Kemmerer Mission, Eliseo Floril and the Central Bank of Ecuador
For the blog: soymusicaecuador.blogspot.com
For the blog: soymusicaecuador.blogspot.com
Fidel Pablo Guerrero Gutiérrez (Conmúsica)
took office in 1926 as president of the Republic of Ecuador Dr. Isidro Ayora (1879-1978). Were available then, after the repeated crises in the region and the country-an economic restructuring, for which the Government decides to hire an expert mission, led by American Walter Edwin Kemmerer (1875-1945), professor of economics at Princeton University and a financial consultant in several countries (Guatemala, Colombia, Chile, etc.) And author of several works written in their specialty.
Isidro Ayora Cueva (1879-1978). Coins with the image of Isidro Ayora, which were printed in 1997, when there were "sucres.
The actions of the Kemmerer mission was to study the national economy and develop projects that contribute to its reorganization. Delivered and reviewed the reports and draft economic advisers, Dr. Isidro Ayora issued March 4, 1927, both the Organic Law of Central Bank of Ecuador as a new Coin Act (Carlos Ortuño, Numismatic History of Ecuador , ECB, [1977]). Thus was formed the bank.
The "Money Doctor" Edwin Walter Kemmerer, chief of the economic mission that came to "fix" the national economic system. Photo:
those years, 1926-1927, a musician working as Director of military bands, Eliseo Floril created a fox trot entitled E. Walter Kemmerer . The fox trot (fox trot) was an American dance very popular among youth in the early decades of the twentieth century, which was widely circulated in America, we assume that according to the nationality of Kemmerer genre was chosen to make the musical dedication.
E. Fox trot Walter Kemmerer. The musician
Eliseo R. Floril (XIX-XX) we could not get more data, his cousin, Dr. Fernando Pinto Floril, has collected between family information was Quito, his full name was Eliseo Ramón Floril Velazco, who was born in 1868 and died in 1960. On our own we can say is that he was a composer and bandleader (anyone ever claimed it was the introducer of the habanera Van singing in the Sierra [ 1 ]) from his works for piano-patterned have been documented: machine guns to attack, march, Sky Ibarra, hallway, In the distance, Havana: Elisha , camel trot; The presumed , Chile; Wailing , hallway, The desperate , bolero yaraví; Ever yours , hallway, Starry Sky, dance.
Eliseo R. Floril (XIX-XX) we could not get more data, his cousin, Dr. Fernando Pinto Floril, has collected between family information was Quito, his full name was Eliseo Ramón Floril Velazco, who was born in 1868 and died in 1960. On our own we can say is that he was a composer and bandleader (anyone ever claimed it was the introducer of the habanera Van singing in the Sierra [ 1 ]) from his works for piano-patterned have been documented: machine guns to attack, march, Sky Ibarra, hallway, In the distance, Havana: Elisha , camel trot; The presumed , Chile; Wailing , hallway, The desperate , bolero yaraví; Ever yours , hallway, Starry Sky, dance.
AUDIO OF WORK: To click on play to listen
SCORE OF WORK: To open the score and then clicking on Open publication
SCORE OF WORK: To open the score and then clicking on Open publication
Taking advantage of the musical bond that we have presented and the Central Bank of Ecuador then we want to include an overview of the musical archive of the institution:
The Central Bank of Ecuador and Ecuadorian music
Brief overview of the musical documents in the bank in Quito
old facade of the Central Bank of Ecuador, Quito, Calle Garcia Moreno. http://www.kalipedia.com
The Central Bank of Ecuador is in charge of an important historical documentary file, within which there is a section of music that was from the formation of the Center for Research and Culture. The "Musical Fund Historical Archive" of Quito (FMAH-BCE), was created in 1985, and has several collections of great value:
Mary Sixto Durán Collection donated in 1984 by Müller Nicanor Miranda, a relative of Durán, A total of 532 documents, including handwritten scores for orchestra, choir, piano, violin and piano and so on., photographs and personal papers of the composer from Quito.
composer Mary Sixto Durán. Quito, 1918. AS.
The second collection purchased in 1985 to the family of composer Lojano Segundo Cueva Celi (1901-1965), of which 3390 have a total of 3192 documents which are handwritten Cueva Celi scores and transcripts of several authors. The third collection is the author of several Ecuadorian Fund, approximately 400 documents and materials with original music played. In addition the Historical Archives acquired a substantial amount of slate records and piano rolls. The Audiovisual Fund remains good number of photographs of musicians and musical groups.
Segundo Cueva Celi , composer Loja. AH-CEB / AS.
should be noted that early of the 90's the Central Bank of Ecuador Loja made in the acquisition of some 50,000 pages of manuscript and printed music, a fund that belonged to musician Jose Miguel Vaca Flores (1891-1964). This great musical tradition includes many works of ancient Ecuadorian composers written for band, solo instruments, voice and piano, choir, etc. Among the composers we can highlight the works of Nicolás Vásquez (XIX-s. XX), Aparicio Córdoba (XIX-1934), Manuel Jurado (XIX), Ascencio Guideline (XIX-s. XX) Carlos Amable Ortiz (1858-1937), Antonio Nieto (XIX-1920), Virgilio Francisco Chaves (1856-1914), José Ignacio de Veintimilla (s.XIX-XX) M. Federico Borja (s.XIX-s. XX), Segundo Luis Moreno (1882-1972), etc.
In the same decade was purchased from the heirs, the work of composer Luis Humberto Salgado (1903-1977). Many of the creations of this significant academic musician are now part of the background music of the Central Bank of Ecuador. Also in this file is a collection of religious texts of carols , salves , litanies in a book manuscript that dates from the s. XVIII.
cayambeño composer Luis Humberto Salgado, ca. 1934. AH-BCE.
addition, the Central Bank of Ecuador has the archaeological museums in Quito and Guayaquil, the most important, which is plenty of musical instruments of different cultures that inhabited the prehispanic Ecuador. Also, both the Music Fund of the Historical Archives in the music library of Quito and Guayaquil (MBCE-Q, G) and the Library of Archaeology of the Central Bank in Quito (BABC-Q), there is a large collection of documentary footage of Ecuadorian music concerts, music composers, scholars, conferences, research recorded in situ on indigenous music and instruments, etc.
Fund and Jijón Jacinto Caamaño (FJJC-BCE) the same institution has a large print, difficult to locate in other documentation centers and libraries, for example: Vademecum for pastors Quichua Indians published by John M. Grimm in 1903, which contains sheet music Quichua religious texts; yaravíes Quito, compiled by Juan Agustín Guerrero in 1856; Ecuadorian music from its origin until 1875 , also in Guerrero, the Treaty full theory and practice of harmony (1879) translation of Fetis composer Mario de la Torre (s. XIX-1929), a collection of magazine Cartoon appeared since 1919 and whose numbers were inserted musical compositions of Sixto M. Duran, Aurelio Victor Paredes Galarraga, etc. And to close this brief overview document, we noted that the Fund Carlos Manuel Larrea is a manuscript of the Ninth for the bonus Fernando Larrea, OFM, written in the eighteenth century.
should be noted that all cultural areas of the bank have come to the regency of the Ministry of Culture of Ecuador. At the present moment is Quito Regional Cultural Director of the Bank, Dr. Andrés Abad Merchán, and Mr. Honorio Farm Azanza, is the custodian of the historical record.
Note:
[1]. In a note contained in "A brief glance at the theory of folklore" Dario Guevara says: "The L-rd is the In-Car-ri-to-Vi-te-ri, very co-no-ce-dor of an-ti-gue-da-de qui-te-sized, grill-gu-ra that Elisha Ra-mon Flo-ril, ins-truc-tor bank give the Ex-ci-to the Ecua- , dor, in-tro-du-jo the can-tion in the country in-between fi-ing the cen-tury pa-sa-do and co-mien-border pre-sen-te, cam-bian-do the rit-mo of bam-bu-co to ha-ba-ne-ra ... ins-tru-men-OT-bi-da-men-te the can-tion pa-ra is-between-nar-the in Gua-ya-quil more or less us in 1906 for me-he ba- , ta-lion Pi-Chin-cha. Des-as it will "mess of mis-meter walk-za mu-si-cal pa-ra the inau-gu-ra-cio-tions pair-ing-them he would join Qui-to, and Guate-ya- ; quil in 1908 "(In: Gue-va-ra, Da-river." Bre-ve-da flips so-ber the theory of the fol-klo-re ". Fol-klo-re-ri-love ca-no , No. 22, p. 11-51. Mé-xi-co, 1976).
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