Hispanic Heritage Month

Here are nine famous Hispanic and Latino composers--click on the picture to see the famous piece they wrote AND a program note written by a Liberty Orchestra student

Astor Piazzolla, Argentina

José Pablo Moncayo, Mexico

Antonio Lauro, Venezuela

Augustín Barrios, Paraguay

Alberto Ginastera, Argentina

Manuel Ponce, Mexico

Arturo Màrquez, Mexico

Manuel de Falla, Spain

Silvestre Revueltas, Mexico

Hispanic Heritage Month

Antonio Lauro, Venezuela

Written by Simon N.

"Natalia"

Antonio Lauro was born in Ciudad Bolívar in 1917 to Italian immigrants who settled in Venezuela. His father was the first exposure Lauro had to the guitar, who played the guitar by ear and sang along in his freetime. The family later moved to Caracas after the death of Lauro Senior, where Lauro became the official guitarist of the local radio station to help his family make ends meet. He was later discovered by Raul Borges who decided to teach the young Lauro about the guitar, and introduced him into the world of formal guitar studies. He later joined the musical group “Los Cantores del Trópico,” a group focused on spreading Venezuelan music. It was during these tours that Lauro began working on his most popular work, Natalia, which was later made famous by its performance by international musician Alirio Diaz. The piece Natalia was part of Lauro’s valses, or waltzes, made specifically for the guitar. These series of pieces were each named after members of his family, and were all written with the repertoire of Venezuelan music in mind while aligning itself with European compositions from composers such as Bach and Johann Strauss II. Natalia is played in variations of E, using major and minor, within a time signature of ¾, while discarding the traditional notion that Venezuelan music must fall within multiples of four to classify as a Vals of the genre, with 10 bar expanded phrases in their place. The most vital of points to note about the piece is its cadence, or rhythm, which is the essence of waltzes and the Venezuelan style. The first and second partitions of Natalia should be appreciated for their rhythm, and the third for its melody refined by Lauro over 2 years of variation and solidification ever since his conceptualization of the piece in Ecuador while on tour. Antonio Lauro was a revolutionary guitarist who opened the world of guitar to the possibilities of waltzes while also propagating the music of his country of Venezuela throughout the world, known for his rhythms and his direct music that harmonizes with the soul. References: Hood, Melissa. “National Hispanic Heritage Month.” All Classical Portland, All Classical Music, 8 Oct. 2019, www.allclassical.org/national-hispanic-heritage-month/#:~:text=Manuel Ponce was a pianist,piano and many sentimental songs. Llebron. “Antonio Lauro Age, Hometown, Biography.” Last.fm, Last.fm, 17 Dec. 2008, www.last.fm/music/Antonio Lauro/ wiki. “Welcome to Naxos Records.” Edited by Editors at Naxos Records, Antonio Lauro- Bio, Albums, Pictures – Naxos Classical Music., Naxos Records, www.naxos.com/person/Antonio_Lauro_21857/21857.htm. Zea, Luis. “A Lauro Notes.” Guitar Master Imports, www.siempreflamenco.com/Partituras/ALauro/A Lauro Notes.pdfpp. 11–13.

HISPANIC HERITAGE MONTH

Augustín Barrios, Paraguay

Written by Eliana L.

"La Catedral"

“La Catedral” by Agustín Barrios stands as Barrios' earliest creation in 1921, but it continues to trance millions with its enchanting guitar melody. Agustín Barrios grew up in Southern Paraguay and attended a Music University at age fifteen with the intent to follow his Mother’s footsteps. His teacher Gustovo Sosa Escalada encouraged him to learn classical guitar repertory and he later continued to compose “Central and South American folk music”. Agustín Barrios’ piece, “La Catedral” was rewritten various times from 1921 to 1943, where multiple composers changed fingering patterns, dynamics, and parts. As a result, most musicians do not play the piece the exact same, creating an overwhelming sense of uniqueness and fascination to listeners. The musical piece is played in D Major Scale and completely on the guitar. Agustín Barrios easily implements his playing techniques to perform the piece in two-fourths time signature. “La Catedral” is made up of two original movements and one new movement, each even more captivating than the last. The current first movement was added after being written in 1938 in Cuba. The last two movements, written by Agustín Barrios, were created in 1921 in Uruguay. Agustín Barrios’ dedication to music and outstanding performances throughout his lifetime, easily cemented his legacy in the future of music. Thousands of individuals continue to bask in the magical tranquility Barrios’ music has created. The story behind the piece was never abundantly clear but many listeners can still enjoy the music of “La Catedral” and connect their own lives with the vast interpretations of the music. Works Cited “Agustín Barrios Mangoré 1885-1944.” Maestros, 2010, www.maestros-of-the-guitar.com/mangore.html. “La Catedral by Agustín Barrios.” La Catedral by Agustín Barrios - Savarese.Org, 2014, www.savarese.org/music/LaCatedral.html. “Method: Mastering Barrios' Arpeggios and More with Prelude to 'La Catedral'.” Classicalguitarmagazine.com, 9 Feb. 2017, classicalguitarmagazine.com/method-mastering-barrios-arpeggios-and-more-with-prelude-to-la-catedral/.

HISPANIC HERITAGE MONTH

Astor Piazzolla, Argentina

Written by Satvik D.

"Libertango"

Libertango, the foremost example of Nuevo Tango, is a powerful musical culmination of the life and experiences of Astor Piazzolla. Born to Italian parents in Argentina who moved to New York City, Piazzolla experienced many distinct cultures and worldviews from a young age. At the age of 8, Piazzolla began learning the bandoneon, the characteristic instrument behind the traditional tango. After demonstrating great musical talent, Piazzolla moved back to Argentina at the age of 17 to conduct his own orchestra and compose orchestral and cinematic works. One of these works, Buenos Aires, was recognized by another great Argentine composer, Alberto Ginastera. Ginastera, who played a pivotal role in the development of Latin American music, urged Piazzolla to move to Paris and study under the esteemed tutelage of Nadia Boulanger. Under her guidance, Piazzolla developed the style of Nuevo Tango, which maintains the driving rhythms of the traditional tango while also incorporating the flowing musical lines of classical music and dynamic embellishments of jazz. At the first performance in this new musical style, riots broke out in the streets of Paris to protest this new fusion genre. Piazzolla was also met with opposition from the traditional tango community as they viewed his new style as sacrilegious. Despite this, Piazzolla soldiered on and composed many works in this new style, the most famous of which is the Libertango. A portmanteau of the Spanish words “Libertad” and “tango”, the title of the piece has a twofold meaning. Since it was written after Piazzolla escaped a military dictatorship in Argentina, the piece was written to signify his freedom, but it also embodies the freedom of the musicians, who determine the interpretation and instrumentation of the piece. Originally written in A minor for bandoneon, electric guitar, bass, percussion, and strings, Libertango gracefully engages the audience with a driving rhythm contrasted with plaintive melodies. Beginning with a primary melody played by the bandoneon, the piece builds up to an apex, where the strings provide a polyphonic addition to the bandoneon. The melodies of both the bandoneon and the strings are unique and memorable in their own right, but taken together, encapsulate the emotional intent of Piazzolla. While the melodies are somewhat melancholy, they are juxtaposed with a driving rhythm from the percussion, symbolizing the determination of Piazzolla to continue on with his work despite great difficulties and censorship in both Piazzolla’s and the tango’s homeland. This determined spirit continues throughout the piece, building up to the final climax, where the percussion is complemented by the bass and the strings decrescendo to conclude the piece. While the intensity of the piece decreases as it concludes, the driving rhythm and determined melodic intent continue in order to evoke a sense of unfaltering passion in the eternal quest for freedom. As a whole, Piazzolla’s Libertango, the epitome of Nuevo Tango, combines the free spirit Piazzolla hoped to evoke in the audience with the dynamism and determination of the tango to explore the notion that the whole is greater than the sum of its parts. Enjoy! Works Cited "2009 Season Program 11: Pacifica and Del Sol Quartets - Concerts from the Library of Congress (Library of Congress)." Library of Congress, 29 Mar. 2010, www.loc.gov/radioconcerts/programs/2009/program11.html. "Astor Piazzolla." Britannica School, Encyclopædia Britannica, 4 Apr. 2006. school.eb.com/levels/high/article/Astor-Piazzolla/1135?opensearch=piazzolla. Astor Piazzolla. “Libertango.” Ritratto di Astor Piazzolla - Vol. 2, The Orchard Music, 2009. YouTube, https://www.youtube.com/watch?v=vaXNdVTGT0k. Jared H. "Musical Key Characteristics & Emotions." LedgerNote, 27 May 2020, ledgernote.com/blog/interesting/musical-key-characteristics-emotions/. "Key & BPM/Tempo of Libertango by Astor Piazzolla | Note Discover." Note Discover, www.notediscover.com/song/astor-piazzolla-libertango. Quill, Jeanne. "Meet the Bandoneón." The Pacific Symphony Blog, 30 Apr. 2019, pacificsymphony.blog/2019/04/29/meet-the-bandoneon/.

HISPANIC HERITAGE MONTH

Alberto Ginastera, Argentina

+ Written by Aarya P.

“Estancia” (“The Ranch”)

Estancia is one of Alberto Ginastera’s most influential pieces and has set the bar for many of South America’s composers during the 20th century. Alberto Ginastera was born in 1916 in Buenos Aires, Argentina and died in 1983. Since his childhood, he has had a talent for music and studied at the Conservatorio Williams and the National Conservatory in Argentina. Ginastera’s talent led him to win the Guggenheim Award, a prestigious award for exceptionally talented artists, in 1942. Ginastera is most well-known for including musical idioms and Argentine history in his pieces. He has composed many types of music including ballets, operas, and concertos, and has three main styles: objective nationalism, subjective nationalism, and neo-expressionism. Ginastera’s work has served as an inspiration to the musical community of South America and many composers around the world. Estancia was originally created for ballet and includes many references to Argentine culture, which were inspired by José Hernández’s poem Martin Fierro. Estancia was commissioned in 1941 for the American Ballet Caravan by Lincoln Kirstein. It was composed in Argentina and premiered in 1943 for the orchestra and in 1952 for the ballet. The word Estancia means “ranch” in Spanish, and a ranch serves as the setting of the story, in which a boy from the city tries to win the heart of a country girl. At first, the girl thinks the boy is weak, but the boy wins her heart with his dancing skills. This story is told through four movements: “Los Trabajadores Agrícolas”, also known as “The Land Workers”, “Danza del Trigo”, also known as “Wheat Dance”, “Los Peones de Hacienda”, also known as “The Cattlemen”, and “Danza Final”, also known as Malambo. “Los Trabajadores Agrícolas” tells the story of workers from the ranch going into the city. Low-pitched instruments create heavy sounds to mimic footsteps, while brass instruments portray the strength of these men, leading up to a woodwind melody. The rhythm is a variation of the malambo, a traditional dance of Argentine culture. “Danza del Trigo” is characterized by its violin and flute solos, while other instruments play in the background. This movement is a stark contrast to the first movement, with a much softer and light-hearted tone, and symbolizes the peace of nature during the morning. “Los Peones de Hacienda” is the third movement and illustrates ranch workers entertaining themselves by dancing. The faster, lighter, and more playful melody played by the woodwinds imitate fast footsteps, and brass instruments add to the exciting mood. In the background, timpanis play a rhythmic beat for the dancing. “Danza Final” is in the form of a malambo, the traditional dance, and is written in C major. The use of syncopation to portray sharp movements and a fast tempo build to the grand finale. Woodwinds mimic cheering and the percussion adds to the mood, creating an energetic ambiance. The increasing energy and the amount of passion in this movement have made “Danza Final” one of Ginastera’s most famous works. Alberto Ginastera is certainly one of the most profound composers of South America. Not only has Estancia caused people from Argentina to feel a sense of pride for the culture Ginastera so beautifully describes in the piece, but it has also provided entertainment to many people around the world. It should be no surprise that Estancia and its composer Alberto Ginastera have been an influence for many composers of the 20th century. References:“Alberto Ginastera.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 21 June 2020, www.britannica.com/biography/Alberto-Ginastera. Hood, Melissa. “National Hispanic Heritage Month.” All Classical Portland, 8 October 2019, www.allclassical.org/national-hispanic-heritage-month/#:~:text=Manuel Ponce was a pianist,piano and many sentimental songs. Melton, Myelita. “Alberto Ginastera.” Concierto, www.concierto.org/artists/composers/item/1148-alberto-ginastera. Miller, Cait. “Goodwill and Ballet: The Story Behind the Original Score to Ginastera's Estancia.” In The Muse: Performing Arts Blog, Library of Congress, 30 May 2019, blogs.loc.gov/music/2019/05/goodwill-and-ballet-the-story-behind-the-original-score-to-ginasteras-estancia/. Schwarm, Betsy. “Estancia.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 3 June 2016, www.britannica.com/topic/Estancia-by-Ginastera.

HISPANIC HERITAGE MONTH

José Pablo Moncayo, Mexico

"Huapango"

Written by Neha L.

One of Jose Moncayo’s most popular pieces, Huapango is a lively classical work inspired by Mexican folk dance and traditional music. Moncayo wrote many classical pieces infused with Mexican culture, and at the time he was considered to be the spirit of Mexican nationalism. Moncayo’s Huapango is still widely popular today, showing his lasting legacy on Mexico and the world. Moncayo begins his piece with a soft and slow rhythm that then crescendos into a lively, upbeat melody. His sudden changes in tempo and dynamics bring the piece to life, creating a vibrant atmosphere that is felt throughout the song. A variety of instruments are used in his piece, including a combination of traditional Mexican instruments and common orchestral instruments such as flutes and violins. Abrupt crescendos and decrescendos also add a layer of interest to the piece, along with staccato rhythms that bring a sense of playfulness. In addition to the changes in dynamics and tempo, the piece switches between major and minor keys, resulting in a high spirited and playful mood. As the piece progresses, the melody is passed between the different sections of the orchestra, from the high pitched strings to the lower pitched brass instruments, creating a harmonious contrast of sounds. Interspersed among the piece are short segments of smooth, slow melodies that create a dream-like feeling through the gentle woodwinds and the soft notes of the harp. Other instruments are then gradually added in, and the dynamics and tempo increase, until the vibrant melody is once again played. Now nearing the end of the piece, the music reaches a crescendo, and concludes with an energetic finale that adds a last bit of liveliness. Written in 6/8 time, the fast-paced and joyful melody of this piece is representative of the Mexican folk songs that many would traditionally dance to, which, along with Moncayo’s use of traditional Mexican instruments, displays the Mexican nationalism he and many others felt at the time. Widely considered to be the second national anthem of Mexico, this piece continues to be relevant and impactful in today’s society. References: Clive, Michael. “MONCAYO - Huapango.” Utah Symphony, 17 Aug. 2019, utahsymphony.org/explore/2019/07/moncayo-huapango/. Hood, Melissa. “National Hispanic Heritage Month.” All Classical Portland, 8 Oct. 2019, www.allclassical.org/national-hispanic-heritage-month/. Pease, Andy. “Huapango by Jose Pablo Moncayo.” Wind Band Literature, 2 Oct. 2018, windliterature.org/2012/01/23/huapango-by-jose-pablo-moncayo/.

HISPANIC HERITAGE MONTH

Arturo Màrquez, Mexico

"Conga del Fuego"

Arturo Marquez was born in Alamos, Mexico on December 20th, 1950. Marquez was the first born out of nine children, and was the only one out of his siblings to become a musician. Because of Marquez’s father also being a musician, he was exposed to different music styles at a young age, which influenced him to also follow in his father's steps. He then started composing his own music at the age of 16, and later on attended the Mexican Music Conservatory where he started to study piano and music theory. His music incorporates forms and styles of native Mexico.Conga del Fuego Nuevo was composed in 2005 and it was written because a ballroom in Veracruz, Mexico gave him inspiration to make a song that reflects the dance style danzon, which is very important to the Mexican state of Veracruz. It is an uptempo piece, and also a celebratory one. The signature kick at the end of the conga pattern is given by the percussion section, and in the middle section, the tempo slows to highlight the trumpet. Finally in a fiery fashion, the piece ends. The take on the iconic Afro-Cuban style that is incorporated onto his piece is characterized by unforgettable tunes and exciting buildups. The conga comes from Cuba and refers to the music of special street ensembles that play in Havana and Santiago de Cuba during carnivals. Not only is Arturo Marquez regarded as a controversial composer for his use of Latin American styles, but he has left a lasting mark on the music world. He’s often regarded as one of the most influential Mexican composers of his generation. Works Cited “Arturo Márquez.” Wikipedia, Wikimedia Foundation, 25 Sept. 2020, en.wikipedia.org/wiki/Arturo_Márquez. Melton, Myelita. “Arturo Márquez.” Home, www.concierto.org/artists/composers/item/1122-arturo-márquez.

HISPANIC HERITAGE MONTH

Silvestre Revueltas, Mexico

Written by Anusha A.

"Sensemayá"

Sensemaya is a piece composed by the Mexican composer Revueltas Silvestre. This piece was written in 1937 and was based off of a poem written by Nicolas Guillen, a Cuban writer, which describes the ritual killing of a snake. Revueltas Silvestre was dedicated and passionate when it came to music. Silvestre began his musical career in Mexico City and after three years he travelled to the United States to study composition and the violin in Austin and Chicago. The significant event that made Silvestre closer to his goal of becoming a composer was when he got the opportunity to work with the world renown composer, Carlos Chavez. Silvestre was called over to Mexico City to work as an assistant conductor next to Carlos Chavez. Silvestre’s experience and knowledge made him an insightful writer whose music expressed the Latin-American culture. Silvestre’s Sensemaya was originally written for a small orchestra, but in 1938 it was scored for a full orchestra with wind instruments, brass instruments and strings. There are two major themes in this piece that are showcased through a variety of musical techniques and rhythms. The piece begins by introducing the bass clarinet which rapidly alternates between notes and is later joined by the percussion which follows a complex rhythm. A bassoon enters playing an eerie, yet rhythmic bassline. The music continues to progress in a mysterious and deep tone. The tuba, playing one of the two major themes of the music, enters first with an ominous tone. Other brass instruments join in and increase their dynamics to the loudest it can be to transition to the second theme. The horns enter with a loud and powerful intonation emphasizing one of the major themes. All of a sudden there is silence and the bassoons and trumpets quietly bring back the eerie and quiet tone which was played in the beginning. The wind instruments continue their slow trills which ultimately lead to another silent moment. The moment of silence then gets interrupted by the percussion and is later joined by the other instruments. The dynamics play an important role by indicating a change in themes. This is an ongoing pattern until the end of the piece where the two major themes finally clash together. The brass and wind instrument continue to grow louder in dynamics while the percussion in the background maintains a steady tempo for the other instruments. The brass instruments play slow trills while the wind instruments play their complex rhythms. The wind and brass instruments grow together to create the climax where the two themes are overlapping each other. There is another moment of silence just before the piece ends. The piece is then concluded by all the instruments joining in to play a similar rhythm, each in a different key, leaving a lasting impression on the audience. Sensemaya is a beautiful yet complex piece composed by Revueltas Silvestre. This piece uses a variety of musical techniques to show the distinction between the two major themes of the music. The intonation, dynamics, and trills all work together to deliver a powerful sound that tells a unique story. Silvestre was able to incorporate the Latin-American culture into modern music to create an admirable piece. References: Hood, Melissa. “National Hispanic Heritage Month.” All Classical Portland, 8 Oct. 2019, www.allclassical.org/national-hispanic-heritage-month/. Schwarm, Betsy. “Sensemayá.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 25 Apr. 2017, www.britannica.com/topic/Sensemaya. Sykes, Kathleen. “The Musical Poetry of Sensemayá.” Utah Symphony, 7 Nov. 2019, utahsymphony.org/explore/2019/11/the-musical-poetry-of-sensemaya/. Zambrano, Helga. “Reimagining the Poetic and Musical Translation of ‘Sensemayá.’” Ethnomusicology Review, 2014, ethnomusicologyreview.ucla.edu/journal/volume/19/piece/800.

HISPANIC HERITAGE MONTH

Manuel Ponce, Mexico

Written by Hardik P.

"Concierto del Sur"

A composition that was a total of twelve years in development, Concierto Del Sur is one of themany jewels on Manuel Ponce’s crown. Manuel Ponce, born on December 8th, 1882 - the firstdocumented internationally successful Mexican classical music composer - played an essentialrole in building up the reputation of the classical guitar and its acceptance into stringed orchestralarrangements. Born in Fresnillo, Mexico City, Ponce started learning musical composition at avery young age alongside his sister, and discovered his passion for the subject. He possessedvirtually unparalleled skills at his college, which is why he traveled abroad and learned frommentors around the world such as Cipriano Avila to develop his own composition talents. Poncecomposed music for more than forty years, and died of uremic poisoning on April 24th, 1948. Concierto Del Sur was a guitar concerto composed for Ponce’s longtime friend Andrés Segovia.A legendary piece along with Estrellita (also composed by Ponce), Concierto Del Sur is feasiblythe most prominent guitar concertos to emerge from Latin America, and is indispensable to themodern guitarist’s repository of musical pieces. Ponce’s incorporation of Mexican folk musicelements shines in this piece, with an unorthodox melody and call and response pattern betweenthe guitar and the orchestra. Concierto Del Sur follows the three movement structure typical ofconcertos, but with slight modifications: a fast and traditional first movement (allegro moderato)that consists of a guitar sonata, a slower and lyrical second movement (andante) which revealsthe Andalusian musical elements which have shaped Ponce’s composing style, and a final fastand festive movement (allegro moderato y festivo) which puts Ponce’s Sevillian style on showfor all to enjoy. The articulation of the notes in the piece tends to vary for the guitar and theorchestra, ranging from staccato to legato. The guitar and the orchestra harmonize with eachother at times, creating chords to engage the audience and wrap them with Ponce’s love for hishomeland. Manuel Ponce’s distinct musical style can be heard throughout the entirety of theconcerto, a hybrid of French Impressionism and neo-Classical style utilizing two independentmelodic lines to create a strong impression on the audience. In conclusion, Ponce’s Concierto Del Sur is a guitar concerto made to last through the test oftime. It elegantly paints the journey of Ponce’s composition style throughout his adventuresacross the world and contact with the music of other cultures in a way that decorates theaudience’s ears. While not a piece that greatly deviated from the standard for concertos, it servesas a significant mark of the acceptance of classical guitar in the orchestral world. References Lewis, A. (2010). Manuel Ponce. Retrieved September 23, 2020, fromhttp://www.maestros-of-the-guitar.com/ponce1.html Madrid, A. (1998, January 01). De México, concierto para Andrés Segovia: Una visita alConcierto del Sur de Manuel M. Ponce. Retrieved September 23, 2020, fromhttps://dialnet.unirioja.es/servlet/articulo?codigo=2261606

HISPANIC HERITAGE MONTH

Manuel de Falla, Spain

“El retablo de maese Pedro” (“Master Peter’s Puppet Show”)

Written by Manasi K.

"El Retablo de Maese Pedro” translates to “Master Peter’s Puppet Show” is a very famous piece composed by Manuel de Falla (1876-1946), a composer from Spain. Falla learned piano from his mother and studied composition from Felipe Pedrell. There, he developed a love for Spanish church and folk music as well as Andalusian (a place in northern Spain) flamenco. Throughout his lifetime, he wrote several piano and orchestral pieces, which placed him as a top Spanish composer for a while. In 1992, he organized a cante jondo festival and composed this puppet opera. (A cante jondo is a variation of the flamenco style of music with a narrow range and repeats one melody with a dramatic use of embellishments and variations.) Falla’s composition was influenced by Stravinsky and an episode of Don Quixote by Miguel de Cervantes. The scene is set with Don Quixote watching a puppet show. It tells the story of a man saving his bride, who was held captive by a Moorish king. In the end, Don Quixote rushes on stage as he believes the puppets are real warriors devastating Master Peter, who weepingly picks up pieces of his destroyed theatre. As previously mentioned, with several embellishments and variations on a main melody, the piece is composed for a small orchestra 3 voices, a few wind and string instruments. For a more detailed list, look at the IMSLP website in works cited. As the music is meant to support a puppet show, it incorporates several real-life sounds, like the trumpet as a king enters. Regarded as the greatest Spanish composer of the twentieth century and a neoclassical composer Manuel de Falla did inspire and entertain many with his great music. References: IMSLP. “El retablo de maese Pedro (Falla, Manuel de).”IMSLP, https://imslp.org/wiki/El_retablo_de_maese_Pedro_(Falla%2C_Manuel_de), September 20, 2020. newhope123. “Manuel de Falla - El Retablo de Maese Pedro (1923).” Youtube, January 5, 2013, https://youtu.be/7cuUvzKzqsY. The Editors of Encyclopaedia Britannica.”Cante jondo.” Encyclopaedia Britannica, Encyclopaedia Britannica, inc., May 08, 2018, https://www.britannica.com/art/cante-jondo, September 20, 2020. The Editors of Encyclopaedia Britannica.”Manuel de Falla.” Encyclopaedia Britannica, Encyclopaedia Britannica, inc., November 19, 2019, https://www.britannica.com/biography/Manuel-de-Falla, September 20, 2020. Wise Music Classical. “Manuel de Falla.” Wise Music Classical, https://www.wisemusicclassical.com/composer/441/Manuel-de-Falla/, September 20, 2020.