pianista). Serie Música del Siglo XIX,

Instituto de Cultura, H-l. This recording includes: Un
recuerdito. Souvenir de Puerto Rico, Vals de la mano iz
quierda, Ondina, Ausencia, Margarita, 24 de junio. Marcha
triunfal.
Thompson, Annie, F. "Puerto Rican Newspapers and Journals of the

Spanish Colonial Period as Source Materials for Musico-
logical Research: An Analysis of Their Musical Content,"
dissertation for Florida State University, 1980.
Thompson, Donald. "A New World Mbira: the Caribbean Marimbula,"

African Music Society Journal, 1975-1976, 140-148.
__________ . "Music Research in Puerto Rico," Educación, October,

1982, 49-50, 122.
__________ . "Poor Man's Bass Fiddle," Caribbean Review, Spring,

1971, III:1, 11-13.
Tormos Vega, José A., Major. Re-inauguración Teatro La Perla,

Ponce: Gobierno Municipal, 1979.
Torres Delgado, René. Hostos v el Instituto Municipal de Maya-

güez: un capitulo inédito en la historia de la educación
insular. San Juan: Oficina del Gobernador de Puerto Rico,
1982.
Tuckman, Bruce W. Conducting Educational Research, second edition.

New York: Harcourt, Brace, Jovanovic, Inc., 1978.
Vega Druet, Héctor. "Historical and Ethnological Survey on Prob

able African Origins of the Puerto Rican Bomba, Including
a Description of Santiago Apostol Festivities at Loiza
Aldea," unpublished dissertation, Wesleyan University,
Connecticut, 1979.
__________ . "Some Musical Forms of African Descendants in Puerto

Rico: Bomba, Plena, and Rosario Francés," unpublished
thesis. Hunter College, 1969.
f '............................ '■
Velázquez de la Cadena, Mariano, Edward Gray, and Juan L. Iribas.
Velazquez Spanish and Enelish Dictionary (newly revised
by Ida Navarro Hinojosa), Chicago: Follett Publishing
Company, 1961.
Veray, Amaury. "La misión social de la danza puertorriqueña de

Juan Morel Campos," in Marisa Rosado, compiler, Tfrisayos
sobre la danza puertorriqueña, San Juan: Instituto de
Cultura Puertorriqueña, 1977, 38-45.
__________ . Manuel G. Tavárez, San Juan: Instituto de Cultura

Puertorriqueña, 1957.
__________ . Manuel Gregorio Tavárez: soledad v plenitud. San

Juan: Ateneo Puertorriqueño, 1960.
__________ . "Presentación de José Ignacio Quintón," Revista del

Instituto de Cultura Puertorriqueña. July-August, 1960,
111:8, 17-19.
__________ . "Vida y desarrollo de la danza puertorriqueña," in

Marisa Rosado, compiler. Ensayos sobre la danza puertorri-
queña, San Juan: Instituto de Cultura Puertorriqueña, 1977
23-37.
Vidal Armstrong, Mariano. "Los botones de oro de Morel Casinos,"

La Perla del Sur, April 23-26, 1983, 3.
Villarini, Awilda. "A Study of Selected Puerto Rican Danzas for

the Piano," unpublished dissertation. New York University,
1979.
Vivas, José Luis. Historia de Puerto Rico. New York: Las Ameri
cas Publishing Co., 1962.
Warman Gryj, Arturo. La danza de moros y cristianos, Mexico: Sep-

Setenta, 1973.
Webster's New Collegiate Dictionary. Springfield, Mass.: G. and

C. Merriam Company, 1977.
Webster's Third New International Dictionary of the English Lan

guage Unabridged, Chicago: Encyclopaedia Britaimica, Inc.,
1981.
Wheeler Kennan, Kent. The Technique of Orchestration, New Jersey

Prentice-Hall, Inc., 1952.
f
Interviews
Aguado, Antaño- Writer from Arecibo, he is the author of Ouroboros

and of the unpublished novel "Bajari-Baracutey." August, 1986.
Batista, Gustavo-Chairman of the Music Department at the University

of Puerto Rico, he is the author of "Felipe Gutiérrez y
Espinosa y el ambiente musical en el San Juan de su época,"
an unpublished thesis. August 1986 and June 1987.
Canino, Marcelino-Folklorist, he is the author of El folklore en

Puerto Rico. September, 1986.
Cordova, Gonzalo-Historian, he is the author of Santiago Iglesias,

creador del movimiento obrero de Puerto Rico and a member
of the Sociedad de Amigos de Quinton. August, 1986 and
June, 1987.
Dávila, Arturo-Art critic, he is the author of José Campeche, 1751-

1809. August, 1986.
Frontera, José Guillermo-Anatomist, he is the author of Neuro- •

anatomy Laboratory Guide. September, 1986.
Hutchinson, Luz-Pianist, she was a pupil of Elisa Tavárez and has

recorded Música para dos pianos (Luz N. Hutchinson y Cecilia .
Talayera, dúo-pianista). September, 1986.
Lamoutte, Sylvia Maria-Music critic for El Nuevo Dia, she has

published Danzas puertorriqueñas de Manuel G. Tavárez.
August, 1986.
Monerau, Felipe-Raised by José Ignacio Quinón, he is a member of

Sociedad de Amigos de Quinton, and has helped in the
publication of José Ignacio Quinton; Obras completas.Sep-
tember 1986, June 1987.
Morel, Gloria-Daughter of Manuel Morel Beltran, she is Juan Morel

Campos' granddaughter. Ponce, September 1986.
Rivera, Félix-Pianist, he is working on the edition of Morel

Campos'•danzas.
Storer, Hugo-Son of Elisa Tavárez Colón, he is Manuel G. Tavárez's

grandson. Guaynabo, September 1986.
Tormes, Gladys-Directress of the Archivo Histórico de Ponce, she

helped the researcher on her field trips to Ponce. August
1986.
Veray, Amaury-Composer, he reconstructed Quinton's "Requiem Mass"

and wrote Manuel Gregorio Tavárez; soledad y plenitud.
September, 1986.
f ' .................. * .' ................. " " •

543
APPENDIX A •
FELIPE GUTIERREZ'S FAMILY TREE
Nate: Only those persons who are blood relatives of the composer
have their names enclosed in boxes. Double lines indicate those
carrying Gutiérrez .as their last name.
* Baptismal and/or death certificates included in the next Appendix.
** Musicians: Julián (father)— musician in the Banda del Regimiento

de Granada; Felipe — composer; José (brother)— instrumentalist.
***Juana Bautista Medina, b o m in Manatí but living in San Juan,

was a widow with two children when she married Gutiérrez in 1882.
B e t son. F e m a n d o de Juan Medina, married in 1884 at Nuestra Señora
del Pilar in Río Piedras, and Gutiérrez was his godfather. Juana
died in 1887.
B
r
...... ' ' .......... .
APPENDIX B
BAPTISMAL AND DEATH CERTIFICATES OF FELIPE GUTIERREZ
SANTA IGLESIA CATEDRAL METROPOLITANA

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B o m on May 26, 1825, Felipe Gutiérrez was the legitimate son of

Julián Gutiérrez and Lucia Espinosa. Paternal grandparents,
Baltazar Gutiérrez and Tadea Dueña; maternal grandparents, Antonio
Espinosa and Maria del Rosario Ortega. He was baptized on June 4,
1825, at the Cathedral Church of San Juan, and his godparents were
José Wainer and Maria del Rosario Mais (See Book 25, folio 218).^
1 The data included in Felipe Gutiérrez*s family tree was obtained

from Gustavo Batista's thesis. The researcher could not verify
the information through the documents of the cathedral in San Juan.
They are so fragile that she could not obtain permission to look
at them personally. Since no indexes are kept, the person in
charge of them at the Cathedral could only check a few years, and
did not find what was asked for.
2 Gustavo Batista offered the researcher this certificate as a

gift, authorizing her to include it in the dissertation. During
c
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545
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The Bureau o f V ital S ta tis tic s informs that Felipe Gutiérrez y

Espinosa died on November 27, 1899 in $an Juan, a t age 73. The
cause o f h is death was n ep h ritis. His w ife had been Juana Bautista
Madina. ^
his in v estig a tio n for h is Masters1 degree, he spent more than three
years tr a v e llin g through the northern part of the Island, trying
to locate th is document. Apparently, Gutiérrez*s baptism had not
been recorded in the San Juan Cathedral*s books. I t had been in 7
scribed in the m ilitary records. An order was given to transfer
the information from the m ilitary to the Church's books, and h is
nace was entered in those of 1875. B atista had previously examined
the books o f the 1920's, as Gutiérrez was bom in 1825. While
exaaining the books o f the 1870's, looking for information related
to another musician, to h is surprise he found the entry of
Gutiérrez *s baptism.
3 This c e r tific a te was a lso given to the researcher as a g if t by
Gustavo B a tista . This document i s included in h is own M aster's
thesis on F elip e Gutiérrez.
APPENDIX C
MANUEL GREGORIO TAVAREZ*S FAMILY TREE
Note: Only those persons who are blood relatives of the composer
carrying Tavárez as their last name.
•* Baptismal or death certificates on next Appendix.
** Musicians: Manuel Gregorio— composer; Elisa (daughter)— pianist;

Rubén (grandson)— pianist in hotel orchestra.
*** Descendant interviewed by researcher*
****Julia Colón and Manuel Gregorio Tavárez were not married in an
ecclesiastical ceremony, but lived as a married couple.
***** Elisa Tavárez did not mention her brother Rafael to historian
Amaury Veray when she was being interviewed for the book Manuel
Gregario Tavárez: soledad y plenitud. Veray assumed the composer
bai only four children (Elisa, Manuel, Gertrudis and Amelia). The
researcher interviewed Veray and also the composer's grandson, Hugo •
Storer, and showed them Rafael’s baptismal certificate. She be
lieves Rafael might have died as a young child and thus his family
was unaware of his existence.
****** Daughter Amelia was b o m after the composer's death, but
in 1883 as Veray affirms. Tavárez died in.July 1883, and Amelia
•bom in February 1884, as the certificate indicates.
Tavárez's family tree (continued) ^
(Grandson Hugo Storer's descendants)A
José Muñoz Rivera

politician Luis Muñoz Rivera's brother
1 The researcher obtained most of the data for Manuel Gregorio

Tavárez’s family tree from Mr. Hugo Storer Tavárez. She then
verified some of it through Church documents in San Juan and Bonce.
The baptismal certificate of Juana Josefa Tavárez Ropero (a sister
b o m in 1837), which can be located on Book 24, Folio 64, was not
available at the Metropolitan Cathedral, since the document is so
old that it can only be read with extreme difficulty. The bap
tismal certificate of Gertrudis Tavárez Ropero (one of the com
poser's daughters) was not found in the books of Nuestra Señora
de Guadalupe in Ponce, as were those of the other children._ The
researcher checked the books very carefully, without success.
548
’ APPENDIX D
BAPTISMAL AND DEATH CERTIFICATES OF MANUEL TAVAREZ'S FAMILY
jârtta ig lesia (Gaíedral ^tblropolitana

AP AR TAD O 2145 IC ALLE D EL CRISTO NO. 1 S i I T E L . 722*0861
SAN JUAN. PUERTO RICO 00903
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C e r tific o que en e l lib r o Nfcu 17 de B autisno

S o lio Núm. 74 aparece l a s ig u ie n te p a rtid a :
En la nuy no b le y nuy le a l Ciudad de San Jüan B ta .

de P u erto R ic o , d i a v e in tid ó s d e l mes de J u lio d e l año
m il ochocientos cu a re n ta y ocho. Yo e l E resb. B r. D .
José M a ria B aez, Cura T e n ie n te de e s ta Santa Ig le s ia
C a te d ra l, b a u tic é solennem ente, puse o le o y crism a 5
C lo tild e P e tro n ila , que n a d é e l d i a s ie te de JU nio
ú ltim o , h ija le g itim a de D . M anuel A le ja n d ro T avS rez,
n a tu ra l de Santo Demingo, y de Daránga R epero, n a tu ra l
y vecin o s de e s ta c a p ita l: fu e ro n p ad rin o s D . José de
Sanlecgue y Da. Jo s efa C b u v e rtié , S quienes a d v e rtí
e l paren tesco e s p ir itu a l y sus o b lig a c io n e s , siendo
te s tig o s D . B las López y José O artes ; de que doy f e .
José M arla Baez
No hay n a ta m arg in al
Y p a ra que co n ste , firm o y s e llo la p rese n te en San

JUan de P u erto R ico e l d ía 27 de o ctu b re de 19S6.
- te a m
cargo
Baptismal certificate of Clotilde Petronila Tavárez Ropero (Book

37, Folio 74). Born in June 7, 1848 in San Juan, she is the legit
imate. daughter of Manuel Alejandro Tavárez (natural of Santo Do
mingo) and Dominga Ropero (of San Juan). She was baptized on
July 22. 1848, and her godparents were José de Sanlecgue and
Josefa Couvertié. She is the composer's sister.
B_---------- ■ - --- ----- ---------------------------------------

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Baptismal certificate of Elisa Tavárez (spelled "Tabarez”) (Book

23, Folio 184). Natural and recognized daughter of Manuel
"Tabarez" and Julia Colón. It does not indicate the grandparerts.
Godparents, Pedro Miguel and Hortensia Ansibar. Born on June 21,
1879 (it does not indicate the Barrio), Elisa was baptized on
August 9, 1879 in the parish of Nuestra Señora de Guadalupe in
Ponce. She is the composer's eldest daughter.
r ...... ..........
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Baptismal certificate of Manuel Tavárez Colón (Book 26, Folio 172).

Natural a n d .recognized son of Manuel Gregorio Tavárez and Julia
Colón. Paternal grandparents, Alejandro and Dominga Ropero;mater
nal grandmother, Vicenta Colón. Godparents, José Forns and Amalia
Paoli. Born on July 2, 1881 in Barrio Segundo and baptized on
August 6, 1883 in the parish of Nuestra Señora de Guadalupe in
Ponce, after his father's death.
IT
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•RapHsmal certificate of Rafael Tavárez Colón (.Book 26, Folio 177).

Natural and recognized son of Manuel Gregorio Tavárez and Julia
Colón. Paternal grandparents, Alejandro and Dominga Ropero; mater
nal grandmother, Vicenta. Godparents: Luis Valdivieso and Dolores
Valdivieso. B o m on September 11, 1882 in Barrio Segundo and
baptized on August 20, 1883 in the parish of Nuestra Señora de
Guadalupe in Ponce.
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Death certificate of Manuel Gregorio Tavárez Ropero (Book 26,

"Folio 28). Having died on July.l,_1883 in Barrio Segundo, Manuel
Gregorio Tavárez was buried on July 3 at the cemetery. He received
the Sacraments and.the ecclesiastical ceremony was a "double
burial." He was "soltero" .(or "single"), the legitimate son of
Alejandro [Tavárez] and Dominga Ropero, and forty years of age.
(The same day was buried Rosa Diaz, two years of age, from Barrio
Machuelo Abajo, and Juan Martinez, three years of age, from Barrio
Marueño).
i ....
553
Baptismal certificate of Amelia Tavárez Colón (Book 27, Folio 233).

Natural and recognized daughter of Manuel Gregorio Tavárez and Julia
Colón. Paternal grandparents,_Alejandró [TavárezJ and Dominga
Popero; maternal grandmother, Vicenta Colón. Godparents, Juan
Bartoli and Ysabel B a m é s . Born on February 23, 1884 in Barrio
Segundo and baptized on July 23» 1884 in the parish of Nuestra
Señora de Guadalupe.
Dr
APPENDIX E
JUAN MOREL CAMPOS' FAMILY TREE
Ancestors, and Descendants of Brother Emilio
carrying Morel as their last name.
* Baptismal or death certificate included in the next Appendix.
** Musicians: Emilio (brother)“clarinetist; Juan (composer);

Roberto (nephew)-bombardino player.
*** Relatives interviewed by researcher.
****' Emilio's nickname is Rito.
m
BTC
....... .......... ...
Juan Morel Campos and Secundina Beltrán Collazo's Descendants
Andres Beltran + Juana Teresa Collazo
* Baptismal and death certificates included in the next Appendix.
** Musicians: .Tuan (composer); Alfredo (son )-bombarding player;

Olimpia (daughter)- music teacher; Manuel (son)-composer; Manuel
(grandson)-orchestra conductor; William (greatgrandson)-member of
Banda Municipal de Ponce.
***Relatives interviewed by the researcher.
****Secundina Beltrán never married Juan Morel Campos in an eccle

siastical ceremony, but they lived together as a married couple.
ST
556
APPENDIX F
BAPTISMAL AND DEATH CERTIFICATES OF MOREL'S FAMILY1

(FOUND AT THE PARISH OF OUR LADY OF GUADALUPE IN PONCE)
***** •* r - * - * N. p. m -*t
' ^5&,x
<Z^¡ÍZîoo —
4.¿u*o.
Baptismal certificate of Eugenia Morel Beltran (Book 24, Folio 253)

Natural daughter of Juan "Moret" Campos and Secundina Beltrán
Collazo. Paternal grandparents, Manuel and Juana; maternal grand
parents, Andrés and Juana Teresa., Godparents, Diego Capó and
Felisa Bello. Born on November 15, 1880 in Barrio Segundo, and
baptized on July 17, 1881 in the parish of Nuestra Señora de Guada
lupe in Ponce. The father signed together with Dr. Félix Barrot,
who attested by signing as a witness.
1 The researcher obtained most of the data for Morel's family tree
from Mrs. Gloria Morel Ventura. She then verified some of it
through church documents. The baptismal certificates of Juan Morel
Campos and of his brothers do not appear in the books of Nuestra
Señora de Guadalupe parish. The researcher carefully checked
Books 1 (starting in 1350) through 33, and believes that perhaps
W ----------------------- — ■ — -.... --
M
.
557
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*^C w m**«> nAtao*Uacvu de.luj)
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Baptismal certificate of Juana Maria Morel (spelled "Morell")

iBook 26, Folio 102) Natural and recognized daughter of Juan
"Morell" Campos and Secundina Beltrán; paternal grandparents,
Manuel and Juana; maternal grandparents, Andrés and Juana Teresa
Collazo. Godparents, Ceferino Renta and Catalina Salazar. B o m
on October 31, 1882 in Barrio Segundo, and baptized on April 14,
1883 in the parish of Nuestra Señora de Guadalupe, of Ponce. Sa
cristan Pío de Santos Abad signed together with the father, so
that the child could use his last name and enjoy all the rights
that belonged to her as a natural and recognized daughter.
Manuel Morel and Juana Campos did not baptize their children. The’
index for Book 13 indicates that cn Folic 55 there is a certifite
for Manuel Morell, son of Manuel and Juana. Since the document
does not appear in the book, the researcher was unable to verify if
he is another brother of the compose^ unknown to his relatives.A
priest at the parish informed the researcher that in the fire of
1880 the church lost many documents. There is also a possibility
that some of the missing certificates might have been among the
burnt ones.
IF
fe-
558
Baptismal certificate of Emilio Morel Carvaiál (the composer's-

nephew) (Book 28, Folio 180). Legitimate son of Rito^ MorelCacpos
and Maria Carbajal. Paternal grandparents, Manuel and Juana
Campos; maternal gradparents, Vicente and Gertrudis Moreno. God
parents, Ramón Torres and Nicolasa Quiñones. Born on November 25,
1882 in Barrio Segundo, and baptized on April 5., 1885 in the parish .
of Nuestra Señora de Guadalupe of Ponce.2
2 Rito Morel Campos' real name is Emilio, but he appears here as

he was usually known. He is a brother of the composer.
r----- ----- --
559
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Baptismal certificate of Olimpia María Morel (Book 28, Folio 262)

Natural and recognized daughter of Juan Morel Campos and Secundina
Beltran. Paternal grandparents; Manuel and Juana; maternal grand
parents, Andrés and Juana Collazo. Born on February 10, 1885 in
Barrio Segundo, and baptized at the parish of Nuestra Señora de
Guadalupe on June 15, 1885. Godparents, Félix Vivas and Josefa
Font de Vivas.
jz............................................ ...
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Baptismal certificate of Luisa Maria Morel Carvajal (spelled

"Morell” ) (Book 33, Folio 98). She is the composer's niece, and
the legitimate daughter of Emilio Morel and Maria Carbajal. Pa
ternal granparents, Manuel and Juana Campos; maternal grandparents,
Vicente and Gertrudis Moreno. Godparents, Eduardo Valdivieso and
Luisa Molina. B o m on September 23, 1886, and baptized on Febru
ary 12, 1890 in the parish of Nuestra Señora de Guadalupe of
Ponce.
F .. . " "' " ""'

Reproduced with permission of the copyright ow ner. Further reproduction prohibited without permission.
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Baptismal certificate of üvaldo Juan Morel (spelled "Morell")

(Book 33, Folio 98). He is the composer's nephew and the legiti
mate son of Emilio Morel Campos and Maria Carbajal. Paternal
grandparents, Manuel and Juana Campos; maternal grandparents,
Vicente and Gertrudis Moreno. Godparents, Julio Chardón and
Josefa Balaguer. Bora on May 17, 1888 and baptized the same day
as his sister Luisa Maria, on February 12, 1890. (Both certifi
cates are on the same folio). Marginal note: "He was married on
April 2, 1913 in this parish to Maria del Carmen Colón."
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Death certificate of Juan Morel Campos (spelled "Morell")(Book 34,

Folio 244). In the parish of Nuestra Señora de Guadalupe of Bonoe,-
on May 13, 1896, Juan"Morellu Campos, age 39 and the son of Manuel
and Juana, was buried in the Catholic cemetery. (The two persons .
who were buried before him died in the nearby Barrio .La Cantera.
Julia Rosado was buried the same day. She was 45 years of age and
single).
F ............ "' ’ .... .

563
. ‘.TRO A ó5 COPIA L l T I ~ L 3I ACTA D I D IFU .C IC N
£»< LA C IU D *D D I Pl LCE, A LAS CUATRO »• I / I J I A D I LA TATUE D IL

t h ic i de t u r o d i l : i l c c .-c c i i n t C5 n c v i n t a *. s z i s , a n t e d c n j u s e . .
. D I Sv & a n s i n i t s i , j u n i u n i O i p a l y d : n a : o r e s c o u z c n y s c n z a l z z ,
SECRETARIO INTERINO , C G .7P A .IC I0 X X RITC « “ I L L S » 3 C . E M IL IO ...........
-0-C£LL CAÍ.POS. NATURAL 3 1 P C A S I. C A S A » , í C S IC v , .,.*AYC*Í S I IS A S Y
O S í-M C lL IA » I N U CALLE O I T IN D I2 VISO O I ESTA CIUDAD, L'A N lF S S r
w a s t e OOU JUAN L'CRELL CAJ-POS, KATUSU. OE PONCE. SOLTERO..................
PROFESOR O- f . * u s t c - , O I TREINTA y NUEVE a TOS O I EOAO Y 0 C 7 IC IL IA S C
EN LA*CALLE O I LA V IL L A O I ESTA CIUDAD,-FALLECIO EH SU O D T IC IL IG ..
AYER A U S OCHO O I U í /A IA N A a CONSECUENCIA, O I ANGINA D I F I C H O , . . . .
Y O I ELLO 0*5-*. CUENTA COTO HERtU.rJC.PC? LO » E EL S lflC R JUEZ OlSPUSC
SE. E W C ÍO IE S E ESTA ACTA Y SE CONSIGNARA.,' DUE ¿ L FINADO ERA H I J O . . .
NATURAL RECONOCIDO OE DON fA ÍIU S L W K S L L ; r DE OOfÁ JUANA CA.YPQS
DIFUIlTOG. JUE NO OTORCO T IS T A M N T C . Y ’ SE DISPUSO SU EílTERHAMIEírro
EN E L CEMENTERIO OE ESTA CIUDAD. FUlRCN TESTICCS OON ARTURO VAZQUEZ
Y LAC.JAR01A, NATURAL DE PCNCE, CASADO, INDUSTRIAL, MAYOR O I EDAD Y
DOMICILIADO Z‘i U CALLE DE V IV IS O I ESTA CIUDAD Y OCN ARTUTtC YORDAN
Y GONZALEZ, NATURAL D I PCNCE, SOLTERO, C IL IA D O Y DOMICILIADO CCVO
E L ANTERIOR. LEID A ESTA ACTA Y CONFORTS SE ESTA.VPO E L SELLO DEL
JUICAOO Y U FIRMAN C E R TIF IC O : ¿
FDO. JOSE CUELAN O I N lT I .«ILIO T O R IL CAJ-VOS
FOO^ ARTURO YORDAN F W i ARTURO VA ZD JIZ
t FDD ANDIES CORAZON
YO IN IS C U IL 3 I NASAL, REGISTRADOR DE CCRmF i CO C ER TIFIC O : CUE

E L ACTA CUE ANTECEDE, ES UNA COPIA O IL f f 151 NAL CUE C9RA EN E L
ARCHIVO OE ESTE REGISTRO, EN E L LISR C NUW 3 0 FO LIC 1 ? 1 .
tMsoAireioN
SOLICITANTE : S R . FRANCISCO J IS S A I RODRIGUEZ OE APONTE

CALLE VIRTUD £ 2 1 , PONC|, P . R .
A - •
FECHA OE EXPEDICION : 3 -1 3 - 1 9 6 9
Death c e r t if ic a t e o f Juan Morel Campos. This v ersio n from th e

Bureau o f V ita l S t a t is t ic s o f Ponce in d ic a te s th a t E m ilio ’H>rell,"
th e composer's b roth er, known as R ito (a married m usician who lived
on Méndez Vigo S tr e e t in Ponce) i s t e llin g o f the death o f Juan
"Morell" Campos (a s in g le music p ro fesso r, who liv e d in De la Villa
S tr e e t in Ponce), who died in h is house on May 12, 1896 a t 8:00a.m.
o f a h eart a tta c k . This c e r t if ic a t e a ls o in d ic a te s th a t th e
composer was a n atu ral but recognized son o f Manuel "M orell” and
Juana Campos. The researcher obtained t h is c e r t if ic a t e as a g i f t
from . Mrs. G loria M orel, a granddaughter o f th e composer, who
liv e s in Ponce.
564
.APPENDIX G
JOSE IGNACIO QUINTON'S FAMILY TREE
carrying Quinton as their last name.
* Baptismal certiricates included in the next Appendix.
** Musicians: Juan (father)-pianist of the Paris Conservatory;

José Ignacio (composer); Fausta (sister)-soprano; Maria Luisa
(daughter, now 91 years old)-amateur pianist; Juan Roberto (son
who died in a gun accident)-orchestra pianist who used to travel
to the French Riviera.
*** José Ignacio Quinton never married, and apparently never lived
as a couple with Virginia Negron or Maria Luisa Arocho, the moth
ers. of his children.
565
APPENDIX H
BAPTISMAL CERTIFICATES OF JOSE I. QUINTON'S RELATIVES

(FOUND AT THE PARISHES OF CAGUAS AND COAMO)
Baptismal certificate of José Ignacio Quinton (Book 20, Folio 101)

José Ignacio Quinton, the legitimate son of Juan Quinton (of
Angers, France) and Filomena del Rosario (of Caguas), was b o m c n
February 1, 1881. Paternal grandparents, Juan Quinton and Maria
Luisa Luzon; maternal grandparents, Eugenio del Rosario and
Fermina Serrano. He was baptized at the parish of Dulce Nombre
de Jesús in Caguas en August 15. 1881. Godparents, Agustín
Puigmoler and Emilia Necker.
1 The researcher obtained most of the data for Quinton's family

tree from Mr. Felipe Monerau. She then confirmed it through
Church documents. The researcher could not find the baptismal
certificate of Ramón Quinton, the composer's brother. She person
ally looked at the books in both parishes but it is not there
(perhaps he was not baptized, since the family moved from Caguas to
f.
566
Baptismal certificate of Mafia Fausta Quinton del Rosario (Book 21,

Folio 124). Legitimate daughter of Juan Quinton (of Angers,
France), and Filomena del Rosario (of Caguas). Paternal grand
parents, Juan Quinton and Maria Agnes Luzon;2 maternal grandpar
ents,. Eugenio del Rosario and Fermina Serrano. She was b o m on
October 13, 1883, and baptized on April 21, 1884. Godparents,
Manuel Jiménez y Cruz, and Gertrudis Jiménez y Cruz.*
2
Coamo after Fausta's birth). The parish of San Blas of Coamo does
not keep the death certificates after the year 1916, and the
Bureau of vital Statistics only releases the information to the
relatives of those concerned.
2 Quinton's grandmother appears as.Maria Luisa in his baptismal

certificate, but as Maria Agnes in his sister's baptismal certif
icate.
w
Reproduced with perm ission of the copyright owner. Further reproduction prohibited w ithout perm ission.
567
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Baptismal certificate of Luis Rafael Fito Quinton del Rosario

(Book 26, Folio 16). Born on January 4, 1888, the legitimate son
of Juan Quinton (from Angers, France) and Filomena del Rosario
(from Caguas), both neighbors of Coamo. Paternal grandparents:
Juan Quinton and Maria Inés Luzon (from Champtocé and Saint
George, in France); maternal grandparents, Eugenio del Rosario and
Fermina Serrano (from Caguas). He was baptized in the Cathedral
of San Bias, in Coamo, on October 6, 1889. Godparents, Teodoro
Santiago and Elvira Santiago. He is the composer's brother.
r
568
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Baptismal certificate of Roberto Juan (Quinton) Arocho (Book 34,

Folio 487). Born on September 23, 1916 (as it appears in the
Register of Baptisms of the parish of San Blas, Coamo) or on
October 23, 1916 (as is notated in the city's Civil Register which
mentions his name as Juan Roberto). Natural son of José Ignacio
Quinton (not mentioned on the baptismal certificate) and Maria
Luisa A rocho. Paternal grandparents, Juan Bautista Quinton Luzon
and Filomena del Rosario (not mentioned in the baptismal certifi
cate); maternal grandparents, Ramón Arocho and Celia Olivencia.
He was baptized on August 5, 1917. Godparents, José S. Miranda
and Adoración Santaella. See footnote indicating the contents of
the documents at the Bureau of Vital Statistics.
f
569
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T«gr.«-;gma1 r.p.rtificate of Ramón José Quintón Cartagena (Book 36,

Folio 352). Born on November 22, 1922, the legitimate son of
Ramón Quintón and Dolores Cartagena, both of Coamo. Paternal
grandparents, Juan Bautista Quintón and Filomena del Rosarxo.Ma
ternal grandparents, Olegario Cartagena and Felicita Negron. H
was baptized on January 6, 1924 in Coamo. Godparents, Antonio
Cartagena and Haría Luisa Quintón (the composer s aug er).
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Baptismal certificate of Carmen Filomena Quinton Cartagena (Book

37, Folio 500). B o m on October 21, 1924 in Coamo. Legitimate
daughter of Ramón Quinton and Filomena del Rosario, she is the
composer*s niece. Paternal grandparents, Juan Bautista Quinton
and Filomena del Rosario. Maternal grandparents, Olegario Carta
gena and Felicita Negron. Baptized in San Blas de Coamo on Octo
ber 31, 1926. Godparents, Enrique Alonso and Felicita Cartagena.
She was married to Albert Hartman in the parish of Perpetuo Soco
rro on January 21, 1953.
of the copyright owner. Further reproduction prohibited without permission.

APPENDIX I .
ABBREVIATIONS USED IN CATALOGUES OF COMPOSITIONS
General
AGPR Archivo General de Puerto Rico (it is located in Old San
Juan)
GUT Gutiérrez (letters used in envelopes at AGPR containing

works by Gutiérrez)
ICP Instituto de Cultura Puertorriqueña
MOR Morel (letters used at the AGPR to identify the envelopes

containing works by Morel)
N/A Works that are not available for examination
NAL Number in alphabetical list
QUI Quinton (letters used in envelopes at AGPR containing

works by Quinton)
TAV Tavárez (letters used in envelopes at AGPR containing

works by Tavárez)
Genres
A Aguinaldo
BAL Ballade
BAR Barcarole
CH Chotis (Schottische)
CO Contradanza
D Danza
F Funeral work
FT Fos trot
GAL Galop
f _ .........
572
Genres
GAV Gavota (Gavotte)
GU. Guaracha
a Hymn
L Lanceros (Lancers)
MAR March
MAZ Mazurka
ME Melody (the accompaniment was probably intended, but it

an unfinished composition).
N . Nocturne
OP Opera
ov Overture
PA Pasodoble
PO Polka
Q Quartet
RE Religious
RO Romanza (song for voice only, for voice and piano accom
paniment, for instrumental solo, or for instrumental duet),
SCH Scherzo
SE Seis
SO Sonatina
SU Suite
SY Symphony (including short ones which could really be

called overtures)
TA Tango
V Variations
W Waltz (individual or in groups called "tanda.de valses").
Z Zarzuela
? Genre not known
573
APPENDIX J .
COMPOSITIONS BY FELIPE GUTIERREZ Y ESPINOSA (IN, ALEHAEETICAL ORDER)
1. Adiós a la Virgen (VII)^
A. Religious music in G Major..also known as "Despedida a la

Virgen." Work for two voices, organ, flute, two violins, cello,
clarinets 1 and 2, horns in f, bombarding, bass. Manuscript
with lyrics in Spanish by the composer has a violin part which
is missing, and an incomplete organ part. It is dated September
but does not indicate the year. (AGPR/ GUT 1)
B. The manuscript has a short melody at the beginning titled

"Benedictus a-voces solas" (no instrument is indicated).
2
'* Adórate devote (VII)
Although this composition is listed as a separate work by -

Gustavo Batista, it is really a part of "Reservas."
2.amor de un pescador. El (IV)
Zarzuela in two acts with lyrics by Navarro. Listed as N/A by

Gustavo Batista in "Felipe Gutiérrez y Espinosa y el ambiente
musical en el San Juan de su época," unpublished thesis,
Centro de Estudios Avanzados de Puerto Rico y el Caribe, 1982,
197. Work premiered in 1857.
3. Así-así (VII)
Letanías. Work for four voices, choir and orchestra, mentioned

by Braulio Dueño in his article in Fernando Callejo, Música y
músicos puertorriqueños, 114. Its first "Agnus Dei" is written
for voices only. N/A
1 The Roman numeral refers to the thematical classification found

in a separate catalogue (See APPENDIX N ) .
2 Wtks identified by an asterisk instead of a number refer to a

secoid title of a work already listed and numbered.
¥ " ' " ...

574
4. bearnés. El (IV)
Opera in four acts with book by Antonio Biaggi. Listed as N/A

by Gustavo Batista in his thesis» 197.. Composed in 1881 •
and mentioned in Fernando Callejo» 104.
* Benedictus a voces solas (VII)
See "Adiós a la Virgen."
5. Conclusion (VII)
Religious music in C Major. It is included in "Finales para

triduos, novenas y misas," a notebook that was the property of
R. Marquéz. The instruments included are: clarinet, violins 1
and 2, trombone or cello. (AGPR/Uncatalogued music/ Box 2/
envelope 1).
6. Conclusión (VII)
Allegro in A minor. Part for horn in C. It is included in the

envelope of "Conclusión No. 5." (Gustavo Batista Collection)
7. Conclusión de novenas (No. 1 y No. 2) (Vil)
Religious work in C Major. Manuscript includes 7 parts: double .

bass, violins 1 and 2, flute, clarinet in C, horn in F, bombar
ding. Indication: "Por Don Felipe Gutiérrez, Maestro de Capi
lla de Puerto Rico” ("By Mr. Felipe Gutiérrez, Chapel Master of
Puerto Rico"). Manuscript which was owned by José Prendom
(AGPR/GÜT 2).
8. Conclusión No. 5 (VII)
A. Religious work in A minor with middle section in A Major,

which is written in pencil. It is an Allegro moderato for flute,
clarinets 1 and 2, bombardino, two violins (although one is
missing), double bass (missing). (Gustavo Batista Collection)
B. The envelope also has a part for horn in C, with the title
"Conclusión," which does not belong to "Conclusión No. 5." It
is an Allegro and ends in the subdominant.
C. The envelope also has "Setimino" for horns in D, in A minor.
575
9. Contradanza (without title) (VIII)
Felipe Gutiérrez wrote the accompaniment for a contradanza

written by Juan Santaella in 1856. See reference to La Guirnal
d a . 1/10, 1856 in Gustavo Batista's thesis, 72. N/A
10. Ciademo con estudios para piano (VIII)
It includes: Andantino in F,’second Andantino in F, Allegro Gra-

zioso in F, Andante in B flat Major, Variación in B flat Major,
Estudio para pasar del fa natural al mi b (Allegretto in B flat
Major), Llave de F a b , de Si b, de La b y de Mi b (Andantino in
E flat Major), Andante gracioso in E flat Major, Llave de Do k
(Allegretto in G Major), Lento in D Major, without title in G
Major, Estudio melodioso para emplear los trinos (Allegro moder
ate) in D Major), without title (three melodies in D Major and
two melodies in G Major). Andantino in G Major, second Andantino
in G Major, Postura del fa # agudo entre dos sol natural(AlldSEP
in G Major), Andante in G Major, Andante in C Major, Allegretto
in C Major, Poco andante in G Major. Manuscript (AGPR/GUT 4).
See similar notebook with various compositions under "Notebook
with religious compositions."
11. despedida, La (III)
Song in A minor. Andante with lyrics by the author: "Riberas

amenas, de fértil llanura, zagalas morenas, de garbo gentil.
¡Adiós! que mi dura fortuna me lleva, a ver tierras nuevas do
corre el gemir. En vano al hablaros mi llanto reprimo; en vano
al dejaros quisiera llorar. Al cabo, si gimo, mi mal no se cal
ma, y muero, si el alma concentra el pesar." ("Pleasant river
sides, of fertile plain, swarthy lasses, of fine bearing. Good
bye! My adverse fortune takes me to see new lands where moaning
prevails. In vain, when I talk to you I restrain my crying; in
vain when I leave you I wish I could cry. After all, if I moan,
my misfortune is not relieved, and I die if the soul concenters
the grief.") Printed copy edited by Elena Luce, Researcher
Batista has a photocopy of the page with the song but could not
provide any other information about the book.
* Despedida a la Virgen (VII)
See "Adiós a la Virgen."
12. Dios te salve (V±±)
Work in D Major for voices (choir), violin 1, clarinet, flute

(AGPR/Box 2/envelope 1). It is written on the reverse side of
"Ofertorio" (Andante). Sixteen measures; Spanish.lyrics.
r ".
576
13. Elisa (I)
Romanza for soprano, in A minor. Dated June, 1877. Andante

with lyrics by A. Pineda. Flute part (with cues for lyrics of
soprano), violins 1 and 2, viola, clarinet in A, horns in D.
(Gustavo Batista Collection)
14. familia. La (VI)
Overture in A flat Major. Composition dated: "Puerto Rico,

10 de octubre 1875." The manuscript was the property of José
Rendón (one of the instrumentalists in the Cathedral Chapel's
orchestra). It includes parts for instruments: double bass
(incomplete part), violin 1 (complete, 2 pages), trombone (2
pages). Andante in A flat Major, Allegro in F Majorwith middle
section in C Major. Very worn-out manuscript; the property of
Gustavo Batista.
*. Finales para triduos, novenas y misas (VII)
There are four small notebooks, one for trombone and cello, and
three others for violin 1, violin 2, apd clarinet. On the
inside they include "Allegro para final de misa," "Marcha,"
"Final," "Conclusión," "Final," and "Allegro moderato." Only
the "Conclusión" indicates the author as Felipe Gutiérrez, and
thus it is included separately under entry 5. There is a loose
leaf for cornet in B flat which only includes the "Allegro para
final de Misa" and the "Marcha."
15. Gozos a la Purísima Concepción (VII)
Moderato in E flat Major. Estrofa 1 in E flat Major, Estrofa2

in B flat Major, Estrofa 3 in G minor. Parts for flute and
clarinet in C (AGPR/GUT 19).
* Gozos a la Purísima Concepción (VII)
See "Gozos de la Inmaculada Concepción ."
16. Gozos de la Inmaculada Concepción (Vil)
A. Work for organ, tenors, and basses. Dated: "Arecibo, di

ciembre del 1889." Indication: "Recuerdo del Padre Montaner"
("Remembrance of Father Montaner"). Title on the inside page
reads "Gozos a la Purísima Concepción." It includes: "Yntro-
ducción" in G Major with lyrics: "Pues puedo elegiros . . . "
("Because I can choose you . . . "), "Primera estrofa" or
Moderato in F Major with lyrics: "Con armónica unión . . . "
F
577
("With honaonious union . . . "), "Segunda estrofa" or Andante

in A minor with lyrics: "De la harina sois la flor . . . "
("You are the peach of the crop . . . ”), "Tercera estrofa a
media voz" or Lento in C Major with lyrics: "Dice que sois
toda hermosa . . . " ("He says you are all beautiful . . . ")
Orchestral score. (Gustavo Batista Collection)
B. Manuscript copied by José Gutiérrez, and dated October, 1878.

It is the same music, so this date suggests an earlier composi
tion than the one indicated in the previous manuscript. Ctches- .
teal score. (Gustavo Batista Collection)
C. Parts for the instruments: flute 1, clarinets in C 1 and 2,

violins 1 and 2, double bass. The manuscript also contains a
"Salve" in C Major, "Letanía" in F Major, and "Letanía No. 2"
in D Major. (Gustavo Batista Collection)
17. Gozos de la Purísima (VII)
Different composition from "Gozos a la Purísima Concepción."

Manuscript (AGPR/GUT 19A). It includes "Primeros gozos" (Made-
rato in B Major, "Estrofa 1" in G minor, "Estrofa 2" in B Major
and "Estrofa 3" in B Major), and "Segundos gozos" (Moderato in
C Major, "Estrofas" 1, 2, and 3 in C Major but ending in D, G,
and D, respectively. The researcher believes Gutiérrez intended
to use the modes (in this case Dorian, Mixolydian, and again
Dorian). There is a "Tota pulchra" written on the back page.
The instrument is not indicated and it does not include lyrics.
'18. Gran Salve Núm. 1 (VII)
Religious music in F Major, but ending in D Major. Contralto

chorus with lyrics: "Ad te. Ad te clamamus . . . " Parts for
other voices: contralto 1 and 2, and second voice (children's
choir). Maestoso, tacet, Moderato (A.GPR/GUT 3).
19. Grandes letanías (VII)
Religious music listed as N/A by Gustavo Batista in his ;

thesis, 197. This could be the same as "Letanías a cuatro vo
ces, coros y orquesta," better known as "Asi-asi," which is
mentioned by Braulio Dueño*iñ his article iñ'Fernando Callejo,
114.
20. Guarionex (IV)
Opera in three acts; book by Alejandro Tapia. Listed as N/A

by Batista, 197. Probably premiered in 1856 at the Teatro Muni-
W
578
cipal (later Teatro Tapia). Mentioned by Callejo, 104, as

having been influenced by Donizetti.
* Lamentación segunda (VII)
See "Segunda lamentación."
21. Lamentación tercera del Jueves Santo (VII)
Religious music in G minor. Written in 1867. Andante. Lento,

Allegro, Lento, Allegro Moderato, Piu mosso. Andante, and "Fi-
nal" in F Major. Instruments: flute, cello, double bass.
(Gustavo Batista Collection) The researcher believes this is the
the same work as "Tercera lamentación." (See additional commen
taries under this other title.)
22. Letanía (VII)
Work in F Major included in the same manuscript as "Gozos de la

Inmaculada Concepción." Parts for flute 1, clarinets in C 1
and 2, violins 1 and 2, double bass. (Gustavo Batista Collec
tion)
22. Letanía de la Providencia (Vil)
Gustavo Batista mentions the praise this work received in the

Boletín Mercantil when it was premiered in 1892. See his
thesis, 96. The work is N/A.
24. Letanía número 2 (VII)
Work in D Major included in the same manuscript as "Gozos de la

Inmaculada Concepción." Parts for flute i, clarinets in C i
and 2, violins 1 and 2, double bass. (Gustavo Batista Collec
tion)
25. Letanía número 3 (VII)
Religious music with tenor part only. It includes: "Kirie

eleyson" in F Major, "Santa Maria" in B flat Major, "Santa
Maria" in F major," "Mater intemerata" in B fiat Major, "Mater
amabilis " in F. Major, "Virgo predicando" in B flat Major,
"Virgo, virgo" in F Major, "Vas honorabilis" in B flat Major,
"Rosa mistica" in F Major, "Refugium pecatorum" in F Major,
"Regina apostolorum" in B flat Major, "Regina confesorum" in
F Major, and "Agnus Dei" in F Major (AGPR/GUT 5).
F ' ' ..........

579
26. Letanías (VII)
Allegro in 6 Major/E minor, ending in chord of B (dominant),

with lyrics "Kirie eleyson . . . "Agnus" in the same tonal
ity. Parts for first and second voice, and baritone. (Gustavo
Batista Collection)
27. Letanías (VII)
Composition included in the same manuscript as "Salve Mediana

Núm. 7 del Patrón San Juan" on the trompa-bombardino part. It
includes an Allegro Moderato in C Major and an Andante in D
minor. (Gustavo Batista Collection)
Letanías a cuatro voces, coros y orquesta (VII)
See "Grandes letanías" and "Asi-asi."
28. Letanías (1 y 2) (VII)
A. "Letanía 1" is in F Major and has an Allegro Moderato and

a short Andante. It includes violins 1 and 2, flute, clarinet
in C, horns in F, bombarding. bass, voice 2 with lyrics "Kirie
eleyson" in Allegro moderato and "Agnus Dei qui tollis peccata
mundi" in Andante), and voice 1 (AGPR/GUT 5).
B. "Letanía 2" is in C Major and indicates Allegro moderato.

It includes violins 1 and 2, flute, clarinet in C, horn in F,
bombardino, bass, tenor 1 with lyrics ("Kirie eleyson").
(AGPR/GUT 5). Previous owner was Francisco Verar.
C. "Letanías transportadas para niñas" is the same ccmposi- .

tion but in D Major. It is an arrangement for organ using two
staves. (AGPR/GUT 5A)
D. Bombardino part of "Letanía 1" is found in a separate en-

velope (AGPR/GUT 5B).
E. Chorus part of "Letanías 1 y 2" are part of Gustavo

Batista's private collection. The chorus enters after 67 mea
sures with lyrics "Virgo prudentis . . . "
29. Letanías de Nuestra Señora de Belén (VII)
Religious melody in F Major (Moderato pastoril) and B flat Ma

jor (Marcial). It includes double bass, first tenor with lyr
ics "Kirie eleyson," second tenor, chorus, violins 1 and 2,
flute 1, clarinet in C, horns in F, bombardino. Manuscript
¥ ' ’ ~ .....*
580
(AGPR/GUT 7). The envelope also contains "Petición de clari

nete número 2."
30.Letanías jesuítas (VII)
A. Orchestral score in C Major. It includes violins 1 and 2,

flutes 1 and 2, clarinets 1 and 2, cornets in B flat, horns
in F, bombarding, double bass, tenors 1 and 2, tiple (soprano),
contralto and bass. Lyrics "Kirie eleyson . . . Santa Dei
genitris . . . " Manuscript previously owned by Damián Estrinzó
(AGPR/GUT 8).
B. Individual parts for the instruments, which belonged to Don

Francisco Verar Marcano, First Lieutenant P.I. (Pelotón de In
fantería or Infantry Platoon). There is one flute part; soprano .
part is missing. (AGPR/GUT 8A).
C. Part for soprano. Although the composer is not indicated,

the researcher checked the music carefully. It is kept in the
unclassified material at the Archive (AGPR/Box 7/ envelope 6).
31.Letanías pastoriles (VII)
Allegretto in A minor with lyrics: "Kirie eleyson . . . ;"

shorter section is Allegretto in C Major; Despacio ending in tfe
dominant. It includes voices 1 and 2. (Gustavo Batista Collec
tion)
* Letanías transportadas para niñas (VII)
See "Letanías (1 y 2).
32.Macias (IV)
A. This opera was presented in 1872 at the Exposición Publica

in which Gutiérrez won an honorary mention of first class and
received a Gold Medal. It is written for grand orchestra and
was dedicated and sent in 1877 to King Alfonso XII of Spain.
It was kept at the Library of the Palacio Real,, where Puerto
Rican historian Lidio Cruz Monclova found it almost a hundred
years later. In 1977 the opera was premiered at the Teatro
Tapia in San Juan, directed by Camelia Ortiz del Rivero. There
is a microfilm copy of the complete opera at the Library of the
University of Puerto Rico. It is an opera in three acts with
book by Martín Travieso.
B. The opera was reorchestrated, revised and reconstructed by

Rafael Aponte Ledée, San Juan, June 2, 1971. Photocopy of
f
581
Act III in manuscript by Aponte Ledée (AGPR/GUT 20). It in

cludes: Preludio in G Major (tenor-Macias- with lyrics in
Spanish and piano accompaniment), Andante moderato in A minor
(duet of Macias and .Elvira— soprano). Adagio in D minor/Major
(duet Elvira and Macias), Allegro moderato in D Major but end
ing in E flat Major (same voices). Allegretto in A flat Major,
Allegro in F Major, Andante in F minor/Major (Elvira, Macias,
and Fernán). Lyrics begin with: "Puro como los ángeles, puro
fue también mi amor . . . " ("Pure as the angels, pure was also
my love . . . "). This version has never been performed.
C. Copy of Act III made by Enriquillo Cerón on July 29, 1971

(Caguas, 743-8667). Voice of tenor in tenor clef. The sub
titles are "Romanera" .same as Preludio), "Dúo del Macias"
(same as Andante Moderato), "Más que rumor una llave" (same
as Adagio), "Ultimo final" (same as Allegro Moderato), "¡Co
barde!, voy a volver" (same as Allegro (AGPR/GUT 20).
33. Magnificat a tres voces (VII)
This composition for three voices and chorus was written in

1860 in honor of the Virgin, but was never finished. Sections
of the lyrics were eliminated so that it could be sung more
easily. See Braulio Dueño's commentaries in Fernando Callejo,
114.
A. Maestoso in A minor. Section ends in the leading n o t e and

continues in A Major. Tenor 1 with lyrics "Magnificat anima
mea . . . ;" tenors 2 begin in the next section with lyrics
"Dominum anima mea," together with basses. Instrument: bom
barding . (Gustavo Batista Collection)
B. Parts for bass, soprano (tiple), bombarding, and double

bass. This is the same composition, but it begins in C minor
and ends in C Major. It includes lyrics. (Gustavo Batista
Collection)
C. Parts for flute, violins 1 and 2, double bass, first and

second voice with lyrics, bass without lyrics. It is the same
composition but in B minor/Major. Indication: Property of P.
Benavent, "San Germán, junio de 1894" (Gustavo Batista Collec
tion) .
34. manganilla. La (III)
Overture listed as N/A by Batista, 197. Mentioned by Callejo,

114.
F
582
35. Marcha fúnebre (Vil)
Work composed in honor of Alejandro Tapia for a posthumous

homage in 1883. It is for grand orchestra and is mentioned by
Batista, 133. N/A
36. Misa (VII)
Mass in G minor. It includes "Kirie" (Andantino). "Gloria"

(Moderato and Andante), "Credo" (Moderato, Andante, Adagio,
(
Allegro), "Sanctus" Andante), "Banedictus” (Lento), "Agnus"
(Moderato). Parts for flute, violin 2, clarinet, horns in C,
voice 2. (Gustavo Batista Collection)
37. Misa a dos contraltos de niños o dos bajos (Vil)
Mass in C Major, written in February, 1859. Orchestral score

includes violins 1 and 2, flute, clarinet, horn in F, bass,
voices 1 and 2 (for contralto or basses). In includes "Kirie"
(Andante). "Gloria" (Moderato. Andante. Allegro Moderato).
"Credo" and Lento, all in C Major; Largo in F Major, Allegro
in C Major, "Sanctus" (Lento), Moderato and "Benedictus" (Muy
lento) in F Major; "Agnus" (Lento) in C Major. "Primera res
puesta para los !Dominus Vobiscum'" ("First response to the
*Lominus Vobiscum'") in C Major, "Segunda respuesta" ("Second
response") in B flat Major, "Ofertorio" in C Major. Photocopy
of manuscript (AGPR/GUT 9B). Manuscript is the personal pro
perty of Batista. This is probably the first work written by
Gutierrez for the Cathedral Chapel, since he was named musi
cian there in 1858.
38. Misa a dos voces (VII)
Mass in B flat Major for two voices and organ. "Kirie"(Andan

te and Allegretto), "Gloria" (Moderato) in A major, "Quomam
tu solus" (Andante) in D major, "Incamatus" (Andante) in
F minor, "Crucifictus" (Adagio) in D Major, Allegro in A Major,
"Sanctus" (Andantino) in E flat Major, "Benedictus" (Adagio)
in B flat Major. Pages 7 and 8 of the manuscript are missing
(AGPR/Box 2/envelope 1).
39. Misa a dos voces (VII)
Batista has a copy of this composition, with a note at the

bottom of the page: "Instrumentación del mismo autor. Copia
de Manuel E. Lacomba. San Juan, Puerto Rico, agosto de 1924."
It is not the same composition as the other Mass with the same
title. Manuscript has the voice 2 only and includes: "Kirie"
f '
583
(Moderato), "Gloria" (Moderato and Andante in G Major);Allegro,

"Credo" (Moderato, Lento, Moderato), "Sanctus," "Benedictus"
(Andante) in B flat Major, "Agnus" (Andante, Moderato) in G
Major, but ending in dominant. (Gustavo Batista Collection)
AO. Misa a dúo para coro y orquesta (VII)
Mass written in 1872. It includes voices 1 and 2, flute, clar

inet • in C, violin 1, bombarding. Andantino ("Kirie") in C
Major, Moderato ("Gloria") in B flat Major, "Quoniam" inEflat
Major, Allegro.in B flat Major, Moderato ("Credo") in B flat
Major, "Incamatus" in B flat Major, Adagio in E flat Major,
Allegretto in B flat Major, Andante ("Sanctus") in F Major,
Adagio ("Benedictus") in B flat Major, Andante ("Agnus") in
B flat Major. Manuscript which belonged to Heraclio Meléndez
(AGPR/GDT 9).
Al. Misa de Jueves Santo (VII)
Mass listed as-N/A by Batista, 197. Dueño explains that

Gutiérrez only composed the "Kirie" and the "Gloria" for this
Mass. See his article in Callejo, 113.
42. Misa de la Anunciación (VII)
Mass for three voices, in F minor. See the voice of tenor 2

on the last pages of the second voice of "Misa de San José."
It includes "Kirie" in A minor, "Gloria" in C Major, '^Quoniam"
in A major, "Credo" in D minor, "Sanctus" in A minor, "Bene
dictus" in A Major, "Agnus" in A minor (AGPR/GUT IQ).
43. Misa de la anunciata (VII)
Mass for flute, clarinet 1 in C, cornet in B flat, horns in F,

bombardino, violins 1 and 2, double bass, tenor. Moderato in
E flat Major, "Gloria" (Moderato) in F Major, Lento in FMajor,
Allegro in D Major, "Credo" (Moderato) in F Major which ends
in the dominant. Lento in B flat Major, Allegro in F Major,
"Ofertorio" (Moderato), "Sanctus" and "Benedictus" in F Major
but ending in note A, "Agnus" in F Major. (Gustavo Batista
Collection) This is not the same composition as "Misa de la
Anunciación."
44. Misa de La Ascensión (VII)
Mass for -three voices. Its Offertory has been praised as

being very beautiful. See Dueño in Callejo, 113. N/A
F ““ .....
584
45. Misa de la Circuncisión (VII)
Mass for three voices listed.as N/A by Batista, 197. Mentioned

in Callejo, 104.
46. Misa de la Purificación (VII)
Mass for three voices.listed as N/A by. Batista, 197. Mentioned-

in Callejo, 104 and 111.
47. Misa de Noche Buena (VII)

3
Mass with a beautiful zortzico with-variations for .violin,
flute, and clarinets. Listed as N/A by Batista, 197.
48. Misa de Requiem (VII)
Mass for violins 1 and 2, voices 1 and 2 with lyrics, and

flute. "Kirie" (Andante) in E flat Major, "Sequentia" (Mode-
rato) in E flat Major, "Sanctus" and "Agnus" (Larghetto) in
B flat Major, "Benedictus" (Andante) in G minor. (Gustavo
Batista Collection).
Misa de Requiem a dos voces (VII)
This is the same composition as "Misa de Requiem." The manu

script only includes the violin 1 part and is kept in a sepa
rate envelope. It includes "Kirie" (Largo) , and "Sequentia"
(Andante) in E flat Major; "Sanctus" (Andante), "Benedictus"
(Andante) and "Agnus Dei" (Andante) in G minor. (Gustavo
Batista Collection)
49. Misa de Requiem No. 2 (VII)
A. Indication on front page: "Dedicada por su autor a la

muerte de N.S. Jesucristo" ("Dedicated by its author to the
death of Our Lord Jesus Christ"). Dated 1867. The manuscript
is a draft copy, and the orchestra score includes: flute.3
3 The zortzico is a dance from the Basque country in the northeast

of Spain. It is lively and the word indicates it is to be per
formed by eight people. (Information provided by Eduardo Zaldúa
Vivas, a Freshman at the University of Puerto Rico, whose permanent
residence is in San Sebastian, Spain.)
w
585
clarinet in B flat, horns in E flat, bombarding, violins land

2, tenors, baritone, bass. The first part is an Allegro tfader-
ato in C minor which includes a note by the author on the
bottom of page 2: "Sr amigo: Si todas mis obras adolecen de
cierta monotonía y trivialidad, ésta adolece en grado superla
tivo, por la corta extensión que ofrece la tessitura y calidad
de dos bajotes como nosotros. Creo que el clarinete -debe ser
transportado a Si b. Suyo, F. Gutiérrez y Espinosa." ("Mr.
friend: If all of my works suffer of a certain monotony and
triviality this one suffers it in a superlative degree, due to
the short length that offers the tessitura and capacity of two
basses like us. I believe that the clarinet should be trans
ported to B flat. Yours, F. Gutiérrez y Espinosa."); '^Segunda‘
parte" Indicates Allegro Moderato ("Sequentia") and is also in
C minor; it ends in the dominant chord. "Tercera Parte" is
also titled "Misa pequeña de difuntos;" it is a Moderato
assai also in C minor which ends in the dominant. "Benedictus"
for strings only is a Moderato dedicated to his friend Don
Aurelio Dueño, and indicates "Recuerdos de Stradella;" it is
also in C minor and ends in the dominant. "Agnus" is an Andan
te for all the instruments and voices, in C minor. The last
page indicates July, 1867. (Gustavo Batista Collection)
B. Parts for the instruments: flute, c o m e t in B flat (not

included in score), clarinets in B flat 1 and 2, saxofón in E
flat (not included in score), horns, bombarding, violins land
2, viola (not included in score), tenors 1 and 2 (as soloists
they are not included in score), contralto (not included in
score), chorus of tenors 1 and 2, basses. (Gustavo Batista
Collection)
50. Misa de San José (Vil)
Mass for chorus and orchestra. It includes tenor 1 with lyrics,

second voice (probably tenor 2), violins 1 and 2, cello, flute,
clarinets 1 and 2 in C, horns in D, bombarding, double bass.
"Kirie," "Gloria," and "Quoniam" in G Major, "Credo" in C Ma
jor, "Crucifixus" in F Major, "Et resurrecsi" in A Major,
"Sanctus," "Agnus," and "Benedictus" in C Major. Original
manuscript (AGPR/GUT 10).
51. Misa de San Juan (VII)
Mass for four voices and grand orchestra. Listed as N/A by

Batista, 197. Composed in 1861, this work is dedicated to
Bishop Benigno Carrión of Málaga, Spain. Mentioned by Callejo,
113.
f ..........
586
52. Misa de Santa Cecilia (VII)
Mass for four voices, chorus, and orchestra. This composition

won a Gold Medal. Listed as N/A by Batista, 197. It was pre
miered in November, 1865, during the celebrations of the
Patroness of Music. Mentioned by Callejo, 113.
53. Misa del Corpus Christi (VII)
Mass for three voices listed as N/A by Batista, 197. Manticned

by Callejo, 104.
* Misa en Do Mayor (VII)
Mass mentioned in Callejo, 105, as having been interpreted in

"all the churches of the Island." The researcher believes
this might be the same composition as "Misa a dos contraltos
de niños o dos bajos" or "Misa pequeña en Do Mayor."
54. Misa para la Pascua de Resurrección (VII)
Mass premiered in 1876. Mentioned by Batista, 119. N/A
55. Misa para voces de niños (VII)
Mass; part for bass with lyrics. The manuscript uses black
ink for the music, and violet ink for the lyrics. "Kirie"
(Lento), and "Gloria" (Andante) in B flat; "Credo" (Moderato)
in A minor; Andantino in B flat Major; Allegro in G Major;
"Sanctus," "Benedictus" (Lento), and Marcial in A minor;
"Agnus" (Lento) in C Major. (Gustavo Batista Collection)
56. Misa pastorela (VII)
Mass in C Major. It includes the part for voice 1 with "Kirie"

(Andante), "Gloria" (Allegro),Andante, Allegro, and Moderato.
Voice 2 includes an additional section titled "Gloria" but
which is really the "Credo." Manuscript from the private
collection of Gustavo Batista.
57. Misa pequeña en do Mayor (VII)
Mass for two voices and orchestra, with a "Benedictus" for

flute. Mentioned in Callejo, 113. N/A
f ' "" ..... .

587
58. Misa pequeña en la menor (VII)
Mass for two voices. The "Qui tollis" is a beautiful cantabile

according to Braulio Dueño. See his article in Fernando
Callejo, 113. Listed as N/A by Batista,- 197.
* Misa pequeña de difuntos (VII)
See "Misa de Requiem No. 2."
59. Miserere (VII)
Religious composition for flute, clarinets in B flat 1 and 2,

horns in E flat, bombardino, violin 2, cello, double bass, con
tralto with lyrics, tenors I and 2, bass with lyrics. It in
cludes Lento, No. 2 and No. 3 in B flat Major; No. 4 (ffoderato).
No. 5 (Adagio) , and No. 7 (Moderato) in E flat Major; No.8 is.
the same as No. 1; No. 9 is the same as No. 2; No. 10 is the
same as No. 3; No. 11 is the "Conclusión" (Allegro) in B flat
Major: "Christus" in C miner; "2o Día" in C flat Major.
(Gustavo Batista Collection) It has been said that the "Mise
rere" is: "Una de las más inspiradas obras del maestro. El
estilo, a veces sobrio y patético, inspira . . . pavor, . . .
tal es la fuerza de expresión que empleó en casi todos los
pasajes de la obra." ("One of the most inspired works of the
maestro. The style, sometimes simple and pathetic, inspires
. - . fear, . . . that is the expressive strength which he
employed in almost all the passages of the work.") See Braulio
Dueño in Fernando Callejo, 113.
60. No recorderis (VII)
It includes the part for tenor only. Moderato in G minor end

ing in the leading tone. Allegro Moderato in G harmonic minor.
Andante in G natural minor, Moderato in G harmonic crinar. Lento
in E flat Major ending in note F sharp, Moderato in G minor
ending in note F sharp. Allegro Moderato in the same tonality
but with no signature. Andante ending in note G. (Gustavo
Batista Collection)
61. Notebook with religious compositions (without title) (VII)
It includes : "Padre nuestro" (Allegro in F Major), "Dios te

salve 'por el viejo'" (Allegretto in F Major), "Dios te salve
Maria” in C Major, "Gloria Patri" in F Major, "El pan nuestro"
(Andante in F Major), "El pan nuestro" in C Major, "Santa Ma
ria" (Allegro Vivo in F Major), "Sicut erat" in F Major, "Se
guidillas al Niño Jesús" in C Major, "Plegaria No. 2" inCMa-
F ' . ...........
588
jor, "Letanías pastoriles" (Moderato in C Major), without

title (Moderato in C Major), "Himno marcial" in E minor, "Ple
garia" (Moderato pastoril) in B flat Major, "Cómodo" i n g Fla<-
Major, "Tercer canto para niños" (Moderato pastoril in B -Flat- .
Major), "Gozos a Nuestra Señora de la Providencia para voces
de niños" (dated 1895), "Gozos No. 4" (Moderato pastoril for
organ, in F Major), "Primera estrofa a dúo" in B flat Major
but ending in C Major, "Segunda estrofa a solo" in F Major but
ending in the chord of A. It also includes "Cantos de niños en
obsequio de Nuestra Señora de la Providencia" : Marcial No. 6
in C Major, "Estrofa No. 5" (Moderato pastoril), "No. 7 Honoi^
Honor" (Marcial) in C Major, "Estrofa" in F Major. (Gustavo
Batista Collection) See similar notebook titled "Cuaderno con
estudios para piano."
62. Novenario de la Concepción (VII)
A. Religious music for clarinet 1, double bass, saxophone in

E flat (only the Moderato and "Magnificat"), contralto 2, and
second voice (only the "Magnificat"). It includes "AveMaria"
(Maestoso), "Gozos primeros" (Moderato), "Estrofas 1, 2 y 3,"
"Magnificat," "Totta pulchra," "Segundos gozos” with chorus,
"Estrofas 1, 2 y 3"- (AGPR/GUT 11).
* Novenario de Nuestra Señora de Belén (Vil)
See "Salve a solo" in C Major. The work is mentioned as "No

venario de Nuestra Señora de Belén" in Braulio Dueño's article
in Fernando Callejo, 114.
63. Novenario de San Francisco (VII)
Listed as N/A by Batista, 197. Mentioned by Dueño in Callejo,

114.
64. Novenario de San Juan Bautista (Vil)
Listed as N/A by Batista, 197. Mentioned by Dueño in Callejo,

114.
65. Novenario de San Miguel (Vil)
Mentioned by Dueño in Callejo, 114. N/A
¥ ..
589
66. Novenario de Santa Rosa de Lima (Vil)
Mentioned by Dueño in Callejo» 114. N/A
* Obertura La familia (VI)
See "familia. La."
67. Ofertorio (VII)
Gutiérrez wrote an "Ofertorio" during the homily of a Mass,

which was interpreted in the same ceremony. Anecdote mentioned
by Batista, 93. This work could be one of the two entries
which follow, but it could also be a different work. N/A
68. Ofertorio (VII)
Offertory in C major. Andante with middle section in F Major.

Instruments: flute, violins 1 and 2, clarinet in C. bocfcardino,
double bass. (AGPR/Box 2/ envelope 1). See the reverse side
of the manuscript for "Dios te salve," a different ccnposition
also by Gutiérrez.
69. Ofertorio (VII)
Offertory in C Major. Lento with middle section in F Major.

Instruments: violin 1, double bass, clarinet in C, violin 2
* Oficio de difuntos No. 1 (Vil)
See "Vigilia de difuntos."
70. Parce mihi (VII)
Composition for the Office of the Dead. Obligado a barítono

(baritone solo) in B flat Major. It is a Lento and includes
the following instruments: flutes 1 and 2, clarinets in B
flat 1 and 2, saxophones in E flat 1 and 2, horns in D, bom
barding, double bass, violins 1 and 2, cello, bass, baritone
with lyrics. Indicationi "Maestro de Capilla, de la Catedral
de San Juan de Pto. Rico, 1871." (Gustavo Batista Collection)
71. parto de los montes. El (V)
Clarinet 2 part only. Largueto in F Major, Allegro in B flat

Major (62 measures with a rest; no melody or lyrics). Manuscript
r
590
of the Collection of Gustavo Batista. Described by Braulio

Dueño as a "symphonic toy," in Callejo, 15.
72. Pasión del Domingo de Ramos y Viernes Santo y Credo a dos

voces solas (VII)
Religious music "orquestado y aumentado" ("orchestrated and

"augmented") by Felipe Gutiérrez. Dated: 1870. tenuscript for
flute, clarinet in B flat, horns in E flat, violins 1 and 2,
cello, double bass, bombarding, tenor with lyrics, voice 2.
Twenty short melodies for "Domingo de Ramos," eighteen short
melodies for "Viernes Santo," and five short melodies for "Pa
sión da la Cruz." (Gustavo Batista's Collection).
73. Pasión del Viernes Santo (VII)
Religious work for chorus and orchestra. The composer is not

indicated, but the Archive has classified it as Gutierrez's.
It includes tenor with lyrics, flute, violins 1 and 2, clarinet
and bass. It includes seventeen short sections and "Adoración
de la Cruz" with three short sections. Manuscript uses violet
ink (AGPR/GUT 12). Lyrics: "Jesum Nazarenum, Nun quid et
74. peseta. La (VI)
Short symphony or overture for small orchestra, in C Major.

Andante and Allegro, dated November 14, 1883. Previous owner
was Manuel Lacomba. Horns part only (Gustavo Batista's Collec
tion) .
75. Petición A de clarinete (VII)
Work in G Major. It includes clarinet in C, bass, violins 1

and 2 (AGPR/GUT 16).
76. Petición a dúo, número 3 (Vil)
Work for flute and clarinet in G Major (AGPR/GUT 16).
77. Petición de clarinete número 2 (Vil)
Short melody in A minor for clarinet. Manuscript is found in

the same envelope as "Letanías de Nuestra Señora de Belén"
(AGPR/GUT 7).
591
78. Petición de violín, número 1 (VII)
Duet for violin and organ in B flat Major. Manuscript includes

the organ part only (AGPR/GUT 16).
79. Peticiones (VII)
Work for orchestra which includes: No. 1 (Lento) in Bflat Ma

jor, No. 2 (Lento) in G Major, No. 3 (Lento) in G major.Manu
script . has only two parts: violin 2 and bass (AGPR/GUT 13)
80. Peticiones de las siete palabras (VII)
Composition dated 1870. It includes flutes 1, 2, and 3, horns

in E flat. It is an unfinished composition in E flat Major
and it is written on the back page of "Reservas." (Gustavo
Batista Collection). This is not the same work as "Las siete
palabras."
81. recuerdo, El (III)
This is a polka written in 1856 and listed by Batista as N/A,

72, 197. He takes the reference from La Guirnalda, 1/3-4,
1856.
* Requiem a dos voces y orquesta (VII)
Mentioned in Callejo, 113. The researcher•believes it is the

same as "Misa de Requiem a dos voces."
* Requiem a tres voces (VII)
Mentioned in Callejo, 113, as of greater pro portions than the

one for two voices. The researcher believes it is the same as
"Misa de Requiem No. 2."
82. Reservas (VII)
Religious composition which includes: "Reservas" 1 and 4 as a

duet of tenor and baritone in B flat Major; "Reservas" 2 and 5
with lyrics "Adórate devote" as a baritone solo; Lento, Lar-
ghetto and Allegro Moderato; "Reservas" 3 and 6 as a tenor
solo. The very worn-out manuscript includes lyrics in voices.
J592
* Reservas de Octava de Corpus No. 10 (VII)
Gustavo Batista uses this title in the list of his.thesis. But

the manuscript indicates only "Reservas," in B flat Major.
It was composed in 1866. See previous entry.
83. Responso a dos voces (VII)
Work in E flat Major. Indication: "Compuesto por Don Felipe

Gutiérrez, Maestro de Capilla de la Santa Iglesia Catedral de
Pto. Rico, Oct. de 1858" ("Composed by Mr. Felipe Gutiérrez,
Chapel Master of the Sacred Cathedral Church of Puerto Rico,
October 1858"). Parts for tenors 1 and 2 are titl e d'Responso
de entierro" ("Burial responso"). Instruments: violin, flute,
French horn in E flat, bombarding, and bass. Instruments are
indicated on the cover. It includes a Moderato and also an
Andante on the back page. (Gustavo Batista Collection)
* Responso de entierro (VII)
See "Responso a dos voces."
84. Responso número 1 (Vil)
Moderato in B minor. Lyrics begin with "Libérame domine."

Instruments: bass, flute, tenors 1 and 2, clarinet in C, ban-
bar dino, violin? 1 and 2. (AGPR/Box 2/envelope 1).
85. Responso número 2 (Vil)
Composition with tenor part only. Moderato in G minor ending

in leading tone. Allegro moderato. Andante (ending in note B),
Moderato. (Gustave Batista Collection)
86. Responso para entierros. Parce mihi (VII)
Manuscript which was the property of Jesús Rendón Almira.

Instruments: double bass, cello, tenors 1 and 2 with lyrics,
flutes 1 and 2, clarinet, bombardi.no, violins 1 and 2. It
includes Moderato in C minor. Andantino, "Ynvitatorio" (with
Maestoso in D Major, "Salmo" No. 1 in E flat. No. 2 and No.5
Tacet, No. 3 in G minor. No. 4 in E flat Major, No. 6 in G mi
nor ending in note D); and Moderato in C minor. (Gustavo
Batista Collecion) This is not the same composition as "Pare
mihi" listed previously.
f “ —
g
593
87. Salve (VII)
Work in C Major included on the same manuscript as "Gozos de

la Inmaculada Concepción." Parts for flute 1, clarinet in
C 1 and 2, violins 1 and 2, double bass. (Gustavo Batista
Collection)
88. Salve a coro (VII)
Religious composition in F Major for voices and organ. The

manuscript includes lyrics: "Salve regina mater . . . "
89. Salve a cuatro voces, coro y orquesta (VII)
Work mentioned by Dueño in Callejo, 114. N/A
90. Salve a dúo (VII)
A. Composition in B flat Major for two voices and organ. Ma-

derato marcial in C Major with lyrics "Salve, salve," Andante
sostenuto in E flat Major with lyrics "Eja ergo," Duo in the
same tonality but modulating to G Major, Allegro deciso in E
flat major with lyrics "0 clemens" (it ends in dominant seventh
chord). Coda includes Largo with lyrics "0 clemens" (ends in
dominant seventh chord), and Allegro ending in E flat Major.
The manuscript is an organ reduction. (Gustavo Batista Collec
tion)
B. Second manuscript of the same work, dated 1872. It indi

cates there are ten parts for the orchestra. Orchestral
score includes voices 1 and 2, flute, trumpet, bass, violins
1 and 2. Parts for instruments: tenors, flute, violin.
Additional parts not included in score: c o m e t in B flat,
clarinets 1 and 2, horns in E flat, bombardino. (Gustavo
Batista Collection)
Composition in E flat Major (Gustavo Batista Collection but

N/A).*
2
9
Composition for two voices in F Major. There are two copies

of voice 1 and one copy of voice 2. Lyrics: "Salve Regina,
Mater misericordie . . . " Manuscript (AGPR/GUT 15 A).
W ..............
594
93. Salve a dúo de contralto (VII)
Composition for two contraltos and piano in C Major. Lyrics:

"Salve regina mater misericordie." Manuscript signed by
F. Verar (AGPR/GUT 15).
94. Salve a dúo número 1 (VII)
This composition belongs to the Segunda serie (Second series).

Religious melody in F major. Andante: voices 1 and 2 with
lyrics "Salve regina mater misericordie," violin 2, clarinet,
bombarding, flute. Manuscript (AGPR/GUT 3).
95. Salve a dúo número 1 -(obligada a tenor) (VII)
A. Composition in C major which was originally the property

of José Rendon. It includes a Maestoso in C Major, Moderato
in F Major, Andante in D minor/Major. There is a reduction
(probably for organ), and parts for horns in C. bombarding,
violins 1 and 2, tenors 1 and 2 with, lyrics in Latin, second
voice (for girls). (Gustavo Batista Collection)
B. There is an additional manuscript of the same composition,

and it includes the same instruments except the saxophone,
but it has two flutes instead of one. It was copied, and pre
viously owned, by Manuel E. Lacomba, in Hatillo on October 2,
1895. (Gustavo Batista Collection)
This composition belongs to the Segunda serie. Religious mel

ody. in C Major. Lento with voices 1 and 2, violin 2, clari
net, flute, and bombarding. Manuscript (AGPR/GUT 3). Lyrics:
"Salve Regina . ~ T”158
9
7
This work is also identified as "Salve de novena." Maestoso

in G Major. Instruments: double bass, voice 1 and baritone
with lyrics "Salve regina, regina, regina," clarinet, violin 2,
flute, b ^^ ar di n o. Manuscript (AGPR/GUT 3).
98. Salve a solo (VII)
Indication: "Por Don Felipe Gutiérrez y Espinosa, Maestro de

Capilla que fue de la Catedral de San Juan de Pto. Rico. Es
trenada en el Novenario de Belén. Año 1865." ("By Mr.Felipe
Gutiérrez y Espinosa, who was Chapel Master of the Cathedral
595
of San Juan of Puerto Rico. Premiered in the Novena of [Our

Lady of 1 Bethlehem. Year 1865").
A. Lento in C Major with lyrics in Latin. Organ reduction.
B. Orchestral score includes violins 1 and 2, flute, clarinet,

horns in C, bombardino, double bass, chorus of tenors, contral
tos, and basses. This score has a different title: "Salvede
Novena No. 2."
C. Parts for instruments: flute, clarinet, horns, barbardino.

violins 1 and 2, double bass, contralto with lyrics, chorus
of baritones (four copies in manuscript), tenor, chorus of
tenors. (Gustavo Batista Collection)
99. Salve de gallo (spelled "Salve de gayo") (VII)
A. Composition for orchestra. Orchestral score: tenor, bari

tone, violins 1 and 2, flutes, clarinets, horns in D, bcnfear-
dino, cello, double bass. Andante begins in A minor but ends
in the dominant chord. Allegro moderato in A Major (tenor and
baritone duet). Andantino sostenuto e pomposo in F Major,
Allegro deciso in C major. Lento in A minor ending in dominant,
last section ending in A major.
B. Parts for instruments: clarinet, flute, horns in D, ban-

bardino, violins 1 and 2, cello, tenor 1 with lyrics "Ad te,
ad te,'1 tenor 2, baritone with lyrics "Salve Regina."
C. Additional instrument which is not included in the score:

cornet in B flat.
D. Draft copy by the composer includes violins 1 and 2, flutes

1 and 2, clarinet, horn in D, bass, and baritone. (Allof.the
manuscripts are from the Gustavo Batista Collection)
* Salve de novena (VII)
See "Salve a dúo número 3."
* Salve de novena No. 2 (VII)
See "Salve a solo" in C Major.
100. Salve grande a dos voces y coro (VII)
A. Composition written in 1878. Orchestral score includes

flute, clarinets in B flat, cornet in B flat, horns in E flat.
596
trombones, violins 1 and 2, double bass, chorus, tenor. The

manuscript is a draft by the composer and includes Marcial in
B flat. Lento d n E flat. Allegro vivo in B flat ending in a
seventh chord on G, Andantino in B flat.
B. Manuscript of parts: violin 1, horns in E flat, cello,

trombones, violin 2, double bass, chorus for children with .
lyrics "Salve," first and second voice, contraltos, cornet in
B flat, clarinets in B flat 1 and 2, flute. (Gustavo Batista
Collection)
101. Salve Mediana Núm. 7 del Patrón San Juan (VII)
A. Orchestral score for flute* clarinet, violins 1 and 2,

voices 1 and 2, basses, horns in C, flute. Draft copy in ink.
Allegro moderato in C includes cues for lyrics. Lento in A
flat Major, Allegro in A major (ends in the dominant chord).
Largo in A minor (ends in t'ne dominant chord) with second
section in A major.
B. Parts for instruments: flute, clarinets in C 1 and 2,

bombarding (not in score), horns in F (instead of C as in
dicated in the orchestral score; but the music is the same),
violins 1 and 2, double bass (not in score), tenors 1 and 2
with lyrics "Salve, salve regina," bass with lyrics.
C. Parts for cornet in B flat (not in score) and trompa-bom-

bardino (it is a hybrid instrument; the bell looks to the back
instead of to the side; it was in use in the 1880’s). The
manuscript of the trompa-bombardino has another composition:
"Letanías" (it includes Allegro Moderato in C and Andante in
D minor). (Gustavo Batista Collection)
102. Salve número 3 para dos voces y orquesta (VII)
Work in G Major. Manuscript indicates: "Por Don Felipe

Gutiérrez, Maestro de Capilla que fue de la Catedral de Pto.
Rico." Instruments: two voices, violins 1 and 2, double bass,
flute, clarinet, horns 1 and 2, bombarding. Lyrics: "Salve
Regina mater." (Gustavo Batista Collection)
103. Salve número 5 a dos voces (VII)
Work in E flat Major. Lento. Manuscript includes parts for

flute, clarinet, bombardino. horns, violin 2, and double bass.
Voices are missing (Gustavo Batista Collection)
104. Salve número 8 (VII)
A. Andante in G Major, Allegro Moderato in B flat Major. Len

to in B flat Major and G Major. Instruments and voices:
voices 1 and 2, violin 2, horn in D, clarinet in D, badbardino,
and bass (AGPR/Box 2/envelope 1).
B. Organ part transported to E Major, G Major, G Major, and

E Major. Manuscript (AGPR/GUT 17 A).
105. Salve obligada de barítono (VII)
A. Work written in 1864. Andante in A minor. Allegro in A

Major, Andante sostenuto y pomposo in F Major, Allegro deciso
in E minor. Lento in A minor. Work for chorus and orchestra.
Very worn-out manuscript includes the guión (piano score)
(AGPR/GUT 18A). Instrumental parts and voices: baritone
solo, contralto chorus, tenor 1, flute 1, clarinet 1, bombar
ding, and bass (AGPR/GUT 18 A). Lyrics in Latin. Previous
owners were Aguayo and Francisco Verar. Gutiérrez dedicated
this work to Francisco Oiler.
B. Gustavo Batista has the chorus part. The chorus enters

in the Andante sostenuto, after seven measures with lyrics
"Et Jesum benedictus."
106. Salve solemne (VII)
A. The title page indicates: "Compuesta siendo niño el autor

Felipe Gutiérrez. Corregida, puesta a dúo y pequeña orquesta
por el mismo autor. Año 1892. Propiedad de F. Gutiérrez."
("Composed when the author, Felipe Gutiérrez, was a child.
Corrected, and arranged for duet and small orchestra by the
author himself. Year 1892. Property of Felipe Gutiérrez.")
Orchestral score includes flute, clarinets in B flat 1 and 2,
horns in E flat, violins 1 and 2, tenors 1 and 2, bombardino,
and basses. It includes: Lento in G minor/B flat Major,
Allegro moderato in E flat Major, Andante lento in C minor,
last section in E flat Major. It includes lyrics in Latin.
B. Parts for the instruments: flute, horns in E flat, bom

bardino, violin 1 and 2, double bass, first voice (dated
1893), second voice, cornet in B flat (not included in orches
tral score), clarinets in B flat 1 and 2. (Gustavo Batista
Collection).
107. Secuencia de Resurreción y Corpus (spelled "Sequentia")(y[I)
Andante in G minor. Parts for tenors 1 and 2, clarinet, flute,

horns in E flat, violin 1 and 2, part in F clef but without
indicating the instrument. All of the manuscripts, except
598
the last one, also have a Moderato, indicating " D e .Corpus" and
lyrics "Santa Sión salva . . . " It is in A minor. Both
parts seem sections of the same composition. (Gustavo Batista
Collection)
108. Segunda lamentación (VII)
Work for three voices, listed as N/A by Gustavo Batista in

his thesis, 197. Mentioned in Callejo, 105, as a work to be
sung on Holy Wednesday.
109. Septenario de Dolores (VII)
Mentioned by Dueño in Calléjo, 114. N/A
110. Setimino (VII)
Work in A minor. Part for horns in D. It is kept in the same

envelope as "Conclusión No. 5" (Gustavo Batista Collection).
111. siete palabras. Las ( V jl I )
A. Composition written in 1892 for voices and orchestra.

Lento with "Yntroducción' y segunda palabra" in B flat Major,
"Primera y tercera palabra" in the same tonality, "Cuarta y
serta palabra" in E flat Major, "Quinta palabra" and "Sép
tima palabra" in the same tonality. Parts for violin 1 and 2,
clarinet, flute and cornet in B flat. Other parts using
larger and vertical papers, but also manuscripts; horn in E
flat, bass, bombardino, tenor with lyrics: "Ai calvario al
mas llegad, que nuestro dulce Jesús desde el ara de la Cruz
hoy a todos quiere hablar . . . " ("Souls, come to the Calvary
because our sweet Jesus, from the altar of the Cross, wants
to speak to all today . . . "), baritone with lyrics, bass
with lyrics. (Gustavo Batista Collection)
B. According to Braulio Dueño, in his article in Callejo, 114,

this composition is careless: " . . . no estuvo el Maestro a
la altura de su reputación" (" . . . the Maestro did not
meet the standards of his reputation").
C. Batista keeps a photocopy of Las siete palabras de Nuestro

Señor Jesucristo en la Cruz (Sermón predicado el Viernes Santo
en la Iglesia de la V.O.T. Franciscana, por el presbítero Don
Ramón P. Gandía, San Juan Bautista de Puerto Rico: Imp. de
"El Agente," 1882. This homily, could' have inspired Felipe
Gutiérrez*s work, since it was published the same year that
he wrote his compostion. The original book, found by Batista,
is now owned by art historian Arturo Dávila.
f " "" -
599
112. Sonatina de violín (VIII)
Work with piano or orchestral accompaniment. Listed as N/A

by Batista, 197. Mentioned in Callejo, 115.
113. Te Deum a dos voces (VII)
This work is for two voices with organ accompaniment. It is

in C Major and includes lyrics. Andante molto. Lento in A
flat Major ending in C chord, Marcial in F Major. There are
also parts for instruments: violins 1 and 2, horn in F,
c o m e t in B flat, clarinet in C 1 and 2, flute, tenors 1 and
2 with lyrics, cello, double bass (Gustavo Batista Collection).
114. Teoría de la música (VIII)
Short pamphlet of music theory published in 1875. Reference

found in El Boletín Mercantil, January 15, 1875, and quoted
by Batista, 119. N/A
*, Tercera lamentación (VII)
Work in G minor for three voices. It was composed fifteen

years after "Segunda lamentación." Dueño praises this work:
" . . . la obra en que con más profusión produjo el maestro
el tesoro de su vena inagotable." (" . . . the work in which
with more profusion the maestro produced the treasure of his
unending vein.") "Por otra parte, qué amarga tristeza revela
esa música sublime." ("On the other hand, what grievous sad
ness that sublime music reveals."). See Dueño's article in
Callejo, 114. See reference to mansucript found under "Inmen
tación tercera del Jueves Santo."
* Tercera Obertura (VIII)
See "La yuca."
115. Tonidán (IV)
Overture for gran orchestra. This work is listed as N/A by

Batista, 197. Mentioned in Callejo, 114-115.
116. Tota pulchra (VII)
The researcher believes this work might be Gutiérrez's al

though the composer is not indicated. It is dated November
25, 1891; it was the property of Juan Ibargoyen. Dedication:
"Música dedicata a María senza la labe." Work with Moderato
m- ■
600
assai in D major, Larghetto in F major, and "Virgo virgo" in

D major. Work for soprano,.tenor, and organ. Manuscript
117. Tota pulchra (spelled "Totta pulchra") (VII)
Work for piano and two voices in F Major. Lyrics: Totta pul
chra e Maria . . . " Manuscript which is the property of
Gustavo 3atista.
118. Tota pulchra (VII)
Work in E flat Major for horns in E flat , double bass, and

bombardino. Manuscript (Gustavo Batista Collection).
Work in C Major. Andante written on the back page of "Gozos

de la Purísima." Manuscript (AGPR/GUT 13 A). Instrument not
indicated. It has no lyrics.
Work in D minor, listed by Batista as if belonging to his

personal collection, but N/A.
Work in C minor listed by Batista as if belonging to his per

sonal collection, but N/A.
There is a reference to a "Totta pulchra" for chorus and or

chestra where the saxophone is used for the. first time in
Puerto Rico. See Dueño in Callejo, 114. N/A
123. Tota pulchra a tres voces (spelled "Totta pulchra a tres

voces") (VII)
Moderato in D major. Work for violins 1, 2, and 3, double

bass, clarinet 2, c o m e t in A, horn in F, bombardino, tenors
1 and 2, bass. Manuscript with lyrics in Latin (Gustavo
Batista Collection).
r
601
124. Vigilia de difuntos (VII)
"Ynvitatorio" in B minor, "Mitad," "Salmos" 1 and 4 (they are

the same). Nos. 2 and 5 (the same) in £ flat Major and end
ing in note G, Nos. 3 and 6 in B flat Major and ending in
note E. Instruments: flute, bombardino, bombardino-trompa,
violins 1 and 2, clarinets in C 1 and 2, double bass (with
title "Oficio de difuntos No. 1"), tenor 1 with lyrics "Regen
cui omnia . . . " (Gustavo Batista Collection).
125. Without title (VIII)
Unidentified composition classified under Gutiérrez at the

Archive. It is in C Major with four variations. The Coda
ends in F, probably using the Lydian mode. Manuscript of the
principal cornet only (AGPR/GUT 21).
126. yuca. La (V)
Work classified as the third overture, in A minor. Allegro

deciso, Andante cantabile. Allegro deciso. Parts for flute,
clarinets in C 1 and 2, viola, bass (Gustavo Batista Collec
tion) .
Religious music without indication of composer, which could be

Felipe Gutiérrez*s (Uncatalogued material at the AGPR).
Box 2, Envelope 1
. Meditación para flauta— Accompaniment for organ.

Meditación 1 (Andante)r-bombardino, clarinets 1 and 2, bass,
violins 1 and 2.
Melodía para violin— Accompaniment for organ.
Petición a la Virgen del Carmen (5, 6 and 7)——violins 1 and 2,
clarinet, bass.
Petición A de clarinete— violins 1 and 2, bass.
Petición B de violin— violins 1 and 2, bass.
Petición C de flauta— flute, violins 1 and 2, clarinet, bass.
Petición 4 — flute 1, contrebass, violins 1 and 2.
Petición 2— clarinete obligado, bass, violins 1 and 2.
Petición para flauta (Andante in F Major)— violins 1 and 2.
Petición 3-flauta obligada, bass, violins 1 and 2.
Responso a 3,.voces— two sopranos, bass and organ.
Responso a 3 voces— violin.1, flutes 1 and 2, bombardino in C.
Without title (work dedicated to José Rendón)— No. 1 (Lento),
No. 2 (Andante), No. 3 (Andante, "Petición de flauta").
No. 4 (Lento, "Petición de clarinete"). No. 5 ("Conclu
sión," Allegro moderato). No. 6 ("Conclusión"). Violin!•
Box 7, envelope RE 3— Letanía with lyrics in Latin. Owner: Verar.
W ‘ ' ' " '

Professor Annette.Saslaw

New York University
1988
f
602
APPENDIX K
COMPOSITIONS BY MANUEL GREGORIO TÁVAREZ (IN ALPHABETIAL ORDER)
1 2
* Amor desgraciado (III)
See "La balsamina."
1. ausencia. La (III)
Danza in B Maior. Photographic positives of printed copy

(AGPR/TAV 10); published in Manuel G. Tavárez, Vol. 1, San
Juan: Elisa Tavárez, 1925, 8-10 (AGPR/TAV 27B) j also pub
lished in Danzas puertorriqueñas de Manuel G. Tavárez, San
Juan: Sylvia María Lamoutte, 1974, 10-12 (University of Puer
to Rico Library).
2. ¡Ay! ¡Dime que si! (Ill)
Gran danza for piano in G Major. Dedication: "A su amigo

D. Pedro Daussá" ("To his friend Mr. Pedro Daussá"). Short
lyrics in six measures of the last section: "Ay, dime que si.
Ay, dime que sí, me muero por ti." ("Oh, say yes to me. Oh,
say yes to me, I'm dying for you."). Written in Ponce. Ori-
ginal manuscript (AGPR/TAV 1), photocopy of manuscript
(AGPR/TAV 11C).
3. balsamina. La (V)
Danza for piano in F Major. Written in Ponce. It has a sec

ond title: "Amor desgraciado." Dedication: "A su amigo
Don Rosendo Aquiles Colón" ("To his friend Mr. Rosendo Aquiles
Colón"). Original manuscript (AGPR/TAV 11). Galley proof
(AGPR/TAV 11B).
1 Works identified by an asterisk instead of a number refer to a

second title of a work already listed and numbered.
2 The Roman numerals refer to the thematical classification found

in a separate catalogue (see APPENDIX 0).
m ■- • *.. - - ............. "

603
4. cajíta de música. La (VIII)
Listed as "miscellaneous" by Amaury Veray, Manuel Gregorio

Tavárez: soledad y plenitud, 91. N/A
5. Carmela, La (I)
■Panza for piano in D flat Major. Dedication: "A la Sta. Da.

Carmen Otero" ("To Miss Carmen Otero"). Written in Humacao.
It has words written three times in the last section: "Carme-...
lita, sí" ("Carmelita, yes"). Photocopy of manuscript (AGPR/
TAV 11C); galley proof (AGPR/TAV 12B); original manuscript
(AGPR/TAV 12)
* cena de un juez. La (IV)
See "risa. La o La cena de un juez."
6. clavellina. La (V)
Danza for piano in A minor. Photographic negatives of photo

copy, n.n., n.p., n.d. (AGPR/TAV 13).
7. Clotilde, La (I)
Danza for piano in E flat Major. Dedication: "A la Sta. Da.

Clotilde Tavárez" ("To Miss Clotilde Tavárez"). Written in
Ponce. Original manuscript (AGPR/TAV 14A); galley proof
(AGPR/TAV 14); photocopy of manuscript (AGPR/TAV 11C).
8. Cómo me mira el viejo (IV)
Danza for piano in D Major. Photographic positives indicate

it was published in Album filarmónico No. 9, n.n.: Salavert
y Tavárez, September 1, 1863 (AGPR/TAV 2).
9. coqueta. La (II)
Danza in E flat Major. Photocopy of handwritten copy (AGPR/

TAV 15); handwritten copy (AGPR/TAV 15A); galley proof (AGPR/
TAV 15B); later and very neat handwritten copy in vertical
paper (AGPR/TAV 15C).
604
10. Cuadros musicales (VIII)
Listed as a "collection" by Veray, Manuel Gregorio Tavárez;

soledad y plenitud, 90. N/A
11. desengaño, £1 (III)
Danza fcr pian? in G minor. Dedication in the original manu

script: "A mi amigo Juan Padial" ("To my friend Juan Padiaí')-
(AGPR/TAV 3). Written in Humacao. Handwritten copy (AGPR/
TAV 3A); galley proof (AGPR/TAV 3C); handwritten copy which
indicates "Pepa Farros" (AGPR/TAV 3D); photocopy of manuscript.
(AGPR/TAV 11C).
12. Dicha fugaz (III)
Danza listed fav Vecav, Manuel Gregorio Tavárez: soledad y

plenitud, 90. N/A
13. Dolorita, La (I)
Danza listed by Veray, Manuel Gregorio Tavárez: soledad y

plenitud, 89. N/A
14. Elisa, La (I)
Danza for piano in D Major. Dedication: "A la Srta. Da.

Elisa Marien y de la Fuente" ("To Miss Elisa Marien y de la
Fuente"). Written in Caguas. Manuscript (AGPR/TAV 16); pho
tocopy of manuscript (AGPR/TAV 11c and 16A); galley proof
(AGPR/TAV 16B).
15. Fantasías criollas (VI C)
Listed as a "collection" by Veray, Manuel Gregorio Tavárez:

soledad y plenitud," 90. N/A
16. Filigrana (VIII)
Danza for piano in A flat Major. Dedication: "A la Sta. Da.

Josefina Polo y Giménez" ("To Miss Josefina Polo y Giménez").
Written in Caguas. Original manuscript (AGPR/TAV 9); photocopy
of manuscript (AGPR/TAV 11C); galley proof (AGPR/TAV 9B);later
handwritten copy using vertical paper (AGPR/TAV 9C).
W
605
17. hamaca. La (VI B)
Danza listed by Veray, Manuel Gregorio Tavárez: soledad y ple

nitud, 90. N/A
18. Hortencia, La (I)
Danza for piano in G Major. Manuscript (AGPR/TAV-17).
19. ilusión perdida. La (III)
Danza for piano in A flat Major but ending in £ Major. Manu

script (AGPR/TAV 36 D).
20. Lanceros (without title) (VIII)
Lanceros for orchestra. No. 1 in G major. No. 2 begins in

A minor and ends in F major. No. 3 in E minor. No. 4 in G Ma
jor, No. 5 begins in F major and ends in B flat Major. In:
struments: piccolo (flautín), violins 1 and 2, French horn,
bombarding, and bass. Manuscript which was owned by Rendon
(AGPR/TAV 23).
21. Lolita, La (I)
Danza for piano in E Major. Handwritten copy using vertical

paper (AGPR/TAV 18 A); incomplete handwritten copy (AGPR/TAV
18 B); copy which was made by José M. Pillich and was owned
by Dr. Esteban Moreno (AGPR/TAV 18).
22. Lopita, La (I)
Danza for piano in E flat Major. Handwritten copy in vertical

paper (AGPR/TAV 18 B). Copy published in Delirio Puerto-Ri-
queño by Sandalio Callejo. It has a note at the bottom of the
page: "Se publican dos danzas al mes los días 15 y 30. Los
suscritores podrán elegir la sección que más les guste, pues
se publicarán para piano, para dos flautas y para dos violines
Precio de suscripción - En la Capital, 38 centavos mensual,
adelantados. En la Isla 50 id. id., franco de porte. Se susr
cribe- En la casa de D. S. Callejo, Calle de Beneficencia
Núm. 11; y en la Imprenta del Comercio........ " ("Two dan
zas are published monthly, on the 15th and the 30th. The sub
scribers will be able to choose the section that pleases them
most, since they are published for piano, for two flutes, and
for two violins. Prize of subscription- In the Capital, 38
cents monthly, payable in advance. In the Island 50 id. id..
r
606
postpaid. To subscribe- At the house of Mr. S. CAllejo, 11

Beneficencia Street; and at the Printing House of Commerce . .
. . . ."). Dated: 186-. (AGPR/TAV 19). Later handwritten
copy using vertical paper with 12 staves, distributed by
Schirmer in New York (AGPR/TAV 19 B).
23. Luisa, La (I)
Danza for piano in E flat Major. Manuscript (AGPR/TAV 20);

handwritten copy made by Gadea in 1957 (AGPR/TAV 20 A).
24. Manuelita, La (I)
Danza for piano in D major. Dedication: "A la Sta. Da.

Manuela Logroño" ("To Miss Manuela Logroño”). Written in Pon
ce. Photocopy of original manuscript (AGPR/TAV 11 C); Manu
script (AGPR/TAV 21); galley proof (AGPR/TAV 21 B).
25. Marcha en honor de José Campeche (VII)
March probably written in 1865. Listed by Veray, Manuel

Gregorio Tavárez: soledad y plenitud, 91. N/A It is a fu
neral march that received a Gold Medal at the Feria-Exposición
of 1865, and was later played at the Ateneo, where a portrait
of Campeche was to be hung.
26. Margarita (I)
A. Danza de concierto for piano in E flat minor. Another

title is "Unico amor." Lyrics by Sisila A. de Astol. Galley
proof (AGPR/TAV 29 B). Published in Danzas puertorriqueñas
de Manuel G. Tavárez. San Juan: Sylvia Maria Lamoutte, 1974,
21-23 (University of Puerto Rico Library);published copy. Ba
zar Otero (kept in cover of work by Morel Campos) (AGPR/TAV
29); Autores americanos: Margarita (danza de salón para piano
Buenos Aires: n.p., n.d. (AGPR/TAV 29 A); Manuel G. Tavárez.
Vol. 1, 11-13 (AGPR/TAV 29 D). Published in San Juan: Elisa
Tavárez de Storer, 1932, with lyrics by Sisila A. de Astol
(AGPR/TAV 29 F and 29 G).
B. Handwritten copy by José M. Pillich in D minor (AGPR/TAV

29 E). It is the same composition.
C. Published in D minor in separata of Revista del Instituto

de Cultura Puertorriqueña. Núm. 48, 1959 (AGPR/TAV 29 D).
Arrangement by Leonardo Egúrbida (guitarrist) with accompani
ment in G clef and on the same staff as the melody.
E
607
D. Arrangement for the Quinteto Figueroa by Narciso and

Guillermo Figueroa. It includes piano, violins 1 and 2, viola,
cello (AGPR/Box 2/envelope 7).
* Mariquita, La (I)
See "Vals para piano.
27. ¿Me amas? (Ill)
Danza for piano in G major. Photographic positives, copyright

by Elisa Tavárez, 1925 (AGPR/TAV 30); published in Manuel G .
Tavárez, Vol. 1, 11-13 (AGPR/TAV 27 B); Danzas puertorriqueñas
de Manuel G. Tavárez, 13-15.
28. melancolía, la (III)
Danza for piano in A flat Major. Dedication: "A mi amigo Don

Ramón Sarriera" ("To my friend Mr. Ramón Sarriera"). Written
in Caguas. Photocopy of original manuscript (AGPR/TAV 11 C
and 22); handwritten copy by José M. Pillich with an expense
account on back page, indicating music sold (AGPR/TAV 22 D);
copy by Joaquin A. Burset, 1957 (AGPR/TAV 22 E); galley proof
(AGPR/TAV 22 C); handwritten copy in vertical paper (AGPR/
TAV 22 B). Handwritten copy in envelope 10, Box 3 of uncata
logued music at AGPR.
29. mirlo. El (V)
Danza for piano in D Major. Handwritten copy (AGPR/TAV 4).

Front page indicates "Pepita Forrod." Handwritten copy in
vertical paper (AGPR/TAV 4 A).
30. mismo Fernando, El (IV)
Danza for piano in G Major. Handwritten copy (AGPR/TAV 5) has

words of the title written in three places of the danza. The
copy has scratch musical annotations in different staves. When
the danza ends on page two, there is a waltz with Introduction
and first section in E flat, and second section in A flat.
The third section is also in A flat. The waltz's last three
measures are written on the front page of the danza
31. ondina. La (II)
Danza for piano in A flat major. "Dedicada a la Sta. Concep

exon Quiñones" ("Dedicated to Miss Concepción Quiñones ),
608
from San Germán. Copied by Juan Rivera Santiago, September 7,

1924 (AGPR/TAV 24). Galley proof (AGPR/TAV 24 A) with copy
right by Elisa Tavárez de Storer, 1925j published in Manuel G.
de Manuel G. Tavárez, 8-9.
32. Our Poet's Dying Request (IV)
Song for piano and voice in F minor and ending in Major. Dedi- -
cation in English: "Respectfully dedicated to Mrs. Anita
Graves-Terry ( Gauthier Benitez's 'Encargo a mis amigos')."
Lyrics by F. J. Amy. Published in New York: A. Cortada and
Co. (6 East 14th St.), 1887 (AGPR/TAV 31). The copy kept at
the Archive has lyrics in Spanish written in pencil; they
are not a translation but religious verses in honor of the
Virgen del Carmen.
33. pastorcito, El (spelled "El pastorcillo" in manuscript) (IV)
Waltz which begins in A flat Major and ends in D flat Major.

Dedication: "A mi distinguido amigo D. Olimpio Otero" ("To
my distinguished friend Mr. Olimpio Otero"). Pequeño vals de
salón sobre'un tema de'Lefebvre-Wely (Short salon waltz fol
lowing a theme by Lefebvre-Wely). Published in Barcelona: A.
Vidal y Roger, n.d. (AGPR/TAV 6). Op. 45. Listed by Bazar
Otero (catalogue in AGPR/Box 42).
34. perlita. La (V)
Danza cubana (Cuban danza) for piano in A Major. Photocopy of

manuscript (AGPR/TAV 11 C and 25); latar handwritten copy in
blue ink and vertical paper (AGPR/TAV 25 B). Researcher Elias
López Sobá indicates in envelope that this composition exhib
its the characteristics of the contradanza with a binary form
A (8 measures) / B (8 measures).
35. perlita. La (V)
Danza in B flat major. Original manuscript (AGPR/TAV 25 C).

This is a different composition from the danza cubana with
the same title.
36. Pobre corazón (III)
Danza for piano, in G Major. Photographic positives (AGPR/

TAV 32); published in Manuel G. Tavárez, Vol. 1, 17-18 (AGPR/
TAV 27 B); Danzas puertorriqueñas de Manuel G. Tavárez, 19-20.
r
609
* Potpourri de aires provinciales (VI C)
See "Souvenir de Puerto Rico (Potpourri de aires provincia^

les)."
37. proscripto. El (IV)
Song with lyrics by Francisco J. Amy. Listed by Veray, Manuel

Gregorio Tavárez: soledad y plenitud, 90. N/A
38. purpurina. La (V)
Danza for piano in A flat Major. Manuscript (AGPR/TAV 26);

photocopy of manuscript (AGPR/TAV 11 C); galley proof (AGPR/TAV.
26 B).
39. Recuerdos de antaño (III)
Danza listed by Veray. Manuel Gregorio Tavárez: soledad y ple

nitud, 90. N/A
40. Redención (VIII)
Gran marcha triunfal for piano. Work which received a prize

and is an "Homenaje a la Feria de Ponce" ("Homage to the Pence-.
Fair"). Introduction in F Major, March (Pomposo) in the same
tonality, Meno in A flat Major and F Major, Maestoso in C Ma
jor, Grandioso in C £Iajor, and Streta finale in F major. Pub
lished in Barcelona: Andrés Vidal y Roger, n.d. (AGPR/TAV 42).
41. risa. La o La cena de un juez (III)
Danza listed by Veray, Manuel Gregorio Tavárez: soledad v ple

nitud. 90. N/A
42. sensitiva. La (II)
Danza for piano in C minor. Dedication: "Homenaj§ a la Sta.

Carlota Arroyo" ("In honor of Miss Carlota Arroyo"). Photo
graphic positive (AGPR/TAV 27); Manuel G. Tavárez, Vol. 1,
3-5 (AGPR/TAV 27 B); Danzas puertorriqueñas de Manuel G.
Tavárez. 5-7.
610
43. Serenata (VI C)
Song for voice and piano, in G Major. Lyrics by Victor Hugo.

Manuscript is dated: Ponce, P. R., 17 de octubre, 1898, and
has lyrics in Spanish (AGPR/TAV 35). Although the manuscript
does not indicate it, the list of Amaury Veray mentions Hugo
as the author of the lyrics. (See Veray, Manuel Gregorio
Tavárez: soledad y plenitud, 190.)
44. Souvenir de Puerto Rico: potpourri de aires provinciales (VEC)..
Suite for piano. Maestoso in E flat Major, Allegretto giooosso

and "Seis" in E flat Major, Allego vivo in E flat Major and
modulation to D minor. Allegro ("Danza de Juan Aquilino") in
D minor. Allegro vivo in D Major, Allegro jocoso in G Major,
Semplice in E flat Major, section in E flat minor, section in
E flat Major, and Presto in the same tonality. Manuscript
(AGPR/TAV 33). Published with dedication: "A la Emperatriz
Eugenia" ( "To Empress Eugenia"), Barcelona: Andrés Vidal y
Roger, n.d. (AGPR/TAV 33 B). In the published copy the "Seis"
section is titled "Chanson des gibaros," and the Allegro vivo
in D minor is titled "Chanson des Mages." The next to the last
section in E flat minor indicates Andante expresivo. The wards-
of the "Chanson del Mages" are included: "Ya se van los reyes.
Bendito sea Dios, ellos van y vienen, y nosotros no." ("The
Kings are already leaving, blessed be God, they come and go,
but we do not.") Photographic positives (AGPR/TAV 33 D);
published in Ponce: Bazar Otero, n.d. (AGPR/TAV 33 E).
* Súplica a mis amigos (IV)
Song with lyrics by José Gautier Benitez. Listed by Veray,

Manuel Gregorio Tavárez: soledad y plenitud. 91. N/A This
could be the same composition as "Our Poet's Dying Request."
45. suspiro; El (III)
Danza for piano in E flat Major. Dedication: "A mi buen amgo

don Rafael León*" Original manuscript indicates it was com
posed in Ponce (AGPR/TAV 7 B); photocopy of manuscript (AGPR/
TAV 11 C); galley proof (AGPR/TAV 7); published as a separata
of the Revista del Instituto de Cultura Puertorriqueña, Núm.12,
1961 (AGPR/TAV 7 D).
46. Un día de campo (VI C)
Danza for piano in E flat Major. Photocopy of manuscripts

(.AGPR/TAV 11 D and 36); handwritten copy which uses Schirmer
w
611
brand paper (AGPR/TAV 36 C); there is also a galley proof

(AGPR/TAV 36 B).
47. Un recuerdito (III)
Danza capricho for piano in E flat Major. Dedication: "Home

naje a la notable pianista Anita Otero" ("Homage to the dis
tinguished pianist Anita Otero"). Published in Manuel G.
de Manuel G. Tavárez, 16-18 ; photographic positives (AGPR/TAV.
wr.
48. ün viaje a Bayamón (VI B)
Danza for piano in E flat Major. Manuscript (AGPR/TAV 38 C).

Published in handwriting as a separata in Delirio Puerto-Biquer-
ño, May 15, 1867, by Sandalio Callejo (AGPR/TAV 38). There
are missing envelopes at the Archive which supposedly contain
a photocopy of the manuscript (AGPR/TAV 38 A) and a handwrit
ten copy by Carlos Gadea (AGPR/TAV 28 B).
* Unico amor (III)
See "Margarita."
49. Vais (without title) (VIII)
Waltz in F minor. Incomplete manuscript (AGPR/TAV 5).
50. Vais (without title) (VIII)
Waltz in E flat Major,- written on the same paper as "El mismo

Fernando." Handwritten copy (AGPR/TAV 5).
51. Vals brillante de 1863 (VIII)
Waltz listed by Veray in Manuel Gregorio Tavárez: soledad y

plenitud, 90. N/A
52. Vals de salón para la mano izquierda (VIII)
Waltz for piano in D flat Major. Op. 62. Dedication: "Al

Sr. D. Nicolás Toledo" (To Mr. Nicolás Toledo"). Published
in Madrid: Antonio Romero, editor, n.d. (AGPR/TAV 39). The
copy kept at the Archive has a seal which reads: ''Librería
W. "
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission
612
Olimpio Otero, Atocha, Ponce, Pto. Rico" ("Bookstore Olimpio

Otero, Atocha, Ponce, Pto. Rico"). This work is written for
the left hand, as the title indicates.
53. Vals para piano (VIII)
Waltz in D Major which ends in F Major. Manuscript indicates

in pencil: "La Mariquita." Copy by José Pillich is owned by
pianist Félix Rivera. 3
54. 24 de junio!!, iiEl (VIII)
Sentimental waltz for piano which begins in D minor and ends

in D Major. Op. 123. Dedication: "A mi buen amigo José
Goicochea" ("To my good friend José Goicochea"). Besides the
dedication on the front page, the manuscript has an annotation
on the back page: "Querido José: Dispensa lo poco de mi dedi
catoria y considera lo mucho que te aprecia tu amigo; el au
tor." ("Dear José: Please forgive my plain dedication and
consider how much you are appreciated by your friend; the
author"). The manuscript is dated: July, *81 (AGPR/TAV 8 E);
handwritten copy made especially for Carmelita Morin by D. Co e
(AGPR/TAV 8); galley proof (AGPR/TAV 8A); published in Barce
lona: Edición Vidal y Roger, n.d. (AGPR/TAV 8 B). Seal indi
cates: Olimpio Otero, Atocha, Ponce. The copy is signed by
Julia Pasarell. Bazar Otero lists it as one of its publica
tions (see catalogue AGPR/ Box 42).
55. violeta. La (V)
Danza in E Major. Written in 1876. Dedication: "A la Srta.

Da. Obdulia Vergara y Cotto, Caguas" ("To Miss Obdulia Vergara
y Cotto, Caguas"). Photocopy of manuscript (AGPR/TAV 11 C).
Indication: "Para la Sra. Carlota Arroyo" ("To Mrs. Carlota
Arroyo") in manuscript (AGPR/TAV 28 A). Handwritten copy in
paper distributed by Schirmer (AGPR/TAV 28 D); additional copy
(AGPR/TAV 28 B); handwritten copy by Joaquín A. Burset, San
Juan, 1957 (AGPR/TAV 28 C).
56. virgen de Borinquen, La (VII)

Danza inspired in the narration of Dr. Betances. Listed by
Veray, Manuel Gregorio Tavárez: soledad y plenitud, 90. N/A3
3 Félix Rivera, a Master's student is beginning a research on the

interpretation of the danza vs. its written form.
f ....
613
APPENDIX L
COMPOSITIONS BY JUAN MOREL CAMPOS (IN ALPHABETICAL ORDER)
1. ¡A la Lidia! (I)1
Lanceros for piano. No. 1 in A Major, No. 2 in F Major, No.3

in B flat Major, No. A in D Major, No. 5 in A Major but ending
in E Major. Incomplete manuscript kept at the Archivo Genaal
de Puerto Rico (AGPR) in envelope MOR 228 T.
2. A la luna (V)
Danza for piano in A minor. Indication: "Arreglado de la gua

racha del mismo nombre" ("Arranged from the guaracha of the
same title"). Incomplete manuscript (AGPR/MOR 228 F).
3. A Manuel Corchado (VII)
Antonio Mirabal describes this composition as a melody. See

Proceres del arte. 23. Work not available (N/A) for examina
tion. This could be the same composition as the one called
"Alegoría fúnebre," played during Morel’s funeral by his or
chestra, La lira ponceSa.
[A toi]
Waltz which begins in D major and ends in G Major. It is in

cluded in Roberto Morel's notebooks for flutes, but since the
composer is not indicated, and it is not mentioned by biogra
phers, the researcher believes it is not a composition by Morel
Campos. This composer does not have other works with titles
in French, and the flute notebooks include works by other com
posers (AGPR/MOR 219 B).
A. ¡Acuérdate de mi! (Ill)
Danza for piano in F Major. Incomplete manuscript (AGPR/MOR

228 F). Published in Danzas de Juan Morel Campos, Vol. 5,

in a separate catalogue (see APPENDIX P).
W ■ ' ..................... '
614
San Juan: Instituto de Cultura Puertorriqueña, 1958, 29-30

(AGPR/MOR 226).
5. Adela, La (I)
Danza for piano in C Major. Incomplete manuscript (AGPR/MOR

228 G).
6. Adela María, La (I)
Danza in F major. Dedication: "Danza compuesta con motivo del

bautizo de la muñeca del mismo nombre y dedicada a la Srta.
Adela Cataf por J. M. Campos." ("Danza composed for the bap
tism of the doll of the same name and dedicated, to Miss Adela
Cataf by J. M. Campos.") Incomplete melody (AGPR/MOR 228 R).
7. .Adelaida (I)
A. Danza for piano in F major.. Incomplete manuscript (AGPR/

MOR 228 B). Dedication in manuscript: Para la Sra. Adelaida
Emmanuelli" ("For Mrs. Adelaida Emmanuelli"). (AGPR/MOR 2 and
2k).
B. Composition also included in handwritten notebooks for

flutes, which belonged to Roberto Morel y Carvajal of Ponce
(AGPR/MOR 219 B).
8. africana. La (II)
Danza in D major. It is included in Roberto Morel's notebooks

for flutes, but the part for flute 1 indicates it is by Juan
M. Campos and the part for flute 2 indicates it is by Juan
Santaella. (AGPR/MOR 219 B). See CHAPTER V for additional .
marks by the researcher.
9. Ahí va eso (VI A)
Danza listed by Mirabal, Proceres del arte, 24. N/A
10. Aires del país (VI C)
A. The manuscript's title is "Potpourri de aires puertorrique

ños (AGPR/MOR 147). It is a suite for piano which begins
with an introduction in E flat Major, and is fqllowed bv an
aguinaldo in the same tonality. Then follows Alio vivo in
615
C Major, "seis" in ..G major (the. "Seis de Andino"), a tran

sition, Vivo/Muy lente, "Danza mulata," Biumosso, .and a last .
section in B flat major. Morel adapts melodies taken from
the folklore for this piano arrangement.
B. Version of the previous manuscript with the title "Aires

del pais" published in Ponce: Hijos de Morel Campos, 1923
(AGPR/MOR 4 A). It begins with a Maestoso (same as manuscript
script's introduction) and is followed by a transitional sec
tion, leading to the "aguinaldo" (mispelled "agrimaldo" but
the same as in manuscript). Then follows another transitional .
phrase, Meno in F minor. Allegro in B flat Major (but with
constant modulations), "seis" (same as in manuscript), "Canto
jibaro" (which in manuscript is a part of the "Seis"),Allegro
/Largo (same as manuscript's Vivo/Muy Lento), "Danza mulata"
(mispelled "La mulata Dowza" but the same as in manuscript),
"Fandanguillo" (mispelled "fandanguielo"), and "La Borinqueña
(today's hymn) in G minor.
C. There is a short manuscript titled "Aires del pais: Borin-

quen" in C Major (AGPR/MOR 4). It does not include "La Borin
queña," as the title suggests, but only the "Seis" included
in the longer manuscript.
D. "Puerto Rico: Sinfonía sobre aires del pais" is a differ

ent composition in B flat Major. See later reference.
E. Arrangement in C minor, for flute, violins A and B, clari

net in B flat, trombone in C, bombardino in C. The handwrit
ten copy in Herminio Brau's Collection also includes a piano
reduction written in pencil (AGPR/Box 26/MOR 4E).
11. Al amado ausente (IV)
Romanza: song in D. major. Melody with lyrics by the author.

Manuscirpt (AGPR/MOR 7).
12. A1 saber (VIII)
School hymn for piano and voice (lyrics included) which bégins
and ends in C Major. Transcribed from the original music
written by the composer in Ponce, 1882, at the request of his
son, Plácido Morel Cantos, by Juan Francisco Acosta, in May,
1936. Manuscript (AGPR/MOR 14).
13. alborada. La (VI C)

Danza in G major. Manuscript includes the melody only (AGPR/
MOR 710).
¥ ..
616
14. Alcoholado Gattell, El (VI C)
Waltz for piano in A Major. Incomplete manuscript (AGPR/MOR

228 V).
* Alegoría fúnebre (VII)^
See "A Manuel Corchado."
15. Alegrías (III)
Biographers mention this danza as the third composition written

by Morel and believe it was written in 1876. Listed by Mixahal
24. N/A
16. Alemán castuso (IV)
Danza for piano in E flat Major. Incomplete manuscript (AGPR/

MOR 228 N).
17. Alma sublime (III)
A. Danza for piano in E (begins in Major and ends in minor).

Incomplete manuscript (AGPR/MOR 228 0 and 228 Q). Lyrics by
Mariano Abril included in published copy, Ponce: Otero y sobri- •
no, n.d. (AGPR/MOR 8 ). Galley proof (AGPR/MOR 205 H): photo
graphic negatives (AGPR/MOR 8 F); Danzas de Puerto Rico. New
York: Enrique Diaz, 1945, 1-3 (AGPR/MOR 220); Danzas puerto
rriqueñas para piano, Vol. 2, San Juan: G-iusti, n.d., 8-10
(AGPR/ Box 4), Danzas de Juan Morel Campos, Vol. 4, 31-33
(AGPR/MOR 225).
B. Arrangement for two flutes in handwritten notebooks which

belonged to Roberto Morel y Carvajal of Ponce (AGPR/MOR 219 C).
18. Amar es vivir (III)
Danza listed by Arjona Siaca, et al., Juan Morel Campos: bio

grafía , 117, and Mirabal, 24. N/A.

second title of a work already listed and numbered.
617
19. amiguita. La (II)
Polka for piano in £ flat Major. Incomplete manuscript (AGFR/

MOR 228 U).
20. Amistad (III)
Melody in E minor. Manuscript (AGPR/MOR 15). There is music

written on both sides of the paper, both in the same tonality
and tempo, but it is not clear whether they are part of the
same composition. This old document has figures of an expense
account at the bottom of the second page.
21. Amor en crescendo (III)
Danza for piano in F Major. Incomplete melody (AGPR/MOR 221);

incomplete manuscript for piano (AGPR/MOR 228G); complete
manuscript (AGPR/MOR 18); photographic positive of more recent
handwritten copy (AGPR/MOR 18 A).
22. Amor en el campo (III)
A. Danza for piano in F Major. Recent handwritten copy (AGER/

MOR 16); photographic positive (AGPR/MOR 16 A); published in
Danzas de Juan Morel Campos, Vol. 4, 41-42 (AGPR/MOR 225).
B. Manuscript of the melody only in E flat Major (AGPR/MOR

230). It is the same composition as the one published in
F Major.
C. Incomplete manuscript for piano in G Major. It is the

same composition as the one in F major and the one in E flat
Major. Included in "Muestrario Núm. 11" donated by Antonio
Otero (AGPR/ MOR 228 J).
23. Amor es sueño (III)

228 N). This is not the same composition as the danza with a
similar title, "Sueño de amor."
24. Amor es triunfo (III)
Zarzuela in. two acts. Mentioned by Mirabal, 23, and by

Arjona Siaca, et al., 117. N/A See "Romanza" (after entry
420) with lyrics by R. Terán.
f ~ ~ ■
O'
£
í-v. .*
618
25. Amor y celos (III)
Danza for piano in F major. Incomplete manuscript (AGPR/MOR

228 N).
26. Angelita (I)
Danza for piano in C minor. Photographic positive of a more

recent handwritten copy (AGPR/MOR 20); published in Danzas de
Juan Morel Campos, Vol. 5, 23-24 (AGPR/MOR 226).
* anillo de hierro. El (VIII)
See "tintorera. La" and "Es la flor."
27. Anita (I)
A. Danza for piano in F Major. Written in Mayagüez in 1885.

Dedication: "A la Srta. Doña Ana Otero" ("To Miss Ana Oterc").
Incomplete manuscript (AGPR/MOR 228 L). Handwritten copy
(AGPR/MOR 21); published in Ponce: Almacén de Música Otaro y
sobrino, n.d. (AGPR/MOR 21 A); Danzas de Juan Morel Campos,
Vol. 2, 37-38 (AGPR/MOR 223).
B. Arrangement in E flat Major (original tonality is F Major)

for double bass, bombardino in C and clarinets 1 and 2. Hand
written copy in Herminio Brau's Collection (AGPR/Box 26/ MOR
49 B).
C. Arrangement in F major by Herminio Brau. It includes

flute, violins 1A and IB, clarinet in B flat, bombardino in C
(AGPR/Box 26/ MOR 129 C).
28. Apaga las velas (VI A)
Danza bailable (to be danced) listed by Mirabal, 24 (with title

in singular: ."Apaga la vela"). Since the composition is N/A,
the researcher has not been able to compare it with "Las velas"
to establish any difference.
29. árbol de Navidad, El (VI C)
Polka for piano in A minor. Incomplete manuscript (AGPR/MOR

228).
í
619
30. arrullo. El (III)
Romanza, song for two voices (both included on the third staff)
and piano, in F major, with lyrics by Juan Bautista Campos y
Morel. Written in 1881. Manuscript (AGPR/MOR 70).
31. artesanas. Las (II)
Danza in D Major. Manuscript includes the melody only (AGPR/

MOR 217).
32. artistas. Los (TV)
A. Lanceros for piano. No. 1 in A Major, No. 2 in A Major,

No. 3 in F Major, No. 4 in A Major, No. 5 in D major and end
ing in G major. Incomplete manuscript (AGPR/MOR 228 T);manur.
script (AGPR/MOR 46).
B. Parts for cornet in B flat, violin 2, double bass, and

clarinets 1 and 2, under title "Lanceros," correspond to "Los
artistas" (AGPR/MOR 46).
33. asalto. El (VI C)
A. Danza for piano in E flat Major. Incomplete manuscript

(AGPR/MOR 228 K). Published in Ponce: Bazar Otero, n.d.
(AGPR/Box 27/ MOR 142 C); Danzas de Juan Morel Campos. Vol. 1,
27-28 (AGPR/MOR 222).
B. Arrangement for flute, violins A and B, clarinet in B flat

bombardinos in C 1 and 2. Handwritten copy in Herminio Brau's-
Collection (AGPR/Box 26/MOR 231).
34. iAusencia! (Ill)
A. Danza for piano in B minor (composition begins with two

sixteenth notes, both F). Incomplete manuscript (AGPR/MOR
228 L). Published in Ponce: Almacén de Música Otero, n.d.
(AGPR/MOR 24 A and 199); Danzas de Juan Morel Campos. Vol. 2,
52-54 (AGPR/MOR 223). The copy of this last publication, kept
at the Archive, is incomplete and part of "Ausencia" is miss
ing. A complete copy can be consulted at the Biblioteca Gene
ral in Puerta de Tierra, in the same building as the Archive.
B. Handwritten copy of the danza, but in A minor. Paper indi

cates New York: Carl Fischer, n.d. (ACPR/MOR 24).
F .........
F
620
35. ¡Ausencia! (Ill)
Danza in D major. Manuscript includes melody only (AGPR/MOR

221). It is not the same composition as the other danza with
the same title. It begins with a dotted quarter note chord
(F/B).
Melody in C Major. Incomplete manuscript (AGPR/MOR 228). It

is a different composition from the danzas (in B minor and D
Major) with the same title.
Waltz in B minor. Manuscript has incomplete melody only AGER/

MOR 228). It is a different composition from the other three
with the same title.
38. Ave Marías a la Virgen del Carmen (VII)
Religious composition lited by Arjona Siaca et al.. 120 and

by Mirabal, 25. N/A
39. Ay, Ay (VI A)
Danza for piano in D major. Manuscript (AGPR/MOR 26). This

work was classified as Morel's by Jesús Maria Sanromá. There
are short lyrics written on the second section: "Que me d a m
dolor, ay, Enrique de mi corazón" ("I have a pain, oh, my
dear Enrique").
40. bacalao. El (V)
Danza for piano in A Major. Incomplete manuscript (AGPR/MOR

228 D). Photocopy of complete manuscript (AGPR/MOK 71).
41. baile de máscaras. El (VI C)
A. Danza for piano in B flat Major. Note on front page:"Darr

za para piano arreglada por J. Campos" ("Danza for piano ar
ranged by J. Campos"). Incomplete manuscript (AGPR/MOR 228 F).
Complete manuscript's title is "Un baile de máscaras" (AGPR/
MOR 183).
621
B. Envelope AGPR/MOR 183 A has a fragment of a work in E minor,

which, although classified under this title, does not corre
spond to this composition.
42. Bajos y coro a la Concepción (VII)
Religious composition listed by Arjona Siaca et al., 120, and

by Mirabal, 24. N/A
43. barberillo. El (IV)
Danza for piano in A minor. Incomplete manuscript (AGPR/MOR

228 M).
44. Bella ilusión (spelled "Bella Ylusión" in manuscript) (III)
Danza for piano in E flat Major. Written in 1881. Incomplete

manuscript (AGPR/MOR 228 I). Complete manuscript (AGPR/M3127);
later hadwritten copy (AGPR/MOR 27A); photographic positive
(AGPR/MOR 27 B); hadnwritten copy (AGPR/MOR 157); published in
Danzas de Juan Morel Campos. Vol. 5, 19-20 (AGPR/MOR 226).
45. Bella María (I)
Danza listed by Mirabal, 24. N/A
46. bella Margot, La (I)
A. Danza for piano in E major. Incomplete manuscript (AGPR/

MOR 228 L). Manuscript (AGPR/MOR 158); published posthumously
in Ponce: Bazar Otero, n.d. (AGPR/MOR 158 and 202); Danzas de
B. Handwritten copy of the same composition, but in D Major.

It has the accompaniment written in'G clef and on the same
staff as the melody (probably an arrangement for guitar) (AGER/
MOR 158 B).
C. Incomplete manuscript in E flat Major. It is the samecom

position (AGPR/MOR 228 L).
47. bella trigueñita. La (II)
Danza bailable (to be danced) for piano, in B flat Major. In

complete manuscript (AGPR/MOR 228 H); complete manuscript with
622
the title "La trigueñita" (AGPR/MOR 4); later handwritten copy

(AGPR/MOR 160); galley proof (AGPR/MOR 160 A).
48. belleza. La (II)
Danza for piano in D Major. Incomplete manuscript (AGPR/MOR

228 B). Dedication: "Para Carlotita" ("For Carlotita").
Manuscript (AGPR/MOR 162); later handwritten copy using horizon
tal paper with a photo of Morel on the front page and seal:
"Oficina Municipal de Historia, Museo Cultural Ponceño" ("Mu
nicipal Office of History, Ponce's Cultural Museum") (AGPRAOí
162 A); handwritten copy which was owned by Juan Santaella
(AGPR/MOR 162 B).
49. Bello ideal (III)
Danza in G Major. Manuscript of the melody only. (AGPR/MOR
50. Bellos ojos (II)
A. Danza for piano in B flat Major. Incomplete manuscript

(AGPR/MOR 228 J); second incomplete manuscript which indicates:
"Danza bajo el No. 133 del Cuaderno de partituras de Morel
Campos" ("Danza under No. 133 of the score notebook of Morel
Campos") (AGPR/MOR 228 H); published in Pence: Azacán de Músi-
ca Otero y sobrino, n.d. (AGPR/MOR 31); Danzas de Juan Morel
Campos, Vol. 1, 9-10 (AGPR/MOR 222).
B. Composition arranged for two flutes and under the title

of "Tus bellos ojos" in Roberto Morel's notebooks (AGPR/MOR
219 B).
C. Arrangement for flute, violins A and B, clarinet in B flat

bombarding in C. Handwritten copy in Herminio Brau's Collec-
tion (AGPR/MOR Box 26).
51. bemoles. Los (VIII)
Lanceros for piano. No. 1 in E Major, No. 2 in D major. No.3

in G major. No. 4 in C M;ajor, No. 5 in G Major. Incomplete
manuscript (AGPR/MOR 228 T).
52. ¡Bendita seas! (II)
A. Danza for piano in E minor. Dedication: "A la señorita

dona Dolores Yriarte" ("To Miss Dolores Yriarte"). Incomplete
e
p:‘
k .. .*
623
manuscript (AGPR/MOR 228 B); published in Ponce: Almacén de

Música Otero y sobrino» n.d. (AGPR/MOR 33); Danzas de Juan
Morel Campos, Vol. 2, 29-30 (AGPR/MOR 223).
B- Incomplete manuscript of the same composition but in D minor .

(AGPR/MOR 228 B).
C. Arrangement for flutes, violins A and B, clárinets in B flat .

1 and 2, bombardino in C; made by Herminio Brau (AGPR/Box 26).
53. Bendito seas (VII)
Romanza in honor of Saint Joseph. Listed by Arjona Siaca et

al., 119. N/A
54. Benedictus "de Barros" (VII)
Religious music mentioned by biographers. It has been popu^

iarly known as Benedictus "de Barros" since it was written in
Orocovis. N/A.
55. bese, el (III)
Danza for piano in D major. Incomplete manuscript (AGPR/MOR

228 K).
56. ¡Bomberos, al parque! (IV)
Pasodoble listed by Arjona Siaca et .al., 118* .and by Mirabal,

23. N/A
57. Bomberos de Ponce-(IV)
Pasodoble listed by Arjona Siaca et al.. 118 and by Mirabal,

23. N/A
58. Bonifacia, La (I)
Danza in G major. Incomplete manuscript (AGPR/MOR 228 N).
59. borracho. El (IV)
Incomplete manuscript in A Major, with a melody of only three

measures (AGPR/MOR 228).
F
624
60. bouquet, El (also spelled "El buqué" and "El buquét") (VI C)

228 I). Dedication in complete manuscript: "Para la seño
rita Carlota Arroyo" ("For Miss Carlota Arroyo") (AGPR/MOR 72).
61. brazo fuerte. El (IV)
Danza for piano in G major. Manuscript (AGPR/MOR 74) which

belonged to José Enrique Pedreira. Published in Danzas de Juan ,
62. brazo fuerte. El (IV)
Danza in D Major. Incomplete manuscript (AGPR/MOR 228 R).

This is a different composition from the one in G major with
the same title .
63. Brisas de enero (V)
Danza in B flat Major. Incomplete manuscript (AGPR/MOR 228 G).
64. Brisas del acueducto (V)
Danza listed by Arjona Siaca et al., 117 and by Mirabal, 24.

Ñ7T ~
65. ¡Buen humor! (Ill)
A. Danza for piano ir. E Major. Incomplete manuscript (AGPR/

MOR 228 L). Published in Ponce: Otero y sobrino, n.d. (AGER/
MOR 201);. printed copy, n.n., n.p., n.d. (AGPR/MOR 35): Danzas
de Puerto Rico. 14-16 (AGPR/MOR 220), Danzas de Juan Morel
B. Arrangement by Herminio Brau for flute, and violins A andB.

(AGPR/Box 26).
66. bufones. Los (IV)
Lanceros for piano. No. 1 and No. 2 in D major. No. 3 in A

Major, No. 4 in F major. No. 5 in D Major. Incomplete manu
script (AGPR/MOR 228 T).
F ' ' ' .....

625
67. bulliciosa. La (II)
Danza for piano in F major. Published in Ponce: Bazar Otero,

n.d. (AGPR/Box 27/MOR 234); Danzas de Juan Morel Campos, -VoL. 1
45-46 (AGPR/MOR 222).
[café de Puerto Rico, El]
Tango for piano in E flat Major. Handwritten copy dees not in

dicate the composer; probable owner was Juanita del Valle y
Atiles (AGPR/MOR 75). Since Morel never wrote tangos, and the
work is not included in Otero's Muestrarios or catalogues,the
researcher believes this work was not written by Morel.
The researcher found the lyrics and the music "El café de íber-
to Rico" in a manuscript classified under Morel Campos. She
later on found the lyrics only in the Monserrate Deliz Collec
tion (AGPR/Box 36) kept in the boxes of unclassified music.
The lyrics read like this: "Trabajaba una mulatita, una tarde
en el cafetal. Y le dijo su amito Pancho, que le quería, anudar.
'¿Le ayudo?' 'Sí Señor, es decir . . . me lo figuro yo.'Etc-
después de aquella tarde, ella dijo a su mercé: 'Ay amito,
qué sabroso. Ay, que rico me supo el café.| Una tarde a una
modistilla, que salja de trabajar, acercóseie un estudiante y
la invitó a merendar. '¿Merendó?* 'Sí, Señor, es decir . . .
me lo figuro yo.' Pues después de aquel entonces, ella dijó y
yo lo sé: 'Ay chiquillo, qué sabroso. Ay, que rico me supo
el café."' ("A young mulattoe girl was working, one afternoon
at the coffee plantation. And her young master Pancho told
her that he wanted to help her. 'May I help you?' 'Yes, Sir,
that is . . . I believe so.' .And so, later that afternoon áie
told His grace: 'Oh, young master, how delicious. Oh, how .
great tasted the coffee.' One afternoon a young seamstress,
that returned from work, was approached by a student who in
vited her to have a snack. 'Did you have a snack?' 'Yes, Sir,
that is . . . so I figure.] So after that day, she told him
and I know: 'Oh, young boy, how delicious. Oh, how great
tasted the coffee."')
68. caimán. El (V)
Danza,in F major. Incomplete manuscript (AGPR/MOR 228 P).
69. calamar. El (V)
Danza in F major. Incomplete manuscript (AGPR/MOR 228 P).
626
70. Camino de la gloria (VII)
Funeral march. Listed by Mirabal, 23. N/A
71. candorosa. La (II)
A. Danza for piano in E Major. Incomplete manuscript (AGPR/

MOR 228 0); published in Ponce: Almacén de Música Otero y so
brino, n.d. (AGPR/MOR 36 and 202); Danzas de Juan Morel Campos;
Vol. 1, 49-51 (AGPR/MOR 222).
B. Arrangement for two flutes in Roberto Morel's notebooks

(AGPR/MOR 219 B).
C. Arrangement for band by Ralph Sánchez (23 parts: flute,

oboe, bassoon, E flat clarinet, B flat clarinets 1, 2 and 3,
saxophone (alto, tenor, and baritone), solo B flat cornet,
B flat cornets 1, 2, and 3, E flat horns 1, 2, and 3, baritone
in G, baritone in F, trombones 1, 2, and 3, and bass). The
names of the instruments are written in English (AGPR/MOR 36B),
sc this is probably.a later version.
D. Arrangement for flute, clarinet in B flat, violins 1 A and

B, bombarding in C 1 and 2, by Herminio Brau (AGPR/Box 26).
E. Arrangement in D Major (the original is in E Major) for

violins 1 A and B, violins 2 A and S', clarinets in B flat 1
and 2, cornet in B flat, bombardinos in C 1 and 2, double bass.
Handwritten copies by Herminio Brau (AGPR/Box 26).
72. Cántico a María en el mes de mayo (Vil)
Religious music listed by Arjona Siaca et al.. 119, and by

Mirabal, 24. N/A
73. caña de Veracruz, La, o sea. El mangó (V)^

228 K); complete manuscript (AGPR/MOR 89 A). This work is not
the same as "El mangó," although both works are in D Major.
Photocopy of manuscript has front, page annotation: "¿De una
zarzuela?" ("From a zarzuela?") (AGPR/MOR 89 C).3
3 There are a few cases when a double title is assigned to a work

by the composer himself.
f '
627
74. cárcel. La (VI B)
Danza for piano in G Major. Incomplete manuscript (AGPR/MOR

228JT
75. Carita de cielo (II)
A. Mazurka for piano. Op. 200. It begins in I Major and ends.

in B flat Major. Incomplete manuscript (AGPR/MOR 228 W);
published in Ponce: Bazar Oteu (AGPR/Box 27/MOR 229 A);
Juan Morel Campos: Obras varias, Vol. 1, San Juan: Instituto,
de Cultura Puertorriqueña, 1958, 6-8 (AGPR/MOR 227).
B. Arrangement,for flute, violins A and B, clarinet in B flat,

bombarding in C, trumpet, by Serminio Brau (AGPR/Box 26 /MOR
229H
76. Carlota (I)
Polka for piano in D Major. Incomplete manuscript (AGPR/MOR

228 U), manuscript (AGPR/MOR 40). Probable owner was Carlota
Arroyo, since name is indicated on the front page.
77. Carlotita, La (I)
Danza for piano in D Major. Dedication: "Compuesta expresa

mente para la Sta. Da. Carlota Arroyo por J. M. Campos.Obse
quio de su amigo Vicente Marín, Ponce." ("Composed expressly
for Miss Carlota Arroyo by J. M. Campos. Given as a gift by
your friend Vicente Marin, Ponce.") Incomplete manuscript
(AGPR/MOR 228 A), manuscript (AGPR/MOR 3).
78. Carmela (I)
Danza for piano in D minor. Incomplete manuscript (AGPR/MOR

228 L and 228 Q). Dedication: "A mi estimado amigo Luis
Rodríguez Cabrero" ("To my esteemed friend Luis Rodriguez
Cabrero.") Lyrics by Juan Morel Campos. Published in Ponce:
Otero y sobrino, n.d. without lyrics (AGPR/MOR 41), and with
lyrics (AGPR/MOR 41 A); photographic negatives of printed
copy (AGPR/MOR 41 C); galley proof (AGPR/MOR 205 J); Danzasde
79. Carmelita (I)

(AGPR/MOR 228 B). Dedication: "A la graciosa y distinguida
628
señorita Carmen Barnés" ("To the gracious and distinguished

Miss Carmen Barnes"); published in Ponce: Bazar Otero, n.d.
(AGPR/Box 27/MOR 230 A); Danzas de Juan Morel Campos. Vol. 2,
11-14 (AGPR/MOR 223).
B. Arrangement for flute, violin A, violins 2A. and 2B, clari

net in B flat 1 and 2, cornet in B flat 1, bombarding in C 1
and 2, double bass; by Herminio Brau (AGPR/Box 26/MOR 230).
80. Carmencita, La (I)
Danza for piano in F major. Incomplete manuscript (AGPR/MOR

228 M).
81. carnaval. El (VI C)
Danza for piano in G Major. Incomplete manuscript (AGPR/MOR.

228 J); published in Ponce: Bazar Otero, n.d. (AGPR/MOR 76);
82. cascada. La (V)
Danza in A Major. Incomplete manuscript (AGPR/MOR 228 P).
83. ¡Cede a mi ruego! (Ill)
A. Danza for piano in E Major. Incomplete manuscript (AGPR/

MOR 228 L); published in Ponce: Bazar Otero, n.d. (ÁGPR/M0R45
and 203); Danzas de Juan Morel Campos, Vol. 3, 13-14 (AGPR/
MOR 224); Danzas de Puerto Rico, 9-10 (AGPR/MOR 220); Danzas
puertorriqueñas para piano, Vol. 2, 26-27 (AGPR/Box 4).
B. Arrangement by Herminio Brau. It includes flute, violins

A and B, bombardino in C. Handwritten copy (AGPR/Box 26/
MOR 45 C).
84. Celia (I)

Polka with first section in A Major and second section in D
Major. Incomplete jpanuscript (AGPR/MOR 228 U).
85. certamen, El (also known as "El Gabinete de Lectura")* (VI C)

A. Symphony for orchestra in A Major. Manuscript in blue ink
includes parts for 19 instruments: piccolo (flautín).4
4 Sometimes a work does not have a double title, but is known by

two different titles. The one that appears in the published edi
tion has been numbered; the second title is marked by an asterisk.
F ' ' ~ ' '

629
principal, requinto, E flat sax (alto and tenor), clarinets

1, 2 and 3, bass clarinet, cornets 1 and 2, second cornets,
French horns, trombones 1 and 2, bombardinos 1 and 2, bass
in C, batería (AGPR/MOR 77).
B. Manuscript in black ink includes parts for 6 instruments:

violin 1, bassoon, trombones 1, 2 and 3, timpani in A and E
(AGPR/MOR 77 A). The researcher feels this material might
be a part of the one found in the previous envelope. Music
is also in A Major.
C. Manuscript in black ink with title "El Gabinete de Lectu

ra" (AGPR/MOR 84). It is the same composition as "El certa
men" and it has the parts for 6 instruments: flute, violin 2,
viola, cello, clarinet in A, comet. This material might also
be part of the previous one. [Envelope 84 also contains a
violin part which does not belong to this work. Its title is
"Salve Giannini" and it is an arrangement by A. Pasaran.]
D. Version of this symphony for orchestra, but in B flat Ma

jor. Handwritten copy using paper distributed in New York by
Carl Fischer, n.d. (AGPR/MOR 77). It includes the orchestral
score and the cello part only.
E. Piano reduction in A Major. Dedication: "Al Gabinete de

Lectura Ponceño" ("To the Reading Room of Ponce"). Photocopy
of publication: Ponce: Bazar Otero, n.d. (AGPR/MOR 77 B);
Juan Morel Campos: Obras varias. Vol. 1, 32-52 (AGPR/MOR227).
It includes the following sections: Allegro vivo in A Major,
Andante sostenuto in D Major, Allegro spiritoso in B flat Ma
jor, Espresivo in D Major, Espresivo in F Major, Tutta forza
and Vivo in A Major.
86. Champagne frappé (VI C)
Danza in G Major. This work does not include composer's name,,

but it is included in Antonio Otero's Muestrario No. 9 (AGPR/
MOR 228 H).
87. changa. La (II)
Unpublished danza listed by Arjona Siaca et al., 117. N/A
88. chaparro. El (IV)
Manuscript in C Major has incomplete melody only (AGPR/MOR

228). There are not enough masures to determine if it is a
danza.
f .... .. . ' ' '

89. charlatana. La (II)
Incomplete melody in D Major (AGPR/MOR 228). There are not

enough measures to determine if it is a danza.
90. chiquita de tu papá. La. (II)

MOR 216).
91. Chistavín (IV)
Galop listed fay Mirabal, 24. N/A
92. chulos, Los (TV)
Danza in D major. Incomplete manuscript (AGPR/MOR 228 N).
93. ciclón. El (V)
A. Danza in D Major, 4 hands. Op. 182. Incomplete manuscript

(AGPR/MOR 228 N), photographic negative (AGPR/MOR 80); galley
proof (AGPR/MOR 205 K); published in Danzas de Juan Morel
Campos. Vol. 4, 1-4 (AGPR/MOR 225).
B. Arrangement fay Herminio Brau, for flute, violins 1 A and

1 B, clarinet in B flat, bombarding in C. Handwritten copy
(AGPR/Box 26/MOR 80 A).
94. Cielo de encantos (III)
A. Danza for piano in D minor. Incomplete manuscript (AGPR/

MOR 228 0); published in Ponce: Almacén de Música Otero y
sobrino, n.d. (AGPR/MOR 48); Danzas de Juan Morel Campos.
Vol. 2, 8-10 (AGPR/MOR 223).
B. Arrangement for Quinteto Figueroa by Guillermo and Narciso

Figueroa. Parts for piano, violins 1 and 2, viola, cello.
Unclassified music (AGPR/Box 2/envelope 7).
95. 50, El (VIII)
Danza in B flat Major. Manuscript includes melody only (AGER/

MOR 228 R).
631
96. circulo de la victoria. El (VI B)
Danza listed by Arjona Siaca et al., 117. N/A
97. Ciudad de Ponce (VI B)
Danza composed in 1876. It is believed to be Morel's second

danza. Listed by Mirabal, 24. N/A
98. clavel blanco. El (V)
Waltz for piano in F Major. Dated in pencil: 1872. Manuscript

(AGPR/MOR 81).
99. Cleopatra, La (I)

228 K).
100. Club Terpsícore, El (VI B)
A. Danza in C Major. Incomplete manuscript (AGPR/MOR 228 B).
B . Arrangement for two flutes in Roberto Morel's notebooks

(AGPR/MOR 219 B).
101. Cognac Jerez, El (VI C)
Danza‘for piano with lyrics,:in'C Major. Published under the

n ans of Juan Campos, in Ponce: Imprenta Boletín A. Lynn Sue.
de Moris, n.d. (AGPR/MOR 82).
102. colegialas. Las (II)
Zarzuela listed by Mirabal, 23. N/A
103. Colombia (VIII)
Pasodoble listed by Arjona Siaca et al., 118; and Mirabal,

23. N/A
104. comadres. Las (II)
Danza listed by Arjona Siaca et al., 117, and Mirabal, 25.N/A
F - ................-.......
632
105. Comandante Picazo, Ei (IV)
Pasodoble listed by Mirabál, .23. N/A
106. Cómo empieza y cómo acaba (VI A)
107. conga. La (VI C)
A. Danza for piano in D Major, written in 1886. Lyrics by

Francisco Arrivx written in 1954. Handwritten copy by Carlos
Gadea (AGPR/MOR 5); published in Danzas de Juan Morel Campos,
Vol. 4, 11-12 (AGPR/MOR 225).
B. There is an A Major version which has the accompaniment

written in G clef and on the same staff as the melody (prob
ably for guitar) (AGPR/MOR 5 A).
108. Consuelo (I)
A. Danza for piano in E flat Major. Dedication: "A la sim

pática y apreciable señorita Consuelo Vázquez" ("To the
charming and esteemed Miss Consuelo Vázquez"). Work written
in 1882. Incomplete manuscript (AGPR/MOR 221, 228 B and
228 K); complete manuscript (AGPR/MOR 49); published in Bonce:
Bazar Otero, n.d. (AGPR/MOR 203); Danzas de Juan Morel Campos,
Vol. 2, 17-19 (AGPR/MOR 223).
B. Arrangement for two flutes in Roberto Morel’s notebooks

(AGPR/MOR 219 B).
C. Arrangement for band by Ralph Sánchez. Parts for 25

instruments: the same as in danza "Candorosa" plus solo
B flat clarinet and 4t_h E flat horn. The names of the instru
ments are in English (AGPR/MOR 49 A).
D. Arrangement for the Quinteto Figueroa by Guillermo and

Narciso Figueroa. Parts for piano, violins 1 and 2, viola,
cello. Unclassified music (AGPR/Box 2/ envelope 7).
E. Arangement by Herminio Brau, for flute, violins 1 AandB,

violins 2 A and B, clarinet in B flat 1 and 2, cornet in B
flat, saxophone in E flat, bombardinos in C 1, 2, and 3,
double bass. Handwritten copy (AGPR/Box 26/MOR 49 B).
F
633
109. Comtémplame (III)
Danza for piano in G major. Incomplete manuscript (AGPR/

MOR 228 I). Manuscript which belonged to Carlota Arroyo and
/or Carlotita Arroyo (AGPR/MOR 51). Handwritten copy using
vertical paper (AGPR/MOR 51 A).
110. Conversación (III)
Danza for piano in A Major. Incomplete manuscript (AGPR/

MOR 228 G). Handwritten copy with larger and vertical paper
(AGPR/MOR 53); published in San Juan: José Laza y Co., 1923
(AGPR/MOR 53 A and 204); Danzas puertorriqueñas para piano,
Vol. 2, Giusti y Co., Inc., n.d., 2-5 (AGPR/MOR 53 B and D).
This last edition has lyrics by Francisco Arrivi. Puerto
Rican Danzas for Piano, Vol. 4, 2-5.
111. Coro a Santa Teresa (VII)
Religious music listed by Arjona Siaca et al., 119, and Mira-

bal, 24. N/A
112. Coros (2) a Jesús Nazareno (VII)
Religious music listed by Arjona Siaca et al., 119. N/A
113. Coros (A y C) a Jesús Nazareno (VII)
114. Coros (1-10 y 19-23) a la Concepción (VII)
Religious music listed by Arjona Siaca et al., 120 and

Mirabal, 24. N/A
115. Coros (2) a la Dolorosa (VII)

Mirabal. 24. N/A
116. Coros (B, C y D) a la Guadalupe (VII)

Mirabal, 24. N/A
F
634
117. Coros (11. 12, 13, 14, y 21) a la Guadalupe (VII)
Religious music listed by Arjona Siaca et al., 119, and by

Mirabal, 24. N/A
118. Coros (A y E) a la Virgen del Carmen (VII)

Mirabal. 24. N/A
119. Coros (2) a San José (VII)
Religious music listed by Arjona Siaca et al., 119 and by

Mirabal, 24. N/A
120. Coros (2) a San Rafael (VII)

Mirabal, 24. N/A
121. Coros (6) a San Rafael (VII)

Mirabal, 24. N/A
122. Coros (2) a Santa Teresa (VII)

Mirabal, 24. N/A
123. Coros (2) al Perpetuo Socorro ( V H )

Mirabal, 24. N/A
124. Coros (1, 2 y 8) al Perpetuo.Socorro (VII)

Mirabal, 24. N/A
125. Coros (A, B, C, 0) del Mes de Mayo (VII)

Mirabal, 24. N/A
f. .'...... " "" " " "" •'

635
126. Coros (8) del mes de mayo (Vil)

Hirabal, 24. N/A
127. cosa. La (VIII)
Danza in E Major. There are 8 measures of the introduction

included in an index of works donated by Antonio Otero.
Incomplete manuscript (AGPR/MOR 221)
128. Cruz Roja, La (VI B)
A. Danza for piano in B Major. Incomplete manuscript (AGE®/

MOR 228 L).

(AGPR/MOR 219 B).
129. cubana. La (II)
Danza in G major. Manuscript includes melody only (AGPR/

MOR 228 R).
130. cuervos. Los (V)
Danza in C Major. Incomplete manuscript (AGPR/MOR 228 P).
131. Cuidado con eso (VI A)
Danza in G major. Incomplete manuscript (AGPR/MOR 228 H).

Although classified as Morel's, Antonio Otero's Muestrario 9
does not have the name of the composer in this selection.
132. Cuarteto Núm. 21 a la Concepción (.VII)
Religious music listed by Arjona Siaca et al., 120, and

by Mirabal, 24. N/A
133. Danza (title is not clear: "La D . . . . ba") (VIII)
Danza for piano in D major (no accompaniment, but staff for

F cleff has been separated for it). Incomplete manuscript
(AGPR/MOR 228 P).
f....... ....... ".:

636
134. Danza (without title) (VIII).
Danza in D major. It belongs to the Collection of Mrs. luisa.

Rabainne. Incomplete manuscript (AGPR/MOR 228 S).
135. Danza (without title) (VIII)
Danza "copiada del cuaderno de partituras de Morel Campos"

(‘'copied from Morel Campos' score notebook"). It is in C
Major. Incomplete manuscript (AGPR/MOR 228 G).
Danza "bajo el No. 1 del cuaderno de partituras de Morel

Campos" ("under No. 1 of Morel Campos' score notebook"). It
is in D Major. Incomplete manuscript (AGPR/MOR 228 P).This
is not the same composition as the ones in D Major in entries .
13 3 and 13.4.
137. Danza (no author indicated but classified as Morel's)(Vm)
Danza in D Major. It has 66 measures and begins with two

sixteenth notes (F and A) in the melody. Manuscript (AGPR/
MOR 1). Photocopy of the manuscript indicates it was copied
by Modesto Rivera (AGPR/MOR 1 A). Different composition from
entries 13*3, 1314, and 13'6.

Campos" ("under No. 13 of Morel Campos' score notebook").
It is in D major but not the same composition as those in
D Major in entries .133., 134, 136, and 137. Incomplete manu
script (AGPR/MOR 228 P).

Campos" ("under No. 124 of Morel Campos' score notebook").
It is in G Major and begins with two sixteenth notes (B and
A). Incomplete manuscript (AGPR/MOR 228 P).
Danza in F Major "bajo el No. 130 del cuaderno de partituras

de Morel Campos" ("under No. 130 of Morel Campos' score note-
F "
637
book")» This work has an incomplete manuscript in Otero's

Muestrarios (AGPR/MOR 228 P).
Panga in D Major "Bajo el No. 101 del cuaderno de partituras

de Morel Campos" ("under No. 101 of Morel Campos' score
notebook"). Incomplete manuscript (AGPR/MOR 228 P). This
danza is different from the ones in D Major in entries 133,
134, 136, 137, and 138.
142. Danza (without title (VIII)
Danza in G Major. It is included as an arrangement for two

flutes in Morel's notebooks (AGPR/MOR 219 B). It is not
the same composition as the danza in G Major in entry 139.
It begins with a dotted eighth note and a descending sixteenth
note: in flute 1, B and A, ..and in flute 2, G and D.
143. De antifaz (VI C)
Danza for piano in C Major. Handwritten copy in vertical

paper (AGPR/MOR 59); photographic positive of previous copy
(AGPR/MOR 59 A); published in Danza de Juan Morel Campos,
Vol. 5, 9-10 (AGPR/MOR 226).
144. De frente . . . mar! (V)
Pasodoble for band, dated 1872. Manuscript of score includes

these instruments: piccolo, requinto, clarinets in B flat
1 and 2, cornets in B flat 1 and 2, saxophones 1 and 2, onó
venos,5 horns, trombones, baritones, bombardinos 1 and 2,
bass, and batería. First section is in D major and Trio is
in G Major. Seal indicates: "Archivo de música y copistería
de R. Morel Carvajal, Ponce, P. R. " ("Music archive and copy
ing office of R. Morel Carvajal, Ponce, P. R."). (AGPR/tCR 61)
145. De la superficie al fondo (V)
Danza in G minor. Manuscript of the melody only (AGPR/MOR

228 R and 230).
5 Today this instrument is substituted by the horn in F. The re

searcher found- only one recent arrangement using the onóveao-:.."El
torbellino"-(entry 469).
638
146. De tu lado al paraíso (III)
A. Danza for piano in F Major. Incomplete manuscript (AGPR/

MOR 228 J); published in Ponce: Bazar Otero, n.d. (AGFR/MOR
206 and Box 27/ 206 A); Danzas de Juan Morel Campos, Vol. 2,
39-41 (AGPR/MOR 223).
B. Arrangement for Quinteto Figueroa by Guillermo and Narciso

Figueroa. Parts for piano, violins 1 and 2, viola, cello.
Unclassified music (AGPR/Box 2/ envelope 7).
147. Delirio (III)
A. Chotis listed by Ariona Siaca et al., 118, and Mirabal,

24. N/A
B. There is a "Schottische" in A Major which could be the

same as "Delirio." It does not indicate the composer and
begins in an eighth note E. Manuscript (AGPR/Box 50/enveLope
35).
148. dependientes. Las (II)
Danza in D Major. Manuscript has the melody only (AGPR/MOR
149. Descanso eterno (VII)
Funeral march listed by Arjona Siaca et al., 120, and Mirabal,

23. N/A
150. desengaño, El (III)
Danza for piano in G minor. Incomplete manuscript (AGPR/

MOR 228 M).
151. despedida. La (III)
Melody of a danza in E minor. Incomplete mansucript (AGPR/

MOR 221).
152. Despedida a la Cuadalupe (VII)

Mirabal, 24. N/A
w--- -
639
153. Despedida a Santa Teresa (VII)
Religious music listed by Arjona Siaca et al.. 119 and

Mirabal, 24. N/A
154. Despedida al Perpetuo Socorro (VII)
Religious music listed by Arjona Siaca et al.. 119, and

Mirabal, 24. N/A
155. Di que me amas (III)
A. Danza for piano in E minor. Incomplete melody (AGPR/

MOR 63), incomplete manuscript of piano part (AGPR/MOR 2281);
published in Ponce: Bazar Otero, n.d., and kept togetherwith
the group of selections classified as Vol. 2 (AGPR/Box 42);
Danzas dp. Puerto Rico. 1-3 (AGPR/Bq x 4), Danzas de Juan
Morel 222, Vol. 2, 34-36 (AGPR/MOR 223).
B. Arrangement for dance orchestra has parts for 8 instru

ments: violins 1 and 2, clarinets 1 and 2, bass, bombarding
1 and 2, cornet in A. It does not indicate who was the or-
chestrator. Handwritten copy using paper distributed by
Carl Fischer in New York. (AGPR/MOR 63 B).
C. Arrangement for flute, violins 1 A and 1 B, clarinet in

B flat, bombarding in C; made by .Herminio Brau (AGPR/Box 26/
MOR 63 D).
156. Dicen que me divierto (also known as "Mi viaje por América"
and "La vuelta de América") (VIII)
Zarzuela in one act with lyrics by Matias Gil de Rubio.

Listed by Arjona Siaca et al.. 117, and Mirabal, 23. N/A
157. Divina Enriqueta (I)
A. Danza for piano in E minor. Incomplete manuscript(AGER/

MOR 221 and 228 J); published in Ponce: Almacén de Música
Otero y sobrino, n.d. (AGPR/MOR 65); Danzas de Juan Morel
B. Arrangement for orchestra by Rafael Alers. It includes

parts for 5 instruments: violins A and B, bombardino 1 and
2, double bass. Written in paper distributed by Schirmer
in New York (AGPR/MOR 65 A).
f .......
640
C. Arrangement for flute and violin. Handwritten copy by

Herminio Brau (AGPR/Box 26/ MOR 65 B).
158. Dolores (I)
Waltz with a section in D minor and a section in B flat Major. -

Incomplete manuscript includes the melody only (AGPR/MOR2Q7).
There is a fragment of a melody in £ flat Major in the same
envelope, with no title.
159. Dolores. La (I)
Danza listed'by Mirabal, 25. N/A
160. Dolorosa, La (VII)
Funeral march listed by Arjona Siaca, et al.. 120, and

Mirabal, 23. N/A
161. Don Criterio o Un día de elecciones (also known as "Don

Mamerto") (VI B)
Zarzuela in one act. Lyrics by Sotero Figueroa. There is a

copy of the libretto (without music) at the General Library
in Puerta de Tierra, San Juan, in the same building as the
Archive. The music is N/A.
Don Mamerto (VI B)
See "Don Criterio."
162. ¿Dónde está el hierro? (VI A)
163. ¿Dónde está mi medio peso? (VI A)
164. ¿Dónde están las velas? (VI A)

228 R).
F
641
165. Doña Bonifacia (I)
Danza in G Major. Incomplete manuscript (AGPR/MOR 228 N).
166. Doña María Melitona (I)
Danza in G major. Incomplete manuscript (AGPR/MOR 228 P).

The title is not clear in the manuscript, but the researcher
disagrees with the cataloguer, who wpote "Santa Maria Meli
tona. "
167. Doña Tomaza (I)
Danza in D major. Incomplete manuscript (AGPR/MOR 228 P).
Doña Valentina (I)
Danza listed by Mirabal, 24. N/A Since this work could very
well be the same as "La Valentina" (listed and numbered
further ahead), it has not been assigned a number in this
catalogue.
168. Doña Vicenta (I)
Guaracha with chorus. Work listed by Mirabal, 23. N/A
169. dos amigos. Los (IV)
Danza in G major. Manuscript has incomplete melody only

(AGPR/MOR 221).
170. dos hermanas. Las (II)
Danza for piano in D Major. Incomplete mansucript (AGPR/MOR

228 I). Complete mansucript (AGPR/MOR 64).
171. dos Marías, Las (I)
A. Danza for piano in C major. Incomplete manuscript (AGS?/

MOR 228 0). Dedication : "A las distinguidas Srtas. Maria
Moran y María Escalera" ("To the distinguished Miss Maria
Morán and Miss María Escalera"). Published in Ponce: Otero
y sobrino, n.d. (AGPR/MOR 66); Danzas de Juan Morel Campos
Vol. 2, 5-7 (AGPR/MOR 223).
r
642

(AGPR/MOR 219 B).
C. Arrangement for flutes 1 and 2, violins 1 A and B, clari

nets in B flat 1 and 2, bombarding 1 and 2 (AGPR/Box 26/MOR
66 B). There is also a handwritten copy of trombone in Bflat.
3, with no envelope, in the same box, by Herminio Brau.
172. Dulce acento (III)
Tanda de valses (group of waltzes) for piano. Introduction

and Waltz No. 1 in A major. No. 2 in D Major, No. 3 in G Ma
jor, No. 4 in G Major and ending in D Major, Coda in A Major.
Incomplete manuscript (AGPR/MOR 228 V). Complete manuscript
(AGPR/MOR 228 V). Complete manuscript (AGPR/MOR 67). There
is another manuscript with a dedication: "A la inteligente
Mercedes Arias, violeta del arte musical" ("To the intelli
gent Mercedes Arias, violet of the musical art (AGPR/MOR67B).
173. Dúo a Jesús Nazareno (VII)
174. Dúo de Bajo a la Guadalupe (VII)

by Mirabal, 24:..N/A
175. Dúo Núm. 6 a la Guadalupe (VII)

Mirabal, 24. N/A
176. Dúo Núm. 10 a la Concepción (VII)
Composition for soprano and chorus. Religious music listed

by Arjona Siaca et al., 120, and Mirabal, 24. N/A
177. electricidad. La (VI B)
Polka for piano which begins in D major and ends in G Major.

Incomplete mansucript (AGPR/MOR 228 U). Complete manuscript
(AGPR/MOR 6).
F ~ ..
643
178. Elisa, La (I)
Danza for piano in D Major. Incomplete manuscript (AGFR/

.228 H).
179. Ella (II)
Mazurka in F Major. Incomplete manuscript of the melody only

(AGPR/MOR 200).
180. Eloisa, La (I)
Danza in F major. Incomplete manuscript (AGFR/MOR 228 P).
181. Elvira (I)
A. Danza for piano in D major. Incomplete manuscript (AGBS/

MOR 228 M). Published in Ponce: Almacén de Música Otero y
sobrino, n.d. (AGPR/MOR 107); Danzas de Juan Morel Campos,
Vol. 3, 1-2 (AGPR/MOR 224).
B. Arrangement for piano in A Major. The accompaniment is

in G clef and written on the same staff as the melody. Ver
tical paper used (AGPR/MOR 107 B).
182. Emilia, La (I)
Danza in D minor. Incomplete mansucript (AGPR/MOR 228 F).
183. ¡En alta mar! (V)
Danza fantasia for piano in B Major. Dedication: "Ofrenda

artística dedicada a Doña Trina Padilla de Sanz (la Hija del
Caribe)" ["Artistic offering dedicated to Trina Padilla de
de Sanz.(The daughter of El Caribe?)'']. Written., in 1892,
during the return trip from.Brazil. Handwritten.copy which
uses paper distributed by*Carl Fischer in New York. (AGPR/MOR
109); the owner was Alfredo Morel Campos and it is dated:
"Ponce, Puerto Rico, septiembre 8 de 1937."
6 El Caribe was the pen name of poet José Gualberto Padilla.
w
644
184. En el mercado (VI C)
Guaracha with chorus. Listed by Mirabal, 23. N/A
185. En el paseo (VI C)
A. Waltz which begins in D Major and ends in G Major. Incan- •

píete manuscript (AGER/MOR 228 V). Published in Ponce: Bazar
Otero, n.d. (AGPR/MOR 111).
B. Arrangement for flute and violin. Handwritten copy by

Herminio Brau (AGPR/Box 26/MOR 11 B).
186. En la meta (VI C)

(AGPR/MOR 228 B). Published in Ponce: Bazar Otero, n.d.
(AGPR/MOR 112 and 212); galley proof (AGPR/MOR 205 L); photo
graphic negatives (AGPR/MOR 112 A), Danzas de Juan Morel
B. Handwritten copy of violin 2 part only (AGPR/MOR 176).
C. Arrangement for flute, violins A and B, clarinets in B

flat, bombarding in C; by Herminio Brau.. Handwritten copy
(AGPR/Box 26/ MOR 112 B).
187. ¿En qué quedamos? (VI A)
Danza in D major. Incomplete manuscript (AGPR/MOR 228 H).

Even if the composition does not indicate the composer, itis
classified as Morel's since it is in Antonio Otero's Muestra
rio 9.
188. En tus brazos (III)
A. Mazurka for piano which begins in C Major and ends in

F Major. Incomplete manuscript (AGPR/MOR 228 W). Published
in Ponce: Almacén de Música de Olimpio Otero, n.d. (AGPR/
MOR 118).

(AGPR/MOR 219 B).
189. Encamación , La (I)
Danza in G Major. Incomplete manuscript (AGPR/MOR 228 D).
w
645
190. Enriqueta, La (I)
Danza in C Major. Incomplete manuscript (AGPR/MOR 228 G).

This is not the same composition as the one with a similar
title, "Divina enriqueta."
191. Ensueños de amor (III)
Danza for piano in E minor. Incomplete manuscript (AGPR/MOR

228 S). Dedication: "Edición especial para las Srtas. sus-
critoras de La Moda Elegante" ("Special edition for the young
ladies subscribed to The Elegant Fashion"). ManuscriptA<3R
/MOR 115); very worn out manuscript (AGPR/MOR 115 A); printed
copy, n.n., n.p., n.d. which contains the first page only
(AGPR/MOR 115 B).
192. entrevista. La (VIII)
Danza in B flat Major. Incomplete manuscript (AGPR/MOR 228J).
193. Es la flor (V)
Romanza in E flat Major, from the zarzuela "El anillo de

hierro." The composer is not indicated. Lyrics: "Pasión
del alma . . . " ("Passion of the heart . . . "). Copy made
by Quinton was the property of Arturo Picó, and is dated
January, 1899. Manuscript (AGPR/Box 50/envelope 71). Also
see "La tintorera, " a danza for the same zarzuela (entry
467).
194. esperanza. La (III)
Waltz. Listed by Mirabal, 23. N/A
195. Espíritu ponceño (VI B)
Polka for piano in A Major. Incomplete manuscript (AGPR/MOR

228 and 228 V).
196. estatua de Ponce, La (VI B)
Danza in E flat Major. Incomplete mansucript (AGPR/MOR228K).
646
197. estilo. El (VIII)
Danza in G Major. Incomplete manuscript (AGPR/MOR 228 P).
198. Estimación (III)
Mazurka in D major. Incomplete manuscript (AGPR/MOR 228 W).

Published in Ponce: Bazar Otero, n.d. (see catalogue AGPR/
Box 42).
199. Estrofa a solo (Novenario de la Guadalupe) (VII)
A. Religious music which begins in B flat Major &..d ends in

C Major. Dedication: "Compuesta para la distinguida y dul
císima soprano, Sra. Sissi Graham" ("Composed for the distin
guished and very sweet soprano, Mrs. Sissi Graham"). Work
for tiple (soprano) and piano. Manuscript includes lyrics
by the composer (AGPR/MOR 122).
B. Violin and clarinet parts only. It is not clear if they

are part of a complete arrangement for orchestra or if they
are to be used together with the previous arrangement (AGPR/
MOR 122).
C. There is a manuscript titled "Solo de tiple" with the

name of Mrs. Graham written on the top of the page. It is in
D Major and the lyrics begin with "Se ve María en tu cabeza
. . . " ("Mary is seen in your head . - .V). It is the same
composition-as "Estrofa- a solo" (AGPR/Bóx 50).
200. Estrofa (No. 2) al Perpetuo Socorro (VII)
Religious music listed by Arjona Siaca et al...119 and by

Mirabal, 24. N/A
201. Estrofas (3) a Jesús Nazareno (Vil)
202. Estrofas (6) a la Dolorosa (VII)

Mirabal,. 24. ; N/A
203. Estrofaís (1, 2 y 7) a la Guadalupe (VII)
Religious; music listed by Arjona Siaca- et al.. 119. N/A
647
204. Estrofas (4) a San José (VII)

Mirabal, 24. N/A
205. Estrofas (2) a San Rafael (VII)

Mirabal, 24. N/A
206. Estrofas (1 y 2) a Santa Teresa (VII)

Mirabal, 24. N/A
207. faroles. Los (VI B)
Danza for piano in G Major. Signed by Juan Campos. Incom

plete manuscript (AGPR/MOR 228 K). Manuscript (AGPR/MOR 83).
208. favorito. El (VI C)
Galop listed by Mirabal, 24. N/A
209. Felices días (III)
A. Danza for piano in E Major. Incomplete manuscript without

lyrics (AGPR/MOR 228 0); incomplete manuscript with lyrics
(AGPR/MOR 228 Q). Printed copy which includes lyrics by
Sisila Arce and dedication: "A mi amigo Don Rafael Toro
Quiñones en el día de su Santo" ("To my friend Rafael Toro
Quiñones in his Saint day")» it was published in Ponce:
Bazar Otero, n.d. (AGPR/MOR 123); printed copy without lyrics
(AGPR/MOR 212); galley proof (AGPR/MOR 205 I); photographic
negatives (AGPR/MOR 123 A); Danzas de Puerto Rico, 4-6 (AGES/
MOR 220); Danzas puertorriqueñas para piano» Vol. 1, 24-26
(AGPR/Box 4); Danzas de Juan Morel Campos~Vol« 4, 25-27,
(AGPR/MOR 225).

(AGPR/MOR 219 B).
C. Arrangement for Quinteto Figueroa by Guillermo and

cello. Unclassified music (AGPR/Box 2/envelcpe 7)..
648
D. Arrangement for flute, violins 1 A and 1 B, clarinet in

B flat, bombardino in C (AGPR/Box 26/MOR 177 D). Copy of
trombone in C and alto sax 1, with no envelope (AGPR/Box 26)
Arrangement by Herminio Brau.
210. ¡Feliz encuentro! (Ill)
A. Danza for piano in E Major. Dedication: "A la gentil se

ñorita Belén Aguayo" ("To the gentle Miss Belén Aguayo").
Incomplete manuscript (AGPR/MOR 228 J). Published in Ponce:
Almacén de Música Otero y sobrino, n.d. (AGPR/MOR 126 and
213); galley proof (AGPR/MOR 205 M); photographic negatives
(AGPR/MOR 126 B); Danzas de Juan Morel Campos. Vol. 4, 22-24
(AGPR/MOR 225).
B. Arrangement for flute, violins 1 and B, clarinet in B

flat, bombarding in C (AGPR/Box 26/MOR 126 C). The same en
velope includes a copy of violin 2 A but in D major. Hand
written copies in Herminio Brau's Collection.
211. feria. La (VI C)
Danza for piano in B flat Major. Written in 1882. Incomplete

manuscript (AGPR/MOR 228 K). Complete manuscript (AGPR/MOR
9); published in Danzas de Juan Morel Campos, Vol. 5, 45-46
(AGPR/MOR 226).
212. Fermina, La (I)
Guaracha for piano and voices in C Major. Incomplete manu

script with lyrics by P. de León: "¿De dónde vienes, Fermina?
De hacer la compra. ¿Y qué tal? Pienso dejar la cocina.
¿De veras? Me va muy mal." ("Where do you come from,
Fermina? From shopping at the market. How is everything?
I'm thinking of quitting cooking. Really? I'm doing pretty
bad.") (AGPR/MOR 228 C)
213. Femandina, La (I)

228 J). Dedication: "A la amable señorita Femandina
Almiroti" ("To the lovely Miss Femandina Almiroti"). Pub
lished in Ponce: Bazar Otero, n.d. (AGPR/Box 27/MOR 223 A);
214. Fiesta, de amigos (III)

A. Danza for piano in D Major. Incomplete manuscript (AGER/
MOR 228 J). Published in Ponce: Bazár Otero; n.d. (ÁGPR7
64S
MOR 128 B and 128 C). Danzas de Juan Morel Canq>os, Vol. 1,
19-21 (AGPR/MOR 222).
B. Arrangement for quartet by Jesús Figueroa, Santurce,

August, 1965. Handwritten copy (AGPR/MOR 128); published as
a separata in the Revista del Instituto de Cultura Puertorri-
queSa, No. 35, 1967 (.aGPR/MOE 128 A). Score includes violins
1 and 2, cuatro, -and cello.
215. Fígaro, El (IV)
Danza in D Major. Incomplete manuscript (AGPR/MOR 228 H).
216. flor juanadina. La (VI B)
Danza in C Major. Manuscript has incomplete melody only

(AGPR/MOR 228).
217. Flores mayagüezanas (VI B)
A. Mazurka for piano in A Major. Manuscript (AGPR/MOR 131A).
B. Arrangement for orchestra. Manuscript includes parts for

piccolo, oboe, clarinets in A, bassoon, comets in A, trom
bones 1 and 2, snare, violins 1 and 2, viola, cello, bass.
Music is missing for horns, flute, and trombone 3. It is
possible that the composer never wrote it, although there are
empty music papers with the names of those instruments on
them (AGPR/MOR 131).
218. Flores ponceñas (VI B)
Gran vals for piano. Introduction and waltz No. 1 in F Major,

No. 2 in B flat Major, No. 3 in D flat Major, No. 4 in Aflat
Major, and Coda beginning in A major but ending in F Major.
Dedication: "A mis bellas pai-sanitas" ("To my beautiful young
compatriots"). Incomplete manuscript (AGPR/MOR 228 V). Manu
script (AGPR/MOR 133).
219. Flores silvestres (V)
A. Danza for piano in É minor. Incomplete manuscript (AGEE/ .

MOR 228 I). Handwritten copy (AGPR/MOR 134).
B. Danza transposed to D minor. Manuscript of the same can-

position with the melody only (AGPR/MOR 230).
f ........... ...... ..........“ .... ■' ' ” -
650
220. foete, El (misspelled word; it should be "El fuete") (VI C)
221. fuego. El (V)
A. Danza in D Minor. Incomplete manuscript (AGPR/MOR 228).
B. Manuscript with the clarinet 1 part only (AGPR/MOR 208).

There are some measures with the word "campana" or bell
written on them.
222. fuego. El (V)
Incomplete melody in E minor. It is a different composition

from the previous one with the same title. (AGPR/MOR 228).
223. Fuego a la lata (VI A)
Danza in F major. Manuscript of the melody (AGPR/MOR 211);

incomplete manuscript for piano (AGPR/MOR 228 H).
224. Fuego con ellos (VI A)
Danza for piano in D Major. Incomplete manuscript (AGPR/

MOR 228 I); handwritten copy using larger horizontal paper
(AGPR/MOR 135).
225. fumadora. La (II)
Danza for piano which modulates from D minor to D Major.

Arranged from the zarzuela "Los sobrinos del Capitán Grant"
"The nephews of Captain Grant"). Manuscript (AGPR/MOR 10 A);
handwritten copy (AGPR/MOR 10); photographic positives (AGPR/
MOR 10 B); published in Danzas de'Juan Morel Campos. Vol. 5,
17-18 (AGPR/MOR 226).
Gabinete de Lectura, El (VI B)
See "certamen. El."
[Galgo va. . . ]
This work was erroneously listed by Mirabal, 25, as Morel's.

The researcher checked an index of publications of Almacén
F
651
Otero and found it is listed as a work by Juan Santaella.

See index (AGPR/MOR 229 A). N/A
226. gallina ciega. La (VI G)
Danza for piano in A minor. Incomplete manuscript (AGPR/MOR

228 M). Photocopy of manuscript (AGPR/MOR 11).
227. Galop (without title) (VIII)
Composition in B minor. Manuscript not identified as Morel's

but catalogued by the AGPR as such. Melody only (AGPR/MOR
228). It is included in Antonio Otero's Muestrario 1.
228. gancho. El (VI C)

228 E). Photocopy of manuscript (AGPR/MOR 85); published
in Danzas de Juan Morel Campos, Vol. 5, 33-34 (AGPR/MOR 226)
229. gaspacho, El (misspelled word; it should be "El gazpacho")(VTC)
Guaracha listed by Mirabal, 23. N/A
230. gato flaco. El (V)
Danza for piano in_C Major with, subtitle; "Danza enemiga

del diablo suelto" ("Dance enemy of the loose devil"). Ihccm-
plete manuscript (AGPR/MOR 228 K). Manuscript (AGPR/MOR 86);
handwritten copy in vertical paper (AGPR/MOR 86 A); Danzas de
231. Generosa, La (I)
Danza for piano in A Major. Dedication: "A la Srta. Da.

Generosa R. de Cancio" ("To Miss Generosa R. de Cancio").
Incomplete manuscirpt (AGPR/MOR 228 M). Published in Ponce;
Almacén de Música de Otero y sobrino, n.d. (AGPR/MOR 12);
232. Gilda, La (I)
Danza for piano in D Major, "sobre motivos de la ópera Rigo-

letóir ("based on motifs of the opera Rigoleto"). Manuscript
(AGPR/MOR 214).
F — ..
652
233. Gilda (I)
Danza in £ flat Major. This is a different composition from

the one in D Major and with the same title. The title is
written in pencil in Antonio Otero's Muestrario 19. Incomplete
manuscript (AGPR/MOR 228 R).
234. Gloria, La (I)
A. Danza for piano in A Major. Incomplete manuscript (ASS/

MOR 228 0). Handwritten copy using vertical paper (AGPR/MOR
137); published in Ponce: Otero y Co., n.d. (AGPR/MOR 137 A
and 212); Danzas de Juan Morel Campos. Vol. 2, 49-51 (AGPR/
MOR 223).

(AGPR/MOR 219 B).
235. Goces y penas (spelled "Gozes y-penasV in the manuscriptXm)
A. Danza for piano in £ flat Major. Incomplete manuscript

(AGPR/MOR 228 A); complete manuscript (AGPR/MOR 138); pub
lished in Ponce: Bazar Otero, n.d. (AGPR/MOR 206 and Box 27/
MOR 142 C); published in Danzas de Juan Morel Campos, Vol. 1,
29-31 (AGPR/MOR 222).
B. Four hands version in the same tonality. Incomplete manu

script (AGPR/MOR 228 Q).
236. gordito. El (IV)
Danza in C Major. Manuscript has incomplete melody only

(AGPR/MOR 228).
Gozo a San José (VII)
See "¡Bendito seas!"
237. Gozos (1, 2, 3, 4, 6, 9, 19, 20, and 21) a la Virgen del

Carmen (VII)

Mirabal, 24. N/A
653
238. Gozos para Nuestra Señora de Dolores (VII)
Religious music in F minor for organ. It includes Allegretto,

"Coro," "Estrofa 1" (Moderato), "Coro," "Estrofa 2," and“Duo"'
(Andantino). Manuscript (AGPR/MOR 139). It does not include
lyrics, but their use is implied by the "Estrofa" and "Coro"
sections.
239. Graciosa niña (II)
Polka in B flat Major. Manuscript includes the melody only

(AGPR/MOR 207).
Danza in B flat Major. This is a different composition from

the polka with the same title, and begins with two eighth
notes (A and C). Manuscript (AGPR/MOR 211 and 215).
Danza in B flat Major. Manuscript with the melody only (AGHt/

MOR 215). This is a different composition from the Hainaa
with the same title and in the same tonality. It begins with
two quarter notes (F and A).
242. Graciosa pareja (II)
Danza for piano in G Major, Op. 176. Dedication : "A las

apreciables niñas humacaeñas, Petra Julbe and Emilia
Hernández" ("To the respectable girls from Humacao, Petra
Julbe and Emilia Hernández"). Incomplete manuscript (AGPE/
MOR 228 M), published in Ponce: Bazar Otero, n.d. (AGPR/
MOS 141), Danzas de Juan Morel Campes. Vol. 1, 47-48 (AGPR/
MOR 222).
243. Gran Vía, La (VIII)
Danza in E minor. Annotation: "arreglo" (arrangement), in

complete manuscript (AGPR/MOR 228 G).
244. Grifa, tú me matas (II)
Guaracha for piano and voices (soprano, tenors, basses) in

G Major. This composition is possibly part of a zarzuela.
Incomplete manuscript (AGPR/MOR 228 C). The researcher
E ............ "
654
believes this composition might be the same as the one listed

by Mirabal, 23, under the genre of guaracha but with the title
"Qué mulata . . . tú me matas" and which is N/A.
245. Guadalupe, La (I)
Danza in D major. Incomplete manuscript (AGPR/MOR 228 P).
246. guarapo. El (VI C)
Danza in C major. Incomplete manuscript (AGPR/MOR 228 P).
247. guerreros. Los (IV)
Lanceros for piano. Introduction and five sections: G Major,

D Major, B flat Major, F Major, and D Major ending in GMajor.
Incomplete manuscript (AGPR/MOR 228 T). Manuscript with the
word "Roseta" written on the third section, "Visita" on the
fourth section, and "Cadena" on the fifth (AGPR/MOR 87);
published in Barcelona: A. Vidal y Roger, n.d. (AGPR/MOR
87 A); Juan Morel Campos: Obras varias, Vol. 1, 17-22 (AGPR/
MOR 22771 See Otero's catalogue (AGPR/Box 42).
248. Herminia, La (I)
Danza for piano in B flat Major. Incomplete manuscript(A33ER/

MOR 228 M); photographic positive of manuscript (AGPR/MOR 17;
published in Danzas de Juan Morel Campos, Vol. 5, 43-44
(AGPR/MOR 22671
249. hipódromo. El (VI C)
Waltz in A Major. Incomplete manuscript (AGPR/MOR 228 V).

Listed by Bazar Otero; see catalogue (AGPR/Box 42).
250. Hora espiritual (VII)
Melody listed by Mirabal, 23. N/A
251. Hora santa (VII)
F
655
252. horas. Las (VIII)
Melopea (rhythmic melody to recite verses) for piano in Aflat'

Major. Lyrics by Ulpiano Colom: "Busco a veces del tiempo
pasado las alegres y plácidas horas. Y al recuerdo del bien
ya perdido las encuentro cortas. Las encuentro cortas. 11
("Sometimes I search in the course of time gone by the happy
and quiet hours. And while reminiscing the already lost good
ness I find them short. I find them short.") Incomplete
manuscript (AGPR/MOR 208)
253. ¡Horas felices! (Ill)

(AGPR/MOR 228 L). Published in Ponce; Otero y sobrino, n.d.
(AGPR/MOR 142); Danzas de Juan Morel Campos. Vol. 1, 32-34
(AGPR/MOR 222).
B. Arrangement in F Major (original tonality is E flat Major)’

for clarinet in B flat 1 and 2 (AGPR/Box 26/MOR 230).
254. Hotel "Marina" (VI B)
Danza for piano in F Major. Written in 1888. Introduction

of 8 measures included in Muestrarios donated by Antonio
Otero (AGPR/MOR 221); published in Danzas de Juan Morel Campos
Vol. 5, 31-32 (AGPR/MOR 226).
255. Hotel Marina (VI B)
Danza in G minor. Dedication : "Para la Srta. Sicila Arce"

("For Miss Sicila Arce"). It is not the same‘composition as
"Hotel Marina" in F Major (beginning in A/B sixteenth notes)
because it begins with D-E-D sixteenth notes (AGPR/Box 50/
envelope 29).
256. huérfano. El (IV)
Waltz listed by Mirabal, 23=
257. Ideal (III)
Waltz listed by Mirabal, 23. N/A.
258. Idilio (III)
A. Danza for piano in E minor. Dedication: "A mi distinguido

amigo don Antonio Otero y Arce" ("To my .distinguished friend
f '
656
Mr. Antonio Otero y Arce")* Incomplete mansucript (AGPR/MOR

228 B); published in Ponce: Otero y sobrino, n.d. (AGPR/MOR
144 and 199); Danzas puertorriqueñas para piano, Vol. 1,
30-32 (AGPR/MOR 223).'

(AGPR/MOR 219 B).
C. Arrangement by Herminio Brau. It includes flute, violins

A and B (AGPR/Box 26/ MOR 144 B). Additional instruments
under separate cover: clarinet in B flat 1 and 2, trumpets,
bombarding in C, double bass (AGPR/Box 26/ MOR 159 A). Hand
written copies.
259. ignatas. Los (IV)
Pasodoble listed by Arjona Siaca et al., and by Mirabal, 23.

N/A
260. incógnita. La (VIII)
A. Danza for piano in A minor. Incomplete manuscript (ACER/ .

MOR 228 J). Published in Ponce: Eazar Otero, n.d. (AGPR/
Box 42/Vol. 1); Danzas de Juan Morel Campos, Vol. 1, 1-2
(AGPR/MOR 222).
B. Arrangement for flute, violins 1 A and 1 B, clarinet in

B flat, bombardino in C; by Herminio Brau (AGPR/Box 26/ MQR .
189 B).
261. Influencia del arte (VIII)
A. Danza for piano in A minor. Incomplete manuscript (AGIR/

MOR 228 B). Published in Ponce: Bazar Otero, n.d. (AGPR/
MOR 145 and 204); published in Danzas puertorriqueñas para
piano, Vol. 1, 23-29 (AGPR/MOR 145 A); Danzas de Puerto Rico,
11-13 (AGPR/MOR 220); photographic negatives (AGPR/MOR 145B);
galley proof (AGPR/MOR 205 G); Danzas de Juan Morel Campos,
Vol. 4, 51-53 (AGPR/MOR 225).
B. Arrangement for two flutes in Roberto Morel y Carvajal's

notebooks (AGPR/MOR 219 B).
C. Arrangement for Quinteto Figueroa by Guillermo and .

cello. Unclassified music (AGPR/ Box 2/ envelope 7).
D. Arrangement by Herminio Brau for flute, violins 1A and
IB, clarinet, in B flat, bombardino', double bass (AGPR/Box 26/
MOR'145 C).
r
657
262. Inocencia, La (spelled "La Ynocencia" in manuscript) (I)
Danza for piano in F major. Written in Aguadilla on November

27, 1879. Handwritten copy (it is a different calligraphy
from Morel's (AGER/MOR 19). Manuscript with the melody only
(AGPR/MOR 217).
263. inocente. La (spelled "La ynocente" in manuscript) (II)
Pansa in B flat Major. Manuscript includes the melody only

(AGPR/MOR 228 S).
264. intrépida. La (II)
Danza for piano in A flat Major. Photocopy of manuscript with .

two pages, seems incomplete (AGPR/MOR 22); incomplete manus-
script (AGPR/MOR 228 S).
265. iris. El (VIII)
266. Isabel y Santiago (I)

228 R).
267. Isabelita, La (spelled "La Ysabelita" in manuscript) (I)
Danza for piano in E minor. Photographic positive of more

recent handwritten copy (AGPR/MOR 23). Published in Danzas
de Juan Morel Campos, Vol. 5, 25-26 (AGPR/MOR 226).
268. Ismenia (I)
Polka in F Major. Incomplete manuscript (AGPR/MOR 228 U).

269. jazmín. El (V)
Andante and waltz for piano which begins in F Major and

changes to B flat Major in the last section. . Manuscript with
indication: "Cbpiádb expresamente para la Srta. Amalia Paoli"
("Copied expressly for Miss Amalia Paóli"). Incomplete manu
script .in Muestrario 23 -says:. "Introducción" and "vals" (AGER/
MOR 228 V); manuscript (AGPR/MOR 209).
658
270. ¡Joaquina! (I)
A. Danza for piano in D Major. Incomplete manuscript (A3E/

MOR 228 J). Dedication: "A mi bondadosa amiga Joaquina
Cabanas" ("To my generous friend Joaquina Cabañas'?). Manu
script of melody only (AGPR/MOR 218); published in Ponce:
Otero y sobrino, n.d. (AGPR/MOR 148); galley proof (AGPR/MOR
205 F); photographic negatives (AGPR/MOR 148 B); Danzas de
B. Arrangement for flute, violins A and B, clarinet in B

flat, bombarding; by Herminio Brau (AGPR/Box 26/MOR 188 £).
271. Josefita. La (I)
Danza in C Major. Manuscript with the melody only (AGPR/

MOR 217).
272. joven desgraciado. El (IV)
Danza for piano in C Major. Incomplete manuscript (AGPR/

MOR 228 D).
273. joyita. La (II)
Mazurka for piano. Introduction in E Major, Mazurka in E

Major but ending in A Major, and Coda in E Major. Incomplete
manuscript (AGPR/MOR 228 W); published in Ponce: Bazar
Otero, n.d. (AGPR/MOR 25); Juan Morel Campos: Obras varias,
Vol. 1, 1-5 (AGPR/MOR 227).
274. Juegos florales (VI C)
Gran marcha for orchestra, in C Major. Dedication: "Dedi

cada a la sociedad mayagüezana, 1895" ("Dedicated to the
Mayagüez society, 1895"). Guión (piano reduction), and parts
for 23 instruments: piccolo, oboe, principal, clarinets 1,
2, and 3, bass clarinet, requinto, saxophones (E flat, bari
tone, and tenor), comets 1, 2, and 3, horns, trombones 1, 2,
and 3, bombardinos 1 and 2, bass in G. batería, cellos. Mam-
script (AGPR/MOR 151). Morel obtained a Gold Medal and a
prize in cash for this composition in Mayagüez. The work also
received a prize in the International Contest at the Exposi
tion of Buffalo, New York, in 1902 (posthumously).
¥
659
275. jugón de Manuela, El (mispelled word; should be "El jubón de

. Manuela") (VI C) .

228 E).
276. juicio final. El (VIII)

228 D).
277.Julia Plá (I)
Mazurka in E Major. Incomplete manuscript (AGPR/MOR 228 W).

This work was written in honor of a soprano who sang at the
Teatro La Perla in Ponce.
278. Julianita, La (I)

MOR 228 0). Printed copy: n.n., n.p., n.d. (AGPR/MOR 28).
There is a note in pencil indicating it was recorded but not
published, and that its duration is 2' 48.."

279. Julita, La (I)
A. Danza for piano in A Major. Incomplete manuscript (AGB?/

MOR 228 M). Published in Ponce: Bazar Otero, n.d. (AGPR/MCR
29); Danzas de Juan Morel Campos, Vol. 1, 17-18 (AGPR/MOR 222).
B. Arrangement for flute and violins A and B; made by

Herminio Brau (AGPR/Box 26/MOR 29A).
280. ¡Juventud alegre! (Ill)
A. Lanceros for piano; No. 1 in E Major, No. 2 in D Major,

No. 3 in G Major, No. 4 in C Major, No. 5 in A Major, and
Coda in D Major. Incomplete manuscript (AGPR/MOR 228 T);
manuscript (AGPR/MOR 152).
B. Arrangement for orchestra (not by Morel), made in Coamo

in 1899. Parts for 6 instruments: clarinets in C 1 and 2,
comet, bombardinos 1 and 2, bass in C. Handwritten copy
(AGPR/MOR 152 A).
¥
660
C. There is another orchestral-arrangement for violins l and

2, clarinet, horn, and bass. Handwritten copy (AGPR/MOR 152B).
281. Juventud ponceña (VI B)
A. Lanceros for orchestra: No. 1 and No. 2 in A Major, No.3

in G Major, No. 4 and No. 5 in A Major. Manuscript includes
parts for 4 instruments: double bass, clarinets 1 and 2,
and bombardino (AGPR/MOR 155).
B. Orchestral arrangement made in 1920, for 6 instruments:

double bass, violins 1 and 2, clarinet, comet in A, and bom
bardino (AGPR/MOR 155A).
282. Lamentos de tin cesante (spelled "Lamentos de un sesante" in

manuscript) (VI B)
Danza for piano in G minor. Manuscript with incomplete

melody (AGPR/MOR 215); accompaniment, but written in G clef
(AGPR/MOR 215); manuscript of accompaniment in G clef, pro
perty of J. Diaz (AGPR/MOR 43 A); incomplete manuscript for
both hands (AGPR/MOR 228 I); complete manuscript (AGPR/MOR
43); later handwritten copy (AGPR/MOR 43 B).
Lanceros for piano. No. 1 in D Major, No. 2 in A Major,

No. 3 in D Major, No. 4 in F Major, No. 5 in A Major. Incom
plete manuscript (AGPR/MOR 228 T).
Lanceros for piano. No. 1 in A Major, No. 2 in A Major and

changing to D Major, No. 3 in G Major, No. 4 in A Major, and
No. 5 in A Major. Incomplete manuscript (AGPR/MOR 228 T).
Lanceros for orchestra. The index card file at the AGPR in

dicates that envelope MOR 101 contains a composition for seven .
instruments, the envelope is missing. N/A
286. Laura y Georgina (I)

A. Danza for piano in B minor and a middle section in B Ma
jor, with lyrics by Juan Morel Campos. Dedication: "A las
r
661
apreciables señoritas Laura y Georgina Capó" ("To the appre

ciated MissesLaura and Georgina Capó"). Incomplete manuscript
(AGPR/MOR 228 L and 228 C); manuscript (AGPR/MOR 73 A); pub
lished in Ponce: Otero y sobrino, n.d. (AGPR/MOR 73 D); photo
graphic negatives (AGPR/MOR 73 G); galley proof (AGPR/MOR
205 E); Danzas puertorriquñeas para piano, Vol. 1, 21-23
(AGPR/Box 4); Danzas de Juan Morel Campos, Vol. 4, 57-59
(AGPR/MOR 225).
B. Arrangement for orchestra by Wison Torres, Jr. for "Dag-

mar." Voice and 18 instruments: flutes, oboe, bassoon,
trumpets, French horn, trombones, cuatro, piano, bass, drums
(cymbals and snare), percussion (güiro, glock, and xylophone),
violins A and B, viola, cello. The manuscript also includes
the orchestral score (AGPR/MOR 73 C). The copyist- was Ronald
D. Torres.
287. Laura y Georgina (I)
A. Danza concertante for voices and lyrics by the composer.

It begins in D flat Major and ends in B flat Major. This- is
a similar composition from the danza for piano with the
same title. Worn-out manuscript with a score that includes
2 sopranos, soprano chorus, baritone, 2 tenors and bass
(AGPR/MOR 40); more recent handwritten copy (AGPR/MOR 73 E).
There is an additional introduction which is different from
the one of the piano version, and begins with lyrics "Cuando
al placer . . . " The next section continues with lyrics
"Bella es la flor . . . " There is a change of tonality in
the same place as in the piano version ("No hay dicha . . .")
but there is no return to the original tonality.
B. Danza concertante for voices and orchestra in A minor.

Orchestrated by the composer, it includes a guión (piano re
duction) and 23 parts: the same voices a s in previous ver
sion, plus flute, violins 1 and 2, viola, clarinets, bassoon
comets, horns, trombones, cello, bass, and snare drum. Manu
script (AGPR/MOR 73). The AGPS keeps in this same envelope
a composition in A Major which ends -in a Coda. It is not iden
tified with name of composer or title.
288. lechonada. La (VI C)

228 E).
Leonardo (IV)
See "rutina. La."
r
662
289. Letanías (VII)
Religious song in D minor. Composition dated 1884, for chorus .

and piano. Worn-out manuscript includes lyrics in Latin. It
belonged to Antonio Mirabal (AGPR/MOR 78).
290. Letanías (2) a dos voces a Nuestra Señora del Carmen (VII)

Mirabal, 24. N/A
291. Lila, La (I)
A. Danza for piano in D Major. Dedication: "A la señorita

Angela Cabañas" ("To Miss Angela Cabanas"). Incomplete manu
script (AGPR/MOR 228 I); handwritten copy (AGPR/MOR 30); pub
lished in Ponce: Bazar Otero, n.d. (AGPR/MOR 30 A, and Bck 27
/MOR 30 C): Danzas de Juan Morel Campos. Vol. 1, 13-16 (AGPR/
MOR 222).
B. Arrangement by Herminio Brau. It includes flute, violins

A and B (AGPR/Box 26/MOR 45 C). Additional instruments kept
in a separate cover: bombarding. clarinet in B flat, and
violins A and B (AGPR/Box 26/MOR 30 B).
292. ¡Linda boca! (II)
Polka which begins in F Major and ends in B flat Major. It

does not indicate the composer, but the AGPR has classified
it as Morel's. Arrangement for two flutes in Roberto Morel
y Carvajal's notebooks. (AGPR/MOR 219 B).
293. lira. La (VIII)
A. Overture for piano. It begins with Allegro brillante in

E flat Major, continues with Andante assai and Allegro in
A flat Major, and 1° Tempo in E flat Major. The final sec
tion is in A flat Major. Published in Juan Morel Campos:
Obras varias. Vol. 1, 53-70 (AGPR/MOR 227), as a reprint of
the edition made in Barcelona: A. Vidal y Roger, n.d. (AGPR/
Box 27/envelope M0R 32 B), which indicates that the composi
tion won a Gold Medal and an honor mention of first class at
the Feria Exposición of Ponce. The AGPR's manuscript is
missing (AGPR/MOR 32). Listed by Bazar Otero (see catalogue
AGPR/Box 42).
B. Orchestration made by Roberto Sierra (March 4, 1981) in

cludes the following instruments: flute, piccolo, oboes 1
F
663
and 2, clarinets 1 and 2, bassoons 1 and 2, horns in F 1» 2,

3, and 4, trumpets 1 and 2, trombones 1, 2, and 3, percussion
(güiro, tambourine, piatti, cassa), timpani, violins 1 and 2,
violas, cellos, and bass. The individual parts and the or
chestral score are found in Box 57 of the unclassified mate
rial at AGPR. Tempi: Allegro moderato. Andante affectuoso.
Allegro moderato, Meno mosso. Andante assai (this final sec-
tion has subdivisions: Moderato, Allegro, Andante assai,
A tempo. Grandioso, and Piu allegro).
294. Lo de siempre (VI A)
A. Danza for piano in A Major. Manuscript of melody only

(AGPR/MOR 218); incomplete manuscript for piano (AGPR/MOR
228 E); photocopy of manuscript (AGPR/MOR 79).
B. Four hands version of the same composition. Incomplete

manuscript (AGPR/MOR 228 Q).
295. loca. La (II)
A. Danza for piano in D Major. Incomplete manuscript (AGPR/

MOR 228 B).
B. Arrangement for two flutes in Roberto Morel y Carvajal*s

296. Lola, La (I)
Danza in D Major. Incomplete manuscript (AGPR/MOR 228 G).
297. Lolita, La (I)

228 G). It was probably written in 1879. Handwritten copy
with a different calligraphy (AGPR/MOR 34); handwritten copy
which reads "Copiada de una copia por S. Arias" ("Copied from
a copy by S. Arias.") (AGPR/MOR 34 A).
298. Luisita, La (I)
Danza for piano in F Major. Incomplete manuscript dated

April 3. 1876 (AGPR/MOR 228 R). Manuscript with dedication:
"Dedicada a la Sta. Da. Luisa Rabainne por su amigo Juan
Campos Morel" ("Dedicated to Miss Luisa Rabainne by your
friend Juan Campos Morel") (AGPR/MOR 37).
664
299. Lupita, La (I)
Danza for piano in B flat Major. Incomplete manuscript (AGER/

MOR 228 I). Although not a dedication, front page reads:
"Amalia Paoli" "Sta. Carlota Arroyo" in manuscript (AGPR/MOR
38).
300. macarela. La (V)
Danza in C Major. Incomplete manuscript (AGPR/MOR 228 N).
301. majabáca. La (spelled "La majavaca" in MOR 228 G) (VIII)
A. Danza for piano in A Major. Incomplete manuscript (AGPR/

MOR 228, 228 J, and 228 G); published in Ponce: Otero y so
brino, n.d. (AGPR/MOR 194); Danzas de Juan Morel Campos,
Vol. 3, 33-34 (AGPR/MOR 224).
B. Arrangement for flute 1,- 1 A, and IB, clarinet in BfLat,

and bombarding in C; made by Herminio Brau (AGPR/Box 26/MOR
113 C).
302. ¡Maldito amor! (Ill)
A. Danza for piano in E minor. Incomplete manuscript (AGPR/

MOR 228 L). Published in Ponce: Otero y sobrino, n.d.
(AGPR/MOR 91 A); Danzas puertorriqueñas para piano. Vol. 1
19-20 (AGPR/Box 4), Danzas de Juan Morel Campos Vol. 3, 15-16
(AGPR/MOR 224).
B. Danza for piano, 4 hands. Copy of the higher register

only in more recent handwritting (AGPR/MOR 91).
C. Choral arrangement "a capella" with lyrics by Pablo

Fernández Badillo. Mimeographed copy (AGPR/MOR 91 C).
303. mancorna. La (VI C)

228 D).
304. manga. La (VI C)
Danza listed by Arjona Siaca, et al., 117, and Mirabal, 25.
Ñ7A
* mangó. El (V)
See "La caña de Veracruz."
W ....■■■....
665
305. mangó. El (V)
Danza for piano in D Major. Incomplete manuscript (AGER/MOR

228 I). Manuscript (AGPR/MOR 89). This is not the same
composition as "La caña de Veracruz o El mangó.”
306. Marcha fúnebre (Vil)
Funeral march for piano in G Major. Dedication: "Dedicada a

M. G. Tavárez" ("Dedicated to M. G. Tavárez"). Manuscript
(AGPR/MOR 93). Indication in handwritten copy: "Regalo a la.
Srta. A. Capó" ("Gift to Miss A. Capó") (AGPR/MOR 93 A). There
are slight differences in the manuscripts, although the melody
is the same.
307. mareo. El (VIII)

228 I); manuscript which was owned by Elisa Canales (AGPR/M3R
90); published in Danzas de Juan Morel Campos. Vol. 5, 13-14
(AGPR/MOR 226); handwritten copy which seems more recent (AGER
/MOR 90 B).
308. Margarita, La (I)
Danza in B flat Major. Incomplete mansucript (AGPR/MOR 228K).
309. María, La (I)
Danza in D minor with middle section in D Major. Manuscript

of the melody only (AGPR/MOR 215).
310. Maria Luisa (I)
Polka in A Major. Incomplete manuscript (AGPR/MOR 228).
311. Mariana (I)
Waltz which begins in D Major and ends in G Major. Arrange

ment for two flutes in Roberto Morel y Carvajal*s notebooks,
but flute 2 part is missing. It does not indicate the ccnpos-
er> but it is classified as Morel's (AGPR/MOR 219 B).
¥
312. marimbambé, El (VIII)

228 N).
313. marina española. La (IV)
Danza for piano in D Major. Manuscript with a different

calligraphy (AGPR/MOR 39).
314. mariposa. La, o sea. El piquijulle (V)
Danza in F Major. Incomplete manuscript (AGPR/MOR 228 G).
315. máscaras. Las (VI C)

228 H); manuscript (AGPR/MOR 68); published in Danzas de Juan
316. máscaras alegres. Las (VI C)
A. Danza for piano in G Major. Incomplete manuscript (AffiR/

MOR 228 B); incomplete handwritten copy (AGPR/MOR 94) only
has last two pages.

317. mayoría. La (VI B)
A. Danza for piano in A Major. Incomplete manuscript (AGPR/

MOR 228 0). More recent handwritten copy (AGPR/MOR 42).
B. Arrangement for two flutes in Roberto Morel y Carvajal*s

318. Melancolía (III)
Danza in C Major. It does not indicate the composer. Arranger

ment for two flutes included in Roberto Morel y Carvajal's
319. Melodía en famenor (VII)
Religious melody listed by Arjona Siaca et al., 120. N/A
permission of the copyright owner. Further reproduction prohibited without permission.

667
320. Melodía en mi menor (VII)
Religious melody listed by Arjona Siaca et al., 120. N/A
321. Melodía fúnebre (VII)
Funeral Adagio for piano in F minor. Transcribed by Domingo

Cruz (Cocolía), Ponce, March 3, 1898. Handwritten copy
(AGPR/MOR 98).
322. Melodía sentimental (VII)
Composition for piano in D minor. Printed copy donated by

Antonio Mirabal indicates in handwriting:. • "Compuesta ex
presamente para los funerales del maestro Don Manuel G.
Tavárez, año 1883" ("Composed expressly for the finierais of
maestro Manuel G. Tavárez, year 1883"). Published in Ponce:
Hijos de Juan Morel Cmapos, 1937 (AGPR/MOR 100 D).
323. Melodía sentimental (VII)
Incomplete composition with 22 measures of a melody in E minor

on the left page (Andantino), and 18 measures of a melody in
F minor on the right page (Adagio). The material is totally
different from the printed composition with the same title.
Manuscript (AGPR/MOR 100).
324. menú. El (VI C)
Danza for piano in B Major. Incomplete manuscript (AGPR/MOR

22177
325. Mercedes (I)
A. Polka for piano in D Major. Dedication : "A la Sta.

Mercedes Arias" ("To Miss Mercedes Arias"). Incomplete manu
script (AGPR/MOR 228 U). Published in Barcelona: Andrés
Vidal y Roger, n.d. (AGPR/MOR 102). See Bazar Otero's cata
logue (AGPR/Box 42).
B. See libretto by Julio Marrero Núñez on the origins of the

danza "Mercedes" at the General Library of the University of
.Fuerto Rico. The researcher has not been able to find a
danza with this title, but only the polka already described.
r
668
326. merengue. El (VI C)
Danza in G Major. Incomplete manuscript (AGPR/MOR 228 P).
327. Mi ideal (spelled "Mi ydeal" in manuscript) (III)
Danza in G Major. Incomplete manuscript (AGFR/MOR 228 P).
328. Mi novia (II)
Danza in G Major. Incomplete manuscript (AGFR/MOR 228 S).
329. Mi perla (II)
Danza for piano in A Major. Published, n.n., n.p., n.d.

(AGPR/MOR 204); published in Ponce: Almacén de Música Otero
y sobrino, n.d. (AGPR/MOR 229); Danzas de Juan Morel Campes,
Vol. 2, 42-44 (AGPR/MOR 223).
330. Mi súplica (III)
A. Danza for piano in B flat minor. Manuscript (AGPR/MOR

108).
B. Handwritten copy of the same composition but in A minor.

(AGPR/MOR 108 A).
Mi viaje por América (VIII)
See "Dicen que me divierto."
331. microbio. El (V)
A. Danza in A Major. Composer's name is not indicated, but

it is included in Antonio Otero's Muestrario 9. Incomplete
manuscript (AGPR/MOR 228 H).
B. Danza for piano in G Major. It is the same composition.

Photographic positive of handwritten document indicates:
"no grabada" (AGPR/MOR 92). Photographic positive in minia
ture donated by Jesús María Sanromá (AGPR/MOR 92 A).
332. Mis amores (ill)

MOR 228 I and 228 0). Manuscript (AGPR/MOR 103).
w
669
B. There is a copy in the Collection of Haría Teresa Picó

of a work titled "Susana o Mis amores" (AGPR/MOR 119 B), but
this composition is erroneously classified, since it is a
copy of VNo me olvides" (also called "Susana"), and a totally
different work from "Mis amores." The researcher checked
the mansucripts carefully.
333. Mis esperanzas (III)
Danza for piano in B flat Major. Incomplete manuscript

7H5ÍF228 D).
334. Mis penas (III)

228 M); published in Ponce: Otero y sobrino, n.d. (AGPR/MOR
105); Danzas de Juan Morel Campos, Vol. 1, 22-24 (AGPR/MOR
222).
335. Mis quejas (III)
Danza in C minor. Incomplete manuscript (AGPR/MOR 228 N).
336. Mis suspiros (III)
Vals brillante for piano in E flat Major. Dedication: "Dedi

cada a la simpática señorita Doña Ana Otero por su amigo
Juan Morel Campos. Ponce, octubre 1878" ("Dedicated to the
charming Miss Ana Otero by your friend Juan Morel Campos.
Ponce, October 1878"). Ana Otero was a pianist from Humacao.
Incomplete manuscript (AGPR/MOR 228 V); manuscript (AGPR/MOR
106).
337. Montañez (TV)
Pasodoble listed by Arjona Siaca et al., 118, and by Mirabal,

23. N/A
338. muchachas. Las (II)
Danza for piano in C minor. Incomplete manuscript (AGPR/MOR

228 H).
¥ ............... " ' .............
670
339. muchachos. Los (IV)
Lanceros for piano. No. 1, No. 2,-and.-No..3 in'D'Major,

No. 4 in A Major, No. 5 in D Major. Incomplete manuscript
(AGPR/MOR 228 T).
340. mulata Rosa, La (I)
Cuban guaracha for piano in B flat Major. Written in Ponce

in 1881. Lyrics by the composer. Manuscript (AGPR/MOR 44).
341. Música clásica (VIII)
Danza from the zarzuela of the same title, arranged by. Juan
Morel Campos, in C Major. Incomplete manuscript (AGPR/MOR
228 I); manuscript (AGPR/MOR 110).
342. Nene, La (I)
Danza for piano in E Major. Incomplete manuscript (AGPR/MOR

228 B); manuscript (AGPR/MOR 47); published in Ponce: Otero
y sobrino, n,d. (AGPR/MOR 47 A); Danzas de Juan Morel Campos,
Vol. 3, 9-10 (AGPR/MOR 224).
343. niña bonita. La (II)
Danza for piano in E Major. More recent handwritten copy

(AGPR/MOR 50); published in Danzas de Juan Morel Campos,
Vol. 5, 40-42 (AGPR/MOR 226T-
344. niña de los ojos bonitos,.La (II)
Danza for piano in F Major. Handwritten copy with a diffaent

calligraphy from Morel's (AGPR/MOR 52).
345. niña hechicera. La (II)
A. Danza for piano in E Major. Incomplete manuscript (AGIR/

MOR 228 K).
B. Copy of the same composition but in D Major. Incomplete

manuscript (AGPR/MOR 228 P).
r
671
346. niña retozona* La (spelled "La niña retosona" in manuscript

(ID
A. Polka in G Major. Incomplete manuscript (AGPR/MOR228 U);

manuscript of the melody only (AGPR/MOR 54).
B. Envelope MOR 54 has two melodies on the back of the manor

script: one in D Major (identified as 1 a) and another also
in D Major (identified as 2 a* and ending in the note E). Oh .
the bottom of the page it reads: "El cabo manteca se metió
a mandar y a fuerza de palos lo hicieron callar. Tan duro le
dieron por entrometido, que el cabo manteca quedó derretido."
("Corporal lard began to command, and by force of blows they
made him shut up. So strongly they beat him for being a
meddler, that Corporal lard finally melted.")
347. niña sin amor. La (II)

228 K and 228 N).
348. niño. El (IV)
Danza in D Major. Incomplete manuscript (AGPR/MOR 228 N).
349. No comas fósforos (VI A)
A. Danza for piano in G Major. Incomplete manuscript (AGHJ/

MOR 228) with the title in singular: "No coma fósforo."
B. Four hands version in the same tonality. Incomplete manu

script (AGPR/MOR 228 Q).
350. No desconfíes (III)
A. Danza for piano in E minor. Incomplete manuscript (AGPR/

MOR 228 M). Published in Ponce: Otero y sobrino, n.d.
(AGPR/MOR 116); Danzas de Juan Morel Campos, Vol. 1, 39-42
(AGPR/MOR 222).
B. Arrangement for flute, violins A and B, clarinet in B flat,.,

bombardino; by Herminio Brau. Handwritten copy (AGPR/Box 26/
MCR 116 b7-
351. No me martirices (III)

(AGPR/MOR 228 B); published in Ponce; Almacén de Música Otero
672
y sobrino, n.d. (AGPR/MOR 117); galley proof (AGPR/MOR 205);

photographic negatives (AGPR/MOR 117 B); Danzas de Juan Morel

C. Arrangement for flute, violins 1 A and 1 B, clarinet in B

flat, bombardino. Handwritten copy (AGPR/Bpx 29/MOR 117 E).
352. INo me olvides! (Ill)
A. Danza for piano in E minor, written in 1885. incomplete

manuscript (AGPR/MOR 228 S); manuscript (AGPR/MOR 119 A);
photographic positives (AGPR/MOR 119 E); Danzas de Juan Mon»1:
Campos , Vol. 5, 21-22 (AGPR/MOR 226).
B. This danza appears as "Susana" in the manuscript (AGPR/

MOR 119), but it is the same composition as "No me olvides."
C. There is also a copy of the same composition but with the.

title "Susana o Mis amores" in the collection of Maria Teresa
Picó (AGPR/MOR 119 B). It must be remembered that the danza
"Mis amores" in F Major is a completely different composi
tion. For a comparison see envelope MOR 103.
353. No me toques (III)

228 J); manuscript (AGPR/MOR 120); published, n.n., n.p.,n.d.
(AGPR/MOR 120 A); published in Ponce: Bazar Otero, n.d.
(AGPR/MOR 213); Danzas de Puerto Rico, 7-8 (AGPR/MOR 220);
Danzas puertorriqueñas para piano, Vol. 2, 22-23; Danzas de
354. No te la lleves que tiene quenepas (VI A)
Danza in G Major. Incomplete manuscript (AGPR/MOR 228 N).
355. No te ocupes (VI A)

228 P and 228 J); published in Ponce: Otero y sobrino,n.d.
(AGPR/MOR 124); Danzas de Juan Morel Campos, Vol. 3, 5-6
(AGPR/MOR 224).
673
356. Noche de plácida calma (V)
Danza in D Major. Handwritten copy donated by F. Escabi,

includes the melody only (AGPR/MOR 114).
357. Noche deliciosa (spelled "Noches deliciosas" in manuscript)

(V)
A. Danza for piano in D Major. Incomplete manuscript (AGIR/

MOR 228~0).
B. Danza for piano in D Major» arranged for 4 hands» Op.173.

Incomplete manuscript (AGPR/MOR 228 Q); published in Ponce:
Almacén de Música Otero y sobrino» n.d. (AGPR/MOR 113); gal-
ley proof (AGPR/MOR 205 N); photographic negatives (AGPR/MOR
113 B); Danzas de Juan Morel Campos, Vol. 4, 5-10 (AGPR/MOR
225).
C. Arrangement for orchestra in A Major. Parts for violins

1 and 2, clarinets 1 and 2, cornet in A, bombardinos 1 and 2
double bass. Written in paper distributed by Carl Fischer in:
New York (AGPR/MOR 113 A).
D. Arrangement in D Major, for flute, violins 1 A and 1 B,

clarinet in B flat, bombardino; made .by Herminio Brau. (AGIR/
Box 26/MORL 113 C).
358. Novedades (VIII)
A. Danza for piano in A Major. Incomplete manuscript (AGER/

MOR 228 J); photocopy of manuscript (AGPR/MOR 125).
B. Arrangement for orchestra in G Major. Parts for 8 instru

ments: violins 1 and 2, clarinets 1 and 2, cornet in A, bom
bardinos 1 and 2, bass. Handwritten copy using vertical
paper (AGPR/MOR 125 B).
* Novenario de la Guadalupe (VII)
See "Estrofa a solo."
* Número 24 (VIII)
See "24, El."
359. oficiales de bomberos. Los (IV)
A. Polka for piano. Introduction and polka in G Major, Trio
in C Major, and Coda in G Major. Incomplete mannuscrípt(AGIR/
F '
674
MOR 228 U): published in Barcelona: A. Vidal y Roger, n.d.

(AGPR/MOR 88 B); listed by Bazar Otero (see catalogue AGER/
Box 42); Juan Morel Campos: Obras varias, Vol. 1, 9-16 (¿GBR/
MOR 227).
B. Arrangement for flute, violin, and clarinet in B flat;

made by Herminio Brau (AGPR/Box 26/MOR 88 D).
360. iOh misericordia! (VII)
Funeral march listed by Arjona Siaca et al., 120, and Mirabal,

23. N/A
361. ojos de Sofia, Los (I)
Danza in E minor. Incomplete manuscript (AGPR/MOR 228 H).

This is not the same composition as "Sofia."
362. Ojos que abrazan (II)
Danza for piano in F Major. Incordíete manuscript (AGPR/MOR

228 0).
363. Olimpia, La (I)
A. Mazurka for piano which begins in A Major and ends in D

Major. Op. 166. Dedication: "Dedicada a mi hija Olimpia
Morel-Campos y Beltrán" ("Dedicated to my daughter Olimpia
Morel-Campos y Beltrán"). Incomplete manuscript (AGPR/MOR
228 W). Published in Ponce: Bazar Otero, n.d. (AGPR/MOR
55); published as a separata in the Revista del Instituto de
Cultura Puertorriqueña, No. 14, 1962 (AGPR/MOR 55 A).
B. Arrangement for orchestra by Ramón Navarro. Manuscript

includes parts for 7 instruments: bombarding 1 and 2, bass,
violin, clarinet 1 and 2, comet in A (AGPR/MOR 55 B).
364. Oliva (I)
Waltz in B flat Major. Incomplete mansucript (AGPR/MOR 221).
365. pajes de Lucerna, Los (IV)
Danza for piano in C Major. Handwritten copy indicates:

'‘Danza para piano por Carpos Morel copiada para la Srta. Da.
Maríanita Ramírez Quiñones, San Gérinán, 5 de marzo de 1886";
("Danza for.piánó by Carpos Morel copied fór Miss Marianita
Ramírez Quiñones, San Germán, March 5, 1886") (AGPR/MOR 168)
¥
675
366. pajuela. La (VIII)
Danza in G Major. Incomplete manuscript (AGFR/MOR 228 N).
367. Palito uno, palito dos . . . (VI A)
368. paloma. La (V)
Danza for piano in G minor. Incomplete manuscript (AGFR/MOR

228 M).
369. Panchita (title is not clear in manuscript and could be "La

Paulita") (I)
Danza in G Major. Incomplete manuscript (AGFR/MOR 228 S).
370. Panchito Taboada (IV)
Funeral march. Listed by Mirabal, 23. N/A
371. pantalla. La (VI C)

228 G).
372. pastorcilla. La (II)
Romanza. Song for voice and piano in B flat Major. Handwrit

ten copy that was owned by Cecilia M. de Negron,7 Utuado
(AGPR/MOR 56). Handwritten copy which seems more recent,
written in vertical paper and with a dedication: "Canción
compuesta expresamente para la Srta. Amalia Paoli" ("Socg ccro-
posed expressly for Miss Amalia Paoli") (AGPR/MOR 56 A).Hand
written copy in large paper, with lyrics by Mario Braschi
(AGPR/MOR 56 A).
7 Cecilia Muñoz de Negrón, now a nonagenarian, still plays the

piano. Her daughters, Cecilia and Luz, are both excellent pianists
and professors at the Conservatory of Music. They both studied in.
their youth with Elisa Tavárez (the composer's daughter). Profes
sor Luz Negron de Hutchinson was the researcher's piano teacher.
f ' ~ ' ■
676
373. Paula'camisa sucia (I)
Danza for piano in D Major. Annotation in envelope indicates

it was identified as Morel's by pianist Jesús Maria Sanromá.
Incomplete manuscript wiLh the name of the composer (AGFR/MOR
228 R); manuscript (AGPR/MOR 127).
374. Penas del corazón (III)
Danza in G Minor. Incomplete mansucript (AGPR/MOR 221 and

228 L).
375. Pepita, La (I)
Danza in D minor. Incomplete manuscript (AGPR/MOR 228 K).
376. Pepito, El (IV)

MOR 210).
377. Peral (V)
Danza in A Major. Introduction of 8 measures is included in

the index donated by Antonio Otero (AGPR/MOR 221).
378. perla. La (VI B)
A. Danza in A Major. Incomplete manuscript (AGPR/MOR 228 0).
B. Arrangement for two flutes included in Roberto Morel y

Carvajal's notebooks (AGPR/MOR 219 B).
379. perla del baile. La (II)
Polka in G Major. Composer is not indicated. Arrangement

fcr flutes (although only flute 1 appears) in Roberto Morel y
380- Perlas de mi patria (VI B)
A. Danza for piano in E Major. Dedication (in printed copy)c

"A mis amiguitas las aventajadas diletantes Sisila Arce y
Tomasita Otero" ("To my girl friends the outstanding dilet
tantes Sisila Arce and Tomasita Otero"). Incomplete manuscript
F "...
677
(AGPR/MOR 228 J); manuscript (AGPR/MOR 129); published in

Ponce: Otero y sobrino, n.d. (AGPR/MOR 129 A); Danzas de
Juan Morel Campos, Vol. 3, 11- 12 (AGPR/MOR 224).

B flat, bombardino in C; made by Herminio Brau (AGPR/Box 26/
MOR 129 cT.
381. perlita. La (II)
A. Danza in A Major. The Archive keeps two different photo

copies of danzas with front pages reading "La perlita" (one
is in A Major and begins in upbeat with two sixteenth notes
E and D; the other is in E flat Major and begins in upbeat
with a sixteenth note octave in C). With the help of the
recording made by pianist Jesús Maria Sanromá (Vol. 13 of
Danzas de Morel Campos interpretadas por Sanromá) it was de
termined that "La perlita" is the danza in A Major. (AGPR/
MOR 57).
B. Envelope containing danza "Sarito" has the same problem.

One of the copies (the one in E flat Major), is the same as
the danza In that tonality in envelope of "La perlita." With
the help of the recording made by Sanromá (Vol. 10), it was
determined that the danza in E flat Major is "Sarito."
382. perros. Los (V)
383. Peticiones (2) a San José (VII)

Mirabal, 24. N/A
384. Peticiones (2) a San Rafael (VII)
Religious music listed by Ariona Siaca et al., 119, and by

Mirabal, 24. N/A
385. Pienso en ti (III)
Danza in E flat Major. Incomplete manuscript (AGER/MX 228H).

386. piñata. La (VI C)
Mazurka in A Major. Incomplete manuscript (AGPR/MOR 228),
e ..........
678
387. piñata. La (VI C)
Danza in A Major. This is a different composition from the

mazurka with the same title. Incomplete manuscript (AGPR/MR
228 R).
* piquijulle. El (V)
See "mariposa. La."
388. pitirre. El (V)
Danza in G Major. Introduction of 8 measures included in

index donated by Antonio Otero (GPR/MOR 221).
389. Placer fugaz (III)
Polka in E flat Major. Incomplete manuscript (AGPR/MOR

228 V). See Bazar Otero’s catalogue (AGFR/Box 42).
390. Placeres de la vida (III)
Danza for piano in F Major, Op. 175. Dedication: "A mi es

timado amigo Don Ramón Reichard" ("To my esteemed friend
Mr. Ramon Reichard").8 Incomplete manuscript (AGPR/MOR 228 G).
Published in Ponce: Otero y sobrino, n.d. (AGPR/MOR 130);
391. Plegaria del mes de mayo (VII)
Religious music listed by Arjona Siaca et al.. 119, and

Mirabal, 24. N/A
392. Plegaria a la yirgen para el acto de la Petición (VII)
Religious music for voice and piano or organ in F minor. Manur

script includes lyrics in Spanish (AGPR/MOR 132).
8 Morel Campos used to visit the bouse of Concepción Reichard in

Aguadilla and frequently played his compositions on the piano. Ha
dedicated "Placeres de la vida" to her uncle. Concepción married
Guillermo Frontera, thus becoming the mother of Dr. José Guillermo
Frontera (the researcher's father-in-law), and the grandmother of
Guillermo Manuel Frontera (the researcher's husband).
679
393. Plegarias (3) a San José (VII)

Mirabal, 24. N/A
394. Pobre Tavárez (VII)
Funeral inarchlisted by Mirabal, 23. Since the composition is

N/A, the researcher has not been able to determine if it is
the same work as "Marcha fúnebre" (previously listed), dedi
cated to Tavárez, Morel's teacher.
395. ¡Poder de una mirada! (Ill)
Panza for piano in A Major. Dedication in manuscript: "A mi

amigo y compañero Arturo Pasarell" ("To my friend and compan
ion Arturo Pasarell"). Incomplete manuscript (AGPR/MOR 228M);
manuscript (AGPR/MOR 136); handwritten copy using paper dis
tributed in New York by Independent Music Publishers (AGPR/
MOR 136 A); Danzas de Juan Morel Campos, Vol. 5, 37-39 (AGPR/
MOR 226).
396. Polka (without title) (VIII)
Incomplete melody which begins in C Major and continues in F

Major. Manuscritp (AGPR/MOR 221).
397. Pomales (IV)
398. ponceña. La (VI B)
A. Guaracha in D Major for three voices and piano accompani

ment, Op. 158. Manuscript with a note in the middle of sec
tion four: "Se dice algo en honor a las ponceñas" ("Some
thing is said in honor of the women of Ponce") (AGPR/MOR 58);
incomplete manuscript (AGPR/MOR 228 C) with lyrics; published,
in Ponce (with lyrics by Joaquín Robreño): Olimpio Otero,
n.d. (AGPR/MOR 58 A); Juan Morel Campos:Obras varias, Vol. 1,.
23-26 (AGPR/MOR 227).
B. There is a waltz in G Major on the back page of manuscript

in envelope 58, .written in pencil. It is a different compo-
tion and does not indicate the composer.
F
680
399. Ponche militar (IV)
400. ¿Por qué no me amas? (III)
Danza for piano in £ minor. Incomplete manuscript (AGPR/MOR

228 and 228 N); manuscript (AGPR/MOR 140).
401. ¡Por ti! (Ill)
A. Danza for piano in D Major, Op. 174. Incomplete manu

script (AGPR/MOR 228 Q). Lyrics by V. Balbás. Published in
Ponce: Bazar Otero, n.d. (AGPR/MOR 143 and Box 27/MOR 143B);
galley proof (AGPR/MOR 205 P); Danzas de Juan Morel Campos.
Vol. 4, 16-18 (AGPR/MOR 225).
B. There is a handwritten copy of the same composition, but

in A Major. The accompaniment is in G clef and written on
the same staff as the melody (AGPR/MOR 143 A).
C. Arrangement for violins A and B in the original D Major.

Handwritten copy in Herminio Brau's Collection (AGPR/Box 26/
MOR 143 B).
402. Por ti suspiro (III)
A. Danza for piano in F Major. Incomplete manuscript (AGH?/

MOR 228 0). Manuscript indicates "por J. Campos" ("by J.
Campos") (AGPR/MOR 146).

Carvajal*s notebooks (AGPR/MOR 219 B).
Potpourri de aires puertorriqueños (VI C)
See "Aires del pais."
403. primer beso, El (III)
404. Puerto Rico: Sinfonía sobre aires del país (VI C)
A. Orchestral score (AGPR/MOR 1¿7 A) is dated on front page:

"Ponce, 11 de julio de 1894." Instruments: piccolo (flautín)
F
681
flute, oboe, clarinet in B flat, bassoon, horn in E flat,

cornet in B flat, trombone, figle (a brass instrument similar
to the saxophone), timpani (D and G), snare/bass drum/cymbals,
violins 1 and 2, viola, cello, double bass. It includes No.I
(Allegro con spirito). No. 2 ÍAndante appassionato ("Recreo,
sobre el ler aguinaldo" or "Development on the first aguinal
do")], No. 3 (Allegretto), No. 4 [Andante moderato ("Aire de
danza, reminiscencia de La Borinqueña" or "Air of danza, re
membrance of La Borinoueña")]. It must be remembered that
the composer won a prize for this work in 1895. It has 905
measures, is in B flat Major, and is based on the composition
"Aires del pais." It includes güiro (see Chapter V).
B. Manuscript with parts for twenty-two instruments: double

bass, cello, cornets 1 and 2 , horns, trombones 1 , 2 , and 3,
tenor sax, E flat sax, requinto, piccolo, snare/bass drum/
cymbals, bombardinos 1 and 2 , clarinets 1 , 2 , and 3, bass
clarinet, principal (AGPR/MOR 147 B).
C. Handwritten copy of the guión (piano reduction) (AGPR/

MOR 147 C).
D. The guión (or piano reduction) and photocopies of the

parts are kept in a separate envelope (AGPR/MOR 4 D) which
also contains more recent copies of cornets 1 and 2 , cello,
and double bass in paper distributed by Carl Pischer.
405. purguita. La (V)

MOR 216).
406. Pu r i t a ........... a tí (I)
Danza in B flat Major. Incomplete manuscript (AGPR/MOR 2283).
407. ¿Qué dice usted? (VI A)
Danza for piano in G minor. Incomplete manuscript (AGPR/MOR

228 G).*
* Qué mulata . . . tú me matas (II)
The researcher believes this-might'be"the same composition as

the guaracha "Grifa, tú me matas," since the titles are very
similar. Listed by Mirabal, 23, also as a guaracha. N/A
F '..............
682
408. ¡Qué perlita! (II)
409. Qué será (VI A)
A. Danza fcr piano in D Major. Incomplete manuscript (AS?/

MOR 228 and 228 D); published in Ponce: Bazar Otero, n.d.
(AGPR/Box 27/ MOR 233 B); Danzas de Juan Morel Campos, Vol.2,
3-4 (AGPR/MOR 223).

flat, bombarding: made by Herminio Brau. Handwritten copy
(AGPR/Box 26/MOR 30 B).
410. Quejas de amor (III)
Danza in F Major. Incomplete manuscript (AGPR/MOR 228 H).

Although not identified as Morel's it is included in Antonio
Otero's Muestrario 9. The other possible author is Arturo
Pasarell.
411. Quejas del alma (III)
412. rabo de la culebra. El (V)
Danza for piano in G Major. Handwritten copy which belonged

to Juan Viñolo, Santurce (AGPR/MOR 95).
413. ramilletera. La (11)
Romanza probably written in 1876. Listed by Mirabal, 23.N/A.
* Ramoncita, o sea. El último adiós (I)
See "último adiós. El."
414. Recelos (III)
Unfinished danza probably written in 1896. Dedication: "A

Américo Marin (impresario teatral y amigo)" ["To Américo
Marin (theatrical manager and friend)"]. N/A
W ...... .... ' ' ................. ■
683.
415. recompensa. La (III)
416. regalona. La (II)
Danza in F Major. It is not identified as Morel's but is in

cluded in Antonio Otero's Muestrario 9. Incomplete manuscript
(AGPR/MOR 228 H).
417. Reina Isidora (spelled "Reyna Isidora" in manuscript) (I)
Danza for piano in G Major. Incomplete manuscript (AGFR/MOR

228 N).
[reyes, Los]
Danza for piano in B flat Major. The indication of the author .

is not clear in the manuscript, but the researcher believes
it reads Juan Santa, meaning Juan Santaella (a fellow
of Morel). The work is copied on the back page of "Gilda" in
D Major and is dated: Feb. 25, 1881 (AGPR/MOR 214).
418. rio Portugués y la noche. El (V)
Duo for voice and piano in D minor. Photocopy of manuscript

that includes lyrics (AGPR/MOR 96).
419. Rizos de sol (II)
Waltz listed by Mirabal, 23. N/A
420. Robinson (TV)
Danza for piano in E minor. Incomplete manuscript (AGPR/

MOR 228 I); manuscript (AGPR/MOR 149).
* Romanza (from the zarzuela "Amor es triunfo") (VIII)
Melody for voice (no accompaniment) in G Major. Lyrics by

R. Terán. Even if manuscript is in vertical and wide paper,
it seems an original (AGPR/MOR 150). Also see "Amor es
triunfo."
F
684
421. Rosario, La (I)
Danza for piano in D Major. Incomplete manuscript (AGFR/MOR

228 H).
422. Rosita, La (I)
Danza for piano in C Major. Incomplete manuscript (AGPR/MOR

228 N).
423. rutina. La, o sea, Leonardo (VIII)
Danza for piano in F Major. Incomplete manuscript (AGPR/

MOR 228 R); manuscript (AGPR/MOR 62).
424. 1Saber tardar . . . ! (VI A)
Guaracha for feminine chorus and piano accompaniment. Op. 170,.

in B flat Major. Lyrics by Antonio Alexandre. Incomplete
manuscript (AGPR/MOR 228 C) includes lyrics; published in
Ponce: Bazar Otero, n.d. (AGPR/MOR 153); Juan Morel Campos:
Obras varias, Vol. 1, 27-31 (AGPR/MOR 22ÍT-
425. Saludo a Ponce (VI B)
Tanda de valses for piano. Introduction and Waltz No. 1

in C Major, No. 2 in F Major, No. 3 in A minor. No. 4 in B
flat Major, No. 5 in F Major, and Grand Coda in C Major. In
complete manuscript (AGFR/MOR 228 V); published in Paris:
Imp. E. Dupré, n.d. (AGPR/MOR 154). This work was written
by Morel during his return trip from South America in 1892.
426. Salve Josefina (VII)
Religious music in honor of St. Joseph. Listed by Arjona

Siaca e t a l . , and Miraba!, 24. N/A
427. Sarito (I)
Danza in E flat Major. There are two different danzas in en

velope AGPR/MOR 156, and both have a front page reading "Sa-
rito'1 (both are photocopies). One is in E flat Major and
begins in upbeat with a sixteenth note octave in C, and the
other is in B flat Major and begins in upbeat with an eighth
note F. With the help of the recording made by Jesús María
Sanromá (Danzas de Morel Campos interpretadas por Sanromá,
¥ . .. ...... '
685
Vol. 10, it was determined that the danza in E flat Major is

"Sarito." (See entry 381 since this danza could be confused
with "La perlita" due to an error on the placing of front
pages.) The danza in B flat Major has not been identified
yet, and the researcher suggests a careful comparison with
the other fourteen danzas in B flat Major by Morel, in case
it is one of them.
428. Se ie quedó (VI A)
Danza in D minor for piano. Incomplete manuscript (AGPR/MOR

228 R).
429. sebo. El (V)
Danza for piano, in D Major. Incomplete manuscript (AGPRÊR

228 L).
430. seguridad. El (IV)
A. Waltz for piano in F Major. Manuscript (AGPR/MOR 159).
B. Arrangement in G Major for clarinet in B flat 1 and 2,

trumpets, bombardino in B flat, double bass; made by Herminio
Brau....Handwritten copy (AGPR/Box 26/MOR 159 A).
431. seis. El (VI C)
Danza for piano in D Major. Photocopy of manuscript (AGIR/MH

192). The researched keeps a.recent copy made by Félix Rivera.
432. Selika (I)
Danza in C Major. It does not indicate the composer's name,

but the Archive has classified it under Morel. It is included
in Roberto Morel y Carvajal's notebooks for two flutes, but
this is not a guarantee of authenticity, since there are also
waltzes by Strauss in the notebooks, without indication of
title or author. (AGPR/MOR 219 B).
433. Sentimental (VII)
Religious melody listed by Arjona Siaca et al., 120, and by

Mirabal, 23. N/A
¥
686
434. Séptima brigada (IV)
Pasodoble listed by Arjona Siaca et al., and by Mirabal, 23.

ñ7a
435. ¡Si me quisieras! (III)

228 L); manuscripts (AGPR/MOR 200 and 215) include the melody.
only; published in Ponce: Bazar Otero, n.d. (AGPR/MOR 196
and Box 27/1S6 A); Danzas de Juan Morel Campos, Vol. 3, 39-41
(AGPR/MOR 224).
436. Sí te quiero (III)
Danza in A minor. Incomplete manuscript (AGPR/MOR 228 0).

This is the continuation of the danza "ISi me quisieras!,"
following the style of "No me toques" and "Sí te toco."
437. ¡Site toco! (Ill)
Danza for piano in E flat Major. Incomplete manuscript(A3R/

MOR 228 J); published in Ponce: Bazar Otero y Ca., n.d.
(AGPR/MOR 165 and 213); Danzas de Puerto Rico. 6-7 (AGPR/
Box 4); Danzas de Juan Morel Campos, Vol. 3, 27-28 (AGPRAUt.
224). There is a note indicating: "Segunda parte de 'No me
toques"' ("Second part of 'No me toques'").
438. Siempre a ti fiel (III)
Danza for piano in B flat Major. Incomplete manuscript (AGER/

MOR 228 R).
439. Siempre en mi mente (III)
Danza for piano in F Major. Incomplete mantiscript (AGPR/MOR

228 0 ).
440. siempre viva. La (II)
Danza for piano in B minor. Incomplete manuscript (AGPR/MOR

228 K).
441. simpatía. La (III)

Danza in E minor; manuscript with melody only (AGPR/MOR 210).
W -......
687
442. Simpatías (III)
Danza for piano in C Major. Dedication: "Compuesta para la

amabilísima amiga Elisa Canales por sus dos buenos amigos
Amalita Paoli y J. Morel Campos" ("Composed for the most lov
able fricivd Elisa Canales by her two good friends Amalita
Paoli and J. Morel Campos"). Manuscript (AGPR/MOR 161).
443. Simpatías (III)
Danza in F Major. Incomplete manuscript (AGPR/MOR 228 D).

This is a different composition from the danza in C Major with
the same title.
444. Sin esperanza (III)
Danza coreada (Chorus danza) in D minor. Incomplete piano

manuscript with lyrics (AGPR/MOR 228 C).
445. iSin ti jamás! (Ill)

228 L)j published in Ponce: Otero y sobrino, n.d. (AGPR/MOR
163 and 163 A); photographic positives (AGPR/MOR 163 B);
Danzas de Juan Morel Campos. Vol. 1, 43-44 (AGPR/MQR 222).
446. ¡Sin ti no puedo vivir! (Ill)
A. Danza for piano in A Major. Manuscript of melody only

(AGPR/MOR 200); incomplete manuscript for piano (AGPR/MOR
228 D); published in Ponce: Otero y sobrino, n.d. (AGPR/MOR
164); Danzas de Juan Morel Campos. Vol. 3, 29-30 (AGPR/MOR
224).
B. Arrangement for violins 1 A and 1 B, flute, clarinet in B

flat, bombarding; made by Herminio Brau. Handwritten copy
(AGPR/Box 26/MOR 166 B).
Sinfonía sobre aires del país (VI C)
See "Puerto Rico: Sinfonía sobre aires del país.
447. Sisila (I)
Danza listed by Arjona Siaca et al., 117. N/A
r
688
448. Sofia (I)
Mazurka in B flat Major. Incomplete manuscript (AGPR/MOR

228 W). This is a different composition from the one with
a similar title, "Los ojos de Sofía."
449. Solo Núm 11 a la Concepción (VII)

Mirabal, 24. N/A
450. Soñando (III)
A. Danza for piano in F Major. Incomplete manuscript (AGIR/

MOR 228 0). Published in Ponce: Almacén de Música Otero y
sobrino, n.d. (AGPR/MOR 166 and 201); photographic negatives
(AGPR/MOR 166 A); galley proof (AGPR/MOR 205 Q), Danzas de

C. Arrangement for flute, violins A and B, clarinet in B

flat, bombardino: made by Herminio Brau. Handwritten copy
(AGPR/Box 26/ MOR 166 B).
451. sopapo. El (VI B)
Danza in E Major. Incomplete manuscript (AGPR/MOR 228 N).

This is considered to be Morel's first danza. The title
refers to a bofetada or face slap during a fight between two
adolescents in Juana Diaz, while Morel was playing at a dance.
The composer was fourteen years old at the time.
452. Sorpresa, La (VIH)
A. Danza for piano.in C Major. Incomplete manuscript (AGPR/

MOR 228 G). Dedication: "Dedicada a la Sociedad del mismo
nombre" ("Dedicated to the Society of the same name"). Pub
lished in Ponce: Otero y sobrino, n.d. (AGPR/MOR 195);
B. Arrangement for flute and violins A and B; made by

Herminio Brau.' .Handwritten copy (AGPR/Box 26/ MOR 195 A).
w.
689
453. iSoy feliz! (III)

(AGPR/MOR 228 B); published in Ponce: Almacén de Música Otero
y sobrino, n.d. (AGPR/MOR 167 and 201); Danzas de Puerto Rjoo
14-15 (AGPR/Box 4): Danzas de Juan Morel Campos, Vol. 2, 15-
16 (AGPR/MOR 223).

454. Soy suya (spelled "Soy zulla" in manuscript) (III)
Danza in E flat Major. Manuscript includes the melody only

(AGPR/MOR 210).
455. Sueño de amor (III)
A. Danza for piano and voice in B minor with lyrics by

Antonio Alexandre. Dedication: "A mi amigo D. Olimpio Otero"'
("lb my friend Mr. Olimpio Otero"). Incomplete manuscript
(AGPR/MOR 228 C and 228 M). Published in Ponce: Otero y
C.omp*., n.d. (AGPR/MOR 169 A); Danzas puertorriqueñas para
piano. Vol. 1, 16-18 (AGPR/MOR 169); Danzas de Juan Morel
B. Violin 2 part in handwritten copy (AGPR/MOR 176).
456. Sueños dorados (III)
A. Danza for piano in B minor. Incomplete mansucript (AGER/

MOR 228 B). Published in Ponce: Bazar Otero, n.d. (AGPR/M®
170 and Box 27/MOR 170 B): Danzas de Juan Morel Campos, Vol.3,
42-44 (AGPR/MOR 224).

flat, bombarding in C; made by Herminio Brau. Handwritten
copy (AGPR/Box 26/MOR 170 A).
457. Sueños venturosos (III)
Danza for piano in C Major. Written in 1888. Photocopy of

manuscript (AGPR/MOR 171 A); galley proof (AGPR/MOR 171);
published: n.n., n.p., n.d. (AGPR/MOR 171).
F
690
458. súplicas. Las (III)
Danza for piano in B flat minor. Incomplete manuscript (AGER/

MOR 228 D).
* Susana (I)
See "Mis amores.
* Susana (I)
See "No me olvides."
459. ¡También lo dudo! (Ill)
Danza for piano in G Major, 4 hands. Op. 183. Dedication:

• "A mi apreciable amiguitá" ("To my appreciable girl friend").
Photographic negatives of printed work (AGPR/MOR. 172); pub
lished in Danzas de Juan Morel Campos , Vol. 5, 5-8 (AGPR/
MOR 226). See Otero's catalogue (AGPR/Box 42).
460. Tanda de valses (without title) (VIII)
Group of waltzes: Introduction and waltz No. 1 in F Major,

No. 2 in D flat Major, No. 3 in A Major, No. 4 and Coda in
F Major. The manuscript has a stamped seal that reads:
"Juan Morel Campos, Director de Orquesta" ("Juan Morel Campos,.
Orchestra Conductor"). It is not the same composition as
"Saludo a Ponce," another group of waltzes by Morel. Incom
plete manuscript (AGPR/MOR 186); manuscript (AGPR/MOR 173).
461. Te adoro (III)
462. Te lo dije (VI A)

228 D); handwritten copy which was the property of Monserrate-
Deliz (AGPR/MOR 174).
463. Te veo venir (III)
Danza in D Major. Manuscript includes the melody only (AGIR/

MOR 228 S).
F
691
464. ¡Ten piedad! (Ill)

228 G); manuscript which does not seem an original is dated
Hay 13, 1891 (AGPR/MOR 175); handwritten copy in vertical
paper (AGPR/MOR 175 B) has musical annotations written in
pencil on the back page; published in Ponce: Otero y sobrino,
n.d. (AGPR/MOR 175 A and 203); Danzas puertorriqueñas para
piano, Vol. 2, 24-25 (AGPR/Box 4); Puerto Rican Danzas for
Piano, Vol. 4, 23-25 (ACFR/Box 4); Danzas de Juan Morel ICaspos,
Vol. 3, 7-8 (AGPR/MOR 224).
[Teléfono María]
Waltz which begins in B flat Major and ends in E flat Major.

Included in Roberto Morel y Carvajal's notebooks for flutes,
with flute 1 part only. It does not indicate the composer,
and the researcher does not believe it isâ_composition by
Morel, considering the title and the period of time in which
Morel lived in Puerto Rico. (AGPR/MOR 219 B).
465. Tenores y coros a la Concepción (VII)

Mirabal, 24. N/A
466. Teresa (I)
Listed by Mirabal, 26. N/A
467. tintorera. La (V)
Danza for piano in B fiat Major, arranged from the zarzuela

"El anillo de hierro" by Juan Morel Campos. Dedication:"Bara
la amable Carlotita" ("For the amiable Carlotita"). Incom
plete manuscript (AGPR/MOR 228 A, with lyrics, and AGPR/MOR
228 R, without lyrics); manuscript (AGPR/MOR 69) with lyrics.
468. ¡Toda corazón! (Ill)
A. Danza for piano in F Major. Dedication: "A la entusiasta

pianista Srta. Dolores Pascual" ("To the enthusiast pianist
Dolores Pascual"). Incomplete manuscript (AGPR/MOR 228 M);
published in Ponce: Otero y sobrino, n.d. (AGPR/MOR 176 A);
W " " :
692
B. Violin 2 part in handwritten copy (AGPR/MOR 176). This

same envelope contains the violin 2 part of danza "Bella cu-
banita" by Rios Ovalle.
469. torbellino. El (V)
A. Danza for piano in D minor. Incomplete manuscript (ACER/'

MOR 228 J); manuscript which was previously owned by Julio
Alvarado of Ponce (AGPR/MOR 97); published in Ponce: Bazar
Otero, n.d. (AGPR/MOR 97 A); Danzas de Juan Morel Cmapos,
Vol. 1, 25-26 (AGPR/MOR 222); recent handwritten copy, using
vertical paper, which was owned by Juan F. Acosta (AGPR/MOR
97 B).
B. Arrangement in C minor (the original is in D minor).

Instruments included: flute, oboe, requinto (clarinet in E),
clarinets in B flat 1, 2, and 3, bass clarinet, alto saxo
phone in E flat 1 and 2, tenor saxophone in B flat, baritone
saxophone in E flat, solo trumpet in B flat, trumpets 1, 2,
and 3, onóvenos (horns in E flat) 1, 2, and 3, horns in F 1,
2, and 3, baritone in G clef, baritone in F clef (bassoon),
trombones 1, 2, and 3, bass in B flat, percussion (timpani,
cymbals). Published in 14 arreglos de música puertorriqueña.
San Juan: Departamento de Instrucción Pública, n.d. (AGPR/
Box 38).
C. Arrangement in D minor (original tonality) for flute,

violins A and B, clarinet in B flat Major, bombardino in D;
made by Herminio Brau. Handwritten copy (AGPR/Box 26/MOR
97 C).
470. ¡Tormento! (Ill)
A. Danza fcr piano in F Major. Incomplete manuscripts with

out lyrics (AGPR/MOR 223 B) and with lyrics (AGPR/MOR 228 Q);
published in Ponce: Otero y sobrino, n.d. with and without
lyrics (AGPR/MOR 177). Lyrics are by Sisila Arce. Photo
graphic negatives (AGPR/MOR 177 B); galley proof (AGPR/MOR
205 R); Danzas puertorriqueñas para piano. Vol. 2, 6-7
(complete copy in AGPR/Box 4, and incomplete copy in AGPR/
MOR 53 B); Danzas de Juan Morel Campos. Vol. 4, 39-40 (AGPR/
MOR 225); Puerto Rican Danzas for Piano. Vol. 4, 6-7 (AGPR/
Box 4).
B. Arrangement for orchestra by Johnny López. Parts for 18

instruments: piano/conductor, guitar, bass, percussion,drnns,
trombones 1 and 2 , horns, trumpets 1 and 2 , bassoon, oboe,
flutes 1 and 2, cello, viola, violins A and B. This version
is in B flat Major (AGPR/MOR 177 C).
F
693
C. Arrangement for two flutes in Roberto Morel y Carvajal's

D. Arrangement for flute, violins 1 A and 1 B, clarinet in

B flat, bombarding in C; made.by Herminio Brau. Handwritten
copy (AGPR/Box 26/MOR 177 D).
471. Tras de la cruz (VII)
Funeral march listed by Mirabal, 23. N/A
472. traviesa. La (II)
Danza for piano in C Major, 4 hands. Incomplete manuscript

(AGPR/MOR 228 G and 228 Q). Dedication: "A mi apreciable
amiguita Pepa Arias" ("To my appreciated girl friend Pepa
Arias"). Written in 1888. Published in Danzas de Juan Morel
473. trenza de oro. La (II)
Vals polka in F Major. Incomplete manuscript (AGPR/MOR2280).
474. trenzas de Doña Agripina, Las (I)
Danza listed by Arjona Siaca et al., 117, and by Mirabal, 25.

N/A
* trigueñita. La (II)
See "bella trigueñita. La."
475. Tristes recuerdos (III)
Danza listed by Arjona Siaca et al., 117, and by Mirabal, 26.

Ñ7F“
476. trueno. El (V)
A. Danza for piano in D Major which ends in D minor with a

picardy third. Incomplete manuscript (AGPR/MOR 228 B).
Manuscript (AGPR/MOR 99 A) which indicates: "Danza compuesta
por Juan Campos. Ponce (P.R.) Enero 1882" ["Danza composed
by Juan Campos. Ponce (P.R,"' January 1882"]. This manuscript
694
álso has annotations of chords on the back- page. Published

in Danzas de Juan Morel Campos, Vol. 5, 15-16 (AGPR/MOR 226).
B. Later handwritten copies make changes:
1. The one donated by the Figueroa family changes the

eighth-note triplets for the figure, and writes the mel
ody of the third section in G clef, eliminating the crossed-
hands technique presented by the author. It also has substa-
tial changes at the ending (AGPR/MOR 99 B).
2. The copy donated by Antonio Otero occasionally includes

full chords for the right hand instead of single notes, and
writes the melody an octave higher. It also eliminates the
crossed-hands section, and writes the chords more simply
(AGPR/MOR 99 C).
3. There is a third copy (AGPR/MOR 99 D) also donated by

Antonio. Otero, but transported to C Major. It follows
closely the original, but eliminates the crossed-hands section
and has a very simple accompaniment for the left hand.
C. Arrangement for orchestra. Handwritten copies in paper

distributed by Carl Fischer, New York (AGPR/MOR 99 E). It
includes 8 parts: clarinets 1 and 2, bombarding 1 and 2, cor
net in A, violins 1 and 2, bass.
477. Tu divino rostro (II)
Danza for piano in B flat Major. Incomplete manuscript (AG3t

/MOR 228 M).; published in Ponce: Bazar Otero, n.d. (AGPR/
Box 27/MOR 224 B); Danzas de Juan Morel Campos, ,Vol. 3, 35-
36 (AGPR/MOR 224).
478. Tu imagen (II)

(AGPR/MOR 228 M and 228 I); manuscript (AGPR/MOR 178); pub
lished in Ponce: Bazar Otero, n.d. (AGPR/MOR 178 A); Danzas
de Juan Morel Campos. Vol. 1, 35-36 (AGPR/MOR 222).
B. Arrangement for flute and violin; made by Herminio Brau.

Handwritten copy (AGPR/Box 26/MOR 178 B).
479. Tu regreso (III)
A. Danza for piano in D Major. Incomplete manuscript (4GER/’

MOR 228 J); published in Ponce: Otero y sobrino, n.d.(A3ER/
F----------------------------------- ' ......

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission
695
MOR 197); Danzas de Juan Morel Campos. Vol. 3, 3-4 (AGPR/

MOR 224).

B flat, bombarding• made by Herminio Brau. Handwritten copy
(AGPR'/Box 26/MOR 197. A).
480. Tú y yo (III)
Danza in B flat Major for piano. Incomplete manuscript(AGER/

MOR 228 K).
* Tus bellos ojos (II)
See "Bellos ojos."
481. Tus ojitos (II)
482. Tus recuerdos (III)
Panga for piano in E minor. Manuscript has the melody only

(AGPR/MOR 211).
483. Tuya es mi vida (III)
A. T)anga for piano in A minor. Incomplete manuscript (AGER/

MOR 228 M); published in Ponce: Otero y sobrino, n.d. (AGIR/
179 and 202); photographic negatives (AGPR/MOR 179 B); galley
proof (AGPR/MOR 205 A); Danzas de Juan Morel Campos, Vol. 4,
48-50 (AGPR/MOR 225).
B. Arrangement for two flutes in Roberto Morel y Carvajal1s

484. Ultima lágrima (III)
485. último adiós, El (III)
A. Danza for piano in D minor. Incomplete manuscript (AGER/ '

MOR 228 ÍC and 228 M); incomplete manuscript with title "La
Ramoncita o al último adiós" (AGPR/MOR 228 S); manuscript
with title "La Ramoncita, ó sea, el último adiós" which is
F '
dated April 3, 1876 (AGPR/MOR 60). Printed copy: n.n.,n.p.,, .
n.d. indicates "Edición especial para las Srtas. suscritoras
de La Moda Elegante" ("Special edition for the young ladies
who are subscribed to La Moda Elegante") (AGPR/MOR 104 A).
B. Manuscript of the same composition but in E minor (AGPR/

MOR 104).
486. Ultimos compases (VIII)
Danza listed by Mir abal, 26. N/A
Un baile de máscaras (VI C)
See "baile de máscaras. El."
487. Un conflicto (III)
Danza for piano in E flat Major. Incomplete manuscript (AGE?/

MOR 228 I); manuscript with official seal: "Oficina Munici
pal de Historia. Museo Cultural Ponceño," which belonged to
Julio Alvarado (AGPR/MOR 184); additional manuscripts (AGE?/
MOR 184 A and 184 B);photographic positives (AGPR/MOR 184 D);
published in Ponce: Almacén de Música Otero, n.d. (AGPR/MOR
184 C and 199); Danzas puertorriqueñas para piano, Vol. 2,
16-18; Danzas de Juan Morel Campos. Vol. 2, 20-22 (AGPR/MOR
223); Puerto Rican Danzas for Piano, Vol. 4, 16-18 (AGPR/
Box 4).
Un día de elecciones (VI B)
See "Don Criterio."
488. Un diálogo (III)
A. Danza for piano in E minor. Incomplete manuscript (AGE?/

MOR 228 M); published in Ponce: Almacén de Música Otero y
sobrino, n.d. (AGPR/MOR 185); Danzas de Juan Morel Campos,
Vol. 3, 17-18 (AGPR/MOR 224).
B. Handwritten copy in A minor with accompaniment in G clef

and on the same staff as the melody; probably for guitar
(AGPR/MOR 185 B).
489, Un recuerdo (II1)

Danza for piano in B flat Major. Manuscript (AGPR/MOR 187).
w
697
490. Un recuerdo (III)
Danza in A Major. Incomplete manuscript (AGPR/MOR 228 D).

This is a different composition from the one in B flat Major
and with the same title.
491. Un recuerdo (III)
Waltz in C Major. Manuscript with melody, only (AGPR/MOR 216). .
492. Un viaje a.Canas (VIII)
493. Una cana al aire (VI A)
A. Danza for piano in A Major. Incomplete manuscript (MSB/

MOR 228 B); published in Ponce: Almacén de Música Otero y
sobrino, n.d. (AGPR/MOR 180); Danzas de Juan Morel Campes
Vol. 1, 3-5 (AGPR/MOR 222).
B. Handwritten copy in D Major. Accompaniment in G clef

and on the same staff as the melody (AGPR/MOR 180 B).
C. Arrangement for two flutes included in Roberto Morel y

494. Una escena de familia (VI B)
Danza cómica for piano in G Major. Incomplete manuscript

(AGPR/MOR 228 K).
495. Una fea no es fea (II)
Danza in D Major. Manuscript includes the melody .pnly (A3ER/

MOR 228 S).
496. Una flor (V)
Mazurka for piano in A flat Major. It includes an introduc

tion, the mazurka and a Coda. Manuscript (AGPR/MOR 182)*Mch
says "Copia del autor" ("Author's copy") on the back.
¥
497. Una noche de jarana (VI C)
Danza for piano in C Major. Incomplete manuscript (AGFR/

MOR 228 G).
498. Una súplica (III)
Danza listed by Arjona Siaca et al., 119, and by Mirabal,

26. N/A
499. Valentina, La (I)
Danza in F Major. Incomplete manuscript (AGPR/MOR 228 G).

See "Doña Valentina."
500. Valspolka (without title) (VIII)
A 23 measure composition which begins in G Major and ends in

C Major. Manuscript includes the melody only (AGPR/MOR 216).
501. Vano empeño (III)
A. Danza for piano which begins in £ minor and ends in E

Major. Written on January, 1895 (dated in the manuscript).
Incomplete manuscript without lyrics (AGPR/MOR 228 0). Manu
script without lyrics (AGPR/MOR 188); incomplete manuscript
with lyrics by Juan Morel Campos (AGPR/MOR 188 A); photo
graphic negatives (AGPR/MOR 188 D); galley proof (AGPR/MOR
205 D); published in Ponce: Bazar Otero, n.d. (AGPR/MOR
188 C); Danzas puertorriqueñas, Vol. 1, 13-15 (AGPR/Box 4);

C. Arrangement for flute, violins A and B, clarinet in B

flat, bombarding: made by Herminio Brau. Handwritten copy
(AGPR/Box 26/ MOR 188 E).
502. vapor. El (VIII)
Danza in D Major. Manuscript with melody only (AGPR/MOR 21
503. 22, El (VIII)
' Danza for piano in G Major. Incomplete manuscript (AGPR/

MOR ¿28 K).
permission of the copyright owner. Further reproduction prohibited without permission.

699
504. 24, El (alsc titled "Núm. 24") (VIII)
Danza In 6 minor. Manuscript which apparently includes a

complete melody (AGPR/MOR 228 R). The second staff is pre
pared but empty. A handwritten annotation in pencil indi
cates it was taken from the cuaderno (notebook) of. Félix
Colom.
505. 29 de junio. El (VIII)
Waltz for piano in F Major, Op. 84. Dedication: "Al niño

Carlos Pedro Salazar con motivo de su bautizo" ("To the child
Carlos Pedro Salazar on his baptism"). Written in 1886. An
dante affectuoso, waltz and Coda. Incomplete manuscript
(AGPR/MOR 228 V); published in Barcelona: Andrés Vidal y
Roger, n.d. (AGPR/MOR 193). See Bazar Otero's catalogue
(AGPR/Box 42).
506. velas. Las (spelled "Las belas" in the original) (VIII)
Danza in D Major which ends in note G. Arrangement for two

flutes in Roberto Morel y Carvajal's notebooks (AGPR/MOR
219 B).
507. !¡¡Vinagre!!! (VI C)
A. Danza for piano in E minor. Photographic positives of'the

manuscript (AGPR/MOR 189); photographic negatives (AGPR/MOR
189 A); galley proof (AGPR/MOR 205 C); published in Ponce:
Bazar Otero, n.d. (AGPR/Box 42/ Vol. 1); Danzas de Juan Moiel
B. Arrangement for flute, violins 1A and I B , clarinet in

B flat, bombardino in C; made by Herminio Brau. Handwritten
copy (AGPR/Box 26/MOR 189 B).
508. Violetas (V)
Tanda de valses for piano which begins in E flat Major.Dated

in manuscript: 1882. Incomplete manuscript (AGPR/MOR 190 and
228).
509. violetera. La (II)
Romanza listed by Arjona Siaca et al.. 117, and by Mirabal,

23. N/A
F
700
510. Virgilia (I)
Danza for piano in E Major. Dedication: "A la graciosa e

inteligente señorita Virgilia Sancho y Quiñones" ("To the
gracious and intelligent Miss Virgilia Sancho y Quiñones").
Incomplete manuscript (AGPR/MOR 228 L); photographic negatives
(AGPR/MOR 191 A); galley proof (AGPR/MOR 205 B); published in
Ponce: Otero y compañía, n.d. (AGPR/MOR 191); Danzas de Juan
511. Virtuosa (II)
Gavotas in A Major. Incomplete manuscript includes part of

first section and part of Coda (AGPR/MOR 228 W).
512. ¡Viva la Pepa! (I)

MOR 228 0); published in Ponce: Bazar Otero, n.d. (AGPR/Box
27/M0R 181 A); Danzas de Juan Morel Campos, Vol. 2, 45-46
(AGPR/MOR 223).
B. Parts for baritone 1 and violins 1 and 2 (AGPR/MOR IS').

The rest of the orchestration is missing. -This same envelope
contains the parts for double bass and violins 1 and 2 of
danza "Margarita" by Juan R. Ovalle.
C. Arrangement for two flutes in Roberto Morel y Carvajal*s

D. Arrangement for flute, violins A and B, clarinet in B flat;

bombarding; made by Herminio Brau. Handwritten copy (AGPR/
Box 26/MOR 116 B).
513. voluntarios. Los (IV)
Pasodobie listed by Arjona Siaca et al.. 118, and by Mirabal,

23. N/A
514. Vuelta a la vida (VIII)
A. Danza for piano in A Major. Incomplete manuscript (AGES/

MOR 228 B); published in Ponce: Bazar Otero, n.d. (AGPR/MOk
206 and Box 27/MOR 233): Danzas de Juan Morel Campos. Vol. 1,
6-8 (AGPR/MOR 221).

r
701
* vuelta de América, La (VIII)
See "Dicen que me divierto."
515. Whisky con soda (VI C)
A. Danza in G Major. Incomplete manuscript (AGPR/M0R228 0).

Dr. Guillermo Frontera informed the researcher that he recalls
seeing a printed copy of this danza; .with a drawing on tha
front page, in his home town of Aguadilla.
B. Arrangement for two flutes in Roberto Morel y Carvajal’s

516. Ya somos dos (III)

228 G).
r
702
APPENDIX M
COMPOSITIONS BY JOSE IGNACIO QUINTON (IN ALPHABETICAL ORDER)
1. A orillas del mar (V)^1
Barcarola for piano in A flat Major. Dedication: "A la sim

pática Srta. Luisa Suárez" ("To the charming Miss Luisa
Suárez"). The manuscript has an annotation on the bottom of
the page: "Recuerdo a mi amiga Maria Teresa Santiago, de su
amiga Luisa F. Suárez. Recuerdo de la playa de Sta. Ysabel"
("With regards to m y friend Maria Teresa Santiago, from her
friend Luisa F. Suárez. Remembrance of the beach of Sta.
Ysabel") (AGPR/QUI 19). This is not the same composition as
"El pipiol" (a danza~>, even if the annotations at the bottom
of the front pages refer to the beach of Santa Isabel in both
cases. Published in José Igancio Quinton: Obras completas.
Vol. X, San Juan: Amigos de José Ignacio Quinton, 1986.
2. Acueducto (VI B)
Danza for piano in F Major. Written in 1906. Manuscript

(AGPR/QUI 1). There is another manuscript from the Collection :
of Carlos R. Gadea (AGPR/QUI 1A and IB). Published in José
Ignacio Quinton: Obras completas, Vol. II, 48-52.
3. Adelaida o El café de Diego Rivera (I)
Danza for piano in G major. Written in 1904. Original manu

script (AGPR/QUI 4). Later handwritten copy using Schirmer
paper (AGPR/QUI 4A). Copy by Carlos R. Gadea (AGPR/QUI 4C);
reduction of photographic positive (AGPR/QUI 4B). Published
in José Ignacio Quintón: Obras completas, Vol. II, 44-47.
4. Adiós (III)
Waltz for violin and piano. Previously N/A, it was published

in José Ignacio Quintón: Obras completas, Vol. VIII.

in a separate catalogue (see APPENDIX Q).
w.
2
* Aguinaldo (Souvenir de Yauco) (VI B)
See "Aguinaldo yaucano No. 2."
5. Aguinaldo yaucano No. 1^ (VI B)
Aguinaldo for piano which begins in £ minor and ends in a B

chord. Dedication: "Para mi buena amiga Carmen Colón Picó"
("To my good friend Carmen Colón Picó"). Manuscript (AGPR/
QUI 8);. photocopy of manuscript (with an unidentified second
page) (AGPR/QUI 8A); published with lyrics in José Ignacio
Quintón: Obras completas. Vol. V, 7-9.
6. Aguinaldo yaucano No. 2 (VI B)
Aguinaldo for piano which begins in D minor but ends inC Major.
The title in the manuscript is "Aguinaldo (Souvenir deYauco)."
Dedication: "Obsequio a mi estimada amiga Margarita RirvffSrflli"
("Gift to my esteemed friend Margarita Emmanuslli"). Dated:
Aibonito, April 12, 1902. Original manuscript (AGPR/QUI 12 B);
handwritten copy (AGPR/QUI 12). Published in José Ignacio
Quintón: Obras completas. Vol. V, 10-13.
7. Aguinaldo yaucano No. 3 (VI B)
Aguinaldo for voice and piano in G minor. Second section is in .

G Major. Dedication: "Dedicado a mis buenos amigos y amigas
de Yauco" ("Dedicated to my good friends of Yauco"). Dated:
Yauco, 1902. Manuscript in vertical paper seems an original and
includes lyrics (AGPR/QUI 9); handwritten copy on Passantino
paper (AGPR/QUI 9A). Published in José Ignacio Quintón: Obras
completas, Vol. V, 14-19.
8. Amelia (I)
Danza which begins in E Major, modulates to C Major and A Ma

jor, ending in E Major. Written in 1904. Dedication: "A la

second title of a work already listed and numbered.3
3 The researcher interviewed Mr. Felipe Monerau (who as a boy was

raised by José Ignacio Quintón) and he pointed out that historian
Amaury Veray misnamed this aguinaldo since it was not dedicated to
Yauco.
¥ .......... ..
704
bella Srta. Amelia Amy" ("To the beautiful Miss Amelia Amy").
Published in José Ignacio Quinton: Obras completas, Vol. I,
16-20.
9. Amor imposible (III)
Danza for piano in £ minor. Written in Coamo and dated Sep

tember 13, 1901. Dedication: "A S.B.D." ("To S.B.D."). Miflur
script (AGPR/QUI 15). Handwritten copy by Carlos R. Gadea,
1953, Santurce; it uses Passantino paper (AGPR/QUI 15A).
Copyright 1954, by Suers, de José I. Quinton, Coamo. Pub
lished in José Ignacio Quinton: Obras completas, Vol. I,
46-51. The published copy indicates a different composition
date: 1903.
10. Anhelos (III)
Danza for piano which begins in B flat Major and ends in G Ma

jor. Written in 1903. Dedication: "Recuerdo a mi estimada
amiga y condiscipula Ana Maria Rodriguez" ("With regards to my
dear friend and fellow student Ana María Rodriguez"). Photo
copy of manuscript (AGPR/QUI 17A): copy by Carlos R. Gadea
(AGPR/QUI 17) which is dated: Santurce, 1973. Published in
José Ignacio Quinton: Obras completas, Vol. II 21-25.
11. Arte y amor (III)
Waltz for small orchestra. Published as a piano arrangement

by Carlos R. Gadea. It is in F Major, with middle sections
in C Major, F Major, and B flat Major. Published in José
Ignacio Quinton: Obras completas, Vol. VII, 59-65. Also in
cluded in Vol. VIII for small orchestra.
12. Ausente (III)
Cpncert danza for piano, in A minor with central section in

F Major. Written in Coamo in 1914. Dedication: "Dedicada
a su discípulo José Aponte Picó" ("Dedicated to his pupil
José Aponte Picó"). Draft copy (AGPR/QUI 20A); manuscript
(AGPR/QUI 20); copy by Carlos R. Gadea made on February 15,
1953 (AGPR/QUI 20 B). This last envelope contains a separate
page with music which does not belong to "Ausente." Published
in José Ignacio Quinton: Obras completas, Vol. IV, 48-55.
Published copy indicates a different composition date: 1920.
¥ ------ -- -------------------- ---- ------

705
13. I Balada y II Scherzo (VIII)
The Balada is a Moderato and begins in D flat Major, modulating

to A flat Major and E Major, but returning to D flat Major.
The Scherzo is in E flat Major. This is a work for piár» which ;
was written in 1925. Op. 30. Dedication: " A Carlos R.
Gadea" ("To Carlos R. Gadea"). Copy using Schirmer paper
(AGPR/QUI 23) was made by Carlos R. Gadea on April 8, 1940.
Additional copy (AGPR/uncatalogued music/Box 1). Published
in José Ignacio Quinton: Obras completas. Vol. 6, 44-54
("Balada") and 55-69 ("Scherzo").
14. Bella flor (VII)
A. Prayer in E minor for voice and organ with lyrics by the

author: "Bella flor fragranté . . . " ("Beautiful fragrant
flower . . . "). Copy by Carlos R. Gadea, Santurce, April 6,
1954 (property of the Coamo Museum).^ Published in José
Ignacio Quinton; Obras completas, Vol. 9, part 1.
B. Copy of the same work by Carlos Gadea, but in F minor

(Coamo Museum).
15. Besándote (III)
Danza for piano in E Major with middle section in A Major.

Manuscript has a paseo in D Major on the back page, which does
not belong to this danza (AGPR/QUI 24). Published in José
Ignacio Quintón: Obras completas, Vol. 1, 27-31.
16. Blanco y azul5 (VIII)
Danza in D Major with middle section in G Major. Published in

José Ignacio Quintón: Obras completas. Vol. 3, 34-38..Written
in 1916,
4 Felipe Monerau is the actual keeper of the manuscripts which will

be deposited later on in the Coamo Museum, after the publication
of the works of Quintón is completed. He claims there are more
compositions written by Quintón but kept by different relatives.
In spite of his efforts and those of other members of the Society
of Friends of Quintón, they, have refused to turn them in so that
the works can be included in the publications.
5 The researcher interviewed Mr. Felipe Monerau and hé explained
that there were two cultural centers in Coamo: the Centro de Ins
trucción v Recreo (for high society whites), and the Club Blanco y
Azul (for middle class whites). Composer Quintón used to'play the
¥ ... ~ ..................... '..........
706
17. Blanco y rosa (VIII)
Danza in G Major. Written in 1915. Published in José Ignacio

Quinton: Obras completas. Vol. 3, 30-33.
18. Bonanza (VIII)
Mazurka for piano. Introduction and mazurka in F minor* delj-

catto in D flat Major and last section in F minor. With the
D. C. al fine it ends in A flat Major. Dedication: "Dedicada
a Manuel Márquez" ("Dedicated to Manuel Márquez"). Handwritten
copy was owned by Julia Passalacqua de Padilla of Coamo and
made by Carlos R. Gadea in Santurce, 1973 (AGPR/QUI 25). Pub
lished in José Ignacio Quinton: obras completas. Vol. 10.
* café de Diego Rivera, El (IV)
See "Adelaida."
19. canción de la Alianza, La (VI B)
Hymn in C Major for voice. Manuscript kept by Felipe Mongrau

includes lyrics written by the composer: "Ven hermano a la
fiesta de amor, que celebra la patria este día; deja a un lado
el maldito rencor, que destruye la fe y la armonía. Recuerda
que todos nacimos, en este peñón borincano; recuerda que jun
tos vivimos, recuerda que somos hermanos. La patria te ofrece
consuelo, su abrigo en su pecho esmeralda, la luz bajo el cá
lido cielo, y el fuego de amor de su alma." ("Come brother to
the party of love, that the fatherland celebrates this day;
leave aside the damned rancor, which destroys the faith and
harmony. Remember that we were all b o m ; in this Puerto Rican,
rock; remember that we live together, remember that we are
brothers. The fatherland offers you comfort, shelter in its
emerald chest, light under its warm sky, and the fire of love
of its soul.")
20. Carlota (I)

Danza in F Major with middle section in B flat Major. Written
in IU8; published in José Ignacio-Quinton, Vol. 3, 39-42.
piano in these clubs and he dedicated this danza to one ot them.

While high society people used the carnets to reserve their dances
with the partners chosen, the artisans, or lower class mulattoes
and blacks, had to stay outside where they danced polkas andlan
ceros in their own parties.
r----------------------------------------------- ' .......

707
21. Carmela (I)
Danza for piano in E flat Major. It modulates to B flat Major

and G Major but ends in E flat Major. Written in 1903. Manu
script (AGPR/QUI 27); handwritten copy on Passantino paper
from the Collection of Maria Teresa Picó (AGPR/QUI 27 A). Pub
lished in José Ignacio Quinton: Obras completas. Yol. 1,
57-62.
22. Cecilia (I)
Danza for piano in F minor. Written in 1908. Dedication: "Ami

simpática y hermosa amiga Sta. Cecilia Emmanuelli y Ami" ("To
my charming and beautiful friend Miss Cecilia Emanuelli y
Ami"). Manuscript (AGPR/QUI 30). Published in José Ignacio
Quinton; Obras completas, Vol. 2, 53-57.
23. Celeste (I)
Mazurka for piano which begins in D Major. It has a section

in G Major and another in B flat Major. The Coda is unfin
ished. Manuscript (AGPR/QUI 29). Published in José Ignacio
Quinton: Obras completas, Vol. 10.
24. Confía (III)
Danza for piano in E flat Major. Dedication: "A mi corazón"

("To my love"). It was written in Coamo and is dated February
24, 1900 (?) Copy by Carlos R. Gadea, July 25, 1941 (AGPR/
QUI 31 A); copy by Gadea, Santurce, Oct. 1953 with copyright by
"Suers, de José I. Quinton, Coamo, P. R.» 1954" (AGPR/QUI 31
Published in José Ignacio Quintón: Obras completas, Vol. 1,
52-56. Published copy indicates it was written in 1903.
25. Coquetona (II)
Danza for piano in C Major. Written in 1904. Dedication:

"Para mi buena amiga y discípula Srta. Maria Luisa Caratini.
El autor." ("For my good friend and student Maria Luisa
Caratini. The author.") Manuscript (AGPR/QUI 33). Published
in José Ignacio Quintón: Obras completas. Vol. 3, 7-11.
26. coquí. El (V)

Danza for piano in B flat Major. Written in 1901. Photocopy of
manuscript (AGPR/QUI 42). Copy by Gadea, May, 1977 (AGER/qm 42)
Published in José Ignacio Quintón: Obras completas.Vol. 1, 7-9.
F ....
708
27. Cuando me miras (III)
Danza in E flat Major with middle section in A flat Major.

Written in 1908. Published in José Ignacio Quinton; Obras
completas, Vol. 3, 21-25.
28. Cuarteto en Re Major (VIII)
A. Work for two violins, viola and cello. Motto: "Beethoven

as el maestro de los maestros" ("Beethoven is the teacher of
teachers"). Written in Coamo. Allegro in D Major, Adaeio ma
non troppo in G minor. Scherzo (with Allegro vivace in D Major
and Trio in D minor). Allegro with a Piu mosso section in D
Major. Photocopy of handwritten copy, with green hard cover
(AGPR/QUI 34 E and 34 D); photocopy without cover (AGPR/QUI
34 C).
B. Trio of the Scherzo with the dedication to Beethoven. In

complete manuscript (AGPR/QUI 34 A).
C. Parts for the instruments. The photocopy of the violin 1

part seems printed: n.n.,_ n.p., n.d. (AGPR/Box 1).
D. This -^rk was first performed in 1913 at the old Teatro

La Perla of Ponce. It had won the only prize given for that
category at the Certamen of Ponce of the same year. Puerto
Rico's Quinteto Figueroa has recorded the "Cuarteto." The
work was performed at the Teatro Tapia in 1926, at WIPR (the
government's T. V. station) on September 26, 1951, and also
in 1986 in New York. The Society of Friends of Quinton is
planning to publish this work.
29 Danza (without title) (VIII)
Danza for piano with the paseo in F minor and the regt in A. flat
Major. Copy using vertical paper (AGPR/QUI 36).
* Danza (without title) (VIII)
See "Sin nombre: danza de concierto."
30. Danza para piano (VIII)
Danza in E flat Major with middle section in B Major. Pub

lished in José Ignacio Quinton: obras completas. Vol. 4,14-18.
I “.......... " "

709
31. Danza para piano (VIII)
Danza in £ flat Major, B Major, E flat Major and A flat Major.

Published in José Ignacio Quinton: Obras completas, Vol. 4,
19-23. This is not the same composition as the one in the
previous entry, although both are danzas in the same tonality.
* Danza puertorriqueña en Mi Mayor (VIII)
See "Danza puertorriqueña III: danza de concierto para pia-
32. Danza puertorriqueña I para piano (VIII)
Danza in D Major and middle section in G '-'i. at Major. Copy

by Carles R. Gadea from a draft by the author (AGPR/QÜI 38 B).
Published in José Ignacio Quinton: Obras completas, Vol. 4,
24-30.
33. Danza puertorriqueña II para piano (VIII)
Danza in A flat Major with middle section in D fiat Major.

Published in José Ignacio Quinton: Obras completas. Vol. 4,
31-34.
34. Danza puertorriqueña III: danza de concierto para piano (VIII)
Danza for piano in E Major. Dedication: "A mi distinguido

amigo y compañero el notable pianista compositor Aristides
Chavier" ("To my distinguished friend and colleague, the noted
pianist composer Aristides Chavier"). written in Coamo, Octo
ber. 1917. Original manuscript (AGPR/QUI 38) with this title:
"Danza puertorriqueña en Mi Mayor." It begins with Capriccio-
samente and Piu lento ( 7 1 A ) in E Major. After a change to F
Major it returns to E Major. The 84 d section is in E Major.
Published in José Ignacio Quinton: Obras completas. Vol. 4,
35-37.
35. De flor en flor (V)
Although the Society of Friends of Quinton would like to pub

lish this work, it only has as a reference the recorded music
with an arrangement made by Mr. Ladi for two cuatros, one
guitar, and one güiro. The record is kept by Felipe Monerau.
It is a danza, but the music is N/A..
¥ .......“ -........
v.
i»
710
36. Divertimento sobre un tema de Fausto (VIII)
Trio for flute, violin, and piano, which has been performed
under the direction of pianist Jesús María Sanromá. Mentioned
by Juan Ortiz Jiménez in "De micrófonos y bambalinas," n.n.,
n.p., n.d. N/A
* Doce variaciones sobre un tema de J. N. Hummel (VIII)
See "Variaciones para piano sobre un tema de J. N. Hummel."
37. Duda (III)
Romanza for mezzo-soprano with the piano accompaniment in A

flat Major. Dedication: "A mi bonísima amiga, Srta. Rita Ma.
Mattei" ("To my very good friend. Miss Rita Ma. Mattei").
Lyrics by J. V. D. in Spanish. Copy from the original by
C. M. M . , dated December 8, 1978; it has annotations on the
bottom of the page, indicating omissions by the composer (A3ER/
QUJ 39 A ) . Published in Jose Ignacio Quinton: Obras comple
tas. Vol. 10.
38. Dulce Virgen María (VII)
Prayer for two feminine voices and organ in A minor. Lyrics

by the author: "Dulce Virgen María . . . " ("Sweet Virgin
Mary . . ."). Copy by Carlos R. Gadea, Santurce, 1959 (Proper
ty of the Coamo Museum). Published in José Ignacio Quinton:
- Obras completas. Vol. 9, part 1.
39. Dulces recuerdos (III)
Danza for piano in D minor with a middle section in B flat Ma

jor. Written in 1902. Dedication: "A mi estimada amiga la
simpática Srta. Rosario Rodríguez Braschi" ("To my esteemed
friend the charming Miss Rosario Rodriguez Braschi"). Original
manuscript (AGPR/QUI 41). Published in José Ignacio Quinton:
Obras completas, Vol. 2, 16-20.
40. Ensueños y esperanzas (III)
A. Danza for piano in C Major with middle section in F Major.

Dedication: "A mis estimadas amigas Aurea María y Carlota
Rivera" ("To my esteemed friends Aurea María and Carlota
Rivera"). Paseo indicates despacio (slowly); later section
indicates gracioso. Handwritten copy in blue ink (AGPR/QUI
46). Published in New York: Carl Fischer, 1914 with copyright
¥ ...... . "
by José I. Quintón (AGPR/QUI 46 A). Published in José Ignacio
Quinton: obras completas» Vol. 3, 26-29, but dated 1915.
B. Since there are annotations in the manuscript indicating

piano and clarinet, piano and flute, and tutti. the researcher
believes the work might have been orchestrated. The other
possibility is that even if it was written for.piano, the
custom permitted the additional participation of instruments
during the performance.
41. Letanías (VII)
Religious music in F Major. Draft copy by the author (proper

ty of the Coamo Museum). Published as "Letanías de la Virgen"
in José Ignacio Quintón: Obras completas. Vol. 9, part 2,
31-42. Its lyrics are in Latin.
42. Luisa, sácate los piojos (I)
Danza in. C Major with a middle section in F Major. Published

in José Ignacio Quintón: obras completas. Vol. 2, 40-43.
The title in the published copy only indicates "Luisa," but
the table of contents indicates "Luisa, sácate los piojos."
Dated 1902.
43. Marcha triunfal para orquesta** (VIII)
A. March written in 1911 which includes Tempo di marcia.

maestoso in B flat Major, another section in E flat Major, and
a last one in B flat Major. The original orchestral score
includes the following instruments: flute, oboe, clarinets in
B flat 1 and 2, bassoon, cornets in B flat 1 and 2, trombones
1 and 2, timpani (B, F, C -), violins 1 and 2, viola, cello,
double bass (AGPR/QUI 50). Photographic positive of the first
page (AGPR/QUI 50 D). Dedication: "Lema: Imposible no amar
la música pudiendo comprender sus bellezas. A la memoria de
Josefino Parés" ("Motto: It is impossible not to love music
when you can understand its beauties,_ In memory of Josefinp
Parés"), This work has never been published.6
6 In the Certamen ofrthe Casino Manatieño in 1911, judges Braulio

DuaSo Colón and Manuel Martínez Plée had selected another work as
winner. When Aristides Chavier joined the other judges he protestéd,
saying Quintón1s "Marcha" was a more valuable composition. Be man
aged to convince Dueño Colón and Martinez Plée, and the "Marcha"
was given the first prize. See documents in APPENDIX S..
F '...... ' "

712
B. Instrumental parts as copied by Carlos R. Gadea Picó in

clude the above-mentioned instruments, and also a third trom
bone, bass drum/cymbals, horns in E flat (with divisi), horns
in E (with divisi). The violin 2 part is also a divisi. The
parts are copied in different types of paper, and there are
several copies of each instrument (AGPR/QUI 50 A). This march'
can be palyed with 34, 38, or 47 instruments.
C. Piano reduction copied by Carlos R. Gadea on January 2,

1955 (AGPR/QUI 50 A). Draft and additional copy by Gadea,
May, 1976 (Coamo Museum).
44. Maria Luisa (I)
Danza in G Major with a middle section in C Major. Previously

N/A, it was recently published in José Ignacio Quinton: Obras
completas. Vol. 10.
45. Mascota (V)^
Danza for piano in G Major with section in D Major. Written

in 1912. Incomplete manuscript (rough draft) identified in
pencil (AGPR/QUI 48). Published in José Ienacio Quinton:
Obras completas. Vol. 3, .16-20.
45. Melodía (without title) (VIII)
Melody which belonged to the Collection of Amaury Veray. The

envelope has an annotation by Carles Gadea, indicating the
music is not "Variaciones para piano sobre un tema de J. N.
Hummel." Written for viola in alto clef, it includes Andantino
in B flat Major and G Major, Andantino in E flat Major. Alle
gretto in-C Major, Adagio in D flat Major, Allegretto in B
flat Major, Andantino cuasi Adagio in D Major. Allegro in B
Major, Adagio in B flat Major, Allegro in the same tonality.
Adagio in A flat Major, Presto in the same tonality. Andante
mosso in G Major, Allegro in S Major, Adagio in B flat Major
and G Major (AGPR/QUI 51).
* Melodía (VIII)
See "Tristezas."
7 La mascota was a bar in Coamo. This name also means a pet.
f
713
47. Mi estrella (V)
Danza for piano in E minor. Written in 1903. Photocopy of copy

by Carlos Gadea on Schirmer paper (AGPR/QUI 47). Published in
José Ignacio Quinton: Obras completas, Vol. 1, 37-40.
43. Mirar sin ver (VIII)
Danza in ? Major, with middle section in A flat Majcr and E

flat Major. Previously N/A, it was recently published in José
Ignacio Quinton; Obras completas, Vol. 10.
49. Misa de Requiem (VII)
A. Mass written in Coamo in September, 1903. Dedication:

"A la memoria del malogrado compañero Ernesto del Castillo e
Yzaga” (".To the memory of the late, friend Ernesto del Castillo
e Yzaga"). Choral and orchestral reconstruction by Amaury
Veray. Orchestral score includes four voices and organ. It is
divided as fpljqws: "Introito" (Moderato) in B flat Major,
"Kirie" (Andante) in B flat Major, "Gradúale" (Moderato) in B
flat Majcr, "Dies irae" (Maestoso and Piu vivo) in A flat Ma
jor, Andante in F Major, Tempo primo, Piu vivo, and Meno in
A flat Major, "Offertorio" in.E flat Major, Maestoso in A
flat Major, "Sanctus" (Andante) in. F Major, "Benedictus"
(Andante) in D minor, "Agnus Dei" (Moderato) in C Major, "Co
munión" (Moderato) in G minor, "Responsorio" (Maestoso) in
B flat Major (AGPR/unclassified music/Box 1).
B. It has been said that Quinton dedicated this Mass to com

poser Angel Mislán (See Julio Soto Ramos, Bocetos biográficos
puertorriqueños. p. 46). Felipe Monerau believes that Clinton
only wrote one Mass dedicated to Ernesto del Castillo e Yzaga.
50. Nocturno (VIII)
Nocturne in E Major. Second section Allegro vivace. Unfin

ished composition (Coamo Museum).
51. Nocturno en mi bemol (VIII)
A. Nocturne for piano in E flat Major, with middle section

in A flat Major. Written in 1920. Published in José Ignacio
Quinten: Obras completas. Vol. 6, 10-16. Opus 26.
B. Arrangement for flute, clarinet in B flat, violins land 2,

viola and cello. Manuscript includes orchestral score and
piano reduction in the last four pages. Everything is written
r
714
in pencil (AGPR/QUI 45). This same envelope contains a com

position by Carlos R. Gadea written in 1923. It is a waltz
for piano titled "Tardes de estío."
C. There is a recent arrangement for grand orchestra made by

Carlos Molina. N/A
52. Nubes de verano (V)
Danza for piano in E flat Major, with middle section in A flat

Major. Written in Coamo on March 27, 1900. Copy by Carlos
R. Gadea in Schirmer paper (AGPR/QUI 44). Published in José
Ignacio Quinton: Obras completas. Vol. 1, 21-26. The pub
lished copy indicates a different composition date: 1908.
g
53. Obertura para orquesta (VIII)
A. Overture for orchestra in D (Lento in D minor ending in

dominant. Allegro vivo which begins on page 4 in B minor and
changes on page 30 to Major). Orchestral score (38 pages) in
cludes the following instruments: flutes 1 and 2, oboe, cla
rinets in A 1 and 2, bassoon, trumpets in A 1 and 2, horns in
F 1 and 2, trombones 1 and 2, timpani (D and A), violins land
2, viola, cello, bass, and piano accompaniment (AGPR/Box 3/
envelope 9). This work has never been published.
B. Individual parts (AGPR/Box 3/envelope 9). Same parts as

above plus a third trombone (AGPR/Box 10). Oboe part alone
(AGPR/QUI 37).
C. Piano reduction copied by Carlo? Gadea, Aibonito, August

1953 (Property of the Coamo Museum).
54. Oh! Sagrado corazón (V1T)
Prayer for voice, violin, and organ in E minor. Lyrics by

Arturo Picó: "Oh! Sagrado corazón postrado a tus pies . . ."
("Oh! Sacred Heart knelt at your feet . . . "). Property of
the Coamo Museum. Published recently in José Ignacio Qrintm:
Obras completas. Vol. 9, part 1.
8 Felipe Monerau recalls that Quinton submitted this work for the
Certamen of Fonce in 1913, but since no other work in the same
category was oresented, no prize was awarded; Quinton -also
submitted .■"Variaciones ..sobre mi teína de.- Hummel" and "Cuarte
to de Cuerdas." Both compositions won prizes.
F -
715
55. Para t i ( I I I )
Danza for piano in C minor, with a middle section in C Major.

Written in Coamo in 1901. Dedication: "Ana María Rodriguez,
9 de agosto de 1.901" ("Ana Maria Rodriguez, August 9, 1901").
Photocopy of an original owned by Julia Passalacqua de Padilla,
Coamo (AGPR/QUI 40). Published in José Ignacio -Quinton: Obias
completéis, Vol. 2, 26-30.
56. Pepita (I)

A. Danza for piano in C Major with a middle section in P Ma
jor. Written in 1910. Dedication: "Pequeño obsequio a la
Srta. Josefa Rivera" ("Small gift to Miss Josefa Rivera").
Manuscript (AGPR/QUI 35). Published in José Ignacio Quinton:
Obras completas, Vol. 3, 12-15.
B. The front page indicates: "Para mi querida de su Pepito"
("Por my dear from your Pepito"). The back page indicates:
"Los hombres largos y flacos parecen escarbadientes, y los ba-.
jitos y gruesos silvan como las serpientes. Los hombres son
unos enamorados. Lo.digo y no me arrepiento. Si Pepito
Quintón me está escuchando, que me diga si yo miento- Nunca
me digas adiós, que es una palabra triste. Corazones que se
aman, nunca deben despedirse. El hombre que no se aflige cuan
do llora una mujer, no tiene padre ni pulucha, ni sabe lo quees-
querer . Pepito, ¿quieres comprarme una pulucha nueva sin estre
nar, como la de Ramón Padía?" ("tyenwtoare tall and thin look
like toothpicks , and those who are short and fat hisse like
the serpents. If Pepito Quintón is hearing me, let him say if
I ’m lying. Never say good-bye to me, since it is a sad word.
Hearts that love each other should never say good-bye. A man
who is not grieved when a lady cries, has no father or pulucha,
and does not even know what love is. Pepito, do you want to
buy me a new pulucha like the one Ramón Padia owns?")
* perro de Julian, El (V)

See "Suéltalo, Julián."
57. pipiol. El (IV)

Danza for pianp in A- Major with middle section in D Major. Ded
ication: "Pequeño obsequio a la simpática Srta. Maria Teresa
Santiago. El autor" ("Small gift to the charming Miss Maria
Teresa Santiago. The author"). Additional indication in manu
script: "Recuerdo de la playa de Santa Isabel'1("fiaasmbranceof
the beach at Santa Isabel"). Coamo, Sept. 22, 1900. Manuscript
(AGPR/QUI 43); copy by Gadea, January 1954 (AGPR/QUI 43 B);en
velope 43 contains an unfinished composition in E flat Major,
without title. Published in José Ignacio Quintón: Obras com
pletas, Vol. 2, 7-10. This is not !'A orinas del mar,” a barcarola.
r
716
58. Plegarla a l Santísimo (VII)

Prayer for one voice and organ in F minor. Last section in
F Major. Lyrics: "Señor que escuchas . . . " ("Lord, you
that listen . . . "). Copy by Carlota Rivera de Bengoa (Pro
perty of the Coamo Museum).
59. Polka (without title) (VIII)
Polka for piano in D flat Major and middle section in B Major.

It is very chromatic. Photocopy of manuscript (AGPR/QÜI 49).
□
60. ¿Qué se figura usted? (VI A)
Danza for piano in D Major with a third section in G Major

and Coda returning to D Major. Dedication: "Pequeño obsequio
del autor a la distinguida Srta. Leonor Ma. Emanuelli" ('Small
gift by the author to the distinguished Miss Leonor Ma. Ema
nuelli"). Written in Coamo on October 22, 1901. Handwritten
copy from an original by Carlos R. Gadea, Santurce, Feb. 10,
1952 (AGPR/QUI 32); published in José Ignacio Quinton: Obras
completas, Vol. 2, 31-34. Published copy indicates it was
written in 1902.
61. Quiquiriñama (also spelled "Quiquiriyama") (VI A)
Danza for piano in F Major. It is also known as "Sudeliffe^

en la cuesta." Handwritten copy from the author's draft by
Carlos E. Gadea, February 10, 1952 (AGPR/QUI 28); published in
José Ignacio Quinton: Obras completas. Vol. 2, 35-39. The
published copy indicates it was written in 1904.
62. Romanza para dos violines y piano (VIII)
Romanza for two violins and piano which begins in D Major and
changes to A Major. Handwritten copy with instrumental parts
(AGPR/QUI 26).
9 Quinton knew a priest who worked in the Yauco parish, and some
times he went there to pray and play the organ in the church.There
he saw a young girl and told her some flattering words, to which
she responded: ."¿Qué se figura usted?" ("What do you have in
mind?"), feeling offended.
10 Sudeliffe was an American teacher in Coamo. After celebrating .

at a party, he tumbled. When his friends called him,-, he an
swered: "Quiquiriñama". (meaning. ".¿Quién me llama?" or "Who's
calling 'me?").
F .
717
63. Romanza para v io lin y piano (VIII)

Romanza for violin with piano accompaniment in £ (begins in
minor and ends in Major. Written in 1920. Dedication: "A mi
discípulo y buen amigo Luis Antonio Passalacqua" ("To my pupil
and good friend Luis Antonio Passalacqua"). Annotation on top
of page: "Recuerdo al compañero muy estimado Luis Marguesí"
("Remembrance to the very esteemend friend Luis Margues!").
Copy of instrumental parts in Carl Pischer paper (violin and
piano) (AGPR/QUI 22); published as a separata in Revista del
Instituto de Cultura Puertorriqueña. No. 10, San Juan, 1961
(AGPR/QUI 22 A). Copyright by María Luisa Quiutón de Miró.
64. Romanza sin palabras (VIII)
Romanza without words in B flat minor. Written in 1919. Dedi

cation: "Para el álbum de la Srta. Sara Henna" ("For the album .
of Miss Sara H e n na " ) . T h i s composition is also known as
"Sara." Original manuscript (AGPR/QUI 18); handwritten copy
in Carl Fischer paper by C. M. Passalacqua, 1933 (AGPR/QUI18A);
published in José Ignacio Quinton: Obras completas. Vol. 6,
17-21. Opus 13.
65. Salve a solo (VII)
Work mentioned by Mario A. Rodriguez León, "La música religiaa

de Quintón," El Mundo. May 28, 1981, 10-A. N/A
66. Salve Josefina (VII)
A, Religious work for two voices and organ in D Major. Lyrics:.

"Dios te Salve José varón justo" ("God save you Joseph just
man"). Manuscript property of the Coamo Museum. Published
in E flat Major but changing to A flat Major in José Ignacio
Quintón: Obras completas. Vol. 9, part 1.
B. Arrangement for small orchestra: violins 1 and 2, flutes

1 and 2, clarinets 1 and 2, baritone, double bass. There is an
additional part (no instrument indicated) in G clef, but with
the signature of E flat Major. Manuscript property of the
Coamo Museum.
67. Salve quinta (VII)

Work mentioned by Mario A. Rodríguez León in "La música reli
giosa de Quintón, El Mundo. May 28, 1981, 10-A. Published as
11 Sara was a singer who unexpectedly left the town of Coamo.
E ------------------------------------------------------------------
"Quinta salve a dos voces" in José Ignacio Quintón: Obras com
pletas. Vol. 9, part 2, 7-16. It is a work in E flat Major, for
two voices and organ; its lyrics are in Latin.
68. Salve Regina (No. 7) (VII)
Religious work for soprano, mezzo soprano, and.organ, in D mi

nor. "Introducción" (Andante). second section with lyrics
"Salve Regina . . . ," Pi¿ lento in D Major, "Sola" in G minor,
section in D Major with lyrics "0 clemens . . . " Written in
Coamo. Draft copy by the author, and copy by Carles Gadea
(Property of the Coamo Museum).
69. Salve séptima (VII)
Work mentioned by Mario A. Rodriguez in "La música religiosa

de Quintón, El Mundo, May 28, 1981, 10-A, N/A. This composi
tion was sung at the Episcopal Church some time ago (according
to Felipe Monerau). Published as "Salve número 7" in José
Ignacio Quintón: Obras completas. Vol. 9, part 2, 17-30. It
is a work in D (begins in minor and ends in Major); two voices-
and organ, with lyrics in Latin.
* Sara (I)
See "Romanza sin palabras."
* Scherzo II (VIII)
See "I Balada y II Scherzo."
70. Scherzo— alia— Mazurca (VIII)
Scherzo in G minor. Written in 1908; Opus 8. Published in

José Ignacio Quintón; Obras completas, Vol. 6, 22-36.
71. Scherzo en fa menor (VIII)
Scherzo for piano in F minor. Published in José Ignacio

Quintón: Obras completas. Vol. 7, 66-77.
72. Scherzo en la bemol (VIII)
Scherzo for piano in.A flat Major, with middle sections in

D flat Major, F Major, and D flat Major. Published in José
Ignacio Quintón: Obras completas, Vol. 7, 78-91.,
I
sí
719
73. Se acabó e l tereque*^ (VI A)

Danza for piano in F Major. Manuscript on small paper with a
draft on the second page (AGPR/QUI 16); photocopy of hand
written copy which seems printed and uses MM paper (AGPR/QUI
16 A); published in José Ignacio Quinton: Obras completas,
Vol. 3, 48-52. This is suposed to be Quinton's last danza.
Written in 1923.
74. Segunda danza característica (VIII)
Danza for piano which begins in A Major and has middle section
in F Major and D flat Major. The last section is in F sharp
minor. Manuscript (AGPR/QUI 14).
75. Si fueras mia . . . (Ill)
Danza for piano in G Major. Written in 1914. Handwritten

copy by Carlos R. Gadea, Santurce, December, 1953 (AGPR/QUI
11); published in José Ignacio Quinton; Obras completas,
Vol. 3, 43-47.
76. ¡Siempre tú . . . ! (Ill)
Danza for piano in A Major. Written on back of page: "A ma

aimée. Coamo, 15 de enero de 1903" ("To my loved one. Goamo, '
January 15, 1903"). Manuscript (AGPR/QUI 13); published in
José Ignacio Quinton: Obras completas, Vol. 2, 11-15.
77. Sin nombre: danza de concierto (VIII)
Danza for piano in D flat Major with middle section in G Ifejor.

This danza was not titled by the composer. Published in José
Ignacio Quinton: obras completas, Vol. 4, 7-13.
12 Felipe Monerau recalls that Quinton's musicians rehearsed next

to a drugstore called Monclova; once they were playing a new danza
which was still untitled. Ater the rehearsal, one of the musicians
exclaimed: "Se acabó el tereque" ("Business concluded"), and thus
this danza acquired its name. Tereque means anything from an old
object without worth, to a crowded activity, something that is
happening,.or.even:a clash.
r " " ' ' "
720
78. Sofía1-3 (I)

A. Danza for piano in E flat Major with middle section in
G flat Major. Written in 1903. Dedication: "A mi amiga» la
bella Srta. Sofia Brenes" ("To my friend» the beautiful Miss
Sofia Brenes"). Lyrics by Antonio Picó Conner. Photocopy of
handwritten copy (AGPR/QUI 10); original composition written
in six illustrated postcards sent to Sofia Brenes (Property
of the Coamo Museum). Published in José Ignacio Quinton:
Obras completas. Vol. 1, 41-45.
B. There is another version of danza "Sofia" written in

another tone, and the paseo is different. It was written by
Quinton himself. N/A
* Sudeliffe en la cuesta (TV)
See "Quiquiriñama."
79. Suéltalo Julián1^ (IV)
A. Fox-trot written in 1923. It las not been published. N/A

Julio Soto Samos refers to this work as a danzón with the title
"El perro de Julián."
B. Felipe Monerau informed the researcher in a recent inter

view on October 24, 1986, that the Society of Friends of
Quinton has not been able to find the original manuscript of
this work. The only reference available thus far is the
arrangement made by Juan Suárez for the Band of the Congrega
tion of Mita.
80. Tanda de valses (VIII)
Composition mentioned by Julio Soto Ramos in Bocetos biográfi

cos puertorriqueños, p. 46. This work could be the same as
"Vals en fa mepor." N/A
13 Sofia was Quinton's girlfriend. When her family knew that he

was to become a father, because of another love affair, plans for
their wedding were canceled..
14 This composition refers to a dog owned by Quinton's neighbor,

Julián Collazo. Since there was a critical situation because ac
tivists- were burning the tobacco plantations, the dog was barking
all the time. Quinton wanted his neighbor to. let loose, the.dog.
¥ .... .
721
81. Te quiero María (VII)
Prayer for voice, violin, and organ, in D minor. Second sec

tion in D Major. Copy by Carlos Gadea. June, 1977 (property
of the Coamo Museum). Published in José Ignacio Quinton:
Obrag completas, Vol. 9, part 1.
* Trio (VIII)
Work for flute, violin, and piano. See "Divertimento sobre un

tema de Fausto."
82. Trío (VIII)
Work for violin, cello, and piano. Mentioned by María Luisa

Muñoz, La música en Puerto Rico, 127. N/A
83. Trío sobre un tema de "Emani" (VIII)
Trio for fíate, clarinet, and piano. Arrangement by José I.

Quintón, Coamo, April, 1901. It includes Allegro vivace in
S flat Major, Andantino in B flat Major, Allegretto in F Major,
Andantino in G Major, and Allegro vivace in C Major.Manuscript
with a flute part only. (Property of the Coamo Museum).
84. Triste esperanza (III)
Melody for piano in G minor. Written in 1907. Dedication:

"Obsequio del autor a la muy distinguida Srta. Pita Ma. Mattei"
("Gift from the author to the very distinguished Miss Rita Ma.
Mattei"). Written in Coamo. Manuscript which seems an origi
nal although it uses vertical paper (AGPR/QUI 7); published
in José Ignacio Quintón: Obras completas. Vol. 6, 7-9. 0pus5.
85. Tristezas (III)
Song for piano and voice in D (it begins in minor and ends in
Major). Also known as "Melodía." Lyrics by A. Mattei. Dedi
cation: "Dedicada a la Srta. Rita Maria Mattei" ("Dedicated
to Miss Rita Maria Mattei"). Written in Coamo, 1907 (AGPR/
QUI 21).
86. ITus ojos! (II)
Danza for piano in F Major. Written in 1898. Carlos R.Gadea

Picó believes this is Quinton's first danza, composed at age
F
722
seventeen in Aibonito, 1898. Manuscript in violet ink (¿GBR/QQI

QUI 6); published in José Ignacio Quintón; obras completas,
Vol.. 1, 10-15.
87. Una página de rai vida (VIII)
Romanza for piano in C Major. Written in 1922. Copy written

on Carl Fischer paper (AGPR/QUI 5); some measures are incom
plete. Published in José Ignacio Quintón; obras completas,
Vol. 6, 37-43. Opus 29.
* Vals de concierto (VIII)
See "Vals en Fa menor."
88. Vals en do menor (VIII)
Waltz in C minor, A flat Major, G minor, and C Major. Pub

lished in José Ignacio Quintón: obras completas, Vol. 7, 49-
58.
89. Vals en fa menor (VIII)
Waltz for piano. It. begins in F minor and has sections in D

flat Major, E Major, D flat Major, F minor, and F Major. Manur
script (AGPR/QUI 3) with title "Vals de concierto." Published
in José Ignacio Quinton: Obras completas, Vol. 7, 32-48.
90. Vals en La bemol Major (VIII)
Waltz with a Lento indication. It is in A flat Major, with

modulations to E flat Major, A flat Major and D flat Major,
ending in the chord of A flat Major. Published in José Tgnacio
Quintón: Obras completas, Vol. 7, 7-16.
91. Vals en si menor (VIII)
Waltz for piano in B minor ending in B Major. Published in

José Ignacio Quintón: Obras completas, Vol. 7, 17-31.
92. Variaciones para piano sobre el tema "God Save the King" (VIH)
Work for piano in G flat Major. Introduction, Largo, "Tema,"

and "Pcimera variación" in G flat Major; "Segunda variación"
in E Major; "Tercera variación" in A Major, "Final" in G flat
F
723
Major. Original draft (property of the Coamo Museum). Clean

handwritten copy omits the Introduction and Largo of the draft
(Coamo Museum).
93. Variaciones para piano sobre un tema de J. S. Hummel (VIH)
Variations for piano. It includes: Theme (Adagio con gran

sspressione) in B flat Major, Variations I-X in B flat Major,
Variation XI (Lento) in D flat Major, Variation XII (Tempo di
Polonesa) in B flat Major (but alternating with E flat Major
twice). Lema (motto): "La música es el lenguaje del senti
miento (Eslava)" ["Music is the language of sentiments (Esla
va)"]. Original rough draft (AGPR/QUI 2); copy from the ori
ginal, donated by Philip Monerau (AGPR/QUI 2 A); incomplete
manuscript (AGPR/QUI 34 A); published in José Ignacio Quinton:
Obras completas, Vol. 6, 70-96. This work received the first
prize in the Certamen of Ponce in 1913. Opus 14.
94. ¡Viva la Unión! (VI B)
Panza in C Major. Written in 1904. Dedication: "A Ana Maria

Rodriguez" ("To Ana María Rodriguez"). Published in José
Ignacio Quinton: Obras completas, Vol. 1, 32-36.
95. Yuaní en su cuerda (IV)
Fox-trot in L Major for piano, written in 1923. It is pub

lished in José Ignacio Quinton: obras completas, Vol. 10.
Felipe Monerau retains this document, which is a copy made by
Carlos R. Gadea.
f ......... ' "

724
■ APPENDIX N
COMPOSITIONS BY FELIPE GUTIERREZ (ACCORDING TO THEIR. THEMES)
I. Feminine Proper Names
Title Translation Genre NAT.1
Elisa ' Eliza RO 13
II. Feminine Themes (Not Proper Names)
III. Sentimental Themes (Love. Friendship, and Others)
despedida. La The farewell RO 11
manganilla. La The deceit or cunning OV 34
recuerdo, El The remembrance PO 81
IV. Masculine Topics (Proper Names. Qoalities. Military References)
amor de un pescador. El The love of a fisherman Z O

4m
beamés. El The person from Be a m e s OP 4
(France)
Guarionex Guarionex OP 20
Macias Macias OP 32
Tonidán Tonidán OV 115
1 Number assigned in the alphabetical list (NAL) of APPENDIX J.
I
725
Title Translation Genre NAL
V. Nature (Including Flora and Taima)
parto de los montes. El The childbirth íparturition-] SY 71

of the mountains or woods
Also "A big cry but little
wool."
VI Puerto Rico
A. Expressions
B. Towns, Clubs , Social and Political
familia. La The family OV 14
Obertura La familia The,Family Overture OV *
peseta, La^ The peseta (A Spanish coin) SY 74
C. Activities, Drinks, Food, Instruments, Music, Clothes
yuca. La The yucca (cassava) OV 126
VII, Religious (including Funeral) Music
Adiós a la Virgen Goodbye to the Virgin RE 1
Adórate devote Adore (or pray) with devotion RE *

(imperative of the verb
adorare)
Asi-así So-so RE 3
Benedictus a voces solas Blessed, for voices only RE *
2 Since this composition does not include lyrics, it is impossible

to determine if it was intended to be a religious composition dedi
cated to the birth„ of Christ. As a popular expression it is used
when something does not come as good or great as expected.
3 The peseta was worth two reales, and eight reales w as a peso, the
Spanish monetary unit during the nineteenth century. Today, the
Eterto Ricans use the term peseta for the U.S. quarter.
F
726
Conclusión Conclusion EE 5
Conclusión Conclusion PE 6
Conclusión de nove Conclusion of novenas (No. 1 EE 7

nas (No. 1 y No. 2) and No. 2)
Conclusión No. 5 Conclusion No. 5 EE 8
Despedida a la Virgen Farewell to the Virgin EE *
Dios te salve God Save You BE 12
Finales para triduos, Finals for Triduums, Novenas EE *

norenas y misas and Masses
Gczos a la Purísima Couplets to the Most Pure EE 15

Ccncepción [.Immaculate] Conception
Gczos a la Purísima Couplets to the Most Pure EE *

(incepción [Immaculate] conception
Gozos de la Inmacu Couplets to the Immaculate EE 16

lada Concepción Conception
Gczos de la Purísima Couplets to the Most Pure BE 17

[Conception]
Gran Salve Núm. 1 Great Salutation [or God Bless EE 18

You!] No. 1
Grandes Letanías Great Litanies EE 19
Ianentación segunda Second Lamentation EE *
Lanentación tercera Third Lamentation for Thursday BE 23

deL Jueves Santo of the Holy Week
Letanía Litany EE 22
Letanía de la Provi Litany of the Providence EE 23

dencia
Letanía número 2 Litany number 2 BE 24
Letanía número 3 Litany number 3 EE 25
Letanías Litanies BE 26
Letanías Litanies EE 27
W ..... -..... ' -
727
Letanías a cuatro Litanies for four voices, RE *

voces, coros y choirs, and,orchestra
orquesta
Letanías (1 y 2) Litanies (1 and 2) RE 28
Letanías de Nuestra Litanies of Our Lady of Bethlehem RE 29

Señora de Belén
Letanías jesuítas Jesuit Litanies RE 30
Letanías pastoriles Pastoral Litanies RE 31
Letanías transpor Litanies transported forgirls RE *

tadas para niñas
Magnificat a tres Praise (or magnify) for three re 33

voces voices (imperative of the verb
magnificare)
Marcha fúnebre Funeral march F 35
Misa Mass RE 36
Misa a dos contral Mass for two children contraltos RE 37

tos de niños o dos or two basses
bajos
Misa a dos voces Mass for two voices RE 38
Misa a dos voces Mass for two voices RE 39
Misa a dúo para Mass for duet of choirand RE 40

coro y orquesta orchestra
Misa de Jueves Santo Mass for Thursday of the Holy Week RE 41
Misa de la Anuncia Mass of the Annunciation RE 42

ción
Misa de la Anunciata Mass of the Annunciation RE 43

(annunciate is the past participle
of annuntiare)
Misa de la Ascención Mass of the Ascension RE 44
Misa de la Circun Mass of the Circumcision RE 45

cisión
Misa de la Purifi Mass of the Purification RE 46

cación
f .....
728
Misa de Noche Buena Mass of the Holy Night RE 47
Misa de Requiem Requiem^1 Mass (Mass for the Dead) F 48
Misa de Requiem a Requiem Mass for two voices F *

dos voces
Misa de Requiem Requiem Mass No. 2 F 49

No. 2
Misa de San José Mass for Saint Joseph RE 50
Misa de San Juan Mass for Saint John RE 51
Misa de Santa Mass for Saint Cecile RE 52

Cecilia
Misa del Corpus Mass for the Body of Christ RE 53

Chrísti
Misa en Do Mayor Mass in C Major RE *
Misa para la Pascua Mass for Easter Sunday (or the RE 54

de Resurrección Day of the Resurrection)
Misa para voces de Mass for boys* voices RE 55

niños
Misa pastorela Pastoral Mass RE 56
Misa pequeña en Do Short Mass'* in C Major RE 57

Mayor
Misa pequeña en la Short Mass in A minor RE 5?

menor
4 Requiem or requietem is the accusative of the feminine noun

requiem» which means rest or repose. For the terms in Latin there-,
searcher has consulted Agustín Blanquez Fraile, Diccionario Latino
Español, Barcelona: Editorial Ramón Sopeña, S.A., 1954.
5 The composer probably wrote a short mass, but since the work is
N/A it is impossible to analyze its content. There are Solemn High
Hasses (sung by the priest with the assistance of a deacon, sub7
deacon and other ministers). High Masses (sung by the priest but
without assistance), and Low Masses (celebrated without music and
also called Private Masses). Gutierrez’s Mass does not correspond
to any of the above.
W " ■'.....' ' ■

729
Misa pequeña de Short mass for the deceased F *

difuntos
Miserere Have mercy RE 59
No recorderis Do not remember (the title is RE 60

misspelled. and should be "Non
recordaris")
Notebook with In the absence of a title, RE 61

religious compo the researcher assigned this
sitions (without one to this short collection
title) of compositions
Novenario de la Novena to the Immaculate RE 62

Concepción Conception
Novenario de Nues Novena to Our Lady of RE *

tra Señora de L¿l«'n Bethlehem
Novenario de San Novena to Saint Francis RE 63

Francisco
Novenario de San Novena to Saint John the RE 64

Juan Bautista Baptist
Novenario de San Novena to Saint Michael RE 65

Miguel
Novenario de Santa Noveaa to Saint Rose of Lima RE 66

Rosa de Lima
Ofertorio Offertory RE 67
Oficio de difuntos Solemn service^ for the F *

No. 1 deceased. No. 1
Parce mihi Spare or preserve (parce is F 70

the imperative of parcere, and
mihi is the dative of ego).
Pasión del Domingo Passion of Palm Sunday, and RE 72

de Ramos y Viernes Good Friday, and Creed for two
Santo y Credo a dos voices only
voces solas
F ' .....
730
Pasión del Viernes Passion of Good Friday RE 73

Santo
Petición A de cla Petition A for clarinet RE 75

rinete
Petición a dúo, Petition for duet, number 3 RE 76

número 3
Petición de clari Petition for clarinet, RE 77

nete número 2 number 2
Petición de violín, Petition for violin, number 1 RE 78

número 1
Peticiones Petitions RE 79
Peticiones de las Petitions of the seven words RE 80

siete palabras (they refer to the words
pronounced by Christ in the
Cross)
Requiem a dos voces Requiem fop two voices and F *

y orquesta orchestra
Requiem a tres Requiem for three voices F *

voces
Reservas Reserves or secret^ RE 82
Reservas de Octava Reserves of the Eight-Day RE *

de Corpus No. 10 Corpus Festival, No. 10
Responso a dos Response for two voices F 83

voces
Responso de entie- Response [prayer for the dead] F *

rrcs of a burial
Responso número 1 Response number 1 V 84
Responso número 2 Response number 2 F 85
6 Since the Secret of the Mass is a section that Is not sung but
recited, this composition was most surely intended for the Com
munion, which is a part of the Proper that is sung. The reserva
was probably set aside at the time of the celebration of the Eu
charist for the communion of the sick.
F----
731
Responso para en Response fo.c funerals. Parce F 86

tierros, Parce mihi mihi (see above, NAL 70)
Salve Hail7 RE 87
Salve a coro Hail for chorus RE 88
Salve a cuatro Hail for four voices, choir RE 89

voces, coro y or and orchestra
questa
Salve a dúo Hail for duet RE 90
Salve a dúo de Hail for contralto duet RE 93

contralto
Salve a dúo número 1 Hail for duet, number 1 RE 94
Salve a dúo número 1 Hail for duet, number 1 •RE 95
Salve a dúo número 2 Hail for duet, number 2 RE 96
Salve a dúo numero 3 Hail for duet, number 3 RE 97
Salve a solo Hail for solo RE 98
Salve de gallo Hail for the Midnight Mass RE 99

(literally gallo means cock)
Salve de novena Hail for novena RE *
Salve de novena Hail for novena, number 2 RE *

No. 2
Salve grande a dos Great Hail for two voices RE 100

voces y coro and choir
Salve mediana N ú m . 7 Medium Hail- No. 7 for Patron RE 101

del Patrón San Juan Saint John
7 This Salve is not the "Hail Mary" but the prayer known as "Hail
Baly Queen" ("Hail, Holy Queen, Mother of Mercy, our life, our
sweetness, and our hope . . . " ) .
W ......
732
Title Translation Genre HAL
Salve número 3 para Hail number 3 for two voices RE 102

dos voces y orquesta and orchestra
Salve número 5 a dos Hail number 5 for two voices RE 103

voces
Salve número 8 Hail number 8 RE 104

g
Salve obligada de Hail with a baritone solo RE 105
barítono
Salve solemne Solemn Hail RE 106
Secuencia de Resu Sequence of Resurrection and RE 107

rrección y Corpus Corpus
Segunda lamentación Second lamentation RE 108
Septenario de Septenary of [Our Lady of] RE 109

Dolores Sorrows
Setímíno This word is probably a deri RE 110

vation of septimana (in Latin,
a week), and septimum (in
Latin, seventh), and not of
Septiminus (a masculine proper
name).
siete palabras. Las The seven words RE 111
Te deum a dos voces To you God, for two voices RE 113

(te is the accusative of tu
or you, and Deum is the
accusative of Deus or God).
Tercera lamentación Third lamentation RE *

g
Tota pulchra Wholly beautiful (or good) RE 116
8 When Gutiérrez writes obligado de, he does not mean an obbligato

as an accompaniment, but as a solo part which must not be omitted
and thus is obligatory.
9 This composition is probably inspired in the prayers included in

the Litanies, where the Virgin is praised as being "most pure,"
"most chaste," most admirable," etc. See the lyrics for "Gozosde
la Inmaculada Concepción" (entry 16).
Sr
733
Tota pulchra a Wholly beautiful fo: : three RE 123

tres voces voices
Vigilia de difuntos Vigil for the dead F 124
VIII. Diverse Topics
Contradanza Contradanza (a type of CO 9

aristocratic dance)
Cuaderno con estu Notebook with studies for piano - 10

dios para piano
Sonatina de violín Violin sonatina SO 112

Teoría de la música Music theory - 114
Tercera obertura Third overture ov *
Without title Without title V 125
r
APPENDIX O
COMPOSITIONS BY MANUEL G. TAVAREZ (ACCORDING TO THEIR THEMES)
Title Translation Genre NAL'
Carmela, La The Carmela D 5.
Clotilde, La The Clotilde D 7
Dolorita. La The Dolores (diminutive) D 13
Elisa, La The Eliza D 14
Hortencia, La The Hortense D 18
Lolita, La The Lolita (diminutive D 21

of Lola, the nickname
for Dolores)
Lopita, La The Lopita (probably D 22

from the surname López)
Luisa, La The Louise D 23
Manuelita, La The Manuelita (feminine D 24

diminutive of Manuel)
Margarita Margaret D 26
mariquita. La Molly (diminutive of W *

Mary; it can also refer
to the ladybird or to a
sissy)
II. Feminine Themes (Not Proper Names)
coqueta. La The coquette D 9

ondina. La The 'undine; water spirit D 31
1 Number assigned in the alphabetical list of APPENDIX K.
W "
735
sensitiva» La The sensitive D 42
III. Sentímental Themes (Love. Friendship, and Others)
Amor desgraciado Unfortunate love D *
ausencia» La The absence D 1
¡Ay! ¡Dime que :

sí! Oh! Say yes [to m e ] ! D 2
desengaño» El The disillusionment or D 11

disappointment
Dicha fugaz Fleeting happiness D 12
ilusión perdida» La The lost illusion D 19
¿Me amas? Do you love me? D 27
melancolía» La The melancholy D 28
Pobre corazón Poor heart! D 36
Recuerdos de antaño Remembrances of long ago D 39
risa. La o La The laughter or A judge's D 41

cena de un juez dinner
suspiro» El The sigh D 45
Un recuerdito A small remembrance D 47
Unico amor Only love D *
XV. Masculine Tonics (Proper Names, Qualities, Military Referenoes)
cena de un juez. La A judge's dinner D *
Cómo me mira el How the old man looks D 8

viejo at me
mismo Femando, El The same Ferdinand (or He

resembles Ferdinand) D 30
f ” ’
736
Our Poet's Dying Our Poet's Dying Request

Request (original title in English) RO 32
pastorcito, El The little sheperd W 33
proscripto, El The outlaw RO 37
Súplica a mis Supplication to my friends RO *

amigos
V. Nature (Including Flora and Fauna)
balsamina, La^ The balsam (feminine) D 3
clavellina. La A flower similar to the D 6

carnation but of a smaller
size
mirlo, El The blackbird D 29
perlita. La The small pearl (it could D 34

refer metaphorically to a
beautiful woman)
It
perlita. La D 35
3
purpurina. La The purpurin D 38
violeta. La The violet D 55
VI. Puerto Rico
A. Expressions
'2 The balsamina is ah American, plant that grows up to one meter in

height. Its leaves are small and the flowers can be either yellow,
white, or red. It is an evergreen•and it originates in Perú. Its
resinous substance has medicinal qualities.
'3 The purpurin is a red .coloring substance obtained from the root
of the madder. Purpurin is also á fine powder of bronze or white
metal, applied to paintings before they are dry, to give them a
golden or plated appearance. The term purpurin is also applied to
the purple color.
r
737
B. Towns, Clubs¡, Social and Political
hanaca, La The hammock D 17
Un viaje a Bayamón A trip to Bayamón D 48
C. Activities, Drinks. Food, Instruments, Music, clothes
Fantasías criollas Creole fantasies ? 15
Potpourri de aires Potpourri of provincial airs SU *

provinciales
Serenata Serenade RO 43
Souvenir de Puerto Souvenir from Puerto Rico:

Rico: potpourri de potpourri of provincial aires SU 44
aires provinciales
Lh día de campo A day in the country D 46
VII. Religious (Including Funeral) Music
Marcha en honor de March in honor of José y 25

José Campeche Campeche
Virgen de Borinquen, The Virgin of Borinquen D 56
VUI. Diverse Topics
cajita de música. La The music box ? 4
Cradros musicales Musical pictures ? 10
Filigrana Filigree D 16
Lanceros (without Lancers L 20

title)
Redención Redemption MAR 40
Vals (without Walts (in F minor) W 49

title, in F minor)
738
Vais (without Waltz (in E flat Major) W 50

title)
Vals brillante de Brilliant waltz of 1863 W 51

1863
Vals de salón para Ballroom waltz for the W 52

la mano izquierda left hand.
Vals para piano Piano waltz (La Mariquita) W 53

(La Mariquita)
24 de junio!!, ¡¡El The 24th of June!! W 54
W .......................... “ " " " " ..... " ■
739
APPENDIX P
COMPOSITIONS BY JUAN MOREL CAMPOS (ACCORDING TO THEIR THEMES)
Title Translation Genre NAL1
¡A la Lidia! To the Lidia! L i
Adela, La The Adela D 5
Adela María, La The Adela María D 6
Adelaida Adelaide D 7
Angelita Angelita (diminutive for Angel) D 26
Anita Anita (diminutive for Anne) D 27
Bella Maria Beautiful Mary D 45
bella Margot, La The beautiful Margot. D 46
Bonifacia, La The Bonifacia D 58
Carlota Charlotte PO 76
Carlotita, La The Carlotita (diminutive for D 77

Carlota)
Carmela Ccinssla D 78
Carmelita Carmelita (diminutive for Carmela) D 79
Carmencita, La The Carmencita (diminutive for .. P 80

Carmen)
Celia Celia PO 84
Cleopatra, La The Cleopatra D 99
1 Number assigned in the alphabetical list (NAL) of APPENDIX L.
F
740
Consuelo Consuelo (consolation, comfort) D 108
Divina Enriqueta Divine Henrietta D 157
Dolores Dolores (it means pains) W 158
Dolores, La The Dolores D 159

2
Doña Bonifacia Lady Boniface D 165
Doña Maria Melitona Lady Mary Melitona D 166
Doña Tomaza Lady Thomas D 167
Doña Valentina Lady Valentine D *
Doña Vicenta L¿dy Vinceirt GU 168
dos Marías, Las The two Marys D 171
Elisa, La The Eliza D 178
Eloísa, La The Eloísa D 180
Elvira Elvira D 181
Emilia, La The Emily D 182
Encamación, La The Incarnation D 189
Enriqueta, La The Henrietta D 190
Fermina, La The Fermina GU 212
Femandina, La The Ferdinand (feminine) D 213
Generosa, La The Generous D 231
Gilda, La The Gilda D 232
Gilda Gilda D 233
2 "Doña" is an appelation prefixed to .the Christian names of ladies

but cannot be translated as Mrs., since it is used both for married
and single women. It indicates respect and distinction. Today it
is mostly used for older, or high-status ladies, and almost never
for young and unmarried women. Its masculine form is "Don."
£
741
Gloria Gloria D 234
Guadalupe, La The Guadeloupe D 245
Herminia, La The Herminia D 248
Inocencia, La The Inocense D 262
Isabel 7 Santiago Elizabeth and James D 266
Isabelita, La The Elizabeth (diminutive) D 267
Ismenia Ismenia PO 268
¡Joaquina! Joaquina! D 270
Josefita, La The Josephine (diminutive) D 271
Julia Plá Julia Plá MAZ 277
Julianita, La The Julian (feminine) D 278
Julita, La The Juliet (diminutive) D 279
Laura y Georgina Laura and.Georgina (feminine of D 286

George)
Laura y Georgina Laura and Georgina D 287
Lila, La The Lila D 291
Lola, La The Lola D 296
Lolita, La The Lola (diminutive) D 297
Luisita, La The,. Louise (diminutive) D 298
Lupita, La The Lupe (diminutive) D 299
Margarita, La The Margaret D 308
Maria, La The Mary D 309
Maria Luisa Mary Louise PO 310
Mariana Marian (name derived from Mary) W 311
Mercedes Mercedes PO 325
f
742
mulata Rosa, La Rose the mulatto (feminine) GU 340
Nene, La The Nené (nene, without accent, D 342

means an infant)
ojos de Sofía, Los The eyes of Sophie D 361
Olimpia, La The Olimpia MAZ 363
Oliva Oliva (feminine of Olive) K 364
Panchita Feminine and diminutive of D 369

Francis
Paula camisa sucia Paula dirty shirt D 373
Pepita, La Feminine and diminutive of D 375

Joseph
Purita . . . . a ti Purita . . . . to you D 406

(diminutive of Pure)
Ramoncita, La , o Raymond (diminutive and D *

sea, £1 último feminine), that is. The last
adiós goodbye
TV
Reina Isidora Queen Isidora (feminine of XJ 417
Isidore)
Rosario, La The Rosary (a variation of Rose)i D 421
Rosita, La The Rose (diminutive) D 422
Sarito Sara (diminutive) D 427
Selika Selika D 432
Sisila Sisila D 447
Sofía Sophie MAZ 448
Susana (Mis amores) Susan (My loves) - *
Susana (No me Susan (Don’t forget me) D *

olvides)
Teresa Theresa D 466
trenzas de Doña The braids of Doña Agripina D 474

Agripina, Las
P
743
Valentina, La The Valentine D 499
Virgilia Virgilia (feminine of Virgil) D 510
iViva la Pepa! Long live the Pepa! (nickname D 512

for Josephine)
II. Feminine Themes (i*>t Proper Names)
africana. La The African (feminine) D 8
amiguita, La The little friend (feminine) PO 19
artesanas. Las The artisans (feminine) D 31
bella trigueñita. The pretty olive-ccmplexioned D 47

La girl (diminutive)
belleza. La The beauty D 48
Bellos ojos Beautiful eyes D 50
¡Bendita seas! Blessed be (you)! D 52
bulliciosa. La The noisy or lively (woman) D 67
candorosa. La The candid (woman) D 71
Carita de cielo Heaven's little face MAZ 75

(denoting purity)
C iia Z ig c l y Yict The flirtatious, coquettish D 87

(feminine)
charlatana. La The chatterer (feminine) ME 89
chiquita de tu Daddy's little one D 90

papá. La (feminine)
colegialas. Las The schoolgirls Z 102
comadres. Las The godmothers (godmothers D 104

with respect to each other)
cubana. La The Cuban D 129
dependientes. Las The salesgirls D 148
dos hermanas. Las The two sisters D 170
f ........
744
Ella She MAZ 179
fumadora. La The smoker (feminine) D 225
Graciosa niña Gracious girl PO 239
Graciosa niña Gracious girl D 240
Graciosa niña Gracious girl D 241
Graciosa pareja Gracious couple of dancing D 242

partner
Grifa, tú me matas Griffe, you kill me GU 244
inocente. La The innocent (feminine) D 263
intrépida. La The intrepid (feminine) D 264
joyita. La The little jewel (feminine) MAZ 273

(It can also refer to a person)
¡Linda boca! Beautiful mouth! PO 292
loca. La Crazy woman D 295
Mi novia My fiancée D 328
u;
Uli
~
y C j b JUC» My pearl D 329
muchachas. Las The young ladies D 338
niña bonita. La The pretty girl D 343
niña de los ojos The girl with the beautiful eyes D 344
bonitos. La
niña hechicera. La The bewitching or charming girl D 345
niña retozona. La The playful girl PO 346
niña sin amor. La The girl without love D 347
Ojos que abrazan Loving eyes (literally: eyes D 362

that embrace)
pastorcilla. La The shepherdess RO 372
perla del baile. The pearl of the dance PO 379

La
r.......... “.....
periita, La The small pearl (it can refer D 381

to a woman in positive terms,
but it can refer to anyone in
negative terms (such as a person
who has a wild behavior)
Qué mulata . . . What a mulatto (feminine) . . . GU *

tú me matas you kill me
¡Qué periita! What a pearl! D 408
ramilletera. La The flower girl RO 413
regalona. La The pampered or spoiled (The D 416

youngest daughter)
Rizos de sol Goldilocks W 419
siempre viva. La The everlasting flower D 440
traviesa. La The mischievous or naughty D 472

(feminine)
trenza de oro. La The golden braid W-PO 473
trigueñita The olive-complexioned girl D *

(diminutive)
Tu divino rostro Your divine face D 477
Tu imagen Your image D 478
Tus bellos ojos Your beautiful eyes D *
Tus ojitos Your small eyes D 481
Una fea no es fea An ugly (girl or woman) is not D 495

ugly
violetera. La The violet vendor RO 509
Virtuosa Virtuous GAV 511
III. Sentimental Themes (Love, friendship, and Others)
¡Acuérdate de mí! Remember me! D 4
Alegrías Joyous moments D 15
¥ ......... "
746
Alma sublime Noble soul D 17
Amar es vivir To love is to live D 18
Amistad Friendship ME 20
Amor en crescendo Love in crescendo D 21
Amor en el campo Love in the countryside D 22
Amor es sueño Love is a dream D 23
Amor es triunfo Love is triumph Z 24
Amor y celos Love and jealousy D 25
arrullo. El Tkfi lullaby (or plc3 ssnt RO 30

whisper)
Ausencia Absence D 34
Ausencia Absence D 35
Ausencia Absence ME 36
Ausencia Absence W 37
Bella ilusión Beautiful illusion D 44
Bello ideal Beautiful ideal D 49
beso. El The kiss D 55
¡Buen humor! Good humor! D 65
•Cede a mi ruego! Yield to my plea! D 83
Cielo de encantos Heaven of charms (A charming D 94

person)
Contémplame Look at me! D 109
Conversación Conversation D 110
De tu lado al From your company to paradise D 146

paraíso
Delirio Delirium (strong desire) CH 147
desengaño. El The disappointment D 150
W .........
747
despedida. La The farewell D 151
Di que me amas Say you love me D 155
Dulce acento Sweet accent W 172
En tus brazos In your arms MAZ 188
Ensueños de amor Love dreams (or daydreams) D 191
esperanza. La The hope W 194
Estimación Estimation MAZ 198
Felices días Happy days D 209
¡Feliz encuentro! Happy encounter! D 210
Fiesta de amigos Friend's party D 214
Goces y penas Joys and sorrows D 235
¡Horas felices! Happy hours! D 253
Ideal Ideal W 257
Idilio Idyl D 258
¡Juventud alegre! Happy youth! L 280
¡Maldito amor! Damned love! D 302
Melancolía Melancholy D 318
Melodía sentimental Sentimental melody ME 323
Mi ideal My ideal D 327
Mi súplica My plea D 330
Mis amores My loves D 332
Mis esperanzas My hopes D 333
Mis penas My sorrows D 334
Mis quejas My complaints D 335
Mis suspiros My sighs W 336
r~^ .......................... ........
748
Title Translati on Genre NAL
No desconfíes Do not mistrust D 350
No.me martirices Do not torture me D 351
¡No me olvides! Do not forget me! D 352
No me toques Do not touch me D 353
Penas del corazón Heart sorrows D 374
Pienso en tí I think of you D 385
Placer fugaz ' Fleeting pleasure PO 389
Placeres de la vida Life's plasures D 390
¡Poder de una The power of a glance! D 395

mirada!
¿Por qué no me Why don't you love me? T) 400

amas?
Por ti Because of you D 401
Por ti suspiro I sigh for you D 402
primer beso. El The first kiss W 403
Quejas de amor Love lamentations D 410
Quejas del alma Laments of the soul D 411
Recelos Misgivings D 414
recompensa. La The reward D 415
¡Si me quisieras! If you could love me! D 435
Sí te quiero Yes, I love you D 436
¡Sí te toco! Yes, I touch you! D 437
Siempre a ti fiel Always loyal to you D 438
Siempre en mi mente Always in my mind D 439
simpatía. La The sympathy (congeniality) D 441
Simpatías Sympathies D 442
s:
749
Simpatías Sympathies D 443
Sin esperanza Hopeless D 444
ISin ti jamás! Never without you! D 445
¡Sin ti no puedo I cannot live without you D 446

vivir!
Soñando Dreaming D 450
¡Soy feliz! I am happy! D 453

„ 3
Soy suya I'm yours D 454
Sueño de amor Love dreams D 455
Sueños dorados Golden dreams D 456
Sueños venturosos Fortunate dreams D 457
súplicas. Las The requests (petitions) D 458
¡También lo dudo! I also doubt it! D 459
Te adoro I adore you D 461
Te veo venir I see you coming D 463
¡Ten piedad! Have mercy! D 464
¡Toda corazón! Generous! (Literally: All D 468

heart!)
¡Tormento! Torment! D 470
Tristes recuerdos Sad remembrance D 475
Tu regreso Your return D 479
Tú y yo You and I D 480
Tus recuerdos Your remembrances D 482
3 In Spanish there are two forms which mean ’’you": tú and usted
Tú is informal, and usted is formal. In the case of "Soy suya,"
the formal version has been used.
¥ ------------ -- ......
750
Title Translation Genre .M l
Tuya es mi vida My life is yours D 483
Ultima lágrima Last tear ME 484
ultimo adiós. El The last farewell D 485
Un conflicto A conflict D 487
Un diálogo A dialogue D 488
Un recuerdo A remembrance D 489
Un recuerdo A remembrance D 490
Un recuerdo A remembrance W 491
Una súplica A plea D 498
Vano empeño Vain eagerness (or ardent love) D 501
Ya somos dos We are already two D 516
IV. Masculine-Topics (Proper Names, Qualities, Military deferentes)
A Manuel Corchado To Manuel Corchado ME 3
Al amado alísente To the absent love RO 11
Alemán castuso^ Castuso German (it usually D 16

refers to the German worker,
marked by a ruddy complexion
and a cheerful spirit)
artistas. Los The artists L 32
barberillo. El The young barber D 43
¡Bomberos, al Firemen, to the fire station! PA 56

parque!
Bomberos de Ponce Firemen of Ponce PA 57
4 This word is also spelled castuzo, and can even mean brave and
daring. When the researcher interviewed Dr. José Guillermo Frontera
he told her that there were some Germans working in the sugar in
genios or mills, in the late nineteenth century and early twentieth
W: .............. ........................... ..
751
borracho, El The drunk ME 59
brazo fuerte. El The strong arm (or a strong D 61

person)
brazo fuerte. El The strong arm D 62
bufones. Los The jesters (or clowns) L 66
chaparro. El The short, chubby person (it ME 88

can also mean an evergreen oak
tree)
Chistavín - Chistavín (probably a nick GAL 91

name)
chulos. Los In Central America it can mean D 92

beautiful; in Spain it refers to
the guys of the lower class in
Madrid who behave boastfully and
are ostentatious in dress; it
can also mean sly and malicious.
Comandante Picazo, Commander Picazo PA 105

El
dos amigos. Los The two friends ME 169
Fígaro, El The barber (it refers to the D 215

character created by Beaumarchais
after which Mozart wrote his
opera "Le nozze di Figaro")»
gordito. El The fat young man D 236
guerreros. Los The warriors (the fighters) D 247
huérfano. El The orphan W 256
ignatas. Los It is probably a word misspelled PA 259

and should be "Los ignotos" (The
unknown).
joven desgracia The unfortunate young man D 272

do, El
Leonardo Leonard D *
marina española. La The Spanish Navy D 313
752
Montafiez Montañez PA 337
muchachos, Los The young fellows L 339
niño, El The boy D 348
oficiales de bom The firemen officers PO 359

beros, Los
pajes de Lucerna, The pages of Lucern (a town in D 365

Los^ Switzerland)
Panchito Taboada Panchito (nickname for Francisco F 370

Taboada )
Pepito, El The Pepito (nickname for Joseph) D 376
Pomales Pomales (a surname) D 397
Ponche militar Military punch (a drink) D 399
Robinson Robinson D 420
seguridad. El The security (protection officer, W 430

watchman)
Séptima brigada Seventh Brigade PA 434
voluntarios. Los The volunteers PA 513
V. Nature (including Flora and Fauna)
A la luna To the moon D 2
bacalao. El The codfish D 40
Brisas de enero January breezes D 63
Brisas del Breezes from the aqueduct D 64

acueducto
caimán. El The cayman or alligator D 68
5 The researcher believes this title might refer to another compo

sition of the same or related name, following the example of "El
Figaro."
¥ ...... ' " ■

753
calamar, £1 The squid D 69
caña de Veracruz, La The stalk from Veracruz, or The D 73

o sea, £1 mangó mango
cascada. La The waterfall D 82
ciclón, £1 The cyclone D 93
clavel blanco, £1 The white carnation W 98
cuervos. Los The ravens D 130
De frente . . . Forward (abreast) . . . at.sea! PA 144

mar!
De la superficie From the surface to the bottom D 145

al fondo (to founder)
¡En alta mar! On. high seas! D 183
Es la flor It is.the flower RO 193
Flores silvestres Wild.flowers D 219
fuego. El The fire D 221
fuego. El The fire D 222
gato flaco. El The skinny cat D 230
jazmin. El The jasmine W 268
macarela. La The mackerel (a fish) D 300
mangó. El The mango D *
mangó. El The mango D 305
mariposa. La, o sea. The butterfly, that is. The stinger D 314
El piquijulle^
6 Piquijulle is a word applied to an insect popularly called the

aballarde, that affected the coffee plantations in Puerto Rico.
It bites (pica) a person and then rolls away (Julie, the vulgar
form for huye or mins away). A piquijulle boxer is the one who is
very aggressive but tries to maintain a reasonable distance from
his opponent. Since Morel also titled this work "La mariposa," it
must be remembered that mariposear means to be capricious in leve.
r ..................
754
microbio, El The microbe D 331
Noche de plácida Placid, aüiet night D 356

calma
Noche deliciosa Delightful night D 357
paloma. La The dove D 368
Peral The pear tree D 377
perros. Los The dogs D 382
piquijulle, El The stinger D ft
pitirre. El The kingbird D 388
purguita, La^ The purge (diminutive) D 405
rabo de la culebra. The snake's tail D 412

El
río Portugués y la The Portuguese river and the RO 418

noche night
g
sebo. El The tallow D 429
tintorera. La The female shark D 467
torbellino. El The whirlwind (it can also mean D 469

a boisterous, restless person or
a concurrence of things that
present themselves at the same
time).
keeping company with different partners without preferring anyone

in particular. It would then have a similar meaning to a piquiju-
lie person.
7 This word is probably mispelled in the original manuscript. The

researcher believes it should be "La pulguita" (the small flee).
A purga is a cathartic, but in Puerto Rico the word used for a
laxative or cleanser is the masculine purgante. Another meaning
refers to the processing of cane sugar which is cleansed or se
purga to free it from impurities. Morel Campos was a friend of the
Grahams, an English family who worked in the sugar ingenios.
8 Sebo is tallow (any kind of grease or fat, such as candle-grease

or the grease with which the bottoms of ships and the masts are
W
755
trueno, El The thunder D 476
Una flor A flower MAZ 496
Violetas Violets W 508
VT- Puerto Rico
A. Expressions
... 9
Ahí va eso There it goes (to leave a D 9
suggestion for its
consideration).
Apaga las velas Blow out the candles D 28
Ay, Ay Oh, oh (or ouch, ouch) D 39
Cómo empieza y cómo How it begins and how it ends D 106

acaba
Cuidado con eso Careful with that D 131
¿Dónde está el Where’s the iron? (It can refer D 162

hierro? to a weapon, a tool, a brand to
make a mark with a hot iron,
chains to restrain prisoners, or
a prison. It could also mean a
plancha with which to iron
clothes).
¿Dónde está mi Where is ray half peso? D 163

medio peso? 9
besmeared). If spelled cebo it means fishing bait or the food

given to animals, the fodder.
9 This expression can be used in the bomba dances before or after

saying a bomba (the poetic message to be said by one of the par
ticipants when the music stops in the middle of the dance).
10 During the nineteenth century the peso was. the Spanish currency
A half peso was an escudo, and a whole peso was divided into eight
reales; each real was divided into thirty-four maravedíes. See
femando Picó, Historia General dé Puerto Rico, 9. Today, a medio
peso refers to the half-dollar coin.
w
756
¿Dónde están las Where are the candles (or the D 164
velas? sails)?
¿En qué quedamos? Hadn't ve agreed on that? D 187

(Expression used when someone
refutes a decision already
taken).
Fuego a la lata Fire to the tin can (an expres D 223

sion denoting bristle and clamor).
Fuego con ellos Fire with them (Expression mean D 224

ing "Be hard on them," or "Don't
have mercy.")
Lo de siempre As always (or As usual) D 294
No comas fósforos No not eat matches D 349
No te la lleves Don't take it away, it has D. 354

que tiene quenepas quenepas ..(a small fruit)
No te ocupes Do not bother (Do not become D 355

preoccupied)
Palito uno, palito Literally: Little stick one, D 367

dos . . . ü little stick two . . . (It prob
ably refers to the expression
used by drinkers: "Vamos a darnos
tin palito" ("Let's drink"), using
a one-ounce jigger for a straight
shot of rum or whisky].
¿Qué dice usted? What do you say? D 407
¿Qué será? What would it be? D 409
¡Saber tardar! To know how to be late! GU 424
Se le quedó He (or she) left it D 428
11 The researcher believes this expression might also refer to the

vulgar meaning given to palo in the Puerto Rican slang. See its
sexual implications and the related phrases in Cristino Gallo's
slang dictionary Language of the Puerto Rican Street. Hato Rey:
Ramallo Bros., Inc., 1980, 77.
F--------------------------------------
757
Title Translation Genre MAL
Te lo dije I told you so D 462
Una cana al aire The complete expression is D 493

"Echar una cana al adre" ("To
entertain one's self"). It is
mostly used when a husband or
wife does something without his
or her partner, such as going
out with someone else or having
fun alone.
B. Towns, Clubs. Social, and Political
cárcel. La The prison (jail) D 74
círculo de la vic The victory circle (or club) D 96

toria, El
Ciudad de Ponce The city of Ponce D 97
Club Terpsícore Terpsichore Club D 100
Crus Roja, La The Red Cross D 128
Don Criterio o Un Mr. Criterio or An election day Z 161

dia de elecciones
Don Mamerto Mr. Mamerto Z *
electricidad. La The electricity PO 177
Espíritu ponceño Ponce spirit PO 195
estatua de Ponce, La The statue of Ponce D 196
faroles. Los The street lamps (they can either D 207

be of gas or electrical bulbs)
flor juanadina, L a ^ The flower from Juana Diaz D 216

(a town near Ponce)
Plores mayagüezanas Mayagviez flowers MAZ 217
Flores ponceñas Ponce flowers W 218
12 The word flor can be applied metaphorically to a beautiful

woman.
r
758
Title Translation Genre MAL
Gabinete de Lectura, The Reading Room SY *

El
Hotel "Marina" "Marina" Hotel D 254
Hotel Marina Marina Hotel D 255
Juventud ponceña Ponce youth L 281
Lamentos de un Lamentations of an unemployed D 282

cesante person
mayoría. La The majority D 317
perla, L a ^ The pearl D 378
Perlas de mi patria Pearls of my native land D 380
ponceña. La The native from Ponce (femi GU 398

nine)
Saludo a Ponce Greetings to Ponce W 425
sopapo. El The slap or blow (also A chuck D 451

under the chin)
Un día de elecciones An election day Z *
Una escena de familia A family scene D 494
C. Activities, Drinks, Pood, Instruments. Music , Clothes
Aires del país Country airs SU 10
alborada. La The dawn (in Puerto Rico it D 13

refers to the tradition of
singing in groups in the
early morning)
13 The word perla can be applied metaphorically to anything valu

able and beautiful, such as a woman or a city (Ponce is called La
perla del sur or The pearl of the South). The area called La Pers
ia in Old San Juan is a poor sector, but it is situated in front
of the sea in a beautiful place. San Juan's La Perla has many
problems.
759
Alcoholado Gatell Gatell alcohólate W 14
árbol de Navidad, The Christmas tree PO 29

El
asalto. El The assault (In Puerto Rico, D 33

the group of friends who
"take by storm" a family home
at Christmas time; they come
singing carrols and all are
invited for drinks or late
supper).
baile de máscaras. El The masquerade ball D 41
bouquet. El The bouquet D 60
café de Puerto Rico, Puerto Rico's coffee T [after

El 67)
carnaval. El The carnival D 81
certamen. El The contest SY 85
Champagne frappé Iced champagne (In French, 0 86

frappé means a food or beverage
that is iced; also a liqueur
served over shaved ice).
Cogñac Jerez, El The sherry cognac D 101
conga. La The conga (It is either a dance D 107

or a drum; see Chapter V)
De antifaz With a mask (An antifaz covers D 143

the eyes and part of the nose;
it sometimes has a veil to cover
the mouth, A máscara is a big-
ger mask which covers the whole
face).
En el mercado At the market GU 184
En el paseo Out for a walk (a stroll) W 185
En la meta At the goal (the end of a race) D 186
favorito. El The favorite (masculine) GAL 208
F .... “
760
feria. La The fair 211
foete, El The whip (it refers to the D 220

shorter whip vised in horse
races).
gallina ciega. La Blindman1s buff or hoodman's D 226

blind (a play among children)
gancho, El The hook (one which remains af- D 228

ter a tree branch has been',
broken off, a stump; a crotch;
an allurer; a hanger for
clothes). The phrase "Echar el
gancho" was formerly used in
Puerto Rico when an actor at a
theater play was not accepted
by the public, and he was then
removed in the middle of the re
presentation with the help of a
stick or cane that had one end
curved as a hook.
gaspacho, El A soup prepared by combining GU 229

bread, oil, vinegar, onions, gar
lic, salt, and red pepper; it is
served cold.
guarapo, El The fermented juice of sugar cane D 246

(a drink)
hipódromo, El The hippodrome W 249
Juegos florales Literally: "Flower games" (A . MAZ 274

festival of music or litera
ture) .
jugón de Manuela, Manuela*s jerkin (a jacket, or D 275

the waist in a female dress).
The correct word is jubón, but
the most frequent is jugón.
lechonada. La The roast pig party or celebra- D 288

tion
14 303
mancorna. La The cufflinks (In Chile and Vene- D
zuela it means a pair of equal
14 As a verb, m a n m n i a r means to throw a young steer with his

horns fixed in the ground;, leaving him motionless; or to tie two
F '
761
buttons or twins; in Mexico and

Colombia it is spelled mancuer
na ).
manga. La The sleeve (part of a garment); D 304

the hose for water (fire-hose);
a fishing-net; a whirlwind.
máscaras. Las The masks; also the persons D 315

wearing masks (the masqueraders).
máscaras alegres. The merry masqueraders 316

Las
menú, HI The menu D 324
merengue, HI The meringue (a dessert baked ]) 326

from .a mixture <jf stiffly beaten
egg whites and sugar; also a
popular dance).
pantalla. La The lamp shade; the fire screen; D 371

in Puerto Rico, an earring.
piñata. La The hanging pot full of candy, MAZ 386

which is broken by blindfolded
people (especially children)
with a stick, at a birthday
party or masked ball.
piñata. La 387
Potpourri de ai Potpourri of Puerto Rican tunes SU *

res puertorrique (Potpourri is a French word mean
ños ing rotten pot; it is a series of
melodies played in succession).
Puerto Rico: Sin- Puerto Rico: Symphony on local SY 404

fonía sobre aires times
del pais
seis, El The seis (a popular dance) D 431
Sinfonía sobre
aires del país Symphony on local tunes S¥
heads of cattle by the horns, so as to make them go together.

composition does not indicate which of the two meanings should
be applied in this case.
F------------------------------------- -------- ---- :

762
Un baile de máscaras A masquerade ball D *
Una noche de jarana A night of frolic (an outery; D 497

an informal party which is
merry and boisterous).
1¡¡Vinagre!!! Vinegar!!! D 507
Whisky con soda Whisky and soda D 515
VII. Religious (Including Funeral) Music
Alegoría fúnebre Funeral allegory F *
Ave Marías a la Vir Hail Marys to the Lady of RE 38

gen del Carmen Mount Carmel
Bajos y coro a la Basses and choir to the RE 42

Concepción [Immaculate] Conception
Bendito seas Be blessed (blessed be you) RE 53
Benedictus ("de Benedictus or Be blessed RE 54

Barros") (written at Barros or Orocovis)
Camino de la gloria On the way to glory F 70
Cántico a María en Canticle to [the Virgin] Mary RE 72

el mes de mayo during the month of May
Coro a Santa Teresa Chorus to Saint Theresa RE 111
Coros (2) a Jesús Choruses to Jesus the Nazarene RE 112

Nazareno
Coros (A y C) a Choruses (A and C) to Jesus RE 113

Jesús Nazareno the Nazarene
Coros (1-10 y 19-23) Choruses (1-16 and 19-23) to RE 114

a la Concepción the [Immaculate] Conception
Coros (2) a la Choruses (2) to Sorrowing Mary RE 115

Dolorosa
Coros (B, C y D) a Choruses (B, C, and D) to the RE 116

la Guadalupe [Lady of ] Guadeloupe
Coros (11, 12,13, 14, Choruses (11, 12, 13, 14, 21) RE 117
21-®a la.Guadalupe to the [Lady of] Guadeloupe
f— ." " ~ ~ ... .... ...............

763
Coros (A y B) a la Choruses (A and B)to Our Lady RE 118

Virgen del Carmen of Mount Carmel
Coros (2) a San José Choruses (2) to Saint Joseph RE 119
Coros (2) a San Rafael Choruses (2) to Saint Raphael RE 120
Coros (6 ) a San Rafael Choruses (6 ) to Saint Raphael RE 121
Coros (2) a Santa Choruses (2) to Saint Theresa RE 122

Teresa
Coros (2) al Perpetuo Choruses to [The Lady of] RE 123

Socorro Perpetual Help
Coros (1, 2 y 8 ) al Choruses (1, 2, and 8 ) to [the RE 124

Perpetuo Socorro Lady of] Perpetual Help
Coros (A, B, C, 0) Choruses (A, B, C, 0) of the RE 125

del mes de mayo month of May
Coros (8 ) del mes de Choruses (8 ) of the month of May RE 126

mayo
Cuarteto Núm. 21 a la Quartet No. 21 to the [Immacu PE 132

Concepción late] Conception
Descanso eterno Eternal rest F 149
Despedida a la Farewell to the [Lady ofj RE 152

Guadalupe Guadeloupe
Despedida a Santa Farewell to Saint Theresa RE 153

Teresa
Despedida al Perpetuo Farewell to the [Lady of] RE 154

Socorro Perpetual Help
Dolorosa, La Sorrowing Mary F 160
Dúo a Jesús Nazareno Duet to Jesus the Nazarene RE 173
Dúo de Eajo a la Bass duet to the [Lady of] RE 174

Dúo Núm. 6 a la Duet No. 6 to the [Lady of] RE 175

Dio Núm. 10 a la Concepcion Duet No. 10 to the [Immaculate] Conception RE 176
764
Title . Translation Genre NAL
Estrofa a solo Soloist's strophe [Nine-day- RE 199

(Novenario de la devotion to the (Lady of)
Guadalupe) Guadeloupe]
Estrofa (Núm. 2) al Strophe (No. 2) to the [Lady RE 200

Perpetuo Socorro of] Perpetual Help
Estrofas (3) a Jesús Strophes (3) to Jesus the RE 201

Nazareno Nazarene
Estrofas (6 ) a la Strophes (6) to Sorrowing Mary RE 202

Dolorosa
Estrofas (4) a San Strophes (4) to Saint Joseph RE 203

José
Estrofas (2) a San Strophes (2) to Saint Raphael RE 205

Rafael
Estrofas (1 y 2) a Strophes (1 and 2) to Saint RE 206

Santa Teresa Theresa
Gozo a San José Couplet in praise of Saint RE *

Joseph
Gozos (1, 2, 3, 4, 6 , Couplets (1, 2, 3, 4, 6 , 9, RE 237

9, 19, 20 y 21) a la 19, 20, and 21) to Our Lady of
Virgen del Carmen Mount Carmel
Gozos para Nuestra Couplets to Our Sorrowing Lady RE 238

Señora de Dolores
Hora espiritual Spiritual hour RE 250
Hora santa Holy hour RE 251
Letanías Litanies RE 289
r> n
Letanías (2) a dos Litanies (2) for two voices JX C I £mZ>\J
voces a Nuestra Seño to Our Lady of Mount Carmel

ra del Carmen
Marcha fúnebre Funeral march F 306
Melodía en fa menor Melody in F minor RE 319
Melodía en mi menor Melody in E minor RE 320
Melodía fúnebre Funeral melody F 321
f ------------ “ ...... ..... '

765
Melodía sentimental Sentimental melody F 322
Novenario de la Novena to the [Lady of] RE *

¡Oh misericordia! Oh, mercy! F 360
Peticiones (2) a San Petitions or pleas (2) to RE 383

José Saint Joseph
Peticiones (2) a San Petitions or pleas (2) to RE 384

Rafael Saint Raphael
Plegaria del mes de Prayer for the month of May RE 391

mayo
Plegaria a la Virgen Prayer to the Virgin for the RE 392

para el acto de la ceremony of the Petition
Petición
Plegarias (3) a San Prayers (3) to Saint Joseph RE 393

José
Pobre Tavárez Poor Tavárez F 394
Salve Josefina Hail Josephine RE 426
Sentimental Sentimental RE 433
Solo Núm. 11 a la Solo No. 11 to the [Immacu RE 449

Concepción late] Conception
Tenores y coros a la Tenors and choirs to the RE 465

Concepción [Immaculate] Conception
Tras de la cruz Behind or following the Cross F 471
VIII. Diverse Topics
Al saber To knowledge H 12
anillo de hierro, £1 The iron ring Z *
bemoles. Los The flats L 51
50, El The 50 D 95
Colombia Colombia PA 103
F “ .. .
766
cosa. La The thing D 127
Danza (title is not Danza (D Major) D 133

clear)
Danza (without title) Danza (Haría Luisa Rabainne) D 134
Danza (without title) Danza (C Major) D 135
Danza (no author Danza (No. 1 ) ^ D 136

indicated)
Danza (without title) Danza (D Major) D 137
Danza (without title) Danza (No. 13) D 138
Danza (without title) Danza (No. 130) E 140
Danza (without title) Danza (for flutes) D 142
Dicen que me They say I am having fun Z 156

divierto
entrevista. La The interview D 192
estilo. El The style D 197
Galop (without title) Galop GA 227
Gran Vía La The Great Way (Gran Via is D 243

the name of the main street
in Madrid)
horas. Las The hours RO .252
incógnita. La The unknown D 260
Influencia del arte The influence of art D 261
iris. El The iris (the rainbow) W 265
15 In Spanish the correct abbreviation for number is "Num."but it

seems that the Spaniards (and nineteenth century Puerto Ricans)
preferred to use the form "No." as it appears on the manuscripts.
r
767
juicio final, El The final judgement D 276

title)

title)

title)
lira. La The lyre 0 293
majabáca, La The maiabáca (See Chapter V for D 301

a possible interpretation of
this word)
mareo, El The dizziness (or sea-sickness) D 307
marimbambé, El The marimbambé (See Chapter V D 312

for the use of this word of
unknown meaning).
Mi viaje por América My trip through America Z A
Música clásica Classical music D 341
Novedades Novelties, fashions D 358
Number 24 D *
Número 24
pajuela. La The short straw; gold or silver D 366

toothpick
Polka (without Polka PO 396

title)
Romanza ME *
Romanza
rutina. La, o sea, The rutine, that is, Leonard D 422

Leonardo
Sorpresa, La The Surprise D 451
Tanda de valses Series of waltzes W 459
Ultimos compases Last measures D 486
Un viaje a Canas A trip to Canas D 492
f ........... - ....................
768
Valspolka Waltz-polka ME 499
vapor, El The steam (or steamboat) D 501
22, El The 22 D 502
24, El The 24 D 503
29 de junio, El The 29th of June W 504
velas. Las The sails (or candles) D 506
Vuelta a la vida Back to life D 513
vuelta de América, The return from America Z *

La
F
• APPENDIX Q
COMPOSITIONS BY JOSE IGNACIO QUINTON (ACCORDING TO THEIR THEMES)
T .Feminine Proper Names
1
AdeLaida o El café Adelaide or Diego Rivera's D 3

de Diego Rivera café
AmeLia Amelia D 8
CafLota Charlotte D 20
Camela Carmela D 21
T\
Cecilia Cecile U 22
Celeste Celeste MAZ 23
Luósa, sácate los Louise, remove your lice D 42

piojos
María Luisa Mary Louise D 44
Pepita diminutive for Josephine D 56
Sara Sara RO *
Sofía Sophy D 78
H . feminine Themes (Not Proper Names)
Copetona, La The female flirt (coquettish) D 25
Hjs ojos Your eyes D 86
TTT. Sentimental Themes (Love, Friendship» and Others)
Adips Goodbye W 4
I Number assigned in the alphabetical list (NAL) of APPENDIX M.
¥
Amor imposible Impossible love D 9
Anhelos Desires D 10
Arte y amor Art and love W 11
Ausente Absent (or Gone) D 12
Besándote Kissing you D 15
Confía Trust (imperative) D 24
Cuando me miras When you look at me D 27
Duda Doubt RO 37
Dulces recuerdos Sweet remembrances D 39
Ensueños y esperanzas Dreams and hopes D 4G
Para ti For you D 55
Si fueras mía . . . If you were mine . . . D 75
¡Siempre tú! Always you . . . ! D 76
Triste esperanza Sad hope ME 84
Tristeza Sadness RO 85
IV. Masculine Topics (Proper Names. Qualities. Military References)
café de Diego Rivera Diego Rivera's café D *
2
pipiol. El The unskilful or beginner; D 57
a young boy
SudeLiffe en la Sudeliffe on the steep street D *

cuesta
Suéltalo, Julián Julián, let him go FT 79
2 Bins work should probably be spelled pipiolo (which means the

beginner). In Chile it means a liberal; in Puerto Rico, Ecuador,
Cdcmbia, Chile, .and Argentina, it means a young boy or chiquillo
in Ecuador it means a person of low stature; in Venezuela a stupid
peson; and in Costa Rica it means a cent.
771
Yuan! en la cuerda Yuan! (a nickname) is doing FT 95

what he likes (literally:
Yuan! in the rope)
V. Nature (Including Flora and Fauna)
A orillas del mar By che seaside BAR 1
coqui, El The coaui (a very .small D 26

frog which makes a sound
similar to co-ki)
3
De flor en flor From flower to flower D 35
Mascota Mascot D 45
Mi estrella My star D 47
Nubes de verano Summer clouds D 52
perro de Julián, El Julián's dog FT *
VI. Puerto Rico
A. Expressions
¿Qué se figura usted? What do you have in mind? D 60
Quiquiriñama Who's calling? (It is a D 61

misspelled word meaning
¿Quién me llama?)
Se acabó el tereque Business concluded (literally: D 73

"The tereque is over") See
footnote for entry 73 in
appendix m .
3 This title can also refer to a man with numerous love affairs.
See similar meaning for "El piquijulle" in Morel Campos' catalogue
in APPENDIX P, .
772
B. Towns, Clubs . Social and Political
Acueducto Aqueduct D 2
Aguinaldo (Souvenir Aguinaldo (Souvenir from A *

de Yauco Yauco
Aguinaldo yaucano Aguinaldo from Yauco No. 1 A 5

No. 1

No. 2

No. 3
canción de la The song of the Alliance H 19

Alianza, La
¡Viva la Unión! Long live the Union! D 94
C. Activities, Drink. Food, Instruments, Music and Others
VE. Religious (Including Funeral) Music
Bella flor Pretty flower RE 14
IXilce Virgen Maria Sweet Virgin Mary RE 38
Letanías Litanies RE 41
Misa de Requiem Requiem Mass F 49
Oh! Sagrado Corazón Oh! Sacred Heart RE 54
Ple^ria al Santísimo Prayer to the. Hclv Sacrament RE 58
Salve a solo Hail for a soloist RE 65
Salve Josefina Hail Josephine (in honor of RE 66

Saint Joseph)
f ...
773
Salve quinta Fifth Hail RE 67
Salve Regina (No. 7) Hail Queen (No. 7) RE 68
Salve séptima Seventh Hail RE 69
Te quiero María I love you, Mary RE 81
VIIT. Diverse Topics
I Balada y . . I Ballade and II Scherzo B/SCH 13

II Scherzo
Blanco y azul White and Blue D 16
Blanco,y rosa White and Pink D 17
Bonanza Bonanza MAZ 18
Cuarteto en Re Mayor Quartet in D Major Q 28
Danza (without Danza (in F minor) D 29

title)
Danza (without Danza (in D flat Major) D *
title)
Danza para piano Danza for piano (E flat Major) D 30
Danza para piano Danza for piano (E flat Major) D 31
Danza puertorri Puerto Rican Danza in E Major D *
queña en Mi Mayor
Danza puertorriqueña Puerto Rican Danza I for Piano D 32
I para piano
Danza puertorriqueña Puerto Rican Danza II for Piano D 33
II para piano
Danza puertorriqueña Puerto Rican Danza III: Concert D 34
III: danza de con Danza for piano
cierto para piano
F
774
Divertimento sobre Divertimento (in Italian) or TR 36

un tema de Fausto divertissement (in French)
along a theme from "Faust"^
Doce variaciones Twelve variations along a V *

sobre un tema de theme of J.N. Hummel^
J.N. Hummel
Marcha triunfal Triumphal march for orchestra MAR 43

para orquesta
Melodía (without Melody (without title) RO 46

title)
Melodía Melody (see "Tristezas") RO *
Mirar sin ver Looking without seeing D 48
Nocturno Nocturne N 50
Nocturno en Nocturne in E flat N 51

mi bemol
Obertura para Overture for orchestra OV 53

orquesta
Polka (without Polka PO 59

title)
Romanza para dos Romanza for violin and piano RO 62

violines y piano
Romanza para violín Romanza for V i o l i n a n d p'iano RO 63

y piano
Romanza sin Romanza Without Words RO 64

palabras
Scherzo II Scherzo II SCH *
4 "Faust" is an opera in five acts by Gounod, with libretto by

J. Barbier and M. Carré, and based on Goethe’s Faust. It was pro
duced in Paris in 1859, revised with accompanied recitatives and
ballet in Paris, 1869. Its setting is in Germany in the sixteenth
century.
5 J. N. Hummel was a well-known pianist and composer from Germany
(1778-1837),
f: ’ ' ' " " ■
775
Sdierzo-alla-mazurca Scherzo-alla-mazurka (Scherzo SCH 70

with the air of a mazurka)
Scherzo en fa menor Scherzo in F minor SCH 71
Scherzo en la bemol Scherzo in A flat SCH 72
Seguida danza carac- Second characteristic danza D 74

teústica
Sin nombre: danza de Without name: concert danza D 77

concierto
Tanda de valses Set of waltzes W 80
Trio Trio TR •fr
Tirio Trio TR 82
Trio sobre un tema Trio along a theme from " E m a n i 1

" TR 83
de"Emani" 6
Iha página de mi vida A page of my life RO 87
Vals de concierto Concert waltz W *
Vals en de menor Waltz in C minor w 88
Vals en fa menor Waltz in F minor w 89
Vals en la bemor Waltz in A flat Major w 90

Major
Vals en si menor Waltz in B minor w 91
Variaciones para Piano variations along the V 92

piano sobre el tema theme "God Save the King"
"God Save the King" 7
6 'Tícnani" is an opera in four acts by Verdi, with a libretto by

F. M. Piave, after Victor Hugo's play. It was produced in Venice
in 1844 and its setting is in Spain and Aix-la-Chapelle, about
7 The English national anthem's music appeared in its present-day

form in 1744. Its melody is used in the American song "My Country
'Us of Thee," as well as in the anthems of Switzerland, Sweden,
and Liechtenstein. See Willi Apel, 564.
776
Title Translation Genre HAL
Variaciones para piano Variations along a theme V 93

sobre on tema de J. N. by J. N. Hummel
Hummel
F
K-
APPENDIX R
LYRICS OF THE ROMANZAS "SERENATA,”

"OUR POET'S DYING REQUEST," "EL RIO PORTUGUES Y LA NOCHE," AND "DUDA"
"Serenta" (Lyrics by V. Hugo, music by Tavárez, |, G Major)
Y a brilla la aurora ¿Por qué niña hermosa,

fantástica, incierta no se abre tu puerta?
velada en su manto ¿Por qué cuando el aura
de rico tisú. las flores despierta,
durmiendo estás tú?
"Our Poet’s Dying Request" (Lyrics by J. Gautier Benitez,

translation by F. Ami, music by Tavirez, Fm-F)
When in the glass, of my brief day

The sands m m out, and to my rest
Where sleep the dead, I'm borne away
Remember this, m y last behest.
Thrust my remains, in none of those

Grim vaults that line, in sullen walls.
In whose dread chambers, dark and close.
Our glorious sunlight never falls.
Seek an open space below

There'neath the sward, make ye my bed.
Where sunbeams play, and breezes blow.
And flow'rs and shrubs, their fragrance spread.
That I may feel, while Time rolls on.

Around, above me, ever near.
The warm rays of my country's sun.
The sun of my Boricua dear.
"El río Portugués y la noche" (Written by Juan Morel, 4 , Dm-D-C)
Portugués- Y por si acaso mi furia ves,

no se te olvide, soy Portugués,
pues ya mi calma se va a agotar,
y pronto a todos he de inundar.
Noche- Algo pinchado, muy fanfarrón,

tú no haces nada en conclusión.
Portugués- He de llevarme media ciudad.
Noche- No, por tu vida, ten caridad.
F ■
778
Duet:
Portugués - He de llevarme media ciudad, media ciudad
Noche - No, por tu vida, ten caridad, ten caridad.
Portugués - Me encuentro muy ofendido

y venganza he de tomar.
Quiero media población
en mis corrientes ahogar
Noche Si el pueblo acude, te atajarán
Portugués - Ya mi calma se agota
Noche - Y de tu furia se salvarán

Si el pueblo acude te atajarán
y de tu furia se salvarán
Portugués También la playa voy a negar

y la sepulto dentro del mar.
Noche No, por tu vida, ten caridad.
Duet:
Noche Se encuentra muy ofendido y venganza ha de tonar
Portugués Me encuentro muy ofendido y venganza he de tomar
Noche - Mas puede la población sus rigores atajar

Portugués - Quiero media población en mis torrentes ahogar
Portugués Venganza he de tomar
Noche Ten caridad
Portugués - Venganza he de tomar
Noche - No, por tu vida, ten caridad
Duet:
Noche - No, por tu vida, ten caridad
Portugués - No, ya mi calma se va a agotar
(Portugués exits)
Noche - Se fueron,- se fueron ya.

Hasta dónde señores
ese rio llegará.
Vieron cuánto luché, cuánto.luché.
Pero furioso, al fin se fue.
A los dormidos, corro a avisar,
que no los quiero ver peligrar.
Noche - Rogad por todos los inundados
que en la indigencia se quedarán
Por más que en Ponce siempre hallarán,
fuente de alivio; los desgraciados.

(Sounds of lightning and thunder are heard, while

the music emphasizes the fully diminished seventh
chord on the leading-tone; B-D-F-Ab in the Coda)
Noche - Cielos, un rayo

Corro a avisar
porque a este pueblo
quiero salvar.
12 1
"Duda" (Lyrics by J.V.C., miisic by: Quintón, g, A flat Major)
Brilla la luna en el cielo

en calma reposa el mar;
muda, muda está,
naturaleza, los seres duermen en paz.
En tanto en mi corazón, ..
guardo una duda fatal;
las penas que me persiguen
¿cuándo en paz me dejarán?
1 The romanzas presented in this Appendix vary in length; "Sere

nata" is 31 measures long, "Our Poet's Dying Request" is 84 mea
sures long, "El río Portugués y la noche" is the longest with 144-
measures, and "Duda" has a totgl of 44 measures. They represent
the composers1 interest about beauty, death, danger, and doubt.
APPENDIX S
DOCUMENTS BELATED TO TEE CERTAMEN

LITERARIO MUSICAL OF TEE CASINO PUERTORRIQUEÑO DE MANATI IN 1911
a) Letter from Callejo to Chavier. San -Juan, April 27, 1911.

Sr. D o n . __ 0>L¿ot¿C¿*> ($Á.£Ur¿
Ulembro del Jurado de música del Certamen
literario musical del Casino Puertorriqueño
de Hanati.
¿/¿ryií£..P.fls
/£>
Distinguido amigo y compañero de juraos.:

So siendo posible tener una reunión ea esta ciudadpara lle
nar cumplidamente los deberes con que hemos sidohonradosy
siendo a la vez muy corto el tiempo disponoble para dar los
veredictos en los que según el resultado de la votación debe
ré fundar el laudo definitivo como jurado secretariome permito
acompañarle una copia de la forma que he considerado mas con
veniente ó adecuadapara qué sin establecer discusiones que'el
¿orto tiempocitado nos impide realizar exponga cada jurado su
opinión sincera y honrada sobre cada trabaja emitiendo en la
segunda parte y de acuerdo con dichas opiniones el voto deflni-
'tivo para la adjudicación de las recompensas.
Como el jurado'tiene autorización para otorgar las mensiones
honoríficas que considere necesarias y como en mi concepto hay
tres ó cuatro trabajos dignos de ellas me ha parecido convenien
te otorgar dos mensiones honoríficas;no obstante si Ud cree que
no deba otorgarse mas que una ó por el contrario más de dos, sí r
'vase significarlo en el sitio rubricado Observaciones .Así
;mismo manifieste si desea se haga constar en el laudo su voto
•particular en el caso que al computarlos yó resultase en mino-
irla,
>. Le dstimaré me devuelva la copia que acompaño debida-
mente llena antes del domingo trelna á San Juan ,San Justo 32
í6 antes del primero de Hayo ¿ llanati,
i Cuando le remita la copia del laudo para que lo autorizo
i> con su firma le enviaré c&pia de los distintos veredictos .
I De Ud atto amigo y compañero
n
c/e.ayjda*¿o etce.
¿V
%
tu, £c ~ ChlZ O tô -*-7
781
b) Opinion of one of the judges saying work #7 lacks

spontaneity and deserves a secondary prize.
m
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7— lmai’* I:.,,>oaiblc
...v. i;o
.... . .. r r y l o * , i.i.ltc .v 'o coi'-iir' r.!. ¡‘ i uc Ijc I tcK.'io"
p/VuCo O A s ÍL o J it x > YT._

> r * A * fa ~ fe S ~ o . />-
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c) Opinion of another member of the jury saying the work

lacks inspiration and inventiveness.
8— lema" lü. oorona de Siemprevivas"

t / T e S . a S i / r n - J f y i s i & o ~ JZ •/¿c**r
*yi*> /¿k Aaoe**-' acAra-aJo^B- <*■'
;T~Ietta- p o s i b l e no amar la mfisioa, pediendo comprender sus ballenas»

í J# XOua /Ía CAA--'^ o¿t.'
frejzeX
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>¿{¿n-^-p ¿CtlsrB. J&- <a.«y,
8-- lama" El arte es la encarnación del Ideal . . . , . y. -

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a¿**- >>y .
i/o'X-nay&íy?<*s
i/Yo nrriXsr-*.<ZK^ OTXc^Zbs^Í*-*-
I*leo» Uan&tieña. . y
’lAoTjto» ’ ^Cy^=- ffnarrayyiB^
/Tnarrayyias- jtoioty^
kc*¿-v- »yyi«^c-cyzyty© y'y>
* ¿/JZ—
U aJ“*■ -•_ií
/il'fei’ao, ^ £ « v -¿-7 /TK*^rr^t*~is¿Ko s& í? r*
\t/LtG O r * . , /í*> ‘OtBAc. o
F ' "' .......

783
d) Telegram sent by Chavier to Callejo on M a y 1, 1911,

informing h e disagrees with the verdict.
T M i£ IN T E R IO R O F ; P O R T O ~ R IC O .'
BUREAU. O F IN S U L A R T E L E G R A P H .; ••V •'*».* V * - ' ■*
?.;;rSECfer?EK'S No. TH E FILED. ■ : ,CHKCK..-rf'''^ís-.. ■■. ■
j. t • ■ -■ ■ ■■■£;-.j»; '
l I Q ' THE FOLLOWING MESSAGE:—" -
. ' A b r i l - 30
P o n c e . M q d k lX d o - / Í k i r ¿ , /,~ '-
¡^ ¿ S ^ S E n r lq u e S im o n .'- + .-i'-
..............
V * H ayáguez. ' s *
^ ' . ‘■ ^ A i f P g a a x e r é a i É a s ie m b r o s u v e r o á i o u o Sosnpí} s i c l o n e s p r e m i t i d a a . :
4S*pC>V f:-v . _ .
*:=-*«!?»?-* í .
5- ^ - . ’- S n i llq u o n ú m e r o s . C o n te n ta c ió n p a g a d a . "
:*''v
c ea vxer : * ’ .
L ^ .V v v -.; • .. o
T r a s m itid o 10 S .H . (n o c h e ).-"
: --—
* .
F DEPARTM ENT OF TKE IN T E R IO R O F PORTO R IC O . - Vona 13A, TeL
¡ f v - ’-5 _- b u re a u o f in s u la r TELEG R A PH . *
fh . RECEIVER'S No. , TIME FILED. CHECK. _

fe;.
THE FOLLOWING MESSAGE:— - ' ;■ 1 •

' . ;l I a y o ‘ ’/ •' . . ■
' Ponce, 3Ü s n t t x r f f i S e - . líJ ^ J *
.. - •
rr'' ' Fernando' C a lle jo . •
- i v ;*:: •; ‘ ' K a n a tíi - ’•
- / ln c o n f o V r a e c r i — -
/■ * - .. / .
e^’ r “* 'U 0t o d r e s p e c t o - r r e m l P * M a rc h a , s i 'b e m o l sen H ihleraen.fc.fl. m im e -rliv r ■■"• :■■ ■
V1 V' :« ,J . . . . . .
í^C r- -'m íe v e - r e a v s n t e a . - C a s o n e c e s a r i o T > r o te a ta r é .-'
• - k- .
' .. /; . -
- ~ O H A VTTO . - ____
. .• .*• ■*■
- , 'id- *. •J?. V * . * „
^ T r a s m i t i d o -8 ¿ . k l ‘ ( m a ñ a n a ) V ‘ >: '
■ -dsv’y . "
." * , . • ...»
i 4■ '■ -
* • ^ ^ « • . ¿Aj»
. *r -
• * ■x.
- -; . '-'"i-
y • ^—
784
e) First page of a letter from Braulio Dueño to Aristides

Chavier, congratulating him for his attitude in the
Certamen.
!Br&ulio ^Dueño,
Bayamon,F.E;,
P.O.Box 32. Bayanon,0xfiT, 6 de mayo de 1,911
Sr. Don Aristides Chavior,
Ponce.
líi distinguido amigo y compañero
Recite mi mas entusiasta y cariñosa felicitación por
.su noble y firme actitud en el asunto del Certamen de Manatí.
Así se hace. 0
Ko es posible seguir tolerando pacientemente,y por evi-
iiiar escándalos, que el mérito de una obra artística se aquilate con

i*
|.arreglo á losTmiles do dollars' que posea el autor.
Estos mis plácemes deberían ser públicos por medio de

* *
Prensa á fin de que,aun á trueque de herir la modestia de Ud., sir-
iLvieran de estímulo á los demás compañeros; pero vedármelo consideracio-

£.
*zoq de amistad hacia uno de los miembros del Jurado; amistad que echo
Lraices en nuestra infancia y que hemos conservado siempre‘de mo A f inal
terable, £ pesar de ser distintos nuestros puntos do vista,tanto en
t.ouestiones de arte, como on otras cuestionas.
De muy atrás se venía diciendo sotto voce crue el nremio
gestaba otorgado de antemano,-á lo que paroce no contaban con la hues-

b
ipeda-,y debido á esos rumores fue que yo me abstuve de presentar mi
I; ' V:.
Ltrabajo. Hoy me alegrp.,de haber tomado esa determinación.
* •’
ftfc. .
fr
f) Letter from Chavier to Julio D. de Arteaga mentioning
the judges: Callejo, Martínez Plée and Simón.
Tronce, Puerto Rico, Ilnyo^ 9 de 1911
Señor don Julio C. de Arteaga,
Snnturce«-P*o Rico.
Estimado compañero
huchas ^ract» por tus plácenos por ni actitud
que h a evitado se cometiera una injusticia torrible,pontcrgando el mé
rito de un a ob r a para fiar acceso á una banal estulticia,solo po r que
ésta surgía de la zspnte de un hombre quo tiene a g u dicposicior gran
des recursos financieros y bajo sus plantas la voluntad de muchos im
béciles y especuladores que le adulen niseras!emente.
oí,he descorrido el velo de una inmoralidad inconcebible,y p or

ello me ciento altamente satisfecho. Donde quiera que me encuentre
yo se tiene que JUGAR LIMPIO. En cuestiones do conciencia soy infles!
ble,y J o r encima de xai dignidad no hay nada on el muido. •
L a Comisión de Manatí eotuvd anuí á conferenciar con nosotros. S6

porto altamente correcta, siguiendo al pié de la letra nuestras indica*
clones. Ayer redactée el LAUDO y lo erniée. Será publicado en breve»
M e dirás oportunamente la ooreciacion nuc to sugieran mis opiniones
respecto á las obras presentadas. Mientras,te remito adjunto una co
pia del análisis de la llarclin que querían premiar .con MEDALLA LE ORO
el TRIO Callejo,Martinez Pléc y simón.
Yo estuve á punto de a m a r un escáondalo. líe lo hice,V/orque la

comisión de hanatí,que repito h a procedido con una corrección y cul
tura realmente adnirables,ní s suplico no dar ningún pa:x> hasta no ver
se con nosotros. Muestra entrevista fu¿o nuy satisfactoria para to
do o,ménos,por supuesto para los Hefistof éticos personajes que en la
sombra querfian agredir al mérito. Deseiiría que vieras las obra aeree*
dora al premio: es bastante buena y merecerá seguramente sus sufra
gios.
Ignoro quienes puedan ser los autores premiados. Desde luago,que

los premios se destinan á las Marchas mas neritoriao,o sea:-lra. ZIE-
1 DALLA DE OR0,á la Marcha Triunfal en SI BJTOL, N o .7;Rda.-PRIMERA MEN
CION HONORIFICA á la Marcha en DO MAYOR,lena "DEBER",quo le sigue en
, mérito,y 3r¿s•- SEGUNDA MENCION HONORIFICA á l a Marcha Ño.9, con el lema:
■ Quien diga que el arte es cosa humana,Lo¿3 escrotos del cielo no adivi
na" • •• ••
Esas son las obras acreedoras p o r sus méritos á las recompensas

ofrecidos,y con las que so premiarán.
Hace tres días que me encuentro sufriendo de leo muelas. Aprove

chando* u n momento de alivio oes que he podido escribirte.
Escorando tus impresiones y noticiao/ouoda muy cordialnente

tu. afectísimo amigo y compañero.
Mayor Street R7.
£------------------ "" ■
786
g) Evaluation of the march with the motto: "It is impossible

to love music, if one understands its beauty."
„ ■' Vm<u.isis <ie t-» karena m i m r w íkotoi» v~on:;I BJ-TOL.

henar-^lTTO oeible no annr I n m isic a .p u d ic n d o
E s t a on X a o b r a indincutiblonento ncroodoraôl pre m i o ofrecido.

Bajo todos l o w puntos do vista,resulta superior a toduo law <lcmo3 en
viadas, inclusive l a K A K C U A "VTKBKKScn IT: TAYCK, analizada prccedento-
| monte.
TjIa disposición orquestal c:c correcta,lo i.-.inno quo l a selección

de loo instrumentos,.a m no nrjitioncn constants:¡ente dentro do cus re s
pectivas tessituras. Existo perfecto equilibrio er lor, divereoc f^ru-
pos orciüest;.lcs,ob,?ct:aidoSí. coláronte 1;: eliminación do l a Tíf- P A , o n e
hubiera inpreí-yiudo de su poético y aterciopelado timbro toda la obra,
y r.iuy ospociuluonto 1- cantilena confiada al COlUIETIJ; y afrum-ñada p o r
el cuarteto de cuerda,o! Clarinete y el Farot.
ha instrume n t a c i ó n es concienzuda y p o n o de relieve las aptitudes

del instrumentista,que Mantiene siempre en perfecto equilibrio todas
las p a r tes, haciendo que cada unidad, de?, conjunto orquestal n o s revelo
la aúna de expresión de que es cniscoptibio ñ o r sus recursow.
T,a harmonización, o s fácil y natural;no no quebrantan l o s p r i n c i

pios y lo y c c har: iónicas, y las Mo d u l a c i o n e s r o q u l ,'n:,
.onho son m otivadas
por ei desenvolvimiento dol discurso musical y nunca ob e d e c e n al capri
cho de l a imaginación.
b o a tomas están b i o n oncontrndo;-;r.o o:\rocen elo 5narsi ración y catrín

ajustados al carácter do l a obra. Exvoto u n i d a d cu el desarrollo do
lnc ideas,oue p a r e c e n fluir de lo. i n c l i n a c i ó n del c o m o nitor sin es
fuerzo alf'uno. O b s e r v a s e iiiqonio en la- frasee di alocadas, y variedad^
y colorido e n l a exposición y desarrollo do los ixotivos. fi& t orninacitm
do la Jiardia oo n u y l ó g i c a y a c o c a d a , y era do esperarse,dada l a habi
lidad exteriorizada en su factura. T.n p r e s e n t a c i ó n del motivo orin c i -
pnl podorowni.usnto sublinondo p o r 1er. ir.tstruner.to* bajos en forma con
trapuntal, d o n u n a brillantes y u n p o d e r rio r;-T>e.ioUin mrn m as ronslble
al tona,por of preciso y bien c recterí s e d o . bastí :.-.a ( o ouc el FAGOT -
no v a y a aliado á l o a instrumentos acorroauípites,al reanud^rsa el teñe:
así h a b r í a m a s equilibrio en 1 as partos, h a CAüPJICIA final es de efec- •
to,concluyento je b i e n caracterizada.
H e # 3ur.iendo, considerarnos- que oista Ilrvrchn. Triunfa*,Jurero 7 , en

SI B M ?OI»,es sensiblemente, superior a tó/laru lai? donan o b r a r p r o senta
/- das, y, on v i r t u d do todo l o .ezunosto *pro^cadertcôrte,pediros que ce
le-o torque el autor, p o r unánime aciJérdoihA. ATjTA KJXf IPFIIEA y l o s . ,
placemos:nías 'entusiastas. . * . . .
Fonco, Fuórto Hice, Abril í& * do 1011.
J o ñ o . Üitfuel llóralos.- Ai-ícticos Chavíor
‘ L'.iombro o dol Jurado Túnica!.
APPENDIX T
MOREL'S DANZAS RECORDED BY SANROMA IN RELATION TO

THOSE PUBLISHED (INSTITUTO DE CULTOSA PUERTORRIQUEÑA AND OTHERS)
Recordings Publisher Volume of ICP
Volume 1
Influencia del arte ICP 4
Maldito amor ICP 3
Tu imagen ICP 1
La conga ICP 4
Sin ti jamás ICP 1
Buen humor ICP 2
Idilio ICP 2
No te ocupes ICP 3
Conversación Laza and Giusti
Tu divino rostro IC? 1
Virgilia ICP 4
Carmela ICP 4
Volume ?.
Una cana al aire ICP 1

Felices días ICP 4
El asalto ICP 1
Horas felices ICP 1
X
De tu lado al paraíso ICP 2

Cede a mi ruego ICP 3
Sueño de amor ICP 3
Laura y Georgina ICP 4
Por ti ICP 4
En la meta ICP 4
Soy feliz ICP 2
Carmelita ICP 2
Volume 3
¿Qué será? ICP 2
Alma sublime ICP 4
Joaquina ICP 4
Tormento ICP 4
También lo dudo ICP 5
Noche deliciosa ICP 4
El ciclón ICP 4
No me toques ICP 3
Tu regreso ICP 3
Goces y penas ICP 1
La Julianita n.p. -
Sueños dorados ICP 3

Bellos ojos ICP 1
Elvira ICP 3
t
788
Recording Publisher Volume of- TCP .
Volume 4
Si te toco 1 ICP 3
Di aue ine amas ICP z
ün conflicto ICP 2
Candorosa ‘ ICP X
Vano empeño- ICP 4
Viva la Pepa ICP 2
Anita ICP 2
No desconfíes ICP 1
Bendita seas ICP 2
Mis penas ICP 1
Ten piedad ICP 3
La incógnita ICP 1
Volume 5
La Nené ICP 3
Un diálogo ICP 3
Toda corazón ICP 3
Placeres de la vida ICP 3
Sin ti no puedo vivir ICP 3
La majabaca icp 3
Vuelta a la vida ICP 1
Si me quisieras ICP 3
La Lila ICP 1
Amor en el campo ICP 4
Perlas de mi patria ICP 3
Vinagre ICP 4
Volume 6
Cielo de encantos ICP 2

Divina Enriqueta ICP 2
No me olvides ICP 5
Las dos Marías ICP 2
Carnaval ICP 2
La bella Margot ICP 1
Fiesta de amigos ICP 1
El torbellino ICP 1
La bulliciosa ICP 1
La graciosa pareja ICP 1
La Julita ICP 1
La sorpresa ICP 1
Volume 7
Gloria ICP 2
Hotel Marina ICP 5
La niña bonita ICP 5
Angelita ICP 5
El mareo ICP 5
F------------------------
789
Recording Publisher Volume of ICP
Volume 7 (continued)
Las máscaras ICP 5

Dé- antifaz : ICP 5
El gató flkco ICP 5
El. poder ñ e una mirada ICP 5
El trueno ICP 5
Mi perla ICP 2
El gancho ICP 5
Volume 8
Ausencia ICP 2
La Isabelita ICP 5
X é ll¿ C ii^ u c it ui. v
T rp u
Herminia ICP 5
Soñando ICP. 4
Consuelo ICP 2
La fumadora ICP 5
Bella ilusión ICP 5
La feria ICP 5
No me martirices ICP 4
La traviesa (fo^r Jtiands) ICP 5
Volume 9
En alta mar
La Gilda
El brazo fuerte ICP 5
La belleza
El rabo de la culebra
Máscaras alegres Incomplete manuscript
La mayoría
Por tí suspiro
Tuya es mi vida ICP 4
Ensueños de amor La Moda Elegante
Lamentos de tin cesante
Los faroles
Volume 10
Mi súplica
Amor increscendo
La Generosa ICP 3
Música clásica
El último adiós La Moda Elegante
El microbio
La niña de los ojos bonitos
Un recuerdo
Sarito
La Luisita
Recording Publisher Volume of ICP
Volume 11
Flores silvestres
¿Por qué no me amas?
El bouquet
Anónima
Un. baile de máscaras
Las:dos hermanas
Robinson...
Paula, camisa sucia
L'á bella triguéñitá
El mango
El bácálab
Volume 12
Acuérdate de mi TCP 5
La Lolita
Graciosa niña
La Carlotita
Contémplame
La caña de Veracruz
La Lupita
Lo de siempre
Simpatías
La gallina ciega
La rutina
El Cognac Jerez Imprenta A. Lynn Sue.
Volume 13
La Fe m a n d i n a ICP 2
Mis amores
Novedades
La tintorera
Adelaida
. .1
La intrépida Incomplete manuscript
La perlita
Te lo dije
Sueños venturosos
La marina española
El seis
La inocencia
1 "La intrépida," recorded in Vol. 13, and "Máscaras alegres,"

recorded in Vol. S, only have incomplete manuscripts at the Ar
chive. The researcher believes the complete manuscripts might be
in the Jesús María Sanromá Collection, which is being organized.
Legend: (1) Aguadilla (7) Juana Diaz

(2) Aibonito (8) Mayaguez
(3) Bayaraón (9) Ponce
(4) Caguas (10) San Germán
(5) Coamo (11) San Juan
(6 ) Humacao (12) Yauco
APPENDIX U
791
PUERTO RICAN TOWNS RELATED TO THE COMPOSERS

A Study of Selected Nineteenth Century Puerto Rican Composers and Their Musical Output

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A Study of Selected Nineteenth Century Puerto Rican Composers and Their Musical Output

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Sponsoring Committee: Professor Roger P.

A STUDY OF SELECTED NINETEENTH CENTURY

PUERTO RICAN COMPOSERS AND

THEIR MUSICAL OUTPUT

Nélida Muñoz de Frontera

Submitted in partial fulfillment

I hereby guarantee that no part of the dissertation which I

have submitted for publication has been heretofore published and

(or) copyrighted in the United States of America, except in the

case of passages quoted from other published sources; that I am

the sole author and proprietor of said dissertation; that the

dissertation contains no matter which, if published, will be

libelous or otherwise injurious, or infringe in any way the copy

made against New York University by reason of the publication

to my aunt and godmother Gilda Rosa Marin,

I wish to express my appreciation and thanks to all of those

mentioned in the text, including those interviewed, and those who

gave guidance in offices, libraries, museums and many other places

visited, including churches and centers of study. But my most sin

cere gratitude and recognition., goes to the personnel of the General

Archive, whose enthusiastic, professional and warm attention made

every visit to the institution a most special affair: Neftalí

Quintana and Gustavo Rivera (assistants.to.the archivists), Gloria

Rivera and Iris D. Meléndez (secretaries in charge of the photocopy

service), Hilda Chacón and Milagros Pepin (archivists who helped

to interpret, calligraphic traits), José A. Flores (archivist who

charge of the music section and the cataloguing division).

One senior citizen deserves special thanks because he was

never tired to talk about Quinton, and lent or gave as presents

many valuable documents on the composer. He is Felipe Monerau, an

octogenarian full of energy, and proud of being of service. Repre

senting Felipe Gutiérrez is an enthusiastic researcher who, al

to read some chapters of the dissertation, but to discuss them with

the researcher. He is Gustavo Batista, a distinguised performer

HE------------ ' ---- ------------------------------------------------- ------

became so interested in the project of editing the unpublished

manuscripts of Morel Campos' danzas that he is already working on.

it, in spite of his busy schedule as performer and a-Master's stu- .

dent at Juilliard. . He is Félix Rivera, a .former pupil of-Profs.

Cecilia Talavera and Jesús Maria Sanromá.

vice on typewriting, idiomatic expressions, and local customs of

many daily-life problems .for the-researcher, making it a point that

the investigation could and had to be finished. The sponsoring

committee who agreed-to supervise this research-has been particur.

larly helpful. Professor John V. Gilbert, who was the researcher's

first N.Y.U. teacher at the Puerto Rico's Residence Center, and

Professor Annette Baslaw, from the Languages Department, have given

their support. But the careful, prompt and wise suggestions of

completion of this research work, and thus he deserves the greatest

part of this acknowledgment note.

Finally, but not least, my expression of thanks to my family.

Husband Guillermo, sons Carlos and Roberto, and daughters Nélida

and Margarita know perfectly well o f ’the sacrifices that a research

inplies, especially when it is being done by the mother of the house

down on earth when to them it seemed I was really far off.

W " ........ ■ ~ " " ‘ ^

LIST OF FIGURES xi.

Statement of the Problem 1

II THE INFLUENCE OF INDIAN, AFRICAN AND SPANISH

The Indian Influence 14

III FOUR NINETEENTH CENTURY PUERTO RICAN COMPOSERS:

Felipe Gutiérrez y Espinosa 115

Felipe Gutiérrez y Espinosa (1825-1899) 196