Monday, June 30, 2014

Manuel Jose de Quiros

Manuel Jose de Quiros

Manuel Jose de Quiros is an 18th century Guatemalan composer, teacher and collector who was appointed maestro de capilla of Guatemala City Cathedral in March of 1738, where he served until his death. His extant compositions are Spanish villancicos which exhibit his interest in local color and ethnic texts. A few of his compositions are in Latin, an example being Parce mihi Domine. The majority of his works are arranged for two-seven voices and all have instrumental accompan

iment.
During his teaching years one of his outstanding students included his nephew and composer Rafael Antonio Castellanos, who later became maestro de capilla. He would also collect music by Italian composers and contemporary Spanish composers. The music that was collected and his own compositions can be found in the Archivo Historico Arquidiocesano in Guatemala City.
 
Discography
  • El baratillo (1758)
  • Jesús, Jesús, y lo que subes (1743), 2 treble voices, continuo
  • Parce mihi Domine, two choirs


Bibliography:  Lemmon, A. E., (n.d.). Manuel José de Quiros. Grove Music Online. Oxford Music Online. Retrieved March 4, 2012 from: 

http://www.oxfordmusiconline.com.ezproxy.lib.umb.edu/subscriber/article/grove/music/41253?q=Manuel++Jose+de+Quiros&search=quick&pos=1&_start=1#firsthit

Jose Castañeda

Jose Castañeda (1898-1983)

Jose Castaneda a Guatemalan composer, conductor and theorist, founded an orchestra in Guatemala City called Ars Nova, in 1930. This group was later designated by the president and dictator Jorge Ubico as the official state orchestra. In 1936, it took the name Orquesta Progresista.  He served as director of the National Conservatory, where his instruction influenced the younger generation.  In 1967, he presented at numerous congresses in Europe and North America, and also published his book Las polaridades del ritmo y del sonido. He was gifted as a composer with easy melodic invention and technical proficiency. He composed famous works such as La chalana, Imágenes de nacimiento, and La serpiente emplumada.

Discography:

• 1933- Imágenes de nacimiento opera, modal harmonies and other neo-classical devices.
• 1922- La chalana satirical song
• 1960- La serpiente emplumada ballet, 2 string quartets

Bibliography: Oxford Music Online Retrieved from: http://www.oxfordmusiconline.com.ezproxy.lib.umb.edu/subscriber/article/grove/music/47495?q=Jose+Castaneda&search=quick&pos=1&_start=1#firsthit

Jorge Alvaro Sarmientos

Jorge Alvaro Sarmientos (1931-)

Jorge Alvaro Sarmientos is a Guatemalan composer and conductor. He received formal musical training at the National Conservatory with Ricardo Castillo in Guatemala City. Sarmientos was awarded fellowships for advance studies in Paris and Buenos Aires.
Amongst the various instruction of different composers he was able broaden the spectrum of new music and techniques. This experience influenced his style. Serial technique and cluster technique can be found in his works; "La muerte de un personaje", "Hommage" and "Ofrenda y gratitude". He went on to receive conducting courses from Boulez and Celibidache and has served as guest-conductor in Latin America, France, the United States, Israel and Japan. He has received many distinctive awards and has taught at the National Conservatory and other universities in Guatemala City.

 Discography of Work:

• 1972-1991 Musical Director of the Guatemalan National SO.
• 1991 Guest-conducted orchestras throughout Latina America, France, Japan, Isreal, and the United States.
• 1967- 1991 Taught at the National Conservatory in Guatemala, Rafael Landivar University, and the Francisco Marroquin University.

Bibliography: Oxford Music Online Retrieved from http://www.oxfordmusiconline.com.ezproxy.lib.umb.edu/subscriber/article/grove/music/47496?q=jorge+sarmientos+&search=quick&pos=1&_start=1#firsthit

Jesus Castillo

Jesus Castillo (1877-1946)


Jesus Castillo, a Guatemalan composer and ethnomusicologist. Castillo studied piano with Miguel Espinoza and composition with Rafael Guzman. He began incorporating Guatemalan indigenous and folk music into his compositions such as "Cinco Oberturas Indigenas".  
Castillo was a instructor of music for 30 years in the city Quetzaltenango. Many of his pieces feature indigenous melodies and rhythms. One of his major works is the opera Quiche Vinak. The research he conducted on Guatemalan folk and indigenous music was published in 1941 in his book, La musica maya-quiche: region de Guatemala. His work has become so important that it has become part of the repertoire of some of the most outstanding marimba bands of Quetzaltenango.



Discography of Works:

• Cinco Oberturas Indigenous (Composition, 1897)
• Taught music in the town of Quetzaltenango (Until death in 1929)
• The Oprah Quiche Vinak (Composed in 1917-1945)

Bibliography: R.C. Cuxum Ruiz: Jesús Castillo–Ricardo Castillo (San José, 1983) D. Lehnhoff: ‘La musica’, Historia general de Guatemala (Guatemala City, 1997), v, 491–500 Oxford Music Online Retrieved from: http://www.oxfordmusiconline.com.
ezproxy.lib.umb.edu/subscriber/article
/grove/music/05139?q=Jesus+Castillo
++&hbutton_search.x=37&
hbutton_search.y=5&hbutton_sea
rch=search&source=omo_t237&
amp;source=omo_gmo&source=omo_t114&search=quick&pos=1&_start=1#firsthit http://www.classical-composers.org/comp/castillo_jesus Manuel Jose de Quiros (-1765) Manuel Jose de Quiros is an 18th century Guatemalan composer, teacher and collector who was appointed maestro de capilla of Guatemala City Cathedral in March of 1738, where he served until his death. His extant compositions are Spanish villancicos which exhibit his interest in local color and ethnic texts. A few of his compositions are in Latin, an example being Parce mihi Domine. The majority of his works are arranged for two-seven voices and all have instrumental accompaniment. During his teaching years one of his outstanding students included his nephew and composer Rafael Antonio Castellanos, who later became maestro de capilla. He would also collect music by Italian composers and contemporary Spanish composers. The music that was collected and his own compositions can be found in the Archivo Historico Arquidiocesano in Guatemala City.

Discography:
• El baratillo (1758)
• Jesús, Jesús, y lo que subes (1743), 2 treble voices, continuo
• Parce mihi Domine, two choirs

Bibliography: Lemmon, A. E., (n.d.). Manuel José de Quiros. Grove Music Online. Oxford Music Online. Retrieved March 4, 2012 from: http://www.oxfordmusiconline.com.ezproxy.lib.umb.edu/subscriber/article/grove/music/41253?q=Manuel++Jose+de+Quiros&search=quick&pos=1&_start=1#firsthit

Joaquin M. Orellana

Joaquin M. Orellana (1933-)


Joaquin M. Orellana a Guatemalan composer who studied at the National Conservatory of Music. In 1958, Orellana won first prize in the annual Central American Science, Letters and Fine Arts Competition. He won the prize for his work "El Jardín Encantado".  He first performed his String Trio in Washington, DC in 1965. In 1970 Orellana began to experiment with flujos sonoro-sociales, soundscapes of Guatemala, within his pieces. In two of his most successful compositions: "Electroacústica" and "Imposible a la X: Historia en Redondo" (1976) he showcased these new sounds. In 1982, he used magnetic tape, two flutes and other specially created instruments to create a sound that was used in his piece: "Híbrido a Presión". Orellana constructed new instruments from the fragments of the marimba grande. The newly created instruments: ciclo-im, rastra-son and pandemarimbas, expanded the sound quality of the marimba. In his work Tzulumanachi, he uses one of these created instruments named sonarimba. He uses a mixed chorus, incorporated a narrator, several marimba-derived instruments and magnetic tape in his pieces: "Evocacion Profunda y translaciones de una marimba".

Discography of Work:

• 1958- First prize winner in the annual Central American Science, Letters and Fine Arts Competition; for “El Jardin Encantado” string trio.
• 1976- Showcased one of his sound experiments involving flujos sonoro-sociales, soundscapes of Guatemala.
• 1982- Used magnetic tape, flutes, and other specialty made instruments, to create a sound or compose a piece by the name “Hibrido a Presion”.

Bibliography:  Scruggs, T.M. (n.d.). Joaquin M. Orellana. Grove Music Online. Oxford Music Online. http://www.oxfordmusiconline.co
m.ezproxy.lib.umb.edu/subscriber
/article/grove/music/46801q=Joaqu
in+M.+Orellana&search=quic
k&pos=1&_start=1#firsthit • "The Art Music of Mexico and Guatemala." The Art Music of Mexico and Guatemala. The Art Music of Guatemala, 8 July 2011. Web. 2 Mar. 2012. http://artmusicmexicoguatemala.wordpress.com/2011/07/08/joaquin-m-orellana-november-5th-1933/.

Guatemalan Timeline

Guatemalan Timeline

1524- Spanish Contact with Guatemala
1765- Manuel Jose de Quiros Dies (born unknown)
1821- Guatemala, Guatemala became independent
1840- Guatemala became Independent from Mexico
1877- Jesus Castillo was Born
1896- Nation Anthem adopted
1898- Jose Castaneda Born
1931- Jorge Alvaro Sarmientos was Born
1933- Joaquin M. Orellana Born
1946- Jesus Castillo Dies
1983- Jose Castaneda Dies
1996- Guatemala re-established Representative Democracy

Silvestre Revueltas

Silvestre Revueltas (1899-1940)

Silvestre Revueltas was a Mexican composer and violinist. Revueltas studied violin in Colima, Mexico, at an early age. By the age of 12, he entered the Juarez Institute in Durango to play violin. Between the years of 1916-1918 he went to St. Edward College in Austin Texas. This experience and training gave him the confidence to play the violin in a theater orchestra in San Antonio, Texas. He also conducted an orchestra in Mobile, Alabama. Chavez was invited to be the conductor assistant of the Mexico SO during 1929-35 where Revueltas composed six sophisticated picture postcard pieces for that orchestra. Consecutively, Revueltas taught the violin and chamber music at the Conservatory and conducted a Conservatory graduates’ orchestra. He wrote film, chamber music, songs and a number of other works. He was famous for many symphonic poems, like “Chant for the killing of a Snake” (1938) based on a poem by Nicolas Guillen. In 1937, Revueltas decided to toured Spain.  He spent a significant amount of time overseas, after his tour, he came back and resumed teaching. His early death was due to alcoholism.

Discography:

Cuauhnahuac (1931)
Recording name: REVUELTAS, S.: Sensemaya / Troka / Cuauhnahuac / 5 Songs / 4 Pequenos trozos (The Unknown Silvestre Revueltas) (Camerata de las Americas, Diemecke)
Artists: Ambriz, Lourdes; Camerata de las Americas; Camerata de las Americas, members; Cuarteto Latinoamericano; Cuarteto Latinoamericano, members; Diemecke, Enrique Arturo; Octeto Vocal Juan D. Tercero; Suaste, Jesus
Recording Label: Dorian Sono Luminus
Catalogue no: DOR-90244 Naxos Music Library. http://uboston.naxosmusiclibrary.com.ezproxy.lib.umb.edu/catalogue/item.asp?cid=DOR-90244 Homenaje a Federico Garcia Lorca (1935)
Recording name: REVUELTAS, S.: Homenaje a Federico Garcia Lorca / Redes / Musica para Charlar / Sensemaya (Wolworth, Xalapa Symphony, Prieto)
Artists: Carlos Miguel Prieto, Neal Wolworth, Xalapa Symphony Orchestra
Recording Label: Urtext
Catalogue no: JBCC088 Naxos Music Library. http://uboston.naxosmusiclibrary.com.ezproxy.lib.umb.edu/catalogue/item.asp?cid=JBCC088 Sensemaya (1938)
Catalogue no: 8.550838
Recording Name: Latin American Classics
Artists: Enrique Batiz; Mexico Festival Orchestra
Recording Label: Naxos
Catalogue no: 8.550838


Naxos Music Library. http://uboston.naxosmusiclib
rary.com.ezproxy.lib.umb.e
du/catalogue/item.asp?cid=8
.550838

Bibliography: http://www.oxfordmu
siconline.com.ezproxy
.lib.umb.edu/subscribe
r/article/grove/music/
23289?q=Silvestre+Re
vueltas+&search=
quick&pos=1&
amp;_start=1#firsthit

Ricardo Castillo

Ricardo Castillo (1891-1966)

Guatemalan composer, Ricardo Castillo was born in a rural town in Guatemala.  Castillo published his first pieces of music in Paris, France where he was offered a chance to study the violin.  In 1918, he married the pianist Georgette Contoux, and four years later moved to Guatemala.  From 1922 to 1960, he taught music history, counterpoint, composition, and orchestration at the National Conservatory of Guatemala City.  Castillo invigorated the development of Guatemalan musical nationalism.  His work is often inspired by Guatemalan folk music. He drew his inspirations from the literary world of the legendary Mayan past.  Impressionism and neoclassicism, a trend from Europe also showed influence in his music.  Castillo's work includes approximately two dozen piano works, including collections of pieces and multi-movement compositions.  Castillo experimented with abstract technical and stylistic music in his three chamber works, but avoided serial technique.  He composed music for the theatre,  which includes two ballets; "Estelas de Tikal" and " Paal Kaba", plus ten orchestral works reflect a strong interest in Guatemalan indigenous cultures. 


 Bibliography:
http://www.oxfordmusiconli
ne.comezproxy.lib.umb.edu/
subscriber/article/grove/mus
ic/05141?q=Ricardo+Castillo&
amp ;search+quick&pos
+1&start+1#firsthit

Juventino Rosas

Juventino Rosas (1868-1894)

Juventino Rosas was a Mexican composer with a background in a wide range of music. Rosas came from a family of music, his father was a harpist, his big brother Manuel was a guitarist and his other brother Patronicio was a singer. Rosas was already playing in a family quartet in Mexico City at an early age. Around 1884-1888 Rosas was matriculated twice into the conservatory but he was not able to finish the process either time. Rosas concentrated on playing in dances and in the streets of Mexico City. In his later years, Rosas planted his feet in his native Mexico. Rosas composed and published an enormous number of waltzes, polkas, mazurkas and schottisches. The military gave Rosas band and an orchestra a chance to participate in a tour through the USA. Rosas was one the best known Mexican composers of salon music, he was famous for several works such as:“Sobre las Olas” (Over the Waves. He broadened his horizons and started playing New Orleans Jazz and Tejano music. His music still remains popular with country and old-time fiddlers in the United States.

Discography of Works: Waltzes Polkas

• 1888- La cantinera (A. Wagner y Levien, Mexico City / Friedrich Hofmeister, Leipzig)
• 1890- Carmela (A. Wagner y Levien, Mexico City / Friedrich Hofmeister, Leipzig)
• 1891- Ojos negros (A. Wagner y Levien, Mexico City / Friedrich Hofmeister, Leipzig)
• 1893- Flores de México (Eduardo Gariel, Saltillo / Robert Forberg, Leipzig) Mazurcas
• 1888- Acuérdate (A. Wagner y Levien, Mexico City)
• 1888- Lejos de ti (H. Nagl. Sucs.)
• 1890- Juanita (A. Wagner y Levien Sucs., Mexico City / Friedrich Hofmeister, Leipzig)
• 1899- Último adiós (A. Wagner y Levien Sucs., Mexico City / Friedrich Hofmeister, Leipzig)

Bibliography: Jesús Rodríguez Frausto: Juventino Rosas. Notas nuevas sobre su vida, Guanajuato 1969 Víctor Manuel García Flores: "Juventino Rosas Cadenas, Síntesis Biográfica", Guanajuato 2006 "Juventino Rosas." Lastfm.com. http://www.last.fm/music/
Juventino+Rosas

Manuel Maria Ponce

Manuel Maria Ponce (1882-1948)

Manuel Maria Ponce (December 8, 1882-April 24, 1948) was a famed Classical Mexican composer. At the age of four, Ponce received training from his older sister. His training from his sister prepared Ponce to sing in the Children’s Choir of the Templo de San Diego. At the age of five, Pone wrote his first composition, “The Dance of the Measles,”.Ponce studied at the Conservatorio Nacional in Mexico City. After completing his studies, Ponce traveled all over Europe, in order to further his studies. Upon Ponce's return from Europe, he became a professor at the Conservatorio Nacional and the Universidad Nacional Automoma. Ponce was heavily influenced from his European training. His music shows major influence from Bach’s Counterpoint and Mexican Mestizo music. Ponce spent his early career composing, conducting, teaching and writing music criticism. Although he lived in Cuba from 1915-1917 during the Mexican Revolution, he is well known for his Mexican nationalistic style music that he himself had created. Ponce received the National Arts and Science prize in 1948.  He passed away in April of 1948.

Discography of Works:

 • 1942-Manuel María Ponce: Concierto para piano y orquesta (Ponce on piano; Orquesta Sinfónica de México; conducted by Carlos Chávez)
• 1925-Corazon, La valentina
• 1925-Sonata Mexicana
• 1926-Thème varié et Finale
• 1927-Sonata III
• 1928-Sonata clásica
• 1929-Sonata romántica
• 1929-Suite en la Mineur
• 1929-Variations and Fugue on 'La Folia'
• 1937-Valse
• 1939-Sonatina meridional
• 1948-Variations on a Theme of Cabezón

Bibliography: Patykula, John. "Manuel Maria Ponce." Guitarra Magazine. Guitarra Magazine, n.d. Web. 22 Jun 2012. . Smeets, Jos. "Manuel Maria Ponce." Classical Composers Database.Quixote, 16 12 2004.Web. 6 Jul 2012.

Julian Carrillo Bibliography

Julian Carrillo Bibliography

            Julian Carrillo, a Mexican composer, violinist, and conductor was born on January 28, 1875 in AhualulcoSan Luis Potosi. Carillo created music during a period that was named the Independence period with regards to music in Mexico.  It was named this period because Mexico had gained Independence from Spain and had rebelled against the ecclesiastical influence that was forced upon them. From a young age, Carrillo was surrounded by music. He sang in the children’s choir of Ahualulco’s church. Around ten years old, Carrillo became more involved with music outside of the choir, and began to study with the conductor of the choir, Flavio F Carlos. Independence brought music from Europe to Mexico.  France and Italy dominated with their influence.  Carrillo played in Carlos’ orchestra as percussionist and violinist in a time where traditional Mexican music were arranged for piano. This was only the beginning of Carrillo’s success in music.

            Like many other famous composers from Mexico, Carrillo attended National Conservatory of Music in Mexico City in order to continue to pursue his music career. Quickly, he became very passionate and immersed in the mathematical side of music. He was very curious about the fundamental intervals in music. He experimented with his violin in order to alter the pitch of each string of his violin. In 1895, Carrillo discovered the sixteenths of a tone by dividing the fourth string of his violin between G and A into sixteen parts (last.fm). Regularly a scale is made with half-tones of twelve pitches; and Carrillo created a musical scale with sixteenths of each tone; having 96 different pitches (last.fm). This discovery created a radical change within the musical system; and earned Carrillo a scholarship to study at Leipzig Royal Conservatory (Wikipedia).

            While in Europe, he was able to improve his skills as a violinist, and devote more to his creation of tonal diversity within classical forms. He later returned to Mexico where he received more awards for his accomplishments. For example, he was a delegate to the musical congress of Rome and London; and he was nominated at the National Conservatory of Music which then allowed him to “amend the curriculum, putting more emphasis on rigorous musical technical preparation as well as literature and Spanish language” (Wikipedia).  He was gaining excessive publicity for his conducting and composing.  In the early 1900’s, he organized and conducted the Beethoven string quartet and Beethoven Symphony orchestra; and published Discursos sobre la musicaPlaticas musicales (Wikipedia). Carrillo was becoming one of the most important figures in music society.

            During the early 1900s, Victoriano Huerta, president of Mexico, was overthrown; forcing Carrillo to flee to the United States. While in the United States, he conducted and organized the American Symphony Orchestra (Wikipedia). The American Symphony Orchestra had their first performance in New York where a Journalist was pleased with Carrllio’s work. The journalist deemed Carrillo “the herald of musical Monroe Doctorine” (Wikipedia). This is when Carrillo began to write the “Thirteen Sound Theory.”

            In 1920, the ‘Thirteen Sound theory” revolution was an attempt to incorporate musical microintervals into the musical system (last.fm). For example, “the number 13 is not a proposal to use a scale made with thirteen sounds, but symbolizing a break within the traditional twelve-pitch chromatic scale” (last.fm). Julian reformed theories of music and physics of music. He invented a musical notation that was based on numbers. The microtonal sound of the “Thirteen Sounds theory” inspired other contemporary artists like Czech Alois haba and Ivan Wishnegradsky to compose in quarter of tones. Carrillo also created instruments that could produce the microinterval sound. Although not always accepted, many artists started to join the “Thirteen Sound” revolution and compose and perform pieces that followed the microinterval sound. Do to his success in the innovated microinterval sound, Carrillo created a symphony called the Thirteenth Sound Symphony Orchestra; and published a book called La revolucion musical del Sonido 13;” which discussed the history and background of his revolution (Wikipedia). 

In 1924, Carillo retired from public performances and the several other obligations he had in order to dedicate his time to showing and teaching his new theory.  He composed three operas: Matilda, Ossian y Zulith; six symphonies and various other ways to demonstrate his Sonido 13.  Before passing on September 9th, 1965 Carrillo’s work popularized, and he performed several concerts across the country spreading the revolution of the “Thirteen Sound.” 

References



1. http://en.m.wikipedia.org/wiki/Juli%C3%A1n_Carrillo

2. http://www.last.fm/music/Juli%C3%A1n+Carrillo

3. http://www.infobigrafias.com

Julian Carrillo

Julian Carrillo (1875-1965)



        Julian Carrillo was a Mexican composer, violinist, and conductor that was born January 28, 1875 in AhualulcoSan Luis Potosi.  From a young age Carrillo was surrounded by music. He sang in the children’s choir of Ahualulco’s church (Wikipedia). Around ten years old, Carrillo became more involved with music outside of the choir, and began to study with the conductor of the choir, Flavio F Carlos. Carrillo played in Carlos’ orchestra as percussionist and violinist (Wikipedia). This was only the beginning of Carrillo’s success in music.

            Like many other famous composers from Mexico, Carrillo attended National Conservatory of Music in Mexico City in order to continue to pursue his music career. Quickly, he became very passionate and immersed in the mathematical side of music. He was very curious about the fundamental intervals in music. He experimented with his violin in order to alter the pitch of each string of his violin. In 1895, Carrillo discovered the sixteenths of a tone by dividing the fourth string of his violin between G and A into sixteen parts (last.fm). Regularly a scale is made with half-tones of twelve pitches; and Carrillo created a musical scale with sixteenths of each tone; having 96 different pitches (last.fm). This discovery created a radical change within the musical system; and earned Carrillo a scholarship to study at Leipzig Royal Conservatory (Wikipedia).

            While in Europe he was able to improve his skills as a violinist, and devote more to his creation of tonal diversity within classical forms. He later returned to Mexico where he received more awards for his accomplishments. For example, he was a delegate to the musical congress of Rome and London; and he was nominated at the National Conservatory of Music which then allowed him to “amend the curriculum, putting more emphasis on rigorous musical technical preparation as well as literature and Spanish language” (Wikipedia).  He was gaining excessive publicity for his conducting and composing.  In the early 1900’s, he organized and conducted the Beethoven string quartet and Beethoven Symphony orchestra; and published Discursos sobre la musicaPlaticas musicales (Wikipedia). Carrillo was becoming one of the most important figures in music society.

            During the early 1900s, Victoriano Huerta, president of Mexico, was overthrown; forcing Carrillo to flee to the United States. While in the United States, he conducted and organized the American Symphony Orchestra (Wikipedia). The American Symphony Orchestra had their first performance in New York where a Journalist was pleased with Carrllio’s work. The journalist deemed Carrillo as “the herald of musical Monroe Doctorine” (Wikipedia). This is when Carrillo began to write the “Thirteen Sound theory.”

            In 1920, the ‘Thirteen Sound theory” revolution was an attempt to incorporate musical microintervals into the musical system (last.fm). For example, “the number 13 is not a proposal to use a scale made with thirteen sounds, but symbolizing a break within the traditional twelve-pitch chromatic scale” (last.fm). Julian reformed theories of music and physics of music. He invented a musical notation that was based on numbers. The microtonal sound of the “Thirteen Sounds theory” inspired other contemporary artists like Czech Alois haba and Ivan Wishnegradsky to compose in quarter of tones. Carrillo also created instruments that could produce the microinterval sound. Although not always accepted, many artists started to join the “Thirteen Sound” revolution and compose and perform pieces that followed the microinterval sound. Do to his success in the innovated microinterval sound, Carrillo created a symphony called the Thirteenth Sound Symphony Orchestra; and published a book called La revolucion musical del Sonido 13;” which discussed the history and background of his revolution (Wikipedia). Before passing on September 9th, 1965 Carrillo’s work popularized, and he performed several concerts across the country spreading the revolution of the “Thirteen Sound.”

http://en.m.wikipedia.org/wiki/Juli%C3%A1n_Carrillo
http://www.last.fm/music/Juli%C3%A1n+Carrillo

Mexico Timeline

Mexico Timeline


1810- Mexican Independence from Spain
1854- Mexican National Anthem Written
1868- Juvenito Rosas Born
1880- Narciso Martinez Born
1882- Manuel Maria Ponces Born
1894- Juvenito Rosas Dies
1910- Mexican Revolution
1911- Pedro Ayala Born
1917- End of Mexican Revolution
1942- “Dio y Libertad” Declared National Anthem
1948- Manuel Maria Ponces Dies
1969- Gaspar Vargas Dies
1990- Pedro Ayala Dies
1992- Narcio Martinez Dies