Manuel
Martinez-Sobral (1879 - 1946)
Ricardo
Castillo (1891 - 1966)
Manuel
Martinez-Sobral was born in Guatemala
City on 11th May, 1879 and died on 23rd March, 1946. Not much is known about how he grew into music. As a
composer, Martinez-Sobral was a self-made musician, forced to learn French and Italian
to be able to study books then used on musical techniques by Dubois and Cherubini.
He composed all his music between 1895 and 1920, and after that period he
worked as a lawyer. He was the Dean of the Law School and held other important public positions, and on I y
travelled abroad twice, to Philadelphia in 1933 and to New York in 1934. The music scores of Martinez-Sobral, which were considered
lost, were discovered or found in 1989 and from them and his notebooks, it was
possible to make a definite catalogue of his music. His catalogue, considering
the short time during which he composed, is wide and of great variety, with
piano music, as well as symphonic, chamber, choral and religious music. A
delicate circumspection, certainly takes the place of recklessness in his work,
which, at the same time, gives his music a sense of conciseness, thus omitting
any unnecessary ornamentation. As a composer, Martinez-Sobral knew that the
behaviour of each element has a determinant repercussion in the style. His
message is that of the Creole Guatemalan, as opposed to the Indigenous
Guatemalan, of limited musical interest and extremely exploited during that
time.
Acuarelas
Chapinas, Four Symphonic Scenes, was Manuel Martinez-Sobral's masterpiece. Its personal symphonic style
is evident because of its dimensions and grandiose orchestration, suggesting
that its title should be Frescos instead of the diluted one of Acuarelas (water-colours)...
Through its four movements Acuarelas Chapinas attempts to evoke and
perpetuate the way in which a Sunday passed in Guatemala City at the turn of
the century, the archetype of every Sunday in that period. The symphonic
version was composed in 1907, but Martinez-Sobral did not make the two-piano
version unti11922, music which for a long time was the only work written for
two pianos by a Central American composer.
Acuarelas
Chapinas is structured as
a symphony. Each movement corresponds to a definite musical character, related
to a place in the city and, therefore, to a scene of Sunday life; each scene
also corresponds to a determined time of the day thus a determined colour is
assigned to each hour. The suggestive and visual title chosen by the composer
must undoubtedly have its origin in these characteristics.
The movements and
their relation to Acuarelas Chapinas are explained in the following
table: